Hello!
I haven't written for a very long time as I had to defer my module 2 due to work commitments so I thought I'd write a brief blog on what I've been up to.
I'm currently coming to the end of a 9 month dance contract. You'd think it would all be quietening down nicely in the run up to the end, but unfortunately not. I've been working 14 hour days with rarely a day off. I don't have a day off now until the end of my contact which is 2 weeks on Monday. Trying to fit my studies in in the mean time is proving very difficult and it's been hard to try and get my study brain back on!
I'm currently trying to think about what I want to do my inquiry in to. Initially I wanted to do dance and mental health and how it can be used as a form of therapy but that has nothing to do with my current job, or any job I've don. It's just an area I'm interested in but with the way the course is set up I'm not sure that it will work. So I'm now thinking about doing something to do with 'What makes a good manager' as this can be spread across both jobs I currently do and every job I've ever done. As a dance captain you are acting as a manager, as a dance school owner you act as a manager and I can tell you I've worked with the good, the bad and the down right ugly! In my second job I manage a business; I really enjoy it and think this could be something I might pursue in the future after my dance career is over therefore this could be a great line of inquiry for me.
I'm off to read reader 4 and get caught up! Bye! x
Friday, 16 October 2015
Friday, 21 November 2014
Module 1, Part 1, Task 3c - Sources of Information
It is hard to put into order the sources that I use most for information for my professional practise, however here are my top 5.
1. Dancerspro
I would say I use this website the most. I get multiple emails from them every day with new jobs that have been posted. They range from performing to teaching, both in this country and abroad. It opens my eyes to what is available out there. Living in Yorkshire, there isn't always a lot going on nearby for dancers, but if there does happen to be a random job I'm suitable for, Dancerspro let's me know about it. As I mentioned in my blog for task 1b, being a part of this website can have negative implications. When I first joined the website and uploaded my information to my profile I thought that only people who were part of the website would be able to view it, however recently it has come to my attention that anyone can.
2. Facebook
I have all my friends that I've met throughout my dance career and beyond on my Facebook. I am also part of the Facebook group 'The Hustle' which is a private group for professional dancers. It's a go to site if you're looking for somewhere to live or advice from other dancers. There are sometimes auditions posted on there too and if a friend sees one that they think I am suitable for they will tag me in it, and vice versa. The dance school I work for has their own Facebook page also, so I can get updates easily from them via that. I do like to keep my work life and personal life separate though, so I often chat with people through the Messenger section rather than publicly on my wall.
3. Talking with friends and colleagues.
Through talking with friends in the business and work colleagues I find out about recent news; What auditions may be coming up, what shows are going on tour, if there are any opportunities going etc. Locally I also find out about teaching work and making contacts around the area.
4. The Stage newspaper/website
The Stage Newspaper has been around for a long time. There are often interesting articles in there related to the business and also some auditions are posted in there. They now have a website version too and articles from there are often posted and shared on Facebook.
5. Spotlight
Almost all performers are part of Spotlight. Auditions are posted here with breakdowns of shows and specific parts. Agents can apply or auditions for you with your Spotlight page and all your need to know details are on there. They send regular emails with updates when new auditions get posted. I have actually discontinued my Spotlight recently though as I wasn't making use of it anymore. It's one of those things that most begrudge paying out for but for some reason you've just got to be part of it.
1. Dancerspro
I would say I use this website the most. I get multiple emails from them every day with new jobs that have been posted. They range from performing to teaching, both in this country and abroad. It opens my eyes to what is available out there. Living in Yorkshire, there isn't always a lot going on nearby for dancers, but if there does happen to be a random job I'm suitable for, Dancerspro let's me know about it. As I mentioned in my blog for task 1b, being a part of this website can have negative implications. When I first joined the website and uploaded my information to my profile I thought that only people who were part of the website would be able to view it, however recently it has come to my attention that anyone can.
2. Facebook
I have all my friends that I've met throughout my dance career and beyond on my Facebook. I am also part of the Facebook group 'The Hustle' which is a private group for professional dancers. It's a go to site if you're looking for somewhere to live or advice from other dancers. There are sometimes auditions posted on there too and if a friend sees one that they think I am suitable for they will tag me in it, and vice versa. The dance school I work for has their own Facebook page also, so I can get updates easily from them via that. I do like to keep my work life and personal life separate though, so I often chat with people through the Messenger section rather than publicly on my wall.
3. Talking with friends and colleagues.
Through talking with friends in the business and work colleagues I find out about recent news; What auditions may be coming up, what shows are going on tour, if there are any opportunities going etc. Locally I also find out about teaching work and making contacts around the area.
4. The Stage newspaper/website
The Stage Newspaper has been around for a long time. There are often interesting articles in there related to the business and also some auditions are posted in there. They now have a website version too and articles from there are often posted and shared on Facebook.
5. Spotlight
Almost all performers are part of Spotlight. Auditions are posted here with breakdowns of shows and specific parts. Agents can apply or auditions for you with your Spotlight page and all your need to know details are on there. They send regular emails with updates when new auditions get posted. I have actually discontinued my Spotlight recently though as I wasn't making use of it anymore. It's one of those things that most begrudge paying out for but for some reason you've just got to be part of it.
