Data Collection

Since I've been in Australia since Module 3 began, it was difficult for me to get my head around my data collection.

I had originally wanted to go in to dance  classes and observe the teachers and how they teach different genres.

The dance world is very different in Australia and they don't have the same examining or teaching bodies so it wouldn't be beneficial to observe classes here, when my title is Mapping the different ways Dance is taught in the UK.

I had to really sit down and think about my data collection process.
I decided the best thing to do was speak to teachers via skype/email about their opinions. After all, my inquiry is about how dance is taught, so the teachers opinions are most important in my opinion.

After speaking to a teacher of Zumba in a local gym, I was certain that this wasn't a route I would want to go down as a teacher myself, and also that the process to teach it, isn't very extensive, so I took Zumba off my "list" of genres of dance I'm interested in being taught.

I have decided to focus on RAD Ballet, ISTD Tap/Modern/Jazz, GCSE Dance and BTEC Dance.

Back for Module 3!

So for those who don't know, in June I started my role as a Singer onboard a cruise ship.
This is something I had wanted to do for a long time, and finally I was successful which was great.

I was extremely busy at first with learning new material (I had to learn on board as I went because of taking over someone who left immediately), but eventually settled, however with such rubbish wifi and still getting to grips with my new life, it felt best for me to defer.

I am now home, until 26th February, and will start Module 3 in Feb.

I am still going to be cruising, however I have a rehearsal period in Sydney from 28th Feb for 6 weeks (Mon-Fri) and then 2 week handover on ship so it is a lot better for me to do BAPP and my job!
I can prepare a lot now over the next 7 and a half weeks before I fly, and will have decent wifi for 6 weeks at least after that!

Anyone else on Module 3 from Feb let me know so we can keep in touch as much as possible :)

Critical Reflection Portfolio

Critical Reflection Portfolio
Sarah Dunn - Module 2

 

I started this Module 2 and the tasks at first got me a bit anxious as I just wasn’t sure what I was meant to doing or looking in to. Appendix A
Fortunately with help from others on the course I was able to start exploring and really trying to find out what it was I wanted to look in to. Appendix B

After a few weeks I finally thought I was getting somewhere with my award title and inquiry question Appendix C until a Skype chat with my advisor and other students shook things up.
The Skype chat was one of the most beneficial things for me through this module though.
I was originally quite confused about why I couldn't teach without a degree, or why Dance was in the PE curriculum, and I had to stop being negative, and focus on something that I would actually benefit from. I started looking at Dance as a whole. Appendix D

The work on the module helped me to explore this in more detail and I was able to finally start looking properly into my Professional Inquiry Proposal.

I had decided to go down the route of why the arts are not as specialised in schools.

I joined SIG Performing Arts in Education which was set up by Emma Corboz Appendix E and was able to speak freely about all my concerns, ideas and also receive feedback on my line of inquiry. Appendix F

 
A part of the module which was different but extremely beneficial was section 5, ethics. I was able to explore the ethics needed for this proposal, and also the ethical practice in teaching, which is my future career. Appendix G

This suddenly then shook things up for me. All of a sudden it became apparent to me, while submitting my first draft to Adesola, that I was more interested in the different types of dance available, and the ways this can be taught. After all my future career is dance, and I am confused about which genre of dance teaching I want to go down!

I sort advice regularly on my blog and SIGs to ensure I was having a range of people’s opinions. We have a Facebook group for students of Module 2 which has been helpful for us all, no matter our line of inquiry, to talk freely.
Web 2.0 which we discussed in Module 1 has been the greatest tool for my inquiry.

 

Something that helped me structure my Inquiry, all 3 drafts I eventually did was listing the headers on a blog post. Appendix H. Whilst it doesn’t look much as a blog post, this was ideal for me when writing up my final Professional Inquiry Proposal. Even though what is on that blog post now is nothing like how my final inquiry propsoal turned out!

My main progress was made when I submitted my drafts to Adesola. I eventually was able to stop being so broad in my subjects, to finding a topic I really wanted to explore and that would be beneficial to my future.

I benefited me greatly was looking at the Module 3 material so I know exactly what I am preparing myself for.
This has given me confidence in my preparation, schedule, ethical practice and proposed inquiry.

Outline of the Inquiry Plan

Using the headers from the handbook, I have briefly noted down below a summary of where I need to go from here. I felt this has helped a lot with starting to create my proposal.

Title of Inquiry (a working title of your inquiry)
Why is the Arts not more specialised in Secondary Education?
Would it be beneficial for the Arts to have a more specialised curriculum?
Who benefits from Arts in Education?
Who can gain a PGCE to teach the Arts in Education?

Context of the inquiry (why it is important and who will benefit)
I endeavour to find out why the arts are in "trouble", why they are deemed less important than other subjects and if there is any way for them to break through in to a more specialised area on the curriculum.
Current teachers, as well as aspiring teachers will benefit.
I will also explore how to arts are beneficial to all types of people, whether or not they aim to become a performer, which will support my inquiry in wondering why it is deemed less important by so many.
I started off wondering why National Diploma holders could not obtain a PGCE but realised that would be a bit of a dead end subject to look in to.

Rationale and Inquiry Question(s)
How many inquiry changed from why diploma students can't become teachers, instead positively focussing on the arts and why it is not deemed as important as other subjects.
There is a lot of pressure on teachers at the minute, especially with cuts being made to the arts like Drama and Dance. I will explore why, and look into where the arts can go from here.
Literature review, interview with secondary drama teacher and Ballet teacher.. Questionnaire filled in

Aims/Objectives (explain what you are actually going to do in the inquiry)
Logically I want to explore WHY the arts isn't more specialised and if it ever could be?
Beneficial to performers, but also to people who find support in subjects like Drama.

