Do some very specific ideas emerge about your networking and sources? Does your engagement to date seem appropriate? Limited? Focused? Planned? Unplanned?
In this part of the module we have looked at our Professional Networks and sources of information. I hadn't realised how many sources I draw upon, to gain knowledge and information. We use our sources of information on a day- to- day basis, which is sometimes planned, and sometimes unplanned. For example, speaking to a family member, or other dancers at classes or auditions isn't usually planned, and in the past, I hadn't consciously realised that they were a 'source' of information. Visiting specific websites such as Dancers Pro and Facebook, could be seen to be planned. The internet is obviously predominant in where I find information, but there are other sources such as publications and the media- via TV and radio, that I could explore further.
In regards to Professional Networking, on reflection my approach is definitely limited and I could engage further through joining additional social media sites such as Twitter and LinkedIn. Although I currently network with my work colleagues, I would like to attend some events that are specifically for networking and are relevant to my practice, which I am going to look into further.
Through reading other people's blogs, it seems that the range of networking you need to be involved in can vary between professions. As a dancer, you need to be extremely proactive in your Professional Networking.
Are your ideas, position or concerns shared by others within and/ or beyond your professional area of work?
As seen in my 'line of inquiry' blog post, I have gone into detail about some of my concerns. They include the mistreatment of dancers, dancers' safety, etc. I'm not sure yet whether my ideas and concerns are shared by others, but I'm hoping to understand other people's opinions surrounding these subjects by doing some further research on them.
Does sharing ideas and communicating with others shift your thinking, planning and practice?
Sharing ideas and communicating with others can definitely alter your thinking and practice, and further your knowledge. I found Sarah's comments surrounding the issue of dancers' pay interesting. Whilst living in Hong Kong, I was a freelance dancer. There was only a small 'pool' of Western dancers, so inevitably we became close friends as well as work colleagues. We were in direct 'competition' with each other, which could sometimes cause tension and sensitive issues to arise, such as why some dancers were agreeing to work for a low wage. As we were freelance, we needed all the work we could get and it was hard to get the balance right between not wanting to turn down any work, and not being taken advantage of and working for low pay. Some dancers accused others of 'lowering the market' by agreeing to low pay. In the end, we had to come together to discuss our opinions on the matter, and agree to a set 'price' that we would all stick to, depending on length of rehearsal time, number of performances etc. It was a sensitive situation, because ultimately we all needed to pay our rent! I'm not sure if what we agreed was adhered to, but by discussing the situation, and sharing our thoughts and opinions, I think we all ultimately benefitted.
As we have seen through using our blogs, sharing ideas has changed our thinking. For example, by sharing our Professional Networks and sources of information and then reading each others blogs, we are able to gain an understanding of which areas we could improve on, and ideas as to how we can become more engaged in our networking.
Does critical reflection help you to decide what really matters and the actions to take?
I think that critical reflection is something that almost comes naturally to dancers. After years of training and looking in mirrors, critiquing ourselves and thinking, did I look ok? Could I have performed better? My leg could have been higher. After a performance, I reflect on how I did, without even realising I'm doing it. During a year's contract in Portugal, our company manager would watch the show and take notes every night. We were constantly reflecting on whether we had taken our corrections into account and applied them to our performance.
As my journal is still in the early stages, I'm not sure yet if it will help me to decide what really matters. However, by reflecting on some recent events, it has got me thinking about my own actions, if they were the right ones to take, and how I should act in the future.
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?
Different concepts and theories assist me in thinking about my Professional Networking, to an extent. I am finding some easier to relate to my networking than others. For example, the theory of Connectivism. This draws upon various digital information sources and states that learners can create their own network, by connecting these sources. I can relate this to my own sources of information and can see that by using these various sources, and learning from them I am also networking.
Other concepts, such as Game Theory, I find harder to relate to Professional Networking, in particular, the Prisoner's Dilemma game. I'm sure that Cooperation is something we are all capable of, and we should utilise this and apply it to our professional practice, but I'm not really sure how to relate this, and how it will benefit me in my Professional Networking.
Are you left thinking differently prior to this part of the module? And if so, how?
I am left thinking differently prior to this part of the module, in many different ways. Before I began this part I wasn't even sure what Professional Networking was or even a line of inquiry. I thought that networking was going to a networking event and meeting other practitioners. I didn't realise that using Facebook and blogs was considered to be Professional Networking and to what extent we can go about networking. I also didn't realise how many different sources I learn from on a day- to- day basis, and how this can be linked to networking. I've learnt that using a reflective journal and critical reflection can be an extremely beneficial tool in professional practice.
Kolb's learning cycle has allowed me to evaluate how I learn, which has got me thinking whether this is how most dancers learn, and how I can use this knowledge in the future, to learn as effectively as possible.
Monday 8 December 2014
Monday 1 December 2014
Sources of Information.
A Professional Network can be defined as: 'a work related community held together by either close working affiliation or more distant but common work interests or needs'. (BAPP Reader 3).
It is becoming more and more apparent that our Professional Networking is a highly important part of our current and future professional lives, and that we will benefit greatly from actively and effectively engaging in our Professional Networks. From a Connectivist perspective, a professional network is a system with which we can interact to learn.
Connectivism
'Over the last twenty years, technology has reorganised how we live, how we communicate and how we learn.' (Siemens, G, 2004)
Connectivism is a learning theory for the digital age, where learning is a process of connecting specialised 'nodes' or information sources. The connections that learners make, help them create their own learning network. Through this 'connected web', learners will be able to stay up- to- date with content as it changes. Such content includes, but is not limited to: courses, email, communities, conversations, web search, email lists and blogs.