Thursday, 20 November 2014
Module 1, Part 1, Task 3b - Theories relating to networking
A Professional Network - ' a work related community held together by either close working affiliation or more distant but common work interests or needs' (BAPP Reader 3)
When I started this task it seemed extremely daunting to me. Networking is not something I consciously do very well. In Robert Axelrod's (1984) theory of cooperation, he talks about the importance of cooperation until you reach maximum benefit and then defecting. I see this happen a lot within our industry and unfortunately it's something that just doesn't sit well with me. Competitiveness isn't in my nature, which makes this career extremely difficult for me, hence why I want to find a new one! I understand the theory in certain situations such as the example given; how long do you continue doing something for someone without getting anything in return? I don't know that anyone can keep on giving without getting anything back, it's soul destroying. Maybe I feel I can't give anything to anyone so why should I ask for favours from them? I've been lucky enough to work with some great choreographers and directors throughout my career and yet when I'm looking for work I just don't have the confidence to ask them for information or favours. Even in recent days I have been told by friends in the business that I need to be more selfish and think about number one, as I'm currently working too much because I don't like to say no to anyone and let them down. However this is having a negative effective on my health and so I know that something has to change. Reading these theories has shown me that most other people are putting themselves first (and so they should) so, so should I!
Crisp and Turner (2007) suggested the theory that affiliation 'provides us with a network of support that will help us when we are in need'. Although in every day life I am an extroverted person who is often confident in talking to almost anyone about almost anything, for some reason the same can't be said when it comes to this career. I have an extremely close network of friends from home who I've had since I was 5 years old that support me through thick and thin, and I have some very close friends from college, who are incredibly important in supporting me through career related issues as well as everything else. I've made many friends during my career also, however because I feel that most in this business are out to only think about, and better, themselves and their career, I play my cards closer to my chest. I don't know why I feel like this. O'Connor and Rosenblood's (1996) theory of homeostasis supports these feelings, stating that individuals 'seek to maintain privacy at preferred levels'. And it is further supported by Altman's (1975) Privacy Regulation Theory. He suggests that our ideal level of privacy fluctuates over time. I think I am less trusting when meeting people in this career which will have a negative effect on my professional networking and therefore my professional future success.
Social constructionism is the theory that 'through social interaction, humans construct meanings of the world and their experiences of it'. The concept discusses how your views of the world are constructed through social attitudes and objects only have the potential of having meaning, constructed my human beings'. I don't know what experience I've had to make me less trust worthy within this career. Perhaps I've mentally blocked it out, however I honestly don't know what it is that's left me feeling this way. Maybe it was nothing that happened to me directly, but something I have viewed in others? Crotty (2005) believes that constructionism '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'. Perhaps I will need to critically reflect to find the answers to my questions.
The amount of knowledge in the world has doubled in the past 10 years and is doubling every 18 months according to the American Society of Training and Documentation. Connectivity shows how networks provide the means for individuals to both connect and learn in this ever changing world. It questions the idea that there is only one way of teaching; between teacher and pupil. Instead, as Siemens (2004) suggests, 'learning now occurs in a variety of ways - through communities of practise, personal networks and through completion of work related tasks'. Feeling like a new graduate again already, I am often told that employers think that life experience on a CV is more important than formal education. I hope that is true and will work in my favour being a 'mature student'. Hopefully networking and connectivity will help me find my way to the right career.
I have found this task quite hard to get to grips with. I can see the benefits in networking, especially having now read up on these theories. I find learning is always easier in groups or communities of practice, however on reflection I think I only find it easier in a group or community that I know, trust and feel safe with.
When I started this task it seemed extremely daunting to me. Networking is not something I consciously do very well. In Robert Axelrod's (1984) theory of cooperation, he talks about the importance of cooperation until you reach maximum benefit and then defecting. I see this happen a lot within our industry and unfortunately it's something that just doesn't sit well with me. Competitiveness isn't in my nature, which makes this career extremely difficult for me, hence why I want to find a new one! I understand the theory in certain situations such as the example given; how long do you continue doing something for someone without getting anything in return? I don't know that anyone can keep on giving without getting anything back, it's soul destroying. Maybe I feel I can't give anything to anyone so why should I ask for favours from them? I've been lucky enough to work with some great choreographers and directors throughout my career and yet when I'm looking for work I just don't have the confidence to ask them for information or favours. Even in recent days I have been told by friends in the business that I need to be more selfish and think about number one, as I'm currently working too much because I don't like to say no to anyone and let them down. However this is having a negative effective on my health and so I know that something has to change. Reading these theories has shown me that most other people are putting themselves first (and so they should) so, so should I!
Crisp and Turner (2007) suggested the theory that affiliation 'provides us with a network of support that will help us when we are in need'. Although in every day life I am an extroverted person who is often confident in talking to almost anyone about almost anything, for some reason the same can't be said when it comes to this career. I have an extremely close network of friends from home who I've had since I was 5 years old that support me through thick and thin, and I have some very close friends from college, who are incredibly important in supporting me through career related issues as well as everything else. I've made many friends during my career also, however because I feel that most in this business are out to only think about, and better, themselves and their career, I play my cards closer to my chest. I don't know why I feel like this. O'Connor and Rosenblood's (1996) theory of homeostasis supports these feelings, stating that individuals 'seek to maintain privacy at preferred levels'. And it is further supported by Altman's (1975) Privacy Regulation Theory. He suggests that our ideal level of privacy fluctuates over time. I think I am less trusting when meeting people in this career which will have a negative effect on my professional networking and therefore my professional future success.
