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

Data Collection…

I have spent this week finalising my data collection methods for my inquiry. I originally decided to use questionnaires and a focus group. However, following the Skype call with Adesola I have reflected on these methods and now consider that they are not the best choice for my inquiry. 

I previously aimed to speak to other professional dancers, like myself about their fitness training regimes and the role that fitness plays for them in their practice. Upon reflection, this is something that I can draw information from through my own reflective journal and video log and I would not gain any further significant insights through this process. 

During the Skype call we discussed issues around interviews and how they may not be the best method for data collection. However, when discussing my inquiry topic Adesola mentioned that speaking to a specialist in the field could provide me with further insights and thoughts to consider. I have been looking into this and have decided to conduct an interview with a former professional dancer who has now opened a specialist gym. 

I have also decided to conduct an online market assessment of the existing specialist fitness trainers for professional dancers.

I am now mapping out my interview questions and working on bringing my draft proposal together. 

Developments...

I have been working on my practice-based inquiry plan and analysing the various research methods to determine the best approach for my inquiry topic. I have spent time reading Judith Bell’s book, ‘Doing your Research Project’ which has helped me to evaluate each method and the important factors to consider. 

I have also spent some time looking at the MORE form online ahead of the submission deadline in week 9. This has helped to prompt me with further ethical considerations for my research project and I have noted that I need to leave enough time to complete the remainder of the form before it is due. 

I feel that this week has been a bit of a breakthrough week and I am starting to see my research plan take shape. I now plan on spending further time looking into literature and bringing all areas of my plan together in my proposal.

Looking at literature…

I have spent this week looking into the various pieces of literature surrounding my inquiry topic, which is about the role of gym-based exercise for professional dancers.

It has been very interesting to note different perspectives on the subject and has also sparked new thoughts and ideas that I now want to look into further. 

A particular article that has resonated with me is ‘The Dancer as a Performing Athlete’, as it recognises the complex relationship between better physical conditioning, traditional training and the aesthesis of dance. 

https://www.researchgate.net/publication/8377670_The_dancer_as_a_performing_athlete_Physiological_considerations

I have started the basic framework of my literature review and will spend time over the coming weeks developing this along with my inquiry proposal. 

Are there any interesting articles that have particularly resonated with you?

Research as mapping to build understanding…

Todays Skype call has really helped me to understand the aims of module two. 

We discussed how our inquiry is not about looking for an answer but instead exploring a topic that we want to know more about - we are on a journey to find out more.

Module two is about learning research design and the different ways to undertake research (planning the journey), in preparation for module three (doing the journey). This way of visualising the course has given me a clear direction for my next module.

We talked about mapping different ways to research and how there are ‘main roads’ that symbolise common research methods such as interviewing and ‘side roads’ that can offer alternative routes. These ‘side roads’ are the areas that I am going to spend time discovering as I aim to look into less explored methods of research.

We spoke about the importance of other peoples perspectives and how reading reviews of articles can offer different opinions. The inquiry is not about collecting data for answers but it is about exploration and analysis.

During our discussions it was mentioned that we should follow the steps of the cycle in our handbook at least three times during module two in order to explore our inquiry topic and stimulate our learning. I have currently started my first cycle and look forward to discovering further questions and discourses during my research.

Feedback…

As a performer, feedback is something that I have been given throughout every stage of my learning. It has shaped my skills and has been so significant to how I have progressed during my practice.

Constructive feedback of my dancing has always triggered a deeper self-evaluation and reflection of my work using the opinions of someone else to stimulate my own thoughts making it an essential element of my developing. During my dance training I used feedback as a way to set new goals for myself in each discipline. I am going to transfer this learning into my BAPP course and I have spent the last few days setting short and long term targets for this term.

Editing my work is an area that I am going to focus on during my next module to ensure that my work conveys the detail required without the need for too many words. Another area that I am going to continue to consider is the various forms that I could present my artefact in and my aim is to think of a more unique approach that can express my learning through my professional practice as I continue through the BAPP course.

Along with reading and annotating my handbook for module two, I have also re-read my portfolio submission for module one to understand each element of my feedback and to reflect on my work in order to progress into my next module. 

Module 2...

Happy New Year!

After a great Christmas break, I have spent the last week reading through the handbook for Module 2 and annotating or highlighting certain aspects. I have various ideas already running through my brain as to what I will focus my inquiry on and I am looking forward to investigating these further over the coming weeks.

I aim to re-read the handbook again next week in order to digest more details of the module and feel fully prepared for the beginning of the next term.

I have signed up to the Skype session for next Saturday and feel excited about getting going on Module 2!

Synthesis of information through reflection...

During yesterdays Skype call we discussed synthesis through reflection. 

Synthesis is defined as the combination of components or elements to form a connected whole. 

We discussed how each component is vital to our professional practice. I think that it is an interesting exercise to think about how my practice would be affected if one element was removed. For example, if networking was taken away, I would not have secured my previous two jobs, showing the importance of each component.

It was noted how the connections between each element should be displayed throughout our essay to avoid it becoming compartmental and instead should demonstrate how each part helps to build our professional practice.

An interesting point was made in reference to the various Skype calls and learning activities throughout this module being like a technique class before performing a solo. I think that this is a great way to view my learning over the last few weeks and helps me continue to spend time researching and looking into further activities that will assist me along the journey of my degree.

Areas of Learning...

Today I have spent time considering my three key areas of learning based on my professional practice experiences. I have now narrowed these down to three generalised areas, which I have been researching. The academic foundations of these are drawn from psychology, business and management disciplines. 

