Dorothy Coe

To complete my masters degree I chose to research the area of aesthetic experience in dance as my main topic for my thesis. I teach contemporary dance choreography and performance at a tertiary level. A focus is placed on encouraging students to develop innovative ways of communicating their interpretation of tasks through dance choreography, strengthening their critical and creative thinking skills. The course emphasis is on educating the dancer and developing an understanding of the value of aesthetic experience in society. I believed that whilst the course seemed to be successful, how effective was it in educational value ? On further reflection I began to question what gains and understanding the students actually took from the course ?

These questions and many others led me to my first piece of major research, to study this phenonomen. I knew it would mean taking personal risks, and challenge to step out of my comfort zone and research the effectiveness of my own dance pedagogical style.

Establishing the Research Design and Process

In order to explore the effectiveness of my own pedagogical style I needed to implement this into a dance course and study learner response, evaluating the whole process of teaching and learning. Definitely comfort zone material !

I was fortunate to be able to link my research to my tertiary dance course at Waikato University. The course, in which I was the lecturer, suited my research question. The mixed gender group , with an age range from 19 to 23 years were studying different degrees on campus representing education, leisure studies, humanities, social sciences and arts. As the students chose to take the course for different reasons, meeting the needs of all the students was a challenge and suited my research topic.

This study was distinctive as I selected to take a phenomenological approach within a qualitative research study to investigate the value and meaning of student experience within the situated context of teaching and learning in dance education at a tertiary level.

Within the literature review I identified current pedagogical trends that influence dance education and their effectiveness. I made the decision to take an eclectic viewpoint that saw dance in education as a sensory- based, cognitive discipline which can exist in many complex forms. I researched the appropriateness of different pedagogical skills to enforce this approach and to ensure the students discovered these strengths.

I examined phenomenology as an interpretive method of qualitative research, as this method helps to construct meaning of experience. I was focused on looking for the insiders’ view of the experience. I wanted to search for an understanding of what happened, what was learned, what value and meaning took shape for the students from the dance experience.

The research methods I implemented were observation, video -recording, field notes, document collection, and interviews. These methods captured both language and behaviour, which formed the basis of the collection of information of qualitative inquiry befitting this study (Maykut & Morehouse,1994).

My first challenge was to establish a decisive role of participant observer. I could take the opportunity, as lecturer in the class, to develop the necessary empathic understanding with the students to capture what they thought, and felt, in response to my teaching. I was aware, as a participant observer, that I needed to exercise caution as to how my presence influenced the educational situation (Bouma, 1997).

In such an open artistic environment it could have been easy to drive the students' response to my teaching, to colour their perceptions in a way that would inhibit them in their dance expression, so I had to be constantly aware of this fact. I video-recorded all the sessions offering a wider range of possibilities for observation. I became the 'invisible researcher', as the camera became my research ‘eyes’.

Observation is a key issue in researching aesthetic experience and can threaten participants’ comfort zones. Because of the intense personal nature of this research and in response to ethical concerns, the students had given an informed consent to the use of the video-camera. Therefore, I was aware of the need to ease any tension of being ‘watched’, or ‘monitored’ so I placed the camera above eye-level, where it was less noticeable. The video camera also covered the perspective of credibility in reporting my collection of information.

This ‘invisible researcher ‘ helped to minimise any reaction from the participants at being researched (Maykut & Morehouse, 1994), allowing full concentration on the dance involvement under my guidance. Because some aspects of dance education relied on social interaction through group process work to achieve instructional goals, there was quite a strong focus on group dynamics (Yoder, 1993). Again, in my established role I could be 'outside' looking in as a researcher through the ‘eyes’ of the camera, but 'inside' the class in a sensory mode of research, teaching intuitively and responding to the students’ needs. Later, after the lectures, I removed myself from the students and the situation, and reviewed the video-tapes to "rethink the meaning of the experience" (Maykut & Morehouse, 1994, p. 25) in regard to both the teaching and the research process.

The use of the video- camera was very successful in recording the lectures, but caused me a great deal of personal trauma. From the first viewing of the video-tapes I became very critical of myself as a teacher. I began to criticise my voice, stance, gestures, my whole teaching style. I even questioned my natural flair of ‘seizing the teachable moment’, talking too enthusiastically, taking over the class too much.

To become a successful researcher and teacher I had to put these fears aside and concentrate on sharpening my skills of observation and reflection to make me more perceptive to the whole environment. There can be a lot of unpredictability in this field of artistic endeavour so I had to maintain a flexibility in my research and teaching approaches. Fluctuating change in the interaction of both learner and teacher would often result in unexpected response which saw my position later develop into multiple roles (Strachan, 1993) in this research process. This is described by Maykut and Morehouse (1994) as the "human-as-instrument" (p. 46), both in collecting and culling the meaning of the information collected.

