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

A very good place to start and all the in betweens! Skype discussion, Weds 23rd Sept.

 Lets start at the very beginning, a very good place to start…….

Goes the song, which happened to be the theme of our Wednesday Skype discussion session. Very fitting considering we are at the start of term. I’m never one to delay gettig started, as I’m often eager to complete tasks in advance of a schedule. However I’m becoming vulnerable to the curse of procrastination- so much so that I feel guilty and sick every time I think ‘I should be doing something for my studies!’. Not only do I have a lot going on at the moment, but I think one of my barriers is not knowing where to start?
How simple were the bygone schooldays, where you’d be given a sheet to fill in, or a step by step project to engage in? So much of Professional practice involves finding your own way, initiating your own research, being responsible for your own timeline.
 

As the discussion began, Adesola encouraged us to think of the concept of starting as not just one initial moment, but rather a series of entry points. Because 'How does one know whether they have started or not? This prompted me to look up the definition of ‘starting point’ so I could ponder over this further.

Starting Point:

1) The place where a journey begins

2) something that you use as the first stage in a discussion, learning process, or other activity.

Macmillan Dictionary, 2009

Although definition number 1 is more akin to describing a physical journey (on a map etc) the second definition may be more accurate when refering to the onset of a project. ‘The first stage’ could understood as an amalgamation of multiple events, and in my context this could be reading a chapter from a key text or thinking about who I’d like to interview. It may even be remembering past experiences from when I was a dance student, or coming across an article about mental health during Covid. Although there may not be a tangible starting point, all these little thoughts, wonders and collections of ideas contribute towards the beginning stages.
The subtleties of such encounters aren’t the most reassuring in terms of feeling accomplishment, but progress is still bubbling away beneat the surface!

The improvised discussion continued to follow a theme which was described as ‘The inbetween’. The in-between for me is the uneaseness I feel with the conscious incompetence stage of the learning cycle- a model developed by Howell (1982). The second stage of this model means I am fully aware of my inability to do or understand something. The metaphor of hunting around in the dark springs to mind, which is reflective of the starting point conundrum.  
 

It got me thinking that in any kind of qualitative research there is an element of conscious incompetence, as the researcher never knows exactly what answer they may find. Accutely because there isn’t one answer to the question! Instead there are multiple questions and countless explorations within a topic. Some of my peers expressed that in the performance industry which is so direct and product focused, being OK with the ambiguity is a hard task. Especially when the outside world is currently so unpredictable with the pandemic. It's only natural to want to seek a sense of control and predictability.

We also conversed over the theory of mind and body which is relevant to my enquiry process. Some people may see the mind and body as separate entities, whereas others view it as a dual connection. Again, an example of not having an answer, but having different perspectives in an ever grey area.
Adesola explained how acknowledging mind and body as one, can give value to performers as often dance can be viewed as a ‘natural talent’. Almost as if the body is just born to work a certain way without influence of the mind. If only it were that simple! I know absolutely that I am not a ‘natural dancer’. The coordination, flexibility, and style didn’t come easy to me as a student. Without applying the knowledge and using metacognition to enhance my physical skills, there is no way I could have entered the profession.

Equally, if someone comes out the womb supposedly born to dance, how will they then be able to pass on their knowledge to others if it is purely tacit? Wagner (1991) describes tacit knowledge as a type of know how that is difficult to openly state or verbalise. This could present difficulties for dancers who then intend to teach. Being a great dancer doesn’t mean you’ll be a great teacher. Surely the disadvantage during training of having to mould into something which is unnatural, can actually be an advantage as you have had to use your mind to understand the process? I found a great article from Dance Magazine which supports this but it would be interesting to hear what others think. Especially as the focus of my inquiry is on the approach of a dance teacher.

https://www.dancemagazine.com/teaching-dance-2646191253.html?rebelltitem=1#rebelltitem1

Finally I just wanted to mention the free flowing discussion we were able to have as a peer group. Adesola equated the Skype discussion calls to a form of verbal improvisation. Rather than all being agreeable and supporting every idea uttered (Something I am guilty of) it’s better to question each other because then ideas can be initiated. In agreeing, we are just ending the conversation when instead we could stimulate it. I will try to remember this skill in my every day interactions going forwards.

