Literature Review
The Baring Foundation- Creative Care Homes
This was one of the first articles I really studied for this Module, and found it was full of useful ideas, case studies and reports that would help my research into The Arts within care homes. It has also provided me with many other reports and articles on this subject matter. As I work in entertainment within care homes, I feel this will really help develop my skills in this area and give me a clearer understanding of just how important this is within social care.
The authors David Cutler, Des Kelly and Slyvie Silver claim their purpose of the article was to 'celebrate existing good practice in the use of the arts with and for older people in residential care and to inspire more and better work'.(foreword p.1) I feel it is imperative the good work is celebrated as the arts are so often overlooked, particularly within the social sector, so spreading positive feedback can help potentially create more interest and therefore more need for funding. As artist Annie Abers mentions 'Sometimes we can be given the impression that the arts are only for people who belong to a rather exclusive club,' (p.4) yet this report demonstrates how they can be easily accessed in a variety of ways and have marvellous benefits for the recipients.
Taking part (p.4,5)
This section provided me with some interesting insights and further reading for other articles I will review separately. They all state how the arts benefit people within care and the different reasons for having activities in place.
- 'There is increasing recognition of the benefits for everyone of having the chance to take part more actively in the arts and the impact of participation on our physical and mental health and well-being' (Hayes, J & Povey, S, (2010) The Creative Arts in Dementia Care: practical person-centred approaches and ideas, Jessica Kingsley, London)
- 'Many activities, though not all, take place in groups and bring with them social interaction and a sense of inclusion, countering a common aspect of older age – loneliness, isolation and depression'
'Some arts activities can allow us to express our often hidden identities and in so doing, to challenge what others assume about us'. (Taylor, M, Self-identity and the arts education of disabled young people, (2006) Disability and Society, (20), 7, 763-778).
I am particularly interested in Taylor's idea of allowing people to express hidden identities. I often go to perform in care homes and find residents happily singing and dancing throughout the show, only to be then told by a career, they are usually very reserved and are hard to communicate with. How does music and art connect with people to have this effect?
One of the case studies in this article, helps to answer this question, as it focuses on 'Singing for Brain sessions'; a technique run by the Alzheimer's society. (P.11)
The St Monica trust (www.stmomicatrust.org.uk) is a specialist dementia service in Bristol and North Somerset, and uses this technique throughout its care homes.
They have many aims and targets for these sessions, but these few points really stood out to me and my practice.
- 'to improve and maintain the neurological pathways through deeper breathing and gentle movement;(there is ongoing research into the relationship between singing and the area of the brain concerned with speech; there are many anecdotal reports that during singing sessions people with dementia demonstrate improved lucidity and sociability;)'
- 'to lift/prevent depression through the use of elements which surprise, reassure, support, inspire and mediate, reframing a negative life viewpoint into a positive one;'
- 'to express emotions by singing songs that evoke many types of emotion or feelings that might be triggered by them;'
It has inspired me to look deeper into the actual science behind the connection between singing and speech and the neurological pathways. Also the psychological theories relating music with depression and how it can help.
The study also mentions using 'well designed song folders to enable residents to see a song on a single page. However I disagree with this being an effective tool, as I have tried this myself and was overall unsuccessful. During my first set of Christmas singalong shows in care and residential homes, I used a large font, clear Carol sheet for the residents to use and read from. I found, in general, they were simply not used and often just discarded on the floor. Residents were happy to sing along with words they already knew and enjoy parts they didn't. I would be interested to interview a few other entertainers and round who do this to see what their feedback is.
They use props and instruments including 'scarves bubbles and props to add a dimension of storytelling and fun'. This I completely agree with as I always feel it becomes so much more interactive and keeps the residents engaged in another way, so I tend to include props in all my shows to add to the theme of the music.
The Current place of Arts in NCF Care Homes. (P.6)
A review in August 2011 of the NCF (not for profit care homes in England) States that 82.1% include art activities within their care services. These included:
- 'the singing circle' for people with dementia
- theatre, dance and music performance
- activities linked to events such as Burns Night, Christmas or themed days.
