Observation, feedback, vocabulary and autonomy.

Observation strategies in the studio
Student centred learning. 
Feedback v’s correction
Authoritarian v’s autonomous teaching and learning approaches.

Observation plays a major role in the dance class in terms of teaching and learning progression. Through greater, more effective observation of our students in class, we will gain deeper insight into what they are really doing. By changing our position within the studio as much as possible, enables us to focus on individuals from different perspectives. We can better observe bodies from alternative angles as opposed to being positioned only at the front of the class. As you move amongst the class, be aware of the moments you become most alert to elements of the class and why? What do you notice?

Whilst working on your observation methods, think about how you translate your observations into individual or group feedback. What it is that you require students to do? Ask yourself ‘does this make sense’? Remember, we all learn differently, and some students may not understand or be able to define or process what you are asking of them. Therefore our language, description, and demonstration play an equally important part in our methods of feedback. Also to consider, if something is referred to as good, why is it good?

Be conscious of shouting out teaching points over music whilst students are performing. Although this can be seen as motivational, we also need to consider the fact that students are in full concentration mode. As an example - having used this form of feedback myself, I have at times disturbed someone’s concentration or have been approached at the end of an exercise to repeat my points. In real situations like this, shouting out over the music has provided no real use. Now, I tend to remain quieter, observe more thoroughly and always jot down points of feedback particularly in larger classes. There are always many observations and areas of feedback that can’t possibly be stored in my head in such a short space of time, hence the notebook. In any case, it is always good practice to record your work for reflection purposes, or to revisit your feedback notes for assessment and report writing. It also encourages students to do the same.

A productive learning environment needs time for discussion. Perhaps you could give students time to work independently for a few minutes whilst you move around the class offering your points of feedback. In some situations, what applies to one person can be utilised by the whole class or be made into a task. In a creative movement laboratory such as the dance class there are many spontaneous and exciting opportunities to take advantage of. We just need to create the time and space to let it happen. 

Can we now take a minute to think about the word ‘correction’. From my perspective, it is an old fashioned word that is widely used in the dance world and has been for many years. It can be defined as ‘a change that rectifies an error or inaccuracy’ . When we advise students that we are correcting them, they probably think that what they are doing is wrong.  From a safe-practice standpoint, if something doesn't look quite right - for example, alignment of the knees and feet, or positioning of the pelvis, then we can better utilise words and actions such as; adjust, manoeuvre, improve, enhance, shift, alter - as opposed to ‘correct.’ By saying we are correcting a student, essentially we are telling them that they are doing something wrong and we are making it right, which in reality is true. However, it is important that students understand the rationale behind our pedagogies and equally important that our choice of vocabulary and methods of exchanging feedback are positive and encouraging.

In terms of feedback exchange, could we consider how we encourage a student to change or adjust what they are doing? Perhaps give them time to work on the adjustment by themselves and encourage them to take some responsibility for their own learning and progression. Ask them to tell you what they have achieved and how they have achieved it. This in turn, reinforces learning for both student and teacher. Dancers tend to be creative, innovative people with good problem solving skills. Let them take ownership of your feedback and vice versa. Allow time for them to explore things for themselves, instead of adhering to old fashioned, authoritarian teaching methods that spoon-feed their knowledge? In my opinion, this particularly tired method of teaching has become less and less favourable as time progresses. Whatever the teacher’s background or experience, we can all learn from each other. A teacher should be part of the learning process and should maintain a good level of facilitation within their classes, as opposed to the teacher being the only person who holds the knowledge. 

Most of us use a variety of terms in varied classes that motivate students to work safely and effectively; for example pull up, pull in, release, shift, get on the legs, breathe through the body, use your back, use the back of the legs, travel more etc etc. But what do these phrases mean? Do students really understand your intention and do they understand how to achieve what you’re asking of them? Could you spend time in class unpicking, work-shopping, demonstrating and discussing the intention behind each of the phrases you offer, so that students can fully digest and understand what they mean and how to achieve them physically? Perhaps when you offer these teaching points again, they will have a greater effect on their performance. 

Fundamentally, we have all created personal pedagogies that work for us and it is important to share good practice and understand that we are all learners, even in our own classes.