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!

Inquiry: 'The Unknown'

My previous post about being proactive, reflecting and analysing; sparked an inquiry.

"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.















"It is not in the stars to hold our destiny, but in ourselves." - William Shakespeare

Reader 2 and the emerging of inquiries in my professional practise...

1. Critical reflection  is a reasoning process to make meaning of an experience. Critical reflection is descriptive, analytical, and critical, and can be articulated in a number of ways such as in written form, orally, or as an artistic expression. (University of Tennessee at Chattanooga)

Experience – observation of fact(s) or event(s), practice in doing something; –
(Oxford English Dictionary)


1. Reflective practice is a way of studying your own experiences to improve the way you work. It is very useful for professionals who want to carry on learning throughout their lives. The act of reflection is a great way to increase confidence and become a more proactive and qualified professional. (www.brightknowledge.com)



I think the word 'pro-active' is a key concept here. I've always considered myself very pro-active but never realised that it may be a result of how I reflect upon my experiences. These qualities, i.e. being pro active and reflective, I think link in with the idea of networking and Web 2.0 in reader 1. Communicating with people, often via the mediums of email & social media, is a massive part of being proactive in your professional practise.

Pro-active (Google)
prəʊˈaktɪv/
adjective
1. (of a person or action) creating or controlling a situation rather than just responding to it after it has happened.


Proactive (www.vocabulary.com)
The adjective 'proactive' can describe a person who get things done. If you are 'proactive', you make things happen, instead of waiting for them to happen to you.
Active means "doing something." The prefix pro- means "before." So if you are proactive, you are ready before something happens. The opposite is being reactive, or waiting for things to unfold before responding.

How do we as performers become pro-active?

In my current professional practice I would consider the following as being pro active:

Looking for auditions via the means of websites, Facebook pages etc.
(The stage, London Dance, talent cast, the hustle)

Applying for work so you can fund yourself between projects and gain other experience.

Writing to casting directors or agents.

Researching companies that you could potentially work for: Royal Caribbean, Qdos, Matthew Bourne.

Attending classes to continue development and put yourself out there.

Inviting influential people to watch any performances you do.

Making sure your pictures, portfolio and CV's are up to date.

You can see above that all the starting words are verbs i.e. DOING words. You must be  ACTIVE in your practise and take some control and responsibility for it.

I have a generalised theory:

PROACTIVE person  = more successful experiences and practise = positive reflection
REACTIVE person = less successful experiences and practice = negative reflection

E.g. 1) Scheduling a singing lesson to practise your repertoire ---> performing your song better in an audition ---> you hit the notes, get through to the next round, offered a job, feel on top of the world.

E.g. 2) Picking a random song you've done before ---> feel nervous out the audition ---> sing the song a bit shaky, get cut, don't get the job, feel upset.


When is reflection/being proactive too much? Can this result in over analysing and in turn produce a negative effect? When should we let go?


E.g. 3) Scheduling a singing lesson to practise repertoire ---> receive lots of notes to consider, over think the song, worry about getting it right ---> loose the performance element, don't give the best account of yourself, get cut, lose job opportunity, feel frustrated.

E.g. 4) Picking a random song you've done before ---> feel relaxed and don't put too much focus on the outcome ---> exude confidence in yourself, perform the song with ease, go to the next round feeling content.


After further research into Kolb, Honey & Momford, I came across and completed the learning survey on:


http://www.nwlink.com/~donclark/hrd/styles/learn_style_survey.html


It was no surprise that the results showed my learning as 'doing + thinking' i.e. Analysing.

"If you prefer Doing and Thinking then you are in the analysing category:
* Prefers the practical application of ideas, solving problems, feedback, and decision-making (obvious links between the task-on-hand and a problem). 
* Prefers technical problems over interpersonal issues. 
* Prefers to apply new learnings to actual practice to see if they work. 

* Likes laboratories, field work, observations, and coaching."

I'm definitely a very analytical person. I feel this is because I always want the best result from a situation. I am also a massive culprit for over analysing and making things worse by putting unnecessary pressure on them. You could say I've just over analysed my own theory above - what do you think?

