Module learnings

Apart from the obvious and by that I mean what I learnt from my inquiry what other things did the course teach me?

I'm using social media much more for networking and learning about my job than ever before. Not that I enjoy it that much but I appreciate it is a form of information and will only advance in the years to come. I do try and keep human contact as much as possible as I believe social media is killing human connection and social behaviour skills.

My most important learning wasn't really learnt but realised. It was brought from the shadows of my mind and given meaning and relevance. Reflection, evaluation and analysis! As mentioned in my blog 'relating to me' I've used reflection in-action and on-action for many years with-out realising its importance.

As a coach I'm required to reflect, evaluate and analyse.

Reflect upon the session I just delivered. Analyse certain aspects and evaluate for future reference.

http://sportplan.net/drills/planner/planner.jsp?sportName=Hockey

This is an example of a session I created and at the bottom you can see the evaluation section split into two. Self-evaluation and the evaluation of the session.

Both parts require consideration. Feedback from other coaches and participants is vital in order to progress in the areas of designing and delivering sessions and personal coaching methods.

The course highlighted the necessity of the three processes and just how much I actually use them.

Feedback issue

While conversing with my SIG the issue of feedback came up as I informed them that as a coach I'm required to deliver it to the athletes I reject so they can work on their weaknesses to keep improving.

Would this help performers deal with rejection better?

The answer to a survey question of mine came back with a resounding positive to the fact that performers think if they reach the finals of an audition they should receive feedback as to why they didn't get the job.

It has both pros and cons.

"What if they said it was because of your hair colour? You'd say...I can dye it. I don't think that would make it easier to accept. It would probably make it worse." (Friend 1)

"Equally if you were told you didn't get it because someone was better than you on the day, how is that going to help? Only if you tried your best and failed would that be a positive. Likewise if they said they just preferred the look of someone else, would it make it easier to take? Who knows? That would depend on the individual." (Friend 2)

There are endless ways of looking at this particular issue. One persons yes would be another persons no.

Personally I cannot see it working in a positive manner as it is too difficult to police.

It becomes fine margins when dealing with professional performers. If you weren't suited for the show in a dance/singing/acting capability you probably wouldn't be at the final so to receive feedback detailing your dancing was off or someone was better  probably wouldn't help. Would you go away and work on it? Probably not....that's just how it was that day. Or maybe you would because you knew you weren't at your best....but that would make it your fault anyway which always make you feel bad so the feedback wouldn't help.

Put that into context with sports feedback where it is generally an issue of technique so feedback will always offer a way of improving. Only at the very top levels does psychology enter the fray becoming an issue. Looks and appearance don't come into the equation when sport is concerned so to link the two becomes difficult. 

Conversation re interview participants.

While out for lunch and drinks with friends who are also ex-professional musical theatre performer's the subject of my uni work arose. After some general chit-chat about the course and my inquiry topic the subject of the interviews was brought up. They had enquired which stage I was at in the process to which I replied that my next step was to decide who I would be asking to participate in the interview stage of the inquiry. I planned on holding five interviews, three female and two male as I would be taking my own views and experience on rejection into account. Basically they were being nosey and wanted to know if I would be asking them or if it was anyone they knew!!

My plan was to interview two fairly new professionals. Lets say who had been in the business 2/3 years. Two more who had 5-8 years experience and then one more professional who had 12+ years experience. My reasoning behind this was that I'd get a wide range of experience when it came to experiencing rejection and also the certain coping mechanisms used. I was hoping the participants mind-set would be different at each stage enabling more varied answers.

My friends, both of them, disagreed.

"I can see your point but the way you handle rejection changes over the years through experience so to get better information I wouldn't use the younger pros but more experienced ones." (Friend 1)

"He's right. When you're young you can take it personally and not fully understand the process. Knowledge through knowing the business and having experienced all manner of rejections will bring you the best results." (Friend 2)

I countered.
"But to see the difference between way its developed using younger pros will give insight into their mind-set and older ones into theirs."

