'There is only Now' - Action Planning (Interviews) - Module 3

George Balanchine used to say that 'there is only now.'

Being behind on my research has really hit me hard in realizing the importance of living in the moment. If you want something done in your life, then you will not make excuses to hold this thing for later. 

Right now, what is it I want?
>>I want to be successful in my dance practice > improve daily > keep a positive outlook > focus in my purpose > get a full time contract where I can grow and develop my dancing. 

>>I want to be successful in my studies > Keep up to date, collect useful data, proceed with my findings and analysis, share my knowledge gained with my colleagues, peers and community of work. 

It so happens that the two can relate together to enhance each other. While my Working environment works as a tool for research for my Inquiry (WBL), My research can help not only the development of myself as an artist, but also the community of dance around me. My research will contribute a great deal to the creation of my Artifact, and this project is what will be then presented to educate/inform/entertain the audience of my work. 

In order to achieve this, I have been influenced by the Action Plan, created by Bruce Woodcock (University of Kent) and decided to create my own plan in order to collect the data and analyse it efficiently, withing the given deadline. 

Theory begins by asking yourself;

• WHERE AM I NOW? This is where you review your achievements and progress, and undertake self-assessment.

• WHERE DO I WANT TO BE? This is where you decide your goals.

• HOW DO I GET THERE? This is where you define the strategy you will use to achieve your goals, and to break down your goal into the smaller discreet steps you will need to take to achieve your target.

• TAKING ACTION. This is the nitty gritty where you implement your plan!

• WHERE AM I NOW? 

And his continues into a cycle of reassurance that you have achieved your goals, and you are ready to take the next step, by knowing how do get there. 

I have in turn created a table for myself, the way Woodcock suggests, which, divides the process into steps:

MY OBJECTIVE IS: to collect research data for analysis TO ACHIEVE THIS I NEED TO:  Contact at least 10 dance practitioners (dancers, ballet masters) from different ballet companies and Interview them	Date I expect to complete this step by	My reward for completing this step will be
I will tell my plan to: Interviewees, friends, coworkers, family	done	Appreciation
I will start my action plan on March 27th	30 April	Colleting Material for Artifact
Step 1: select interviewees- background of classical ballet, different stages in their career, professional experience working in a ballet company, different companies-and contact via social media (private messages) or via email.	2 April	Watch a movie
Step 2: Ask permission from them and/or organizational institutes they work in to interview, film/record.> formal email explaining research purposes and inquiry process , ethic forms, emphasize right to withdraw from interview at any point	9 April	Go to brunch with friends
Step 3: Proceed with interviews and filming (in person/skype)-bearing in mind ethical procedures, respect, codes of conduct of interviewee’s workplace >> send Draft (18 April)	23 April	You can have a break- have a Kit Kat ;)
Step 4:  review observations as you go. Have you discovered something new? > more literature to relate to data collected? Other activities? > Can you discuss further with any interviewee? >>Send another Draft	30 April	No reward…push
Step 5: Review back on all data collection, check Bibliography and Harvard referencing. >> Select and put interview clips appropriate to research on audio > part of Artifact.	7 May	Nearly there…
Step 6: Finish Artifact and Submission	12 May	Celebrate with a Dance!!!
What problems am I likely to face? What will I do to overcome these? Delayed Interviews: Make sure you can be contacted easily. Keep up to date with information collected so that it doesn’t collect into a pile afterwards. Arrange another day to hold an interview convenient with the interviewee and yourself. Skype is a good way to contact as one can e a part of the interview outside their working hours. Cancellations: No interview should be forced upon. After explaining the process and ethical procedures, if one chooses to not be a part of the inquiry, that is their free will, and you can always contact other people within the time limit. New Observations/ Irrelevant data collected: As this is an Open-End conversation, it is sure that the interviews may vary from person to person, as a result to their different job environment, country they work in, training or rank in their workplace. For example: an experienced soloist dancer will have a different point of view from a young dancer at the beginning of his/her career and could identify to theories that you may not have met before through literature findings. This is important as the differences in these dancers could contribute to an interesting conclusion, where the result is dependent highly on the background of the applicants. >>New observations, can definitely be notes down as part of your research, as they could open new doors for a more accurate/well researched result.  >>Any irrelevant data, won't be necessary to  use if not applicable with your research. > If this is something you encounter in your interviews, better have a look at your questions you are asking the interviewees: Are they relative with your Inquiry theory? Is there a bias? Have you informed the applicants well about your research before you went forward with the interview?

