Inquiry Tools (Reader 6)

After reviewing all options for carrying out my Professional Inquiry about the concerns in the future in dance of Classical Companies I have decided on the following methods:

>>Observation

>>Interviews

>>Documents 

As it is such a vast topic of conversation and debate these days in the dancing department, I believe a qualitative approach will be more appropriate in analysing my resources of inquiry. Just like you cannot put a measure in 'love' I believe the same stands for putting a measure in foreseeing a future as it is unpredictable and I am expecting opinions to vary across different participants, especially in the interviews I will be taking. 

Observation:

Part of the process will be observing the phenomena myself. As I currently a temporary dancer with the Royal Ballet of Flanders, I will takes this advantage as an insider researcher and observe a rehearsal of a contemporary piece choreographed by the Artistic Director of the company, Sidi Larbi Cherkaoui. This is a piece that is being created on the company right at this moment as we speak, and will be premieres in March along with two other works by Ohan Naharin and Akram Khan. All these are some of the 'hottest' names in the world of the dance, and their contemporary works are well recognised amongst the classical companies (ENB performing Akram Kahn's version of Giselle) . 

With the permission of the Assistant to the director and Sidi Larbi himself, I will be watching the creative process of his premiere of 'Requiem'. I thought it would be very interesting to see the difference between a commissioned piece that has already been created and a work that is purely choreographed on the dancers of the company. During the observation I will be writing down notes of certain differences I notice as well as behavioural nature between the dancers and the choreographer. I am interested in the communication that they share between them and the input of the dancers. Knowing how contemporary sometimes works from past experiences and being informed about the Gaga workshops (very popular nowadays)>Appendix... A lot of improvisation skills are required from the dancers, which could be a challenging task for a classically trained dancer, growing up in a very structured form of dance. Ofcourse, every choreographer works in different ways therefore I am curious as to which techniques Sidi Larbi will be using in his creation, and how much input to the dancers have as per of the creative process.

Aim? 

Identify some differences between learning a classical piece of repertoire to a recent contemporary work (structure of teaching, method of communication, dancers involvement) 

Find out how perhaps a more contemporary method of teaching rep could influence the operation of a company. 

Would a classical company benefit from these methods? 

As an insider to this research their are menu benefit contributing to WBL, by gaining the more knowledge while working over a long period of time. However, there is a downfall simply by just being involved in researching the operation of a company as issues may always rise up, and could harm the name/reputation of the company of the information being shared is not secured and confidential . Therefore, it is strictly advised to ask a formal permission by the director or gatekeeper in order to access information about the company through the dancers or carry out observations/meetings/surveys etc. This is what the Ethical forms are for. The precautions are not only for the sake of the company but also for the practitioner (me) by doing this research. No risk must be taken as to inhibit my work with the company. 

Interviews:

I believe that Interviews are the best way to communicate with the dancers. This will be done in a semi structured form, where the participant will be asked the same questions , or ones along the same line, but due to a difference in opinion could very likely lead me to going down a different route with my questions. Special care must be taken as too not get carried away too much out of topic as that could get very complicated to analyse in my 3rd module. However, the participants are free to express there thoughts concerning how contemporary dance is influencing classical ballet companies. 

Who?

I will be interviewing 3-4 dancers from Ballet Vlaanderen, the reason being that these dancers are experiencing the transition the once more classical based company is going through to a more contemporary ground. 

I am thinking that it would be good to interview dancers who have worked for years in ballet Vlaanderen as well as new dancers who have joined with the recent change of management , contemporary choreographer Sidi Larbi. I believe (or I hope) that this will bring varied answers and opinion, which could be very interesting to analyse and gain greater knowledge in my area of research. I am interested to see how the dancers see the future of dance in classical companies.

How has the transition affected the dancers/company?

What changes did the company experience besides the repertoire?

Will ballet companies be following a similar example with this expansion of contemporary choreographers?

I also feel like a good idea would be to interview a dancer from one of the most traditional companies in the world , the Royal Danish Ballet, with the solid background of August Bournville. Viewing the current repertoire of the company, a lot of influence is coming from America, as the one Danish style company is performing many works by Balanchine (New York city ballet), which is indeed a very different and more recent style of movement and technique. I would like to see how this phenomenon has affected the company there. 

It makes me wonder whether this is a universal trend that companies are following. Ofcourse, the Royal Danish is still very classical based, however it may also seem that the company is drifting away from the traditional. A breakthrough would be Nikolaj Hubbe's revival of La Sylphide, which is sacred to the Danish history of the company. Appendix...

Permission would be required by the dancer himself also signing the ethical form provided by Middlesex University. This interview will be done on Skype at a time that would suit both the participant and myself outside of work premises. With permission the interview will be recorded for accuracy as well as taking notes to deceive any observations on behaviour or things that cannot be recorded on tape. (Feelings, dilemmas, hesitations)... Ofcourse, by doing this, misinterpretation can often be a danger, therefore the questions must be clear and as much related to the area of research as possible. 

At last I would very much like to interview a dance critic, as this is the person viewing art from an outsider's point of view rather that dancers like us. I can imagine a dance critic has a very busy schedule , therefore a question are with clear questions and a brief explanation of the research will be the best option of communication, after asking permission and signing ethical forms. This will lead to a professional method of collecting data for future analysis. 

