Some of you may have read my blog and seen I am interested in exploring the idea of how image affects us in the industry and if it over weighs talent. I felt this article was an interesting read and something I can look back at if I do end up going down this direction for my inquiry.
http://www.dancemagazine.com/issues/December-2014/Your-body-the-relationship-with-your-reflection
Wednesday, 3 December 2014
Wednesday, 19 November 2014
3d. Critical questions and Issues that emerge
Do some very specific ideas emerge about your networking and sources? Does your engagements to date seem appropriate? Limited? Focused? Planned? Unplanned?
I have always known networking in our industry is extremely important and it is a word I hear often. However, this task has opened my eyes to the different ways in which it can be done.
At the moment I feel my networking is sufficient, as I will always engage with people in a professional environment. I don't set out to speak to people with networking in mind, however as conversation flows it tends to lead down that path. I have never been one to "suck up to people" to get what I want, as I feel awkward doing it, so when something comes out of a natural conversation it is a bonus.
I feel the network with my group of friends is very appropriate. Naturally, we want to help one another and we regularly see each other and share gossip or information we may have about the industry and life in general. Linking this with the previous blog, this group of friends could be classed as a community. We all have the same Domain, which is to help each other achieve their dreams and goals and we put this into practice by sharing the information we find out and also by critiquing their work in order to make them aware of their strengths and what they could have done better in order to improve and further their career.
Although I have a wide network of other performers, after doing this module I feel I have been made aware my network of choreographers and casting directors is fairly limited. Therefore, I will now make a conscious effort to attend more classes, workshops and auditions in order to "get my face seen" and hopefully begin to build up this network.
Are your ideas, positions or concerns shared by others within and/or beyond your professional area of work?
It has been intriguing to read the other students blogs and encouraging to see a lot of our views are the same. It has also been interesting to see the ideas that other students feel passionate about and have suggested as possible inquiries for later modules. This has opened my eyes to some of the other important issues in the industry which I had never thought about before. It was also encouraging to hear some positive feedback from a couple of students regarding my idea for my Inquiry and was comforting that they shared the same views.
Does sharing ideas and communicating with others shift your thinking, planning or practice?
I feel sharing ideas and communicating with others is very beneficial. When choreographing a workshop or a show I often share my choreography ideas with others and as mentioned in the previous blog on social constructionism, people interpret things differently depending on their background and previous experiences. So when I play the music to a friend they may interpret it differently, resulting in different movements and by watching them it might inspire me to develop alternative movements from their ideas and vice versa.
Not only does it shift thinking, it is also comforting psychologically. I have known my group of friends for a long time now, so we obviously speak on a personal level as well as a professional level. Sometimes, if we have an issue about an audition or something we are working on we will share it. Often, they will have the same view and it is comforting to know others are feeling the same way.
Does critical reflection help you decide what really matters and the actions to take?
I feel critical reflection doesn't necessarily help me decide what really "matters" as I think everything should matter, but I feel it has given me a pathway to help me realise what needs improving. I found the module on reflection very interesting and as I mentioned in the module I use a reflection-in-action approach subconsciously. However by keeping a journal and using a reflection-on-action approach, it has allowed me to reflect on things that I might have missed at the time.
I feel by using a structure to follow e.g. Gibbs reflective cycle, it allows me to recognise what needs improving and what the next step is in order to improve it. I will definitely be using this in the future as it gives me a starting point in which to expand on.
To what extent do concepts and theories assist you in thinking about your professional networking in different ways? And do these different ways of thinking have some purpose for you?
I found the module on networking very informative. It has educated me in the different theories behind networking that I had not been aware of before. I had never looked at my group of friends or cast members as a community before but the module has opened my eyes to realise we are. Affiliation was another theory I am glad I have been introduced to, as it is something we do naturally, but I have now been made aware of "why" we affiliate and also to be careful as a selfless act may still have intentions behind it.
Are you left thinking differently prior to this part of the module? And if so, how?
Yes, I am definitely thinking differently as I have never been made aware of all the parts in the module before. Even though I have been doing a lot of the theories spoken about subconsciously such as Affiliation, reflection-in-action, cooperation and been part of a community in practice, this module has made me aware of the "hows" and "whys" behind the theories. Therefore, this module has allowed me to think about exploring new theories such as "Gibbs reflective cycle", helped me to identify my learning style using Kolb's learning cycle along with many others, as well as going into more depth on the ones I already use.
It has been very interesting reading all the different theories produced by Gibbs, Dewey and Kolb, Honey and Mumford etc as it has made me aware of a sequence I can follow in order to take my reflection step by step so I am able to think about it in more depth.
It was also brought to my attention during this task that a lot of my sources are internet based. So, I am also now going to make more of a conscious effort to find more books I can read about the industry.
In conclusion, this module has been very effective in many ways, showing me technologies, theories and opinions I had not experienced prior to doing this course. Now I have been made aware of them and know how to use them effectively, I will continue to use them throughout my professional practice in the hope it will help me to further and develop my career.
I have always known networking in our industry is extremely important and it is a word I hear often. However, this task has opened my eyes to the different ways in which it can be done.
At the moment I feel my networking is sufficient, as I will always engage with people in a professional environment. I don't set out to speak to people with networking in mind, however as conversation flows it tends to lead down that path. I have never been one to "suck up to people" to get what I want, as I feel awkward doing it, so when something comes out of a natural conversation it is a bonus.
I feel the network with my group of friends is very appropriate. Naturally, we want to help one another and we regularly see each other and share gossip or information we may have about the industry and life in general. Linking this with the previous blog, this group of friends could be classed as a community. We all have the same Domain, which is to help each other achieve their dreams and goals and we put this into practice by sharing the information we find out and also by critiquing their work in order to make them aware of their strengths and what they could have done better in order to improve and further their career.
Although I have a wide network of other performers, after doing this module I feel I have been made aware my network of choreographers and casting directors is fairly limited. Therefore, I will now make a conscious effort to attend more classes, workshops and auditions in order to "get my face seen" and hopefully begin to build up this network.
Are your ideas, positions or concerns shared by others within and/or beyond your professional area of work?
It has been intriguing to read the other students blogs and encouraging to see a lot of our views are the same. It has also been interesting to see the ideas that other students feel passionate about and have suggested as possible inquiries for later modules. This has opened my eyes to some of the other important issues in the industry which I had never thought about before. It was also encouraging to hear some positive feedback from a couple of students regarding my idea for my Inquiry and was comforting that they shared the same views.
Does sharing ideas and communicating with others shift your thinking, planning or practice?
I feel sharing ideas and communicating with others is very beneficial. When choreographing a workshop or a show I often share my choreography ideas with others and as mentioned in the previous blog on social constructionism, people interpret things differently depending on their background and previous experiences. So when I play the music to a friend they may interpret it differently, resulting in different movements and by watching them it might inspire me to develop alternative movements from their ideas and vice versa.
Not only does it shift thinking, it is also comforting psychologically. I have known my group of friends for a long time now, so we obviously speak on a personal level as well as a professional level. Sometimes, if we have an issue about an audition or something we are working on we will share it. Often, they will have the same view and it is comforting to know others are feeling the same way.
Does critical reflection help you decide what really matters and the actions to take?
I feel critical reflection doesn't necessarily help me decide what really "matters" as I think everything should matter, but I feel it has given me a pathway to help me realise what needs improving. I found the module on reflection very interesting and as I mentioned in the module I use a reflection-in-action approach subconsciously. However by keeping a journal and using a reflection-on-action approach, it has allowed me to reflect on things that I might have missed at the time.
I feel by using a structure to follow e.g. Gibbs reflective cycle, it allows me to recognise what needs improving and what the next step is in order to improve it. I will definitely be using this in the future as it gives me a starting point in which to expand on.
To what extent do concepts and theories assist you in thinking about your professional networking in different ways? And do these different ways of thinking have some purpose for you?
I found the module on networking very informative. It has educated me in the different theories behind networking that I had not been aware of before. I had never looked at my group of friends or cast members as a community before but the module has opened my eyes to realise we are. Affiliation was another theory I am glad I have been introduced to, as it is something we do naturally, but I have now been made aware of "why" we affiliate and also to be careful as a selfless act may still have intentions behind it.
Are you left thinking differently prior to this part of the module? And if so, how?