The BAPP (Arts) course may be seen to use Connectivism as it's primary theory for learning. Through developing our blogs, we have created a professional network which connects us all, and whereby we are able to interact and learn from each other. We draw upon other online articles and extended reading to form knowledge, and are beginning to be able to identify credible resources.
Upon reflecting on my sources of information, I realised that the sources I use have changed recently. Some that I've used regularly in the past, I don't use so much anymore. I created a diagram to show how my sources of information have changed, and how some have remained constant.
The majority of my sources of information are via the Internet- mainly Web 2.0, with Facebook remaining a constant source over the past few years. Facebook can be used for connecting us to friends and other practitioners and for participating in various groups. I have used Facebook in the past to look up different dance companies and dance agencies and to gain information about them. Some companies post details of their auditions or available dance roles on their Facebook pages. Links to interesting and informative articles or blogs can be posted to Facebook and then viewed. As I've mentioned before, The Hustle is also a great source of information for dancers, from rooms to rent, to upcoming auditions to flexible non- dance work.
Dance websites such as Dancers Pro, Star Now and Dance Cast were my main sources for gaining information regarding dance auditions. You are able to view other dancers' profiles, which can give you ideas as to how you want your own profile to look. Contact information for production companies and agencies are sometimes available. I would regularly buy The Stage newspaper before it was available online, and then frequent the website in more recent years.
Attending dance classes and auditions were always a useful source of information. At Pineapple Studio's in London, a lot of the teachers taking classes there can offer helpful tips and advice on the industry, and some are even looking to cast dancers for work during their classes.
During auditions I would often end up talking to other dancers, where we would share experiences and sometimes information on other auditions and dance companies.
My family have been a constant source of information. As we are really close, I always turn to them for their support and advice. This could be tips on interview techniques, how to approach sensitive subjects at work, or advice and encouragement when I have felt down after an unsuccessful audition. I learn through talking about, and reflecting on issues with them.
Email is an important source for me. I have been glued to my phone or computer in the past, waiting for that all important email after attending an audition to tell me whether I've been offered the job or not. Between dance contracts I would send emails with my updated c.v., photo's and availability to all of my existing contacts as well as new contacts I had found through researching on the internet. Email is still my primary medium for contacting colleagues whether it be via my personal or work email address.
When I began my current job role, I didn't have any prior experience, and there was a lot of new information I had to learn. The majority of this was learnt through a handover period with the girl I replaced. She spent a week training me 'on the job', showing me how to use our management system, and the processes that I need to go through at work. I am still constantly learning from my other work colleagues, through talking to them, asking them questions and sometimes just observing them. We are also sent hand- outs, regarding safeguarding children, our data protection policy etc.
I was interested to read on Stephanie's blog, that one of her sources of information is documentaries. It made me realise that I had forgotten about the media! Although I do occasionally watch documentaries, I've never really watched dance or work related ones. There are so many available to us, and so much further information, via the radio, t.v. etc, which is perhaps an avenue I should explore further.
The Internet holds a wealth of information. Some sources are more reliable than others, but none the less, there is so much knowledge to be gained.
'Learners as little as forty years ago would complete the required schooling and enter a career that would often last a lifetime. Information development was slow. The life of knowledge was measured in decades. Today, these foundational principles have been altered. Knowledge is growing exponentially. In many fields the life of knowledge is now measured in months and years.' (Siemens, G, 2004)
Not only has the life of knowledge changed, but having more than one career in a lifetime, if not a few is more widely accepted. We are now continuing our learning and education for many years post college or university. These changes have been facilitated by knowledge that is available to us, via the Internet and Professional Networking.
It is becoming more and more apparent that our Professional Networking is a highly important part of our current and future professional lives, and that we will benefit greatly from actively and effectively engaging in our Professional Networks. From a Connectivist perspective, a professional network is a system with which we can interact to learn.
Connectivism
'Over the last twenty years, technology has reorganised how we live, how we communicate and how we learn.' (Siemens, G, 2004)
Connectivism is a learning theory for the digital age, where learning is a process of connecting specialised 'nodes' or information sources. The connections that learners make, help them create their own learning network. Through this 'connected web', learners will be able to stay up- to- date with content as it changes. Such content includes, but is not limited to: courses, email, communities, conversations, web search, email lists and blogs.
The BAPP (Arts) course may be seen to use Connectivism as it's primary theory for learning. Through developing our blogs, we have created a professional network which connects us all, and whereby we are able to interact and learn from each other. We draw upon other online articles and extended reading to form knowledge, and are beginning to be able to identify credible resources.
Upon reflecting on my sources of information, I realised that the sources I use have changed recently. Some that I've used regularly in the past, I don't use so much anymore. I created a diagram to show how my sources of information have changed, and how some have remained constant.
Dance websites such as Dancers Pro, Star Now and Dance Cast were my main sources for gaining information regarding dance auditions. You are able to view other dancers' profiles, which can give you ideas as to how you want your own profile to look. Contact information for production companies and agencies are sometimes available. I would regularly buy The Stage newspaper before it was available online, and then frequent the website in more recent years.
Attending dance classes and auditions were always a useful source of information. At Pineapple Studio's in London, a lot of the teachers taking classes there can offer helpful tips and advice on the industry, and some are even looking to cast dancers for work during their classes.
During auditions I would often end up talking to other dancers, where we would share experiences and sometimes information on other auditions and dance companies.
My family have been a constant source of information. As we are really close, I always turn to them for their support and advice. This could be tips on interview techniques, how to approach sensitive subjects at work, or advice and encouragement when I have felt down after an unsuccessful audition. I learn through talking about, and reflecting on issues with them.