My work is directly linked to all these as I include singalong sections in my theatre and music performances, linking them in with festivals and events like Christmas and Easter. I would like to investigate first hand, through interviews and feedback, just how much of an impact these activities have on a daily basis to the residents and their well being.
'It is interesting to note that almost every organisation recorded ‘reminiscence-type’ activities and the majority have regular ‘music and movement’ sessions (in some cases daily) which can improve physical fitness levels, general health and well-being and impart ‘feel-good’ benefits for all involved.' (P.6)
Other Case Studies
The article features many other case studies, conducted by many organisations set up around the country, all providing something different for the clientele so I turn having different effects and benefits.
- The Royal Masonic Benevolent Institution (www.rmbi.org.uk) use 'Sonas therapeutic communication' and 'circle dance in association with Dementia UK. They have 'a variety of entertainers come into the RMBI homes to hold sessions'.
- Ladder to the Moon (www.laddertothemoon.co.uk) focus more upon training staff, using creative and drama techniques to change attitudes and create 'active support between staff' helping them develop a better living environment for the residents, 'shifting the culture of care away from ‘getting tasks done’ to ‘supporting individuals to have the best possible quality of life’.'
- Oxford concert (www.oxfordconcertparty.com) use musical sessions, with aims of 'opening up musical experiences for prisoners, refugees and asylum seekers, people with mental health needs, children and young people in educational settings as well as older people.' They use music, song, dance and poetry which they have said ' brought the participants together and created a very supportive and fun atmosphere, generating visible responses from everyone'. The organisation also uses musical instruments from various cultures to gain 'another dimension of sensory experience from being able to hear and make sound from these musical instruments.'
Each of these studies, I will look into further detail as my course progresses, and will look into contacting some of these organisations to get some feedback about their services.
In conclusion, I found this article extremely interesting, opening up many other doors of research that I can get stuck into throughout this module. What I found really interesting was the way in which arts not only helps the residents directly, but training staff with art techniques to help them become more effective carers. This is something completely new to me and I lol forward into researching this further. I would also like to develop a greater understanding of the brain activity that happens when people with dementia engage in art related activities.
If you have any feedback about any of the subjects raised in this blog I would love to hear peoples ideas and opinions.
Tuesday, 8 March 2016
Tuesday, 1 March 2016
Task 4A- continued
As I continue to research and look into my profession, I have added some more inquiry questions I feel I could really get stuck into as they interest me on many levels and feel there is a lot to be looked at.
1. As I work in providing entertainment in care homes, I am interested in music therapy. How is music and dance a form of therapy, particularly for people with Alzheimer's or dementia?
2. I also work as a freelance teacher, working with children of all ages. How is performing arts a good choice for children, regardless as to whether they wish to take it up as a career? What positive effects does it have and how does it set them up for adult life?
3. Can choreography and music be a platform to communicate current affairs and events in an entertaining way? As the news can always be quite negative, people (especially younger people) can avoid watching it or reading about it. How can performance be used to get the news across to others?
Any feedback would be greatly appreciated :-)
1. As I work in providing entertainment in care homes, I am interested in music therapy. How is music and dance a form of therapy, particularly for people with Alzheimer's or dementia?
2. I also work as a freelance teacher, working with children of all ages. How is performing arts a good choice for children, regardless as to whether they wish to take it up as a career? What positive effects does it have and how does it set them up for adult life?
3. Can choreography and music be a platform to communicate current affairs and events in an entertaining way? As the news can always be quite negative, people (especially younger people) can avoid watching it or reading about it. How can performance be used to get the news across to others?
Any feedback would be greatly appreciated :-)
Saturday, 27 February 2016
Peter Senge- the fifth discipline
Peter Senge- The fifth discipline
I found reading this article taken from 'infer.org' ,about Peter Senge, very thought provoking in terms of my professional practice. I have picked out points within the article that really drew my attention and sparked questions about my work.
