Google Documents.
Google Docs is an online program where documents can be shared and saved. I was first introduced to this file sharing application by watching a short video on its functions and uses. I discovered that it allows users to share documents with as many or as little people as desired. It provides the ability for others to read filed documents and, if they wish, make a comment in response or even edit the work. Google Docs allows you to set the privacy settings to which you feel comfortable. Therefore this granted me the option to save some work to Google Docs for only me to see and other drafts for certain people to have editing ability.
This program was beneficial to my project due to the constructive criticism from my peers which I otherwise would not have received. It shares the opportunity to work as a collaborative team.
I collaborated on a document which a drama teacher sent entitled “Drama is not for everyone, or is it?” Whilst commenting it helped me to understand the reasons why I felt my research project was beneficial and emphasized my passion to enable society to share my thoughts. From other users comments I was able to examine the differences of opinion around this subject which made me view my work in an unbiased manner.
I am pleased I was made aware of this online application and have even shared this experience with others. Google Docs has supported my research immensely and I will continue to use it for future reference.
Sunday, 10 October 2010
Sunday, 19 September 2010
Log 1
Delicious.
Delicious is a social book marking site. It is a web site that allows you to save unlimited web pages which you may find useful by tagging appropriate words related to the content and here fore organizing a website mini database. It has been extremely advantageous to my project and its literature. Initially, I was struggling to develop my literature review with the limited documents I had researched to support my work. However, delicious allowed me to develop this research in an easy and constructive manner. It also provides the ability to create a network of people with similar interests, therefore aiding your research with fresh documents and new information.
Before I was introduced to Delicious I would save web pages I found useful to my tool bar under ‘Favorites’. This I found time consuming having to scan through all the web pages saved before finally finding the one I wanted. The tag system in Delicious eliminates this problem by typing a word which relates to the document content then directing me straight to the document of interest I am looking for.
Unlike that of a ‘Favorites’ tool, Delicious is a online database so can be accessed from any computer I am working on. This is extremely useful especially whilst undergoing a research project which may suggest use of a library amongst other public places.
The icon labeled ‘browse bookmarks’ allows me to easily refer back to past read documents that I could make possible use of in the future. This was apparent whilst writing up my the end of my literature review and discovering I had missed some vital information out. It took no longer than one minute to type ‘student culture drama’ as a tag and the right document was at hand.
I never believed that I would make use of a program like Delicious but whilst working on my research project I have found it thoroughly beneficial and a credit to my work.
Delicious is a social book marking site. It is a web site that allows you to save unlimited web pages which you may find useful by tagging appropriate words related to the content and here fore organizing a website mini database. It has been extremely advantageous to my project and its literature. Initially, I was struggling to develop my literature review with the limited documents I had researched to support my work. However, delicious allowed me to develop this research in an easy and constructive manner. It also provides the ability to create a network of people with similar interests, therefore aiding your research with fresh documents and new information.
Before I was introduced to Delicious I would save web pages I found useful to my tool bar under ‘Favorites’. This I found time consuming having to scan through all the web pages saved before finally finding the one I wanted. The tag system in Delicious eliminates this problem by typing a word which relates to the document content then directing me straight to the document of interest I am looking for.
Unlike that of a ‘Favorites’ tool, Delicious is a online database so can be accessed from any computer I am working on. This is extremely useful especially whilst undergoing a research project which may suggest use of a library amongst other public places.
The icon labeled ‘browse bookmarks’ allows me to easily refer back to past read documents that I could make possible use of in the future. This was apparent whilst writing up my the end of my literature review and discovering I had missed some vital information out. It took no longer than one minute to type ‘student culture drama’ as a tag and the right document was at hand.
I never believed that I would make use of a program like Delicious but whilst working on my research project I have found it thoroughly beneficial and a credit to my work.
Sunday, 2 May 2010
Critical Commentary.
Before I commenced the course in September 2009, although I believed I would extend my qualification I did not expect to develop my knowledge around my subjects of interest to the extent that I have.
After completing the previous module (3002) I gained thorough insight on how to write in an appropriate style to express myself to different audiences. These writing tools and my module experience was extremely useful throughout this module. Writing styles are crucial to construct and conclude research and are required throughout the remainder of this Work Based Learning course. Without the prior module I believe I would have suffered with future progression.
My initial thoughts and feelings towards the start of this module were negative, stemming from my lack of experience and understanding of how to construct a research project. My past experience has never involved professional research methods and techniques and I found the module a little overwhelming.
My attitude soon changed when I read thoroughly through the Module Handbook and held in depth conversations with my course adviser. These both educated me that successful research topics would be those concerning my future career and aspirations. After discovering in my Learning Diary that 'different passions are appearing for me within my job and certain problems are occurring', I was convinced that I needed to understand where these passions developed from and that may lead me to discover how these problems could be resolved. My enthusiasm from here onwards revealed that as a teacher my motivation to teach was growing and making it evident that my studies towards the module were benefiting my teaching practice.
I have learnt how to construct my thoughts towards learning, how to organise them and apply them professionally through philosophies such as Kolb's Theory and other learning methods. These will consistently be used to demonstrate my unique ability to utilize new ideas and learn with efficiency. This was studied throughout module 3002 and will forever be exercised in my future work and career.
Along with my writing styles my vocabulary has improved immensely. This is a result to reading different materials throughout all my academic work throughout the course and was enhanced by the required glossary in module 3835. This is important and a necessity when applying for jobs and performing interviews. This became evident when I read through my learning diary of practical and psychological events which are return with structure and literacy. The learning Diary was a instrument of progressive learning in itself, giving me recorded progression throughout my education and helping to organise my thoughts constructively. This is another technique I have learnt to employ in my work to help enhance my teaching.
Research methods and instruments have demonstrated how a belief or opinion can be proven professionally and with use of primary, secondary, quantitative, qualitative and many other sources of research I can produce constructive criticism. Module 3835 has strengthened my literal criticism and analytical skills boosting my confidence when academically applying myself.
When I read past blog entries and my finalised module portfolio I can see my learning progression and am able to positively reflect on my studies. I would have struggled to complete these last two modules with out my fellow students blogging information and with the absence of BAPP online support. It has been a massive advantage learning how to use the online network site and this is a resource I believe will advantage my career in the future.
One of the latest subjects covered in module 3835 was that of ethical issues. This is an area I had no previous knowledge about but now feel I understand in detail and can account for in future situations when I feel ethical issues may be apparent.
At the beginning of this module I recorded in my Learning Diary that:
After completing the previous module (3002) I gained thorough insight on how to write in an appropriate style to express myself to different audiences. These writing tools and my module experience was extremely useful throughout this module. Writing styles are crucial to construct and conclude research and are required throughout the remainder of this Work Based Learning course. Without the prior module I believe I would have suffered with future progression.
My initial thoughts and feelings towards the start of this module were negative, stemming from my lack of experience and understanding of how to construct a research project. My past experience has never involved professional research methods and techniques and I found the module a little overwhelming.
My attitude soon changed when I read thoroughly through the Module Handbook and held in depth conversations with my course adviser. These both educated me that successful research topics would be those concerning my future career and aspirations. After discovering in my Learning Diary that 'different passions are appearing for me within my job and certain problems are occurring', I was convinced that I needed to understand where these passions developed from and that may lead me to discover how these problems could be resolved. My enthusiasm from here onwards revealed that as a teacher my motivation to teach was growing and making it evident that my studies towards the module were benefiting my teaching practice.
I have learnt how to construct my thoughts towards learning, how to organise them and apply them professionally through philosophies such as Kolb's Theory and other learning methods. These will consistently be used to demonstrate my unique ability to utilize new ideas and learn with efficiency. This was studied throughout module 3002 and will forever be exercised in my future work and career.
Along with my writing styles my vocabulary has improved immensely. This is a result to reading different materials throughout all my academic work throughout the course and was enhanced by the required glossary in module 3835. This is important and a necessity when applying for jobs and performing interviews. This became evident when I read through my learning diary of practical and psychological events which are return with structure and literacy. The learning Diary was a instrument of progressive learning in itself, giving me recorded progression throughout my education and helping to organise my thoughts constructively. This is another technique I have learnt to employ in my work to help enhance my teaching.
Research methods and instruments have demonstrated how a belief or opinion can be proven professionally and with use of primary, secondary, quantitative, qualitative and many other sources of research I can produce constructive criticism. Module 3835 has strengthened my literal criticism and analytical skills boosting my confidence when academically applying myself.