Aim?

Getting an insight from so many different personalities could help gain an all rounded knowledge about the way people are predicting the future of dance in ballet companies.  

Documents:

Documents is a great tool in my inquiry, as it is where I gain most of my knowledge about the past, and how innovation has moved the arts forward. My sources would come from Literature I have read, either from books like 'My Ballet Lover's Companion' by Zoe Anderson, which gives an outline to how ballet has evolved since it first began up to this very present day. This will be my base. Others, would be current reviews and articles mentioned on either Dance Europe or the Independent online news, as well as interviews by other dancers on ongoing current events about the entering of ballet companies into the modern world (examples: Ballet Flanders and Berlin Staatsballet) . 

Ethics for the greater 'Good'

ETHOS: (Greek Word)
the distinguishing character, sentiment, moral nature, or guiding beliefs of a person, group, or institution

This week I have been looking into the matter of Ethics; I believe a term that we take for granted a lot of the time, since the nature of our practice in Dance/ Performing Arts lies firmly within rules of discipline and perfection (classical dance especially) . That is indeed a strong asset to acquire in society, as moral values in a professional environment are highly valued by employers. 

By studying Reader 5, focusing Professional Ethics, I now have a better understanding on what the term really means and the many possibilities and differences there are in way of approaching issues ethically, which is what makes it a debatable subject among society. Due to the differences in beliefs, upbringing, religion, values, it will be difficult to get a 'right or wrong' answer. As it is described in Reader 5, it is the 'grey areas' that we need to investigate and take into consideration when working on our Professional Inquiry, and these are the ethics that influence our lives, culture, media and eventually our future.

To begin with there are three basic Groups when looking at ethics.

Personal Ethics

Professional Ethics

Organisational Ethics

.

.

.

Society: Social Good!!

   Personal Ethics should involve what by own morals an values are. As an adult and employee I have the responsibility to take care of my own decisions. By raising certain issues, I can identify what I believe is 'good', for myself an the others around me. A big part of Personal ethical decision would have to do with the upbringing of the individual. Things like religion, family influence, education and conscience play a big part what your beliefs are as an independent adult. 
-good presentation
-good work ethic
-punctuality
-respect to my collegue/tutors/studio rules etc.


  Professional Ethics would include the codes of conduct of a workplace, a Union, and the Research/Inquiry Ethics of Middlesex University.
A booklet of rules for all employees and personnel was handed to us on the very first day:

'All personnel shall collaborate in a collegial spirit, and in their relations with the media and the public display the needed discretion'.

This was a rule present in my previous company. During a time of crisis, it is crucial to not compromise the name of the company, for their own reputation, but for your own also. 

Professional Ethics 'govern our actions and guide the decisions we take in the things we do'(Reader 5)

  Organisational Ethics - how we do things around here?
-work Contract
-according to organization/environment (Culture)

This is where the issue of Ethics -or Ethos- varies among every dance company/ country you work in. 

Whereas, in Russia for example, the ballet training could be considered somewhat extreme harsh to the western countries- yet very traditional to their roots, In Western Europe a greater attention is given to Health and Safety and Precautions to the dancer's future, as well as more contemporary training. One can argue which is best, however, both sides could be supported. It is where, ethics will play a big role to each individual when giving their opinions. 

I can relate this to McIntyre (1967), who states that their are no universal norms. 

'What is good for one society or time may not be the same in another'

In such case, during my research, considering the context/background of interviewer or history of Company I am researching about would be a good idea.

According to Hobbes (1651) purpose of ethics are the result of 'social harmony and good' . 'In order to achieve peaceful, co-operative social order we need to adhere to a set of moral rules'

------------------------------------------------------


With the topic of dance evolution in mind, I started questioning myself of what my beliefs the future of dance. Taking example from Reader 5, Case Study 1, which questions where the responsibility of a big issue like this lies, and how Personal, Professional and Organisational Ethics can affect each other, I have been asking myself: 
-How responsible are the performers for the progression in classical dance entering a modern era, and how much is it an external influence? 
-Taking into consideration a company that is transitioning from ballet to a more contemporary base company, if the classical dancers spoke against this, would it be considered 'wrong'? What conflicts/tensions would it cause? 
-Can certain rules be changed for the happiness of a company?

With the above question, what we are doing is taking into account the majority of people for the benefit of the maximum 'good'. This theory is called CONSEQUENTIALISM and was considered a moral obligation by Jeremy Batham and JS Mill. What we call the 'Greatest good for the greatest number'. In my eyes this related a lot to democracy.  

This theory contrasts thoroughly the idea of DEONTOLOGY, which is an 'ethical action based o duty' . This theory goes by the books, seeing from the way Kant describes it in his book Critique of Pure Reason (2007) . 


Another Approach to moral dilemmas is by using VIRTUE ETHICS, which takes into account moral behaviour and where character is as important as the action. 



 I would like to take the word RISK as an example... 

