Task 5a Ethics!

Code of Ethics within my place of work (all thoughts are my own)

• working as a team and respecting one another within the work place.
• Having the ability to communicate with guests but not getting too familiar or personal with them. 
• You must be CRB checked as you are working with children, again communicate with the children but do not over step the mark (e.g. picking children up, holding their hands etc)
• Maintain a healthy relationship with other departments as again you are working as a whole team and need to support one another, gossiping about people within different departments is not your place and only causes unnecessary problems. 
• I will not be divulging personal information about anyone that has taken part in my inquiry and will always have full permission to use any information that I have acquired from them.

4c: Questions

Interview with Michelle Upton, Dancer, Live Act and Choreographer for Parkdean Holidays:

Do you believe dancing influenced your personality?

I definitely do, I think dancing as a whole gives you more confidence and you can express yourself more. The reason why I got into dancing was due to having too much energy, so I was taken to the doctors as I was always crying and running all over the place. The doctor actually said that I needed to take up some kind of physical sport, whether it be karate, swimming, dancing or something in that field. I needed something to channel my energy. So I was taken to dance classes, and ever since then I was a much happier child and it gave me something to work towards. Nowadays it has built my confidence and taught me different skills in how to teach people choreography etc.

·       

      This got me thinking about children who have ADHD and how possibly dance could be ‘prescribed’ to them to help ‘channel’ their energy. I don’t have a huge amount of experience with ADHD but its something that does interest me, for example how dance can be more of a therapy than just a career for some people.

Discuss the idea ‘Dancers are not made, they are born’, Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?

I believe  real good, outstanding dancers are born. However I do think that you can teach everybody to dance, whether it is just how to hold themselves or keeping in time with the music. However the dancer that is born to dance is the one who has that extra flair. It is more about the passion and feeling that you are born with, that’s something you can’t teach you have to be born with.

Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’

I think to be good at all three things or to at least give them a go is a great thing. You will get a lot further with all three disciplines than with just one. It’s good to have your passion, for example dancing is my passion however within this job I have had to sing and have had to push myself in order to further my career.

In your opinion how easy is it for a performer to begin working in a new medium?

The skills you acquire as a performer e.g. confidence, people skills, being able to interact with people and having a hard working attitude, sets you up in good stead for any job.

What are the key skills required to make the transition from dancer to choreographer?

No formal educational requirements to become a choreographer, there is no certificate that you get to say ‘I am a choreographer’. However most choreographers have been dancers. I am a big believer in the proof is in the pudding, if someone came to audition for me if they were a phenomenal dancer I might not even look at their CV. So it is more about experience and being able to express your ideas through dance and translate that to a group of people. I have always kind of fallen in to it because people liked what I had to offer and I like that what I see in my head I can translate onto the stage, it is very satisfying. A lot of choreography is down to the way that you teach it and how you get it across to your dancers, as well as being creative and having new ideas.

Is finding multiple forms of expression the key to creative fulfilment and career longevity?

For me and the shows that I produce, the more creative ideas and things that I can get help to keep things fresh. I always use different props and styles. I’d like to think within choreography my body will allow me to do it for a few more years. I can’t imagine myself doing another job but with the skills I have got from this job I’d like to think I could go into something like teaching or possibly being an agent etc.

In a performance job that requires multiple skills e.g. holiday park; working with children alongside performing. Quantify the relationship between the skills required for daytime duties compared to the skills required for performance work.

There are a lot of skills that you need for both. For both you need energy, passion, enthusiasm, creative, team work, confidence. When I first started the holiday park experience I didn’t ever see myself enjoying the kids work, I came to perform however I had to do both so I started to see the daytime duties as a ‘show’ so if I gave the same amount of energy to the kids as I do in a show then they will benefit from that. A lot of the skills I think are integrated however with dance you do need the training and the technique. 

Pilot Interview questions: Erin Murray, Dancer/Choreographer
Do you believe dancing influenced your personality?
Definitely, I believe that since I have grown up with dancing not just as a hobby my whole life it has become part of my persona, reliant on it at times to express the way that I feel or want to feel, which in turn then reflects back on the way I am feeling as a result of dancing. And so, for me dancing is just an extension of my expressions and feelings, not separate from my personality.


Discuss the idea ‘Dancers are not made, they are born’, Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?
I believe that to have the mentality and discipline to be a dancer is something that you are born with. To be mentally and physically robust and strong is something that you can learn and train yourself to do but in terms of the dancer as a ‘full package’ it takes brutal persistence, passion, strength, tenacity and dedication something which I believe is qualities that people are born with not something that can be taught. In some respects a lot of aspects of dancing and being a dancer can be taught and nurtured but long term? I believe its something in you and your person.

·        Erins comments got me thinking about whether or not it is possible to be taught that ‘mentality’ of a dancer. For example ways to motivate young dancers and teach them how to work harder. I believe this is something that can be taught, since graduating at college I am far better at picking up routines than I was before I began my course, but is this something that I was taught or is it just because I have matured?


Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’
I think that everyone in the dancing world will have one particular strength, I believe that you should definitely be a ‘triple threat’ dancer if you want to have a successful career, however I think that you can still be a strong dancer who is good at every genre and still have one style that is your strongest of all your talents. Just because you’ve mastered them all doesn’t mean that you are mediocre at all of them.



In your opinion how easy is it for a performer to begin working in a new medium?
I think it is dependent on what styles you have previously learnt and how long you have been training for. If you have been training in classical ballet your whole life and needed to learn a new genre I would say very easy. But not if you’ve had no training that would be transferable into other work and styles so it is dependent.