Yes, I am definitely thinking differently as I have never been made aware of all the parts in the module before. Even though I have been doing a lot of the theories spoken about subconsciously such as Affiliation, reflection-in-action, cooperation and been part of a community in practice, this module has made me aware of the "hows" and "whys" behind the theories. Therefore, this module has allowed me to think about exploring new theories such as "Gibbs reflective cycle", helped me to identify my learning style using Kolb's learning cycle along with many others, as well as going into more depth on the ones I already use.
It has been very interesting reading all the different theories produced by Gibbs, Dewey and Kolb, Honey and Mumford etc as it has made me aware of a sequence I can follow in order to take my reflection step by step so I am able to think about it in more depth.
It was also brought to my attention during this task that a lot of my sources are internet based. So, I am also now going to make more of a conscious effort to find more books I can read about the industry.
In conclusion, this module has been very effective in many ways, showing me technologies, theories and opinions I had not experienced prior to doing this course. Now I have been made aware of them and know how to use them effectively, I will continue to use them throughout my professional practice in the hope it will help me to further and develop my career.
Monday, 17 November 2014
3c. Sources of information
It has been interesting comprising a list of the different sources I use to gain information to help further my performing career. It came to my attention that a lot of the sources I used stemmed from using the internet.
Today the internet plays a key part in life. I don't know about anyone else but I know it's the first thing I use when I wake up and the last thing I use before I go to bed! Have we become too reliant? I feel we have and I think this is simply because of the ease in which we can access the internet and also the vast amount of information you can find on there. I often find myself "Googling" a question if I don't know the answer and within seconds the answer is right in front of me!
As I discussed in an earlier task about Web 2.0 "Facebook" is a social media site I use very often.
This is because I have a lot of professional contacts on there from previous jobs and from previous networking. They also have groups comprised of performers such as "The Hustle", where performers can inform others of upcoming auditions and jobs. They can also share information on which companies are good to work for and which companies we should try and avoid.
However, you have to be careful when obtaining information from people on Facebook, as some of the jobs posted aren't always genuine and professional and it is easy for people to write anything they like on there, which leads to the information not always being reliable.
This is why websites such as "Talent Cast", "Dancers Pro" and "The Stage", are also good to find out about auditions, because they can trace back whomever has posted the audition. Although these websites are good, they do still post up auditions for jobs which are unpaid. A lot of people have retaliated and formed a debate over this and rightly so. You wouldn't expect anyone else to work for free who has trained to do a specific skill all their lives.
Another way of sourcing information using the internet is via "You Tube". This is a good way to view show reels and if you know you are going to attend an audition by a certain choreographer, it is a good way to watch some of their work in order to see the type of style they specialise in.
I use "You Tube" as a starting point, when I am choreographing, as watching other videos inspire me and give me some ideas which I can then develop.
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I have to confess I don't read as many books as I should do and I have never really been one to "get lost in a book". However, I do subscribe monthly to the "Dancing Times". The Dancing times is a magazine which has interesting articles and interviews on professional dancers past and present as well as information on upcoming events in the industry.
I feel the biggest way to learn is to watch people who inspire you. For example, when I go to the theatre and watch a show I find it really beneficial to watch the dancers and take note of what I think looks good and what could have been improved on, so I can then apply it to my own performance experiences.
I personally think the most valuable source of information comes from friends and people you meet in a professional environment. I am lucky to have a group of close friends in the industry who know where my strengths and weaknesses lie. Therefore, if they hear about an audition which might not be suited to them, but they know it would suit me, then they will inform me about it. Also, I feel it is important for friends and family to see you perform in shows as you know their opinion and critique will be honest. They will feel more comfortable saying what I need to improve upon, than someone who I have just met.
It is important to be approachable and talkative to everyone in the industry, as networking is a very necessary and beneficial part of the industry. Other people will have contacts, information and opinions on things which you might not have and might be able to help you further your career. This is why "you should always be nice to people on the way up, as you never know whom you might meet on the way down".
It is useful to gain information about the industry, but once you have the information it is important to keep it in case you need it again. This is why it is important to keep all your information organised. I have a folder where I store all my important documents such as CV's, headshots, information sent from agents, invoices and contracts. By doing this, it is easy to find for auditions and it is all in one place if I ever need recall any of the information again. I have a separate folder on my email account for emails relating to my work for the same reason. I personally find an audition process very stressful and nerve racking, so being organised and prepared in advance takes some of the pressure away, as you aren't running round like a headless chicken the night before getting everything ready and printing off headshots and CV's.
In conclusion, I use the internet a lot to access information in different forms. Whether it's for Facebook, audition sites, You Tube or just to Google where the nearest tube station is to a particular venue or audition location. We are very lucky to have been brought up in a generation when the internet is around as it does make a lot of things quicker and allows us to access vast amounts of information, which we would have spent hours looking for in a book.
I guess the ease of which we can contact our friends is beneficial too, because if it isn't possible to meet them face to face we can still contact each other with a quick phone call or text to let them know about something.
Everything in the world today is very instant and quick paced when you think how far things have developed in the last 50 years, it is intriguing to think how the world will be in another 50 years and what different ways will be available to source information then.
Today the internet plays a key part in life. I don't know about anyone else but I know it's the first thing I use when I wake up and the last thing I use before I go to bed! Have we become too reliant? I feel we have and I think this is simply because of the ease in which we can access the internet and also the vast amount of information you can find on there. I often find myself "Googling" a question if I don't know the answer and within seconds the answer is right in front of me!
As I discussed in an earlier task about Web 2.0 "Facebook" is a social media site I use very often.This is because I have a lot of professional contacts on there from previous jobs and from previous networking. They also have groups comprised of performers such as "The Hustle", where performers can inform others of upcoming auditions and jobs. They can also share information on which companies are good to work for and which companies we should try and avoid.
However, you have to be careful when obtaining information from people on Facebook, as some of the jobs posted aren't always genuine and professional and it is easy for people to write anything they like on there, which leads to the information not always being reliable.
This is why websites such as "Talent Cast", "Dancers Pro" and "The Stage", are also good to find out about auditions, because they can trace back whomever has posted the audition. Although these websites are good, they do still post up auditions for jobs which are unpaid. A lot of people have retaliated and formed a debate over this and rightly so. You wouldn't expect anyone else to work for free who has trained to do a specific skill all their lives.
Another way of sourcing information using the internet is via "You Tube". This is a good way to view show reels and if you know you are going to attend an audition by a certain choreographer, it is a good way to watch some of their work in order to see the type of style they specialise in. I use "You Tube" as a starting point, when I am choreographing, as watching other videos inspire me and give me some ideas which I can then develop.
I feel the biggest way to learn is to watch people who inspire you. For example, when I go to the theatre and watch a show I find it really beneficial to watch the dancers and take note of what I think looks good and what could have been improved on, so I can then apply it to my own performance experiences.
I personally think the most valuable source of information comes from friends and people you meet in a professional environment. I am lucky to have a group of close friends in the industry who know where my strengths and weaknesses lie. Therefore, if they hear about an audition which might not be suited to them, but they know it would suit me, then they will inform me about it. Also, I feel it is important for friends and family to see you perform in shows as you know their opinion and critique will be honest. They will feel more comfortable saying what I need to improve upon, than someone who I have just met.
It is important to be approachable and talkative to everyone in the industry, as networking is a very necessary and beneficial part of the industry. Other people will have contacts, information and opinions on things which you might not have and might be able to help you further your career. This is why "you should always be nice to people on the way up, as you never know whom you might meet on the way down".
It is useful to gain information about the industry, but once you have the information it is important to keep it in case you need it again. This is why it is important to keep all your information organised. I have a folder where I store all my important documents such as CV's, headshots, information sent from agents, invoices and contracts. By doing this, it is easy to find for auditions and it is all in one place if I ever need recall any of the information again. I have a separate folder on my email account for emails relating to my work for the same reason. I personally find an audition process very stressful and nerve racking, so being organised and prepared in advance takes some of the pressure away, as you aren't running round like a headless chicken the night before getting everything ready and printing off headshots and CV's.
In conclusion, I use the internet a lot to access information in different forms. Whether it's for Facebook, audition sites, You Tube or just to Google where the nearest tube station is to a particular venue or audition location. We are very lucky to have been brought up in a generation when the internet is around as it does make a lot of things quicker and allows us to access vast amounts of information, which we would have spent hours looking for in a book.
