Look it's my School!

Triple Threat Academy

We were invited to dance at our villages switching on of the lights day! Im so proud! X
http://www.youtube.com/watch?v=YHOP_6lBL4s

Professional artefact and other developments

After a conversation with Nikki and sharing ideas with professional friends and students at the college, we came to the conclusion that my professional artifact should be a guide booklet. With further consideration this booklet will include all the information I am looking for and will advise a dance student how to maintain a well conditioned dancers body. This guide will focus primarily on physical fitness and well being maintenance. When researching body conditioning in training and physical fitness, especially in literature there were heavy links to injury prevention. Therefore, within the guide I have decided it would be important to cover frequent injury complaints and how to avoid and recover from them.

I have progressed and developed my inquiry drastically as I continue to ask the question; what is it I want to know? This has meant that my theme has not changed but the content of my inquiry has. I have followed my plan as much as I could but circumstances have prevented a smooth investigation. This is because it was not as easy as first thought to combine my work-load with research, organizing activities and finding a time that suits all participants.

Here are a few things that I have had to contend with in the past few months:

• I have left employment at the dancing school stated in Inquiry. Thus carrying out an investigation here is no longer an option.
• I have had a cut in hours at the dance college meaning less time to instill body conditioning within a particular course. The gym at the college has also been out of action due to a ongoing improvements therefore, gym programs have not been looked at due to lack of time and facilities.
• I have started my own dancing school. Preparing for this, a show and other performances along with everything that comes with starting a school from advertising to costume organization, has proven difficult with such limited time.
• I have had to add hours to a cafe job that helps pay the bills taking up more of my researching time.

Never before has prioritizing been more important. It seems I am still developing this skill even after I thought I had done so well last term. Things seem to be escalating and time is escaping. I need 'Bernard's Watch'!

Interviews are going well I only have one more to complete. I will right a small summary over the next week and post my recordings and findings. 

The survey I posted needs many changes. Thank you to everyone that participated. The results I gathered have lead me to develop my questions further. Also, I now need to add questions about common injuries to aid the creation of my artifact.

My brief overview of 'Survey Monkey' findings

• 88.9% trained at a Trinity accredited college. I choose to find out this information as I am currently working in a Trinity accredited college, this is my area of professional practise. I will cross reference this with my findings later on in my research.
• 77.8% had a ballet class every day. This percentage and the next three bullet points show me what emphasis was put on a particular style of class within the course thus allowing me to understand what is important when training.
• 0% had a fitness/body conditioning class everyday. At first I was concerned about this. However, I realised that a weekly fitness regime can consist of classes and personal fitness regimes combined.
• 33.3% of participants took part in one to three classes of body conditioning a week.
• 66.7% had access to the gym when training.
• A third of participants use the gym now either less than one hour a week, one to two and three to four hours a week.
• 22% of training focused on fitness within weekly training at 10/20%, 50/60, and 70/80% of the course content. These results varied immensely. I was surprised at this as I assumed Trinity Colleges were standardized. 33.3% at 30-40%. Therefore, most colleges focus less than half of there course content on fitness. This alone outlines the need for a guide that helps students to maintain body condition within and around their college timetable.
• 77.8% have a fitness regime now and either swim, run, work out, visit the gym 2-5 days a week, or take part in more than 40 minutes of exercise everyday. These can be ideas outlined within my professional artifact.
• Only 10% work on flexibility and core strength. Leaving one guessing what else they work on, maybe I should have added a question that required a more specific answer here as this is not very helpful for my research.
• 100% agree they were correctly trained for their career. Conversely in the comments box a few participants added that knowledge of strength and fitness was not covered within the course. The course focused on correct execution of technique. This also supports the need for a guide to help students understand their bodies and how to keep them well conditioned.

New Survey

Hello again!

If you are a professional dancer or underwent professional dance training, I would really appreciate it if you could take the time to answer a few questions. Any comments are very welcome. Please take my survey and let me know what you think...

Click here to take survey

Useful Website!

Hi Everyone!

Ive found a website that has been very useful on Google Scholar as advised by Paula. I was looking at dance science, and the relationship of fitness in dance, its affects on the physiological make up of a performer for the prevention of injury and found an open repositery on the University of Wolverhampton's Website: http://wlv.openrepository.com/wlv/

Check it out! Hope someone finds this as useful as I have! Review to follow...

Re-group, Re-focus and Re-fresh...

After a phone conversation with Paula and looking at all the feedback obtained so far thoughts have lead me to the following questions;

• What is it I want to know?
• What is it I am trying to find out or discover?
• What will my outcome be?

Ive found that so far I have been very vague without really even realising. I myself had an idea of what it was I wanted to inquire about but I wasnt setting a clear path for anyone to follow. How would I create an inquiry that is accessible, clear and relevant? Time for a re-think

A number of events over the past couple of months have curved my inquiry topic. First of all, I left employment at a dancing school and I was uncertain of my employment in the field of teaching dance. I was left feeling very dissapointed and sad. With some time off I realised that it was something I was born to do and I have since then set up my own dance school in my local area. Here is my website: http://www.triplethreatacademy.co.uk/ This however will not be the employment I will choose to focus on. I have  recently renewed a contract of employment with a Trinity Musical Theatre College as a body conditioning student. I decided that my main area of curisoity is in professional dance training. Particularly in the Trinity Diploma curriculam.

How do I efficiently train a dancer for their profession through Body Conditioning?
Sub questions:
How does Body Conditioning enhance training within the trinity diploma course?
Does Body Conditioning help technique within the dance classes and how?
What are the Body Conditioning practises of professional dancers in employment?
Are there any similarities?
Do other Trinity Colleges have a class soley for fitness, strength and flexibility that is not a dance style/technique?
Why is Body Conditioning part of the timetable?
What is in a Body Conditioning class and why?

Thoughts from Summer and Interview Preperations

If im honest reading through the feedback was daunting and getting started was a scary prospect. However, after much dileberation I have decided to adapt my Inquiry title and re-focus my investigation. Re-reading my plan I have to agree that simplifing the task will help clarify what I want to learn from this module. I am going to evaluate and decide what is most important and come back with a better title and refined plan.

 

Although I aimed to compare experiences from my own and others including, students, professionals and teachers I have realised that I only really intended to focus on those who are training now. This I feel limited the potential scope for reliable results. Experiences are easily influenced by many variables. I failed to see that this would distort my underlying questions. Other professionals and teachers are the key to finding the answers I need to make sense of my inquiry.

 

Over the summer my employment at the dancing school ended, this is where I regularly taught and had hoped to study the dancers. Sadly this will not now be possible therefore my inquiry will have to change direction slightly. I still teach at LCPA, so this is now where I want to do the bulk of my research. Here I teach Body Conditioning to training dancers in a professional college. At the moment the gym at the college is out of action so this has altered my plans further. Consequently, I am going to start my research with the teachers at the college by creating an interview/questionnaire for staff who are willing take part in my investigation.

 

Here are a few  questions I could start with:

• Is previous dance training important when embarking on a professional training course and why?
• How do you prepare for the year/term/class?
• What variables do you take into consideration when planning a dance class/the term?
• What do you feel is the most important attribute in a dancer, or put the following into the order of which you feel is accurate. 1 being the most important and 8 the least.
• Technique, Flexibility, Strength, Physique, Image, Confidence/Personality, Performing skills, Ability to pick up choreography.
• Do you feel there are any other factors when training that need to be accounted for?
• Is there a dance discipline that you feel is essentual when training and why?
• What advice would you give to a training dancer?
• Do you feel dance is important to a Singer, Actor or someone wanting to work professionally as an all rounder wanting the to offer triple threat?
• What emphasis do you feel is put into dance training in a Musical Theatre Course and how do you feel dance should be distributed through the course?
• Assuming I know nothing of the dance world what would you say was the purpose of this course?
• How do you ensure targets are met?
• What classes do you feel most appropriately trains a dancer for their future and why?
• What skills do you feel are essential for a graduating dancer?
• Once a student has graduated what advice would you give to help them with their career?