What are the key skills required to make the transition from dancer to choreographer?
I think as long as you have a passion for style a background of training and a creative mind everything else is unimportant. A dancer will already have basic tools such as rhythm, technique, style, stamina, and so for me, the biggest tool a choreographer needs is a hunger to create something; everything else is down to the opinion of the audience in how the final piece looks.


Is finding multiple forms of expression the key to creative fulfilment and career longevity?
I think that it isn’t essiential but definitely helps ! every dancer is driven by something different for me personally, yes. I think a variety in forms of expression makes you diverse and always able to create new things and experience new ways of dancing, it keeps it exciting, which in turn gives a career in dance longevity because it is kept exciting and innovative; however I don’t believe it is essential because dancers are all driven by different aspects of dancer and I believe creative fulfillment is about drive and will not how and what expressions are used and chosen by the dancer.

In a performance job that requires multiple skills e.g. holiday park; working with children alongside performing. Quantify the relationship between the skills required for daytime duties compared to the skills required for performance work.

I think as a general rule of thumb a bright and bubbly personality usually comes with what dancers are like as people. Their training of outwardly projecting a strong and confident bright personality manifests itself within dancers own personalities, and so I think the day time duties of such jobs is really linked to the same mentality of the when performing. Duties require that of dedication, perfectionism and commitment. Working with children requires a warm and confident personality. And handling responsibilities requires organization and maturity. All of which I believe are installing in dancers throughout their training; and in turn are able to transfer those skills into everyday work.


In your eyes what is the ‘look’ of a dancer?
I think the look of a dancer is a strong, well built body. Dancers always present themselves immaculately and are bold and bright in personality and image.

How would you define a successful dancer?
I think a successful dancer is someone who has mastered or at least experienced all style and forms of dance and performance and has committed time energy and love to the profession I don’t think a successful dancer is always based on how much they have worked, but more about what their personal goals and achievements are and if their passion for dancing is still alive and hungry. A successful dancer to me is someone who will always do anything just to dance and perform, in whatever way that may be.


In your opinion, is there are reason more ‘trained’ dancers are working in the field of ‘leisure entertainment’ i.e. Holiday Parks

I think that personally the industry is very hard at the present moment and dancers fresh out of training want to work in whatever field is available to them, and usually there is more availability in the field of leisure entertainment and so dancers take an opportunity to work in any which way they can. Also, the standard of leisure entertainment in places such as holiday parks are of a much higher standard from what they were 10-15 years ago and so there is a higher demand for a better quality of performer, therefore calling more ‘ trained’ dancers to work within the profession.

Interview: Anna Martin Dancer/Teacher

Do you believe dancing influenced your personality?

Yes it has given me confidence, creativity, helped me to stay calm in stressful situations, how to control my nerves and how to be in control of my body and mind when put in nerve wrecking/ stressful situations. Discuss the idea ‘Dancers are not made, they are born’,

Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?

 In some aspects I do believe the best dancers have natural instinct, I think dance can be taught and even the worse dancer with hard work can be turned into a great dancer but I think people can either perform or they can’t I don’t think you can teach someone to have great stage presents or how to interoperate the music and I think to be a world class dancer you need to be able to interoperate the music and be mesmerizing on stage and no matter how hard you work you will never be able to get that unless you are born with it.

 Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’

I definitely think it is possible to be a triple threat it’s just extremely uncommon, it is highly unlikely you will find someone who is able to put equal amount of work into each discipline I think if a child is sent to a professional stage school from a young age where they are doing classes in each everyday then yes I do think it is possible. If someone really wanted to be a triple threat they could manage it.

 In your opinion how easy is it for a performer to begin working in a new medium?

I actual think it’s quite hard if you have learning say ballet since you were 2 and then at the age of 16 you need to learn a ballroom dance for whatever reason, you have to basically throw everything out the window the posture, the way you hold your head, the way your fingers are its all completely different and because you have had so much training ballet it’s hard to get out of those habits. However you have an advantage because you had experience being on stage, rhythm, being able to understand music but I still think it would be really difficult to make the switch.

What are the key skills required to make the transition from dancer to choreographer?

 I think going from a dancer to a choreographer is difficult you have think about a group rather than just yourself, you have to see how everything works rather than just doing the steps you have be told to do. Basically you have to look at the piece as a whole instead of just thinking about yourself and your part in the piece. Is finding multiple forms of expression the key to creative fulfilment and career longevity? No I think it helps but actually what will make you as a performer really stand is to be able to draw on personal experiences and portray them through the aspect of dance.

Through dance can our individuality be expressed more physically or emotionally?

I think 100% both I believe it all depends on the person someone could have a blank facial expression but though their movement you can tell exactly what they are feeling or it could be the completely opposite they could be sat completely still making no sounds but from their face you know what is going on.

 How can one style of dance e.g. Ballet, aid in the technique of another e.g. Jazz? I think ballet is the basis for all dance, it teaches you how to stand correctly, how to turn and spot, how to kick your leg in the in the air and bring down with control, it teaches you strength and this can all be carried across to other forms of dance.

In your eyes what is the ‘look’ of a dancer?

I don’t think there is a look each form of dance calls for a different dance therefore a different look.

Task 4d: Literature

Literature

www.ijea.org/articles.html#vol14  

• Volume 14 Number 5: Anderson, M., Risner, D., & Butterworth, M. The praxis of teaching artists in theatre and dance: International perspectives on preparation, practice and professional identity.

