Module 1: Task 3b / Reader 3 / Reflection / The Professional Network

Unit 1: Task 3b / Reader 3 / Reflection

The Professional Network

Prior to analysing ‘Reader 3’, I had a brief understanding of the Professional Network and how it would apply to me as a Professional Practitioner. I am continuously using this Network as part of my everyday life on a professional and personal basis. Within my area of practice I currently interact with a diverse group of people. Examples of these are, parents, students, teachers, directors or choreographers, colleagues, friends and Agents. My Professional Network is predominately associated within the performing arts industry. The aim of my association, interaction within this network is to gain a variety of tools:

- Extend my contacts and create a rapport with directors, producers and choreographers who will hopefully call for me to attend a casting.(Leading to professional work)

- Listen to the advice given by my tutors, now associates who work at Urdang or within Performing Arts Institutions (they have professional credits and experience of working professionally within the industry) they continue to be my mentors and I value their opinions which intern broadens my knowledge.

After graduating from The Academy and embarking upon professional work I have realised that in many scenarios the phrase, ‘who you know’ is more dominant than ‘what you know’. Building a secure relationship with musical creatives, directors and performers within the industry can increase your chance of employment. Looking outwards, I can appreciate that these creatives tend to offer work to a performers who are familiar to them (possibly worked with them before). There may already be a level of rapport which has gained a degree of trust and commitment. However, this concept makes it increasingly difficult for newly qualified performers to establish their way into the Industry.

‘A work related community held together by either close working affiliation or more distant but common interests and needs’

Many industries use networking as a tool to promote their business and maintain a good reputation with their clients and associates. Professional Networking is a network focused on professional goals. A strong network is created when you feel you have a good connection with people. Along with ‘who you know’, ‘who knows you’ is incredibly important within my professional practice. It is paramount to maintain and portray an excellent reputation which can reflect on your character, aptitude and reliability.

There is a combination of different networks within my Industry, examples of these are:

DISTANT: Associates that you may use to hire a venue for teaching or rehearsing. Members of the general public who have seen me perform or read about a production that I have been involved in.

CLOSE WORKING: teachers, students, parents or cast members working within the same company as myself. Students that I teach and parents that I talk to.

INFORMAL & DISTRIBUTED: Fellow Practitioners that I remain in contact with intermittently. These groups of people may include fellow graduates who are working around the country/world, students that I have once taught, adjudicators and teachers that have seen me perform.

I strongly believe that it’s important to maintain and broaden my relationships within the Professional Network. A variety of connections can have a huge impact on my career that is why it is vital that I monitor my social media profiles, constantly trying to convey a friendly but professional profile.

Below are examples that have been described as key theories/concepts in ‘Reader 3’.

Concept 1: COOPERATION

The ‘GAME THEORY‘ was created by a group of mathematicians observing problems within areas such as sociology, international relations, biology and economics. Robert Axelrod, who originated from political science, highlighted the importance of the reflection of cooperation within a group situation. Axelrod expressed the effectiveness of gaining your ultimate benefit from others, then to ‘defect’ and abandon the link or connection within that network. This concept can be clearly identified throughout the entertainment game, ‘The Prisoners’ Dilemma’.

You can view this game by clicking on this link:

Serendip.brynmawr.edu/playground/pd.html

‘The Prisoners’ Dilemma’ is a very simplistic model, which is studied frequently by disciplines such as biology, sociology and public policy and uses the ‘tit for tat’ method. It is a ‘’non-sum-zero’’ game, meaning ‘ the best strategy for a given player is often one that increases the payoff to one’s partner as well. ‘The Prisoners’ Dilemma’ involves strategies and ideas from Robert Axelrod’s, The Evolution of Cooperation (Basic Books, NY, 1984).

Within this interactive game we can identify either random selection or a forming pattern as the game progresses. Robert Axelrod expresses that the identification of patterns produce more effective results.

