Critical Reflection on Professional Practitioner Inquiry

CRITICAL REFLECTION ON PROFESSIONAL PRACTITIONER INQUIRY

INTRODUCTION

Module One enabled me to develop a level of critical reflection about my professional practice and an understanding of communication technology and networking.  I have used and developed these elements within Module Two in order to plan my professional inquiry.   

DEVELOPING LINES OF PROFESSIONAL INQUIRY 

Arriving at an inquiry topic I felt could enhance my current professional role was challenging.  I found it hard to grasp that an inquiry is "a way to learn about what you are doing while you are doing it"(WBS3630:Reader 4) and is not a process to prove or disprove theories.

I originally wanted to look at image overriding talent and the psychological effects this has on a dancer, (APPENDIX A). However, by speaking with other B.A.P.P students it soon occurred to me that this topic could be too subjective. (See comments on APPENDIX A)  

I was then intrigued to research how dancers cope with rejection. (APPENDIX B).  After speaking with my advisor, I realised I should make use of my current employment situation and focus on how this could enhance future employment opportunities. 

"The discipline of team learning starts with "dialogue", the capacity of members of a team to suspend assumptions and enter into a genuine "thinking together" (Senge 1990). In order to do this I created a S.I.G (APPENDIX C) using "Facebook" to discuss issues and topics.  However, I found most of my feedback came from speaking to other B.A.P.P students on "Google Hangout" and "Skype" as well as receiving comments on my blog.  I also spoke about inquiry topics with other dance colleagues in my professional community (Work Based Learning APPENDIX D). It was by using these networks, alongside Personal Mastery (APPENDIX D), that a more positive topic was triggered.

My inquiry topic now is "How can a Freelance Dancer Increase their Chances of Employability?" (APPENDIX E).

PROFESSIONAL ETHICS

Before arriving at my inquiry topic, I understood the principles of ethics in my current workplace (APPENDIX F) and the codes and conducts I must follow. (APPENDIX G). 

However, I then had to identify what Ethics I must consider for my inquiry, in order for Middlesex University to sign my Ethics form and allow me to carry out my research.  I devised a checklist in order to make sure I carry out my inquiry safely and correctly (APPENDIX H).  Breaking the ethical considerations down for my inquiry and answering each question in more depth, gave me a clearer understanding of what participants I wanted to use for my practitioner research, who would benefit most from the research and how I would adhere to a safe and professional process when carrying out my inquiry (APPENDIX I). 

TOOLS OF PROFESSIONAL INQUIRY

"Understanding the major advantages and disadvantages of each approach is likely to help you to select the most appropriate methodology for the task in hand" (Bell 2005).  I evaluated the merits and downfalls of each practitioner research tool in order to find out what tools would be most beneficial.(APPENDIX J).

I conducted a pilot Interview (APPENDIX K), a pilot Survey (APPENDIX L) and a pilot Focus Group (Appendix M) with my professional community and members of my S.I.G.  This enabled me to establish what worked well and what I would need to improve, in order to use the tools to their full potential.  

I found the use of a dictaphone would be more beneficial than notating and the use of a semi-structured format worked well.  After receiving feedback from the fellow B.A.P.P students who completed my pilot survey, I used the Double Loop Learning theory (APPENDIX D) to evaluate whether I needed to change the way questions were formatted, or the question itself. (See comments on APPENDIX L).  

The combination of these three tools will be useful as it will enable me to gather a variety of qualitative and quantitative data. 

CONCLUSION

This module has informed me about the ethics involved when carrying out my inquiry and has allowed me to trial the tools I will be using for my practitioner research. To enhance my knowledge on how I can increase chances of employability for myself and other dancers, I will continue to look for more literature (APPENDIX N) and add more links to my Delicious Page, which has been beneficial for keeping my online literature in one place (APPENDIX O). Module Two has equipped me with the tools and information needed to undertake my Professional Inquiry in Module Three.   

BIBLIOGRAPHY 

Bell, J (2005). “DOING YOUR RESEARCH PROJECT” (4^TH Ed), Milton Keynes. Open University Press.