Email is an important source for me. I have been glued to my phone or computer in the past, waiting for that all important email after attending an audition to tell me whether I've been offered the job or not. Between dance contracts I would send emails with my updated c.v., photo's and availability to all of my existing contacts as well as new contacts I had found through researching on the internet. Email is still my primary medium for contacting colleagues whether it be via my personal or work email address.
When I began my current job role, I didn't have any prior experience, and there was a lot of new information I had to learn. The majority of this was learnt through a handover period with the girl I replaced. She spent a week training me 'on the job', showing me how to use our management system, and the processes that I need to go through at work. I am still constantly learning from my other work colleagues, through talking to them, asking them questions and sometimes just observing them. We are also sent hand- outs, regarding safeguarding children, our data protection policy etc.
I was interested to read on Stephanie's blog, that one of her sources of information is documentaries. It made me realise that I had forgotten about the media! Although I do occasionally watch documentaries, I've never really watched dance or work related ones. There are so many available to us, and so much further information, via the radio, t.v. etc, which is perhaps an avenue I should explore further.
The Internet holds a wealth of information. Some sources are more reliable than others, but none the less, there is so much knowledge to be gained.
'Learners as little as forty years ago would complete the required schooling and enter a career that would often last a lifetime. Information development was slow. The life of knowledge was measured in decades. Today, these foundational principles have been altered. Knowledge is growing exponentially. In many fields the life of knowledge is now measured in months and years.' (Siemens, G, 2004)
Not only has the life of knowledge changed, but having more than one career in a lifetime, if not a few is more widely accepted. We are now continuing our learning and education for many years post college or university. These changes have been facilitated by knowledge that is available to us, via the Internet and Professional Networking.
Saturday 29 November 2014
Current Networks.
In this day and age, the internet and social media are at the forefront of our professional networking. For dancers, sites such as; Dancers Pro, Youtube and The Stage play a vital role in developing our careers. It's hard to imagine working as a dancer in an era where they didn't exist. There are multiple ways of professional networking, for example, being part of an online social media site, the more traditional method of attending networking events and being a member of a group or affiliation. Participating in professional networking can ultimately help further a career and aid in self development.
My professional networking could definitely be improved upon. I don't actively participate in many networks, despite it being key in regards to furthering my professional practice. Through taking the Professional Practice (Arts) course, I have already gained a blog, a flickr account and a gmail account, none of which I would have previously thought to participate in.
I predominantly use Facebook as a networking tool. I have a personal account and I'm also part of groups such as The Hustle. Facebook is amazing for connecting people all over the world. Having worked and lived abroad, a lot of my friends and contacts are overseas, so Facebook is great for staying in touch with them. Some more experienced practitioners may have a separate account or page on Facebook which is used for purely business purposes and to promote either themselves or their brand/ business.
The Hustle is really useful, even if simply for connecting like- minded people. I found my current room in my flat through The Hustle, and even though neither myself nor my flatmate are currently performing, we are very similar people from similar backgrounds. She now runs her own photographic studio, 'London Model Academy' and it's really interesting to see which methods she uses to promote her business. I know that Twitter is Michaela's focus and her central tool for promotion and marketing. She also has a Facebook page and regularly organises networking events for people in the industry.
http://www.londonmodelacademy.co.uk/
I recently registered with various recruitment agencies. This has been a good way for me to find out more about different industries and the types of job roles I might be interested in. By speaking to recruitment consultants, I have gained a better understanding of, and further insight into different professions. By being put on their 'books', I am updated on available job roles.
Socialising with work colleagues is important in enabling me to engage in my professional network. This can help to build a rapport with other practitioners, make contacts and even further my understanding of my industry.
I would like to attend some events specifically for networking. This will be something that is completely out of my comfort zone, but is obviously a great way of meeting other practitioners, gaining contacts and even getting advice. Fund raising events can be similar in this way, and are for a good cause too!
I didn't know much about blogging before starting this course. I have since realised it can be a really beneficial tool to have. It is useful for longer pieces of writing and whether you are writing a blog yourself or following blogs, you can gain a lot of knowledge on many different subjects. You are able to follow multiple blogs, and engage and connect with people through commenting on their posts.
As I've mentioned before, LinkedIn is now the world's largest professional network with 300 million+ members. It is an excellent tool for practitioners and is something I want to get involved in. Twitter and LinkedIn are next on my to do list!
When reflecting upon current networks, the motives of others to be in the network are to: gain knowledge of their profession and specific job roles, to gain contacts and to promote themselves or their brand.
I recently read about Facebook's new career social network that is set to launch in a few months. 'Facebook at Work' is designed to compete with professional networking sites such as LinkedIn and will allow users to keep their personal and professional accounts separate.
http://www.dailymail.co.uk/sciencetech/article-2847311/Facebook-Work-set-launch-January-Social-network-s-ad-free-LinkedIn-rival-roll-early-new-year.html
I think this could potentially be another great networking tool and sounds similar to what I would consider my ideal network. It could remove the danger of employers having too much access to personal information and photo's etc. via Facebook.
My ideal network would be a site that is specific to my profession and one where you are able to connect with other practitioners in your field. It would be similar to LinkedIn, where you are able to create a 'profile' containing your c.v. and listing the skills you have. There would also be lots of information available, career advice, job opportunities, upcoming networking events etc., and links to useful blogs and other pieces of writing.
I'm not sure how I would go about developing this idea, but I would begin by doing research and getting an idea of what else is currently available that is similar to this concept. I would attend networking events and discuss my ideas with other practitioners to get their feedback regarding a site like this, and whether they would find it useful. I could then begin to research blogs and start to collect information and links to other useful websites. Developing the website could be quite difficult, and may need the help of a website designer.
My professional networking could definitely be improved upon. I don't actively participate in many networks, despite it being key in regards to furthering my professional practice. Through taking the Professional Practice (Arts) course, I have already gained a blog, a flickr account and a gmail account, none of which I would have previously thought to participate in.