On a final contemplation, I came across a great TED talk about ‘Where good ideas come from’. The presentation raises ideas about connecting and sharing information, reminding me of the connectivity theme in module one. Steven Johnson also talks about innovation can be found in connected environments, prompting us to ‘stitch’ ideas together to form something new. 

 Figure 1: Where Good ideas come from- Stephen Johnson

 

From this? I can take the message that remaining open, means remaining connected, and ultimately as Johnson concludes:

“That is how innovation happens. Chance favours the connected mind”. (Johnson, 2010)

 

References

Cook, A. (2020, June 22). Being a Great Dancer Doesn’t Automatically Mean You’re a Gifted          Teacher. Dance Magazine. Retrieved Sept 24, 2020, from                                         https://www.dancemagazine.com/teaching-dance2646191253.html?rebelltitem=1#rebelltitem1

Howell, W.S. (1982). The empathic communicator. University of Minnesota: Wadsworth                     Publishing Company

Johnson, S. (2010). Where good ideas come from. Retrieved September 24, 2020, from
        https://www.ted.com/talks/steven_johnson_where_good_ideas_come_from?language=en

Starting Point. (2009). In Macmillan Dictionary. Retrieved September 24, 2020, from                              https://www.macmillandictionary.com/dictionary/british/starting-point

Wagner, R. K., & Sternberg, R. J. (1991). Tacit knowledge inventory for managers: Test booklet. San Antonio, TX: Psychological.

The question is- What questions do I ask?!

 I am nearing the point of interviewing participants for my study. For some reason, when planning for this method of data collection I was fairly relaxed about the prospect of sitting face to face with someone and asking numerous questions. However, now the reality is approaching I am experiencing that familiar anxiety which causes me to question my capabilities as a human being...........But the bottom line is, interviewing isn’t just a case of waltzing in and asking whatever comes to mind! Rather there are so many factors to consider such as-

How to make the participant feel at ease.
How to ask questions which allow for expanse rather than closed responses.
How to encourage colour and description, or 'story telling' which is what differentiates a qualitative interview from a quantitive research project.
Who do I approach? How do I approach them?
How many notes can I take without being absent from the conversational engagement?
Will I be tempted to recall my own experiences even though this goes against interview etiquette?
and perhaps most importantly….
 

What do I ask? 

                       What do I want to find out??

I have recently been listening to the audiobook version of Learning from strangers, the art and method of qualitative study by Robert R Weiss. I have found this literature very helpful when considering my interview prep. Weiss has a way of explaining a concept in detail whilst maintaining simplicity. The following phrase is a good example of this:
 

"Being a good interviewer requires knowing what kind of information the study needs and being able to help the respondent provide it” (Weiss, 1995, p.66).

How wonderfully succinct? And dare I say it -obvious. Yet my mind is already going down a rabbit hole, predicting the nonsense I may ask which would lead a participant off on a tangent. But no. According to Weiss, one must consider the substantive frame of the research, meaning the topics of interest the study is aiming to explore further (p.15).
Therefore, I decided to use a previous area of learning and create a mind map to think about topics/issues of relevance. From these topics, I expanded the map to create lines of enquiry.

From the above mind map, I have started to build an interview guide which will aid the semi structured format I planned to use. The guide should not be absolute with no opportunity for adjustment. If I followed it rigidly question by question then I’d be reducing the capacity for intriguing storytelling. A guide should be just that -a guide, rather than a list of constrained categories which may inhibit participants from telling their own story in their own fashion. (Magnusson & Marecek, 2015). 

I came across a Youtube video which gives some helpful advice for creating an interview guide. The short clip focuses on the importance of asking open ended questions and gives useful recommendations for how to structure a guide.

Figure 1: 6 Tips for designing a Semistructured Interview

Although the specific data content I aim to collect is important, I must not forget that the quality of data will partly depend on the atmosphere I am able to establish. Ultimately, I want the participants to feel at ease so that the encounter feels more like a casual conversation rather than a formal interview. Ideally, the participant's narrative will be rich enough to inspire themes in my analysis, which I can connect with relevent literature and triagulate with my own personal experiences. 