Social constructionism is the theory that 'through social interaction, humans construct meanings of the world and their experiences of it'. The concept discusses how your views of the world are constructed through social attitudes and objects only have the potential of having meaning, constructed my human beings'. I don't know what experience I've had to make me less trust worthy within this career. Perhaps I've mentally blocked it out, however I honestly don't know what it is that's left me feeling this way. Maybe it was nothing that happened to me directly, but something I have viewed in others? Crotty (2005) believes that constructionism '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'. Perhaps I will need to critically reflect to find the answers to my questions.
The amount of knowledge in the world has doubled in the past 10 years and is doubling every 18 months according to the American Society of Training and Documentation. Connectivity shows how networks provide the means for individuals to both connect and learn in this ever changing world. It questions the idea that there is only one way of teaching; between teacher and pupil. Instead, as Siemens (2004) suggests, 'learning now occurs in a variety of ways - through communities of practise, personal networks and through completion of work related tasks'. Feeling like a new graduate again already, I am often told that employers think that life experience on a CV is more important than formal education. I hope that is true and will work in my favour being a 'mature student'. Hopefully networking and connectivity will help me find my way to the right career.
I have found this task quite hard to get to grips with. I can see the benefits in networking, especially having now read up on these theories. I find learning is always easier in groups or communities of practice, however on reflection I think I only find it easier in a group or community that I know, trust and feel safe with.
Monday, 10 November 2014
Module 1, Part 1, Task 3a. Current Networks
Networking is definitely one of my downfalls. I am not the sort of person who will make friends with someone purely for personal gain, I'm just not comfortable with it. Of course sometimes I make friends and opportunities will arise from it without me wishing it to, but I can't set out to meet someone with the hope that it'll lead on to me letting someone else or a job coming from it. The only time I am comfortable with it is if I am part of a website where everyone is there for the same reason
What are the current and different ways (tools) that you have, or do, to engage your professional network?
I have a Facebook page, with which I can keep in contact with friends from college and friends I have made on jobs since leaving. Having worked on cruise ships for 5 years I have worked with lots of people and made friends all over the world. Facebook is great and bridging the gap between those places! I have been fortunate enough to work with some great choreographers and directors, my downfall however is then using these contacts. I am not good at sending a message or email to ask about auditions or jobs with these people as I think it's really cheeky. I know it's the only way to get anywhere in this business, after all 'if you don't ask, you don't get', but it makes me feel really uneasy.
I have a Twitter page, however I only really use this for one of my jobs. To be honest I've never really understood the whole Twitter thing, although I can see how beneficial it can be when I look at other Twitter pages, especially those of famous people. Again, it acts as a bridge between the personality and their fans and helps expand their fan base.
I am part of various dance job websites and pages, such as 'The Hustle', which is a Facebook page for dancers. On here people post a range of things, from auditions to flats available to rent to promotion of classes. I also have my own page on Dancerspro and other job sites where I can look for work, as well as companies/productions being able to look at my CV and profile.
I also of course network naturally when working on a job. Whether it be as a dancer, a teacher or in promotions (as you find in this field that most workers are often dancers/performers out of work). Talking with one another at auditions, backstage or in rehearsals and gaining advice from each other is a great way to network. You may be friends with someone who is of no professional benefit to you but would greatly benefit someone else and vice versa.
What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?
Linkedin is a website that I have never used but know that most people in the 'real world' do. It's a great site for networking and being able to look up people who are in the same field of work as you. Or if you're looking to change career you can look up people within that sector. I also know dance teachers who are on there. Having your CV on a site like that allows prospective employers to headhunt employees.
My boyfriend has his own business and has his own Facebook page for it. Through this he can upload pictures and keep his followers up to date with current news. People have often got in contact to buy from him through his Facebook page. The dance school I work for also has it's own page which is great for networking. Parents looking for a dance school for their children can get a great vibe of the school and it's ethics from the page and get in contact easily through it.
Although I have Instagram it is only for private use, however I know of other practitioners who use it to network. It is another site where clients/employers/general public can follow you. You can also connect it with your Facebook/Twitter pages so that your followers there see your posts too. As a dancer I don't really see how I can use it to network, but I think it's great for people who sell a product.
Blogs are also another great way to network and get your voice heard. I had never written a blog before starting this course but I can certainly see the benefits of it. If you have a lot to say (something that won't fit in a Facebook status or post!) blogging is ideal. Again you can gain followers who are like minded and can comment back on your posts. You can also, of course, network through commenting on other people's blogs who may feel the same way about something or be in the same field of work as you.
Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?
Twitter and Instagram are both examples of this, as I mentioned previously, however to improve my professional networking I think I just need to be more gutsy. I need to have the confidence to ask people outright for help otherwise they may not ever realise that you need it.
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?
In networks such as 'The Hustle', Dancerspro and the other dance job sites I know that everyone is there for the same reason; to network, find out about work and make contacts. Therefore I am happy to use it as I know where very one stands.
