Wednesday, January 6, 2010
HELP!
Ok so just noticed that my last set of blogs I posted hadn't gone up on my blog. I have no idea why as the blog is saying they were posted 2 weeks ago but twigged that now makes sense for the lack of feedback. argh! Please if you can spare the time I would be grateful if you could blog comment accordingly as obviously my computer is trying to give me heart failure and a not so good start to 2010! All comments will be gratefully received and I will definitely regardless of what you say be constructive in return. Hope you all are having a wonderful New Year so far and if anyone else has had Virgin installed last month please let me know if you are having problems like me so we can brave the storm of snowy cable together! x
The Language of The Landscape 3 (Edited for Final Draft)
The introduction of young people to dance and performance as an art form at an early age is highly desirable to encourage early development of sensory, motor and social skills. In the same way that every infant goes through sequences of crawling and creeping before they walk upright (Hilgard, 1962, p69) as soon as they progress to more advanced walking and movement, they are already prepared to extend their learning through any medium that entertains them. Studies show that children who are encouraged through enjoyable yet demanding activity are more likely to progress at a greater rate than those faced with less challenge and little activity (Child, 1954). Disciplinary practices are important not only in the control of specific behaviour, but in the development of conscience and in later social conduct. Thus involving the discipline of performance from an early age can directly affect general disciplinary acceptance across a wide range of situations as a child matures.
In my development of different courses within my own professional practice, I am guided and encouraged by embracing the “Every Child Matters” motto (Department for Children, Schools and Families, 2007) This important recent document and strategy introduced by the government of the day lists the following four principles for the early years foundation stage :
A Unique Child,
Positive Relationships,
Enabling Environments,
Learning and Development.
Each of these four headings is clearly divided into sections and I look to provide courses which are underwritten by the philosophy of current government practice.
Every child is a competent learner from birth who can be resilient, capable, confident and self assured. Our courses offer equality and diversity in a safe and protected environment. Children are able to discover boundaries, to make choices and to grow through physical and emotional well-being.
The courses are provided to encourage respect for each other, understanding friendships, learning with parents, all of which leads to the encouragement of positive relationships. (Interesting research by Remmers & Radler, 1957, show that practices of 50 years ago are just as relevant today.)
Our specific environment, whether it be the dance studio, the drama space or even a performance arena such as a stage or public hall all add the learning and maturing experience. The environment plays a key role in supporting and extending children’s development and learning ( DCSF, 2008 ) From the public arena of a stage to the privacy of a dance studio, each child is able to experience a wealth of stimuli, making a valuable set of footprints along the walkway of life and its maturity.
Finally our courses for early years centre on play and exploration, through the medium of song, dance and drama, all elements which combine to give an exciting learning experience. “ In play, babies and toddlers try out their recent learning skills and competencies ....although there is no pressure to perform, even babies ...show their highest levels of learning (Bruce , 2002) ( Birth to Three Matters, 2003 , Dept Work & Pensions UK ).
In summary, our courses give excellent opportunity through a structured approach to radically enhance physical and creative development.
In my development of different courses within my own professional practice, I am guided and encouraged by embracing the “Every Child Matters” motto (Department for Children, Schools and Families, 2007) This important recent document and strategy introduced by the government of the day lists the following four principles for the early years foundation stage :
A Unique Child,
Positive Relationships,
Enabling Environments,
Learning and Development.
Each of these four headings is clearly divided into sections and I look to provide courses which are underwritten by the philosophy of current government practice.
Every child is a competent learner from birth who can be resilient, capable, confident and self assured. Our courses offer equality and diversity in a safe and protected environment. Children are able to discover boundaries, to make choices and to grow through physical and emotional well-being.
The courses are provided to encourage respect for each other, understanding friendships, learning with parents, all of which leads to the encouragement of positive relationships. (Interesting research by Remmers & Radler, 1957, show that practices of 50 years ago are just as relevant today.)
Our specific environment, whether it be the dance studio, the drama space or even a performance arena such as a stage or public hall all add the learning and maturing experience. The environment plays a key role in supporting and extending children’s development and learning ( DCSF, 2008 ) From the public arena of a stage to the privacy of a dance studio, each child is able to experience a wealth of stimuli, making a valuable set of footprints along the walkway of life and its maturity.
Finally our courses for early years centre on play and exploration, through the medium of song, dance and drama, all elements which combine to give an exciting learning experience. “ In play, babies and toddlers try out their recent learning skills and competencies ....although there is no pressure to perform, even babies ...show their highest levels of learning (Bruce , 2002) ( Birth to Three Matters, 2003 , Dept Work & Pensions UK ).
