Friends

My inquiry is focused on learning styles of the performer - something that can be used for auditions to make us stronger and more confident in front of a panel. 

When looking at Hannah’s blog, and seeing her great points of what needs to be in a critical reflection, it confirmed to me my passion for my inquiry. 

Teaching children this term has benefited me as I can clearly see everyone is different in their learning styles. Some children need confirmation they are doing it well (by constantly asking you if they are doing it right!) whilst others like to watch and just try it when the music comes on. 

The results of my inquiry will benefit those who find choreography difficult to pick up.

I had a conversation with a friend, who froze in an audition last week. We spoke openly about how she felt auditions normally go, especially as she has been living in Paris for over 6 months, not attending any auditions she feels out of practice in picking up routines. When I positioned to her my inquiry she was interested in knowing her own style, but we spoke about how you can implement it it in an audition and the difficulty of this. This is something I aim to make part of my artefact, after knowing your style, how to use it. I was thinking of creating a video, does anyone have any thoughts on this? Is it best to produce a guide? Chapters on each style (VARK), success stories? 

Long Time

Hi all,

It's been a long time. I have been so busy - moving house, new job, complications with moving house!
Not to mention THE CLOSING CEREMONY with Darcey Bussell!

I feel like I'm only just sorted.

I am teaching ballet, tap and jazz on a weekly basis now and this has influenced my enquiry.

I am looking into learning styles of choreography (mainly in an audition) and after trying out the VARK technique's in normal class it is clear people have different ways of learning.
Incorporating these learns would have been great in module 2, but something I can hopefully use now.

I aim to update my blog every 4 days. Let's see if I can keep this up!

Critical Reflection on Professional Practitioner Inquiry

My line of inquiry focuses on learning styles in the performing arts industry. I began this journey by asking myself some questions for ideas to undertake my inquiry, which I posted on my blog.

It was clear to me I wanted to understand knowledge, confidence and the performer, which when I wrote a mind map (Appendix B) focused on learning styles. I spent some time discussing with people in my professional network what they would find useful, and came to the conclusion knowing about their own learning style in order to help them with audition technique. On reflection, at this point I would have liked to have created a SIG with those I had discussed my inquiry questions with, instead of joining other peoples’ as I feel I would have had more to discuss. 

I really enjoyed researching theories that I could use for my study. I looked back at module 1 and found Kolb’s learning cycle. I also found on my blog VAK learning which Hannah had recommended to me. After researching the two theories I decided these were the theories I would like to concentrate on as I felt I could relate these to industry.

Going to the campus session at Trent Park and discussing with Rosemary and other students about research really made it clear which methods I would like to use. (Appendix D) I hadn’t thought of all the disadvantages each method could have, which our SIG explored. 

We also touched on ethics where I listed my perceived ideas of it on my blog. I then used the module handbook to relate key items mentioned to my enquiry. This was really helpful as I hadn’t considered topics such as protecting my data before. 

After taking this all into consideration I chose to pilot a questionnaire asking participants which were their preferred learning styles, but quickly realised after speaking to another student that without experiencing each style, how could the participants know which style worked best for them? Therefore I decided as part of my study I would like to compare the perception each participant thought their style was with what actually worked for them in an audition style observation. 

I therefore conducted a small scale observation looking into Fleming’s VARK theory and also asked each participant to take the official VARK questionnaire a week before, and at the start of our session.I asked them to do this twice to validate their preferred learning style. I took this idea from Cunliffe (2011) who I analysed as part of my inquiry plan.  I asked my participants for feedback of how the afternoon could have been improved. It was interesting to hear their ideas as I hadn’t realised how powerful a brief to participants can be. I researched how to give a high quality brief and found a helpful checklist which I used to rework my own brief. 

I am looking forward to continuing with this inquiry process, and hope to create a valid study that other performers can use to improve themselves. 

Appendix B:

Observation feedback

After undertaking a smaller group pilot observation I asked the 5 participants to give me feedback:
I will pick out helpful sentences.

Did you enjoy yourselves?
'Yes, the music was great.'
'I liked how there was no pressure when we were dancing in 2's to get it right.'