"Yes. But...The younger ones won't be able to tell you how they've adapted or things they've learnt. They'll still be in the here and now. So in effect you'll be wasting two interviews because the data you'll collect will be short." (Friend 1)

I had to think back to my aim. What was my objective? What were the questions I would asking?
'Has the way you've handled rejection altered over the years?' This was one question and even though the younger members would be able to answer it their knowledge would be limited by no fault of their own.
The point also arose that I'd have to search for particularly unsuccessful young pros to help out as young performers who have worked may have only been rejected a handful of times limiting their worth to me.
Whereas older pros would have encountered many rejections enhancing the data I was hoping to collect.

In the end it was my decision but having taken the discussion into account I now believed the participants would be more helpful if they'd had at least 12 years experience in the profession. Asking the potential interviewees to recall certain experiences wouldn't be a problem because I know I can. The following half hour with my friends was spent recalling all manner of rejections. Some you could laugh at. Some still baffled you and others still hurt.

The subject of differing personalities was then raised. Was I to just ask random performers from my network or would I attempt to pick differing personalities in the hope the answers and data would be more varied. My thoughts were that it would be difficult to differentiate as you have no-way of knowing how any particular person would react at any one time.

"It's true. Every audition means something different to the individual but performers have different auditioning personalities. Some are extra keen. Some nervous...always. I'm sure you could tell me what I was like as I you two." (Friend 2)

"But will that have an effect on the results?"

"Who knows? But if you pick 5 performers who are the relaxed type, always at the back, trusting their talent will get them noticed they probably will be less affected after being rejected because that's what their attitude suggests. Isn't it better to try and select differing personalities?" (Friend 2)

"Yes the meaning of each audition is different to each individual so that will have an effect no matter the personalities but it could make a difference to the data with regards to coping mechanisms and time taken to recover from rejections." (Friend 1)

It was a good point and something to consider. Searching my network and memory would be a challenge to come up with the differing personalities. Getting them to participate would be a whole other ball game.

Other personalities we came up with.....

Nervous

Calm

Fiery

Bubbly

Flustered

Concentrated

Pushy

Cavalier

In the end the conversation turned out very helpful. It was my version of a SIG considering my current pathway.  

Summary

A musical theatre performer will experience a variety of negative emotions after being rejected throughout their career. More often than not experiencing a few at a time. The severity of the emotion depends on the audition's relevance to the performer, at what stage of the process they failed and the reason for being rejected. These factors determine which emotions are felt and their duration. 

It's human nature to take rejection personally but advantageous to ones self-esteem to realise that the majority of the time that's not the case. If you have performed to the best of your ability you can hold your head high. This comes from experience and a certain maturity leading to positivity and confidence and is a good coping mechanism. 

Outside professional chat

While chatting with a very experienced west end performer the subject of my inquiry topic popped up so I took the opportunity to ask her opinion on the matter of rejection in the business. Specifically on the variety of types of rejection.

"You learn quickly that the majority of the time you are not in control. You do your part by turning up to the audition, being well prepared in all aspects and doing your best. Then no matter the outcome you can walk away with your head held high because you'll know deep down there was nothing more you could have done. If however you haven't prepared properly then the fault may lie with you and you can start to beat yourself up. Over the years you learn your type, which style you suit and you must accept that you will suit certain parts and not others."

I agree completely. Through experience which shows suited me and which didn't. In your head you may imagine you could be right for everything but the reality is you have a stereotype and the casting directors know that....that's their job! Accepting the way you look goes a long way towards being able to deal with rejection.

"It's a tough business and rejection is a big part of it. No-one gets every job they go for. You'll experience rejections you don't mind so much, ones that you don't understand, ones you do, ones that shock you (how comes they kept her, I was much better?) One of the most difficult things to handle is  the further you go through the audition process the more you get your hopes up. It's only natural. You start imagining yourself in the job, day dreaming if you like. Then when the phone call doesn't come it's like punch in the stomach. There's no explanation. It's an awful feeling."

"How do you get over it?"

"Different ways. Talk it through with my husband or friends. Go for a run. Clean. I think it's important to vent. Get it out in the open and analyse it. You'll probably be disappointed for anything up to a week maybe more. It all depends on the personality. The bad ones stay with you a while."

