Task 4B Special Interest Groups

During one of the online Skype sessions, a module 3 student was advising me that as every module progresses, the more reference points to my previous blogs will prove to help guide me to further understanding. Looking back at my task 3b - Therories relating to networking, it allowed me to recap my own thoughts on opportunities given to us by the power of the internet and how by now using SIG as a connection point will help my overall inquiry. http://stephanieswann02.blogspot.co.uk/search?updated-max=2015-05-10T13:18:00-07:00&max-results=7

In the reader, I discovered Salmon's thoughts on how online socialisation and discussion skills, also known as metacognitive, can focus on what the learners do in context or how they may apply concepts and ideas (Salmon 2003, p33)
By finding her website http://www.gillysalmon.com/e-tivities.html it explores many of Salmons theories which I found most helpful in relation to our work. 

My special interest group must be formed to allow students with similar interest's/ideas to speak out about feelings and emotions as well as participation in a discussion. Salmon creates the idea of E-Tivities which she explains as 'important for the online teaching and learning world because they deploy useful, well-rehearsed principles and pedagogies for learning as well as your choice of networked technologies. They focus on the learners- the people I call the participants, who are contributing, providing, reworking, interpreting, combining most of the knowledge. They overturn the idea that learning depends on one big expert and his/her conveying of knowledge. They are based on the strong idea that knowledge is constructed by learners through and with others.' (Salmon, 2003, p6)
On the website which I have highlighted above, on the e-tivates section, the table below outlines Salmons guide to the framework of online activity with others. I found this extremely helpful and will look to refer to it as I begin to develop my SIG. I thought by blogging it, others are able to have access to her sequencing and I am sure will like me find it a useful read.




As I turn my sole focus back to my SIG, I have answered the questions that are given in the Reader 4 below;

How does your SIG compare to other groups or communities that you are a part of in the workplace?

My SIG will be focusing on 'Dance in education and the community' . This highlights both of my work place environments that I am participating in, however it is the link between the two that I am interested in focusing on. I have work colleagues, teachers and friends who have excellent knowledge in each of these fields so am using this to my maximum advantage. I am able to gage information from the school side and the community side and so feel that in comparison there is no network within my workplace that can connect the two together. I feel so far in the BAPPs online conversations, and through blogging I have a few fellow students who will be able to join my SIG in the hope that they bring fresh ideas and relations to thoughts on my topic.  

How will you use your SIG?

I will use my SIG as a way of expressing my own ideas and thoughts in the hope of feedback and suggestions from others that are involved. Like wise, as some of my fellow students will be apart of my SIG I also hope to be able to help them in there SIG.
The outcome of my SIG overall will guide me to my Inquiry question which is what we are all working towards developing. I will use social media, youtube, google, articles which I find of relevance to help support my ideas, as I have learnt communication through Web 2.0 brings people together. This will be another step for me in development, I have not yet ever been in control of a SIG and look forward to see the results from others interaction.

How will you evidence the shared practise within your own professional inquiry process?

I will use my SIG as a reference through the use of blogging. This is another way of continuing the inquiry process by sharing others thoughts and ideas. I hope that opening up more opportunities to be connected with others will open up more doors for my inquiry and its research to back it up.

If you are fellow students reading my blog and think you may want to be apart of my SIG please comment below and I will send you an invitation. 

Thanks,
Steph



References ;

Salmon ( 2003, p33)

www.gillyslamon.com - e-tivites

Reader 4 - page 21

Group Skype Session 6.10.15

HI everyone. 

I have just got off the phone from a Skype call and found it really interesting and wanted to share the discussion points and more importantly what stood out to me.

We had people from every module join in on the session which allowed people to look back at module 1, help with any questions they had and also look forward into module 3. This for me was interesting as it gave me an insight of what the inquiry process will become.

Adesola asked us all why we thought the CV was apart of the process in starting out the course in module 1. Lots of us were silent in our thoughts for a while, we all began to say the same thing; 'was it a way for people to get to know our backgrounds?' 'A way for future employers to look at what we have achieved?' Then as we got deeper into the discussion we realised that in a CV we are self evaluating. Looking back over your experiences and qualifications you are outlining to others what you have achieved. Though module 2 we have been asked to look back at our tasks we are set in module 1 as this can help relate to the questions being asked, therefore we are again self evaluating what we have already written. There is a pattern emerging and that's what Adesola was trying to make us understand. There is a reason why we were asked to perform the task of CV writing and this is all making sense as to how the modules will begin to link.

