SIG

I have decided to set up a SIG on the BAPP facebook page. Reading various blogs from Steph, Nicole and Mark I have realised specifying too much too soon will not be effective for promoting discussion of thoughts on my subject material. As I and Nicole want to explore very similar subjects, no doubt our SIG’s will intertwine with one another occasionally.

I think that sharing opinions from other dancers, but also from other practitioners perhaps concentrating on different elements of performing world such as drama, or singing will all be very valuable. Our basic principles are no doubt the same that we have knowledge in our specific domain, and therefore surely we all have thoughts on what transferrable skills we may have as performances wanting to diversify into teaching in the Arts in some way.

Whilst doing some further reading (specifically some literature entitled Practitioner research and Professional Development in Education,  Anne Campbell) , I came across an explanation into the benefits of sharing discussion and not becoming a ‘Lonely Researcher’. I feel sometimes carrying out research alone can feel isolated and often I would struggle with where to begin.  Individuals working by themselves, writing, reading and reflecting in lonely isolation were referred to in the reading as suffering from ‘loneliness of the long distance runner’ (Campbell, 2009). By learning about how to create a SIG, and then continual development of it, I hope everyone in the BAPP community will avoid this syndrome! I also feel strongly in regular updates to the discussion topics to show we recognise the value of involving others. I hope to collaborate thoughts and opinions by using peers to review the role of others in providing challenges and different perspectives when researching into professional practise.

In reference back to my SIG, although my previous post has highlighted some initial questions, I have decided on a topic discussion coming from a slightly different angle. Sonal and Adesola commented on my blog some helpful points which reminded me that when composing the questions into an enquiry, that thinking of the answers is not necessarily the main point. Rather, are they the right questions, do they provoke intend, is the resolution measurable, who and how will it be of benefit into developing professional practise? The inquiry into these initial questions has now developed into further questions due to my perspective changing all the time. Therefore, I am entitling my SIG ‘What is the role of Dance In Education’. I have opened with a discussion on peoples thoughts of a YouTube clip I came across from Ken Robinson and his thoughts upon whether schools are ‘killing our kids creativity’, I found it incredibly interesting and really admire his passion for stressing the importance of encouraging creativity in all areas of education, please have a watch and let me know what you think!

http://www.ted.com/talks/lang/eng/ken_robinson_says_schools_kill_creativity.html

Developing Questions relevant to my Professional Practise

Developing Questions relevant to my Professional Practise

                I have been reading and exchanging thoughts on various blogs of my own and other BAPP network colleagues. Alongside this, asking a friend outside the BAPP programme but still finding herself in a similar position to myself of being in the ‘limbo’ phase between performing and teaching is helping me to use my reflection skills to acknowledge ‘where I am’ and make light of the next stage of my developing practise.  I have found these exchanges of opinions from others with similar interests or fellow professionals working or aiming to work in similar sectors in the Arts extremely useful and a way of seeing a much wider view. Initial thoughts of mine have been ‘blown wide open’ and I am learning that when undergoing a professional inquiry my own is one opinion of many and it is extremely beneficial to share thoughts with others, to help both one and another reach a fair and in-depth analysis and conclusion. I am blogging my progress on my developing questions leading to finding a line for professional inquiry as it begins to take shape in hope to stimulate my own ideas further and produce some useful questions.

What I need to know/have in order to be a professional?

-          Self – discipline

-          Determination and a positive attitude – a sense of focus of what I want/need/hope to achieve, self - belief

-          Motivation and Enthusiasm – of my own, but to bring out in others too

-          Respect – for others and myself

-          Self – awareness (knowing yourself, your gifts and your limitations, once reflected upon, you can go on to help others)

-          Apathy – ability to see from different perspectives, being a wear everyone learns and relates differently to situations

-          Common Sense – an ability to think on my feet and adapt to any situation

-          Communicational skills – ability to constructively criticise, relate to all range of people (students, employees, members of professional networks, parents of students etc)

-          Organisation – paramount importance, could come under many topics, time management for example

-          Health – being in a state of complete mental social and physical health, and maintaining it under pressure situations

-          Technique and technical ability

-          Connections – networking, strong social communication

-          Team work/team building skills

I feel in conclusion, as a dancer, an element of all of these aspects is required to ensure constant professionalism and as a result, hopefully constant employment.

What do I need to know in my sector? 