Did you understand what I was asking you to do?
'Mostly, I was a bit confused transitioning between each routine.'
'It was really different to anything I've done, so I was a bit pessimistic'

'Is there anything that you didn't understand or want to do?'
'Why we did the questionnaire twice...'

Was the length of time ok?

'No need to do a cool down for 15mins - maybe just let each individual do a cool down'

'Was challenging learning 3 counts of 8 in 5 minutes when the learning style is difficult but it made it fun'

From this I can see I need to clarify some actions to my participants - like why I am asking them to fill in the questionnaire twice.  Maybe shorten the cool down to 10mins.

I will keep my music choices as people liked them. I feel I got a good balance between current songs and some older hits. For the cool down I put on some calming music and possibly let the participants lead it themselves. 

Briefing participants

When researching how to brief I found a very helpful checklist on the Pearson Education website.

Briefing checklist

I have written a brief using this checklist:

I shall say this to my participants before I undertake my observation.

Good morning, my name is Emma and I am a student at Middlesex University studying BA Hons in Professional Practice (Musical Theatre). I am currently looking into methods of learning in our industry and would like you to be open to the different ways I shall be teaching you today.

I shall teach you 4 lots of 3 counts of 8, each taught in a different way. My expectation of you is to embrace each way, even if you get completely lost! The aim is to find an optimum way of learning for you.

The session will last about an hour and 15.  Firstly I shall ask you to retake the questionnaire I sent you last week. Then we shall do a 15 minute warm up, then you will get 5 minutes to learn each routine and then I shall ask you to dance it in groups of 3. I shall also give you 15 minutes to cool down, to save injury. Can I ask if anyone has any injuries I should be aware of?

Don't worry, all of my findings will be kept confidential but if you do however wish to not have your data published in my study that is absolutely ok, just let me know. Likewise, if you feel uncomfortable today you are not obliged to do everything.

Cool, lets get started!



I have made sure I introduce myself and why I am doing my study. I have also stated what I expect of each individual and what I will do with my data. This falls inline with ethical guidelines.

Observation

I would like 20 participants in my observation to test VARK learning styles.

I shall collect quantitative data by finding how many people champion each of the V.A.R.K styles when learning 4 different pieces of choreography.

I shall do this by working out how many steps are in each piece of choreography I will teach. I shall then observe and count how many moves each participant gets and work out a percentage. 

         100                  x     moves picked up

possible moves

For example:

Possible moves in routine = 26

Moves participant 1 picked up = 17

100/26 x 17 = 65% 

I shall then compare these results to the participant's questionnaire results. In my pilot observation, the questionnaire and my findings matched 100%. 

Survey Monkey

So I have questionnaires that I have been writing out, however transferring this onto survey monkey is taking forever!

Survey Monkey is a great way to get more people involved in your inquiry as you don't have to hand them a piece of paper, they can partake when they would like. It will undoubtably make my number of participants increase therefore I will stick by it, but as I have never had to create an online survey before I am finding it quite challenging!

Is anyone else using survey monkey? Or any other survey site that they can recommend?

Olympics

So I had some brilliant news this week, I am going to be a pointe dancer in the closing ceremony of the Olympics in August!

I originally went to the open audition in February, where there were quite a few people who just did dance as a hobby and had never been to an audition before. I really felt like I had the upper hand, and I felt so much more confident than I normally would do in an open call.

They then asked me if I could do pointe work, and invited me to another audition later in the week at the same venue, with the same people running the audition. This gave me lots of confidence as I felt familiar in the space, and knowing the style of the choreographers.

Looking back and assessing the situation, this has made my decision clear for my enquiry about confidence and stakes.

I was so much happier being in a situation where I knew my surroundings, and it being familiar and this is what I would like to look at in my enquiry.

Bring on August! :D

Understanding ethics from the module handbook

Understanding ethics from the module handbook:

Plagiarism

Never copy anyone else’s work, must cite any references to give credit to researcher. 

Only ask when necessary

Only relevant questions to the inquiry. Must have a valid reason to ask.

Covert vs overt observation

Overt observation can cause the subject to change their behaviour - this can only be mended over time when the observer becomes ‘part of the furniture’. Is it ethical to watch people without their permission? 

