Thanks for all your votes earlier this year for the Bay Reporter competition!
Just to let you know that HOME AND AWAY: BAY REPORTER airs on Channel 5 tomorrow and Friday evening at 6.30pm!
Wednesday 30 November 2011
Tune into channel 5 Thursday 1st and Friday 2nd December...
Hey friends,
Thanks for all your votes earlier this year for the Bay Reporter competition!
Just to let you know that HOME AND AWAY: BAY REPORTER airs on Channel 5 tomorrow and Friday evening at 6.30pm!
Thanks for all your votes earlier this year for the Bay Reporter competition!
Just to let you know that HOME AND AWAY: BAY REPORTER airs on Channel 5 tomorrow and Friday evening at 6.30pm!
Saturday 26 November 2011
Professional Artefact...
It has taken me quite sometime to come up with an idea for a professional Artefact. I wanted to complete my research and analyse the data in order to identify where an artefact would be of benefit to my inquiry and community of practice thus unifying the research project as a whole piece of work. After Adesola's session on the artefact, I felt the need for the critical review and the professional artefact to work together and to compliment one another.
One of my main findings in the research project was that there is no clear functioning creative curriculum policy in place in the school. My initial thought was to write a policy (although that seems far beyond my capacity!). During a 'phone tutorial' with Alan, he suggested writing a rational for the creative curriculum policy. This also gives scope for it to be used to implement a policy in other schools.
I have started to research policy writing and look at other schools creative curriculum policies..
Does anyone know anything about policy writing? Or ever written a rational for a policy?
One of my main findings in the research project was that there is no clear functioning creative curriculum policy in place in the school. My initial thought was to write a policy (although that seems far beyond my capacity!). During a 'phone tutorial' with Alan, he suggested writing a rational for the creative curriculum policy. This also gives scope for it to be used to implement a policy in other schools.
I have started to research policy writing and look at other schools creative curriculum policies..
Does anyone know anything about policy writing? Or ever written a rational for a policy?
Developing SIGs outside Facebook
Just a quick blog to say that I've found phone calls and emailing other members of the BAPP community a great way to keep the SIG interaction going. I have recently been emailing Cerys Dixie. I found that the conversations via emailed are more focused and (I personally) have found them more productive than the previous discussions on Facebook.
Feel free to drop me an email!
Joanna.adeyinka@gmail.com
Feel free to drop me an email!
Joanna.adeyinka@gmail.com
Sunday 6 November 2011
Literature Review...Help please!
Hey BAPPers!
Can anyone offer any advice on writing an informative but concise literature review for the Critical Review. I'm struggling to review all the literature I have read... Does anyone have examples of how you've managed this?
Thanks
Joanna
Can anyone offer any advice on writing an informative but concise literature review for the Critical Review. I'm struggling to review all the literature I have read... Does anyone have examples of how you've managed this?
Thanks
Joanna
Tuesday 1 November 2011
Chat with Nat...
Natalie Less and I had a phone conversation last week;
The initial purpose of this call was to conduct an interview. After the interview we had a good chat (and verbally critical reflection) about the final module. We spoke about the stage we were at with the Critical Review, the hurdles we've had to overcome, techniques for analysis, the importance of blogging and some general encouragement!
I would definitely recommend phone calls/ skype and email chats with other BAPP members. It's as good as using a SIG!
The initial purpose of this call was to conduct an interview. After the interview we had a good chat (and verbally critical reflection) about the final module. We spoke about the stage we were at with the Critical Review, the hurdles we've had to overcome, techniques for analysis, the importance of blogging and some general encouragement!
I would definitely recommend phone calls/ skype and email chats with other BAPP members. It's as good as using a SIG!
Tuesday 25 October 2011
Interview Process
As I have decided to only use Literature Review and Interviews for my research tools I felt I had a lot riding on my interviews!
Planning the questions:I decided to start with a few closed questions to put my participants at ease. These were the same in every interview.
My interview was semi- structed but I grouped the questions into 3 categories.
-personal experiences of creativity
-policies and creative partnerships
-current teaching practice
I also considered how I would introduce myself during my interview. I wanted people to be relaxed but well informed of my project.
I decided to conduct interviews with teachers in their own classrooms (before and after school). I hoped that this would help people to feel comfortable and allow them to speak freely!
The first interview:
Although I had conducted pilot interviews, I felt extremely nervous before my first official interview. I knew that I had one shot to get it right and wasn't totally confident that I'd chosen the right questions at this stage.
