Appendix 2 Skype with Adesola 2nd October

Amanda Conroy M00621438 BAPP BA Hons Module 2




I have just been listening to a Skype session with Adesola and students from all three modules.

Although my microphone and speaker said there were working I could not be heard.

This added a different dynamic for me as I could hear everybody perfectly well but not interact.

Because of this I was able to take copious amount of notes and here are some of points that I took from it.

I am a Module 2 student currently just starting on Reader 4 Developing the Lines of  Professional Inquiry. It discusses whether we work in a disciplinary context or if our situation is more transdisciplinary. The language we use in our professional practice will mean something slightly different to each individual.

There is, of course, common ground in all mediums of our work but our understanding of ethics is important . They are not an entity of their own but are present and accountable in everything we do. We need to see the bigger picture and decide how authenticity is important to us. Adesola mentioned "new liberalism". Whatever we chose to do takes a stance. How do we keep authentic to ourselves, our truth? Neo-liberalism is defined as "a modified form of liberalism tending to favour free-movement and capitalism" Oxford English Dictionary.

Authenticity is defined as truthful, genuine. So if we are authentic it means we actually possess the alleged or apparent attributes we portray.

I believe to know what you should do you must first understand what you should not do and why
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As I work through the readers I realise there are words, expressions, phrases that I know but do not use daily in my working life. However, this  professional language links us all and gives us a place from which to approach new subjects and start a discourse.

We discussed ethics, authenticity, expectations and policies. We asked questions -

What does it feel like to be a BAPP student?  What is  Authenticity -  Thinking about our identity?
How do we filter the vast amount of information we are currently processing?


I was unable to verbalise my thoughts but I did type -

How do I filter?
I may just have a gut feeling that something is going to be necessary and worth developing. It may be because it either fits into my practice or it really questions my rational. It may be something that has appeared in one form or another that I have encountered before. I try to start with the reading lists and find inspiration from similar academic books or journals,. I also use a list - with two columns, information I think is pertinent and vital to my inquiry and the other I will log as research and background.



It was interesting to hear the comments of J, the Korean student, and the reaction from some students about the artistic black lists. We are fortunate to live in a democracy particularly as performers as we often question, think outside of the box and challenge.

For me being a BAPP student has opened up a whole new world of possibilities. Like everyone else is hard to fit it all in but the final result will be worth it and something that we will take with us. We will probably never have such good resources again to learn from (each other) and this is what makes the blogs and Skype sessions so invaluable.

"Starting Back"

As I was unable to attend the Skype sessions, due to being on holiday and working, I have been catching up reading all the comments relating to them and also all of the blogs that people have started to post.

I found Adesola concept of "starting" interesting. As technically every time we stop we need to start. Albeit a dance move or a speech in a play. Although every new beginning has a start I kept engaged over the summer by reading the Module 2 readers and academic books (not all from the lists) as I want to improve my academic skills both as a reader and writer.

However, what did feel like was a real "start" again was the blogging. I had missed it over the summer months as I don't really have any friends that do this and it was a pleasure to read Eleanor, Jess D, Jennifer S, Lauren et al to see what they have all been doing and thinking over the summer break.

I do keep in touch with Jess Dinmore and was aware of her wonderful adventure in America. I agreed with her comments about a "techno" break. I couldn't skype on the 15th or 16th as I was on holiday in rural France and as I knew there was no Wi-Fi I didn't take my computer just a bundle of books. I made notes in my journal and it was a luxury to lie in the sun and think about my dissertation. I appreciate how important technology is and how it can help us immeasurably in our professional practice but it was relaxing to have time out from it. My husband had 438 emails when he returned to work!

One of the points from the Skype session seems seem to be organising our time effectively. Every one is so busy many with full time careers and volunteer work as well. I am no different.

I work as an Adjudicator of Drama Festivals and am attending a Selection Weekend to join a Professional body of  Adjudicators. We watch a play and then have to adjudicate it the next day in front of our peers. I have already had to submit a written paper with four brief introductions to three well known plays and a new piece by an award winning author. I will also have to sit for two more written papers.

Writing the blogs is enjoyable but as these written papers need to be more formal in style, I have found that the written work I have done recently on this course has been beneficial.

 It seems that the people who are very organised about time and routine worry about not being "in the moment" and losing spontaneity and those who are more organic even though they get the work done wish they had more structure. We can all learn from this. I always feel when acting that I like to learn the lines as early as possible. I don't believe in peaking too soon. On a professional tour you will perform the same work for months on end and have to bring a freshness to it every time. Once I am secure with the dialogue I can then work on other elements and bring something to each role. This also relates to our course, get the basics right and everything is easier. Get done what needs to be done and then really enjoy exploring and researching the subject.

Emily Richards mentions it is acceptable not to have a subject chosen for the enquiry yet - there is time for one to develop and Jennifer Simm's point of setting a time limit is worth adhering to.

