• Do some very specific ideas emerge about your networking and sources? Does your engagement to date seem appropriate? Limited? Focused? Planned? Unplanned?
Over the course of this module, I feel I have learnt so much about my networking and how I can improve my skills in the future. Although I am quite a focused person, I feel I am quite limited because of my location. I am based up North, so struggle to make those London connections as often as I like. I have planned several trips down to London in the near future, to attend classes and see some shows, so I feel more connected to my industry again, and will try to make this a regular thing, (work depending). Previous BAPP student Georgie Bird mentions how she was making an attempt to network and 'mingle' more, which I think is an important step in making those connections within the performing arts world. If we keep ourselves hidden away, behind a computer, although certain connections will be made, no real established relationships can be solidified, therefore you will get left behind.
• Are your ideas, position or concerns shared by others within and/or beyond your professional area of work?
It is both interesting and reassuring to see many others share similar opinions to myself, seemingly expressing the same thoughts and opinions about issues and topics raised within this module. Cassie Vercoe and I were discussing the importance of networking and that each person is like a cog in a machine, and although some people naturally take higher rankings, every single person is an important component, that simply wouldn't work without them. Looking through Cassie's blog, it is clear we share many of the same thoughts and concerns about the industry particularly in terms of networking and having trust and respect for other professionals around you in order to gain this back yourself.
• Does sharing ideas and communicating with others shift your thinking, planning or practice?
I enjoy discussing different ideas with others as I feel you further your understanding, whilst questioning and expanding your own thoughts and opinions. As mentioned in previous blogs, Bethany Huckle and I were discussing the importance of 'word of mouth' in this industry to gain information rather than Web 2.0. This was a great discussion for me as I was focusing before on networking more online, yet this discussion really shifted my thinking and now think 'word of mouth' is still as effective, even though technology have taken over certain aspects. The more you communicate with others, the more information you learn , which sparks my thought process into expanding to more ideas. For example Francois was discussing communities of practice and talks about everyone involved in putting in a performance. From costume and lighting, to directors, to stage management each person plays a vital role in a successful production. This post provoked my thinking and enabled me to understand more clearly the importance of networking, not only with people directly In your field, but a whole community of professions, that all join together to create a show,concert, film etc.
• Does critical reflection help you decide what really matters and the actions to take?
Before BAPP, of course I would reflect upon my actions in order to improve, but not in the way critical reflection throughout this module has made me look in depth to my actions. The journal writing experience was particularly effective in my reflective process, as I have never wrote down my actions of the days events before. By doing this I have to thoroughly go through each part of my practice, commenting on good and bad points, making the process much more in depth and thoughtful. I know use journal writing regularly to help me with my own critical reflection, looking upon my work and seeing how I can improve and grow as a professional. I really enjoyed Sophie Donald's blog 'Journal Writing experience' as she demonstrated ways of formatting journal entries, which I found helpful in my own journals. It's great to draw inspiration from fellow students, finding new and interesting ways of communicating your ideas.
• To what extent do concepts and theories assist you in thinking about your professional networking in different ways? And do these different ways of thinking have some purpose for you?
As discussed in previous blogs, concepts and theories so assist me in my professional thinking, but on many different levels. I feel it is most important to read up on many theories, whilst always thinking how they are directly relevant to your practice. Then take the aspects of that and use them in your networking, but do not solely latch onto one theory.
• Are you left thinking differently prior to this part of the module? And if so, how
I would not say I am thinking completely differently, but simply more in depth. Whilst a lot of the knowledge I have learnt over this module, has been an extension of what I already know, I know aim to not take things simply on face value but to be more aware of myself and my working environment. I aim to reflect much more, in order to grow and develop, whilst a challenging my thoughts and ideas reading up on more practitioners as the course continues.
Monday, 21 December 2015
Thursday, 10 December 2015
Task 3C Sources of information
Task 3c
Sources of information
Throughout my training and professional life, I have used a variety of sources to find out about upcoming auditions, new shows, latest crazes as well as general info about the industry. I strive to remain proactive at all times, which means me constantly searching for new ideas and fresh information to keep up with an ever changing business.
Over the years these sources have changed slightly, as technology has become more and more advanced and we can now access everything on our phone. Since being a young girl I used to get 'The Stage' newspaper; a regular update on what shows we're coming up, reviews and interviews with producers and directors as well as auditions and castings. It has been a go to item for many performers over the years as it provides a current snapshot of the industry with information on every aspect for you to easily access. Now it is even easier as they publish an e copy for you to access on your tablet and phone, so you can get to this information much quicker. I have 'The Stage' app so I can constantly look for updates without having to wait to go to the newsagents to buy a copy. There is also Spotlight, which is updated daily, giving information and breakdowns of auditions and castings you may be suitable for. Because they always update and change, it is so important to remain proactive to ensure you do not miss anything.
This module has covered the importance of Web 2.0, and again I am stressing just how heavily the industry depends on portals such as Facebook and Twitter for sharing news and information quickly and effectively. I use Facebook groups such as 'the Hustle' and 'British Actors Network' to find out about auditions, as well as information about other topics. For example, some people expose bad companies warning performers to stay away, so you stay safe from scams and unfair treatment . I also find out about new classes and workshops through these sites, as choreographers often post on these groups to advertise. As these groups are strictly for performers, you are kept in the loop of all things happening whilst feeling like part of a community. Twitter is a fantastic source of information too, as it is so fast paced, you here about things immediately, almost whilst it's happening. Most of my news I hear about first on Twitter as many people will quickly tweet an occurrence, during or shortly after a an event. One example of this was a West End show actually announced it's unexpected closure over Twitter, with the employers of the show finding out on this medium first before even being told in person. In this digital age, news travels so fast and we must utilise these social networking sites in order to keep ahead of the game.
This leads me on to my next source of information; my smart phone. What was once a humble device for calling is now an entire lifestyle with emails, texts, Skype and viber being just a few tools used on our phones. I remember in a group Skype session this module, one person mentioned how they were in a place of bad phone signal for a few days; during this time their agent tried to contact them for an audition, but couldn't reach their phone. It shows how we are expected to always be 'available' or 'online' as people are always trying to make contact, and if you are not on the end of a call, text or email you could miss out on many opportunities. As I am a freelance performer as well as a teacher, I am almost attached to my phone at all times, searching for new opportunities for gigs, or contacting schools to arrange classes, having to remain on the ball so I grasp every given opportunity.
Of course there is still the good old word of mouth for sourcing information, and often is an informal, yet successful way of finding out about things. Fellow BAPP student and blogger Bethany Huckle and I were discussing whether 'word of 'mouth' was in fact more Important than online in terms of networking. (See comments from Task 3a Current Networks). Although we do use the Web to connect with people a lot, this is far more impersonal and face to face contact is often much more effective. Meeting people and having conversations is a great way of sourcing information, whilst also building up networking skills. Lily Grundy seems to share this opinion with me, and it's great to know people do still prefer face to face contact, as we grasp a persons emotions and intentions much easier when we can physically see and hear them. We must however be careful of the accuracy of information when gained through conversation, as this may not be completely correct, so it is important to always follow it up and check all the details are correct.
The last source of information is Television. Each morning the first thing I do is switch on the news to find out about occurrences around the globe. This also includes the arts and showbiz, which of course is directly relevant to my profession. You may also see snippets from new works, films and shows, giving you an insight into what's around at the time. I also use the music channels as a source of inspiration for choreography, taking ideas to use within my classes, and to also see what is relevant and 'in' at the moment. Television is also a great source of information of pop culture, fashion and music and style. I often take tips from fashion and lifestyle programs and apply them within my work. I sometimes work as a promotional model so it is important to keep up to date with trends and looks that are appealing to potential clients, sourcing this all from the television.
These are the sources I use most frequently, but of course we gather information all the time from a number of other sources. The key is to stay focused and always look out for things that may be of use, you never know when you may need it.
Sources of information
Throughout my training and professional life, I have used a variety of sources to find out about upcoming auditions, new shows, latest crazes as well as general info about the industry. I strive to remain proactive at all times, which means me constantly searching for new ideas and fresh information to keep up with an ever changing business.
Over the years these sources have changed slightly, as technology has become more and more advanced and we can now access everything on our phone. Since being a young girl I used to get 'The Stage' newspaper; a regular update on what shows we're coming up, reviews and interviews with producers and directors as well as auditions and castings. It has been a go to item for many performers over the years as it provides a current snapshot of the industry with information on every aspect for you to easily access. Now it is even easier as they publish an e copy for you to access on your tablet and phone, so you can get to this information much quicker. I have 'The Stage' app so I can constantly look for updates without having to wait to go to the newsagents to buy a copy. There is also Spotlight, which is updated daily, giving information and breakdowns of auditions and castings you may be suitable for. Because they always update and change, it is so important to remain proactive to ensure you do not miss anything.
This module has covered the importance of Web 2.0, and again I am stressing just how heavily the industry depends on portals such as Facebook and Twitter for sharing news and information quickly and effectively. I use Facebook groups such as 'the Hustle' and 'British Actors Network' to find out about auditions, as well as information about other topics. For example, some people expose bad companies warning performers to stay away, so you stay safe from scams and unfair treatment . I also find out about new classes and workshops through these sites, as choreographers often post on these groups to advertise. As these groups are strictly for performers, you are kept in the loop of all things happening whilst feeling like part of a community. Twitter is a fantastic source of information too, as it is so fast paced, you here about things immediately, almost whilst it's happening. Most of my news I hear about first on Twitter as many people will quickly tweet an occurrence, during or shortly after a an event. One example of this was a West End show actually announced it's unexpected closure over Twitter, with the employers of the show finding out on this medium first before even being told in person. In this digital age, news travels so fast and we must utilise these social networking sites in order to keep ahead of the game.
This leads me on to my next source of information; my smart phone. What was once a humble device for calling is now an entire lifestyle with emails, texts, Skype and viber being just a few tools used on our phones. I remember in a group Skype session this module, one person mentioned how they were in a place of bad phone signal for a few days; during this time their agent tried to contact them for an audition, but couldn't reach their phone. It shows how we are expected to always be 'available' or 'online' as people are always trying to make contact, and if you are not on the end of a call, text or email you could miss out on many opportunities. As I am a freelance performer as well as a teacher, I am almost attached to my phone at all times, searching for new opportunities for gigs, or contacting schools to arrange classes, having to remain on the ball so I grasp every given opportunity.
Of course there is still the good old word of mouth for sourcing information, and often is an informal, yet successful way of finding out about things. Fellow BAPP student and blogger Bethany Huckle and I were discussing whether 'word of 'mouth' was in fact more Important than online in terms of networking. (See comments from Task 3a Current Networks). Although we do use the Web to connect with people a lot, this is far more impersonal and face to face contact is often much more effective. Meeting people and having conversations is a great way of sourcing information, whilst also building up networking skills. Lily Grundy seems to share this opinion with me, and it's great to know people do still prefer face to face contact, as we grasp a persons emotions and intentions much easier when we can physically see and hear them. We must however be careful of the accuracy of information when gained through conversation, as this may not be completely correct, so it is important to always follow it up and check all the details are correct.
