During the Spring of 2021 I was provided the opportunity to delve deeper into my practice as a Ballet instructor in Research Methods in Art Education 7200.30. Led by Dr. Ruth Smith, I was presented with an overview of research methodologies, that prompted me to investigate,
What can the experiences of studio instructors inform us about Balletic practice when teaching a vast demographic of students; how specifically does students' engagement change if one amalgamates tools through diverse socioeconomic lenses?
A question that stemmed from a concern that initiated from an observation I conducted between two Recitals. I identified how student engagement escalated during Recital B instead of Recital A through a series of reflections. Guided by Dipesh, (n.d) I incorporated visual ethnography in the form of student pictorial dance work. That supported my thick description; concluding, had I been much more conscious of the cost of students' performance garments recreating historical renditions of Ballet repertoire I selected, I could have made the appropriate modifications, creating class activities. That would have actively engaged all students through their rehearsal process by acknowledging my teaching environment. My experience prompted me to inquire further on the experiences of other educators in the field. Inquiring specifically, how cost affects practice, and what adaptations they have had to make, making the Balletic Arts much more equitable, which the selection of literate I was most impacted by this semester helped outline. For instance, Buffington and Wilson's (2013) text, Practice Theory: Seeing the Power of Art Teacher Researchers, primarily served as a guide on conducting a qualitative study. The specific Chapters, such as Four, first aided me in identifying my paradigm. Chapter Six helped me address how my paradigm would assist me in selecting an appropriate methodology. Lastly, Chapter Twenty-nine, an illustration of a narrative inquiry study, explained how if I were to chose to incorporate the narrative of others in my research (including myself), Narrative Inquiry as a methodology would give me the appropriate vehicle to do so. Having a limited research background, chapter four of Working in Analytic Modes guided each step on analyzing the data I had collected in the form of emailed questionnaires, follow-up interviews, transcriptions, and notes. Exhibiting a clear overview of how researchers code. Such as, how to identify themes, patterns, and connections that assists and moves forward the writing process.
Buffington, M. L., & Wilson McKay. S. Chapter 4: Paradigms and Research. Practice Theory: Seeing the power of art teacher researchers. Reston, VA. National Art Education Association. pp. 25-36
In this chapter, the authors argue that “the theories that guide [ones] teaching and worldview will [most] likely guide [ones] research” (p.25). Thus, providing how paradigms “describe a theoretical or conceptual framework [and function] providing [researchers the ability to present] an in-depth discussion of the theories that underpin their research (p.25). Paradigm, better known as one’s positionally, is “related to [the] concepts of truth and knowledge and or explanation of the creation of [ones] conceptual framework based on inquiry” (p.25). Cautiously one is advised that “aspects affect how [one] view[s] the world[.For instance] our ‘truths’ [can be,] gender, race, sexual orientation economic status, religion, ethnicity, language, geographic status, and experience” (p.28). Which ultimately functions how one formulates ones: Epistemology (values related to knowledge), Ontology (truth), and research (methodology) are. The most informative section of this literature is the descriptive review of Paradigms and how to construct research when researchers position themselves in them. First, when researchers position themselves as a Positivist/Post-positivist, they “believe that reality is discovered through carefully formulated experimental work[. They will] design [for example,] experiments [that] test hypotheses to determine cause and effect. Research that falls in this paradigm focuses on measuring and quantifying data[and is] usually plan[ed] entire[ly] before [one] begin[s] any type of data collecting” (p.28). Secondly, researchers who align within Critical Theory, are “concerned with social change and issues of power [.] Decisions about what to research and how to conduct research are motivated by the desire to work with research participants to improve their lives. Much like Constructivists, they are interested in “understanding meaning-making and worldview of those being researched” (p.29). Constructivists, lastly, believe “truth(s) are socially constructed and change with time, place, and culture” (p.28). Positioning myself in this paradigm as I accept there can be multiple realities, such as how to teach the Balletic Arts, I sought to research and inquired about the experiences of fellow educators in the field. Understanding how methods and practice have or have not evolved from the historical Ballet practices taught within studio environments. Descriptively, for instance, “what happens, [learning balletic positions/technique] has not changed [in terms of physicality], but the societal understanding of that event [how it is taught] has [certainly] changed [.Comparison to how teachers may have acquired their Balletic pedagogical foundation.] Most likely [too, teaching practices ] will continue to change over time” (p.28). Validating “different truths are depending upon [a] region and the [amongst the dance] culture of people; there are likely multiple truths circulating about [how to teach] the Balletic arts in practice contrast to, how Ballet Pedagogy historically typically validates. Thus, my research in accepting the multiple methods and practices as truths, selecting narratives from professional dancers with various years of teaching experience, I wish to understand and illuminate practice and strategies that may make the Balletic Arts much more equitable for students. That may serve future studio Ballet educators entering the practice.
