5B

I have researched regulations and codes of practice in a current workplace where I teach dance and also with the ISTD which is the society I took my teaching qualifications through.

The main objective is that we behave in a professional and safe manner, bringing enjoyment and learning to the pupils.
The ISTD really focuses on the appropriate size of classes and each class being of similar abilities,. My local authority suggests 10 children to one adult. Therefore each pupil is treated individually and their own needs are met accordingly. I feel this is an important point, everyone will work at different speeds with difficult abilities, and I believe this is a tough task for any teacher to try to work equally with the whole class and not neglecting any individual.

I have a child protection policy that must be adhered to at all times. This states the definitions of abuse such as: physical,emotional,sexual, neglect. Now I was aware of abuse particularly sexual and physical, but reading about emotional abuse has really made me think as I wasn't aware of this fully.

The definition of emotional abuse is 'a persistent lack of affection, rejection, isolation, exclusion, deliberate humiliation or threats. It may also refer to an absence of praise, encouragement and stimulation'
It had lead me to thinking do I praise all students equally? have I fully stimulated the whole classes needs? I feel I praise students when it is justified, I never just focus on one student, but have I been fully engaging with the whole class?

They focus on the safety of studios, correct flooring , heating, a safe place to get changed, fire regulations. I was fully aware of most safety procedures. However sometimes I do not teach at my regular place of work and I cover for all different teachers, and I always thought it was their studios and they have to make sure all the safety precautions are in place. But I have now realised  from these codes of practice that when you are alone it is solely your responsibility to check all the correct procedures and adhere to the relevant regulations as you are fully responsible for all of the pupils in your care. Something I will be taking a lot more care over in the future.

One last point I was very much unaware of was the keeping of records and confidentiality. Luckily at the moment any registers regarding puils persoanl details I have are all on paper . But if you keep your files on the computer you may need to register with the information comission. This is just something ti check out depending on what information you hold.

I feel taking a closer look at these codes of practice have highlighted the grey areas that I really was unsure about. I would like to look further into the procedures in the theatre I work as a dancer.

Ethics 5a.

Here are the codes of practice for where I work, I have two lists one for the theatre I work in as a performer and one for the studios as a Dance Teacher. These are my thoughts which i will then check on afterwards.

Theatre.

Sign In
Arrive punctually
No smoking/ Drinking
Report to Company Manager
Warm up
Correct work attire
Fire procedures
No eating/ drinking misuse of costumes

Studios

Registration
correct syllabus
CRB check
Insurance
health and safety procedures
safety checks in the studios
correct flooring/facilities/heating
No manhandling
check uniform
emergency exits

I'm sure I have missed a lot of procedures these are what I am aware of using to date, I will go and consult the correct regulations.

Capability self assesment

Thanks to Rosemary and Stephanie's advice I have decided to assess my capabilities as a performer and teacher.  I'm hoping this will help distinguish where my strength and weaknesses lye, therefore leading me to where I need to develop my knowledge and skills and giving me support in my chosen title.

Rosemary grades capability in the following format:

Novice
Advanced beginner
Competent
Proficient
Expert

I have tried to be as honest as possible with myself as I think it can be very difficult performing an accurate assessment on yourself.

• Dance Performance  - Proficient
• Dance Technique -     Proficient
• Audition Skills -         proficient
• Self management -     Competent
• Teaching Skills  -       Proficient
• Professionalism -        proficient
• Buisness Skills -         Competent
• Learning Routines -     Proficient
• Choreographic Skills - Competent
• Networking -              Competent
• Safety Awareness -     Competent

From analysing this I would ultimatly  like to become proficient in all aspects but realisticly I need to focus on what is going to enable my future, I don't want to become 'a jack of all trades a master of none as they say'.

Through compiling this list I have become aware of the fact that a lot of my techniques over lap, I am trained as a dancer and dance teacher and quite clearly these two coinsied with eachother. I came across the Venn diagram and thought this would be helpfull to identify what techniques purely enable me as a daner or dance teacher and what I need for both.

This diagram has given me a clear idea of where and what I need to develop, the skills I have as a dancer are all there to make the transition into a teacher a lot smoother. I want to enhance my skills as a dancer and become an expert where possible. Therefore leading me to move onto the skills needed solely as a dance teacher.
I am hoping I can now develop these skills through my work on this course.

Creativity and Dance in education

I have just come across the Ken Robinson's video Verity has posted and it has led me to further thoughts.
He Said ' If you're not prepared to be wrong, you'll never come up with anything original'.
This really opened up my eyes i am currently exploring ways to develop my teaching and choreographic styles and am struggling with new and stimulating techniques, and I think this is because I'm afraid to be unsuccessful and something not work. I am so used to the way I teach and the fact that it seems to work that I'm afraid of the unknown. So Ive set myself the task of the next class I teach I will explore new methods and note the outcomes- what worked and what didn't.

