From my experience I can relate Kolbs styles and methods of learning through my class warm ups commencing my acting and dancing workshops. Kolbs ideas apply to everyday experiences which we can analyse and enhance by applying past experiences and knowledge from our own teachings( reflective observation). We subconsciously pass through new situations where we make use of our own education in past circumstances (concrete experience). By taking a moment to examine what is happening throughout the teaching of professional dance, can enable us to develop and improve our techniques and methods in applying our work (abstract conceptualization and active experimentation).
Dance Warm-ups.
Concrete Experience.
When preparing a class warm up I take into consideration health and safety concerns. I have a sound knowledge of this in dance and a full understanding of the severe outcome if it is not taken seriously. Many of my own experiences in training and injuries due to insufficient warm ups at stage school and auditions have taught me to prioritise to avoid bad results. Whilst at stage school I suffered with a knee injury due to a lack of warming and stretching the muscles so I have a deeper physical understanding of the importance of a thorough warm up. By attending different dance classes I have learnt a number of unique exercises to limber each limb and muscle of the body.
These past events can be viewed as concrete experiences because they hold no emotion and they have actually happened in my past. They will contribute towards my active experimentation because they hold techniques I can apply to future references. With this understanding I approach the stage of Kolbs theory of Reflective Observation.
Reflective Observation.
In past experiences when reviewing and assessing warm ups I discovered that I suffered injury when I proceeded with a halfhearted warm up . I found that bouncing movements to stretch can force too much pressure on the muscles. This can lead to injury and therefore the stretch should be held and worked from the head down to the toe. In past classes I discovered that where a warm up was absent so was my motivation. Therefore I was disappointed with myself for not reaching my full potential in the session.
When the warm ups were structured in a set routine with certain pieces of music set to them, it excelled my performance and made the lesson more enjoyable.
Abstract Conceptualisation.
From the Reflective Observation I discovered that certain changes in my past warm ups can enhance my students progress and benefit their learning.
When reviewing and assessing past warm ups I discovered that starting with slow and gentle stretching exercises will prevent any muscle tear or injury and warming the body will cause the muscles to become more agile creating a safe manner of exercise.
If I set several pieces of music to the warm up with a routine that the students will eventually become familiar with, they will not only adopt a safe way to prepare for performances but also develop a sense of performance. I am currently constructing a questionnaire to support my idea that warm up requiring performance enhances the students work and is more enjoyable. Doing this I can conduct a warm up that is more suited towards my students interests.
From this I have displayed how past experiences can contribute to my teachings today and how, through constructive criticism, I can set exercises that will benefit the class.
Active Experimentation.
From all the stages of kolbs theory I have learnt how to compose a range of exercises and beneficial stretches. I put these in to practice at the beginning of each dance workshop and although I have learnt via my own experiences I am still learning new techniques and methods each day to enhance my teaching. I start at the head doing sustained neck stretches through to strengthening the ankles. My usual warm up regime is as follows:
Dance Warm-ups.
Concrete Experience.
When preparing a class warm up I take into consideration health and safety concerns. I have a sound knowledge of this in dance and a full understanding of the severe outcome if it is not taken seriously. Many of my own experiences in training and injuries due to insufficient warm ups at stage school and auditions have taught me to prioritise to avoid bad results. Whilst at stage school I suffered with a knee injury due to a lack of warming and stretching the muscles so I have a deeper physical understanding of the importance of a thorough warm up. By attending different dance classes I have learnt a number of unique exercises to limber each limb and muscle of the body.
These past events can be viewed as concrete experiences because they hold no emotion and they have actually happened in my past. They will contribute towards my active experimentation because they hold techniques I can apply to future references. With this understanding I approach the stage of Kolbs theory of Reflective Observation.
Reflective Observation.
In past experiences when reviewing and assessing warm ups I discovered that I suffered injury when I proceeded with a halfhearted warm up . I found that bouncing movements to stretch can force too much pressure on the muscles. This can lead to injury and therefore the stretch should be held and worked from the head down to the toe. In past classes I discovered that where a warm up was absent so was my motivation. Therefore I was disappointed with myself for not reaching my full potential in the session.
When the warm ups were structured in a set routine with certain pieces of music set to them, it excelled my performance and made the lesson more enjoyable.
Abstract Conceptualisation.
From the Reflective Observation I discovered that certain changes in my past warm ups can enhance my students progress and benefit their learning.
When reviewing and assessing past warm ups I discovered that starting with slow and gentle stretching exercises will prevent any muscle tear or injury and warming the body will cause the muscles to become more agile creating a safe manner of exercise.
If I set several pieces of music to the warm up with a routine that the students will eventually become familiar with, they will not only adopt a safe way to prepare for performances but also develop a sense of performance. I am currently constructing a questionnaire to support my idea that warm up requiring performance enhances the students work and is more enjoyable. Doing this I can conduct a warm up that is more suited towards my students interests.
From this I have displayed how past experiences can contribute to my teachings today and how, through constructive criticism, I can set exercises that will benefit the class.
Active Experimentation.
From all the stages of kolbs theory I have learnt how to compose a range of exercises and beneficial stretches. I put these in to practice at the beginning of each dance workshop and although I have learnt via my own experiences I am still learning new techniques and methods each day to enhance my teaching. I start at the head doing sustained neck stretches through to strengthening the ankles. My usual warm up regime is as follows:
Basic Warm Up Schedule.
- Basic Isolations- warming and stretching the neck, shoulders, ribs, hips, legs and ankles.
- Arm co-ordination routine- warming the arms muscles and arm joints.
- Leg stretch combination- stretches all the muscles in the leg.
- Sitting in Straddle position- Hanging over the leg and holding the body over centre, strengthening the hips.
- Stomach Exercises- lying on the back, lifting the legs and chest to form a "V" position. Lying on back, lift to sit at 90 degrees with a straight back. lower body over legs, resume back to straight back and lower back back to lying. A wide range of sit ups. All stomach exercises strengthen back and stomach muscles improving basic posture.
- Plank- with body weight being lifted and sustained off the ground by support from the feet and lower arm. Tones body all over and develops core strength.
- Press ups.
- Side stretches- whilst standing, stand astride with the hands behind the head and lower body from side to side at a range of speeds and motions. Develops strength down the side of the body and helps enhance the abdominal muscles.
My set warm ups change and are varied from session to session depending on the capability and performance standard.
This has taught me to instruct a thorough warm up lasting around twenty minutes, long enough to warm the entire body but not to exceed the class time to learn new techniques.
The following website has helped me design my workshop warm ups and given me ideas towards other techniques and routines for my classes.
http://dance.about.com/od/stepsandmoves/qt/Self_Warm_Up.htm
http://dance.about.com/od/stepsandmoves/qt/Self_Warm_Up.htm
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