Task 5c: Thoughts on Reader 5; Professional ethics in relation to my inquiry

ETHIC
Noun. Plural noun: Ethics.

A set of moral principles, especially ones relating to or affirming a specified group, field, or form of conduct.

I have always been brought up on strong ethical morals and values and I have inevitably taken these into my personal and professional life. However, I found reader 5 very compelling to read as it unveiled several new aspects of ethics that I have never considered before.
For example, I discovered that there are contrasting theories to ethics that sway the outcome of a situation.

Consequentialism means that where an act is morally right, and only if, that act maximizes the good. With regards to whether an action is morally right depends on the outcomes ( consequences).
JS Mill(1861) developed this theory of moral obligation to produce the greatest good for the greatest number (reader 5 page 9).
This theory can be deemed as imperative in large organisations as they strive to create the greatest outcome. However, it can be portrayed as unethical if your intentions are morally wrong.
 A good example of this is the case study in reader 5 of the 'Ethics in Photography',(reader 5 page 11) the story of photographer Kevin Carter. It states that his lack of intervention on the girl's behalf was justified ( he and the other photographers were instructed not to touch anyone for fear of epidemics), but I believe ethical morals should over ride rules in this situation. He didn't help the little girl to find water, he followed 'the rules', and maximised his outcome by then winning a prize for the photograph. In a professional workplace such as teaching, the students are your number one priority. Consequences occur that may question rules and regulations but I believe that if the outcome is of a greater good then it should over ride the deontology ethical rule.

Deontology is where Immanuel Kant (1779) believed that moral rules are absolute and argued that only absolutely good thing is a good will. He stated that you should help people no matter what your desires are. For Kant, lying is always wrong no matter what the circumstances are.
Of course rules and regulations should be abided by in your professional workplace and community as it keeps the system working efficiently and smoothly. However in reference to the case study of the photographer in reader 5, the motives of his actions were morally wrong even though he was abiding by the rules. I believe in following deontology in the workplace to a certain extent, but if the rules question your ethical morals I would certainly go against them to ensure the outcome would always be morally right and that of a greater good.

Virtue ethics is a theory that focuses on the moral behaviour and character of a person rather than the importance of the action. But if the consequences and rules of the action are thrown out the window, how does that determine if it is morally right or wrong based on the person's character? In my opinion, if someone's actions are ethically unjust then that relates to that person's character. Your actions reflect on your personality, undoubtedly.

To pursue my professional inquiry there are many factors I must consider to ensure all information and research I convey is true and unbiased. Ultimately I want to establish that the people I am interviewing feel comfortable and safe with the questions I put forward to them. I intend to interview professionals in the field of Dance Movement Psychotherapy, so all interviewees will be over the age of 18 and will not need consent from a parent or guardian.
However, if I were to interview participant's of a dance movement therapy session who suffers with for instance, Parkinson's, would I need consent from a spouse or family member as well as themselves?
I will definitely use The British Educational Research Association (BERA) to conduct my ethics checklist when composing my inquiry plan.

https://www.bera.ac.uk/wp-content/uploads/2014/02/Ethics-and-Educational-Research.pdf?noredirect=1

"As a researcher - as a professor who teaches research ethics - I am obligated to ensure accuracy, to uphold confidentiality, to secure informed consent...and to promote beneficence." (Tillman 2010 p.1).

 It has occurred to me that I will likely interview an elderly person at some stage in the inquiry process and I have to acknowledge what impact this will have on them, and I will be compelled to ensure that the interview is beneficial to them, and not just for me.
Ethical laws in professional practice need to be contemplated when piecing together my plan for my professional inquiry. Some of these are:

Data Protection Act http://www.legislation.gov.uk/ukpga/1998/29/contents
Human Rights Act http://www.legislation.gov.uk/ukpga/1998/42/contents
Equality Act http://equalities.gov.uk/equality_act_2010.aspx

I intend to scour these sources and determine that my findings in my research comply with these laws respectively.

References

Mill, JS (1987) Utilitarianism and Other Essays. London: Penguin.
Kant, I (2007) Critique of Pure Reason. London: Penguin Classics.
Tillman, L.M. (2010) Deadline: Ethics and the Ethnographic Divorce, Qualitative Inquiry, 10 (10) p1-3.



 

Task 5b: The codes of practice/ regulations which steer the ethical framework in my professional workplace

As I am not officially employed by John Lewis, I do not have a partner handbook regarding the codes of conduct in the business, so I looked at the company website online:

http://www.johnlewispartnership.co.uk/about/our-principles.html

Integrity, respect, courtesy and equality are all words which are evident in this link, which I mentioned in task 5a.

My Clinique contract briefly states my annual salary, how many days a week I work, my entitled holiday and so on and so forth. However, found the Estee Lauder Companies retail employee handbook from when I signed my contract, and it gives an enhanced account of what the codes of conduct or 'principles' are when working for Estee Lauder Companies. I've never really skimmed through this handbook page by page before, as when you sign a contract you generally just read the terms and conditions and double check that everything is correct beforehand. It was very interesting to read the handbook as it states clearly the do's and don'ts of the business, and also what you should do if you were ever in a situation where an appeal should be made for disciplinary action against them.
As I stated in task 5a, there is a policy on social media in the employee handbook:

" Many of us are already active participants in online social media. Some of us engage as part of our jobs. Many of us participate as a way of connecting with a community on our personal time. When you engage in social media the best advice is to approach the online world in the same way you do the physical one: by using sound judgement and common sense, by adhering to the Company's values, and by following the Company's Code of Corporate Conduct and all other applicable policies.......Statements made in postings can give rise to legal liabilities for you and the company. Company employees may be personally responsible for the content they publish on any internet forums during business and non-business hours. Remember that violations of Company policies could subject you to discipline up to and including termination."