Blaxter, L, Hughes, C and Tight, M (2001). How to Research (2nd Ed), Milton Keynes: Open Univeristy Press.  Available from http://site.ebrary.com/lib/mdx/reader.action?docID=10441949. 

Costley C, Elliot, G, Gibbs, P .(2010) "DOING WORK BASED RESEARCH APPROACHES TO ENQUIRY FOR INSIDER-RESEARCHER", London: Sage Publications Ltd

Denscombe, Martyn. (2002) "GROUND RULES OF GOOD RESEARCH A 10 POINT GUIDE FOR SOCIAL RESEARCHERS", Buckingham: Open University Press.  Available from https://www.dawsonera.com/readonline/9780335239375.

Devlin, P. (1959) “THE ENFORCEMENT OF MORALS”, Oxford: Oxford Paperbacks

Durrant, Alan, Rhodes, Gareth, Young, David (eds) .(2009) “GETTING STARTED WITH UNIVERSITY-LEVEL WORK BASED LEARNING”, London: Middlesex University Press.

Hobbes, T. (1985) “THE LEVIATHAN”, London: Penguin Classics

Kant, I .(2007) “CRITIQUE OF PURE REASON, London: Penguin Classics

Mill, JS .(1987) “UTILITARIANISM AND OTHER ESSAYS, London: Penguin

Senge, Peter M. (1990), “THE FIFTH DISCIPLINE THE ART AND PRACTICE OF THE LEARNING ORGANISATION”, New York, Doubleday Currency

Smith, M. K. (2001, 2013). ‘CHRIS ARGYRIS: THEORIES OF ACTION, DOUBLE-LOOP LEARNING AND ORGANIZATIONAL LEARNING’, the encyclopedia of informal education. http://infed.org/mobi/chris-argyris-theories-of-action-double-loop-learning-and-organizational-learning/. (Accessed 3^rd February 2015)

Thielke, Janet .(2009), "A 1945 CODE OF ETHICS FOR THEATRE WORKERS SURFACES" Available online from  http://lastagetimes.com/2009/08/a-1945-code-of-ethics-for-theatre-workers-surfaces/ (accessed 13th March 2015).

WBS 3630 B.A.P.P ARTS, MIDDLESEX UNIVERSITY 2013: HANDBOOK

WBS 3630 B.A.P.P ARTS, MIDDLESEX UNIVERSITY 2013: “PRINCIPLES OF PROFESSIONAL INQUIRY” READER 4

WBS 3630 B.A.P.P ARTS, MIDDLESEX UNIVERSITY 2013: “PRINCIPLES OF PROFESSIONAL INQUIRY” READER 5

WBS 3630 B.A.P.P ARTS, MIDDLESEX UNIVERSITY 2013: “PRINCIPLES OF PROFESSIONAL INQUIRY” READER 6

  

Updated Literature Reviews

The last blog I wrote on Literature was focused on one of the topics I am no longer pursuing.  Therefore, I wanted to update my blog with the new Literature I have been researching on my current Inquiry topic.

I found I had a lot of Literature to review at once as the Literature I reviewed earlier in this module I can no longer use.  Therefore, the thought of doing it has been very daunting and I didn't know where to begin.  I wrote an entry in my journal expressing these thoughts and felt the best way forward would be to write a list of all the Literature and documents I have found in different categories.  For example, "Books", "Online Articles" and "Middlesex University Sources".  Once I had done this, I felt the next step would be to break down each review by creating subheadings.  This then gave me sections to concentrate on, rather than reviewing the Literature as a whole.

The Reviews are shown Below:

BOOKS

Title, Date, Author, Publisher

"Finding Balance" (1991) by Gigi Beradi, NJ, Dance Horizons/Princeton Book Company, Publishers Princeton

Where I found the source

I found this book on "Google Books" and went to my local library to see if they could order it in for me.  

How is it useful to my Inquiry?