1. Senge focused on 'decentralizing the role of leadership in organizations so as to enhance to capacity of all people to work productively toward common goals'. Does this work? I thought back to times where leadership has been completely necessary and times where working together has been more productive. When on my first job as a dancer on a cruise ship, I feel it always worked better for me, to have a dance captain. When cleaning a big production show, many people will have their own opinion and input as to what they think the set choreography is, often resulting in quibbles and arguments. Having one leader (dance captain) means only one input counts, so the show can be cleaned quicker and more effectively.
Yet when working within my vocal harmony trio, we all have equal input, each bringing something new and different to the table. I feel this equal level is vital to the chemistry of the group; knowing we have all worked just as hard together to create the best material possible.
2. This directly leads me onto learning organizations. According to Senge, 'people continually expand their capacity to create the results they truly desire' and where 'people are continually learning to see the whole together' (Senge 1990:3). I feel our trio have a mini learning organization, as we continually push ourselves and each other sharing and create ideas and learning as we go to see the desired results- A successful collection of shows and cabarets, appealing to high end corporate clients and guest entertainment on board cruise ships.
It links in with his theory of 'Mental Models' and 'Building shared vision'.Senge points out in order to move forward, we must bring our thoughts to the surface; 'where people expose their own thinking effectively and make that thinking open to the influence of others' (Senge 1990:9). This simply reiterates the idea of bringing forward thoughts and ideas, so that you may thrive as a team, with each idea influencing the next. As explained, we have a 'genuine vision' so we 'excel and learn, not because they are told to, but because they want to ' and have 'shared pictures of the future' (Senge 1990:9).
3. 'Reacting to the present to creating the future' (Senge 1990:69). This has been covered in my previous blogs; how reacting in-action and reflection, can have positive effects that change the future. However he goes on to explain 'we learn best from our experience, but we never directly experience the consequences of our most important decisions. (Senge 1990:23). He feels the cause and effect will always be relatively near so we only concentrate on solutions that are 'close by' rather than focusing on long term. It made me question my own actions- Do I simply focus on short term consequences or have a more long term focus? I do not actually agree with Senge on this, as I feel I think through my actions and experiences with a long term stable future in mind. I am not a natural academic, so taking this BAPP course was a huge step for me. Short term effects have been quite stressful, managing my own care home entertainment, vocal harmony group, UK tour and teaching work (not to mention the financial aspect). Yet I do not focus on the direct consequences of stress, lack of money etc but think about the long term effect will be of having a BA and what a positive effect it will have on my future.
4. Personal Mastery- Serge talks about how we a in a continual leaning mode. I feel this is a great way of explains WBL and how we must 'see the journey as the reward', always trying to better our practice and never 'arrive' and simply settle.
I feel Serge's opinions tie in well with Task 4B, where I will create a Special interest Group. His thoughts on a 'new view of leadership' and 'aligning and developing the capacities of a team to create the results the me veers truly desire' (Senge 1990:236), will draw like minded people closer. Using a forum such as Facebook, wiki, or a blog gives the opportunity to share ideas and take away opinions about our practice. This expands peoples knowledge, in turn bettering them in the long term.
Quotes and info taken from http://infed.org/mobi/peter-senge-and-the-learning-organization/
I found reading this article taken from 'infer.org' ,about Peter Senge, very thought provoking in terms of my professional practice. I have picked out points within the article that really drew my attention and sparked questions about my work.
1. Senge focused on 'decentralizing the role of leadership in organizations so as to enhance to capacity of all people to work productively toward common goals'. Does this work? I thought back to times where leadership has been completely necessary and times where working together has been more productive. When on my first job as a dancer on a cruise ship, I feel it always worked better for me, to have a dance captain. When cleaning a big production show, many people will have their own opinion and input as to what they think the set choreography is, often resulting in quibbles and arguments. Having one leader (dance captain) means only one input counts, so the show can be cleaned quicker and more effectively.
