Artefact development...

During todays Skype session with Module Three we discussed the ways an idea can be communicated with a particular focus on our artefacts. 

A significant point that was made was how all aspects of our portfolio inform each other and how this in tern, informs our practice.

Another point that resonated with me was that our artefacts should offer just as much structure as open space for possibility. This will allow the viewers to understand the story and motives intended but still leave the opportunity for individual interpretation.

I have chosen to focus my artefact on a specific area that I have found significant during the process of my inquiry. THE SHIFT. There has been a turning point in my views on fitness and dance whilst undergoing my research but also in the views of where I would like to develop my professional practice in the future. Therefore I feel that this is the most important area to highlight.

I have choreographed a short piece inspired by ‘the shift’ and I am creating a video combining this with fitness elements in the style of a showreel. My artefact will evolve during the final stages as I continue to develop, refine and edit my final submission. 

Shifts in emphasis...

During this evenings Skype session with Module three we each gave a short overview of our enquiry and what we have discovered so far. We then had the opportunity to ask questions about areas that we felt weren’t explained in full detail or to give our thoughts around the topic presented. 

Following explaining my inquiry, which explores the relationship between fitness and enhanced dance performance, it was discussed how there has been a clear shift in the emphasis of my research during the process of Module three.

Initially, my research objectives included informing my own professional practice as a dancer who currently undertakes gym-based fitness training regimes. However, through the analysis process, it has become clear that there are a variety of alternative types of fitness training such as aerial training that could enhance my strength and fitness as well as my employability. 

I also aimed to explore the potential of developing a new area of my practice as a fitness trainer for professional dancers. However, my analysis has identified that there is limited market potential for dance specific personal training. Instead, a much larger and growing market are dance-fitness based classes for the general public. 

Shifts are a result of analysis and it is very important to capture the moment my perspective altered by looking back through my reflective journal. We discussed how it is essential not to assume that people know the shift in your inquiry and instead make this element of the process explicit.

Have you noticed any shifts within your research?

New thoughts...

The phrase ‘triple threat’ was always spoken about during my training as a professional dancer as we were taught that having the ability to both act and sing as well as dance would really increase our employability for a wide range of jobs. 

I attended stage school from a very young age alongside dancing so I have spent time working on all three disciplines throughout my training and would have always promoted myself as having the ‘triple threat’ qualities. However, is this now not enough?

As the industry develops and evolves, it seems now that companies are looking for the ‘quadruple threat’ to include extra skills such as fire breathing, stilt walking, acro and, most commonly, aerial skills on top of dancing. In many job posts on Web 2.0 through social media, employers will ask you to list your extra skills in your application. This is creating an added pressure for dancers to obtain new skills in order to compete within the industry.

I have began working on some of these new skills which I find very rewarding as I am challenging myself knowing that it will help me to progress in my practice. However, it does make me think, “what’s next?!” Will dancing alone one day not be enough to be able to work for certain companies? 

My research report assesses the role of fitness for professional dancers and it has started to lead me on to further questions regarding aerial skills and the fitness training required to meet some of the new demands of our evolving industry. Has your research sparked any new questions or thoughts?

Progress…

I have spent the last few weeks juggling a new dance contract and finding spare time to spend working on my final module. After a day off from rehearsals today I have been able to get on top of my work and I have begun to see the elements of my research report come together. 

One research method in my inquiry is a market assessment of specialist fitness training for dancers. I have spent some time undertaking this analysis. The results of which have proved interesting and have raised a number of further questions and issues that I will go on to explore in concluding my research report. In particular I am now going to extend this search to include skill based fitness training such as aerial work as well as the original gym based fitness. 

It has been interesting to see how new areas of research have developed from my initial ideas and how these are helping me to further inform both my research report and my future professional practice. 

Have you found that your inquiry has sparked new questions or avenues to explore?

Module 3...

Summer has flown by already and I am so excited to get stuck into my final module of the BAPP course!

I have spent some time reflecting on my feedback from Module Two and have set myself goals and targets for the new term. The two main areas that I need to focus on are the theoretical framework and ethical issues of my inquiry. I am going to spend time this week looking for literature to read that will help me to discover more about these two areas. 