When I read past blog entries and my finalised module portfolio I can see my learning progression and am able to positively reflect on my studies. I would have struggled to complete these last two modules with out my fellow students blogging information and with the absence of BAPP online support. It has been a massive advantage learning how to use the online network site and this is a resource I believe will advantage my career in the future.
One of the latest subjects covered in module 3835 was that of ethical issues. This is an area I had no previous knowledge about but now feel I understand in detail and can account for in future situations when I feel ethical issues may be apparent.
At the beginning of this module I recorded in my Learning Diary that:
'after reading through the 3835 module handbook I believe that this will be
the module I find most interesting, being able to develop my thoughts around an
area I feel passionately about and research intensely.'
I can now confirm with great confidence that my initial thoughts were accurate and I thoroughly enjoyed completing the module learning more than I could ever imagine.
Different passions are appearing for me within the job and certain problems are occurring. I hope to sustain my efforts and work hard to complete a successful project and achieve the grades I am striving for.
Saturday, 1 May 2010
Learning Diary Entry 6.
Learning Diary Entry 6.
Throughout the duration of this module I have learnt so much about research practice and all the considerations behind constructing a research project.
I have learnt how to create:
• Focus Groups
• Perceptual mapping
• Questionnaires/ Surveys
• Constructive Interview Questions
• Case Studies
• Detailed observation
• A project Proposal.
Looking back to when this module first commenced I realise how much I have progressed through learning and how to focus my ideas more constructively and realistically rather than producing project questions that would not be able to give me an accurate, meaningful and worthy answer.
I have worked intensely to produce what I feel will be an interesting and beneficial topic of research towards my future career and will help the rest of society to perhaps look at the performing industry in a different light and perhaps engage more frequently within it.
Not only has the module given me thorough insight towards my education and developed my qualification but it has also made me develop and discover new ambitions towards my future prospects. Such as:
1. What is expected from me in performing arts practice
2. What rights I have through my teachings
3. The main aims and employment I am striving for in the future. I now know that I want to focus my skills of teaching towards the mature student(18+).
All of these conclusions I have drawn through research elements.
I can honestly state that this module has been massively beneficial towards my education and will hopefully contribute to achieving a happy and fulfilled career.
Throughout the duration of this module I have learnt so much about research practice and all the considerations behind constructing a research project.
I have learnt how to create:
• Focus Groups
• Perceptual mapping
• Questionnaires/ Surveys
• Constructive Interview Questions
• Case Studies
• Detailed observation
• A project Proposal.
Looking back to when this module first commenced I realise how much I have progressed through learning and how to focus my ideas more constructively and realistically rather than producing project questions that would not be able to give me an accurate, meaningful and worthy answer.
I have worked intensely to produce what I feel will be an interesting and beneficial topic of research towards my future career and will help the rest of society to perhaps look at the performing industry in a different light and perhaps engage more frequently within it.
Not only has the module given me thorough insight towards my education and developed my qualification but it has also made me develop and discover new ambitions towards my future prospects. Such as:
1. What is expected from me in performing arts practice
2. What rights I have through my teachings
3. The main aims and employment I am striving for in the future. I now know that I want to focus my skills of teaching towards the mature student(18+).
All of these conclusions I have drawn through research elements.
I can honestly state that this module has been massively beneficial towards my education and will hopefully contribute to achieving a happy and fulfilled career.
Tuesday, 27 April 2010
Audio research towards project proposal.
This is demonstrating some of the secondary research that already exists which perhaps motivates people to strive for a performing arts career.
This source of information displays how appealing a career in performing arts can appear in the public eye.This audio research will be useful when executing my research for my project title:
'What motivates a person to strive for a career in dance and drama?'.
Monday, 26 April 2010
Secondary Research- Newspaper article from THE INDEPENDENT.
FROM CAREERS ADVISER: AN INDEPENDENT PUBLISHING MAGAZINE
Performing Arts: No business like show business
Passion, stamina, and intellectual rigour are vital in the performing arts, says Virginia Matthews
Monday, 4 December 2006
There are few career options nowadays open to school leavers who don't feel moved to complete a college course or go to university, but performing arts is perhaps one sector where enthusiasm, attitude and sheer talent are still more important than academic achievement.
Whether a love of the limelight was triggered by a school theatre club or an amateur dramatics troupe, it is still possible to don the greasepaint and become a performer on stage, screen, TV - or, of course, cruise ships - without first having studied for a trio of A-levels.
As befits this most individual of career choices, the options of training provider range from top drama schools, such as RADA, to universities and privately-run theatre schools.
Janet Devenish is deputy principal at the Bedford-based Stella Mann Dance and Drama school. She believes that "determination, physical stamina and passion" are the three key requirements for any would-be performer.
While the 100 or so students at this privately-run FE college emerge, after three years full-time study, with a national diploma in professional musical theatre or musical dance - equivalent to a Level 6 NQS or vocational degree - Devenish stresses that would-be performers need to perform, not be hunched over books:
"When we ask our students to research West Side Story, we may well ask them to look at the career of Leonard Bernstein, but at least 80 per cent of the course will be practical.
"Our students come from ballroom, ballet or disco, or combine singing with dancing, but we are always looking for raw talent."
Although show business careers are open to people of all ages and backgrounds, those who combine the ability to entertain with intellectual rigour are likely to last longer, according to Anne Prince, editor of the influential UK Guide to Performing Arts:
"For those who want to make a name by appearing in a show like Big Brother, it's safe to say that qualifications don't really matter - this sort of celebrity status is fairly easy come, easy go and it doesn't tend to last very long.
"But if you want to turn a love of dancing into a career as a choreographer later on, or would like to progress from acting to running your own theatre company some day, then a good qualification is worth its weight in gold."
Most reputable drama schools have relationships with talent agencies who have the contacts to kick-start a career in performing arts. While it is still possible, as a novice, to attend an open audition for a West End show and secure a contract on the back of it, actors or singers with the backing of an established school or agent find the process far easier.
The very many and diverse role in performing arts - acting, dance, music or musical theatre - tend to fall into two categories; either behind or in front of the camera.
While the front-of-house roles as actor, singer, dancer or comedian remain the most difficult to break into - How Do you Solve A Problem Like Maria? gave a glimpse of how many people want to pursue a career in musical theatre - it is the behind-the-scenes, technical roles that offer far more scope.
From arts administrator, stage set or props designer to lighting technician, director, sound engineer, makeup artist, stunt artist or wardrobe assistant, the opportunities to entertain others, while not actually being seen, are far greater away from the spotlight.
Full BA courses in theatre studies or performing arts are available at some of the best-known universities in the country, but there are also a wide range of HND and foundation degree qualifications in this area.
Professor Steve Dixon, head of the school of arts at Brunel University believes that the skills learned on a university music or drama course are "highly transferable."
"Would-be performers have excellent team working and communication skills," he says. "For those students who don't make it in acting, PR, media and even banking and finance have all proved to be very enthusiastic recruiters."
Choosing the best college or university course may, says Prince, be a matter of identifying a top performer and working back:
"If there's an actor or singer you particularly admire, it's worth researching his or her background and finding out where they trained. Performers already known to the public are the very best advertisement for the drama school or university they attended."
Case Study
Rachelle Glover, 22, graduated from Stella Mann last July with a diploma in musical theatre. She is a singer with an all-girl pop band - Fallen Angelz - and hopes to sign her first record deal within six months.
" I've been dancing since I was two and have always loved ballet, tap and disco. As a child, I danced regularly in big theatre shows, but it's always been my dream to dance in the West End.
I did my qualification because I want to be able to teach in the future; it also taught me a lot about the entertainment business. My parents paid for the course because they believe in me and they know how much I care about my career.
We formed Fallen Angelz last November and since then we've been at lots of different gigs, singing with people like Simon Wells and Chico. We've met loads of producers, songwriters and agents and we're already getting ourselves known to the public.
I really want to sing and make pop videos and I think drive is almost as important as talent in this business.
I really admire Michael Jackson for his dancing skills and the Spice Girls for their guts and determination, but Fallen Angelz has a very unique sound.
When we sign our first record deal and I get on TOTP, I'll know I'm on my way. "
sponsored links:
Ads by Google
http://www.independent.co.uk/student/magazines/performing-arts-no-business-like-show-business-427081.html
Performing Arts: No business like show business
Passion, stamina, and intellectual rigour are vital in the performing arts, says Virginia Matthews
Monday, 4 December 2006
There are few career options nowadays open to school leavers who don't feel moved to complete a college course or go to university, but performing arts is perhaps one sector where enthusiasm, attitude and sheer talent are still more important than academic achievement.