My journal writing experience ✍🏻

Task 2b) Reflective writing: Exploring the different ways of recording a journal

Examples:

Description 

Initial reflection

Lists

Evaluation 

Graphs/charts/diagrams 

What if?

Another view

I've found that depending on what I have taken part it on or experienced on a particular day, depends on which method I find most successful or natural when journaling or reflecting.

"It is only by reflecting on an experience that we learn from it. We are only able to turn information into knowledge by understanding the idea." (Boud)

Auditions: What if?

What could've happened? (More often than not, I answer this negatively. Rather than looking at what could've gone wrong and didn't, I look at what could've gone better. I find that this can be a trait of a dancer- very self critical and always striving for perfection).

If I'd of had a different partner, been in a different group, worn different shoes; I may have danced better or stood a better chance. I could've fallen over like a girl in the previous slot and injured my self; thus putting myself out for 6 weeks. I could've better prepared myself, worn a different outfit, been more relaxed, sang a more appropriate song.

What would I love to happen?

I'd love to get the job. I'd love to get a cover. I'd love to be considered for dance captain. I'd love to be paid millions. I'd love it to lead to endless opportunities.

What would I hate to happen?

I'd hate to get cut. I'd hate to give a bad account of myself. I'd hate to get it but not be able to do it.

Auditions: Another view

I always try to do this to prevent being so hard on myself. I always think, what would I say to my friend if she had been cut for example? I'd say she did well to get as far as what she did. What would I say if they were waiting to hear? I'd say, try and forget about it because there's nothing you can do. What would I say if they thought they'd made a mistake? I'd probably say they covered it well, and the most important thing is that they carried on and it didn't look as bad as what it felt. It's always easier to give advice than take it, so I find using this form of reflection/journaling very useful.

Swing life: Step 1 - Graphs/Charts/Diagrams

This is my first time at being a 'proper' swing. I did do it for a short period of time on a previous job but I already knew the show. I was also leader of our Swing Project at college; but as good as it was to get an idea of the life of a swing, it wasn't completely a true reflection. I found that during rehearsals when i was learning several things and at speed (particularly being an on stage swing), drawing diagrams of people's positioning and arrows for entrances and exits etc was really useful. I carried a little notepad and pencil around with me constantly.

Swing life: Step 2 - Description

Then, once I had a bit of time at home or in the breaks, I would note down in much more detail. I'd write down each persons full track in its entirety. The choreography each individual did, their lines, their costume changes, the wings they entered from and so on.

Swing life: Step 3 - Lists

If I knew I was going on as a particular person for the first time, I would make a list of key things to remember. A summary of their entire track that I could refer to after each number - aka a 'cheat sheet' to myself and colleagues. I would also write a list post performance of anything that went wrong, points to address or flag up with ensemble members I may interact with etc. 

Training: Initial reflection

I do this more so after taking a class for the first time, but I always come out and either  way, consciously or subconsciously think about what I've just done. 

How did I feel?

Sometimes if I've not been able to train for a while (be it due to work, money or whatever) I can get very frustrated at myself because I feel tight, off balance, slow picking up choreography, unfit etc. On the other hand, after the exact same situation I can be pleasantly surprised at the opposite outcome. 

What was I thinking?

Was I enjoying the class? Was I comparing myself to the people around me? Did I like the music? Was I clock watching? Did I respond well to the teacher? 

"This class is awesome. I'm way sharper than that girl in the blue. Where can I download this song? Oh no, there's only 5 minutes left. This teacher is so talented."

"This choreography is terrible. I look so out of shape. This music is so uninspiring. Wow, is there still half an hour left? This teacher has no idea what he's talking about."

Did anything unexpected happen?

It may be that I learnt a new move or I simply whacked out a triple pirouette on the left. A couple of times I've been approached after a class about potential work or castings and on other occasions I've bumped into very influential or famous people. 

What was my mood?

A couple of weeks ago I was feeling quite tired and was really pushing it for time. I was in two minds 1) I can leg it, be 5 minutes late and go to class 2) I can relax, take my time and meet my friend for coffee. I went to class and thoroughly enjoyed it. I felt elated by doing some different choreography, I felt challenged enough to get the brain going and still felt like I danced well and achieved something. I was so glad I went and was on a high then for the rest of the day. 

