READER 3

How can we define a professional network? 

"A work related community of people held together  by either close working affiliation or more distant but common work interests or needs." (Middlesex University, 2015. Reader 3) 

It is important to consider the combination of formal and informal relationships within these communities i.e. Teacher/student, co workers etc and thus our ethical and moral considerations towards this. My network components would definitely vary and adapt between the aforementioned. Effective engagement and management of our networks impact on success within the industry as well as your personal enjoyment of it so I consider networks to be very valuable to my practice. We use them to promote oneself, gain experience, as sources of information and to obtain recommendation; but also to form close affiliations with people we can depend on and socialise with in our professional and personal lives. 

Being in a touring, theatrical environment, I can tell you that life on the road can become very lonely if you don't engage and interact with your networks. Being away from your home environment and family, you often form very close relationships within the working community and very quickly. When touring you are working, socialising and living with these people so it is import to form positive rapports and co operate, regardless of whether you choose to form close bonds or not.

Enjoyment is a key concept here. Some people find networking and socialising very difficult, whether it be on a professional or personal level; and some find it adds to their competition. Personally, it takes me a while to form close bonds with others and i don't always 'come out of my shell' until further down the line or unless i feel completely comfortable. This can sometimes hinder me in the form of other peoples initial perceptions of my personality. However, it can benefit me in the sense that i can judge a persons character and ulterior motives behind a relationship before deciding to cooperate or commit to an affiliation with them. I've always considered myself to be a bit cautious and thought i struggled in social situations - maybe i am subconsciously acting on 'the game theory'.

These are a few general questions that have emerged from this reader:

Do I understand professional networking?

Am I using them effectively?

What benefits have I experienced?

What could I do better?

Are there any negatives? 

Concepts of professional networks 

Cooperation - "give more than what you would take"?

When i'm between performing jobs or have free time, i like to get back in touch with my local networks and offer workshops. These benefit me because I earn form it and get my name known whilst keeping fit and gaining personal fulfilment. On the other hand it also benefits the establishment and their students learning, experience, enjoyment and professionalism. It's also great for students in my area to be able to relate to someone who has come from there and then gone on to achieve their dreams. It helps to inspire and show them that they can do it, even though opportunities are fewer in our region. This is a personal example of co-operation. 

'Game theory' is a concept that uses cooperation to gain maximum benefit and then defeat. Its effectively gaining success at another's expense, arguably taking advantage. The aim is to judge or predict another persons character and response to events. You make the decision to cooperate or not in order to form a strategy for what you believe could be the best outcome. A basic example would be me seeing a guy with big muscles for example or a guy noticing my flexibility in an audition, believing him to be strong and me to have nice lines, partnering each other in an audition to achieve the best possible performance, one of us get the job  and the other doesn't, and that's that. For this theory you must understand the various potential outcomes of a situation though. Be comprehensive of the alternative scenarios and be accepting of the situation for what it is. Is this morally wrong? What rules and ethical considerations should we apply?

Affiliation - Professional and Personal

This is the forming of close relationships (Crisp & Turner) through socialising. A networking activity that we enjoy and benefit from in times of need. O'connor and Rosenblood talk about preferred levels of social interaction, levels of privacy and how this can depend on a person being introvert or extrovert. Does being introvert jeopardise our ability to network and in turn hinder opportunities? It is considered that many people in the arts are extrovert and expressive. I consider myself less so and find some situations like press nights quite intimidating. I often make decisions as and when to go to particular events. I could link this with a previous inquiry surrounding mental illness and lack of ability to communicate. If a person lacks self worth, self confidence, is suffering from depression or anxiety; the whole concept of networking and socialising can be scary. So, how can we make up for these networks in other ways or overcome this? Do we rely on our agents to do the work for us? Do we put greater emphasis on relationships formed through social media and previous contacts?