Yet when working within my vocal harmony trio, we all have equal input, each bringing something new and different to the table. I feel this equal level is vital to the chemistry of the group; knowing we have all worked just as hard together to create the best material possible.
2. This directly leads me onto learning organizations. According to Senge, 'people continually expand their capacity to create the results they truly desire' and where 'people are continually learning to see the whole together' (Senge 1990:3). I feel our trio have a mini learning organization, as we continually push ourselves and each other sharing and create ideas and learning as we go to see the desired results- A successful collection of shows and cabarets, appealing to high end corporate clients and guest entertainment on board cruise ships.
It links in with his theory of 'Mental Models' and 'Building shared vision'.Senge points out in order to move forward, we must bring our thoughts to the surface; 'where people expose their own thinking effectively and make that thinking open to the influence of others' (Senge 1990:9). This simply reiterates the idea of bringing forward thoughts and ideas, so that you may thrive as a team, with each idea influencing the next. As explained, we have a 'genuine vision' so we 'excel and learn, not because they are told to, but because they want to ' and have 'shared pictures of the future' (Senge 1990:9).
3. 'Reacting to the present to creating the future' (Senge 1990:69). This has been covered in my previous blogs; how reacting in-action and reflection, can have positive effects that change the future. However he goes on to explain 'we learn best from our experience, but we never directly experience the consequences of our most important decisions. (Senge 1990:23). He feels the cause and effect will always be relatively near so we only concentrate on solutions that are 'close by' rather than focusing on long term. It made me question my own actions- Do I simply focus on short term consequences or have a more long term focus? I do not actually agree with Senge on this, as I feel I think through my actions and experiences with a long term stable future in mind. I am not a natural academic, so taking this BAPP course was a huge step for me. Short term effects have been quite stressful, managing my own care home entertainment, vocal harmony group, UK tour and teaching work (not to mention the financial aspect). Yet I do not focus on the direct consequences of stress, lack of money etc but think about the long term effect will be of having a BA and what a positive effect it will have on my future.
4. Personal Mastery- Serge talks about how we a in a continual leaning mode. I feel this is a great way of explains WBL and how we must 'see the journey as the reward', always trying to better our practice and never 'arrive' and simply settle.
I feel Serge's opinions tie in well with Task 4B, where I will create a Special interest Group. His thoughts on a 'new view of leadership' and 'aligning and developing the capacities of a team to create the results the me veers truly desire' (Senge 1990:236), will draw like minded people closer. Using a forum such as Facebook, wiki, or a blog gives the opportunity to share ideas and take away opinions about our practice. This expands peoples knowledge, in turn bettering them in the long term.
Quotes and info taken from http://infed.org/mobi/peter-senge-and-the-learning-organization/
Friday, 26 February 2016
Task 4A- Initial Inquiry questions
After going through Reader 4, my head was full of questions and queries that I face each and every day as a performer. I spoke to peers and work colleagues to try and come up with a suitable short list, ones that had room for development.
1. As discussed in my blogs, performers are required to be so much more than 'talents', but need many other skills in order to succeed. Should colleges teach music editing skills, how to create voice and show reels and basic production skills? I spend much of my work life gigging around the country and have had to teach myself all these skills, without having any knowledge or experience.
2. Whilst training, we were under the illusion that things only happened in London and if you were to move away from the walls of the M25, you career and life would be over. After 5 years in London in decided to move back home up North. I have been extremely successful with work (granted not West End) and have worked in many tours, festivals and huge corporate events all through Northern based contacts. However, is the performance industry biased against non London performers? What challenges to performers face when living outside of London?
3. Should colleges teach business classes? I'm sure this is a question nearly every single self employed performer wishes they were taught when training. I remember doing my first self assessment tax return and literally not having one clue where to start. Knowing all performers will have to do this, should it be included into a college timetable to prepare us for working life. Also sending invoices and receipts, although are relatively simple, we were never ever told anything before hand. I feel especially in third year, it should be brought in so graduating students are not going into a world completely clueless.
