Writing: A Process, a product, a paradox.

I wasn't sure what to expect from the Skype session which was titled: “Talking about Writing workshop". I’ve become quite used to the standard group chats where we are all left to contribute in in our way, so it was rather novel to experience a ‘workshop’. Despite my apprehension, I really enjoyed participating! Perhaps because I was in a familiar role of feeling like I was subordinately being told what to do. (I think the student dancer will never leave me!) But it was incredibly interesting and I found myself making many connections with my current inquiry process.

Peter Thomas began by sharing the idea that writing was an act which many fear. How strange? Something we all do, probably every day, yet a proceedure which can cause such anxiety. I could absolutely resonate with this notion as I havefound myself procrastinating over getting started with my literature review. Mainly because my mind was circling with “Where do I start?!” “How am I meant to structure it?!” “What if I include citations incorrectly?!” (As usual, predicting catastrophe).
My psyche followed the same path when Peter asked us all to scribe on a page of paper all we could think of in answer to the following question:- “What is writing?” He instructed that it must be a continuous prose, we must not read over what we had written, and we must not stop. Throughout the whole activity I was harshly judging my scrawl, questioning what everyone would think if I had to read it out in front of the group. How torturous! 

I was reminded of a kind of therapy I was recommended once which was titled ‘Mind dump’. Literally what it says on the tin- you were to wake up in the morning and for ten minutes, continually just write. Whatever thoughts came into your head, just to get it out on paper. An example of putting into words the thoughts which are in one’s mind- supposedly for therapeutic benefit.

Anyway, thankfully, we didn’t have to read out what we had written, but we were encouraged to share the key definitions we had personally connected to the verb ‘writing’. The discussion which followed was evidence of how a community of practice can really deliver. Ideas were sparking up from all angles, and my own perspective of the writing theme expanded to reflect a far bigger picture. I connected this broadening experience to the process of conducting a literature review. The review requires finding out what is currently out there- the different ideas, discourses, theories and opinions on a particular topic. I often find it sobering to realise that there are multiple angles just to look at one concept.
 

Peter then shared the following quote which I thought held quite a lot of irony. Insinuating that writing is a lonely act, but in knowing text can also be shared with others, a paradox is presented.

Figure 1: Quote on writing, Franz Kafka

 

The sharing of writing was perhaps the barrier to freehand. Peter gave some advice on this, recommending that the process of writing consists of different stages and all serve a particular purpose.

GENERATE: List making/mind mapping/scribbling notes: (Not concerning the reader)

ORGANISE: Connecting themes and ideas. (Concerning own perspectives and the reader)

PRESENT: Write in a style which is appropriate for the audience.  (For the reader)

The process of writing flows back and forth between these three stages. I felt reassured at the notion of Generation. Knowing that at first, it isn’t imperative to be thinking about what the reader may be thinking was quite freeing. The main focus is just getting something down on paper which ultimately helped me begin my literature review. 

In my writing endeavours I have recognised the various stages and the impact they have had on my composition. I’d often generate a paragraph, re read it. Perhaps reorganise ideas. Then reflect on what the reader needed to know. Would they understand my key points of communication? Was the mode of delivery appropriate for academia? Writing a qualitative report would be far more formal in language than a blog post for instance. 

Helen then interjected to prompt us students to make connections between these writing processes and our practice. A frequent motif in these modules of study, everything is connected with everything! Just because we were discussing the topic of writing, doesnt mean that the area of learning cannot be applied elsewhere. Eg

GENERATE: Coming up with choreography/inventing teaching methods/listing to music for dance inspiration/ workshopping a dance.

ORGANISE: Thinking of class structures/ lesson aims/ dance step progression/ linking steps to achieve choreography.

PRESENT: What is the purpose? To perform to an audience? For a Dance exam? To inspire creativity amongst students? To display technical precision?

I'm sure there are other applicable scenarios for these processes and I hope I can become aware of these as the weeks progress. However Macaulay & Cree (1999) explain how awareness can only come with experience.  They suggest that any learner must have an opportunity to practice their skills. When the experiences are "grounded in reality" (p. 192) and lived by the learner, then they are able to transfer their newly acquired processes.  The conventions of generating, organising and presenting are certainly existant in my teaching practice.......