Hofsted mentions the variables between cultures. I can relate to this from touring internationally. In Korea for example, the audience were so reserved and only stood on their bosses queue but were very well treating - i had such a great relationship with my dressers who went above and beyond and i still enjoy speaking to now. You notice cultural differences within your own country too. After touring the UK, i have found certain regions such as Newcastle and Nottingham so friendly and open in their approach to you - particularly on stage door. Birmingham were extremely keen to provide opening night drinks in order to welcome us into their city. Other venues aren't quite so, they will be polite and helpful, they will cooperate with you so that you are comfortable in the venue but it stops there really - ultimately you are there for the week and moving on. The former see it as an open ended relationship in that you never know when a different production could cause you to return. Its amazing how many of my memories of shows and places or countries link back to the people i came into contact with and the relationships formed. I returned to a venue at which i did my first professional job in pantomime aged 19. I remembered the stage door keeper and my dresser six years later and was so happy to discover they were still working there. It made the experience so much more enjoyable.

Are the cultural differences partly due to evolution of media and the internet? I'd really like to look into how networking and sources of information have developed over the years and apply this to different generations of performers. Is it possible to form close affiliations over the internet without having face to face contact? A thought was sparked after Lois' mention of notice boards which i have addressed in a previous blog titled 'Networking'. I spoke about how the importance of the company notice board at the theatre has changed over the years. I want to further this and plan to have a professional conversation with an older member of the company. I did a survey in relation to reader 1 asking people their most used and valued forms of web 2.0 communication technologies; this in regards to both professional and personal use. I vividly remember the more maturer lady in our dressing room saying she didn't use any form of social media and if anything she'd maybe drop an email. Her values were still placed in phone calls and face to face meetings. Personally, i always email my agent or company manager unless there is an urgent need to call etc. Has the evolution of media impacted negatively on our verbal and face to face networking/communication skills? 

I'd also like to look at how upbringing can affect the social element of networking - interactive play, affection? I've not been brought up on saying 'love you' with endless hugging and kissing and can sometimes feel uncomfortable doing this. Being in a theatrical environment where people are often over the top, someone going straight in for the double cheek can feel awkward or seem forced due to my initial perceptions of contact. I've always attended public school, extra curricular clubs and been integrated with other children, students and adults; therefore i am able to demonstrate interpersonal skills. Does being home schooled affect our networking and social skills? Does being an only child? Todays children are often absorbed in games consoles and televisions, i hope to install outdoor play and continue the encouragement of team sports etc with my own children.

What do our preferred levels of interaction/privacy mean individually? Do we rely on people to network for us or on our previous achievements? The saying : keep your friends close and your enemies closer could be a tactic in which we demonstrate affiliation but with an ulterior motive of cooperating only. Affiliation is something that definitely varies across careers I.e office jobs or teaching etc. It's not likely I'd go drinking with the principle but I may do with my dance captain.  What implications follow? I am more considerate of language, photos etc online when teaching. People that are in the public eye must also apply these behaviours in public places like supermarkets, coffee shops. 

As humans it is believed we have a need to affiliate and expand networks personally or professionally. Human beings are not designed to be alone, we are made to expand as a race and form relationships to increase fulfilment. Is networking a natural process for us, a tacit knowledge? There's the question of quality over quantity? People who want to climb the ladder or do business via social media may have less close affiliations but more of them. I believe that if you are content in your careers and life, you may have fewer but closer affiliations on a similar level. I have friends that have never really left home, have established a career there and sustained the same friends as what they grew up with - and thats ok. It is their personal preference.

The theory of social connectivity

Social constructionism: creating, understanding and making meaning of the world we live in.

Connectivism

Communities of practise - Lave & Wenger theory.

This is the idea of learning through engagement and participation with social relationships that are considered more informal than hierarchical. 

What are my communities of practice? Work friends, ex work friends, college, dance school, amateur groups. These communities can often decrease in size over time because of ratio between people who have cooperated or genuinely affiliated and due to the forming of new communities elsewhere. As mentioned previously, it is quite common to have extremely short, intense communities in this industry because of the nature of the work. It is also hard to find the time to sustain these as I remain friends with only one or 2 from each community but have several communities to catch up with. I don't have one large group of friends like my partner does who still remains in his friendship group from school. That's why the virtual world is so useful these days. It enables us to continue contact without being able to meet up as much as we would like. 

