MA Dance Pedagogy

Just a little one whilst I'm trying to work on my Portfolio.... Professional Networks. I've interpreted them to anyone who can help me continue my development as a professional dance and fitness teacher. Who have you all considered to be in your professional networks and communities of practice? I did a quick mind map of who came to mind straight away when I first thought of them. So on this list I've got the usual friends and teachers from college but I've also added a friend who runs her own business as she helps me indefinitely with the real business side of things and helps me choose a target market to aim for. I also added my Yoga instructor. Might seem an odd choice but not only does she promote my classes during her class, she has helped me work out all sorts of aches and pains that all dancers get some time or another. I think me taking the time to care for my body will mean I'll be able to dance for longer hopefully. So in this sense would you agree

I just had a really good chat with Paula and we discussed some interesting initial thoughts for Communities of Practice. When I first read reader 3 I had a horrible sinking feeling reading the Communities of Practice section. I didn't believe I had a professional network, a a really stubborn side of me said I didn't need one either. I felt a bit isolated. I have my own small business and although my Dad helps me out with my accounts, he has never danced in his life (apart from it you on 'A brimful of Asha'). So in the arts he isn't in my professional network. So I felt as always I was doing things independently and had never needed or had access to that support network. But after thinking and going on Facebook, my news feed was covered in dance - Ballet, Zumba, Jazz, Musical Theatre, Fitness, Shows, ideas and questions. I realised that subconsciously I actually had a very strong professional network, some of who I spoke to nearly every day! And they were from

A professional network is not an idea I've really thought about in depth before, but it's amazing to realise that you actually already have several you didn't even know about! I acquired my first professional network many years ago when I first started training at my dance school and local college. Even though I've moved away from home and don't see many of those in the network anymore, I still contact my tutors about decisions I make in my professional life (even about completing this course!) and they are still there for me. As are the people who were on my course - on social media they are the people most likely to post something about a dance related  inquiry , and just as I can help them they can then help me.  I also think its useful to have people in your professional network who do live in a different part of the country, or indeed another country, because it helps me as a dance teacher explore different markets for classes and what appeals in different

My Ballet Fitness class on Monday had 6 people in attendance. On reflection my advertising scheme has been to offer a trial class for free and over the past few months I have probably lost over £100 due to people who just come for one class. I think although I enjoy people being able to trial the class I do need to try and make a profit. This does come into my ethical considerations as I believe people should be able to try classes for free to encourage them to exercise. But I have to be professional and remember if I don't make any money I won't be able to provide any classes at all. And my classes are always to a professional standard and I believe they are worth the money every time. This week I did a track list based loosely on Halloween. I always try and change the class music and exercises each week to keep things interesting. Before the class a girl did mention she didn't buy into Halloween and I was slightly worried she wouldn't enjoy the class but she did lat

I've just been having a look at David Kolb's learning style. It's taken me a while to really get to grips with it but think I've got it now. I'm trying to liken it to experiencing using a new muscle in class and afterwards having a good think about how you can keep using that muscle in future classes. Then thinking about how much better your leaps and turns will be when you develop that muscle! Then the following class thinking and experimenting during exercises and routines to try and use the muscle again! I also like the idea of looking at this learning cycle from the point of view of my students. It would be great to really get to grips with the system and then apply it to see how my students learn best and use different teaching approaches for this.

Just a thought I was having, and then I stumbled across this really interesting article.... https://thepsychologist.bps.org.uk/volume-24/edition-2/media I don't know how other professional dancers feel about this but.... I LOVE Strictly Come Dancing. I prefer to stay in and watch it than go out because I can't bear to have to wait until the next day to watch it. I know a lot of people have very strong opinions either way on it but I find it really inspiring. The music, the live band, the costumes, the choreography - it all gets me thinking how I could put that move into my class or use that song. I like commenting on a dance then seeing if the judges agree with me. But also what I really enjoy is the idea that the show is making dancing more accessible to people. I really believe you have to stay active and keep fit to be healthy and happy. Obviously there are many different ways to do that to suit different people's needs, but I just think dancing releases so much te

I was just reading reader 2 and the section on Kottcamp's idea of on-line and off-line engagement. I like the idea of reflection in action. I use it during my workout classes; if my class are over exerting themselves I will perform a speech test (usually means I get them to whoop) and if they can't, I immediately know I have to make the next song a lot slower to give them a chance to get their breath back. Also it's the same for if I noticed they were finding the class too easy and weren't sweating I would make the next few songs killer! But essentially it's about recognising the needs of my class and acting on that and adapting immediately, rather than going home and thinking 'maybe that class was too easy/hard? ' because ultimately by then I may have lost a client due to them not enjoying my class. After this section the reader asks for a few ideas I like and to do a bit of critical thinking on them. I may not be at my most critical at this time but I

I wanted to take a look at some of the dance origins of Zumba dancing. Being an instructor I get a wealth of music sent to me each month in many different styles to create dances too. The amazing thing is that although when you first go to a Zumba class you may only remember dancing/jumping around and whooping for an hour, the instructor has (hopefully) put in a good amount of work to create that class for you. A Zumba class is specified by having a mix of lots of different world rhythms to dance to; so you can't just do 12 salsa tracks - because you'd be teaching a salsa class unfortunately. And in your training you learn the basic steps to these world rhythms which you then add into your choreography. So although some of these dances originated from the late 17th century - we are still using the same dance moves today! In your Zumba Basic Training you are taught 4 rhythms; Merengue, Salsa, Cumbia and Reggaeton. Of course there are plenty more to talk about (Calypso, Samba,