Literature and Publicly available ideas - What is already known about the topic of your inquiry?
Brenda Pugh McCutchens book
Articles such as http://www.telegraph.co.uk/education/educationnews/9653088/Arts-luminaries-warn-of-threat-to-creative-subjects-in-schools.html

Inquiry tools that you will use and why (based on your review of pilots conducted with SIGs)
Interview with Jess Smith, Head of Drama in Secondary School
Questionnaires filled out by 1 teacher in Secondary and 1 in Primary school.
Conversation with a teacher from Walton Hall Special School majoring in Performing Arts, as well as liaising with RAD Ballet teacher, who teaches this in an after school club. Also feedback sourced from aspiring teachers and get feedback from SIG.

Approach to analysis of information you will collect in the inquiry
Whilst I am hugely supportive of the Arts staying in the curriculum and becoming more specialised, I will endeavour to be fair and appreciate any findings which support why the arts are not as specialised. I aim to understand why Dance is in PE curriculum and Drama is in English and look into if this would potentially change. If not, why not?

Ethical practice in the inquiry
See blog re ethics of a teacher
Discuss ethics when discussing how the arts can be more specialised or if they never will be?

Resources needed
Articles referred to re cut backs and why the arts are important.
All the above conversations and questionnaires filled out.

Schedule
Order of activities like this above plan.

Conclusion
Conclude how my inquiry will go, like the above headers have assisted. Focus on who will benefit, why it is important to explore, the ethical values included and research gathered. Design a detailed inquiry outline and how I intend to get my findings
Managing to mix all the above in an informative equal way for my proposal.


272

Why is your inquiry important?

Who will benefit?

How will they benefit?

What is already known about your line of inquiry?

How will you go about the inquiry?

Why will you go about it that way?

How will you ensure that ethical considerations are adhered to?

What order of activities / time span will you employ?
 

Ethics. 5a and 5b

5a. Taking your place of work which is familiar to you, consider ethics which might apply there.

With my current situation, I work in a customer service contact centre, but also choreograph and perform professionally in an operatic society and also audition regularly.

As a choreographer for SDOS, I do not refer elsehwere for any codes of practice/regulations.

I decided to look at ethics from my choreography point of view, which can also be relayed in to ethics when teaching.
Researching ethics it can be quite extensive. From not discriminating ethnicity, background, disability, gender, sexual orientation etc through to a more complex view. I have made a short list of other ways ethics can influence a choreographer or teachers day.

• Have suitable flooring, with a safe surface designed and constructed to minimise risk of injury
• Show professional attitudes, including punctuality, reliability and responsible care of students
• Encourage and support the individuality of a performer
• Seek to recognise and develop each student’s potential, whether it lies in dance or in related fields, and offer appropriate guidance for further progress.
• Recognise physical anomalies, modifying their teaching and seeking medical advice when necessary. Teaching and choreography must be anatomically safe, and teachers must be prepared to deal with medical emergencies.
• Person in charge needs to appreciate and understand the students personality and life situation.
• Teachers will take responsibility for seeking more knowledge in all aspects of their work.

 

5b. Find out what are the codes of practice / regulations which steer the ethical framework in the place of work / professional community.

I feel, from a teacher or choreographers perspective, any code of professional ethics for teachers should be valid for all teachers, no matter the subject.

 

I read online at http://www.aaeteachers.org/index.php/about-us/aae-code-of-ethics the following below

• Ethical Conduct toward Students
• Ethical Conduct toward Practices and Performance
• Ethical Conduct toward Professional Colleagues
• Ethical Conduct toward Parents and Community

I am glad to say whilst researching ethics, personally, a lot of it seems like "common knowledge" but then that led me more thinking about ethics.

It is about understanding that each child comes from different walks of life, and not everyone is brought up or educated in the same way.

 

 

4d. Reviewing Literature for your Inquiry Planning. Literature 1.

Have you identified any literature that is important to understanding your inquiry?

As I mentioned in my previous blog post, I have found an excellent book Teaching Dance as Art in Education by Brenda Pugh McCutchen.

What are the main points that alerted you to its importance?

The title grabbed my attention straight away. It has been a fascinating read. She not only looks into professional performers who are now teaching, but those who obtained a degree and PGCE like most teachers do. What I found fascinating is how Brenda explores the use of reflection. She states reflection does not always call for response.

 

She discusses three types of reflection from a teachers perspective

In class (integrated reflection)

At the end of class (Culminating reflection)

In the long term (Broad reflection).

 

She goes on to ask sample culminating reflection questions, such as

"What did you learn about negative and positive space today?"

What ways did you solve the movement problem of turning negative spaces into positive in your exploration today?"

What difficulties did you have today and how did you solve them?"

"How might you use negative and positive space consciously in daily living"

 

Straight away I was revisiting Module 1 and my research in to Schon and his clock like reflective practice going through states of appreciation, action, and re-appreciation

In module one I was exploring this from a choreographers point of view, and it's interesting intertwining it into the view of a teachers.

Have you looked at the References or Bibliography? / Can the literature signpost you to other important sources of information?

From reading Teaching Dance as Art in Education by Brenda Pugh McCutchen it was interesting to see what came up under "related items" online. The Art of Dance in Education by Jacqueline M. Smith came up, as well as Knowing Dance: A Guide to Creative Teaching by Marion Gough.

I intend to read these to see if any new points are raised which can aid my inquiry.

I want to read the indivative bibliogrpahy provided in the Module 2 Handbook, especially those focused around work based research.

 

4b - SIGs

How does your SIG compare to other groups or communities that you are a part of in the workplace?
How will you use your SIG?
How will you evidence the shared practice within your own professional inquiry process?

I've been fortunate enough to join Special Interest Group "Performing Arts in Education" which Emma Corboz has set up. There is a few of us in the group posting different links and sites of interest around the arts in education which is really helpful.

I think this SIG will really help towards my Inquiry as people are posting links I have not seen, and posting things I would not have thought would be beneficial, but when looking into them further they really are.

I have been reading through Teaching Dance as Art in Education by Brenda Pugh McCutchen and it is very helpful aiding my line of inquiry.

Something that really interested me when reading this was How ED (Educational dance) differs from a Physical Education Model.