  I found that the above were quite general considerations that suit most professionals across different sector related boundaries. For my specific area of interest, I needed to be more specific as my competencies and skills as a performer (dancer) and as a developing dance teacher:

-          Knowledge  - relating the different elements of knowledge I have from initially being a dancer and now a developing teacher, I am so what relieved to see there are many similarities. Many skills needed for one role, are also needed for another. However, as I am embarking as a teacher in my professional practice I find I am working in a more trandisiplinary situation. The knowledge I am gaining tends to not always fit so neatly into specific categories. On top of this, I am finding, for both roles, not only do I need knowledge on dance itself, but also understanding the concepts of dance in education and the importance of business and managerial skills in order to make a profit from my work. Looking into my role as it sands more specifically, I realize that I have to gain and contextualize knowledge on much more than one disciplinary level. I am envisaging becoming an effective teacher will require a much wider scope of understanding that will cross many boundary disciplines, examples listed below, please refer to another post of mine ‘Establishing Knowledge On Professional Practice’

-          Ensuring sense of teamwork

-          Complying with specific professional policies

-          Security Insurance and Public Liability

-          Ability to Dance – Demonstrative skills, choreography skills, knowledge of specific syllabus

-          Appropriate use of musical a compliments

-          Exposure to latest dance trends/teaching methods

-          Experience related advice – skills to communicate this

-          Recognition and communication of different teaching techniques and styles – each student learns and relates differently

-          Injury Prevention – ensuring safe practice in the workplace

-          Technology – use and availability of

-          Inter Personal Skills – personal attributes (creativity, sensitivity and apathy, respect resourcefulness, patience, motivation)

-          Behavioral Management

-          Planning and Preparation Skills

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This has then lead on to more close analyses on more of a personal levels of my own competencies and capabilities. In doing so I have discovered and highlighted factors I already know I lacked or have yet to attain in order to improve my professional practice. I hope this will help to point me in the right direction and to where to go know to gain more knowledge or improve on existing skills as an individual. I think knowing your own competencies is a skill in it’s self, staying positive and focused to improve on what you have is a great achievement in any profession.

What do you know? 

I know what my professional experience has given me and how it has shaped the performer I am today.

I know my initial aims from college have changed due to my changing likes and dislikes, up to date trends and with gaining more knowledge and experience in various sectors in the dance world. I know considering making these changes collaborate into a careea that will be financially stable and fulfilling is essential to sustain a job as a professional practitioner.

I know my skills and knowledge have brought to a certain level in my career already, so hopefully I can continue to improve on these through this course.

I know I can't predict the future, and that I should always remain open minded. Oppertunities may arise that hadn’t been forseen, these could each be incredablity insightful in their own ways. Experience is everything,

Regarding inter personal skills, I feel I have a particular personal strength I hold is my communication. Ample experience from communicating with many ages, nationalities and personalities while being onboard an international cruise liner had educated me and helped me to develop.

With having to have some hospital treatment to regain my state of full health after a stressful 13months has helping to develop some ‘life skills’. I now feel armed with the fact I know my bodys limits, no one is a machine. This in itself is quite empowering.

I know in order to remain ‘top of my game’, I can’t afford to take too much time out. I need to keep up with my own technique, regular practicing/stretching etc, but also up to date on what is going on in the dance world. Potential new styles, new teaching skills, new trends, all of this need to be in the forefront of my mind so I can meet the demands of new students.

What do you not yet know?

Where or when my next professional contract will start and what it might be.

What area I should next focus on in my career as I feel the need for constant assessment and improvement.

Specifically from a teaching angle, I am yet having to teaching someone with special needs, or behavioural disorders.

How long my body will withstand the demands of being a professional dancer

What do you want to know?

Why I haven't been cast for certain roles in the past when I felt well suited- more feed back would have been appreciated.

Realistically how long can I make a career out of being a performer?

Will I be able to make a change in career direction financially viable?

Which skills would I need to attain to make this transition process run more smoothly?

Can I give back some of the enjoyment I have got out of being a performer?

Can Dance Benefit you at any age?

What is the importance of dance in education?

These then became a great source for me to gain perspective and focus my attention on what I wanted professionally.

  

With looking at a past blog from Natalie Less, she had some great ideas about listing what advantages she had as a professional and the challenges she is yet to face, I have incorporated this idea into my practice to explore elements relevant to me as an individual.

Within my own Professional Practice, what are my Advantages, and what am I challenged by?

Advantages

-          My sound professional training

-          My previous experiences, employment as both a dancer and a dance teacher

-          My youth (ethusiam, physical state of health)

-          My communication skills

-          My self awearness of my own capabilities as well as my limitations

-          Professional contacts I have begun to acquire

-          My availability of exposure to differing teaching styles

-          My enthusiasm of knowledge of maintaining good health (Nutrition, Injury prevention and cure etc)

-          My motivation to achieve and gain new knowledge

-          My passion to curb my dance enthusiasm and capture it!