This book explains the issues faced by professional dancers, including technique and training, nutrition and diet, injury and injury prevention and career management and many more.  This book is beneficial to my Inquiry as it is important for a dancer to be healthy and fit in order for them to be at their peak.  It gives advice and shares knowledge on how dancers should look after themselves and I feel this is essential when looking for employment and maintaining an active career in dance. 

Theories and Key ideas

I found the quote from physician author L. M Vincent interesting, 

"If you're intent upon performing (regardless of level), recognise and accept your physicality, and work within your abilities.  Find a type of dance or company that your body is best suited for rather than attempting to overhaul your body".  

Image plays a big role within the dance industry and in extreme cases can make dancers very ill.  This was a positive and healthy way of looking at image and using it to your advantage.  I feel this is definitely something that should be taken into consideration when choosing which auditions to attend and what line of work your body will be able to cope with long term.  This will ensure your body can cope with the demanding profession and you are more likely to remain fit and healthy longer, therefore prolonging your career.  I feel I can relate to this because at college it was always drummed into us that the thinner you were the better it was and the more work you would get.  Being a size 10 with little turnout I know I will never make it as a ballerina, therefore I wouldn't ever attend a ballet audition.  However, Bollywood dance and technique requires dancers with curves and I feel a lot more comfortable and happier performing this style of dance than I would ballet. 

Another quote I found interesting in this book was by Stuart Wright,

"The simple fact is that virtually all dance injuries result from faulty technique...Technical correction is the best means to prevention and treatment".  

Good technique is a very important factor when wanting to remain fit and injury free. Therefore, in order to keep the technique up to a good standard it is important to attend class when not in work. I feel employers are more likely to employ a dancer who they can see has secure technique in an audition, as they are less likely to sustain an injury.   

How reliable is the source?

Although the book is over ten years old, I feel this source is very reliable as there are profiles of professional dancers giving first hand advice and knowledge through sharing their experiences.  There are also dance science and physiology findings from professionals in their field.    

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Title, Date, Author, Publishers

"Advice for Dancers", (1998), Linda H. Hamilton, Jossey Bass

Where I found the source

I bought this book from Amazon.

How is it useful to my Inquiry?

This book is useful for my Inquiry because similar to "Finding Balance", it gives physical and psychological advice to dancers on elements such as Body Image, being a professional, performing at your peak and the mind body connection as well as many others. I feel this book focuses more on the psychological issues that can effect dancers and I think it is just as important to remain mentally fit and healthy in order to maintain an active dance career, as it is to be physically fit.  

Theories and Key ideas

There is a chapter in this book called "Performing at your Peak" which discusses the psychological techniques a dancer should use in order to give their best performance.  These techniques are:

• Goal Setting  -  This will help dancers "focus their attention, increase their efforts and persist".  It is suggested that we focus our goals on self improvement rather than on something that is out of our control such as getting a specific job.  Hamilton also suggests we should only "choose a couple of goals that have the highest priority, rather than overwhelm ourselves with many". 

• Visualisation - Research shows that "imagery can improve your technique by giving you a mental blueprint to guide overt performance".  It is most effective if vivid. "The more conscious you become of your senses while dancing, the more likely you'll be to recreate them through imagery".  Imagery can "increase self-awareness, enhance motivation, focus attention, build self confidence, reduce anxiety and acquire skills".  

• Anxiety Management - "Research shows that cognitive restructuring techniques improve performance even more than other interventions".  Hamilton suggests "Besides enhancing performance, cognitive strategies can add to your self-esteem, personal growth and development in all areas of life".  She suggests it is beneficial to decide how much energy and intensity you need as a performer.  Dr. Jim Taylor, a psychologist experienced in performance enhancement and his co-author Ceci Taylor, suggest the following approach: 
• First step - "See how your body reacts prior to and during a successful performance, so you can replicate it with specific exercises".
• Second step - "Regulate your intensity to its optimal level".  Over intensity results in extreme muscle tension increasing risk of injury.
• Final step - SMILE - "it alters blood flow in the brain, releasing neurochemicals that relax you".

