Reflective Theory.

We learn by experiences that allow us to absorb, do and interact. In addition, we learn by reflecting on such experiences.


Reflective practices offer alternative ways to look at our experiences. We are not only looking back on past actions and events, but rather we are taking a conscious look at the emotions, experiences, actions and responses, and using that to add to our existing knowledge base to draw out new knowledge, meaning and to have a higher level of understanding.


Hatton and Smith (1995) identified four essential issues concerning reflection:


- We should learn to frame and reframe complex or ambiguous problems, test out various interpretations, and then modify our actions consequently.
- Our thoughts should be extended and systematic by looking back upon our actions some time after they have taken place.
- Certain activities labelled as reflective, such as the use of journals or group discussions following practical experiences, are often not directed towards the solution of specific problems.
- We should consciously account for the wider historic, cultural and political values or beliefs in framing practical problems to arrive at a solution. This is often identified as critical reflection. However, the term critical reflection, like reflection itself, appears to be used loosely, some taking it to mean no more than constructive self- criticism of one's actions with a view to improvement.


Dewey is regarded as one of the most influential thinkers on education in the twentieth century. Many consider him to be the modern day originator of the concept of reflection. Dewey thought of reflection as a form of problem solving that chained several ideas together, by linking each idea with it's predecessor in order to resolve an issue.
Dewey describes 'an experience' as one in which the material of experience is fulfilled or consummated, for example when a problem is solved, or a game is played to it's conclusion.


Dewey felt that interaction with the Arts led to a unique and valuable 'experience'. His work 'Art as Experience' (1934), is regarded by many as one of the most important contributions to this area in the twentieth century. "An artist's work requires long periods of activity, reflection on past experience and a sifting of emotions and meanings from that prior experience. For an activity to be converted into an artistic expression, there must be excitement, turmoil and an urge from within to go outward. Art is expressive when there is complete absorption in the subject and a unison of present and past experience is achieved."


This concept can be related to when we perform a dance routine in class. We are taught a series of 'steps', which are then carried out, and come to an end or conclusion when the music finishes. We are only able to perform the routine, through drawing on past experiences, for example, technique classes. We reflect by using the corrections we were given and by applying them to the routine. We can also reflect on experiences of observing our peers perform, and by using what we learnt through watching them. We are completely absorbed in the activity, dancing 'in the moment' whilst experiencing some sort of emotional connection to the steps.


Kolb's Learning Cycle shows the importance of being able to identify that you have had an experience and the importance of having tools to be able to reflect on that experience. It features four key stages of learning: concrete experience, reflective observation, abstract conceptualisation and active experimentation. We all differ, in where we enter the learning cycle, or at which point we start to learn and find meaning.


When learning a dance routine, I learn by active experimentation or by 'doing' the routine. However, this would be harder to achieve If I hadn't previously had the steps shown to me by the teacher, and by using a combination of abstract conceptualisation and muscle memory in order to carry out the task. In knowing that I learn by, and benefit from active experimentation, I can endeavour to engage in future tasks and assignments in my current practice with a more 'hands on approach'.


Howard Gardiner introduced the idea of multiple intelligences, which challenges the traditional model of what a learner looks like. This theory makes us aware of and validates a number of different ways to engage with 'turning experience into learning'. He said that people can be intelligent in spatial, verbal- linguistic, logical- mathematical, bodily- kinaesthetic, musical, interpersonal, intrapersonal and naturalistic ways.         

Critical Reflection


Donald Schon brings reflection into the centre of an understanding of what professionals do. He introduced the idea of reflection- in- action, and reflection- on- action. Reflection- in- action occurs during 'an experience', and is the ability of a practitioner and often artists to respond to what is happening as it happens, or 'think on their feet'. It revolves around the idea that within any given moment, when faced with a professional issue, a practitioner usually connects with their feelings, emotions and prior experiences to attend to the situation directly. Reflection- on- action is the idea that after the experience a practitioner goes away to conceptualise it and analyse their reaction to the situation. This is usually conducted through a documented reflection of the situation.


As dancers, we are often required to 'think on our feet'. There have been many times during my career where the spacing or 'blocking' of a particular number in a show has been changed very last minute. Usually due to injury or a wardrobe malfunction and consequently, there is little time if any, for it to be rehearsed. I have often been required to quickly find the solution to a problem, and change my position and 'track' on stage, whilst actually performing the number, so I am reflecting- in- action.


Jennifer Moon (Moon, 1999), and others have argued the importance of finding ways to articulate tacit knowledge and experiences. They show that reflection does not have to happen as a written process, but they also stress the importance of being able to articulate and communicate the reflective process so that you can recall ideas, plan or link.
A journal can be a powerful tool for learning. More than being collections of required tasks and assignments, they can be used to empower learners to take charge of their own learning process by reflecting upon it on a regular basis and by assessing their own progress over time.


I have been writing in my journal for a week now. It isn't a huge amount of time, and it is taking some getting used to, but I've made a start. I have tried a few different approaches to my writing, beginning with the 'list' method. I've always found writing lists a good way of prioritising, and making things seem simpler and more manageable. I then began to expand further on each bullet point in the list, by using the initial reflection method and finally the evaluation method. Writing in this way, has made me realise that I find it really difficult to articulate how I feel about certain things, and that it was only when I wrote something down, that I realised how I truly felt about it.
I hope that through my journal I will develop a more thorough response and opinion to an event or experience, and a questioning attitude towards different issues and problems. 








References


'The Reflective Practitioner' (Schon, 1983)
'Art as Experience' (Dewey, 1934)
http://plato.stanford.edu/entries/dewey-aesthetics/
http://www.nwlink.com/~donclark/hrd/development/reflection.html