Because the majority of my interviews are conducted with participants I know, I’m predicting that there should be an element of comfort, although it’s looking more likely that I will need to Skype the interviewees because of logistical barriers. A face to face setting would be preferable as it allows for the capturing of nuances, facial expressions and gestures which add colour to a story.

However, Thankfully, I have chosen to record the data (which will of course be safely stored as per my ethical agreement, and disposed of as soon as the data has been amalgamated into my analysis). This means I can make very brief notes during the interview, without the pressure of scribing each spoken paragraph. Adesola gave me the helpful tip to record the time in minutes at moments of significance. This means I can easily trace parts of the interview I’d like to revisit.

Finally, I must mention that one of the hardest things I am experiencing, is trying NOT to lead my participants into an area of familiarity. ie- I don’t want to lead them down a trail into clarifying what I already hypothesise. It would be very easy of me to pick participants I know have struggled with strict teachers, and who worry about the impact this has on self esteem. I even know fellow dancers  who blame their eating disorder on their experiences in dance training.
But it is in the unexpected that ideas and patterns arise. I can’t fully predict what I expect to find, and having the integrity to question my own assumptions is an important part of the research process. Therefore, my interviews questions may need adapting after each participant as I may want change direction slightly. Uwe Flick (2006) explains that research questions will be reformulated which will help map a journey of inquiry. Decisions made my the researcher may also be significant in discovering the unknown. (p.105). This frightens me, considering I am a bit of a control freak who dislikes unpredictability! But by being reflexive throughout the process I will do my best to remain openly curious.

I am excited to explore different perspectives, and my hope is that different viewpoints will impact on my professional practice. The way I teach is a result of all my past experiences but there is always something new to learn! I hope that I can keep becoming a better teacher day by day- and no doubt the interviews will be a stepping stone to my professional development. (Fingers crossed!)

References

Flick, U. (2006). An introduction to qualitative research, Thousand Oaks, CA: Sage. 

 
Magnusson, E., & Marecek, J. (2015). Designing the interview guide. Doing Interview-based Qualitative Research: A Learner's Guide (pp. 46-57). Cambridge: Cambridge University Press. doi:10.1017/CBO9781107449893.005
 

Qualitative Research Specialists, I. (Producer). (2018, February 15). Semi-structured interviews guide I semi-structured interview protocol [Video file]. Retrieved September 20, 2020, from https://www.youtube.com/watch?v=8z8XV1S7548

Weiss, R. S. (1995). Learning from strangers: The art and method of qualitative interview studies. New York: Free Press.

Here we go- Welcomes, reflections and looking forward!

So here I am, at the onset of Module 3- something which seemed so very distant back in the Spring when Covid still felt like a fleeting nightmare. Little did we know that the pandemic would still have such impact over our lives where repetitive days have made the annual calendar futile. No notable events, no work, no joyful experiences. Just a lot of getting to know my four walls very well indeed. Hence part of me is relieved to be revisiting some structure in the form of a Uni term. The start of which helps to signify Autumn as 2020 thankfully nears to a close!

Anticipating lockdown- knowing that I would have more time on my hands than usual set me up with great intentions. I hoped to get a significant headstart with the term ahead by reading hundreds of books on my inquiry topic. I’d be easing the pressure which module deadlines inflict by having citations ready to go- one step ahead of the game.....

Sadly, this is not the case. I haven’t been quite so active in this pursuit but not through my own ‘laziness’. The administrative role for the dance school has been demanding due to the implementation of a new booking system. Fresh challenges arose as the school had to navigate from virtual lessons back to the studio setting. With fourteen different class venues, attaining contract agreements and adhering to each of the site guidelines has been rather stressful!
Sadly, due to my own personal struggles, I ended up being admitted into inpatient care in early June. Although I should be focusing on my treatment, any spare hour away from groups is filled with work, and before I knew it the day would be over before I even had a chance to open a book!
Anyway, this all sounds very woe is me, so I will cease the pity party.

My feedback conversation with Adesola was scheduled at the start of this week. I have to admit I was a little nervous about what would be said. I felt ashamed that I hadn’t been powering on, fully assured about what I needed to do next when it came to my inquiry.
However, the call was incredibly constructive and rather than making a strict to do list of tasks, dates and targets, I realised that this driven approach isn’t compatible with the open mindset I have been trying to develop throughout this course. I was reminded that the more I strive to find an answer, the more I will miss out on, and the less I will learn.