I feel all of the above are appropriate theories in which I can include in my Inquiry, as they will improve dancers' mentalities in order to make them better dancers and in turn employable.
  

How reliable is the source?

I feel this source is very reliable as the author was a dancer herself with the New York City Ballet and therefore, she has first hand experience in the dance industry.  I feel this is important as I don't think people fully understand the industry unless they have experienced it themselves.  The author Linda H. Hamilton is also a psychologist and therefore her advice will be scientifically correct as well as it being her opinion.

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Title, Date and Author

"A Dancer's Manual", (1999), by Bobby Boling, Rafter Publishing

Where I found the source

I bought this book on www.amazon.co.uk from "Better World Books"

How is it useful to my Inquiry?

This book is useful for my Inquiry because it explains the "requirements, expectations and techniques necessary for achieving success in show business".  The author Bobby Boling gives his opinions on elements dancers need to know about in order to give themselves the best chance of employment and maintain an active career.  These elements include, Taking class, rehearsals, auditioning and performing, taking care of and preventing injuries, health and fitness, contracts, to name a few.  

Theories and Key ideas

  Some key ideas that stood out to me were:

• It is important to research the profession, "Read books, study films.  Go to shows and dance concerts.  Talk to choreographers, teachers, and other dancers.  Do all you can to learnt the history of the profession.  To stay current with what is happening in the business, study dancing on television, in music videos, and dance magazines."  

This is extremely important for a dancer as it enables them to stay knowledgeable about what is going on in the dance world and keep up to date with trends, steps and techniques.  You are more likely to be employed and maintain an active career if you are knowledgeable and up to date with the current styles.

• The book explains how an audition process has two parts.  Preparation (pictures, resume, clothing, music) and Presentation (how you perform at the audition).  It gives detailed advice on what is advisable for an audition and what is not.  I feel it is essential for a dancer to be full prepared for an audition to give them their best chance of employment.  Therefore, this book will inform me further on what I need to do in order to help this preparation and presentation process.  

• The book also gives advice on what to do once you have secured a job in the hope of that job leading to another, "Each job is simply a bridge to another job".  This is essential in the dance industry because it is often the case that the production team or fellow dance colleagues will recommend you for another show.  Therefore, it is important to build up a good reputation in the industry.  It is by doing this that you are increasing your chances of employability. 

How reliable is the source?

Although this book is written from the point of view of the author Bobby Boling, I feel the advice he gives is very informative.  I feel this is due to Boling's experience in the industry.  His show business career spanned two decades as a dancer, teacher, choreographer, producer, director, lighting, designer and writer.  Therefore, he has knowledge from many different professional areas of the industry which I feel is valuable for my Inquiry.
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Title, Date and Author

"A Dancer's Guide to Getting Work", (2005), A & C Black Publishers Limited

Where I found the source

I bought this book on www.amazon.co.uk from "Better Book Worlds"

How is it useful to my Inquiry?

This book is useful for my Inquiry because it gives tips and advice on how to develop and market your own performance style and abilities.  It discusses elements such as career options, the importance of training, marketing yourself as a dancer, audition advice, what makes a great dance performance, health and the working dancers, business skills for the working dancer and has two case studies on two working dancers. This information is valuable in maintaining an active career and increasing chances of employability.

Theories and Key ideas
The key ideas that stood out to me in this book were in the chapter "Marketing for the working dancer:

• Image - "Your image as a dancer is as important as your dance skills themselves".  As dancers we are the product we are trying to sell.  Therefore, it is important to present ourselves well. We also need to present well any paper work or online files/websites we use to promote ourselves.

• Cards - These are great to have on hand when "unexpected marketing opportunities arise".  

• Photos - It is important to have good headshots and portfolio photographs.  Get them taken professionally.  "It is one of your most important selling tools".

• CV - Keep your CV updated and to one A4 page. "Another advantage of keeping your CV to one page is that as you do more work, you'll have to drop the smaller and less impressive jobs to make room, ensuring that your CV remains a list of you greatest hits".

• Website - "Your own website can be a highly effective marketing tool".  