By setting out objectives, this allows you to set steps for yourself, so that these can build up to the final wanted result.

I never believed in the element of reward. I always felt that the achievement of the task itself is a reward itself, however, thinking so far ahead can only be intimidating for yourself to even begin taking action. By setting mini rewards along the way is just a motivator and a reassurance that you have finished the task, and you are ready to move on.

By asking yourself what problems you may encounter, is a way to act on perseverance. By preparing yourself with potential risks or problems, you are only  preparing yourself in order to react more efficiently without wasting time on either stressing about it or not knowing how to take action to achieve your ultimate goal. 

I have been finding these methods very helpful in continuing with my Critical Review and taking action of my Research Inquiry Tools I have been performing. and would recommend it to everyone :)

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

Reference:

https://www.kent.ac.uk/careers/sk/skillsactionplanning.htm

COW. - Performance Review - (Activity) - Module 3

COW

Choreography: Alexander Ekman

Music: Mikael Karlsson 

Premiere 2016 Dresden SemperOper

Watched; 9 / 02 / 2017

**blue = ethical procedures 
**in pink = relation to Critical Review/Artifact

I had been longing to watch the work of my favourite choreographer for some years now, and here I was today watching his thrilling creation of COW performed by the Ballet Company of Dresden SemperOper. 

I would not describe this as a ballet performance, but more as Spectacle of Entertainment in all its sense and glory. I highly recommend to everyone to look into Ekman's work, as I feel it is the best example of what kind of choreographic work is made today. 

Alexander Ekman has worked with numerous ballet companies around the world in cities like, Dresden, Dortmund, Atlanta, Sydney, Wellington, Stckholm, Houston and many others, after his most famous creation of Cacti which he had first choreographer for the Netherlands Dance Theatre 2 in 2010. He is therefore used to choreographing on dancers with a high level of classical technique, which is present in all his work among many other elements in is work.


COW was an abstract, yet very literal representation of.. a cow. A cow (a fake one..although it is said that ekman wished for a real cow to be on stage at first) hanging from string and elevated in air in front of the curtains before the performance began. 

In this piece, Ekman aims to 'cut the drama out of the ballet', and show just the movement, 'like a cow'.

https://www.youtube.com/watch?v=Adcgf_T3JkI&index=1&list=PLRNygdt8LGrH56enK8W5ZVWCZsoCrUugr





In relation to my Inquiry about exploring how far this artform has evolved and how much further it can be pushed, observing the ways that Ekman has been able to work with the dancers in creating this piece, has been enlightening since I noticed a wide range of demands that the dancers had to, and were very successfully able to live up to. Indeed, as he mentions on the video footage below, he 'is playing with stepping in and out of ballet'. 

What this piece required:

-use of vocals
     not just in the sound of their breath, but in terms of spoken language, screaming and laughing as well.
     -->> from experience, I find that as a dancer I am used to express myself in movement solely, since I had been taught in this manner in my vocational training. However, as a professional, the bar raised, and dancers are required to do much more than just follow choreography.

-Use of improvisation 
     both in movements and in speak.
     -->> again the dancers' creative input is very vital especially for the work that is created nowadays. Improvisation creative collaborations is present among choreographic works by Alexander Ekman, William Forsythe, Sidi Larbi Cherkaoui and Ohad Naharin. These are big names that make up the choreographers of our generation. 
                    -->> Therefore, I ask why isn't more encouragement and opportunity given to young dancers at schools to explore there creative side? 