"Dancers at Berlin's Staatsballett are challenging the appointment of choreographer Sasha Waltz as one of the company's new directors, rejecting the appointment as "insulting" and politically-tinged."

http://www.thelocal.de/20160913/berlin-ballet-furious-at-political-appointment

A huge scandal had exploded in September 2016 - dancers signing petitions against this event of having, even though one of the greatest contemporary /dance theatre choreographers worldwide, Sasha Waltz** (Bio in link below-references), run one of the world greatest Ballet Company. Articles mentioning she is 'unsuitable' for their role. Not questioning her talent, the appointment of a contemporary practioneer running a traditionally classical company would naturally mean change, just like the Royal Ballet of Flanders. Whereas many are frowning upon this governmet decision, others are expressing that this a step into the future of dance. 

Many are arguing the RISK that this. Their are two sides of this RISK. But there is a grey area also which brings uncertainty to this issue.  But it will be interesting to see how ethics will play their part for the future of Berlin State Ballet. 

Will the rules be followed as they are? (DEONTOLOGY)
Will the majority (dancers/staff/audience) make change? (CONSEQUENTIALISM)
Will Sasha's actions and plans for the future of the company will be taken into consideration? (VIRTUAL ETHICS)

The events at StaatsBerlin and my current working company (Royal Ballet of Flanders) have strongly influenced my Profesional Inquiry. 

Since the contemporary movement is growing, are we perhaps lookinging into a telescope of the future of ballet? 


Reasearch Ethics

In order to find out more information on the importance of ethics in the company, and the value of a dancer's voice in political matters, I have kindly asked permission from the president of Equity Union, who happens to be a respectful co-worker of mine at Royal Ballet of Flanders, and organised a meeting after work hours, which will hopefully inspire the progress of my dissertation in my 3rd Module eventually. 

Things I need to ensure are:
-the manner in which I will be interviewing 
-the security of the data collected
-the Accuracy of information 
-the beneficial factor > how will this interview help me and perhaps him, as well as the rest of the company. 

It has been a challenging topic to expand on. Ethics is usually something i let my consience run, however I feel like I have learnt a lot a can't wait to fish out more information for my research! 



References:

Reader 5 (2016/2017) http://mdx.mrooms.net/pluginfile.php/631105/mod_resource/content/2/Reader%205%20Professional%20Ethics%202016-17.pdf

http://www.merriam-webster.com/dictionary/ethos

http://www.thelocal.de/20160913/berlin-ballet-furious-at-political-appointment

http://www.ijpsonline.co.uk/wp-content/uploads/2013/04/ethos.jpg

http://www.gramilano.com/wp-content/uploads/2016/09/Save-Staatsballett-Berlin.jpg

https://www.mariinsky.ru/en/company/choreographers/waltz/

I am a Dancer, hear my Voice

On the 16th of November 2016, a meeting took place at the studios of Ballet Vlaandered between the Board of Committee and dancers of the ballet company. The Board of Committee is a new recently formed establishment, and what it consists of is a couple of the more experienced dancers (ie: principals/soloist), who's job is to organize meetings, such as this one, and make sure that any requests, questions from the dancers could be passed on to the staff of the company and board of direction. 

The aim is to create a 'bridge of communication' as mentioned by our principal dancer, an idea I was very fond of, especially after learning about the importance of communication in my BAPP Performing Art studies.

The main point of our practice is to raise an issue and be able to investigate its source and progression, in order to make a positive change to yourself and your working environment. And the only way this can be done is by communicating with the people who you are involved with professionally or are linked within your professional circle. 

Being a new member, I was not aware of the reasons behind this meeting or if it would involved me, being a dancer in the company. Therefore, I decided to sit in a corner quietly and treat it as an exercise, taking notes (WBL) like a good student, of anything I should take into consideration for my work and my studies. Before the meeting started I wrote down a few questions, which I thought could be helpful in understanding the purposes of the meeting:

-What is it about?
-Who does it involve?
-What issues are raised?
-Are there any codes of conduct?
-Was the meeting beneficial?
-What did you learn from it? 

Indeed, the meeting was very helpful and has proved me the significance of good communication, which I feel that a lot of the time, it is taken for granted. What was highlighted in this meeting was the importance of having our voice as dancers heard!! 

The company has been going through a transition period during the past coupe of years introducing more contemporary works in the repertoire. As I am very new to this place, I have not experienced this transition, therefore, I cannot speak for myself in this particular issue. I can only relate to my own personal transition from a strictly classical company to one that encouraged a contemporary outlook on art. 

After any change, whether a personal one or one of a company, there is excitement but there can usually be a general confusion in the atmosphere and time is needed for adjustment.

As explained really clearly to us at the meeting, the way to avoid any complication or uncertainty in the workplace is to speak up!! 

The dancers are encouraged to evaluate our recent premiere and share our thoughts with the board of directors. This would not be a file of complaints, but rather, a letter taking account the making of the production (teaching, rehearsals, schedule, touring process, organization, dancers well-being) and mentioning what is good about it, why it is good, what would work better perhaps, and any suggestions of how we can improve for our working environment. An online survey of multiple choice answers has also been shared among the dancers, in hope to 'provide insight in the state of affairs in the performing arts..as well as in your (our) organization.'       