The last source of information is Television. Each morning the first thing I do is switch on the news to find out about occurrences around the globe. This also includes the arts and showbiz, which of course is directly relevant to my profession. You may also see snippets from new works, films and shows, giving you an insight into what's around at the time. I also use the music channels as a source of inspiration for choreography, taking ideas to use within my classes, and to also see what is relevant and 'in' at the moment. Television is also a great source of information of pop culture, fashion and music and style. I often take tips from fashion and lifestyle programs and apply them within my work. I sometimes work as a promotional model so it is important to keep up to date with trends and looks that are appealing to potential clients, sourcing this all from the television.
These are the sources I use most frequently, but of course we gather information all the time from a number of other sources. The key is to stay focused and always look out for things that may be of use, you never know when you may need it.
Wednesday, 18 November 2015
Task 3b Theories relating to networking
Co operation
Robert Axelrod (1984) asks some extremely thought provoking questions; 'When should a person cooperate, and when should a person be selfish, in an ongoing interaction with another person? Should a friend keep providing favors to another friend who never reciprocates? Should a business provide prompt service to another business that is about to be bankrupt?' (Robert Axelrod, the Evolution of Cooperation, preface, vii). It got me thinking about my own experiences and when I have been cooperative, when I have been selfish and how these choices have had an effect on my future. In every performance contract I have undertaken, I always give 100% into the show, being as cooperative with my company and the directors as possible. I feel if a cast is working as a team, it reflects in the performance and creates a greater working environment as a whole as everyone reeps the benefits. However Axelrods concept of Game Theory suggests we 'cooperate until maximum benefit produced then defect’ which I cannot agree with, as this suggests we have a clear strategy to use people for benefits. I feel taking advantage of people the dropping them is a harsh and detached form of networking, and in the long run using people will backfire on you.
Affiliation
Crisp and Turner's theory on affiliation suggests 'our tendency to seek out others and form close relationships' is a psychological thing we inherit, as it provides us 'with a network of support that will help us when we are in need' (Crisp and Turner, Essential Social Psychology, chapter 11, pg 323). The privacy regulation theory (Altman 1975) proposes that this need for affiliation fluctuates depending on on our desire for privacy, whereas O'Connor and Rosenblood (1996) argues we control our level of affiliation to a desired level, according to the principle of homeostasis. Whilst I agree I agree with parts of each practitioners theories, as I think it is a natural thing in our psyche to seek out like for like people when forming relationships. I do feel however, whilst O'Connor and Rosenblood suggests our brain processes our affiliation, I believe circumstances and environments play a bigger part in this. I think it is important to surround yourself with similar people, particularly when networking, in order to create new relationships. If you choose to participate in. To irises of interest; dance classes or workshops, you will automatically out yourself in a greater position to affiliate with others, therefore allowing your network to expand.
I feel I am a proactive person, regularly attending classes, auditions and workshops. Although I try and make a conscious effort to talk to others and form affiliated networks, I am sometimes to engrossed in the session (class, workshop etc) I forget to converse with others. I will attempt at making more of an effort, by ensuring I stay around afterwards to chat to other professionals, as I feel this will help me make more contacts for the future.
Theory of connectivity
Social Constructionism
It has taken me a while to get my head around this process, only to then realise this is a theory I have lived by for years. They key concept is that we construct meanings through our social interaction which are then projected into the world. Michael Crotty explains 'what construction claims is that meanings are constructed by human beings as they engage with the world they are interpreting'(Michael Crotty, Chapter 3: Constructionism, the making of meaning, pg 43). This is turn means, through interaction, we create networks networks through like minded people, by our perception of situations.
For a few years I have lived by 'The Secret', a book by Rhonda Byrne . Her whole theory is that our thoughts and feelings project into the world and directly affect our lives. I always aim to think positively, so I project this into the world and attract this back to me. This applies to people too, as I believe positive thinking attracts like for like people, therefore you create networks with others that share the same feelings.
Connectivism
Connectivism relates back to the work on Web 2.0 covered earlier in the module, explaining how networks provide information and it is exchanged through the internet. George Siemens (2004) writes about how education has developed over time and now 'technology is altering (rewiring) our brains. The tools we use define and shape our thinking' (Siemens, A learning theory of the Digital Age, 2004). Whilst I understand the importance of the internet and how useful this tool can be, I feel this cannot be a sole tool of practice. If one was to rely upon the internet entirely for information and networking, it would cut off human communication and contact. This restricts our levels of networking to purely 'online'. As a professional, I feel we must engage with this theory, but only as part of a broader networking system.
Communities of practice
A community of practice can be many things, on many platforms, both online and in person. We must understand when working on a project or show,it goes so much further than the performers. There is a whole catalogue of professionals; lighting designers, costume makers, stage management etc who make up a whole community of practice within a production. It is important to cooperate with these people, learning from their experiences and developing relationships.
Lave and Wenger states 'rather than learning by replicating the performances of others, or by acquiring knowledge transmitted in instructed, we suggest that learning occurs through centripetal participation in the learning curriculum of the ambient community. (Lave and Wegner, situated learning; Legitimate Peripheral Participation, pg 100). Of all the articles in this module, this rings truer to me than any other theory. I feel the best way to learn is by 'doing' and being surrounded by other professionals and learn from their experiences. If you are engaged within a community of practice, you are able to create your own experiences, learning directly rather than from information given to you in a textbook or article.
Monday, 16 November 2015
Task 3a. Current Networks
• What are the current and different ways (tools) that you have, or do, engage your professional network?
Over the years, I have managed to develop my networking skills, using different tools to help me do so. After graduating I would say biggest network was my friends and college peers, finding out about auditions and trends within the industry , sharing our knowledge and helping one another. This links with Robert Axelrods theory of cooperation, and whilst I do agree mostly with his theory, I feel this is a harsh approach on success, almost suggesting we strategise everything to favour our professional development. I believe life, including your career is about weighing up your options, deciding what will be most beneficial on the whole for you and your career. Axelrod says 'effective strategies continue to be used and ineffective strategies are dropped' (Robert Axelrod, the Evolution of Cooperation, preface, x). Whilst I agree with this statement, I do not think I consciously strategise , but I simply make decisions when necessary, always striving for success and development.
As I progressed within my career my network grew as I began to work with different people and attend various different workshops and classes. They also introduced me to several online networking tools, such as Facebook groups, Linkd in, and various twitter pages. Through these Web 2.0 tools, and as my career continues, my network carries on growing and I establish new relationships, be it online or in person, which in turn helps me grow as a professional.
• What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?
I think many people (including myself) use affiliation as a networking tool. I believe it is human nature to be drawn to people who are similar and share similar experiences with you. During my career, I have met many other professionals who have been so similar to myself, I am naturally drawn to them and remain in contact with. They in turn have brought other people into my life, through an affiliation e.g a common passion for a particular class, which has refined my network and given me even more contacts in the performance arts. This can be done in person, or even more commonly now, through the powers of social media.
This links in with Social Constructionism; using human interaction to construct our own meanings. We use these social networking sites and groups to interact with others, often having a purpose e.g find out about an audition, look for tour gigs. I have a colleague who is fantastic at using this tool, managing to scroll social media to find out and achieve anything, gaining new contacts and connections regularly. I admire their perseverance, as often this can take some time before having any actual contact with the necessary people, and their sheer determination to succeed it what they set out to do. I could learn many things from this as another form of networking myself.
• Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?
As we grow and mature as individuals, we often look for other approaches and skills to apply to our career to flourish and thrive even more within our field. Networking is a huge part of this,and we must take advantage of as many methods and technologies to expand our circles. As discussed previously, I feel I use cooperation to a certain extent, yet I feel this theory is a little too hard hitting and lacking human compassion to others.
I rely upon social communities of practice in my networking, informal groups both online and in person to network. When meeting a group of friends in the same profession, you have (without realising) created a social community, in which you will use to network. You talk about work, upcoming auditions, new shows and choreographers, and share this knowledge with the group. Each person will take away something from this meeting and benefit from the information learnt and shared. This is the same for the social media group 'The Hustle'; network of performers who use the group to talk about auditions, ask questions, and share new works. This group is formed through affiliation, creating a social community of practice and also relates to the theory of Connectivism- using the internet to transfer knowledge.
By combining methods, you establish a greater understanding that can be used for your professional network on many different levels.
• 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?
Of course, networking is always for some sort of professional gain and I think everyone understands and accepts this on some level. What I think is difficult is when forming new friendships with people in the industry. It can be mistaken for having a hidden agenda for your own gain, when the friendship could be completely legitimate. Unfortunately this happens all too often, using people for their connections, almost as a stepping stone for the next level in their career. It leaves people very untrustworthy and weary of others ulterior motives within friendships and relationships.
• What would your ideal network look like and why?
The performance industry can be a fickle and ruthless place at times, feeling a little like shark infested water. My ideal network would be full of producers, choreographers, directors and other professionals, that all respected each other, used their skills and knowledge to help others and in turn they would be helped themselves. Everything would be up front, with no selfish and nasty back stabbing, allowing people to be honest and therefore create a direct, authentic network, in which you could trust people without being misled.
• What realistic things could you do to work towards developing your
ideal network?
I am always looking to develop my network, focusing on my ideal as much as possible. I try to surround myself with positive people, who are upfront and honest. Luckily the industry is a 'small world' and news travels fast within circles. You soon find out who is untrustworthy, unreliable and negative, therefore I try and avoid these people as it can be debilitating to associate with people who are 'blacklisted'. However I always ensure I attend new classes, new workshops with different practitioners, so I am introduced to more and more people within the business, and carry on developing my professional network. I think it is important to continue to go to as many auditions as possible as well, talking to others, sharing knowledge and experience, and broadening your views even further. Sometimes in castings, sheer luck can come into it, and sometimes it's about who you know, so the more you expose yourself the more chance you are giving to land yourself in that 'lucky' spot.
• What tools and methods do you need to use? What do you know about
your current, and intended networks, and importantly, what do you not know
I do not think there are specific tools we need to use solely and completely, but rather take parts from many methods to create our own personalised networking skill, that works best for us as an individual. We can take advice from others peers, listen to teachers advice, and research for ourselves many other practitioners work and draw upon their thoughts and wisdom to create your own interpretation.
Over the years, I have managed to develop my networking skills, using different tools to help me do so. After graduating I would say biggest network was my friends and college peers, finding out about auditions and trends within the industry , sharing our knowledge and helping one another. This links with Robert Axelrods theory of cooperation, and whilst I do agree mostly with his theory, I feel this is a harsh approach on success, almost suggesting we strategise everything to favour our professional development. I believe life, including your career is about weighing up your options, deciding what will be most beneficial on the whole for you and your career. Axelrod says 'effective strategies continue to be used and ineffective strategies are dropped' (Robert Axelrod, the Evolution of Cooperation, preface, x). Whilst I agree with this statement, I do not think I consciously strategise , but I simply make decisions when necessary, always striving for success and development.
As I progressed within my career my network grew as I began to work with different people and attend various different workshops and classes. They also introduced me to several online networking tools, such as Facebook groups, Linkd in, and various twitter pages. Through these Web 2.0 tools, and as my career continues, my network carries on growing and I establish new relationships, be it online or in person, which in turn helps me grow as a professional.
• What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?
