Trip to the library...

Monday 17th October: The Grand Opera House, York

So I decided to take a trip to the local library after Paula's suggestion and hunt down some books. On a Skype call, Adesola mentioned how it may be an idea to look at literature on how to become a successful businessman for example, and see if there is any correlation in regards to characteristics or requirements.

"The success code."

By John Lees

The aim of this book is to...

a) increase your chances of getting noticed AND
b) become the 'go-to' person

...in the world of work

I think both of these points can relate to a dancer easily. Particularly in regards to standing out in an audition to help you get the job; and career development for me personally wanting to transition from ensemble/swing to dance captain.

The book suggests it is about using the skills you already have rather than learning new ones, but using them to their full potential. It is also a case of 'presenting yourself' which links back to the big idea of perception I.e. What one person considers successful to another? And how this perception varies from one environment to the next? It makes me ask: As a dancer, do you present yourself differently depending on the situation in order to aid your success? I definitely do in castings by trying to 'plant a seed' in the panels mind. Whether it be with my choice of attire or hair style - I want them to think I look the part and suit the show I'm auditioning for.

John talks a lot about authenticity and creating an 'authentic impact'. What does this mean? Other definitions of authentic on google come up as GENUINE, REAL, ORIGINAL. This makes me believe that success is dependant on the impression you make and how you communicate with others; whilst being honest and true to yourself.

"An insightful guide to building reputation and impact that anyone can learn from." (Penny De Valk, Managing director of Penna Talent Practice) This implies that the book is applicable to everyone, whether they be introvert or extrovert, and to all professions. It also suggests that the way you communicate and act, as well as the way in which you present yourself, are key elements of success.

Key words and concepts that are discussed as part of 'the success code' are:

Relationships

Networking 

Impression

Reputation

Perception

Eye contact

Communication

Influencing skills

Listening

Confidence

Focus

Presentations

Personal control

Reaching potential 

Self projection

Getting noticed

Push comfort zone

*Career goals*

*Positive psychology*

The last 2 concepts particularly interest me. I feel that confidence, communication, impression etc are all part of positive psychology and that things like focus and pushing ones comfort zone are part and parcel of working towards career goals. 

I'd like to look into goal/target setting and how we can do this most efficiently in order to achieve the desired outcome I.e. Success. I'd also like to read up on psychology, what positive psychology actually is and how a positive mindset helps achieve success.

"Start your new job successfully."

By Christine Harvey - public speaker, broadcaster & author

This book claims to reveal "your fastest route to success". One main area is based on segmenting your targets and looking at how you'd monitor/control them in order to achieve success. It also suggests displaying results to initiate healthy competition amongst colleagues or purely to motivate oneself. I plan to create a mood board displaying images of particular goals that I personally wish to achieve as well as ones I've already achieved in order to give myself a visual for self motivation. Then I plan to create targets in order to work towards these goals. On page 98 Christine talks about 3 'motivators' in the work place for success. 1. Enjoyment 2. Curiosity to learn and 3. Financial desire. This made me think about my motivators in Dirty Dancing 1. Playing the dream role of Penny 2. Working towards dance captain 3. Performing the show in my home town. A target for playing Penny would be to know all the lines inside out and a way to measure this would be by asking someone at work to test me on them and read in. This demonstrating my desire to learn as well as initiating communication with my colleagues. Philip Drucker said that you must be willing to "move outside of your comfort zone" and "embrace challenge" in order to succeed. A big motivator for him in his work place was knowing the consequences should he not succeed and the fact that there was risk involved. I risked a further year of employment in a musical a couple of years ago, for the chance to attend auditions and potentially get something new - luckily it paid off and I started a new musical 6 months later.

Aside from GOALS, key words mentioned in order to achieve success are PRIORITISE, PREPARE, CHANGE, WHY, IMPRESSION, MANAGEMENT & ATTITUDE. Having a good attitude is essential when working as part of a musical theatre company and includes things like: being open to suggestion, self control in regards to negative feelings, willingness, honesty, loyalty and desire to self learn.