Challenges

-          Finding and sustaining work that is financially stable

-          Lack of opportunity where I live in the North Of England

-          My recent health setbacks (I need to work on my fitness)

-          My lack of dance teaching experience due to my age (more difficult to be taken seriously)

-          Funding travel to auditions

-          Making myself stand out from many at future auditions

-          Competition - very high standard

-          Staying in ‘the loop’ for current dance trends

-          Lack of experience in an interview situation

Looking closely into these points has been relevant to me progressing any further. Along reading reader 4, and further reading into the literature of Raelin, I can now decipher between focusing on my strengths but not being defeated by my challenges. Thinking positively, I am reminded of my advantages and competencies, some of which I have worked very hard to attain, being realistic about how to tackle my challenges will be the next step. Finally, having listed similar points to both sides of my debate fills me with confidence, I believe if I am able to see where the areas are for potential improvement, this can only help me to continue on the road for a sustained successful career.

However, I have found a particular passage of literature raised an interesting point, this being the question of whether competency attainment is actually always necessary to be a good practitioner. To conclude, I am finding that although some key competencies probably will contribute to performance, a solid technique for example, sometimes other attributes, either tangible or intangible, and controllable or uncontrollable should be considered. For example, a performer may have an absolutely solid technique; however a situation such as them acquiring an injury may arise. The situation was an uncontrollable circumstance, and nothing to do with the dancers competencies or capabilities. Realin sums this up but addressing the ‘real issue at the heart of the competancies debate is whether competency attainment is necessary to be a good practitioner’, and that ‘competancies that might lead to effective behavior for one job in one organization may not translate into effectiveness for that job in a different organization’. (Raelin, 2008, P 43 – 44)

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Developing questions relevant to my professional practice?

What does it take to be a professional dancer?

As a professional, what competencies do I have and which do I lack?

What does it take to be a professional teacher? Are there transferrable skills relevant from being a professional performer?

What’s the importance of Dance in our Education System?

Does Dance benefit a child’s education?

Can Dance benefit you at any age?

Are there benefits to encouraging artistic stimulation and creativity through dance movement at a young age?

What can be done to ease the transition between performing as a Dancer into a career diversification such as teaching?

Mapping Knowledge of Professional Practise

Mapping Knowledge of Professional Practise

Whilst further exploring my potential lines for professional inquiry, I came across a helpful blog from Rosemary McGuiness.

I found it really helpful to start with breaking down my understanding of my professional practise, and what I need to do in order to be a professional practitioner.

Her blog has enabled me to see how there is knowledge which is specifically unique to our own retrospective professions. Some of this knowledge and skills are linked entirely to our own profession, but also that some of our knowledge is most definitely generic and transferable.

Alongside this, looking at how Eraut suggests that we need to consider the elements of competency and capability, and how both elements create a sort of framing device for knowledge in the workplace. I found it very interesting how Rosemary states that ‘capability can be graded into various levels of competency’.

I was inspired to mind map elements involved when establishing my knowledge as a professional dancer, but also creating another mind map for comparison to establishing knowledge in my role as a dance teacher. (This is a role I feel I need a lot more research into to become and effective practitioner)

Attached below are my thoughts, apologies for the rawness of my notes!

From a dancer, or performer perspective, I found I could quite clearly specify the knowledge required for this as a profession. I noticed a lot of links between areas of knowledge and looked at how one area of skills can often aid another area. In comparison to my second mind map, I found I initially listed some generic knowledge, but that another page was needed to allow me to explore beyond the boundaries outside of generic and profession specific knowledge and into transdiciplinary knowledge. I included lots of different domains and they came up such as Business and Finance.

I was pleased to find numerous links between skills and knowledge in both professional practise areas. There were definite links between types of knowledge which has now provoked potential ideas for professional inquiry. For example, ‘What transferable skills do I have, what would be involved in the transition between dancer and dance teacher?’ Perhaps I may or could also incorporate the dance knowledge I have from my education into educating others, exploring if there are benefits to having dance, or expressive and physical movement on a specific curriculum. Are there benefits to musical expression for other age groups?

In conclusion, as you can tell, I found this mind mapping a really helpful exercise, thanks Rosemary!

What Will My Practitioner Research Be About?

What Will My Practitioner Research Be About?