This international study investigated the experiences and attitudes of teaching artists whose work is rooted in theatre, dance, and closely-related disciplines. Based on survey data from teaching artists working in Australia, New Zealand, Southeast Asia, United Kingdom, and the United States (n=172), the paper illuminates participants' perspectives on preparation, practice and professional identity. Emergent themes include: (1) teaching artist training and preparation, (2) work contexts and populations served, and (3) work challenges and obstacles. Following discussion of key survey findings, three case studies based in higher education settings in the USA, UK and Southeast Asia are presented. Hagman's (2005) framework for multiple fields of subjectivity at work in aesthetic experience is employed to illustrate the ways in which the intrasubjective, the intersubjective, and the metasubjective fields of subjectivity inform each teaching artist's practice and professional identity. The paper concludes with an analysis of themes in light of current discussions on reflective practice and implications for teaching artist "praxis".

• Volume 14 Number 6: Rouhiainen, L., Hämäläinen, S. Emotions and feelings in a collaborative dance-making process.
This paper looks into the significance emotions and feelings can have in a collaborative dance-making process. This is done by introducing a narrative based on a dance pedagogy student's writings. They contain observations of her experiences on being the facilitating choreographer in a dance-making process involving a cross-artistic group of students in the performing arts. The narrative we constructed highlights especially the emotional challenges and insights that the student wrote about. In discussing the narrative, we underline that creating collaboratively can be an emotionally and personally deeply meaningful process - involving the construction of subjectivities, relationships, ideas and outcomes. Emotions play an important part in social communication but they likewise have a part to play in making aesthetic and artistic judgments. As a conclusion, we argue that emotional literacy plays an important part in artistic collaboration as does understanding the diverse roles one assumes and relates to the other artistic collaborators with. Owing to the open-ended nature of artistic work, in collaboration, understanding the significance of enacted emotions entails a process of learning, as well.
The skills required for a choreographer could be related to their emotions etc.

Interview with Lloyd Newson

www.dv8.co.uk/pages/interview-dance-now-lloyd-newson-ondance

Lloyd Newson of DV8 Physical Theatre charts some of the many considerations that form a background to his work.

Career Night: Dancers who have transitioned

Dancers describe their transition and new careers in physical therapy, graphic design, pilates, and real estate.

http://www.careertransition.org/OnlineResources/VideoConversations/?c=All+videos%3A+Alphabetically

Stepping Into Hope and Change Chicago 2012

Hear from transitioned dancers and a Keynote Speaker about how the organization can help all dancers of all genres inside and outside of the dance field.

Stepping Into Hope and Change NYC 2011: Creating choices and connections for your future Less >

Introduction to Career Transition For Dancer's signature methodology. Identify your present situation and your long-term goals by developing choices and action plans. This video is part of Stepping Into Hope and Change NYC 2011, a free career development conference for dancers held all-day Thursday, April 7, 2011.

http://www.careertransition.org/OnlineResources/VideoConversations/?c=All+videos%3A+Newest+first

Actor Strengths 

http://repository.upenn.edu/mapp_capstone/70/

Laura E Taylor has begun to develop a programme for performers to enable them to have career longevity.

An actor’s work environment poses unique challenges that can drain personal resilience. Positive psychology research supports the development of resilience and the use of character strengths to bolster psychological resources that increase well-being in the face of adversity. This paper explores the history, mechanisms, and development of research on resilience and character strengths and their relationship to research on the lives of professional actors. I propose that developing character strengths and resilience creates potential pathways to cultivate well-being in actors and enables perseverance on the path to long-term career success.

Interview with Sylvie Guillem

http://www.theguardian.com/stage/2013/feb/10/sylvie-guillem-interview

An interview with Sylvie Guillem, who at 47 still continues to perform at sell out theatres.

Advice for Dancers. Emotional Counsel and Practical Strategies

Linda H. Hamilton, Ph.D.

In this original and unprecedented book, Dance Magazine's famed Linda Hamilton offers dancers of all ages, types, and levels of skill the same kind of advice and understanding they have come to trust from her popular monthly column.

"The advice and information in this book should be considered the "gold standard" for anyone involved in the dance world. Linda Hamilton covers all the necessaary elements in a dancer's life, and all dancers can benefit from the practical strategies she recommends to reduce excessive stress, whether it is mental or physical." - Marika Molnar, PT, director of West Side Dance Physical Therapy

The Person Behind The Mask. A Guide to Performing Arts Psychology

Linda H. Hamilton, Ph.D.

A ground-breaking book that takes the reader on a vivid journey into the performer's private world, where personal insecurity often wages an unsuccessful battle against the stresses of the profession.

"This is a marvelous book, in many many ways, and a great pleasure to read. Dr. Linda Hamilton's "first career" began with dance lessons at the age of eight, leading to the prestigious New York City Ballet. [...][S]he began her "second career" at Adelphi's clinical psychology program. She has specialized in clinical work with performing artists, while publishing numerous research papers, as well as a monthly advice column for Dance Magazine. These diverse threads are all beautifully woven together in The Person Behind the Mask." - Division 10 Newsletter, American Psychological Association

Task 4b

Please join and comment in my Special Interest Group

https://plus.google.com/communities/115070174282035154985

4a: Pilot Questions

Pilot Interview questions:

Do you believe dancing influenced your personality?

Discuss the idea ‘Dancers are not made, they are born’, Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?

Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’

In your opinion how easy is it for a performer to begin working in a new medium?

What are the key skills required to make the transition from dancer to choreographer?

Is finding multiple forms of expression the key to creative fulfilment and career longevity?

In a performance job that requires multiple skills e.g. holiday park; working with children alongside performing. Quantify the relationship between the skills required for daytime duties compared to the skills required for performance work.

How can one style of dance e.g. Ballet, aid in the technique of another e.g. Jazz?

In your eyes what is the ‘look’ of a dancer?

How would you define a successful dancer?