She states "Aspects of dance are easily adapted to physical education. Indeed physical educators historically brough dance into the curriculum and make a place  for it longer before there were dance specialists in K-12. Dabce training for certified physical educators is usually activity based. Rarely do physical educators study dance performance. Choreography, criticism and dance history. Their dance goals relate to fitness, skill development and recreation, rhythmic activity, locomotor skills and sequences.
Dance can be taught in both ED and physical education with the highest integrity. Both the physical educator and dance specialist bring specific skills and backgrounds to dance, and both ably teach dance to achieve their goals and standards."

My inquiry is forever adapting, which is great as it shows my research is progressing.

Originally I had quite a one sided view.
I was unhappy that the arts were being taught as part of the PE Curriculum for Dance or English Curriculum for Drama and didn't understand why.
Now, because of skyping with Adesola, through to reading this book, along with conversations with a good friend who is a Drama teacher, I am now not exploring why the Arts is being taught by teachers from those academic areas, because like the above states, these teachers still have their own standards and achievements, but, why is the arts is not more specialised in schools?
The arts seems to have a stigma attached to it. For example, people do Dance or Drama if they are not succeeding in other subjects. Like it is an easier grade to achieve.

What I have found interesting when talking to my friend Jessica, who is a head of Drama at a secondary school is that she is very much agreeing that the arts are deemed less valuable yet she signposted me to a link: https://www.gov.uk/government/news/creative-industries-worth-8million-an-hour-to-uk-economy which shows the arts industry make such a large revenue. She is now interested in my inquiry as well. What is beneficial is that she is that whilst she is a drama teacher with no "professional" performing experience, she went to university, obtained a degree, then PGCE and from there now teaches. She is valuable to my discussion as she is educated in a different way to me and everyone in the SIG I am within.

Because of this article and reading other peoples opinions in SIG "Performing Arts in Education" I have changed my inquiry to:
"How can the arts become more a more reputable subject in schools"

With my award title sticking at  "BA Hons Professional Practice in Performing Arts and Education"





Reference:

B Pugh McCutchen (2006) Teaching Dance as Art in Education: How ED (Educational dance) differs from a Physical Education Model.

MARCH 3rd AM SKYPE CHAT

On Tuesday morning a group of us had a Skype session with Adesola.

We had a couple of people from Module 1 and a few from Module 2. It was a really beneficial session and it certainly helped me with what I was querying.

At the start of the chat, after introducing ourselves etc, we all one by one stated what we would like to talk about.

My topic of discussion was about my line of Professional Inquiry.

I went to explain how what I was thinking for my Professional Inquiry was down the route of why we as performers can't obtain a PGCE until we have a degree, despite the majority of professional performers having a National Diploma.

This was a great discussion as most people in the Skype chat we're really vocalising and saying they completely agreed.
We discussed what a PGCE is and why the diploma isn't deemed a good enough qualification to have to get on to a PGCE course.

We were all quite passionate which was great. Everyone had the same beliefs that we should be able to do so, so I'm definitely going to explore in to why it is this way.

We were talking about GCSE Dance teachers, and how they are the PE teachers just also teaching dance and how it wasn't fair, us trained dancers couldn't have that teaching status until we also had the degree.

Adesola raised a good point that whilst it is beneficial to research this, a lot of answers found would all be the same; that PE is just part of the dance curriculum so that's why PE teachers teach it, or Drama is in the English curriculum so that's why the English teachers teach Drama. And the curriculum isn't changing!

We then started asking questions like, why is Dance just on the PE Curriculum, or why is Drama just in the English curriculum?
Why is it that the Arts is deemed a lesser subject?
Why is the Arts something schools suggest pupils do if they can't do anything else?
Why is it deemed more intelligent to use your mind, as opposed to working with your body?

My professional inquiry has changed because of this Skype session.

I am now really interested why the arts don't have a more specialist curriculum.

Music has it's own. Now, it is extensive, involving many things from playing instruments, learning about sheet music, and sight reading through to what everything means on a musical score, and then also the history of music! But there wasn't when I was in school, a specialised section for performing music through vocals.

I aim to explore now the stigma's around being a dancer/singer. Why is it that people think performers are not "clever"..?

I aim to explore performing arts in the secondary curriculum, why it is not as specialised, or compulsory, but also research the battles performers face. 

I assume for a male of a young age it must take a fair amount of courage for them to come out and say they would like to do ballet, or musicals or something in the arts.
Does this impact males in the government when they are looking at the arts in secondary education? (I secretly hope Michael Gove is a closet ballerina).

I also want to explore why the strength performers have, whether it is dancers, vocalists, musical theatre, are deemed less intelligible.

I challenge the Department for Education to be able to do 2 hours of ballet, a 1 hour choral class including sight reading and harmonies, then a 2 minute monologue, followed by an hour and a half jazz, then a solo vocal performance...
Because that's what I had to do as a teenager, in one day, for my audition just to get in to theatre school.

I may be a bit uneducated currently on the above, but aim to change that, however I fear dfe will never know the strength, education or knowledge performers have.

Module 2. Worker-researcher/Inside researcher

Can you ‘theorise’ your own worker-researcher position? How do you ‘fit in’ within your organisation(s)?

Because I am working full time for a council in a call centre, it not the ideal setting for this inquiry. Fortunately, I have several people interested in my line of inquiry, who I have liaised with on the audition circuit.
I also have a friend who is a drama teacher in a secondary school, another friend working as an RAD accredited teacher in a secondary school/dance teacher in dance school, and people on this course interested in my research.
I choreograph for an ametuer dramatics society and perform regularly in a local theatre and have contacts there regarding what they would look for on a CV when casting shows/positions in theatre or commitee.
I feel a bit like I am spread over lots of different areas of work, but actually this is why my line of inquiry has lead me to what I am researching.

How does this position as an insider-researcher’ affect the way your think in terms of the questions you are asking?

