We can be 'freed' through shifting
perceived responsibility away from ourselves.
In the workshops over the past 2 weeks the dancers have generally
experienced greater ‘flow’ (manifested, for example, as “the place where you
don’t have to think about it”, where the “structure” of the movement may stay
the same but “intention and quality is different”, after which we felt “a bit
sad [that] it was over”) when they have felt able to give up some of the
responsibility for making decisions about what they are doing. For example, the
dancers have felt more free when being physically supported by others, and also
when they are given verbal instructions by an external ‘coach’ figure (and this
was even the case when that external feedback was delivered purely as a series
of commands, without any personalisation; in this instance, it was often how the feedback was being said and the
fact that it was being given at all that was more important than what was being said). The dancers
experienced that “External feedback can encourage you to think of things you hadn’t
considered, unexpected things”, and they placed high value on this new
information. They “felt more in flow” in response to the challenge of trying to
respond in the moment to someone else’s feedback”, or to perform for them. They
also described that they felt less pressure when being given external feedback
(and that this was therefore more “satisfying”) because someone else was
“taking initiative”, or taking the responsibility for “challenging the
[movement] material”, and that therefore that other person would be “to blame”
if anything went “wrong”.
Physical feedback was particularly powerful in enabling the dancers to
experience flow. They described it as “immediate response”, most effective when
it was “genuine” so that the dancers felt they were really being supported by
the people around them (i.e. that they were in safe hands) and when the
physical feedback was very clear. The dancers also described that when being
supported physically by other people, they were less inclined to think about
what the movement looked like from the outside (implying their capacity to
switch off their sense of judgement) and were more likely to find what they
described as “natural, organic pathways” between movements. When working in
physical contact, they were able to become highly focussed on what they were doing,
and were able to prioritise their awareness of how other people might be
experiencing the movement over their own experience, which they nonetheless
found very enjoyable. They also described time passing very quickly when they
worked with other people.
I would like to find out more
about why external feedback is so enabling, whether (and why) we come to depend
on it and what it is about feedback that sustains us?
It seems (from our workshops so far) that something about feedback enables us
physically or metaphorically/imaginatively to be able to take the leap off the
cliff, even though that leap in itself is a solitary act. We are bolstered by
other ‘voices’ and therefore find the strength to do something we might not do
on our own. In the stimulus story Fly,
the main character is preoccupied by the voices of other people who have
taunted him by saying “Scaredycats don’t get to the moon”. In defiance of those
other voices, and even though they are unkind, he does jump.
This seems consistent with one
of the other discoveries we have been making during the research workshops,
which is to do with the fact that we are
also more likely to experience flow when working with other people (Elsa
has recommended Charles Walker’s work on ‘social flow’ (2010), which discusses
the “contagious nature of emotion”, the fact that “people working together
actually raise the challenge of a task” and therefore requires us call on a
greater skill-level to be able to meet that challenge”, and also cites previous
research showing that “groups take more risks than individuals”. Kate and Siri have also spoken to me about individuals’ inability to make decisions without social
referencing or 'primers' i.e. before we have a benchmark for the kind of way in which we
should respond, such as examples of other peoples’ responses, we find it
difficult to respond for ourselves).
It is important to note here that external feedback is not always
enabling for all people, and that whether or not we choose to understand it as
enabling can be our choice, or it can
be a result of the person giving the feedback being very clear about what they are trying to achieve. We can take
on feedback as an opportunity, a suggestion which is like a gift to be
interpreted in the way we want to interpret it. I asked on the final workshop
day whether we instinctively regard feedback in this way, and we came to the
conclusion that this very much depends on the individual but also on the
context in which feedback is given i.e. Is it a supportive environment? Is
everyone involved clear about what we are trying to achieve? Does the feedback
have a clear purpose? Csikszentmihalyi associates “One-pointedness of mind” with the
flow state, “made possible by the clarity of goals and the constant
availability of feedback”.
Through the process of practicing giving feedback, the dancers found it
more and more enjoyable to give and receive that feedback, because by
practicing it they became “less precious” about their movement material and
about the outcome of the feedback process, which in turn enabled them to:
-
“exercise their understanding of what ‘getting
it right’ could mean”; not allowing ‘getting it right’ to be limiting
-
expand their understanding of “what could be
achieved”
-
appreciate that just because they were being
given suggestions, that didn’t mean they had to use those suggestions to create
movement that looked a certain way
The dancers enjoyed sharing the process of giving feedback because it “took
the pressure off one person” and provided a great deal more information.
However, for some people, external feedback did “increase doubt” at
times (and this came up more often when feedback was being given verbally rather
than physically), because it draws attention to the fact that the external
person may have their own expectation for what they want the outcome to be, and
that may be different to the dancer’s own expectations (and cannot be
controlled by the dancer). It seems that a dancer is particularly at risk of
feeling like this where the external feedback is given by someone who has not
expressed their intention/expectation clearly.
From my observations of the dancers developing their material in
response to their own (internal) self-reflective process and in response to
external (physical or verbal) feedback, it seems that they often make bigger
changes in response to external rather than internal feedback. However, I
wonder whether the changes appear bigger because they can be more immediate,
sudden and perhaps unexpected, and whether changes brought about through the
individual’s self-reflection are more conducive to longer-term, more
sustainable development (i.e. we have to come to terms with feedback for
ourselves before we can put it into practice fully/to best effect).
Some features of effective feedback that we have explored in our
workshops (i.e. feedback that is more likely to facilitate the dancers’ feeling
of ‘flow’) have included:
-
qualitative feedback or active words (rather
than focussing on particular body parts, although sometimes it is helpful to
encourage the dancer to investigate the initiation of their movement more thoroughly)
-
open images which invite more possibilities for
interpretation (the dancers found it easier to respond to feedback that was
more concise, therefore leaving more space for their interpretation)
-
images that invite the dancers to take in the
space around them (which connects with the idea that ambition is something
ongoing and limitless)
-
feedback encouraging fullness of movement (which
can also be facilitated by the way in which the dancer is prepared for the
rehearsal/workshop through warm-up activities that mobilise the whole body)
-
feedback including some element of demonstration
i.e. delivered in a way that indicates how the dancer might respond, or makes
them aware of what they are currently doing and how they might develop it
(still in a non-prescriptive way)
-
a changing pace of feedback e.g. sometimes
leaving time for the dancer to take on one idea before introducing the next, or
repeating a piece of feedback several times in quick succession
-
having the option of also asking for feedback,
and therefore becoming more proactive within the feedback process (at one point
I asked the dancers to be selective about which feedback they took on board,
but on the whole they found it very difficult to choose not to respond to
external feedback, because they wanted to try to accommodate external
suggestions, to see whether they were helpful)
-
encouraging mindful focus, so the dancers are
reminded about what they are looking at and why
-
the dancers did not feel that constant positive
affirmation or encouragement was necessary, because if it was offered too
frequently, it became redundant, or the dancers missed it when it wasn’t given.
If it was made clear from the outset that the feedback was given in order to
support the dancers’ development of their movement, they accepted that. In any
case they felt that they were continually seeking the approval of the people
giving them feedback, whether or not they expressed that approval. This leads
on to my next post, concerning the particular propensity of performers to
behave in certain ways in response to external feedback, or to the
presence of a choreographer or audience.
No comments:
Post a Comment