Another thing Christine talks about is how success depends on others. This is exactly what the Head of Wigs at my work mentioned when he stated that, "without a good team behind me, I'd be nothing." I started my area of inquiry by looking at what makes a successful dancer but how much of this in a musical theatre environment depends on the success of other dancers and departments around you? What skills and knowledge do they need from me as a dancer in order for them to do their job successfully too? What skills and knowledge from their area of expertise would be useful for me to know in order to increase the success of a production - particularly when external factors such as time limitations, minimal space and budgets are involved? Christine's book states that the work place is somewhere we earn a living as well as develop skills, talent and creativity to reach our full potential - "by doing this you'll also affect others in a positive way, which is important for your own growth." I believe a vital part of this links back to module one and the ideas of Lave & Wenger in regards to co-operation, affiliation, communication and networking. The more positive relationships we form and the more respect we gain from others, the more successful we become collectively because we are more willing to seek help as well as provide help. This increases our support networks as well as our knowledge, with attitude being a key part of this. The more trained and efficient we become, in addition to being more personable, the more of a pleasure we are to work with - thus increasing our value as a company member. 'Protocol' is discussed as part of inter communication which is something I feel can be explored more moving through module 2 with personal, organisational and professional ethics. How should we communicate with others in the
workplace?

Success comes with EXPERIENCE. The more we observe and take part in trial and error, the better our judgements become - in turn making us more successful. I would like to observe experts from other departments in order to understand how they run successfully and see if I can take part in a sort of 'work experience' session with them to learn and understand some of their essential skills.

"Psychology in a week."

By Dr. Nick Hayes

Dr Nick Hayes states that there are several elements which make up a persons psychology - "the mental characteristics of a person." (Google) These are:

Social environment

Genes

Intelligence

Influences

Knowledge

Emotions

Motivations

Looking at the above, am I successful because I am good at my job and love my job? Does the fact that I enjoy it keep me motivated? Which in turn makes me happy?

Psychology is also defined as "the scientific study of experience and behaviour" (Google), and in it we look at how "previous learning has led people to interpret and make sense of their experiences." (Dr. N. Hayes)

Our psychological state is largely affected by our direct and indirect social influences. Direct being family, friends, communities; and indirect being from experiences. How we understand these influences and what we make of them, can be explained/analysed in various ways: cultural influences, social influences, personal habit (I.e. Our character), past experiences and visual information (I.e. Role models). The most intriguing is 'social influences'. Although everyone can have a different upbringing, we are all human and are all social animals. We survive because we are
taken care of and are taught what we need to know by other people. We learn through communication and interaction. This book suggests that SELF ESTEEM which comes from our SELF CONCEPT, POSITIVE REGARD and SELF ACTUALISATION is key to positive psychology, and thus success.

It is interesting to look at the different areas of psychology; 'comparative' psychology in particular. This is where we compare individual behaviour to behaviour when we are interacting with others. It again makes me wonder, what proportion of success comes from ourselves, and what comes because of others around us - I.e. Our direct, social influences.

Inquiry question development:

What makes a dancer successful in a musical theatre environment?

How does a dancers success impact on the success of a musical theatre prodduction?

What skills and knowledge should a dancer know in order to increase the success of a musical theatre production?

Questionnaire ideas!

What makes a successful dancer in today's musical theatre scene?

After looking at the question and it's assumptions, it seems clear to me that perception is a massive part of success - that of yourself and of others. This is why I want to ask the SAME questions to a variety of people and experts, as well as myself, so that I can measure the different perspectives.

What does the word success mean to you?

Would you consider yourself to be successful? Why?

What advice would you give someone in order for them to become successful in your area of expertise?

What skills and knowledge do you require to become successful in your area of expertise?

How can a dancer help/hinder your own success?

What do you perceive a successful musical theatre dancer to be?

How do you think being a dancer in musical theatre compares to that of a company or commercial environment?

How has 'success' changed over the years in musical theatre?

Do you have any goals or targets that you wish to achieve?

SIG's: Education, Work, Home

INQUIRY REMINDER: What makes a dancer successful?

TUTOR:

 MIDDLESEX UNIVERSITY PEERS:

WORK COLLEAGUES:

I had a chat in the dressing room with my fellow ensemble members about success and any advice they'd maybe give to other aspiriring professional dancers in the musical theatre industry. Most of the girls saw success as being 'happy' and 'content with your achievements'. They said 'hard work' was key and how 'ballerinas in particular are on another level - it becomes a lifestyle choice where huge sacrifice is involved. This in regards to the rehearsal hours and diet etc.' I found it particularly interesting when one girl said 'if I ever stop enjoying my job then I should change career' which continues to express that happiness is a key part of success to them. I was intrigued to hear how they thought other dancers can help their success by being an 'inspiration' or hinder potentially in regards to competition and comparison.