Teaching: Evaluation

Teaching is not an easy job by any means and in something like dance, I think it can be even tricker. Particularly if you are teaching across a range of academic and vocational establishments, as well as age ranges etc. 

What did you think went well?

There are so many things to consider. The difficulty level, the music, the duration of the class, the range in exercises, the space, the input from the students, teaching methods. Think of all these components and then realise that there is no formula. What goes well for one age group, one school, one individual - chances are won't go well on another. It may be that your first class picks it up really well, the second doesn't but they interpret it well. 

What worked?

I have not always been the best with patience. I have high expectations of myself and am lucky that I pick things up quickly. This however, can in turn make me rather impatient. I don't like to shout and don't feel this is the answer in order to control a group of young students anyway. When working for a company that delivers dance workshops based on literature the schools are studying, I found a technique that has been an absolute god send ever since. If a class is getting too noisy you clap a rhythm and have them repeat it back to you. Sounds so simple right? It catches their attention, regains their focus and in turn settles them down - amazing! Introduce this at the start of the lesson so they understand what it means when it happens and 'ta-da'. Works (nearly) every time.

Did you learn or discover anything?

I think the main discovery as a teacher is that you have to be very responsive, vigilant and adaptable. Children are amazing and as a teacher, you are always learning. I discovered that 'high school musical' wasn't considered cool anymore! Since when? Haha. You can learn new movements by workshopping with students who have different skills and talents to what you have and by observing them explore individually. You may discover that some students work better to counts for example and some to lyrics. As a teacher you realise that you have the ability and the amazing powers to inspire and provide joy on a daily basis. You even have the potential to change someone's life, but witnessing precious moments like these in turn change yours. 

Did you notice anything to avoid?

I noticed that one class in particular didn't respond well to combinations that were too challenging. I avoided inputting more than 1 or 2 new steps into a new routine. I also used to teach a 'dancersize' class in a gym and focussed on different styles each week. They absolutely loved line dancing and street dance. I thought it would be fun to do some rock and roll one week. The adults definitely felt uncomfortable working in pairs and it was obvious they felt more comfortable exercising alone. Safe to say I avoided that from then on!

Media - photos/videos

As well as the above examples, I've found that the use of 'media' is extremely effective when journaling. The ability to take photos of positions and spacing and record videos of routines, proved very useful when fulfilling my role as a swing. They are also beneficial when working on pieces of choreography or analysing my own training and skills. 

I also used photography and images as a way of keeping a food diary. This when I was studying nutrition and being cautious of what I was or wasn't eating. I'd take pictures of recipes and meals so I could compare other people's diets to my own, make alterations, become inspired. I used them to help gage what I could add into my diet or substitute for things with a higher nutritional content or increased benefits.

Poached eggs and avocado on multi seed crisp breads and topped with mixed seeds

Sweet chilli salmon fillet with brown rice noodles, tender stem broccoli & feta cheese

My super healthy banana loaf (no refined sugar or butter)

My reflective experience 

'"Journal writing is an increasingly common technique in education, personal and professional development."

"There is depth and quality of reflection in learning journals."

(Moon.)

I find Schon's differention of 'Reflecting in action' and 'Reflection on action' a really interesting topic. I also find Kottcamps perception of these interesting. His belief of the former being more difficult is surely down to the individual and to the profession, no? One of the enquiries that I have formed so far from reader 2 is: 

what does it take to be a good swing? 

"The swing may have the entire male or female (or, in some cases, both) ensemble’s tracks neatly cataloged in their heads, not knowing what role they may be required to perform."

"Arguably, the swing is the most versatile, flexible and integral performer to any show."

(http://broadwayblack.com/author/nicole-johnson/)

In turn, dancers and especially swings, have to be very good at reflecting in action. 'Diagrams' and 'description' are examples of journaling pre show but it is also essential to be on the ball and adapt or solve problems in the moment. Once the performance is over its effectively too late. Don't get me wrong, there's always room for improvement as we move forward with following performances and everyone does make mistakes - it's live theatre. As I said earlier, as a swing myself I do make notes post show of any errors I can rectify in the form of 'lists'. However, if I wasn't as good at reflecting in action, there'd certainly be more car crashes on stage - particularly with my current job involving so many props to work with as well as children, animals etc.