In summary, our courses give excellent opportunity through a structured approach to radically enhance physical and creative development.
The Language Of The Landscape 2 (Edited for Final Draft)
Dance4Fun are wonderful classes running on a termly basis which offers its participants the opportunity to develop a wide range of skills through the form of dance and exercise. With the use of up to date music and cleverly constructed routines for each individual age group, it allows both parents and children to socialise and benefit from the dance fitness approach every session entails. The weekly classes include games, technical dance movements as well as enabling a group bonding process to occur in a safe and disciplined format. The staff all come from fitness or dance backgrounds enabling demonstration of movement and classes to have a energetic approach, making all class members gain as much as possible while being entertained and encouraged to exercise. The class also allows for individuals to gain confidence, co-ordination and creativity skills through the use of tasks with equipment and picture cards. The outcome of the class enables both parent and child to leave feeling refreshed, revitalised and full of excitement to go home and work together with their Dance4Fun CD and Booklet. This includes a Dance4Fun goal chart so fun goals can be managed and be rewarded as each term goes by. All of the exercises are safe to practise with family and friends promoting a healthy lifestyle for all involved making everyone benefit from this simple yet effective learning process.
The classes always begin with a mandatory warm up – used to encourage discipline as well preparing the body for the motor and sensory experience which is about to take place.
This is then followed by a range of activities including preparation for specific themed events e.g The Jungle Run - Incorporating rhythmical moves with the children mimicking wild animals which the parents generate. Jumping Jacks – this uses soft play equipment to enable the children to express themselves whilst using elevation and co-ordination to develop special awareness, judgement of distance and team building exercises. Parachute Party - This includes a gigantic rainbow-coloured parachute which envelops the whole group yet allows each individual child and parent to explore colour, touch, sight, and sounds in an unusual environment. The classes also include musical development enabling children to feel the beat and identify rhythm patterns using both well known nursery rhyme classics but also introducing alternative current pop trends. This is also used to encourage musical recognition when children hear the same music through different media sources in their normal daily lives. We hope that this ability triggers a practice of recall which then stimulates further practice outside the learning environment for both parent and child.
Each term has a specific theme and different goals are set within it. The final target for each term is a performance session where each child is given the opportunity to prepare and then demonstrate a short combination of their favourite moves using their own choice of music. The classes will also have been devised throughout the term to engage the children in a group activity which again leads to the opportunity of performance, this time with their peers.
The emphasis of all sessions is to promote and praise healthy living and positive relationships between both parent and child and their peer groups respectively.
The classes always begin with a mandatory warm up – used to encourage discipline as well preparing the body for the motor and sensory experience which is about to take place.
This is then followed by a range of activities including preparation for specific themed events e.g The Jungle Run - Incorporating rhythmical moves with the children mimicking wild animals which the parents generate. Jumping Jacks – this uses soft play equipment to enable the children to express themselves whilst using elevation and co-ordination to develop special awareness, judgement of distance and team building exercises. Parachute Party - This includes a gigantic rainbow-coloured parachute which envelops the whole group yet allows each individual child and parent to explore colour, touch, sight, and sounds in an unusual environment. The classes also include musical development enabling children to feel the beat and identify rhythm patterns using both well known nursery rhyme classics but also introducing alternative current pop trends. This is also used to encourage musical recognition when children hear the same music through different media sources in their normal daily lives. We hope that this ability triggers a practice of recall which then stimulates further practice outside the learning environment for both parent and child.
Each term has a specific theme and different goals are set within it. The final target for each term is a performance session where each child is given the opportunity to prepare and then demonstrate a short combination of their favourite moves using their own choice of music. The classes will also have been devised throughout the term to engage the children in a group activity which again leads to the opportunity of performance, this time with their peers.
The emphasis of all sessions is to promote and praise healthy living and positive relationships between both parent and child and their peer groups respectively.
The Language of The Landscape (Edited for Final Draft)
The Musical Kidz Company is starting new classes for babies to teens whose parents would like them to keep fit and have fun at the same time. The classes are age divided and even parents are welcome to join. These classes are an ideal opportunity for everyone involved to dance, learn new skills and meet new people whilst in a fun and safe environment. All classes are held by fully CRB checked staff that have huge amounts of energy and are raring to go. So if you have children with energy to burn and are after a great social class with lots of funky music and moves to match then why not get in contact today for further information and the nearest classes available to you. Call Musical Kidz on 07988 351673 or visit http://www.themusicalkidz.co.uk/
Friday, November 6, 2009
My Instance and Kolb's Cycle.