4. What do people count as success? I used to think unless I was in a West end show or Beyoncés backing dancer I was unsuccessful. I have since rethought this and found there are many paths to success and it can be on many different levels and platforms. Are we too harsh on ourselves and what we count as success?
I will continue to research these questions, surveying and interviewing friends and peers to find out their opinions and which questions interest them the most.
1. As discussed in my blogs, performers are required to be so much more than 'talents', but need many other skills in order to succeed. Should colleges teach music editing skills, how to create voice and show reels and basic production skills? I spend much of my work life gigging around the country and have had to teach myself all these skills, without having any knowledge or experience.
2. Whilst training, we were under the illusion that things only happened in London and if you were to move away from the walls of the M25, you career and life would be over. After 5 years in London in decided to move back home up North. I have been extremely successful with work (granted not West End) and have worked in many tours, festivals and huge corporate events all through Northern based contacts. However, is the performance industry biased against non London performers? What challenges to performers face when living outside of London?
3. Should colleges teach business classes? I'm sure this is a question nearly every single self employed performer wishes they were taught when training. I remember doing my first self assessment tax return and literally not having one clue where to start. Knowing all performers will have to do this, should it be included into a college timetable to prepare us for working life. Also sending invoices and receipts, although are relatively simple, we were never ever told anything before hand. I feel especially in third year, it should be brought in so graduating students are not going into a world completely clueless.
4. What do people count as success? I used to think unless I was in a West end show or Beyoncés backing dancer I was unsuccessful. I have since rethought this and found there are many paths to success and it can be on many different levels and platforms. Are we too harsh on ourselves and what we count as success?
I will continue to research these questions, surveying and interviewing friends and peers to find out their opinions and which questions interest them the most.
Thursday, 25 February 2016
TRANSDICIPLINARY- a multi skilled profession!
Following on from my last blog, I have been analysing my work more and more, discovering my situation is definitely TRANSDICIPLINARY. 'Gibbons et al' has a theory of Mode 2, 'although originally applied to scientific inquiry' (Reader 4) is applicable to my working life. As discussed previously, I use a many number of disciplines outside of performance arts- competences and capabilities;
* Administrator- As my main source of income is from performing in Care homes, I have to sort out all in prices for each residency, send marketing material, send off info to new clients, as well as dealing with all the banking.
* Social media consultant- We spent much of module 1 going over just how much we use social media as a platform to promote ourselves and network to benefit our career. A huge amount of my time is spent updating my Linkd In and Facebook, putting up new promotional pictures, as well as messaging and networking to make new connections. It is so important to keep on top of it in order to progress in an ever developing technical world.
* Tele sales Communicator- As I am self employed, I have to go out and get my own work, being responsible for getting new gigs constantly. This involves cold calling residential homes,hotels, event organisers, selling my product (myself) in order to book new gigs. It requires an awful lot of patience and thick skin as often you are spoken to in a rude manner or simply cut off. I prepare 'script' guidelines in order to ensure I get all the relevant information in, with list of prices, shows etc.
* Music Technician/editor- Providing a variety of shows to a variety of audience, I am required to have a huge repertoire of music of different genres. In order for the shows to run smoothly and slick, I have to edit tracks; cut songs, mixing two together, ensuring all volumes are balanced to name a few things. I do all of this myself using software programs and apps, something I have had to teach myself over my professional life.
Other competences include: costume and set designer, producer, prop maker, human relations and business manager.
It is safe to say performers really have to be 'jack of all trades' going above and beyond the performing arts skills we trained in. I feel these competences will continue to grow in the future as my career develops, as I am creating a website and a branching out nationally. This will mean learning graphic design along with many other entrepreneurial skills involved with a growing business.
* Administrator- As my main source of income is from performing in Care homes, I have to sort out all in prices for each residency, send marketing material, send off info to new clients, as well as dealing with all the banking.