I think the same policy goes for the BAPP course. Although the online blogs are an informal way of portraying your ideas with your colleagues and peers, you still have to be very vigilant and consider what is ethical in what you are saying.
Here are the Estee Lauder codes of conduct which comply with some of the ethical regulations I addressed in task 5a:

OUR COMMITMENTS

• Provide customers with innovative cosmetic products of the highest quality
• Deliver outstanding service by treating each individual as we ourselves would like to be treated.
• Create an environment that fosters personal growth and well-being.
• Build partnerships with our suppliers, retailers and colleagues based on fairness and trust.
• Enhance our reputation of image, style and prestige
• Pursue profit- but never at the expense of quality, service and reputation.
• Eliminate waste and reduce inefficiencies in order to provide maximum value to our customers.
• Be responsible citizens in every community we serve.
• Most of all, we are committed to working together with uncompromising ethics and integrity.

OUR PRINCIPLES

• Strive for excellence- deliver your best.
• Put your customer first. Know your customers, understand their needs and surpass their expectations.
• Be passionate about what you do! Enthusiasm and energy are contagious
• Never stop caring. Show concern and respect for every individual, regardless of position title.
• Understand your role in the big picture. We're all part of a larger whole.
• Look for new and better ways to do things to continually raise our standards.
• Communicate! voice your ideas, share your concerns, pass on what you know and be honest.
• Be a team player. We're stronger when we work together.
• Listen when others speak. Good ideas can come from anywhere.
• Be flexible. Success depends upon a willingness to adapt when situations change.
• Pay attention to the details- little things do make a difference.
• Solve the real problem, don't treat the symptom.
• Spread the good news. Let others know when they've done a good job.
• Smile...and have fun!

 

Task 5a: Considering Ethics that apply to my professional work and community

In my professional work community, I work within a John Lewis department store, and I am employed by the brand Clinique. In essence I am apart of two different communities in my professional practice. Both communities share similar ideas on ethical values and codes of practice which you must abide by in the workplace.
However, as I work within a John lewis store, I am considered as a concession, as I work for Clinique, rather than a Partner of the John Lewis business.  John Lewis Partners share the profit of the company between one another, where concessions don't.

As a benefit of working within John Lewis I am entitled to a 25% discount, and the same value is shared with Clinique where I receive an online discount of 55%. These discounts are both considered as a prestigious allowance, and if they are used against the terms and conditions a sanction would occur. Integrity is valued in this business and using your discount honestly is considered ethical in my professional work and community.
In both communities confidentiality is imperative in securing customer's credible details. For example, in Clinique we have an online system where customer's details are recorded to determine what products they have previously purchased. In no circumstance can the customer stand next to the till to view any client's details, they have to stand in front of the till so they are obscured from any information. The same applies for John Lewis; each new employee with the company attends training sessions where multiple choice questions are required on the importance of confidentiality to a client, and also the business.
It goes without saying that personal ethics cannot become involved with professional ethics and employer expectations. It can open a can of worms if you withhold a strong personal view that disagrees with what the customer is saying. It can be perceived as very unprofessional and can lead to a dismissal (which I have witnessed with a former colleague). The majority of the time in this particular working environment, the 'customer is always right', however damning that may be. So you just have to bite your tongue and keep your moral and ethical values to yourself. This type of scenario is in relation to behavioural ethics that apply to my professional community.

Social media can be a grey area when you are employed by John Lewis. If you mention the John Lewis partnership on any social media site it immediately flags up to the company, and would be detrimental to your own career and that of the business. Again it is common sense, if it isn't positive, don't post it!

English National Ballet

Whilst researching for my potential line of inquiry, I came across the recent results from English National Ballet's "Dance for Parkinson's", where findings were released on the 27th October of the three-year study into the effects of dance on people with Parkinson's.
An interesting read, and it really is food for thought in relation to my inquiry!

Katrina x

English National Ballet

Escaping from Parkinson's

" Dancing like this is helping me to get Mr Parkinson out of the driving seat of my life."

English National Ballet
Dance for Parkinson's

An investigative Study

by Dr. Sara Houston and Ashley McGill
Roehampton University
May 2011

I was intrigued to start reading this study by Houston and McGill as I knew it would give me more insight into my potential line of inquiry. Can dance really help people diagnosed with Parkinson's disease?

(Taken from the literature, a brief summary of what the project entailed:)
English National Ballet's department of learning joins a number of dance practitioners delivering dance for people with parkinson's in the UK. English National Ballet set up a pilot project for people with Parkinson's from October 2010 to February 2011. With two film cameras in the studio there were 12 dance sessions, given once a week for between an hour and 15 minutes and an hour and a half, with time after for refreshments. They were run in two blocks of six consecutive weeks with a break of four weeks for the christmas holidays. The sessions took place at the English national Ballet Headquarters. Not only were the participants led through a normal ballet 'barre' and class, they were taught various steps accompanied by live musicians throughout the sessions to the reportoire of Rudolf Nureyev's Romeo and Juliet, danced to Prokofiev's music.

The beginning of the study concludes a brief summary of the material they discovered. These were:

• Does not help with physical development, but it can help with mobility in the short term, particularly with musical accompaniment
• Provides tools to help with activities in everyday life
• Can loosen up the spinal area- improves posture and stability
• Precipitates feelings of well-being, determination and achievement

....and the statement that really stood out for me was:

• Provides an event for people with Parkinson's that is about Art, rather than about the disease.

What an incredible observation- that is undoubtedly the essence of ballet within the arts; it has the ability to completely remove you from your everyday life and transport you to another world. Due to the nature of the disease they may be limited in verbal or physical communication, but in these surroundings they have the freedom of expression, and a voice.

Several aims in relation to the study were to examine how the dancing affects participants, their careers and other stakeholders

• To assess the value of community within the group of participants
• To assess the creative and aesthetic value of dancing with music for the participants
• To evaluate the physiological impact of dancing on participants, specifically on the areas of postural alignment, balance and stability and motor control

It stated that Parkinson's is a degenerative disease with no known cure. Depression is common with sufferers and lack of co-ordination is apparent.

"Many people with Parkinson's lose balance because their response times are slower and because their bodily stance is compromised. More awareness of what their bodies are doing at any given moment may prevent falls."

Many people with Parkinson's disease lose their balance easily and find multitasking very difficult- so it would seem a dance class is the logical solution? Not only does the physical factors of dancing improve their general health, mobility and co-ordination, the physiological changes to the participant's well being really fascinated me.