Personally I disagree with Axelrod’s statement, ‘Cooperate until maximum benefit, then defect’. I agree that we should gain knowledge and contacts through networking with different social groups. Mutual sharing can benefit both parties extending everyone’s contacts and practices. However, I do not agree with the concept of using someone for personal gain and then to disregard them. This practice is not ethical.

Frequently I meet people who do not share the same ethics or interests as me. I may not agree with their work practices or persona, but I will always try to remain mutual towards them and never ‘abandon’ the networking relationship. This concept is common within my practice as many performers create a ‘fake’ persona, in order to gain attention or to obtain information to be used to their advantage.

 Concept 2: AFFILIATION

‘A connection with a political party, or religion or with a larger organisation’

(The Cambridge Dictionary)

Affiliation is described as ‘a network of support that will help us when we are in need’ (Crisp & Turner 2007, p 266). Many practitioners within social psychology explore the reasoning for humans to engage and form ‘close relationships’ (Crisp & Turner), benefiting from affiliation. Homeostasis is one of the key factors of the affiliation theory, created by O’Conner & Rosenblood. They believe that everyone wants to create balanced relationships with each other however everyone needs affiliation within different circumstances, thus linking with the aspect of relative and preferred levels of social stimulation. Social psychologist, Geerte Hofstede, discusses that all cultures use a different level of preferred social interaction. This concept explains that this social, psychological perspective determines that we all have different levels in which we affiliate on a private or ‘culturally preferred level.

Throughout this theory, individuals such as Crisp & Turner, O’Conner and Rosenblood and Geerte Hofstede, emphasize that everyone participates in affiliation, whether it be socially or professionally. They also suggest that this concept will create a successful career.

‘The tendency to affiliate is something people have from early on in their lives. Larson, Csikszentmihalyi and Graef (1982) found that adolescents spent about 75 per cent of their waking time with other people’

(Affiliation and Attraction: Crisp & Turner)

Crisp and Turner’s article explains that the theory of affiliation has been used throughout our entire life time, even as children. We grow up communicating with family and friends and as we grow older and attend school, university and work our social networking expands and our interaction skills develop.

Even though ‘Reader 3’ does focus on the positive aspects of affiliation, Crisp and Turner discuss a more controversial approach to the theory.

‘We have a general tendency to seek out the company of others but there is always the possibility that we will not meet the criteria for attraction, and that we therefore will be rejected. As a result, seeking affiliation can be fraught by discomfort . Conversely if we cannot satisfy our affiliation needs, the absence of social interaction can also have a detrimental effect on people.’

(Affiliation and Attraction: Crisp & Turner)

Within this article Crisp and Turner also explain 2 other ways in which affiliation can affect someone negatively. For instance people may experience the negative feeling of anxiety or of being inadequate and not able to meet others expectations. These emotions can provoke loneliness and ostracise a person who’s social needs cannot be met. These examples are feelings that many people feel from time to time and can be provoked by the Affiliation concept.

After reading Crisp and Turner’s ‘Attraction and Affiliation’ my perspective on the theory of affiliation has changed dramatically. I originally thought this concept was a brilliant tool for social networking. However looking outwards, I hadn’t considered the negative consequences regarding this theory. Reflecting upon this article can identify that many people experience affiliation negatively. This can stimulate feelings of inequality, anxiety or loneliness. During our lifetime we will all experience these emotions but not to the extent where they will have a long term effect.

I graduated Urdang a month early to commence rehearsals for Seven Brides for Seven Brothers at Regents Park. Throughout the first month of my rehearsals my peers were preparing for their Graduation Showcase. During this time it was wonderful to be experiencing professional work, meeting new people and extending my contacts. However, I did feel distant from all of my fellow students who I have spent the past three years training with. I felt a sense of distance and found the transition into working life very hard to adapt to. Upon reflection I can now see that I was very lucky to have secured work before graduating. This production gained me my first professional credit and affiliation to a reputable agency.