If we all learn from those that are very organised and structured and have a routine - a time table, set working hours or days (what ever works for us) and try to stick it we wont disappoint ourselves that we didn't achieve. Once we have organised our selves we can then give more time to the organic process as we can relax and be really creative because we have organised and created the time.

Yes, it really is all about time. Starting, continuing, finishing. We all started together, we are all continuing together and although we will never stop learning, we will all get to the finishing line together.

Linking the course to my practice

Recently I have been mentoring and shadowing a new adjudicator. I have attended sixteen out of eighteen full length plays.

I supplied him with the information with regards to festival guidelines and the strict marking criteria along with general information and some of my experiences.

This is all I gave him.

It is very important for an adjudicator to develop their own process as they need to be able to justify their grading. This reminded me of a previous conversation on the course when we talk about taking "ownership" of our work.

I also felt this related to my BAPP course in another way. Even though we are all being guided through, ultimately the journey is ours. Only we know what we have learnt and how we will apply it to our current and future practice.

Skye with Adesola

Last night I joined in with a Skype session with Adesola, Victoria, Lois- May and Megan. The three students are all on a different module and after introducing ourselves we discussed feedback on our Critical Reflection/Review.

The common denominator in our feedback was that we must not presume the reader knows what we are writing about and that a strong structure aids a good "flow" and makes more comprehensive reading.

They discussed their Critical Review, Artifacts and Oral Presentation. Although I am aware this is what I will be doing in the future I asked if they could all tell me succinctly (in one sentence) what this had encompassed.

The key words used were summary, sharing, insights, presenting information and that it could be regarded as a "celebration" of their work.

When asked what I felt would aid a presentation I suggested watching others presentations and not only those in our chosen field, If someone can keep our attention by presenting something we know little about and  help us to see something from a more informed perspective they have achieved their brief.

I wondered if people personalities will shine through an oral presentation as is the case with blogs and what we need to do whilst arguing similar points to make our work stand out and not be "samey".
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We were asked what quality we thought was important in our professional practice and I believe honesty should be the framework of our professional and personal lives. Team work and a good connection with others was also suggested.

We also discussed their inquiries with subjects covering ethics and vulnerability in the work place. Adesola suggested asking the Liberians for their help concerning copy rights and other issues. I have done this and have found them to be very helpful.

So the points I have taken away from this Skype are that whatever Module we are taking the student concerns and thoughts are much the same, I mentioned in one of my blogs that the professional language used in our careers make us feel we are connected and part of something and I noticed a broader use of this terminology last night.

So, I have finally done it

So, I have finally done it.

The thing that I have thinking about since September when I decided to take this degree course. I have emailed the first draft of my Critical Reflection.

It took longer than I thought what with referencing and appendices, going through all my old work and re-reading blogs and their comments.

And yes, it is a work in progress and I know it will change but I also knew if I didn't do it by end of week ten the tutors would less time to send written feedback as week twelve is oral feedback only.

Paula said that she has known up to twelve drafts so here's counting!

Hope your having a Good Easter break. Can't believe how quickly the last ten weeks have flown by.

Task D Inquiry

This task focuses inwards as to how the ideas of reflection relate to my professional practice. By identifying themes, I will be able to reflect on what I am currently utilising and what lines of inquiry will be explored later in the modules. These will be effected by my existing skill set, training and my current professional practice. Reflection is a necessary tool and I cannot judge others effectively if I am unable to understand and identify my own practice.

My relationship with reflection is based in my everyday practice and is built on a professional framework. We cannot move forward if we are not willing to look backwards. My general professional practice is structured to ensure all my commitments are met. I have a comprehensive filing system and will  re-visit my notes with a view to reflection.

I mentor and attend adjudications and research the background of fellow adjudicators as part of my networking. As my intention is to be an external examiner of Speech and Drams I attended drama school to take the examinations I will be grading. I wanted to remind myself how it feels to take examinations.

When I re-visited my blogs, I identified the keys themes as woman's role in society and the performing arts, constructive reflection and professionalism. I thrive on enthusiasm  and there is so much to learn in this creative and inspiring industry that can bring such joy. As a student and a adjudicator I have to allocate time for research. I always enjoy the moment when a theory makes sense. Not because I am told that it does but because I now know that it does.

I keep my professional practice current by reading, writing, researching, acting, attending performances, mentoring adjudications, participating in workshops and working with practitioners.

I have never really understood people who do not like performance and will encourage them to see things that are out of their comfort zone as any reaction is a meaningful reaction. We cannot simply be passive. In performance we can be whoever we want, see world's that don't exist and experience feelings we have never had before. Performance can be brutal and shocking but in turn life-affirming.