My Observations and Experiences of the Four sections of Kolb’s Learning Cycle
I am basing my observations on recent experience in the tour production of “You Don’t Bring Me Flowers “(to be abbreviated to YDBMF). I feel it ideally demonstrates use of the cycle. Indeed I am delightfully surprised that part of my recent working practice fits so closely to such an important and recognised model.
Concrete experience: Once being offered the part in YDBMF as the lead, Barbra Streisand, I knew this was where the real work began. I had 18 solo songs to learn which were mine alone, let alone the dance and movement to go with them. I started learning the words, song by song, and memorising the movements accordingly. 18 songs in one week is by no means an easy task and so rehearsals did not stop in the studios. I researched the music on You Tube as there were some were totally unfamiliar. In order to get the style required for these clever melodies, I made sure I listened and performed them over and over again. I also decided that I needed to look at the performances of the songs on video or by the use of the internet so I could also learn the context in which the songs were set.
Reflective Observation: I feel that my reflection of rehearsals in some ways could have been managed far better. Even though I only had a week to learn all that material (it really was a brain overload!) I found that I had learned most of the first act, yet only sketchily knew the second, causing me to panic occasionally, knowing that at the end of the week, a full run of the whole show was required of me. I also think we did not have enough time with the director and musical director so the whole cast were unsure of what was required in performance. I enjoyed the challenge as it tested me thoroughly and with a dry run at the end of the week, it proved that I had learned more than I thought. The rest of the cast were great fun to work with and we all bonded really well together. This helped immensely with the learning of lines, songs and moves as we were all confronted with the same demanding deadline and thus supported each other accordingly to achieve our joint goal. This fits in with Kolb’s idea of reflective observation as each night and for weeks after the rehearsal period, I looked at what I had achieved ( or not) and how I still needed to look at my performance technique but also what I could learn from this experience and build on it in a future similar rehearsal process.
Abstract Conceptualisation: When looking at the Kolb cycle, this instance on tour really relates to the concluding and learning from it as a person I realised my limits when it comes to being overloaded with lines and songs. Yet as a whole I was proud of what I managed to achieved in such a short space of time. The research I had done regards to Barbra herself and her songs proved to be incredibly rewarding both as a learning experience and from the point of view of a performance delivery. I also learned about the experiences of other cast members, their previous roles and different life skills they had gained as they were all older than me and had much more professional performance experience. The intense week I went through will always remain with me but it enabled me to learn so much and prove to myself that I am still a performer which is what I know and what I love. I certainly will take a huge amount away from this production - from gaining new contacts, enlarging my repertoire, as well as now having new gained confidence in the ability to master 27 complex songs and 92 pages of dialogue in a week!
Active Experimentation: Since YDBMF I have reflected on my approach to dialogue learning, and because of this, I am now far quicker when sight reading and learning material for the first time. It has given me the drive to push myself even further and because of this, I have become more focussed and driven into doing this as my chosen career. I have used the new contacts I have made and learned more about them and their past experiences which has enabled me to be seen by others, improve my networking options and to grow as an individual. I have also become a stronger performer since this experience and it has given me confidence but mainly allowed me to learn not to panic quickly when given a new, sometimes daunting task. So, as a result, my rehearsal approach is far more laid back .This has made me a calmer yet more mature performer to work with. This all fits in with the “planning and trying out” section (Active Experimentation) of Kolb’s cycle and has now encouraged me to look actively seek performance opportunities in gigging, singing in clubs and giving solo performances at different venues. This active experience has highlighted an area of development for me. It has shown that I have great strength in this area which previously I had underdeveloped.
I am basing my observations on recent experience in the tour production of “You Don’t Bring Me Flowers “(to be abbreviated to YDBMF). I feel it ideally demonstrates use of the cycle. Indeed I am delightfully surprised that part of my recent working practice fits so closely to such an important and recognised model.
Concrete experience: Once being offered the part in YDBMF as the lead, Barbra Streisand, I knew this was where the real work began. I had 18 solo songs to learn which were mine alone, let alone the dance and movement to go with them. I started learning the words, song by song, and memorising the movements accordingly. 18 songs in one week is by no means an easy task and so rehearsals did not stop in the studios. I researched the music on You Tube as there were some were totally unfamiliar. In order to get the style required for these clever melodies, I made sure I listened and performed them over and over again. I also decided that I needed to look at the performances of the songs on video or by the use of the internet so I could also learn the context in which the songs were set.
