Kolb’s Learning Cycle & Me...

Thanks to the BAPP course, this is my first introduction to Kolb and his learning cycle. He has identified four separate phases with the general label of ‘learning’, but the fascinating concept for me is that a learning experience can start at any point within this cycle. This will depend on the individual’s preferred method of learning, but also on the event itself. I have kept myself very entertained by applying this cycle to many of my past learning experiences! I have found that one cycle of learning often leads straight into another, and also that many cycles can take place simultaneously, all contributing towards one key learning episode.

Fig 1. Kolb’s Learning Cycle

Source: www.ldu.leeds.ac.uk/.../kolb/static_version.php

To further illustrate Kolb’s cycle I will apply it to a prominent learning curve in my own life. As noted, there will also have been many ‘mini-cycles’ happening concurrently, all contributing to the cycle that I am focusing on.

My chosen Concrete Experience took place in January of last year, when I toured to Japan with the Birmingham Royal Ballet. Two other Elmhurst students and I joined the company for their three week tour, performing in Peter Wright's Coppèlia and David Bintley’s Beauty & the Beast. We had rehearsals for about a month prior to the tour, before flying out to Tokyo on New Year’s Day. The tour took us to four different theatres, two of which were in Tokyo; one in Osaka (Japan’s ‘second city’), and one by Lake Biwa, Kyoto. The whole experience was so exciting and eye-opening for me, on many different levels. The opportunity to dance alongside such accomplished dancers, and to such receptive audiences, combined with the thrill of experiencing a completely different culture to our own, proved to be an unforgettable experience.

As you can imagine, a great deal of Reflective Observation took place as a result of this opportunity, and if I’m honest, still does even now! So many elements of the tour were a new experience for me, so I had plenty of reflecting to do in order to process and learn from them all. From a career point of view, it had been my first taste of a foreign tour with a company, and only my second experience of dancing in one of BRB’s productions. In terms of personal experiences, there were plenty of firsts there too: visiting the Far East; seeing the sights of Tokyo; authentic Japanese cuisine, and navigating Japanese public transport, to name but a few! During the tour I kept a journal, eager to retain as many details as possible. This enabled me to review my experiences during the tour itself, but also to continue reflecting upon them afterwards. Upon returning to the UK I was asked to write an article for The Dancing Times, based upon the tour. This was an additional opportunity to reflect upon my experience, however this time in the mindset of a journalist. Through writing an article based on an episode in your life, one can also provide readers with the opportunity to reflect upon, and therefore learn from, your findings.

Abstract Conceptualisation was a process that took place both formally, through writing about the tour, and subconsciously, as a result of thinking over my experiences. As a dancer, I had learnt how to improve my technique through daily classes with the company; and also how to cope with the pressure of performing to large audiences in a significant tour. As an artist, I had learnt further techniques in terms of stage make-up and hair, as well as the backstage policies within a leading professional company. As an individual I had learnt from being part of a group of fellow dancers, teachers, directors, musicians and stage-crew. And finally as a tourist I had learnt so much about a country so different to my own, as well as gaining a stronger sense of independence from living and working there for three weeks.

I was eager to put all of these elements into Active Experimentation as soon as possible. When you experience something that you personally feel you have gained a lot from, to put what you have learnt into practice is your way of proving to others around you that you have grown as an individual. Almost as soon as I arrived back from Japan, I was into the run of auditions and assessments that come with being in your graduate year of college. This provided me with the perfect occasion to put what I had learnt on tour into my work as a student. In my annual ballet appraisal that February I was keen to apply the corrections in technique that the teachers and dancers at BRB had passed onto me, hoping to show a marked improvement in my dancing. As well as striving to improve the way I danced, I also applied this method of active experimentation to my appearance. When attending an audition I would remember outfits that the company dancers had worn when deciding upon my own. I would also strive to emulate their behaviour and presence in the studio. Overall, I was trying to use my taste of company life to my advantage, hoping to give the impression of a young professional, rather than a student, in my auditions.

These were aspects of my learning experience that I could apply instantly; others had to wait to be put into practice. Techniques in performance and stage make-up helped me in later performances at Elmhurst; and I could apply my education in working for a company to the UK tour that I joined BRB for that spring. Unfortunately the closest I have come to applying my knowledge of Japan has been to cook a couple of Japanese dishes at home! I sincerely hope that someday soon I can re-visit the country that offered me so many new experiences, and enter into a second lap of my Japanese-Kolb learning cycle!

