Task 2c, Reflective Theory.

Task 2c. Reflective Theory.

What is Reflective Practice?

Reflecting on an experience allows a person to arouse their critical faculties and find deeper meaning and understanding in what happened. It allows a person to understand why something may or may not have been successful.  Reflection is insightful, and can be deeply personal and often uncomfortable - we can consider the thoughts and perspectives of others and take a step back from the situation to gain a new frame of reference. With reflection, we are unraveling an experience in order to expose the underlying thoughts and feelings that occurred during and afterwards.  We can then use this information in a constructive, active way; we may need to make changes to accomplish certain goals and the desired result.

Over the past few weeks I have been researching and experiencing the different theories of reflective practice.  In my day-to-day life, in the workplace and at home, I have been thinking through and trying to implement the different theories into my own reflective practice in the form of reflective writing using a journal.   

The first theories I will discuss are the ideas of John Dewey, who described reflection as:

“Active, persistent and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusion to which it tends… It includes a conscious and voluntary effort to establish belief upon a firm basis of evidence and rationality.” ¹

Applying the concept of rational thinking to reflective practice can have more that one implication.  Giving a more structured and objectionable frame to reflection can be seen to side step any emotional reactions and purely focus on the facts of the experience.  However, it could also help to overcome any emotional barriers we put in place.  We can also use this idea, first by acknowledging that certain emotions were present in our reactions, but then objectionably - and without prejudice - question why. This could enable us to shed more light on and add further meaning to our reflection.  But, I have to ask myself, is it entirely possible to be completely rational in reflection?  I think the answer lies in how much time has passed and how strong an emotional reaction took place.  Emotions such as guilt, fear, and anger are powerful and can often blind us to the evidence which Dewey mentions; it is imperative that we are thorough in identifying these emotions in reflective practice in order to gain a truthful perspective.  I believe that a rational take on reflection is incredibly useful but, at first, difficult to achieve.  A more rational and factual take on events may be easier to accept after the dust has settled and things can been seen more clearly.  Dewey encourages us to keep thinking until enough evidence is present to support a belief. 

Next, I will discuss the ideas presented in reflective practice by Donald Schon.  Schon further developed the ideas of rational reflective thinking by presenting the theory of Reflection-in-action and Reflection-on-action.  Reflection-in-action requires the thinker to be reflecting instantaneously upon an event, perhaps applying changes immediately and thinking on their feet. Whilst this may seem the most challenging, for a person experienced in the performing arts it can often appear naturally as part of a creative process.  When I am rehearsing for a production, learning songs and movement etc., I often spend a lot of time before performing making sure I understand my character, her reasons and emotions and making a detailed musical analysis of how the song will develop.  Then, on my feet, I am more inclined to change things as I go - it is not always a conscious thought but something that feels right within the context of the song. I am also reacting to the other characters around me.  This may be a musical choice or an inflection to change the implied meaning of a phrase.  These are usually unplanned and spontaneous reflections and often they work better than the original idea.  Performers often rely on their ‘gut’ instinct; Schon introduces the concept of Tacit Knowledge, which is further explored by Michael Polanyi, who states:  

“I shall reconsider human knowledge by starting from the fact that we know more than we can tell”²

Tacit knowledge helps us to see that we are often aware of things that we cannot explain, for example muscle memory.  I have often relied on this during performances: my body and feet know exactly where I am going without a conscious thought process.  This is vital in the performance world as your mind is free to focus on other things, Reflection-in-action is allowed because we do not need to fight to remember the “steps”; we can use our more conscious thoughts to focus on the performance and interpretation. “If you are thinking about the steps, you will not be thinking about your performance” was a phrase that was uttered several times during my training.  Reflection-in-action is also paramount in performance when things go wrong.  In the world of live theatre things often happen which cause a performer to change and alter what is happening on stage; whether it be mechanical failings or a sudden injury, a performer needs to reflect immediately on the best course of action to maintain the integrity of the performance.  Reflection-on-action can be used afterwards to ascertain if this was the correct decision or whether the performer could have done something differently; they can use both types of reflection here to learn something new from the experience and perhaps make more informed choices were it to happen again.

 Schon says:

“Competent practitioners usually know more than they can say” ³

Schon is introducing and explaining the ideas of tacit knowledge and the ‘gut feeling’ that we rely on so much in the creative arts process. I think it is important to note that Schon himself was a musician, studying the piano and the clarinet.  I do not think it is a coincidence that this theory could be seen as the most effective and prevalent theory within performance and the arts.  Schon may have experienced this on many occasions and the idea of tacit knowledge could also relate to his musicianship.