I guess the ease of which we can contact our friends is beneficial too, because if it isn't possible to meet them face to face we can still contact each other with a quick phone call or text to let them know about something.
Everything in the world today is very instant and quick paced when you think how far things have developed in the last 50 years, it is intriguing to think how the world will be in another 50 years and what different ways will be available to source information then.
Sunday, 16 November 2014
3b. Theories relating to networking
Networking is very important in the performing industry and even though I know I have been networking through out my career this task has been interesting to look into the different theories behind it.
Cooperation
"When should a person cooperate, and when should a person be selfish, in an ongoing interaction with another person?" (Axelrod, R. 1984)
This was an interesting quote, as I have been in many situations where people in an audition have asked for my help with remembering a step in a routine. I am somebody who does like to help out others, so with that character trait I automatically will help them out and then they will go and get the job over me. Should this have been a case where I needed to be selfish?
"Should a friend keep providing favours to another friend who never reciprocates?" (Alexrod, R. 1984)
In my group of friends we are very cooperative and we help each other out, letting each other know about auditions and any jobs that may suit one another. However, I have also been in situations were I have told somebody about an audition and when they have information about an audition they have been very secretive and haven't returned the favour, so that they can attend it on their own giving them a better chance of getting the job.
I know it is a tough industry and you should always look out for yourself, but what extent should you go to and is it worth being selfish and upsetting friends over?
"The Prisoners Dilemma" was the game that Axelrod (1984) developed in order to identify patterns of behaviour. "TIT FOR TAT" was the winning method which has been described as "cooperation until maximum benefit produced then defect".
According to Axelrod (1984) the key characteristics for successful cooperation were:
I personally agree with these characteristics and I do believe if you do something good for someone else the favour will be returned. It is so important we cooperate in this industry, as every one is in the same boat and if we are open and help one another then it might lead to more opportunities for every one.
Connectivism
"Connectivism suggests that learners create knowledge as they attempt to understand their experiences" (Driscoll, 2000 p.376)
Driscoll, 2000 also defines learning as "a persisting change in human performance or performance potential...which must come about as a result of the learner's experience and interaction with the world".
The quotes above relate to the theories of Kolb, Gibbs, Dewey and Honey and Mumford etc discussed in a previous task, as we are learning and adapting subconsciously all the time. For example, If I was choreographing to the same piece of music as someone else, we would interpret the music differently and we would choreograph different movements according to our own knowledge and previous experiences.
In Reader 3 "Connectivism: A learning Theory for the Digital Age" the principles of connectivism are:
Cooperation
"When should a person cooperate, and when should a person be selfish, in an ongoing interaction with another person?" (Axelrod, R. 1984)
This was an interesting quote, as I have been in many situations where people in an audition have asked for my help with remembering a step in a routine. I am somebody who does like to help out others, so with that character trait I automatically will help them out and then they will go and get the job over me. Should this have been a case where I needed to be selfish?
"Should a friend keep providing favours to another friend who never reciprocates?" (Alexrod, R. 1984)
In my group of friends we are very cooperative and we help each other out, letting each other know about auditions and any jobs that may suit one another. However, I have also been in situations were I have told somebody about an audition and when they have information about an audition they have been very secretive and haven't returned the favour, so that they can attend it on their own giving them a better chance of getting the job.I know it is a tough industry and you should always look out for yourself, but what extent should you go to and is it worth being selfish and upsetting friends over?
"The Prisoners Dilemma" was the game that Axelrod (1984) developed in order to identify patterns of behaviour. "TIT FOR TAT" was the winning method which has been described as "cooperation until maximum benefit produced then defect".
According to Axelrod (1984) the key characteristics for successful cooperation were:
- BE NICE - cooperate, never be the first to defect
- BE PROVOCABLE - return defection for defection, cooperation for cooperation
- DON'T BE ENVIOUS - be fair with your partner
- DON'T BE TOO CLEVER - or, don't be too tricky
However, is a selfless act really selfless? Trivers (1971) explains how "the benefits of human altruism are to be seen as coming directly from reciprocity – not indirectly through non-altruistic group benefits". In our professional networking instance, Altruism can be described as a behaviour where someone acts in a manner that might temporarily reduce their success while trying to help another person, with the expectation that the favour will be returned at a later time. Therefore, do people only help others in order to gain something back? Or are they doing it because they genuinely want to?
Affilliation
I feel Affilliation is extremely important, not only in a professional environment but in life in general.
"Our tendency to seek out others and form close relationships is an inherited trait that helps us to survive and reproduce by providing us with a network of support that will help us when we are in need" (Crisp, J and Turner, R 2010)
"Our tendency to seek out others and form close relationships is an inherited trait that helps us to survive and reproduce by providing us with a network of support that will help us when we are in need" (Crisp, J and Turner, R 2010)
Some people have a wide network of friends, but they might not be that close to them and some people have a smaller network of friends who they are really close with. O'Connor and Rosenblood, 1996 explore the model of social afflilliation and how "people control their level of contact with others to keep it stable and as close as possible to a desired level".
It is harder for some people to affilliate than others. Introvert people find it harder to interact socially than people who are extroverts. According to Johnson and colleagues 1999, this is because introverts are "higher in arousability, the degree to which stimulation typically produces arousal of the central nervous system, than extroverts".
Socially interacting with people is a key part of networking and even if you are an introvert and find it difficult, you have to do it to help yourself. Everyone involved in a production will speak to each other and add each other on Facebook or Instagram, whether they are in the production or behind the scenes. It is this networking that could lead you to your next job, as they might know someone who is looking to cast someone who matches what you can offer.
I personally feel I can be both introvert and extrovert depending on the situation. I tend to be more extrovert on a social level with my friends than I am professionally. This is because I think more about what I am saying in a professional environment, as if I say something wrong it could affect the way someone sees me and whether they would employ me, where as with your friends it is a lot more relaxed and if you say something stupid they would just laugh it off with you.
It is harder for some people to affilliate than others. Introvert people find it harder to interact socially than people who are extroverts. According to Johnson and colleagues 1999, this is because introverts are "higher in arousability, the degree to which stimulation typically produces arousal of the central nervous system, than extroverts".
Socially interacting with people is a key part of networking and even if you are an introvert and find it difficult, you have to do it to help yourself. Everyone involved in a production will speak to each other and add each other on Facebook or Instagram, whether they are in the production or behind the scenes. It is this networking that could lead you to your next job, as they might know someone who is looking to cast someone who matches what you can offer.
I personally feel I can be both introvert and extrovert depending on the situation. I tend to be more extrovert on a social level with my friends than I am professionally. This is because I think more about what I am saying in a professional environment, as if I say something wrong it could affect the way someone sees me and whether they would employ me, where as with your friends it is a lot more relaxed and if you say something stupid they would just laugh it off with you.
Social Constructionism
Constructionism suggests human beings construct meanings as "they engage with the world they are interpreting. Before there were consciousness on earth capable of interpreting the world, the world had no meaning at all". (Crotty, M. 1998)
I understand the above quote to mean, although there was existence it only had meaning once an individual had constructed meaning for it.
"It is the view that all knowledge and therefore all meaningful reality as such is contingent upon human practices, being constructed in and out of interaction between human beings and their world, and developed and transmitted within an essentially social context" (Crotty, M. 1998)
Therefore, once an individual has constructed meaning, this will then be shared through interaction with other individuals. In our world today, meaning is being constructed and shared through Web 2.0 as well as word of mouth.
Each individual will interpret meaning differently depending on their previous experiences. "Tree is likely to bear different connotations in a logging town, an artist settlement and a tree less slum". (Crotty, M. 1998)
At the moment social networking is vital to find out about auditions and companies. Obviously as my career progresses and changes this may become less important to me, as I would have already gained contact and knowledge. However, my knowledge I have gained as a dancer can then be passed on to my students and others.
I also feel we use social constructionism in auditions, because everyone is taught the same routine. However, everyone will interpret and perform it differently according to their previous training and knowledge.
I don't feel this is a theory that will enhance my networking, but it is something that everyone does subconsciously and makes us who we are.
I understand the above quote to mean, although there was existence it only had meaning once an individual had constructed meaning for it.