I think many people (including myself) use affiliation as a networking tool. I believe it is human nature to be drawn to people who are similar and share similar experiences with you. During my career, I have met many other professionals who have been so similar to myself, I am naturally drawn to them and remain in contact with. They in turn have brought other people into my life, through an affiliation e.g a common passion for a particular class, which has refined my network and given me even more contacts in the performance arts. This can be done in person, or even more commonly now, through the powers of social media.
This links in with Social Constructionism; using human interaction to construct our own meanings. We use these social networking sites and groups to interact with others, often having a purpose e.g find out about an audition, look for tour gigs. I have a colleague who is fantastic at using this tool, managing to scroll social media to find out and achieve anything, gaining new contacts and connections regularly. I admire their perseverance, as often this can take some time before having any actual contact with the necessary people, and their sheer determination to succeed it what they set out to do. I could learn many things from this as another form of networking myself.
• Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?
As we grow and mature as individuals, we often look for other approaches and skills to apply to our career to flourish and thrive even more within our field. Networking is a huge part of this,and we must take advantage of as many methods and technologies to expand our circles. As discussed previously, I feel I use cooperation to a certain extent, yet I feel this theory is a little too hard hitting and lacking human compassion to others.
I rely upon social communities of practice in my networking, informal groups both online and in person to network. When meeting a group of friends in the same profession, you have (without realising) created a social community, in which you will use to network. You talk about work, upcoming auditions, new shows and choreographers, and share this knowledge with the group. Each person will take away something from this meeting and benefit from the information learnt and shared. This is the same for the social media group 'The Hustle'; network of performers who use the group to talk about auditions, ask questions, and share new works. This group is formed through affiliation, creating a social community of practice and also relates to the theory of Connectivism- using the internet to transfer knowledge.
By combining methods, you establish a greater understanding that can be used for your professional network on many different levels.
• 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?
Of course, networking is always for some sort of professional gain and I think everyone understands and accepts this on some level. What I think is difficult is when forming new friendships with people in the industry. It can be mistaken for having a hidden agenda for your own gain, when the friendship could be completely legitimate. Unfortunately this happens all too often, using people for their connections, almost as a stepping stone for the next level in their career. It leaves people very untrustworthy and weary of others ulterior motives within friendships and relationships.
• What would your ideal network look like and why?
The performance industry can be a fickle and ruthless place at times, feeling a little like shark infested water. My ideal network would be full of producers, choreographers, directors and other professionals, that all respected each other, used their skills and knowledge to help others and in turn they would be helped themselves. Everything would be up front, with no selfish and nasty back stabbing, allowing people to be honest and therefore create a direct, authentic network, in which you could trust people without being misled.
• What realistic things could you do to work towards developing your
ideal network?
I am always looking to develop my network, focusing on my ideal as much as possible. I try to surround myself with positive people, who are upfront and honest. Luckily the industry is a 'small world' and news travels fast within circles. You soon find out who is untrustworthy, unreliable and negative, therefore I try and avoid these people as it can be debilitating to associate with people who are 'blacklisted'. However I always ensure I attend new classes, new workshops with different practitioners, so I am introduced to more and more people within the business, and carry on developing my professional network. I think it is important to continue to go to as many auditions as possible as well, talking to others, sharing knowledge and experience, and broadening your views even further. Sometimes in castings, sheer luck can come into it, and sometimes it's about who you know, so the more you expose yourself the more chance you are giving to land yourself in that 'lucky' spot.
• What tools and methods do you need to use? What do you know about
your current, and intended networks, and importantly, what do you not know
I do not think there are specific tools we need to use solely and completely, but rather take parts from many methods to create our own personalised networking skill, that works best for us as an individual. We can take advice from others peers, listen to teachers advice, and research for ourselves many other practitioners work and draw upon their thoughts and wisdom to create your own interpretation.
Sunday, 15 November 2015
Reader 3- Initial Thoughts.. The networked Professional
From my first day at college, I was always told the importance of networking in every possible way in order or succeed. I wasn't sure what this entailed... Should I hang around theatre stage doors in the hope of befriending a West End producer? Do I trail London's hotspots in case a top choreographer may be in a bar? I felt a hopeless, until after I graduated. I then naturally built up several networks without realising; My network of friends who are also in the same profession, co workers past and present, a network of previous employers, choreographers and directors. Once I started teaching, I quickly built up a network with others, building a reputation as a teacher, gaining more and more work. Of course we cannot forget our Web 2.0 networks that are crucial in the advancing world of technology, (see previous blogs 'Task 1b- Web 2.0... A whole new world' and 'Task 1b..An ever changing Web 2.0' for further insight into this topic).
After going through Reader 3 ,and the additional articles, I developed my understanding of networking and why it is so important within professional life. Reading practitioners theories gives me a clearer vision of my own journey and why I make certain choices. I have broken this down into separate sections that will be blogged in the next couple of days.
Friday, 13 November 2015
Task 2d.... Last question
How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society? For example, what level of physical contact would you deem appropriate (and not) from another professional that you would find unacceptable more generally? Why?
Fox Martin states ‘Professional Practice is underpinned by the judgements that professional make based upon value-based knowledge’ (Fox Martin, Doing Practitioner Research 2007, p.36). As a teacher I constantly have to make judgements that are crucial to my ethical conduct and professionalism. As I blogged in ‘Task 1b Continued... Ethical Considerations’ it is so important to filter your social media and ensure student/teacher boundaries are kept in place. I also feel this is important with regards to employer/employee relationships. I have worked for some fantastic employers who I really got on with, attending social events together and becoming friends. However at times it becomes difficult to keep the boundary of professionalism, and ensure our friendship and working relationship is kept completely separate. When in a working environment, they are my senior who I respect and look to for advice and instruction, keeping all social aspects away until working hours are over.
With regards to physical contact within the dance industry, sometimes you endure more than would be expected in general everyday life. When doing lifts with partners, you have to be physically handled and touched by colleagues and peers, that, if this was away from the studio environment, it would be deemed highly inappropriate. It is important to be aware of boundaries and ensure you are always comfortable within the work place. Professional limitations must be kept firmly in place and if you ever feel these are crossed it must be brought to immediate attention.
Thursday, 12 November 2015
2d....even more
• What do you feel you don’t understand? Who do you admire who does seem to understand it or who has found a way of making not understanding it interesting or beautiful, or has asked the same questions as you?
During my career, there have been many things I haven't understood, things that have baffled me even to this day. As a young teenage performer, going off to theatre school, I thought that talent was everything and if I worked hard enough I would land any job I wanted. So that is exactly what I did, worked as hard as I could, graduating at my peak fitness and condition. I was so lucky I got the job from my first audition and went off cruising around the world. However when I returned to London to audition again for shows, I was herded like a cow along with hundreds of other hopefuls, only to be cut after a few counts of dancing. Sometimes I would be cut because of my height or the colour of my hair. I didn't understand what I was doing wrong and why I wasn't getting roles.
I soon realised that talent is not everything and many other factors come into it that is out of my control. I found talking to other more experienced professionals, friends or work colleagues, helped me to understand the industry and how sometimes certain luck factors come into play. Speaking to peers who were so unbelievably talented and had performed in top West End shows, only to be working six months later in retail, made me see how unpredictable our careers can be. As time goes on I understand more and more things within performing arts, and while we should always strive to be better and better, we should not always assume we were rejected because of lack of talent.
During my career, there have been many things I haven't understood, things that have baffled me even to this day. As a young teenage performer, going off to theatre school, I thought that talent was everything and if I worked hard enough I would land any job I wanted. So that is exactly what I did, worked as hard as I could, graduating at my peak fitness and condition. I was so lucky I got the job from my first audition and went off cruising around the world. However when I returned to London to audition again for shows, I was herded like a cow along with hundreds of other hopefuls, only to be cut after a few counts of dancing. Sometimes I would be cut because of my height or the colour of my hair. I didn't understand what I was doing wrong and why I wasn't getting roles.
I soon realised that talent is not everything and many other factors come into it that is out of my control. I found talking to other more experienced professionals, friends or work colleagues, helped me to understand the industry and how sometimes certain luck factors come into play. Speaking to peers who were so unbelievably talented and had performed in top West End shows, only to be working six months later in retail, made me see how unpredictable our careers can be. As time goes on I understand more and more things within performing arts, and while we should always strive to be better and better, we should not always assume we were rejected because of lack of talent.
Wednesday, 11 November 2015
Inquiry questions.... Continued
I find it easier and more pleasing on the eye to break these questions up into several blogs. That way the reader does not have to scroll through huge amounts of text, and can take in short snippets at a time, fully absorbing the info and forming opinions themselves.
• What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?
Since a young age I have always enjoyed choreography that tells a story, reflecting a narrative in some way. My favourite musical is West Side story, as Jerome Robbins was so revolutionary in his work, creating the first choreography that carried the narrative within a musical. Combining pedestrian moves with dance, using physical contact and space, he managed to establish character relationships, action and drama so effectively without any spoken word. Since then, other choreographers such as Matthew Bourne have developed on this choreographic style, developing it even further.
Before choreographing Swan Lake, Matthew Bourne spent a significant time studying real swans and their behaviour. He used the movement of the birds and created a piece that truly reflected the characters and the plot. Using arm lines to create the illusion of wings, beaks and the long neck and elevated movements to give the impression of flight. So revolutionary was Swan Lake, it became the longest running ballet in the West End and Broadway.
I am really enthusiastic about this kind of choreography, as I feel it gives the dance more of a purpose. I use this often when devising myself; drawing upon real experiences and real people to create a piece that communicates a story or message to the audience. I enjoy studying a subject either historical or social, looking now this can be communicated through movement, evoking the audience into thinking about a certain subject or mood.
• What gets you angry or makes you sad? Who do you admire who shares your feelings or has found away to work around the sadness or anger?
I don't really get angry, but I am often saddened and even frustrated about being a performer. In a world full of employed doctors, bankers and lawyers, performers are often overlooked and not taken seriously as a profession. Even though we have trained and dedicated our lives to perfecting our trade, it is sometimes difficult to do everyday things such as apply for a mortgage or insure a car.
I have always worked hard to ensure I have regular income, be it from performing, teaching or temping, yet we are deemed a financial liability simply from the label 'performer'. This is down to
short contracts and not the same wage coming in at the end of the month. Sometimes this makes me wish I had a 'normal' job, so applying for mortgages and credit cards was simpler.
Yet my partner (non performer) always encourages me to continue, following my passions rather than a pay cheque. He talks me through things and always seems to get me through bad patches. I take a step back and think about all the amazing opportunities I have had through my career; travelling the world on a cruise, dancing at the Royal Albert Hall, Performing to huge crowds, and I remember how lucky I am. Although it may be frustrating, the rewards far way out the problems and I have a life to enjoy rather than being bogged down by material issues.
I found this article really interesting to see just how performers like myself go though day to day life, taking 'day jobs' to survive, and the anger and sadness it sometimes brings.
http://www.theguardian.com/culture/2010/jan/24/artists-day-jobs
• What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?
Since a young age I have always enjoyed choreography that tells a story, reflecting a narrative in some way. My favourite musical is West Side story, as Jerome Robbins was so revolutionary in his work, creating the first choreography that carried the narrative within a musical. Combining pedestrian moves with dance, using physical contact and space, he managed to establish character relationships, action and drama so effectively without any spoken word. Since then, other choreographers such as Matthew Bourne have developed on this choreographic style, developing it even further.