However, it went very well. My practice in layering questions paid off and the interview itself triggered off some more questions for me- that I added into the following interviews. I also adapted one or two of the questions.
My main point of reflection was the conclusion. I had not thought through or rehearsed how I would finish the interview. After this I decided to just add in a line before the final or penultimate question ...'we are coming to the end of the interview..' or word to that effect. This meant that when I did conclude the interview it didn't feel so abrupt.
Choosing participantsI went for a selection of male and female teachers. Those from different parts of the country and some not from the UK. I also wanted to have at least one from every year group reception- year 6.
I also chose teachers in specific leadership roles (most of these are classroom based aswell)
Creative Curriculum leader
KS2 phase leader
Artist in Residence/ Creative partnership co-ordinator
Music teacher
By coincidence one of the teachers I interviewed was also the communications leader.
Data
I now have hours of interviews to analyse!! And a whole lot of information.
In my next blog I will blog about the process I used to analyse the data.
If anyone has started this process or has any thoughts on effective ways to do so, please share!!
Planning the questions:I decided to start with a few closed questions to put my participants at ease. These were the same in every interview.
My interview was semi- structed but I grouped the questions into 3 categories.
-personal experiences of creativity
-policies and creative partnerships
-current teaching practice
I also considered how I would introduce myself during my interview. I wanted people to be relaxed but well informed of my project.
I decided to conduct interviews with teachers in their own classrooms (before and after school). I hoped that this would help people to feel comfortable and allow them to speak freely!
The first interview:
Although I had conducted pilot interviews, I felt extremely nervous before my first official interview. I knew that I had one shot to get it right and wasn't totally confident that I'd chosen the right questions at this stage.
However, it went very well. My practice in layering questions paid off and the interview itself triggered off some more questions for me- that I added into the following interviews. I also adapted one or two of the questions.
My main point of reflection was the conclusion. I had not thought through or rehearsed how I would finish the interview. After this I decided to just add in a line before the final or penultimate question ...'we are coming to the end of the interview..' or word to that effect. This meant that when I did conclude the interview it didn't feel so abrupt.
Choosing participantsI went for a selection of male and female teachers. Those from different parts of the country and some not from the UK. I also wanted to have at least one from every year group reception- year 6.
I also chose teachers in specific leadership roles (most of these are classroom based aswell)
Creative Curriculum leader
KS2 phase leader
Artist in Residence/ Creative partnership co-ordinator
Music teacher
By coincidence one of the teachers I interviewed was also the communications leader.
Data
I now have hours of interviews to analyse!! And a whole lot of information.
In my next blog I will blog about the process I used to analyse the data.
If anyone has started this process or has any thoughts on effective ways to do so, please share!!
Monday 24 October 2011
Professional Artefact
During the second campus session Adesola talked about the professional Artefact. Here I blog about 3 things that stood out to me;
Significance of the Artefact:The Professional Artefact is equally important as the critical review. It's a different expression of the key findings from our research project. The critical review is the academic where as the professional Artefact should be accessible to those in your industry. It could be aimed at children, parents, management or teachers.
Not leaving it to the last minute:Although we identified that the professional Artefact cannot be finally decided on until we have analysed our data and gathered thoughts about this, it should not be left until the last minute. I have been bouncing ideas around for my professional Artefact but haven't quite decided on exactly how it will look. I think at this stage that's ok. As long as I continue to think about it. The other really interesting thing that came up is not to let the professional Artefact lead to another question. It should consist of our findings and not pose more questions for research.
Different types of Artefact:Adesola disscussed different types of professional Artefact and showed us some examples.
Jo Gunnel is going to record a song for her Artefact- this is appropriate for her because her project is about singing!
Natalie Less will put together a new showreel from her findings- which will include her old showreel to demonstrate what she has learnt.
However you could use a more traditional documentary style Artefact. Produce a booklet documenting your findings. There are many different ways to approach the Artefact. This has helped me to that there is no 'right' way to do it. It very much depend on our question and our findings.
Significance of the Artefact:The Professional Artefact is equally important as the critical review. It's a different expression of the key findings from our research project. The critical review is the academic where as the professional Artefact should be accessible to those in your industry. It could be aimed at children, parents, management or teachers.