A Proper Hello :)

Well, I've finally got round to subscribing to all the blogs of my fellow 'BAPP's' ..if that's a good enough title for us?! I'm very impressed by the broad collection of skills, experiences and passions that we have as a group, and am really excited about getting to know all of you more over the coming months. At present, I have a 40-strong list of talented people in front of me, so forgive me if it takes a while to get to know everyone individually(!) Nevertheless, I am looking forward to doing so, and wish everybody the best of luck for the course :)

Links of Interest

So, we’ve been asked to provide some information about a couple of our interests here on our blogs. Our handbook prompts us with “What gets you motivated? What gets you interested and excited?” My first example matches these criteria perfectly as, for me, she represents a number of factors that both interest and motivate me. Ladies and gentlemen... Edith Piaf.

Edith Piaf (1916-1963) is one of France’s most celebrated singers. She was highly successful around the time of World War II, but her music remains just as popular today in France, as well as in other countries across the world. Despite being small in stature, her voice had remarkable power, and the emotions surrounding her tragic life story were portrayed in many of her songs. Perhaps the most famous of her songs are ‘Non, Je Ne Regrette Rien’ and ‘La Vie En Rose’, but she has a collection of seemingly hundreds of songs, most of which are sung with deep emotion, and some with a more light hearted touch. In recent years, many have become familiar with Piaf through Olivier Dahan’s biographical film La Môme (or La Vie En Rose as it is titled here in the UK), a film that has won two Oscars and four Baftas for its moving portrayal of her life.

But why is Edith Piaf so special to me? I stated above that she encompasses more than one of my interests, which are as follows...

The French Language. Like many others, I studied French at school, firstly at GCSE level, and then progressing through to A Level. It was always one of my favourite subjects, not only due to the challenge of learning a foreign language, but also because I was fascinated by French culture. Fortunately, I have since been able to continue developing my grasp of French language and culture, as I have both lived and worked with French people since leaving school. It was during my second contract that I was introduced to the beauty of Piaf’s songs, which leads me to another passion that she embodies for me...

New English Contemporary Ballet. My first season with my current company is one that I have deeply fond memories of. Because it was during this time that I first came across Piaf’s music and the film La Môme (thanks to my lovely French friends), I can continue to listen to her songs whilst enjoying the personal memories that they conjure up for me.

Learning has always been one of my passions, and Piaf’s music provides me with the perfect opportunity to entertain this. Because the lyrics are in French, and often complex, I have taken to looking up the words to my favourite songs online. I find it easier to read through them at my own pace, enabling me to develop an understanding of each song’s message. I will also admit to having learnt some of the lyrics off by heart! Currently, there are five of my favourite Piaf songs that I know in full...

-Milord
-A Quoi Ca Sert L’Amour
-Non, Je ne Regrette Rien
-Padam
-Les Amants D’Un Jour

..and next on my list are Mon Dieu and La Foule, two contrasting but equally beautiful songs.

And lastly: Performance. I am a firm believer that, no matter how technically accomplished you are as a performer, without sentiment and artistry in your work (be it dance, music or otherwise) the audience will not be moved to the degree that they should be. For me, the measure of a great performer is how much atmosphere they can create. They should be able to alter the ambience within an auditorium, leaving the mood that they are trying to portray impressed upon their spectators. Whilst this is something that I strive for as a dancer, it is a trait that I recognise, and deeply admire, in Edith Piaf.



Above is some footage of Piaf singing Mon Dieu. This is a very heartfelt song, as it was written with regard to the love of her life, Marcel Cedan (pictured at the beginning), who tragically died in a plane crash, en route to visit Edith.

******

Now, it has taken me a while to decide upon my second topic of interest. Evidently, dance holds top spot on my list of passions, but I have chosen not to use it for this particular task. It will inevitably feature heavily in my blog, so I thought I should use this opportunity to add a little variety to my entries!

A big interest of mine is the Olympic Games. I love watching television coverage on a wide range of the events, in particular: athletics, swimming, cycling and gymnastics. I am therefore very excited about the 2012 Games coming to London, and hope to be able to work as a volunteer during this time.

My favourite event, though, has to be figure skating. I find the beauty of this ‘sport’ (I regard it more as an art-form) simply breathtaking. I am enthralled by the combination of artistry and strength that figure skaters achieve. They match the elegance of a dancer in their movements, but must also have the fearlessness of a racing driver –so fast is the speed that they move across the ice.

Below is a montage of professional figure skaters, sourced from YouTube. It showcases many of the impressive skills that skaters must include in their competitive routines, such as multiple turns, or heart-stopping lifts in the case of those skating as a pair. I must compliment the user (under the name of ‘vocalise’) who composed this montage. The synchronisation of the footage and music is delightful!