I found that I had became part of what was being observed, and part of the total learning experience. I was 'alongside' ' below', and 'amongst' the students as a confidante, sharing ideas, alleviating concerns, sharpening skills and building confidence.

It was also important for me to be able to reflect on the effectiveness of my collection of information and to check the progress of the students in order to plan appropriate motivational levels for the ongoing lectures. The video-recordings allowed repetition of the lecture through many playback’s, offering more time for reflection, observation and understanding (Bouma, 1997) of both student work and research techniques.

I did observe that in teaching the dance it became overwhelming when an intense release of emotion or spiritual response was elicited by the students whilst interpreting a task. Although this was very meaningful to the dancer, recording the moment on the video screen was challenging. Therefore, to record these 'once-only moments' I wrote of these responses in my field notes. Although, many times, I feared I would lose this opportunity as students remained behind after class to discuss their work in progress.

The effect of writing appraisals was three-fold. Firstly, it gave the students an insight into developing a more acute sensitivity to their own and others' development as the course proceeded. Secondly, it gave them an opportunity to communicate openly in reflective shared experience about their feelings and confidence over the task. Thirdly, it gave me ongoing feedback and thoughtful reflection as to the personal meaning they were gaining from the dance experience.

Challenges for the Students

Apart from signing the ethics form to allow me to carry out the research the students seemed to be oblivious to anything happening outside their ability to participate in the course. They occasionally checked if I was making progress, if my research was on track, but were mostly too involved in the dance.

Whereas I had been traumatised by the video camera, it caused the students little concern. The only time their comfort zone appeared to be in question from this was in checking the effectiveness of the video recordings when preparing for assessment. As they observed their work in progress on the video screen, they commented on the fact that it never looked how it felt. Their emotional vibes were not clearly visible or easily recorded on film, unless the camera was directly involved with the dancer. For some students this tended to dampen their enthusiasm as the dance did not look as expressive as it felt !

To complete the research process, I interviewed a small group of students at the completion of the course to add to my understanding of the phenomenon being studied. The student response made me realise the value of being a participant observer as there was no shyness or nervousness, they were very open and frank in their responses.

I believe that the students were going through the same process in learning the dance as I was in learning the academic process of research. We all progressed in our own time through the encouragement and support of our peers and our teachers and supervisors. We all seemed to be on our own personal journeys, seeking help when feeling less confident and taking risks to seek further progress when feeling positive. The comfort zones were always being stretched wider.

The personal pedagogical skills I brought to the dance experience extended and challenged student behaviour and response. I encouraged them to accept that they were not competing with anyone but themselves, and that the focus was to work to fully realise their own potential through the medium of dance.

Throughout the study, I observed the value of dance for the students became an unfolding, educational experience, constantly challenging themselves to become stronger dancers and to succeed in this artistic endeavour. These experiences opened a vital learning process that saw students weave inner visions of imaginative creative thought, endowed with their own deep feelings, into expressively choreographed dance performance. This was all recorded, evaluated, reflected upon and openly discussed in class as to its value and success. All this information was collected for my research.

The purpose of this kind of disciplined analysis was to make clear the essence of the phenomenon of dance experience for this group of students on this dance course. The analysis process took a number of weeks due to the intensive inter-weaving of the data, building the codes, working with a coding system to build a model where the codes fitted together to give an understanding of the phenomena.

I had to identify the patterns of meaning, allowing for interpretation within the context of the setting. I had to withdraw from my multiple roles and move into the one role of the researcher. To achieve this challenge I had to peruse all the information with an empathic neutrality to see the experience for itself, suspending any judgement ( Patton, 1990).

The tensions of the research analysis were minor compared to the writing of the findings. I found it hard and frustrating to write the findings of a very meaningful teaching experience at an academic distance, in a detached mode. The experiences of the students had been very powerful as a quote from a student, Miriama illustrates:

I had to try to write of similar experiences within the rigour of academic scholarship, whilst leaving mine and the students' integrity intact. I found difficulty in trying to write of the students’ spiritual and intuitive experience that really can only be felt by 'being there.' I struggled to find academic wording that was appropriate. Dance is a very visual, sensory discipline and the students words expressed that, as seen in Miriama’s response. However, using words like 'mind-body harmony,' 'self actualisation,' 'feeling the vibes' etc. was unacceptable to ‘the system’. My supervisor was equally frustrated as she was struggling to keep my academic self esteem afloat. I was advised to write that " it seemed that the students felt ... ? " or " it appeared that the students showed ...." I had to prove that I was academically capable of writing scholarly work.