In your opinion, is there are reason more ‘trained’ dancers are working in the field of ‘leisure entertainment’ i.e. Holiday Parks 

A successful Dancer?

Just found a really great piece by Lloyd Newson who is a member of DV8 dance company, I find the part about a 'successful dancer' really interesting and it is something I might look into. 

Interviews

Lloyd Newson on Dance

Dance Now | summer 1993 | pp.11-13

Lloyd Newson of DV8 Physical Theatre charts some of the many considerations that form a background to his work.

.... on risk

Newson ... For me risk means trying something that is new, and therefore involves the possibility of failure; it does not necessarily imply physical danger. It is about challenging myself to try something different. In Strange Fish (1992), I deliberately avoided physical danger/risk because we had done this before and I felt it had been repeated so often on the European dance circuit that it was now a cliché. For many dance companies it seems that risk just means physical risk; nothing is risked in terms of content or approach.

In [Strange Fish] the risk became "Can dance deal with complex emotional narrative: can it be funny: can comic-tragic theatre be created through dance alone?" Risk should be viewed as a relative concept: what is risky for me may not be for someone else. I would like to keep DV8's ability to challenge itself continually, to keep pushing in different directions, to resist using the same formula for each new work, never to be the same.

.... on artistic motivation

I only create when I have something to say. DV8 is not a permanent company but one that comes together when there is a need, a need that is artistically motivated rather than commercially or administratively driven. The work is always about issues: things that concern or affect my life at that given time. For this reason we do not repeat past shows. DV8 is fortunate in that it doesn't have to create regularly, to order. Dancers are chosen according to their appropriateness to the given subject matter of each new project: there is no obligation to keep employing the same dancers.

.... on power

When I was a dancer in repertory companies, attempts by myself or other dancers to question the reason behind movements were often brushed aside or deemed unnecessary. The power of the individual dancer and performer was often denied. I have tried to create a company that allows me maximum power while at the same time enabling my own performers to question, to discover their own movement and therefore better understand who they are and what they're doing. Consequently, may of the people who have worked with me have gone off to do their own work, empowered through their association with DV8. To maintain DV8's artistic freedom we've fought to be independent of others' needs: the work isn't dictated by a board of directors, funding bodies or educational programmes. I've declined offers to direct major companies because I see the restrictions and limitations of such establishments. DV8 must be flexible if it is to grow and survive, it mustn't be trapped by bureaucracies.

.... on structure

I am constantly assessing the way that I work. Each new project brings a new approach; partly out of the necessity of what the subject matter dictates and partly because of a reaction to the previous show. After "if only ..." (1990) I felt I could no longer go back into a studio with a few sketchy ideas. It was too difficult to go back into what I call the "dark room, the black room" with nothing to hold on to. I needed to prepare a detailed structure before the dancers arrived, but it became apparent once we began rehearsals that you can't stick to structures that have been thought about in your head and written down on paper. The physical truth of movement is much more complicated and cannot often be captured by words or discovered until you are in the studio with dancers. At the same time working on the structure gave us a certain framework and security, but we had to have the courage to throw out ideas that weren't working, no matter how wonderful or logical they appeared on paper.

.... on collaboration

It has always been important to share the process as honestly and directly as I can with the people I work with. It's counter-productive and often more about insecurity and personal protection to hold back information. By sharing the process the final work becomes collaborative and the performers are credited accordingly. Ultimately I do make the decisions, set exercises and edit material but I need performers who are open to improvising, who are prepared to think about their roles, not those who just want someone to come in and tell them what to do. This process requires the performers to take on responsibility for themselves, to think actively and challenge themselves. Because of their training, it's difficult finding dancers who want to do more than just learn steps, who are able to act and value truth more than tricks. Our work is only ever as good as the people involved, only as deep and profound as they are.

.... on organizational flexibility

We are also very lucky in that our administrative organisation is highly flexible. Because we work within an agency we are not obliged to keep a full-time administrator working all year round. That allows me to begin and end a project whenever I feel the need. Consequently my artistic freedom has been very dependent on the company's ability to maintain administrative flexibility.

.... on audiences

Over the last few years, there has been more and more pressure for DV8 to perform to large audiences. The dilemma is that if you are in a large auditorium the subleties of the gesture are often missed and performers feel they have to make actions bigger and in many cases they become less real. Expansion, moving to bigger audiences, isn't always synonymous with development and growth. DV8's film work has provided a solution to this problem in that the camera can also explore intimacy and physical detail to an extraordinary extent while at the same time reaching enormous audiences. Its possibilities give another type of performance, another way of viewing and communicating that we're just beginning to understand.

.... on success

When people refer to DV8 as a "successful" company, I question what they mean, what they define as successful. Just because a work is popular does not mean for me it is successful. Just because audiences like it doesn't mean it's good. Again success should be seen as a relative term. I believe that providing I keep pushing myself and do not rely on formula, I am successful. I have learnt some of the best lessons and most valuable information about my craft through works that have been public failures. Success and ego reinforcement are regularly confused.

.... on political themes

It is never my intention to provoke audiences or upset them per se. I'm interested only in provoking and pushing myself, questioning my own and the performers' motivation, reasons, thoughts, assumptions. Many of the things I deal with are often considered social taboos but unless one examines and questions them, I feel that we, as a society, cannot go any further. Rather than make generalised statements about society as a whole, I find it much truer to question myself. The self as part of society seems to be what dance deals with best: a very personal investigation, rather than trying to deal with social and political themes on a larger theoretical level. Life is not about political correctness. One would like to strive for that, but it is far too complex. Words that adhere to political theories often smell of naivety.