Concept 3: THE THEORY OF CONNECTIVITY

CONNECTIVISM

‘Hypothesis of learning which emphasises the role of social and cultural context. In this sense, Connectivism proposes to see knowledge’s structure as a network and learning as a process of pattern recognition’

(Wikipedia)

Connectivism is classed a ‘Network Theory’ originating from computer science. This concept explains how networks learn and provide information for readers to observe and gain knowledge from. The traditional approach of transferring information from teacher to student, Connectivism believes that classrooms and the web should be filled with the information to observe and learn from. This theory emphasises the importance of interacting to learn.

‘Learning must be a way of being - an ongoing set of attitudes and actions by individuals and groups that they employ to try to keep abreast of the surprising novel, messy, obtrusive, recurring events…’

(George Seimens: A Learning Theory for the Digital Age)

Even though we are in an age where we use computers regularly, behaviourism, cognitivism and constructivism were commonly used in the past within the creation of instructional environments. This article focuses on the importance of learning and using technology and the internet to do so. Seimens compares past and present frequently to highlight the major developments and improvements made between knowledge and learning. Seimen states that ‘the amount of knowledge in the world has doubled in the past ten years and is doubling every 18 months according to the American Society of Training and Documentation’. This statement expresses the development of our learning capacity and also how technology and networking has taken an active part within this improvement.

Driscoll defines learning as ‘a persistent change in human performance or performance potential… (Which) must come about as a result of the learner’s experience and interaction with the world’. I strongly agree with Driscoll’s statement as we learn from every situation or experience we encounter. As both a student and teacher I learn by watching, listening and interacting with people. These interactions are ongoing in all that we do and say. I think that this concept links to ‘Web 2.0’, relating to the importance of social networking being a key tool for gaining and sharing knowledge. Upon reflection I feel that the internet is a vital tool to be using as a Professional Practitioner. It is highly effective when used to promote my profile, research information and to contact other practitioners.

In conjunction with social networking it is physical interaction that will lead to work within the industry that I practice. It is very rare that employment would be offered without attending an audition or interview. When teaching most parents or students may view your profile and snippets of your class on-line but will still want to experience my teaching skills within the class itself.

Concept 4: THEORY OF CONNECTIVITY

SOCIAL CONSTRUCTIONISM

‘A theory of knowledge in sociology and communication theory that examines the development of jointly constructed understandings of the world’

(Wikipedia)

Social Constructionism is a key tool that expresses that human’s experiences can have an impact in their overall social interaction. The knowledge of the world is exclusive to everyone however our overall understanding of our industry and general knowledge is of our making. There are no limits regarding our knowledge, personally I believe we need the motivation, confidence and required resources to expand our knowledge. This theory refers to professional networks and networking as it connects to a larger social process in relation to previous theories.

Concept 5: THEORY OF CONNECTIVITY

COMMUNITIES OF PRACTICE

‘A group of people who share a concern or a passion for something they do, and learn how to do it better as they interact regularly. This definition reflects the fundamentally social nature of human learning’

(Wenger Trayner)

The term ‘Situated Learning’ was created by Lave and Wenger (1991), who suggested that learning was a ‘process of engagement in social relationships rather than a process of acquisition of knowledge as an individual’ (Reader 3). These practitioners use these features:

·         They are social

·         They are informal

·         They are often connected with specific social groups

We may not realise it, but we are all participants of this concept within a working environment, this can be directly or indirectly. Within my profession the whole production team would be part of a ‘Community of Practice’. Various professionals will work together to produce a polished production. Examples of different practitioners working together would be the performers, dressers, sound and lighting crew, directors, musicians, front of house staff and of course the audience. They all specialise in their chosen field, interacting with each other but not necessarily sharing their skills. It is like a finely tuned engine that has lots of components working together to work effectively.