• Agents - "An agent or dance agency with a good reputation already has the contacts and clients who can give you those much needed work opportunities".  I agree with this in certain fields of the industry such as Musical Theatre and UK Tours.  However, auditions for work overseas is easier to find yourself and can often be cast from CV's, headshots and showreels. This is an element I will be looking into further through out my research and practitioner research.

It is essential to promote yourself and be pro active to increase your chances of employability.  You need to have the drive in order to succeed.  Therefore, the points mentioned above are very valuable for advising myself and other dancers how we can market ourselves in order to give us the best chance possible of an active career. 

How reliable is the source?

Once again this book has been written by authors who have both been part of the dance industry.  The blurb on the back of the book states "Jenny Belingy is an experienced dance teacher and John Byrne has coached many top performers and is the author of several bestselling "how to" books.  I feel having the combination of two authors is more beneficial and their teaching knowledge and experience is valuable when preparing dancers for work.
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Title, Date and Author

"The Dancer's Audition Book", (1982), by Martin A. David, Sterling Publishing Company

Where I found the source

I bought this book from www.amazon.co.uk

How is it useful to my Inquiry?

I was a bit sceptical about this book as it is the oldest of all my literature.  However, after reading it I realised a lot of the content remains the same today. This book gives audition advice for dancers and also contains quotes from past professional dancers, choreographers and company managers.  These quotes will be useful to use as evidence in my Inquiry.


Theories and Key ideas

Some interesting quotes that stood out to me were:

• Lynn Dally, co-founder of the Jazz Tap Ensemble, " A successful dancer has to have some kind of identity.  For a young dancer trying to get work, part of the thing about going to a lot of auditions is getting yourself known".  This is important when increasing your chances of employability you have to find something unique about yourself to make you stand out from others at auditions. 

• Twyla Tharp, "I have an immediate sense for dancers.  I just look at a person and look how they're changing their clothes and I know if this person is interesting to me.  People have a way of just standing and some will pull your attention to them or they won't."  This was interesting to hear that sometimes choreographers have made up there mind before we have even danced.

• Rudy Perez - "They have to have a certain kind of energy because I can find a way to use that.  Sometimes you'll find a dancer that's just a dancer and that person, for me, is very hard to use because movement alone is not enough for my work".  It is important to have a sense of performance.  Perez suggests that choreographers want to employ a dancer who can do their work justice and portray it well, not just do the steps.

• Laura Dean - "If you get rejected at my audition, don't say "I've been to a Dean audition" and never come back.  It might be your third, fourth or fifth audition before you get chosen.  That way the choreographer knows you are specifically interested in working with him or her and that you're still in town and training yourself."  Rejection was a topic I was interested in researching previously for my Inquiry topic.  However, I realise it crosses paths with my current Inquiry topic.  It is important for a dancer to not give up and go to countless auditions to give them the best chance of employment.

• Murray Louis - "Dancers should bring a certain ease with them.  When someone comes in to an audition and makes a mistake and laughs it off and goes right on - that's an assurance I appreciate".  Louis suggests he wants to see a sense of humour at an audition and a personality he will want to work with.  This is interesting as I have never thought about this before and always feel I have to be serious at an audition.

These quotes have given me food for thought and have been very useful in suggesting other thoughts and avenues to explore within my Inquiry.

How reliable is the source?

Although this book is the oldest of my Literature, it has been an interesting read.  I realise some of the information on the audition process e.g. what to wear has changed in time, however many of the principles are still the same.  The quotes from dancers, choreographers and company managers are timeless and will be useful for my Inquiry. The author was an actor, dancer, choreographer and dance critic so has had a lot of experience within the industry.  Therefore his knowledge will be truthful and valuable. 
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ONLINE ARTICLES 

ARTICLE ONE

Title, date, Author, Source
"Audition Guide - The Extended Audition", (2009), Jen Peters, Dance Magazine 

Web link
http://www.dancemagazine.com/issues/February-2009/Auditions-Guide

Theories, opinions and key ideas that link to my Inquiry

A quote that interested me was from Jim Vincent, Artistic Director of Hubbard Street Dance Chicago, 

"It's rare to just find someone in an open audition; usually it's a relationship developed over time". 

