"The Unknown"
As we have discovered through the theories of Kolb, Honey and Momford; it is from reflection on our daily experiences that we learn and become more knowledgable. However, I asked previously, 'when is all of this too much?' When does being proactive and reflecting turn into the over analysing of situations. Do we also need the ability to accept experiences for what they are and move on without further thought? Dewey said that we need to "master the art of thinking so we think well". That implies we always have control over our thoughts, but do we?
I did an audition and boy did I want this particular job! Prior to it happening I tried on a million outfits, spent hours in front of the mirror practising 'facial expressions' and my songs/script, I planned out my hair and makeup, checked my travel route over and over. It became my upmost priority, my only focus and my obsession. I didn't have the mental capacity for anything else. Why? Because I wanted it. Well, I turned up in my carefully selected outfit and the first thing said was 'can you all please remove ******?' My whole outfit had been planned around that garment and in an instant all the preparation for it was out of the window. The audition went well, I got through and wasn't required to sing. Did I feel better for all the preparation I'd done with my songs though? Not really. After the audition I then began the process of initial reflection. Was I good enough? Did I look right? Did I dance my best? How was everyone else? How many people was I up against and what are my chances? Bla bla bla. My thoughts went wild but the audition was effectively over. No amount of reflecting could've changed the results of the audition after I'd left that room, but it affected me for a week or more. Reflecting may change my actions for a different audition process but not for the one I'd just done. So, do we also need the ability to let things go? My phone was constantly glued to me after that, I didn't want to go out in case it rang. I kept replaying the audition over and over in my head. Could I have done anything better? Could i have done anything differently? It didn't matter! 'The Unknown' isn't always in our control and can't always be either.
After reading about 'the Unknown' I discovered that there was an actual phobia people could develop know as 'xenophobia'.
1. Fear of the Unknown Phobia – Xenophobia. Xenophobia is derived from the Greek word 'Xenos' meaning “foreigner or stranger” and 'Phobos' which means "morbid fear". Xenophobia is the irrational sensation of fear experienced about a person or a group of persons as well as situations that are perceived as strange or foreign. 9th Feb 2014
(http://www.fearof.net/fear-of-the-unknown-phobia-xenophobia/)
I think 'xenophobia' and 'over analysing' (post reflection) links in massively with anxiety & depression, and I would like to develop my research into these forms of mental illness within the arts. I'd like to look into other potential causes such as the come downs after a performance or applause, the need for attention, loneliness on the road etc and the ethical considerations towards mental health in professional practice and the workplace. I'd be intrigued to look into the physiological and sociological backgrounds of legendary artists such as Amy Whinehouse and Robin Williams who sadly lost their lives due to drug abuse and suicide.
In regards to my initial thought, 'the Unknown', should we let things go or should we acknowledge that it is foreign territory and replace the fear and anxiety with different emotions? Can the use of reflection actually help us to acknowledge and embrace it so that we can explore these new territories with excitement perhaps?
I read a great article on http://www.innovationmanagement.se/author/admin/ which talks about the '7 reflective tools for navigating the unknown and exploring new territory.' One topic they discuss is 'the human paradox' which I find extremely interesting.
"Within the paradox of human nature, being what it is, the unknown is both dangerous and exciting, a threat to be feared and a mystery to be revealed."
"The more you work with the unknown as a co-creative partner, the easier it is to stay grounded in the winds of change. It takes more than just deciding to embrace uncertainty to be able to do it. It takes understanding where you are in relationship to the unknown now, and then consciously choosing to be with the discomfort, and perhaps excitement, of exploring new territory."
I read further into the human paradox and found some other great examples that any person, regardless of profession, can relate to. Check out http://lonerwolf.com/examples-of-paradox/
I was having a professional conversation with my friend Heather and she sparked a further thought. We were discussing an audition she has coming up that she is reluctant to go to. This because she 'knows she isn't right for it.' In this particular instance we have a professional situation for which reflection could be considered irrelevant. If you take part in something that you won't be continuing in the future or don't want to develop, what are the personal or professional advantages of reflecting upon this experience? Is it simply to acknowledge and confirm its not for you? Is it to teach yourself a lesson so that next time, you shan't attend said audition? You never know, you may be surprised. 'The Unknown' could be something different to what you thought or previously knew it to be.
'Tacit knowledge' is the unwritten, unspoken, and hidden vast storehouse of knowledge held by practically every normal human being, based on his or her emotions, experiences, insights, intuition, observations and internalized information. (www.businessdictionary.com)
This is a useful form of knowledge in the arts, we often listen to our instincts or gut feelings about professional situation or jobs. Did Heather truly know she wasn't right for the audition or was she experiencing tacit knowledge, i.e. a gut feeling, towards the Unknown. 'Polanyi' said: "...we know more than we can tell" which was a bold statement coming from a scientist with there being no definitive. Arts are a way of communicating these real feelings and life experiences. We often express emotion and tell a story through dance.
In 'navigating the Unknown' by ResCen at Middlesex, Christopher bannerman talks about 'interplay between conscious & unconscious in the creative process.' I can relate to 'Tharp' in 'the creative habit' when she discusses choreography and being able to "come up with the goods". If I hear a song or am in a certain mood for example, my choreographic skills are wonderful because it's a feeling or a reaction (unconscious). If someone said to me now, make up a dance to this song and it lacked inspiration or my mind was in a different place, I wouldn't be able to do it. Or I would, but it wouldn't be 'from the heart' or something I'd consider to be good enough. It would be a result of being in touch with my verbal learning and muscle memory (conscious, a tacit knowledge) so that I could do it, but not how I'd perhaps envision it on another day.
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