 Housten and McGill required diary entries from the participants examining their daily life and what their thoughts and views were on the sessions. Interviews and informal conversations were also formed to create a greater perspective of the participant's lives. Throughout the study, many (anonymous) quotes are displayed from the participants, either from diary entries or interviews, and it portrays so clearly why this programme is such a positive community for so many to be apart of. 

"Handicapped though I am, I value the freedom of expression and for this I am deeply grateful. I realise how difficult it must be to include me in the class and how small my contribution is. However, to me it is a breath of fresh air for which I am most appreciative."

It reaffirms how imperative freedom and expression are to sufferers and they can get lost in their creative imagination through this class. The debilitating realness of the disease makes everyday life a challenge in itself, but by attending ENB's Dance for Parkinson's many of the participants noticed positive changes to their health.

"...Another example (of an extended range of movement) would be putting on a jacket which is more difficult for me than it was before I had Parkinson's and is a bit easier for a while after the classes. Basically the classes act like an athlete's warm up exercises to make the limbs more supple, increase their span of movement, and improve one's control over them. Nothing dramatic but a positive change can be felt."

I particularly liked how participants felt that they weren't labelled by their disease during these sessions. It enabled them to grow in confidence and share the experience with like minded people and in an environment they felt comfortable in. The impact of this project implemented massively on the professional dancers in ENB also. One dancer states that you should never take movement for granted and it has provided her with a larger, more positive perspective on life. As a dancer I entirely agree with one company member in the study - you can become so consumed in your own self when training or in a company that you sometimes forget how lucky you are to be able to walk and talk with ease, as well as dance.

Reading this study has been such an eye opener for me; full of positivity and it's wonderful to see what effect this programme has had on not only people with Parkinson's, but those without too. I am very interested in dance movement therapy, even more so with the mental developments that occur through therapy sessions and I'll definitely be looking into this in more detail.

Understanding Reader 4

I made notes all the way through reading reader 4 as I find this really helps me to understand the meaning of different theories and ideas.
I am currently working in retail, so I began to worry when I began flicking through the reader when it stated that the professional inquiry I will be undertaking will relate more to my workplace than traditional university educational experiences. Will I have to draw on past experiences and knowledge in my professional inquiry, rather than evaluate my current professional practice?
I looked at the reading lists for module 2 and came across this website from the centre for excellence in enquiry based learning, http://www.ceebl.manchester.ac.uk/ebl/

"Enquiry based learning inspires students to learn for themselves, bringing a real research -orientated approach to the subject ."

"Students gain not only a deeper understanding of the subject matter, but also the knowledge- development and leadership skills required for tackling complex problems that occur in the real world." (Dr.Bill Hutchings) 

This really struck a chord with me. I wanted to distinguish a more valuable meaning of EBL, and how beneficial the professional inquiry will be to me. Part of the reason for embarking on the BAPP course was to broaden my existing knowledge of dance and to develop skills that will be invaluable to me in the future, in whatever path my degree will take me. I want to utilise the existing discipline I have in dance, and ultimately develop my knowledge in other fields throughout this course to benefit my future career.

I looked at the following website to understand what differentiates single and double loop learning.
http://www.infed.org/thinkers/argyis.htm

Single loop learning: A process of solving a problem by altering a situation to match your expectations.
Double loop learning: Examining perceptions of the situation and altering them to achieve a more desirable outcome.

I guess double loop learning is effective in all work based practices. It questions why something went wrong, and changes them to achieve a more positive result. I can relate to this through dancing. If something doesn't work in a choreographic step, dancers and choreographers work through different ways to eventually make it work, by focusing on why it didn't in the first place to achieve the finished product. I think double loop learning is also relevant in work based learning throughout the BAPP course. We are constantly surrounded by learning and reading materials and we are forever questioning issues and literature to create a better understanding. It is about being open minded and allowing numerous ideas and theories to question your train of thought.

"Disciplines provide particular lenses or frameworks through which to explore, understand and act upon the world. They can be conceived of as 'tools for learning'"(Kreber, 2009, p16)

Transdisciplinary knowledge: Research efforts focused on problems that cross the boundaries of two or more disciplines. (Wikipedia)

My current professional practice requires transdisciplinary knowledge. In retail I have acquired a set of skills from previous disciplines, such as my dance career (management and communication skills on cruise ships), which has allowed me to excel in my current job role. In the future I intend to carry my primary source of knowledge of dance into teaching, where an educational discipline is needed, or into dance movement therapy (DMP). In this field you are still working within the sector of dance but you also have to accumulate a discipline in psychotherapy, to become a dance movement psychotherapist.

Competence: The ability to do a specific job
Capability: Where a person can gain new knowledge

Here is a list of my competencies and capabilities:
Competence: Good communication skills/ dance training/ makeup skills
Capability: Learning on the BAPP course/ Blogging/ communication with other students and colleagues.
I need a specific knowledge working with Clinique, however on the BAPP course gaining new knowledge is vital in work based learning, you are constantly learning something new everyday, which I love.
What do you know? From dancing in a professional environment since the age of 12, I know a fair bit of what dance (ballet) training involves. I withhold technique and artistry skills which I have gained through knowledge and experience from my training.
How do you know it? My knowledge through my dance career was from extensive training for many years and professional experience in the field.
What knowledge and skills will you need for the future? Completing my BAPP degree will indefinitely provide me with the knowledge and skills to progress my career in my chosen professional practice. The ability to examine and critically analyse a piece of literature, to question motives and ideas and allowing yourself to absorb new knowledge and information are all factors that will be invaluable to me in the future.

Knowledge from research seems to be a focal point in this module.

"Like dance making, research is purposeful, creative, interpretive, and intuitive process that is often circuitous and improvisational. The quintessential element of both choreography and research is discovery- we enter without knowing, in order to discover what we need to know to lead us to what there is to know." (Hanstein, Penelope, 1999, 23).

In depth research through literature, journals and books is something I need to get my teeth into, to see what other professionals have researched on my topic of interest. It is an exciting prospect as I have never explored anything so extensive before. It could change my train of thought completely, there might be another topic I may be more attracted to? I am hoping my research will help me gain new knowledge in several fields and piece together some sort of plan for my potential inquiry. I intend to jot down any ideas and theories I have from my research in my journal, I think this will be really constructive for me in this module.