I have been picking out some specific points of interest that have occurred to me whilst making my way through the reader for this module. I am finding reading parts of the various suggested literatures such as an extract from ‘The Good Research Guide’ is enabling me to begin to develop a sense of attributes for my practitioner research. Key elements for me to consider whilst partaking in this research will highlighting and making note of ways in which my conclusions and findings from my inquiry could potentially create an opportunity for change on my specific professional practise sector. Exploring by developing questions or potential problems, and then communicating and reflecting upon them peers or colleagues in the BAPP network and professionals in my community will determine more refined research.

                My reading into Hamsteins ideas about the difference between ‘pseudo questions’ and questions that can actually be turned into starting points for my research had been insightful. An extract from his book has highlighted some key points I feel others mat find useful. The process of discovery for potential research topics must be set in a way that ‘pursues meaning, cause, relationship, interpretation or significance’ (Hanstein, 1999, P27). To me this means before asking a question, I should consider what outcomes I intend to find first. This should enable me to construct genuine questions rather than a question that possibly cannot be answered at all, does not expect an answer or lead to a situation created where I already know the answer.

                To conclude, I am to conduct research purposefully so that my studies and findings may develop good practise personally but may also empower and impact co-workers, perhaps make a difference for professionals working in similar sectors or similar positions as myself or just empower a particular group in some way.

Brainstorming ideas for Developing a Line Of Professional Enquiry

Regarding the Campus Session from last year, seems to be the case that we need to start deciding on ideas for developing a line of profession enquiry in relation to my personal professional practise.

My work has involved working as a performing Dancer on a Cruise liner (Silversea, a 6 star smaller, luxury line) aswell as taking responsibility for the whole Performance Team once given the role iof Dance Captain and Production Company Manager through the agency Jean Ann Ryan Productions. Although thoroughly enjoying working abroad in a performance based role, now having completed this contract having gained new knowledge on managing a team of performers from many ages and nationalities, I have embarked upon making the transition to discovering the world of dance teaching. I have not given up performing as I know this is my first love, however I feel a potential change in my career direction will only encourage me to diversify and explore new horizons enabling me to be the most experienced practitioner I can be. I have always had a strong personal interest in sound health and nutrition and promotion of this to all ages, and more specifically the potential benefits dance and physical movement can have on the body. I intend to base my personal inquiry on a concept of this nature.
As I start to work through and explore important questions relating to our professional practice, it strikes me there are perhaps two broad types of questions.

Firstly, what type of inquiry will improve my performance to create, make, interpret or teach my art. This is for me a ‘disciplinary’ or ‘subject’ question. It is fundamentally about how I operate as not just a dancer but as a developing Dance Teacher. An inquiry located here might give weight to disciplinary knowledge (the ways or conventions or literature that exists written by exemplary practitioners or researchers). Or  it might be practical in nature (the ways we do things and these extra higher-level skills that are required in my specific Professional Practise). My inquiry involves understanding something more effectively which in turn lead to a change or improvement in my experience and overall practice.
Lets see where this leads me………

Comments function Problem!

Is anyone else experiencing difficulties leaving comments?

I recently read a great blog from Stephanie Thomas, I have come to comment on it but apparently the gmail account I always used now won't allow this. Desperately trying to fix this!

In the meantime, I hope Stephanie won't mind me posting my comment as a blog below:

Welcome back, how was your summer break?

I have been reading your post with some interest here. I am hoping we will be able to help each other this term by sharing views and opinions. Although we are focusing on different mediums, Dance and Arts, we both potentially want to explore aspects of theatre in ones education, as well as personal growth and career development.

With regards to your questions about who your inquiry will benefit alongside reading reader 4, I think you must not under estimate that any posts of your findings or research will aid others in the bapp network without you realising. Also, I feel that by undertaking a inquiry that helps you to develop and grow as a professional practitioner, surely that will benefit any fellow cast members, future employees or members of professional arts communities you may come across in the future.

It sounds fantastic that you have some initial ideas already, but not to specify too early sounds wise. I intend to so similar and keep options open. Within my working environment, each day I have having new experience which makes me want to tweak my ideas for the inquiry ever so slightly, sticking to one topic is proving a little difficult at the moment!

Identifying Knowledge In The Workplace

Hello everyone and welcome back!

I hope everyone has enjoyed their summer and got to explore, discover and experience some new and interesting things.

Whilst reading the reader for this module, and after spending an intense week assisting my Dance Teacher at her school this summer, I had some thoughts I wanted to blog....

