Signed, sealed, delivered: Submission relief and teaching transformations.....

 I SUBMITTED!......

Never thought I'd see the day. I felt such an overwhelming wave a relief once I'd uploaded the documents to Turn it in, and although Covid has eliminated any possibility of 'celebrations', it's been satisfying enough to be able to have some of my evenings back without constant proof reading my report!

I've been feeling rather guilty as I've been meaning to do another blog post for the past couple of weeks, but I found it increasingly hard to justify writing something when most of my efforts of late had been centred around finalising my artefact. The project ended up being different to a format I originally anticipated. Not a problem though as I now revel in the fact that I am able to change my mind.

It was apparent that my peers were following a similar trajectory, as during our final skype discussion it was clear that a fountain of ideas were continually being generated! It was wonderful to hear how certain threads of information had been inspired from everyday encounters- perhaps a comment from someone, or a discovery in a piece of literature. It meant that the creation of each artefact was in no way static. The process was evolving every day, reflecting that exciting buzz of creativity we are often so fearful of trusting.

I noticed the contrast between how tentative we often all seemed to be around academic essay submissions,  and 'returning home' to being able to produce something in our creative medium. From drawings, mind maps, dances, Illustrative Children's books, song writing- all of our artefacts sound entirely individual and unique. I cannot wait to see the finished products when we come to present!

In the end, I decided to merge my choreographed dance piece with an art work I painted. I experienced the usual imposter doubt because 'I am not an artist'. But I thoroughly enjoyed putting paint onto the page! Adesola suggested combining both mediums in a video format which required me to study some imovie tutorials. After much trial and error, I think I managed it in the end. I will be very apprehensive to present my final project to other's eyes, but I will continually remind myself that the creation process was the beneficial factor. The goal of the artefact is not merely to seek approval. (Example of the work in progress below). 

As well as fleeting ideas about things I'd like to vocalise in my Viva, I have been reflecting on what I have learnt over the past 16 months. In recent weeks recognise that I have been more able to engage in self enquiry within my own teaching practice. I identify certain skills which I may have attained through my study, and seen how they translate into the studio. Additionally, I cannot deny that all of the topical literature and interview findings have impacted on my practice. I have included some examples below:

1) Since becoming more akin to being pushed out of my comfort zone, I've aimed to be more flexible in my teaching approach. I have tried to be less fixated on a lesson plan and encouraged the adjustment of my classes according to the 'feel of the room'.

I try to learn from my students and adopt their ideas rather than imposing my own. Especially with the younger ones! I have noticed that the more collaborative they are with the lesson, the more they seem to benefit! As Mainwairing and Krasnow (2010) explain, it can be empowering for a pupil to believe they have contributed to the class. Positively reinforcing a child when they demonstrate desirable qualities, encourages more behaviour like this in future. Overall, the level of student engagement seems to improve.

2) Similarly I am increasingly aware of my own pitfalls. I fear rowdy environments, chaos, lack of discipline, but mainly because I believe that to reflect my lack of skill as a teacher. That's MY issue. Not the student's problemI have begun to question my aversion to a Child being more vocal. Why could I not embrace their energy instead? Utilise it and recognise the expression as a facet of their vibrant personality. 

There is no need for me to feel threatened by the un-predictibility of such behaviour. 

3) I have observed the correlation between encouragement and performance level. I have always expressed positivity and encouragement towards my students, but I never really appreciated that this could indeed benefit their performance. Rather, my perspective was that being kind and compassionate perhaps led to less physical improvement from a student, but that the approach was still preferable to being authoritarian.

But I now I believe the contrary-.  that a student's potential can be reached even with a softer teaching approach. In fact, pushing a student too hard with critique can subsequently backfire. 

4) My eyes are more open to student sensitivities. Although I have always been concerned about students who are very quiet in their nature, or who seem to lack confidence, I have been thinking more about how I can help such individuals. A teenage student last week seemed particularly pre occupied and quite sad. In hindsight, I wish I'd spoken to her verbally and asked if she was OK. Having more personal dialogue with my adolescent students is something I definitely want to introduce, so I need to be braver in coming forward.