So rather than focus on all the things I haven’t done, I have now come to recognise that the Summer did actually provide much experiential learning. Or rather, I have not learnt from the experience, but instead learnt from reflecting on experience.  (Dewey, 1933, p78).
For instance, I have engaged in observing how the topic of mental health in performers has been prominent across Web 2.0 platforms. Numerous performers have struggled with the void that has been imposed on their lives as Covid has robbed many of employment. 

As practitioners, we know that ‘employment’ isn’t just a day job we can switch off from. Performers adopt a transdisciplinary practice where multiple jobs- teaching, performing, choreographing, acting, entertaining are all part of earning a living. There is an anxiety which comes with being self employed- the fear of being left in the dark, of not knowing where your next pay cheque is coming from. This is daunting enough under normal circumstances, but with the pandemic, the future seems particularly bleak.

This lead me to think about human perception. Questioning this fatalistic mindset and instead wondering whether there may be some optimism somewhere? When the world has been turned upside down, we must become even more creative to solve a problem which wasn’t once there.
No dance classes allowed? Switch to Zoom! I am still astounded by the rapid transformation of the teaching industry, where online lessons have become the new normal. How wonderfully flexible. Who knew this could be an efficient method of teaching, and perhaps students from all over the world can attend a weekly dance class anywhere rather than having to be loyal to the local village hall.

I came across this wonderful video which shows how despite adversity, dancers of the Dutch National Ballet were still able to generate connection between themselves. As Best and Krueger state, connection over the internet can supplement offline social interaction by giving us a way to maintain existing social connections (Best & Krueger, 2006). The video is an example of this;

                          Ballet dancers under lockdown in Rome train from home

 

Figure 1: Ballet dancers under lockdown train from home. (2020)

Obviously connections across the web are vital in my BAPP studies and it was great to participate in the first welcome meeting Skype of the term. There were some familiar voices as well as new students and I always enjoy how fruitful the conversations can be despite everyone being at different stages in their journey.

Helpful pointers were shared from my peers to remind me of how I can really utilise my study time. I was enlightened again about the benefits of Kortext and how the blogs are a successful way of interacting via the student network. A recurring theme seemed to be the notion of trusting in the unknown- To feel the uneasiness which comes with not having all the answers. 

Adesola recited a great quote which I will certainly keep in mind for the term ahead- together we create the world at the same time as exploring it. In other words;

“The tenet that people make their social and cultural worlds at the same time these worlds make them.” (Fairhurst, 2010).

I’m looking forward to the term ahead and connecting with others once again. Please do share any thoughts or ideas- the more we collaborate, the more we innovate!

 

References
 

Best, S. J., & Krueger, B. S. (2006). Online Interactions and Social Capital: Distinguishing Between New and Existing Ties. Social Science Computer Review, 24(4), 395–410. https://doi.org/10.1177/0894439306286855

Dewey, J. (1933). How we think: A restatement of the relation of reflective thinking to the educative process. Chicago: Henry Regnery.


Fairhurst, G.T.; Grant. D. (2010). "The Social Construction of Leadership: A Sailing Guide". Management Communication Quarterly. Thousand Oaks, California: SAGE Publications. 24 (2): 171–210. doi:10.1177/0893318909359697

 
G. T. (Adapter). (2020, March). Coronavirus: Ballet dancers under lockdown in Rome train from home [Video file]. Retrieved September 12, 2020, from https://m.youtube.com/watch?v=oHBhXe3lO-U

Module 3 Presentations: Audience reflections- A round of applause!

I felt rather priveleged to be able to observe the Module 3 presentations. What an achievement to have reached the end of the journey, and although much of me was envious at their imminent freedom, I also felt a sense of pride as I empathised with their amazing efforts. Their hard work has really paid of and I'm so grateful to the students that I could have a peek of what is to come.

I was pleasantly surprised at how relaxed the format was, (Although I'm sure the students felt far from relaxed as they were presenting!) I'm aware that presentations often take place on campus which possibly adds an element of pressure in terms of public speaking, but obviously isolation measures meant online assessments were the only possibility. 