.... on vulnerability and failure

To show vulnerability and failure on stage has become increasingly important to me. I often set tasks that ask performers to reveal something of their inner selves that they may not want to show in public. In doing this the performer can feel totally exposed and vulnerable. While this can take its toll I believe eventually the benefits outweigh the difficulties. It is important for us to share all of ourselves with the audience, not just our strengths. Traditional dance, for too long, has emphasised 'success': showing how well one can execute a movement. I'm also interested in how hard it is to do a movement and to redefine what achievement means.
Traditional notions of dance tend to have narrow definitions of what is considered beautiful and acceptable, with people (dancers) striving towards the same constructed ideal. The rigidity of the "perfect" image gives little room for individuality or reality. This can be very destructive. It gives little room for acceptance of ourselves, of our failures and the value of trying rather than just matching up to what someone else defines as successful or beautiful. It is just those definitions that I am trying to move beyond with DV8.

Phone Session with Paula

I was getting myself very confused with the pilot questions and what I needed to be asking etc so I thought I would get some clarification from Paula,

We talked about what Past, Present and Future and where I would like to be with my career a few years down the line. Thinking about the future I thought about the skills required to further my position within the leisure entertainment sector, my next step on the ladder would be transitioning to Head Dancer, I started to think about the key skills required for this role and it is something I would like to explore.

Paula also advised me to look on the summon, its a search bar on the my study section on my uni hub, I found it so easy to use and loads of articles came up about dance captains and head dancers, although not a lot of information was provided for head dancers within holiday parks so that is something I will look in to further. 

IDEAS

From my initial pilot questions, Michelle talks about how dancing gave her something to ‘channel her energy’, I started to think about how I channel my energy into dancing and performing  and the confidence I have gained from the training I have had. However when I think back to embarking on a musical theatre course I was far from confident and this lack of confidence restricted my training as I was very self-conscious in class and would rarely ‘go for it’ for worry that I would embarrass myself. I had an awful first year due to being slightly ‘bigger’ than my peers, this was something that massively affected my confidence. I think that weight, fitness and nutrition has always interested me and the idea that they are linked to confidence is something that I would like to explore further and also how important is self-confidence within performing arts? Is it something that is hugely necessary? If you have any ideas please comment!

After speaking to my Dad he gave me the idea of conflict within the workplace:

The purpose would be to explore

how common is conflict within teams

how different individuals see conflict

when individuals address conflict

what personal tools individuals use to tolerate or even overcome conflict

what tools are employed in groups to overcome conflict e,g Myers Briggs, mediation.

This is something I am also very interested in but at this stage I am just exploring my ideas and what I would like to do my inquiry on. 

Basic Rules for Good Research

These past couple of days the time I have allocated for my BAPP degree work has mainly consisted of reading through various books on starting a research project. 

In Martyn Denscombe's 'Ground Rules for Good Research', I discovered the relationship between social research and scientific research and how useful scientific tools can be when embarking on a social research project. For example some key tools that I will be using are 

• Measurement: Once something has been 'measured' it can be analysed and tested
• Research instruments: What resources do I have and can I use? e.g. internet, libraries etc
• Precision: Information that is acquired needs to be detailed and precise. 
• Observation: Acquiring facts and data through meticulous observation

He also talks about controlling variables and factors that may alter a sequence of events, although I can see how this works in science I am not convinced it works with the type of project that we are involved in, although please discuss if you think otherwise. 

I feel more secure in my knowledge of the positivist approach to research and how it uses the science research model to explain the social world. Although I can see that this approach is useful in some ways I like that Martyn Denscombe also explains the negatives of this approach by saying 'A scientific researcher can do things to chemicals and plants that cannot be contemplated with fellow human beings' (M.Denscombe, 2002)

In my personal opinion I feel that the interpretivist ideals are more realistic when studying the way that people behave or social phenomena. 

'Interpretivists tend to focus their attention on the way people make sense of the world and how they create their social world through their actions and interpretations of the world whereas positivism focuses on the way that social reality exists externally to people, acting as a constraining force on values and behaviour, interpretivist approaches stress the way that people shape society' (M.Denscombe 2002)

This makes a lot of sense to me, I started thinking about how as humans when we are told we are being observed or watch we instantly act differently, I'm not sure why this is? If anyone has any ideas please let me know. At work I find my manager has heightened levels of stress when he knows one of the 'big bosses' is coming in, obviously this roots from the fact that he wants to impress them and be praised for doing a good job, however if he didnt know that he was being observed he might work better without the stress or worse without the added pressure. 

Purpose

A running theme within the information I have read about research topics is the idea of Purpose.

When initiating a research project it is ideal to consider who will my topic benefit? Has this topic been investigated before? If so how can I develop that information? At the start of my research project it is essential that what I am trying to achieve is clearly stated. 

Blaxter and Hughes and Tight: How to Research (2001)

After reading chapter 2 'Getting Started', I noted down some key points that will help me to start my inquiry,

• Find out what is expected from you and from your research: This, I need to discuss with my tutor as well as with other BAPP Arts students, its something I will be doing in this next week and hopefully will have enough information to blog for you all later. There's also information in my Module 2 Handbook about what is needed to succeed in this module (see Module 2 Handbook BAPP Arts, WBS 3630)
• Consider the size of your topic, ensuring its not too big, not too small but do-able within the time, space and resources available. (Goldilocks Theory)
• Enough time needs to be given to reflect and analyse the data collected.
• Support; Blaxter, Hughes and Tight explain that when embarking on a research project it is essential to have support around you, luckily I have a very willing boyfriend who makes a mean cup of coffee and two hugely supportive parents just at the other end of the phone.
• Access: Do you have access to resources (including people) that can help you? 