When I have been documenting events in my journal, I have found several examples where I have also applied this theory in my current role in the workplace.  When working with a student one-to-one, several factors present themselves: the current levels of the student; their targets and aims; and the current curriculum topic they are studying.  In my role there are several other factors to consider, including any additional needs of the student including their medical condition.  My day involves planning and implementing lessons, often without the full background of the student I will be working with.  In one lesson I was forced to think on my feet as the lesson was too easy for the student - I did not have time to reflect and then present a different lesson, as my only allocated time with that student was at that moment.  I had to think quickly and alter the lesson as I went.  This was successful, but after further reflection-on-action I discovered a number of ways I could have altered the lesson but I still managed to cover the lesson objective to a higher level.  I thank my performing arts training for my ability to think on my feet and for being comfortable with implementing a new idea purely based on the information received at the time, all the while following that ‘gut instinct’.  

Jennifer Moon goes on to further clarify reflective writing in journals and acknowledges that it is not always a tidy process but in her books and articles gives hints, prompts, and clear examples of effective reflective writing.

Jennifer Moon also clarifies what reflective writing should not be: a list of instructions, or a piece of writing which only seems to describe events.  She clarifies and encourages the reflective writer to think of the purpose for the journal.  Her work and activities often use examples of different levels of reflective writing which help to clearly define the most effective techniques when writing in a journal.  In more than one example, the effect of time passing after the event is presented.  We are encouraged to see that reflecting on an event more than once is incredibly valuable and can open up the event to many conclusions and responses.  In her work, Jennifer Moon provides questions to be asked in reflective writing to further facilitate a deeper and more analytical response - questions such as:

“Is there another point of view that you could explore, are there any alternative interpretations to consider?”

“Do you notice that your feelings about it have changed over time- or in the course of writing this- suggesting that your own frame of reference has changed?”

^“Are there ethical/moral/wider social issues that you would want to explore?”⁴

Within my own reflective writing I feel these questions are ways to open new doors and delve deeper into an event.  They are food for thought and inspire me to not only reflect on the outcome but on a much wider scale and possibly into social issues regarding an experience.  After having an experience you may discover other implications on a much wider scale that you were not previously aware of.  Another suggested exercise from Jennifer Moon is that of dialogue within journal writing.  Examples are given of an imaginary conversation between two people involved in an experience.  This exercise could enable us to reflect on another person’s involvement and enlighten us on another perspective.  However in the example given, the writer is using this form of reflective writing to make a decision, and is using a person she thinks will be able to help her the most.  She is, in theory, answering her own questions and coming to her own conclusion, as the responses she is receiving are imaginary and emerging through her own subconscious thoughts.  This process enables the writer to see her true feelings on the subject and to question the pros and cons but from a distance.  Using an imaginary person as a buffer, thus giving the writer the truth behind the reflection, may sometimes provide a more comfortable experience when making personal decisions. 

Reflection takes many different forms and presents itself through all these various theories.  I believe it is possible to gain something from each style and apply it in my own reflective journal. Sometimes I may need to be rational and base my thinking on the evidence I have from the situation, and other times I may need to think on my feet, letting my tacit knowledge lead the way.  My reflective writing may require structure and prompts to be truthful and effective.  My reflective journal is for use within my current line of study and work, but after already experiencing the positive effects, I will be sure to continue writing for future challenges. It is not an easy process, but an assured way to measure understanding and development.   

References and other reading

¹ Dewey, J. 1909. How We Think. Boston: DC Heath

² Polanyi, M. 1967. The Tacit Dimension , New York:  Anchor Books

³ Schon, D.A., The reflective practitioner: how professionals think in action. New York: Basic Books.

⁴Recourses for reflective writing [pdf] http://dera.ioe.ac.uk/12995/1/4215.pdf Accessed on 10/11/15

   

Gulari, M. A., 2012 The reflective practitioner by Donald Schon. [online] Available fromhttps://graysreadinggroup.wordpress.com/2012/12/18/the-reflective-practitioner-by-donald-schon/  [accessed on 10/11/15]

Moon,J,. 2004. A Handbook of reflective and experiential learning, London: Routledge Falmer

Smith,M.K.(2003) ‘Michael Polanyi and Tacit Knowledge’ The Encyclopedia of Informal Education , http://infed.org/mobi/michael-polanyi-and-tacit-knowledge/ accessed 10/11/15

Watton,P., Collings,J., Moon,J. 2001 Reflective Writing Guidance Notes For Students, [pdf] http://www.exeter.ac.uk/fch/work-experience/reflective-writing-guidance.pdf Accessed on 10/11/15

Moon,J,.1999. Learning Journals: A handbook for academics, students and professional development, London: Kogan Page Limited