In general, issues concerning dancers/performing artists, are very often assumed of their existence. Perhaps people know that the problem is there, but not the extend of its importance. Hopefully by expressing our thoughts and feelings as dancers, any kind of our issues, small or big, personal or collective, will be taken into consideration, and we can start working as a team!! 

Healthy and Constructive Communication = Happy Dancers :) 

Reflection
Critical Evaluation 
Expression
Communication 

should should be part of our every day lives (not just in ou BAPPs!) 


With the arts, expanding and moving forward:

What are we experiencing?
How are the dance companies moving forward? An how are they adapting to change?
What needs to be taken into consideration?
How important is the dancer's say/opinion? 

I would love to expand more on this issue and would love to hear your thoughts and questions on this as well! Any opinion is welcomed :) 


references:
podiumkunsten.be
https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiQxu_9iLPQAhXEWxQKHbDNA2EQjRwIBw&url=http%3A%2F%2Fcoablog.ashevillenc.gov%2F2012%2F08%2Fwanted-your-voice-for-the-noise-ordinance-survey%2F&bvm=bv.139250283,d.d24&psig=AFQjCNFgjUe2-3ipZXL_UDt2Y0MHjiUY8g&ust=1479584722328155

Introduction to theme: Moving Forward

During the course of my study in BAPP Module 2, I have taken on interest many topics that I would love to discuss. But my dissertation is just one, and therefore, I have to focus on what I feel most passionate about. That is Art itself. A pretty general term that could account for vast possibilities and options. Just like what my tutor, Paula, described with the findings of 'love'. 

Since my first module I have been interested in the way that Performing Art has evolved and the ways it is progressing into the future. Especially today, I feel like I have found myself in the perfect place for this research. I am currently working with Ballet Vlaanderen (formerly known as Royal Ballet of Flanders before it had joined with the Opera). The company itself is going through a transitional period entering a 'contemporary space'. The aim of the company is to maintain the strong classical training it always held throughout it's history, yet marrying the two worlds of classical and contemporary dance to create something new; to represent the present day and perhaps inspire the future of dance. The company has the honour to perform works by world re-known choreographers who have either marked there significance in the dance world, or are on their journey of doing so now. Ofcourse, with this transition comes a very much expected debate concerning the future of the company and the county's culture. I am hoping that, with the methodical and ethical research, through interviews and my own personal experience, especially after working in a very traditional ballet company, I can investigate the issue. How does history and tradition mend with the future?



Credits: Filip Van Roe - Ballet Vaanderen in 'Pond Way' - choreography by Merce Cunningham: one of the best choreographers and innovators in contemporary dance.


It is very interesting to see the change the industry has gone through between the 19th up until the 21st century, especially in ballet, and I can't help but notice how fast it is moving now. We see ballets being re-staged, traditions being broken (for good or bad) to match the present day, and the works of innovative minds influencing the world of dance and it's perception. To take an example: Akram Kahn's new premiere of Giselle, which has been a huge success for the English National Ballet. 

"One of the most anticipated dance events of 2016, Sadler’s Wells Associate Artist Akram Khan creates a brand new version of the iconic romantic ballet Giselle for English National Ballet." - Sadler's Wells

Giselle, the world known ballet originally choreographed by Jean Coralli and Jules Perrot to the score by Adolphe Adame, and premiered way back in 1841. Amazing to think that this ballet has lived on until this very day where Romanticism is rare nowadays; where everything has become virtual and accessible. Perhaps this is the very reason that the Ballet lives on proudly. It is where the fantasy lies which is really just the reality of a simpler time we maybe long for.

Balanchine mentioned in an interview  

 "Like Hamlet, Giselle is a classic: it is not only important historically, it also happens to be good (…) People go to see Giselle and to see ballerinas dance it for the same reason we go to see new interpretations of Hamlet: the work is such a good one that we always discover something in it we hadn't seen before…" - George Balanchine


(What is perceived as 'good'?)

It is such a precious ballet, that the story line and romantic style are significant to its history and will often be left untouched. Some steps may be tweaked to suit the company, choreographers (reviver's) preferences and the costumes will be a variation to the original. But, there is a rare amount of choreographers who would attempt an new creation in the name of Giselle. The expectations would naturally be high. Indeed, the example of David Dawson's and Akram Kahn's original and individual interpretations of their Giselle, has been very successful according to many reviews and the audience's reaction. Fresh air was brought on stage with the imagination and new vision the choreographers today carried.

With the passing of the years, the ballet world has been charmed by the magic of many choreographers who have made breakthroughs introducing innovative ideas to the stage and approach in dance/training, while influencing a bigger mass of society and audience to get involved into this world of dance. 

The dance world has become Universal. Companies are accepting dancers all around the world. Art has been challenged, it has bloomed, transformed because of the greatest minds and biggest talents over the years. It has endured prejudice, discrimination and has fought its way to creating the escape for man from all these global problems they are facing in the real world. Because of Social Media, the world of dance is becoming for available to the greater society. If we think about it, the stigma is only for an eclectic group of people, has vanished, so much that the anyone can watch a performance of dance/opera at the cinema nowadays! Everything seems to be moving so fast, with the influence of new choreographers, contemporary dance, the competition and transition to the requirements of today. 