I have already read through and highlighted the Module Three handbook and plan to re-read this again before starting this terms work. I am also going to read through my practice-based inquiry proposal from the previous module with fresh eyes to determine if any areas of my plan need to be amended. 

I have printed off a copy of my Gantt Chart to stick in the front of my file in order to constantly reference it and ensure that I stay on track.

I always find feedback to be a great source of motivation. Being a professional dancer and going through vocational training has allowed me to take constructive criticism in a positive way to help grow and develop my work. It has enabled me to be the dancer that I am today and through the process of the BAPP course I am now building and developing myself in different areas. 

Overtraining...

I have been looking further into the issues around overtraining and its impact on dancers. Liederbach (2008) explains that overtraining arises when,

‘…An individual ceases to adapt positively to training stress when it is imposed in a sustained, long-term, and highly intense manner. Dancers are at risk for developing overtraining syndrome. Overtraining syndrome is defined as an unexpected drop in performance that cannot be attributed to illness or injury.’ (Liederbach, 2008, p.11)

This week I decided to reduce the intensity and duration of my regular fitness training due to having an audition at the end of the week. I made this decision in order to ensure that my muscles were not sore and that I was not fatigued ahead of the audition so that I could perform to the best of my ability.

Koutedakis (2000) notes that disproportional increases in either frequency or intensity of physical work, in conjunction with insufficient recovery, may overload the body. He observes that overtraining…

‘…tends to occur in dancers during periods of increased commitments either in class or on stage and in individuals whose daily practices produce an imbalance between physical activity and recovery from it.’ (Koutedakis, 2000, p.122)

It is important that a balance is struck between a fitness programme, dance class, rehearsals, auditions and performances in order for a dancers peak performance to be maintained. 

Next week I will resume my normal training regime and increase the intensity of my exercises to continue to build my strength and endurance. 

References:

Koutedakis, Y. (2000) “Burnout” in Dance. The Physiological Viewpoint. Journal of Dance Medicine and Science4(4), 122 – 127

Liederbach, M (2008), Dance Medicine: Strategies for the Prevention and Care of Injuries to Dancers, Epidemiology of Dance Injuries: Biopsychosocial Considerations in the Management of
Dancer Health.Orthopaedic Section, APTA, Inc. (p.11)

Fitness training for dancers...

I have been looking further into a range of literature relating to my inquiry topic which is about fitness and enhanced dance performance. I have found it really interesting reading the various views and it has sparked a lot of new thoughts. 

This particular article resonated with me as it acknowledges the increasing choreographic demands of the current dance industry along with an evaluation of the need for supplementary fitness training alongside dancers class and rehearsals. 

https://cdn.ymaws.com/www.iadms.org/resource/resmgr/Public/Bull_4-1_pp15-17_Kozai.pdf

During my time at Northern Ballet School I did not attend a gym or undergo any form of fitness training outside of the structured timetabled classes. As soon as I began dancing professionally I created myself a fitness regime and planned my sessions around rehearsals and performances. I felt that this was essential for me in order to continue to develop my skill as a dancer, feel confident in costumes and perform to the best of my ability. Upon reflection, I wish that I had began my fitness training earlier whilst I was attending vocational school, as this would have prepared my body for the demands of choreography and the intense nature of the dance industry. 

However there is a tension here between achieving peak fitness and overtraining. Overtraining syndrome (Liederbach and Compagno, 2001) is something that dancers can suffer from by not allowing their bodies time to rest and recover.

The aesthetic demands of the industry may be a motivation as well as an added pressure for dancers to train their bodies even harder as there are various audition posts online looking for ‘toned dancers’. It is so important to strike the right balance between training and rest to ensure that overtraining syndrome is avoided and the optimum level of fitness is achieved. 

References:

Kozai, A (2012) Supplementary Muscular Fitness Training for Dancers, International Association for Dance Medicine & Science

Liederbach, M. & Compagno, J. M. (2001). Psychological aspects of fatigue-related injuries in dancers. Journal of Dance Medicine in Science, 5(4), 116 – 120