Buffington, M. L., & Wilson McKay. S. Chapter 6: What now? Planning a study and choosing research methods. Practice Theory: Seeing the power of art teacher researchers. Reston, VA. National Art Education Association. pp. 50-70.
This chapter details the steps to a successful research study by clearly stating how “research plans relate to [ones] paradigm and methodology. [A]llowing [one] to appropriately answer [the] research question” (p.50). In addition to offering a series of advice and guidance such as “discuss [ones] intended question and emerging ideas from at a collection and analysis with someone who is experience conducting research [such as an academic advisor] are [most] advisable” (p.50.) Most helpful is the differentiation provided by Priori design. Of which is noted as “a Study design involving making vitally all decision about he studies before undertaking the collection data. [such as for when as researcher] creates a plan and then follows it exactly” (p.50) and Emergent design. Which “usually begins with a plan. However as data [is] collected [it is] analyzed” (p.51). Insightful steps include the author’s descriptions of considerations. Such as the many factors that “relate to the methodology, [an overview of ] the research questions, the [selection of ] participants, location of the research and the methods of data collection and methods of analysis (codes)” (p.51). One of the most helpful advisory suggestions this chapter highlights is the “approach to data analysis …employed on grounded theory. At the basis of grounded theory [for instance] is the premise that instead of using research to verify an existing theory, the researcher builds a theory from his or her data” (p.53). This speaks to my research as I found my theory that certain practices within the Balletic Arts are not economically equitable. As my research unravels the many adaptations my focus groups’ narratives expose, addressing tools of practice, tools of performance, and creating dance activities, for instance, much more financially accessible to students. As the author states, “because a researcher’s intent is not to prove or disprove a theory but rather to build a theory, this is likely to lead to theories related to the daily experiences or practice of the participants” (p.53). Descriptively, socioeconomic lenses permitted my interviewees to make adaptations to Balletic practice; my research, as a result, provides a platform to voice the many methods to make the Balletic Arts much more accessible across demographics. Ultimately, a topic that may better serve teacher preparation concerning making the art form much more inclusive. As the author notes, I attained greater understanding through semi-structured interviews on methods and practice that are most helpful to my experience teaching the Balletic Arts, allowing for a natural flow and progression of conversation during follow-up interviews. That illuminated gaps in various facets of Balletic practice that speak to enhance teacher preparation within Ballet pedagogy—ways that socioeconomic discourse can be integrated as part of the multicultural discourse to make learning the dance-form much more equitable.
Buffington, M. L., & Wilson McKay. S. Chapter 29: A Research Journey: Narrative Inquiry with Three Artists-Teachers. Practice Theory: Seeing the power of art teacher researchers. Reston, VA. National Art Education Association. pp. 227-230
This chapter contains the reflection of Carrie Markello, clinical associate professor of the University of Houston. who, “shares [their] experience researching the relationship among three artists teacher verbal and written discourse and their visual arts practice” (p.227) though an outstanding research example set within the Visual Arts realm, the author presents how “narrative inquiry provided [them] a vehicle to understand the artists and personal experiences, transformations context and outlooks of the artist-teacher participants in the study (p.227).” Speaking, to any research across many disciplines as the performing arts, if choosing to use narrative inquiry into one’s research methodology. Drawn to the specificities that narrative inquiry allows research to inquire, I was most drawn to how this methodology “effectively acknowledges ‘participants personal knowledge, which comes from experience and others [to] understand teachers as knowers: knowers of themselves, of their situations, of children, of the subject matter of teaching, of learning” (p.227). As the author notes, “narrative inquiry acknowledges the messiness of everyday living, views the interaction of researcher and participants in a holistic manner[;] allowing[,] for fluid interpretations.” (p.230). Thus, to inquire:
What can the experiences of studio instructors inform us about Balletic practice when teaching a vast demographic of students; how specifically does students’ engagement change if one amalgamates tools through diverse socioeconomic lenses?
I conducted my research using this methodology to explore the stories of my participant’s classroom experiences. To provide a platform to evaluate methods and engagement of dance students that may reveal aid-full meanings of teachers’ individual experiences adapting Balletic practice. Versus how historical Ballet Pedagogy may instruct how to teach ballet students that may limit the total capacity of student engagement.