 

I absolutely think that because of the paths I chose; dancing growing up, GCSE Dance and Drama, A-Level Performance Studies and National Diploma in Professional Musical Theatre, have affected how I look at my inquiry. My main argument is that I should (and could!) be able to do a PGCE based on the qualifications I already have/experience I have.

My Level 6 National Diploma in Professional Musical Theatre which I gained through Trinity College London is the same NVQ level as a degree. Someone, somewhere feels that this diploma we worked for, 8:30-5, Monday to Friday for 3 years, is not good enough by equivalent to be used for a PGCE. Because I am one of the people who has the diploma and not the degree, this certainly sways my opinion. I wonder what people with just the degree would think.

 

Can you find sources within your organisation, such as company policy papers or job descriptions that clarify how your relationship to the organisation will affect your inquiry?

 

I have been researching this week and already found several job descriptions which have really interested me. Uni lecturers actually sometimes require less qualifications than a secondary school teacher strangely enough. I am going to ideally get in touch with these people to find out their opinions, within their organisation, on this.

I have to research more in to policy papers. I am hoping I will see, in black and white, exactly why a diploma won't count for a PGCE in the arts... I will still contest it obviously, but it would be ideal to see the reasoning!

 

I mentioned above, how I know I am biased because "I am one of the people who has the diploma and not the degree", but I know I am not alone with this.

Module 2. Inquiry Question(s) and Award Title

What is your inquiry question(s)? What do you want to find out about a particular topic?

 

I am not 100% on the wording of this to be totally honest, but I would like my inquiry question to be something like;

 

"Why does a professional performer with a National Diploma in Musical Theatre, need to have a degree before secondary teacher training in The Arts?"

 

Mainly I would like to establish the answer to that question, but I understand I will have lots of different enquries to make whilst finding out the answer.

I am interested in becoming a teacher in secondary school. Ideally I would like to teach Performing Arts at GCSE or BTEC level.
I took GCSE Dance and Drama, and I have more experience or training than the teachers who taught me these subjects then. No disresepect to them, it was just a PE teacher also doing the Dance subject, and an English teacher doing Drama.

I also took A-Level Performance Studies in 6th Form. This was far more theoretical and taught by the Drama teacher from GCSE Level, and a Music teacher. The music teacher did have music qualifications. He could play piano, but as far as singing went, he did not know about the voice.

There was no practical to this subject, so I would ideally would rather teach Performing Arts where I am most skilled.

I have also looked in to schools like The Brit School or Sylvia Young, where they are shaping their students for Musical Theatre colleges. It is still the same situation. BTECs are the qualification the children work towards and again, someone like me, who went to a MT college, still needs the degree to teach these children, despite them wanting to obtain a National Diploma!

I think my award title should be "BA Hons Professional Practice in Performing Arts and Education"

 

As I want to be working in a government sponsored secondary educational environment I feel this is appropriate.
I think that with my topic and how it is exploring someone with my experience looking in to education but also representing my knowledge and understanding in Performing Arts and Musical Theatre, I feel this title is suitable.

 

Module 2. Research - "Reflect upon these in your blogs and private diaries"

What were some of the points in the reading that you will use to develop your topic?

 

I found Eraut's theories interesting. Eraut states he uses different types of knowledge in his professional work: Propositional, personal and process. I wanted to explore this in more detail.

 

Eraut states propositional knowledge emerges out of professional action and defines the knowledge base of the profession in terms of discipline based knowledge and concepts.
Personal knowledge is acquired through social interaction and undertaking tasks, - the kind of knowledge that emerges from experience; inchoate in professional context.
Process knowledge is understanding how to undertake the processes and contribute to professional action. (1)

 

With reference to the line of inquiry I am researching, I would certainly refer to Erauts theories as methods I use in my research. I have concrete facts I have to consider with my inquiry. No way can a professional performer, obtain a PGCE with their national diploma. I have to consider this while researching exactly WHY the government won't accept this.

 

With regards to personal knowledge, for my line of inquiry, I want to set up doodlepolls and ask questions and research what people in similar situations to me feel. I already have a handful of friends who would like more clarity on this. I'm sure with their opinions, and the help of some strangers I will have a broad set of opinions to put forward when I approach governing bodies regarding PGCE's.

 

With the propositional knowledge, based on factual research, and personal knowledge based on my own research, I need to look in to whether my inquiry will evenly explore professional, practical and acedmic knowledge, to ensure equal vocational experience.

 

I want to explore what the differences are between a qualified performer, and a qualified dance teacher in an academic setting. Why there are so many differences between the two, and could this ever be improved so professional performers have a easier way of obtaining a teaching qualification?

 

From my original research of Schon in Module 1 with his method of loop learning;  "states of appreciation, action, and re-appreciation", I am now interesting in Eraut (1994) arguing that Schon "does not have a simple coherent view of reflection but set of overlapping attributes. He selects whichever subset of attributes best suits the situation under discussion". (2)

 

Is this something we all do? Do we ever argue every aspect, or just base our research on what we want?

 

"'Creativity is a function of intelligence"' (3)

 

1. British Journal of Educational Psychology  (2000), 70, 113–136 
2. Eraut (1994) p. 145

3. Robinson, Professor Sir Kenneth, All our Futures, 2003

Module 2. Task 4 continued.

Do you work within a disciplinary context in the arts? Or is your situation more transdisciplinary?

I found this question interesting to explore. I am a musical theatre performer. I sing, dance and act, with experience in musicals, concerts, radio performances, music videos and uni projects.
I would describe my subject as disciplinary. I most of the time follow a script, or a music score, or a choreographer or directors direction. Since I started Ballet at the age of 3, I have always found dance and the arts a strong discipline and would say that from a performers side of things it is less transdisciplinary.
I do also work as a choreographer though and this is more transdisciplinary. You as a choreographer are the brains behind the logistics in a performance. Obviously the artists have a huge resposbility of how they perform the peice, but it is the choreographer who puts it all together.

What do you know? / How do you know it?

I feel these questions are very similar to the below, so will answer those in detail.