On Facebook, most people's pages are their private ones to socialise with which is why I wouldn't feel comfortable with messaging them for work/auditions/opportunities on there. Having said that, I have had people contact me for advice about the career on Facebook and I'm always more than willing to help in any way that I can. I just don't want to feel like a bother to other people as they may not be so willing.
On Twitter, I feel that people within this career are there for a mix of reasons; both to socialise and to network, therefore maybe I should make more of an effort to do the same.
At auditions and backstage at events etc, I think you can know within the first I've minutes as to whether people want to network or not. Sometimes they're concentrating on what is to come, other times they're more than happy to talk about the career and sometimes al people want to do is talk about something else that has nothing to do with it. Here I have to use my judgement each time. Plus in these situations there are always going to be people who you get along with better than others.
What would your ideal network look like and why?
My ideal network would be one like the dance job websites I mentioned earlier.. a dance version of LinkedIn if you will. Here you would have everything laid out on the table as to what skills and attributes you have and also a section for what sort of work you're looking for, as well as your location. Employers could also do the same, putting up auditions, having background information about their company with possible showreels and links for employees to look at. At least on a site like this people expect you to get in touch and to be gotten in touch with. I would feel far more comfortable getting in touch with someone on a site like this for this reason; Everyone here has the same goal.
What realistic things could you do to work towards developing your ideal network?
To develop this idea I would attend networking events, to get my face known as well as my idea. Once I'd set up the site I would then use social networking to advertise it, having realised in the first tasks how beneficial social networking can be. All such ideas, whether it be LinkedIn or Facebook, started small and then grew with their popularity. I would promote it within colleges to get graduate performers involved.
What tools and methods do you need to use? What do you know about your current, and intended, networks and importantly what don't you know?
I don't know how to actually set up a website so that would take some research. I would use all methods available to me to advertise it, such as Facebook, Twitter and LinkedIn. I would contact everyone that I know to tell them about it, and ask them to use it and either blog about it or share it on their social media sites to help get the word out. I would also have to research the Data Protection Act 1988 and set up rules and regulations for users so that their information is protected.
What are the current and different ways (tools) that you have, or do, to engage your professional network?
I have a Facebook page, with which I can keep in contact with friends from college and friends I have made on jobs since leaving. Having worked on cruise ships for 5 years I have worked with lots of people and made friends all over the world. Facebook is great and bridging the gap between those places! I have been fortunate enough to work with some great choreographers and directors, my downfall however is then using these contacts. I am not good at sending a message or email to ask about auditions or jobs with these people as I think it's really cheeky. I know it's the only way to get anywhere in this business, after all 'if you don't ask, you don't get', but it makes me feel really uneasy.
I have a Twitter page, however I only really use this for one of my jobs. To be honest I've never really understood the whole Twitter thing, although I can see how beneficial it can be when I look at other Twitter pages, especially those of famous people. Again, it acts as a bridge between the personality and their fans and helps expand their fan base.
I am part of various dance job websites and pages, such as 'The Hustle', which is a Facebook page for dancers. On here people post a range of things, from auditions to flats available to rent to promotion of classes. I also have my own page on Dancerspro and other job sites where I can look for work, as well as companies/productions being able to look at my CV and profile.
I also of course network naturally when working on a job. Whether it be as a dancer, a teacher or in promotions (as you find in this field that most workers are often dancers/performers out of work). Talking with one another at auditions, backstage or in rehearsals and gaining advice from each other is a great way to network. You may be friends with someone who is of no professional benefit to you but would greatly benefit someone else and vice versa.
What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?
Linkedin is a website that I have never used but know that most people in the 'real world' do. It's a great site for networking and being able to look up people who are in the same field of work as you. Or if you're looking to change career you can look up people within that sector. I also know dance teachers who are on there. Having your CV on a site like that allows prospective employers to headhunt employees.
My boyfriend has his own business and has his own Facebook page for it. Through this he can upload pictures and keep his followers up to date with current news. People have often got in contact to buy from him through his Facebook page. The dance school I work for also has it's own page which is great for networking. Parents looking for a dance school for their children can get a great vibe of the school and it's ethics from the page and get in contact easily through it.
Although I have Instagram it is only for private use, however I know of other practitioners who use it to network. It is another site where clients/employers/general public can follow you. You can also connect it with your Facebook/Twitter pages so that your followers there see your posts too. As a dancer I don't really see how I can use it to network, but I think it's great for people who sell a product.
Blogs are also another great way to network and get your voice heard. I had never written a blog before starting this course but I can certainly see the benefits of it. If you have a lot to say (something that won't fit in a Facebook status or post!) blogging is ideal. Again you can gain followers who are like minded and can comment back on your posts. You can also, of course, network through commenting on other people's blogs who may feel the same way about something or be in the same field of work as you.
Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?
Twitter and Instagram are both examples of this, as I mentioned previously, however to improve my professional networking I think I just need to be more gutsy. I need to have the confidence to ask people outright for help otherwise they may not ever realise that you need it.
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?
In networks such as 'The Hustle', Dancerspro and the other dance job sites I know that everyone is there for the same reason; to network, find out about work and make contacts. Therefore I am happy to use it as I know where very one stands.