-humour in an unconventional way.
     -->> Alexander Ekman as a Swedish choreographer, who often approaches his work with a sense of Scandinavian humour, dry and very sublet yet in an obvious manner unlike the Brits one may say. I feel that Personality is a big trait that a dancer of our generation should have, as well as open-mindedness to be able to approach choreography that is not just displayed in steps but in emotions and abstract ideas.

-audience involvement
     -->> Ekman was able to communicate with the audience, not just through the use of speech and movement, but through the use of questions!!! It reminded me so much of the procedure I took when doing Module 2! While two male dancers, where dancing simultaneous to their own rhythm, no melody, questions where literally raised on the backdrop. One is specific was 
    'Does this move you?' > it was an ironic play on what we were watching yet very effective in the way it made us perceive his work.

-use of props/scenery and the stage.
      -->> I would say that the use of stage was the most impressive of the performance. The floor was able to lift 5 meter above it usual altitude, as well as form slopes and different levels. Blocks of the stage would go up and down while dancers where dancing on it, really showing the skill and bravery that a dancer should have these days in order to take such risks. In addition, one of the male dancers had to repeatedly run and crash only to a 'wall' that was made as part of the scenery, and scream as he is falling. He was wearing a helmet, as part of his costume, but this was not more that just an abstract idea that Ekman had created for the opening number of his work. 
             -->> with this in mind, dancers are expected to take more risks, just the way choreographers are taking risks in pushing the art form forward as they see it in their eyes. However, simultaneously, more precautions are taken by the theatre in order to insure the dancers' safety when performing these ballets. In fact, I was told a 'danger pay' is included for every dancers involved in COW, which could contribute in the worst case scenario of an accident, however it is important that technical and medical staff is always present at times of a performance.  
                       -->> This company is very lucky, to have the facilities and strong financial support to be able to carry these procedures. This as well as the specific requirements of the ballet COW, like the stage moving and the expenses to carry out such a performance, are what make me believe that this will be a ballet that is unique to SemperOper.  
                                    -->> This also puts me into the position to take into consideration the companies which I am taking about or the dancers I will be interviewing. What is their situation, culture status, repertoire history?Through Qualitative research and analysis, I feel that any data, opinion, knowledge I collect through interviews will depend strongly on the background of the dancer and what company/country they work in. 

Qualitative research 'enables the researcher to understand and capture the point of view of other people without predetermining those point of views through prior selection of questionnaire categories' - Patton, 2002 (p.21)


-commitment to Unconventional choreography. 
      -->> Some parts you could not put a label on it. Perhaps this is the beauty. We have come so far with our imagination that we no longer are able to justify what 'type' of dancing it is. Tap, ballet, contemporary?? Ofcourse there are influences but choreographers are now able to create their own signature through their imagination. This is a big issue in tackling my research as I am finding it very hard to distinguish what the term 'contemporary' means. Therefore, I decide that this would be a very interesting question to ask my interviewees that will be taking part in my research in determining the future aspect of ballet. I have decided to describe the work created in the past decade as 'recent' as I believe this will be more appropriate especially when I want to be specific.

-Strong Classical Technique! 

           'playing in and out of ballet'

       -->>This is a valuable observation. Although the choreography was so fearless, with all the elements of theatre, speech, contemporary technique, this show could not have been done if the dancers did not have the background and strong technique in ballet. Indeed, certain parts required the use of pointe work for the ladies and partnering skills for the men. The dancers where also able to apply their technique into the choreography, where it would be demanding (ei: lifting the legs, pointing the feet, executing high jumps) . 
        -->> I believe this emphasizes the importance of maintaining the classical Ballet technique. 
        -->>I believe Ekman here also plays with this Idea of ballet formality in a form of juxtaposition - this could be perceived as he is challenging the art form, taking risks etc. I personally believe this is not an intention he goes for in this ballet, but just a game that develops into creating a show. This may be done unintentionally, but this could also be another opportunity to open new door for further ideas; for himself, the theater, or influencing other choreographers in turn.