Being able to put the negative feelings aside is a necessity for the performer to be able to move on looking forward to the next opportunity. It takes a strong character. It does however beat some people. After a few rejections in a row the self-esteem will lower. Doubt of ones ability enters the mind leading to a lack of confidence which will be noticeable in the next audition. Sink or swim time.

Module 3 update....

Well hello readers of the blog. 

Surveys have been returned. Interviews conducted and analysis very nearly completed. I thought I'd fill you in!!

I'm fairly pleased so far as the process has gone according to plan. Any changes that had to be made were minimal. Originally the plan had been to interview face to face but arranging a convenient time and place for it to take place proved harder than anticipated so I had to settle for telephone conversations.

The subject up for discussion was rejection so being able to call upon ex-colleagues proved a distinct advantage because they were very open and honest providing me with good material to analyse. I had a series of questions prepared but found once we'd started the majority of them were answered in the conversation. Us 'artists' do like to talk about ourselves!!

I got to thinking that I was fortunate to have a relaxed atmosphere during the interviews but I wondered how many fellow students interviewed strangers and it proved to be difficult. Was the relevant data collected? Did you have to literally force it out of them? Or maybe they were a modern professional and were really helpful.

The statistics on percentages of surveys returned was accurate from my experience. 25-30%.  Advice from Alan on a couple of question changes helped immensely. I'm glad I put the time in creating suitable questions as the data gathered was helpful and tied in with the interviews. Did others get many responses from their surveys? I would have obviously liked more but I would never have got to the magic 1000 mark which one requires to prove an absolute. (As told by Ms P. Nottingham)!

Analysing the data collected was fairly straight forward. My difficulty will come when drawing conclusions as when dealing with people's emotions it all becomes very apparent to personalities and the situation at that moment in time. All will be explained in the report! 

  

Critical Reflection on Professional Practitioner Inquiry

Pin-pointing a specific line of inquiry proved difficult for me. This surprised me due to the fact many initial questions sprang to mind.

http://ljpwebster.blogspot.co.uk/2014/02/deep-space-inquiry.html

Finding a topic that would enhance my knowledge and be of a future benefit in the work place took me a long time. I attribute this to my not being directly involved to a job in performing arts. I had to come up with a topic that would hold my interest and link to what I have planned in the future.

Much of the SIG activity centred around teaching aspects or topics specifically catered to dance so at the beginning these weren't of any use in helping me develop a line of inquiry. Discussion in the SIG's just seemed to cement areas I didn't want to concentrate on. Dancing and teaching dance were in my past.

Reflecting now I realise there was nothing I could do to speed up the process of developing a line of inquiry. Ex-colleagues and work associates were instrumental in helping me settle on a topic. The longevity of my decision making did have an affect on discussion time with the SIG's. The lateness of my arrival at a specific, detailed topic and questions resulted in limited discussions however points that arose were valid and provoked further interesting questions.

http://ljpwebster.blogspot.co.uk/2014/04/sig-questions-and-repiles-2.html

Emma's and Gabrielle's comments brought to light the many varying factors of facing rejection. Everyone's character is different but can dealing with rejection on a day to day basis change one's character? Do only the strong survive? All these questions sparked an interest on a line of inquiry I could take forward with me.

Choosing the appropriate inquiry tools was a straight forward task. I required musical theatre performers of a variety of ages to re-count experiences of rejection to help me gather information to analyse. 

http://ljpwebster.blogspot.co.uk/2014/05/6b-inquiry-tools.html

As mentioned I realised which methods would be advantageous to my inquiry after considering my options. Identifying the tools and the situations they were suited for helped develop my plan further by pin-pointing how I would specifically achieve my results. One-on-one interviews are preferred to group ones for control purposes. Having strong, forward characters is a general trait of performers and too many of those in a room could be a disaster. It's better for the inquiry to take a little longer in order to prevent harm being done.  

