E-learning for dance education: a case study

1. E-learning for dance education: a case study Äli Leijen

2. Overview of the presentation • ICT tools for Dance • Aim of the study, research questions • Participants • Method, instruments, analysis • Results • Conclusions • Suggestions for the further studies

3. Interactive Resource Packs • Bedford Interactive from 1989 onward • Marta Graham dance technique (2003) • Choreographic Outcomes (2003) • Wild Child (2003) • The Center fro Art and Media, Germany • Forsythe’s Improvisation Technologies (1994)

4. 3D Animation program • Dance Forms 1.0, Credo Interactive • Ballet and Modern dance movement library for creating animated choreography

5. Online tools • Kavakli (2005) discussed the process in developing a virtual learning environment (WEBDANCE) for teaching traditional dances. • Popat (2002) described the use of a dynamic website for teaching choreography in international cooperation project (TRIAD) between students from Great Britannia, Portugal and America.

6. Aim of the study • Due to this limited number of studies reported about usage of online ICT applications in dance education, our research group decided to conduct a case study, which aims to describe the process of using e-learning in an international dance education program (Dance Integrated in Humanities and Society).

7. Research questions • How were the e-courses prepared by teachers in terms of organization, interaction activities, and guidance and feedback principles? • How satisfied were students with these course components and, with their overall learning process and its outcomes? • Which were the most enjoyable aspects of the course and which problems appeared during the courses for both teachers and students? • Which aspects need improvement for the future programs according to teachers and students?

8. Participants

9. Courses • 1. The choreography seminar (43) • 2. Physical Conditioning Training of Dancers (43) • 3. Choreography’s Geography (23) • 4. Digital Portfolio (14) • 5. Listening to the body (17) • 6. Interactive composition workshop (14) • 7. The preservation of contemporary artistic practice in dance: Emio Greco | PC (15)

10. Method • Based on Yin (1994) a multiple case study method was selected to describe the process of the e-leaning phase of the DIHS program. • Construct validity of the study was supported by using multiple sources of evidence. • External validity of the study was supported using replication logic in research design while studying the seven e-courses. • A case study protocol and database was created in order to increase the reliability of the study.

11. Instruments • A problems checklist (problems in e-mails) • Case reports (content, organization, interaction, guidance, feedback; LMS) • A questionnaire (measure students’ satisfaction with 4 course components, and overall process and outcomes; most enjoyable, problematic aspects, improvement). • Group interviews (Students) • Interviews (Teachers)

12. Analysis • Quantitative data, ANOVA to examine differences in students’ satisfaction between the seven courses among six items. • Qualitative data with content analysis methods • Contents with similar message were coded and summarized. Transcripts of the interviews with teachers were scrutinized, and important substances were selected to describe the process of the courses. In addition, these results were also used to control the information provided by students in group interviews. A chain of evidence was created between the data collected with different methods.

13. Results: 1. The choreography seminar • Observing, analyzing, and discussing the work of contemporary choreographers through video and performance. • Detailed instructions, 5 assignments, spread deadlines • Enjoyable: content, assignments, communication with teacher, feedback • Problem: assignments, materials, interaction, feedback • Improvement: personal feedback, reduce the number of assignments

14. Results: 2. Physical Conditioning Training of Dancers • Discuss issues related to fitness and conditioning • 2 short assignments, group essay (clear instructions, reading materials) • Enjoyable: collaboration, necessary topic • Problems: 2/3 collaborative essay, materials difficult • Improvement: redesign group work, relevant reading materials, more creative tasks

15. Results: 3. Choreography’s Geography • To bring a greater awareness of the role of place in our choreographic practices • Assignments: walk in town, write an essay, create 3 movements, gestures • Enjoyable: creative and practical tasks • Problems: contact with teacher, no feedback • Improvement: More assignments, group collaboration, better communication with teacher, feedback

16. Results: 4. Digital Portfolio • To prepare students for creating a digital portfolio (position oneself in dance) • View 3 interviews, clarify personal position, discuss these ideas in forum (free), collect artifacts • Enjoyable: theme, discussion, freedom • Problems: pure organization, aims and assignments unclear, slow communication with teacher • Improvement: structure of the course, assignments, clear aims, expectations, better communication