In reference to the reader topic of identifying knowledge and skills in the workplace, I really tried to make light of identifying with this knowledge whilst I had a week completely immersed in the working studio environment. Using this personal workplace as my learning environment, I realised that a lot of my knowledge has come from the organisation of the specific dance school (Spotlight Theatre School) itself. In relation to the literature recommended from Libguides , my understanding of the Double Loop Learning Cycle is growing as I am able to relate its theories practically in my professional practise environment.  In my experience so far, I have found a single loop learning cycle (such as Kolb’s Learning Cycle that we exploring during the first module) cannot always address and deliver any necessary changes that may be required to have an effective professional practise. After communication with my Dance Teacher, the Principle of the school who taught myself knowledge of the desired classical technique and performance skills, and ways in which to achieve these attributes as an eager and passionate individual from a very young age, it was clear that the position she holds can be key to a future dancers career. The early ears are clearly crucial as the child is developing their sense of technique, musicality, performance, self – confidence in their work and even a sense of self – reflection in order for them to maintain sustainable and gradual improvement. It became apparent to me that sometimes, key elements outside of the organisational system need to be examined to ensure the most beneficially practising can be undertaken. For example, looking at a student’s home or social environment outside of the dance school was important to me. My key interest to ensure equal opportunities for all students is a subject delicately approached every Spring Term regarding the planning and evaluating of the annual production show rehearsal schedule. Ensuring a sense of fairness throughout the entire school is a many sided discussion with many elements to consider and appreciate. My initial views, which upon reflection now appear perhaps naive, were than ensuring fairness and equal opportunities for all young performers was just a simple, basic practise guideline –  one should include every student/involve as many students and even their parents or guardians in discussions regarding choices of numbers and chorographical or musical choices, swapping principle roles between students to give more than one the responsibility to take on a challenge and execute it to the best of their ability etc. However, reflections discussed with someone who has been working reputably in the dance and dance teaching professions for over 40 years has enabled to me realise there are many factors across different boundaries to consider and subsequently consequences involved in whatever final decisions are made.

This has provoked a potential line for professional inquiry, my interest in this subject area lead me to researching into Argyris and Schon’s theory of congruence and learning. (Single and Double Loop Learning, Argyris and Schon, 1974). The suggest by using a format such as the double loop learning cycle, we as practitioners can make more informed decisions about the way we design and implement action. Research here has enable me to incorporate my thoughts reflections and evaluations into a ‘theories in use’ model (ultimately clarifying the ‘dark area’ and problems that mat arise , but can now be avoided). Please see this model below in reference to their literature found at http:/www.scu.edu.au/schools/gcm/ar/arp/argyris.html :

The Governing Variables:

-          Ensuring a sense of fairness

-          Offering equal opportunities for all students regardless of the individuals circumstances

The Action Strategy:

-          Implementing an audition process to assign roles open for all

-          Rotation of principle roles between cast members once assigned

-          Creation of pieces to incorporate everyone regardless of differing levels of performance and technical ability

-          Keep parents, families and guardians ‘in the know’ to maintain their trust and support

-          Offer guidance and help equally to all students involved

-          Offer safe and controlled environment for all to practise efficiently

Consequences:

-          Swapping principle roles for specially talented students, a way to avoid producing stereotypical ‘favourites’ who repeatedly get offered bigger roles. Intension to avoid potential animosity between students, maintaining motivation and work hard ethos throughout whole rehearsal process. This may also provide a safe environment for healthy controllable competition.

Unintended Consequences:

-          Not physically possible to please everyone, including parents of students drawing knowledge from previous experience. Who has the ultimate decision as to what is and what is not ‘fair’?

-          Pressure financially, teaching faculty involved need to earn from this process, emphasis of ensuring show is of highest quality for all potential theatre goers.

-          It is actually ‘unfair’ to give a role to a student that is too challenging, puts them under too much pressure to achieve?

-          Finding a show incorporating numbers that will or can involve everyone and all subjects studies with elements from the acting, singing and dancing disciplines is very difficult - copy write/performance rights limit choices hugely

In summary, all of these ‘consequences’ effect you and your choices and decision making as the professional, but also effect the students, the school and the professional organisational company itself in many ways too.

In conclusion, I know the ultimate goal of my inquiry is to explore a topic that has intent, and initially identifying my own unique learning needs is important. The topic explored should aim to benefit not only my work, but the work of colleagues, fellow professions, work from associated affiliations and work organisations. Would there be anyone else interested in the topic, perhaps generalising more into what it actually takes to make the transition between dancer and dance teacher, as a potential line of inquiry, I would be interested to hear your views to I can explore new evidence perhaps, then eventually work towards analysing and presenting it all upon completion.