I predominantly use Facebook as a networking tool. I have a personal account and I'm also part of groups such as The Hustle. Facebook is amazing for connecting people all over the world. Having worked and lived abroad, a lot of my friends and contacts are overseas, so Facebook is great for staying in touch with them. Some more experienced practitioners may have a separate account or page on Facebook which is used for purely business purposes and to promote either themselves or their brand/ business.
The Hustle is really useful, even if simply for connecting like- minded people. I found my current room in my flat through The Hustle, and even though neither myself nor my flatmate are currently performing, we are very similar people from similar backgrounds. She now runs her own photographic studio, 'London Model Academy' and it's really interesting to see which methods she uses to promote her business. I know that Twitter is Michaela's focus and her central tool for promotion and marketing. She also has a Facebook page and regularly organises networking events for people in the industry.
http://www.londonmodelacademy.co.uk/
I recently registered with various recruitment agencies. This has been a good way for me to find out more about different industries and the types of job roles I might be interested in. By speaking to recruitment consultants, I have gained a better understanding of, and further insight into different professions. By being put on their 'books', I am updated on available job roles.
Socialising with work colleagues is important in enabling me to engage in my professional network. This can help to build a rapport with other practitioners, make contacts and even further my understanding of my industry.
I would like to attend some events specifically for networking. This will be something that is completely out of my comfort zone, but is obviously a great way of meeting other practitioners, gaining contacts and even getting advice. Fund raising events can be similar in this way, and are for a good cause too!
I didn't know much about blogging before starting this course. I have since realised it can be a really beneficial tool to have. It is useful for longer pieces of writing and whether you are writing a blog yourself or following blogs, you can gain a lot of knowledge on many different subjects. You are able to follow multiple blogs, and engage and connect with people through commenting on their posts.
As I've mentioned before, LinkedIn is now the world's largest professional network with 300 million+ members. It is an excellent tool for practitioners and is something I want to get involved in. Twitter and LinkedIn are next on my to do list!
When reflecting upon current networks, the motives of others to be in the network are to: gain knowledge of their profession and specific job roles, to gain contacts and to promote themselves or their brand.
I recently read about Facebook's new career social network that is set to launch in a few months. 'Facebook at Work' is designed to compete with professional networking sites such as LinkedIn and will allow users to keep their personal and professional accounts separate.
http://www.dailymail.co.uk/sciencetech/article-2847311/Facebook-Work-set-launch-January-Social-network-s-ad-free-LinkedIn-rival-roll-early-new-year.html
I think this could potentially be another great networking tool and sounds similar to what I would consider my ideal network. It could remove the danger of employers having too much access to personal information and photo's etc. via Facebook.
My ideal network would be a site that is specific to my profession and one where you are able to connect with other practitioners in your field. It would be similar to LinkedIn, where you are able to create a 'profile' containing your c.v. and listing the skills you have. There would also be lots of information available, career advice, job opportunities, upcoming networking events etc., and links to useful blogs and other pieces of writing.
I'm not sure how I would go about developing this idea, but I would begin by doing research and getting an idea of what else is currently available that is similar to this concept. I would attend networking events and discuss my ideas with other practitioners to get their feedback regarding a site like this, and whether they would find it useful. I could then begin to research blogs and start to collect information and links to other useful websites. Developing the website could be quite difficult, and may need the help of a website designer.
Monday 24 November 2014
Inquiry.
When I began this task, I wasn't actually sure what a 'line of inquiry' was. So I googled it, and found the term to mean: 'an ordering of questions so as to develop a particular argument' or 'the direction a writer pursues in order to advance an academic argument.'
I have answered the following questions by reflecting on my dance training and practice to date, and by considering my recent experience of transitioning from full- time dance to a non- dance related field.
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?
I can't say that there is something specific in my daily practice that gets me really enthusiastic to find out more about, however at the forefront of my mind is a questioning and eager attitude as to what the future holds. I'm currently not dancing professionally and am considering what other options are available to me, what interests me, which career path to go down and the possibility of living abroad in the future and how that could be feasible.
I'm really interested in finding out about what other dancers have gone on to do, post- dance. Teaching is a popular choice, although I'm also interested in the other routes that have been explored.
What are the career options available to dancers post- dance?
Are dancers given enough support and guidance on furthering their careers?
What gets you angry or makes you sad? Who do you admire who shares your feelings or has found a way to work around the sadness or anger?
When I was 23 I was offered a contract to dance in a show in Germany. At the time, I was grateful to have the opportunity to be part of a great show. The first few weeks were fine, but then things started to go rapidly down hill. The directors/ management (husband and wife, as it was a family run and owned business), began using bullying and intimidation as a management technique, screaming and swearing at us on a regular basis in front of other cast members. We would be called in to their office to be disciplined regularly and made to pay 'fines'. The hours of work and extra shows and 'duties' being asked of us was rapidly increasing, and so on, and so on. I think breaking point for me was when I became extremely ill due to sheer exhaustion, but taking any time off work was out of the question.
The most frustrating thing during this ordeal was having no one to turn to for help or advice. These people were the senior management so we couldn't go above them, even our dance captain wouldn't dare stand up to them. In the end, there only seemed to be one solution, and sadly myself and another dancer decided to leave and end our contracts early.
I have since seen the same contract advertised on websites such as Dancers Pro and Star Now, and it's really frustrating knowing that this company will continue to exploit artists, and other un- knowing dancers will go through the same thing, yet there is nothing I can do about it. When I first returned to the UK, I thought about contacting Equity, but really what could they do? It was my word against theirs.
I have heard other 'horror' stories from friends and peers regarding the mis- treatment of dancers, and it raises questions of how this can be prevented in the future.