I am looking forward to creating my own BAPP Special Interest Group, as this is professional networking and similar to how I work within a group in my own practice.


References
Centre for Excellence in Enquiry-Based Learning (CEEBL) Enquiry Based Learning, What is Enquiry-Based Learning (EBL)? University of Manchester
Available from: http://www.campus.manchester.ac.uk/ceebl/ebl/.

Kreber, Carolyn (2009) "The Modern Research University and its Disciplines:The Interplay between Contextual and Context-transcendent Influences on Teaching", in The University and its disciplines Teaching and Learning Within and Beyond Disciplinary Boundaries. Kreber, Carolyn (ed), London: Routledge.

Hanstein, Penelope (1999) From Idea to Research Proposal Balancing the Systematic and Serendipitous. Researching Dance Evolving Modes of Inquiry, Fraleigh, Sondra Horton and Hanstein, Penelope (eds). Pittsburgh: University of Pittsburgh Press, pp. 22-61.

Task 4a: Questions relevant to my practice

I have just returned from a beautiful two week break in Barbados, I feel very chilled out and relaxed and I am ready to get stuck into module 2. However I can't help feeling slightly anxious as I am a bit behind!

Task 4 asks us to develop a set of questions that are relevant to our practice. I am a tad overwhelmed in exploring this topic as my professional practice is currently in retail and not in the arts. I don't know if this will hinder my learning and development through this module? Is anyone else in the same position as me and struggling to find meaning in their practice if it is not in the arts?
In the future I am interested in veering into dance therapy, as this particular field really appeals to me. If it is something I wish to pursue in the future, could this be a possible line of inquiry even if it isn't related to my current practice??  Some possible questions could be:

How does dance therapy benefit people with mental health?

How much of the dance world is involved with mental health?

What research has been made to show the benefits dance has on people with mental health issues?

What skills are required in the job role? Do you have to be a dancer to become involved with dance therapy?

How is dance therapy funded? The NHS? Are there any dance company programmes run for people with mental health?


This is just one potential line of inquiry for me, and I would appreciate any comments or suggestions on my blog. I realise this is not related to my current practice, but as I am struggling to find a topic that is in relation to my professional work I wondered if talking about something that really interests me and maybe a future option for my career maybe more suitable??
I am also researching into finding local contemporary/ballet classes on a professional level in Southampton, as I think this involvement with dance again will really help me in this module!

Any comments will be most welcome!!

Katrina x

Thinking positive!

I can't believe it's already time to start module 2 again! Where has the time gone?! I hope everyone has had a chilled and relaxing summer break, I know I certainly have. At the moment I do feel a tad overwhelmed at delving into module 2, but I guess I have to muster up some confidence and just go for it!
Today has really been a day of getting my brain into uni mode again and attempting to create some potential lines of inquiry. A few weeks ago I brainstormed some ideas that kept popping into my head whilst I was on my lunch break at work; issues I believe should be addressed in the dance industry and in vocational schools, and some focusing on past experiences at dance college.

However, after a phone call with Paula Nottingham this afternoon, I realised that this brainstorm was in fact connected to negative views I obtain on the industry. They are merely statements that I believe are unjust or derogatory in the system and they are not topics that interest me. 

What do I want to do? What do I love to do?  I have come to the conclusion that I have turned a blind eye to my creative side since I stopped dancing due to my injuries, and I have in a way accepted that I might not dance professionally again and that is that. But why? Yes I am currently working in retail so I can pay the bills at the end of the month, but it shouldn't stop me from being curious and attentive to the dance world. I know my dancing past has been tainted with bad experiences, but my future should be veering towards the more positive impact dance has on me and my life!
I think I need to accept the process of learning, collecting and building on information that interests me instead of feeling anxious and wanting things to happen quickly, because the learning cycle doesn't work that way. Instead of pondering on the negative experiences, I need to draw on the positive, and allow my creative thinking to flow......

Task 3C: My 5 sources of information

I was quite stuck on how to begin this blog, so I looked through a few fellow BAPPer's tasks to gain some inspiration! 

As it turns out I have a variety of sources of information accessible to me:

Firstly, I think it would have to be the internet. It's my focal point of call whenever I want to 'google' something for more in depth information on a subject matter. The interenet is so easily attainable and I can more or less look up anything I wish. I particularly like using an online thesaurus for all of my BAPP work,it enables me to quickly flick through to different variations of words I want to use instead of the old fashioned book- lazy but nesessary at the moment!  

My phone... Is something I feel I am virtually attached to and couldn't live without. Even now I am blogging from the 'blogger' app! I have so many apps on my iPhone; the mail online and the guardian is something I regulary look at every morning when I wake up, my virtual newspaper. I like to know what's going on in this world we live in, especially with the election round the corner. I use Skype from my phone for the BAPP group sessions as I am normally on the go and not always in one place at one time sat infront of my laptop. 

YouTube is a great visual source of information. I am still a bit of a ballet geek at heart and I love to spend hours watching endless clips on YouTube; either from ballet stars or promising ballet students from such competitions as Prix De Lausanne or the Youth America Grand Prix. It's intriguing to see what new fresh talent is out there. I'm also obsessed with makeup as I do work in cosmetics, so I turn to YouTube videos to update myself on the current trends- bloggers tutorials are quick and easy to follow. 

The theatre.. I absolutely love the theatre and fortunately for myself one of my friends works at our local theatre so I can usually get tickets for about £5! It's imperative to still be involved with the industry even though you aren't not currently in it; after all it is my passion. This year I have seen Matthew Bourne's Edward Scissor hands,Wicked, Singing in the Rain, ENB's Coppelia and Carlos Acosta's production of 'on before'. It is so inspiring to see new works at the theatre, and in addition to Ballet I am just a little bit obsessed with musicals! It really does motivate and compels me to keep going, and it's also such a breath of fresh air to actually physically watch a performance, rather than heavily relying on the internet to observe new work. 