17. Results: 5. Listening to the body • This movement workshop is based on body-mind principles. The purpose is to increase the ability to reflect . • Read BMC article, carry out practical assignments (focus on breathing), write reflection (3 times, every month) • Enjoyable: subject, practical assignments, feedback • Problems: interaction with students (2), contact with teacher (1) • Improvement: 11 no, collaboration

18. Results: 6. Interactive composition workshop • practical and theoretical research about creative process, intuition and improvisation • (3 assign.) reflective evaluation, create a solo and read articles and discuss with peers, find 5 conclusions • Enjoyable: different assignments, teacher’s motivation • Problems: communication with teacher; schedule of the course: deadlines in the end; heavy workload; video assignment; collaboration too late; unclear instructions • Improvement: better communication with teacher, feedback, deadlines apart, clear instructions, exclude video assignment

19. Results: 7.The preservation of contemporary artistic practice in dance: Emio Greco | PC • Anthropological points of view towards choreography as a cultural practice based on Emio Greco • CV, read, write personal reflection, read another article, compare with the first text, read texts on EG website, add comments to the site. Read another student’s comment, elaborate on argument. • Enjoyable: subject, assignments, freedom • Problems: course started late, not enough time for assignments, instructions for assignments missing, no collaboration in forum. • Improvement: Start earlier, assignments apart, feedback earlier, forum for discussions, instructions for assignments.

20. Mean, N, SD

21. Satisfaction with… • organization (F (6,162) = 11.5; p < 0.001; η² = 0.3) • interaction (F (6,155) = 2.5; p < 0.05; η² = 0.09) • guidance (F (6,16)= 13.1; p < 0.001; η² = 0.32) • feedback (F (6,16) = 10, p < 0.001; η² = 0.24) • overall learning process (F (6,162) = 4.21; p < 0.001; η² = 0.15) • learning outcomes (F (6,162) = 2.55; p < 0.001; η² = 0.09). • All above were perceived differently among the courses

22. The effect size¹ varies from small (0.09) to medium (0.34). • [1] Effect size refers to the effect size as a result from the analyses using both the independent variables and covariates. Effect size f = √ [ղ² / (1- ղ²)], with ղ² equaling the proportion explained variance in the criterion variable. So, the proportion explained variance ղ² equals [f²/(1+ f²)]. Cohen (1988) defined small, medium, and large f values. A small effect size is defined as f=.10; medium effect size as f=.25; and large effect size as f=.40.

23. Organization • Satisfying organization includes clear description of the course aims, detailed schedule for course activities with deadlines spread over the course.

24. Interaction • In terms of interaction of the course, it can be concluded that interaction activities, which provide opportunities to share and reflect are necessary learning methods. On the other hand, group work activities which depended on team members’ participation and require a heavy work load from students with different geographical locations and time zones lead into frustration.

25. Guidance • Based on the required activities the need for guidance and further communication differs among courses. However, if students indicate difficulties and approach teachers additional guidance is essential and should be provided to students with minimal delay.

26. Feedback • In sum, students need feedback on their performance. The procedure of proving feedback should be clearly communicated for students, feedback should be provided to all learners despite of the fact that not all of them ask for it personally.

27. Learning process and outcomes: a negative case • In brief, a course which was perceived as being dissatisfying in terms of students own learning process and its outcomes was in the same time perceived as dissatisfying in terms of • the organization of the course (unclear aims, instructions), • guidance (slow communication) • feedback provided by the teacher (slow).

28. Conclusion • In principle the use of e-learning phase for DIHS program succeeded. • Findings on organization, interaction, guidance and feedback confirm the results from previous studies carried out about e-learning courses. • Difference: Compared to the other studies in the field of higher education, dance students need to carry out activities, besides analytical work, related to creative and practical processes (as shown in DIHS3, DIHS5, DIHS 6) as this is a crucial element in their learning process.

29. Discussion • As the DIHS e-learning phase showed, LMS is suitable medium for dance courses, as it was a facilitating process of acquiring, processing and using knowledge. • However it seemed to neglect supporting creative and practical activities as the outcomes of these were just reported (sending video failed).

30. Suggestions for the further studies • To conduct a study to investigate further the pedagogical practices of practical dance classes in order to find out which aims, methods, assessment and support materials are being used. • These findings can suggest a direction for (re-)designing ICT tools, which advocate more closely the existing pedagogical context.