But I wonder really-relating this to real life examples as well...Are we able to catch up with our mentality towards this change? Is there a generation gap? 

With this theme in mind:

What defines 'moving forward'? 

How far is this evolution going?

Is tradition compromised?

How important is tradition?

Should history that should be taken into consideration for the future? If yes, in what way?

Is this an issue to be raised by dancers or are we a means of this transition?

Has this transition had an effect on the dancers today. If yes, how has it affected them?

These are questions which have been surrounding my mind for years, however, with experience and working on my BAPP,I am able to express it and hopefully find some answers. I believe this is not a right or wrong questionnaire, but rather a research of debate that would help my understanding as an artist, an aspiring choreographer (What is the audience looking for? What should be taken into consideration?) Hopefully this can help fellow peers and dancers to speak up about their thoughts on this and perhaps adapt and live up to today's requirements as an all rounded artist. 

Please feel free to comment, discuss or even argue some points as I would love to hear your thoughts on this!! :))

references:

https://operaballet.be/en/the-house/blog/sidi-larbi-new-artistic-director-of-royal-ballet-flanders
http://www.mercecunningham.org/merce-cunningham/

https://prezi.com/kb7h8e8lmpyt/imperial-russian-ballet-the-classical-era/
http://www.sadlerswells.com/whats-on/2016/english-national-ballet-giselle/
https://www.theguardian.com/stage/2016/oct/02/giselle-akram-khan-review-english-national-ballet
http://www.scene4.com/archivesqv6/apr-2011/0411/renatestendhal0411.html
http://www.theballetbag.com/2011/01/11/giselle/
http://criticaldance.org/semperoper-ballett-giselle/

Professional Inquiry Triangle- Interests

The course on deciding my field of interest I would focus on in Module 2, has allowed me to open up my box of ideas and allow myself to question what is most important to me, how can I learn from it and and how can this help other people?

A lot of our sources and learning 
experienced and work based learning (WBL), which is why it is so important that our inquiries match out needs. The approach is personal. I must be able to take myself 'out of the box' and view this needs as the student I am, the dancer and aspiring choreographer. Just by doing this I have already instilled a basic theme in which I would like to direct my research. As a very general, that would be overcoming the fears in your career and the importance of taking a risk when necessary.


But in order to have a collective, unbiased and all rounded result, it is vital to get in touch with other people and their feeling or opinions on the subject of matter. That means getting involved in the network of communications taking work into consideration, school, family and friends, so that greater ideas are shared. The more we share with one another the more we learn and it will make the process much more fun and rewarding in the end. That idea itself, makes me want to make a change, and I question:

What is it I want to achieve?

Work Based Learning will build a personal approach to my practice investigation while relating it to my working environment, which will keep me motivated and interested and will hopefully create an honest result so help myself and a wider community.

----I would like to take the example of the company I am working with at this moment. After leaving a company that is known for keeping strong to it's traditions of function, management and classical repertoire for many years now, I have entered a company which is going through some drastic changes if we consider the choice of contemporary/experimental repertoire. 

>As a dancer I question: how will this affect me?

>As a Middelsex University Student I question: what can I learn from this change? How can I apply my WBL skills to my Professional Practice? 

Both cases have been left with at least 10 dancers leaving the companies, by their own choices, for opposite, yet related reasons. Which makes this an issue to be presented.----

The issues of fear in change, sticking to traditions vs embracing innovation and their effects, are topics that have triggered my concern and I would like to dig more into how we can create a good balance.

what we have to take into consideration will be:
-company dancers
-audience
-funding
-the country's situation
-the year, generation we are in  

I look forward to hearing your views on this!! 

References: 
Reader 4 (2015-2016)

Developing a Professional Inquiry

Reading through the handbooks and Reader 4 has really helped me plan out my process into engaging with my second module. I have been so conscious what I would like to base my topic, since there are too many things I would like to discover, that my mind was just just a fuzz of disconnected information. I decided to start from the beginning using the previous Readers as guidelines to help me focus on what I feel most passionate about. 

Through planning out my thoughts on my professional inquiry, via a Spider Diagram, I feel like I have achieved a clearer view and discovered the importance that the Professional Inquiry will have for the end result.

By writing the basics of an Inquiry (with the help on the links mentioned below) I have come to realise the impact this project will have, maybe not just in my career, but aiming to help and influence other people in the Artistic Circle. 

Things I will need to consider during the process of my Inquiry are:

1) Explore: how to discover topic of interest?

>art of questioning

>reading

>discussing 

2) Investigate: what will my sources be?

>tutors

>learning from fellow BAPP/ex students

>friends + peers

>Blogs + comments

>past and present experience

>work based learning (WBL)

>same interest groups (SIGs)

>internet

>literature

3) Process: how will I process my information and analyse ideas

>diagrams/mind mapping

>surveys

>interviews

>Blogging experiences

>commenting and learning on other students/tutors blogs

>discussions with tutors/peers/colleagues 

...............all for grater understanding! (bearing in mind ethical morals)

4) Create: how will I present my work? 