It seems that it is becoming more and more common for dancers to be used as aerialists in shows, particularly on cruise ships. A friend of mine, was hired to work as a dancer/ aerialist on a cruise ship and underwent a month of aerial training. After signing a ten- page waiver, she fell one night and broke her wrist.
I have heard of many dancers that are performing as aerialists and have suffered from similar injuries, and it makes me sad that dancers are exploited in this way.
Being employed as a dancer/ aerialist is 'sold' by companies to dancers as an opportunity to learn new skills and to make yourself more versatile. However, these companies are primarily concerned with cutting costs, and do not have dancers' safety and best interests at heart. They are able to pay dancers a fraction of the cost of hiring a professional aerialist who has a specialist act and has trained in it their whole lives. Dancers are not able to learn the skills needed and acquire the extreme strength and technique that aerial requires, in one month.
Having said that, I know and admire dancers that have decided to make the transition from dancer to aerialist, and have gone about it in the right way, dedicating themselves to the craft for numerous years. They now have their own specialist acts, which they have achieved through their drive and determination.
How can the mis- treatment and exploitation of dancers be prevented and controlled?
Should dancers be used as aerialists without the correct amount of training?
Is dancers' safety at risk when performing as an aerialist?
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?
I love that being a dancer has made me the person I am today. I have always said that being a dancer doesn't define me as a person, however dancing is all I've ever known and is a huge part of my life. I have realised that there are characteristics I have obtained, that set me apart from others. For example, dealing with rejection is something that all dancers are familiar with, it can be really tough and can have quite a negative effect. However, I think I'm stronger and a more resilient person because of it, and having experienced all of that rejection makes me thankful to have been as successful as I was. I've been lucky enough to travel the world through dance, experience many different cultures and meet lots of different people.
There are a lot of people outside of the dance industry who don't realise how challenging it is to become a dancer, how competitive the industry is and how intense full- time dance school is. Many professionals would disregard my C.V. because I don't have 'traditional' qualifications. I'm grateful for the transferable skills I believe I have gained, and that I can be just as valuable, to a company or business than someone who has achieved highly academically.
I admire a friend of mine, who now works in HR for a large television production company. She had a successful career as a dancer, and like me wasn't given much career guidance at college as to what options are available to dancers once you 'retire' and didn't have many academic qualifications. She has worked hard and now has a successful career outside of dance. It's great to see her achieving her goals.
Do dancers have the correct transferable skills in order to be successful in other fields?
How are dance colleges preparing students for the future?
What do you feel you don't understand? Who do you admire who does seem to understand it?
I understand that image plays a large role in dancing. What I don't understand is the way in which issues surrounding body weight are tackled, particularly when I was at dance college. We weren't given much help and guidance surrounding nutrition and healthy eating, and were made to feel uncomfortable if we were seen to be eating anything deemed 'unhealthy' by members of staff. Our ballet teachers were particularly indiscreet, giving us advice such as; 'to eat our dinner off of a side plate instead of a large dinner plate.'
During a number of dance contracts, I was weighed on a regular basis. This would range from weekly 'weigh- ins' to once every couple of months, depending on the company's policy. I understand that the company expects you to maintain the weight you were hired at, give or take a pound or two, which is usually written into your contract, but being weighed in this way can put immense pressure on some dancers.
Is body weight and image addressed in the correct way at dance colleges?
Are dancers educated properly on healthy eating and nutrition?
Are weekly 'weigh- ins' the most appropriate way of monitoring weight gain, or are there more supportive techniques?
How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society?
I was able to gain some teaching experience whilst working as a dancer. I taught ballet and jazz to children aged 3- 12. There were times when I would question what was an appropriate level of physical contact. The 3 year olds would want to be hugged and picked up all the time, and would also need help going to the toilet. With the older children I wasn't really sure if I was able to give them corrections physically. When I was growing up and whilst at dance college, teachers were allowed to touch you in order to correct your body alignment, make you aware of correct posture, and of which muscles needed to be engaged etc. Whereas now, teachers aren't allowed to do that. I personally, am grateful for this style of teaching and feel it was a necessary part of my training. Do other dancers feel this way?
During a dance contract in Portugal, one of the other dancers was taken out of the show a few weeks before the end of our contract because she had put on weight. She was only allowed to appear in a couple of numbers in which her costumes weren't as 'skimpy'. This seemed so demeaning and a really unfair disciplinary action. Claire had been struggling to lose weight for a while, and wasn't really offered any help or support. It seemed so unnecessary considering we only had a few weeks left of a years contract. The rest of the cast was outraged, but it wasn't really appropriate to intervene.
Should dance teachers be allowed to physically correct students?
What are reasonable disciplinary measures for dancers, particularly in regards to weight gain?
I have answered the following questions by reflecting on my dance training and practice to date, and by considering my recent experience of transitioning from full- time dance to a non- dance related field.
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?
I can't say that there is something specific in my daily practice that gets me really enthusiastic to find out more about, however at the forefront of my mind is a questioning and eager attitude as to what the future holds. I'm currently not dancing professionally and am considering what other options are available to me, what interests me, which career path to go down and the possibility of living abroad in the future and how that could be feasible.
I'm really interested in finding out about what other dancers have gone on to do, post- dance. Teaching is a popular choice, although I'm also interested in the other routes that have been explored.
What are the career options available to dancers post- dance?
Are dancers given enough support and guidance on furthering their careers?
What gets you angry or makes you sad? Who do you admire who shares your feelings or has found a way to work around the sadness or anger?