"It is the view that all knowledge and therefore all meaningful reality as such is contingent upon human practices, being constructed in and out of interaction between human beings and their world, and developed and transmitted within an essentially social context" (Crotty, M. 1998)
Therefore, once an individual has constructed meaning, this will then be shared through interaction with other individuals. In our world today, meaning is being constructed and shared through Web 2.0 as well as word of mouth.
Each individual will interpret meaning differently depending on their previous experiences. "Tree is likely to bear different connotations in a logging town, an artist settlement and a tree less slum". (Crotty, M. 1998)
At the moment social networking is vital to find out about auditions and companies. Obviously as my career progresses and changes this may become less important to me, as I would have already gained contact and knowledge. However, my knowledge I have gained as a dancer can then be passed on to my students and others.
I also feel we use social constructionism in auditions, because everyone is taught the same routine. However, everyone will interpret and perform it differently according to their previous training and knowledge.
I don't feel this is a theory that will enhance my networking, but it is something that everyone does subconsciously and makes us who we are.
Connectivism
"Connectivism suggests that learners create knowledge as they attempt to understand their experiences" (Driscoll, 2000 p.376)
Driscoll, 2000 also defines learning as "a persisting change in human performance or performance potential...which must come about as a result of the learner's experience and interaction with the world".
The quotes above relate to the theories of Kolb, Gibbs, Dewey and Honey and Mumford etc discussed in a previous task, as we are learning and adapting subconsciously all the time. For example, If I was choreographing to the same piece of music as someone else, we would interpret the music differently and we would choreograph different movements according to our own knowledge and previous experiences.
In Reader 3 "Connectivism: A learning Theory for the Digital Age" the principles of connectivism are:
- Learning and knowledge rests in diversity of opinions.
- Learning is a process of connecting specialised nodes or information sources.
- Learning may reside in non- human appliances.
- Capacity to know more is more critical than what is currenty known.
- Nurturing and maintaining connections is needed to faciliate continual learning.
- Ability to see connections between fields, ideas, and concept is a core skill.
- Currency (accurate, up to date knowledge) is the intent of all connectivist learning activities.
- Decision making is itself a learning process. Choosing what to learn and the meaning of incoming information is seen through the lens of a shifting reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.
Opinions of others are very important in a learning process, for example, by blogging on the B.A.P.P course others are able to comment and give their opinions in order for us to improve on our work and even add points we might have missed after being made aware of them. Years ago, learning had to be thorough human appliances but now technology plays a key part in learning and we can gain lots of information using Web 2.0 and the internet and this enables us to do this. It is important to stay up to date with information and the B.A.P.P course is allowing me to do this, as it is teaching me a lot about the theories and practitioners behind learning and improving as a performer.
As it states in Reader 3, "The starting point of connectivism is the individual. Personal knowledge is comprised of a network, which feeds into organisations and institutions, which in turn feed back to the network, and then continue to provide learning to individual. This cycle of knowledge development (personal to network to organisation) allows learners to remain current in their field through the connections they have formed".
The statement above suggests the learning process is a continuous cycle. For example, I observed another teachers class and got some good ideas for new effective teaching methods. By observing, I was able to see what worked well and what didn't work as well. She then later observed a class of mine and did the same. This feedback was useful and beneficial in order to learn and improve and I applied this to my next lesson which was successful, proving this learning cycle is effective.
The statement above suggests the learning process is a continuous cycle. For example, I observed another teachers class and got some good ideas for new effective teaching methods. By observing, I was able to see what worked well and what didn't work as well. She then later observed a class of mine and did the same. This feedback was useful and beneficial in order to learn and improve and I applied this to my next lesson which was successful, proving this learning cycle is effective.
Communities of Practice
"A community of practice is a set of relations among persons, activity, and world, over time and in relation with other tangential and overlapping communities of practice. A community of practice is an intrinsic condition for the existence of knowledge, not least because it provides the interpretive support necessary for making sense of its heritage". (Lave, J and Wegner, E. 1991).
As a dancer I have been part of many communities. When I was younger I attended a local dance school for 15 years, where I learnt the techniques and skills I needed to become a dancer. I then went to Performers College for 3 years, where I became part of another communitity. Here I learnt how to perfect those techniques and progress those skills. After graduating, I joined the audition community which led me to the community of different productions and working dancers. I shared the same experiences with people in each community and this helped me in order to learn and grow. I feel it is important to share feelings and thoughts with people in your community because as well as helping you as an individual you could also help someone else and that is what a community is all about.
The students I teach are now entering the developmental stage of the cycle of a professional dancer at the stage I first entered as a child. This then allows me to share the information I have gained from each community with them, in the hope that one day if they become a teacher they will pass on their knowledge to their students, keeping the community of practice cycle going.
As a dancer I have been part of many communities. When I was younger I attended a local dance school for 15 years, where I learnt the techniques and skills I needed to become a dancer. I then went to Performers College for 3 years, where I became part of another communitity. Here I learnt how to perfect those techniques and progress those skills. After graduating, I joined the audition community which led me to the community of different productions and working dancers. I shared the same experiences with people in each community and this helped me in order to learn and grow. I feel it is important to share feelings and thoughts with people in your community because as well as helping you as an individual you could also help someone else and that is what a community is all about.
The students I teach are now entering the developmental stage of the cycle of a professional dancer at the stage I first entered as a child. This then allows me to share the information I have gained from each community with them, in the hope that one day if they become a teacher they will pass on their knowledge to their students, keeping the community of practice cycle going.
I feel community of practice, cooperation and affilliation are all positive theories about networking and I will continue to consider these in the future because I believe if we all help each other the industry won't be as brutal and therefore more enjoyable to be a part of.
Wednesday, 5 November 2014
3a. Current Networks
So what is networking?
According to the Oxford Dictionary online, there are many definitions of networking and these can be seen below:
- An arrangement or intersecting horizontal and vertical lines.
- A group or system of interconnected people or things.
- A complex system of railways, roads or other routes.
- A group of people who exchange information and contacts for professional or social purposes.
- A group of broadcasting stations that connect for the simultaneous broadcast of a programme.
- A number of interconnected computers, machines or operations.
All definitions mention or imply the word "connect" and the definition relating to what I am about to write about is "A group of people who exchange information and contacts for professional or social purposes". Therefore, in this instance it is when people connect with each other in order to exchange information about the industry and in this task I will explore the many different ways in which these people can connect.
What are the current and different ways (tools) that you have, or do, engage your professional network?
- I feel the Internet plays a major part in networking today because of all the social media sites that you can access from it. I discussed a lot of these social network sites in my Web 2.0 Task, however I feel the main one I use is Facebook. I feel Facebook is an easy way of finding people I want to get in contact with. This is why we should be careful what information we are displaying as "public", as anyone on Facebook can see it if they were to search for you. A lot of people have two different Facebook accounts and this is so that they can keep their personal life separate from their professional life. I also use Facebook to look at the group pages where performers can post information about auditions and companies and this is a very useful way of getting to speak to people who have the same interest as I do. On Facebook we can also see what "mutual friends" we have with someone else and I often meet a new person from a job and later go to add them on Facebook and see they know a lot of the same people I also know. It just goes to show even though there are so many performers in this industry, it is still very small and everyone seems to know everyone. This is why you should always remain professional, as one day the way you behave towards someone could go against you.
- I also use the internet to use YouTube. I use YouTube to promote myself visually as people can access links to my show reel. You Tube is also another website where we have to be careful about what is posted under our name, as once it is on the internet it is no longer private. Also people will be able to get more of a sense of your personality by watching a video clip than they would from reading your CV on a piece of paper.
- I find one of the best ways to network is face to face. I have often met someone new through a job and got into conversation with them and they have informed me about something I should look into or somebody I should contact who they know or have previously worked with.
- I have a close group of friends whom I used to go to Performers College with and some who I have met through professional dance jobs and we always tell each other about any information we find about auditions or anything to do with the performing industry (even if it is just some gossip). I know a lot of people in this industry are fake and out for themselves, so I am grateful I have people I can trust.
- By going to class I also get to meet a lot of people who have worked in different areas of the industry and this is a good way to talk to them about what they do. It is also a good way to get our faces seen by choreographers and teachers who take the classes. They are always looking for new dancers to work with and they are more likely to use someone who they have seen in person rather than someone they have taken a chance on with a CV. Also, I feel a class environment is a lot more relaxed and informal than an audition environment, so people are more likely to see what I am capable of, as nerves won't get the better of me.