 

I hope this is a good start. Im going to think about it some more, I have a few more days before my actual interview so feel free to comment everyone many thanks in advance! Aby X

Online Wiki

Here is a link to my Online Portfolio:
https://sites.google.com/site/abygailmartin

Critical Reflection and Summary: Digital Portfolio (WBS 3835)

Developed Professional Questions:

When developing professional questions, I had no idea were to start. Contemplating and unscrambling so many ideas was a huge task in itself. I started with notes and jotted ideas in my journal. Pages and pages of possible questions. I got a little creative, using Microsoft Publisher to help my thought processes through possible pathways to enlightenment. Previous Employment, Current Professional Practice and Future Potential Practice were initially the themes I brainstormed. Looking closely at these three themes, allowed me to take a closer look at the directions I could take and help decipher questions relevant in my developing professional practise1.  

These three themes led me to thinking about education in particular. I thought that there was something missing in education for those that are creative, or had a passion for something that wasn’t catered for in an academic environment. My initial thoughts for my inquiry2 started with the SIG on Facebook “to help clarify and develop ideas and possible routes to take”3.

“I think that experience is the best training but where did you originally train and how did you find the experience? Do you think it prepared you appropriately?” Now this question was vast and covered a lot. However, know one in particular focused on training before college. This led me to the conclusion that college level is the time to get down to business, if you’re going to take yourself and Performing Arts seriously this is when you did it. I conversely feel along with many that training should start young (another SIG I was involved with4), though I felt higher education should be the main focus of my inquiry. Within discussion through SIG I empathized with Nicole that “an older head on my shoulders may have helped” and that “A mature attitude would have allowed better focus” at college level. I agreed with Rebecca “that the appropriateness of education is so very personal and how can we predict what would be better for us without knowing before hand our own future?”

One of the questions that came out of this was “Many colleges offer foundation courses for those who need to catch up in areas of weakness so why isn't there anything the other end?” It wasn’t until after I came to doing my survey that I really found questions I wanted to Inquire. This is eventually how I came to my award title. Firstly with education in mind I naturally opted for BA (Hons) Professional Practice (Dance Education)5. Furthermore, through much deliberation I decided to focus on a title that reflected the job opportunities that I wanted to continue and develop. BA (Hons) Professional Practice (Advanced Dance Training) I feel is much more appropriate now after a recent experience6, I want to focus my Inquiry at Higher Education.

Ethical Considerations:

When considering ethical issues that surround my professional practice and proposed inquiry I came across council I hadn’t even contemplated. I hadn’t previously seen the importance of ethics until reflecting over tasks within the course reader and what I have learnt about my own and others ethics and ethical theories. My findings differed from my assumptions. I found that ethics are actually about what’s right and what’s wrong, what’s expected and what is unacceptable. I did assume that ethics are for protection of everyone's best interests, however in my list I did not even consider those equal to me.

After creating a list of ethical considerations in my workplace without research7 and then comparing it to ethical considerations in professions a like, I failed to go into so much detail about professionalism, privacy and respect for all those that surround me. I focused more on the physical rather than the psychological responsibilities I carry and what is required for creating a well rounded individual. I feel in this case that good communication and common sense is important and conscientiousness is imperative8. Like a drop in a pond, the ripples sometimes seem endless and being aware of the impact I create is fundamental for my understanding in what I offer as a positive contribution to the dance world. I was a little to direct before and focused mainly on the immediate effect I have on my students rather than the bigger picture.

Using the ethical framework provided by the course reader allowed me to distinguish between ethical theories and I discovered that I practice Consequentialism in a class room on a daily basis. I believe in Deontology to a certain extant as you have to be seen as telling the truth, being trustworthy is important for a respectable teacher. Virtue ethics I agree with and that moral behaviour and character is as important as action. Students judge their learning from a teacher’s behaviour and character9. I feel that we all have slightly different ethical views and practices depending on upbringing and our own individualism, on the other hand it is important for a teacher to uphold certain ethics to be consistent within their field of practice. 

Tools of Inquiry:

Survey: I found the results from the survey interesting. I learnt that I needed to reconstruct my questions, and the way in which I order them. I feel if I can guide the participant through the understanding of the information I want from them clearly, then my results would be more accurate. There was a varied response with a few surprises, for example I did not expect anyone to skip questions. I was also shocked that survey participants were taught by specialist teachers at their primary schools. I thought that everyone would have had a similar experience to me; a class room teacher or PE teacher with no dance background. Turns out some participants opinions and experience differ from my own, this I hadn't really accounted for10.

Interview: The interview I conducted was very useful in that it allowed me to get a real insight of an others opinions, knowledge and experience. I was particularly interested in the type of training my participant had received and was concerned when she expressed negative ailments of her training. With an interview you can question feedback. Something might come up that was not expected and you are able to delve into information that you may not have come across with a simple survey. Surveys can be general. Interviews are personal and findings can be more accurate in result. Interviews are good for the interviewees understanding of the participants reasoning. I feel this merit greatly outweighed any limitation when using this tool. 

Focus group: I decided to split my focus group into two to alleviate any professional implications. I wanted to talk to students currently training in advanced dance. Moreover, I wanted to discuss professional course content with teachers and the realities of a career after advanced dance training with teachers and professionals alike. I think that in the future having at least a couple of participants that are not familiar with the others may add perspective. As I knew all the participants on a personal level I feel the results I had may have been slightly different under more focused circumstances. Maybe the unknown participants can act as 'gate-keepers', someone with leadership qualities to influence the discussion further. Furthermore, it may add dimension to my results if I have someone less experienced in the subject to add diversity and for the other participants to bounce off. I was happy with the pilot attempt as it allowed me to analyze an array of opinions, hopes and realities that were compared and work-shopped through. This was great for depth and variety unlike an interview with just one participant.

Observation: The results from my observation was not as clear as I would have hoped. This is because I did not prepare myself appropriately. Therefore, when it came to recording my results I was struggling to remember key objectives and findings. In the future I will carry out an observation when only observing and recording results. Not when participating within the class. As I was observing technique and general ability according to training, it is hard for an overt observation to influence the participants. Covert is hard to justify ethically, fortunately all involved were fully aware of the observation I was undertaking allowing a free conscience. A preferred tool, as observation is a primary source. I can see first hand natural reactions that are not contrived11.

Reviewing Literature: I think this will be a very important tool for my Inquiry. One I feel I shall use a lot during my Inquiry. There is a lot of literature that supports all types of advanced training and reviewing their appropriateness for application will be an integral part of my investigation. There is a lot to be learnt and it’s all out there in literature one way or another. The first piece I reviewed may not have its subject in dance but is relevant all the same. Training from another practice and point of view will add sustenance to my inquiry. This will enable me to consider all types of training and the theories behind them. The second piece I reviewed confirmed my previous training and added ratification to my professional knowledge. It also outlined aspects of training I hadn't thought of, giving me ideas for my inquiry and depth to my results. The third review I completed was a great resource. Although the book was not intended for dance professionals in the Introduction of Pilates for Life; A Practical Introduction to the Core Programme' Darcey Bussell clearly upholds the view that Pilates is an 'important' part of a dancers training. This professional opinion is backed up with a lot of information about the method that has famous successors within the industry. I can use this to validate my own Professional Practice and develop it for my Inquiry12.