My communities have been created because of mutual interests and sometimes these interests may change. People who i formed friendships with for years, i now don't speak to because we have changed - we are different people. The majority of people i continue contact with from my school years are the ones who engaged in extra curricular dance/drama or amateur societies as that is still a common interest between us today. In relation to theatre and my current practice, i find that in some jobs companies are really strong and in others the companies don't gel as well. This may be down to ages, personalities, hobbies, morals, the prioritising of home life - particularly on tour with people wanting to dash home for the day off. 

During a Skype chat with Paula we talked about joining circles and proving your capabilities in order to enter these circles. It was mentioned how some lucky people seem to skip this process and jump straight in through someone they know for example. We also spoke about how being part of a community gives yourself an identity, it makes you feel valued as a practitioner and part of something. I think amateur societies are a great example of this. It enables people to socialise, express theirselves, gain fulfilment, form life long relationships, have an escapism and separate identity. 

'Social currency' is a term created by 'Bourdieu' in relation to Lave & Wenger's idea of communities. It relates to the idea of 'being in the know' i.e. the more networks and communities we are a part of, the better off we are and the more possessions we have. We went on to discuss with Lizzie and Victoria about this concept of 'being in the loop'. Ive spoken to friends and dancers alike that have said that they find this difficult to sustain when they've been on cruise ships because of wireless internet issues and the inability to stay current with affairs in the industry such as the number 1 hits. I remember getting back from Asia and not recognising any songs on the radio! When i got back i made a conscious effort to get to class in order to find out what was going on an such like. We also looked at the opposing in that when you are working abroad, you could say your'e in the loop but in a different one. You are still making connections and learning but outside of your normal circles and communities. I may not have recognised any music on the radio when i got back to England but i'd learnt about KPOP culture and some interesting dance moves.

Ethical considerations

These are often directed more to Web 2.0 communities. Understanding what can and can't be shared I.e. Cast announcements for new productions - it is essential to wait for the official press launch. We must think about use of language, images in respect to our desired and reachable audiences. In regards to real life communities and networks, i think more about my moral values. Things like: not using people, brown nosing, being stabbed in the back, ulterior motives etc.

"It's not what you know but who you know"

This must be one of the most well known sayings in the book but it is so true. How can such a valid statement be so contradictory though? I was reading 'Victoria's' blog and she made a comment that caused me to giggle, "People in my class used to get annoyed when some one copied their song choice." Our industry is massively competitive and understandably so! There are hundreds of us and so few jobs. At college in particular, I remember students being reluctant to share sheet music, audition information etc. However, with ours being such a challenging industry to break into surely we should be helping each other. My mother always said "treat others how you would want to be treated yourself" and I was definitely always taught to be polite - a concept towards networking that solely relates to your personal morals and professional ethics. 

At college, I was sometimes quiet about auditions and things but it was for different reasons. I wasn't trying to reduce competition or be spiteful. I lacked a lot of confidence in my vocal ability and felt added pressure to do well with the more people knowing about auditions I was attending - I never even told my mum because being disappointed myself was one thing, but to have that feeling multiplied was something else. I couldn't face being asked how it went if I'd been unsuccessful or was gutted by a particular outcome. I always said, "if I have an audition and it goes well, you'll know about it." The above proves to me that I wasn't very self assured and demonstrated a lack of understanding back then. After gaining more experience and increasing reflection, I know realise that if I tell people about an audition that they can help me! My friend at work read through some script with me for an audition and gave me advice on how she thought the character may be feeling and on the vocal delivery. Something I hugely appreciated having minimal acting background. Rehearsing a conversation with yourself is extremely difficult in regards to timing, chemistry, bouncing off on another etc. If I'd of kept it to myself, I would have certainly hindered my performance in the room that day and the potential for work. It's important to speak to your peers. I find out about auditions, jobs and upcoming productions through chatting and socialising with friends. I also let my friends know if I hear information and pass on details. On the other hand, if my co-worker had've been of a horrible nature, she could've taken action to hinder my opportunities, this by making terrible suggestions for example.