Not leaving it to the last minute:Although we identified that the professional Artefact cannot be finally decided on until we have analysed our data and gathered thoughts about this, it should not be left until the last minute. I have been bouncing ideas around for my professional Artefact but haven't quite decided on exactly how it will look. I think at this stage that's ok. As long as I continue to think about it. The other really interesting thing that came up is not to let the professional Artefact lead to another question. It should consist of our findings and not pose more questions for research.
Different types of Artefact:Adesola disscussed different types of professional Artefact and showed us some examples.
Jo Gunnel is going to record a song for her Artefact- this is appropriate for her because her project is about singing!
Natalie Less will put together a new showreel from her findings- which will include her old showreel to demonstrate what she has learnt.
However you could use a more traditional documentary style Artefact. Produce a booklet documenting your findings. There are many different ways to approach the Artefact. This has helped me to that there is no 'right' way to do it. It very much depend on our question and our findings.
Friday 14 October 2011
Final Project- Getting started
This a brief blog about my 'getting started' experience for our final project!
The first thing to do was re read and reassess my inquiry plan.
After some careful consideration and consulting with my advisors I came to the conclusion that my topic, creativity in the curriculum, was far too broad. A lot of the questions I had posed have been asked many times before and some answered. Thus, leaving little room for my own personal discovery.
I needed to find an area of focus. I have since decided to focus on how a teacher perceives creativity ( from there own life experiences) and how this affects their teaching practice. I also wanted to discover how the Ken Robinson's report written on the cultural and creative curriculum has affected teaching practice and where the consistency lies, in the approach to creative teaching, within my school.
This shift in focus meant that I had to review the tools of inquiry I would use to most effectively carry out this research. I decided that I no longer needed to observe teachers but was more concerned with their opinions and experiences. For this reason I have chosen to focus on using semi structured interviews.
I have also revised the interview questions that I had prepared.
In my next blog I will discuss the interview process that I have used.
The first thing to do was re read and reassess my inquiry plan.
After some careful consideration and consulting with my advisors I came to the conclusion that my topic, creativity in the curriculum, was far too broad. A lot of the questions I had posed have been asked many times before and some answered. Thus, leaving little room for my own personal discovery.
I needed to find an area of focus. I have since decided to focus on how a teacher perceives creativity ( from there own life experiences) and how this affects their teaching practice. I also wanted to discover how the Ken Robinson's report written on the cultural and creative curriculum has affected teaching practice and where the consistency lies, in the approach to creative teaching, within my school.
This shift in focus meant that I had to review the tools of inquiry I would use to most effectively carry out this research. I decided that I no longer needed to observe teachers but was more concerned with their opinions and experiences. For this reason I have chosen to focus on using semi structured interviews.
I have also revised the interview questions that I had prepared.
In my next blog I will discuss the interview process that I have used.
Wednesday 18 May 2011
Hey! Would love you to VOTE for me. Home & Away-Bay Reporter
www.youtube.com/bayreporter
Click VOTE NOW...Select Joanna Adeyinka-Burford's Video... then give it a green thumbs up!!
Thanks
Friday 15 April 2011
Tools of Inquiry- Observation
To conduct a pilot observation I decided to observe lessons that have been filmed and stored on teachers.tv for public viewing.
I looked at the new OFSTED observation grid and criteria for observing lessons and from there decided what i would be focusing my observation on. I decided to look at how the teacher had adapted the lesson to make it more creative and the childrens' response to what wa being taught.
Observation is time consuming, particulary when you are unsure of exactly what you are looking for or, like me have no experience in observing others. However there are some huge benefits of using observation as an inquiry tool. Observation allows you to create a full picture of what is happening in any given situation. There is no way to 'fake' the information, unlike in a survey or interview. The benefit of using video (or audio-visually recording your observation) means that one can revisit the material many times, this may mean you can obtain information you may have missed the first time.
The limitations of using observation is that it relys on one person, the researcher, interpreting the data. I had to be careful not to let my opinion get in the way of what I was observing and record the facts. It is also easy to get distracted by floods of information. All five senses are engaged in live observation. It is important to stay focussed.
The OFSTED observation grid was complex. I have decided to create my own observation grid highlighting the specific parts of the lesson i want to observe.
I looked at the new OFSTED observation grid and criteria for observing lessons and from there decided what i would be focusing my observation on. I decided to look at how the teacher had adapted the lesson to make it more creative and the childrens' response to what wa being taught.