Finally, below I have shared a succint little video: How to Write well instantly- Every time. 

Scott Berkun shares his advice by presenting a time lapse video. He give some good suggestions for generating ideas and it's certainly one for me to rewatch when I'm sat, hands over my laptop, gazing at the blank screen with palpitations!

HOW TO WRITE WELL INSTANTLY- EVERY TIME.

Scott Berkun teaches us some of the techniques he uses to write well. In the background is a timelapse video of him writing an essay - from start to finish.

References

Ignite Seattle (2011, April 28) How to Write well instantly- Every time [video] Youtube. https://www.youtube.com/watch?v=D85NqSrpzew

Kafka, F. (n.d.). [Quotation about the act of writing.]. Retrieved October 18, 2020, from https://allauthor.com/quotes/149656/

Macaulay, C. & Cree, Viviene. (2007). Transfer of learning: Concept and process. Social Work Education: The International Journal. 18. 183-194. 10.1080/02615479911220181.

[The Process of Writing]. (2003, January 4). Retrieved October 18, 2020, from http://member.tokoha-u.ac.jp/~dixonfdm/Core%20Activities/Process%20Writing/process_writing_home.htm

One Show more. The stories behind the masks.

 So not only did Saturday showcase a marvellous Musical Theatre medly on BGT ("One show more”- If you haven’t watched it already, I urge you to Youtube it now! (Embedded below), but it was also the World Mental Health day. In all honestly, it seems like mental health awareness days are very frequent, I’m sure we’ve already had a few this year, perhaps with a different name on the tin. 

  [@Thedancepsychologist] W O R L D mental health day.

 

However, personally I am a great advocate for talking about the mind, and mental health has become a contagion in today’s society. I’m sure my Grandparents would never have come across the term ‘mental health’ in their day, and my inquiry topic has had me investigating whether the concept has been blown out of proportion. I do believe that many of the older generation typically brush things under the carpet. Keep going- “It’s all a load of airy fairy nonsense” I have heard a family relative remark. The relative then proceeded to explain how they were sick to death of hearing about mental health in the news day in and day out, and despite my opposition I can absolutely acknowledge the increase in media coverage. Especially since the growing concern about the impact of Covid on the metal wellbeing of the population. In fact, a recent study as part of the UK Household Longitudial study concluded the following:

“Consistent with our hypothesis, we found an overall increase in mental distress in people aged 16 years and older in the UK compared with in the previous year: mean population GHQ-12 score increased from 11·5 (95% CI 11·3–11·6) in 2018–19 to 12·6 (12·5–12·8) in April, 2020”. (Pierce et al, 2020).

This is significant as it is the only data collection endeavour which has been able to discern a change in mental wellbeing before and during the pandemic. The researchers emphasised that although Covid 19 is a great risk physically to the older population, transmission mitigation strategies and the unpredictable circumstances of the present are impacting on the metal health of the young. (2020). But it spreads wider than this. Tragically, three friends of mine have died from anorexia since the start of the year- undoubtably the reduced level of support from services played a part. I cannot bear to think that their lives may have been saved if their plights were addressed.

Mental illnesses and wellbeing are concepts of complexity. Personally, I often get asked “so what was your trigger?” for my own battle over the years. As though some incident occurred which prompted me to a decade of insecurity. There is this common notion that ‘fixing’ the trigger is the answer to erase away all those ingrained beliefs and behaviours. But sadly it’s not that simple. I often think of it like the big bang. A recipe of predisposing factors- (perfectionism, natural anxiety, a particular environment, genetics etc). It takes a specific mix of all of them to foster a diagnosis and bang, before you know it you’re in a place you never intended to be.
It’s positive to see increasing research into prevention and cure. People speaking out. Being brave. Showing their vulnerabilities....