 

Make a brief list of your competences and capabilities.

With more than 18 years of dance training (RAD Ballet and ISTD Tap, Jazz and Modern), GCSE Drama and Dance and a Level 6 National Diploma in Professional Musical Theatre, my knowledge is extensive. I have impeccible timing, accurate timing and emotion in everything I do.
I am passionate about Dance, Singing, Musical Theatre and Music.

I love watching shows, seeing live music and/or dance. This year alone I have seen Once, Made in Dagenham and Jersey Boys on the West End, I have seen a local theatre group performing the play Flamingoland and I have tickets for ameteur productions of Witches of Eastwick and Hairspray, both on in April. I also have music gig tickets already booked for the summer. Last year I saw over 15 gigs of rock/indie music...(and the less rock, more pop Pentatonix!)

I think my level of experience combined with my passion to work hard consistently and widen my knowledge enables me to perform and choreograph well and gives me an edge when looking in to teaching performing arts or musical theatre.

What knowledge and skills do you think you will need for the future?
Leading on from what I previously stated, I am looking in to teaching. Whilst there is ISTD or RAD teaching, there is only one dance school local to me that does this, and they have been fairly useless in contacting me regarding anything. After 2 years of trying to get something sorted with them, I decided to look in to different styles of teaching.
A friend of mine is an RAD Ballet teacher, working in an acredited secondary school. This for me is really impressive. She has the qualifications of a dance teacher but is also being able to teach in an academic situtation. I think there would be a lot of dance teachers out there who would love an opportunity like this.
For me, I need to improve my knowledge in the teaching and education sector. As I am looking int o secondary school teaching, I will have to have to obtain a PGCE. To be accepted on to a PGCE course, I will need experience in schools and have a broader knowledge of education as oppose to performing.
I still find it frustrating that people in my situation, with the level of experience and knowledge in the arts, have to obtain a degree before obtaining a PGCE where as people who may be a PE teacher, can end up teaching GCSE Dance.
Topics like that are what I need to explore in more detail so I have a more refined view of the teaching sector and the differences between secondary teaching of the arts, and performing the arts.

Module 2. Are there any ideas from Work Based or Organisational knowledge theories of learning that could be used to understand your own professional enquiry?

Reading through the material of Module 2, what stuck out for me was "The ultimate goal of the inquiry will be to explore a topic that will benefit your work and the work of colleagues and fellow professionals, including any work organisations with whom you are affiliated"

 

 

Looking back at my mind map I did last week as a starting point, I have been researching in to why, someone like myself, with 18+ years dance training in RAD and ISTD, a Level 6 National Diploma in Professional Musical Theatre, and the opportunity to qualify as a dance teacher in ISTD and complete courses for singing teaching, has to have a degree, to be able to do a PGCE before qualifying as a Perfoming Arts/Dance or Drama teacher in secondary school?

I fully understand having to obtain a PGCE, as teaching in education is totally different to a ballet class or choregraphy for example, however I am wanting to explore why a national diploma, what so many performers have, is not suitable, especially when their level of talent and knowledge, is on such a high level following their training.

There are so many questions that need exploring/answering.

For example, Physical Education teachers sometimes have to teach Dance, or English teachers may have to teach Drama, but I want to look at why the arts aren't always more specialised.
If teachers with English degrees can teach Drama, why can't professionally trained musical theatre performers teach performing arts?
Recently there has been a lot of discussion about the need for the arts to even be an educational subject, so of course there is a lot to discuss.

Are there any ideas from Work Based or Organisational knowledge theories of learning that could be used to understand your own professional enquiry?

Looking back in to Kolbs learning cycle, I will benefit from this theory of WBL.

It is a good starting point to look at my original inquiry thoughts.

 

Concrete Experience: I am currently studying for a degree to be able to do a PGCE to then become a secondary school teacher. I have the passion for my chosen teaching subject of Musical Theatre/Performing Arts, as I have been training in Dance since the age of 3, I have the training because I obtained a Level 6 National Diploma through a 3 year course at Liverpool Theatre School and I have the professional experience since graduating in 2009 and being in the industry working and auditioning.

 

Reflective Observation: What do I think of the above experiences. In a nutshell I loved it. I still have a lot I can learn about the industry, but my knowledge in Musical Theatre, or singing or dancing alone, is greater than a lot of people who get an English degree and end up teaching Drama because they have to, for example.

I have a Diploma, I have several Distinctions in Dance exams, I have applied myself and observed others in my situation and feel upon reflection I have applied myself well and feel confident I could teach, given the chance to go straight to PGCE training.

 

Abstract Concepualisation: I find myself less of an analytical, theoretical worker. I often find myself consumed by my feelings and thoughts as opposed to logic and fact. I think my main cause for this route of inquiry is that I am after already a lot of training and work, now have to apply myself to a degree, because educational and government boards see fit that I do. Factually I have obtain a degree before I can teach in schools. What I really want to explore is why?

 

Active Experimentation: With work based learning I am interested in working round this cycle from the point of view of a qualified Performing Arts teacher.

I already know someone who is a PE teacher, also doing dance. Is this benefical to those who want to become dancers? No. Having someone who has read the neccessary curriculum, teaching dance to teenagers is not how school should be. Would they have a German teacher, look over the French curriculim and blag their way through it? No. Why is the arts deemed less inteligable?

 

Already my original thoughts of "Why do I need a degree to do a PGCE" are changing in to "Why do the arts have a lesser reputation to other subjects" - Or something like that.

 

I have read articles recently that suggest that involvement in the arts is associated with gains in math, reading, cognitive ability and vebal skill.

Yet when articles like this "Drama schools are a waste of money" exist, no wonder people have a negative view.

 

I was fortunate enough to obtain a DADA in to Liverpool Theatre School, but not everyone is as fortunate.

Why are Trinity College London credited courses so expensive and not government funded?

