Here is a link to my Online Portfolio:
https://sites.google.com/site/abygailmartin
Thursday, 5 May 2011
Tuesday, 3 May 2011
Critical Reflection and Summary: Digital Portfolio (WBS 3835)
Developed Professional Questions:
When developing professional questions, I had no idea were to start. Contemplating and unscrambling so many ideas was a huge task in itself. I started with notes and jotted ideas in my journal. Pages and pages of possible questions. I got a little creative, using Microsoft Publisher to help my thought processes through possible pathways to enlightenment. Previous Employment, Current Professional Practice and Future Potential Practice were initially the themes I brainstormed. Looking closely at these three themes, allowed me to take a closer look at the directions I could take and help decipher questions relevant in my developing professional practise1.
These three themes led me to thinking about education in particular. I thought that there was something missing in education for those that are creative, or had a passion for something that wasn’t catered for in an academic environment. My initial thoughts for my inquiry2 started with the SIG on Facebook “to help clarify and develop ideas and possible routes to take”3.
“I think that experience is the best training but where did you originally train and how did you find the experience? Do you think it prepared you appropriately?” Now this question was vast and covered a lot. However, know one in particular focused on training before college. This led me to the conclusion that college level is the time to get down to business, if you’re going to take yourself and Performing Arts seriously this is when you did it. I conversely feel along with many that training should start young (another SIG I was involved with4), though I felt higher education should be the main focus of my inquiry. Within discussion through SIG I empathized with Nicole that “an older head on my shoulders may have helped” and that “A mature attitude would have allowed better focus” at college level. I agreed with Rebecca “that the appropriateness of education is so very personal and how can we predict what would be better for us without knowing before hand our own future?”
One of the questions that came out of this was “Many colleges offer foundation courses for those who need to catch up in areas of weakness so why isn't there anything the other end?” It wasn’t until after I came to doing my survey that I really found questions I wanted to Inquire. This is eventually how I came to my award title. Firstly with education in mind I naturally opted for BA (Hons) Professional Practice (Dance Education)5. Furthermore, through much deliberation I decided to focus on a title that reflected the job opportunities that I wanted to continue and develop. BA (Hons) Professional Practice (Advanced Dance Training) I feel is much more appropriate now after a recent experience6, I want to focus my Inquiry at Higher Education.
One of the questions that came out of this was “Many colleges offer foundation courses for those who need to catch up in areas of weakness so why isn't there anything the other end?” It wasn’t until after I came to doing my survey that I really found questions I wanted to Inquire. This is eventually how I came to my award title. Firstly with education in mind I naturally opted for BA (Hons) Professional Practice (Dance Education)5. Furthermore, through much deliberation I decided to focus on a title that reflected the job opportunities that I wanted to continue and develop. BA (Hons) Professional Practice (Advanced Dance Training) I feel is much more appropriate now after a recent experience6, I want to focus my Inquiry at Higher Education.
Ethical Considerations:
When considering ethical issues that surround my professional practice and proposed inquiry I came across council I hadn’t even contemplated. I hadn’t previously seen the importance of ethics until reflecting over tasks within the course reader and what I have learnt about my own and others ethics and ethical theories. My findings differed from my assumptions. I found that ethics are actually about what’s right and what’s wrong, what’s expected and what is unacceptable. I did assume that ethics are for protection of everyone's best interests, however in my list I did not even consider those equal to me.
After creating a list of ethical considerations in my workplace without research7 and then comparing it to ethical considerations in professions a like, I failed to go into so much detail about professionalism, privacy and respect for all those that surround me. I focused more on the physical rather than the psychological responsibilities I carry and what is required for creating a well rounded individual. I feel in this case that good communication and common sense is important and conscientiousness is imperative8. Like a drop in a pond, the ripples sometimes seem endless and being aware of the impact I create is fundamental for my understanding in what I offer as a positive contribution to the dance world. I was a little to direct before and focused mainly on the immediate effect I have on my students rather than the bigger picture.
