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!
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