Whether a love of the limelight was triggered by a school theatre club or an amateur dramatics troupe, it is still possible to don the greasepaint and become a performer on stage, screen, TV - or, of course, cruise ships - without first having studied for a trio of A-levels.
As befits this most individual of career choices, the options of training provider range from top drama schools, such as RADA, to universities and privately-run theatre schools.
Janet Devenish is deputy principal at the Bedford-based Stella Mann Dance and Drama school. She believes that "determination, physical stamina and passion" are the three key requirements for any would-be performer.
While the 100 or so students at this privately-run FE college emerge, after three years full-time study, with a national diploma in professional musical theatre or musical dance - equivalent to a Level 6 NQS or vocational degree - Devenish stresses that would-be performers need to perform, not be hunched over books:
"When we ask our students to research West Side Story, we may well ask them to look at the career of Leonard Bernstein, but at least 80 per cent of the course will be practical.
"Our students come from ballroom, ballet or disco, or combine singing with dancing, but we are always looking for raw talent."
Although show business careers are open to people of all ages and backgrounds, those who combine the ability to entertain with intellectual rigour are likely to last longer, according to Anne Prince, editor of the influential UK Guide to Performing Arts:
"For those who want to make a name by appearing in a show like Big Brother, it's safe to say that qualifications don't really matter - this sort of celebrity status is fairly easy come, easy go and it doesn't tend to last very long.
"But if you want to turn a love of dancing into a career as a choreographer later on, or would like to progress from acting to running your own theatre company some day, then a good qualification is worth its weight in gold."
Most reputable drama schools have relationships with talent agencies who have the contacts to kick-start a career in performing arts. While it is still possible, as a novice, to attend an open audition for a West End show and secure a contract on the back of it, actors or singers with the backing of an established school or agent find the process far easier.
The very many and diverse role in performing arts - acting, dance, music or musical theatre - tend to fall into two categories; either behind or in front of the camera.
While the front-of-house roles as actor, singer, dancer or comedian remain the most difficult to break into - How Do you Solve A Problem Like Maria? gave a glimpse of how many people want to pursue a career in musical theatre - it is the behind-the-scenes, technical roles that offer far more scope.
From arts administrator, stage set or props designer to lighting technician, director, sound engineer, makeup artist, stunt artist or wardrobe assistant, the opportunities to entertain others, while not actually being seen, are far greater away from the spotlight.
Full BA courses in theatre studies or performing arts are available at some of the best-known universities in the country, but there are also a wide range of HND and foundation degree qualifications in this area.
Professor Steve Dixon, head of the school of arts at Brunel University believes that the skills learned on a university music or drama course are "highly transferable."
"Would-be performers have excellent team working and communication skills," he says. "For those students who don't make it in acting, PR, media and even banking and finance have all proved to be very enthusiastic recruiters."
Choosing the best college or university course may, says Prince, be a matter of identifying a top performer and working back:
"If there's an actor or singer you particularly admire, it's worth researching his or her background and finding out where they trained. Performers already known to the public are the very best advertisement for the drama school or university they attended."
Case Study
Rachelle Glover, 22, graduated from Stella Mann last July with a diploma in musical theatre. She is a singer with an all-girl pop band - Fallen Angelz - and hopes to sign her first record deal within six months.
" I've been dancing since I was two and have always loved ballet, tap and disco. As a child, I danced regularly in big theatre shows, but it's always been my dream to dance in the West End.
I did my qualification because I want to be able to teach in the future; it also taught me a lot about the entertainment business. My parents paid for the course because they believe in me and they know how much I care about my career.
We formed Fallen Angelz last November and since then we've been at lots of different gigs, singing with people like Simon Wells and Chico. We've met loads of producers, songwriters and agents and we're already getting ourselves known to the public.
I really want to sing and make pop videos and I think drive is almost as important as talent in this business.
I really admire Michael Jackson for his dancing skills and the Spice Girls for their guts and determination, but Fallen Angelz has a very unique sound.
When we sign our first record deal and I get on TOTP, I'll know I'm on my way. "
sponsored links:
Ads by Google
http://www.independent.co.uk/student/magazines/performing-arts-no-business-like-show-business-427081.html
Sunday, 25 April 2010
Recording research data.
Recording the Data
The approach we take to data collection involves systematically gathering information and recording it in such a way that it can be preserved and analyzed by a single researcher or a team of researchers. For qualitative data collection, forms for recording the information need to be developed. If interview data are collected, then an interview protocol is needed that not only lists the questions and provides space in which to record answers but also has a place for essential data about the time, day, and place of the interview. In many cases, the researcher audiotapes the qualitative interviews and later transcribes the interviews. Having an interview protocol helps keep the researcher organized, and it provides a record of information in the event that the recording devices do not work. An observational protocol also provides a useful way of organizing an observation. On this form, the researcher records a description of events and processes observed, as well as reflective notes about emerging codes, themes, and concerns that arise during the observation. Recording forms can also be developed for reviewing documents
and for recording image data, such as photographs.
The approach we take to data collection involves systematically gathering information and recording it in such a way that it can be preserved and analyzed by a single researcher or a team of researchers. For qualitative data collection, forms for recording the information need to be developed. If interview data are collected, then an interview protocol is needed that not only lists the questions and provides space in which to record answers but also has a place for essential data about the time, day, and place of the interview. In many cases, the researcher audiotapes the qualitative interviews and later transcribes the interviews. Having an interview protocol helps keep the researcher organized, and it provides a record of information in the event that the recording devices do not work. An observational protocol also provides a useful way of organizing an observation. On this form, the researcher records a description of events and processes observed, as well as reflective notes about emerging codes, themes, and concerns that arise during the observation. Recording forms can also be developed for reviewing documents
and for recording image data, such as photographs.
In quantitative research, the investigator selects an instrument to use or develops an instrument. This instrument may be an attitudinal scale, with scores of past use showing high reliability and validity. It might be a reliable and valid checklist based on past scores. For documents with numeric data, the researcher often composes a form that summarizes the data. In choosing an instrument or a checklist, the researcher is concerned about the validity and reliability of past scores, whether the questions fit the research questions and hypotheses in the study, and whether adequate scales are used to report the information.
Rational for Award Title.
The award title I wish to graduate with is a BA Hons in Professional Practice (Performing Arts).
This award title was approached after considering a number of factors that would make this title beneficial for my future career.
The first of many elements I considered was my prior training at Italia Conti Academy of Theatre Arts where I achieved a Trinity National Diploma in Musical Theatre. When taking in to consideration my Diploma title and my BA title I realise that my passion and career development exists strictly in the fields of dance and drama. Therefore my personal development has made me realise that my previous qualification in Musical Theatre is no longer as relevant to my future career and aspirations as singing is not an element I wish to continue with.
After graduating from Italia Conti I have worked in the performing industry from acting in theatre to dancing for Disney. During my past employment I have always assisted fellow employees with my education in dance, drama and patience. My experiences have led me to conclude that I have a talent to teach and gain great satisfaction from others learning and improving. In January 2010 I started teaching as a dance and drama teacher at a Performing Arts Academy called Lemon Jelly Arts and this confirmed my determination and decision to teach was the right one.
Since the commencement of my Work Based Learning Course I have developed a deeper understanding of what my strengths are in teaching and established that drama is a main area I wish to focus my teaching skills towards. I ultimately wish to apply my teaching ability at a well recognised and highly respected stage school so I can work with students who have ambitions to uptake a career in acting or drama of some respect. I hope that my BA Hons Professional Practice degree will put me in good stead for my career, creating a foundation and entrance into my desired place of work.
Throughout the course I have adopted new ideologies and methods towards my execution of teaching in my job at a performing school. Each module allows me to broaden my knowledge of lesson content, discipline and other crucial teaching areas through exercises I have undertaken throughout the course.
I also have a passion to direct films, theatre and television. With my selected award title this may engage me with directing opportunities, opening new doors of employment with my accreditation and varied experience.
Another major impact on my award title was my finalised project proposal. The project will be investigating the influences and factors that encourage a person to adopt a career in dance and drama. This subject was chosen to gain insight on the initial and continuous attraction towards the industry and to understand what is required of an individual to sustain a career in dance and drama. My work at Lemon Jelly Arts will compliment this project and work by executing my research methods throughout my teaching practice. This project will educate me to understand an aspiring students needs and what they require to achieve throughout their training. It will also help me discover what motivates people in the industry and how to extract their complete potential.