Observation is time consuming, particulary when you are unsure of exactly what you are looking for or, like me have no experience in observing others. However there are some huge benefits of using observation as an inquiry tool. Observation allows you to create a full picture of what is happening in any given situation. There is no way to 'fake' the information, unlike in a survey or interview. The benefit of using video (or audio-visually recording your observation) means that one can revisit the material many times, this may mean you can obtain information you may have missed the first time.
The limitations of using observation is that it relys on one person, the researcher, interpreting the data. I had to be careful not to let my opinion get in the way of what I was observing and record the facts. It is also easy to get distracted by floods of information. All five senses are engaged in live observation. It is important to stay focussed.
The OFSTED observation grid was complex. I have decided to create my own observation grid highlighting the specific parts of the lesson i want to observe.
Tools of Inquiry- Interviewing
I chose to carry out two pilot interviews.
- The first was a telephone interview where I took notes. In this interview the questions were structured.
- The second interview was a face to face interview, for this I used a semi structured approach. I decided to record the second interview and take notes.
What did i learn?
During the first interview I discovered that some of the questions needed to be re-phrased, required more information or in one case, needed to be completely re-worded and broken into two separate questions. I found that the structured approach was too formal and was not optimal for uncovering information. On reflection, this is the type of interview one might use when interviewing someone for a job. It is useful if you know what you want to hear. However I wanted to uncover the participant’s thoughts, feelings and experience. I also found that being on the telephone and taking notes created uncomfortable moments of silence where I was attempting to capture, through note taking, what the participant had said. The positive side of this was that it allowed me to feedback to the participant what she had said to make sure I was accurately recording her responses.
The second interview was extremely different from the first. The face to face approach meant that both the researcher and participant felt at ease. The interview was also conducted on neutral ground. I decided to use the semi- structured approach to allow the participant more freedom in their answers. This worked extremely well and one question prompted another which meant that a lot of experience and knowledge was uncovered. By phrasing the questions in a conversational manner, I felt that the answer became more conversational and relaxed. Although the interview was being recorded (so that I could transcribe and if necessary quote from the interview at a later date) I also took notes. This proved extremely useful as I was able to make a note of the sub questions that came from the original line of questioning. Using a semi- structured approach to interviewing ensures that the researcher does not influence the participant or ask leading questions.
Through these pilot interviews I was able to consider what is needed to foster an optimum environment for conducting an interview. I had not previously considered the affects of the location, tone of voice, body language, eye contact, the way the questions are asked and the order in which they are asked and the benefits and implications of note taking during an interview. (Extract from my first draft, Inquiry Plan)
Friday 8 April 2011
Critical Reflection on Tools of Inquiry; Survey
Reflecting on the pilot survey
My initial thoughts about using a Survey as a research tool were extremely positive. I used SurveyMonkey to create the survey, which was simple to use. I have also seen how other people used and interpreted this tool. It was interesting to see how choice of colours and layout affected the way I felt about completing the survey.
I was pleased with the way my survey was presented and the order of my questions however I feel that I could have gone into more depth with some questions. A good example of an in depth survey is Mark's, his questions required a lot of thought and detail.
The results
SurveyMonkey is a great tool as the results are automatically and analysised and the percentages are calculated for you. I was pleased that 86.7% of the people who completed my survey included their email address and place of training. This is useful in order to contact people for interviews in the future!
Unfortunately only 8 people completed my survey and a few questions were skipped, therefore the results were inconclusive. Surveys are useful for collecting quantitative information; data, facts and figures.
I think that my line of inquiry will require a more qualitative approach to discover individuals thoughts, feelings and reasons behind the choices they make.
What would I improve;
-Include some more in-depth questions.
-Require an answer to each question or always include another option box, if that question is not relevant.
-Target a specific audience
-Email the link to people
-Send out a cover letter/email to explain what the survey is about and to ensure participants that their personal details will not be disclosed, in accordance with the data protection act of 1998.
My initial thoughts about using a Survey as a research tool were extremely positive. I used SurveyMonkey to create the survey, which was simple to use. I have also seen how other people used and interpreted this tool. It was interesting to see how choice of colours and layout affected the way I felt about completing the survey.
I was pleased with the way my survey was presented and the order of my questions however I feel that I could have gone into more depth with some questions. A good example of an in depth survey is Mark's, his questions required a lot of thought and detail.
The results
SurveyMonkey is a great tool as the results are automatically and analysised and the percentages are calculated for you. I was pleased that 86.7% of the people who completed my survey included their email address and place of training. This is useful in order to contact people for interviews in the future!