Maintaining objectivity

It is easy to go off track and collect data that is unnecessary. Any leading questions can cause data to not be valid as it will then be subjective not objective. 

Reporting data

Must include all data, cannot pick and chose which data to use in order to keep with your trend.

Protecting data

Must keep data safe at all times, password protect your computer. Do not need to keep it after study.

Preventing harm

Should not affect anyone so much it impacts their quality of life or future.

Permission

Must have full permission from the subject, and from employer if at work. We should brief the subject and tell them they have the right to pull out if they want to.

I hadn’t really thought about security of data before. I do not have a secure password for my files, therefore that has been my first task of the day! It has been nice to have a refresher since my psychology a level which looked into these ethics. From my a level I found it most difficult to maintain objectivity, as of course, we each have our view of how the enquiry will turn out, therefore that will be something this time I shall look out for! 

5a - ethics

ethics |ˈeTHiks|

pluralnoun

1 [ usu. treated as pl. ] moral principles that govern a person's or group's behavior: Judeo-Christian ethics.

• the moral correctness of specified conduct: the ethics of euthanasia.

2 [ usu. treated as sing. ] the branch of knowledge that deals with moral principles.

I wanted to get a concrete definition of “ethics” and I love definition one. Moral principles are key to a good working life as you have a mutual understanding of key principles. This creates a healthy lifestyle which optimises employees. 

Ethics in the work place:

I think the following ethics apply to all work places, not only the performing industry:

1. Arrive punctually 
2. Look presentable and ready to work
3. Be approachable
4. Be prepared (bring appropriate tools for your trade with you)
5. Keep your senior updated if you cannot make it into work for any reason
6. Adhere to contract rules for booking holidays, appointments etc

To the performing industry I would redefine these by:

1. Arriving punctually - if you are late, not only does it affect your reputation, you could miss out on some vital choreography/harmonies, which will affect your performance.
2. Looking presentable and ready to work - our industry is all about image, and that is initially what ‘sells’ you. It is the first thing that a casting director sees and makes a judgement on, therefore, you need to keep up your presentation to keep up your look.
3. Be approachable - it is especially important taking direction and learning different styles to be open to feedback and taking it in a graceful way.
4. Be prepared - it’s important, especially in an audition, to be prepared and bring everything you need. For example, shoes - you could be asked to do any genre of dance - and without your tap shoes, this could ruin your chance!
5. Keep your senior up to date - if you are injured it is protocol to tell them so that they can re-block or prepare the understudy/swing. 

Campus Session

Today we had a small campus session with Rosemary to cover the basis of reader 6 and the final module 2 piece. It was really helpful to discuss in detail methods of investigation and asking about the 3000 words we have to write!!
I took some notes on my iPad (which might not make sense to you!) but thought I would post them if it could help anyone.

Any questions about it please comment and I'll try and answer asap!

campus session notes

My Award Title

Dancing and musical theatre have been a huge part of my life since the age of 3. It has always been my dream to have a long career on stage, and eventually teach within the arts. I trained solely for 3 years in MT at Urdang, and after looking at other peoples blogs and reading the comments, it seems the verdict is keep it simple and fairly broad. 

Therefore I would like to put forward:

BA (Hons) Professional Practice in Musical Theatre 

Very simple, and actually a no brainer for me!

Its been a while.....

So this term has been very difficult to try and balance work/auditions/uni.
I have a lot of hand written work which finding the time to type up has proven difficult.

I have various ideas to play on for my enquiry but the initial questions I asked myself were:

1) Do I have the correct qualifications to become a successful performer?

2) Do I even need qualifications to be in this industry? (Inspiration from talking to many auditionee's)

3) Does it matter where I train?

4) How do I change my reputation or build a reputation in the industry when I have a limited amount of contacts?

5) How do my actions in my day to day life affect me as a performer?

6) How does my performance level change with certain performers in class or auditions?

In module 1, I touched on confidence and knowledge, and how we relay this to various people in different scenarios, and this is something I feel I would like to take further.

Therefore in my next blog I will post my mind map of this topic.

Phew!!