Within the past people believed that learning was an individual task and that it ‘has a beginning and an end; that it is best separated from the rest of our activities; and that it is the result of teaching’ (Wenger). Throughout the 80’s and 90’s Jean Lave and Etienne Wenger, researchers from two completely different backgrounds, created the theory ‘Situated Learning’, meaning that learning involved a purpose of engagement through a community of practice.

Etienne Wenger describes his concept as:

‘Communities of practice are formed by people who engage in a process of collective learning in a shared domain of human endeavour: a tribe learning to survive, a band of artists seeking new forms of expression, a group of engineers working on similar problems, a clique of pupils defining their identity in the school, a network of surgeons exploring novel techniques, a gathering of first-time managers helping each other cope. In a nutshell: Communities of practice are groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.’

(Wenger circa 2007)

These communities can vary from being a formal, named organisation or a more informal, fluid and general group of people. Therefore a community of practice differs from a community of interest of geographical community as it recognises a shared practice. Jean Lave and Etienne Wenger have developed an understanding of the nature of learning within communities of practice, and how knowledge is generated allows educators to think a little differently about the groups, networks and associations with which they are involved.

Concept 6: ETHICAL CONSIDERATION FOR NETWORKING

During the 21^st Century social networking has become a tool that is used worldwide. Development of technology and accessibility to its users has been a key factor. I personally think that the idea of building and developing more useful and online communities has a great benefit to learning and developing new skills. Looking outwards, further expansion of the internet may come with the additional threat of unethical practices. An example of this is what is referred to as ‘The Dark Web’, this is an area of the internet that is very hard to police. It opens up to a community of users to promote unethical practices such as fraud and terrorism.

Module 1: Task 3a / Current Networks

Module 1: Task 3A / Current Networks

Reader 3 has enabled me to think about all of the tools that I use to engage as a Professional Practitioner, both within teaching and performing. It is only upon reflection that I can see that my association within this industry commenced from an early age and that networking began as soon as I enrolled with my dance school. Networking commenced by me being taught by professionals, it’s widened my association and knowledge of the industry and developed my techniques in all dance styles. Performing in festivals, I began to network (via association and affiliation) as adjudicators and other industry professionals saw my potential, giving constructive criticism and information on how to develop and strengthen my dancing/singing techniques. Reader 3 has shown me concepts that I can relate to throughout my training and upon graduation. My current networks are vast and required me to promote my profile, broaden my contacts that will help with my practices in both teaching and performing.

What are the current and different ways (tools) that you have or do, engage your Professional Network?

Throughout my 1st and 2^nd year of training at Urdang I frequently used the networking; Web 2.0 based site, Facebook, and Twitter. These were networking tools that I created years ago to socialise. These networking platforms are easy to use, and a quick and effective way to contact students, colleagues and friends. In my first year of training my Professional Networking was limited to my tutors, guest teachers and older students ‘community based’.

Reflecting upon the theories discussed in ‘Reader 3’, during the majority of my training I implemented a ‘close working’ method of networking. I built a very close and trusting relationship with my Principle. I made a very conscious effort to help the college, assisting with Open Days, demonstrating for their yearly auditions, performing and representing the college at ‘Move It Dance Exhibition’ every year and chaperoning for multiple Pre-audition and Summer Schools. Even though I had limited free time during my training, I enjoyed taking part in all of these activities. This in turn broadened my social circle of friends and contacts. I became more interactive with my teachers, assisting them and associating with their colleagues who were also Professional Practitioners. After a while their associates began to recognise me and that in turn enabled my network to expand by ‘Association’. In the long term I would love to teach on a regular basis at Urdang and I believe that building a strong, lasting relationship with my Principle and peers will help me to achieve this goal.

During my final year of training students attended ‘Career’ classes. We discussed the variety of different ‘Performing Networks’ on-line that would become extremely useful resources throughout 3^rd year and during our careers. I found specific websites such as Spotlight and Casting Call Pro very resourceful. Registration is yearly, you pay a subscription and then have access to many different jobs being advertised, spotlight tends to use my email address to update me with current job opportunities. From time to time I do see a casting that I would be interested in attending,. It is protocol for me to contact my agent and discuss the possibility of my details being forwarded on for consideration.