Unfortunately only 8 people completed my survey and a few questions were skipped, therefore the results were inconclusive. Surveys are useful for collecting quantitative information; data, facts and figures.
I think that my line of inquiry will require a more qualitative approach to discover individuals thoughts, feelings and reasons behind the choices they make.
What would I improve;
-Include some more in-depth questions.
-Require an answer to each question or always include another option box, if that question is not relevant.
-Target a specific audience
-Email the link to people
-Send out a cover letter/email to explain what the survey is about and to ensure participants that their personal details will not be disclosed, in accordance with the data protection act of 1998.
Wednesday 30 March 2011
My developed thoughts on personal and professional ethics
After exploring a few ethical theories and having various conversations with friends
and colleagues I have come to believe that ethics lie at the heart of a person. It is about who you are not just what you do. It is about ones integrity. Integrity is
defined as 'soundness of moral character' Someone whose ethical core is stable will not be swayed by changing circumstances
or an opportunity to better themselves. I have noticed that in this ever changing and developing world people seem to create
their own rules, their own right and wrong... I mentioned that I think ethos is about who you are, I also think that there is a big
fat 'WHY' behind what we do in challenging ethical situations. Who will benefit from
our decision? Does our ethical foundation change with our surrounding and the people a
around. Does it change based on what we can gain from a situation? Are we 'sound' in
our ethical practice?
I recently watched the film 'Taken' (an incredible movie in my opinion). A mans
17 year old daughter is kidnapped with the intention of being trafficked as a
prostitute. His sole objective is to get her back, he probably kills over 50 people
to find her and bring her back to safety. Was this killing unethical? I'd love to hear
your thoughts... I think our personal moral compass probably points in slightly different directions,
whether it be based on what our parents have taught us, culture or our belief system.
So when it comes to a clash in your professional and personal life in regards to ethics,
which takes priority? How easy is it to adhere to someone else's ethos when yours may differ?
Developing questions...
I decided that the line of inquiry I was following was too broad and unmanageable.
At first I was intrigued by the way in which children learn, focussing on the theories of Howard Gardner (multiple intelligences), Vygotsky and Montessori schools. I had observed that some of the children in my class who were labelled as 'low ability' or 'below age related' learners actually excelled in other areas. I had wanted to explore how the use of dance and drama in the core subjects of literacy and numeracy could build confidence and enhance learning, by first identifying HOW a child learns (their unique intelligence), could we possibly tailor our teaching to get the best out of them as learners.
Alan directed me to Sir Ken Robinson's report 'Creativity, Culture and Education'. After reading this many other questions have been raised about the creative curriculum in the school in which I work.
Are we aware of the need for creativity within the curriculum?
How do teachers view creativity?
Is there creative teaching happening within our school?
How consistent is this practice amongst the staff?
Are we just teaching creatively or teaching for creativity within children?
How is creative development monitored and assessed?
What are the affects of creative teaching and learning on the development of the childrein our school?There are a lot of questions arising! Maybe too many for one inquiry. Is anyone follow similar lines of inquiry or have any advice on how to hone in my question.
At first I was intrigued by the way in which children learn, focussing on the theories of Howard Gardner (multiple intelligences), Vygotsky and Montessori schools. I had observed that some of the children in my class who were labelled as 'low ability' or 'below age related' learners actually excelled in other areas. I had wanted to explore how the use of dance and drama in the core subjects of literacy and numeracy could build confidence and enhance learning, by first identifying HOW a child learns (their unique intelligence), could we possibly tailor our teaching to get the best out of them as learners.
Alan directed me to Sir Ken Robinson's report 'Creativity, Culture and Education'. After reading this many other questions have been raised about the creative curriculum in the school in which I work.
Are we aware of the need for creativity within the curriculum?
How do teachers view creativity?
Is there creative teaching happening within our school?
How consistent is this practice amongst the staff?
Are we just teaching creatively or teaching for creativity within children?
How is creative development monitored and assessed?
What are the affects of creative teaching and learning on the development of the childrein our school?There are a lot of questions arising! Maybe too many for one inquiry. Is anyone follow similar lines of inquiry or have any advice on how to hone in my question.
Tuesday 22 March 2011
Task 6a- Survey and Interview
I have just completed a survey using SurveyMonkey! Its quick and easy and i highly recommend it.
If anyone would like to complete it i'd be extremley grateful, is it geared towards those of us who teach and have previously trained as performers.
http://www.surveymonkey.com/s/8VY7RVD
The deadline for completing the survey is Friday 1st April 2011.