On Facebook, most people's pages are their private ones to socialise with which is why I wouldn't feel comfortable with messaging them for work/auditions/opportunities on there. Having said that, I have had people contact me for advice about the career on Facebook and I'm always more than willing to help in any way that I can. I just don't want to feel like a bother to other people as they may not be so willing.
On Twitter, I feel that people within this career are there for a mix of reasons; both to socialise and to network, therefore maybe I should make more of an effort to do the same.
At auditions and backstage at events etc, I think you can know within the first I've minutes as to whether people want to network or not. Sometimes they're concentrating on what is to come, other times they're more than happy to talk about the career and sometimes al people want to do is talk about something else that has nothing to do with it. Here I have to use my judgement each time. Plus in these situations there are always going to be people who you get along with better than others.
What would your ideal network look like and why?
My ideal network would be one like the dance job websites I mentioned earlier.. a dance version of LinkedIn if you will. Here you would have everything laid out on the table as to what skills and attributes you have and also a section for what sort of work you're looking for, as well as your location. Employers could also do the same, putting up auditions, having background information about their company with possible showreels and links for employees to look at. At least on a site like this people expect you to get in touch and to be gotten in touch with. I would feel far more comfortable getting in touch with someone on a site like this for this reason; Everyone here has the same goal.
What realistic things could you do to work towards developing your ideal network?
To develop this idea I would attend networking events, to get my face known as well as my idea. Once I'd set up the site I would then use social networking to advertise it, having realised in the first tasks how beneficial social networking can be. All such ideas, whether it be LinkedIn or Facebook, started small and then grew with their popularity. I would promote it within colleges to get graduate performers involved.
What tools and methods do you need to use? What do you know about your current, and intended, networks and importantly what don't you know?
I don't know how to actually set up a website so that would take some research. I would use all methods available to me to advertise it, such as Facebook, Twitter and LinkedIn. I would contact everyone that I know to tell them about it, and ask them to use it and either blog about it or share it on their social media sites to help get the word out. I would also have to research the Data Protection Act 1988 and set up rules and regulations for users so that their information is protected.
BAPP Module 1 Part 1 Task 2d.
This part of the module makes us ask ourselves questions that will hopefully help with Module 2 in finding a line of inquiry. I have to say that I have found these questions rather difficult to answer.
Do you see practice that makes you question your ethical code of practice or your personal sense of relatively appropriate behaviour? To what extent are disciplinary responses different to that you might expect more generally in society?
I don't know that I have seen any practice that makes me question my ethical code of practice. The only time in recent years that I can think of where I felt uncomfortable in knowing what was the right way to act, was when I was doing some work experience at a local Primary school. I have often thought about becoming a Primary school teacher and so wanted to spend some time in a school to gain more hands on experience. The school I worked in was very small, only 44 children, aged between 4 and 11. While in the Reception class the children would run at me to give me a hug or want to sit on my lap and at first I found this very strange. I wasn't at all sure how to react. Although I am perfectly comfortable with working with children, I didn't know these ones very well, nor did I know the school well and how they worked. And of course they didn't know me. However I saw how the teacher was with the students and she would often have one sat on her knee during story time etc. so I realised as long as they weren't supposed to be getting on with work it was fine to have this sort of relationship with them. After all, as a teacher you are often working in 'loco parentis'.
"'loco parentis' (Latin) in place of a parent: said of a person acting in a parental capacity" (1)
As a dance teacher, especially with the younger children, you have to act in loco parentis. While in your care, their wellbeing is your responsibility; whether it be ensuring they don't injure themselves through competent teaching or wiping a runny nose. When teaching dance it can sometimes be near on impossible to explain a move or how to hold the body without touching the child. This could be turning out their feet for them or holding their arms out to get the desired line. It takes maturity to fully understand what your body can do and how to feel it from within, therefore children need help to with this. I would have thought that disciplinary responses would differ between school teachers and dance teachers for this reason. I'm always conscious of how much I touch a child when teaching dance but being in the Primary school environment made me even more aware as there is less call for it in the classroom.
What in your daily practice gets you really enthusiastic to find out more about? What line of inquiry are you interested in?
I don't know that there is anything that gets me really enthusiastic to find out more about. Although I love to dance, I'm not particularly passionate about the career. When at musical theatre college I was surrounded by people who would only watch musicals and have all the soundtracks on their iPod etc, but I was never one of them. What I do love is that there are so many styles of dance and that there is always something new to learn. This excites me as I feel that no matter how old I am, as long as my body will allow, I'll always be able to take up a new form of dance and start a new challenge. As a huge Strictly Come Dancing fan, right now all I want to learn is Ballroom!! The professional dancers on that show are real athletes. I have had a couple of lessons before and even with all the training I've had, it was like learning to walk again! They make it look so easy, but I can assure you it isn't. I would give anything to be on that programme and be back in training every day.
As I am in the process of changing my career, I have thought long and hard about where to turn next. One idea I have had is 'Dance Therapy'. I am interested in finding out more about this and I'm sure there will be plenty to find out! From what I have looked at already Bonnie Meekums has done extensive research into this field and she is based at Leeds University which isn't far from me. I enjoy helping people and although teaching includes this, I feel that with Dance Therapy you are using to dance to help people who really need it, such as abuse victims or those with mental health issues.