Another talking point was blog writing as a whole, why is it important? Like the CV example we are using the blogs to evaluate what we have previously written or spoken about. Always be interactive with others as this too can help. Being able to speak opening on our thoughts an ideas was so helpful to the group and particularly when talking about my inquiry. I have started to grasp an idea about funding with dance in schools, but as some of the group pointed out it may not be as easy to get into because it is a very vast area to focus on. It will keep me thinking of more options to go forward with as I develop further into Module 2.

Thank you again to everyone who attended and look forward to speaking and hearing more of your ideas soon.

S x

Disciplinary context in the arts

Types of knowledge that researchers talk about is commonly associated with you in your work place. Everyone 'should' have a basic knowledge within their practise however, in the Reader 4 it goes deeper into the disciplinary and transdiciplinary context's within the arts and how I can relate to my professional practise. I have had a little look over the web and found two descriptions on wikipedia which I wanted to blog. It helped me understand the terms a little better.

Definitions;
Academic Discipline;

An academic discipline is a branch of knowledge. It incorporates expertise, people, projects, communities, challenges, studies, inquiry, and research areas that are strongly associated with a given academic discipline. For example, the branches of science are commonly referred to as the scientific disciplines

Transdisciplinary;

Transdisciplinarity connotes a research strategy that crosses many disciplinary boundaries to create a holistic approach. It applies to research efforts focused on problems that cross the boundaries of two or more disciplines, such as research on effective information systems for biomedical research (see bioinformatics), and can refer to concepts or methods that were originally developed by one discipline, but are now used by several others, such as ethnography, a field research method originally developed in anthropology but now widely used by other disciplines.

Kreber (2009 pg16), describes knowledge as a whole and then what disciplines do in order for an individual to succeed using their knowledge. ' Knowledge of how different disciplines function, that is, how they articulate a problem, investigate it, and report on the outcomes, and knowledge of the value that guide thinking and practising, provides students with a wider repertoire of learning tools which so clearly and advantage in a complex world.' Kreber (2009 pg16).  Relating this to teaching, I admire the knowledge that the school teachers have at St Peters, day to day they are articulating problems, investigating and then working on a suitable outcome with students. Whether it be troubled students who do not want to work, or on the other hand, pushing students who want to succeed.
The modes of a scientific inquiry taken out by Gibbons (1994), outline the different skills that are required through experience and approaches that are used. 

On page 12 of the reader, it asks questions to us that are relating to these disciplines.
Do you work within a disciplinary context in the arts or is your situation more transdiscplinary?

As I work within two different sectors of dance, I would say that I work within a more transdisciplinary because I am continually crossing bouadaries from one are to another. Because the ST Peters school and PDSW are totally different organisations, they have problems which are different, therefore different knowledge is required from my peers. 

What do you know?

I know that from just assisting at the school and PDSW, I do not have full control over situations however as I observe I realise that the differences that are needed within the knowledge for the two which can help me as an individual gain experience that others may not have. I know that when teaching a young male student dance who has to be there because its stated in the school timetable will be more challenging to say teaching a male who has chosen to join in a class in his own free time. I have to have the ability to adapt my knowledge into practise.

How do I know it?

From speaking to other students on the BAPPs course, relating my theories back to the teacher at the school and co-workers at the PDSW, I know that being level headed within the industry is what will lead to success. As the Reader outlines, a dance teacher who owns her own school will have the knowledge of dance because that is her passion which she has chosen to fulfil. She will also have to have the business and management qualities in order to make a successful dance school run and operate. In comparison, a dance teacher in a school will have to have the same passion and knowledge of dance to that of the lady who owns her own school, however this teacher will have to apply knowledge of understanding and practicing education which is not something you necessarily think about needing.
When relating this back to my own practise I feel having a different approach to learning key aspects of 'knowledge' within the dance teaching world is beneficial for understanding the process of development.

Make a brief list of your competencies and capabilities;

Competencies - the ability to do something well

• Communication with others
• Technically fulfilling what has been asked of me
• Teaching vocational Dance to all age groups
• Promoting well being and activity to young adults

Capabilities - the ability that has potential for development

• Engaging with the students that are not as enthused about dance - mainly at the school
• More proactively working towards dance in the community - what can I do to help make a change
• Confidence in my knowledge - get more involved in teaching, ask for more opportunities at the school

What Knowledge and Skills do you think you will need for the future? 