I wasn't able to listen to every presentation, but I viewed the majority which proved fruitful in acknowledging the contrasting topics of focus. Some sparked my interest as I found similarities with my own inquiry theme. For instance, Benny's inquiry was centred around mental health in dancers and I was struck with familiarity as he referenced literature I have come across myself. Benny even mentioned Terry Hyde who is very much a professional on my radar, as I actually wrote an article for Terry a few years ago. This was in relation to my own battles and I intend to connect with Terry again when I embark on my data collection period.

In contrast to this, the substance of Cathleen's research was very much new to me as it explored the relationship between theatre and students with autism. It was fascinating to hear about Cathleen's enlightenment regarding the terms 'low and high' functioning. Subsequently, how the effect of these labels will influence her professional practice going forwards. As a whole, I perceived that all students had found great value in the process of conducting their inquiry. They exuded passion towards their topics and adopted a sense of purpose from their findings. Inadventently this has provided me with even more motivation as I desire to keep on bettering my practice!

So what were the main areas I will take on board from witnessing the assessments? What did I learn? What am I eager to replicate when it comes to that 'big day' for me? Cue a thrilling spider diagram!

My fears going forward still remain. I am anticipating the length of the Summer break which feels inconvenient at a time when the world has stopped. The next few months would be a very profitable source of time if I could continue straight to Module 3- what the hell will I do with all this time at home? Limited work commitments, no work to submit, only limited kitchen surfaces I can clean?!

But in an attempt to alter my perspective, I intend to make use of the break and use it to my advantage. Not only will it be blissful to not feel guilt every time I'm not working, but it also gives me a chance to keep on exploring. I don't want to disconnect with my plans and study, as it will just make the return in September more difficult. 

There is for example a world of literature I can embrace. I picked up on how significant the review of literature was in the analysis of each inquiry so I aim to develop this aspect of my research further. Additionally, module 2 has helped to develop a great connection with my peers. We can hopefully keep our discussions going over the next few months and continue with generating ideas over Web 2.0 platforms.

Ultimately, I strive to keep the concept of connection at the forefront of my mind. Linking my experiences to my reflections, my observations to my research, my inspiration to my plans and my relationships to my learning. 

So a huge thank you once again to all Module 3s for letting me be a part of your experience. You all did a brilliant job and I hope that I can learn from you all and do you justice when I step into your position come December! 

Now GO and celebrate! You deserve it :-)

Post Easter Skype: Growing, weaving and acknowledging artefacts!

I attended the Skype meeting yesterday evening where students from Module 2 and 3 were both present. Once again we were able to make what was discussed relevant to where we all are in our process and it was very helpful to hear from those who are preparing for their Module 3 assessments.

A few very key things I will take away with me:

1) ARTEFACTS

I am very grateful for the clarification on this! It seems as though for many this term is a bit of an enigma, and I must admit that every time I hear the word 'Artefact' I just picture some sort of Egyptian pot which has been discovered in a archeological excavation......

But no! An artefact can be described as a method of communicating something to someone else, something one is trying to convey. Considering the task in Module 3 this means communicating something about the PROCESS of creating an inquiry, and creatively expressing these thoughts via a medium which is in fitting with our practice.

The Module 3 students gave examples of their artefacts, and the diversity of their techniques is very interesting. Louise will be utilising movement through dance, where as Kathleen has created a visual, graphic puzzle to represent her artefact. This section of Module 3 gives us a chance to use expression in a different way to purely writing in an academic format. Ironically this generates anxiety because I have become accustomed to essay writing, even though when embarking on the course I felt (and still feel) like a fraudulent university student! “I'm a dancer?!” But it will be a great chance to tap into my creative side which is hopefully still lurking within.

Another realisation was that the purpose of presenting an artefact was to highlight thoughts around the study PROCESS, rather than the topical substance of the inquiry. In other words, it's reflecting on how YOU felt, what you have discovered, what you can take with you above and beyond this period of study. 

And isn't that what it's all about? Applying such reflections into our everyday practice to help us develop and grow?

2) STEPPING IN SOMEONE ELSE'S SHOES

We also thought more deeply about the audience perspective. As per my previous blog, I discussed how re reading my work after timely distance was beneficial because it gave me a fresh pair of eyes, as if I was someone completely new reading the document.