One of the most effective tools within this Industry is my Spotlight profile. I have my CV details and various headshots loaded onto their website. This is a vetted site that only professionals can access to view my potential for castings. Most of my castings are organised by my agent, he is contacted by various companies, directors associates with dates of auditions. If my agent feels that I am potentially able to take on that role he in turn submits my details to the company who may or may not offer me an audition. This practice enables the casting team to select their auditionees and is known in the business as a ’Closed Audition’.

Professional Networking has enabled me to gain representation from Global Artist Management, who are a highly acclaimed casting agency (my agent spotted me performing in my third year musical theatre production). My profile can be viewed on their website. My agent oversees all of my castings, professional work and contract offers.

Hearing about up and coming auditions are frequently sourced by word of mouth within communities of networks. These days some people are very selective regarding who they feed information to. These may be for reasons such as:

• ·Not particularly liking the individual
• ·Cutting out any competition
• ·Not conversing with the individual
• ·Jealousy
• ·The casting being spread throughout other social groups

In some cases this can be seen as selfish and sneaky however I think that occasionally it is best to keep exclusive castings that are not particularly a ‘general/open call’ private.

My use of Professional Networking is gradually increasing and strengthening and I hope to get the chance to meet many more industry professionals and learn as much as possible from them.

Below is a list of networking tools that I use on a regular basis:

Facebook, Twitter, Stage magazine, Equity, (internet and via Literature that they post to me) Spotlight, my personal email account, notice boards in various Dance studios such as Pineapple and The Dance Attic. Global’s website ,TBC management who offer me agency work when I am in-between contracts. I always read the evening standard when coming home on the train.

What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?

This industry is renowned for practicing the networking tool discussed in Reader 3, ‘Affiliation’. Through the early stages of a performer’s career we begin with a very limited amount of contacts. To establish ourselves we need to gain professional credits by performing in a variety of productions. Looking outwards, anyone could be watching our performances (casting agents, choreographers, and directors) this may lead to further performance opportunities.

Whilst studying in 3^rd year I used ‘Affiliation’ regularly without being aware of it. I was given the opportunity to participate in workshops and to sing in front of a multiple of West End casting agents such as Trevor Nunn, David Grindrod, James Orange and Will Burton. Whilst participating in these workshops I wasn’t aware that the casting agent, James Orange, was currently casting for ‘Seven Brides for Seven Brothers’. This may have had an impact on being given the opportunity to audition for this musical. This experience taught me that I am constantly networking with industry professionals and experienced practitioners subconsciously and must conduct myself accordingly.

Since working professionally I have made a variety of contacts who I may work with in the future. I am in contact both socially and professionally with the ladies who performed along side me in Seven Brides for Seven Brothers. This source of networking correlates to ‘Lave and Wenger’s’ theory of ‘Situated Learning’. This production enabled me to become part of a new community of practice, I learnt a variety of things from each cast member. My experiences ranged from developing my partner work, to working with props, learning different script techniques and most of all singing collectively everyday during our vocal warm up sessions. I have come to the conclusion that highly experienced Professional Practitioners (such as Andrew Lloyd Webber, Barbara Streisand, Kristin Chenoweth and Julie Andrews) will predominately network on a  social basis  they will use the concepts explained in  ‘Reader 3’ to promote information rather than seeking it.

To maintain my training I attend weekly classes where I have formed a new community of contacts. Individuals who participate in the class specialise in all different practices but come together to strengthen their stamina and learn new techniques. This form of networking uses the concept of  Crisp and Turner’. I believe that verbally communicating through classes, workshops and castings are now more common than contacting professionals via the internet.

Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?