* Social media consultant- We spent much of module 1 going over just how much we use social media as a platform to promote ourselves and network to benefit our career. A huge amount of my time is spent updating my Linkd In and Facebook, putting up new promotional pictures, as well as messaging and networking to make new connections. It is so important to keep on top of it in order to progress in an ever developing technical world.
* Tele sales Communicator- As I am self employed, I have to go out and get my own work, being responsible for getting new gigs constantly. This involves cold calling residential homes,hotels, event organisers, selling my product (myself) in order to book new gigs. It requires an awful lot of patience and thick skin as often you are spoken to in a rude manner or simply cut off. I prepare 'script' guidelines in order to ensure I get all the relevant information in, with list of prices, shows etc.
* Music Technician/editor- Providing a variety of shows to a variety of audience, I am required to have a huge repertoire of music of different genres. In order for the shows to run smoothly and slick, I have to edit tracks; cut songs, mixing two together, ensuring all volumes are balanced to name a few things. I do all of this myself using software programs and apps, something I have had to teach myself over my professional life.
Other competences include: costume and set designer, producer, prop maker, human relations and business manager.
It is safe to say performers really have to be 'jack of all trades' going above and beyond the performing arts skills we trained in. I feel these competences will continue to grow in the future as my career develops, as I am creating a website and a branching out nationally. This will mean learning graphic design along with many other entrepreneurial skills involved with a growing business.
Tuesday, 23 February 2016
Life Lessons
Life lessons.
How does learning in the workplace compare to a controlled classroom environment?
I spent much of my childhood and young adult life, training; dance classes, vocal coaching, drama lessons, amateur theatre works.. You name it, I did it. I was preparing myself for life as a professional performer, spending hours perfecting my skills and techniques. Yet that controlled 'bubble' of the classroom or studio cannot begin to equip you for the life as a working professional. After studying Reader 4, I began thinking of the pros of both classroom learning, and then work based learning and how each aspect has developed me into the person I am today.
Controlled environment
My time at theatre school was without a doubt invaluable; laying all the solid foundations and skill sets needed to put me on my way as a performer. I set aside three whole years of dedicated time to focus on my technique and performance finesse, concentrating only on performing arts.
Learning these core skills in a safe and controlled environment, meant I could learn effectively without any pressure that sometimes occurs in working life. Therefore I was able to thrive without any fear of knock backs, allowing my confidence to build. Also I was lucky enough to have wonderful teachers, all with amazing experiences and knowledge that I could learn from directly. Each day I had immediate help and support, correcting my mistakes and mentoring me throughout my training.
As Sawyers suggests, college provided me with all the essential 'tools for learning' (Sawyers 1948, in Burleigh, 1973) in a safe and steady surrounding.
Work based learning- On the job
Whilst the controlled setting of college was first-rate, I feel I have learnt so much more since being out in the world of work in so many ways. Rather than being corrected on your mistakes, you simply have to learn from your experiences, and reflect upon how you can improve each and every time. For example, at college we did have mock auditions and castings to prepare us for when we graduate. However you can never anticipate just how much nerves affect you, or what situation you may be put in. I have found that the more auditions I do, the less nervous I become, being more in control of the situation and in turn being more successful.
I have also really improved my reflective skills, as unpredictable events can mean you have to think on your feet and reflect in-action in order to deal with these circumstances. For example I was booked to sing at a gig, being told the cliental was elderly, so prepared a set list suitable for their era. To my surprise I arrived, and in fact they were much younger than expected and really quite lively. I had to quickly adapt my set list so the songs were more appropriate and the audience would enjoy it. The gig was a huge success and I got many more bookings from this event. Had I just stuck with the original plan, I would have left the audience unsatisfied, yet this in-action thinking turned around the circumstances and improved the situation.