Some teachers and dance school can be extremely competitive and refrain their student or employees from going elsewhere. This upsets me as the less you help one another, the more you isolate yourself as a practitioner and reduce your own professional community of networks. If i do a good job for someone whilst covering a class for example, I could potentially work for them again or get recommend to someone else. I could increase my own client base or if there was ever a time I required cover, the teacher may return the favour. 

When attending an established performing arts school, you are often very lucky with the staff that teach you - it's most likely that they are in or have been in the business. Speaking with your teachers and maintaining a relationship with them is so important. I auditioned for a job and my old singing tutor was on the panel, I may not have been the strongest vocalist but he knew me and my work ethic which definitely helped me in the situation. I also attend regular classes at Pineapple studios. Many of the teachers there are performers or creatives involved in our industry so it is definitely beneficial, not only for continued development but to speak to them and give a positive impression. 

What does it take to be a good networker? 

Personable 

Body language 

Eye contact 

Listening and responding 

Language

.....Anything else???

The BAPP virtual community 💻

What is a virtual community?

"A virtual community is a unity of people sharing common interests, ideas and feelings over the internet or other collaborative networks." (Rouse, M. Wren, S. 2006)

"A virtual community is a population of individuals with shared or complementary interests who interact across a host platform."

"The key defining feature of a virtual community is the presence of collective feedback which both contribution and use are open." (Hind, D. 2009)

Howard Rheingold was deemed the founder of the term 'virtual community' after logging in to an online forum called the WELL. He was seeking urgent advice on how to remove a tick that had latched itself onto his daughters scalp. He decided to write a book reflecting upon his experience and titled it 'The Virtual Community', published 1993.

"When you think of a title for a book, you are forced to think of something short and evocative, like, well, 'The Virtual Community,' even though a more accurate title might be: 'People who use computers to communicate, form friendships that sometimes form the basis of communities, but you have to be careful to not mistake the tool for the task and think that just writing words on a screen is the same thing as a real community." - Rheingold, H. 

http://www.rheingold.com/vc/book/1.html

Hind agrees with Rheingold's thoughts in that a community is not a one way relationship. It is essential to not only consume information but to produce and share it, to interact and discuss. this links in with Reader 1 on web communication technologies and the key concept of 'participation'; as well as the key term 'prosumer' (Valtysson 2015, p205). I believe that a virtual community is a result of social networking via the medium of web 2.0.

In the introduction to his book, Rheingold discusses the emotional attachment formed to his virtual community which confirms psychologists Crisp & Turner's later explanation of how humans enjoy and benefit from human interaction and the concept of 'affiliation' (Reader 3). How they 'form close relationships' to form 'a network of support that will help us when we are in need.'

(Crisp & Turner, 2007)

"The idea of a community accessible only via my computer screen sounded cold to me at first, but i learned quickly that people can feel passionately about email and computer conferences. I've become one of them. I care about these people i met through my computer, and i care deeply about the future of the medium that enables us to assemble."

"Finding the WELL was like discovering a cozy little world that had been flourishing without me, hidden within the walls of my house; an entire cast of characters welcomed me to the troupe with great merriment as soon as i found the secret door."

Rouse's post explaining the definition of 'virtual community' also talks about the idea of these communities being 'subgroups' within Marshall McLuhan's notion of cyberspace as a 'global village'.

Definition of 'Global Village': Noun. (www.google.com) 'The World considered as a single community linked by telecommunications.'