Blogs.. This has been such a new experience for me. At first I found it very difficult to get a grasp on the blogging world, but once I had experimented with a few I was good to go! Communicating and engaging with other students on the course has facilitated my learning and also opened my mind up to how different people think and interpret things. The Blogs have enabled me to reflect on my thinking and learning pattern for the first time, which has been a real eye opener for me. Being online has it's advantages of being so easy to use, but also the disadvantage of not having that one to one attention with your tutor. I am thinking of possibly travelling to London for a few campus sessions either this module or when module 2 starts in October, it isn't too far away from me and I think it will definitely give me peace of mind. 

Task 3B:Theories relating to networking

Cooperation

"Game Theory" - The decision to cooperate or not.

"The Prisoner's Dilema" game was a funny one to get my head around at first. My initial reaction on the game was that you have to cooperate with the other player to achieve the final goal, and if you abide by the rules and don't cheat you achieve success. But how much are people willing to cooperate with each other, and are they just playing the game? Robert Axelrod explains his theory of "tit for tat":

" Cooperation based solely on reciprocity seemed possible." (Axelrod, R.1984 Pviii)

This 'Tit for tat' strategy basically means you copy what the other person did in the round before you, something that Axelrod found a success in testing out this theory in a series of games.

"Cooperating fully with others until you reach a point of maximum benefit and then to defect." (Axelrod, R. 1984)

This means that you will cooperate with someone until they are no longer beneficial to you. I myself have never used someone as such to get what I want out of them then end it- I believe cooperation with one another is very important and I don't see myself personally as a 'user' of people. This exploitation of the other person is where I can see a relation in the dance industry. On some level dancers do cooperate and communicate with each other to obtain information for auditions, what social media sites to search for jobs and to get the inside scoop on the dance world. Further more, the termination of the cooperation or the 'defect' is relevant in the industry, however vicious that may be. As you are relatively out there by yourself, the 'defect' in an audition is to get yourself noticed, push others out of the way and in the end, to get the job. You are not cooperating with others by that point, you are purely by yourself. However, in a contrasting workplace such as my job in retail, I believe you do have to cooperate with one another to achieve success. My colleagues and I help each other out if one of us hasn't fulfilled our sales target for the day. We cooperate with each other to reach our final goal, we are a team and it just wouldn't work if we 'defected'.


Affiliation

"The relationship resulting from affiliating one thing from another."

Affiliation is the psychological process that operates in our brains when people form close relationships with one another.
It provides us "with a network of support that will help us when we are need" ( Crisp and Turner, 2007, p.266).
I think it is extremely important to form close bonds and relationships with people in all walks of life, as Crisp and Turner stated, you never know when you are going to hit rock bottom and need people the most, so I truly believe that what you put into life is what you get out.
One of the principles of the affiliation theory is that of " Homeostasis". (O'Connor and Rosenblood, 1996). It means that our need for affiliation within each one of us may differ, but we each seek to balance our interactions with others to a preferred level. O'Connor and Rosenblood suggest this may link to relative and preferred levels of human stimulation ( introvert and extrovert).
When I was studying at Dance college I was extremely shy and introverted, which I think deferred my development as a dancer and as a person. The more confident and extroverted students seemed to exel in their dancing where I was always on the sideline, and I do believe this has been a set back for me as dancers and performers are naturally quite confident and extroverted. However, my experience of my hardships at dance school and rejections in the industry has slowly but surely toughened my skin, and my naturally quiet persona has had to learn (even though uncomfortable at times) to be confident in any given situation. Although this might of been a negative for me at dance school, these experiences have been invaluable life skills for me so I now count them as a positive.
The Homeostasis principle is something I can really relate to in my practice. I rely on close relationships with people and being away from my loved ones for 7 months at a time on the ship was extremely difficult to me. I prefer to be around friends and family all the time, and it is very important to me especially as I have got older. The privacy regulation idea ( Hofstede, 1980) is where individuals seek to maintain privacy at preferred levels. This is what I found difficult on the ship; you are living and working with your cast members 24/7 and as an introvert I respect my privacy profusely, I found it hard to balance my privacy and social time, and that frustration led to homesickness. Perhaps this has been a defect in my career? Maybe if I wasn't so homesick would I have progressed on ships or in my career if  I had continued to work abroad? Forming close bonds on the ship were imperative to me as it was a network of support whist I was so far away from home. It got me thinking, if you are introverted and respect your privacy, will that stop your development in networking in your professional career? I believe professional networking is an extension of our need to affiliate to develop our careers. In the Dance industry it's all about forming bonds and networking with other dancers and directors. What you put in is what you get out, and generally it is about who you know in obtaining work.


Social Constructionism

Humans construct meanings of the world and their experiences of it. " What constructionism claims is that meanings are constructed by human beings as they engage with the world they are interpreting"(Crotty, M. 2005).  So in my professional practice, and in my everyday life I engage with the knowledge I already have to gain meaning of a situation. For instance, when I first started rehearsals in Florida for the cruise line, I had no idea what was going to lie ahead of me, it was a completely new situation. But as I socially engaged with others and interpreted more knowledge through interaction, I began to understand the 'meaning' of the situation more. I guess this relates to a new job or a new home- you have no understanding of it before you start but you will eventually gain a meaning for it. 

Connectivism

This is really what the BAPP course is about. The online network enables students to engage and learn from one another, reading blogs and Skype sessions have facilitated my learning. This way of learning is completely new to me, it is based on concepts and ideas of others but it really compels you to think for yourself, relate it to your own practice and even question the theory. It is very different from the teacher to student method in the classroom; where you absorb the information given to you and then memorise it.  

"Technology is altering (rewiring) our brains. The tools we use define and shape our thinking." (Siemans, G. 2004).

In the article "Connectivism: A learning theory for the digital age", Siemans explains that we are all constantly learning, and throughout my career I have learnt through experiences and other dancers.

 Communities of practice

Communities of practice are apparent both professional and social situations. (Reader 3, 2014)

"A community of practice is a set of  relations among persons, activity, and world, over time and in relation with other tangential and overlapping communities of practice." ( Lave and Wegner, 1991). 