Before choreographing Swan Lake, Matthew Bourne spent a significant time studying real swans and their behaviour. He used the movement of the birds and created a piece that truly reflected the characters and the plot. Using arm lines to create the illusion of wings, beaks and the long neck and elevated movements to give the impression of flight. So revolutionary was Swan Lake, it became the longest running ballet in the West End and Broadway.
I am really enthusiastic about this kind of choreography, as I feel it gives the dance more of a purpose. I use this often when devising myself; drawing upon real experiences and real people to create a piece that communicates a story or message to the audience. I enjoy studying a subject either historical or social, looking now this can be communicated through movement, evoking the audience into thinking about a certain subject or mood.
• What gets you angry or makes you sad? Who do you admire who shares your feelings or has found away to work around the sadness or anger?
I don't really get angry, but I am often saddened and even frustrated about being a performer. In a world full of employed doctors, bankers and lawyers, performers are often overlooked and not taken seriously as a profession. Even though we have trained and dedicated our lives to perfecting our trade, it is sometimes difficult to do everyday things such as apply for a mortgage or insure a car.
I have always worked hard to ensure I have regular income, be it from performing, teaching or temping, yet we are deemed a financial liability simply from the label 'performer'. This is down to
short contracts and not the same wage coming in at the end of the month. Sometimes this makes me wish I had a 'normal' job, so applying for mortgages and credit cards was simpler.
Yet my partner (non performer) always encourages me to continue, following my passions rather than a pay cheque. He talks me through things and always seems to get me through bad patches. I take a step back and think about all the amazing opportunities I have had through my career; travelling the world on a cruise, dancing at the Royal Albert Hall, Performing to huge crowds, and I remember how lucky I am. Although it may be frustrating, the rewards far way out the problems and I have a life to enjoy rather than being bogged down by material issues.
I found this article really interesting to see just how performers like myself go though day to day life, taking 'day jobs' to survive, and the anger and sadness it sometimes brings.
http://www.theguardian.com/culture/2010/jan/24/artists-day-jobs
Tuesday, 10 November 2015
Task 2d Inquiry
As a performer and freelance teacher, my daily practice changes drastically from day to day. One day I could be singing in residential homes for a very small crowd of elderly people, the next day dancing in a theatre for hundreds, then teaching a group of eager teenagers. I never have a 'normal' day and I love this as I am continuously kept on my toes, always learning from my working environment and the people around me. I have many professionals I admire, things I love, yet still so many things I do not understand and even become angry about. During these next few blogs I will share my thoughts and aspirations, people and work that inspire me, and also parts of my industry I struggle to understand. Please feel free to comment and share your experiences too.
• What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?
My greatest passion, from an early age, has always been dance. Everything about it; the release I get from moving to a great piece of music, the satisfying ache the day after a hard day in the studio, knowing your muscles have truly worked. The sweat, willpower and teamwork of putting together a show, followed by the euphoria of performing in front of a pleasing crowd. I have never had something so fulfilling before or after, and I know in my heart, no matter what I will always be a dancer.
I am always looking for inspiration, constantly searching YouTube for new works, new choreography and also checking on my favourite choreographers for new material. Yanis Marshall is someone who has kept me captivated with his choreography; breaking the boundaries of commercial dance, consistently motivating my creativity and inspiring me. I love his passion, the way he moves to the music like its extension of his body, and how he is not afraid to think outside the box and be who he truly wants to be.
And this is what he is best known for. Pure attitude in high heels. I love the way his breaks the mould of male dancers, yet inspiring male and female dancers around the world. These two videos show his versatility, something all dancers strive for.
Monday, 9 November 2015
Task 2c
Muscle memory and articulation of reflective Practice- Task 2c
As performers, we often find communicating our ideas in different, creative ways, more effective than writing them down using our tacit knowledge to convey our thoughts. As discussed in 'the creative habit' (Tharp and Reiter, 2006) muscle memory comes into action for many performers as a tacit knowledge, being described as 'Automatic. Precise. A little scary'. I completely agree with this description, as often when performing a routine repeatedly, for example in a tour, your muscle memory seems to take over, without having to think about the movements consciously. Yet when it comes to teaching this routine to others, eg. a cast change or masterclass, suddenly you question your body, and forget. Tharp shares this same experience saying 'she will hesitate, second-guess herself, question her muscles, and forget. That’s because she’s thinking about it, using language to interpret something she knows nonverbally.' This is when we have to find different ways of notating and recording our ideas so we can articulate more effectively to others. I have looked at many ways of doing this within the module.
This whole section has been a journey of discovery for me; finding new ways of evaluating and reflecting upon my practice. Many practitioners including Jennifer Moon (1999) and Karen Osterman (Osterman and Kottcamp 2004) have stressed the importance of articulating and communicating ideas in different ways.
Moon uses a 'map of reflective writing' (Moon 1999) as a way of beginning the reflective process; A way of putting down ideas and reflecting upon them. By splitting an event up into sections including observations, feelings, and suggestions from other people, it successfully makes it clearer to reflect upon with a guide to work alongside ensuring all areas are covered. I particularly like this framework and this has helped me during my journal writing, using the map as an aid throughout the process.
It is important to draw upon many different theorists and practitioners when developing your critical thinking skills, as the broader your knowledge, the more ideas you are open to and have to work with within your own practice. I aim to be in a continuous state of learning, so I am constantly developing and growing, taking in many different thoughts and opinions to create my own ideas and theories.
As performers, we often find communicating our ideas in different, creative ways, more effective than writing them down using our tacit knowledge to convey our thoughts. As discussed in 'the creative habit' (Tharp and Reiter, 2006) muscle memory comes into action for many performers as a tacit knowledge, being described as 'Automatic. Precise. A little scary'. I completely agree with this description, as often when performing a routine repeatedly, for example in a tour, your muscle memory seems to take over, without having to think about the movements consciously. Yet when it comes to teaching this routine to others, eg. a cast change or masterclass, suddenly you question your body, and forget. Tharp shares this same experience saying 'she will hesitate, second-guess herself, question her muscles, and forget. That’s because she’s thinking about it, using language to interpret something she knows nonverbally.' This is when we have to find different ways of notating and recording our ideas so we can articulate more effectively to others. I have looked at many ways of doing this within the module.
This whole section has been a journey of discovery for me; finding new ways of evaluating and reflecting upon my practice. Many practitioners including Jennifer Moon (1999) and Karen Osterman (Osterman and Kottcamp 2004) have stressed the importance of articulating and communicating ideas in different ways.
Moon uses a 'map of reflective writing' (Moon 1999) as a way of beginning the reflective process; A way of putting down ideas and reflecting upon them. By splitting an event up into sections including observations, feelings, and suggestions from other people, it successfully makes it clearer to reflect upon with a guide to work alongside ensuring all areas are covered. I particularly like this framework and this has helped me during my journal writing, using the map as an aid throughout the process.
It is important to draw upon many different theorists and practitioners when developing your critical thinking skills, as the broader your knowledge, the more ideas you are open to and have to work with within your own practice. I aim to be in a continuous state of learning, so I am constantly developing and growing, taking in many different thoughts and opinions to create my own ideas and theories.
Friday, 6 November 2015
Task 2c continued
Reflection in-action and reflection on-action
As I progress through working on Reader 2, this particular concept by Donald Schon (1987), has come up in many on,ins discussions, including a group Skype session a few weeks ago.
To Summarise- Reflection IN actions happens whilst actually doing something, reflection ON action is reflecting back upon something.
I work in both ways, depending on the situation. For example, when going into a residential home for a show the clientele may be completely different than expected, and my chosen songs are not suitable, therefore I will quickly refer to my music archives and select a more appropriate playlist I know they will find more enjoyable. This IN action reflection has been extremely effective in ensuring the audiences have the best experience, with music they will appreciate and engage with.
Also, as discussed in the reader, when dancing or performing live, unexpected things can occur, such as forgetting the steps, in which you must reflect in-action to correct it and carry on, rather than simply wait until after the performance to then correct yourself.
However, with regards to reflection on-action, I use this technique after a performance to evaluate how it went and how I can improve next time. I agree with Robert Kottcamps point 'Reflection on-action is accomplished "offline" at a time when full attention can be given to analysis and planning for the future without the imperative for immediate action...' (Kottcamp 1990)
It is important to take the time after an event, without being pressured for immediate results like in-action reflection. See my previous blog 'Task 2b- Reflective Writing Task' in which I reflect on-action upon a performance using Honey and Mumfords adaptation of Kolb's learning cycle (Honey and Mumford, 1992).
Overall I feel the more ways you can reflect upon your actions, be it on or off-line engagement, the more self aware you are, becoming a more established and mature proffessional.
As I progress through working on Reader 2, this particular concept by Donald Schon (1987), has come up in many on,ins discussions, including a group Skype session a few weeks ago.
To Summarise- Reflection IN actions happens whilst actually doing something, reflection ON action is reflecting back upon something.
I work in both ways, depending on the situation. For example, when going into a residential home for a show the clientele may be completely different than expected, and my chosen songs are not suitable, therefore I will quickly refer to my music archives and select a more appropriate playlist I know they will find more enjoyable. This IN action reflection has been extremely effective in ensuring the audiences have the best experience, with music they will appreciate and engage with.
Also, as discussed in the reader, when dancing or performing live, unexpected things can occur, such as forgetting the steps, in which you must reflect in-action to correct it and carry on, rather than simply wait until after the performance to then correct yourself.
However, with regards to reflection on-action, I use this technique after a performance to evaluate how it went and how I can improve next time. I agree with Robert Kottcamps point 'Reflection on-action is accomplished "offline" at a time when full attention can be given to analysis and planning for the future without the imperative for immediate action...' (Kottcamp 1990)
It is important to take the time after an event, without being pressured for immediate results like in-action reflection. See my previous blog 'Task 2b- Reflective Writing Task' in which I reflect on-action upon a performance using Honey and Mumfords adaptation of Kolb's learning cycle (Honey and Mumford, 1992).
Overall I feel the more ways you can reflect upon your actions, be it on or off-line engagement, the more self aware you are, becoming a more established and mature proffessional.
Tuesday, 3 November 2015
Task 2c- Reflective Theory- Part One
Reflective Theory task,
Critical Reflection
During Part 2 of this module, I feel the practitioners and theorists included in the reader have given me a real insight into reflection, and how I can use it within my professional practice everyday, in order to improve and develop.
I will begin with Boud's question "What tools do you need to be engaged in turning experience into learning?" (Boud 1985). I feel a great way of turning my experiences into further learning is to record them initially, then go back, look at this and evaluate way in which this can be improved to progress in the specific field. This recording of experiences can be done in many ways;
1. video- filming myself at a performance to then go back to evaluate. You can see from an audiences/students perceptive, almost putting you in their position to see how they would have reacted.
2. Audio recording- especially when performing harmonies it is usefully to record and listen back if they are correct.
3. Journal writing- writing down accounts from the day, looking back and seeing what went well and what could be improved.
4. Constructive feedback- asking others opinions,gaining other peoples perspective. By hearing their opinion, they may have picked up on things you never noticed yourself, widening your understanding of your performance/audition/class.