Modern or 'recent' ballets are becoming more popular among ballet companies especially in the Western countries like Germany, the UK and the US among others. Through some interviews I have already taken, I have gathered an appreciation from the dancers as well as an excitement from the audience (example: ENB - review of their most recent tripple bill - https://www.theguardian.com/stage/2017/mar/24/english-national-ballet-review-pina-bausch-rite-of-spring-sadlers-wells) but along with it, a concern that puts the classical ballets on the spotlight.


how will classical technique change within the coming years, and how will this transform ballet and the classicism that we have been carrying throughout the years? 

ESTIMATIONS after seeing this performance:
-physicality, athleticism and stamina will perhaps be more present in dancers to be able to carry the challenging choreography.
-As well as new works; remakes and new versions of ballets are being made. 
     -->>what is kept from the traditional ballets and what is dropped/transformed to today's prospects? 
                -->> what determines this changes?
                                -->> what does this mean?
-Competition rises as challenge increases. Dancers are expected to be multi talented? Versatile? Creative? 


Linked with more literature and data collected from my inquiry tools I hope to really develop my idea on the future of dance and what it holds for the next generation of dancers!

Thinking Creatively - Preparing Artefact - Module 3

A few weeks ago, we where advised by our tutor to think outside of the box when it comes to creating our Artefact. After all the artefact or not simply a presentation of what you have accomplished and learn throughout the course of your research, but it is more of a project that intends to reach out to the audience you are directing your argument/findings towards. The aim is to apply your knowledge to yours and others' work/ practice and communicating your ideas in a way that contribute to their enhancement.

I have been very inspired to find original ways in presenting my work effectively through watching Ted talks. The techniques they use when speaking in public is something I hope to use in the Oral Presentation of our work. Speaking public is definitely something that lies very far from my comfort zone therefore something I should work on. In regards to working on my Artefact and Critical Review, I have noticed that the way we are presenting the 'problem' or Inquiry and the way we are analyzing data to find a conclusion is very much the same format:

Raise issue / concern 

Ask questions    (Think of what is your aim and objective/How will you find this out?)

Research   (Literature/Tools of Inquiry/Activities)

Evaluate   (Review data collected fro research)

Analyse    (Qualitative/Quantitative approach to data/Comparisons/Similarities/Proof)

Conclusion     (What is the outcome?/How will this contribute to your community/workplace etc?)

...........

Once specific Speaker who stood out for me was Fashion Designer, Suzi Vaughan, who's speak was about how to 'think more like a designer.'

'This talk takes the idea of design thinking and translates it into a series of very practical tips that you can employ yourself, every day to help you think more optimistically in times of uncertain and ambiguity'

9 ways:

1) Use your imagination

       - free

       - limitless resource 

               --not only what you are taught

2) Be curious 

       - everything and everybody : science/technology/history > contribute to literature findings. Don't go on the usual route to only read ballet books. Instead, an observation from a painting, an historical event, a speech (!!) can answer many of your questions that perhaps a biography couldn't.

       -Take take the usual route to take a decision, but instead follow another patter and see where it can lead you and what doors in could open!

                --we often access information w know we are already interested in, and connect to people who share similar passions and like.. therefore you don't learn anything new.

                --seek to be 'inspired and energized' 

3) Be Observant 

       - constantly striving to be ahead of a curve

                 -- think about how you can become more involved with current events.

4) Don't overlook Simple, Familiar things. 

        -basic theories, can often be taken for granted.

                -- How can you make the simple things relevant to your audience.

       

5) Have many ideas

        -better more that none. then you can pick the important ones

6) Share your ideas early on

        - through Blogs

        - tutors

        - SIGs

                --Communication and feedback can help you develop your ideas further.

7) Be an influence

        - not power.

        - people want agency , not to be dictated to. 

                 -- think about what your aim is. You want to give the audience an option, something they would be interested in exploring more of within themselves or their community. You don't want to force ideas on them.