Dipesh, K. (n.d). Visual Ethnography, Thick Description and Cultural Representation. Journal of Sociology & Anthropology. 147-160
This paper centers on “the historical theoretical and methodological overviews of visual ethnography[. Such as] photography and film as a research tool[s] in studying culture” (p.147). The author “examines [how] visual ethnography [is used] as a means of cultural representation[;] discussing visual ethnographic methods with Clifford Geertz ideas of ‘thick description’” (p.147). That “ultimately bring[s] clarity and consensus to [ones] understanding how visual ethnography can be an adequate research tool for ‘thick description and a study of culture” (p.147). Paraphrasing Pink (2006), the author, argues “images are inextricably tied up with our daily life, personal identities narratives, lifestyle, culture and societies. [As well,] as with definitions of history, space, and truth.” (p. 147). Thus suggests, “after conducting visual ethnographic fieldwork, when ethnographers produce photographs or video as a research product, [the] visual texts as well as the experience of producing and discussing them, become part of [the] ethnographic knowledge” (p.147). Most helpful the author’s suggestion paraphrasing “Banks (2007)[. Who] states, […the] two good reasons to incorporate the analysis of images paintings, photographs, film, videotape, drawings, diagrams, and a host of other images. The first good reason is[,] that images are ubiquitous in society, and because of this, some consideration of visual representation can potentially be included in all studies of society. The second reason that a study of images or one that incorporates images in the creation or collection of data might [is helpful is because it may] be able to reveal some sociological insight that is not accessible by any other means” (Dipesh, n.d. p. 148). Reflecting on the value of the images of two Recitals presenting performance dance work I used within my research, my images permitted me to provide a thick description of Recital B (that took place during my Master of Art Education Big Ideas Lesson Plan). Describing my observations the many forms of engagement I was able to provide—comparison to Recital A (which took place right before I initiated my Master’s Program). The series of dance work photographs allowed for a deeper understands of the mitigating factors that hindered a student’s full capacity of engagement in dance activities. My deeper exploration enhanced my understanding of the socio-economic realities of my teaching environments, exploring the tools students and I engaged with during dance activities and how the cost was intertwined. Exploring how much wardrobe cost of performance wear was as the images caught my eye a, what the student swore but b, who was not present in the image. Poignantly, as the author concludes, “many ethnographers recognize that [a] photographic image is ‘true in the sense that it holds a visual trace of a reality the camera pointed at” (p.149). Reflecting on my observation of my research inquiry, what can the experiences of studio instructors inform us about Balletic practice when teaching a vast demographic of students; how specifically does students’ engagement change if one amalgamates tools through diverse socio-economic lenses? With my images support, had I incorporated a more socio-economic lens during Recital A as B, all students would have participated in Recital A as B. Yet, as the image unravels, students did not.
Ely, M. Vinz, R., Dowing, M, Anzul, M. (1997). Chapter 4: Working in Analytic Modes. On Writing Qualitative Research: Living by Words. New York, NY. Routledge Falmer. pp 160-222.
This chapter speaks explicitly to the first-time researchers, serving as a literary guide. That outlines how to approach deciphering the data one may acquire during one's research process. The authors detail and offer step-by-step assistance approaching qualitative data; arguing, that "interpretation arise[s] when patterns, themes, and issues are discerned in the data and when …findings are seen [concerning] one another and against larger theoretical perspectives. [Such as one's] own newly emergent views on those to be found in the literature" (p.160). Paraphrasing "Wolcott[,] (1994),[the authors highlight the] three aspects of qualitative writing[.] Often separated in a finished document [as] descriptive[,] analysis and interpretation" (p.161). Through a series of research examples, authors explain the mystifying process of coding. Such as how "the emergent and recursive nature of qualitative processes is felt within the section. [keeping in mind,] an important focus of this is the actual coding and categorizing that carry the analysis forward. Movin[g] from initial analysis during data collection through final analysis often leading the field" (p.161). The authors warn, "certain findings will seem silent, and others may have to be winnowed out for the sake of the writing" (p.161). The most valued piece of information in the chapter is the guidance on how to write a qualitative research paper; having no prior experience is, specifically, the guidance that researcher reports contain a section in which analytical results are presented in a somewhat formal fashion. [Written] section is after completing descriptive and narrative writing, and many use it to pull together the patterns and themes that they see" (p.161). Never losing sight of "considering …some forms in which the results of an analysis can be presented" (p.161). This chapter helped me recognize the steps as I wrote my first research paper about the engagement of dance students when teachers amalgamate their tools through a socio-economic lens. I understand the purpose of my research findings is not only for my understanding of methods and practices but also for how they may offer "recommendations for both practice and additional research somewhat in the course of [my] discussion of the findings [themselves. To be placed within,] perhaps more commonly in the final wrap up [section] at the end of the publication" (p.161). Most helpful advice the authors supported by the series of research examples used are paraphrasing "Tesch[,] (1990) [to] develop an original scheme, note the topic, not the content! When you look at a picture of data, ask yourself what it is about? Don't pay attention yet to what is said … i.e., to the substance of the statement. [since,] you [as the researcher,] will deal with that at a later stage (p.142-3)' determining how to formulate labels/categorizes (p.169).