Similarly, when thinking about what needs to be conveyed in the Module 3 oral presentation, it can help to put oneself in the shoes of the audience. If you could imagine you are someone who knows nothing about your inquiry. What would you want them to know? What would they NEED to know in order to comprehend your anticipated message?

This is certainly something I will think about when reviewing my work in future, and equally it's a great skill to be empathetic to other people's stances. Especially during debates or in teaching a variety of students.

3) BECOMING THE REFLECTIVE OBSERVER

Finally, we spoke about reflecting on our experiences. I noticed when composing my critical reflection essay that I hadn't until that point, taken a step back to observe how gathered knowledge from Module 1 has informed me today. I was applying the knowledge, but I wasn't conscious I was applying!

Kathleen and Louise expressed how they believe this is an ongoing development, whereby through the modules the reflection becomes more automatic. It was promising to hear how they use this skill in their every day practice now, and even try to teach it to others through their work.

This will be a goal of mine as I continue. Through reflection I am able to adapt my approach which hopefully can better my practice in the long run.

By weaving life into my practice, my study, my reflections and my learning, I can develop new ways of thinking- That is the hope!

Did others take anything different from the discussion? How has your understanding of what an artefact is developed since Module 1? 

Thank you for reading!

Wait: Have I ACTUALLY completed my draft?! And interview ponderings.....

Well I never thought I'd see the day....the day when I can finally say I have finished my draft........finished!! Well for now at least.....I'm in slight ignorant bliss as it's technically 'Easter holidays' so feedback isn't possible right now. But it does mean I don't have to spend every waking moment feeling exceptionally guilty if I'm NOT doing something towards Module 2.

I have to admit, lockdown has allowed me to dedicate an increased amount of time to do the work. Although quarantine isn't my preferred state, I admit it's an effective way of getting study done!

I came to realise recently how useful it is to get some distance from an assignment before coming back to it. It gives the potential to look at something with new eyes which was helpful when making edits to my drafts. I was able to see my work from an outside perspective, almost stepping into an external reader's lense. It was therefore evident what needed further clarity. Sometimes I'd lose the thread of a topic mid paragraph, or observe that a connection was unclear. I suppose that's why peer proof reading can be a fruitful tool. 

I consider it a bit like perceiving a work of art. Five people could be looking at one painting and all will have their own perspectives on the meaning, style, intention, what they believe the artist was trying to convey. The artist responsible is the one who knows their true intentions, but in publicicing their work, they should come to expect some diverse perceptions.

However, no rest for the wicked. There is plenty to still be getting on with- especially as I have only very roughly planned the entire twelve week project and there are many preparation factors which need to be considered. Equally, you can never learn enough so I hope that I can use my time wisely to read some more literature to further enlighten myself, (rather than get hooked on Tiger King obviously).

One aspect I have been thinking more about is the interview process which serves as my method of data collection. Obviously, due to the current Covid-19 measures, face to face interviews may not be possible, but in an ideal situation they would be preferable. Given the nature of my research being that it is qualitative, I believe the quality of my data would be strengthened if I can capture authenticity from a participant. Words can only offer so much in an interview as it's not so much about WHAT is said, but HOW it is said.

As Robert Weiss states:

“Social cues, such as voice, intonation, body language etc. of the interviewee can give the interviewer a lot of extra information that can be added to the verbal answer of the interviewee on a question.” (Weiss, 1994).

I have been listening to the audio version of Weiss' book “Learning from Strangers” and it gives a great insight into the benefits of interviewing in qualitative research. 

Much of what is explained is relatable on a personal level as I am currently a participant for a medical trial which has been fairly extensive. The procedure I had requires monthly follow ups for at least a year, which means that every month I must attend appointments where I am interviewed in both semi structured and structured formats. I also have to complete up to 15 surveys and questionnaires, some qualitative in their approach and others more statistical.

I have to say, from experience I find it far more difficult to answer with a quantitative value when a topic is so intangible. Eg- “On a scale of 1-6, how much would it bother you if you were prevented from doing a certain behaviour? Well each month, my scale may be considered at different extents. It would depend on my frame of mind that day as to how I answer the question. Maybe I'm feeling more dramatic so I'll describe a 6, but the next morning I could pitch a 4! Yet none of these factors are taken into account when looking at the results, and from that one numerical value a chain of interpretation can arise during the analysis. 

