Complex Cycles

I furthered my research of learning cycles by looking at ones that were a little more complex, that is to say, they have more stages to them. In practicality they didn't go much higher than Kolb's four-stage cycle without becoming overburdened with information, or in many cases the programs had been specifically developed for learning an individual concept or procedure: this is seen most often in computer programming and coding where a very different understanding and mindset is needed to achieve the required results.

What appeared most prevalent was a variety of five and six-stage models that included in their cycles a certain level of judgement as to the success of previous experience. Priest & Gass (1997) actually developed a six-stage model called 'The Experiential Learning and Judgement Paradigm' which consisted of a cycle that went like this;

Experience→Induce→Generalise→Deduce→Apply→Evaluate

I like this set-up, as it encourages a lot of outside thought. Some may consider it too 'scientific' or too strict in how an experience might be approached. I find, however, that the inclusion of Inducement and therefore the use of other knowledge that has been gained in order to refine a skill or technique fills a big hole that always disgruntled me when discussing Kolb's four-stage approach. Why shouldn't an artist have such a methodical approach that involves other knowledges and experiences that they have had to develop a general understanding of a recent experience that they can subsequently refine using Deduction in order to progress their understanding of their latest work. If anything, this approach is the closest thing to the Associated Learning idea I've considered before. Who's to say that a third party could not be included in order to provide an objective perspective at stages 2, possibly 3 and certainly 4? In fact, when considered in light of this Paradigm, it is possible to see any conversation with a tutor, mentor or teacher as a practical application of these stages as progressive guidance allows us to consider what we do in a more panoramic fashion before bringing it back down and form it into information we further use.

All that being said, one of the models that caught my eye and that I thought offered the most comprehensive idea of an ELC, insofar as they can be universally applied, was this one by Exeter (2001). It is simply a variation on Kolb's original theory but with the inclusion of a 'Transfer of Learning' stage. It is still only four stages as the 'Transfer of Learning' is added outside of the cycle itself – and that is what works for me. I found Kolb's design inhibitive and exclusive of a more integrated idea of learning.

As you can see, the 'Transfer of Learning' allows for the potential of applying anything learnt from any given experience into another field, be it directly affiliated or only mildly associated. This is an important potential for any artist; a dancer does not learn plie exercises independently of learning to jette – one informs the other. Without these connections a fluid understanding of any artistic medium would be impossible.

Simple Cycles

While I was considering my own ideas for a theory of learning I decided to look further into Kolb's 'learning' Cycle' and see what other researchers had presented as alternatives to something that could be viewed as somewhat simplistic. It is not that a 'Cycle of Learning' theory is 'wrong', by any means, however I believe a valid concern would be that such a model – using only four stages – may omit crucial elements of what it takes for an individual to develop and master a given skill.

Experiential Learning Cycles (or ELC's) are often given as the prime example of a Semi-structured learning environment, bridging the gap between the 'Progressive' or 'Free' learning experience and the traditional, teacher-driven, 'Structured' programs. I was surprised to discover, however, that instead of becoming more developed and complex, work of other researchers had actually limited – possibly 'simplified' – Kolb's cycle even further.

In reality, one of the biggest criticisms of a 'stages of learning' theory is simply: how many stages of learning are there? Applied simply to any art form: how many elements combine to make a technique perfect? I found the idea of a single-stage model, or even a two-stage theory (James, Bacon, 'Outward Bound and 'Outward Bound Plus') to be very hard to swallow, although the two-stage cycle was conceivable, if overly simplistic. Just to 'experience' and 'reflect in a constructive manner' is a nice, neat idea, it really doesn't lend itself to a constructive learning environment.

In contrast to my earlier statement concerning the criticism of a specific number of learning stages there appears to be some weight behind the concept that a three-stage cycle is actually one of the most practical approaches. Some argue that in practical application Kolb's four-stage cycle adds an unnecessary extra element so that, if taken literally, a practitioner of Kolb's design could easily become bogged doing in specifications of each stage. A classic example of a three-stage cycle looks like this:

It's a design commonly used in product improvement by managerial programs for product improvement and I actually believe it's simplicity is integral to it's effectiveness. It displays one of the limitations I find so disagreeable in Kolb's model: that it dismisses the idea of any learning by association – I mean, why shouldn't one experience influence another 'PLAN' phase, even slightly, without direct association? - at the same time however, for artists or anyone else without an objective facilitator, the accesibility of this scheme would appear to be more adaptable and therefore more useful in the diverse world we live and work in.

Co-operative Learning

It occurred to me the other day when I was thinking about how as artists we critique ourselves in order to improve our work: the idea that we learn how to better what we do through reflection, the ethos behind this module, that there was a crucial element missing from the theories listed in the reader.

The idea that introspective thought and deliberation of an action we have taken – a specifically artistic measure in this case – will affect us when we come to repeat the same action again, is clear and obviously truthful. However, especially as artists and performers to overlook the importance of exterior influences is woefully exclusive. That is not to say every individual ever encountered should have some kind of influence over the art an artist produces but to acknowledge the guidance and support of peers and mentors is extremely significant.

For example: in learning to sing, or dance, or act, or any medium where the goal is re-creation as oppose to total innovation, the tuition and direction of teachers is of paramount importance. You may hear a note and subsequently produce what you believe to be a accurate copy, or see a dance move and be sure you have accurately recreated it when, in actual fact, you have not. It may not be a variation you clearly perceive and yet to others it may possibly be an inferior distinction. This is also true for any medium when the intention is to convey emotion – how we individually feel and express our passion may not be in a way that is obvious to others – good direction is crucial.

In conjunction with personal reflective learning this cooperative learning is a continuous cycle. As a production show entertainer I work as part of a team that includes a dance captain and a vocal captain – people saddled with the responsibility of maintaining the integrity of our work. Along with the refining process involved in learning the material from scratch; beginning with a rudimentary understanding and progressing through to a honed performance level, maintaining a consistently high standard is vital and not something easily accomplished by a sole individual. An objective view by one of the captains reviewing a previous week's show, for example, would provide a constructive insight into weak moments of a performer's work. All the reflective thought in the world could not inform someone that what they were doing was on stage was proving ineffectual if they were not aware of the situation in the first place.

In summation, another crucial tool of development and learning as an artist is the information provided by an external source, as there will always be elements of an individual's work that they themselves do not perceive needs improvement. It is a hard thing to be totally impartial about anything you care deeply about.