I cannot post a blog entry on figure skating without mentioning the incredible Jayne Torvill and Christopher Dean. Their run of international success as figure skaters during the 1980’s & 90’s raised considerable awareness of the sport, and continues to inspire people today. In recent years Torvill and Dean have further raised their profiles in Britain through their key involvement in the television series ‘Dancing On Ice’. On my blog, however, I wish to take you back to the height of the duo’s sporting career, with their Gold medal winning performance of Bolero in the 1984 Winter Olympics...

Three Inspirational Individuals...

1. Lance Armstrong

Lance Armstrong is my absolute hero. Period. I personally feel as though he alone counts for all three of my ‘inspirational individuals’! Most people today are aware of Armstrong and his story, but just to be sure I shall run through the details that make him such an admirable athlete and human being.

Armstrong’s greatest achievement as a professional cyclist has been to win Le Tour de France, which is universally known as the toughest cycling race there is. It is classed as one of the most challenging sporting events on the planet, with its competitors enduring 21 days of racing over a 23 day period, covering a staggering 2,200 miles in total. Riders face individual ‘time-trials’ (cycling solo as fast as they can for around 30 miles) as well as days spent cycling through the Alps and the Pyrenees, usually for 5 or 6 consecutive hours. (The total elevation of the mountain stages of a Tour is equal to climbing three Everest’s!) Cyclists who complete a Tour can only be described as super-human, so punishing is the training and competition that they endure. In illustration of this, four cyclists have tragically died whilst competing in the Tour.

Clearly, to complete the Tour de France is an exceptional accomplishment; to win it is prodigious. Armstrong has won it not once; not five times (the long-standing record for number of victories); but SEVEN times.

However, this unparalleled sporting accomplishment is overshadowed by another feat of Armstrong’s. The battle he fought against cancer. At the age of 25 he was diagnosed with stage three testicular cancer, a cancer that had also spread to his lungs, brain and abdomen. Fortunately for Armstrong, the months of vigorous treatment proved to be successful, despite his survival chances being less than 40%. Almost immediately, Armstrong launched himself back into training, with the aim of reclaiming his career as a professional cyclist. Many of those around him –medics, cyclists and friends- did not believe that Armstrong would be able to return to his former standard of cycling after such an aggressive treatment schedule. So to surpass his former achievements, and become arguably the greatest cyclist of all time, proved an incomprehensible triumph.

I am sure you can see why I find Lance Armstrong such a fascinating individual. I greatly admire his total disregard of odds and probability. I have learnt through his life-story that if you have a goal, perseverance and a lot of fighting spirit will go a long way. It is not always helpful to study the chances you have of reaching your aim; Lance proves that these can often be overcome with the right mentality.

I frequently re-read his two autobiographies: It’s Not About the Bike and Every Second Counts for inspiration within my own life. Whilst learning of such extreme levels of determination and self belief, it is inevitable that the reader will set down the books with a renewed sense of motivation for their own personal quests, be they cancer-related, sport-related or otherwise.


2. Deborah Bull

Deborah Bull and Darcey Bussell share many common factors. They are of a similar age; both trained at The Royal Ballet School, and both progressed to principal dancer status with The Royal Ballet Company. They even share the same initials.

Darcey Bussell, however, is the one that everybody knows and admires. I too have great deal of admiration for Darcey; but it is Deborah whom I have chosen to write about here.

Bull’s dance career has been an impressive one in its own right, her repertoire ranging from traditional classical roles, to her celebrated performances in neo-classical works such as Forsythe’s Steptext. But Bull has many more strings to her bow than her abilities as a dancer. She has embarked upon a wide variety of projects that, whilst being linked to dance, have proved her to be a highly intelligent and multi-talented individual. Bull has written or co-written a number of books, as well as frequently offering her skills as a presenter, often for Royal Opera House performances that are broadcast on television. Admirably, Bull has shown a keen interest in politics, campaigning for better funding within the arts and creating an ‘Artist’s Development Initiative’ at the Royal Opera House. For me, Deborah Bull is proof that a career in dance is not the be all and end all, but that there are plenty of ventures that can stem from it.


3. Matthew Bourne

I just love the concept of Matthew Bourne’s company ‘New Adventures’ – creating and performing full-length dance works with a unique theatrical emphasis. Bourne himself has choreographed some of the most successful works of or time, including Edward Scissorhands, The Car Man, Dorian Gray, and, of course, his globally recognised all-male Swan Lake. Bourne has won no fewer than five Olivier Awards, and his works regularly delight audiences across the UK, Europe, USA and Australia.