I also spoke briefly to the head of our wig department. He said 'I'm not successful without my team.' It makes me wonder how we can ensure success in a situation where others around us aren't deemed as successful. Is it possible to have a contingency plan for example or methods in place to help bring others up? It also made me think about how a musical theatre production must be a team effort for the production to be a success. It also made me think about how I as a dancer depend on other dancers such as my partner, or other departments to aid my own success. It reiterates the saying:

"you are only as strong as your weakest link." 

I'd be really interested to look at what other dancers and departments consider a successful dancer to be in order to collaborate more effectively and enhance the working environment. I hope by doing this I'd expand my networks and learn new skills/knowledge that could not only benefit my own success but that of the show!

FAMILY:

I often love discussing my industry with family because, with them all being non - dancers, they look at things with a completely different perspective. My step dad works in business and architecture and he was intrigued by the history of my inquiry topic and how times have changed. He mentioned how 'many musical theatre shows are now touring so to be successful you have to be willing to travel and be adaptable.' We also spoke about shorter contracts in today's musical theatre scene and time spent out of work so it's essential to be financially smart. 'To be successful you must accept that there may be times when you have to work other jobs that you may not necessarily want to in order to make ends meat' - either in between contracts or even alongside with the ever decreasing budgets. His idea of success seemed to be swayed towards making money and being in employment rather than the enjoyment of it like my colleagues.

My mum works in education, early years more specifically, and she spoke about the curriculum versus characteristics of learning. 'It is said that the children's success moving forward into primary school, is highly dependant on how they do in assessment aged 4-5. Not in regards to their numeracy and literacy scores (curriculum) but in regards to things like curiosity, persistence, problem solving and willingness to keep trying when things go wrong (characteristics of learning).' I found this really interesting because it implies that even without certain skills or knowledge, you can still be successful if you are the right type of person - I.e. Determined with a great work ethic. I strongly agree with this in relation to the working world of dance and believe it is those characteristics as apposed to talent that will provide longevity in a career. I also believe that the people who have to persist and keep trying, are the ones who will be more appreciative and acknowledging of their successes and in turn make them happier! What do you think?

My boyfriend works in the organisation of school games and in sports massage therapy. He expressed that success is 'personal' and must be 'realistic' to the individual. He also said how 'it can be measured internally in terms of satisfaction and pride or externally in terms of the jobs you've had or qualifications you've gained etc'. Key ideas behind success for him were related to networks and communication. He has to deal with several schools and their various members of staff, parents, a huge spectrum of children in regards to their ages and abilities, sporting organisations for courses/funding/venue hire etc as well as building a client base for his massage business. 'Being likeable and approachable is key.' I think this is also essential in dance because you are always meeting and working with new people. You often form large networks for relatively short periods of time in musical theatre so building a good reputation and forming positive relationships is very important. It makes me think that the better you are at collaborating, networking and cooperating effectively with other people, the more successful you will be - not only in the present working environment but for future career prospects as well. This links in massively with 'networking' from module 1.

As I said above, I'd love to use my inquiry to help expand and build on my networks. This in order to increase my success as a dancer in the current working environment of a musical theatre production. I also hope that by doing this, I will learn what a successful dancer is to other experts so that I can aid their success as well as my own and move forward into other productions with a higher success rate. 'Characteristics' from the conversation with my mum and the recurring theme of 'goals' from my peers particularly interests me as well. I also plan to look into 'psychology' and 'goal setting' and their impact on success.

Tutorial (Tuesday, 11th October)

Tutor: Paula Nottingham
Learner: Megan Louch
Current Tour Location: Manchester, The Palace Theatre

I was feeling overwhelmed by module 2 so arranged a tutorial to:

a) get some clarification on what was required from me during this module 

b) get some feedback and alternative opinions on my current ideas:

http://www.dalerodgers.co.uk/come-new-blog-post-ideas/

1. What makes a dancer successful?

2. What is the recipe for success for a musical?

3. What skills & knowledge should a dancer have when commencing a job in musical theatre?

*you can see my brainstorming of the above on previous blog posts*
http://meganlouch.blogspot.co.uk/2016/10/inquiry-topic-what-makes-dancer.html
http://meganlouch.blogspot.co.uk/2016/10/inquiry-topics.html

Before communicating in the session I decided to break down the previous module and the current to help get some clarification for myself. Also to help visualise the journey and how each component connects.