>communication with the audience > who is my audience? 

>create understanding in all sides of an opinion/arguement

>What impact will the Professional Inquiry have?

>Besides myself, how can the inquiry help other people?

as the Reader 4 mentioned : 

"The ultimate goal of the inquiry will be to explore a topic that will benefit your work and the work of colleagues and fellow professionals, including any work organisations with whom you are affiliated."  (Reader 4 , 2015-2016)

References:

https://inquiry-learning-representation.wikispaces.com/What+is+Inquiry+Learning%3F

http://library.queensu.ca/webedu/gdpi/index.html

At Risk of Fear

‘There’ nothing to fear than fear itself’, wise words once spoken by Franklin D. Roosevelt.

It had struck me when the soloist of the company had whipped out 6 pirouettes en pointe, effortlessly, without a moment of hesitation, and looked like it was the easiest and most fun thing in the world. I had asked myself: ‘what is it that makes her turn like that?!’… No, before we jump to conclusions, ‘the answer is not sushi’ … but ‘FEARLESS’.

A few months ago, I had decided to make a move into finding another job. Somewhere where I knew I could grow artistically and professionally, hopefully without any external financial support. Any dancer can recognise that this is easier said than done. The process is pretty standard: including countless auditions, added pressure, facing competition from all around the world, a lot of the time just to fight for that one contract the company has to offer. A lot of the time, this might not necessarily mean the person with the most talent would be the one getting the job in the first place. A job could be offered simply because you fit in the company’s criteria, for example if you are the right height, or you have the right look that the director opts for a certain production. Connections with teacher, choreographers, directors and common relations are also very important when reaching out for opportunities. But, in my experience, I feel that it is a lot about being in the right place at the right time. Many would describe it as ‘luck’, but I would say that ‘being at the right place’ means, being in the right state of mind.

Even in failure; that means, to be able to accept rejection, realise that path perhaps was not meant for you, and have the courage to stay strong, confident and look forward to the next opportunity that comes your way. A little birdy, being my father, once told me that if you put your full heart into something, the hard work will pay off, as long as you truly believe in yourself. If it’s not this door, it could very well be the next bigger one. It may seem so that, I have achieved this mentality, however, as failure is something that any performer- or any person really, will encounter more than once in their life, it is definitely something I need to keep reminding myself.

What has sparked my interest in focussing on this idea of overcoming your fears has to come from a question raised by a fellow BAPP colleague, Megan, mentioning the importance of taking risks, after having gone through the same journey of taking a risk by leaving her job, which I really salute her for her bravery.

This has also been a major topic discussed with peers and friends, which go through these emotional trails day to day in their careers, including myself.

WHAT is stopping us from taking risk in class, reaching out for more turns, aiming for higher jumps and higher goals in our career?

IS IT fear?

WHAT is fear?

Do we base our decisions on fear, if yes, WHY is that?

I could do this forever. Raising questions like these to myself has really helped me direct the course of my focus point in my studies, aiming towards what I feel more passionate about. However, it has also done just that- raised so many questions that I just can’t wait to dig deeper into exploring in my Second Module! I feel that I can relate into my own past experiences to analyse this idea of ‘fear’ and hopefully this will help me as well as influence performers, choreographers and directors and help them into overcoming any difficulty in their career that they might face.

Themes I would love to relate my work to would be

-Breaking boundaries

-Inovation vs Tradition

-Fear of change

-‘Safe Place’

I will be aiming to relate my research through past experiences of my own (WBL-Work Based Learning), as well as dancers/performers/leaders in order to achieve an all rounded result.  Below I have included a link to Megan Louch’s Blog, which I believe will be very interesting to read and learn from! 

references:

http://historymatters.gmu.edu/d/5057/

http://meganlouch.blogspot.be/2016/10/sigs-education-work-home.html

Module 2 Preparations (Skype meeting 16/09/16)

Friday 16^th of September , just a week ago we had our induction day via Skype with all my colleagues and tutors, introducing the long awaited Module 2, after our well deserved summer break. Now, ‘back to school’ we are all reminded for some basic expectations which we very commonly tend to forget or unconsciously ignore with the passing of time.

Keeping up with deadlines, is a topic to be kept into consideration, especially for some of us who revolve around a busy schedule every week. So as always, time management skills are key in succeeding. Managing your time will not only help hand in work on time, but will also help in working more efficiently therefore offering more quality in your work. Starting this new season in my new workplace, I have bought myself a new notebook where I can organise my priorities during the day. This will involve making of many ‘check’ lists of this I have to do eg: Laundry, food shopping, spontaneous errands, and most importantly, BLOGGING!  I am quite a traditional person when it comes to writing. If we could bring back the good old typing machine, I would be the first to have it in use, right next to the vintage cameras I would love to collect one day in the future. My notebook will be carried with me everywhere at all times, where I can drop down any ideas for my blog, any interesting conversations shared with friends and colleagues. So I guess I will be mind mapping my way throughout this season, raising questions and ideologies in order to help me develop what I would like to explore in my second and third Module of my BAPP! I have also reviewed my schedule and it seems that I have about 3 hours between ballet class and rehearsal, so I can’t wait to actually dedicate this time to reading my handbooks and readers without stressing out about late tiring nights anymore!