Another quote was 'In Every country in the world, the arts are at the bottom of the list, why do we not teach dance every day like we teach maths?'
Why is this? Is it simply because subjects like maths are deemed more important in every day life? I came to think of when I started dancing, it was my mum who noticed that I needed to be active and dance was what inspired me and I was lucky enough to go to a school that encouraged the arts. Should education be nurturing children's creativity further and opening doors in whatever genre it may be?

Creating an SIG

Through discuusions already developing on the BAPP facebook page, it is clear that quite a few of us have the same interest in dance education/ teaching. The main topics coming up in discussions are:

Teacher training.
Qualifications.
The effects of Dance in education.
Teaching Techniques.
Transition from performer to teacher.

I feel we are creating a great understanding and developing lines for enquiry. However I am also looking into choreography as a development from being a dancer I also feel this does link into my teaching as im always creating new work for the students.
I have started a new dicussion on the bapp facebook page 'transition onto choreography ' I would love some feedback from you all on this topic.

Developing lines of professional inquiry

After exploring the reader a few times I have started to narrow down the gaps in my practice and where I could start developing an inquiry.
I started by noting the skills needed to be a professional Dancer- the field I am currently working in:

Dance Technique and ability.
Discipline
Performance and people skills
Experience
Understanding of History
Anatomy/Nutrition

I then made note of the skills needed to be a Dance teacher which is something I do now but am also looking to do for my future coureer:

Knowledge of syllabus
Experience with children
Experience in performance and teaching
Health and safety
Musicality/Creativity

Already after making this list I can see areas that need developing, in peticular musicality/creativity and assesment techniques, I would like to develop ways and new concepts of how to teach, how to get the children learning. What techniques really do work? I ask myself what can I bring to this profession? Every Teacher has a way of teaching I feel i have definatly been infuenced by mine, maybe I should explore others further?

I also looked back to the inquiry task last module, I wanted to explore the lack of training in dance teachers why arn't there more regulations, anyone can set up a dance class, but does qualifications really mean more than experience? I  am also very interested in choreography i like exploring different choreographers styles and techniques, I find it facinating exploring what others can us as a stimulus could i develop this into my teaching practice?
I also feel a strong skill I will need in my future teaching is managerial skills, will I be able to run a buisness what extra skills will I need for this?

Being a competent performer doesn't mean I can teach or choreograph, What do you need to make that transition?

Lots of questions here I am going to explore please let me know your thoughts.

3b.

3B.

This reader took a lot of time to digest, but after reading it numerous times and allowing myself to let the information and concepts settle I realised how and why I am currently using my professional networks.

I find co-operation important in our industry as I do believe the more you co-operate the more you will benefit. For example in my last job I worked consistently hard and supported my dance captain a great deal and even after the contract had finished, she is now a great contact for me always providing me with auditions and further contacts- she is someone I will not lose contact with. I also provide the same help to her creating a great trust and the want to help each other.  I think this tool combines co-operation and tit for tat together. You are always going to be more open to help someone whoever it is if you feel you are gaining yourself in return. My best contacts are through working relationships within my industry, whilst working you create a bond through a common interest which I feel naturally progresses further. It is these contacts I need to make sure I keep; it is so easy once a contract has finished to lose that network and regret it later on down the line.  Maybe I could join other networks not just work related, I’m sure there’s more opportunities out there for me to connect with. 

I feel a big problem for me is when I am in work; although I am making new contacts I feel safe and do not concern myself with networking and keeping in touch with current networks. It is when the job is over and you need more work that realise just how important those contacts are, sometimes it’s a little too late. 

A professional network is a group that has a common interest, and generally we do stick to those groups. However I think it can be beneficial to move out of those circles and create networks with people with other interests; it’s not always those with a direct link that can be of help.

The prisoner’s dilemma game makes sense of this theory; in the long run I believe co-operation is going to always be more beneficial. By competing and not always co-operating you can win by a small margin but this is going to be a short term success, I believe. Obviously there are going to be times when you need to be selfish like at auditions and castings, it’s just knowing when and where.

‘The theory of affiliation says that we need to network across a range of human activities, professionally and personally’. I think this is true we need people around us both professionally and personally. If I am looking for work I connect with my contacts within my industry and create a network of help and advice around me and the same goes for my personal life. I do believe people have the need for others around them, some more than others. I think this can have a lot to do with your genetics and upbringing. People from a large family may feel the need to have a strong network around them more than a single child perhaps.  Hofstede mentions culture as a factor in affiliation and I think these can all be factors that do affect us. We are persuaded and influenced by our surroundings and people around us. 

I believe we all learn from experience, and situations in our lives vary and send us on different paths, leading to different contacts and connections within those networks. Really understanding why we do things and need certain things is what will help us grow and understand our professional and personal lives further.