Also, if anyone is interested in being interviewed (probably over the phone). Please let me know, I'd like to interview someone who teaches dance or drama in two styles, semi-structed and with an open approach.
Look forward to hearing from you!
If anyone would like to complete it i'd be extremley grateful, is it geared towards those of us who teach and have previously trained as performers.
http://www.surveymonkey.com/s/8VY7RVD
The deadline for completing the survey is Friday 1st April 2011.
Also, if anyone is interested in being interviewed (probably over the phone). Please let me know, I'd like to interview someone who teaches dance or drama in two styles, semi-structed and with an open approach.
Look forward to hearing from you!
Wednesday 2 March 2011
Award Title
I'd like to propose an award title
BAPP (dance teaching and dance in education)
I have chosen to include dance in education as well as dance teaching as this is the area where I plan to focus my inquiry and am keen to develop in the future.
However I'd like to see the creative curriculum developed within schools, through dance, music, drama and art. Another award title I could propose is;
BA Hons in Professional Practice (Creative Arts in Primary Education).
I have worked for 8 years as a dance teacher both in performing arts schools and various workshops and after school clubs. Alongside this I have worked in a mainstream Primary school in an academic setting and am keen to collaborate my knowledge and explore the positive affects on learning and the learning environment.
Has anyone else thought about their award title? What do you think?
BAPP (dance teaching and dance in education)
I have chosen to include dance in education as well as dance teaching as this is the area where I plan to focus my inquiry and am keen to develop in the future.
However I'd like to see the creative curriculum developed within schools, through dance, music, drama and art. Another award title I could propose is;
BA Hons in Professional Practice (Creative Arts in Primary Education).
I have worked for 8 years as a dance teacher both in performing arts schools and various workshops and after school clubs. Alongside this I have worked in a mainstream Primary school in an academic setting and am keen to collaborate my knowledge and explore the positive affects on learning and the learning environment.
Has anyone else thought about their award title? What do you think?
Tuesday 22 February 2011
Professional Code of Conduct (Dance Teacher)
Here is what i propose as a professional code of conduct for a Dance Teacher.
- Punctuality
- Adhere to legal requirements
- CRB, complete annual tax return, national insurance contributions
- Comply to rules of the establishments in which you work
- Respect the ethos of the people you work for
- Present yourself well, both verbally and physically
- Create equal opportunities for children
- A responsibility to encourage each child to achieve their best.
- Be aware of physiological needs of students, finding a balance between a body centred and person centred approach.
- Be consistent
- Be honest and trustworthy
- Work as part of a team
Professional Ethics
Today's campus session was based around Professional ethics.
I will give a brief overview of what we discussed and my developing thoughts in this area.
'Ethics'.. Derived from the Greek word Ethos meaning character.
After looking at the definition of ethics, we began to look at our personal virtues/ values and then those that relate to our profession.
Theory behind Ethics
We looked at 3 main theories...
Consequentialism- acting for the greater good. The example given in the reader is that to kill one person in order to save nine would justified with consequentialism. (WBS3835, Reader 5, pg.7). The action is justified by the result.
Deontology- with this there is no grey area. As in lying or stealing is always wrong.
Virtue ethics- where the emphasis on being rather than doing, which is traced back to Plato and Aristotle. Moral behaviour and character is as important as the action.
Conflict in personal and professional ethics
This is something that has gotten me thinking in all aspects of my life. If ethos means character then should it be a consistent part of who you are? To say i'm a generous person and display that in my close friendships but then refuse to give 50p to someone collecting money for homeless children, am I really being generous or is my generosity circumstantial?
Although my professional and personal ethics may vary for different situations, I'd like to think that if they were built upon my character there would be a thread running throughout?
The conflict might come when you are asked to comply with the rules or the ethos of a company which you work for that compromises your personal values or beliefs.
I think I can most relate to the theory of Virtue Ethics, where decisions are based on character. For example, as a teacher we are told not to hug children but if a child is terribly upset and clearly in need to affection then a hug might be appropriate. Likewise, if a child is in danger of hurting themselves or another child we, as teachers have a responsibility to restrain or remove that child from that situation. In these cases i feel that Virtue Ethics would apply, ones personal ethos to care (built into character), is as important as the action.
I will give a brief overview of what we discussed and my developing thoughts in this area.
'Ethics'.. Derived from the Greek word Ethos meaning character.
