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