Taking into account the emotional nature of being rejected the participants may find it difficult to experience past memories. Many negative emotions will be encountered possibly affecting the individuals moving forward. This was brought to my attention by a colleague when discussing the matter. I regret not blogging or recording the conversation as a source of information but as a result the necessary safeguards were considered and implemented.

I'm looking forward to discovering positive methods of coping with rejection in order to better prepare individuals interested in a performing arts career and students athletes I encounter in my future profession. Having been on an selection panel wherein I've had to eliminate athletes I've seen first hand the consequences of rejection. My findings will enlighten me in being able to give sound advice in combatting rejection enabling the athletes to move forward positively.  

6B Inquiry tools

Even though all four inquiry tools have their merits, having chosen my topic it's become evident which shall be the appropriate tools to use.



The nature of my topic and the specific results I hope to achieve narrows down my options. I require performers past experiences to gather data in order to anaylse and form a collective view. This will mean being interative in some way with groups or individuals asking them specific questions to gain relevant answers. To gather this information will rely on communication which leads to interviewing being a major tool.

The picking of your most appropriate tools is very much influenced by the topic you choose and the questions you need to ask. To gather info on the effects of rejection on performers I could watch how they react to certain situations but that would be very difficult to arrange and I could interpret their emotions incorrectly so the observation technique isn't an option for this type of inquiry. When it comes to emotional and psychological aspects you need interaction with people willing to help by expressing their views or re-calling past experiences which is the case in regards to my inquiry. I think the observation method is best suited for comparison of techniques or group responses. One could gather info on physicality or certain effects situations have rather than accurately determining emotional content.

Much the same applies for the insider research option. It relies heavily on one's employment situation and chosen topic of inquiry. I'm currently not in a position to conduct such a method and fortunately it's not necessary in regards to my topic. This technique would offer no real, clearcut evidence or answers that would help me determine the effect rejection has on performers. 

Using interviews as a tool enables me to ask specific questions tailored to extract the necessary information I require. It also gives me the opportunity to develop those questions during the process if the case arises because it lends a certain flexibility to the situation. Interviewing performers will result in both qualitative and quantative data which in turn will help me determine the best results. 

I will send out a questionnaire to help gather this info but understand that the reponse percentage is poor. However the questions asked will be highly beneficial to the inquiry and the end results.    

Award title 6c

I've narrowed down my selection to 3 choices or a self constructed one.

Dance,

Performing arts or

Musical Theatre.

Having my title as 'dance' limits my scope to deal with any other prospects in the future. Although dance was my main subject through training and my career I also acted and sang so would like a title that encompasses all.

'Musical theatre' is a serious possibitly as I spent the majority of my career working in this particular field. It's a subject I hold close to my heart and feel I'm somewhat experienced in all it's departments from auditioning to performance. I hope to be invoved with creating shows in the near future so it's a title that appeals to me. However, it does just limit me to musical theatre and as I have experience in other aspects of performing it's not quite right.

'Performing arts ' covers a wide range of subjects/departments dealing with all forms of professional dance, acting and singing. It enables me to branch out encompassing all types of circles in the field. In addition to my musical theatre career I've spent time as a commercial dancer, acted on tv and stage and have performed in concerts so I think with my future in mind I'm starting top lean towards this as a title. I've considered making it 'performing arts teacher' but again it limits me to merely teaching where-as I wish to direct and help produce too. I want to be able to cover all bases, all aspects of dancing, singing and acting and I think the the title 'performing atrs' will be best for me.  

SIG questions and repiles 2

Having visited the drawing board and discussed with friends I developed a topic of inquiry (finally) which I'm, firstly, interested in as I have experience in it but also could learn alot from different peoples points of view, different age ranges and psychological handling of the situation and ,secondly, it could be used in my future as an exercise in how to train the young mind in dealing with the matter in later life. The topic is 'Rejection' and how people in the musical theatre and dance profession cope with it during their careers.

This is the question I poseted on the SIG:

How do musical theatre performers deal with constant rejection? Does the competition for jobs and invariable disappointment have an effect in the long-term? I'm aware it all depends on the individual so I'd like personal views please.