Why is it so important to use your experiences as a learning tool? In my opinion, the best way to learn is by doing, therefore the more experience you have, the more you are able to grow as an individual and a professional. However, it could be easy to simply go into things with a closed mind, assuming the knowledge and skills you have are suffice. If you never look back on the these experiences and evaluate them, how can you become a mature professional with a deeper understanding of yourself and your industry. You must look at every experience as an opportunity to grow, continuously self evaluating and striving to iron out those areas of improvement.
This coincides with 'Kolbs learning cycle' (see previous blogs for diagram). Taking concrete experience, reflecting upon it, finding out what I learned, before trying it out again with the improvements. Honey and Mumford adapted this cycle (Honey and Mumford 1992) and I feel this technique of learning and evaluating is most helpful and a great 'tool' for 'turning experience into learning' (Boud 1985).
I found the section about John Dewey's interest in levels of experience particularly thought provoking. Firstly he says education is a process of 'continual reorganisation, reconstruction and transformation of experience' (Dewey 1916). I feel this is interesting when considering my students and how my teaching methods transform into everyday life. One of the most important things I teach my students is self belief and having confidence in yourself is the first step of success; if you don't believe in yourself, how will anyone else believe in you? I do several exercises to build their confidence to then transfer into stage presence for performance. Everything I teach can be used in everyday life, therefore being a 'transformation of experience' helping them in all walks of life.
The second point I found interesting was he felt 'interaction with the arts led to a unique and valuable experience'(Dewey 1916). I strongly agree with this point as I have taught many children who struggled at school because they were so shy, yet by being involved in the Arts, they gained confidence, transferring back into their school life, and they began to thrive both in class and socially.
When going through the reader, one thing that surprised me was Howard Gardners theory of Multiple Intelligences (Gardner 1983). He suggests people learn in different ways according to their experiences, personality and the way in which they relate and interact with others and environments. I never thought about learning in certain ways, and only ever focused about getting the knowledge and skills learnt rather than thinking the way in which I learnt them. I took a test on (www.bgfl.org) to find out what intelligence I was, before reflecting upon my own experiences, and found I am actually a combination of several intelligences depending on what aspect of my career I am working on at the time.
According to the online test I am 'musical' which I can completely agree with when it comes to choreography and creating new pieces of work. I use the music initially, just moving freely allowing the dance movements to come to me naturally before using them and connecting them into structured phrases (see blog on stream of consciousness). However this also links in with bodily/kinaesthetic intelligence, as I use the natural flow and movement of my body to create these phrases, rather than thinking first in my head before getting up and moving.
When it comes to teaching the choreography, verbal/linguistic and interpersonal intelligences have to come into practice, in order for me to successfully communicate my ideas to a class of students. These two intelligences I feel are essential for teachers as you have to understand people and how they relate and interact with others, in order to get the most from them, so they thrive. Verbal skills are key, as you would never be successful in teacher and helping others development if you cannot clearly communicate with them.
I feel the intelligence I least relate with is 'naturalistic'. Although I enjoy nature and am appreciative and sensitive of my environment, I never draw upon this when learning, or reflecting upon my experiences. I also rarely use logical or mathematical intelligences. As it draw upon my bodily/kinaesthetic and musical intelligences, I feel my learning comes from a place of emotion rather than logic.
Critical Reflection
During Part 2 of this module, I feel the practitioners and theorists included in the reader have given me a real insight into reflection, and how I can use it within my professional practice everyday, in order to improve and develop.
I will begin with Boud's question "What tools do you need to be engaged in turning experience into learning?" (Boud 1985). I feel a great way of turning my experiences into further learning is to record them initially, then go back, look at this and evaluate way in which this can be improved to progress in the specific field. This recording of experiences can be done in many ways;
1. video- filming myself at a performance to then go back to evaluate. You can see from an audiences/students perceptive, almost putting you in their position to see how they would have reacted.
2. Audio recording- especially when performing harmonies it is usefully to record and listen back if they are correct.
3. Journal writing- writing down accounts from the day, looking back and seeing what went well and what could be improved.
4. Constructive feedback- asking others opinions,gaining other peoples perspective. By hearing their opinion, they may have picked up on things you never noticed yourself, widening your understanding of your performance/audition/class.
Why is it so important to use your experiences as a learning tool? In my opinion, the best way to learn is by doing, therefore the more experience you have, the more you are able to grow as an individual and a professional. However, it could be easy to simply go into things with a closed mind, assuming the knowledge and skills you have are suffice. If you never look back on the these experiences and evaluate them, how can you become a mature professional with a deeper understanding of yourself and your industry. You must look at every experience as an opportunity to grow, continuously self evaluating and striving to iron out those areas of improvement.
This coincides with 'Kolbs learning cycle' (see previous blogs for diagram). Taking concrete experience, reflecting upon it, finding out what I learned, before trying it out again with the improvements. Honey and Mumford adapted this cycle (Honey and Mumford 1992) and I feel this technique of learning and evaluating is most helpful and a great 'tool' for 'turning experience into learning' (Boud 1985).
I found the section about John Dewey's interest in levels of experience particularly thought provoking. Firstly he says education is a process of 'continual reorganisation, reconstruction and transformation of experience' (Dewey 1916). I feel this is interesting when considering my students and how my teaching methods transform into everyday life. One of the most important things I teach my students is self belief and having confidence in yourself is the first step of success; if you don't believe in yourself, how will anyone else believe in you? I do several exercises to build their confidence to then transfer into stage presence for performance. Everything I teach can be used in everyday life, therefore being a 'transformation of experience' helping them in all walks of life.
The second point I found interesting was he felt 'interaction with the arts led to a unique and valuable experience'(Dewey 1916). I strongly agree with this point as I have taught many children who struggled at school because they were so shy, yet by being involved in the Arts, they gained confidence, transferring back into their school life, and they began to thrive both in class and socially.
When going through the reader, one thing that surprised me was Howard Gardners theory of Multiple Intelligences (Gardner 1983). He suggests people learn in different ways according to their experiences, personality and the way in which they relate and interact with others and environments. I never thought about learning in certain ways, and only ever focused about getting the knowledge and skills learnt rather than thinking the way in which I learnt them. I took a test on (www.bgfl.org) to find out what intelligence I was, before reflecting upon my own experiences, and found I am actually a combination of several intelligences depending on what aspect of my career I am working on at the time.
According to the online test I am 'musical' which I can completely agree with when it comes to choreography and creating new pieces of work. I use the music initially, just moving freely allowing the dance movements to come to me naturally before using them and connecting them into structured phrases (see blog on stream of consciousness). However this also links in with bodily/kinaesthetic intelligence, as I use the natural flow and movement of my body to create these phrases, rather than thinking first in my head before getting up and moving.
When it comes to teaching the choreography, verbal/linguistic and interpersonal intelligences have to come into practice, in order for me to successfully communicate my ideas to a class of students. These two intelligences I feel are essential for teachers as you have to understand people and how they relate and interact with others, in order to get the most from them, so they thrive. Verbal skills are key, as you would never be successful in teacher and helping others development if you cannot clearly communicate with them.
I feel the intelligence I least relate with is 'naturalistic'. Although I enjoy nature and am appreciative and sensitive of my environment, I never draw upon this when learning, or reflecting upon my experiences. I also rarely use logical or mathematical intelligences. As it draw upon my bodily/kinaesthetic and musical intelligences, I feel my learning comes from a place of emotion rather than logic.
Monday, 2 November 2015
Task 2b- Reflective Writing Task
Journal Writing Experience.
As part of Part 2 – The reflective Practitioner, we are required to keep a journal, and were given several frameworks to try out. I tried each framework out, using different styles each night. I found a few of these helpful in my reflection, whilst a couple I felt were not so successful for me and my writing style. I ended up combining a few frameworks together to create a journal style that I feel works well for my reflection, giving me chance to go over them before evaluating them and seeing how to move forward from the experience.
Below is an entry from my journal, using combined frameworks:
Description- The main event was performing as part of a 40s show, at a theatre in Bradford. I was involved in an ‘Andrews sisters’ trio tribute and also sang as ‘Gracie Fields’. Technical rehearsals took place in the morning, followed by the show later on.
Initial Reflection- This was the first gig in which our trio performed together, as part of a new act. I was nervous, yet really excited, going over harmonies and choreography over and over to ensure I was secure with everything. I was also nervous to perform as Gracie Fields, however these were just normal stage jitters I suffer from when required to sing solo. The show went really well and I was happy with the audience’s reaction. I was full of adrenaline afterwards and excited for future shows.
Evaluation- I felt the experience was an overall success, with everything going according to plan and was received well by the audience. Our harmonies were tight and the choreography was polished. With regards to my solo set, I thought it was successful; however I felt the nerves got the better of me in the first song. Once I relaxed into it, my voice was much better and the characterisation of Gracie Fields really came out. I need to work on this characterisation for future gigs, because it is a tribute, the more character study you do, the more successful the act. As a trio we need to learn more material, with costume changes and more complex choreography in order for us to grow and develop.
Plan of Action- Continue to listen and study music by Gracie Fields, so I can further my development and sharpen my act. As a trio we are picking out some more material to begin working on, and hiring a vocal coach to help us work on our harmonies so they are as polished as possible. We are also rehearsing to film a show reel to send to agents who will help us get further and more frequent work.
This is similar to Honey and Mumfords adaptation of Kolb’s cycle (Honey and Mumford ,1992) where they created four stages;
• Having an experience
• Reviewing the experience
• Concluding from the experience
• Planning the next steps
I agree with the importance of reflecting upon my experiences, with journal writing being a great way for me to keep up with my experiences, as sometimes we are so busy doing, we forget to reflect. By spending time each evening reflecting upon the day, we see a true insight into our work and how we can draw upon experiences to grow and develop as professionals.
Journal writing
So as part of the module we are required to keep a journal in which we can note down experiences we have, interesting thoughts and queries we may find. Now I have never kept a journal before, and honestly, the thought baffled me a little. How would I start it? What would I put in it? How would u keep up with myself writing entries? I decided to begin going through reader 2 and creating a 'mind map' of all the things I found relatable and interesting to my field . Just jotting small notes down to make it clear what I wanted to write up fully.
From here I began to write short entries, where I would reflect upon the thoughts brought up in the reader, and give an example of an experience I had that relates to it. I am finding this process so interesting as I am seeing aspects of both myself as a performer and a teacher; how I use techniques mentioned by practitioners without even realising it. It has also really made me reflect upon myself and evaluate my career experiences, and looking how I can further develop my skills in order to grow professionally.
I recommend journal writing to anyone as you will be surprised what you can learn from yourself, by simply noting down a few lines a day!
Friday, 30 October 2015
My Kolbs learning cycle
One aspect of Reader 2 I was particularly drawn to was 'Kolbs learning cycle'. Here is a diagram of how the cycle works;
I realised that I have used the cycle for many years in my professional life and my training without knowing it, as I am always reflecting and evaluating my work in order to improve.
My example of Kolbs learning cycle
Concrete experience
Solo dance for third year production of chorus Line
During our third year of training we performed in 'A Chorus Line' as part of our show Case, inviting agents to potentially sign us to their books. I was cast as 'Cassie', my dream role, in which I had to perform a solo song and also technical solo dance. So much was riding on this, I put myself under so much pressure to make everything perfect so I would be signed by a prestigious agent. The dance was extremely technical with many sequences of pirouettes into leaps and layouts; a particularly challenging routine. My choreographer suggested I filmed myself rehearsing the piece so I could see first hand what needed to be tightened and improved, so I could work on it a refine the whole piece. So this is what I did in order to evaluate myself.