BUT

 
Whilst the world is moving forwards, it seems to me that the sphere of dance is two steps behind. It has been my perception that the mental wellbeing of dancers has been greatly under acknowledged, something which has inspired my current module 3 inquiry. Of course, I can only offer my opinion from my current worldview. Harry F Wolcott, author of “Transforming Qualitative Data. Descripton, Analysis and Interpretation” (1994) explains how making sense of a situation is a dichotomy between what we believe things mean, how we feel they ought to be, what we wish them to become and what we actually observe with our eyes. (pg 169). Relating to Wolcott's words, I recognise that my desire to support the metal wellbeing of dancers is absolutely down to my own experience. That fire within me could easily prompt a rabbit hole of literature which supports my protest, but I have of course been expanding my perspective to cover the broad literature existence. From ‘What is wellbeing?’, To biographical accounts of professional dancers, to research into educational approaches and to the prophesied ‘myth’ of mental health.

One ever increasing voice is that of Terry Hyde. Terry is an ex professional ballet dancer who has now qualified as a psychotherapist, specifically to work with dancers. He noticed there was a gap in the recognition of the emotional needs of professional performers and his frequent blogs, mental health workshops and podcasts are incredibly thought provoking.

Below is a link to an article written by Alicia Jell, who interviewed Terry in her quest to discover why the topic of mental health is so taboo in the industry:
 

http://danceniche.com/2018/07/01/mental-health-in-dancers-why-is-no-one-talking-about-it/

Terry gives some good advice regarding symptoms to watch out for, and why it is so imperative to ask for support. Despite the industry arguably being behind with the times, it still has been my observation that there has been an increase in performers being more candid about their struggles. Could this be just that my attention is drawn to such outpourings? Or maybe the tragedy of theatres in a dark during the pandemic has heightened the need to talk about it. Perhaps that pressure we as performers induce on ourselves, the blood sweat and tears, that steely determination. What if it’s all for nothing? If there are no jobs at the end of it?

But one thing is for sure. Nothing, absolutely nothing can take away the joy that performing brings. Yes, it is a tough industry with countless highs and lows, but once you are a performer it’s in your blood. I can see things from both sides of the coin. I just hope that “One Show More” is the start of many shows more. 

But in the meantime, we need to keep talking. Without health. Without our minds, without resilience, the ability to perform is null and void.

One Show more: Britain's Got Talent Final

 References

 BGT. (Director). (2020, October 10). One Show More-The Final-BGT [Video file]. Retrieved October 11, 2020, from https://www.youtube.com/watch?v=XzOtv1fAFoE

Clements, L. [@Thedancepsychologist] W O R L D mental health day. [Instagram photo]. retrieved www.instagram.com/p/CGK6C5sAu27/?igshid=1b8ezu8je3hqp

Jell, A. (2018, July 01). Mental Health In Dancers: Why Is No-one Talking About It? Retrieved October 11, 2020, from http://danceniche.com/2018/07/01/mental-health-in-dancers-why-is-no-one-talking-about-it

Pierce, M., Hope, H., Ford, T., Hatch, S., Hotopf, M., John, A., . . . Abel, K. M. (2020). Mental health before and during the COVID-19 pandemic: A longitudinal probability sample survey of the UK population. The Lancet Psychiatry, 7(10), 883-892. doi:10.1016/s2215-0366(20)30308-4

Wolcott, H. F. (1994). Transforming qualitative data: Description, analysis, and interpretation. Thousand Oaks, Ca.: Sage.

Module 3 Skype: Interview tales and ethical evaluations.

 A couple of days have passed since the last module 3 Skype discussion. Many of us were able to attend the session and we began by giving a short explanation about where we were within the inquiry process. Seemingly, it transpired that most are either about to begin, or have been engaging in the interview process. Consequently, much of our conversation centred around people’s experiences of interview, some which were relatable to my own encounters, although others expressed differing reflections.
 

I described to the group something I have mentioned before, that one of my traps is seeking to find answers I already know. This is rather presumptuous as it indicates that I myself as the researcher believe that everyone should think the same as me. Almost as though I am seeking to prove myself right! This isn’t my intention at all, but it is consistently a challenge to critique my own assumptions. Uwe Flick explains how the researcher’s world view shapes everything in research for example questions raised, the mythology used, the methods of data collection and the subsequent analysis. (Flick, 2009). Therefore it’s imperative that I keep acknowledging my own position as I continue my inquiry.

