My first thoughts on starting this 'professional inquiry' module were not positive. They were almost daunting. The summary section of task 4a reminded me to look back at my previous blog 'task 2d' which was titled 'inquiry' and immediately I felt better about proceeding with the reader. Questions, questions, questions...that is all 'inquiry' is about.
When first thinking about the module the word 'inquiry' sticks in my head and my mind goes blank. What questions do I have? What do I want to know more about? I don't have any questions that I can really delve into, research and find literature and other peoples theories on! I had blogged about some questions in my previous 'task2d' about my work and teaching. Though reading them back now I don't feel that they have much for me to really look into further and research.
Surprisingly I found some of the reader4 quite engaging, it has encouraged me subconsciously to me focus more on questions about my performing side of life and/or my work when teaching. I am going to draw on thoughts and questions based on my experiences and work that I am currently involved in rather than think up random questions that don't really relate to me and that I won't benefit and learn from when discussing further.
Many new ideas and questions arose in my head following some of the different sections I was reading about. I'm not sure at the moment how many Bapp students will also be interested in my lines of inquiry, though I know that I have colleages in my work places that I can ask my questions to. I have many questions that range from dance, performing to teaching and children's learning. I'm going to post a few and see how much of a response I get and explore into some with my peers at work and friends in the industry.
I've decided to list my questions under headers. Here goes... I'm sure I'll have more but I'll start with these!
Work Based Learning(WBL) & Teaching Questions
- Should a qualified teacher have experience in the industry to be able to teach well?
- Should teachers be auditioned by taking an observed class before being employed?
- Even though a teacher may have many 'teaching' qualifications, does that make them a good teacher?
- What makes a good dance teacher?
- How can a person teach dance without being able to physically do the movements?
- Why do some companies/schools require teachers with a certain standard of qualifications when they could have a CV full of professional jobs in the industry?
- Do pupils prefer a teacher who has worked in the industry or a teacher who is just a teacher?
- Do teachers courses teach how to 'teach' (dealing with the educational side of the class) or just teach the syllabus required for the pupils to learn?
- What methods have been discovered to deal with distracting pupils in class?
- How do you get pupils of different ages to work together in class?
- How do you help pupils overcome their fear of creating a dance piece on their own?
Dance & the Industry
- Are different 'shaped' dancers becoming more popular? If so, why?
- Is the west end becoming more Americanised over the years?
- Do performers prefer to have representation or work on their own?
- With auditions becoming easier to find online/in newspapers etc, is there less of a demand for agents?
- Why do some dancers feel that after a certain age they will have to retire?
- At what age do performers feel they are too old to carry on in the industry?
- Has there been a higher demand for street classes over the past 5 years than the demand of ballet classes for children under 16?
I will be using the TAG function on my blogs from now on. I think this will help others; by searching for specific words/subjects I believe I can find others who are also interested in the same lines of inquiry as me or who may be interested in discussing my questions further. I'm hoping that by using 'Tags' I will be able to communicate easily with other practitioners and students and start developing my Special Interest Group (4b)
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