Last night was my first official ‘Observation’ session, planning how best to make this session beneficial has been a process of gathering data, mainly from literature and allowing myself time to contextualise what I have read. From there, deciding the best approach to take to be fully prepared before the Observations take place......
I came across a suggestion from my literature that indentified with the benefits of researching not only the specific research topic itself, but also identifying with some closely linked topics. In pursuit of the aim of my enquiry to explore the meaning of Dance, it seemed obvious to spend some time researching dance related topics. This specific part of my inquiry focuses on exploration into whether Dance can, or does, contribute to or affect the state of ones mental and physical well being. I decided to observe two different forms of movement classes, offered at the specific community my project is designed around (Ludus Dance in Lancaster). On Monday’s specifically tailored ‘Health and Well Being’ days, both Yoga and ‘Dance Fit’ classes are available to its users, I hoped that by expanding my substantive frame into dance in its wider form, my research would reflect a more informed analysis of the set of topics the project explores.
This then identified a potential problem, WHAT was it exactly that I was going to observe, and HOW was I going to be able to make accurate recordings of it. Furthermore, HOW was I going to come to some sort of analysis once the observations had been made.
I identified with the fact that I cannot attempt to observe and analysis physical change purely on one evenings observations, nor attempt to read people’s minds. Also, I challenged the different ways in which I actively approach this observation. Keeping my role as a ‘researcher’ totally hidden seemed inappropriate; such secrecy seemed to potentially raise an ethical issue. Was it fair to for the participants to share confidential thoughts with me as a fellow participant, for me to document them without them knowing? Also, in a class designed for 50years +, keeping my identity hidden was almost impossible! Establishing I wanted to make my identity known then provoked the question, to what level do I participate? I came up with three possible options to this issue, to participate fully, to sit and watch, or to combine a bit of both. Thinking about all three options, I decided the first was most appropriate. Participant observation allows me as the research to fully experience what is being taught, and I would feel much less obvious as an outsider. This would increase the degree of comfort within the class both from me, and from the other participants, and in a way creates a more intimate interaction between us all. I did question my own personal dance technique, knowing this could affect the researcher/participant relationship. If my own skill was much less than theirs, would I struggle to gain their respect? If it were obviously greater, would I be seen as a ‘show off’? Finally, after discussing gaining ethical consent to officially observe with the teaching faculty at Ludus, it was decided between us my technique was at a level appropriate to participate fully, but that teachers should feel free to correct me when they felt appropriate with their level of professional teaching knowledge.
The foundation for my inquiry is to share others experiences of dance, taking care not to inflict my own assumptions on participants or on my analysis of data. Realising I would need to make some quite extensive field notes of my observation reflections, considering my ‘interpretational’ skills was important. Although striving to remain neutral and wanting to avoid jumping to premature conclusions, my analysis will acknowledge that to a certain extend the researchers personal responses have to become a part of the findings. Ultimately, what I know I can do it to acknowledge my interpretation of the classes, their setting (general mood/tone before after and during), I can make note of what was said throughout the classes, both from the teachers and their participants, and note any physical expressions of emotion (perhaps smiles for enjoyment, tears for unhappiness, perspiration for physically challenging etc)
This lead me to research another related topic, Movement Analysis. I read an explanation of this term written by Penelope Hanstein;
‘On a basic level, movement analysis permits a synthesis of the results of the detailed observations with contextual knowledge, which then furthers the process of interpreting and evaluating the dancer’.
My inquiry does require movement analysis, but only on this basic level, directed more specifically to basic behavioural movement analysis. Research lead me to three main systems of movement analysis, (1) Word Descriptions, (2) Single – use systems, (3) Complex Analytical Systems. Although researching each system was interesting, the latter two were too complex for the purpose of my inquiry. My goal is just to give a sense of the actions witnessed within a broader sense of dance movement, and the descript language I use will suit the needs of my project more efficiently, without the use of systematic methods of classification on elaborate frameworks such as Laban Movement Analysis or Labanotation. My research does not require such specific technical or specialized vocabulary. Also, because this analysis does require my interpretation, I cannot develop a unique system of explanation for my observations. In conclusion, simple word descriptions on mood/tone/feeling/comments passes etc will contribute efficiently to helping me identify and analysis what dance means to Ludus dance users.
In an attempt to conclude all my thoughts (and thank goodness for my learning diary), I came up with a set of factors to think about before hand as to what observations I can make. This really helped me to focus on getting the most beneficial data. Some main points of interest are briefly summarised below:
Dance Fit Class Observations:
Class of mixed participants, large age/ability range
Instant welcomeing of me as a ‘newcomer’
Team moral throughout – verbal communication of working as a team to ‘keep going’
Often participants did not perform steps correctly, this was either laughed off, or disgreegarded completely.
Comments from Participants:
‘I care less for what I look like in these studio mirrors; I feel like I’m dancing therefore I am a dancer, even if that ends when I step out the Ludus building’!
‘I performed this Salsa sequence at a party at the weekend you know’!
Comments from the teacher:
‘I can see the physical changes in your bodies since last term, muscle tone has definitely increased’
‘Remember at the beginning of term when you couldn’t manage to keep dancing throughout this whole song’
‘Feel the movements, let the dancing take over’
Physical Noticing:
Smiles all round!
Perspiration – evidence of participants working hard!
A ‘fit of giggles’ among the class during the cool down – release of endorphins, the ‘feel good factor’ evident
A quietness and obvious focus during the stretching at the end of the class.
Yoga Class Observations:
Comments from the instructor:
‘It’s about working from the inside out’
‘Use the movements as dance medicine, pick the one that suits your health needs best’
‘Feel your self - confidence increase now you become familiar with your own body, only you know what is best for you’
‘In cultivating an a awareness of where your tensions or eases are, realise the potential of the human body as a dance machine’
Comments from participants:
(Comments were noted during the class, and afterward outside the Yoga studio)
Feeling ‘revitalized’
Feeling ‘empowered, I appreciate my body so much more now I realise what I do it to it with everyday wear and tear!’
‘It’s my escapism, I love getting away from the kids for an hour to identify solely with where I’m at that day’
Noted physical behaviours/expressions:
Eye were often closed, my interpretation being as a way to either help relax and focus, or as a result of being relaxed and focused.
A participant yawned during the warm up, when asked ‘are you tired’? She disagreed and instead explained she was simply relaxed enough to be able to yawn without embarrassment.
Points that stuck out to me:
Through interpretation physical observations, as well as recording verbal comments during and after the class, I have been able to analysis to a certain degree what it is about Yoga specifically that Ludus users feel during practising it:
- The initial warming up and massaging of the body seems to create a sense of appreciation for the human body as a machine. Almost a way of realising its potential, this in turn may positively affect how one feels about one’s body. I really did identify with how Yoga aims to cultivate this self- respect, regardless of body shape or size.
- Participants pointed out experiencing a sense of ownership over the movements. Yoga requires you to move in a way that works best for you. It seems to be very individual, and its practise focuses on your needs as an individual.
- Bodily tensions/ease are recognised and worked with, rather than against. All Yoga poses are adaptable, so participants really can work to the degree most beneficial for them.
- There seemed to be a sense of ‘being kind to ones self’, cultivating awareness of how each body part functions. The focus is to use the movements to work with it, enhancing its capabilities further.
- A few of the participants took part in both Yoga and Dance Fit, a few comments were passed about the buzz they feel from moving at a high intensity in contrast to a slower, controlled pace straight afterwards. Does this simulate life perhaps, periods of rushing around, and periods of relaxation?
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