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Rationale of Scheme of Work

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The Hammond is a full time vocational training centre and offer courses in Musical Theatre (MT) or Dance (D). Both courses require ballet training, 5 times (D course) or 4 times (MT course) a week. The ballet training is split into 3 groups(A,B and C) depending on different levels of ballet. The students are assessed to determine which group they go into in their two week induction course at the beginning of term. This scheme of work has been designed for level C group in ballet.

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Before starting in September some students that have been assessed into group C have had a little amount of prior ballet training and others none at all. Likewise, some students had done some kind of dance training and again some none what so ever. Those that have had no prior dance or ballet training have benefited from individual one to one training in support of the scheme of work. All of the students in group C this year are on the MT course and therefore their course requires three equal parts to their training Acting, Vocal and Dance.

The scheme of work that I have developed has a clear guidance on what movement content needs to be taught and in how many counts. The students are working at a basic level using mainly observation and explanation as preferred learning styles. The SOW is designed to take the student right back to basics so all previous none beneficial training can be erased and our methods of teaching and styles can be introduced and developed. This can be hard as some students that have had previous knowledge of ballet may struggle to be open to changing what they have been taught before commencing their full time training. Any genuine teaching will result, if successful, in someone’s knowing how to bring about a better condition of things than existed earlier. ” John Dewey. The SOW is good as it builds up or reaffirms the knowledge of the student and only when the students understand in their brains can the movement then be fully executed correctly. This has a knock on effect as once the movement is mastered then the quality of the performance be improved which ultimately is what they are aspiring to be is the best performer.

I feel that there is room to improve on this SOW within in the performance aspect being developed of the individual student. This could be argued as above that until the steps are mastered then the dance quality cannot progress. However I find that with some dancers especially the “natural dancer” that explaining in detail and breaking down a dance step that this actually inhibits the student and confuses them. They are much more of a kinaesthetic/visual learner and therefore will automatically copy what you demonstrate. The teacher then has to use a more of an imagery method of teaching.

Throughout the SOW to assess the student’s knowledge and retention I will get them to participate in peer observations on each other. Working together is important as it makes the student look at the step or movement possible in a different light. It helps develop the students own sense of performance and highlights to the teacher the level of retention achieved by the learner. “Learning would be exceedingly laborious, not to mention hazardous, if people had to rely solely on the effects of their own actions to inform them what to do.

Fortunately, most human behavior is learned observationally through modeling: from observing others one forms an idea of how new behaviors are performed, and on later occasions this coded information serves as a guide for action. ” -Albert Bandura, Social Learning Theory, 1977 The SOW could have more of a creative assessment section. Maybe more reflective writing in their dance files. However this could be perceived as being an unwise option as the student would be cooling down while writing and this could potentially lead to them injuring themselves if they do not keep the muscles warm.

This is crucial for dancers to keep active. The reflective written work would have to be incorporated into the end of the session for this to be done safely. This also applies to the vocabulary taught in the SOW. “The sorcery and charm of imagination, and the power it gives to the individual to transform his world into a new world of order and delight, makes it one of the most treasured of all human capacities. ” Frank Barron Researching steps from the SOW from the internet can show how they can be delivered at a high standard and also on the flip side how they can go wrong.

The internet can be very valuable for the scheme of work as it will hopefully keep the student inspired alongside the teaching. You tube or other dance colleges or companies can be researched to help expand the students resource knowledge. Sharing their research will help re enforce their own learning and comprehension. Teach back is about the students to feeding back to each other and the teacher what they have learned this can be after the peer assessment has happened after an exercise.

According to pask it one of the most effective way of learning. The SOW fits into the colleges overall curriculum by developing the knowledge of the student ready for year 2. All that the students learn in the ballet SOW always interlinks into other dance forms. A good posture is needed for Ballet Tap Jazz and Contemporary. Formative assessment is constant throughout the SOW as it is an important reassurance for the teacher and student in creating a guidance on how well the student is retaining the knowledge.

It is definitely a visual assessment all of the time but also it is important that the student can recall the names of the steps and their French meaning as this can help with the understanding of the movement they are executing. Summative assessment is in the set assessment in front of a panel of classical teachers that they do not normally have taught them. They are assessed in the way after half term. The class work is set and the student is marked on what they produce on the day.

This is why it is important in the SOW that they are used to being assessed through peer assessment and teacher assessment without prior knowledge before that day they show enchainment or step created. They write their reflections each week in their IPS folders and this keeps a log on how they are progressing throughout the term. Hopefully the student will progress and develop as individuals and eventually at the end of their training become a confident creative dancer with the guidance of the teacher and their schemes of works. “What is now proved was once only imagined. ”

References

Creative quotations for brainstorming and lateral thinking http://www.brainstorming.co.uk http://psychology.about.com
www.amec.netglp
http://www.dance-forums.com/showthread.php?s=b93fdaef051307f2c34b48db4e8526ec;t=16;page=2

Cite this Rationale of Scheme of Work

Rationale of Scheme of Work. (2017, Feb 24). Retrieved from https://graduateway.com/rationale-of-scheme-of-work/

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