Using the ethical framework provided by the course reader allowed me to distinguish between ethical theories and I discovered that I practice Consequentialism in a class room on a daily basis. I believe in Deontology to a certain extant as you have to be seen as telling the truth, being trustworthy is important for a respectable teacher. Virtue ethics I agree with and that moral behaviour and character is as important as action. Students judge their learning from a teacher’s behaviour and character9. I feel that we all have slightly different ethical views and practices depending on upbringing and our own individualism, on the other hand it is important for a teacher to uphold certain ethics to be consistent within their field of practice.
Tools of Inquiry:
Survey: I found the results from the survey interesting. I learnt that I needed to reconstruct my questions, and the way in which I order them. I feel if I can guide the participant through the understanding of the information I want from them clearly, then my results would be more accurate. There was a varied response with a few surprises, for example I did not expect anyone to skip questions. I was also shocked that survey participants were taught by specialist teachers at their primary schools. I thought that everyone would have had a similar experience to me; a class room teacher or PE teacher with no dance background. Turns out some participants opinions and experience differ from my own, this I hadn't really accounted for10.
Interview: The interview I conducted was very useful in that it allowed me to get a real insight of an others opinions, knowledge and experience. I was particularly interested in the type of training my participant had received and was concerned when she expressed negative ailments of her training. With an interview you can question feedback. Something might come up that was not expected and you are able to delve into information that you may not have come across with a simple survey. Surveys can be general. Interviews are personal and findings can be more accurate in result. Interviews are good for the interviewees understanding of the participants reasoning. I feel this merit greatly outweighed any limitation when using this tool.
Focus group: I decided to split my focus group into two to alleviate any professional implications. I wanted to talk to students currently training in advanced dance. Moreover, I wanted to discuss professional course content with teachers and the realities of a career after advanced dance training with teachers and professionals alike. I think that in the future having at least a couple of participants that are not familiar with the others may add perspective. As I knew all the participants on a personal level I feel the results I had may have been slightly different under more focused circumstances. Maybe the unknown participants can act as 'gate-keepers', someone with leadership qualities to influence the discussion further. Furthermore, it may add dimension to my results if I have someone less experienced in the subject to add diversity and for the other participants to bounce off. I was happy with the pilot attempt as it allowed me to analyze an array of opinions, hopes and realities that were compared and work-shopped through. This was great for depth and variety unlike an interview with just one participant.
Observation: The results from my observation was not as clear as I would have hoped. This is because I did not prepare myself appropriately. Therefore, when it came to recording my results I was struggling to remember key objectives and findings. In the future I will carry out an observation when only observing and recording results. Not when participating within the class. As I was observing technique and general ability according to training, it is hard for an overt observation to influence the participants. Covert is hard to justify ethically, fortunately all involved were fully aware of the observation I was undertaking allowing a free conscience. A preferred tool, as observation is a primary source. I can see first hand natural reactions that are not contrived11.
Reviewing Literature: I think this will be a very important tool for my Inquiry. One I feel I shall use a lot during my Inquiry. There is a lot of literature that supports all types of advanced training and reviewing their appropriateness for application will be an integral part of my investigation. There is a lot to be learnt and it’s all out there in literature one way or another. The first piece I reviewed may not have its subject in dance but is relevant all the same. Training from another practice and point of view will add sustenance to my inquiry. This will enable me to consider all types of training and the theories behind them. The second piece I reviewed confirmed my previous training and added ratification to my professional knowledge. It also outlined aspects of training I hadn't thought of, giving me ideas for my inquiry and depth to my results. The third review I completed was a great resource. Although the book was not intended for dance professionals in the Introduction of Pilates for Life; A Practical Introduction to the Core Programme' Darcey Bussell clearly upholds the view that Pilates is an 'important' part of a dancers training. This professional opinion is backed up with a lot of information about the method that has famous successors within the industry. I can use this to validate my own Professional Practice and develop it for my Inquiry12.