The aspect of Bourne’s work that I most admire is the theatrical element involved. When you go to watch a New Adventures production, you know that you will be experiencing more than just a ballet. In fact, you come away from the theatre feeling as though you have witnessed a ballet, musical, play and film, all rolled into one! Bourne does not merely choreograph steps to a score of music; his work has so much depth and attention to detail. For instance, at the start of his choreographic process Bourne will often involve his dancers in a series of workshops, encouraging them to explore and develop the characters that they will be taking on in the production. This idea of cultivating a background for the character you will be playing is a popular technique used by actors, and contributes enormously to Bourne’s focus on drama alongside dance. Further techniques that Bourne employs include an extensive use of props; frequent incorporation of sets and scenery within dances, and meticulous attention to detail in terms of costume –even as far as styling the dancer’s hair to match the era that a piece is set in. The combined result of these factors is to make the audience feel totally immersed in a performance, and is what gives Bourne’s work that distinct edge over many other contemporary choreographers.



Above is a clip of Bourne's The Car Man, my favourite of his works to date. Note how much detail there is to be found in the sets and costumes, not to mention the standard of acting shown. It is easy to see why Bourne's work lends itself so well to camera too.

My 5 Primary Resources as a Dancer

1. Dance Europe Website (danceeurope.net)

This website has proved invaluable to me during the times that I have been looking for work. In the ‘Auditions and Jobs’ section of the site, company directors and choreographers can post audition notices on a monthly basis. As it is a reputable and widely-used website, a vast majority of the auditions taking place are guaranteed to be advertised there. It is therefore the first place that I would go to look for any upcoming auditions, and it is far quicker than searching each individual company’s website! Danceeurope.net also offers film and book recommendations; the opportunity to buy an online version of its monthly magazine, as well as providing information on performances, events and training.

http://www.danceeurope.net/


2. Dance Europe’s Guide to Dance Companies

This little A5 book was the first item that I bought as I entered my graduate year at school. Faced with the daunting prospect of finding a company that would employ me as a dancer, this pocket-sized book became my primary tool. It simply contains a list of professional dance companies across the world, categorised by country and arranged alphabetically. For each company that appears it provides a website address and contact details, alongside key information such as repertoire, number of dancers, and average performances per year. Through this compact but informative guide, I was able to assess which companies would be suitable for me, then proceed to their websites to research them further and look out for audition opportunities. Many companies in the book I had not previously come across, so it helped enormously in expanding my personal database of places I could work for; therefore increasing my chances of acquiring that all-important job!

Dance Europe’s Guide to Dance Companies is republished every two years, to incorporate any new companies and update existing information as necessary. It can be ordered through the Dance Europe website (see above), should any of you be interested!

3. Facebook - much more than a place to poke friends and nosy through photo albums!

The beauty of Facebook is that it can be used in whichever way suits you. Some log in purely to keep up to date with their friends, whereas others set up their profiles meticulously, then using it as a tool to network and promote themselves. Whist I lean towards the former, I do find Facebook very useful when it comes to keeping up to date with the dance scene. My network of friends includes those I have trained with; those I have worked with, plus plenty of other artists and acquaintances I have met along the way. It is brilliant to know that all of these people are only a click away, should I ever need their help or advice, or to take advantage of other contacts that they may have.

4. The Dancing Times

This monthly magazine proves a popular read for many dancers, teachers and directors. It provides reviews on many of the current performances in the UK, as well as giving an insight into those happening abroad too. Each edition is bursting with articles and interviews, on topics ranging from dancer well-being to company funding, and everything in between! The Dancing Times uses an extensive selection of writers, some working solely for the magazine, but with many articles coming from teachers, dancers and directors currently working within the industry. It is therefore a highly accurate, and up to date, documentation of the world of dance. It is for me, and many others besides, a very entertaining and thought-provoking monthly read.

5. Ballet.co.uk

Ballet.co.uk is a fantastic online database of “all things ballet and dance in the UK”. Posted on the website are many articles, interviews and photo galleries, which surface on a regular basis. The most interesting aspect of the site for me, though, is the extensive selection of forums available. Forums exist for all of the leading companies in the UK, as well as being created for performances and tours that are currently taking place. Anybody is welcome to leave their comments, resulting –in many cases- in an insightful collection of reviews and comments for current productions. As well as occasionally inspiring me to see a particular production, the great benefit I find in reading these forums is that I can be consistently informed of the UK’s dance scene, without having to attend every performance going! It would be highly unpractical, hugely expensive, and pretty much impossible to keep up to date with all of the performances, new choreographies, and up and coming dancers within the UK dance scene at any one time. Fortunately, ballet.co.uk’s extensive pool of users are able to keep one another updated through contributing individual views and experiences.

http://www.ballet.co.uk/

About Me...