From reflecting over this subject, knowledge is such a vast subject and I feel there is so much more for me to apply to my professional practice. I hope to teach dance within a school environment which means the education understanding will be an aspect of my learning if I am to succeed in the future. Luckily I am working within that environment so have the opportunity to ask teacher for advice, possibly query any events that happen or problem solving so this can further my knowledge. The skills that I have gained throughout Dancing as a child and into professional dancing on the cruise ships and stage in london can be applied within teaching. I hope to use this as an advantage as I know as a student you need the drive and enthusiasm to continue on within an art and I feel I can give that to them. Having said that, I know I would like to have more opportunities to learn more syllabus training and how to apply this skill into teaching dance as it is totally different to what I am used to teaching at current.

As I understand more about knowledge within the workplace, I have begun to wonder how I can apply this to my inquiry. As I develop further into my questions, I have realised that my focus seems to be drawn to either health and fitness within dance, or dance funding within the school environment. Both subjects require knowledge and skills so I am looking to apply this within my research.

I would love to hear your thoughts on this subject!

Thanks,

Steph

Current State of Dance

A friend of mine very kindly suggested an article for me to read regarding the current state of dance written by the head of youth dance education Linda Jasper. 
It is a very clear article which outlines the problems that dance has in the education sector.
From her background and knowledge the expectation that she desires from the curriculum to encourage dance is inspiring and it expresses more to me how far dance has come over the years, but now how more importantly we as dance professionals have to work in order for it to stay there. I have taken snippets out of the article which stood out to me but at the end of my blog please see the link which will take you straight to the website and you can read it in full. 

'In England there has been noticeable and fast-paced change since the change of government in 2010 and the world-wide economic crises in 2008. The school system is a very important system to work with if we want to ensure access to dance and the arts for all. Fundamentally, this is where all children and young people should get an arts education – free at the point of delivery' (Linda Jasper)

Jasper talks about what is next? But before we can make this evaluation, it is important to look at figures. She touches on how Dance is evolving in the PE departments of school however can't help but mention the negativity that still oozes out of some individuals. The statement from Nicky Morgan sums it up for me and what a selected group of people think about Dance in education. She states ' Choosing to study arts subjects at school could hold students back later on in life'.
Reviewing this I believe it is right that everyone can speak freely about their opinions however that bold comment cannot do anything more but infuriate me. To me, dance was a subject I was able to enjoy because it was active, enjoyable and fundamental to my own practise. I know I do not speak for everyone and those of us who wanted to continue on with dance later on after school are naturally going to enjoy the lesson, but for those who want it not to be a part of school choices should open their minds up to what it can offer students. Jasper also touches on its physicality's and by including and encouraging dance as a subject it is able to keep student active, it is a form of physical activity which pushes the obesity numbers down as this opens up a wider variety of activity based lessons within a school timetable.
As you read on through the article Jasper states that the STEM, Ebrace subjects (Science, Technology, English, Maths) and how this effect has encouraged students to drop arts subjects and the decrease in numbers across the country has taken an immediate effect. Please see a quote from the article relating to this;

'Nicky Morgan, Secretary for Education, speaking in early November 2014, warned young people that choosing to study arts subjects at school could “hold them back for the rest of their lives”. This statement revealed clearly the Government’s policy to focus on STEM (Science, Technology, Engineering and Maths) subjects as they are seen to be linked with wealth generation that leads to economic security. This focus on STEM is driven by the need to become more competitive in the world, especially in economically challenged times. The introduction of the EBacc and then the Best of 8, where a school’s performance is judged against GCSE scores in core ‘academic’ subjects, has contributed to a decline in the arts offered in schools.(1) 15% of schools surveyed by Ipsos MORI in 2012 for the Department for Education withdrew one or more arts subjects as a result of the EBacc. This was higher in schools in areas of deprivation: 21% of schools with a high proportion of free school meals withdrew one or more arts subjects, compared to 8% of schools with a low proportion of free school meals' (Linda Jasper)

I am not here to argue that the Best of 8 subjects are important to every student attending school, what I am interested in fighting for is how the Arts departments as a whole should not be pushed aside as a 'doss' subject. Seeing the percentages are an eye opener and I am fascinated to take this back to the school I am helping at and discuss with the teachers there. 
On a happier note, dance has now become a full feature in Key Stage 1 & 2 and funding of a huge amount of money is currently available until 2020 - this is until the new election. 