I recently had a Skype session with Paula Nottingham with other BAPP students and we discussed our own "communities of practice". I realised I had many different circles, both social and professional, and discovered that these communities all aid my learning in different ways. Members of a community of practice come together because of a mutual interest, and generate a shared experience of engagement. This relative knowledge between one another in the community of practice enables learning and is beneficial to the members in the circle. It can be hard to break into other circles though. I realise I will have to make new networks if I am to go down the teaching route which is something I want to go into after the BAPP degree. I could possibly make new connections through my existing circles, to break through to a new network of teaching.

References

Axelrod, R. (1984). The evolution of cooperation.London:Penguin

Crisp, J & Turner, r. (2007) Essential social psychology.London:Sage

Crotty.M. (2005) The foundations of social research: meaning and perspectives in the research process, London:Sage

Hofstede (1980)

Lave, J & Wenger, E. (1991) Situated learning. Legitimate peripheral participation, Cambridge: University of Cambridge Press

O'Connor & Rosenblood ( 1996 pp267)

Siemans, G.(2004) Connectivism: A learning theory for the digital age 
http://www.elearnspace.org/articles/connectivism.htm (assessed July 2012)

Task 3A: Current networks

My current networks are really based all online. I use web 2.0 in my everyday life, either for professional networking or for my social reasons. As I am currently injured my main focus at the moment is to concentrate on getting back to full fitness, so my professional networking as a dancer has taken a back seat. I am also working full time so my university work is my number one priority in my spare time.
However, that doesn't stop me from using social media tools to explore the dance world. I am very passionate about dancing, dancers and their lives, food,and music so I use Instagram on a daily basis to feed me with information! It's also a great way to keep in contact with friends and to see what their up to. Facebook is an invaluable tool for me. As well as keeping in touch with friends who live abroad, it provides me with many different social groups to extend my current networks. For instance, I used to use the "Hustle" whilst I was auditioning, which posts upcoming auditions and the specifics of what the director's requirements are. I particularly liked Danielle Austen's blog about this; she stated that she travelled to London for an audition costing her a vast amount of money, only to be cut straight away, and then realising that they were only looking for boys in the first place. She then discovered how she could join different networks such as the Hustle on Facebook, where people in your line of work can freely communicate with each other. These groups on Facebook was only something I identified by my dancer friends- so word of mouth and connecting with other people was imperative when I was looking for work.
"The Stage" was also a tool I used in searching for auditions when I was fresh out of college before social media became such an important part of networking, and it's strange to think how the power of web 2:0 has quickly become such significant part of lives as dancers.
I also had to look for other work to fund myself travelling to auditions in London, so "Promo Fo's" on Facebook was a brilliant way to pick up any flexible, well paid jobs on the go. It was extremely difficult to work full time when I was auditioning so I had to work for a number of different promotional agencies. There is a brilliant app on the iphone called ' Stuck for Staff', where you upload your previous experience in the promotional world and update your availability, so agencies can freely contact you when a job pops up in your area.
So it got me thinking of my current networks at present. I have found the BAPP blogs extremely useful as a networking tool, connecting with other students and communicating with them on their blogs has given me piece of mind, especially as this course is distance learning! Of course I use social media on a daily basis for my own personal use, but my professional networking is something that I really need to work on. Realistically, I need to be proactive in engaging with others to develop my ideal network. I intend to work with my BAPP degree in either adults or teaching, or go down the route of dance therapy. But like many other students I still don't know what I am going to do! I need to know more about my desired field:
- Searching the web for more information on my acquired field
- Perhaps if I was going to open my own dance school I would need my own website and advertisement tools?
- What would I need after my BAPP degree to go into dance therapy?
- Would I need to use Youtube to make a video to promote a potential dance school?
- What other social networking tools do I need to be apart of?

This has given me food for thought- I need to be proactive so I can engage with others and extend my current professional networks. 

Task 2D: Inquiry

What in your daily practice gets you really enthusiastic to find out more about? Who do you admire who also works with what makes you enthusiastic?

I am enthusiastic about movement and music, I always have been. I am currently injured and I have been out of the dancing scene for a few years. I really miss the adrenaline rush of performing , learning a new dance and the amazing sensation of executing it. It is incredibly frustrating for me to not be able to dance, so I spend a lot of time at the gym pre and post injury, and that is a form of release for me. I am very enthusiastic about classes at the gym, what muscle groups I should be focusing on and researching nutritional benefits in food to speed up my recovery. It is a tough one as I am not working in my preferred field at the moment in dance, I am working in retail, but I am always very interested in dancers in companies, I follow them on social media to see their progression.



What gets you angry or makes or sad? Who do you admire who shares your feelings or has found a way to work around the sadness or anger?

Auditions. Countless and countless auditions I have endured throughout my career, I cannot even count on one hand how many I have attended! The thing that gets me angry is when talented, very able dancers are not given the chance they clearly deserve. It frustrates me so much; the money, time and effort spent at an audition, usually from 10-6pm with no breaks for lunch, just a few red bulls and chocolate bars to keep you going until the very end.
One article which brilliantly defines the audition process is from the life in the theatre:

http://www.lifeinthetheatre.com/dealing-with-audition-rejection/

It portrays my views entirely:

" Performers must be picked apart through the process- analysed fully. We are naturally exposed, naturally broken and often (if we have worked hard throughout the casting process) absolutely knackered ( emotionally and physically) by the experience. We have demonstrated who we are. We have given our all. "

In some cases you battle to get to the final round, conquering some other 100 dancers, and you don't make it. You feel so damaged and hurt, and think that the whole process was for nothing. Eventually as you do more and more auditions and this happens, you stop feeling the pain as much, as if you are going through the motions. I definitely didn't wear my heart on my sleeve as much and began to accept the rejection and moved on to the next one. But how is this a way of life? To be brutally analysed in such a way to feel pain and utter exhaustion afterwards? I believe the Dance industry is extremely biased and favours the ones who have credentials to their name, rather than the ones who don't, however equally talented. I have been turned away from auditions before because I was too short; I am 5 ft 3 and they wanted girls who were 5 ft 5 and above. That makes me sad. It makes me think, all of my training, years of sacrifice and discipline have been for what? How is that fair? Are the audiences really seeing the best dancers out there who have been given a fair chance? This industry is cut throat I understand that, but I believe the system is unjust. For example, my best friend is also a dancer and she is on the petite side of 4 ft 10, and she finds it extremely difficult to find work that caters to her height. She is as talented even more so than others, but her height is a major restriction for her. We have these frustrations in common, and she too has had dance injuries which have stopped her progressing in her career.
However, she is extremely motivated and is taking positive steps, which is something I admire most about her. She isn't stupid and knows that her height will always stand in her way, so she has recently changed her outlook on the future. She is training in tai boxing 5 days a week to obtain her stunt license in television and film. So this way she has used her height to her advantage; she is apart of an agency for small people in film work, and has recently body doubled for a 14 year old for a major Sky TV series.