 

Sometimes I'm so bored of answering questions that I just explain my answer is the same as last month “no change”. In fact, putting my critical hat on, the researcher often can be quite leading in her questioning with phrases such as “I presume that's the same as last month too?” or “I'm guessing that's still a 6?”. I've only noticed the behaviour of the researcher as I've been progressing over Module 2 as I'm suddenly so aware of all the work which goes into recruiting participants! 

I can reflect now on the ethical procedures which have been put in place which are far more extensive than are necessary in my research proposal. I have also recognised aspects such as the use of a participant number during all the audio recordings, and the effect note taking during the interviews has on how they flow. That being said, it's not my job to act as some sort of researcher audit committee! But I will use reflective observation during the coming months in the hope that I can gain more knowledge from the interviewing process.

Another resource I found useful was via Kvale (1996) who has defined nine different types of interview question which can be utilised.

• Introduction questions: to introduce the topic. 
  • Follow up questions: For elaboration eg: What did you mean...?' or Probing questions which are similar but more specific in their purpose. Do you have any examples?'
• Specifying questions: eg 'What did he say next?' 
  •  Direct questions: Which only have a yes or no answer. (I expect these will be few and far between when I come to interview). Indirect questions: will be preferable as they allow for expansion.
• Structuring questions: To move on to the next topic (perhaps if the participant is veering off the subject).
  • Interpreting questions: To clarify that you understand- vital for accuracy of interpretation.
• Silence: Something I never even considered! But is expected as a participant reflects/thinks.

(Kvale, 2006)

The next step for me would be to identify what I hope to discover through the interviews, so I can then begin to phrase my questions according to the above categories. I believe a process of trial and error will be necessary and there will be a continual learning process as I consider what did and didn't work. Of course, different participants will respond in different ways so I will use reflection in action to try and navigate my way through the process. Perhaps making decisions as I go as to how to phrase a topic so that it is effectively communicated.

 One aspect I didn't really ponder over was highlighted in an interesting TED talk I came across. The video displays Marc Pachter's experience of his career span which focused on questioning American Greats. In it, he explains what he believes makes a great interview. 

The main takeaway points I gathered are as follows:

 1) Empathy is vital. I will aim to convey my empathic attitude during any interview, really trying to understand and connect with what is being said. Empathy is the root of human connection and I believe that it promotes honesty. It hopefully would also make a participant feel at ease.

2) In his words “All people want is to be truthful about who they are”. He observed that the older age group perhaps had a more reflective attitude and were able to convey the ins and outs of their lifelong journey. I do hope to interview a range of ages, but I will acknowledge that seeking older participants who are in the 'past dancers' category may be preferable. 

3) One problem? The outer shell. Something I can relate to. The 'put on a show' automatic mentality of performers. It can sometimes be hard to crack through that outer persona to reveal the true thoughts and emotions of someone. Especially in a short interview window. Hopefully, knowing 3-5 of the 6 participants will help harvest authenticity.

I have included the link to the video below. I definitely recommend taking a look if you are planning to use interviews as a data collection technique! 

Marc Pachter: The art of the interview: 

"Marc Pachter has conducted live interviews with some of the most intriguing characters in recent American history as part of a remarkable series created for the Smithsonian's National Portrait Gallery. He reveals the secret to a great interview and shares extraordinary stories of talking with Steve Martin, Clare Booth Luce and more." 

 Pachter (2008)

Finally, my next step: Thinking about Pilot interviews which should be a great way to establish what 

may or may not work. I cannot plan these pilot intervews to be face to face just yet obviously....maybe later Spring? Summer? Will we be released from our 4 walled confinement by then? I'm keeping everything crossed!

References

 

Carter, A. (2020). Fresh Eyes Quote. Jpg http://www.picturequotes.com/fresh-eyes-quotes

    Kvale, S. (2006). InterViews: an introduction to qualitative research interviewing. Thousand Oaks: Sage Publications.

 

Pachter, M. (2008, January). Retrieved April 18, 2020, from https://www.ted.com/talk/marc_pachter_the_art_of_the_interview?language=en

Weiss, R. S. (1994). Learning from strangers, the art and method of qualitative interview studies. New York, NY:   Free Pr.