5) Self directed learning: In one of my key texts: The Student Dancer (Buckroyd 2000), an entire chapter is dedicated to autonomous learning. Traditionally, a dance teacher will often assume responsibility for the success or failure of a student (p.117). Buckroyd recognises that this is exhausting for a teacher, and although it can feel frightening to take a step back from that level of control, developing a "grown up, thinking dancer" (Stannard, 1998) is the over arching aim. 

Applying this in practice means I aim to develop the tools for a  self correction. I've been dedicating more time to allowing student's own to practice independently. I have also introduced more opportunities to be creative- allowing the students to choroegraph 16 counts themselves. (I once felt like this was me being a lazy teacher!). But It's not about me. It's about THEM. 

On a final note, I have been trying to embrace the fact that I don't have to be reading books about Qualitative data, and instead I've been reading Atomic Habits- which so far- is brilliant! I believe it can help me with my teaching practice as well as my own personal recovery- demonstrating how identity and beahvaioural systems are the pre cursors to setting goals. It really makes me reflect on my own barriers to change and the unhelpful beliefs I currently hold. 

Additionally, I am aiming to educate myself by listening to more podcasts. I can absolutely recommend the Hard Corps podcast- a series of interviews about mental health with dancers who are determined to vocalise their struggles. I have included the link below:

https://anchor.fm/THEHARDCORPSPODCAST

In the meantime, I hope everyone has an amazing Christmas! We've survived 2020 (just)!

References

Buckroyd, J. (2000). The student dancer: Emotional aspects of the teaching and learning of dance. London: Dance Books.

Clear, J. (2018). Atomic Habits: An easy &proven way to build good habits & break bad ones. Random House. 

Mainwairing, L. M., & Krasnow, D. H. (2001). Teaching the Dance Class: Strategies to Enhance Skill Acquisition, Mastery and Positive Self-Image. Journal of Dance Education, 10(1). Retrieved December 16, 2020, from https://www.tandfonline.com/doi/abs/10.1080/15290824.2010.10387153

THE HARD CORPS PODCAST • A podcast on Anchor. (n.d.). Retrieved December 16, 2020, from https://anchor.fm/THEHARDCORPSPODCAST

A Succinct snapshot- (Kind of)

 

Tis the season.......to have a million and one things to do!

That's how life feels right now- seriously. I was hoping to be able to write a blog post a couple of days ago, directly after our mixed module skype discussion. But then the task of having to compose 550 invoices got in the way, as did lesson prep, as did medical appointments. Oh and the fact that the new tier system has complicated venue hire for the dance school, the pressing task of creating my artefact, and editing my draft before the final deadline.......

But alas, life goes on and things always have a way of getting completed in the end! (I hope). Thankfully, one of the closing messages from Wednesday's discussion was the notion of being 'succinct'. Something which inherently I seem to find impossible. I believe I've spent just as much time trying to deduct a mass of words from the essay as I have creating the report in the first place. I tend to approach my blog displays in the same manner which no doubt bores any readers to tears.

So THIS one will be different. It will be concise, it will be direct, and I will practice the million dollar skill of summarising the relevant information. So, the skype call. What did I learn? What was I left with at the end of the group encounter?

1. Doubt. (Starting off on a negative note), I often come away feeling like I'm drowning in inferiority as my peers discuss their current progress. I always believe I need to be doing better, need to be doing more, I need to rethink every potential endeavour.

   However, being aware of the tendency to resort to this mindset helps me question its value? Adesola emphasised how each inquiry is not comparabable, probably much like every performer is not measurable. Instead 'unique' is the optimum word. Some of my peer's projects may be slightly more focused on theme, others on process, but that will make each artefact completely individual. I can recognise how much richer the displays will be if they inhabit that creative, personal application. Much more exciting than a presentation which is merely rehashed from person to person.

2. I left feeling quite inspired at the same time. Hearing each student talk about the ideas they have generated for the artefact really opened my eyes to the possibilities! Many of us shared the common sense of performance pressure. After filming my artefact last week I was incredibly critical of my dancing- anticipating the shame I will feel at having to display my choreography to others. Horrendous!