 

Another topic we expanded on during our Skype meeting was the importance of connecting with people. This involves reading and commenting on people’s blogs, aiding us to eventually discover new common interests with others taking the course, which opens up doors to new ideas. It was interesting having a member of Module 3 in our Skype call meeting that day, as she explained to us the importance of networking, and the creation of common interest group, as these will soon contribute to our 3^rd Module as well. This way, we learn from each other and we focus on a more all rounded foundation for our final module.

What has captured my interest the most though was what Module 2 is all about. I have been finding it very hard to find one topic to focus on during the course. I had too many ideas which all seem like a cloud to me at the moment. However, I have learnt that that is the purpose of Module 2. Discovery. It is the practical process of raising questions in order to discover what you feel passionate enough to find out more about, and I am hoping to achieve that through blogging weekly and connecting with or my colleagues going through the same process as me.  It is also important that these are real questions that you can later on find answers/solutions for in the last Module.

It all sounds pretty daunting, but by setting the right mindset, goals, and keeping up to scratch with dealines, it can turn out to be quite fun, especially if you feel passionate about your work! I hope everyone is looking forward to beginning Module 2 this coming week! Best of luck and good discovery!!

Back to School

Monday! First day of the week. The day when everything starts whether it's work, that diet you said you would start last Monday, running that errand you forgot about; a day of new beginnings anyway. But this Monday is a special one. It is the first Monday of September, which means a whole new beginning of a new season, and this time in a new city, and new company, where goals start becoming reality! First step, with the Royal Ballet of Flanders, working on their big new production of Spartacus, celebrating Yuri Grigorovich's 90th birthday. 

Due to some unfortunate events concerning the ballet company I worked with in Romania, I have decided to make a step into finding another job. The last few months of the season, I had not been at the best states of mind, which had brought down a great deal of my confidence levels. Dancing wise, I had been able to invest any emotion I held in, any anger, sadness or even happiness-that of the joy of dance- into my dancing itself. When it came to dancing William Forsythe's 'In the Middle Somewhat Elevated', that exuberant feeling when the first Crash hits the music is powerful like no other. The studio and stage had been the only moments I forgot about reality and could escape to a world of my own, turning any troubles into tools of motivation. However, what I hadn't realized at the time is that I had also turned the anger in to a weapon when leaving the studio, killing off every bit of hope and trust I had in myself, crippled by a negative energy I was not proud of.

I must clarify, my position at work had not been threatened. I had always received respect as a professional which I really appreciate. But what had troubled me was the decision I had to make, after seeing that the company may not be healthy environment for me to present my work honestly anymore. This has proved to me how vital a good communication among your peers and co-workers are within a working environment. Going back to what I have learnt in Reader 2 about the importance of networking and the connections you have at work, in order to create an efficient working team in the aim to grow and develop as artists and as a company itself. 

Of course, this could be a very big risk leaving full time job, with -maybe minimal yet- stable income, continuing your performance experience and having a studio to train daily. Perhaps, had I not found a new contract, I would have gone back, which could have been one option. It could have turned out to be better than what I had expected. But I feel a step had to be made on my account. 

During the summer I had time to really clear my mind and reflect back on the year that passed. I had spent a month writing down pages and pages of options, and plans of what the next step was for my career. Every decision I made was vital as it would determine what was to happen next in my life, which is something we, as humans, cannot have control over. What we do have control of is the way we approach our decision and they way we adapt and grow.

The turning point of my attitude towards life decisions had started after spending a month in the beautiful  Basque city of San Sebastian, located in the north coast of Spain. I was given the opportunity by dancer/choreographer/inspiring woman figure Iratxe Ansa, to be a part of a contemporary dance workshop that encouraged creativity and healthy team spiritual involvement in the studio. Ironically enough it was called Metamorphosis. Unlike the 'world of ballet' , there was a very human approach towards the connection between the dancers as well as the teachers with their dancers. By sharing ideas with each other (often after Improvisation session) we had created trust among us, which later contributed in our dancing and bonding as a group. About 30 dancers had gathered to this city, from all around the world -Mexico, Spain, Canada, Australia, America, Italy... all with the same aim and determination. We had also been given the opportunity to perform in different venues in the north of Spain, like the famous Church of San Telmo to traditional live music of the Basque country, called the Txalaparta, and the famous Guggenheim Museum in Bilbao, which had left us all very inspired.A very special experience it had been for plenty of the dancers, including myself. 

Having met these amazing dancers and friends, and challenging my mind and body with a technique I am not usually used to every day, I have discovered many things, like the exquisite possibilities that one body can do and how you can go much further than you believe your mind allows you. What I have also reflected back on afterwards, is how your mood and feeling can affect the others around you. The positive energy and work ethic in the studio as well as the kind and genuine people I have been so lucky to meet, have given me left me inspired with healthy outlook in life and dance. 

