Reflective Theory- Task 2c
I am a methodical learner and enjoy following a organised plan step by step with a routine, I think this is shown in the way I write my blogs, plan my day and analyse reflective practice.
Kolb's learning cycle allowed me to reflect on how I learn in my professional practice. In an unfamiliar situation, for example learning choreography in an audition in a style of dance outside my comfort zone, I use 'Reflective observation' watching the choreographer or other dancers auditioning doing it and learning from their movement style and using the knowledge I saw to improve myself. By contrast I enter the 'Kolb learning cycle' in 'Abstract conceptualisation' in my current job as a dancer for Tihany Spectacular. For example, walking up the stairs on the stage in heels, I work it out in my head first how will be the safest and fastest way to clime the stairs before having the concrete experience.
Gardner had the idea of multiple 'lenses' of learning - visual, auditory and kinaesthetic. When I taught dance classes at Dancewise studios the director of the school gave me some teaching tips which included these different lenses. It is important for my professional practice to not limit myself to being just one type of learner, when I stand in front of a class to teach the students will all have a preferred way of learning and I will also have a preferred way of teaching, therefore I must use imagery, my voice and demonstrate in the class so all the students can learn in the most effective way for them.
In my professional practice as a dancer I do 'Reflection-in-action' on stage 'responding to what is happening as it happens, hands-on way of working' (Donald Schon,1987). For example if a piece of my jewellery falls off in the dance, it needs to be picked up, this is performing the action, observing and analyse 'in action' referred to as 'online' by Robert Kottcamp, 1990. 'Reflection-in-action' is common in artists because we are the sole collector of data on the event.
'TACIT= understood or implied without being stated.' (English Oxford Dictionary) reflection of knowledge that cannot be expresses with words. 'I shall reconsider human knowledge by starting from the fact that we can know more than we can tell' ('The Tacit Dimension' Michael Polanyi, 1996 p.4) This quote is very significant to me proving that linguistics is not the only way to communicate ideas. Osterman and Moon say communication of 'gut feeling, innate and tacit' is part of the professional creative process. I often say 'something just didn't feel right in the dance today' we cannot communicate in words but reflection is happening based on an internal feeling, recognising something felt different. 'Her memory of movement doesn't need to be accessed through conscious effort' (Tharp and Reiter, 2006 'The creative habit') This quote refers to muscle memory, in my professional practice the show becomes part of my body and automatic. When a new dancer arrives and asks for help with the counts or questions whether the choreography starts with the right or left leg I hesitate and second guess myself. This is because muscle memory in dance is tacit knowledge.
Kolb, Gardner, Schon, Moon, Tharp and Reiter point out the reflective process I do on a daily basis in my processional practice!
Kolb's learning cycle allowed me to reflect on how I learn in my professional practice. In an unfamiliar situation, for example learning choreography in an audition in a style of dance outside my comfort zone, I use 'Reflective observation' watching the choreographer or other dancers auditioning doing it and learning from their movement style and using the knowledge I saw to improve myself. By contrast I enter the 'Kolb learning cycle' in 'Abstract conceptualisation' in my current job as a dancer for Tihany Spectacular. For example, walking up the stairs on the stage in heels, I work it out in my head first how will be the safest and fastest way to clime the stairs before having the concrete experience.
Gardner had the idea of multiple 'lenses' of learning - visual, auditory and kinaesthetic. When I taught dance classes at Dancewise studios the director of the school gave me some teaching tips which included these different lenses. It is important for my professional practice to not limit myself to being just one type of learner, when I stand in front of a class to teach the students will all have a preferred way of learning and I will also have a preferred way of teaching, therefore I must use imagery, my voice and demonstrate in the class so all the students can learn in the most effective way for them.
In my professional practice as a dancer I do 'Reflection-in-action' on stage 'responding to what is happening as it happens, hands-on way of working' (Donald Schon,1987). For example if a piece of my jewellery falls off in the dance, it needs to be picked up, this is performing the action, observing and analyse 'in action' referred to as 'online' by Robert Kottcamp, 1990. 'Reflection-in-action' is common in artists because we are the sole collector of data on the event.
'TACIT= understood or implied without being stated.' (English Oxford Dictionary) reflection of knowledge that cannot be expresses with words. 'I shall reconsider human knowledge by starting from the fact that we can know more than we can tell' ('The Tacit Dimension' Michael Polanyi, 1996 p.4) This quote is very significant to me proving that linguistics is not the only way to communicate ideas. Osterman and Moon say communication of 'gut feeling, innate and tacit' is part of the professional creative process. I often say 'something just didn't feel right in the dance today' we cannot communicate in words but reflection is happening based on an internal feeling, recognising something felt different. 'Her memory of movement doesn't need to be accessed through conscious effort' (Tharp and Reiter, 2006 'The creative habit') This quote refers to muscle memory, in my professional practice the show becomes part of my body and automatic. When a new dancer arrives and asks for help with the counts or questions whether the choreography starts with the right or left leg I hesitate and second guess myself. This is because muscle memory in dance is tacit knowledge.
Kolb, Gardner, Schon, Moon, Tharp and Reiter point out the reflective process I do on a daily basis in my processional practice!
Hi Nicole, I'm a module 1 student and I've been reading through other students blogs who both have already done module 1 and are doing it now. I really found that I can relate to your blog post and you have explained your way of learning very clearly. I have read Kolb's theory, and I was wondering are the other people you have referenced on here in the library search, in our reading lists? As I can't seem to find them but am interested in reading them. Any help would be greatly appreciated! Thanks, Sian
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