Near the end of this Module I was introduced to 'Delicious' an online bookmarking tool that allows you to save useful websites to share and to come back to. I found it helpful to have all my useful websites saved in one place13.
Appendix:
Bussel, D. 2005 Pilates for Life; A Practical introduction to the Core Programme. The Penguin Group.
4. http://www.facebook.com/?ref=logo#!/topic.php?uid=145821545478191&topic=64
5. http://aby-lea.blogspot.com/2011/04/award-title.html
6. https://sites.google.com/site/abygailmartin/home/award-rationale
7. http://aby-lea.blogspot.com/2011/03/task-5a.html
8. http://aby-lea.blogspot.com/2011/03/task-5b.html
9. http://aby-lea.blogspot.com/2011/04/task-5c.html
10. http://aby-lea.blogspot.com/2011/04/6a-pilot-survey.html
11. http://aby-lea.blogspot.com/2011/04/6b-critical-reflection.html
12. http://aby-lea.blogspot.com/2011_05_01_archive.html
5. http://aby-lea.blogspot.com/2011/04/award-title.html
6. https://sites.google.com/site/abygailmartin/home/award-rationale
7. http://aby-lea.blogspot.com/2011/03/task-5a.html
8. http://aby-lea.blogspot.com/2011/03/task-5b.html
9. http://aby-lea.blogspot.com/2011/04/task-5c.html
10. http://aby-lea.blogspot.com/2011/04/6a-pilot-survey.html
11. http://aby-lea.blogspot.com/2011/04/6b-critical-reflection.html
12. http://aby-lea.blogspot.com/2011_05_01_archive.html
Literature Review 3
I will be reviewing the introduction of 'Pilates for Life; A Practical introduction to the Core Programme' by Darcey Bussell. The principle dancer with the Royal Ballet, Darcey Bussell was promoted in 1989 at twenty, two years after winning the Prix de Lausanne and was awarded an OBE in 1995.
Although this book is not necessarily for advanced dance training, Bussell explains in the introduction that she 'really believes' in Pilates and how it 'enhances your life'. While admitting she is not a teacher of Pilates she discusses her very positive opinion stating that 'Pilates is the best thing I have ever done for my body'. She goes on to outline it's physical benefits for men and women. As a professional dancer having undergone intense physical training for her career, I am highly compelled to take store in the information she offers.
General facts and the history of Pilates is discussed and Bussell tells us of a 'unique' 'body conditioning method' that works on 'strengthening, lengthening and toning the muscles as well as improving posture and balance.' She talks about its fame, how the technique established itself and 'became popular among dancers' in New York when successors such as Martha Graham and George Balanchine became fans. She offers the reader other more accessible 'less daunting' examples of its beneficiaries comforting us with the fact that it can be done 'by anyone of any age'. This I think is for benifit of sales. If Darcey Bussell is selling a book to 'anyone of any age' she has to consider the lower end of the training scale.
George Balanchine: 'a pioneer of ballet in the United States, co-founder and ballet master of New York City Ballet he created modern ballet, based on his deep knowledge of classical forms and techniques.'
http://en.wikipedia.org/wiki/George_Balanchine
Martha Graham: 'American dancer choreographer regarded as one of the foremost pioneers of modern dance.
http://en.wikipedia.org/wiki/Martha_Graham
Darcey Bussell deliberates, that as a young dancer was very supple and 'needed to know how to control her body'. She explain's that on the whole dancers use this method because without bulking it is the best way to exercise/develop every muscle in the body. For it is 'important' to 'not appear muscle bound on stage'. Furthermore, Pilates allows dancers to stay 'leaner' and 'stronger as dancers for longer'. This is worth noting for my Inquiry, as I teach Body Conditioning in a Dance College using Pilates based influence in the exercises. This gives me insider knowledge that a professional supports for my developing professional practice.