What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?
- I know a lot of my friends use Twitter. I have never had a Twitter account myself, as for a personal use it doesn't really appeal to me. I feel it causes a lot of controversy as people can say things in the heat of the moment. However, I can understand why it is beneficial professionally if used the right way. A lot of practitioners and celebrities use it and it can be a good way to find out about classes and auditions.
- A lot of established performers pay to be on Spotlight to find out about auditions, however it is also a good way for employers to search for performers they might want to employ or invite to an audition. This is the same for the webpages Talent Cast, Dancers Pro and Star Now, as employers can also look through performers profiles in order to invite them to an audition.
- Established choreographers used to come into college and take workshops and as I mentioned above, this is a good way for them to see the talent the colleges are producing and whether they would be suitable for working with them.
- Facebook allows us to create our own business groups as well as personal ones and I feel one of the main reasons it is so popular is because it is a free way to advertise. A lot of established companies, like my old dance school, have their own Facebook group where they post news about classes and competitions and it is an easy way for the teachers to contact the students and parents together, instead of sending out individual messages. They also post videos and photographs on the page from rehearsals and classes, which is a good way to advertise the school and for potential newcomers to see the standard of the students.
Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?
Socially, I prefer seeing people in person or speaking on the phone, as it feels more personal. I have also been in situations before where something I have written in a text or email has been read in the wrong tone and this has then been taken in the wrong context. Therefore, in an ideal world it would be good to speak to employers over the phone and they would be able to get a sense of our personalities. However, I feel professionally this is a very informal and forward way of contacting someone whom I have never met before.
Having said the above, I do normally contact employers I don't know through email for the first time, as I feel it is more formal and they will always have your information to look back over in case they need to recall any of it.
Another good way to contact people you are more familiar with is by Skype. This way you can talk as if you were there in person and like a phone call they will get a sense of who you are, rather than reading about you from a piece of paper.
I recently tried out a Google Hangout session with Paula and two other B.A.P.P students. This was interesting as I had never experienced a group chat before. I will continue to use Google Hangouts now, as it is a good way for more than two people to communicate with each other at the same time.
When you reflect upon current networks, can you think about the motives of others to be in the network and what values and purpose they have in mind?
As I have already mentioned, I am extremely lucky to have a group of friends in the industry whom I can trust and that help each other out and I know their intentions are good as we are always pleased when one of us secures a job. This is because we are genuine friends so care about each other on a personal level too. However, I have also met some people at classes and auditions who aren't as kind. I know it is a cut throat industry and a lot of people are out for themselves, however the famous saying "Always be nice to people on the way up, because you never know who you might meet on the way down" is very true. Also some people I know are very quick to ask about audition information, however never want to tell others about auditions they have heard about. I feel this is because they don't have a personal connection with me so why would they care?
What would your ideal network look like and why?
I think my ideal network would be to create my own Facebook group where I have selected people on there. I would add all my close friends, so they could post information about classes and auditions. By adding them to the group, I know their information will be helpful and correct as they are wanting us all to do well. I would also have established choreographers and casting directors on there in order to hear about their auditions, which might not be as easily accessible and to get tips from their perspective.
What realistic things could you do to work towards developing your ideal network?
Firstly I would need to create a Facebook page and add all the people I wanted to the group. After adding the initial people they could then suggest people who they have met who could help the group and then I could add them. As regards to the choreographers and casting directors, I could start by adding the ones I have previously worked with and hopefully they might lead me to others they know.
What tools and methods do you need to use? What do you know about your current, and intended networks, and importantly, what do you not know?
I will continue to use Facebook for networking as I am familiar with the layout and already have contacts on there. Facebook is a good way of networking as it allows me to write posts, post photos and videos and links to other things. It also allows me to customise the information, so you can set certain things to private if you wish to and only allow certain people to see certain things. However, you can't see who is viewing your page and I feel that would be good to introduce. I know someone who recently had her photos on Facebook copied and someone else was pretending to be her under another name. This is why you have to be careful about the information you are posting on there and what you chose to set to public and private, because you don't know who can see it and who can copy it. This could also apply to choreography that might be posted on there, as it could be easily copied and then the choreographer might not get the recognition they deserve.
My friendship group in the industry is very established and I will obviously continue to speak to them most days, however I realise I need to get back into going to more classes in order to be introduced to more people whom I haven't met before and different choreographers.
Conclusion
A lot of our industry is based around "right place, right time" and I feel this is true. We should always be talkative and approachable to people, even if at first we don't recognise them from our industry. I have often been on a train and got speaking to someone I have never met and it turns out they have a job connected to our industry in some way, whether it be a choreographer, events manager, singing teacher or Assistant Director on a TV series. They might not be able to help us directly, however they may have the contacts of someone who can.
I will continue to network throughout my career, however this task has made me want to broaden my networking opportunities by exploring the methods and social media sites I have never used before such as Twitter, Flickr, LinkedIn etc. and see whom they might connect me to.
Image at top of page from: http://rcareerblog.wordpress.com/2013/09/30/professional-networking-can-occur-anywhere-and-anytime/
Interesting read...
Following on from my previous inquiry task about how cut throat and unfair the audition process is, I thought this article from The Stage was very appropriate.
I found it an interesting read, so thought I would share it with you all :)
Just goes to show, never get disheartened if you aren't called for an audition......like they said "maybe luck wasn't on your side that day".
http://www.thestage.co.uk/people/analysis-opinion/2014/11/real-reason-not-called-audition/
I found it an interesting read, so thought I would share it with you all :)
Just goes to show, never get disheartened if you aren't called for an audition......like they said "maybe luck wasn't on your side that day".
http://www.thestage.co.uk/people/analysis-opinion/2014/11/real-reason-not-called-audition/
Sunday, 2 November 2014
2d. Inquiry
Throughout my career I have been unaware that I have been reflecting without even realising. However, doing the previous task has helped me to recognise that I have. Reflection-in-action relies a lot on spontaneous alterations and instinct and I have been using this during performances for a long time. As I mentioned in the blog before, if someone becomes injured during a show we would have to re-space the show by using our initiative, or if we get to a venue and the stage is smaller than we are used to, we would have to adapt the routine. Sometimes, you can practice and practice and know the routine inside out and suddenly half way through your mind goes blank! In this case, it is professional to carry on and improvise! These are all cases of reflection-in-action I have used before.
What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?
I admire the performers who don't give up because for the majority of performers the amount of rejections are considerably more than the number of successful auditions. I also admire performers who prove they are capable of a career in this industry after being told otherwise. For example, Wayne Sleep started a project on Channel 4 called "Big Ballet" and on the programme he spoke about how he was told he was too short and would never make it as a professional dancer, but his reply was it meant he had to "jump twice as high and turn twice as fast as everyone else". This determination is what I admire. The programme "Big Ballet" on Channel 4 was a good representation of women who loved to dance and whose technique was of a good standard. However, all their lives they had been rejected because of their size and the majority of them suffered from low self-esteem because of this. I admire Wayne Sleep because he wanted to give them a chance to perform and do what they love doing without being judged, this could be because he can relate to being discriminated against for his size in the past. This leads me to believe he must have also recognised discrimination in the industry for him to have made the programme.
What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?
I suppose I have always used reflection-on-action as well, as I would come off stage and think about what went wrong, or what bit I went blank on or what went well. I might not have written it down before, but I would then get back into the rehearsal studio and practice what I thought I needed to improve on.
When teaching, I would use reflection-in-action if the students were finding the routine too hard or too easy and I would have to accept this and adapt the routine on the spot to their ability. Also, if a teaching method wasn't working and I was losing their attention I would need to do the same. I have been using reflection on action after the class, as I would think about what exercises or movements the students needed more work on and plan to do this in the next class.
I also use reflection-in-action and reflection-on-action during an audition process. During the audition, whilst learning the routine, I would evaluate the standard of the other auditionees and how they compare to myself, to know whether I stand a chance of getting through to the next round or not. Without realising, I am also sub-consciously evaluating the standard and style of the choreography and if it suits me in order for me to project my strengths and perform to my best ability.
After the audition if I was unsuccessful, I would reflect on how it went and if I felt I had done my best or not and if not what I need to go away and work on so I am more prepared for the next upcoming auditions. However, unfortunately we are in a profession where you could have done your absolute best and it went exactly how you wanted it to but you still didn't get through!