My next step is to take some time talking to various people both involved in the performance industry but also who are within other industries, I'm going to put together the information from my first set of pilot questions and analyse those next to the ideas I have myself and from others to start thinking about what I would like to research and what really gets me fired up. I am hoping I am on the right tracks but please do comment below as I value all contact with my fellow BAPPers :D

Jumping The Gun!!

I was in a such a rush to start my pilot questions and get started with this module that I hadn't even taken the time to read through the suggested books on 'Getting Started' with a research project. This is something I have come to discover with being a part of a work based learning course. At school you were always told exactly where, how and when assignments/tasks needed to be handed in BUT with a WBL course the timing is all down to you (most of it anyway!). I'm going to count those first pilot questions as practice questions as now I have studied more on preparing for a research project I feel ready to start asking questions that can be relevant to what I would like to research in the long run. 

Competences and Capabilities Part 2

I think I have worked out the difference between competences and capabilities. I have come to understand that competences are the skills you already have which make you capable to do the job you are currently in, however capabilities are the skills you can develop and progress. 

I looked through my assessment notes from when I was at college and found some confidence boosting comments from previous tutors: 

Regarding my jazz assessment 'Diversity of style is developing and your attention to detail helps you get into the style far better. More physicality and power will help you refine some diversity. Professional conduct is very good, Lizzie. You work tirelessly and have done a lot of work in preparing, this year.' Sue Brice 2012. 

This comment is very constructive as it lets me know the skills I have acquired as well as what I need to work on and what I am capable of developing.

These are the competences I believe to have acquired over the past few years of dance training

• Flexible 
• High Fitness
• Dynamic Performer
• Energetic
• Technique in Ballet, Tap, Jazz and Commercial

All of these skills have the potential to develop.

Interview with company choreographer

Interview with Michelle Upton, Dancer, Live Act and Choreographer for Parkdean Holidays:

Do you believe dancing influenced your personality?

I definitely do, I think dancing as a whole gives you more confidence and you can express yourself more. The reason why I got into dancing was due to having too much energy, so I was taken to the doctors as I was always crying and running all over the place. The doctor actually said that I needed to take up some kind of physical sport, whether it be karate, swimming, dancing or something in that field. I needed something to channel my energy. So I was taken to dance classes, and ever since then I was a much happier child and it gave me something to work towards. Nowadays it has built my confidence and taught me different skills in how to teach people choreography etc.

Discuss the idea ‘Dancers are not made, they are born’, Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?

I believe real good, outstanding dancers are born. However I do think that you can teach everybody to dance, whether it is just how to hold themselves or keeping in time with the music. However the dancer that is born to dance is the one who has that extra flair. It is more about the passion and feeling that you are born with, that’s something you can’t teach you have to be born with.

Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’

I think to be good at all three things or to at least give them a go is a great thing. You will get a lot further with all three disciplines than with just one. It’s good to have your passion, for example dancing is my passion however within this job I have had to sing and have had to push myself in order to further my career.

In your opinion how easy is it for a performer to begin working in a new medium?

The skills you acquire as a performer e.g. confidence, people skills, being able to interact with people and having a hard working attitude, sets you up in good stead for any job.

What are the key skills required to make the transition from dancer to choreographer?

No formal educational requirements to become a choreographer, there is no certificate that you get to say ‘I am a choreographer’. However most choreographers have been dancers. I am a big believer in the proof is in the pudding, if someone came to audition for me if they were a phenomenal dancer I might not even look at their CV. So it is more about experience and being able to express your ideas through dance and translate that to a group of people. I have always kind of fallen in to it because people liked what I had to offer and I like that what I see in my head I can translate onto the stage, it is very satisfying. A lot of choreography is down to the way that you teach it and how you get it across to your dancers, as well as being creative and having new ideas.

Is finding multiple forms of expression the key to creative fulfilment and career longevity?

For me and the shows that I produce, the more creative ideas and things that I can get help to keep things fresh. I always use different props and styles. I’d like to think within choreography my body will allow me to do it for a few more years. I can’t imagine myself doing another job but with the skills I have got from this job I’d like to think I could go into something like teaching or possibly being an agent etc.

In a performance job that requires multiple skills e.g. holiday park; working with children alongside performing. Quantify the relationship between the skills required for daytime duties compared to the skills required for performance work.

There are a lot of skills that you need for both. For both you need energy, passion, enthusiasm, creative, team work, confidence. When I first started the holiday park experience I didn’t ever see myself enjoying the kids work, I came to perform however I had to do both so I started to see the daytime duties as a ‘show’ so if I gave the same amount of energy to the kids as I do in a show then they will benefit from that. A lot of the skills I think are integrated however with dance you do need the training and the technique. 

Task 4a

BAPP Arts Degree in Work Based Learning

Lizzie Martin

Pilot Interview questions:

Do you believe dancing influenced your personality?

Discuss the idea ‘Dancers are not made, they are born’, Do you believe dance is a natural instinct that cannot be taught or something that can be nurtured?

Discuss your thoughts on the term ‘A Triple Threat’, can all trades be mastered or are you setting yourself up to be the ‘jack of all trades but the master of none?’

In your opinion how easy is it for a performer to begin working in a new medium?

What are the key skills required to make the transition from dancer to choreographer?

Is finding multiple forms of expression the key to creative fulfilment and career longevity?

In a performance job that requires multiple skills e.g. holiday park; working with children alongside performing. Quantify the relationship between the skills required for daytime duties compared to the skills required for performance work.

competences and capabilities

Taking a browse through reader 4, I have decided that the job I am in currently requires the employee have a 'transdisiplinary' approach to the job. Here are the skills I believe are needed to work on a show time park with Parkdean:

Skills in Dance                                                             Skills in Compering   

• Flexibility                                                      Improvisation
• Fitness                                                                  Diction
• Technique                                                             Confidence
• Dynamics                                                              Ability to interact with audience
• Strong Body and Core
• Performance skills and expression                

Skills in running daytime activites

• Organised
• Communicating with all ages
• Energetic 
• Reading the room (is everyone getting involved? Is it enjoyable etc?)