Bussell feels that Pilates is 'invaluable' helping dancers to recover from injury as ballet training and performing has 'become so intensively physical'. It allows excellent 'recovery too'. Suggestions and advice is given to followers for their own practice, according to ability. Pilates combines breath and relaxation, elevating stress. For Darcey doing two hour and a half classes twice a week offers equilibrium. This balance I feel is incredibly important to equip a dancer appropriately when faced with the overall strains that they may endure. Either, within a dance lesson, audition or performance.
Pilates gives Darcey Bussell 'Ultimate confidence' as she declares 'if Ive done my exercises before I start my working day, I know I am prepared and ready for anything that comes my way.' Darcey leaves us feeling incredibly positive about our lives and motivated towards possible training outcomes. Positive mental attitude is very important for dancers due to knock backs and rejection, sometimes on a daily basis. She offers us an escape and a chance to become in tune once again with our physical and psychological selves.
A combination of interesting angles to research. Pilates as a physical and mental training tool. One that is so successful that famous professionals in the industry such as George Balanchine and Martha Graham became 'fans'. A body conditioning method so good and different that it is inspirational for those who use it. How can I further apply this method to achieve what is needed in advanced/professional dance training?
Bussell, D. 2005, 'Introduction' from Pilates for Life; A Practical introduction to the Core Programme. Penguin Group.
http://en.wikipedia.org/wiki/George_Balanchine
http://en.wikipedia.org/wiki/Martha_Graham
Although this book is not necessarily for advanced dance training, Bussell explains in the introduction that she 'really believes' in Pilates and how it 'enhances your life'. While admitting she is not a teacher of Pilates she discusses her very positive opinion stating that 'Pilates is the best thing I have ever done for my body'. She goes on to outline it's physical benefits for men and women. As a professional dancer having undergone intense physical training for her career, I am highly compelled to take store in the information she offers.
General facts and the history of Pilates is discussed and Bussell tells us of a 'unique' 'body conditioning method' that works on 'strengthening, lengthening and toning the muscles as well as improving posture and balance.' She talks about its fame, how the technique established itself and 'became popular among dancers' in New York when successors such as Martha Graham and George Balanchine became fans. She offers the reader other more accessible 'less daunting' examples of its beneficiaries comforting us with the fact that it can be done 'by anyone of any age'. This I think is for benifit of sales. If Darcey Bussell is selling a book to 'anyone of any age' she has to consider the lower end of the training scale.
George Balanchine: 'a pioneer of ballet in the United States, co-founder and ballet master of New York City Ballet he created modern ballet, based on his deep knowledge of classical forms and techniques.'
http://en.wikipedia.org/wiki/George_Balanchine
Martha Graham: 'American dancer choreographer regarded as one of the foremost pioneers of modern dance.
http://en.wikipedia.org/wiki/Martha_Graham
Darcey Bussell deliberates, that as a young dancer was very supple and 'needed to know how to control her body'. She explain's that on the whole dancers use this method because without bulking it is the best way to exercise/develop every muscle in the body. For it is 'important' to 'not appear muscle bound on stage'. Furthermore, Pilates allows dancers to stay 'leaner' and 'stronger as dancers for longer'. This is worth noting for my Inquiry, as I teach Body Conditioning in a Dance College using Pilates based influence in the exercises. This gives me insider knowledge that a professional supports for my developing professional practice.
Bussell feels that Pilates is 'invaluable' helping dancers to recover from injury as ballet training and performing has 'become so intensively physical'. It allows excellent 'recovery too'. Suggestions and advice is given to followers for their own practice, according to ability. Pilates combines breath and relaxation, elevating stress. For Darcey doing two hour and a half classes twice a week offers equilibrium. This balance I feel is incredibly important to equip a dancer appropriately when faced with the overall strains that they may endure. Either, within a dance lesson, audition or performance.