When I was 23 I was offered a contract to dance in a show in Germany. At the time, I was grateful to have the opportunity to be part of a great show. The first few weeks were fine, but then things started to go rapidly down hill. The directors/ management (husband and wife, as it was a family run and owned business), began using bullying and intimidation as a management technique, screaming and swearing at us on a regular basis in front of other cast members. We would be called in to their office to be disciplined regularly and made to pay 'fines'. The hours of work and extra shows and 'duties' being asked of us was rapidly increasing, and so on, and so on. I think breaking point for me was when I became extremely ill due to sheer exhaustion, but taking any time off work was out of the question.
The most frustrating thing during this ordeal was having no one to turn to for help or advice. These people were the senior management so we couldn't go above them, even our dance captain wouldn't dare stand up to them. In the end, there only seemed to be one solution, and sadly myself and another dancer decided to leave and end our contracts early.
I have since seen the same contract advertised on websites such as Dancers Pro and Star Now, and it's really frustrating knowing that this company will continue to exploit artists, and other un- knowing dancers will go through the same thing, yet there is nothing I can do about it. When I first returned to the UK, I thought about contacting Equity, but really what could they do? It was my word against theirs.
I have heard other 'horror' stories from friends and peers regarding the mis- treatment of dancers, and it raises questions of how this can be prevented in the future.
It seems that it is becoming more and more common for dancers to be used as aerialists in shows, particularly on cruise ships. A friend of mine, was hired to work as a dancer/ aerialist on a cruise ship and underwent a month of aerial training. After signing a ten- page waiver, she fell one night and broke her wrist.
I have heard of many dancers that are performing as aerialists and have suffered from similar injuries, and it makes me sad that dancers are exploited in this way.
Being employed as a dancer/ aerialist is 'sold' by companies to dancers as an opportunity to learn new skills and to make yourself more versatile. However, these companies are primarily concerned with cutting costs, and do not have dancers' safety and best interests at heart. They are able to pay dancers a fraction of the cost of hiring a professional aerialist who has a specialist act and has trained in it their whole lives. Dancers are not able to learn the skills needed and acquire the extreme strength and technique that aerial requires, in one month.
Having said that, I know and admire dancers that have decided to make the transition from dancer to aerialist, and have gone about it in the right way, dedicating themselves to the craft for numerous years. They now have their own specialist acts, which they have achieved through their drive and determination.
How can the mis- treatment and exploitation of dancers be prevented and controlled?
Should dancers be used as aerialists without the correct amount of training?
Is dancers' safety at risk when performing as an aerialist?
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?
I love that being a dancer has made me the person I am today. I have always said that being a dancer doesn't define me as a person, however dancing is all I've ever known and is a huge part of my life. I have realised that there are characteristics I have obtained, that set me apart from others. For example, dealing with rejection is something that all dancers are familiar with, it can be really tough and can have quite a negative effect. However, I think I'm stronger and a more resilient person because of it, and having experienced all of that rejection makes me thankful to have been as successful as I was. I've been lucky enough to travel the world through dance, experience many different cultures and meet lots of different people.
There are a lot of people outside of the dance industry who don't realise how challenging it is to become a dancer, how competitive the industry is and how intense full- time dance school is. Many professionals would disregard my C.V. because I don't have 'traditional' qualifications. I'm grateful for the transferable skills I believe I have gained, and that I can be just as valuable, to a company or business than someone who has achieved highly academically.
I admire a friend of mine, who now works in HR for a large television production company. She had a successful career as a dancer, and like me wasn't given much career guidance at college as to what options are available to dancers once you 'retire' and didn't have many academic qualifications. She has worked hard and now has a successful career outside of dance. It's great to see her achieving her goals.
Do dancers have the correct transferable skills in order to be successful in other fields?
How are dance colleges preparing students for the future?
What do you feel you don't understand? Who do you admire who does seem to understand it?
I understand that image plays a large role in dancing. What I don't understand is the way in which issues surrounding body weight are tackled, particularly when I was at dance college. We weren't given much help and guidance surrounding nutrition and healthy eating, and were made to feel uncomfortable if we were seen to be eating anything deemed 'unhealthy' by members of staff. Our ballet teachers were particularly indiscreet, giving us advice such as; 'to eat our dinner off of a side plate instead of a large dinner plate.'
During a number of dance contracts, I was weighed on a regular basis. This would range from weekly 'weigh- ins' to once every couple of months, depending on the company's policy. I understand that the company expects you to maintain the weight you were hired at, give or take a pound or two, which is usually written into your contract, but being weighed in this way can put immense pressure on some dancers.
Is body weight and image addressed in the correct way at dance colleges?
Are dancers educated properly on healthy eating and nutrition?
Are weekly 'weigh- ins' the most appropriate way of monitoring weight gain, or are there more supportive techniques?
How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society?
I was able to gain some teaching experience whilst working as a dancer. I taught ballet and jazz to children aged 3- 12. There were times when I would question what was an appropriate level of physical contact. The 3 year olds would want to be hugged and picked up all the time, and would also need help going to the toilet. With the older children I wasn't really sure if I was able to give them corrections physically. When I was growing up and whilst at dance college, teachers were allowed to touch you in order to correct your body alignment, make you aware of correct posture, and of which muscles needed to be engaged etc. Whereas now, teachers aren't allowed to do that. I personally, am grateful for this style of teaching and feel it was a necessary part of my training. Do other dancers feel this way?
During a dance contract in Portugal, one of the other dancers was taken out of the show a few weeks before the end of our contract because she had put on weight. She was only allowed to appear in a couple of numbers in which her costumes weren't as 'skimpy'. This seemed so demeaning and a really unfair disciplinary action. Claire had been struggling to lose weight for a while, and wasn't really offered any help or support. It seemed so unnecessary considering we only had a few weeks left of a years contract. The rest of the cast was outraged, but it wasn't really appropriate to intervene.