Upon reflection I use the Cooperation method sometimes without thinking. I would never knowingly use this to disadvantage another person. This method comes into practice when a general conversation inadvertently  informs me of something of interest ( such as an open audition or casting ) I do conform to  Robert  Axelrod’s ‘tit for tat’ method as it is only fair that you receive information but also give something back.

To develop my Professional Networking skills I attended the Press Night of ‘Seven Brides for Seven Brothers’. After the performance the theatre organised an after party within gardens of Regents Park .This was to be my first encounter of promoting myself professionally on a one to one basis. I was greeted by my agent he asked me the question, ‘”Are you good at socialising?” my reply was “Oh yes, I love a good chit-chat!”. We then tactically made our way around, introducing myself to every director, choreographer and agent to raise my profile. This experience was surreal, these creatives were so engaging in conversation, the evening flew by and hopefully I left a good lasting impression. By integrating these methods I have gained a broader understanding of social networking within the performing arts industry and how to adapt myself  by using different concepts.

When you reflect upon current networks, can you think about the motives of others to be in the network and what values and purpose they have in mind

We are in an age where technology is developing and transforming I believe that there will come a point in time whereby Web 2.0, will become outdated and that a new platform will supersede it.

What would you ideal network look like?

My ideal network would be run by a ‘Performance’ orientated organisation such as Equity. This will assure that the site will be protected. Anybody can be involved within the networking site however due to ethical consideration blogs or posts will be approved before publishing on the site. Any member of the public who has an interest in theatre (training, industry or performance) is welcome to join regardless of social status. Examples of users would be:

• ·Thespians
• ·Actors
• ·Singers
• ·Dancers
• ·Parents of performing Arts students
• ·Dance/Performing Arts Students
• ·Teachers
• ·Directors
• ·Choreographers
• ·Composers
• ·Industry Professionals
• ·Set Designers
• ·Lighting & Sound Designers

The purpose of my ideal network would be to integrate associated individuals who participate in all aspects of Musical Theatre and Performance. Readers would communicate with each other sharing information about a variety of topics. My network would include the properties of Face book Twitter and Instagram, users would be able to post in the following ways :

• ·Motivational, positive pictures (Quotes, Lyrics, ‘Stagey Selfies’, performances)
• ·New or general Music (Musical soundtrack, Class music, motivational)
• · Blogs or experiences (from Professionals, Ex-performers or  established                       practitioners)
• · Auditions/Casting/Workshop details
• · Audition tips
• · Questions or queries regarding any aspect of theatre (Predominantly posted by            students within training)

My ultimate objectives is to create a network to motivate, inspire people to reach their potential. I would also like to create a platform whereby users can post questions relating to their practices. This in turn will allow other users to reply. This would be an open forum so that we can all learn from each other and expand our knowledge.

What tools and methods do you need to use? What do you know about your current, and intended networks, and importantly, what do you know?

I believe that everyone has their own individual approach to engaging through Professional networking therefore different methods may suit different professionals. Socially, I do think many students and professionals participate within Robert Axelrod’s ‘Cooperation’ theory however I personally think too many people take this method too literally, and I do not feel that it is right to use someone for your own personal gain.

By communicating with different people, listening to their views and learning and retaining new information we will be able to form our own approach to professional networking.

Module 1: Task 2d / Inquiry

Module 1: Task 2d / Inquiry

What in my daily practice gets me really enthusiastic to find out more about? Who do you admire?

Teaching and performing are two professional practices that get me really excited and enthusiastic.

When teaching I love the way in which the students engage within my class, during the warm up and throughout the routine. I mainly teach children of the same ability and find it so rewarding when they walk out of my class smiling, looking extremely tired as they have worked so hard and wanting to come back next week. With older students I tend to use different styles of music that they haven’t heard before.

Younger students are a joy and pleasure to teach, I try to engage them with a theme that will excite them (maybe base the dance around Disney characters or use music from a familiar film or show). Many primary children enjoy using their imagination and I try and make my classes fun. Seeing the children tell their parents how much they enjoyed my class is incredibly rewarding.