I had arrived home after this trip more motivated than ever to continue dancing during the summer, keep in shape and match my goals. I had organised auditions, taught ballet at home to young students, and trained by myself with minimal facilities, making the most of what I had learnt within the past year, including Patrick Rumps Training program, Stephane Dale's Floor Barre and a class I created myself following methods I had learnt in Spain this summer, by Iratxe and her husband Igor. All this while spending quality time with my family which I love so much. I am so grateful to have their support and guidance in every step I take.

I look forward to starting materializing goals in my career and BAPP in this new study year, and really discovering what I would like to base my final dissertation through the second Module of my studies. I wish everyone the best of luck!!

Ballet Tinsel

Having a day off at work, gives me the chance to look back and reflect on my week at the company and what I have been up to concerning my BAPP arts studies. Time is my friend at them moment, so mornings like these when I can quietly sip my coffee and assemble my thoughts are very much appreciated. After a long week of full call rehearsal building up to next week's Premiere, a dinner with close friends sounded like the perfect idea. As a dancer, the time you have outside the theatre is very limited. Most of that free time you want to spend it at home, resting your body, preparing dinner, seeing your family,loved ones is some people's cases. So it's not often that we get to rest our minds and appreciate the city. As a foreigner in Romania, I feel like it is important to have some knowledge of the place in which you are living in as a respect for the country, as well as for our own culture.

The evening was spent in an isolated bar that looked more like a beautiful abandoned villa, right in the heart of Bucharest. The décor was a rustic vintage feel; ripped floral wallpaper on the walls in olive colours, what looked like Turkish rugs, and  bell lamps that created a very cosy atmosphere for their people enjoying their drink. From a casual night of laughter, the night had unconsciously evolved to a stream of deep conversation over the topic of the arts somehow.

Mind mapping my way through the conversation this morning (hope I haven't forgotten anything important), I discovered many things, not dance related necessarily but some real eye opening issues that have caught my attention and would love to get more into throughout the course of my studies.
Some questions that were raised on the table were about the quality of performances taking place in big ballet companies at the moment. How much is it of an artistic attribute and how much of a crowd attraction? - What the person who whom I was having this talk with called it 'Ballet Tinsel'. How far are we going out of tradition in order to fit in the times we live in? Is tradition losing its value, or are we simply progressing to the future of dance?

It is unavoidable that a ballet will not look the same as the original version created, since the same production can be performed for years after. Times change and so do the dancers and productions to fit in the present and attract the audience. There is a fine line in sustaining the tradition and evolving with the times. Your market in performing arts is your audience, so a company would have to adapt and fit in with what the audience wants to see. As long as that doesn't have an negative affect on the quality of productions by producing 'Ballet Tinsel'. 

As a passionate person of the arts, I am all for the arts moving forward and developing, as I have mentioned in previous blogs. However, I am also a strong believer of recognising the roots and the history behind the art. And when I see a recreated ballet being stretched and altered so much from what the original that it becomes unrecognisable it takes me some time to decide what to think about it. I am talking both on the artistc side and production of a ballet. Naturally, the dancers' technique has really developed throughout the generations. A greater awareness is given to correct placement and use of leg work due to the knowledge in training accessible nowadays. There is a safer in training benefiting the dancers in having a long career. Professional dancers now are generally more flexible, more technically correct, have stronger and leaner bodies (because of alternative exercise and awareness of good nutrition which are encouraged usually). So that is already a change, and as a result, the ballet is bound to look different from what it used to be in the 19th century for example. That is development! One of my wonders tough is if this focus on strong physique and technique taking away from the artistry and style of the ballet? Are we forgetting about the roots, the purity of dance? The history?

The issue had been brought up by a comparison from a person in the table, leading to an interesting observation; Taking example the controversy of taking down the Statue of Cecil Rhodes in Oxford University (April 2015). Not knowing much about the history, I researched about his actions and dominant role in South Africa in discrimination. A big debate and poll took place to take his statue down, since it represented controversial and inexcusable ideas. However, others believed that 'the battle isn't won by taking the statue away and pretending those people don't exist'. These people saw that it was an 'important reminder of the complexity of history and of the legacies of colonialism felt today.' (references bellow) ...This brings be back to our observation. By drifting away from the traditions in dance, are we forgetting about the history?

Leading me to my next question...Can we bring awareness to the issue? What can we do to sustain the value of the history, and origins of dance?

>>The one thing we can do is to expand the exposure and to share the knowledge with the people. We can do this from a young age by introducing occasional trips not just to museums but also galleries and the theatre. This way, you are giving the youth the option and the opportunity to discover a part of their personalities they perhaps were not aware of. The are not making blind conclusions about the art, but instead they are building their knowledge through their own view point. This way we can sustain the importance that origin and history plays in arts.

>>Perhaps lowering prices to an affordable amount for students going the theatre. Therefore, the theatre is not excluding a vital community involved in the future of performing arts.

Creating an awareness about this is the first step. I would be very interested to hear your ideas on this!


(Methods of Reflective Writing -Task 2b - I have used writing this are Description, List, Mind Mapping Evaluation and through asking myself questions! I found myself discovering so many dimensions that I could expand my thoughts in!)



..........................................................................

http://www.bbc.com/news/magazine-32131829
http://www.theguardian.com/education/2016/jan/28/cecil-rhodes-statue-will-not-be-removed--oxford-university