 

 

 

I feel I have opened a can of worms for myself here, but it is exciting and a lot to explore. Going back to my introduction of this post "The ultimate goal of the inquiry will be to explore a topic that will benefit your work and the work of colleagues and fellow professionals, including any work organisations with whom you are affiliated", I know all these questions I am asking are beneficial not just to me, but a whole host of people.

 

Exploring my inquiry

My mind is regularly changing from what I want my Professional Inquiry to be.

I have so many areas I have discussed through Module 1, I am trying to explore certain areas in more detail.

I have started with a mind map, in a bid to clarify which area's open up more questions and which ones are already fairly self explanatory.

I have emailed Adesola for some advice on this. Hopefully it will become clearer as I look into these chosen areas in more detail.

Module 2...

Well, after a couple of weeks off, I have just had a read through the material provided for Module 2.

I feel a bit scared and at a loss where to start...but then I felt like that at the start of Module 1 so hopefully it will all work out!

I am still fairly sure of where I want my Professional Inquiry to go, however it has adapted slightly since September.

I have a few exciting job prospects on the horizon so fingers crossed for me please!

Hope you all had a great Christmas and 2015 has started off wonderfully for you all!

Right then Module 2... Bring it on!

Task 3a. Current Networks

Just yesterday I had an audition for a cruise ship singer. The way I found out about the audition was through Talent Cast. (Career development and job website for the UK performing arts industry). I also got an email from Singerspro to apply for an audition. From there, I was speaking on Facebook to a friend who was currently with the cruise line about what they like/dislike, good song choices, image etc. I then, whilst at the audition added one girl I met on Twitter because we had a lot of common interests, and it's always good to keep connected to people who are going through a similar process.
That to me was a normal day, however looking back, it is interesting to see just how many different tools I used to connect me within my performing career.

Last week I decided to set up a doodlepoll to ask my friends, colleagues, ex Liverpool Theatre School students etc, on what they used in this day in age and help assist my blog when researching current networks. The results didn't particularly surprise me.

I asked 20 people in total 5 different questions. Some of the questions had answers to select, but there was also the ability for each individual to write their own comments.

17 people selected they used email as their main way of networking. 4 people in the comments were a little more specific. An ex colleague typed that she has a hotmail account for personal use but uses gmail syced to her computer and tablet for work. She is based within an IT company and spends a lot of her time working from home connecting to people from her own computer.
Two other people typed "gmail". I had never used gmail until I got my samsung phone. It requests you to sign up, however I barely use it other than for this blog/signing in to YouTube.
The comment that interested me most was that a friend of mine clicked email, however then elaborated in the comments. She stated that she barely sends or receives emails or even checks her inbox regarding her work/performing/auditions etc. She stated when she signed up to facebook, twitter, instagram and any internet shopping style website, she HAD to use her email address. So whilst she doesn't directly use emails a lot, she has to have it to use any other website.

Another question I asked within the doodlepoll was "What would your ideal network look like and why?"
Most people clicked that they were happy to use separate sites for separate purposes. One girl wrote "I would hate for my twitter and facebook to be connected. I use twitter for retweeting funny things, jokes, reposting vines, and commenting on TV programmes/films etc, and do this all without having my real name on show. The account is connect to my email address but I took the search off so even if people tried to find me based on my email, they couldn't. I use facebook and instagram connected, and do use these to connect with industry professionals, but twitter is a bit of fun for me".
Wheras another friend commented "I don't mind using all different websites, because most of them can all be connected in some way. You can share timehop on facebook and twitter, pinterest is also able to be shared on other websites, all these mainstream websites have the ability to create widgets (wikipedia - widgets) to use on blogs and websites, I don't really mind how I network at the minute at all".

Someone did say they wished facebook and twitter could be combined however to me, this doesn't make sense. 140 character status updates from twitter, along with facebook, the social networking site that enables you to put every life detail on if you wish, I don't think the two are similar, so don't see the point.

It's fairly straight forward to use different websites if you so wish. I don't know anyone without a smart phone anymore...Even my technophobe parents.

Nowadays, with computers/laptops, tablets, phones, you can access your networks anywhere. If every McDonalds and Starbucks has free wifi, and you have a smart phone, you can network near enough anywhere in the world.

I did put on the doodlepoll about face to face interaction, and all people selected it as a way they communicate, however no one mentioned it again in any of the comments, and I haven't in the above post.

The Huffington Post - Certain Things Are Better in Person - An interesting read on how face to face communication seems to be a lost art. He is talking from a business point of view but I feel it in everyday life. The amount of times I go out for a meal, with interesting people, yet find that all of us at some point are consumed by messaging someone else, or showing something we saw on our phone earlier that day. Has technology ruined our ability to communicate face to face?

My best friend Ted is a "traveller". I say that in quotes because he is currently a primary school teacher, but he spent last year in South America, he has lived in the UK, Australia, and will be flying in to Chile in July to continue travelling. I remember earlier this year he told me that in social situations, he vows not to check his phone. He turns it off, and doesn't check it again until he has left the persons company. Granted not every time, but I think it is a great way to live. (Here is a link to his blog Like A Backpacker)

This brings up many different questions. I got the above question Has technology ruined our ability to communicate face to face? from that link <
I would quote the article on here if I could, I urge you to read it. One key point - "You cannot fully realize the strength of that emotion through the click-clack of keys."

Considering the ethical concerns for networking in the workplace, a point I have mentioned before on my blog comes up again, internet safety. This doesn't just mean, don't let children see porn. For example, I currently work in a contact centre for a county council.
We have a system within the council for all staff members call Lync. It is similar to MSN/Windows Live messenger. You can instant message other colleagues and from there chat, use emoticons and have group conversations.
Recently a staff member was sacked after an investigation of Lync use proved her to be discriminatory regarding another staff member. In this instance, face to face interaction (with the other member of staff she was chatting too) would have saved her her job.

We are not allowed to use our phones in the office when on calls (sounds obvious, but people do try) and also not allowed to use the internet for purposes other than work, unless on a break.
Managing the Workplace Ethics of Social Media ..."as with all business topics, a company can successfully manage its own and its employees’ personal use of it by employing a common framework applied to most other ethics and compliance topics, albeit with some modifications specific to social media"
Our contracts have recently been changed in my company to ensure people know the consequences of misuse of company resources.