Should dance teachers be allowed to physically correct students?
What are reasonable disciplinary measures for dancers, particularly in regards to weight gain?
Tuesday 18 November 2014
Reflective Theory.
We learn by experiences that allow us to absorb, do and interact. In addition, we learn by reflecting on such experiences.
Reflective practices offer alternative ways to look at our experiences. We are not only looking back on past actions and events, but rather we are taking a conscious look at the emotions, experiences, actions and responses, and using that to add to our existing knowledge base to draw out new knowledge, meaning and to have a higher level of understanding.
Hatton and Smith (1995) identified four essential issues concerning reflection:
- We should learn to frame and reframe complex or ambiguous problems, test out various interpretations, and then modify our actions consequently.
- Our thoughts should be extended and systematic by looking back upon our actions some time after they have taken place.
- Certain activities labelled as reflective, such as the use of journals or group discussions following practical experiences, are often not directed towards the solution of specific problems.
- We should consciously account for the wider historic, cultural and political values or beliefs in framing practical problems to arrive at a solution. This is often identified as critical reflection. However, the term critical reflection, like reflection itself, appears to be used loosely, some taking it to mean no more than constructive self- criticism of one's actions with a view to improvement.
Dewey is regarded as one of the most influential thinkers on education in the twentieth century. Many consider him to be the modern day originator of the concept of reflection. Dewey thought of reflection as a form of problem solving that chained several ideas together, by linking each idea with it's predecessor in order to resolve an issue.
Dewey describes 'an experience' as one in which the material of experience is fulfilled or consummated, for example when a problem is solved, or a game is played to it's conclusion.
Dewey felt that interaction with the Arts led to a unique and valuable 'experience'. His work 'Art as Experience' (1934), is regarded by many as one of the most important contributions to this area in the twentieth century. "An artist's work requires long periods of activity, reflection on past experience and a sifting of emotions and meanings from that prior experience. For an activity to be converted into an artistic expression, there must be excitement, turmoil and an urge from within to go outward. Art is expressive when there is complete absorption in the subject and a unison of present and past experience is achieved."
This concept can be related to when we perform a dance routine in class. We are taught a series of 'steps', which are then carried out, and come to an end or conclusion when the music finishes. We are only able to perform the routine, through drawing on past experiences, for example, technique classes. We reflect by using the corrections we were given and by applying them to the routine. We can also reflect on experiences of observing our peers perform, and by using what we learnt through watching them. We are completely absorbed in the activity, dancing 'in the moment' whilst experiencing some sort of emotional connection to the steps.
Kolb's Learning Cycle shows the importance of being able to identify that you have had an experience and the importance of having tools to be able to reflect on that experience. It features four key stages of learning: concrete experience, reflective observation, abstract conceptualisation and active experimentation. We all differ, in where we enter the learning cycle, or at which point we start to learn and find meaning.
When learning a dance routine, I learn by active experimentation or by 'doing' the routine. However, this would be harder to achieve If I hadn't previously had the steps shown to me by the teacher, and by using a combination of abstract conceptualisation and muscle memory in order to carry out the task. In knowing that I learn by, and benefit from active experimentation, I can endeavour to engage in future tasks and assignments in my current practice with a more 'hands on approach'.
Howard Gardiner introduced the idea of multiple intelligences, which challenges the traditional model of what a learner looks like. This theory makes us aware of and validates a number of different ways to engage with 'turning experience into learning'. He said that people can be intelligent in spatial, verbal- linguistic, logical- mathematical, bodily- kinaesthetic, musical, interpersonal, intrapersonal and naturalistic ways.
Critical Reflection
Donald Schon brings reflection into the centre of an understanding of what professionals do. He introduced the idea of reflection- in- action, and reflection- on- action. Reflection- in- action occurs during 'an experience', and is the ability of a practitioner and often artists to respond to what is happening as it happens, or 'think on their feet'. It revolves around the idea that within any given moment, when faced with a professional issue, a practitioner usually connects with their feelings, emotions and prior experiences to attend to the situation directly. Reflection- on- action is the idea that after the experience a practitioner goes away to conceptualise it and analyse their reaction to the situation. This is usually conducted through a documented reflection of the situation.
As dancers, we are often required to 'think on our feet'. There have been many times during my career where the spacing or 'blocking' of a particular number in a show has been changed very last minute. Usually due to injury or a wardrobe malfunction and consequently, there is little time if any, for it to be rehearsed. I have often been required to quickly find the solution to a problem, and change my position and 'track' on stage, whilst actually performing the number, so I am reflecting- in- action.
Jennifer Moon (Moon, 1999), and others have argued the importance of finding ways to articulate tacit knowledge and experiences. They show that reflection does not have to happen as a written process, but they also stress the importance of being able to articulate and communicate the reflective process so that you can recall ideas, plan or link.
A journal can be a powerful tool for learning. More than being collections of required tasks and assignments, they can be used to empower learners to take charge of their own learning process by reflecting upon it on a regular basis and by assessing their own progress over time.
I have been writing in my journal for a week now. It isn't a huge amount of time, and it is taking some getting used to, but I've made a start. I have tried a few different approaches to my writing, beginning with the 'list' method. I've always found writing lists a good way of prioritising, and making things seem simpler and more manageable. I then began to expand further on each bullet point in the list, by using the initial reflection method and finally the evaluation method. Writing in this way, has made me realise that I find it really difficult to articulate how I feel about certain things, and that it was only when I wrote something down, that I realised how I truly felt about it.
I hope that through my journal I will develop a more thorough response and opinion to an event or experience, and a questioning attitude towards different issues and problems.