'Focus on progression routes
It is interesting that in this climate of cuts in public funding, the area that has been retained, even though not kept up with inflation, is the publicly funded pre-vocational training sector in England (Centres for Advanced Training and vocational residential schools). This government has also supported the creation of a National Youth Dance Company, which joined the other companies in Scotland and Wales. These developments are very useful for dance as supporting young people to develop their skills from an early age can enhance the possibility of them going on to have professional performance careers, regardless of their backgrounds. Perhaps we have made the argument concerning the importance of creating a world-class workforce for the cultural industries? But these involve relatively small numbers of young people, which means that the financial commitment is containable whilst government intervention is highly visible.
We have created a range of opportunities for talent development – but access to them is being eroded through reductions to opportunities for young people to dance in schools as well as falling participation rates in outside school activate'
What emerged clearly from the seminar is that the most urgent issue is less about the nature of the value of arts to education (although that case needs to be strengthened and deepened), but more about how we move forward in a period where there will be less national prescription to schools and reduced funding to the arts.
What steps can we take and whose responsibility is it to make all this happen? (Linda Jasper)


Having looked over this article and jotted some notes down, I wonder if this could lead my inquiry more down the funding/dance application in schools route. I will take Jaspers comment on board and believe this research will correspond nicely with what the teachers at the state school think too. If you have chance to read through this I highly suggest you take a look!

http://www.communitydance.org.uk/DB/animated-library/current-state-of-children-and-young-peoples-dance-.html?lib=33829


Bio;

Linda Jasper - Current state of Children and Young People in Dance

Questions relevant to my practice

After my initial research into this module, I reflect on the summary which states us to devise a list of questions which we will put to our respective peers, students, co-workers etc in order to begin the road on developing my inquiry.

As previously mentioned, my professional practise relating to my BAPP's qualification is helping working alongside teachers in the state school St Peters in Bournemouth, and also helping out at the Pavilion Dance South West (PDSW) which is located in the town centre. I have touched briefly on what the Pavilion Dance offers, but wanted to outline in more detail having spent more time there.

It is a national dance development agency and so therefore supports all sections of the community to engage in dance through doing or watching it. They engage with very young children through the intensive holiday activities along with annual youth dance platforms and offers classes specifically for children. The Pavilion also offers over 40 classes a week for adults, some of which i have had the pleasure to enjoy. It attracts people who love to dance, ex professionals, and while including a class for the over 60's and a Parkinson's dance class it shows that sense of catering for everyone that wishes to be involved. They support local artist and practitioners who are also very valuable members of the community and have three programmed seasons professional public performances. They also work closely with associate schools - and funnily enough St Peters has just been one of there most recent recruits! Small world when you work in it i suppose, but this has also given me the opportunity to see how the operational systems work and how funding within the art is at risk. PDSW design a bespoke programme of annual activity in accordance to their specific needs, whether it be cross curricular or not. In addition to this they also offer teachers CPD (Continuing professional development) specifically for GCSE, BTEC & A Level Dance syllabus work which is fantastic to drive the current dance teachers out there to continue in their practise. Having spent more time with the staff I have come to realise the risk of school funding across the board and so PDSW is a work place that is always trying to endeavour to offer a wide variety of dance activity out side of school time and encourage those to keep engaging in it. A prime example of this would be the Creative Careers Fair destined especially for those who are thinking to pursue a career in dance.

As I reflect on this knowledge that I have recently gained from PDSW, it allows me to broaden my questions that I have to base my inquiry off. Because I feel the two work places are similar but at the same time totally different, I wanted to compose two sets of questions which I will put to the two respective people that I will use to represent. From this I will be able to compare answers and evaluate the comparisons which may lead into my final inquiry question.

St Peters School - Questions

1)  Do you believe the syllabus provides the students with a broad enough knowledge on the subject, or is there restriction to their learning?
2) Do you find it difficult to engage enthusiasm from particular students who have picked dance as an 'easy subject' - does this cause frustration as a teacher?
3) Over time has there been a significant change in the way Dance is perceived as a subject? If so how and what support is needed from other departments within the school.
4) In comparison to other subjects, how do you think students engage in dance as apposed to maths or science? Is there a strategy to help them express themselves into the art?
5) What issues are there with funding within the dance department? Have they improved/not improved over the last year?
6) What do you think the benefits are of after school dance clubs and how do help facilitate the students who want to progress in the subject.