Reflective Observation
I took the video footage from rehearsals and went through it with a fine tooth comb. As I was able to observe for myself my own movements, I could see what technically was strong and what needed improvement. There were certain lines that were off which I was unaware of, and my pirouettes were not as clean and sharp as they should be. All this knowledge was gained through self observation, so I was able to reflect on my performance and work out how I could make it better.
Abstract Conceptualisation
What did I learn?
1. Sometimes I put too much energy into the movements, making them look uncontrolled and sloppy.
2. During the longer pirouette sequences, my core is not fully engaged making my back arch and the line is lost.
3. Although my kicks are clean and extended, my flexibility could be improved to develop the kicks and leaps within the piece.
Active experimentation
Planning/trying out what I have learned
1. I worked on overall control by slowly going through the routine, going through each transition to make them as tight and clean as possible, ensuring every move was carried out precisely. By breaking this down and doing it repeatedly, it becomes part of your muscle memory, so when it comes to performing it, muscle memory kicks in and I am no longer going out of control.
2. I worked on my core through abdominal exercises and Pilates, strengthening my core and my back muscles so my centre was much more supported. I then continued to practice the sequences, really focusing on engaging those muscles so the lines were correct.
3. Flexibility is something I continuously work on; stretching everyday to push for greater flexibility throughout my body. I focused on my hamstrings and glutes more for the routine to really develop my kicks.
This continuously goes on throughout my career, using this cycle in everything I do; reflecting on my work, aiming to improve it, then trying it out again, therefore starting the process all over again. I feel for us to grow, we must learn to evaluate ourselves so we can work on areas of improvement.
*taken from (http://cdn-5.simplypsychology.org/learning-kolb.jpg)
I realised that I have used the cycle for many years in my professional life and my training without knowing it, as I am always reflecting and evaluating my work in order to improve.
My example of Kolbs learning cycle
Concrete experience
Solo dance for third year production of chorus Line
During our third year of training we performed in 'A Chorus Line' as part of our show Case, inviting agents to potentially sign us to their books. I was cast as 'Cassie', my dream role, in which I had to perform a solo song and also technical solo dance. So much was riding on this, I put myself under so much pressure to make everything perfect so I would be signed by a prestigious agent. The dance was extremely technical with many sequences of pirouettes into leaps and layouts; a particularly challenging routine. My choreographer suggested I filmed myself rehearsing the piece so I could see first hand what needed to be tightened and improved, so I could work on it a refine the whole piece. So this is what I did in order to evaluate myself.
Reflective Observation
I took the video footage from rehearsals and went through it with a fine tooth comb. As I was able to observe for myself my own movements, I could see what technically was strong and what needed improvement. There were certain lines that were off which I was unaware of, and my pirouettes were not as clean and sharp as they should be. All this knowledge was gained through self observation, so I was able to reflect on my performance and work out how I could make it better.
Abstract Conceptualisation
What did I learn?
1. Sometimes I put too much energy into the movements, making them look uncontrolled and sloppy.
2. During the longer pirouette sequences, my core is not fully engaged making my back arch and the line is lost.
3. Although my kicks are clean and extended, my flexibility could be improved to develop the kicks and leaps within the piece.
Active experimentation
Planning/trying out what I have learned
1. I worked on overall control by slowly going through the routine, going through each transition to make them as tight and clean as possible, ensuring every move was carried out precisely. By breaking this down and doing it repeatedly, it becomes part of your muscle memory, so when it comes to performing it, muscle memory kicks in and I am no longer going out of control.
2. I worked on my core through abdominal exercises and Pilates, strengthening my core and my back muscles so my centre was much more supported. I then continued to practice the sequences, really focusing on engaging those muscles so the lines were correct.
3. Flexibility is something I continuously work on; stretching everyday to push for greater flexibility throughout my body. I focused on my hamstrings and glutes more for the routine to really develop my kicks.
This continuously goes on throughout my career, using this cycle in everything I do; reflecting on my work, aiming to improve it, then trying it out again, therefore starting the process all over again. I feel for us to grow, we must learn to evaluate ourselves so we can work on areas of improvement.
Thursday, 29 October 2015
Follow up of Skype Session
Hi all!
So I havn't blogged in a few days, but that's not to say BAPP has not been in my thoughts and in practice. I have been fathoming my way through reader 2 and ways of reflecting and using our experiences as teaching tools for ourselves in the future. I am really enjoying this as I am learning so much about myself, and the how I work in completely different ways, using different methods, depending on which area of my career I am working on. I will write a full blog on this, with snippets of journal added in..so watch this space.
This week we had a skype meeting with Paula to discuss our intial thoughts on this section of the course, and how we found the reader 2. I always enjoy these sessions, as sometimes you can feel quite isolated as you are not doing a conventional uni course with set lectures with other students. You have to create your own network and community through the blogs and then interaction in those sessions. It's great to listen to others and bounce of their thoughts and points, furthering your understanding in ways you would not have developed alone.
We got onto talking about journal writing, and how to find the inspiration to write and get our creative juices flowing. One tool we all seemed to relate to was 'stream of conciousness'- an exercise where you simply write your thoughts continuously for a period of time (approx 5-10 minutes) without pausing, just allowing the thoughts to flow, before then going back and evaluating what you put and taking the best parts to use in your work. This is a tool I learnt at Drama school as a character ter development skill. I often use this if ever I feel I am having the dreaded 'writers block' or if my mind is overactive and I'm struggling to concentrate. It's a great excersise to use when journal writing and I highly recommend it to anyone.
However I use this tool in a kinetic way, when trying to find inspiration for choreography. I put on the chosen piece of music for the dance and just improvise and let the music take over, allowing my body to move freely. I often film myself doing this,so I can go back and evaluate it afterwards, looking at movements that worked well and begin to create phrases of structured choreography from
them, until I have a if sighed piece. Because the stimulus was the music and I allowed my body to flow, in often means the choreography flows much better than I would have gone in 'cold' and not used this tool.
Human intuition is a very powerful thing and in a world full of schudules and multi tasking, it's great to just let us be... Allowing gut instinct and sub sonciousness unlock or creativity and true potential!
So I havn't blogged in a few days, but that's not to say BAPP has not been in my thoughts and in practice. I have been fathoming my way through reader 2 and ways of reflecting and using our experiences as teaching tools for ourselves in the future. I am really enjoying this as I am learning so much about myself, and the how I work in completely different ways, using different methods, depending on which area of my career I am working on. I will write a full blog on this, with snippets of journal added in..so watch this space.
This week we had a skype meeting with Paula to discuss our intial thoughts on this section of the course, and how we found the reader 2. I always enjoy these sessions, as sometimes you can feel quite isolated as you are not doing a conventional uni course with set lectures with other students. You have to create your own network and community through the blogs and then interaction in those sessions. It's great to listen to others and bounce of their thoughts and points, furthering your understanding in ways you would not have developed alone.
We got onto talking about journal writing, and how to find the inspiration to write and get our creative juices flowing. One tool we all seemed to relate to was 'stream of conciousness'- an exercise where you simply write your thoughts continuously for a period of time (approx 5-10 minutes) without pausing, just allowing the thoughts to flow, before then going back and evaluating what you put and taking the best parts to use in your work. This is a tool I learnt at Drama school as a character ter development skill. I often use this if ever I feel I am having the dreaded 'writers block' or if my mind is overactive and I'm struggling to concentrate. It's a great excersise to use when journal writing and I highly recommend it to anyone.
However I use this tool in a kinetic way, when trying to find inspiration for choreography. I put on the chosen piece of music for the dance and just improvise and let the music take over, allowing my body to move freely. I often film myself doing this,so I can go back and evaluate it afterwards, looking at movements that worked well and begin to create phrases of structured choreography from
them, until I have a if sighed piece. Because the stimulus was the music and I allowed my body to flow, in often means the choreography flows much better than I would have gone in 'cold' and not used this tool.
Human intuition is a very powerful thing and in a world full of schudules and multi tasking, it's great to just let us be... Allowing gut instinct and sub sonciousness unlock or creativity and true potential!
Thursday, 22 October 2015
Reflection on Pierre Bourdieu's Cultural Capital
So this is the first blog in a few days, things have been so hectic and busy I have been chasing my tail...
After catching with some work, I did some further reading recommended by my tutor Paula Nottingham. I took a look at the suggested extract from an article about Cultural capital.
Her question was- How does cultural capital play a part of thinking for understanding how people work with Web 2.0?
This article provoked so many thoughts about how people work in the performance industry, particularly with Web 2.0 and how much we as professionals are affected by this.
The first point was that 'Bordieu argued that capital formed the foundation of social life and dictated one's position within the social order' (http://routledgesoc.com/category/profile-tags/cultural-capital)
At first I wasn't sure if I agreed with this, particularly in the performance arts. But after thinking through of past experiences I can see how this is relatable to our industry. The more capital you have the more opportunities you have to go to watch shows; the more shows you are able to see, the bigger insight into the active world of theatre, the greater the chance to mix in higher social circles of directors, producers and agents, creating networks that will have a positive effect on your career, with possibilities of castings, auditions and jobs.
Regarding Web 2.0 this capital would usually mean more followers on social media e.g twitter or Instagram, which automatically means you are more marketable to a director or producer. These social sites are so influential, that the more followers someone has is seen as more opportunities for advertising. I have heard it said by many casting directors that if a job is between two people, they will go with the one with most followers for that reason. Therefore more capital can not only dictate one social life, but also their professional life.
The second paragraph was even more provoking for me, and I strongly agreed with the points raised. 'Sharing similar forms of cultural capital with others—the same taste in movies, for example, or a degree from an Ivy League School—creates a sense of collective identity and group position (“people like us”).'( http://routledgesoc.com/category/profile-tags/cultural-capital) During my career, I have been interviewed for teaching roles based on my college training via Web 2.0 LinkdIn. My training is included in my profile, and when a school principal was looking for new teachers, she approached me initially as we went to the same college. I feel people naturally go for this collective identity, as most like to belong and be able to relate to people, so look for similarities within themselves. This is institutionalised cultural capital, giving you a higher social standing based on factors such as education, qualifications or experiences.
It reminds me how important it is to keep my online profiles up to date, including all credits and qualifications and this could be the difference between getting a job or not!
All quotes taken from article (http://routledgesoc.com/category/profile-tags/cultural-capital)
Thursday, 15 October 2015
Task- You Tube Video
My First Vlog!
Here is my first video post, just introducing myself to this media, I guess just putting a face to my blog. Short and sweet, but I will be posting more as the module progresses with snippets from my life and work to back up the chatter on the blog.
Another Web 2.0 tool to tick off my list!
Monday, 12 October 2015
Flickr Album... A snippet of my career!
So I have just been fathoming through the world of Flickr, something that is completely new to me and I am still a total rookie with this. But.... I think I have cracked how to do a photo stream, and I am showing you a few pictures taken throughout my career as a further insight into me and what I do! Here is the link to my Flickr photos, have a browse and feel free to leave comments.