There are many themes I can go into here for the Dance industry. Here are a few questions that I can use for an inquiry:

You can only get an agent if your have credentials on your cv, but without a good agent you don't get the auditions? A vicious cycle??

Why is the industry size-ist? Why does is matter that who you know is sometimes the way to get a job in the industry?

Why do budget cuts affect the dancer's salary and no one else's? How is that fair??


What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?

I have to admit I just love dancing for the pure thrill of performing, there is nothing better for me. The adrenaline rush is indescribable. However, as I am currently injured, my job working in retail ( cosmetics) enables me to feel empowered by making people feel good about themselves, which I love to do. In the future I intend to use my BAPP degree in the teaching sector of dance, either with children, dance as a therapy or working with adults. I am very excited for my future so far on this course.
One dancer who I admire the most is a prima ballerina with the Royal Ballet company, Marianela Nunez.
http://youtu.be/PrHHQQ1tPrw
Whilst I was growing up she really stood out to me. Her technique is impeccable, but I really applaud her sense of performance, she really transports you to a different world and leaves you feeling euphoric after watching her- that to me is what dancing is all about.


What do you feel you don't understand? Who do you admire who does seem to understand it or who has found a way of making not understanding it interesting or beautiful, or has asked the same questions as you?

I agree with Danielle Austen, (a fellow BAPPer); I am also a little lost in where I stand in my career. It is hard enough trying to find work as a dancer when you are fit and able let alone when you are injured and you are unable to dance. I feel quite frustrated that my body can't do things it used to do, and sometimes it makes me wonder if I should still be on this career path. But I am passionate in this field and adamant to have this as my chosen career, physically still dancing or not. Being on the BAPP course has been a really positive step for me so far, I am surrounded by like minded people and I don't feel so alone or helpless anymore! It is a huge relief to be able to communicate with other BAPP students who have endured injuries and hardships in the industry like myself. It has made me think of some questions in relation to dancer's injuries:

Are dance students provided with sufficient education at vocational schools about injuries in their career and how to deal with them? 

Going on from this, I believe every vocational school should be provided on their curriculum, education on being self -employed; how to do your own tax, what to keep for when you do your tax return, etc. I know many musical theatre colleges currently have this, but as I went to Ballet school I unfortunately was not educated in self employment which I think is very wrong. The main focus for ballet school students was to progress into a ballet company, however that wasn't the case for me and I found myself becoming self-employed as a dancer and really struggling when completing my yearly tax return.

Why is it not compulsory for dance students in all vocational schools to be educated on self employment??


How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society? For example, what level of physical contact would you deem appropriate (and not) from another professional that you would find unacceptable more generally? Why?

I think there are certain rules and guidelines you have to abide by in any profession, and experience in the work industry has provided me with knowledge and more importantly common sense in responding correctly in any given situation. As a dancer my training was very hands on with physical contact, as teachers sometimes have to show you on your body physically the right way of doing something; holding a position, improving your turnout or your flexibility, and this approach is something which I am very used to, and believe to be imperative in teaching dance. However, teaching in main stream schools is a very contrasting matter. It is a completely different approach to dancing and you do have to be careful in physical contact with children, for obvious reasons. I was intrigued by this and googled to see what guidelines there are for teachers and children in mainstream education. For instance there are a few 'codes of conducts' on the internet for nurseries and primary schools:

http://www.littleacorns.hampshire.org.uk/policy%20conduct.pdf
 This code of conduct clearly states the do's and don'ts of physical contact between staff and child in the nursery.

Skype session

Last night I had my first ever group Skype session with Paula and other BAPP students looking into part 3 of module 1. We initially discussed our thoughts about the course so far and our views on task 2, reflective practice. It was interesting to hear others talking about how they perceived the task and I was relieved I am on the same page as them and I'm not as behind as I thought!!

Paula then talked about a concept which emerges in part 3 which was communities of practice and networking. To really grasp this idea we were given a short task, to produce circles on a piece of paper of our own communities of practice. I realised that I had many different circles in mine: 

Once we discussed our 'circles' within the group, someone pointed out that she had separated her peers in her workplace into different circles, which I found intriguing. Catherine also added that she has produced the same idea; she would turn to different colleagues in different situations, therefore they are in their own circles. 

It got me thinking about my own. I have many different aspects of my life, uni work, gym, friendships, and it can be a struggle at times to maintain an equal balance. We talked about how survival and competition is apart of professional life and you are constantly juggling your networks. Tom discussed how he finds it difficult to find a balance in these circles, which I totally agree with. You come across many dancers working in the same field as you, practically part time or flexible jobs such as bar work or promotions, aswell as constantly networking to find and even attend an audition. At the moment I am trying to find a happy medium between my uni work and finding a sufficient amount of time to go to the gym, as I am recovering from an operation and it is crucial that I keep my ankle moving to improve it's strength and mobility. Distance learning has proved difficult to me as I have to be so disciplined in my spare time and prioritise my work load so I can still pay attention to my other networks. The task really got me thinking about the relationships I have in my life and how they affect me. 

I am about to embark on task 3, however I can't seem to find reader 3 on my learning?? I don't know if anyone else have had this problem? Any help or suggestions would be much appreciated!! 

Thanks, 

Katrina x

Task 2C: Reflective Theory

Reader two has provided me with an encyclopedia to use in my reflective theory. The vast amount of context alarmed me at first, but I then began to separate the theories into chunks of information, re-reading and jotting down notes on each idea. So this got me thinking, how do I learn?