So my critical reflection is handed in and I have to say it feels amazing!! I really enjoyed reflecting on the past term!
No rest for the wicked though and I'm already onto the 2nd module. Thought I would read through the readers on the train and I am very excited, it really reminds me of the best bits of my psychology a level! I enjoy collecting data and am reminiscing over covert and overt observation :) Here's to a good term ahead!!!

3D

3D - Critical Questions

I have read through these questions in the module handbook, and believe answering some of these will really get my head ready for writing my critical reflection! 

Here goes...

Do some very specific ideas emerge about your networking and sources? Does your engagement to date seem appropriate? Limited etc?

I didn’t realise until writing in my journal how unseparated my social and professional lives are. I check facebook (don’t judge me!) probably about 5 times a day (due to it being on my iPhone!) and constantly on there, there are jobs from ‘Dance Cast’, ‘Casting Now’ and ‘Debbie O’Brien’ advertising opportunities. Although, on one hand this is great, and before starting this course didn’t phase me at all, thinking about it now makes me ask the question; in this generation do we ever take time out from our busy professional lives? 

There are so many ways to access these sources with iPhones, Blackberry’s, computers etc that even though it is brilliant that I will never miss an opportunity, is it good for me to be constantly thinking about my career? 

I think to improve my professional network I should tweet and follow people in our industry a lot more, to gain a rapport with them and this will make me stand out and this would improve my engagement with people. I think I have quite a big network, however if I compared it to someone who has been in the industry for over ten years, it is tiny! However, this will only get bigger with experience!

To what extent do concepts and theories assist you in thinking about your professional networking in different ways? And do these different ways of thinking have some purpose for you?

The theory of affiliation has really made me think about the way I use my professional network. I thought for a while about O’Connor and Rosenblood’s concept of everyone having a preferred level of interaction, and thought about how I interact with various groups of people.

I came to the conclusion that I need to make more of an effort with my professional network. When it comes to my ‘downtime’ I use that time to spend with friends who aren’t really part of my preferred career choice, and maybe subconsciously, this is to get away from the stress of auditions etc! When maybe, to relieve that stress, I should talk about my worries to the people who will understand it. According to Crisp and Turner, I have this network to ‘provide me with a network of support that will help me when I am in need’ . This is definitely a way forward for me, as sometimes I can feel like I don’t spend enough time with my college friends, especially when they like to see each other very frequently, and this is probably down to my own desire to seek out affiliation. I am going to make a bigger effort to keep in contact with these people, most likely on my most important sources - facebook, twitter etc. 

Are you left thinking differently prior to this part of the module? And if so, how?

I didn’t realise how big my network would be until drawing a mind map of all the people I am connected with! It gave me a confidence boost knowing that I have all these professionals in my life, who I am in someway connected with. Be it a small connection, or large, it is still in some way part of how I am as a professional. I really took a lot of time over thinking about ‘Tit for Tat’ and cooperation by Axelrod, and it made me feel like I am a valued member of other peoples network. It is important to know the boundaries of helping someone and I am glad that this theory was part of the reader as I believe it is an important one. 

3C - sources of information

3C Sources of Information

My biggest sources of information are:

1. Google
2. Friends and word of mouth
3. Social sites
4. Notice Boards
5. Youtube

Google has changed the way that we research and learn in this day and age. I am lucky enough to remember (just!) life before the internet, and appreciate how easy it is to look something up now. When I was at primary school and had to create projects I had to take trips to the library to find the information I needed. It was time consuming and something that didn’t necessarily even come out with the desired knowledge. Now, I can look anything up, and even ask it questions! It’s great when you want to research directors and people who you are auditioning for, as you can get a feel for what they are looking for!

A real benefit to me on my iPhone and iPad is street view that google provides. It is amazing for finding buildings where auditions are, so no more worrying about if I’m going to get lost! 

Friends are an amazing source of information, as it gives you access to other peoples networks. A friend hears that another friend has an audition that would be perfect for you, and then you can take action when they tell you! Friends also have different experiences that they can share, and this is brilliant for learning. So, for example, a friend auditioned at college and said that they sang a Jason Robert-Brown song in front of our MD, which didn’t go down well. I was going to sing a JRB song too, and quickly changed my choice so that I didn’t make the same mistake. They can give you advice as they know you the best. It is a difficult source as well, as a lot can be gossip and isn’t 100% trustworthy!