Pavilion Dance South West - Questions

1) Do you believe the structure of your organisation helps encourage students to pursue a career in dance? If so how?
2) How do you encourage engagement within the subject to children that may have been taken to you not out of their own choice, for example - summer schools etc
3) What skills and services do you provide to students who want to take Dance further into vocational training that my differ from an academic school?
4) How do you open opportunities to the public community? Are there risks to this? If so, what are they?
5) What issues are there with funding within your organisation? How have they improved / not improved over the last year?
6) What do you think the positives and negatives are of opening up your dance facility to all ages and abilities?
7) How do you believe you can help people within the community to relate to Dance as an art form?


As you can see I have some similar questions to both parties and I also have some different questions which relate to the particular practise.
I would love your feedback on my research into PDSW and also the questions that I have devised. A fellow blogger and BAPP's student Jessica Plant and I have discussed our similarities in our professional practise and know we are keen to relate and compare questions/answers that we have leading into our inquiry.

I should have the answers to these next week so keep checking my blog to find out what the outcome was!

Thanks
Steph X

Developing Lines of Professional Inquiry

Task 4a

Beginning module 2 and engaging myself back into study time, is some what of a reality check and realisation of what a lovely long summer we have all had.  Getting back into the swing of things quickly and getting my nose into the reader for the first part of the module was interesting as there was a lot of background reading that came with it. 

Developing the line for our professional inquiry in the area that we are currently working in is the aim of this project and for me it covers a vast area of expertise. As I have previously mentioned in earlier blogs I am balancing my full time job as a fitness instructor, along with helping out at my old state school St Peters, with the GCSE and A Level dance students. During the summer I and have become more involved with the local dance centre in Bournemouth (Pavilion Dance South West) that works closely with all state schools in the area, along with reaching out to promote dance in the community to all ages, styles of dance and disabilities. Already I feel that I have a contrasting base of knowledge from each dance area that I am involved with and when working on questions that are relevant to my practice I have drawn it into two, as I wanted to compare the answers to the teachers at the state school, to those teachers and support workers at the community dance centre would give to me to hopefully present me with a inquiry that will relate to both.
Before I share the questions that I have come up with, I wanted to touch on the background reading and research that was provided in the reader. 
It is clear that our Work Based Learning (WBL) and Professional Inquiry (PI) both evaluate to social science research which we ourselves will be working on. Identifying the roles and responsibilities of you as a teacher, student, partner, or leader should be key to success in the field of work. Using Judi Marshalls quote below, I have begun to develop an understanding of what my inquiry should represent.

'Inquiry involves intent, a sense of purpose. This may be held tacitly. There may be multiple intents, in accord or discord. Often intents unfold, shift, clarify or become more complex. Working with this aspect of inquiry is vital to self-reflective practice.'
(Marshall, 2001, p.6) Reader 4 BAPPS arts.

I was drawn to Peter Senge's introduction into the learning of organisation, and the topics which he focuses on. His management theories are influential academic theories that focus on the organisation creating environments where people, both the leaders and subordinates are learning, 
After reading over the link provided in the Reader 4, I understood how his 5 disciplines can be applied within a work force like the Pavillion Dance South West, and in contrast St Peters School. Both working on the same art and subject being dance, but both having totally different purposes. For example; when speaking about Personal Mastery, he explains that 'an organisation can only learn through the individuals who are learning' (Senge, 1947). He talks about the self confidence that is needed and uses the term 'ignorance' which as a leader is vital. Within a school teaching environment, you have a time scale in which the students have exams on a particular section of the curriculum, within a community dance set up, you may have only a week to perfect a routine to showcase it in front of all your peers. Both have similar qualities in learning, and how organisation from the leader is a key aspect for students to base knowledge on. The mental modes, exposing thinking effectively to influence others. Sharing knowledge, experiences and ideas is a common ground within an art based subject field and I felt Senge outlines his ideas to inspire leaders to keep leading.