Pilates gives Darcey Bussell 'Ultimate confidence' as she declares 'if Ive done my exercises before I start my working day, I know I am prepared and ready for anything that comes my way.' Darcey leaves us feeling incredibly positive about our lives and motivated towards possible training outcomes. Positive mental attitude is very important for dancers due to knock backs and rejection, sometimes on a daily basis. She offers us an escape and a chance to become in tune once again with our physical and psychological selves.
A combination of interesting angles to research. Pilates as a physical and mental training tool. One that is so successful that famous professionals in the industry such as George Balanchine and Martha Graham became 'fans'. A body conditioning method so good and different that it is inspirational for those who use it. How can I further apply this method to achieve what is needed in advanced/professional dance training?
Bussell, D. 2005, 'Introduction' from Pilates for Life; A Practical introduction to the Core Programme. Penguin Group.
http://en.wikipedia.org/wiki/George_Balanchine
http://en.wikipedia.org/wiki/Martha_Graham
Monday, 2 May 2011
Literature Review 2
I will be reviewing the following article written by Stephen Arnold. The article was first published in the Dance Today which aims to inform the reader of the Importance of Physical Fitness Training for competitive dancers. The article can be found at; http://dance104.valuehost.co.uk/e107/page.php?10
His acknowledgment include:
Using all the above resources Arnold has compiled an excellent article about the Importance of Physical Fitness Training. He first states that 'developing correct technique and mastering the choreography is only half the battle' of which I deeply agree. Although he focuses on the physical training of competitive Latin American and Ballroom dancing the theory is the same and applied across the board. According to Arnold without it 'it is not possible to be successful' and is an integral part of dancing.
Arnold then goes on to specify the different components of fitness, and how it is important to achieve the right balance allowing dancers to compete at their 'physical peak'. 'Aspects of training include: cardiovascular training, weight training, stretching, ballet, diet and rest.' It's these combination's I want to look at and how to get the balance right.
Stamina is the next subject touched upon and why it is needed. Whether it be for dance competition or a show, a dancer has to have a good level of stamina. He proceeds to briefly outline the catagorical elements of anatomy, the processes involved, diet and what cardiovascular exercise one can undertake as part of their training to improve stamina. These are all aspects to consider when training an advanced dancer for a their professional career.
'Complimentary to muscle strength is muscle power.' Another paragraph ensues with information about weight training and that 'it is vital that a dancer increases muscle power and strength together; otherwise muscles can develop in a way that reduces mobility.' This is true using my own fitness instructor past I know from training people and helping them in the gym what is required to ensure body balance and the correct form for a dancer. Knowing the best type of training is imperative to my Inquiry. I want to be able to create dancers bodies that are muscularly appropriate and of course training differentiates between girls and boys.
Flexibility is important for dancers as they are 'required to make shapes with their body'. However, I could argue that some dancers are not flexible. I do not disrepute the fact that flexibility is important, but some dancers are physically restricted and have to make up for this using other qualities. This is not from lack of wanting or trying, some dancers are just not as naturally supple as others (due to joint restrictions etc). I agree with Arnold that 'flexibility is improved by progressing through a series of stretching exercises that encourage the muscles to become lengthened and more mobile.'
When discussing strength and core stability 'Amanda Harker, personal trainer and ballet teacher' is called upon to explain the core centre, stability, posture and the understanding of the use of these important aspects of dance training. Her philosophy is to use 'Ballet along with Pilates and weight training', to maintain comprehension of this allows dancers to 'use their body in a more productive way.' Harker is accurate when she implies that 'lack of understanding about how the body moves can result in injury.' I myself combine ballet and pilates in a body conditioning class that is designed to enhance dance training at the college I teach. I strongly support Harker's philosophy and what she has contributed to this article.
The importance of diet and nutrition is approached with details of its influence on a performers body. Arnold also pontificates that hydration is a 'key factor', controlling how well a dancer can perform. This of course is out of my control as a teacher when training advanced dancers, by any means appropriate advice can be given. Arnold makes a good arguement for good nutrition and hydration.