And the replies I've recieved so far:

Gabrielle Fairhead Although I'm not a musical performer, thought be interesting to answer this from a dancer's perspective? To deal with any rejection is tough. For me you have to really know what is out there to be able to deal with rejection. If you don't expect too much it is easier to cope. If you do your best and know you have done your best, then still get rejected then you haven't lost anything. It is an attitude of knowing there is a right place and time for you, and if you are rejected know it was not meant to be... I follow the motto of " if you fall, just try and try again! "

 

Leon Webster Thanks for commenting Gabrielle. When I say musical performer i'm including dance auditions too. I was primarily a dancer but could act and sing too so thought i'd tie it all in. If you've done your absolute best then you can hold your head high and say maybe you just didnt suit the director's plans however there are times when we're not at our best as nerves get the better of us or you're putting extra pressure on yourself because it's your dream job. How do you deal with it then? Is mental strength an absolute necessity? From experience I believe dancers all start to believe in fate as a way of coping with the constant rejection. It's easier to believe it's not the right job for you rather than the problem being with you.

 

 

Emma Price Good question! I too am not a musical performer but as a dancer know exactly what rejection feels like. I guess different people react differently. I know when auditioning in my grad year I auditioned at a wide range of companies and was so desperate for a job, my realistic mindset was I didn't mind tooo much which one. I had my idealistic dreams but they were (as they often are) long shots so I went with the mindset that those jobs were unlikely and therefore just do my best - I can't do anymore. In my opinion I'd rather look back on my career and think 'ah well' not 'what if'.

Yes often we turn to belief in fate to cope but so oftenly proven with others it really is about being in the right place at the right time and when you've done all you can, what's the point in dwelling. Move on and look forwards.

 

Ruth Bowe I think is an interesting question and you could interview so many different types of people. Musical theatre performers of all ages and also people who aren't in musical theatre to compare what they do in rejection situations.

 

These replies were interesting and opened up more questions:

 

 Having read some lit on the subject it seems that the business isnt for the faint hearted or those low on confidence as it is only likely to make matters worse. There are some interesting blogs from performers who have ways to combat rejection and how to approach it. It also links to audition technique and preperation but I want to concentrate on different personalities and how they cope with day to day rejection. Getting familiar with disappointment comes quickly and performers learn to just move on but if things in other parts of your life aren't going well can we adapt to keep it seperate or will it on some level affect our mind-set?

 

As of now there have been no replies so if you read this and care to comment please feel free.

 

From these replies I was able to formulate a survey based around the topic of rejecgtion and am currently analysing and gathering data. 

SIG questions and replies

After my initial blog of the interview I conducted nothing really grabbed my attention for further exploration to lead to a topic of inquiry. Being involved with a SIG made me aware of how many people were going down the teacher route with obvious inclinations of becoming successful teachers further down the line. I toyed with the idea of an inquiry encompassing both performance and teaching and thus posed a series of questions related to that idea....

 Are teaching qualifications/becoming a teacher a 'back-up ' for retirement, if plans fail or an injury strikes? Do people specifically learn to dance with the single aim of teaching? I ask this as I believe dance is all about performance. Yes you dance because you love it but isn't performance the part of it you love? Many activities offer good exercise and discipline but what personal extras does dancing give you that nothing else does?

Here are the answers I recieved:

Emma Price I think people turn to teaching as a 'back-up' for many reasons. Some being because after retiring/injury you need to able to work soon. Starting from the beginning in a separate subject is a time consuming thing & quite daunting after dance is often all we've known. So despite learning dance for a different reason, teaching is a good next step as you're halfway there? The performance side is what I love but don't think I'd stop because people weren't watching so if the performing part of your career has ended, why not continue to inspire those who share your love.