I feel the performing industry is extremely shallow and focuses a lot on looks. This is unfortunate, as they can miss out on a lot of amazing talent because of this.
What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?
I have seen many performers change career paths as the pressure and rejection in the industry is too much. I have also seen friends become psychologically ill as the pressures of being thin have taken over their bodies. As auditions are a major part of my life I feel very passionate about exploring the questions below for my inquiry:
- Do looks override talent?
- Does this prejudiced attitude lead to psychological problems for a performer?
- Are the standard of shows decreasing due to more focus on image than ability?
- Is so much rejection psychologically healthy for an individual?
- Is it better for a performer to be skinny or muscular?
I admire the performers who don't give up because for the majority of performers the amount of rejections are considerably more than the number of successful auditions. I also admire performers who prove they are capable of a career in this industry after being told otherwise. For example, Wayne Sleep started a project on Channel 4 called "Big Ballet" and on the programme he spoke about how he was told he was too short and would never make it as a professional dancer, but his reply was it meant he had to "jump twice as high and turn twice as fast as everyone else". This determination is what I admire. The programme "Big Ballet" on Channel 4 was a good representation of women who loved to dance and whose technique was of a good standard. However, all their lives they had been rejected because of their size and the majority of them suffered from low self-esteem because of this. I admire Wayne Sleep because he wanted to give them a chance to perform and do what they love doing without being judged, this could be because he can relate to being discriminated against for his size in the past. This leads me to believe he must have also recognised discrimination in the industry for him to have made the programme.
What gets you angry or makes you sad? Who do you admire who shares your feelings or has found a way to work around the sadness or anger?
I feel passionate about this because I have experienced how it feels to be rejected over my size. I am a healthy average size 8-10, however whilst at college it was obvious to everyone that people were often chosen for certain things because of their size rather than their ability and this used to make me angry. I lost a lot of self confidence over my years of training which lead me to believe I wasn't good enough and came close to giving up. However, an employer picked me out from my 3rd Year Musical Theatre Show and asked me to audition. This gave me confidence that I was good enough and it was good to feel like someone believed in me.
Here is a link showing the point of view of one of the dancers, Hannah Baines age 18, who took part in the "Big Ballet" on Channel 4.
She quotes, "Just because I'm big doesn't lessen my dancing ability" and "There's no movement I can't do". I admire Hannah Baines who is a size 18, for doing the programme and proving to the nation that women of a bigger size can still dance. It could have been easy for her to not apply for the show and carry on her everyday job as a council administrator, but her passion for dancing made her not hold back along with 500 other applicants for the programme.
Monica Loughman, an Irish Prima Ballerina speaks about Marilyn Monroe being a size 14. I feel Marilyn Monroe is a perfect example of a successful confident curvaceous performer, who many people found attractive.
I feel self-belief and self-confidence is key as a performer because if you don't believe in yourself, how do you expect others to? This plays a major part in overcoming sadness and anger and it is good to use those emotions in your performance and prove the people who thought you couldn't do it wrong.
What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?
I love performing and I feel the people who don't love it enough are those who are most vulnerable and might not have the strength to continue in the industry. The main part of performing is entertaining an audience and a teacher at college told us "All performers are a bit insecure as they do it because they want reassurance from an audience". This has always stuck with me and I feel this is true. Many people become someone else when they perform or take on a character. Even Beyonce has her alter ego who goes by the name of "Sasha Fierce". Performing helps you to escape from what might be going on in your life at the time and for the time you are on stage you are only concentrating on entertaining.
My favourite style of dance is Tap and I have loved Tap from a young age. I admire the work of Gene Kelly and Fred Astaire. My dream job would be to perform in the musicals "Top Hat" and "Singing in the Rain". Even though these performers were incredibly talented, people doubted them! Gene Kelly was told by Louis G, Mayer at MGM that he was "too short" and executive Eddie Mannix said "I see no motion picture potential in Kelly". In Fred Astaire's first screen test for MGM the testing director noted the following, "Can't act. Can't sing. Slightly bald. Can dance a little". Despite others doubting them, they carried on to have a long and successful careers, both making many films and creating a name for themselves as iconic dancers in the performing industry which will live on forever.
Here is a link showing what they achieved in their performing career:
What do you feel you don't understand? Who do you admire who does seem to understand it, or who has found a way of making not understanding it interesting or beautiful, or has asked the same questions about you?
I often go to see shows and I have noticed recently the standard of the performers in the cast are of differing abilities, but the over all look of the performers are standardised. This sends out the message that they have employed certain performers so they all look the same rather than those who might have had a higher standard of dance at the audition. I feel the industry is also very determined by people you have worked with before........like they say "It's who you know, not what you know". A lot of choreographers use the same people as they know they are reliable and I can understand why they wouldn't want to take a risk on a new performer. However, by doing this they might be missing out on others who are just as capable or even better.
I also feel sometimes the industry gives mixed messages. For example, some auditions state "Must be strong tappers" and then I turn up and the first round is a commercial round. I never understand why they do that because people who are good at tap aren't necessarily strong at commercial as well and by doing this they could be sending away the "strong tappers" they are looking for.
I have several friends who trained with me and who I have worked professionally with who all share my views on this, which leads me to believe it is an issue in our industry and is making a lot of people unhappy. We realise this profession isn't a fair one and is extremely tough as so many people want to do it. All you need is that one break which will lead you to the next job and so on.
Someone who I perform with was getting disheartened with going to auditions and dealing with the negativity of the industry, so she started up her own company and now experiences the other side of it. She has her own group of dancers working for her company and she now choreographs and performs in her own shows, both in the UK and abroad. This way she can still perform but be her own boss so she doesn't have to rely on anyone and makes her own work. I feel this was an interesting and clever way of staying in the industry without all the pressures of auditions and being rejected.
I also feel sometimes the industry gives mixed messages. For example, some auditions state "Must be strong tappers" and then I turn up and the first round is a commercial round. I never understand why they do that because people who are good at tap aren't necessarily strong at commercial as well and by doing this they could be sending away the "strong tappers" they are looking for.
I have several friends who trained with me and who I have worked professionally with who all share my views on this, which leads me to believe it is an issue in our industry and is making a lot of people unhappy. We realise this profession isn't a fair one and is extremely tough as so many people want to do it. All you need is that one break which will lead you to the next job and so on.
Someone who I perform with was getting disheartened with going to auditions and dealing with the negativity of the industry, so she started up her own company and now experiences the other side of it. She has her own group of dancers working for her company and she now choreographs and performs in her own shows, both in the UK and abroad. This way she can still perform but be her own boss so she doesn't have to rely on anyone and makes her own work. I feel this was an interesting and clever way of staying in the industry without all the pressures of auditions and being rejected.
How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society?
Teaching
The question above is a very controversial and important one. Teachers throughout my training whilst growing up were very "hands on" while giving corrections and during limbering classes. However, I feel this was very beneficial as we were physically moved into the right positions so our body could feel where it should be. The dance school was known for being a brilliant school in the area and everyone went onto a professional dance college afterwards, unless they didn't want to continue dancing. This proves the training we received was very good and their teaching methods must have been effective. However, now-a-days there has been a lot of awareness about having a "hands on" approach. What is now acceptable? Will the standard of dancers suffer because teachers are too frightened to physically handle their students? It is now important to have someone else in the room or watching the lesson, so if you do need to correct them physically you can do so without it being misinterpreted. Teachers should also now ask permission before physically correcting a student.
Another ethical issue is "Should tutors only be able to physically correct students of the same sex?" From my point of view I have been taught by both genders and I feel if it is going to help me improve then I am happy to be corrected by whoever my teacher is at the time. However, some people may feel differently. What are your thoughts?
I feel reflection-in-action is necessary in this case as you need to constantly be reflecting on whether your approach is ethical. For example, it is not acceptable to shout at a child or ridicule a child. However, instead you would praise the children who are doing it well, so the others inspire to be like them in order to also be praised. As a teacher it is important to never put yourself in a situation that could be misread.
It is also important when teaching a class to chose age appropriate music and movements, as there are a lot of songs out in the charts that use explicit language.
Performing
There are also ethical issues as a performer. In the past I have been performing and when the stage area has been very close to the audience some drunk male audience members have got on to the dance floor and started dancing with us. Our safety is important and I feel any performer in any show should feel it is acceptable to leave the stage if they are in a situation they don't feel comfortable in.