If anyone knows how to display your pictures on your blog without going onto the link I would really love to know how to do this... Thanks in advance!
https://www.flickr.com/gp/135253087@N08/a03d6Y
If anyone knows how to display your pictures on your blog without going onto the link I would really love to know how to do this... Thanks in advance!
https://www.flickr.com/gp/135253087@N08/a03d6Y
Saturday, 10 October 2015
Task 1B Continued… Ethical Considerations
What do we want the world to see?
This topic has
sparked many conversations between colleagues, peers and other professionals…
What should you post on your social media?
It’s happened to us
all; an embarrassing photo appears on our newsfeed, considerately posted by a
friend who is probably laughing their heads off at your expense. Now I am all
for having a giggle and posting funny photos and great holiday snaps for your
friends and family to enjoy and share memories, but who sees these photos and
are you portraying a professional and employable image?
It is so important, in my opinion to keep my
profile private, so only people who I choose can see my private accounts, even
then I monitor what goes on there and what I say. Also as a teacher I feel it
is crucial that teachers do not ‘friend’ students, as this completely breaks a
professional barrier. An interesting article says ‘Teachers are probably the
most vulnerable group in danger from violations of boundary crossing between
one’s personal and professional lives’ (Kuehn, 2010, p. 86)
I have endless
Facebook friend requests from students who I teach on a daily basis, and whilst
you might feel like you are being ignorant, it is imperative, I feel, to
decline. Once those boundaries are crossed, it opens a window of potential
disasters. No matter how much you monitor your profile… a sneaky tag from an embarrassing
picture, can quickly make your employability and professional etiquette rapidly
decline.
As I explained in the previous post, my facebook and twitter
accounts have helped me in my career on several occasions. For that reason I
created a professional account for both medias, so I may use these forums and
groups, keeping my private and social life completely separate, appearing
employable and professional at all times.
What may be funny to
our friends, may be an off put to an employer…. Always think about what you
post!
Task 1B Continued… An Ever changing Web 2.0
If Web 2.0 is continuously changing and evolving, must we
as professionals change as well?
After going through
the reader, this particular section on an evolving Web 2.0 really got me
thinking. Ulrich et al mentions ‘one of the key aspects of a Web 2.0 model is
that these services are constantly evolving and that each platform is
progressively developed and replaced’ (Ulrich et al (2008)). This is most
relevant to me in terms of social media.
I used to be stuck in my ‘Facebook
ways’ not wanting to move on to any other form of networking, until I realised just
how much I was missing and all the opportunities I had been unaware of.Now to connect
through Facebook you must be friends, however twitter allows you to follow
people you do not know and see what they are posting. I soon realised my peers
were going to auditions and castings after seeing posts on twitter from
directors and choreographers. My account was set up the next day and it has
helped me no end in staying in the loop within the industry. In order to remain
pro active you must be prepared to evolve and change in order to grow. I am constantly
seeking new blogs to follow, and new sites and forums to join to help the evolution
of my career, as opportunities can be just a click away!
This leads me on to communities developed within Web 2.0 and
the importance of connectivity. Now Mark Zuckerburg, the founder of facebook,
has claimed ‘connectivity is a basic human right’ (Sheerlaw 2014). Now this is
a strong claim to make in my opinion, but after breaking it down, I noticed
just how much my life depends on connectivity, particularly through Web 2.0,
and how much it would be altered if I did not have access to these networks.
I have joined many
online communities which have helped me get jobs, find classes, given audition
tips and advice, not to mention make many contacts within the industry. Take ‘The
Hustle’ for example, a large facebook community group for performance arts
professionals. People post about jobs, auditions, new classes to attend and
also general info about the industry and what is hot and what is not. I have
used this forum to find out about castings which lead me to a UK tour contract,
attended master classes with top industry professionals after seeing them post,
and also been put in contact with a physio to help with a previous injury.
Without this community all these things would have not been so accessible and I
may not have been so successful in my career. Also ‘Stage school teachers UK ’, another
group forum, has put me in touch with many schools around the country and
provided many employers for teaching dance and musical theatre.
With over 500 million Facebook users and 289 million twitter
users worldwide, it would appear clear to see that connecting through social
networks could help our professional development in one way or another.
Thursday, 8 October 2015
Task 1B- Web 2.0…. A Whole New World
Now before beginning
the BAPP course if someone would have asked me what Web 2.0 was, I would have
absolutely no clue… Despite the fact I have used it several times a day, for
several years, for several purposes!
Web 2.0 is the ability to communicate through the internet,
breaking the barriers of simple creator and reader relationships. Sites such a
Facebook, Twitter or other social networking sites are probably the first that
spring to mind, yet others such as wiki’s Google and blogs all create web based
communities in which people can contribute and have input.
What did I use Web
2.0 for initially?
Well like most teenage girls I began using the internet for
sites such as My Space, then as I got older it progressed to Facebook, before
becoming hooked on Twitter and Instagram. These were used purely for social
purposes; catching up with others, looking at friends holiday and nights out
pictures, and seeing all the juicy gossip from Twitter about my favourite celebrities.
I never realised just how important this could be for my career or the huge
platform it provides professionally.
Tim O’Reilly’s Meme successfully and clearly captures the
uses of Web 2.0 as a platform
(O’Reilly, T (2006) ‘What is Web 2.0: Design Patterns and
Business Models for the Next Generation of Software’- www.oreilly.com/pub/a/web2/archive/what-is-web-20.html)
Once you discover
all the possibilities and avenues to explore within Web 2.0, you understand
just how much this can help within your line of work and what these networks
can lead to.
Participation… Do I need to do it?
Now with endless
networks and social media sites, is it important to get involved? How should I
get involved? How often should I get involved? These are all questions I’m sure
many of us have had, not just on a social level, but a professional one.
I began to see just how much participation on
Web 2.0 has altered my life and career.
The biggest example of this happened about a year ago.
Whilst aimlessly scrolling through Facebook I came across a post from a
classmate at Performing Arts School. This person works for a University in Malaysia , who was at the time interviewing new
Performing Arts teachers, and simply was posting if anyone in the UK may
be interested.
I replied and pursued this, getting into contact with the
president of the uni, then via Skype (another handy 2.0 tool) and sending
videos via DropBox and Youtube (yes two more 2.0 tools in there), becoming
successful in the process and teaching out is Asia for several months.
Without
participating in these networks, getting a job in Malaysia would be extremely
difficult, with long drawn out phone calls and letters and I would have almost
never have known the job was available in the first place.
I have also had
several job offers though the network Linkd In, a great Web 2.0 network linking
like for like professionals. Since posting my CV becoming active within the
site, I have had several emails from Schools and Institutes offering me jobs
based on my profile and what they have seen on Linkd In.
Now someone tell me participation is not important????
In the next few blogs I will continue with journey of discovering the endless possibilities within Web 2.0
Tuesday, 6 October 2015
First Skype Session!!
Wow! Well I have just had my first skype session of the course, lead by Adesola and Paula and including students from all three modules.
If ever there was a significant moment in realising the importance of Web 2.0 and the ability to communicate over the internet it was this session.
Going into the course I felt a little overwhelmed at the thought of studying again, how to approach the tasks, and if what I am doing is actually correct. Speaking to students who are either going through the same process, or who have been through it, I realise I am definitely not alone in this, and it takes a while to find your feet within your course and what approach you take. Listening to others opinions, concerns and challenges within the three modules has made me see the course as a whole and how each module leads to the next.
Having this Skype network is so valuable as a tool, as sometimes simply working through the reader proves to be quite difficult, so being able to get feedback and opinions from both tutors and students opens the mind to many other possibilities you would not have got from a Web 1.0 reader.
Adesola asked why we thought it was important to do a CV in module 1, and what people felt was the purpose on module 1 tasks. This was a defining moment for me seeing that it was all about self reflection. We must be able to evaluate ourselves in order to see where we are at, what we have achieved, looking back in order to be able to push forward. Hearing module 2 and 3 students speaking about their reflective and analytical tasks of others, it is crucial to understand ourselves and our own personal journey before trying to understand and analyse the journeys of others.
I now feel I can look at the course in a whole new light, constantly working on my growth and reflection of my professional practice, rather than feeling bogged down by tasks, now I understand their purpose.
Thanks for everyone involved and all the thought provoking ideas and feedback.
Look forward to the next session
If ever there was a significant moment in realising the importance of Web 2.0 and the ability to communicate over the internet it was this session.
Going into the course I felt a little overwhelmed at the thought of studying again, how to approach the tasks, and if what I am doing is actually correct. Speaking to students who are either going through the same process, or who have been through it, I realise I am definitely not alone in this, and it takes a while to find your feet within your course and what approach you take. Listening to others opinions, concerns and challenges within the three modules has made me see the course as a whole and how each module leads to the next.
Having this Skype network is so valuable as a tool, as sometimes simply working through the reader proves to be quite difficult, so being able to get feedback and opinions from both tutors and students opens the mind to many other possibilities you would not have got from a Web 1.0 reader.
Adesola asked why we thought it was important to do a CV in module 1, and what people felt was the purpose on module 1 tasks. This was a defining moment for me seeing that it was all about self reflection. We must be able to evaluate ourselves in order to see where we are at, what we have achieved, looking back in order to be able to push forward. Hearing module 2 and 3 students speaking about their reflective and analytical tasks of others, it is crucial to understand ourselves and our own personal journey before trying to understand and analyse the journeys of others.
I now feel I can look at the course in a whole new light, constantly working on my growth and reflection of my professional practice, rather than feeling bogged down by tasks, now I understand their purpose.
Thanks for everyone involved and all the thought provoking ideas and feedback.
Look forward to the next session
Everyday Cv
Ami Evans
PROFILE:
Highly motivated individual
who prides herself on her team working capability and her ability to deliver in
a timely and accurate manner.
Understanding of the end to
end process and where the key points of contact are to ensure Customer
deliverables are achieved.
My training in performing
Arts have developed my communication skills, confidence and ability to work in
a team.
The Mill Pub- 2015- Present
Bar Tender and Waitress
Harrods Knightsbridge-
2013-2014 Sales Assistant and Promotions team
Monsoon Accessorize- Retail
Group,- September 2007- February 2012 Sales Assistant
Anchor Pub- December 2008-
September 2009 Bar Tender
EDUCATION AND QUALIFICATIONS:
2009- 2012
Gaining a performing arts
diploma
2007-2009
Achieved 3 A levels
A in Drama
Bs in English Literature,
Dance
2002-2007
Achieved 9 GCSE’s
A*s in Drama, Dance, English
Literature
As in English language,
Science Double Award, Textiles,
B in Maths
C in French
PERSONAL DETAILS:
Nationality- British
Civil Status- single
Date of Birth- 07/11/1990
Other- Full UK
Email- ************
Telephone- 07*********
INTERESTS- My interests
are musical theatre and camera acting, where I continue to pursue my goal of
performing to the highest possible standard.
REFEREES:
Deana Wooley
Manager of Monsoon Chesterfield
01246 2*****
Paul Evans
P.E Sales Consultancy,
Managing Director
07********
Personal Agency as a 'catalyst for change'
Development of task 1A
So after reading Paula's latest blog, talking of Mezirow's explanation of Personal Agency;
So after reading Paula's latest blog, talking of Mezirow's explanation of Personal Agency;
Personal ‘agency’ is related to the capacity of someone to be actively involved in what they do, making changes and perhaps even experiencing a transformative process (Mezirow, 1981).