Near the end of this Module I was introduced to 'Delicious' an online bookmarking tool that allows you to save useful websites to share and to come back to. I found it helpful to have all my useful websites saved in one place13.

Appendix:

Bussel, D. 2005  Pilates for Life; A Practical introduction to the Core Programme. The Penguin Group.

1. http://aby-lea.blogspot.com/2011_02_01_archive.html

2. http://aby-lea.blogspot.com/2011/03/initial-thoughts-for-my-inquiry.html

3.http://www.facebook.com/?ref=logo#!/topic.php?uid=145821545478191&topic=75

4. http://www.facebook.com/?ref=logo#!/topic.php?uid=145821545478191&topic=64
5. http://aby-lea.blogspot.com/2011/04/award-title.html
6. https://sites.google.com/site/abygailmartin/home/award-rationale
7. http://aby-lea.blogspot.com/2011/03/task-5a.html
8. http://aby-lea.blogspot.com/2011/03/task-5b.html
9. http://aby-lea.blogspot.com/2011/04/task-5c.html
10. http://aby-lea.blogspot.com/2011/04/6a-pilot-survey.html
11. http://aby-lea.blogspot.com/2011/04/6b-critical-reflection.html
12. http://aby-lea.blogspot.com/2011_05_01_archive.html

13.http://www.delicious.com/abymartin25

Literature Review 3

I will be reviewing the introduction of 'Pilates for Life; A Practical introduction to the Core Programme' by Darcey Bussell. The principle dancer with the Royal Ballet, Darcey Bussell was promoted in 1989 at twenty, two years after winning the Prix de Lausanne and was awarded an OBE in 1995.

Although this book is not necessarily for advanced dance training, Bussell explains in the introduction that she 'really believes' in Pilates and how it 'enhances your life'. While admitting she is not a teacher of Pilates she discusses her very positive opinion stating that 'Pilates is the best thing I have ever done for my body'. She goes on to outline it's physical benefits for men and women. As a professional dancer having undergone intense physical training for her career, I am highly compelled to take store in the information she offers.

General facts and the history of Pilates is discussed and Bussell tells us of a 'unique' 'body conditioning method' that works on 'strengthening, lengthening and toning the muscles as well as improving posture and balance.' She talks about its fame, how the technique established itself  and 'became popular among dancers' in New York when successors such as Martha Graham and George Balanchine became fans. She offers the reader other more accessible 'less daunting' examples of its beneficiaries comforting us with the fact that it can be done 'by anyone of any age'. This I think is for benifit of sales. If Darcey Bussell is selling a book to 'anyone of any age' she has to consider the lower end of the training scale.

George Balanchine: 'a pioneer of ballet in the United States, co-founder and ballet master of  New York City Ballet he created modern ballet, based on his deep knowledge of classical forms and techniques.'
http://en.wikipedia.org/wiki/George_Balanchine

Martha Graham: 'American dancer choreographer regarded as one of the foremost pioneers of modern dance.
http://en.wikipedia.org/wiki/Martha_Graham

Darcey Bussell deliberates, that as a young dancer was very supple and 'needed to know how to control her body'. She explain's that on the whole dancers use this method because without bulking it is the best way to exercise/develop every muscle in the body. For it is 'important' to 'not appear muscle bound on stage'. Furthermore, Pilates allows dancers to stay 'leaner' and 'stronger as dancers for longer'. This is worth noting for my Inquiry, as I teach Body Conditioning in a Dance College using Pilates based influence in the exercises. This gives me insider knowledge that a professional supports for my developing professional practice.

Bussell feels that Pilates is 'invaluable' helping dancers to recover from injury as ballet training and performing has 'become so intensively physical'. It allows excellent 'recovery too'. Suggestions and advice is given to followers for their own practice, according to ability. Pilates combines breath and relaxation, elevating stress. For Darcey doing two hour and a half classes twice a week offers equilibrium. This balance I feel is incredibly important to equip a dancer appropriately when faced with the overall strains that they may endure. Either, within a dance lesson, audition or performance.

Pilates gives Darcey Bussell 'Ultimate confidence' as she declares 'if Ive done my exercises before I start my working day, I know I am prepared and ready for anything that comes my way.' Darcey leaves us feeling incredibly positive about our lives and motivated towards possible training outcomes. Positive mental attitude is very important for dancers due to knock backs and rejection, sometimes on a daily basis. She offers us an escape and a chance to become in tune once again with our physical and psychological selves.

A combination of interesting angles to research. Pilates as a physical and mental training tool. One that is so successful that famous professionals in the industry such as George Balanchine and Martha Graham became 'fans'. A body conditioning method so good and different that it is inspirational for those who use it. How can I further apply this method to achieve what is needed in advanced/professional dance training?

Bussell, D. 2005, 'Introduction' from Pilates for Life; A Practical introduction to the Core Programme. Penguin Group.

http://en.wikipedia.org/wiki/George_Balanchine

http://en.wikipedia.org/wiki/Martha_Graham

Literature Review 2

I will be reviewing the following article written by Stephen Arnold. The article was first published in the Dance Today which aims to inform the reader of the Importance of Physical Fitness Training for competitive dancers. The article can be found at; http://dance104.valuehost.co.uk/e107/page.php?10

His acknowledgment include:

•  Maximising Physical Performance Margaret Papoutis, in Dance Addiction (Ed. Wally Olney)
• Dance to Your Maximum Maximilian Winkelhuis
• The fit and healthy dancer: Yiannis Koutedakis and N.C. Craig Sharp
• Amanda Harker; Personal trainer

These all might be good resources to look at in the near future.

Using all the above resources Arnold has compiled an excellent article about the Importance of Physical Fitness Training. He first states that 'developing correct technique and mastering the choreography is only half the battle' of which I deeply agree. Although he focuses on the physical training of competitive Latin American and Ballroom dancing the theory is the same and applied across the board. According to Arnold without it 'it is not possible to be successful' and is an integral part of dancing.

Arnold then goes on to specify the different components of fitness, and how it is important to achieve the right balance allowing dancers to compete at their 'physical peak'. 'Aspects of training include: cardiovascular training, weight training, stretching, ballet, diet and rest.' It's these combination's I want to look at and how to get the balance right.

Stamina is the next subject touched upon and why it is needed. Whether it be for dance competition or a show, a dancer has to have a good level of stamina. He proceeds to briefly outline the catagorical elements of anatomy, the processes involved, diet and what cardiovascular exercise one can undertake as part of their training to improve stamina. These are all aspects to consider when training an advanced dancer for a their professional career.

'Complimentary to muscle strength is muscle power.' Another paragraph ensues with information about weight training and that 'it is vital that a dancer increases muscle power and strength together; otherwise muscles can develop in a way that reduces mobility.' This is true using my own fitness instructor past I know from training people and helping them in the gym what is required to ensure body balance and the correct form for a dancer. Knowing the best type of training is imperative to my Inquiry. I want to be able to create dancers bodies that are muscularly appropriate and of course training differentiates between girls and boys.

Flexibility is important for dancers  as they are 'required to make shapes with their body'. However, I could argue that some dancers are not flexible. I do not disrepute the fact that flexibility is important, but some dancers are physically restricted and have to make up for this using other qualities. This is not from lack of wanting or trying, some dancers are just not as naturally supple as others (due to joint restrictions etc).  I agree with Arnold that 'flexibility is improved by progressing through a series of stretching exercises that encourage the muscles to become lengthened and more mobile.'