The transdisciplinary nature means that I am having to combine different approaches and perspectives from the various disciplines. This has provided an interesting and thought provoking lens through which to analyse my profession. 

I have started to apply theories to my experiences, which is proving to be both interesting and insightful. I will continue to develop this further as I finalise my first draft of the essay.

Height verses talent…

I am only 5’2” tall and at the age of 23, I don’t think that I will be experiencing a growth spurt anytime soon unfortunately. My height has played a big part in my professional practice and has on many occasions been the deciding factor from an audition panel. 

In this industry there are certain roles that have very particular specifications. For example, shows such as the Moulin Rouge require a minimum height of 5’9”. Throughout their history, the dancers have always been tall and the style of performance empahsises this with dances such as the Can Can.

During my time spent teaching and choreographing, I understand why heights are important in regards to spacing and structure of a dance. Formations can change how an audience member views a performance greatly. Due to this, I agree that when replacement roles or individual jobs are being advertised, dancers should match their opposite or partner. This being said, I believe that limitations on certain criteria have no justification. 

Throughout periods of my life when I have been auditioning, there has been a very large number that I have been unable to attend, most of which have a minimum height of 5’5”. These have been for a variety of cruise ships, musical theatre and land-based productions where they are looking for a whole new cast.

I attended one audition a few years ago where I was pulled aside at the end of the multiple rounds to be re-measured; I always dread the part where the tape measure is brought out. They discussed in front of me that I was 1 inch too small for the show, 1 inch?!

It is so disheartening after years of training and determination to be told that regardless of your talent, you don’t meet height requirements. Especially as this is a factor that much to my disappointment, I will never be able to change.

Looking into the history of previous dancer requirements, it is encouraging to see that some of these restrictions have lowered. Even from graduating to today, I have noticed a movement in some of the cruise line company’s height minimums. I hope that this is something that continues to develop as our society is changing and dancers no longer have to be the ‘norm’ that people expect. 

Learning Processes..

We all learn something new every day. As performers, learning is such a valuable part of our profession and there is always something more that we can learn.

When it comes to reflecting on the process of how we learn as individuals, it is very interesting to see the point at which we enter the Learning Cycle. This for me differs dependent on the type of task that I am undertaking. For example, when creating my blog I felt that the stage of entry was reflective observation. I spent time visiting other peoples blogs and gaining knowledge from them.

When it comes to dancing and performing I learn best by doing; this would be entering at concrete experience. However, when I am choreographing I learn best and create some of my favourite work through active experiment. 

I think that it’s very important to assess the varying learning processes that work best for you to help to maximize the positive outcomes from an exercise. 

Reflecting on previous work is equally as valuable as it allows your mind and body to learn from mistakes or triumphs in your past. 

Reflection-in-action is something that I have used several times in my practice. When being a part of a cast on a Cruise Ship, there would be a number of issues that may arise mid-show. This could be to do with errors with staging, props, or a cast member becoming unable to continue a performance. In situations such as these, it was vital to be able to reflect and adjust elements of my performance whilst ensuring that the audience continues to enjoy the show.

Reflection-on-action is likewise just as important, as dancers this is very regularly used. During my time working as a dancer onboard a ship, notes were given to us after every performance. We are all trained to receive notes and action them to improve every element of our work as much as possible. This type of reflection enables us to develop massively as a performer and learn from negative and positive feedback, whether this is from our own reflection or from a teacher or director.

This course has opened up a new way of learning for me, as it is no longer just about using my body to notice and rectify mistakes. The different learning processes have enabled me to take on new information in a variety of ways. 

Discussion group

Following yesterdays discussion group, I have spent some time thinking about the journey of this course and the importance of blogging.

I had never previously written a blog or even thought about writing one. However, over the last few days I have begun to see the importance of sharing and discussing ideas. 

In the discussion group we spoke about a particular blog that really resonated with me that Mark had posted. It explored the idea that as dancers we have always been instructed about every minor detail, whether that that has been by teachers in class, by choreographers in our training or by directors in our profession. It becomes the norm to follow direction, take on corrections and learn from others. 

This journey provides a platform for us to take charge of our own learning, our own development and our own mistakes. It is not a case of sitting back and waiting for the magic to begin, it is a case of going out and getting it ourselves. 

I think at the beginning of the week I was nervous at the thought of aiming for perfection as part of this course; however I have learnt that instead it is a place for enquiry and growth. It is about exploring and not necessarily trying to find an answer. This course is a process of discovery and development and one that I am very much excited to begin!

Beginnings...

As I start a new beginning on the journey of this course, it has given me time to reflect on the significant beginnings throughout my life.

As a dancer there is a physical beginning, the first day of ballet class. This for me was at the age of 3 and was the seed that was about to start its journey into a flower. Amongst many other tots, I learnt naughty toes and good toes and experienced the freedom of dancing.

The next stage of my journey was at the age of 11. I fell in love with dancing and how the music made me feel. It was now more than a hobby and was no longer about the movement; it allowed me to express myself. This was my emotional beginning.

At the age of 14 I made the decision to pursue my love for dancing and continue this as a career. This for me was my mental beginning and changed the focus of my dancing. I now looked at class in a different light and set my eyes on the goal of professional training.

Each of these beginnings has shaped the dancer that I am today. In my time of teaching dance, it has allowed me to be a part of so many journeys as I have watched the children grow through each stage.

The start of this course has created a new place for growth and beginnings and I am excited to commence my new journey.