I believe the term Performing Arts justifies my intentions towards my future career and is suitable to adopt the correct employment for successful progression.
This award title was approached after considering a number of factors that would make this title beneficial for my future career.
The first of many elements I considered was my prior training at Italia Conti Academy of Theatre Arts where I achieved a Trinity National Diploma in Musical Theatre. When taking in to consideration my Diploma title and my BA title I realise that my passion and career development exists strictly in the fields of dance and drama. Therefore my personal development has made me realise that my previous qualification in Musical Theatre is no longer as relevant to my future career and aspirations as singing is not an element I wish to continue with.
After graduating from Italia Conti I have worked in the performing industry from acting in theatre to dancing for Disney. During my past employment I have always assisted fellow employees with my education in dance, drama and patience. My experiences have led me to conclude that I have a talent to teach and gain great satisfaction from others learning and improving. In January 2010 I started teaching as a dance and drama teacher at a Performing Arts Academy called Lemon Jelly Arts and this confirmed my determination and decision to teach was the right one.
Since the commencement of my Work Based Learning Course I have developed a deeper understanding of what my strengths are in teaching and established that drama is a main area I wish to focus my teaching skills towards. I ultimately wish to apply my teaching ability at a well recognised and highly respected stage school so I can work with students who have ambitions to uptake a career in acting or drama of some respect. I hope that my BA Hons Professional Practice degree will put me in good stead for my career, creating a foundation and entrance into my desired place of work.
Throughout the course I have adopted new ideologies and methods towards my execution of teaching in my job at a performing school. Each module allows me to broaden my knowledge of lesson content, discipline and other crucial teaching areas through exercises I have undertaken throughout the course.
I also have a passion to direct films, theatre and television. With my selected award title this may engage me with directing opportunities, opening new doors of employment with my accreditation and varied experience.
Another major impact on my award title was my finalised project proposal. The project will be investigating the influences and factors that encourage a person to adopt a career in dance and drama. This subject was chosen to gain insight on the initial and continuous attraction towards the industry and to understand what is required of an individual to sustain a career in dance and drama. My work at Lemon Jelly Arts will compliment this project and work by executing my research methods throughout my teaching practice. This project will educate me to understand an aspiring students needs and what they require to achieve throughout their training. It will also help me discover what motivates people in the industry and how to extract their complete potential.
I believe the term Performing Arts justifies my intentions towards my future career and is suitable to adopt the correct employment for successful progression.
Saturday, 24 April 2010
Sampling Research.
Sampling Procedures
To address a research question or hypothesis, the researcher decides which people and research sites can best provide information, puts a sampling procedure in place, and determines the number of individuals that will be needed to provide data.
In qualitative research, the inquirer purposefully selects individuals and sites that can provide the necessary information. Purposeful sampling means that researchers intentionally select participants who have experience with the central phenomenon or the key concept being explored. A number of purposeful sampling strategies are available, each with a different purpose.
One of the more popular is maximal variation sampling, in which individuals are chosen who hold different perspectives on the central phenomenon. The criteria for maximizing differences depends on the study, but it might be race, gender, level of schooling, or any number of factors that would differentiate participants. The central idea is that if participants are purposefully
chosen to be different in the first place, then their views will reflect this difference and provide a good qualitative study. Another approach is to use extreme case sampling of individuals who provide unusual, troublesome, or enlightened cases. In contrast, a researcher might use homogeneous sampling of individuals who have membership in a subgroup with distinctive
characteristics. In terms of numbers, rather than selecting a large number of people or sites, the qualitative researcher identifies a small number that will provide in-depth information about each person or site. The larger the number of people, the less the amount of detail typically emerging from any one individual— and a key idea of qualitative research is to provide detailed views of individuals and the specific contexts in which they hold these views. Many qualitative researchers do not like to constrain research by giving definitive sizes of samples, but the numbers may range from one or two people, as in a narrative study, to 50 or 60 in a grounded theory project.
Typically, when cases are reported, a small number is used, such as 4 to 10. The number relates to the question or to the type of qualitative approach used, such as narrative, phenomenology, grounded theory, ethnography, or case study research (Creswell, 1998).
In quantitative research, the intent of sampling individuals is to choose individuals that are representative of a population so that the results can be generalized to a population. In this way, investigators first select their population and define it carefully. Then they choose a sample from this population.
Although not always workable, random choice of individuals for the sample is attempted so that each person in the population has an equal chance of being selected. Probabilistic sampling involves randomly choosing individuals based on a systematic procedure, such as the use of a random numbers table. In addition, the investigator may want certain characteristics represented in the sample that may be out of proportion in the larger population. For example,
more females than males may be in the population, and a random sampling procedure would, logically, oversample females. In this situation, the researcher first stratifies the population (e.g., females and males) and then randomly samples within each stratum. In this way, a proportional number of participants on the stratification characteristic will be represented in the final
sample chosen for data collection.
The sample size needed for a rigorous study is more specified in quantitative research. The sample needs to be large enough for statistical procedures to be used that will make it possible for the researcher to draw inferences with some confidence that the sample reflects the characteristics of the entire population (if that entire population could be studied). We want to reduce the sampling error: the difference between the sample estimate and the true population score. To determine the adequate sample size, researchers turn to sample size formulas available in research methods textbooks.
If the quantitative research design is an experiment, investigators turn to power analysis formulas (e.g., Lipsey, 1990); if the study is a survey, sampling error formulas can help identify the appropriate size for the sample.
To address a research question or hypothesis, the researcher decides which people and research sites can best provide information, puts a sampling procedure in place, and determines the number of individuals that will be needed to provide data.
In qualitative research, the inquirer purposefully selects individuals and sites that can provide the necessary information. Purposeful sampling means that researchers intentionally select participants who have experience with the central phenomenon or the key concept being explored. A number of purposeful sampling strategies are available, each with a different purpose.
One of the more popular is maximal variation sampling, in which individuals are chosen who hold different perspectives on the central phenomenon. The criteria for maximizing differences depends on the study, but it might be race, gender, level of schooling, or any number of factors that would differentiate participants. The central idea is that if participants are purposefully
chosen to be different in the first place, then their views will reflect this difference and provide a good qualitative study. Another approach is to use extreme case sampling of individuals who provide unusual, troublesome, or enlightened cases. In contrast, a researcher might use homogeneous sampling of individuals who have membership in a subgroup with distinctive
characteristics. In terms of numbers, rather than selecting a large number of people or sites, the qualitative researcher identifies a small number that will provide in-depth information about each person or site. The larger the number of people, the less the amount of detail typically emerging from any one individual— and a key idea of qualitative research is to provide detailed views of individuals and the specific contexts in which they hold these views. Many qualitative researchers do not like to constrain research by giving definitive sizes of samples, but the numbers may range from one or two people, as in a narrative study, to 50 or 60 in a grounded theory project.
Typically, when cases are reported, a small number is used, such as 4 to 10. The number relates to the question or to the type of qualitative approach used, such as narrative, phenomenology, grounded theory, ethnography, or case study research (Creswell, 1998).
In quantitative research, the intent of sampling individuals is to choose individuals that are representative of a population so that the results can be generalized to a population. In this way, investigators first select their population and define it carefully. Then they choose a sample from this population.
Although not always workable, random choice of individuals for the sample is attempted so that each person in the population has an equal chance of being selected. Probabilistic sampling involves randomly choosing individuals based on a systematic procedure, such as the use of a random numbers table. In addition, the investigator may want certain characteristics represented in the sample that may be out of proportion in the larger population. For example,
more females than males may be in the population, and a random sampling procedure would, logically, oversample females. In this situation, the researcher first stratifies the population (e.g., females and males) and then randomly samples within each stratum. In this way, a proportional number of participants on the stratification characteristic will be represented in the final
sample chosen for data collection.
The sample size needed for a rigorous study is more specified in quantitative research. The sample needs to be large enough for statistical procedures to be used that will make it possible for the researcher to draw inferences with some confidence that the sample reflects the characteristics of the entire population (if that entire population could be studied). We want to reduce the sampling error: the difference between the sample estimate and the true population score. To determine the adequate sample size, researchers turn to sample size formulas available in research methods textbooks.
If the quantitative research design is an experiment, investigators turn to power analysis formulas (e.g., Lipsey, 1990); if the study is a survey, sampling error formulas can help identify the appropriate size for the sample.
Wednesday, 21 April 2010
Learning Diary Entry 5.