Melanie Cannon Hi Leon, I feel your question relates to me and what I am doing. Personally I don't think many performers go through rigorous training at vocational school with the intention of becoming a teacher? I think people who really know they want to teach go down a different route. People go to performing arts college with the love to perform and intention to have a career performing, however I do believe some
People ( not everyone) choose teaching as a back up career. I can talk from my own experience, after graduating I went to so many auditions but I really 100% knew the performing lifestyle wasn't for me. I tend to look at the bigger picture of things and I know that this career isn't the most stable career and although I can imagine when you are performing it is the best thing ever, I realised I really wouldn't like the on/off work life. As I want to build a comfortable future for myself. I started to teach (which I told myself I would never do at college) and I can't believe how much I love it! It feels like I have found a new passion that I never thought I would. I love motivating the children and feel satisfied when I see the development and improvement of the children. So although I didn't intend on going down this route, I Feel like this is more me and what I should be doing. So in regards to your question about it being a back up plan, I believe that is true to a certain extent but some
People may try it and absolutely love it and want to learn and gain more knowledge about the subject.

Kimberley Gallacher Hi Leon. Actually, since I was perhaps 12, I've always wanted to teach,AND perform. I didn't go to college with the intention of going straight into teaching, so that's my answer for you there, I truly don't believe that many attend dance college to go into teaching dance straight away, but with intention of doing it later after experiencing different teaching styles, technicalities, performing professionally and hard training. I think what we all need to take into account is that we tend to neglect each individuals background. For one, I come from a family of musicians and teachers, therefore teaching is in my blood and I have a huge passion for music, hence dancing is my way of expressing my love for/through music and I also have an ambition to teach because I like to share knowledge, experiences and help the younger generation find their own passions. So dance, for me, lets me express my love for music, which general exercise doesn't do.

Ruth Bowe I think this depends on the person in question. I know people from college that only wanted to dance then a few that only wanted to teach and then some that wanted to dance then go onto teach. I do think teaching qualifications are a back up for if the dancer has no work so it's easy money or if they get too old for employers they can go onto teaching. If performs become injured or plans fail teaching is the best option because they have experience and possibly a qualification in this field so will get work easily. I love performing and would do it forever if I could but I know there will become a point that younger people will be chosen over me. I will have restrictions in my body that younger people won't and I may want or have a family and no want to be travelling the world and leaving them all the time. This is thinking for realistic I think because performs are so different so office jobs etc.

My reply:  I hadn't thought of thinking of people's backgrounds and influences before but it must have a great deal to do with the outcomes. It got me to thinking....are colleges set up with a mind to those who just want to teach or are they all performance based? What's the best option for someone who chooses to teach over performing with regards to training and teacher development?

Chiara Anna Vainella Hi Leon. Personally I trained in musical theatre with the aim to work and perform, never really with the intention of teaching. I know that some colleges do actually have a teachers course where you can enroll to get teachers qualifications rather than train for performance purposes.

Amy D'Arcy I agree with Mel, in the sense that I realised when I was a t college that it wasn't for me.. Going to performing arts college was something that just kind of happened. I never applied to audition but went as an associate and then got a call one night saying to go in the following day for an audition and then I got a place. I didn't really know what a levels I had wanted etc so it just seemed like a good thing to do (despite my parents opinions) however by the time of third year it was not a lifestyle I could see myself living. I got too tired, injured, and couldn't face the bitchiness that I was surrounded by! The idea of teaching had always been in my head but again, it wasn't a desire/passion I'd always had however I did know that it would be a secondary school I'd want to work in rather than primary/dance school, then I got offered the opportunity for work placement in a school and love it! Because the kids don't really care about technique or anything like that, they just love doing it which makes me love doing it! hope this helps.

Everyones feedback was very gratefully recieved but the more I thought about it the less I found a route developing for me to take it further. It just didn't hold my interest enough and would not feature in my future career development. So it was back to the drawing board as far as my line of inquiry was concerned. 