Module 1

Professional communication technologies
- Ideas from reader 1: human rights in the work place, marketing, mental & physical
health.

Reflection
- Ideas: what has dance taught us apart from dance? The concept of 'mirror image' and the use of mirrors in training/rehearsals/auditions.

Networking
- Ideas: cooperation, affiliation, communities & circles of practice.

Module 2
*some members of SIG's from BAPP

Developing lines of inquiry (October 24th)
Initial ideas:
- leadership and communication when putting on a production (*Tom Hulyer)
- The affect of tour vs town on a dancers mental health (*Lizzie Bell)
- Value of a good company member
- Importance of the swing in a production
- Does knowledge increase with experience
- Is it better to be an expert in 1 skill or good across the board in today's MT scene
                                         TO
Current ideas:
- what is a successful dancer (*Emma Fitchett)
- What skills/knowledge should a dancer have when commencing an MT job 
- The recipe for a successful musical
- Does lifestyle choices affect performance and what is considered 'healthy' (*Bethany Huckle)

Ethics (November 21st)

Inquiry Tools (December 16th)

*Final assessment: The Proposal Plan* (January 6th)
1. Plan, bibliography, appendices
2. Critical reflection
3. Ethics release form, employer support form, award title

TO DO:

Continue to read/explore reader 4

Continue to blog about my questions and other people's responses to them

Continue to engage with SIG's and blog about the conversations 

Discuss new ideas with employees, blog their response in relation to my previous ideas

Search for literature and conversations surrounding my areas of interest 

Paula's key points and advice for moving forward:

What have other people said about my ideas?
Look online at literature and discussions. Research the university library of the town I am in. Look at my own ideas and compare them against those of my company, cast, production.

Use expertise
Who are the experts in my chosen area? What have they said? Take advantage of the environment that I am in and those around me who are more knowledgable than me.

Courtesy
I asked about the employer support form and if this is required in the initial stages of module 2. Paula explained this was something created towards the end of the module in preparation for the next as we are currently only planning the inquiry. It is more conversational at this stage. However, a chat with the company manager for example would be a nice courtesy just to explain what I am studying, the purpose of my degree and that I am being supported by the university during the process.

Inside researcher
I consider myself very lucky to be in the working environment that I am in. I believe it is one that many performers and trained dancers would find interesting and love to have the access to. Paula made me aware of how having the ability to become an inside researcher, is such a great tool for inquiry and one that allows valuable and deep understanding. I get the opportunity to observe and communicate with experts every day and from all different departments.

"Think of your ideas like countries on a map. Some are big, some are small. Some are close, some are far away." 

(Skype, P.Nottingham. 2016)

My Middlesex University Network!

Module 2 - Part 4: Developing lines of inquiry (Skype Friday 7th October)

THE THREE INTERESTS (Reader 4, 2015-16)

Tutor/Leader: Adesola Akinleye

Peers/Participants:

Lizzie Bell 

Kristina Kaladik 

Lois - May Hunt

Ben Roomes

Victoria Vickers

Learner: Megan Louch

We all started by saying what areas of interest we wanted to look in to.This was really useful because straight away we began to understand the point of the inquiry much better than before.

Me: "What makes a dancer successful?"

Think of the question, during this initial stage of developing the inquiry, as a general idea rather than a definitive. At this point, it shouldn't be too pinned down or specific so that you don't get tied up and have various routes to go down. 

The idea is that it's relevant to you and your practice. It should be something that intrigues you and helps to develop your work. 

If you have already experienced or think you know the answer to your question - what's the point in the question? It becomes more directed, evidence based research. Similarly, if you have opinions or emotional attachment to certain topics, this is also the case and your research becomes subconsciously directed towards a particular answer.

Explore the 'assumptions' from your question. For example: 'what makes a successful dancer?' Well what is success? And who do you define as a dancer? 

The idea when collecting data is that you don't relay the information, you form your own decisions, ideas, conclusions through the analysis of this data. 

Think of 'sculpting' the inquiry. 