Ethics Involved.
I was unable to make the campus session based on Ethics. This worried me slightly because this is an area I feel I have limited information to and lack knowledge therefore the blogging net work and course adviser help was vital to me.
After reading much information on ethics to understand and apply ethical issues to my research project I discovered:
voluntary participation-
This requires that people not be coerced into participating in research. This is especially relevant where researchers had previously relied on 'captive audiences' for their subjects
informed consent-
Essentially, this means that prospective research participants must be fully informed about the procedures and risks involved in research and must give their consent to participate. This is closely linked to and crucial to the matter of voluntary participation.
risk of harm-
This can be defined as both physical and psychological. There are two standards that are applied in order to help protect the privacy of research participants: Confidentiality and anonymity.
Confidentiality and anonymity-
The first, Confidentiality documents are assured that identifying information will not be made available to anyone who is not directly involved in the study. The stricter standard of anonymity means that the participant will remain anonymous throughout the study -- even to the researchers themselves. Clearly, the anonymity standard is a stronger guarantee of privacy, but it is sometimes difficult to accomplish, especially in situations where participants have to be measured at multiple time points (e.g., a pre-post study).
right to service-
Good research practice often requires the use of a no-treatment control group -- a group of participants who do not get the treatment or program that is being studied. But when that treatment or program may have beneficial effects, persons assigned to the no-treatment control may feel their rights to equal access to services are being curtailed.
I now feel I grasp a better understanding on the situation and will be considering and putting in to practice many of the ethical issues covered to result a well researched and flaw proof piece of work.
I was unable to make the campus session based on Ethics. This worried me slightly because this is an area I feel I have limited information to and lack knowledge therefore the blogging net work and course adviser help was vital to me.
After reading much information on ethics to understand and apply ethical issues to my research project I discovered:
voluntary participation-
This requires that people not be coerced into participating in research. This is especially relevant where researchers had previously relied on 'captive audiences' for their subjects
informed consent-
Essentially, this means that prospective research participants must be fully informed about the procedures and risks involved in research and must give their consent to participate. This is closely linked to and crucial to the matter of voluntary participation.
risk of harm-
This can be defined as both physical and psychological. There are two standards that are applied in order to help protect the privacy of research participants: Confidentiality and anonymity.
Confidentiality and anonymity-
The first, Confidentiality documents are assured that identifying information will not be made available to anyone who is not directly involved in the study. The stricter standard of anonymity means that the participant will remain anonymous throughout the study -- even to the researchers themselves. Clearly, the anonymity standard is a stronger guarantee of privacy, but it is sometimes difficult to accomplish, especially in situations where participants have to be measured at multiple time points (e.g., a pre-post study).
right to service-
Good research practice often requires the use of a no-treatment control group -- a group of participants who do not get the treatment or program that is being studied. But when that treatment or program may have beneficial effects, persons assigned to the no-treatment control may feel their rights to equal access to services are being curtailed.
I now feel I grasp a better understanding on the situation and will be considering and putting in to practice many of the ethical issues covered to result a well researched and flaw proof piece of work.
Observation research.
Direct (Reactive) Observation
In direct observations, people know that you are watching them. The only danger is that they are reacting to you. As stated earlier, there is a concern that individuals will change their actions rather than showing you what they're really like. This is not necessarily bad, however. For example, the contrived behavior may reveal aspects of social desirability, how they feel about sharing their feelings in front of others, or privacy in a relationship. Even the most contrived behavior is difficult to maintain over time. A long term observational study will often catch a glimpse of the natural behavior. Other problems concern the generalizability of findings. The sample of individuals may not be representative of the population or the behaviors observed are not representative of the individual (you caught the person on a bad day). Again, long-term observational studies will often overcome the problem of external validity.
What about ethical problems?
Ethically, people see you, they know you are watching them (sounds spooky, I know) and they can ask you to stop.
Unobtrusive Observation.
Unobtrusive measures involves any method for studying behavior where individuals do NOT know they are being observed. Here, there is not the concern that the observer may change the subject's behavior. When conducting unobtrusive observations, issues of validity need to be considered. Numerous observations of a representative sample need to take place in order to generalize the findings. This is especially difficult when looking at a particular group. Many groups posses unique characteristics which make them interesting studies. Hence, often such findings are not strong in external validity. Also, replication is difficult when using non-conventional measures (non-conventional meaning unobtrusive observation). Observations of a very specific behaviors are difficult to replicate in studies especially if the researcher is a group participant. The main problem with unobtrusive measures, however, is ethical. Issues involving informed consent and invasion of privacy are paramount here. An institutional review board may frown upon your study if it is not really necessary for you not to inform your subjects.
In direct observations, people know that you are watching them. The only danger is that they are reacting to you. As stated earlier, there is a concern that individuals will change their actions rather than showing you what they're really like. This is not necessarily bad, however. For example, the contrived behavior may reveal aspects of social desirability, how they feel about sharing their feelings in front of others, or privacy in a relationship. Even the most contrived behavior is difficult to maintain over time. A long term observational study will often catch a glimpse of the natural behavior. Other problems concern the generalizability of findings. The sample of individuals may not be representative of the population or the behaviors observed are not representative of the individual (you caught the person on a bad day). Again, long-term observational studies will often overcome the problem of external validity.
What about ethical problems?
Ethically, people see you, they know you are watching them (sounds spooky, I know) and they can ask you to stop.
Unobtrusive Observation.
Unobtrusive measures involves any method for studying behavior where individuals do NOT know they are being observed. Here, there is not the concern that the observer may change the subject's behavior. When conducting unobtrusive observations, issues of validity need to be considered. Numerous observations of a representative sample need to take place in order to generalize the findings. This is especially difficult when looking at a particular group. Many groups posses unique characteristics which make them interesting studies. Hence, often such findings are not strong in external validity. Also, replication is difficult when using non-conventional measures (non-conventional meaning unobtrusive observation). Observations of a very specific behaviors are difficult to replicate in studies especially if the researcher is a group participant. The main problem with unobtrusive measures, however, is ethical. Issues involving informed consent and invasion of privacy are paramount here. An institutional review board may frown upon your study if it is not really necessary for you not to inform your subjects.
Tuesday, 20 April 2010
Activity 2 - Being the Worker Researcher.
This activity was designed to help establish and understand the advantages and disadvantages of combining the roles of worker and researcher to produce accurate or inaccurate results.
I feel a significant source of influence that has not been addressed is having participants trust due to present relationships with them. This can be recognised as an advantage because the participant would share more personal information to research methods than to a stranger conducting the research. It would perhaps develop more depth to my answers and more precise results. However, this can also be considered as a disadvantage, knowing that the information may be biased as the participant may express answers influenced by their relationship with the researcher. This source of influence lacks reliability and may produce very different answers if the research were to be conducted for a second time.
Relating this to my Project question would be interesting as their background and exposure of true character is crucial for my research.
Working for a performing arts company, 'Lemon Jelly Arts', allows me to teach students ranging from 3 years of age to the more mature 18 year old. I believe applying my research to a variety of ages will award me with more accurate results developing valid Primary Research. My research will develop and reveal more project answers in comparison to participants of a more restricted age bracket. It enables me to investigate and consider a wider scope of opinion. It reveals more aspirations as to why dance and drama motivates society to adopt it in a career. This is another source of influence I found relevant.
I feel a significant source of influence that has not been addressed is having participants trust due to present relationships with them. This can be recognised as an advantage because the participant would share more personal information to research methods than to a stranger conducting the research. It would perhaps develop more depth to my answers and more precise results. However, this can also be considered as a disadvantage, knowing that the information may be biased as the participant may express answers influenced by their relationship with the researcher. This source of influence lacks reliability and may produce very different answers if the research were to be conducted for a second time.
Relating this to my Project question would be interesting as their background and exposure of true character is crucial for my research.
Working for a performing arts company, 'Lemon Jelly Arts', allows me to teach students ranging from 3 years of age to the more mature 18 year old. I believe applying my research to a variety of ages will award me with more accurate results developing valid Primary Research. My research will develop and reveal more project answers in comparison to participants of a more restricted age bracket. It enables me to investigate and consider a wider scope of opinion. It reveals more aspirations as to why dance and drama motivates society to adopt it in a career. This is another source of influence I found relevant.
Friday, 16 April 2010
Activity 7 - My designed research Instrument - Survey.
After completing activity 7 and using an existing document to critique I decided to put my thoughts and efforts towards designing my own.
