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