Marshall McLuhan was a media and communication theorist that "coined the term 'global village' in early 1960's to describe the phenomenon of the world's culture shrinking and expanding at the same time." (Dixon, V. 2009)

I believe 'shrinking' explains the notion of how the world is becoming a smaller place due to the 'expanding' of our networks via the medium of web 2.0 and online communication & communities. The internet has enabled time travel and teleportation effectively by providing us with one central nervous system.

"Today after more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned." (McLuhan, M. 'Understanding Media' 1964)

Interestingly we can link the term 'global village' with performance and the arts. McLuhan began to use the term 'global theatre' implying that the internet was a space for people to 'do ones thing'. He used the term to emphasise the changeover from consumer to producer, from acquisition to involvement.

Rheingold relates his experiences of using WELL to varying roles within the arts and theatre, therefore linking his idea of a virtual community to Marshall's of global theatre and using web 2.0 as a performance space.

"Like others who fell into the WELL, i soon discovered that i was audience, performer and scriptwriter along with my companions, in an ongoing improvisation."

1. 
   

All BAPP Module 1 students and BAPP members alike, check it out & please share! A Google + virtual community for us to share ideas, converse with one another, give feedback and ask for help.....

https://plus.google.com/communities/109851140944421869983

Part 3: Networking

After reading some previous blogs on section 3 of the module, particularly Hannah Stewart's (Stewart, H 2012 'Sources of information') and Katy Thorpes (Thorpe, K 2012 Task 3A) I decided to use spider diagrams in order to brainstorm the range of my current networks and sources of information as task 3A suggests. By doing this, it is clear to see how very valuable each and every experience and conversation you have within your practice is. It is also obvious to see how many of these are interlinked. I've highlighted in orange my five most valued sources of information (task 3C), and in yellow what I use more specifically.

I've also done an example of how the above networks and sources of information could be linked together in order to benefit and further practise. Please see below:

http://hannahmairistewart.blogspot.co.uk/search?updated-min=2012-01-01T00:00:00-08:00&updated-max=2013-01-01T00:00:00-08:00&max-results=24

http://katythorpe2012.blogspot.co.uk/search?updated-min=2012-01-01T00:00:00-08:00&updated-max=2013-01-01T00:00:00-08:00&max-results=23

What does my ideal network look like & how do I achieve?

friends - co workers - choreographers - directors - casting directors - agents -teachers - producers - companies

Going to class

Attending workshops

Inviting people to performances

Socialising

Following social media accounts

How can I extend and capitalise on my current networks?

I could keep a better log of the people i come into contact with. In relation to my own practise, i think little things like remembering somebody's name or an event at which you met previously makes a big impact. It may sound silly but at college i kept a little book. In this i printed out and stuck pictures of influential people. For example i may select a choreographer's name and photograph, underneath i'd write any productions they had involvement in and any contact details i may have for them. During a Skype conversation, it was Lizzie i believe who mentioned the awkward moment in an audition room when you don't recognise an important person and they remember you. i agree with this to an extent but 'being in the know' can help or hinder you in a situation, depending on the type of person you are. For me personally, i work better not knowing in order to reduce any added pressure. I'm much more personable and myself when i don't feel as judged or as dependant on an outcome to a situation. Sometimes i've gotten so worked up that I've come out of the room wondering who the hell was even in the room. I'm definitely one for making awkward jokes, one time i even ran out of an audition room. Ran? 

I can sometimes rely on social media as a source of information. Extending my reading via The stage, Broadway times, West end world etc would benefit me by knowing of what productions are coming up and which particular artists, creatives and such like are trending right now. 

External factors can made it difficult to maintain and stay current with previous relationships formed. Many of us are so keen to build new connections and participate in 'the game theory' that old networks disappear. I strongly believe that it is important to remember where you came from and stay connected. I could absolutely make more effort to continue regular interaction with former networks. 