When discussing strength and core stability 'Amanda Harker, personal trainer and ballet teacher' is called upon to explain the core centre, stability, posture and the understanding of the use of these important aspects of dance training. Her philosophy is to use 'Ballet along with Pilates and weight training', to maintain comprehension of this allows dancers to 'use their body in a more productive way.' Harker is accurate when she implies that 'lack of understanding about how the body moves can result in injury.' I myself combine ballet and pilates in a body conditioning class that is designed to enhance dance training at the college I teach. I strongly support Harker's philosophy and what she has contributed to this article.

The importance of diet and nutrition is approached with details of its influence on a performers body. Arnold also pontificates that hydration is a 'key factor', controlling how well a dancer can perform. This of course is out of my control as a teacher when training advanced dancers, by any means appropriate advice can be given. Arnold makes a good arguement for good nutrition and hydration.

Again Arnold uses Amanda in his final words to communicate the amount of training that is required within any one week and that 'the fitness training needs to take place in addition to dance lessons and practice'. With this in mind, I concede that the 'rotating' through types of training 'allows the body to continue to develop', although we have to be careful of 'burn-out' (I will look into this as part of my Inquiry), knowing the right balance is an integral part of training and becoming a professional dancer.

This article is very useful and full of information widely supported by many researchers. All the information I found complimented my own understanding and previous knowledge on the subject. Even though Arnold wrote about couples training for Latin American and Ballroom dance, I feel that the type of training is very simular. An added dimension on advanced dance training maybe to look into the psychological and cognitive domain that can be influenced and developed through advanced dance training.

Arnold, S. Importance of Physical Fitness Training available from http://dance104.valuehost.co.uk/e107/page.php?10

Literature Review 1

I will be reviewing the Foreword of The Theory of Practice and Training 6th edition. This is written by Professor Jim Stewart Running Stream Professor of HRD at Leeds Business School.

Stewart argues that 'training and development becomes more, rather than less important in current economic conditions'. Although this book is not written with dance training in mind I wanted to see the emphasis that is applied to the importance of all training.

He states that effective training and development can and does make a positive difference to an individual, team and organisation performance' and that the book shows how to achieve that. Stewart talks about how funding is being cut and businesses in some cases are failing. 'But, given the case then thee is a clear need for books such as this to support teaching and learning. And in the case of training and development The Thoery of Practise and Training is an excellent resource for that purpose'. I agree that training supports business and as many dancers are self employed this can only be a positive resource for professional development.

Using his HRD background and business experience Stewart supports the literature by proclaiming it 'relevant, topical and timely' and that it is 'essential reading for those working to develop employees, especially those new to such roles and jobs'. The careers I wish to prepare dancers for in the future, although individuals may or may not yet be employed will be new to such roles. Stewart recommends the book as a guide for 'fulfilling and getting the most benefit out of such responsibility'.

It is not surprising because of his occupation as a professor that Stewart upholds The Theory of Practice and Training describing it as having 'continuing value to students, lecturers and practitioners alike', nevertheless this Foreword supports the idea of using this guide to facilitate my Inquiry.

I am extremely uinterested in seeing whether other professionals have opinions alike. How do I prepare myself as a teacher and create a training program for individuals embarking on a professional career?

Stewart, J. 2009 'Foreword' in R. Buckley and J. Caple; The Theory of Practise and Training. Kogan Page Ltd.
http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780749458515

Another Pilot Interview

Recently I have sent messages on facebook to get an idea of what college level education was like in my area. I asked an ex-student a few questions just to clarify information for my Inquiry.

Qs 1 Have you or are you training in further or higher education Dance/Musical Theatre?
"I Completed BTEC National Diploma in Dance"

Qs 2 How many hours a week are or where dedicated to academic lessons and what where they?
"In the first year we had one hour of contextual studies, in second year one hour of business studies and one hour of dance appreciation. (Group tutorial was an hour for both years)"

Qs 3 How many hours a week are or where dedicated to physical training? e.g. Ballet, Tap, Modern, jazz...
"One hour of ballet a week sectioned into advanced and beginners, one hour of commercial, 3 hours of contemporary, 1 hour contact improvisation, 1 hour choreography, 2 hours fitness, and an hour and a half of Musical Theatre in the first year. We had one hour of ballet, an hour and a half of jazz, one hour of tap, one hour of dance appreciation, and 4 hours of contemporary in the second year".

Qs 4 What are the good aspects of this course?
"I feel the College offered a variety of styles in dance, the business, context and dance appreciation lessons open your eyes to the 'behind the scenes' work that goes into the performances of professional companies. The college has links to youth dance companies offering great opportunities which is great. They also give you the time to decide if you want to advance your skills in dance through university.

Qs 5 What are the bad aspects of this course?
"I feel the teaching staff could have been stronger, a majority of the staff members had to get pupils to demonstrate movements as they couldn't perform them! No discipline, the classes were unruly and students were just plain rude, they spoiled it for people who genuinely wanted to learn. For people with previous dance experience there is not much of a challenge because of the vast range of levels. I found that teachers had extreme favoritism!!!!!!!"

Qs 6 How do you feel the course you are doing could be improved?
"There needs to be separate classes for each level to enable a challenge for advanced dancers and to encourage dancers starting out. I think teaching staff needed an improvement, dramatically! When a teacher can't do a standard split leap without bending their knees and having to get a pupil to demonstrate properly, makes you question how you're meant to learn. More discipline, and respect for teachers is needed so less time is wasted in class."

Online Portfolio

Here is a link to my online portfolio:
https://sites.google.com/site/abygailmartin

6b Critical reflection

Critical reflections on the relative merits of the four tools in addressing my questions

Tool 1: Survey
The survey I created was not appropriate for my new evaluated Inquiry. The questions I used were to find out how people viewed their own experience of dance within education mostly at a primary level.

"For a survey to be useful in the process of Inquiry I need the questions and answers to be specific in there intention and delivery. I now realise what I need to do to improve my survey."

Abygail Martin, Blog:  Wednesday, 20 April 2011, 6a Pilot Survey

The pilot survey served a purpose. I learnt how to a use a survey using Survey Monkey appropriately and found the relative merits and limits in addressing my questions that relate to the workplace and the particular sector of knowledge I am looking to accumulate.

Advantages

• An easy way to acquire information. Creating the survey with Survey Monkey was quick and uncomplicated with options to facilitate your line of questioning. The site was very helpful allowing for different types of questions that needed different methods of feedback. For example you could create a question that requested simple Yes and No answers (which are easier to compare) or a question that solicited more information making answers more personal and opinionated.
• Easy to access through other social networks on the internet. I found that I could access participants; my 'target audience' efficiently by posting the link on Facebook and my Blog and they could access it visa versa. This means I can get the answers I need from the appropriate participants with relative ease. Thus creating results that are comparable and fair.

Disadvantages

• Sometimes answers were limited. The creator has to be very specific in the type of question they ask to ensure feedback is relevant. Comment boxes allowed for elaboration but I feel people did not tend to write detailed answers.  I would have to be very clear of what information I needed and why the question was asked in the first place to help the participants understanding of their influence on my research. This may help accuracy. 
• People may lie or be bias when answering questions for many reasons.
• The skipping of questions made comparison difficult. If someone wanted to skip a question I think it would be helpful to create a 'why box' to help the creator understand results.