8) Don't be afraid to try new things or make mistakes

                 --you learn to learn from your mistakes :)

9) No one know what the future will bring!

                           ----be optimistic! ..... and take that into consideration when writing your Critical Review. Along the way, you may come up with a conclusion that you least expected! 

In terms of my theme >>> 'Future of Dance' - you are not foretelling the future, but simply finding links that connect the lines which cause this globalizing effect of modern dance influencing the future prospects of dance and the concerns of ballet's legacy.

Reference: 

https://www.youtube.com/watch?v=NkjNxCzBUqQ

              

SIGs - Skype Session with Kristina

A big part of Module 3, is being able to share your work with other people through, and one way is through the use of Blogs as we have learnt from Module 1. I was able to use the comments on my blog to be able to push my research further from my original basic idea, and has also helped me focus, on the topic that I believe most in. 

Just the other day, I happily discovered a SIG within my studying community, Kristina Haladik, and find out that our themes, have many elements in common. We arranged a skype call just this afternoon, to share our ideas about our Final Presentation and found out that we were both either behind or ahead of each other in different places. 

Kristina's theme:
Choreography:
-how does a choreographer start a piece?
-what is the creative process?
-What is their inspiration?

My theme:
Influence of contemporary dance resent in Ballet Companies, and it's effect?
-How are ballet companies changing through time?
-How does modern work/creation affect the course and direction of ballet companies?
-How important is it to keep the tradition of Ballet?


Links:
What are the choreographic aspects of today? >> How will this affect the course that ballet companies will be taking in the future? 

-->> Breakthrough? >> what makes a choreographer original/memorable to stay in history?
-->> increase in contemporary repertoire?
-->> decrease of classical?
-->> What does this mean for the future of ballet?

Ideas/Questions that where brought up:
What makes a choreographer stand out? 
-->> Kristina mentioned the success of a choreographer may not be the aim of originality, but more the fact that they bring a part of themselves to their creations. (history/training/background/inspiration?)
         -->> To be original, or an innovator, it's not having one brilliant idea that no one has come up with before. It is based mostly on the fact that this person, has been shaped by his past and therefore, is able to bring a part of himself or his knowledge to his work. Influenced by a recent TED Talk I watched (guiltily addicted), a great idea has never existed alone. In a way it is considered stolen. And then grown, manipulated, extended, twisted or broken , perhaps mixed with a lot of other ideas to make one new one at the end!
                   -->> Will Ballet disappear? >> In my opinion I believe that it won't. Just like there is an audience that wishes for new creations and modern ideals, I feel that there will always be an audience that favours traditionalism. Ofcourse, this may vary according to the country or the generations which we are speaking about, but this is definitely an issue of my big concern!! The ballet works, such as the Narratives we know for so long may not disappear, however I believe they will change in style, as they have been for so many years now, and they may decrease in Western Europe, at least if we judge by the way companies are evolving nowadays. Now is this a bad thing? I don't know... perhaps it's part of the dance evolution. Should we fight to keep it?.... Let's Find Out!

About the Schedule:
Besides sharing ideas and helping each other develop their research, we believed it was a good idea to let each other know at what stage we are in Module 3. This way we can encourage teamwork and a positive working spirit in completing the work on time.


I was very pleased I got this opportunity to talk to a fellow SIG, and will be looking forward to our next catch up!

Planning, Mind-mapping and Vision Boards for Module 3!!

One thing about having a deadline , is being able to plan your daily/weekly schedule of studies to fit your work timetable...Luckily having time off from not working has given me the time to work on my BAPP, however, unfortunately the auditions and travels got the best of me....

What I was able to do during those two months, is reflect back on the work I have done in my Module 2 and focus on the way I was approaching auditions... In a way I was putting my Professional Inquiry in action theoretically I would like to think!

Speaking with a friend, the other day, she was telling me how she was creating a Vision Board. I had never heard of this term so she had explained to me how Creating a Vision Board every month, helped her organize her mind, to help her reach her goals and dreams and set priorities through inspirational quotes, pictures, and anything that motivated her.