I could also make more effort to be sociable in the workplace as I struggle sometimes in social situations with people who aren't necessarily closely affiliated with me. It isn't always inevitable that you are going to become best friends with your co workers but with the human need for interaction you must way up which is better, socially cooperating or spending time alone. Its quite common in a theatrical contract to form very close bonds and spend lots of time with one group of people, then repeat this with a different set of professionals on the next job - potentially never hearing from the previous again. In a different industry, socialising at work wouldn't acquire such thought. I definitely wouldn't go for a drink with the principle of a school for example but if you take my current situation in a touring environment - my co workers (including dance captain, musical director, head of departments etc) are also my friends and also my family.

Copyright/confidentiality issues with sources?

Since commencing this course I have made my Instagram account private as well as my Twitter. I was shocked to see how many accessible images of me there were online. There are certain elements of my personal life which I avoid posting due to my desired and reachable audiences. You see many a negative status, bitching about work and current affairs. I certainly refrain from doing this. Relating again back to my current practice, it is important to consider any information you post about a show you're involved with. It is common to be forbidden from posting about ticket deals and cast announcements. It is always mentioned in contracts about the use of social media but it's through experience that you become better at judging whats frowned upon and whats not. As the saying goes, we learn from our own and others mistakes. There are fine lines between promoting the show and giving away too much. 

You have to be very aware in regards to posting videos of choreography, photographs in costumes or of set. If you do have permission to display these then you should apply appropriate credentials as you would with head shots on your spotlight profile, music on a showreel - it is their work. Videography is a common reflective tool in teaching but permission must be given by all and it is for the involved only to possess and view the footage. 

I have huge considerations towards children, not only as a teacher but also in a performing environment. Kids often look up to the adults, they want to be friends and are often very affectionate. It is important for us as professionals to sustain a barrier. If i'm teaching at a comprehensive, i will allow connection on a more personal level, this in regards to social media, but only once they have left the establishment. 

Why are they important to me?

My networks and sources of information are important because they keep me in the loop with what's going on as well as helping to develop my career. They help me to stay current in the industry and enable the creation and maintenance of links. Thus allowing me to be part of a community as well as feeling engaged, present and self assured within my practice.

*When contemplating sources of information, i think it is essential to consider what is reliable and what's not. Social media sites can often advertise false information or not display all essential information. Word of mouth can also get adapted as it moves from person to person like a game of Chinese whispers. It could be worth looking at whether these adaptations in information are intentional or unintentional as well and to look into individuals' motives and moral compass. What are the reasonings for unreliable information? Preventing competition, making a job sound better than it is in regard to hours or money etc?

After reading Lois's blog and the mentioning of her staff notice board at school, i couldn't believe id forgotten our company notice board as a source of information at work. In my response to her post, i mentioned how this could be down to the fact we also get the same information in our email account but i know from older members of the company that a company notice board was a vital source if not the most important source of information in the workplace. It is a place to pin up performance schedule, rehearsal schedule, social events, sign in sheets, reviews, post received, recommended restaurants - all sorts!

http://lois-mayhunt.blogspot.co.uk

Another source of information and wide network i unbelievably missed off was my previous, professional training at Laine Theatre Arts. Not only did it provide materials and skills through teaching and sharing; but it also educated and 'informed' us of various other qualities required in the industry such as discipline, expected behaviour, work ethic, presentation, audition etiquette and the rehearsal process. Therefore it was one of the most important, valued and influential sources of information in my development as a practitioner of dance.

"If I'm not paying for dance, what am I paying for?" - Dance Mom

In a previous post I asked, "what else has dance taught us except dance itself?" I found the words below shared on Facebook by 'Dance Factory Studios' which answers my question from the view of a parent - I couldn't agree with her more!

https://www.facebook.com/DanceFactoryStudios/

WRITTEN BY A DANCE PARENT:

One of my friends asked "Why do you pay so much money and spend so much time running around for your daughter to dance ?" Well I have a confession to make: I don't pay for my daughter's dance lessons. Or her pointe, Jazz & tap shoes. Or her hundreds of costumes.

So, if I am not paying for dance , what am I paying for?

- I pay for those moments when my girl  becomes so tired she feels like quitting  but doesn't..