   Yet the purpose of an artefact is to present information in a different format to the written word. I believe if one can explain their justification for such a creation, and describe the process experienced to try and convey an overarching message, then the purpose of the artefact will have been fulfilled.

3. An outside perspective. It can be rather blinding to be wrapped up in one's own head. It's incredibly difficult not to presume knowledge- to be unaware of ones priviledge. I have reflected a lot on this, especially throughout the interview data collection stage. My paradigim is different from my participants paradigum. I cannot presume they know my perspective, or understand the lingo I talk about. This became quite evident as Adesola encouraged us to ask eachother questions, which were inspired by what WASN'T said. (Actually one of my artefact themes believe it or not!).

   For example, I could have explained my artefact by saying something like “It's a dance based on joining the dots. The process is never linear so I'm trying to express that through movement. I filmed it in my flat, but this is quite indicative of the enquiry process I have experienced”.

   I may believe that all makes perfect sense, but the listener is probably feeling completely perplexed. Possible questions could therefore be: “How is the flat setting indicative of the enquiry process?” “How did you choose your music?” “Is the dance a particular style? And why did you choose that genre?” “Does the movement indicate topical themes, or the overal study and inquiry process?”.

   You get the idea, taking a step back, it becomes apparent what unspoken words need to actually be voiced.

4. Be succinct. I feel like I totally haven't managed that to be fair. So I am going to go against all my natural urges and stop this blog post here.

   I feel like like falling short of expected standards and slacking off. But I am going to convince myself it's character building. Skill development. An act of kindness to anyone who is reading?! I shall not waste any more of your time!😅

Draft, Discussions and the deliberation of data.

As much as it has been a relief to hand in my draft report, it has also been slightly terrifying. I’ve been trying to reassure myself that the submission is JUST a DRAFT and that it doesn’t need to be 'perfect'. (Thank goodness as I’m sure my work is anything BUT). I do think this is an instance where an external eye will be incredibly beneficial in refining my work. I’ve always found it extraordinary when I a couple of days later I re-read something I've scribed. I'm often baffled at how non-sensical certain paragraphs are. What was I thinking?! So hopefully with an outside eye, those sections of obscurity will be highlighted!

Speaking of ‘outside perspectives’, it was great to emerge from my own insular cave to join the past couple of Skype sessions. The Friday discussion was titled ‘What if you can’t interview anyone?’, which on the surface seemed quite irrelevant at this stage in time, after data collection has been sufficiently completed. But Adesola explained that the focus of the dialogue was in relation to the ingredients for our analysis. Similarly the Module 1 Skype call was centred around the synthesis of information through reflection. Ultimately, the ‘coming together’ of themes, the recognition of patterns, and how to deduct a mass of information into something which resembles significance.

A common trap it seems many of us has fallen into is that of abundance. Unlike quantitive data, qualitative data has the exploratory nature which invites complexity, ambiguity and discovery. The study of concept, relationships and human behaviour is less tangible than a numerical entity, which merely adds expanse to the web of information. In other words, there will ALWAYS be more questions to ask. There will forever be different facets of information, and varying paths to go down. (Probably why I ended up initially writing double the word count.)

So how does one know when to STOP? How can a researcher use process of elimination to reign in on what they constitute as important? 

1. One message Adesola conveyed to me in a 1-1 tutorial is that the report which is handed it will always be in the ‘present’. Infinitely, it will only be relevant to that time and that moment. This arose from the discussion that although the literature review preceded the interview stage, the interview stage then triggered the need to source more literature and so on. The process is not linear. It is not cumulative. It is not chronological. As Weiss (1994) explains, 

“The phases of work in qualitative research overlap and are intermeshed. Analysis of early data contributes to new emphases in interviewing, and the new data collected by the modified interviewing then produces new analyses." (p. 14)

Therefore, the hypothesis will not be answered and this was never the goal anyway. Rather the report will be a cross section of discovery. The final product should indicate the learning acquired through embarking on an inquiry, whilst initiating further threads of interest. 