I also think it is important to consider the age group of the audience you are performing too because certain movements and music might not be appropriate if a younger audience is watching.
As a performer I am constantly changing costumes during the show and sometimes these changes need to be done backstage due to the short time between routines. I feel privacy is still important in these cases as there are always stage hands backstage who are often male and even though it is normal for dancers to change in front of one another, for other professions this is not a daily occurrence.
As I said in my blog for Task 1b on Web 2.0 it is important as a performer to be ethical on the internet. You shouldn't post anything on social media sites that could jeopardise your career or make you look unprofessional. Once something is on the internet, it is no longer private!
In conclusion, I feel there is no universal definitive answer. However, I feel if you are working with children you definitely need to take into account all the above points, as child protection is a very serious matter and not to be taken lightly and should always be considered when deciding what is ethical or not. Ultimately it comes down to what you feel is ethically and morally appropriate. This may be interpreted slightly differently by the individual depending on their own life experiences.
Conclusion After answering the questions for this task it has confirmed to me that this is a topic I feel strongly about and want to explore in more depth. It has been an issue that has been on my mind for a long time and I have seen close friends suffer as a consequence of it. Therefore, at this moment in time I would want to explore:
The question above is a very controversial and important one. Teachers throughout my training whilst growing up were very "hands on" while giving corrections and during limbering classes. However, I feel this was very beneficial as we were physically moved into the right positions so our body could feel where it should be. The dance school was known for being a brilliant school in the area and everyone went onto a professional dance college afterwards, unless they didn't want to continue dancing. This proves the training we received was very good and their teaching methods must have been effective. However, now-a-days there has been a lot of awareness about having a "hands on" approach. What is now acceptable? Will the standard of dancers suffer because teachers are too frightened to physically handle their students? It is now important to have someone else in the room or watching the lesson, so if you do need to correct them physically you can do so without it being misinterpreted. Teachers should also now ask permission before physically correcting a student.
Another ethical issue is "Should tutors only be able to physically correct students of the same sex?" From my point of view I have been taught by both genders and I feel if it is going to help me improve then I am happy to be corrected by whoever my teacher is at the time. However, some people may feel differently. What are your thoughts?
I feel reflection-in-action is necessary in this case as you need to constantly be reflecting on whether your approach is ethical. For example, it is not acceptable to shout at a child or ridicule a child. However, instead you would praise the children who are doing it well, so the others inspire to be like them in order to also be praised. As a teacher it is important to never put yourself in a situation that could be misread.
It is also important when teaching a class to chose age appropriate music and movements, as there are a lot of songs out in the charts that use explicit language.
Performing
There are also ethical issues as a performer. In the past I have been performing and when the stage area has been very close to the audience some drunk male audience members have got on to the dance floor and started dancing with us. Our safety is important and I feel any performer in any show should feel it is acceptable to leave the stage if they are in a situation they don't feel comfortable in.
I also think it is important to consider the age group of the audience you are performing too because certain movements and music might not be appropriate if a younger audience is watching.
As a performer I am constantly changing costumes during the show and sometimes these changes need to be done backstage due to the short time between routines. I feel privacy is still important in these cases as there are always stage hands backstage who are often male and even though it is normal for dancers to change in front of one another, for other professions this is not a daily occurrence.
As I said in my blog for Task 1b on Web 2.0 it is important as a performer to be ethical on the internet. You shouldn't post anything on social media sites that could jeopardise your career or make you look unprofessional. Once something is on the internet, it is no longer private!
In conclusion, I feel there is no universal definitive answer. However, I feel if you are working with children you definitely need to take into account all the above points, as child protection is a very serious matter and not to be taken lightly and should always be considered when deciding what is ethical or not. Ultimately it comes down to what you feel is ethically and morally appropriate. This may be interpreted slightly differently by the individual depending on their own life experiences.
Conclusion After answering the questions for this task it has confirmed to me that this is a topic I feel strongly about and want to explore in more depth. It has been an issue that has been on my mind for a long time and I have seen close friends suffer as a consequence of it. Therefore, at this moment in time I would want to explore:
- In the performing industry, do the pressures of having a good image outweigh ability and what affects does this have psychologically on the performer?
Thursday, 30 October 2014
2c. Reflective Theory
David Boud (Professor of Adult Education, University of Technology, Sydney), states journal writing can
be a "vehicle for learning" (1). However, it is important you as an
individual understand how you learn best in order to improve to your full
potential.
Howard Gardner (an American Developmental Psychologist) has
identified seven distinct intelligences. The learning styles are as
follows (2):
As a
dancer I personally feel I learn better using a body-kinesthetic and musical
style, as I can relate to rhythms and sounds and also learn well with a hands
on approach. Sometimes I have to do things in person to understand them
and I often put things I need to remember to rhythms and songs.
Another way I learn from mistakes I make as a dancer is by using muscle memory. If you repeat the movement enough times it will eventually become second nature and your body will take over without even thinking about it. Twyla Tharp (an American Dancer and Choreographer) quotes from her book "The Creative Habit" ‘...Muscle memory. Automatic. Precise. A little scary. The second time through, however, or trying to explain the steps and patterns to the dancers, she will hesitate, second-guess herself, question her muscles, and forget. That’s because she’s thinking about it, using language to interpret something she knows nonverbally. Her memory of movement doesn’t need to be accessed through conscious effort’ (Tharp and Reiter, 2006). (3)
As a dancer this is very appropriate as repeated practice allows the body to remember a routine and even perfect movements.
Keeping a journal is another way which could be effective for some people, as they could use this as a way of documenting choreographic ideas and those that worked well and those that didn't.
By writing a journal not only does
it allow you to evaluate what went well and what doesn't and how you can
improve on certain things Moon (an Associate Professor at Bournemouth University), identifies other purposes
of writing journals (4)
"To deepen the quality of learning, in the form of critical thinking or developing a questioning attitude"
"To enable learners to understand their own learning process"
"To increase active involvement in learning and personal ownership of learning"
"To enhance professional practice or the professional self in practice"
"To enhance personal valuing of the self towards self-empowerment"
"To enhance creativity by making better use of intuitive understanding"
"To free up writing and the representation of learning"
"To provide an alternative "voice" for those not good at expressing them-selves"
"To foster reflective and creative interaction in a group"
The quotes I have put in bold above are the quotes I feel are most relevant to what I will be considering whilst writing my journal.
Boud quotes "Reflection has been described as a process of turning experience into learning". (5)
Everyone goes through different experiences throughout life and therefore, this is why I believe everyone has a different learning style.
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In the picture opposite, you can see John Dewey, (an American Philosopher, Psychologist and Educational Reformer), sees "Reflection as a meaning making process" and
it "Moves the learner from one experience
to the next with deeper understanding of its relationships with and connections
to other experiences and ideas". (6)
I agree with this because
reflecting on whether a performance has gone well or not and if not how it can
be improved upon when you come to the next performance, is a beneficial
learning process.
I feel it is beneficial to reflect after what
happens as you can see the situation as a whole. However I have also used Schon's (1983,1987)
theory of "reflection in action". Schon was an influential thinker in developing the theory and practice of reflective professional learning.
I have used this method whilst teaching, as sometimes you aren't made aware that an exercise or a method of teaching you have planned isn't effective until you are in the process of using it. Therefore, you have to analyse the situation on the spot and think what would be more effective and change what you are doing.
There are different occasions of reflection. (7)
- Reflection in Anticipation of
Events - preparing ourselves for what's to come
- Reflection in the Midst of
Action - through noticing, intervening and
reflection in action, we can steer ourselves through events in accordance
with what our intentions are and with what we take with us to help us
through the process.
- Reflection after Events - the ability to view particular events
in a wider context. Here we can return to an experience, focus on
the feelings and emotions that were (or are) present and then re-evaluate
the experience in order to improve on what we could do better.
As a performer I can prepare myself for what's to
come by practising, however you can never fully prepare for what WILL happen. This leads to using
"Reflection in action", which I have used a lot without even
noticing! For example, the space in which we have to perform changes at
each venue and therefore we have to adapt the steps and spacing accordingly.
Also if someone becomes injured during a show we have to adapt and
re-block the performance. As they say "The show must go on".
After the show you can assess how well it went and what you need to go
away and work on more for the following shows, so the same mistakes aren't made
again.