The Reader talks about inter- disciplinary skills, which I think is the most important factor of work based learning that no classes in college could have taught you. As a self employed performer I am not just a dancer or a singer; I am required to be so much more in order to get the work in and be successful. I am my own marketing manager, accountant, musical editor, tele sales communicator, administrator and social media consultant. All these factors are essential in getting work as a self employed performer and teacher, often over ruling the actual skill sets of performance if you want to maximise your success.
In conclusion, whilst classroom/studio learning is essential, I feel this is only to lay good foundations, however to really thrive we must take every opportunity as a working professional to learn and grow from our experiences and mistakes.
Feel free to leave comments on your opinions and arguments on this matter.
How does learning in the workplace compare to a controlled classroom environment?
I spent much of my childhood and young adult life, training; dance classes, vocal coaching, drama lessons, amateur theatre works.. You name it, I did it. I was preparing myself for life as a professional performer, spending hours perfecting my skills and techniques. Yet that controlled 'bubble' of the classroom or studio cannot begin to equip you for the life as a working professional. After studying Reader 4, I began thinking of the pros of both classroom learning, and then work based learning and how each aspect has developed me into the person I am today.
Controlled environment
My time at theatre school was without a doubt invaluable; laying all the solid foundations and skill sets needed to put me on my way as a performer. I set aside three whole years of dedicated time to focus on my technique and performance finesse, concentrating only on performing arts.
Learning these core skills in a safe and controlled environment, meant I could learn effectively without any pressure that sometimes occurs in working life. Therefore I was able to thrive without any fear of knock backs, allowing my confidence to build. Also I was lucky enough to have wonderful teachers, all with amazing experiences and knowledge that I could learn from directly. Each day I had immediate help and support, correcting my mistakes and mentoring me throughout my training.
As Sawyers suggests, college provided me with all the essential 'tools for learning' (Sawyers 1948, in Burleigh, 1973) in a safe and steady surrounding.
Work based learning- On the job
Whilst the controlled setting of college was first-rate, I feel I have learnt so much more since being out in the world of work in so many ways. Rather than being corrected on your mistakes, you simply have to learn from your experiences, and reflect upon how you can improve each and every time. For example, at college we did have mock auditions and castings to prepare us for when we graduate. However you can never anticipate just how much nerves affect you, or what situation you may be put in. I have found that the more auditions I do, the less nervous I become, being more in control of the situation and in turn being more successful.
I have also really improved my reflective skills, as unpredictable events can mean you have to think on your feet and reflect in-action in order to deal with these circumstances. For example I was booked to sing at a gig, being told the cliental was elderly, so prepared a set list suitable for their era. To my surprise I arrived, and in fact they were much younger than expected and really quite lively. I had to quickly adapt my set list so the songs were more appropriate and the audience would enjoy it. The gig was a huge success and I got many more bookings from this event. Had I just stuck with the original plan, I would have left the audience unsatisfied, yet this in-action thinking turned around the circumstances and improved the situation.
The Reader talks about inter- disciplinary skills, which I think is the most important factor of work based learning that no classes in college could have taught you. As a self employed performer I am not just a dancer or a singer; I am required to be so much more in order to get the work in and be successful. I am my own marketing manager, accountant, musical editor, tele sales communicator, administrator and social media consultant. All these factors are essential in getting work as a self employed performer and teacher, often over ruling the actual skill sets of performance if you want to maximise your success.
In conclusion, whilst classroom/studio learning is essential, I feel this is only to lay good foundations, however to really thrive we must take every opportunity as a working professional to learn and grow from our experiences and mistakes.
Feel free to leave comments on your opinions and arguments on this matter.
Module 2- A fresh Term!
So it seems like forever since I last posted a blog, and am finding it weird and quite difficult getting back into the swing of things. I have begun reading through the handbook and Readers, sussing out what I would like to research and inquire about. The next couple of blogs will be just my initial thoughts as a whole, in order for me to process everything before making choices.
I am looking forward to getting my teeth into this module and progressing in my BAPP course!
I am looking forward to getting my teeth into this module and progressing in my BAPP course!
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