Performing is my true passion, I enjoy the whole process from auditioning to becoming part of a cast, attending rehearsals and entertaining an auditorium full of people. I love portraying different characters and feeling the hot, bright lights beaming onto the stage.

Auditions may phase some performers, I am very fortunate that I actually enjoy auditioning. I love to research the show or character that I am being cast for. My nerves seem to generate excitement and I truly feel the adrenaline rushing through my body when I am in a dance or singing call. I see every audition as an opportunity to meet new directors, hoping that I will leave a good impression. I have learnt not to become too despondent if I am unsuccessful in being offered a recall. This industry is very competitive and as long as I have preformed to my potential, I am happy. I don’t read too much into recalls as the selection process for different productions can vary. I attend the audition, try and forget about the ‘What if’s’ and carry on with day to day life (working and training). If I receive an offer that it’s a bonus and another credit to my professional CV. If not, I have gained another experience and have been introduced to new creatives within the industry.

I admire my two agents who have represented me during the past year, they work for LINK (Urdang in-house agency) and Global Artist Management (current agency). These two people have both experienced professional training, had a career within the industry and are so supportive of my dreams to perform. They are my audition mentors and have helped me to focus on the positives of each audition. They advise me about music choice and attire and are always very approachable.

What gets me angry or makes me sad? Who do I admire who shares my feelings or has found a way to work around the anger and sadness?

Whilst training I did at times feel very sad and slightly angry about students who made no effort to dance or perform to their full potential. The past three years at college taught me that hard work and respect for teachers and professionals pays off. Some students embarked upon their training, seeing it as three years of socialising and living in London, at their parent’s expense. This ethos/mind set angers me as I trained extremely hard for my place at the Academy. Without my scholarship my parents would not have been able to fund my training. Maybe this is why I took advantage of my training, helped and performed at open days, demonstrated at auditions and helped my teachers when they needed Dance Captains for rehearsals.

Upon reflection I am no longer angry at these students as I am seeing my dedication and hard work being recognised. I have a fabulous relationship with all of the teachers at Urdang and maybe that is why in-between professional contracts I am offered work there.

The students that in my opinion, abused their training, are now struggling to find an agent to represent them and facing the reality that they may have to pursue a career in another industry.

I admire most of my teachers at Urdang, most of them have performed professionally and have a long list of credits to their name. I especially admire the Principle, she is one of the most caring, honest ladies I will ever meet. If ever I require advice about my career or future studies I know that I can always confide in her. Even though I have graduated I still feel a huge sense of loyalty to the college and the staff who saw my potential opening up a pathway into my professional training.

What do I love about what I do?

The answer to this question is very simple, I love to teach and perform. This question relates back to the first. When I am teaching or performing in a show I don’t feel like I am working. The enjoyment supersedes the tiredness and long unsociable hours, sometimes poor pay and an unpredictable future. I enjoy capturing an audience’s attention, drawing them into the story and most of all watching them applaud at the end of the show. An appreciative audience or a good review is total job satisfaction.

To date all of the professional work that I have taken on has enabled me to meet and learn from other cast members. After the initial introductions and rehearsal period it’s quite endearing how the group bonds together like one big family. During my contract at Regent’s Park this summer I met and worked with some wonderful performers who have been in the business for years. These people will remain friends for life and I hope that some of them I will work with again.                                                    

What do I feel that I don’t understand? Who do I admire who does seem to understand?

I don’t understand how the amended DaDA (Dance and Drama Award) system would benefit a student who’s family is on an average income.

In 1999, the DaDA’s were introduced to offer annual scholarships to exceptionally talented performing arts students. The funding is through the government (Education Funding Agency) offering reduced fees or in some cases total funding.