I have been wanting to research into whether employers are more likely to use dancers that have been recommended to them or have worked with them before.  Therefore, this quote was interesting to see that employers do like to build a bond with their employees, rather than taking a risk on someone they don't know from an open audition.

It has become apparent that the employers that were interviewed in this article like to see dancers turn up to auditions well presented.  Karen Kain, Assistant Director of the National Ballet of Canada says, 

"If dancers come in with these ridiculous outfits, huge dangling earrings, tons of bracelets, and so on, you right away think this isn't a serious artist, a person who is going to turn themselves over to the work".  She also goes on to say "it helps to wear a distinctive colour". 

By researching what employers are looking for at an audition it will increase your chances of employability as we can then apply these points to ourself. 

David Dorfman Artistic Director of David Dorfman Dance states,

"I want someone with a team spirit, a desire to work with others.  If a person is standing there with their arms crossed, their hands in their pockets, or leaning against the wall or barre, it suggests some level of disinterest or unnecessary confrontation". 

This was interesting, as it shows employers are always observing you throughout the audition, not just when you are dancing.  

How reliable is the source?
This source is reliable as it consists of quotes from employers in the dance industry. Therefore the information in the article has come from first hand experiences.  I realise one opinion could differ with another person's opinion, however I can still use these quotes as evidence.
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ARTICLE TWO

Title, date, Author, Source
"Audition Know - how: What Directors want", (2009), Janet Eilber, Dance Magazine

Web link
http://dancemagazine.com/issues/February-2009/Audition-KnowHow-What-Directors-Want

Theories, opinions and key ideas that link to my Inquiry

Jane Eilber, Artistic Director of the Martha Graham Dance Company says,

"If they can't connect with me at an audition, how can they expect to have the audience connection". 

This shows there is more to an audition than just the steps, you must connect with the employer so they can see how you can connect with the audience.

She also goes on to say,

"I love when dancers ask questions during an audition....If you don't understand the internal motivation, you cannot dance the role correctly; you have to be as much an actor as you are a dancer". 

This is interesting, as I feel dancers are too scared employers will think they are "stupid" if they ask questions in an audition, so many dancers just keep quiet.  This quote shows they prefer it, as it shows interest and the dancer will have a better understanding of the movement or role.

How reliable is the source?
Once again this source is made up of Artistic Directors' opinions from their own personal experiences.  Therefore, it is useful to hear their opinions and I can use these as evidence.
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ARTICLE THREE

Title, date, Author, Source
"Audition advice from the Pros", (2010), Rain Francis, Dance Informa Magazine

Web link
http://www.danceinforma.com/magazine/2010/09/audition-advice-from-the-pros/

Theories, opinions and key ideas that link to my Inquiry

Stanton Welch, Artistic Director of Houston Ballet states the biggest mistake dancers make in an audition is, 

"Showing off too much".  

A dancer shouldn't change the choreography to suit their strengths, because the choreographer has likely asked to see that particular step for a reason.  Welch says by doing this it shows the choreographer that,

"they can't learn in detail what you're presenting".

He also suggest dancers should, 

"get through a process of practice auditions, so that by the time they walk into the real audition, they've somehow calmed their nerves down".  

This is a good idea, the more auditions a dancer goes to, the more familiar they become with the process and environment.  If a dancer is more relaxed and have calmed their nerves they are more likely to perform better in the audition, increasing their chances of employment.

David McAllister, Artistic Director of the Australian Ballet suggests, 

"Don't do an audition if you don't feel prepared both emotionally or physically as first impressions count". 

I agree with this advice, because if you are not feeling confident in yourself, then the audition panel are likely to sense that too and your performance won't be at its peak.  It is important to make a good first impression and you don't want the audition panel to remember you when you are not at your best.

How reliable is the source?