Again Arnold uses Amanda in his final words to communicate the amount of training that is required within any one week and that 'the fitness training needs to take place in addition to dance lessons and practice'. With this in mind, I concede that the 'rotating' through types of training 'allows the body to continue to develop', although we have to be careful of 'burn-out' (I will look into this as part of my Inquiry), knowing the right balance is an integral part of training and becoming a professional dancer.
This article is very useful and full of information widely supported by many researchers. All the information I found complimented my own understanding and previous knowledge on the subject. Even though Arnold wrote about couples training for Latin American and Ballroom dance, I feel that the type of training is very simular. An added dimension on advanced dance training maybe to look into the psychological and cognitive domain that can be influenced and developed through advanced dance training.
Arnold, S. Importance of Physical Fitness Training available from http://dance104.valuehost.co.uk/e107/page.php?10
His acknowledgment include:
- Maximising Physical Performance Margaret Papoutis, in Dance Addiction (Ed. Wally Olney)
- Dance to Your Maximum Maximilian Winkelhuis
- The fit and healthy dancer: Yiannis Koutedakis and N.C. Craig Sharp
- Amanda Harker; Personal trainer
Using all the above resources Arnold has compiled an excellent article about the Importance of Physical Fitness Training. He first states that 'developing correct technique and mastering the choreography is only half the battle' of which I deeply agree. Although he focuses on the physical training of competitive Latin American and Ballroom dancing the theory is the same and applied across the board. According to Arnold without it 'it is not possible to be successful' and is an integral part of dancing.
Arnold then goes on to specify the different components of fitness, and how it is important to achieve the right balance allowing dancers to compete at their 'physical peak'. 'Aspects of training include: cardiovascular training, weight training, stretching, ballet, diet and rest.' It's these combination's I want to look at and how to get the balance right.
Stamina is the next subject touched upon and why it is needed. Whether it be for dance competition or a show, a dancer has to have a good level of stamina. He proceeds to briefly outline the catagorical elements of anatomy, the processes involved, diet and what cardiovascular exercise one can undertake as part of their training to improve stamina. These are all aspects to consider when training an advanced dancer for a their professional career.
'Complimentary to muscle strength is muscle power.' Another paragraph ensues with information about weight training and that 'it is vital that a dancer increases muscle power and strength together; otherwise muscles can develop in a way that reduces mobility.' This is true using my own fitness instructor past I know from training people and helping them in the gym what is required to ensure body balance and the correct form for a dancer. Knowing the best type of training is imperative to my Inquiry. I want to be able to create dancers bodies that are muscularly appropriate and of course training differentiates between girls and boys.
Flexibility is important for dancers as they are 'required to make shapes with their body'. However, I could argue that some dancers are not flexible. I do not disrepute the fact that flexibility is important, but some dancers are physically restricted and have to make up for this using other qualities. This is not from lack of wanting or trying, some dancers are just not as naturally supple as others (due to joint restrictions etc). I agree with Arnold that 'flexibility is improved by progressing through a series of stretching exercises that encourage the muscles to become lengthened and more mobile.'
When discussing strength and core stability 'Amanda Harker, personal trainer and ballet teacher' is called upon to explain the core centre, stability, posture and the understanding of the use of these important aspects of dance training. Her philosophy is to use 'Ballet along with Pilates and weight training', to maintain comprehension of this allows dancers to 'use their body in a more productive way.' Harker is accurate when she implies that 'lack of understanding about how the body moves can result in injury.' I myself combine ballet and pilates in a body conditioning class that is designed to enhance dance training at the college I teach. I strongly support Harker's philosophy and what she has contributed to this article.
The importance of diet and nutrition is approached with details of its influence on a performers body. Arnold also pontificates that hydration is a 'key factor', controlling how well a dancer can perform. This of course is out of my control as a teacher when training advanced dancers, by any means appropriate advice can be given. Arnold makes a good arguement for good nutrition and hydration.