- I pay for the opportunity that my girl can have and will have to make life-long friendships.

- I pay for the chance that she may have amazing instructors that will teach her  that dance is not just about movement but about life.

- I pay for my child to learn to be disciplined.

- I pay for my girl to learn to take care of her body.

- I pay for my daughter to learn to work with others and to be a proud , supportive, kind and respectful team member.

- I pay for my child to learn to deal with disappointment, when she doesn't  get that score she hoped for or fell during a move she has practiced a thousand times, but still gets up and is determined to do her BEST next time...

- I pay for my girl to learn to make and accomplish goals.

- I pay for my daughter to learn that it takes hours and hours and hours and hours of hard work and practice to create a champion, and that success does not happen overnight.

- I pay so that my daughter can be in the studio instead of in front of a screen...

I could go on but, to be short, I don't pay for dance; I pay for the opportunities that dance provides my child to develop attributes that will serve her well throughout her life and give her the opportunity to bless the lives of others. From what I have seen for many, many years, I think it is a great investment!

Inquiry: Mirror image

Reflection:

Definition of reflection in English: (the Oxford dictionary)

reflection 

Pronunciation: /rɪˈflɛkʃ(ə)n/ 

NOUN

1[MASS NOUN] The throwing back by a body or surface of light, heat, or sound without absorbingit:the reflection of light

More example sentencesSynonyms

1.1[COUNT NOUN] An amount of light, heat, or sound that is reflected by a body or surface:the reflections from the street lamps gave them just enough light

More example sentences

1.2[COUNT NOUN] An image seen in a mirror or shiny surface:Marianne surveyed her reflection in the mirror

More example sentencesSynonyms

1.3[COUNT NOUN] A thing that is a consequence of or arises from something else:a healthy skin is a reflection of good health in general

More example sentencesSynonyms

1.4[IN SINGULAR] A thing bringing discredit to someone or something:it was a sad reflection on society that because of his affliction he was picked on

More example sentencesSynonyms

2[MASS NOUN] Serious thought or consideration:he doesn’t get much time for reflection

More example sentencesSynonyms

2.1[COUNT NOUN] An idea about something, especially one that is written down or expressed:reflections on human destiny and art

More example sentencesSynonyms

3[COUNT NOUN] Mathematics The conceptualoperation of inverting a system or event with 
respect to a plane, each element being transferred perpendicularly through the plane to a point the same distance the other side of it.

Example sentences

The above made me think about the use of mirrors as a reflective tool, be it in our training, an audition or a rehearsal process. They enable us to reflect in action or reflect whilst 'online' by allowing us to see our alignment amongst other things.

How does the use of mirrors affect us other than enabling reflection?

It can enhance the learning process from experiences by allowing us to observe ourselves in practice. Actors often rehearse in front of a mirror so they can see their expression or body actions. Dancers can see if they are wonky and singers can even see if they are straining. It also helps to pick things up quickly in auditions because you can see more.

Negative effects:

Performing skills: can hinder our eye line & focus by becoming distracted or looking at ourselves too much.

Physical skills: could affect our co ordination because we're looking at a reflected image

Memory skills: you could be subconsciously copying other people rather than creating the unconscious tacit knowledge that is muscle memory.

Body image: staring at yourself constantly in a mirror isn't good for anyone, particularly if you're in a leotard and next to 20 other performers. It can make us over analyse our bodies and feel insecure. Instigates comparison and could hinder performance if we are too aware of elements of our bodies that we may not like.


What happens when mirrors are removed?

We may forget the steps
We may go the wrong way
We may lack confidence
We may lose our technique because we can't see it

OR

We perform better technically
Absorb information faster
Improve our skills i.e. lines and shapes
Feel more confident



We can link the use of mirrors in with the use of Web 2.0 mentioned in part 1. They help us to self problem solve like the Internet does via mediums such as Google. Mirrors help dancers to be more self aware and analytical in order to improve their own training. It allows you to become more independent with your learning like this BAPP course does and the web!