I have designed a constructive survey that is most significant to establish information towards my Project Proposal. I would be most grateful if you would take a few minutes to complete my survey and any feed back you feel is relevant. Any feedback would be appreciated. Thank you.
Click here to take survey
I have designed a constructive survey that is most significant to establish information towards my Project Proposal. I would be most grateful if you would take a few minutes to complete my survey and any feed back you feel is relevant. Any feedback would be appreciated. Thank you.
Click here to take survey
Thursday, 15 April 2010
Learning Diary Entry 4.
I now feel comfortable with my research knowledge and by reading and analysing others literature and theories I have discovered how to construct my research. I have also brainstormed what must be considered when deciding on my project proposal.
After spending much time brain storming Research questions I have decided on my Project Proposal Question:
• What motivates an individual to strive for a career in dance or drama.
I decided to research further in to the field that my project question would be based and perhaps discover techniques, instruments and general performing information that I may not have considered. Whilst doing so I came across a company called ResCen. This is abbreviated from the full term as the centre of research into creation in the performing arts.
From this site I learned some key research tools which I think may be useful towards my Project.
Knowledge generation
A key part of ResCen’s work is to generate and analyse knowledge through reflection on process, as well as one-to-one, group discussions and presentations by ResCen artists, invited guests and audience members.
A number of events have been presented in which artists discuss and examine particular processes that form and influence their work. These include:
• Nightwalking conference/symposium a three-day, artist-led event that included podium discussions, presentations, installations and performances in and around the South Bank Centre and Greenwich Dance Agency.
• an on-going series of public seminars and workshops in which the ResCen artists discuss particular issues and themes within their creative process including: intuition, the role of play, the artist as catalyst, motivation, making space. Guest speakers from other disciplines have contributed to many of these discussions.
In addition to our extensive public conference, seminar and workshop series, ResCen has begun to develop seminars for delegates from key performing arts institutions, research centres and organisations, as well as funders and policy makers, to discuss past, current and future policy issues that affect artists' practice.
After spending much time brain storming Research questions I have decided on my Project Proposal Question:
• What motivates an individual to strive for a career in dance or drama.
I decided to research further in to the field that my project question would be based and perhaps discover techniques, instruments and general performing information that I may not have considered. Whilst doing so I came across a company called ResCen. This is abbreviated from the full term as the centre of research into creation in the performing arts.
From this site I learned some key research tools which I think may be useful towards my Project.
Knowledge generation
A key part of ResCen’s work is to generate and analyse knowledge through reflection on process, as well as one-to-one, group discussions and presentations by ResCen artists, invited guests and audience members.
A number of events have been presented in which artists discuss and examine particular processes that form and influence their work. These include:
• Nightwalking conference/symposium a three-day, artist-led event that included podium discussions, presentations, installations and performances in and around the South Bank Centre and Greenwich Dance Agency.
• an on-going series of public seminars and workshops in which the ResCen artists discuss particular issues and themes within their creative process including: intuition, the role of play, the artist as catalyst, motivation, making space. Guest speakers from other disciplines have contributed to many of these discussions.
In addition to our extensive public conference, seminar and workshop series, ResCen has begun to develop seminars for delegates from key performing arts institutions, research centres and organisations, as well as funders and policy makers, to discuss past, current and future policy issues that affect artists' practice.
Activity 1 - Glossary.
Control Group - In experimental research, a group that, for the sake of comparison, does not receive the treatment the experimenter is interested in.
Crossbreaks - Also called cross- tabulation and cross partitions. A way of arranging data about categorical variables in a matrix so that relations can be more clearly seen. This is not to be confused with a factorial table, in which two or more variables are related to a third.
Data Set- a collection of related data items, such as answers given by respondents to all questions on a survey.
External validity- the extent to which the findings of a study are relevant to subjects and settings beyond those in the study. Another term for generalizability.
Univariate Analysis- studying the distribution of cases of one variable only. For example, studying the ages of a particular group in society but not considering their gender, ethnicity, and so on.
Validity- a term to describe a measurement instrument or test that measures what it is supposed to measure; the extent to which a measure is free of systematic error. For example, a bathroom scale provides a reliable measure but cannot give a valid measure of height.
(These are just a selected number of words from my full glossary I have constructed since the start of the module.)
Crossbreaks - Also called cross- tabulation and cross partitions. A way of arranging data about categorical variables in a matrix so that relations can be more clearly seen. This is not to be confused with a factorial table, in which two or more variables are related to a third.
Data Set- a collection of related data items, such as answers given by respondents to all questions on a survey.
External validity- the extent to which the findings of a study are relevant to subjects and settings beyond those in the study. Another term for generalizability.
Univariate Analysis- studying the distribution of cases of one variable only. For example, studying the ages of a particular group in society but not considering their gender, ethnicity, and so on.
Validity- a term to describe a measurement instrument or test that measures what it is supposed to measure; the extent to which a measure is free of systematic error. For example, a bathroom scale provides a reliable measure but cannot give a valid measure of height.
(These are just a selected number of words from my full glossary I have constructed since the start of the module.)
Thursday, 18 March 2010
Learning Diary Entry 3.
Like many others on the course I have come to the conclusion that my chosen topic to base my project on needs to fulfill career aspirations and answer the questions I have about my life as it stands now. This will help me achieve my future goals and resolve problems which are present in my employment.
When attending the last campus session the module criteria was explained in more detail to me developing my understanding of what was expected of me. The session was a thorough guide of research methods, how to apply them and under what circumstances they would best be used for.
I have never academically constructed a project proposal or had the necessity to investigate new ideas and information through research so have a very limited knowledge on research methods and theories.
I learnt that two compulsory sources to be used are those:
When attending the last campus session the module criteria was explained in more detail to me developing my understanding of what was expected of me. The session was a thorough guide of research methods, how to apply them and under what circumstances they would best be used for.
I have never academically constructed a project proposal or had the necessity to investigate new ideas and information through research so have a very limited knowledge on research methods and theories.
I learnt that two compulsory sources to be used are those:
- Primary
and
- Secondary.
Primary Research.
This is research that is collected directly by myself from the targeted participants of my project. It is collected in the form of: surveys, interviews, focus groups, observations, questionnaires and other methods that involve me personally applying myself to collect information and data. This source is usually designed to help answer and solve a specific question or problem about experience and depends on being physically involved.
Secondary Research.
This type of research already exists in the form of: census data, features in journals, newspaper articles, databases, internal company documents, audio videos (e.g you tube, training videos) and other documents that may have been used by the public or former researchers.
Both Primary and Secondary information can be related to either:
- Quantitative
or
- Qualitative research.
Quantitative.
Is concerned with the collection and analysis of data in numeric form. Links statistics and involves: percentages, proportions, graphs, charts, numerical measurements and other results concerning quantities.
Qualitative.
This research gathers more insight from participants about detail including feelings and motivations. It strives to specify the quality of relationships between two or more things. Related terms that can be associated with this type of research are: emotions, attitudes, reactions and beliefs.
Other relevant terms covered in the Campus session were:
Exploratory Research.
This develops a focus and direction for conclusive research. It is often used to uncover problems and identify variables that need to be measured. It specifically helps formulate a hypothesis or an educated guess about the outcome of a test. It can provide detail to evaluate alternative courses of action. Mainly designed to test hypothesis and examine relationships.
Descriptive Research.
This discovers and describes the behaviour of elements within the research problem.
E.g- Student competence , satisfaction, likes and dislikes and improvement.
Can be remembered by the research that helps to answer the primary questions: who, what, when, where and how.
Other methods of research:
- Casual Research
- Validity and Reliability
I feel this session has extended my knowledge of methods and types of research that will be of importance when designing my project proposal and deciding what tools should be applied throughout my research. It has helped me discover that choosing the wrong source of research may develop insufficient results causing my final module to be unsuccessful.
Monday, 1 March 2010
Learning Diary Entry 2.
Like many others on the course I have come to the conclusion that my chosen topic to base my project on needs to fufill career aspirations and answer the questions I have about my life as it stands now. This will help me achieve my future goals and resolve problems which are present
After reading through the 3835 module handbook I believe that this will be the module I find most interesting, being able to develop my thoughts around an area I feel passionately about and research intensely.
Through holding many conversations with fellow students on my course I discovered that when brainstorming my ideas for my Project Propsal title I should consider:
After reading through the 3835 module handbook I believe that this will be the module I find most interesting, being able to develop my thoughts around an area I feel passionately about and research intensely.