Tool 2: Pilot Interview
The interview I first conducted was over the phone with a past student of mine who is now in professional training. I started with a structured approach as I asked questions about the facts, for example; where she is training, and then a semi structured discussion took place were opinions, hopes and aspirations were visited. I wanted to understand how this individual felt about her training past and present and what she would hope to achieve in the near future and there after. This way I could get a real clue as to what her experiences have been within the area of knowledge I am looking to acquire and how advanced dance training is going to equip her for the big wide world.


Advantages

• With an interview you can question feedback. Something might come up that was not expected and you are able to delve into information that you may not have come across with a simple survey. Surveys can be general. Interviews are personal and findings can be more accurate in result. Interviews are good for the interviewees understanding of the participants reasoning.
• One to one interview was relaxed and easy to follow.
• You can judge positive and negative reactions as you perceive them.
• As I am still in touch with participant it is easy to contact her and to record progress or developments.

Disadvantages

• Face to face interview would be a lot better. Some where neutral and comfortable so the conversation/discussion can flow naturally.
• As I had to take notes I had to pause the interview many times to take catch up on what was being said. This disruptive the natural flow of discussion, made it slightly uncomfortable with long silences and also added limits in itself as the participant didn't want to say to much for me to have to write (would use Dictaphone in future).
• As I knew the participant quite well and the participant being an ex-student, she was eager to impress. Answers may have been slightly exaggerated or underplayed according to what she thought I hoped the answers would be. I tried to stay platonic and professional without using my voice when asking a question to convey notes of persuasion. This was also difficult. 
• Compared with the survey this process was very time consuming. I would imagine it would be more so if I had to arrange a face to face meeting, which will be the case in the near future. This will be difficult because of time scheduled commitments in the participants and my own timetable. Note taking was also tedious but necessary. 

Tool 3: Pilot focus group
For this tool I had to have two different focus groups. One was with past and present students and the other with friends who had undergone advanced dance training in the past.

For the first group I asked about their advanced dance training, one student is a first year training in London at a well known dance college three others are at a government funded college in the area (on different courses) and two others are studying A-levels, all are training in advanced dance. I wanted to ask them about their experiences and what they are looking to achieve. Where they were now in their progress and their future potential.

With my second focus group I talked to two ex-professional dancers who had had very successful careers and who had under gone career transition, two dancers dancing professionally at the moment and an old friend who I took advanced training with and whose career had took a completely different direction. Again here I wanted to compare experiences and the reality of a career in dance and relative success after advanced dance training.

For ethical reasons I previously seeked permition from participants, participants parents if the student was under 18 and from my own employer. 

Advantages

• With two focus groups I can compare results of an aspiring young dancer and a matured dance professional. 
• Discussion took a life of its own which added to the complexity of the results.
• A array of opinions, hopes and realities were compared and work-shopped which was great for depth and variety unlike an interview with just one participant.

Disadvantages

• Some comments seemed contrived and were not natural due to saving face in front of other professionals/students.
• It was hard to host, take notes and engage while keeping track of the discussion and who had said what. I did not have a dictaphone as mine had broken so this is something I need to rectify for future meetings.
• As professionals usually work away it will be hard to get them back in the same room again for a while or contact them. Skype may help or even group messages on facebook like SIG.
• Very time consuming trying to arrange times that suited everyone.
• It was hard to get real answers to my questions and come to any finalised conclusions. However the different points of veiw were incredibly interesting.

Tool 4: Pilot Observation
For my pilot observation I observed fellow participants within an advanced class I took part in. I studied their reactions, recall, level of dance technique and how their own previous training got them where they were now. One student was in her 3rd year at a very prestigiouse college in London another was looking to take her advanced exams and others were about to embark on a career of dance all were friendly and welcoming.


Advantages

• It was fun, friendly and familiar. I enjoyed the experience.
• Everyone was positive and happy to help after I had explained the purpose of my observation.
• This is a primary source. I can see first hand natural reactions that are not contrived.
• I did not know any of the participants previously so didnt have any pre-conceived opinion or assuptions on  individuials.
• The class occurs weekly so I can go back and record progress and developments.

Disadvantages

• It was hard to ask everyone if they minded my observation before hand. Slightly embarrasing when I hadnt met them before. Also the participants may have behaved slightly different if they hadnt of known I was observing them. They may have adapted their behaviour. However, this would not have necessarily influenced results negatively. It would only mean individuals would have tried harder to impress, meaning I could see full ability and utility of their body.
• I wrote up my conclusions at the end of the class once I had arrived home. Maybe in the future it would be better to record the class to help with recall of occurances. I may have left important incidents out or completly missed them when particepating in the class. Furthermore, watching a class rather than participating would have been more appropriate, as then I can take notes as the class progresses. Furthermore, being aware of the participants rather than my own involvment in the class.

6a Pilot Survey

The survey I constructed using SuveyMonkey was the first Inquiry tool I explored. If Im honest I was not sure and entirely focused when deciding on the questions. This is because my Inquiry was not yet focused. I used the Survey to distill my own diluted thoughts on education and dance to help me spot an area that I could really sink my teeth into. It worked. Thanks to a comment from Mark Iles I realised the potential in an area of my Professional Practice for Inquiry.

For a survey to be useful in the process of Inquiry I need the questions and answers to be specific in there intention and delivery. I now realise what I need to do to improve my survey.

"I need to focus on specific time periods of training if I want to correlate results for comparison. After analysing this, I now think I need to focus specifically at one area of training/education. Before I had a broader spectrum of ideas. However, after reflection I have decided to narrow the time frame/training period to just that of college level, thus meaning I will need to adapt my survey accordingly."

 Abygail Martin Blog 2011

My initial ideas where to concentrate on primary levels and the development through the process of education right up to GCSE. I have now realised that this is a vast spectrum to look at and have decided to dedicate my inquiry to a specific area of training. I am currently employed to teach many levels but my main interest is at the higher end of the scale. I want to know the difference between a professional private dance college course and a government funded open college course and how either prepare for a career in performing arts. What emphasis is put on academia in comparison to physical training? What is needed and why?

Therefore, with this in mind I will re-write my survey accordingly to help gain results from a wide range of participants including past, present and future professionals, students and teachers working in higher education.

Only 12 people completed my survey, although I was grateful, Id imagined more would participate. Especially as I added the link to Facebook and I have a lot of friends that are in the dance community; my target audience. Next time I think I will Tag friends names in my title so the feed will go directly to their news page, write them a personal message or email it to them direct. This way I might attract a more positive response.

The Results


Did you take part in dance at Primary School?
75% Yes
25% No

• After careful consideration I feel I would in future start the survey with a short introduction with an explanation in confidentiality. Then a few questions focusing on the individuals career and aspirations. This question helped me sort through idea's for Primary Education. Would dance in PE be a good place to start? Now on reflection this information is not entirely useful for my newly reviewed Inquiry topic.

Did you enjoy PE?
83.3% Yes
16.7 % No

• Enjoyment being an ultimate aid for learning.

Which sport or activity did you enjoy in PE at school from Primary right through to GCSE Level? 

Only two participants mentioned dance. Trampolining and gymnastics were amongst favorites and other answers confirmed sport as not being high on their list of preferred activities.

• No longer entirely applicable for my purpose however, at the time I wanted to establish participants early experience's of dance in education.

Who was dance taught by at school?

72.7 % PE teacher

36.4 % Specialist Teachers

• I wanted to see the standard of teaching that was accessible to a young dancer. Who taught dance and then later on I would propose that the level of dance achieved at Primary School may coincide with an individuals enjoyment and/or achievement.

If you choose dance as a GCSE or A level option what standard do you feel was achieved?

Answers were relatively negative in that it was either a waste of time, n/a, or enjoyable, some achieved a good exam result but felt what was learnt had no relevance in the real world.