5b Ethics in the workplace

Having researched various codes, frameworks and practises of ethics in a professional community I was pleased to see that many of preconceived thoughts were reflected in my findings. Companies have frameworks which are followed by all echelons of management and employees ensuring safe and just working environments. A high standard of morals is to be adhered to by all. Decision making is a key factor as the outcome may effect not only you but others indirectly. The following link is to a site which gives examples and reasoning behind good decision making...

http://www.chsbs.cmich.edu/leader_model/development/media/Targeted%20Lessons/workplace_ethics.htm

From what I gather there's a code of practise for both how a company portrays and handles itself and also a code of practise for how the individuals treat each other. This can be applied to the performing arts business on both a performance based and teaching capacity. If performing in a show your management has a duty as do you as a professional to uphold values and morals both towards colleagues and how the company is seen as a collective. The same applies if one is in a teaching environment. Personally I think that in certain areas in the dance profession the codes are very slack and if repeated in a different professional environment the guilty party would be dealt with harshly. 

http://www.rocketswag.com/ethics/moral-value/work-ethics/List-Of-Work-Ethics.html 

  This site lists a few of what ethics it considers important. I've copied the list below for ease....

Honesty

Integrity

Perseverance

Respect

Privacy

Cyber ethics like maintaining privacy, not spamming and having email etiquette

Constructive criticism

Appreciation

Reporting

The more we move forward with technology the more we have to pay attention to the ethics of cyberspace. I hadn't considered this action before but it's relevant as it's all around us today and will only develop in the future. It's not so prevalent in the dance industry, or maybe I'm over looking an aspect?

While researching I came across a site which catered specifically for the ethics in the exercise and fitness industry reflecting on the core values of rights, relationships, responsibilities and standards. In my opinion much of what is mentioned can be directly applied to dance teaching either at schools or colleges.

When considering ethics in the workplace professional standards must be high. Respect yourself and others. Good decision making abilities are necessary and will always be tested. To some it's common sense but as I'm discovering upbringing and background play a huge part but I believe that having intense dance training will probably give you good discipline and a high professional code of practise. 

5a - ethics

With my current manner of work, which is teaching all manner of age groups up to 18, there are two forms of ethical codes to uphold. The first being your own personal code. The manner in which you present yourself must be maintained at all times in and around the workplace. You are a role model to  students, parents and guardians and also to work colleagues and must execute a high level of professionalism.

PERSONAL CODE

* be respectful
* polite
* diplomatic  (in dealing with both students and parents or guardians)
* show no favouritism ( everyone gets a fair chance)
* do not bully
* be responsible, reliable and trustworthy
* be organised
*show continuous support
*encouragement and positivity

The second ethical code applies to the safeguarding and welfare of the children left in your charge. You're responsible for the students physical and mental well being. Knowledge of first-aid is essential, for obvious reasons. A safe working environment with knowledge of fire exits and escapes is vital. Appropriate clothing and footwear should be checked, again for safety reasons. Undoubtedly the students will be active so liquids must be available especially during the summer.
Student on student bullying must not be tolerated and constantly surveyed. A welfare officer may need to be contacted if  a child has unexplained bruises or appears unhappy or withdrawn as all may not be well in their home environment. A current problem due to technology is the ease of which pictures and videos can be taken so permission is needed for such practises.

As you can see there are many things to consider and follow when it comes to ethical codes and practises.  A correct approach is needed in all aspects and will be necessary  when dealing with my inquiry questions if I decide to ask students, parents or work colleagues. It all must be conducted properly.

Task 4c

I managed to grab my friend for a 10 minute interview posing some of my original questions to her. As a professional she both performed and taught so I could ask performance and teacher based questions. For quickness I decided to audio record the interview but she was unwilling to give me permission to post it directly on here. Therefore I've taken to writing some of the answers up.....

 

 

Does having good performance experience give you an advantage over other teachers?

 

Yes, of course in certain scenarios. If you're employed to teach freestyle to future professionals then the experience you have in preparing those students is invaluable. To be able to add comments and advice you've gained along the way will only heighten the knowledge and awareness of the students. Also it's a great way of having instant respect. However, if you were a teacher of a particular ballet syllabus I believe good teaching qualifications would be far more advantageous. The teaching qualification would give you the necessary techniques to aide the class in all aspects of their training. Mind you...neither guarantees you'd be a good teacher!

 

 

Do colleges prepare you thoroughly for 'the business'?