It all had to do with the alignment of the stars, a theory which I am not at all familiar with, nonetheless, I was inspired to make my own! Taking it seriously, I cut up a piece of IKEA cardboard and from a stool box, from when I moved in to my new flat, and started brainwashing ideas.... At the beginning it felt much harder than what my friend had described. I couldn't decide what was it I was aiming for!

Therefore, as any analytic, I began to divide my Visions in 3:

-Personal Growth

-Career

-Relationships (... but that's personal haha)



Around it I filled the board with cut outs of encouraging notes and drawings, from friends, and tea bags, and I look forward to adding more tickets from performances I watch throughout the year, to look back either as part of my Activities for Carrying out my Personal Inquiry in Module 3, as well as for my own reasons of inspiration!

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

Another major part of planning my timetable for studying is preparing a hand written Calendar I created. I can't explain, but somehow hand writing my notes, blogs and to do list helps me remember more. Perhaps by writing it down is the first step in getting your work done.



I really hope I am getting the planning right as I am finding myself behind schedule. This will give me a good guideline. In the mean time, since I have to wait before I carry m Inquiry through my tools (Interviews/Questionnaires), I can begin by analyzing my Literature. Once I accumulate all the data from my interviews I can then proceed to connecting the two together, finding similarities ad differences to the evidence , so I can result to a well reasoned conclusion.

Module 3 - Stage 2 - Part B (Permission to Carry out Inquiry)

Carrying out Inquiry

Part of Stage 2 of Module 3 would be gaining the permission to be able to carry out the Inquiry, which in my case would mean going forward with the Interviews.

As the handbooks advise, the Inquiry process should be related to your workplace and practice. At this very stage of my career, I have just finished working with Ballet Vlaanderen (Ballet of Flanders), Belgium. Ever since the end of my contract, I have been a tour of auditions. I have been tremendously lucky to have found a temporary contract with another ballet company, in Dresden; however, my contract does not officially begin until the 10th of April which might be too late to begin the process of Inquiry, gaining permission in a new workplace and reaching the deadlines. However, having this opportunity, I can include my experiences with working with this new company as part of my Activities and Observations and speak about these in my blog.

As I will be unable to  carry my Inquiry and Artifact here in Dresden, I have decided to continue my research where I first began it... in my previous working company in Belgium. Ethic Forms have been completed and official permission has been kindly accepted by the Assistant to the Artistic Director of Ballet Flanders, where I will be allowed to interview the dancers on their views on how Contemporary has had an impact on the company and the dancers, as well as the introduction of a Contemporary Dance experienced Artistic Director to lead the company. 

My Goal: ----->> if the increase in Contemporary Repertoire/decrease in Classical Dance works, will influence other Ballet companies across Europe (how is it influenced.. what are the factors) and what does this mean for the future of Ballet in Belgium (and as a result, other countries as well). 

Why this company? (Ballet Flanders?)

For a start, a big part of my research and observation has been related to this company. Also, having worked in that environment, I can use my Work Based Knowledge I had collected over the course of my Module 2, and interview dancers who have has the experience with working with such a diverse company, to help my aim carry through.

-Classical Background and Training

-WBL

-Versatile Repertoire that Dancers can reflect to in their interiews

-Transition that the Company went from classical to an increase in contemporary repertoire

-Diversity in Dancers (Age, Experience, Nationalities, type of Training)

Ballet Vlaanderen is also known as the Royal Ballet of Flanders before the dance company joined with the Opera as one Operation due to the purposed of Funding and Government decisions (more information about this will be unraveled in the interviews I will be taking). The company was , and still is, considered as one of the major Classical Companies in Europe. Their repertoire included the big narrative ballets like Sleeping Beauty, Don Quichotte, Swan Lake, Onegin as well as a number of neoclassic ballets by Choreographers like Balanchine, Forsythe and Dawson. 