• I would have to be careful of the wording I use within questions, some answers may be bias or subject to opinion due to judgement on a teachers ethics etc. Also I think I would give more options to choose from rather than letting one write how they felt to direct the participant in the direction intended.

  

If you dance, did you go to a private dance school before professional training?

91% Yes

8.3% No

• I wanted to see how dancers opinions differ between those who had danced at a dancing school prior to higher education. Therefore, had to establish who had done what.

How well do you feel your school education prepared you for your career?

41% Not at all

16.7 % To satisfactory level

25 % Appropriately

16.7 % Very well

• It is a general consensious that we all feel school did not prepare us for the world of dance. I originally wanted to find out why, and what could have been done to help balance our learning accordingly. 

What would you do differently if you could train again? What age would you start and where would you have trained given the option?

The majority responded that they would have started training younger and within higher education; at a well known college.

• I wanted to compare answers and find a general theme of which I did. The results showed that better dance standards in Primary Education might have helped future development and that well known colleges provide doors for opportunity.

How do you feel Creative Arts are perceived by Academics? Any thoughts on this welcome.

70 % Negative

20% None Committal

10% Positive

• I feel very strongly about this subject and wanted to know how others felt and I was happy to find I was not alone!

6d Delicious

I really struggled to access this at the start but once I got going I really enjoyed using this site. It's easy to use, so go ahead, feel free to look at what I have so far. I hope to keep adding more relevant articles, websites and literature to review as I discover them through research for my inquiry. At the moment I have added links that I use everyday, more will be added depending on there relevancy and access demands.

http://www.delicious.com/abymartin25

Task 6a

Hi guys,

I have written a survey. It's aimed at dancers sorry for any exclusion. I really wanted to narrow my research now that I am coming to a better understanding of my Inquiry. Please, please, please feel free to express any thoughts good or bad in my blog comments box below. I would also really appreciate anyone taking the time to fill in my survey.

Thanks guys! X

http://www.surveymonkey.com/s/YH5CGYB

Can you spare a few moments to take my survey?

www.surveymonkey.com

Please take the survey titled "Dance and Education".

Award Title

I have been thinking about this for a while now. I think realistically I am wanting to go into dance education. I want to further my career and eventually teach in a College or University. Thus being the reason I am going to propose BA (Hons) Professional Practise (Dance Education).

College level really intregues me at the moment and I hope to be teaching at this level more, as soon as I have QTS. I want to work towards QTS either with a PGCE or a GCP which I feel will develop my career in the right direction. I have a lot of knowledge and expertise in this area and would really like to carry on developing and expanding this. A BA (Hons) Professional Practise (Dance Education) would facilitate my career and job oppotunities as well as fulfilling a deep interest in learning and education practices.

Task 5c

How what I have learn't fits into the theoretical ethical framework and my professional inquiry?

Consequentialism

Looking at consequentialism as one theoretical approach to ethics, I have found it has its foundations within 'utilitarianism and the writings of Jeremy Bentham and JS Mill.' (Course reader Part 5) In my own words I would describe it as an act for the "greater good". Where the act itself greatly out ways any negative outcomes as its positive ramifications are justifiable.

An example of this in my own professional experience would be to exclude a disruptive student from a class of dancers to help the rest maintain focus. Exclusion will not help the individual but sometimes in a studio environment a particular student could antagonise the atmosphere and prevent  the learning for others. It could even cause injury from lack of concentration from other participating individuals.

Deontology

Based on duty the ethical reasoning behind deontology's greatest exponent Immanuel Kant's (1779) argument 'that the only absolutely good thing is a good will.' (Course reader Part 5) Lying is unacceptable and one should help an other no matter what personal desires one has.

I can relate to this on a level. Teachers have to be reliable, knowledgeable and trustworthy. How can you learn from someone you do not believe? Helping students with there studies no matter how much you agree or disagree with their own ethics is imperative. You are not a good teacher if you do not help, nurture and support an individual learning.

Virtue ethics

An approach that focuses on an individuals personality, their moral integrity, values and habitual fortitude. Traced back to the Greek ancient thinkers Plato and Aristotle, a greater emphasis was put on 'being rather than doing'(Course reader Part 5) . Aristotle considered virtues to be mid points between two extremes.

I think to be a good teacher you need virtues. I agree that moral behavior and character is as important as action. Students judge their learning from a teachers behavior and character. If a teacher had bad character and poor behavior how can one respect another?



Negotiation with employers, and communication with parents and co-workers is imperative for professionalism and good practice in ethics. Moral issues are imbued with questions of value. The higher you value your profession and those involved, the higher the need to practice good work ethics. However, would I ignore personal beliefs and values to fit a criteria within a work post? How do you get the balance right for everyone's best interests?

In the work place I know my professional duty and what one ought to do. Although, If a child was hurt and needed comfort I think it would be OK within reason to offer appropriate support rather than pushing a child away for fear of accusation. You can't always please everyone. I was once taught in a first aid course that when responsible for someones child when teaching I am acting as locus parentise, it would be my responsibilty to act accordingly when a child is in danger of hurting himself or another.

Task 5b

The codes of practice/regulations which steer the ethical framework in the place of work/professional community.


http://www.education.gov.mt/ministry/doc/code_of_ethics.htm

I looked at this after reading Mark Illes blog and found it incredibly useful. It goes into a lot of detail about many ethical expectations that I hadn't considered before. For example, the relationship the teacher actually needs to have with a child's parent. In primary schools I don't often see the parents or the parents are not particularly interested in the part I play in their child's education, although it seems. Maybe I should make more of an effort to speak to parents after a dance club, this would probably help understanding and may even ensure future participation. This is very different at the dancing school. I wish I had more time to disclose information to parents. They love to know about progress and I have started to be more generous with my time although it is difficult.  I hope progress is evident enough in exam results, reports, presentations and shows.

In my original list of ethical considerations I failed to go into so much detail about professionalism, privacy and respect for all those that surround me. I focused more on the physical rather than the psychological responsibities I carry rather then what is required for creating a well rounded individual. On the other hand, I do think I pretty much covered most points. I feel in this case that good communication and common sense is important, conscientiousness is imperative.

http://www.comdance.asn.au/code-of-ethics  Here I found that reputation and standards protecting an organisations reputation came high on their list of ethical expectations. Self discipline and motivation next and empathy, with a good sense of morals. In my outlined points I only looked at "does" and not really at "don'ts", but rights and wrongs that surround the dance industry were oulined, for example one should not canvass students or steel choreography from another teacher. Id imagine this would come under being fair, considerate and professional.

http://www.ausdance.org.au/professional_practice/dance-industry-code-of-ethics.html
This site emphasized that one needs to share their passion, pass on knowledge gained through experience and give all they can to instill a positve vibe/view of dance.

My findings differ from my assumptions. Ethics are actually about whats right and whats wrong, whats expected and what is unacceptable. I did assume that ethics are for protection of everyone's best interests, however in my list I did not even consider those equal to me. I have a responsibility towards everyone that surrounds me within the industry, I should even consider a teacher at another "rival" dance school. Ethics really erg one to be as selfless as one can possibly be within reason. In future I need to consider all that is affected by my presence in this business. Like a drop in a pond, the ripples sometimes seem endless and being aware of the impact I create is fundamental for my understanding in what I offer as a positive contribution to the dance world. I was a little to direct before and focused mainly on the immediate effect I have on my students rather than the bigger picture.