This sparked many thoughts for me about myself, my professional practice, and how I feel it is so important to embrace change in order to grow in our career. Keeping proactive within our career is crucial, particularly in an ever changing world of technology and new Web 2.0 networks developing all the time.
With this in mind I have looked at my Linked In profile, as this is the most accessed and viewed portal of my Cv. I have altered the skills section, making sure everything is channelled towards myself as a performer and teacher, rather than general skills that can be quite vague and unimpressive. I have also looked at others Cvs to see ways in which I can change and improve to become more appealing to an employer. I noticed some people include other jobs such as bar work and retail within their professional CVs. Whilst I understand these show an employer various skills such as time keeping, organisation and team work, I feel I would like to keep this separate from my performance and teaching CV, keeping everything on their relevant to the industry.
However as all performers know too well, the work does not always come flooding in and we often find ourselves in these jobs, to pay our bills, rent etc. So I decided I would create a third CV for this purpose, including all my experience in retail, bar work and everything in between.
By taking a look at my work, and the work of others, I am able to reflect on positive areas and ways in which I can enhance myself and my profile for others to see, therefore becoming a catalyst for change within my professional practice.
With this in mind I have looked at my Linked In profile, as this is the most accessed and viewed portal of my Cv. I have altered the skills section, making sure everything is channelled towards myself as a performer and teacher, rather than general skills that can be quite vague and unimpressive. I have also looked at others Cvs to see ways in which I can change and improve to become more appealing to an employer. I noticed some people include other jobs such as bar work and retail within their professional CVs. Whilst I understand these show an employer various skills such as time keeping, organisation and team work, I feel I would like to keep this separate from my performance and teaching CV, keeping everything on their relevant to the industry.
However as all performers know too well, the work does not always come flooding in and we often find ourselves in these jobs, to pay our bills, rent etc. So I decided I would create a third CV for this purpose, including all my experience in retail, bar work and everything in between.
By taking a look at my work, and the work of others, I am able to reflect on positive areas and ways in which I can enhance myself and my profile for others to see, therefore becoming a catalyst for change within my professional practice.
Saturday, 3 October 2015
Task 1A development of ' About Me'
So now I feel I am getting into the swing of things a little, feeling my way through in the hope I am doing it right. I've managed to look through other blogs from students past and present, and taken on board many things that I think will help me and work out my own path in professional practice.
Past graduate Georgie Bird is an old classmate and friend of mine who took the course a couple of years back, so naturally I was drawn to look at her blogs for some inspiration and guidance from a peer. The first thing I thought was how well she had put across her personality and I could almost hear her voice as I read through the blogs. To me this is fantastic and crucial in blogging and development of professional practice through Web 2.0
Surely as performers we are marketing tools for our product ,which of course is ourselves, so remaining too formal or robotic does not reflect ones true self. Whilst writing and communicating in a clear and coherent way, she still manages to put a certain flare and personality in her work which really stood out for me. Her 'about me' section is chatty, without being inappropriate, letting you into her world and her life experiences.
When writing my own 'About Me' section I tried to draw upon this and create a profile which truly reflected me and my personality whilst remaining professional and being aware of who may view my profile. I edited it several times as I sometimes rambled or became too informal, but I feel I am now happy with the final edit and how others will view and perceive me.
Others choose to remain quite short and to the point, which I feel is a neat a clear presentation within your profile, and I understand why people do this. However, it almost become CV like and doesn't place a personal stamp on things in the way I wish to be identified and noticed.
Past graduate Georgie Bird is an old classmate and friend of mine who took the course a couple of years back, so naturally I was drawn to look at her blogs for some inspiration and guidance from a peer. The first thing I thought was how well she had put across her personality and I could almost hear her voice as I read through the blogs. To me this is fantastic and crucial in blogging and development of professional practice through Web 2.0
Surely as performers we are marketing tools for our product ,which of course is ourselves, so remaining too formal or robotic does not reflect ones true self. Whilst writing and communicating in a clear and coherent way, she still manages to put a certain flare and personality in her work which really stood out for me. Her 'about me' section is chatty, without being inappropriate, letting you into her world and her life experiences.
When writing my own 'About Me' section I tried to draw upon this and create a profile which truly reflected me and my personality whilst remaining professional and being aware of who may view my profile. I edited it several times as I sometimes rambled or became too informal, but I feel I am now happy with the final edit and how others will view and perceive me.
Others choose to remain quite short and to the point, which I feel is a neat a clear presentation within your profile, and I understand why people do this. However, it almost become CV like and doesn't place a personal stamp on things in the way I wish to be identified and noticed.
Task 1a
Professional Profile
As both a performer and a freelance teacher, marketing myself and my skills are top priorities in order for my business (myself) to thrive and for jobs to keep coming in.
Usually the first point of call for an employer of course is a CV, a way of quickly scanning your skills to see if you may be suitable for the next stage towards the job in question. However, my skill sets and experience needed for a Musical theatre or commercial job may completely differ from a children's ballet teacher position. Therefore two separate Cvs seem most appropriate in order to sell myself in the correct way for each field.
Teaching CV
Ami Evans
PERSONAL DETAILS
Nationality- British
Civil Status- Single
Other- Full UK
Contact- 07*********
Email- amikaraevans@gmail.com
Career Experience-
Performance Arts Programme Leader, Limkokwing University Malaysia
· Running
Performance Arts course, (Professional Diploma) ensuring lectures run smoothly,
looking after student’s welfare and education within the university.
· Adapting
course Modules - Writing new modules and adapting old ones to ensure
the up most best training for the students. Working with AQA and MQA
quality assurance to develop the best possible curriculum for students.
· Co
curricular course- Developed an extra curricular course in Performance Arts for
international students to gain extra credit within their course. Created the
course, approved my MQA, worked with faculty and students on how they can
work this into their studies and develop their own academic journey
by introducing the arts into their programme.
· Lecturer-
subjects included Ballet, Contemporary Dance, Jazz, Body conditioning, Singing
Techniques, Performance Critique and Audition Technique. Working with students
to develop their technique and performance skills to become all rounded
performers.
· Business and
Finance- Ensuring all fees are paid for, working with finance and bursary to
determine outstanding fees, sourcing funding for scholarships and working with
students who have financial issues to solve their problems.
· Marketing
and Recruitment-
1. Took
an active role in recruiting students, this includes coming up with recruitment
plans, working closely with marketing, attending education
fairs counselling and recruiting students. Briefing the
marketing department on your programmes and working with the online team
to ensure advertising is maximised and every outlook is covered.
2. You
are expected to produce or instigate your own marketing materials such as
brochures, videos/show reel, flyers etc, coordinated with CCC (content creation
centre). This included conceptualising, producing the text and either
create photographic content or produce a variety of suggested content.
· Industry
collaborations- Working with dance schools and music centres around Malaysia
· Choreographer
for International Dance Crew- Worked with the top talent from over 160
countries represented at the university, to choreograph for top events on
Campus and nationally.
Freelance
Teacher 2012- 2015
RAZZAMATAZ
THEATRE SCHOOL- Dance/Drama/Singing teacher (Hampstead
and Barnet branches). Age range 2-18 years.
CFBL FRENCH
PUBLIC SCHOOL LONDON-
EMMANUEL C OFE PRIMARY SCHOOL- Drama Teacher. Age Range
WALTHAM FOREST
BARBIE MUSICAL MEDIA LAUNCH- Musical theatre workshop leader. Age range 5-10
DIVERSE PERFORMANCE ARTS HERTFORDSHIRE- Musical theatre teacher and Adult choir. Ages 5 and above
Performer
and Barnet branches). Age range 2-18 years.
EMMANUEL C OF
BARBIE MUSICAL MEDIA LAUNCH- Musical theatre workshop leader. Age range 5-10
DIVERSE PERFORMANCE ARTS HERTFORDSHIRE- Musical theatre teacher and Adult choir. Ages 5 and above
Performer
JINGLE
SALUTE TO THE 70’S 2014- Dancer, Rhyl Pavilion, dir. Gary Birstles
THE POP FACTOR 2014- singer/dancer
Simmons
HEADLINERS (P&O AURORA)2012- Dancer/Singer, Headliners Theatre Company, dir.
Steve Bee
CLASSICAL SPECTACULAR 2012/2013- Dancer, Royal Albert Hall, Raymond Gubbay, dir.
Charlene
Quaye
A CHORUS LINE 2012- Cassie, Avondale Theatre, dir. Richard Peakman
MADE2MOVE 2012 Dancer,Landor Theatre choreo. Gregory Apostolidis
A CHORUS LINE 2012- Cassie, Avondale Theatre, dir. Richard Peakman
MADE2MOVE 2012 Dancer,Landor Theatre choreo. Gregory Apostolidis
Education and Training
ITALIA
CONTI ACADEMY OF THEATRE ARTS- 3 Years performing arts National Diploma
(Level 6 First Degree- In Association with Trinity College of London, and
University of Middlesex)
A LEVELS- A
Drama
2 Bs Dance, English Literature
GCSE’s- 4 A*s Dance, Drama, English Literature, Textiles
3 As English Language, Double Science Award
B Maths
C French
IDTA dance training- Advanced Level in Jazz, Ballet, Tap, Modern and Freestyle with Honours.
2 Bs Dance, English Literature
GCSE’s- 4 A*s Dance, Drama, English Literature, Textiles
3 As English Language, Double Science Award
B Maths
C French
IDTA dance training- Advanced Level in Jazz, Ballet, Tap, Modern and Freestyle with Honours.
Performer Cv
Ami Evans
Height- 5"6
Mid Brown Hair
Brown Eyes
Soprano F to top C
Excellent Dancer- Ballet, Tap, Modern, Commercial, Jazz and contemporary all to advanced Levels
Full UK Drivers License
Stage Combat
Training- Italia Conti 3 year performing Arts
THEATRE
JINGLE
SALUTE TO THE 70’S 2014- Dancer, Rhyl Pavilion, dir. Gary Birstles
THE POP FACTOR 2014- singer/dancer
Simmons
HEADLINERS (P&O AURORA)2012- Dancer/Singer, Headliners Theatre Company, dir.
Steve Bee
CLASSICAL SPECTACULAR 2012/2013- Dancer, Royal Albert Hall, Raymond Gubbay, dir.
A CHORUS LINE 2012- Cassie, Avondale Theatre, dir. Richard Peakman
MADE2MOVE 2012 Dancer,Landor Theatre choreo. Gregory Apostolidis
MADE2MOVE 2012 Dancer,Landor Theatre choreo. Gregory Apostolidis
Contact- 07533488017
amikaraevans@gmail.com
As you can see the performer one is much shorter with simple headings and skills, that can be read quickly in an audition situation, where the casting director does not have time to read detailed paragraphs and explanations.
And of course in this industry, image is so important and head shots must be kept up to date at all times.
I also make sure I keep my Linked In profile spot on (as mentioned in previous blog) as I have had many professionals approach me for jobs and interviews through this Web 2.0 channel.
Please feel free to comment on any aspects of either Cv any feedback is really appreciated.
Subscribe to:
Posts (Atom)