After looking at the definition of ethics, we began to look at our personal virtues/ values and then those that relate to our profession.
Theory behind Ethics
We looked at 3 main theories...
Consequentialism- acting for the greater good. The example given in the reader is that to kill one person in order to save nine would justified with consequentialism. (WBS3835, Reader 5, pg.7). The action is justified by the result.
Deontology- with this there is no grey area. As in lying or stealing is always wrong.
Virtue ethics- where the emphasis on being rather than doing, which is traced back to Plato and Aristotle. Moral behaviour and character is as important as the action.
Conflict in personal and professional ethics
This is something that has gotten me thinking in all aspects of my life. If ethos means character then should it be a consistent part of who you are? To say i'm a generous person and display that in my close friendships but then refuse to give 50p to someone collecting money for homeless children, am I really being generous or is my generosity circumstantial?
Although my professional and personal ethics may vary for different situations, I'd like to think that if they were built upon my character there would be a thread running throughout?
The conflict might come when you are asked to comply with the rules or the ethos of a company which you work for that compromises your personal values or beliefs.
I think I can most relate to the theory of Virtue Ethics, where decisions are based on character. For example, as a teacher we are told not to hug children but if a child is terribly upset and clearly in need to affection then a hug might be appropriate. Likewise, if a child is in danger of hurting themselves or another child we, as teachers have a responsibility to restrain or remove that child from that situation. In these cases i feel that Virtue Ethics would apply, ones personal ethos to care (built into character), is as important as the action.
Saturday 19 February 2011
Dance and Drama in Education SIG
Just to let you know that i've started a SIG on our facebook page. Dance and Drama in Education is extremley broad and i'm trying to tailor the questions i'm asking a little bit. If anyone has similar interests then i'll look forward to seeing you on the SIG discussion board!
Wednesday 9 February 2011
A brief summary of yesterday's campus session and some more questions...
This will hopefully help those who couldn't make yesterday's campus session and help me to clarify what I have learnt so far on this module.
In yesterday's session we began by identifying our professional practice and mapping out our professional knowledge then presenting it graphically to the whole group. We discovered that some elements were generic (to all professions), some were specific skills needed for a particular profession, for example you must be able to dance to be a dance teacher, and other parts were transdisciplinary (the need to draw on knowledge from another discipline). An example of this is the need for knowledge of business and finance to be a successful dance teacher in order to promote yourself and manage accounts and invoicing.
We then went onto think about our 'Big Question' and share those with other members of the group. Here are a few of the questions that came up;
How important is technical ability in casting ability?
Why do a lot of dance teachers transition into being dance teachers?
What is the socioeconomic effect on success?
Natalie posed the question 'How do you break into a new sector of the industry?'
This question is of particular interest to me as this is something I am in the process of doing. It also triggered quite a few sub questions:
How does one successfully transition from actress to presenter?
What does one need to prepare and retrain in?
How much of your current knowledge base as an actress is still relevant?
Who has already done this successfully?
How would ones professional network need to adapt to accommodate this change?
This is definitely one line I'd like to develop further as it's relevant to my current professional practice and that of others around me.
The other line of inquiry i am interested in relates to dance teaching.
What are the effects of social networking on children we teach and their ability to learn?
What are the effects of media and music on children's behaviour?
Is it possible to use dance and drama in core (literacy and numeracy) formal education to enhance learning?
The final part of the day was spent focussing on how we would like to form our SIGs.
The general consensus was to create a facebook page that we would all be part of, from there we would develop Similar Interest Groups and create threads were we would discuss these topics in more detail. Every so often the initiator of each SIG would blog a summary so that everyone is kept in the loop!
In yesterday's session we began by identifying our professional practice and mapping out our professional knowledge then presenting it graphically to the whole group. We discovered that some elements were generic (to all professions), some were specific skills needed for a particular profession, for example you must be able to dance to be a dance teacher, and other parts were transdisciplinary (the need to draw on knowledge from another discipline). An example of this is the need for knowledge of business and finance to be a successful dance teacher in order to promote yourself and manage accounts and invoicing.
We then went onto think about our 'Big Question' and share those with other members of the group. Here are a few of the questions that came up;
How important is technical ability in casting ability?
Why do a lot of dance teachers transition into being dance teachers?
What is the socioeconomic effect on success?
Natalie posed the question 'How do you break into a new sector of the industry?'
This question is of particular interest to me as this is something I am in the process of doing. It also triggered quite a few sub questions:
How does one successfully transition from actress to presenter?