Task 5a

Considering Ethics Within my Workplace

Without reference to any documents or discussion relying on my own thoughts wholly the work ethics I feel apply in dance education are as follows:

• Safety - I must have procedures in place and a good knowledge of the environment I am teaching in. For example possible hazards should be removed from the space, fire exits clear from obstruction, good quality facilities etc. Another part of my job would be to ensure that individuals were not injured are able to participate and have in some cases filed in an exercise readiness questionnaire. Ensuring participants are wearing appropriate clothing/shoes and are not chewing gum, hair tied back, that sort of thing.

• Image - Dress accordingly and appropriately. "Look the part"; Clean, neat, tidy and organised. Present yourself well in your approach and delivery.

•  Punctuality - Again organisation.

•  Differentiate - Between boys, girls, the talented, gifted, average, struggling, no matter what their level of ability whether they are old or young. Create opportunities for everyone to learn and develop appropriately. Looking after an individuals unique physical and emotional needs as much as possible.

• Consistency with excellent approach and delivery.

• Show good awareness of responsibilities.

• Legal requirements adhered to: CRB, Tax, National Insurance, PPL, Insurance, qualifications and certificates. Injury report forms, risk assessments. Up to date knowledge of work being covered. 

• Able to lone work and work as part of a team with respect for others and the general ethos within the establishment.

• Organisation - Lesson planning, ensuring music, choreography etc is appropriate and well structured with extra plans to fall back on. Be flexible.

•  Be approachable, friendly, motivated, honest and reliable.

• Able to assess situations and act accordingly. 

A lot of these bullit points involve appropriatness and organsiation. I think that thats the key to success and is very important. One must be able to judge a situation and act accordingly as others expect or beyond expectations. Consistently providing a quality service that know one could doubt whether co-worker, parent, student or other.

SIG: Education and training, was it appropriate for your career?

SIG

Ok it has took me a while to get to this point. The SIG's allowed me to go off on a tangent and it took a while to realise that these, all be it, similar discussions of interesting topics, moved the focus from my own Inquiry. Helpful though these discussions are in finding a deep understanding of my own questions, my initial ideas ended up being diluted. SIG has created a great sense of community and a real feeling that we are all learning together. I thought I disagreed earlier with Mark's rant about SIG, conversely I am now feeling that I do have some issues with the whole discussion board ethos. I became lost when it came to making an actual commitment to one specific idea. I do feel that the advantages do greatly out weigh the disadvantages here though as so much can be learnt from such a rich community of learners.

Getting back to basics and trying not to tag along with an others Inquiry.  I do still want to think about how we are prepared for the big wide world in the later stages of education. I also feel that there are significant differences in the private and the public dance sector of education and I want to know why more isn't done to close the gap. I know one huge issue is money, as it looks now, the future isn't bright for funding in the Arts.

Why are Dance/MT colleges so exclusive still?
Why are so many reluctant to fund the Arts?
Why is there such a stigma when it comes to the levels of intelligence in the Arts?
Would an apprentice scheme work better in the 3rd year of the dance college experience?
Would those joining dance college at 16 benefit from a 4th year in this (apprentice) style of education?

Another Idea

How can dance help in Education?
Why is dance at such a low standard in schools?
This question is high on my list for Inquiry how can one be inspired to dance or others respect dance when it is so boring and basic in public schools? I understand we have dance schools for this but not everyone can afford the training that is needed.

Initial thoughts for my inquiry

Establishing my professional practise helped me come up with some ideas as to where to go next with my Inquiry. I think the original idea I explored in the last module involved choreography. This would be something that would not be appropriate at this point in my career as I need to support my future. choreography would come into the bigger picture later. For now I want to secure my knowledge in something that I find interesting at the same time as being benificial to my developing professional practise.

That is the reasoning behind my thought shower diagram. I needed a starting point and really struggled to see the surface in the deep pool of possibilities. I decided to start as close to home as possible. I have a lot of experience in teaching and have taught many ages and abilities. I wanted to develop thoughts on education performance and ability. I have spent most of my career as a teacher, I find teaching incredibly rewarding. At the moment I am using discusions on facebook SIG to help clarify and develop ideas and possible routes to take.

I have been taking an active part in these discussions and it has given me food for thought. Time to process all the information that the incredibly responsive BAPP team have presented to form some sort of plan!

http://www.facebook.com/#!/topic.php?uid=145821545478191&topic=75

Idea's for task 4a

Critical questions and issues that emerge

I'm left open minded, I think differently prior to the start of this module because now I know the importance of 'It's not what you know, its who you know', and how powerful this concept is. Positive mental attitude and engagement of sources heightens learning experience. Its not a question of 'doing tasks' its how you perceive the information that surrounds you and use it to develop knowledge that is imperative.

I need to focus my networking skills and aim to move towards more appropriate networks that will develop knowledge within the industry. I have found that the course repeatedly enforces the fact that I need to engage, be inquisitive and motivate my own learning. All sources provided and suggested, point towards the pros of learning via operative use of technology, it's tools and the information available. Learning from more than one source gives a wider range of learning opportunities. My interaction to date should have been better to aid my learning opportunities. A deeper understanding will come from continuous cogitation, contentiousness and reflective skills. My engagement has been at a satisfactory level of appropriateness, this I feel is because my learning has been rather unplanned despite attempts to structure learning time.

Ideas within the 'Inquiry' task seemed to spark discussion and interesting ideas, maybe this is because dance and creativity is the interest in common. Sharing ideas and communicating with others shifted my thinking into a pro-active state developing and progressing with each different opinion. The planning shifted by considering a third, fourth...  party and maybe incorporating the ideas that would compliment the outcome. Practice can take on a different form when using constructive criticism or advice, by slightly altering the path in a positive way, via enlightenment.

Critical reflection does help make decisions about what really matters and the actions to take. Through reflection, I could come across a conclusion I wouldn't have considered before. This will facilitate the opportunity to look at all the comprising factors that effect an outcome.

Knowledge is supported through the accumulative theories and concepts across the field. Concepts and theories assist thinking about professional networking in different ways, mainly by amplifying dimensions that may not have been considered before and adding ideas that one could incorporate into practice. Different ways of thinking opens doors to rooms that I wouldn't have previously explored.

New Year

Hi Everyone!

Happy New Year! Hope everyone had a great Christmas! Ive had a little time off so ive been able to catch up so this might explain my sudden publishing frenzy! Because of time I haven't commented much on profiles I hope you don't mind if I suddenly comment, I know it's late but better late then never. Anything you wish to discuss would be greatlfully recieved, Thanks guys!

Task 3c

Sources of information

An exploration of  information-networks investigating methods by which I and others gather information and how external sources are internalised.

My current Sources of information;

• Facebook
• Starnow
• Friends
• Parents
• Employers

Joanna Adeyinka broke down the internet into sub-categories which I think is a great idea as it is such a extensive contrivance full of opportunities. A lot of my information-networks involve the internet. Outlining Google, is something I wouldn't have thought of and using IMDB to research directors etc is also something I could incorporate into my information networks. This may help me discover the professional practice I desire. When I'm honest about my networks it seems that I actually use different networks compared to the available networks that I am aware of or have used in the past.

My information-network internet sub-categories

• Facebook

I use Facebook on a social level as well as a professional level. Dance Cast is available through facebook of which is a professional contact. At the moment this contact could be considered as dormant as I have yet to use them for an audition or employment. I think it would be a good idea to seperate my profile into two like Hayley Jayne Bence. If I established my professional contacts then maybe I could make better use of them. Friends within my Facebook have given me information for auditions through 'chat'.