(Module 2 Skype, A.Akinleye. 2016)

Mamma Mia! International Tour - Hong Kong, 2014

From one large area of interest, lots of other ideas form. These can then be channelled and explored in more detail. 

Useful ideas for my question:

• Look at 'how to' books such as 'how to become a success?' 'How to become a successful event businessman?' 'How to become a successful mum?' - is there any correlation between them? Similar characteristic requirements? 
• What is successful to me? Am I successful? Find what I deem to be important. Learn acceptance and contentment with successes. What can I do to improve the chances of success in my field? 
• Look at the history and legacy of successful dancers such as Fred & Ginger. Who are my personal idols, role models and inspirations?
• Speak to people at varying stages of their career and in various areas of 'dance'. Compare these to people in other departments in my environment such as wigs & wardrobe, as well as people in 'mortal' jobs for example: office based, 9-5 workers. 

The BA (hons) is a chance to learn and study.

(Module 2 Skype, A.Akinleye. 2016)

There are many valuable things that one can only learn through experience of the real world and working in it. For example: nobody teaches you at college how to be money smart when it comes to self employed taxes, attending class, paying bills, rehearsal gear etc. They also don't teach you how to cope on tour when you have no family around you and have to battle with things such as different beds and days offs that consist of travelling the country. The BA (hons) is a chance to explore again through choice, using the environment around you to help you come to conclusions. It is another opportunity to learn something new and research an area that particularly interests you. 

REMEMBER!

All the modules interlink. Module 2 is a continuation of module 1 but also a preparation for module 3. Link back to previous work on communication technologies, reflecting, networking as well as looking forward to what the end inquiry should entail in relation to research methods, literature and ethical considerations. Use your previous experiences to move forward - don't dwell or expand on the past but similarly don't jump ahead. Use each to develop your current practice and interests!

"SNOW - body puts baby in a corner"

 
 

 

 



Well the news is out on Facebook, Twitter and various websites, Dirty Dancing is set to return to the West End over Christmas - 4 weeks only! When I first started this job, I couldn't believe the luck of having a whole Christmas period off. I mean that is totally unheard of for a performer as it is often our busiest time - what with pantomimes, school holidays, work do's, treat evenings out etc. Timing wise, with the completion of module 2 and the hand in dates, I thought great - I'll have all this time to spend on my work, prioritise uni and knuckle down (as well as go on a cheeky holiday!) Well, things don't often go to plan and everything for a reason as they say! I am extremely excited to return tho the West End as for me growing up, that has always been the ultimate - im also looking forward to being in London around Christmas and being in one place for longer than a week #tourlife. However, I am now very aware that I need to be ORGANISED, TIME EFFICIENT and more MOTIVATED than ever. The to-do lists have started, as well as making notes on the go and jotting down in my diary when each part of the module should start/finish along with Skype chat dates and hand in dates. The above all being ways of journalling in order to assist with time management. *BREATHE*

Now, let's get cracking - exciting times ahead! 

Inquiry topics

Inquiry Topic : "What makes a dancer successful?"

I'd love to hear  what your definition of success is and what it means to YOU to be successful?

Research ideas:

Literature

Look into life books on how to be a success. Look at varying roles e.g 'how to be a successful businessman', 'how to be a successful mother' etc and see if there are similar characteristics or approaches to success. .

Interview

Conduct interviews with people who I perceive to be successful, with people at different stages  in their career, with dancers from different backgrounds and see how they vary in opinion. 

Observation

I would love to observe students in training, dancers at work and in an audition situation and see what the teachers, employers and casting team deem successful and why. 

I feel PERCEPTION and OPINION are key terms, this meaning that my data collection will provide RELATIVE results dependant on thoughts and feelings. I hope to discover, through analysing other people's values in comparison to my own, what being a successful dancer means to me and how I measure/build on this as a professional practitioner.

Reader 4: Part 1

Inquiry process:

Investigate

Explore

Evaluate

Understand

https://inquiry-learning-representation.wikispaces.com/What+is+Inquiry+Learning%3F

Professional inquiry.......

"Extends and clarifies your professional knowledge"

"Suggests a framework from which you can continue to learn in the future" 

"The ultimate goal will be to explore a topic that will benefit your work and the work of colleagues."

"Identifying your own unique learning needs will be important to the process."