Again Arnold uses Amanda in his final words to communicate the amount of training that is required within any one week and that 'the fitness training needs to take place in addition to dance lessons and practice'. With this in mind, I concede that the 'rotating' through types of training 'allows the body to continue to develop', although we have to be careful of 'burn-out' (I will look into this as part of my Inquiry), knowing the right balance is an integral part of training and becoming a professional dancer.
This article is very useful and full of information widely supported by many researchers. All the information I found complimented my own understanding and previous knowledge on the subject. Even though Arnold wrote about couples training for Latin American and Ballroom dance, I feel that the type of training is very simular. An added dimension on advanced dance training maybe to look into the psychological and cognitive domain that can be influenced and developed through advanced dance training.
Arnold, S. Importance of Physical Fitness Training available from http://dance104.valuehost.co.uk/e107/page.php?10
Literature Review 1
I will be reviewing the Foreword of The Theory of Practice and Training 6th edition. This is written by Professor Jim Stewart Running Stream Professor of HRD at Leeds Business School.
Stewart argues that 'training and development becomes more, rather than less important in current economic conditions'. Although this book is not written with dance training in mind I wanted to see the emphasis that is applied to the importance of all training.
He states that effective training and development can and does make a positive difference to an individual, team and organisation performance' and that the book shows how to achieve that. Stewart talks about how funding is being cut and businesses in some cases are failing. 'But, given the case then thee is a clear need for books such as this to support teaching and learning. And in the case of training and development The Thoery of Practise and Training is an excellent resource for that purpose'. I agree that training supports business and as many dancers are self employed this can only be a positive resource for professional development.
Using his HRD background and business experience Stewart supports the literature by proclaiming it 'relevant, topical and timely' and that it is 'essential reading for those working to develop employees, especially those new to such roles and jobs'. The careers I wish to prepare dancers for in the future, although individuals may or may not yet be employed will be new to such roles. Stewart recommends the book as a guide for 'fulfilling and getting the most benefit out of such responsibility'.
It is not surprising because of his occupation as a professor that Stewart upholds The Theory of Practice and Training describing it as having 'continuing value to students, lecturers and practitioners alike', nevertheless this Foreword supports the idea of using this guide to facilitate my Inquiry.
I am extremely uinterested in seeing whether other professionals have opinions alike. How do I prepare myself as a teacher and create a training program for individuals embarking on a professional career?
Stewart, J. 2009 'Foreword' in R. Buckley and J. Caple; The Theory of Practise and Training. Kogan Page Ltd.
http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780749458515
Stewart argues that 'training and development becomes more, rather than less important in current economic conditions'. Although this book is not written with dance training in mind I wanted to see the emphasis that is applied to the importance of all training.
He states that effective training and development can and does make a positive difference to an individual, team and organisation performance' and that the book shows how to achieve that. Stewart talks about how funding is being cut and businesses in some cases are failing. 'But, given the case then thee is a clear need for books such as this to support teaching and learning. And in the case of training and development The Thoery of Practise and Training is an excellent resource for that purpose'. I agree that training supports business and as many dancers are self employed this can only be a positive resource for professional development.
Using his HRD background and business experience Stewart supports the literature by proclaiming it 'relevant, topical and timely' and that it is 'essential reading for those working to develop employees, especially those new to such roles and jobs'. The careers I wish to prepare dancers for in the future, although individuals may or may not yet be employed will be new to such roles. Stewart recommends the book as a guide for 'fulfilling and getting the most benefit out of such responsibility'.
It is not surprising because of his occupation as a professor that Stewart upholds The Theory of Practice and Training describing it as having 'continuing value to students, lecturers and practitioners alike', nevertheless this Foreword supports the idea of using this guide to facilitate my Inquiry.
I am extremely uinterested in seeing whether other professionals have opinions alike. How do I prepare myself as a teacher and create a training program for individuals embarking on a professional career?
Stewart, J. 2009 'Foreword' in R. Buckley and J. Caple; The Theory of Practise and Training. Kogan Page Ltd.
http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780749458515
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