Flow - the space between output and input in dance class

My dissertation begins by looking at people's experiences in dance class - especially ballet and contemporary classes. My methodology is grounded theory, which means my findings will be grounded in the actual phenomenon of people experiencing a dance class, instead of in a literature review for example. I find data through my own observations, experiences and discussions or interviews with others.

Basically, it is a study of how what happens in dance class influences how people feel about it, and why. How do you experience a class?

Here is what I have thought today about flow:

Flow is enhanced where the teacher for instance talks students through the very moments the dance is happening (by saying the steps to be performed next as the music plays as the students perform), so there is a real engagement with the moment from the teacher, who is guiding the flow of movement, from the students who need to be listening while thinking fast to embody the movement into a flow: as soon as it is output it is input. The space between teacher output and student input is minimized - this is flow.

Disruption of flow means that the way we experience class changes: attention is drawn to the full implications of a moment, a conscious experiencing of a moment, a matter of fact consciousness of reality, stand alone moments.

Flow is disrupted when a learning curve is broken off too early, when the teacher moves on too quickly.
Also, the way a class is built up influences the flow: experience has shown that after moving a lot, controlling a balance in a static way is harder. Not sure about the validity of this.
Also, flow is disrupted when
1. people struggle with the material,
2. the sound is wanting in fullness - more rooted in rhythm than melody - and
3. when expectations of musical flow are violated.

Moreover, the emotional energy of collaborators in the class (such as musicians), if different from the mood focus, minimises the own success in getting into that mood.
Having to wait for others disrupts the flow of the class, and also prevents ideal concentration and engagement of individual.
Flow is also disrupted if subconscious expectations are not met (role of music, musical cultural up-bringing, ballet class routine, hidden curriculum).
In these circumstances disruption need not be disruption. Our judgement may be clouded through expectations and assumptions. We are our own obstacles in these situations in that we hinder ourselves through lack of open mind to go with the flow.