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.