I use facebook, casting call pro and other sites to keep up to date with auditions and whats is going on in the musical theatre industry. I particularly like ‘The Stage’ as not only has it got auditions, but it has advice and the latest news updates. It has everything that a performer needs, with access to blogs and even to ask a question for ‘John’ in his ‘Dear John’ section! In terms of networking, it now even has a dating section!! (Not something that appeals to me, but talk of being an extroverted networker!) On its forums, it even has links to other sites which may help you. 

On facebook and twitter I follow Debbie O’Brien, who casts Thriller, Starlight Express etc and she frequently posts when the lastest auditions are around. Unfortunately, at the moment, they only want male singers!!

When going to dance classes and the gym I check the notice board to see if there are any updates or opportunities. Often, there are model jobs, or cruise liner open calls, which is great to get audition experience! It makes my network completely open, and gives me the decision whether I want to go or not. It also gives me the opportunity to give back to my network. If I see something that would suit someone else, I am more than happy to pass on the details. This worked well for me and Nick, when he saw a panto audition for females, he passed on the audition times etc and when I saw a tap call for men, I put him forward!

Youtube is my last source of information which I believe changes how I work as a performer. It is hard to imagine what I would have done without it! I always check out the latest show online, and like to listen to soundtracks which I haven’t heard much about before. I think a good example of this is ‘Legally Blonde’. It was out on Broadway way before the West End, and when auditions came round for it, I had already watched pretty much the whole show, so knew a lot of the choreography! It also helped me so much at college with difficult, unknown music that we were expected to learn in a short amount of time. 

Some questions I would like to raise and would love to know your response, are; do you think youtube and the internet has affected our imagination and creativity? Having the tools to see someone else perform something, does it affect how we interpret our art form?

I will blog my opinion on this later, as I am interested to see how other people feel about this! 

To go back...

After speaking to Hannah on the phone, she directed me to Sarah Pearson's blog and told me to take the test that shows what kind of learner you are. Here is the link again:

which learner are you?

It turns out I am more of an audio learner! Which would make sense, as I am a very musical person. But I always just read the reader...and maybe I should try and listen to it! (It might save me reading it 5 times before I really understand it!)

It's something I would definitely recommend as you might be able to save yourself a lot of time!!

Thanks Hannah and Sarah!

3B, Networking Theories

Here is the link to google docs:

networking theories

This task look quite a while, but was very interesting to see how I fit in with all these theories!

3A, a networked professional

Networking, I believe is a key way to gain a good reputation and open doors to jobs which normally wouldn’t become available. Especially being a graduate it is vital I gain all the connections I can get as this will (hopefully!) give me a long lasting career.
I have been repeatedly told, whist training at Urdang, that it is vital you ‘‘network’’ with other performers, casting directors etc. We were told to always make an effort to socialise with those you are working with, be it at the pub or going to get a coffee in your rehearsal break.

A story that has stuck with me from training is about a visitor we had come to take us for a workshop. She was called Rosie and had done lots of performances with RSC. When we asked her how she got her audition she said she went to see a preview of one of their plays and hung around the pub after, where she knew they would celebrate the preview, and started a conversation with the director. The next day she sent a postcard to his contact details and he invited her to come along to a casting.
This for me is very brave, and I probably wouldn’t have the confidence to do this! I am an outgoing person, and love meeting new people, but I would be worried that they wouldn’t want to socialise with someone, who effectively is wanting a job!

I didn’t think I would have a big professional network, but thinking about it, I do! Just training at Urdang has made me have a huge network! Not only the students, but teachers and guests to the college. Friends who are starting to get high-end jobs are definitely people who are part of my professional network, even though they are just friends to me! I have friends who are in ‘Thriller’, ‘Ghost’ and other touring jobs and this is a good bonus, because if they need someone who matches my description, hopefully they would suggest me, or at least introduce me to the casting team.