'Leader as a teacher is not about teaching people how to achieve their vision. It is about fostering learning for everyone. Such leaders help people throughout the organisation develop systemic understandings. Accepting this responsibility is the antidote to one of the most common downfalls of otherwise gifted teachers - losing their commitment to the truth.' (Senge 1990:356)

I read this quote over and over. How I applied it to my own practise was how I as a teacher, assisting dance classes should open my mind to broader opportunities to those who want to develop in their skills and feel responsible for honest feedback. 

Looking further into Aryris & Schon (1974) they have the split theory / action which they describe as Single Loop and Double Loop.
In a brief summary, the single loop is a theory that evaluates when a situation may go wrong  and looks for another strategy rather than questioning it. 
The double loop theory is  apposing the single loop theory as this is when a situation may go wrong and we question it, subject to critical scrutiny.
Please see below the clip that I have found on YouTube which clearly explains this theory incase you had any trouble trying to understand it. It shows in a simple situation how we as human beings can jump into single loop theory more commonly than taking a minute to sit back and think about whats happening around us and apply the double loop theory and question how we can improve for the future. 

 I wanted to outline the Models which Aryris and Schon talk about and how I would relate this in my own professional practice. Please see below the differences between that two;

The governing Values of Model I are:

• Achieve the purpose as the actor defines it
• Win, do not lose
• Suppress negative feelings
• Emphasise rationality

Primary Strategies are:

• Control environment and task unilaterally
• Protect self and others unilaterally

Usually operationalised by:

• Unillustrated attributions and evaluations eg.  "You seem unmotivated"
• Advocating courses of action which discourage inquiry eg.  "Lets not talk about the past, that's over."
• Treating ones' own views as obviously correct
• Making covert attributions and evaluations
• Face-saving moves such as leaving potentially embarrassing facts unstated

Consequences include:

• Defensive relationships
• Low freedom of choice
• Reduced production of valid information
• Little public testing of ideas

 Model 2:

 

The governing values of Model II include:

• "Valid information
• Free and informed choice
• Internal commitment

Strategies include:

• Sharing control
• Participation in design and implementation of action

Operationalised by:

• Attribution and evaluation illustrated with relatively directly observable data
• Surfacing conflicting views
• encouraging public testing of evaluations

Consequences should include:

• Minimally defensive relationships
• high freedom of choice
• increased likelihood of double-loop learning"

As an individual who is always learning, wether it be in my fitness professional life or assisting in my new vocation experiences in the dance world, I can now reflect on how I propose to be more in the Model 1 category, Pushing aside the issue and using the single loop as the escape route. Being alongside teachers in the field who are always having to answer to people I have recognised a pattern in the way that values can sometimes be thrown out the window in order for a resolution to a problem. Again reverting back to the single loop theory and Model 1. 

As I have mentioned I am a victim of this, and as I build my questions for my respective colleagues/teachers I will try to focus on this aspect and hope to have a clearer mind set onto how an organisation can be successful on great leadership and ownership with the use of togetherness and application of the theories I have discussed. 

Questions which I am going to present are in a working progress as I want to be able to compare the two organisations that I am currently working alongside. I believe from this i will be able to create a relative inquiry to my own professional interest.

Bio;

(Marshall, 2001, p.6) Reader 4 BAPPS arts.

Senge 1990:356)

Aryris & Schon (1974) 

http://www.infed.org/thinkers/senge.htm - Fitth Discipline, Peter Senge

http://www.infed.org/thinkers/argyris.htm - Argyris and Schon

Starting again

Hi Everyone!

How are you all feeling about starting back up again! I must admit it will be an adjustment as i have very much enjoyed the summer break! Having said that I will look forward to getting my head down and am excited about module 2!

Over the summer I have looked out for different community dance centres that offer and provide dance for children of all age groups whilst the parents take some time out!
 In my local town of Bournemouth, I found the Pavilion Dance centre is the host of many different workshops and summer schools and work closely within a time scale to put on a performance at the end to showcase what they have learnt. I went along to some with a friend who is taking on a dance teachers role in a local school, and we found it very interesting and hoped to scoop more information from one of the group leaders as to how they started out and what the logistics are of the foundation they run. Unfortunately, at the time all of the leaders seemed busy reuniting children with parents but it has drawn me into the community dance side of things and feel intrigued to find out more.

I would love to hear any of your summer stories and if you found any relation to the BAPP's world whilst enjoying the summer holidays?!

Look forward to catching up with you all again soon!

S x