(Reader 4, 2015-16)

The above made me question: What is my professional practice? What is my individual role? What do I personally hope to achieve from my professional inquiry? What do I want to know that I don't already?

My current practice is within a touring, musical theatre production and my individual role is that of an ensemble dancer. I also cover two of the lead roles. From my inquiry I hope to learn something new, develop as a practitioner, extend my knowledge and get to truly know myself. Now the ultimate question, what do I want to find out out that will benefit me and my practise?

PROFESSIONAL  INQUIRY EXPLANATION AND RELATED TOPICS

What is professional inquiry?

"A way to learn what you are doing whilst doing it" and "Examining what you do in order to ask the right questions" (Reader 4, 2015-16)

We do this by.....

"Engaging with relevant problems and scenarios, drawing on existing knowledge, seek out new evidence, analyse & present that evidence" (Kahn and O'Rourke, 2004)

Why do we do this?

Get a better outlook and perspective, understand our practice. Have increased self awareness in terms of our ethics but also our selves, how we work most effectively and our bodies. Learn professionalism and have the best experiences possible whilst working.

Would we do things differently? What would I like to know? What will benefit me and my practice?

Because I was relating my inquiry to problems/issues that had come up at work and personal struggles, it was having quite a negative feel to my inquiry topics and proving difficult in regards to ethical considerations such as confidentiality and moral values. I'd like to focus on the learning of new information and looking at things I'd like to know that I didn't before. Rather than dwelling on past events, I aim to look to the future - how can I change things to make them better?

Professional inquiry - the 3 interests

BAPP (arts) learner / current future career : Me / Dirty Dancing musical

Employee / colleagues / self employed / freelance / networks : Producer / Ensemble / Crew / management 

Middlesex university BAPP (arts) network : tutors / peers from all modules / researchers

The frame work is based on reflecting and learning from experience. This is my 4th musical and 3rd tour. What have I learnt? Do I approach things differently now to how I did during my first musical? What would I still like to know? What will help me to develop and understand my practice further?

"Often intents unfold, shift, clarify or become more complex."

"An issue, event, theme, dilemma or whatever is an inquiry for me."

(Judi Marshall, 2001, p.6)

What is the purpose of my chosen question? What do I intend to achieve? What are my future prospects? Judi classes this as 'self - reflective inquiry'. Focus on things that will benefit myself rather than others. She states that inquiry 'heightens my attention inwards' - I think it is important for the inquiry to be personal in order to stay motivated, interested and for it to have true benefit to your own practice.

LINKS TO WORK BASED LEARNING

"Professional inquiry and work based learning both incorporate social science research methodology." (Reader 4) After looking a little into research methods (www.skillsyouneed.com) I discovered the term 'Ontology' which is how you view the world and the assumptions you make about the world, and 'Epistemology' (management research: 4th edition, Easterby Smith, Thorpe and Jackson) which is the assumptions you make about the best way to investigate the world. Within social sciences, there are two main approaches:

Positivist - objective methods e.g. Observation - realistic ontology

Social constructionist - given meaning by people and their thoughts, feelings, beliefs -  communication methods e.g. Conversation - relative ontology

Work based learning "promotes awareness of the workplace as a learning environment and uses this to extend the learners capability and individual effectiveness" (Durrant et al. 2009, p.1)

It is an approach that is effective when change is involved and problem solving is required. For example: When your touring you are changing venues weekly and can encounter problems such as wing space, raked stages, different temperatures, local staffing, accommodation, access to local amenities etc. Inquiry could be used in this situation to create a plan for the smoothest, safest, most comfortable and most efficient approach to the move. Professional inquiry can affect a number of employees so ethics need to be considered but it also means many people can benefit from the learning experience. Putting on a show is a team effort and I specifically am part of an ensemble. It is essential to communicate and work collectively and collaboratively.

*I'd be interested to look at a UK/international tour and come up with the best way to approach a new move to obtain maximum performance and comfort*

Coffee shop Skype : Tuesday 4th October

Participants:
Adesola Akinleye - Course Leader (www.adesolaa.blogspot.co.uk)
Emma Fitchett - trained actress, currently teaching and tutoring (www.emmalouisefitchett.blogspot.co.uk)


One of the first pieces of advice we were given by Adesola and Paula on the initial orientation was to go through your feedback from the previous module before moving forward. So before this session I did exactly that.