The work from task 1 comes into this section alot, as web 2.0 has really influenced my professional network. ‘Casting Call Pro’,‘Spotlight’ and ‘The Stage’ are all platforms for networking. They each have forums which you can talk to others on, or look up various people you want to stay in contact with. These sites are purely professional and the image of you can stay that way!
Another way of creating a network is via social tools such as ‘facebook’. I have an account for facebook, but would like it to stay social and not professional as my profile has pictures from my day to day life which maybe a potential employer wouldn’t be too impressed with! (i.e night out on the town!) I think its important to have separate profiles as you can have the ‘downtime’ that is needed and can say what you want to your friends!

I also have a twitter account, which I use to follow directors and choreographers who I have worked with in the past, and ones I admire. I also follow ‘Debbie O’Brien’ who is a casting director to see where the latest auditions are. It is rare I tweet, and if I do, it is professionally, so I would say this is a tool I use to gain a stronger professional network. I tweeted ‘Nikolai Foster’ who directed ‘Songs for a New World’ at college when I was watching ‘Footloose’ which I knew he had directed. It turned out he was at the theatre so we met and caught up! This was a great way for him to remember me and get more links.

To conclude, I believe that web 2.0 has improved the way performers network but it never beats actually making those connections by face to face interactions!

2D

What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?
Music is a huge passion of mine, and it is definitely something that makes me enthusiastic. Everyday I have to listen to my iPod, and if I loose my headphones and have to travel it’s a nightmare. I have quite an active imagination, and when I am listening to my music, I always have a routine or something staged for that song! What really inspires me at the moment is the soundtrack to ‘Ghost’. I think the music is beautiful and I’m worried when I go to see it it’s going to be completely different to how I imagine it to be!
Someone who inspires me musically is Adele. Not only does her music inspire me, but she writes so much of it, you can really tell she means every word. I am quite a graceful dancer, so her music really suits my style of choreography.

What gets you angry or makes you sad? Who do you admire who shares your feelings or as found away to work around the sadness or anger?
Being a recent graduate and having a lot of opportunities whilst being at college, as teachers and students know your strengths to cast you for your ‘perfect’ roles it’s hard to come out into the real world and be turned down for auditions when you know you could play that role. It’s a mixture of anger, sadness and disappointment as it is easy to get frustrated with yourself. You have to be prepared for criticism and feedback, but when you receive none, and you just get a ‘no’ you have to take the responsibility to reflect for yourself, which is why I have loved journal writing. It is something that will become easier with time, when you learn more about yourself as a performer too.
I really admire Nick (who is also on the BAPP course!) and his perspective on auditions and how to not feel as angry with himself if you don’t get a recall etc. He doesn’t dwell on the audition, and learns from each experience by analysing the other performers in the audition, seeing how they dance and picking up hints to use for himself at the next audition he goes to. This helps keep a positive attitude when you get rejected!

What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?
From reading (and listening!) to my journals, I think it became clear that I love teaching and passing on advice.
The most recent project at the Garrick, was a difficult number, as not only did we have professional dancers but performers who had a basic level of dance training. Doing Fosse choreography is so intricate so having the patience to teach all the details was a challenge but the overall result just makes everything so worthwhile! The adrenaline of making, not only the audience but the performers, happy with ‘All That Jazz’ just makes me smile!
I admire an old dance teacher of mine called Carl Parris who helped with the recent Garrick project. He clearly has the same passion as me and has been teaching for years. He has experience in the West End and I aspire to be like him. He always has time for everyone and will give specific feedback to each person which means you can work on something for the next class or rehearsal. His energy is always so upbeat and its infectious, there’s a lot to learn from him!!

What do you feel you don’t understand? Who do you admire who does seem to understand it or who has found a way of making not understanding it interesting or beautiful, or has asked the same questions as you?
I don’t know if I do understand this or not, but I am not sure why I love dancing or why I chose to do it as a profession! Obviously it is something I cannot control and nothing beats the feeling I get when I perform and thats the reason why, but sometimes I feel crazy for going into such a competitive and insecure career! Contracts are so short, and the pay can not be lets say the best, but yet, it is such a competitive industry and it’s all for the love and passion of our profession.
This question is often raised when talking to out of work performers, and every time the same answer prevails; you can’t help what you love doing! So I accept just being crazy and just loving what I do!