I also love Maths. It was my favourite subject at school (strange I know!). Most singers, dancers and actors are self employed and so have to do their own tax return and keep on top of their own finances. I do my own however some either don't have time or don't know how and so enlist the help of a Performers Accountant. This is another area I have thought about going in to. I know there will be much more for me to learn here but feel it would challenge the part of my brain that hasn't been used in a while.
What gets you angry or makes you sad? Who do you admire who shares your feelings?
Being at this crossroads of my life, I have felt like there is not enough support for dancers making a change in their career. I'm sure a lot of them go into teaching as this seems like the natural path to take, however this isn't for everyone. Most dancers will have been dancing almost their entire life. I started at age 3 as most do. If you're lucky you can dance until your mid 30's, possibly later. If you're really lucky you can work your career around having children (if you're a woman) however inevitably, life happens. Your body can't do the things it once could, or you get injured and your career comes to an abrupt end earlier than expected, or you want to have children and it's not possible to go back to performing afterwards, for one reason or another. Suddenly you feel back at square one. I have found it particularly difficult as although I haven't been injured, I have felt pushed out from the career due to other circumstances in my life, earlier than I would have liked. I think there's a grieving process that dancers must go through when things like this happen but I've not found much support for it specifically. You feel like no one else understands the ecstasy that you feel when performing and the joy it brings you, and then the emptiness when it is taken away. There are many career advice websites and personality tests you can do online, but when you've had a career that you've been passionate about it's hard to find a new passion/career that will fulfil you. I think this blog by Jessica Shoop encompasses the feelings many dancers go through perfectly;
Do you see practice that makes you question your ethical code of practice or your personal sense of relatively appropriate behaviour? To what extent are disciplinary responses different to that you might expect more generally in society?
I don't know that I have seen any practice that makes me question my ethical code of practice. The only time in recent years that I can think of where I felt uncomfortable in knowing what was the right way to act, was when I was doing some work experience at a local Primary school. I have often thought about becoming a Primary school teacher and so wanted to spend some time in a school to gain more hands on experience. The school I worked in was very small, only 44 children, aged between 4 and 11. While in the Reception class the children would run at me to give me a hug or want to sit on my lap and at first I found this very strange. I wasn't at all sure how to react. Although I am perfectly comfortable with working with children, I didn't know these ones very well, nor did I know the school well and how they worked. And of course they didn't know me. However I saw how the teacher was with the students and she would often have one sat on her knee during story time etc. so I realised as long as they weren't supposed to be getting on with work it was fine to have this sort of relationship with them. After all, as a teacher you are often working in 'loco parentis'.
"'loco parentis' (Latin) in place of a parent: said of a person acting in a parental capacity" (1)
As a dance teacher, especially with the younger children, you have to act in loco parentis. While in your care, their wellbeing is your responsibility; whether it be ensuring they don't injure themselves through competent teaching or wiping a runny nose. When teaching dance it can sometimes be near on impossible to explain a move or how to hold the body without touching the child. This could be turning out their feet for them or holding their arms out to get the desired line. It takes maturity to fully understand what your body can do and how to feel it from within, therefore children need help to with this. I would have thought that disciplinary responses would differ between school teachers and dance teachers for this reason. I'm always conscious of how much I touch a child when teaching dance but being in the Primary school environment made me even more aware as there is less call for it in the classroom.
What in your daily practice gets you really enthusiastic to find out more about? What line of inquiry are you interested in?
I don't know that there is anything that gets me really enthusiastic to find out more about. Although I love to dance, I'm not particularly passionate about the career. When at musical theatre college I was surrounded by people who would only watch musicals and have all the soundtracks on their iPod etc, but I was never one of them. What I do love is that there are so many styles of dance and that there is always something new to learn. This excites me as I feel that no matter how old I am, as long as my body will allow, I'll always be able to take up a new form of dance and start a new challenge. As a huge Strictly Come Dancing fan, right now all I want to learn is Ballroom!! The professional dancers on that show are real athletes. I have had a couple of lessons before and even with all the training I've had, it was like learning to walk again! They make it look so easy, but I can assure you it isn't. I would give anything to be on that programme and be back in training every day.
As I am in the process of changing my career, I have thought long and hard about where to turn next. One idea I have had is 'Dance Therapy'. I am interested in finding out more about this and I'm sure there will be plenty to find out! From what I have looked at already Bonnie Meekums has done extensive research into this field and she is based at Leeds University which isn't far from me. I enjoy helping people and although teaching includes this, I feel that with Dance Therapy you are using to dance to help people who really need it, such as abuse victims or those with mental health issues.
I also love Maths. It was my favourite subject at school (strange I know!). Most singers, dancers and actors are self employed and so have to do their own tax return and keep on top of their own finances. I do my own however some either don't have time or don't know how and so enlist the help of a Performers Accountant. This is another area I have thought about going in to. I know there will be much more for me to learn here but feel it would challenge the part of my brain that hasn't been used in a while.
What gets you angry or makes you sad? Who do you admire who shares your feelings?