When teaching, sometimes I prepare a piece of
choreography, however this is hard if you don't know the standard of the
students. I will then often have to use "reflection in action"
as sometimes they find what I have prepared too hard, so I have to simplify the
movements on the spot and vice versa, if they are finding it too easy I will
have to make it harder.
Kolb, (an American Educational Theorist), was highly influenced by the research
conducted by Dewey. Below is Kolb's learning cycle (1984). (8)
Kolb demonstrates that there are four parts to his
theory:
- Concrete experience
- Reflective observation
- Abstract Conceptualisation
- Active experimentation
Where you enter
the cycle depends on your individual learning style.
“Although we all have concrete experiences, reflective observations,
abstract concepts and actively experiment, the difference between us is the
point at which we start to learn...”(9)
On most occasions, I feel I enter the cycle at Active Experimentation
because I learn best by actively participating in the learning.
"Tell me, and I
will forget. Show me, and I may remember. Involve me, and I will
understand." quote by Confucius. (10)
Although, I feel I would enter the cycle at different points depending on what I am doing. For example:
Although, I feel I would enter the cycle at different points depending on what I am doing. For example:
Choreographing
1. If I was choreographing, I would
start by experimenting with different moves to a piece of music. (Active Experimental).
2. Once I was happy with the
movements, I would finalise the routine. (Concrete
Experience)
3. I would then evaluate the routine and
whether it had turned out the way I wanted it to. (Reflective Observation)
4. Finally I would teach
it to a class and see if it suits their ability. (Abstract Conceptualisation)
Performing
1. When I am performing,
I enter the cycle at the Concrete Experience
point. This is because I have already
learnt the routine.
2. After performing the
routine, I would go on to reflect on the performance. I would think about what
had gone well and what I needed to improve. (Reflective Observation)
3. I would assess which movements
needed to be improved, e.g. a pirouette and how I could achieve this. (Abstract Conceptualisation)
4. I would practise the movement,
e.g. a pirouette and work on the technique until I felt satisfied it had
improved to the required standard. (Active
Experimental)
Gibbs was a previous Professor and Director of the Oxford Learning Institute, University of Oxford. His model was developed from
Kolb’s 4 stages.
Professor Graham Gibbs published
his reflective cycle in his 1988 book “Learning by Doing”. Below is the cycle (11):
It has 6 stages:
1. Description
2. Feelings
3. Evaluation
4. Analysis
5. Conclusion
6. Action plan
Even though both cycles are very similar in what they are achieving, I
feel having more stages in the cycle allows you to break it down in more depth,
allowing you to go into more detail.
This detail is important in helping you to improve to your full
potential.
Another learning style that was
inspired by Kolb’s cycle is that created by Peter Honey and Alan Mumford (Honey
and Mumford 1992). (12)
· Activists -
who are ‘hands-on’ learners and prefer to have a go and learn through trial and
error.
· Reflectors -
who are ‘tell me’ learners and prefer to be thoroughly briefed before
proceeding.
· Theorists -
who are ‘convince me’ learners and want reassurance that a project makes
sense.
· Pragmatists - who
are ‘show me’ learners and want a demonstration from an acknowledged expert.
If you were an Activist
you would enter Kolb’s cycle at the Concrete Experimental point. If you were a Reflector you would enter Kolb’s
cycle at the Reflective Observation point.
As a theorist you would enter Kolb’s cycle at the Abstract Conceptualisation
point and if you had a Pragmatic style of learning you would enter at the
Active Experimental point.
I feel I am an Activist
and a Pragmatist as these are the learning styles which refer to the points in
which I enter Kolb’s cycle. I learn best
when I can engage in the learning experience in a practical form.
I agree that all the
theories above are useful in reflective practice, however Quinn (1988/2000)
states a problem with the impact on the individual reflector is the way
reflection can involve constant striving for self-improvement. It can
lead to feelings of self-disapproval and self-rejection. (13)
Smith, (2001) has said
about Kolb's model, the stages or steps does not sit well with the reality of
thinking. There is a problem here - that of sequence. (14)
Dewey, (1933) has said
about Kolb's model in relation to reflection, the number of processes can occur
at once, stages can be jumped. This way of presenting things is rather
too neat and simplistic. (15)
Greenwood (1993) a Practitioner says
there should be more importance on reflection -before action. (16)
Davies (2001) identifies limitations to reflective practice, he states
that practitioners might feel “uncomfortable challenging and evaluating own
practice” and that it could be “time consuming”. (17)
I agree that it is
hard to critique yourself, but I feel instead of looking at it in a negative
way it is only beneficial if you take it constructively in order to better
yourself. The reflective practice method
allows you to change what is not working for the better, this enables you to be
the best you can be. It teaches us not
to get complaisant but to keep asking yourself how things can be improved and
this attitude is what will allow you to improve as an individual and keep
setting the bar higher and higher instead of staying still in the way you think
and work and therefore never growing as a person.
I have used a form of
reflective practice before whilst at dance College, as we used to have to
evaluate our classwork and write out corrections that had been given during
class. This enabled us to document the
corrections so we didn’t forget them, so we could improve upon them for the
next lesson. However, this task has
really made me think about the way I work in more depth and by going through
the different stages of the cycles published by Kolb and Gibbs, it has now
given me a structure to follow which I will continue to use throughout my
career.
1 .Boud, D (2002) "USING JOURNAL WRITING TO ENHANCE REFLECTIVE PRACTICE" -WBS3730 BAPP ARTS, MIDDLESEX UNIVERSITY 2014: READER 2.
2. Gardner, H (1983) UNDERSTANDING YOUR STUDENT'S LEARNING STYLE: THE THEORY OF MULTIPLE INTELLIGENCES , AVAILABLE FROM www.connectionsacademy.com (accessed 23rd October 2014).
3. Tharp, T (2006) "THE CREATIVE HABIT", NEW YORK: SIMON AND SCHUSTER PAPERBACKS.
4. MOON, J (1999) WBS3730 BAPP ARTS, MIDDLESEX UNIVERSITY 2014: READER 2
5.Boud, D (2002) "USING JOURNAL WRITING TO ENCHANCE REFLECTIVE PRACTICE" - MIDDLESEX UNIVERSITY: READER 2.
6. Dewey, J (1993) SOURCE FROM "JOHN DEWEY AND REFLECTIVE THINKING" Available from http://www.docstoc.com/docs/29999446/JOHN-DEWEY-AND-REFLECTIVE-THINKING (accessed 23rd October 2014)
7. Schon, D (1983, 1987) WBS3730 BAPP ARTS, MIDDLESEX UNIVERSITY 2014: READER 2
8. Kolb, D (1984) SOURCE FROM "SIMPLY PSYCHOLOGY", Available from
9.Kolb, D (1984) WBS3730 BAPP ARTS, MIDDLESEX UNIVERSITY 2014: READER 2
10. Confucius (450 BC) "EXPERIMENTAL LEARNING ARTICLES AND CRITIQUES OF DAVID KOLB'S THEORY, Available from http://reviewing.co.uk/research/experiential.learning.htm#axzz3HfhisO6Z (accessed 23rd October 2014)
11. Gibbs, G (1988) LEARNING BY DOING: A GUIDE TO TEACHING AND LEARNING METHODS. FURTHER EDUCATION UNIT. OXFORD POLYTECHNIC: OXFORD- CYCLE.
12. Honey and Mumford (1992) "THE LEARNING STYLES QUESTIONAIRE, Available from http://www.peterhoney.com/content/LearningStylesQuestionnaire.html
(accessed 24th October 2014)
13. Quinn, (1988/2000) "REFLECTING ON REFLECTIVE PRACTICE" Available on
14. Smith, (2001)"DAVID A. KOLB ON EXPERIMENTAL LEARNING" Available on http://infed.org/mobi/david-a-kolb-on-experiential-learning/(accessed 24th October 2014)
15. Dewey, J (1933),"DAVID A. KOLB ON EXPERIMENTAL LEARNING" Available on http://infed.org/mobi/david-a-kolb-on-experiential-learning/(accessed 24th October 2014)
16.
Greenwood, J. (1993) "REFLECTIVE PRACTICE: A CRITIQUE OF THE WORK OF ARGYRIS AND SCHON.
17. Davies, S (2012)"Embracing reflective practice". Education for Primary Care 23:
9–12.
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