What does one need to prepare and retrain in?
How much of your current knowledge base as an actress is still relevant?
Who has already done this successfully?
How would ones professional network need to adapt to accommodate this change?
This is definitely one line I'd like to develop further as it's relevant to my current professional practice and that of others around me.
The other line of inquiry i am interested in relates to dance teaching.
What are the effects of social networking on children we teach and their ability to learn?
What are the effects of media and music on children's behaviour?
Is it possible to use dance and drama in core (literacy and numeracy) formal education to enhance learning?
The final part of the day was spent focussing on how we would like to form our SIGs.
The general consensus was to create a facebook page that we would all be part of, from there we would develop Similar Interest Groups and create threads were we would discuss these topics in more detail. Every so often the initiator of each SIG would blog a summary so that everyone is kept in the loop!
Tuesday 1 February 2011
Some more thoughts...
The second question I'd like to propose is 'what is the correlation between the arts (dance and drama) and academic studies?'
During a literacy lesson I used 'role play' to develop the children's ideas for the piece of creative writing they were about to complete. The findings were astonishing. Children whose language is usually/typically below average expressed themselves with excellent vocabulary during the role play. This had a positive effect on the written work that followed and the ideas that were generated. Could it be that there are in fact elements of the mathematics and literacy (core subjects) that can be enhanced through creative curriculum i.e; dance and drama?
During a literacy lesson I used 'role play' to develop the children's ideas for the piece of creative writing they were about to complete. The findings were astonishing. Children whose language is usually/typically below average expressed themselves with excellent vocabulary during the role play. This had a positive effect on the written work that followed and the ideas that were generated. Could it be that there are in fact elements of the mathematics and literacy (core subjects) that can be enhanced through creative curriculum i.e; dance and drama?
Tomorr Kokona wrote an article entitled ‘Dance Mathematics’. (March, 2009). He explores the use of Dance and movement within education and the positive affects it has had as well as his personal experiences. Having grown up in Albania then moved to the UK his experiences were less than pleasant until a teacher arrived who gave the students an opportunity to be physically active during the lessons using up bottled up energy that can otherwise only be let off in the playground.
Could drama and dance/movement be used to develop learning for children who have English as an additional language?
Monday 31 January 2011
Developing lines of inquiry within my area of professional practice... My initial thoughts.
In order to begin this task I first had to identify my area of practice. Although my desired area of professional practice lies in Children's television presenting my current practice is dance teaching and 'dance in education'.
My initial line of question was derived from something I briefly explored in the first module; the social and emotional aspects of learning within dance, the question arose 'what affect does the music we dance to have on the emotional wellbeing of the children we teach?'
It is not uncommon for one to leave a dance class singing the lyrics of the song that has been played on repeat for the past 40mins. Which then leads me to think 'what are we allowing to circulate round the young impressionable minds of children we teach?'.
I have discovered that there are certain 'feel good' songs which I often use to warm up to which sets the tone for the class. But if another type of music was chosen, containing swearing or violent or sexual themes, would the atmosphere during the class be the same and would it create an optimum environment for the children to learn in?
What are the lasting effects of listening to a particular piece of music repeatedly?
I began to explore who else has asked similar questions. Through simply googling ‘music influence on children’ quite a few articles and websites came up. Here are some of my findings;
‘The type of music your child listens to and how he engages with the music can enhance his learning and development or have negative consequences.’ eHow.com The Influence of Music on Children
The article goes onto say that when music is combined with training and education, it is an important tool in developing children's self-esteem. Singing or learning to play an instrument gives children a sense of accomplishment. Taking part in a musical performance can teach important life skills such as how to conquer nervousness. Could this be applicable to an environment where dance is being taught?
Another website ‘Media Influence on children’ states that: To date no studies have documented a cause and effect relationship between sexually explicit or violent lyrics and adverse behavioural effects, however there is an acknowledged overall effect that music has an effect on people. If it didn't have an effect on people in general there would be no point listening to it.I think social and emotional effects of the music listened to in a dance class is relevant, particularly if the effect is long lasting and ripples into one’s ability to learn and behavioural patterns.
Charles Reade puts it beautifully when he says ‘Sow an thought, reap an act; sow an act reap a habit; sow an habit, reap a character; sow a character, reap a destiny’
The young people of today are the leaders of tomorrow. I anticipate that this line of questioning would be relevant and important to a large proportion of society, from parents and careers to teachers and those in positions of influence.
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