Through holding many conversations with fellow students on my course I discovered that when brainstorming my ideas for my Project Propsal title I should consider:
- How much I already know about the chosen Topic.
- Am I working in or closely alongside the proposed area of interest. Will I be at the centre of this research?
- Has this Project Proposal been researched before and if so how often.
- Is there plenty of background literature and research resources available to support the project.
- Will the chosen topic help me achieve my future ambitions to become a successful drama teacher.
- Am I souly interested in this topic.
After disscussing and considering all of these factors I drew to the conclusion that I wanted to base my Project around other pupils/ students desire and motivation towards establishing a successful career in performing arts.
At 'Lemon Jellys', the stage school where I work I held a brief informal end of class discussion to try and discover whether my area of interest was also of interest to others. Through debates and many verbal opinions I drew to the conclusion that my selected field of research was well worth while.
When arriving home I decided to venture deeper into my idea of revealing the factors behind performer and teacher's inspiration for performing arts. I read and learnt a little on past discoveries from peer presure through parents to pure talent and amazing creativity, sparking societies varried and exciting performing carreres.I reached the conclusion that although my idea had been researched and reported in many styles there was room for more constructive analysis.
Friday, 19 February 2010
Module 3835 Learning Diary Entree 1.
Ok, so I have just been reading the new module handbook and trying to grasp the full content of the module. Since new year I have started a new job holding workshops teaching dance and drama for a performance company titled "Lemon Jelly Arts". I am discovering so many more aspects to teaching. Different passions are appearing for me within the job and certain problems are occuring.
Recently I discovered my admirations towards childrens independant thoughts and ideas and developed a deeper understanding in the belief that the children should have a little say towards the content of the class. So many of the children have ideas and dancing styles that they wish to share and I have learnt so much about learning and performing from them in the last two months. Whoever said that the teacher can't learn too!? All children work at different standards and adapt to different methods of learning easier than others. If the student gives imput towards the structure of the class it is enjoyable for them and allows me to keep them interested and striving for their full potential.
There is an area which I strive to understand more and that is to depict how a childs mind develops and what urges them to become involved in the performing arts and why at adolesence they ultimately decide to dedicate their career to the arts.
I am looking forward to this module and after learning much about my self and my abilities from the last module I am excited to start this one.
I was unable to attend the last Campus session due to late notice however have found all the posts on blogs extremely helpful and feel from reading these I am not totally clear but have a much better understanding.
Recently I discovered my admirations towards childrens independant thoughts and ideas and developed a deeper understanding in the belief that the children should have a little say towards the content of the class. So many of the children have ideas and dancing styles that they wish to share and I have learnt so much about learning and performing from them in the last two months. Whoever said that the teacher can't learn too!? All children work at different standards and adapt to different methods of learning easier than others. If the student gives imput towards the structure of the class it is enjoyable for them and allows me to keep them interested and striving for their full potential.
There is an area which I strive to understand more and that is to depict how a childs mind develops and what urges them to become involved in the performing arts and why at adolesence they ultimately decide to dedicate their career to the arts.
I am looking forward to this module and after learning much about my self and my abilities from the last module I am excited to start this one.
I was unable to attend the last Campus session due to late notice however have found all the posts on blogs extremely helpful and feel from reading these I am not totally clear but have a much better understanding.
Sunday, 3 January 2010
TASK D- Descriptive piece final draft.
The
Seven Deadly Sins!
Its a roller coaster ride of obsession and intrigue in which music and emotion can create splendid performance, yet provoking primeval instinct . Its a performance to stimulate the senses... it will leave you 'praying' for more!
As you enter the grand Civic Hall through the deep maroon doorway the warmth hits you that has journeyed from the overwhelming lights flooding off the theatre stage. Whilst you are sub consciously carried with the enthusiastic crowd towards the dimly lit auditorium you are embrace the feelings and atmosphere that glows off each and every person filling you with excitement and intrigue.
As the lights dim and the music crescendos through over a hundred ear drums a climax is created displaying the shows commencement. The crowd falls in to a deadly silence demonstrating the apparent suspense as they await the anticipated tsunami of mixed emotions.
In the cavernous darkness of back stage, the heightened senses of the performers are welling up to the eruption of emotions of performing to the masses, like a panther gathering methodical thought of how to act upon their pray.
As the first performer steps in to the light the crowd watches on in a frozen state as they are captivated through entertainment, visually capturing the lightning strikes of unique talents. Flashes of elevation, skill, speed, flexibility, style and sound swamp the stage allowing each and every person to feel the passion and excitement that this performance holds. The show pierces the audiences transparent armour that shields their persona, hitting the deeply seated taboos to awaken their inner guilt's.
The production opens exposing a burst of mixed emotions to stimulate the senses and leave you enticed by what is to come. As the show progresses it forms a collage of talent that is prevailed through jazz, tap, contemporary, street and lyrical dance. This is accompanied by varied vocal styles and dramatic scenes which add to the fun and comedy of the performance.
You are transported to a world full of colour, spark, sequins and visual effects where morality hypnotises the mind enabling reality and fantasy to blend. The elements of performance are conjured together to create an explosion of talented unpredictability and contrast.
The Seven Deadly Sins was designed to reflect the issues and impact of modern day society, covering a variety of emotions from Envy to Lust. The beauty of creating a show around these rebellious emotions allows the audience to relate to the ideas illustrated through performance and enables them to reflect on
situations in their own lives. By using the feelings we witness in every day life it creates a degree of understanding and an experience of excitement.
Each of the seven sins is explored, from their origins and nature, their opposing virtue, and their corresponding punishment. Watch over as the sins toxify your soul and replenish your mind with skill you never knew existed.
Seven Deadly Sins!Its a roller coaster ride of obsession and intrigue in which music and emotion can create splendid performance, yet provoking primeval instinct . Its a performance to stimulate the senses... it will leave you 'praying' for more!
As you enter the grand Civic Hall through the deep maroon doorway the warmth hits you that has journeyed from the overwhelming lights flooding off the theatre stage. Whilst you are sub consciously carried with the enthusiastic crowd towards the dimly lit auditorium you are embrace the feelings and atmosphere that glows off each and every person filling you with excitement and intrigue.
As the lights dim and the music crescendos through over a hundred ear drums a climax is created displaying the shows commencement. The crowd falls in to a deadly silence demonstrating the apparent suspense as they await the anticipated tsunami of mixed emotions.
In the cavernous darkness of back stage, the heightened senses of the performers are welling up to the eruption of emotions of performing to the masses, like a panther gathering methodical thought of how to act upon their pray.
As the first performer steps in to the light the crowd watches on in a frozen state as they are captivated through entertainment, visually capturing the lightning strikes of unique talents. Flashes of elevation, skill, speed, flexibility, style and sound swamp the stage allowing each and every person to feel the passion and excitement that this performance holds. The show pierces the audiences transparent armour that shields their persona, hitting the deeply seated taboos to awaken their inner guilt's.
The production opens exposing a burst of mixed emotions to stimulate the senses and leave you enticed by what is to come. As the show progresses it forms a collage of talent that is prevailed through jazz, tap, contemporary, street and lyrical dance. This is accompanied by varied vocal styles and dramatic scenes which add to the fun and comedy of the performance.
You are transported to a world full of colour, spark, sequins and visual effects where morality hypnotises the mind enabling reality and fantasy to blend. The elements of performance are conjured together to create an explosion of talented unpredictability and contrast.
The Seven Deadly Sins was designed to reflect the issues and impact of modern day society, covering a variety of emotions from Envy to Lust. The beauty of creating a show around these rebellious emotions allows the audience to relate to the ideas illustrated through performance and enables them to reflect on
situations in their own lives. By using the feelings we witness in every day life it creates a degree of understanding and an experience of excitement.Each of the seven sins is explored, from their origins and nature, their opposing virtue, and their corresponding punishment. Watch over as the sins toxify your soul and replenish your mind with skill you never knew existed.
Saturday, 2 January 2010
Task d- Academic Piece final draft.
How Performing Arts can benefit a Childs Development.
There are many benefits to getting involved in the performing arts, whether as an actor, dancer, comedian, musician or a singer. After much research and effort it has come to believe that from a young age children retain a stronger development through watching and participating in performing arts.
'A year ago, I traced the developments in making the arts a core subject… I likened that effort to the plight of Sisyphus, who toiled unceasingly to push a boulder up a steep hill. But, I concluded that recent developments in curriculum, assessment, research, and policy, most notably inclusion of the arts as a core academic subject… could be effectively harnessed to move the boulder to the top of the hill.' (5).