Being at this crossroads of my life, I have felt like there is not enough support for dancers making a change in their career. I'm sure a lot of them go into teaching as this seems like the natural path to take, however this isn't for everyone. Most dancers will have been dancing almost their entire life. I started at age 3 as most do. If you're lucky you can dance until your mid 30's, possibly later. If you're really lucky you can work your career around having children (if you're a woman) however inevitably, life happens. Your body can't do the things it once could, or you get injured and your career comes to an abrupt end earlier than expected, or you want to have children and it's not possible to go back to performing afterwards, for one reason or another. Suddenly you feel back at square one. I have found it particularly difficult as although I haven't been injured, I have felt pushed out from the career due to other circumstances in my life, earlier than I would have liked. I think there's a grieving process that dancers must go through when things like this happen but I've not found much support for it specifically. You feel like no one else understands the ecstasy that you feel when performing and the joy it brings you, and then the emptiness when it is taken away. There are many career advice websites and personality tests you can do online, but when you've had a career that you've been passionate about it's hard to find a new passion/career that will fulfil you. I think this blog by Jessica Shoop encompasses the feelings many dancers go through perfectly;
What do you love about what you do? Who do you admire who feels the same?
What I loved most about performing was the goosebumps and sheer electricity that runs through your body when you're out on stage under the bright lights. I would completely lose myself when on stage and it was as if an alter ego would take over. I guess I was pretty selfish as a performer as it was never really for the audience, nor was it to be better than anyone else on stage, it was just to do my best and enjoy myself. It's like a drug that makes you keep wanting to go back for more. It's exhilarating and exhausting all at the same time. In reflection I feel incredibly lucky to have ever had to opportunity to feel it. While at school I never got into drinking excessively or doing drugs. I never needed to because dancing was my way of losing myself and expressing myself. As for people who feel the same? I'm sure all dancers do that's why we give up so much to pursue the career.
Monday, 3 November 2014
Module 1, Part 1, Task 2c.
‘Reflective practice is something more than thoughtful practice’ (Jarvis 1992). It is ‘the throwing back of thought and memories in cognitive acts such as thinking, contemplation, meditation and any other form of attentive consideration, in order to make sense of them and to make contextually appropriate changes if they are required’ (Taylor 2000).
I have to say although in general I am rather a reflective person, I don’t think I’ve reflected so much on my profession as I have in the past year or so. I left working on cruise ships almost 18 months ago now. This was for a few different reasons but I had planned to come back to the UK with the hope of getting work closer to home. I have worked during this time however not as much as I’d liked and this has led me to really think about how I feel about this career and to realise how much I have learnt.
Here is an example of Kolb’s Learning Cycle (1)
Kolb believes there are four ways of learning. Those who learn from doing something (active experimental). Those who can do something but start to learn when they see others around them doing it (reflective observation). Those who need to ‘work it out in their heads first’ (abstract conceptualisation) and those who start to learn by trying out ideas (active experimentation). When looking at the diagram and reflecting on my own education I couldn’t decide which category I fit in to. When learning a new dance routine I have to do it myself, I couldn’t just learn it from watching someone else. However nor could I learn it by them describing it to me. I need to see it demonstrated and then be able to ‘put it in to my own body’. I can pick up choreography rather quickly, however my problem is then retaining it. To do this I have to take a step into myself and ‘work it out in my head’, so I know I’m not just copying. To help me work out which is the best way I learn I did the VARK questionnaire (2). Here are my results;
|
Visual
|
12
|
|
Aural
|
9
|
|
Read/write
|
9
|
|
Kinaesthetic
|
13
|
This shows that I learn best from actually being able to do something physically but with the help of visual, written or aural instruction. I believe children initially learn best from practical learning (active experimental) and reflective observation. One teaching method that is often used when teaching dance is having one of the children demonstrate a move and asking the others what is good or bad about it. They often can’t feel it within their own bodies and so by seeing it on someone else it helps them to understand.
It is said, although sometimes cited differently, that we retain;
5% of what we learn in lectures
10% of what we read
20% from audio visual
30% from watching a demonstration
50% from engaging in group discussion
75% from practicing what we’ve learnt
90% from teaching someone else
Otto von Bismark famously quoted ‘Only a fool learns from his own mistakes, the wise man learns from the mistakes of others’ (3), however Sean D’Souza believes that we retain 90% of what we teach because in implementation we often make mistakes and therefore learn from them (4).
Donald Rumsfeld, the American Secretary of Defence, famously stated, ‘There are the known knowns; there are things we know we know. We also know there are the known unknowns; that is to say we know there are some things we do not know. But there are also the unknown unknowns- the ones we don’t know we don’t know..’ (5). However there is also a fourth category, the unknown knowns; things we don’t realise we know. In this diagram (6) the red line represents the awareness of self and the blue line represents the knowledge of the world;
It is this fourth category that is often hard to teach. Michael Polanyi (1966,2009) wrote ‘I shall reconsider human knowledge by starting from the fact that we know more than we can tell’ (7)
“Tacit Knowledge’ is the kind of knowledge that is difficult to transfer to another person by means of writing it down or verbalising it. People are not often aware of the knowledge we possess or how it can be valuable to others. Effective transfer of tacit knowledge generally requires extensive personal contact, regular interaction and trust’. (8)
Although I had not heard of this phrase before starting this course, as a dancer I understand the definition. While in a production you might perform the same show every day for a year or more. After a month or so you realise that you don’t have to think about what you’re doing anymore as it becomes second nature or ’tacit knowledge’. At the end of your contract when you come to teach the next cast you often find that you can’t recall the choreography or are constantly second guessing yourself as it’s engrained in your muscle memory. To help with this I would often write written notes on choreography describing the steps, counts and stage direction.