 

Absolutely not. Well they might be better nowadays but 15 years ago they fell very short. I learnt more from my first job from my colleagues than I was taught at college. How comes? I felt all my teachers were too out of touch from the current climate. There was no real connection from the outside world. You have to remember that the 'business' isn't just about dancing. You have to look after yourself, find accommodation, do your taxes. They should definitely have a lesson on being self-employed. Is it different now? From what I hear the average age of teachers has lowered considerably and many of my friends teach and perform so the students will and should be better prepared. They hold mock audition workshops as because they themselves are still involved with the process can advise on do's and don'ts.

 

 

Do colleges and their teachers offer false hopes to students?

 

Unfortunately yes. But how would you stop it? As there are so many more colleges than 15 years ago, mostly due to commercial expansion, they feel a need to fill their quota therefore accepting students who most likely will never reach a good enough standard to get work. They should have a moral obligation to be honest but I'm afraid that's not part of the modern world. Greed and dis-honesty are rife. You would never put yourself out of business for the sake of someone's dreams??!!

Taking that into account..should there be a trading standards for colleges? That's wishful thinking and a nice idea. If a college and it's teachers aren't up to scratch they get shut down? Or given time to improve? There has to be a set standard for that to work and with dance there is no standard. The jobs create the standard. The business relies on self-realisation that you're not up to standard resulting in a career change. Exactly..couldn't have that been avoided? The waste of time, effort, money and crushed dreams? I see your point but who are we to stand in the way of someone's dreams. As a teacher you have the responsibility to somewhere along the line conduct a conversation with that certain person talking about possible career paths. Teaching dance isn't just teaching steps.

 

 

I still don't know which path to take with regards to my inquiry but conducting the interviews and asking opinions is very helpful. Questions have developed and new ones arisen. I've found being very specific helps as dance and teaching covers a wide spectrum. Details, details, details. More interviews are planned with the idea of narrowing down a topic with an acute line of inquiry.

 

 

 

 



DEEP SPACE INQUIRY

MODULE 2    
 TASK 4a

It seems we're on a mission to delve far deeper than any man/woman has gone before. To explore a line of professional inquiry to gain knowledge through experience, reflection and research.....lots of research. 

My first series of questions are based around the performance side of the business dealing with the musical theatre industry.

PERFORMANCE BASED  (MUSICAL THEATRE)

~ Is the place of specialist dancers in a modern day musical at an end?

~ Are you better off being an actor/singer/dancer rather than a dancer/singer/actor? 

~ Will training at a drama college rather than a performing arts college enhance your chances of being more financially viable?

~ If performing in the West End is supposedly the pinnacle, how comes the wages fail to support the claim?

~ Over the last 30 years what's the difference in increase of ticket prices compared to wages?

~ Are auditions the most important aspect of the process? Is there such a thing as an audition specialist?

~ Apart from the obvious, is it possible to fathom out the reasons for being successful or unsuccessful at an audition?

~ Do colleges prepare you thoroughly for 'the business'? Have colleges outlooks changed considerably over the last 20 years?

~ There has been a massive increase in colleges over the last 10/15 years. There's been a massive increase in pupils too. Has there been a massive increase of jobs? Or indeed a massive increase in standards?

~ Should there be a 'trading standards' for colleges?

~ Are colleges and their teachers giving false hopes?

~ Are Equity as useless as I think they are??!!

As my time is predominately taken up by coaching these days my next series of questions are on and around teaching and the links between dancing and sports.

TEACHING   (LOOKING FORWARD)

~  Has being a professional dancer helped me become a better coach? Which aspect of my career aided the most....training to be a dancer, performing or teaching dance?

~ Would sportsman/woman benefit from ballet? I'm trying to improve students balance and agility, would ballet be a serious option? Or some other form of dance?

~ Does having performance experience give you an advantage over other teachers?

~ Will eating a healthy balanced diet from a young age give you an advantage over other people? Will it help your growth pattern, strength and conditioning?

~ When's a good age to start preparing students mentally for rejection?

I've tagged some subjects that might be helpful to create links to common ground. Please feel free to comment and invite me to your SIG's!! Also if anyone is thinking of starting a Facebook SIG and we have questions in common I'd appreciate a little invite to that too.

I'm off to shove a video camera in my friends faces and find out some answers!!