Further information regarding the Dance and Drama Award can be found on this website:

www.dadainfo.org.uk

Background (Dance and Drama Award)

Any student who has been offered a full time place on a three year BA or Professional Diploma course could audition for a DaDA award. This is still the case but the criteria changed with effect in September 2013.

Prior to 2013 the criteria to be offered a full DaDA was based upon a student’s ability and potential. The candidate would have to show strong ability in all three disciplines, Dance, Singing and Acting. The candidates that scored the highest in all three areas were offered the award. Only a select amount of scholarships are offered each year by the Private colleges or Academies. During this selection process the school do not take into account the total income of the student’s parents.

A DaDA is offered to the student with a fixed termly fee of aprox £400.00 a term for the duration of their studies (Aprox £1200.00 per year). This is a considerable reduction of fees as an annual fee can be up to £15,000 a year. It was only at this stage that the family’s income would be assessed; if the income was below a certain threshold then a further application could be made to gain additional funding.

In my opinion this criteria seemed totally justifiable as only the most talented students would be offered scholarships.

The criteria changed with effect September 2013, all candidates/applications would be means-tested along side the potential of that student. This meant that the scholarships would no longer be offered to the most talented as the scoring system would have to incorporate the family’s income. In a brief summary it would mean that a candidate who’s family was on a low income showing a lower score in ability would be offered funding over a student who’s parents have an average income but shows a stronger ability and potential.

I believe that the old criteria was the more justifiable. If I had applied for funding a year later, potentially I would have been scored lower due to my parent’s earnings being average and midway on the newly introduced DaDA income scales. I believe that the most talented students should be offered these awards regardless of the parent’s income.

I am not sure who would agree with my opinion as the new criteria now offers additional maintenance funding for low income families. I just feel that allot of very talented students may be disadvantaged and unable to experience training at such a professional level.

How do I decide the appropriate ethical response in a given situation? What level is physical contact deemed appropriate (and not) Within the field of Professional Practice

Within my Professional practice we use physical contact frequently throughout our training, auditions and within performances.

One of the biggest challenges as a dance teacher is to acknowledge the appropriate level of physical contact towards a student. The majority of my teachers approached this aspect of teaching excellently as they would verbally critique you. If you could not identify or understand what was being corrected then a teacher would use physical contact to move a body part such as a leg or arm into the correct position. I feel that this is an ethical practice if the teacher asks permission before attempting to make the correction.

Unethical and inappropriate practice would be when a teacher moves a student’s body part without prior warning or gaining their permission. I have on occasions witnessed situations where a teacher has harshly manipulated a leg into the correct Ballet position without gaining consent from the student. This method of teaching is not appropriate as there may be a number of reasons as to why the student is not in the correct stance. They maybe recovering from an injury such as a torn hamstring, further manipulation may cause a risk of further injury.

As a Professional Practitioner working within various shows and attending auditions means that it is common practice to participate in partner work. During auditions it can be extremely intimidating when you are paired with an unfamiliar person. Not knowing your partner’s strengths and weaknesses can be at a great disadvantage. I always ask who ever I am partnered with if they are recovering from any injuries and are felling competent in lifting me or  performing the choreography that has been set. I deem this as ethical and a good code of practice.

Partner work is very technical and I believe that effective partnerships are based upon mutual agreement by both dancers. Personal space can still be set and if the boundaries are breached then a dancer should raise it with their partner or with whoever is overseeing the choreography.

In conclusion I do believe that professional training should include more partner work .This would help students to gain confidence in spatial awareness. It is important to trust the person you are dancing with as the best partnerships develop over time and after hours of practice. It’s important that each partner knows the others strengths and weaknesses to perform effectively.

As a performer I am a registered member of Equity, this is a trade union for artists working within the entertainment industry. The Union is there to help protect our rights and ensure that employers are adhering to ethical work practices. Should I ever feel that my employer is not acting ethically then I have assurance that I can contact Equity for advice and support.

More information can be found on their website: www.equity.org