Whilst there a risks in every day life when networking and using social media, I think now in 2014, we are at an ok stage where companies, and websites are adapting everyday to make these websites and apps as safe, accessible and risk free as possible.

Task 2d. Inquiry

Sorry for the delay since my last post. I have been sunning myself in Florida, after a weeks tour of the sunshine state!

I have thoroughly enjoyed the thoughts I developed through this inquiry. Whilst I am a performer, and somewhat extrovert, I do love my own company, my own thoughts and alone time.

Thinking about my own personal reflection, and what gets my 'mojo' going, depends on what's in store for that day/week/month. One thing it always comes down to though, is singing.

I am a trained musical theatre performer, however many of the people I admire, or in some cases idolise are in different professions.

Theatrically, Sutton Foster is an inspiration. She is of a similar vocal range to mine so I often fine clips of her singing songs I am looking in to performing or auditioning with. She is a strong dancer, with tap and a great actress. She has been used many times in premiere Broadway performances or revivals and overall is a strong successful Musical Theatre performer. She has the Tony awards to prove it. A personal favourite performance on youtube is this: Sutton Foster - Thoroughly Modern Millie

Last week, I saw one of my favourite bands final ever performance, as they are ending their career as "Anberlin". They will all continue personal projects but as a band, and 12 years on from their first song release, they are quitting while they're ahead. This band was the soundtrack to my teen years. I had to see them one final time, even if it meant flying to Florida.

I am very passionate about music. My idol is Ben Gibbard, frontman of Death Cab for Cutie (and The Postal Service, All Time Quarterback). It is literally top of my bucketlist to see him perform live. I nearly had chance to last year on 2 seperate occasions, but couldn't afford to fly back from New Zealand for it. Death Cab for Cutie - He's a lyrical genius (and bonafide hottie.) Through some of my personal lowest points in life, music is what's got me through.
Don't get me wrong though,  some of the happiest points in my life have been because i've been the one singing!

On a day to day basis I listen to music, whether its walking to work or back, or in the shower. I get a buzz off it, and can't remember the last time I went a day without it! It just makes me happy. Another thing I do near enough daily is youtube/vine. Vine is hilarious and youtube is just heaven! I regularly watch short funny clips on vine and can often be found in glorious corners of youtube stalking the likes of Natalie Weiss for musical gems (Royals with Tap!).
Something I notice a lot of on these sites, is "haters". Whether they are criticising the vocals, the look, the length of the bleedin video, they always seem to find something to bitch about. I imagine most of these people are brave behind the screen but wouldn't dare tell someone they were fat to their face.

 

I have mentioned both of these types of the above before. Firstly internet safety, the fact that I can see Miranda sings has a &^%*&^*& on youtube outwardly for anyone to read worries me! Also, the fact that people are so willing to slate other people.

The world needs to change. Sadly, it won't.

 

The "musical theatre" world seems a lot more forgiving than the "pop" world. If someone hit's a bad note, you may get the odd "sharp!" comment, or you'll get the odd "she had been ill all week before this performance, lay off her!!!" - but generally, you get people complimenting another artists work where deserved.

This video is of me and Victoria, from our 3rd year showcase at Liverpool Theatre School back in 2009. 25k+ views on youtube and nothing but sweet comments What Kind of Girl is She [title of show]

Go to a video of Ariana Grande, and some people say she can't sing, some people think she's too skinny and the others are just chatting nonsense because they feel brave. When actually, she's a pretty, awesome singer. I wish I could hit them whistle notes!

 

I feel quite passionately on how people are so quick and easy to slate another human being, yet compliments seem few and far between.

 

I currently feel very out of shape. I am the largest I've ever been, now a size 11/12, and feel totally unhealthy. I am battling with myself not to do a show I've had the opportunity to feature in, which is a 2 hours, twice a week rehearsal period for 6 months, to instead focus that time on going the gym. It sounds crazy to my friends but I just feel horrendous! I would like to be a size 10 again, so not a huge ask but I am busy with uni, an evening Maths course at local college, working 38 hours a week AND trying to squeeze in auditions where possible. I feel too large for show business, and something needs to change.

I'm still trying to work out if this is all my own feelings, or because of the industry, I feel more pressured. Either way, I think it only fair to myself, to be the best possible version of me that I can be.

 

My nephew Charlie was diagnosed with cancer earlier this year. He is 10 years old.

Thankfully, he is now in remission, but my goodness I had never felt feelings like it. This year, his Christmas list to Santa asked for some lego toy and that Santa definitely visits those on his old ward at Birmingham Children's Hospital with presents. - I think we can all learn from Charlie.

Be kind to people!

Task 2c. Reflective Theory

The communication technologies I use in my profession are used daily. Being a choreographer, I have to document my work down, in order to relay it back to the performers I teach it too, I may record myself doing it, and assign the video to Dropbox for them to go back and watch. I regularly post on Facebook to keep people motivated and to ensure they don't have any questions for me or if they do, they feel they can approach me. Web 2.0 is within my work and as I reflect back on my work, my profession, I feel that I have been using reflective practice for many years.

Looking at David Walker Journals, it's clear to see that his method of working is by documenting on a regular basis. By writing down your daily or weekly events, it aids reflection. By being able to look back on your work can clarify experiences and you can capture data for later use in your practice and use it to extend your work and as a way of growing.
As a choreographer, I feel this is an incredibly useful way of learning. Whilst choreographers have every intention of being unique, fresh, individual, they will reuse work, movement, ideas that they have done before. Whether it is in a documented journal form, or in video form, choreographers regularly rethink previous routines and moves to use again and again in their work.

