Identifying Knowledge In The Workplace

Hello everyone and welcome back!

I hope everyone has enjoyed their summer and got to explore, discover and experience some new and interesting things.

Whilst reading the reader for this module, and after spending an intense week assisting my Dance Teacher at her school this summer, I had some thoughts I wanted to blog....

In reference to the reader topic of identifying knowledge and skills in the workplace, I really tried to make light of identifying with this knowledge whilst I had a week completely immersed in the working studio environment. Using this personal workplace as my learning environment, I realised that a lot of my knowledge has come from the organisation of the specific dance school (Spotlight Theatre School) itself. In relation to the literature recommended from Libguides , my understanding of the Double Loop Learning Cycle is growing as I am able to relate its theories practically in my professional practise environment.  In my experience so far, I have found a single loop learning cycle (such as Kolb’s Learning Cycle that we exploring during the first module) cannot always address and deliver any necessary changes that may be required to have an effective professional practise. After communication with my Dance Teacher, the Principle of the school who taught myself knowledge of the desired classical technique and performance skills, and ways in which to achieve these attributes as an eager and passionate individual from a very young age, it was clear that the position she holds can be key to a future dancers career. The early ears are clearly crucial as the child is developing their sense of technique, musicality, performance, self – confidence in their work and even a sense of self – reflection in order for them to maintain sustainable and gradual improvement. It became apparent to me that sometimes, key elements outside of the organisational system need to be examined to ensure the most beneficially practising can be undertaken. For example, looking at a student’s home or social environment outside of the dance school was important to me. My key interest to ensure equal opportunities for all students is a subject delicately approached every Spring Term regarding the planning and evaluating of the annual production show rehearsal schedule. Ensuring a sense of fairness throughout the entire school is a many sided discussion with many elements to consider and appreciate. My initial views, which upon reflection now appear perhaps naive, were than ensuring fairness and equal opportunities for all young performers was just a simple, basic practise guideline –  one should include every student/involve as many students and even their parents or guardians in discussions regarding choices of numbers and chorographical or musical choices, swapping principle roles between students to give more than one the responsibility to take on a challenge and execute it to the best of their ability etc. However, reflections discussed with someone who has been working reputably in the dance and dance teaching professions for over 40 years has enabled to me realise there are many factors across different boundaries to consider and subsequently consequences involved in whatever final decisions are made.

This has provoked a potential line for professional inquiry, my interest in this subject area lead me to researching into Argyris and Schon’s theory of congruence and learning. (Single and Double Loop Learning, Argyris and Schon, 1974). The suggest by using a format such as the double loop learning cycle, we as practitioners can make more informed decisions about the way we design and implement action. Research here has enable me to incorporate my thoughts reflections and evaluations into a ‘theories in use’ model (ultimately clarifying the ‘dark area’ and problems that mat arise , but can now be avoided). Please see this model below in reference to their literature found at http:/www.scu.edu.au/schools/gcm/ar/arp/argyris.html :

The Governing Variables:

-          Ensuring a sense of fairness

-          Offering equal opportunities for all students regardless of the individuals circumstances

The Action Strategy:

-          Implementing an audition process to assign roles open for all

-          Rotation of principle roles between cast members once assigned

-          Creation of pieces to incorporate everyone regardless of differing levels of performance and technical ability

-          Keep parents, families and guardians ‘in the know’ to maintain their trust and support

-          Offer guidance and help equally to all students involved

-          Offer safe and controlled environment for all to practise efficiently

Consequences:

-          Swapping principle roles for specially talented students, a way to avoid producing stereotypical ‘favourites’ who repeatedly get offered bigger roles. Intension to avoid potential animosity between students, maintaining motivation and work hard ethos throughout whole rehearsal process. This may also provide a safe environment for healthy controllable competition.

Unintended Consequences:

-          Not physically possible to please everyone, including parents of students drawing knowledge from previous experience. Who has the ultimate decision as to what is and what is not ‘fair’?

-          Pressure financially, teaching faculty involved need to earn from this process, emphasis of ensuring show is of highest quality for all potential theatre goers.

-          It is actually ‘unfair’ to give a role to a student that is too challenging, puts them under too much pressure to achieve?

-          Finding a show incorporating numbers that will or can involve everyone and all subjects studies with elements from the acting, singing and dancing disciplines is very difficult - copy write/performance rights limit choices hugely

In summary, all of these ‘consequences’ effect you and your choices and decision making as the professional, but also effect the students, the school and the professional organisational company itself in many ways too.

In conclusion, I know the ultimate goal of my inquiry is to explore a topic that has intent, and initially identifying my own unique learning needs is important. The topic explored should aim to benefit not only my work, but the work of colleagues, fellow professions, work from associated affiliations and work organisations. Would there be anyone else interested in the topic, perhaps generalising more into what it actually takes to make the transition between dancer and dance teacher, as a potential line of inquiry, I would be interested to hear your views to I can explore new evidence perhaps, then eventually work towards analysing and presenting it all upon completion.