Three key points that I'd like to focus on for module 2 are as follows:

1. Continue to develop the formal writing from your blog posts into the module 2 work. I feel like I didn't demonstrate this in my module 1 'critical reflection' as well as I could have because there was so much I had learnt and so much I wanted to say. Quantity seemed to override quality so I'd like to be more selective and specific when collating module 2 work in order to demonstrate in depth writing.
2. Continue to do one-on-one tutor sessions. I think we are so used to fending for ourselves in this industry because of competition perhaps or because you have to be so self motivated. However, I must remember that i am on a learning journey and tutors are there not only to help but to provoke ideas too. I feel that talking to my tutors more will guide me through the planning process and prevent me from going off on a tangent for example.
3. Continue linking to methods. Referencing and linking was probably the hardest part of the module for me to get to grasps with. It was so alien. I need to write as though the audience and assessor know zero about my subject. I know where I've got the information from but they don't.

Adesola's Advice:

"What would I have liked to know more about that I didn't at the time?"

"Be careful not to dwell on previous experience and what you already know. It is about moving forwards and learning new things."

"What will help me in the future?"

"It doesn't matter if it all goes wrong, it is about planning the inquiry - not doing it."

"It is about getting to know yourself."

Self discovery was a massive thing for me during this Skype session alone. I realised that I was continuing to reflect (Module 1) on previous experiences which in turn was giving quite a negative energy and an emotional attachment to my inquiry topics. With the help of Adesola, I understood that I was perhaps trying to expand on existing knowledge and help other people rather than looking to the future and what would actually help me. Categorising the modules really helped to make sense of their aims in my head:

Module 1 ---> reflection

Module 2 ---> moving forwards and planning

Module 3 ---> developing and analysing

It was really interesting speaking with Emma. From our initial conversation, it already feels like she is quite a self assured person with a very mature approach to her learning and experiences (both past and present) - even though she is only just commencing her studies. I was intrigued to hear how she "found her falling" in teaching - an "unconscious plan B". It was great to hear a little about her own experiences as a performer in the industry and how's she has now found more happiness through focussing on others and the genuine nature of children. She spoke briefly about some of the difficulties her students have such as autism and epilepsy and how she feels her background training as an actor has given her a more successful approach to teaching than some. We agreed that this is because we are used to being proactive and inclusive of everyone. Performers are often more accepting of differences and are used to adapting in difficult situations. We learn to work as part of an ensemble in which we interact and are seen as equals. Some teachers unfortunately shy away from things like epilepsy in order to reduce risk, where as a trained actor may have a more professional approach - "how can I change this to make it work?"

I've been so interested in mental health in relation to dancers and the touring environment. How can I use this interest to move forward and learn something new? Listening to Emma talk about how she helps children with difficulties grow in confidence and learn new skills made me wonder how dance can help adults with mental illness. How can performing arts/art therapy help adults with mental illness? 

I've also been interested in the skills and knowledge required across departments in a theatre environment. Adesola suggested something like: What should dancers know before coming into a musical theatre production? I'd like to look into this from varying perspectives/departments such as wigs, costume, sound, lights; and do so through interview or professional conversations - "Understanding other people's worlds in order to help me own" (Megan Louch, 2016). I hope this will show I'm interested and keen to continue developing as a practitioner, thus making me 'a good company member'. We spoke briefly about the value of this over talent and Adesola asked "What is 'the best'?" At school this was basically the ability to do what the teacher asked for or give the correct answer. In a working environment there is so much more to it than that such as time efficiency, work ethic, enthusiasm. I also hope the above will get me out there and incorporate 'networking' from module 1 and expand on my current 'circles'.

Task 4b: SIG

Sunday 2nd October: Skype session with Lizzie Bell

After commencing the BA (hons) Professional Practice in Arts, Lizzie and I became friends on Facebook - the most popular form of social media to date by 710million! (Dream Grow) It is from there that I noticed all the amazing charity work that Lizzie took part in and for one charity in particular called 'Mind' that supports everything surrounding mental health. As this is an area of huge interest to me I was keen to get chatting to Lizzie. She had also commented on one of my blog posts in which I'd done a bit of general research into mental health and performing arts (http://meganlouch.blogspot.co.uk/2016/09/how-light-gets-in.html) After messaging back and forth on social media and Skype we managed to accommodate our schedules for a Skype video chat. It was really useful to chat about our ideas and lovely to feel less isolated within my studies, as well as talking to someone generally with similar interests.