There are significant social benefits from perusing performing arts within a life style. The most obvious benefit is that performing arts has adapted and enhanced over the years to become woven in to our society. This is evident by the increase of performance publicity through theatre and television.
“This Christmas, 20 million of us are expected to tune into the finals of Strictly Come Dancing and the X- Factor. We will watch as the wannabe dancers and singers fight to complete their journeys from ordinary ability to extraordinary achievement.” (1).
Socializing is an important factor as it brings people together to enjoy, discuss or even participate themselves in the arts. It replenishes aspirations, determination and motivation for all generations. Children’s exposure to these elements are vital for they are at the birth of their development of potentially successful careers. It opens up a forum for discussion and play act participation.
By encouraging others, including children to take an involvement or becoming involved yourself opens doors socially and allows them to make new friends easily. This sense and skill of communication is a major asset to drama and all elements of the performing arts, as well as situations that we encounter in our everyday lives.
“Stephen Clift… believes that many of the skills performing arts develop are applicable in everyday life. "You can't put on a concert, perform a play or carry out a dance routine without learning something about teamwork, respect, dedication and concentration. These skills are very often the very things disadvantaged or disillusioned young people often lack," he says”. (1).
Once these qualities are apparent, children can mature rapidly in to adolescence and begin deciphering their individuality and unique image. This development plays a key part to how an individual expresses themselves and aids their ability to speak in public. This requires intelligence which performing arts can generate with variety.
“ … music, dance and drama can improve your intelligence levels because you learn so many new skills, and where scripts are concerned you are likely to learn new words and general knowledge.” (6).
Script work is firmly based around reading therefore enhances a child’s memorization and reading retention skills which gradually will stabilise their independence.
By engaging with Performing Arts it can boost confidence and will primarily benefit those who are shy or lack self confidence and enhance self belief. Performing in front of a large or small crowd can be daunting but during rehearsals you grow in confidence as your skills improve and you will be able to use this new found confidence in every aspect of your life.
“Many young people are beset by low confidence and self esteem, but the performing arts shake up their perceptions of themselves, and help them realise what they are capable of achieving.” (1).
Performing organisations and companies help introduce society to their local communities and for the youth of society it can install drive and motivation towards the arts perhaps replacing any crime, theft and uncivilised behaviour which may occur due to street life, peer preasure or boredom. Spiritual and psycological benefits replace these elements and encourages self discipline, diligence, self- expression, calmness and fulfilment.
There is still great concern that performing arts can blindfold children from their academic learning and plant enjoyment and physical skill that is useless to some future careers.
“Of course scepticism about the arts still remains. There is a worry that they will be prioritised over more practical services that young people need to get them on their feet” (1).
However if American attitudes towards arts education prove “86% agree an arts education encourages and assists in the improvement of a child’s attitudes toward school” (3) then the rest of the world should follow this influence and strive to understand the benefits children will reap. “We celebrate the arts for the value they add to learning and to life." (3.)
This highlights why performing arts is a necessity to a persons education. How performing arts can be "a connective tissue... in our every day lives" (2). Now you have read and understood why performing arts are good and beneficial towards your life, why not research local performance workshops and lessons around your region. Or alternatively visit the Bedworth Civic Hall on 9th September to witness the talent behind Rachel Lee Moore's 'Seven Deadly Sins' and spark that enthusiasm that lives in each and every one of us.
Resources Used:
1. Davis, Rowenna, 2008. How Performing Arts can help disadvantaged young people.
2. Milner, Jenifer, 2002. Performing Arts and Education in Canada. National
3. Assembly of State Arts Agencies, 2006. Arts in the Spotlight.
4. Rose, Lowell C and Alec M Gallup, 2004. Gallup Poll of the Public Attitudes Toward the Public Schools.
5. Herbert, Doug, 2001,U.S. Department of Education. Getting to the Top: Arts Essential Academic Learning Requirements.
6. unknown, 2009, available from: http://www.performingartslocal.co.uk/why_enter_performingarts.asp
There are many benefits to getting involved in the performing arts, whether as an actor, dancer, comedian, musician or a singer. After much research and effort it has come to believe that from a young age children retain a stronger development through watching and participating in performing arts.
'A year ago, I traced the developments in making the arts a core subject… I likened that effort to the plight of Sisyphus, who toiled unceasingly to push a boulder up a steep hill. But, I concluded that recent developments in curriculum, assessment, research, and policy, most notably inclusion of the arts as a core academic subject… could be effectively harnessed to move the boulder to the top of the hill.' (5).
There are significant social benefits from perusing performing arts within a life style. The most obvious benefit is that performing arts has adapted and enhanced over the years to become woven in to our society. This is evident by the increase of performance publicity through theatre and television.
“This Christmas, 20 million of us are expected to tune into the finals of Strictly Come Dancing and the X- Factor. We will watch as the wannabe dancers and singers fight to complete their journeys from ordinary ability to extraordinary achievement.” (1).
Socializing is an important factor as it brings people together to enjoy, discuss or even participate themselves in the arts. It replenishes aspirations, determination and motivation for all generations. Children’s exposure to these elements are vital for they are at the birth of their development of potentially successful careers. It opens up a forum for discussion and play act participation.
By encouraging others, including children to take an involvement or becoming involved yourself opens doors socially and allows them to make new friends easily. This sense and skill of communication is a major asset to drama and all elements of the performing arts, as well as situations that we encounter in our everyday lives.
“Stephen Clift… believes that many of the skills performing arts develop are applicable in everyday life. "You can't put on a concert, perform a play or carry out a dance routine without learning something about teamwork, respect, dedication and concentration. These skills are very often the very things disadvantaged or disillusioned young people often lack," he says”. (1).
Once these qualities are apparent, children can mature rapidly in to adolescence and begin deciphering their individuality and unique image. This development plays a key part to how an individual expresses themselves and aids their ability to speak in public. This requires intelligence which performing arts can generate with variety.
“ … music, dance and drama can improve your intelligence levels because you learn so many new skills, and where scripts are concerned you are likely to learn new words and general knowledge.” (6).
Script work is firmly based around reading therefore enhances a child’s memorization and reading retention skills which gradually will stabilise their independence.
By engaging with Performing Arts it can boost confidence and will primarily benefit those who are shy or lack self confidence and enhance self belief. Performing in front of a large or small crowd can be daunting but during rehearsals you grow in confidence as your skills improve and you will be able to use this new found confidence in every aspect of your life.
“Many young people are beset by low confidence and self esteem, but the performing arts shake up their perceptions of themselves, and help them realise what they are capable of achieving.” (1).
Performing organisations and companies help introduce society to their local communities and for the youth of society it can install drive and motivation towards the arts perhaps replacing any crime, theft and uncivilised behaviour which may occur due to street life, peer preasure or boredom. Spiritual and psycological benefits replace these elements and encourages self discipline, diligence, self- expression, calmness and fulfilment.
There is still great concern that performing arts can blindfold children from their academic learning and plant enjoyment and physical skill that is useless to some future careers.
“Of course scepticism about the arts still remains. There is a worry that they will be prioritised over more practical services that young people need to get them on their feet” (1).
However if American attitudes towards arts education prove “86% agree an arts education encourages and assists in the improvement of a child’s attitudes toward school” (3) then the rest of the world should follow this influence and strive to understand the benefits children will reap. “We celebrate the arts for the value they add to learning and to life." (3.)
This highlights why performing arts is a necessity to a persons education. How performing arts can be "a connective tissue... in our every day lives" (2). Now you have read and understood why performing arts are good and beneficial towards your life, why not research local performance workshops and lessons around your region. Or alternatively visit the Bedworth Civic Hall on 9th September to witness the talent behind Rachel Lee Moore's 'Seven Deadly Sins' and spark that enthusiasm that lives in each and every one of us.
Resources Used:
1. Davis, Rowenna, 2008. How Performing Arts can help disadvantaged young people.
2. Milner, Jenifer, 2002. Performing Arts and Education in Canada. National
3. Assembly of State Arts Agencies, 2006. Arts in the Spotlight.
4. Rose, Lowell C and Alec M Gallup, 2004. Gallup Poll of the Public Attitudes Toward the Public Schools.
5. Herbert, Doug, 2001,U.S. Department of Education. Getting to the Top: Arts Essential Academic Learning Requirements.
6. unknown, 2009, available from: http://www.performingartslocal.co.uk/why_enter_performingarts.asp
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