As Schön says, "The reflective practitioner 're-frames problems' to create a reflective conversation in which practice 'talks back'. In this reflective conversation, the practitioner's effort to solve the reframed problems yield new discoveries which call for new reflection-in-action. The process spirals through stages appreciation, action, and re-appreciation. The unique and uncertain situation comes to be understood through the attempt to change it, and changed through the attempt to understand it." (Schön 1983: 132).

Choreographers are often going through states of appreciation, action, and re-appreciation. It's how they can create a piece of work they are proud of, that works with staging and lighting, and through this constant change, they discover different and new formats of choreography. I have often intended something completely different to how it looks when I have people performing it (not just me doing it in my lounge envisaging it with 12 people!) The end result actually had a totally different yet more impressive outcome.

Kolb's learning cycle:

I feel I start at abstract conceptualisation. Reading into the cycle, from a choreographers point of view, I am very much someone who acts on something, then develops the piece of work, then deliberates how that now influences any further movement in the routine, to having something in concrete and being able to reflect upon that.

Looking on the internet, not everyone is certain Kolb's learning cycle is relevant.
Reading a blog by Steve Wheeler on the internet he states "...many still continue to refer to Kolb's model as an important model of learning. This is questionable. One view is that the experiential learning model is increasingly irrelevant in an age where social media, and social learning are increasingly prevalent. It is worth revisiting Kolb's model to explore its criticisms and weaknesses"

(http://steve-wheeler.blogspot.co.uk/2012/06/recycling-kolb.html)

It is interesting how he mentions this now being an age of social media and social learning at it's peak. I am 26 years old, and feel for most of my life I have been an in age of social media and social learning prevalence.

I am wanting to go in to teaching of Dance and Performing Arts. I feel reflective practice is essential for such a job. With extensive preparation, and not knowing exactly what lies ahead in forms of students and their behavior in each class, you have to have be able to think on your feet whilst having work prepared.
I recently read this "reflective teaching requires that public theories are translated into personal ones and vice versa unless teachers are going to allow themselves to be turned into low level operatives" (Griffiths and Tann 1991: 100)
It is interesting that actually, as a teacher, you may have to research and teach something you may not fully believe in, or have argument against. This is where Kolb's learning cycle, in my opinion, is vital. You want to be able to, in such a clock wise fashion, explore the rights/wrongs/pro's/cons in everything you do whilst enabling the students to speak freely with their own opinions.

Taken from Dani's blog, on this course, she stated "I believe that, as dancers and performers, our backgrounds impact on the way we reflect and therefore learn. I think that, without most of us realising it, we are utilising Schon's theory of Reflection-In-Action most of the time: when training we learn and remember the steps to a routine by doing them, when performing we correct our positioning, allow for variations in the staging and react to the music..."

(http://danitougher.blogspot.co.uk/2014/10/task-2c-critical-reflection-on.html)

The research and knowledge I have gained from this task has been excellent for my development in Professional Practice. I am somewhat in agreeance with Steve Wheeler whose blog I quoted above, that whilst there are so many methods and tables and theories, we are now in an age of social media and digital learning, that we need to explore far more different ways of learning.
Not only are we able to keep journals, we can keep blogs, photo and video accounts to present our work to others.
Future developments aid the professional practice in this day in age just as much as past methods.

Task 2b - Reflective Writing

Based on the piece of writing I used in Task 2a, I am going to reevaluate that in several different forms. I have typed up the peice, so it is easier to read.

I think I generally had this in the descriptive form.
Elaborating in different forms for this particular piece will be easy as it was quite a memorable day.

Initial Reflection:
An overall personal mood was enthused and excitable were the general emotions, with a mixture of tiredness towards the end. I think the initial reflection and description were both interpreted with my original journal entry.

List:
People - Cast of Annie
              15 man band + instruments,
              Children,
              Chaperones,
              Dog
Big events -
               Hearing the band for the first time,
               First time rehearsing on stage,
               First time in costume
Feelings - 
               Hearing the band for the first time, elated.
               Costumes on for the first time, excited, surprised
Food -    Cake,
             

Evaluation:
Overall the tech run and dress rehearsals were a great success. It is always difficult for the first time getting costumes, having microphones, the lights on you etc and it does give you a buzz like no other, but once it is all in place, and you warm up into it, within minutes you wouldn't have it any other way. After a 6 month build up to a performance it's expected to feel slightly nervous but because it's so structured and well prepared, it works well.

Graph or chart:

 

 

What if:

If I had my way, i'd of been doing this show 15 years previous and i'd be playing Annie!



I always day dream when doing local theatre shows about what would happen if a big casting director was in the audience and next thing I know i've been snapped me up for a huge recurring role on Glee or something!
I always wonder what would happen if I forgot my lines. Would I panic on stage, or would I cover it well? I did do a show last year and I was extremely unwell, I shouldn't have gone on really, and I did just blank and stop dancing. I have been performing on stage since the age of 3 and it has only happened that one time. I hope it never happens again!

Another view:
From another cast member, seeing the day through their eyes, I can't imagine it would be too different. We were all excited and eager to get cracking on with everything so it would all be rather similar.
If one of my friends was witnessing the day who isn't part of the show, I think they would probably find it all a bit over the top. Band call, lunch in a huge group, theatre for make up and clothes, running through and picking out tiny little things to change...I could imagine it being all a bit strange to an "outsider".


Personally, upon reflection of writing in a journal, it was an unusual experience.
I found myself rambling, like I needed to fill the page. If anything, looking on the above post, and my writing throughout my journal, I much preferred the idea of lists or graphs. I do find myself to be organised and somewhat compulsive at times.

I write a TO DO list everyday and tick things off one by one. I often find myself writing on my calender everything to do, down to when to drink water or what time I need to go to sleep by based on my shift patterns at work.
Whilst my organisational skills are impeccable, it sometimes means free writing, or perhaps relaxing into a task a little more difficult.
Definitely something I can reflect and work on for future!  

Task 2a. Reflective Practice

I have found writing a journal slightly time consuming however also theraputic to a certain degree.

I much prefer typing and blogging but it is certainly interesting to pick up a pen and write about the days events