One of my question ideas so far is :

Does working as a performer impact on an individual's mental health? Do the variables of a touring environment effect the spectrum more so than a resident production?

We both have a keen interest in this topic because of personal reasons, reasons we didn't go into too much because of ethics, human values and confidentiality. However, we both said how upon researching and thinking about other areas we kept coming back to this topic. My current practice, as well as my previous, has been in a touring environment. As I was explaining the external factors that come with this to Lizzie, other than the performing itself, I said it would be nice to sort of come up with a 'how to' guide for touring folk so that they can go into it ready for the best experience possible.
One thing that was mentioned was how many different types of MENTAL ILLNESS there are and because of this, perspective is a massive thing. I also chatted with someone previously who suffers from mental illness about my topic. I brought up external factors like the travelling, lack of communication, different digs, access to home comforts etc where as they seemed to focus on dance itself in relation to being judged, pressure to deliver, self consciousness. I also took this person back stage at the theatre and upon walking into the dressing room: "Urgh I don't like it in here, there are mirrors everywhere. It so bright! I would not be able to sit in here and look at myself all day every day." It was so interesting to see such a sudden reaction as the mirrors and lights are things I don't even consciously think about.

As you will see in Lizzie's blog from the session, she was intrigued by the PERSONALITY of dancers. I also found this really interesting and would like to look into it a bit more. I feel it would link in with the mental health of performers. Lizzie said how we must have something in us that enables to go through the gruelling process of auditions, the training, unemployment. Something that drives us to want to perform in front of so many people and on stage. I agreed with this and expressed how I think we are a breed, our own species in affect. I know a lot of people in my home town think I'm crazy and I agree - I think we all our in our own way! Lizzie is currently teaching in academic and vocational schools so I asked if she gets the same satisfaction and buzz from that as she does performing. I also asked her about how varying ages of the students affect these inner feelings. I confessed that I feel I am a selfish person and how I admire Lizzie for teaching children of primary age. I prefer teaching older students because I get more out of it, you can do more challenging routines with them and see bigger results. You have more options with choreography and can push them harder. Also, older students are more likely to be at class because they've chosen to go. This means they can be more willing to learn and are more respectful. Following this, another area Lizzie was keen to look in to was DANCE as a subject IN HIGH SCHOOLS.  It was great to chat about this as we seemed to have completely different experiences of it. We spoke about whether it's seen as a sport or not? Whether it's seen as an 'easy' subject? The teachers themselves - does being experienced in dance stand against qualifications on paper? How is dance perceived in an academic establishment over a vocational? Lizzie expressed how her understanding in academic schools has increased and how her appreciation in vocational schools has increased - I said that working in both and seeing such varying capabilities and efforts has probably made her a better teacher over all but why are the two so different?

Another area of interest I have but am struggling to channel at the moment, is the idea of SKILLS & KNOWLEDGE from reader 4. Not necessarily looking inward at the skills i require for my practice as a dancer, but more outwardly at the skills and knowledge from other departments I could benefit from knowing in order to assist my practice. For example: what could I know about in relation to sound that would help me as a dancer in a theatrical setting? I think concepts such as communication, health and safety, collaboration and leadership could come into this and if I was to relate it more specifically to rehearsal and tech periods - that could be interesting.

Lizzie asked me a bit about how the show I'm currently in was going and we spoke briefly about the audience reaction to it. I mentioned how the majority of the time people went mad for it - irregardless of whether you felt you'd delivered your best show or if things had gone wrong. If you were having a down day or a tired day, the audience always picked you up and made you push through because of their enthusiasm and love for it. The fact the show was originally a film and that the songs are all from the movie or pop genre - almost everyone knows it and sings along. It is similar to the jukebox musicals such as 'Mamma Mia!' and 'Jersey Boys, and others that have come from films like 'Matilda' and 'Ghost'. It made me wonder what the RECIPE is FOR A SUCCESSFUL MUSICAL? So many amazing new musicals don't get the following or don't last very long - why? Is it the music? The marketing? Celebrities are often placed in lead roles to draw people in. I feel this could be an interesting topic to look into.

Would be great to hear people's thoughts on any of mine and Lizzie's ideas!