References
'The Reflective Practitioner' (Schon, 1983)
'Art as Experience' (Dewey, 1934)
http://plato.stanford.edu/entries/dewey-aesthetics/
http://www.nwlink.com/~donclark/hrd/development/reflection.html
Reflective practices offer alternative ways to look at our experiences. We are not only looking back on past actions and events, but rather we are taking a conscious look at the emotions, experiences, actions and responses, and using that to add to our existing knowledge base to draw out new knowledge, meaning and to have a higher level of understanding.
Hatton and Smith (1995) identified four essential issues concerning reflection:
- We should learn to frame and reframe complex or ambiguous problems, test out various interpretations, and then modify our actions consequently.
- Our thoughts should be extended and systematic by looking back upon our actions some time after they have taken place.
- Certain activities labelled as reflective, such as the use of journals or group discussions following practical experiences, are often not directed towards the solution of specific problems.
- We should consciously account for the wider historic, cultural and political values or beliefs in framing practical problems to arrive at a solution. This is often identified as critical reflection. However, the term critical reflection, like reflection itself, appears to be used loosely, some taking it to mean no more than constructive self- criticism of one's actions with a view to improvement.
Dewey is regarded as one of the most influential thinkers on education in the twentieth century. Many consider him to be the modern day originator of the concept of reflection. Dewey thought of reflection as a form of problem solving that chained several ideas together, by linking each idea with it's predecessor in order to resolve an issue.
Dewey describes 'an experience' as one in which the material of experience is fulfilled or consummated, for example when a problem is solved, or a game is played to it's conclusion.
Dewey felt that interaction with the Arts led to a unique and valuable 'experience'. His work 'Art as Experience' (1934), is regarded by many as one of the most important contributions to this area in the twentieth century. "An artist's work requires long periods of activity, reflection on past experience and a sifting of emotions and meanings from that prior experience. For an activity to be converted into an artistic expression, there must be excitement, turmoil and an urge from within to go outward. Art is expressive when there is complete absorption in the subject and a unison of present and past experience is achieved."
This concept can be related to when we perform a dance routine in class. We are taught a series of 'steps', which are then carried out, and come to an end or conclusion when the music finishes. We are only able to perform the routine, through drawing on past experiences, for example, technique classes. We reflect by using the corrections we were given and by applying them to the routine. We can also reflect on experiences of observing our peers perform, and by using what we learnt through watching them. We are completely absorbed in the activity, dancing 'in the moment' whilst experiencing some sort of emotional connection to the steps.
Kolb's Learning Cycle shows the importance of being able to identify that you have had an experience and the importance of having tools to be able to reflect on that experience. It features four key stages of learning: concrete experience, reflective observation, abstract conceptualisation and active experimentation. We all differ, in where we enter the learning cycle, or at which point we start to learn and find meaning.
When learning a dance routine, I learn by active experimentation or by 'doing' the routine. However, this would be harder to achieve If I hadn't previously had the steps shown to me by the teacher, and by using a combination of abstract conceptualisation and muscle memory in order to carry out the task. In knowing that I learn by, and benefit from active experimentation, I can endeavour to engage in future tasks and assignments in my current practice with a more 'hands on approach'.
Howard Gardiner introduced the idea of multiple intelligences, which challenges the traditional model of what a learner looks like. This theory makes us aware of and validates a number of different ways to engage with 'turning experience into learning'. He said that people can be intelligent in spatial, verbal- linguistic, logical- mathematical, bodily- kinaesthetic, musical, interpersonal, intrapersonal and naturalistic ways.
Critical Reflection
Donald Schon brings reflection into the centre of an understanding of what professionals do. He introduced the idea of reflection- in- action, and reflection- on- action. Reflection- in- action occurs during 'an experience', and is the ability of a practitioner and often artists to respond to what is happening as it happens, or 'think on their feet'. It revolves around the idea that within any given moment, when faced with a professional issue, a practitioner usually connects with their feelings, emotions and prior experiences to attend to the situation directly. Reflection- on- action is the idea that after the experience a practitioner goes away to conceptualise it and analyse their reaction to the situation. This is usually conducted through a documented reflection of the situation.
As dancers, we are often required to 'think on our feet'. There have been many times during my career where the spacing or 'blocking' of a particular number in a show has been changed very last minute. Usually due to injury or a wardrobe malfunction and consequently, there is little time if any, for it to be rehearsed. I have often been required to quickly find the solution to a problem, and change my position and 'track' on stage, whilst actually performing the number, so I am reflecting- in- action.
Jennifer Moon (Moon, 1999), and others have argued the importance of finding ways to articulate tacit knowledge and experiences. They show that reflection does not have to happen as a written process, but they also stress the importance of being able to articulate and communicate the reflective process so that you can recall ideas, plan or link.
A journal can be a powerful tool for learning. More than being collections of required tasks and assignments, they can be used to empower learners to take charge of their own learning process by reflecting upon it on a regular basis and by assessing their own progress over time.
I have been writing in my journal for a week now. It isn't a huge amount of time, and it is taking some getting used to, but I've made a start. I have tried a few different approaches to my writing, beginning with the 'list' method. I've always found writing lists a good way of prioritising, and making things seem simpler and more manageable. I then began to expand further on each bullet point in the list, by using the initial reflection method and finally the evaluation method. Writing in this way, has made me realise that I find it really difficult to articulate how I feel about certain things, and that it was only when I wrote something down, that I realised how I truly felt about it.
I hope that through my journal I will develop a more thorough response and opinion to an event or experience, and a questioning attitude towards different issues and problems.
References
'The Reflective Practitioner' (Schon, 1983)
'Art as Experience' (Dewey, 1934)
http://plato.stanford.edu/entries/dewey-aesthetics/
http://www.nwlink.com/~donclark/hrd/development/reflection.html
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