This source follows the same reliability as the above articles, as it is also comprised of opinions of people in the Industry who cast dancers, so it shares first hand knowledge and experiences.
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MIDDLESEX UNIVERSITY SOURCES

As well as the handbook and Readers supplied by Middlesex University.  Their extensive Reading List and search engines such as "Summon" have supplied me with a wealth of Literature which has been valuable when planning my Inquiry and researching my Inquiry topic.

The Key Literature I found helpful from the Reading Lists:

• Costley Carol, Elliot Geoffery Gibbs, Paul (2010) Doing Work Based Research Approaches to Enquiry for Insider-Researcher, Chapter 3, London: Sage Publications Ltd.  Available from https://www.dawsonera.com/readonline/9781446247945.  This source was extremely helpful in understanding the ethical issues that could occur whilst carrying out Practitioner Research within the workplace.

• Blaxter L, Hughes, C and Tight, M (2001) How to Research (2nd Ed), Milton Keynes: Open Univeristy Press.  Available from http://site.ebrary.com/lib/mdx/reader.action?docID=10441949. This source was an interesting read and it was helpful in inspiring ideas for my Inquiry and useful in informing me how to analyse my data, once it has been collected.

• Hart, C (1998) Doing a Literature Review, London: Sage Publications Ltd.   Available from http://readinglists.mdx.ac.uk/items/5C7D1777-3B47-D8C4-2B07-DF032C25DD1D.html?referrer=%2Flists%2FF8CBF8FF-F412-0D88-60B8-25B16514F804.html%23item-5C7D1777-3B47-D8C4-2B07-DF032C25DD1D.                    I found the figure shown below from this book helpful in identifying the main sources of knowledge and the tools in which I can gain this knowledge.  

• Denscombe, Martyn (2002) Ground Rules of Good Research a 10 point Guide for Social Researchers, Buckingham: Open University Press.  Available from https://www.dawsonera.com/readonline/9780335239375. I found the checklists in this book useful, as it informed me of what I needed to include when planning my Inquiry.

• Bell J, (2005) "Doing your research project (4th ed), Milton Keynes: Open University Press.  Available from http://www.academia.edu/7495872/LIVRO_Judith_Bell_-_Doing_Your_Research_Project.  This was informative in all aspects throughout planning the Inquiry e.g. preparation, Ethics, Research tools.

Key Literature I have found using Summon:

• Apoocada, Jackie (2006) "What exactly is a Casting Director?", Available online from http://rt5vx6na7p.search.serialssolutions.com/?ctx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info:sid/summon.serialssolutions.com&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=What+exactly+is+a+casting+director%3F&rft.jtitle=Back+Stage+West&rft.au=Apodaca%2C+Jackie&rft.date=2006-02-02&rft.pub=e5+Global+Media%2C+LLC&rft.issn=1531-572X&rft.volume=13&rft.issue=5&rft.spage=9&rft.externalDBID=XI7&rft.externalDocID=142634972&paramdict=en-US

This was an interesting read.  It explains what a casting director does and their role in the industry

"Casting directors operate like a human resources department does.They place job notices(casting breakdowns), review submissions (headshots and résumés),and select candidates for the employer to interview (audition)."

This is why I am wanting to Interview a Casting Director for my Practitioner Research, because it is often dancers are selected from headshots and CV's even before the audition.  So I am interested to get an insight into what they look for when choosing applicants for submission in order for me to increase my chances of being seen for an audition. 

• Rigby, Rhymer, (2010) "The careerist: Remaining Employable" The Financial Times Limited. Available online from http://search.proquest.com.ezproxy.mdx.ac.uk/docview/229252502?pq-origsite=summon.  This article was interesting and speaks about how to remain employable is all fields of work.  It was interesting to see the same principles apply to a dancers work, that apply to an office worker etc.  

For example; Ian Pearson, a futurologist at the consultancy, Futurizon states, 

"You need to be learning continually", 

"Spend 15 per cent of your time learning about fields adjacent to yours. It's a bit like the ecology of a rainforest - you don't want to be the animal who is so fantastically well adapted to one tree that they will die if that tree is cut down."