I’m Laura and I work for a company called New English Contemporary Ballet, under the direction of Niall McMahon. It is a relatively new company, with the aim of exploring a “contemporary direction” through classically-trained dancers. NECB “encourages its dancers to travel beyond the traditional boundaries of [our] art form, and asks [us] to perform as solo artists capable of accepting a wide range of physical and stylistic challenges”. There is always a great deal going on here, with an NECB school now in its second year, plus a second company ‘NECB2’ for recent graduates, that launched this September. I will always update my blog with any performances/events that are coming up, as I would love some of you to come and see us perform if you are interested! In the meantime though, please feel free to take a look at the company’s website: http://www.newenglishcontemporaryballet.co.uk/ to find out a bit more about us.

So that’s my life as it stands today, but I will write a little about my training too as –at twenty years of age- it is still a big part of who I am. I trained full-time from the age of eleven, at Elmhurst School for Dance in Birmingham. I recall having always loved dancing, but still don’t quite know why I wanted to leave home at such a young age to pursue it as a career! I didn’t fully understand at the time just how life-changing a decision I had in my hands. All I know now, though, is that I would not have changed my eight years at Elmhurst for anything! I had such great experiences there, and relished in both the training and the independence of living away from home. I am also very grateful to have found work as dancer since graduating. Had I known just how few of us starting out at Elmhurst would continue all the way to a career in dance, I would probably have run as fast as possible back to my home town and straight into a regular secondary school! But here I am, having gone through many highs, just as many lows, and an obscene amount of hard work and dedication... all of which will certainly continue throughout my career!

I hope you enjoy my blog as it develops over the coming months!...

CV

D.O.B: 06/06/1989
Height: 170cms
Nationality: British citizen; current British passport holder


Training: Elmhurst School for Dance in association with Birmingham Royal Ballet (2000-2008)


Employment:

New English Contemporary Ballet

2009 season:
Adrift in Softness –Patrick Delcroix
In C Sharp Minor –Davide Bombana
Ctrl-Alt-Delete –Jamie Thomson
S(c)ent -Richard Wherlock

Ballet Ireland

2008 season:
Swan Lake (Swan; Court; Russian)
10th Anniversary Gala (various)


Further Stage Experience:

Birmingham Royal Ballet UK tour 2008:
Dante Sonata (Child of Darkness)
Elite Syncopations (Dancer)

Birmingham Royal Ballet Japan tour 2008:
Beauty and the Beast (Bird of the Air)
Coppélia (Czardas; Mazurka; Dance of the Hours)

Birmingham Royal Ballet Christmas season 2008:
The Nutcracker (Snowflake; Waltz of the Flowers)

Birmingham Royal Ballet Autumn season 2007:
Edward II (understudy)
Daphnis and Chloë (understudy)

Elmhurst School Production 2007
Symphony Hall, Birmingham & Elmhurst Studio Theatre:
A Midsummer Night’s Dream (Hippolyta)
Violin Concerto

Opening Ceremony of the European Indoor Athletics Championships 2007
National Indoor Arena, Birmingham

Elmhurst School 2006
Royal Command Performance for TRH the Prince of Wales and the Duchess of Cornwall


Additional Dance Styles Studied:
Contemporary, Jazz (range of styles), Character, Tap, Spanish, Irish

General:
- Royal Academy of Dance Major Examinations:
Intermediate; Adv. Foundation; Adv. 1; Adv.2
(All Distinction)
- Head Girl at Elmhurst School for Dance
- Awards for Acheivement in Performance (2004) and Most Versatile Dancer (2004 & 2008), Elmhurst School
- Languages: English (native) ; French (advanced)

Additional Interests:
- Dance Journalism
- French Language and Culture
- Teaching (of both dance and academics)
- Sports
- Travelling

Career Aims:
- To work extensively as a dancer, using both classical and contemporary techniques
- To peform in many countries around the world
- To work with a diverse selection of choreographers
- Post-dance: to train to become an academic teacher
I am currently studying for a BA(Hons) in Professional Practice,
which will enable me to undergo the year of teacher training
required.