• Starnow/Dancers Pro

I have a profile on Starnow that probably needs a little care and attention, however I have gained employment from this contact. I took a year in Budapest through Starnow and often receive emails in my Hotmail account alerting me to appropriate castings. This is a great way to gain contacts and information as it allows the employer and potential employees to connect with ease. Dancers Pro works in much the same way. I regularly receive emails for coming auditions and job vacancies that I could be interested in.

Employer

I use Hotmail, text messaging and phone calls to connect with my employer. One employer of mine is a good friend and is more of a partner within the dance school that I teach at. We help each other source information from newspapers, other internet sites and word of mouth to help gain more part time employment.  

Another Employer sources work for me and pays me a salary. I know that it would probably be better for self employment to go alone but this contact employs me for various schools where I meet parents and children of all ages that want to dance, exercise or get active. This way I can promote my own business and meet people in my target market.

A company puts on classes for me to teach as a project to get the people in my area active. After a trial where they organise the hire of the room pay for it and my time I am encouraged to keep these classes going on my own. This is a fantastic contact, I have really enjoyed working with them and I have had many opportunities to create business. They often email me with information on courses and other classes in my area.

Parents/Friends

Friends have given me email addresses for casting directors and choreographers. Parents have also talked about classes they want or classes that are available for their children that I could teach. One particular parent at the dancing school got me a job teaching at an after school club at their child's primary school. Maintaining good contact with these people is important as it has proved effective already.

I have found that a lot of these information networks interlink and also cross over into people networks its all connected and maintaining good connections will hopefully help my developing professional persona.

Task 3b

Looking at theories related to networking on the reader and other internet sources, there are so many ideas to reflect upon. Theories that I had not considered before or if I had, had not put such emphasis on pigeon holing them each individually as concepts. These complex concepts are different for each individual as they apply to our own unique networks in various ways.


Cooperation
I know of performers that will squeeze information from others for personal gain and have not reciprocated or have denied knowledge of auditions. This is a world of networks that I feel is negative and is within the field that I am now loosely affiliated with. This is one of the reasons I stopped auditioning, I did not enjoy or like the experience and feel that I would rather have positive networks around me as much as possible. I know that very often it's a 'dog eat dog world', I find myself reeling at the prospect. I saw a piece of art once that I found very poignant, it represented terrorism and the caption was 'An eye for an eye, makes the whole world blind'. Coming from a small close nit family I found comfort in these words. Not everyone is out for themselves. I feel this is how I network. Sometimes maybe I am a little too generous, but I am happy in the knowledge that I did my best for others. Hopefully, if karma exists, one day ill get mine.

The course reader (The Networked Professional 2010, Pg 2) describes cooperation as a theory closely associated with 'Game Theory'. It's origin's lie in the desire to model games where a player succeeds at another expense. Reading further, Axelrod (1984) was one of the most influential researchers in the field and identified this. I found that his TIT FOR TAT theory made a lot of sense. The Prisoner's Dilemma game further enhanced my understanding. Cooperation and a little selfishness did give you a better result. Perhaps a little selfishness won't hurt? I know that this is the natural order of things and that 'It uses an evolutionary perspective because people are often in situations where effective strategies continue to be used and ineffective strategies are dropped.'(The Networked Professional, 2010, pg4)


Affiliation
I agree with this theory and couldn't argue the use of affiliation. Affiliation is the desire and need to 'form close relationships' (Crisp & Turner, 2007 pp266) as a social result of psychological processes operating in our brains and provides us 'with network of support that will help us when we are in need'(Crisp & Turner 2007 pp266). Loneliness is always perceived as a negative feeling and know one I know likes to be alone. We naturally seek friendships and relationships and this is our innate need to network. Whether it be for comfort or love, individuals root for friendship, companionship and professional alliances. I suppose we surround ourselves with these affiliations to help support our needs.

Social Constructionism
According to the Reader this theory describes networks as 'large social constructions.' I agree that ‘existing and future new networks are ‘made’ and the meanings they make are not predetermined.' (The Networked Professional, 2010 pg)

Constructionism 'is the view that all knowledge, and therefore all meaningful reality as such, is contingent upon human practices, being constructed in and out of interaction between human beings and their world, and developed and transmitted within an essentially social context.'

Networking is an individual’s construction for communication and knowledge. We ourselves put emphasis on there value and meaning. Whether a connection is needed or wanted is our own decision. This I understand, however I don't quite agree that 'meaning is not discovered but constructed' (The Networked Professional 2010, pg 7) as this entirely relies on intention. If it is not your intention to keep a contact then their use of you in their network is not constructed by you but discovered.

Heidegger and Merleau Pontys’ 'always already there'(Networked Professional 2010, pg 8), highlights the fact that appropriate networks are out there, I’ve just got to make the right connections to develop my own Professional Practice.

Connectivism
Relates to 'Network Theory' and explains how nodes in a network connect and interact. Learning is described as 'integration of principles explored by chaos, network, and complexity and self organization theories' and that 'knowledge is constructed from the forms and patterns of connections made.(The Networked Professional 2010, pg and 15)

Networking is a part of learning and learning is a developing process within networking.

Siemens, G. (2004) theory that “learning must be a way of being – an ongoing set of attitudes and actions by individuals and groups that they employ to try to keep abreast of the surprising, novel, messy, obtrusive, recurring events…” (1996, p42)
(The Networked Professional 2010, pg 8 and 9)

Gonzalez (2004) describes the challenges of rapidly diminishing knowledge life: “One of the most persuasive factors is the shrinking half life of knowledge", explaining the rate of information becoming 'obsolete', as it is evolving and expanding, far quicker due to technologies and tools available to our generation. Now, we gain information for professional practices that enables us to develop or change career maybe once or twice in a lifetime, compared with 20 years ago when one lifetime profession was normal.

We learn differently in this day and age, I agree with the collective theories and concepts within the reader, instead of learning from one source or one teacher we now learn from communities of practice, personal networks, and through completion of work related tasks. This idea also supports the notion that 'Technology is altering (rewiring) our brains. The tools we use define and shape our thinking.'

Keeping up to date and current with networking tools is the difference between success and failure. Keeping on top of the ever developing and changing technologies will sustain relevance as a practitioner.

Karen Stephenson states: “Experience has long been considered the best teacher of
knowledge. Since we cannot experience everything, other people’s experiences, and
hence other people, become the surrogate for knowledge. ‘I store my knowledge in my
friends’ is an axiom for collecting knowledge through collecting people (undated).”

Staying up to date with networks maintains continuous learning to facilitate my professional practice.

I conclude that the effective use available networks will facilitate learning and will sustain a healthy career. This is a developing process and one that is ongoing. I will be using networks to gain knowledge long after I have finished this course. Identifying value from networks and using them for self betterment will allow my professional practice to prosper. At the moment I'm using networks within the blog system to contribute towards my learning experience, in the future maintaining contacts and finding new networks will continue to advance my knowledge and create career options. I hadn't previously considered the notion that we use networks to gain information, it is now obvious, for example auditions and teaching posts could be found through a friend or professional acquaintance.

Communities of Practice
Lave and Wenger (1991 pp98‐100) 'learning occurs through centripetal participation in the learning curriculum of the ambient community', 'knowledge is within a community of practice'.

A network can be described as a community. From that community of networks knowledge gained is constructive towards our professional practice. Reading further this theory is similar to connectivism as it describes learning as co‐participation. This also supports the idea that taking an active role using technologies as tools to network will further develop my understanding of my professional practice. Furthermore, will continue to do so in the future. I now understand the need for appropriate networks, networking successfully is imperative for developing my knowledge and skills.

References:
The Networked Professional Course Reader, 2010
http://en.wikipedia.org/wiki/The_Evolution_of_Cooperation