I also believe that style and quality of dance are a form of tacit knowledge. Although you can tell a dancer where to put her arm or leg you can’t tell them how to feel the music; that has to come from within you or be picked up from extensive personal contact and regular interaction with a teacher or another performer.
‘Reflection: A process of turning experience into learning. A way of exploring experience in order to learn new things from it.’ (9)
Schön, Moon, Boud and others believe that we learn most through reflection of events. Donald Schön (1987) introduced the idea of ‘reflection-in-action’ and ‘reflection-on-action’. He believes that reflection can happen while you are in the middle of an event or after the event has taken place.
As a performer and teacher I agree with his idea. A live performer has to read their audience and react accordingly. A comedian for example may realise that certain jokes aren’t going down as well as others and so may change his act during his performance. An incident on stage may mean a performer has to react accordingly. For example, I was once in a show with young children, one of whom unfortunately wet themselves on stage. We weren’t aware of this until we were on stage and had to dance around the puddle while still carrying on with the choreography. During my ‘reflection-in-action’ I found the whole thing quite humorous while navigating around said puddle, however it wasn’t until I ‘reflected-on-action’ that I thought about how embarrassing and humiliating it would have been for the child.
As a teacher you also have to be able to reflect-in-action. You may have prepared to teach something in a certain way as you’ve taught it before and know that it works. However all children learn differently and if a child is having real difficulty in picking up the choreography you have to change your teaching method in order to help them. You also have to ‘reflect-on-action’ after the class so as to realise what the children were really struggling with or were really good at to help plan what to teach in the following lesson.
David Boud (2001) believes that we can also reflect in anticipation of events. This is a way of preparing ourselves not only for the event itself but for the outcomes that may follow it. When preparing for an audition not only do I have to warm up and eat/drink well to prepare my body I have to mentally prepare too. I think about what outcome I want from the audition but also how I will feel and act if I don’t get the desired result. I see this as a way of protecting myself as this is a tough business and you need a thick skin and strong will.
‘Reflection doesn’t have to be a written process, but Tufnell, Tharp, Moon and others stress the importance of being able to articulate and communicate the reflective process so you can recall ideas, plan or link’ (10)
Leading a busy life means I don't often get time to reflect on life however when I do it is often while I am travelling. This is often my only time to myself and so allows for such thinking. As I’ve reached a crossroads in my career it seems to be all I reflect about, but I never put anything to paper. Moon (2004) sees reflective writing as an untidy process. It is a ‘melting pot into which you put a number of thoughts, feelings, other forms of awareness and perhaps new information’ (11) for you to then sort out. She also describes it as ‘cognitive housekeeping’. Moon also believes that reflective writing can deepen the quality of learning and can increase active involvement and personal ownership of learning. I hope that my journal will help me to do all of these things.
Bibliography
- www.brainboxx.co.uk/a3_aspects/pages/kolbcycle.htm
- www.vark-learn.com/english/page.asp?p=questionnaire
- www.goodreads.com/author/quotes/800128.otto_von_bismark
- www.psychotactics.com/blog/art-retain-learning/
- From a response that Rusfeld gave to a question at a US Department of Defence news briefing, February 2002
- www.doceo.co.uk/tools/knowing.htm
- The Tacit knowledge, Michael Polanyi, 1966, Page 4
- Wikipedia definition
- Using Journal Writing to Enhance Reflective Practice, Boud, 2001
- BAPP (Arts) Module 1, Reader 2
Wednesday, 29 October 2014
Module 1, Part 1, Task 2b - Journal Writing Experience
I much preferred Math at school than English, so originally I would have thought I'd prefer to do my journal taking in the form of graphs and charts. They're a clear visual and good for making comparisons. I am also big on making lists. When thinking about so much it helps me to write it out and I often realise my workload is more manageable than first thought. However I found both of these forms of journals weren't in-depth enough for me to be able to reflect on.
Instead I enjoyed doing a description with my initial reflection and evaluation. I often have a lot on and therefore a lot going on in my head so it was nice to just get it all out on paper. It may not necessarily make chronological sense, just writing thoughts as and when they come, but it felt like a relief to write it down and then make sense of it later. I like to be able to go back to my journal after a day or two and expand on it, deepening my thought. I usually love writing things down with a pen and paper as it helps me to learn however for this exercise I felt it was more beneficial to write my journal on the computer. This meant I could write faster and didn't get hand cramp!
Instead I enjoyed doing a description with my initial reflection and evaluation. I often have a lot on and therefore a lot going on in my head so it was nice to just get it all out on paper. It may not necessarily make chronological sense, just writing thoughts as and when they come, but it felt like a relief to write it down and then make sense of it later. I like to be able to go back to my journal after a day or two and expand on it, deepening my thought. I usually love writing things down with a pen and paper as it helps me to learn however for this exercise I felt it was more beneficial to write my journal on the computer. This meant I could write faster and didn't get hand cramp!
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