"You need to be agile and adaptable,"

Miranda Kennett, founder of First Class Coach, recommends regular checks to ensure that you're constantly adding employability and experience: 

"Rewrite your CV every year". (However, dancers need to update their CV's more regularly).

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DELICIOUS

I previously set up a "Delicious" account, however it took me a while to understand how it worked.  It has been a very useful website to keep all my Literature in one place.

Here is the link to my Delicious page.

https://delicious.com/sianturner89
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I am still going to continue to search for more Literature throughout the summer, between Modules 2 and 3 and also keep adding links to my Delicious page.  
I have gathered a lot of Literature on advice and opinions from professionals to use as evidence, so I am now wanting to search for statistics and focus more on quantitative data to use as evidence. 

6a continued...Pilot Focus Group

Bell (2005) states, "focus groups are more likely to include members who either have similar characteristics or experience...or are known to have a professional concern about and knowledge of the issues involved."  

This was the case with the pilot focus group I conducted, as the four participants were friends of mine who are also professional dancers.  Therefore, similar interests are shared which reflected in the continuous flow of conversation and the responses from the participants.  I was slightly apprehensive to see whether this tool would be effective, as the friends who agreed to participate all have big personalities, which meant some participants might have been at risk of being overshadowed, which is a downfall to the focus group tool.

My Findings

• I felt this tool worked well as the participants all knew each other.  Therefore all participants felt relaxed and no one felt intimidated to put their opinion across.  All participants were supportive of each other which was encouraging and allowed participants to be confident when sharing their thoughts and opinions.  Therefore, as I will be using professional dancers in my community who do know each other for my practitioner research this tool should work well.

• To begin with a few participants spoke at once as the question wasn't asked to a specific person, however once we had got into the flow of the discussion, ideas were triggered which led the discussion to progress and grow and each member of the focus group to have their turn in participating.

• The majority of the data gathered was relevant and will be useful to incorporate in my Inquiry, however at times the conversation did go off track and I had to make sure I brought the discussion back to the question. 

• I used a mixture of female and male participants, which worked well as the similarities and differences between the genders became apparent and also triggered a more in depth discussion between the participants and it allowed me to see a different perspective on my Inquiry topic.

• After reading Reader 6, I thought it would be interesting to try and see if a seating plan would affect the outcome of the focus group.  I decided to seat the participants and myself in a circle.  I felt this gave us all the opportunity to see and hear one another clearly so we could see when someone had an opinion to share.  I also felt this seating plan made sure everyone felt of equal importance, so no one felt intimidated.  It is definitely an element I will keep for the practitioner research.

• I tried to notate the focus group and write down the main points, instead of trying to write down every word.  However, when I read the notes later on I had forgotten what was said exactly and I wouldn't want to falsely convey the participants opinions.  Therefore, I will be using a dictaphone to record the discussion, just like the Interview tool.  I will then transcribe the main points and quotes I would like to use for my Inquiry afterwards and delete the audio file if any participants object to me using it for any other work related purposes for my Degree studies at a later date.

• I felt having four participants taking part in the focus group was a manageable number and if there had been any more the participants could be at risk of not everyone being able to get their opinions across.  I would rather have fewer people speak in more depth about their thoughts and opinions than have more participants and only hear briefly from each of them.

• I did have certain questions I wanted to ask the focus group, however those questions led onto other questions I hadn't prepared.  This worked well as it triggered other questions I hadn't thought about before and by using this structure it allowed the discussion to flow well.  The prepared questions were useful when wanting to bring the conversation back to the topic.

• It is difficult to put a time guideline on a focus group, as I have no idea how much information the participants used for my practitioner research will want to share and where the conversation will go.  However, the pilot focus group took approximately 40 minutes, so I can image it will probably not last any longer than an hour, otherwise the data gathered might not be as relevant to the topic.    

Overall, I feet this tool will be an effective way to get an insight into multiple dancers thoughts and opinions, which will be valuable for my Inquiry.