Reflective Observation: I feel that my reflection of rehearsals in some ways could have been managed far better. Even though I only had a week to learn all that material (it really was a brain overload!) I found that I had learned most of the first act, yet only sketchily knew the second, causing me to panic occasionally, knowing that at the end of the week, a full run of the whole show was required of me. I also think we did not have enough time with the director and musical director so the whole cast were unsure of what was required in performance. I enjoyed the challenge as it tested me thoroughly and with a dry run at the end of the week, it proved that I had learned more than I thought. The rest of the cast were great fun to work with and we all bonded really well together. This helped immensely with the learning of lines, songs and moves as we were all confronted with the same demanding deadline and thus supported each other accordingly to achieve our joint goal. This fits in with Kolb’s idea of reflective observation as each night and for weeks after the rehearsal period, I looked at what I had achieved ( or not) and how I still needed to look at my performance technique but also what I could learn from this experience and build on it in a future similar rehearsal process.
Abstract Conceptualisation: When looking at the Kolb cycle, this instance on tour really relates to the concluding and learning from it as a person I realised my limits when it comes to being overloaded with lines and songs. Yet as a whole I was proud of what I managed to achieved in such a short space of time. The research I had done regards to Barbra herself and her songs proved to be incredibly rewarding both as a learning experience and from the point of view of a performance delivery. I also learned about the experiences of other cast members, their previous roles and different life skills they had gained as they were all older than me and had much more professional performance experience. The intense week I went through will always remain with me but it enabled me to learn so much and prove to myself that I am still a performer which is what I know and what I love. I certainly will take a huge amount away from this production - from gaining new contacts, enlarging my repertoire, as well as now having new gained confidence in the ability to master 27 complex songs and 92 pages of dialogue in a week!
Active Experimentation: Since YDBMF I have reflected on my approach to dialogue learning, and because of this, I am now far quicker when sight reading and learning material for the first time. It has given me the drive to push myself even further and because of this, I have become more focussed and driven into doing this as my chosen career. I have used the new contacts I have made and learned more about them and their past experiences which has enabled me to be seen by others, improve my networking options and to grow as an individual. I have also become a stronger performer since this experience and it has given me confidence but mainly allowed me to learn not to panic quickly when given a new, sometimes daunting task. So, as a result, my rehearsal approach is far more laid back .This has made me a calmer yet more mature performer to work with. This all fits in with the “planning and trying out” section (Active Experimentation) of Kolb’s cycle and has now encouraged me to look actively seek performance opportunities in gigging, singing in clubs and giving solo performances at different venues. This active experience has highlighted an area of development for me. It has shown that I have great strength in this area which previously I had underdeveloped.
Monday, October 26, 2009
Links of Interest
Links of Interest
I have always been very lucky in life that I have always been given as many opportunities as possible to try lots of different hobbies and interests. As an individual I am bubbly and always full of energy and upon reflection most of my interests definitely highlight this side of me.
The Adrenaline Junkie KT
Here are a few recent completed projects that my interests have been a part of which I am particularly proud of.
For my mother’s 35th Anniversary Show in the summer I decided to choreograph and produce “Cats” as a show number. It lasted 7 minutes in total and all the costumes and props in this picture were designed and made by myself. It took a total of four whole days to complete but I am sure you agree it was really worth the effort as they all look amazing.
My Parents Bedroom
Before After
After having the same room style for 25 years my father asked me to surprise them by decorating their room for them whilst they were away on holiday. It took two whole weeks which was almost day and night as I did everything apart from skimming the walls! (Something I haven’t mastered yet). My choice was a floral design with a modern twist so it was up to date yet I knew my mother would hopefully like the choices.
On return they absolutely loved the room and this for me was a great achievement as this was my first huge design project from beginning to end. I’ve certainly learnt from this experience and it has left me thirsty for more!
I have always been very lucky in life that I have always been given as many opportunities as possible to try lots of different hobbies and interests. As an individual I am bubbly and always full of energy and upon reflection most of my interests definitely highlight this side of me.
The Adrenaline Junkie KTAnything high, fast and challenging and quirky really interests me. I love pushing myself mentally and physically and pushing my boundaries. The human body on a whole fascinates me in how it can learn and cope with almost anything thrown at it.