Skills in the DJ Box

• Knowing what lights to use and when
• Being able to create an atmosphere with the tools you have (music, lights, smoke)
• Volume Control
• Ability to ride the fader
• Focused 

Skills in Choreography 

• Imagination
• Creating pieces appropriate to ability 
• Interpreting music 

All these skills are required for the job that I am currently in. A lot of these skills do cross over into different sectors so for example you would need to have some level of dance ability to be able to choreograph. 

Where have I got my information from? 

Mainly the ideas I have about the skills required have come from my dance training that I have been receiving from a young age. A lot of information has also come from the company choreographer and teachers that I had at college. As well as being taught alot of this information I also found my information has been acquired from watching alot of dance performances and dance tv programs, for example So You Think You Can Dance, is an American TV show where contestants dance different styles infront of various judges who then critique the dancers, here is a snippet of one of my favorite episodes. 

http://youtu.be/Gd5tkT8EVx4   

Learning Organisation

http://www.infed.org/thinkers/senge.htm  

After reading the link above (Provided in Reader 4), I started to think about the learning organisations that I have been involved in. At college I was surrounded by very experienced teachers who all had incredible amounts of information regarding dance and musical theatre. Although during class they would share this knowledge, I now look back and realise that I could have used their knowledge to enhance my own. As Senge mentions 'As people talk, the vision grows clearer', the more I communicated with my teachers the clearer my vision of being a performer would have been. 

Reflecting back on my college days has now made me more determined to use the knowledge of others to further my own capabilities. I am also happy to share my knowledge with others as discussing thoughts helps to grow and develop new ideas. 

Developing lines of professional inquiry

I have come up with some bullet points on developing lines of Professional Inquiry: As a learner I find it quite difficult to digest large amounts of information that are presented in long paragraphs. So I decided to note down the key points and add to them for my understanding. 

• The main outcome of a professional inquiry is so you can further investigate, research, analyse and understand your professional workplace and the people within it. 
• A professional inquiry is based upon the information and the experiences that I have now, in my place of work. 
• Developing lines of professional inquiry within the BAPP arts module extends and relates to the learning we received in module 1
• Helps to identify your specific learning needs (What are my specific learning needs, how will identifying them help me further my career and become more practiced within the job I have now?)
• Research and knowledge is key to developing your professional inquiry.
• A way to learn about what you are doing whilst you are doing it. (Critical reflection is a big part of this.)      

I have started thinking about my workplace and what aspects I would like to research and develop my knowledge on.                                                                     

Module 2!

Feels like ages since I have blogged on here! Had a hugely busy peak season down here in Devon so I'm glad we had a break from this Degree work! However it is now time to crack on and open up module 2! Good Luck everybody :D xxxxx

Task 3d: Critical questions and issues that emerge

A very specific idea that has emerged from studying this course reader is how important my professional networks are. I have always known that networking is key to success within the performing arts industry, I thought that I was good at networking, but from working on this module I have found that I need to be more organised with my networks and use them fully. Reflecting on my engagement with my networks has shown me that I need to cooperate more fully to gain useful information that will further my career. 

Beginning to use critical reflection within my every day working life has proved to be quite difficult. It has taken a lot of time for me to really think about my day and what actions were helpful and which actions could have prevented stress. 

Since embarking on this module, I have found that I take much more of a back seat at work and observe situations more thoroughly before jumping straight in to try and fix things which I do not have the ability or authority to fix. 

Task 1d: 2d pictures new ones!

Tried to get some pictures of myself performing like Paula suggested, not the best quality but hope you like them!

https://www.flickr.com/photos/120534985@N06/

Task 3c: Sources of information

In any industry it is so important to know where you can find reliable information to help further your career. In this task  I have been looking at the sources that I use to gain knowledge on the entertainment industry, dance diet and fitness, auditions etc. 

The main and most widely source is ofcorse the internet. I use it to find out about auditions 
www.thestage.co.uk
www.spotlight.co.uk
www.dancerspro.co.uk
www.dancecast.co.uk

All of these websites are well known, but not all of them post jobs that are of equity pay. I am a member of equity and this is also another source of information. I regularly recieve magazines from equity with information on dealing with taxes, being self employed etc as well as interviews with professionals and advice on all aspects of the industry. I am not good at keeping hold of the information I find most useful, However after reading Pip Spaltons Blog pipspalton.blogspot.co.uk she talks about keeping everything in a ring binder. I think this is a great idea to keep organised and find information quickly without having to route around in the bottom drawer of my desk! 

I wouldnt say I read a huge amount of books but there are a few that have provided me with invaluable advice. Firstly Linda Hamiltons Advice for Dancers, is written in a simple format but gets straight to the point regarding all sorts of issues that occur in the dance world. I also find Robin D Chmelar and Sally S Fitts's Diet for dancers a great starting point for performers who struggle with their diet. Again I do not log any of this information, I do feel like I should find some key points in each of those books so that I can recall information I need as quick as possible. 

Other sources of information I use is ofcorse the people I meet, everyone that I have met within the entertainment industry have some advice they are itching to share, sometimes I disagree with what people inform me with, but there are other times when people share some invaluable advice and I think I should write that down, and I never do! So from now on I think I'm going to start a mini journal consisting of what people share with me (only the bits I find helpful though!). My agent is also brilliant at letting me know what is changing in the performing world and how I need to adapt to make sure I am fitting in.