I was not able to submit any of my thirty hours of video-tapes which I knew would have visually supported my comments.

I accepted the decisions offered to me and wrote my findings in the academic style requested in order to fit the examination process. I had to fit 'the system,' but agonised inside of having to 'distance myself' from the experience. However, when later, my marker questioned my conviction of my research findings as being a little indecisive, my comfort zone with the research process crumbled.

It would seem that a learning process emerged from the dance experience that influenced the students' development at different stages throughout the process in a spiral effect. The starting place on the spiral was at different levels according to previous experience. It was a journey of many contrasting experiences, of many risks and stepping stones. As the diagram shows, at the onset of the course, the self concept of each individual initially seemed tightly coil-like, the tension of which was gradually released and opened outwards, as self confidence increased and movement competence became more skilful.

Students took from the dance experience a deep understanding of personal meaning, of emotion, sensory perception and identity re-enforcement. The findings indicated, that self doubts can exacerbate dance movement incompetence and that self assurance can increase dance movement competence. Because emotions intensified as the dance movement work became more personalised, the whole experience became more meaningful to the students.

Strangely, I could add the same process occurred for me in the research study. I slipped back and forth in the same way as the students did in gaining dance confidence. My spirits lifted when my work was fine, but dropped just as quickly when I saw more pencil appear on my draft copies. We were all very reliant on the pedagogical influence in this combined learning experience.

My pedagogical influence in the dance course allowed the students to develop at their own pace, within a holistic learning experience of dance education. I acknowledged the necessity of meeting individual needs and differences and catering for prior learning and different ability levels.

Throughout the course there was a gradual transfer of my pedagogical influence from one of active involvement within the class, to a passive involvement, as the students became agents for their own learning. The pedagogical structure I had devised to start the course, gradually disintegrated, as the pedagogy became more dynamic in response to the students’ needs and abilities.

There was value to be gained in the sharing of the power of learning, accepting challenge, enriching the experience with combined energies and knowledge within the freedom of the dance experience. Within the pedagogical relationship there was a belief and respect for each other's values, beliefs and knowledge and an enrichment of the experience with a love and passion for the dance.

Above all, the students realised that they were unique individuals and needed to feel proud of this. My research study showed that where there is freedom within the pedagogical relationship to question one's own beliefs and values, there can be meaning and understanding gained from the experience.

I discovered this new dimension of self knowledge for me too. I was fortunate to have a supervisor who supported me, challenged me, took me out of my comfort zone, and helped me apply some courage to challenging my teaching methods and my philosophy,

I realise that now I have a greater belief in my teaching and more confidence in my own teaching philosophy. What is possible to achieve through the dance experience, can now be even more focused, adding more challenge to the students’ creative endeavours. The values to be gained are so important to life.

In discussions with my research supervisor afterwards, the challenge of aesthetic research presentation has to be addressed. We have realised that there are times when the written word is sometimes not quite appropriate. A visual presentation can offer more than words can say. This fact has to be and can be remedied for future dance research. I have already made inroads into this aspect. I believe that technology has the answer. Since I completed my thesis I have taken excerpts of the students’ dance from the course and added student commentary to visual image. Immediately there was evidence of the new sense of meaning portrayed.

The issues that arise are mainly protecting the participants intellectual and cultural property rights. I believe these problems arise more when the results of the research go through the examination process, especially for a higher degree. This support can be discussed with the supervisor and the Institution 's ethical channels. The need is to find a way to express more explicitly, more openly, the results of visual, sensory experience in the same mode..

I reach these conclusions as a result of my own research experience, which incidentally was successful, in grading too. However, for future researchers in this wonderful area of work, go to it now, as I have pushed the boundaries to have sensitive, meaningful aesthetic experience more accessible to research.

My personal journey in learning the academic process was closely linked to the same journey that my students experienced in dance performance. The following statement of creativity belongs to both myself and my students from a shared experience.

Bouma, G.D. (1996). The research process. Hong Kong: Oxford University Press.

Maykut, P. & Morehouse, R. (1994). Beginning qualitative research-A philosophic and practical guide. London: Falmer Press.

Patton, M.Q. (1990). Qualitative evaluation and research methods (2nd ed.) London: Sage Publications.

Strachan, J. (1993). Including the personal and the professional: researching women in educational leadership. Gender and Education, 5 (1), 71-79.

Yoder, L. J. (1993). Co-operative learning and dance education. Journal of Physical Education, Recreation and Dance, 64(5), 47-51.