Reflection in action is also a huge must for a teacher. You can plan as much as you want and spend hours evaluating afterwards but if a lesson isn't working, you must be able to adapt to the current situation so that you retain the focus of your students and allow them to still learn something from the session.

These are a few of my favourite 'things'.....

I was gutted when I couldn't make the group Skype on module 1: part 2, however I thoroughly enjoyed reading through other people blogs and and Adesola's summary of the session. A couple of questions seemed to arise during the conversation which I have thought about individually.

What is my 'professional practise'?

Adesola mentioned this being a 'thing'. If some one asks 'what do you do?' , I think we often feel the need to give a direct answer and justify this, linking back to my previous idea of a pedestal. Thinking of our professional practise as a thing creates huge scope for varying roles, pathways and areas of expertise. It also links back to our original discussion of why we wish to take this course. I.e. Giving ourselves options if we can't can't dance anymore etc and the reasoning that we can still have a successful career in dance post performing/should we choose not to be on the stage. Professional practice being a thing means there is no right or wrong as such, there is no definite and definitely no barriers. It made me think about 2 things, the professional practise that I am currently involved in and the professional practise that I have taken part in in the past/still fulfil at other times. It helped me to identify and explore this by doing a spider diagram. The bubbles in purple relate to my current situation and the branch of 'teacher' is something I ongoingly participate in. I could've gone on forever with the sub groups, below is just an example.

What is my inspiration?

Initially when I thought about this question, I got frustrated with myself because I couldn't think of an answer. I couldn't think of a pinnacle moment or particular person that inspired me, which then made me question why I actually do it and ask myself if its for selfish reasons? After having a moment, I then realised that I can also think about 'inspiration' as a 'thing'. If something inspires you, I believe it 

is because it affects you in some way emotionally- it makes you feel something. I've often said that I was 'born to dance' (as cringey as that sounds) but I guess scientifically and physically, this could be the case to some extent. However, maybe I always said that because I couldn't express what it was that made me choose this career or explain to anyone why I decided to dance. The more I thought of inspiration as a thing, the more I succumbed to the fact that although no distinct memory or moment made me want this, a combination of things could definitely have been key factors towards my dreams. Again, I could've gone on forever but please see some examples below.

The main thing that seemed to resonate with me after some thought was 'feelings'. When I'm happy I dance. When I'm sad I want to dance. 

Why? 

Well when I dance I feel better. I forget the stresses of daily life and regain a focus. 

The feeling I have of being 'lost' sometimes, I think, comes from lack of structure and routine. Dance gives us something to work towards and a purpose. It gives us a challenge day to day. Because of all the life qualities it has taught us, I personally don't feel like me without it in my life and hence feel lost. It most certainly has made me into the person I am today i.e. Someone that is hard working, committed, driven and ambitious. I can't imagine not being involved in it, ever, and the fear of loosing such a big part of my life is colossal. Having the perception of professional practice being a 'thing' certainly helps me to realise that the avenues in dance are endless and provides comfort when asked, 'what would you do if you couldn't dance anymore?' There are so many great opportunities. 

All of the above made me think, 

what else dance has taught us apart from dance itself?

Trust: partner work, queueing 

Passion: connecting with your emotions/experiences, love for something

Discipline: going to class, diet

Presentation: hair, make up, uniform

Time management: agent meetings, travel, audition appointments

Organisation: costume changes, arranging tour digs, packing

Grace: posture, alignment

Team work: ensemble member, group performances 

Listening to our bodies: pain, injury, tiredness, illness

Competitiveness: competitions, auditions 

Determination: success, dreams, goals

Confidence: stand on stage, presenting work, solos, communication, public speaking

Ability to adapt: swing, technical problems, injury, different spaces/floors/costume

Independence: travelling to jobs/auditions, learning material, arranging head shots etc

- Injury

- Technical

- Illness

- Bereavement

- Low audience numbers 

(Examples of: Determination, listening to our bodies, team work, passion, adapting)