A slightly unreliable source I use is Facebook, there are lots of castings that go up on different entertainment pages but not all are genuine, so knowing who to trust is a big factor of using a social networking site as a source to find auditions etc. 

Finally, when I was living in London, I was regularly going to see different shows, the opinions myself and my friends made of each show would be another source of information. Critiquing the shows helped me to see what I needed to do to get to where I want to be, unfortunately now working so far away from any theatres has meant that I havent been able to go to the theatre in quite a while. However there are lots of clips on www.youtube.co.uk that enable me to watch others perform and learn from them. 

In terms of sourcing the information I gain, I would say I'm only good at separating my emails, I have a different folder with all my agents emails in so I can access them quickly. I need to start keeping the magazine clippings that I find useful and also keeping a journal of peoples advice. Looking at other peoples blogs they seem to be similar to my own sources especially regarding the internet. 

Task 3b: Theories relating to networking

Affiliation

Crisp and Turner describe affiliation as 'a network or support that will help us when we are in need' (2007), this, I feel is so important to remember that as humans we are biologically programmed to want to affiliate with others. I agree that our need for company varies depending on our type of personality, but I also think that certain situations can decide whether you wish to have company or not. Personally, when I have had a long, hard day I just want someone to discuss it with whereas I know one of my flatmates will always hide herself away in her room after a stressful day. I have always been so interested in why humans form strong relationships with others and yet can completely clash with someone else. Within the performing arts industry, unfortunately you need to be able to tolerate everyone as a large amount of performing jobs involve living and working with a small team of people. This industry tends to attract extroverts however it is important to recognize when people want their private time, other wise you could end up causing tensions within the team of people you are working with.

Connectivism

Connectivism suggests we can interact to learn from our professional network. I believe that we are learning everyday and I discover more and more ways of handling tasks and performing from the people that I work with. Not only do I learn what to do, I am also finding out what not to do. In my journal I have found that I come up with my own ideas from disagreeing with the ways that others do things, it would be interesting to see if I put these ideas into practice, whether they would work or not. 

Communities of Practice

I can relate quite easily to the theory that we learn alot from the social interaction with people who share a common interest. I find it so difficult to explain to people the extent of what I do in my job. A lot of my friends who are not in the performing arts industry just thought I performed shows every night and had the whole day to myself, they did not understand about the rehearsal process and other duties that need to be done. However when you speak to people in the same industry as you they seem to see it from your perspective. I feel as though I have learnt a lot from various artists and teachers within the entertainment industry. Everything that I discover helps me to adapt to the ever changing world of performing arts. I have recieved so much invaluable advice.

Task 3b: Theories relating to networking: Co operation

'When should someone be selfish and when should they co operate in an ongoing interaction with another?'
Axelrod, R. (1984)

This statement and the whole idea of co operation has got me thinking about what situations do I co operate in and when do I use others for personal gain? I don't believe in using people just to squeeze information out of them or to get what you want however reflecting upon how I network I have realized that there are some networks and people that I only co operate with so I can move forward with my career plans and then I defect from them. Here are a few examples:

My Agent: When I first signed my contract with select management I did everything I could to impress the team that were sending me to auditions. I made sure I kept them informed with how each audition went and what I wanted to be put up for, I also kept my page (on their website) and spotlight up to date. I would ring my agent fortnightly just to ask about castings and to let them know what else I was doing to further my career. Now, however, its not that I have completely defected and fallen off the face of the earth, but because I have a performing contract for nine months I don't feel the need to call in or ask about new castings or what I should be doing to enhance my portfolio etc. I was invited to a dinner with the whole agency and did not make the effort to go, which really I should have as when my contract ends in November I will need to be put up for more castings. 

Spotlight/The Stage/Dance cast: Obviously now that I have my new job I do not connect with anyone on these casting websites, I feel that I should keep up to date with whats happening in the dance world but its hard when you don't necessarily NEED too.

Bird College Network: Although I speak to a few people from college its no where near as many as when I was auditioning. During the period where I was out of dance work and attending auditions I would frequently message all the people within my Bird College loop, I even took time to visit a lot of them so as to stay in the Bird loop. Having the knowledge about auditions that were coming up or who was going to what was not my only motivation for connecting with my college class mates however looking back I think it really was a large part of why I kept in contact with so many of them. This seems obvious now, as I rarely make time to message anyone from Birds but I dont like the thought of just co operating with people for personal gain, it makes me feel uneasy about the world and about peoples intentions.

In my new job I work with five other cast members and we are under instruction from not only our dance captain, choreographer and director but also our manager. Our manager basically organizes everyones rotas and when they're working etc, he also ensures costumes, dressing rooms and our accommodation are kept in good condition. Recently, as a team we have not been co operating well. Initially when the contract started everyone seemed to be working together, however recently we have found our manager to be defecting from us. There were a lot of small issues that seemed to build up and when our manager decided to firstly work against us we ended up not co operating with him and it created an awful work environment. Finally everything came to a head and we had to come together for a meeting. Everyone explained how they were feeling etc and we did manage to sort out the issues however if we had not mutually decided to co operate it would have been a very hostile work environment.

I do believe that mutual co operation is the right way to work within a job situation, working your way up does not need to be malicious, but there may be oppurtunities where you can 'use' people for their skills etc to get ahead. In terms of networking, you do need to be careful when defecting against others as the performing arts industry is a 'small world' and if you treat someone with little respect and just use them for their knowledge it could then come back against you. The people that have helped me get to where I am now were more than willing to provide me with information that would help me move forward in their career, they also know that I would always do the same for them.