I find it easier to read literature in disjointed sections so it doesn't confuse me. I have also discovered that by taking notes as I read the extracts helps me to maintain clarity on the subject matter. Once I have fully understood the text, I can expand on the idea by relating it to my past experiences in my profession. 

This leads me onto the concept of Kolb's "Learning cycle": (1984)

The point at which you learn depends on which point you enter the cycle. I believe I enter the cycle at the "Reflective observation" stage. I tend to look back on what I have just experienced, rather than realising I am learning something in motion. Watching others is something I am accustomed to. Watching a dance teacher demonstrate steps in ballet class, so I can replicate those movements and learn something new. However, I think the actual physical and mental process of learning a new step in dance can relate to Kolb's learning cycle in an 'active' way. For example, the dancer can perform a step, it can be corrected and the dancer will be informed of a new way to execute that step. The dancer then learns from that experience, eventually attempting the new move, taking the correction onboard and aiming to improve their technique. 

One particular theory that I felt I could really relate to was Donald Shon's concept of "Reflection-in-action" and "Reflection-on-action “ (1987). Reflection can happen while you are in the middle of it or reflection can happen looking back on it. I found this interesting as the reflection-in-action relates to my profession; dancing is active, and a 'hands on' way of working. Academics use reflection-on-action as a response to what is happening by going away and reflecting upon the experience. The idea is embellished by Robert Kottcamp, who likens reflection-in-action to "online" and reflection- on-action to "offline." He highlights that reflection-in-action is harder to achieve. 

"The latter type is more difficult to achieve, but the more powerful for improvement of practice because it results in 'online' experiments to adjust and achieve one's professional actions. "  (Kottcamp, 1990).

 As a dancer I have been taught from a very young age to reflect-in-action. This happens simultaneously and often without realisation. If a movement isn't correct, I will automatically try and establish an alternative step to try and improve my technique. Kottcamp states that this type of reflection underlines that the type of profession you come from has an impact on the ways you reflect. I completely agree with this theory. An active way of learning comes very naturally to me, however the conceptual side (reflection-on-action) is foreign territory. Academics use reflection-on-action to reflect on new ideas in their profession that are constantly evolving and changing. The dance world is developing, but in a more physical way. 

Dance is considered more athletic than it used to be. Here is a short article from the Dance Consortium portraying "Dancers as Athletes":

                                                                                                                   

http://www.danceconsortium.com/features/article/dancers-as-athletes/

I agree entirely with this, it's short and sweet but pin points my views brilliantly. During my three years at Ballet school I was dancing ten hours a day, six days a week, and the physical strain your body goes through is unbelievable. So I have the upmost respect for ballet dancers. Your body is your temple, and inevitably it is also your livelihood so it is imperative to keep your body in the best condition. Intense training is needed to acquire the strength and stamina of a dancer, to avoid injuries and survive days of countless performances and rehearsals. Dancers need to be athletic to endure the everyday challenges, but dancing for me is really about the artistry. I can appreciate technically strong dancers that will impress me with their flexibility and multiple pirouettes, but I look for dancers with the ability to move an audience and have such charisma you can't tear your eyes away from them. 

I have previous experiences in my professional career of Kottcamp's "offline" engagement. At Ballet school I kept a ballet diary where I noted corrections that were given to me in class and thought about what I would like to improve on. During rehearsals for a cruise ship I regularly used a ‘performers diary’, where I scribbled down the exact steps of the routines in graphic form either in pictures or diagrams. Corrections were also recorded, so I could clearly see where I could progress before the next rehearsal or show. So my past experiences on reflection-on-action relates to my journal and blogs I am completing during module one. I have reflected on my work and can clearly see my progression already.

“Active, persistent, and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusions to which it tends.” (Dewey, 1933).

John Dewey was an American philosopher who viewed education as an experimental action. In his book “Art as experience” (1934) he states that art isn’t just an object or a being, but a development of an experience. An experience is something that personally affects your life. That is why these theories are so important to our social and educational experiences. I possess invaluable experiences from my career that I regard as both educational and beneficial to my dancing. One particular routine in the production show incorporated the style of choreographer Bob Fosse. We focused the whole day on looking into his intricate and sassy style, to really do justice to the piece. This ‘experience’ is significant to me and I will take it with me in my professional practice.

“…muscle memory. Automatic. Precise. A little scary.  The second time through, however, or trying to explain the steps and patterns to the dancers, she will hestitate, second-guess herself, question her muscles, and forget. That’s because she’s thinking about it, using language to interpret something she knows nonverbally. Her memory of movement doesn’t need to be assessed through conscious effort.”

 (Tharp and Reiter, 2006).

This extract is from the book ‘Creative Habit’ by Twyla Tharp, who explains the idea of muscle memory. Muscle memory is memory through repetition. When a movement is repeated over time, a long-term muscle memory is created for that task, eventually allowing it to be performed without conscious effort. This also relates to dancers being ‘online’, reflection-in-action, linking to shon and Kottcamp. It is automatic, as Tharp explains, dancers do not even notice that their muscles have this ability to obtain a memory and simultaneously perform a task. I had a knee arthroscopy about two years ago, and I made sure my fitness was in top condition before I underwent surgery. Because of this, my muscle memory enabled me to return to exercise a lot sooner that I had anticipated.

Reflective practice is imperative to the arts. It accommodates learning, progression and evolution in your field, therefore reaching a higher level of understanding and mastery. I have discovered through reading the various theories in reader two that many apply to my own professional practice, and the reader acts like a magnet to my thoughts- expanding on any ideas I have and putting ‘two and two together’. I intend to apply these new ways of thinking into my work and will be compelled to really question my thought process in more detail as I continue with this module.

References

Dewey, John (1934) Art as experience, 1958 reprint, New York: Putnam.

Kolb, D.A (1984) Experimental Learning, Englewood NJ: Prentice Hall.

www.danceconsortium.com

Tharp and Reiter (2006) The creative Habit, New York, Simon and Schuster. Dewey, John (1933) How we think 2007 reprint, Champaign: Standard publications, Inc.