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.