Since two years now, the directorship of the company has changed to now follow the leadership of Sidi Larbi Cherkaoui, who is an expert in Contemporary dance. Accordingly, classical ballets have been performed in these past years, the amount of contemporary repertoire has definitely increased and the company is now following a 'new wave' as the dancers have described it to me.

In the meantime, dancers have left feeling that the rep of the company was not fulfilling them artistically, while others have joined enthusiastically. 

As a result, it will be very important to take this into consideration when choosing the people who I will be interviewing. 

Who will you be interviewing? 

Dancers:

----->> Different Ages and Levels of Experience: The experienced dancers may have a better insight of how they have seen ballet grow/transform/change etc.and at what position if finds itself now. While the younger dancers, may have an fresh outlook and how the see dance at this moment in life. 

I hope I am not making any assumption...Just my view anticipating the results. These ideas will not me encouraged upon the dancers, but they will definitely be interesting to see if my estimations are right or wrong.

----->> Different Backgrounds and Training: I am interested to see how much Diversity and Multicultural input in the arts, may affect the course of Dance. I feel that this point will definitely need to be backed up by my literature, on how art has been transforming with the influence of different cultures across the world and the sharing of ideas through the Internet and technology. I also feel that this is a very current issue discussed across the news, and not solely in terms of art...

----->> Of Classical Basic Training: As the Inquiry is focused on Ballet companies, I feel it is important that the dancers have a knowledge, at least basic, of ballet technique, as the research is based on the growth and evolution of Ballet in particular.

----->> from Ballet Vlaanderen mainly, but other Classical Companies as well: I will focus on one company, however, getting an insight from other classical companies can help me 'identify other people's positions, arguments and conclusions' (Stella Corttell, 2005, p.2) and compare with the results from Ballet Flanders. This way, I will see if the dancers' propositions are the same/contradicting. 

----->> Availability: The interview should be planned at a time that suits both and sould not be forced otherwise. 

The IDEAL would be interviewing as many dancers as possible! However this is unrealistic for any researcher out there. As as a result, with the time given the aim will be to interview a certain amount of people that will be enough to give me all together different opinions, a fair argument to analyse , perhaps new points that i never considered in the first place, and new ideas/recommendations, all to result to a well reasoned conclusion!


How will you Contact the Dancers?

It has been very interesting to see how elements from all modules come together again in Module 3! Since I am no longer dancing with Ballet Vlaanders, I have had to use my means of Networking through Social Media, to be able to communicate and arrange online interviews via Skype/Facetime. It is important to view the interviewees so as to take into consideration the body language as this could say a lot about the way they are interpreting their point of view. 

How did you ask Permission?

I started off my asking permission though a letter I have sent out explaining the process of the interview, and a brief explanation of what my research is about.  
 The letter also included the following:
-warning that all the information shared with me, will not be shared with anybody ekse
-warning that the interview will be recorded, to be able to look back at it for the real data, instead of an interpretation I remember. It is important to have true facts.

-option for the interview to be cancelled at any point the interviewee wishes/ feels uncomfortable with sharing any more information. 

It is vital for the Interviewees to feel comfortable and not worried about sharing their opinions with me. This will help for an honest response from the dancers and therefore a fairer results!!

How will you collect the results?

For fair results, a graph will be made. As Ihave not collected solid information yet, I believe it is best to wait and see how the Inquiry results and Literature develop to decide how I would divide the graph.
It being a debatable subject of conversation, this will be difficult to achieve a quantitative result. This will be a qualitative research based on opinions, observations, experience, recommendations and we will see what more will come out of it! 

(I thought making a Graph (Table) for the Ballet Vlaanders dancers and another Graph for dancers from other companies to see if the results match or  contradict each other. 

And then within each graph I would love to see if the dancers of more experience have a different outlook from the new starters in the companies)

Conclusion?