2) In the Monday Skype discussion, a student from module 1 described how they refined their practice into 6 key areas. They managed this by taking a day in their own life and questioning what practically that specifically entailed. On the surface this approach sounds quite simple, but I admire the novelty of being able to take a step back, question what the ‘question’ is, and not get too bogged down by patterns and complexity. Transferring this attitude to Module 3 is much like the action of always referring back to the initial inquiry question. What is it I want to find out?? It doesn’t have to be as intricate as I anticipate.

3) Owning it. A key take away point from the Module 1 call. We had a great conference around the ethics of training, which conveniently is topical to my inquiry. I felt humbled by the honesty from all my peers, who authentically described introversion as a barrier and echoed their lack of confidence from years of punitive training. I shared a quote from Michael Foucalt who described dance training as the manipulation of docile bodies, linking the idea of discipline with a practiced, puppet like subservience. (1979, p. 138)

Despite being told a body is ‘wrong for dance’, Adesola described a shift in perspective to owning one’s practice. Perhaps it isn’t about dancing for the approval of someone else? An attitude which is so intertwined in the profession. But holding that dance identity to strengthen oneself was a very empowering stance- one which is certainly challenging to attain.

This made me reflect on how I often approach my studies, and subsequently my analysis. Asking myself questions such as:

“What if they think my themes are rubbish?” “Am I missing the point?” “Do I sound academic enough?” “Will the modulators suss me out and see that I’m one huge fraudulent imposter?”. 

I’m not quite sure what these critical questions are trying to achieve, but they all have the underlying aura of the need for approval. Even in the draft submission, I can sense the craving for “Yes, that’s correct”. But the need for approval from others just creates further insecurities, as external validation cannot be relied upon. 

So time and time again, I have to remind myself of the purpose. I have to OWN MY inquiry. The path I take into research will be very different from someone else who may be trying to answer the same inquiry question. What appears relevant to me, will seem inconsequential to another. That doesn’t make it right or wrong. 

Patton (2002) explains this individualised analysis process well; Explaining how one must be open to new discoveries. Patton uses terms such as engaging in “mental excursions”, “side-tracking” or “zigzagging,” connecting the seemingly unconnected. (p. 544). In effect, it’s PLAYING with the data. Which also links back to the encouraged approach for our Skype discussions. (Playing with the information with an air of curiosity. No rights and wrongs, yes and knows, agreeing or disagreeing. Like verbal improv!)

I came across a fairly useful analogy which I will share, especially for those learners who are more visually inclined. The metaphor is that of a kaleidoscope (Dye, Schatz, Rosenberg, & Coleman, 2000) and it’s quite useful when thinking about the stages of analysis. If you imagine a hologram pattern, comprising of multiple shapes which are arranged into a sporadic pattern. The task is then to distinguish the different shapes into sub-piles which are further refined. The coloured glass is the raw data and the angled mirrors are the categories. The flat plates are the overarching group. Here is an example of the diagram below: 

Adapted from: Dye, J. F., Schatz, I. M., Rosenberg, B. A., & Coleman, S. T. (2000,January).Constant comparison method.

SO where do I go now? In conclusion, I strive to take the mentality of individual approach (much like analysis as an individual journey)into the creation of my artefact. Perhaps an easier endeavour as I am ‘given the permission’ to use my creative license. There is less preconceived expectation of right and wrong, and hopefully I can do my best to ‘own it’. Even as I type that, I'm far from convincing myself 😅

I’d best get filming! No doubt I will report back soon (knee deep in corrections probably!)

References

Dye, J. F., Schatz, I. M., Rosenberg, B. A., & Coleman, S. (2000,January).Constantcomparisonmethod:Akaleido- scope of data. The Qualitative Report, 4(1/2). Retrieved from http://www.nova.edu/ssss/QR

Foucault M (1979) Discipline and Punish: The Birth of the Prison, New York:

Penguin Books.

Patton MQ. Qualitative research and evaluation methods. 3rd Sage Publications; Thousand Oaks, CA: 2002. [Google Scholar]

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

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.