Scuba Diving, Bungee Jumping, Ice Skating and Skiing to name a few, enable me not only to learn new things but to gain new experiences underwater, on land and in the sky. All are very different visually and each skill enables me to experience a range of cultures and life skills. They all have an emotional learning side as some test nerves and feelings which I feel allows me to develop further as an individual, which in time helps me deal with the challenges that adult life throws at you in the modern world we live in. Although I can motivate myself to a certain level I sometimes like others to give me that extra push. I find sports and dance enable me to do this which then benefits me keeping fit and in shape for the professional world of performing arts.
The Creative and Expressive KT
On another level I realise although I’m full of energy and life sometimes calming and stress relief interests help develop you and educate you further as well. My relaxation interests although still require a certain amount of dedication I have found them to be very therapeutic to take part in. These interests include costume design, cake baking and interior design. These three interests require different sets of skills, all of which I find relaxing yet challenging in a different way. As an individual I take pride in my high standards which I set for myself and I am not ashamed to admit I am a perfectionist. Maybe this is why I have these types of interests as there is a still a certain element of control to them. Drawing, painting and designing and then seeing the final product seeing whether it be a costume, cake or room being completed gives a great sense of achievement and satisfaction. I was always told art wasn’t my thing at school yet now it is something that comes naturally as with practice and a natural creative eye it has become a part of who I am.
Here are a few recent completed projects that my interests have been a part of which I am particularly proud of.
Cats
For my mother’s 35th Anniversary Show in the summer I decided to choreograph and produce “Cats” as a show number. It lasted 7 minutes in total and all the costumes and props in this picture were designed and made by myself. It took a total of four whole days to complete but I am sure you agree it was really worth the effort as they all look amazing.
My Parents Bedroom
Before After
After having the same room style for 25 years my father asked me to surprise them by decorating their room for them whilst they were away on holiday. It took two whole weeks which was almost day and night as I did everything apart from skimming the walls! (Something I haven’t mastered yet). My choice was a floral design with a modern twist so it was up to date yet I knew my mother would hopefully like the choices.
On return they absolutely loved the room and this for me was a great achievement as this was my first huge design project from beginning to end. I’ve certainly learnt from this experience and it has left me thirsty for more!
Cakes
I designed a surprise cake for my friends 21st birthday a few years ago and since then my cakes have become a hit. I now in my spare time make them for relatives, friends and customers who wish for something special. Depending on the type of cake depends on length in making it. Normally 3 hours is average.
The pictures show some of my past creations.
All of my interests whether they give me an adrenaline fix or a warm glow inside I feel all relate to the performing arts in some way. I can hear you thinking how does bungee jumping and making cakes come into that. Well I believe all of those skills reflect who I am as a performer and not only that enable me to be a better performer because of them. Testing my nerves, showing my high standards and producing something of a great quality all links in with how you market yourself and perform at auditions or on stage.
Tuesday, October 13, 2009
Kolb's Learning Cycle
A. Concrete Experience
Today we went to the Cat Hill campus at Middlesex University and looked at the Learning Cycle process by David Kolb (see diagram). We were given extracts from an anonymous peer's blog, which we separated into the relevant stage of Kolb's system.
Today we went to the Cat Hill campus at Middlesex University and looked at the Learning Cycle process by David Kolb (see diagram). We were given extracts from an anonymous peer's blog, which we separated into the relevant stage of Kolb's system.
B. Reflective Observation
At first we were slightly bemused and unsure of the process. By dissecting the text and applying it to the cycle it enabled us to fully understand the diagram.
1. We felt the concrete experience was the easiest section to understand. Our understanding of this section is now "a previous personal experience that has happened".
2. The Reflective Observation of the text was another easy part to analyse, understanding it to be reviewing the event or experience.
3. Abstract Conceptualisation
This was a difficult section for us to decipher. We had difficulties differentiating between active and reflective as many tend to cross over. We simplified the term to developing an understanding by seeking information or forming new ideas.
4. Active Experimentation
We made a mistake in our cut and paste exercise with this section. Upon reflection we then realised our sentence should have been placed in the Abstract Conceptualisation. To make this section more understandable we referred to it as "trying out new ideas and learning from experience".
C. Abstract Conceptualisation
After our initial task we then asked to develop our text. We were asked to fill in any gaps of the cycle that were missed by our blogger's text. For example we had nothing in the Active Experimentation section, we would empathise with the blogger and create our own excerpt.
D. Active Experimentation
To put our experience into practice we will write an essay about identifying instances when we have seen ourselves in each of the stages of Kolb's learning cycle. We will also write our learning diaries (and edit our blogs) accordingly to fit with this new learning cycle.
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