After creating these graphs, and relating my data with the literature, I hope for a conclusion that will help inform the younger upcoming generation of dancers/choreographers/directors/artists for what the future of dance will be looking like for when they will be taking charge :)

Bibliography:

Bloomberg L.D. and Volpe M. (2012). Completing Your Qualitative Dissertation: A Road Map From Beginning to End. 2^nd ed. London: Sage

Cottrell S. (2005) . Critical Thinking. [e-journal] Available through: http://elearn.uni-sofia.bg/pluginfile.php/76858/mod_resource/content/1/%5BStella_Cottrell%5D_Critical_Thinking_Skills_Develo%28BookFi.org%29.pdf [Accessed 31 May 2017]

Module 3 - Stage 2 - part A (Literature review) - What makes an Innovator?

What makes an Innovator?

Looking back in my Professional Inquiry in Module 2, after some time off work, I have been able to reflect and she clearly what this research means to me. 

Now at stage 2. :  A ) Literature Review    

                           B ) Gaining Permission to Carry out Inquiry  (next blog)

                           C ) Activities   (next blog)

----->>>  A ) Literature Review

                   ----->> Articles  (News in dance/ cuture/ politics and history)
                   ----->> Performance Reviews (ie: Dance Europe / Independent )
                   ----->> Documentaries (on Dance Practitioners and other areas of interest that can assist the development of my writing and presentation skills for carrying out my Personal Inquiry)
                   ----->> Books (Choreographer Bios, Art History)

The ways to treat literature are truly endless, and could easily carry me away from my topic.When reflecting back on M2, I decided there is just too much space to investigate and my topic is still to vast in order to determine a solid result, or argument in my case. Therefore,I began to draw diagram as to what is important to me concerning my research. What is really the thing I would like to focus on in order to achieve my GOAL? 

So as to plan the operation of my 3rd Module , I have decided to share the purposes of each task. 

What I mean by this is give every piece of my research a different intention.

I began, as I usually do, by asking questions. It first started with.... HOW DO I DO THIS?!?!?!

Eventually it narrowed down to asking myself questions like:

         1 - What is it I need too find though my literature?

         2 - Why is this important to my studies?

         3 - Where do I find it?

         4 - How do I utilize the information in order to serve my research? 

Let us answer these:

         1 - Through Literature I hope to find what has made the great innovators of Dance Innovative. This is where my true passion lies as a curious dancer and an aspiring choreographer. 

      I then break it down as follows:

>>>What tools have they used? How did they create their own 'signature' as choreographers? 

                             Is it the story behind their piece?

                             An ideology?

                             A choreographic step?

                             Their passion?

                             A controversy?

                 

>>>How has their 'signature' encouraged progress/breakthrough and influenced other artists to develop their craft? 

         2 - This is important to my studies as it will give me an understanding as to what has caused the big leaps in the development in dance. This will also help me relate it to the current choreographers who are pushing the boundaries changing the stereotype and form of dance that we have seen throughout the many past years. 

It was not so long ago when Nijinsky made a breakthrough with his Rite of Spring to then eccentric and controversial score of Stravinsky. While the piece was utterly disliked by many back in 1913, and only appreciated by the radical visionaries of the time, it is now considered a masterpiece and has been recreated by some of the most famous names including Maurice's Bejart and the ever so praised Pina Bausch, who's choreography has only very recently been performed in the UK for the very first time indeed receiveing sensational reviews. (example below)

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/le-sacre-du-printemps-the-rite-of-spring-english-national-ballet-sadler-s-wells-review-a7655886.html

           3 - The information can be found through the University Online Library, as well as books, biographies, documentaries. My interest is usually enlightened if I am familiar with a piece of choreography, because then I find that I can relate to it. However, there is so much that I still don't know and I wish to investigate through my research! 

         4 - The information I receive through my Literature will not be enough. However, in combination to speaking with my SIGs, tutors, peers, and through the data I collect from the Interviews I will be taking, I can learn much more.     

In the next blog I will follow up on my plan and intentions in carrying out my Professional Inquiry - B) Gaining Permission to Carry out Inquiry - I will be taking about the process I have taken and I hope to soon start taking action and assemble some results!