It was refreshing to hear from Eduardo how multiple new ideas have originated from his interviews. Eduardo must have approached each encounter with an open mind, to allow for the recognition of contrasting perspectives. I intend to keep challenging my own interview approach so that I can gather a maximum range of data.

The discussion then migrated into the theme of ‘ethical considerations’. My immediate response? ‘Make note to self to read up on ethical considerations’! I’ve always been flummoxed by ethical procedures vs considerations, so I promptly revisited my module 2 handbook to revise the topic.
Consequently I made a rough diagram which details my thoughts when considering the ethics of interviewing. I divided the reflections into three categories, Personal, Social/Cultural and Professional and I have included a screenshot below:

Figure 1: My thoughts on ethical considerations in my area of research.

 

In terms of ethical procedures, I followed the correct protocol with my participants. I explained the nature and purpose of the study and attained their consent. But there are other ethical factors within the communication which have influence over the quality of data attained. For example, as I was interviewing, I wondered whether perhaps the initial inquiry question prompted any kind of fabrication from the participants?
There is likely to be instances of reduced authenticity from the interview subjects. Markula and Silk explain how authenticity refers to how accurately a participant’s story relates to their experience. (2011) With this in mind and considering my inquiry explores the link between teacher approach and student wellbeing, it would be difficult for a teacher to admit that they don’t care about a student's mental health whatsoever! (Although this would be brilliant to analyse).
Any hesitation to reveal the honest truth could be a result of the fear of judgement from myself as the researcher. Obviously I would never exhibit any open judgements, but I must consider the perceived power dynamic in the communication. Could I be in a position of privilege? Do I appear as an academic superior? Does my inquiry question imply that wellbeing is a factor only good teacher considers?
By engaging in reflexivity and self awareness during the exchange I will be increasing the opportunity for participants to feel they have a voice. Friere explains this well when he talks about Critical Consciousness. An important factor which helps “participants to transform from their position of vulnerability and find their own voice bringing their cultural and socio-political construction of self and experience to the foreground”. (Friere 1993)
 

Despite my efforts to be as neutral and accommodating as possible during interviews, I can’t fully control the inner experience of a participant, no matter how hard I try. An ethical dilemma could be that there is potential for the teacher to feel doubtful about their teaching approach as a result of being questioned. This could prompt negative self judgements, and anxiety around their role as an instructor. Such a situation could be heightened by the fact that we live in an era of ‘self improvement’. Results, success and bettering oneself are embedded into society which may lead to increased self doubt- hence an example of a cultural ethical consideration.

So how does this impact me going forwards? I need to continually question myself, question what I think I know, question the impact of society on my data, the relationship the pandemic has with my subjects, challenge the professional codes of conduct in how they actually translate into behaviour. I feel refreshed to approach my next interview with a subjective stance. 

I enjoyed watching the following video which demonstrates the power of influence amongst us as a species. A notion or belief can be absorbed without us really noticing a shift occuring. In the context of qualitative research, this form of indoctrination is relevant when thinking about Cultural ethics. How data collected can only be relevent to the life and experiences of what is occuring in the present. If I'd have conducted this study 50 years ago, before the mental health media focus, would my results have been very different?

Figure 2: How to Start a movement (2010)

 

In conclusion, it was a thought provoking discussion, and it was admirable to witness how far my peers have come from Module 1. At the risk of sounding incredibly patronising (Sorry!), the quality of discussion has transformed over time. It seems like my peers are experts in their own world of research and I observed increasing autonomy from all. I can’t wait to hear how the rest of the interviews go, and I hope we are all challenged beyond our current limits! 

 

References

Flick, U, (2009) An introduction to qualitative research. Thousand Oaks (CA): Sage Publications Ltd.

Friere, P. (1993). Pedagogy of the oppressed. New York, NY: Continuum.
Google Scholar

Silvers, D. (Director). (2010, April 1). How to Start a Movement [Video file]. Retrieved September 30, 2020, from https://www.youtube.com/watch?v=V74AxCqOTvg