Prejudice and small mindedness makes me angry and sad. We watched with Adesola, a former member of The Westborough Church, talking about her life. She had excepted her family's opinion and did not questions them. Her life was full of prejudice, rage and hate. When she started to go on-line a group who were not members of the church asked her why she thought the way she did and had she thought that there might be alternatives? They did not judge her but asked questions and listened. She questioned and listen back. She subsequently left her family unit and married one of the people she had met on-line. She speaks eloquently about her past life and does not apportion blame. The overall message was that kindness will prevail. I admire her because she has found a way to work around her anger and sadness.

In this industry I admire strong women who haven't compromised. Helen Mirren is an actor was is able to be naked when necessary without it seeming gratuitous. She definitely has "ownership" of her body. When I was sixteen I saw Glenda Jackson at The Royal Shakespeare Company. She wore no make up and her costumes were modest but her aura as The Queen of the Nile exuded from every pore. Salma Hayek is a multi-talented actress/producer/director was told she would probably only play maids because of her ethnicity. Josie Rourke is Artistic Director of the Donmar Warehouse and has a strong vision of what she wants to achieve artistically. Tilda Swinton is an actor I admire for her versatility and she is not afraid to play characters who are unsympathic. Dorothy Height was dubbed the "Godmother" of the Civil Rights Movement. She was on stage when Martin Luther gave his iconic "I have a dream" speech.

One of the strong women that I admire who I have a relationship with is my mother. She was involved in theatre but was happy to have children and ran the family business with my father. I know she shares my love of performance as she instigated our theatre trips as a child and has supported my career choice. She has always been my harshest critic and greatest fan.

One of my friends is a very talented actress who has two children who are autistic and as a consequence has only really worked in amateur theatre. She, too, now has been diagnosed with autism. When she is in a show the standard is always raised as she is inspirational to those around her. We are both equally passionate about speech and drama and she performed in one of my exams.

Another example is a former drama tutor. She wasn't always the friendliest but she was always approachable. She was an actor and tutor and able to lead by example. She nurtured our enthusiasm and professionalism.

I do not understand people who think they have nothing to learn. I understand that sometimes in this profession people need to have a confident persona but this should not translate into ego and arrogance. I do not understand people who judge one another by one set of standards they do not follow themselves. I know my sister feels this way. She is a highly educated professional working at a university who graciously allows others to tell her things she already knows. She does not shout the loudest but her voice is always heard.

Ethics are an important consideration in all professions but particularly performing arts. When we are working we may become emotionally or physically close to another performer. Going away on tour can be difficult for a younger performance and the experience may be intense. The nature of performance can lead to very close proximity with another human being and ethical guide lines and moral codes must be adhered to. The intensity of a piece of work does not entitle someone to invade our personal space with inappropriate behaviour.

It is imperative not to feel compromised. Behaviour on stage of a character who is unpleasant, confrontational or abusive in a sexual or physical manner needs to be choreographed as would any movement with the actors being totally in control. Personal comments with regard to gender, race, religion, beliefs and values if inappropriate should not be tolerated and any issues need to be reported to the relevant authorities.

We accept different behaviour on stage because we are working and in character or experimenting. This may be behaviour we ourselves would not tolerate in our daily lives outside of performance. These is a ethical divide between the two and this is where we need to exercise our professionalism to support ethical choices and values.

Making the appropriate response requires knowledge. Thinking ethically literally means thinking beyond yourself. When researching I sourced Nicholas Ridout's book "Theatre and Ethics" and Alasdair MacIntyre's "A Short History of Ethics".

Olivia Pratt on Prezi has a presentation "Ethics V Accuracy" that discuss ethics in theatre. There is a diagram for the visual learners and she states questions -
"Should historical certainty have priority over personal/professional ethics? Historical accuracy is important as is artistic integrity but sometimes achieving perfection costs too much, and accomplishes too late. I want to make my show historically accurate but I am not going to embrace racism to do it."

From this inquiry, I have realised  some of the important questions that have been raised for me. The first is the role of women in our industry and how attitudes have or have not changed. Is there still blatant ageism and discrimination? I wonder if any younger students have noticed this or is it mostly the older actors. In this week's Daily Mail Glenda Jackson bemoans the lack of good roles for older actors saying she longs for a script that "wasn't just about age."

Eleanor blogged about the Bechedel Test  bechedeltest.com and her abstract on campus was a book called "Ageing Femininities: Troubling Representation. These are significant lines of inquiry that I am going to explore in future modules and I would appreciate other student's thoughts on the subject.

I am going to continue looking into theories and practices.The key thinkers have emerged and I would like to compare the theories of their predecessors to current theorists. What have we learnt?

When I reflect on my practice I am aware that I love everything about what I do. From the written work, to the first time I see the empty stage, the rehearsal and the end product. When I adjudicate I mark to a strict criteria and hope the performance will exceed my expectations. I respect the fact that the actors have chosen to  expose themselves to constructive criticism with the intention of being open to improvement and reflection. This is why it is so important for me to be aware of this in my own professional practice.


References

Dolan, J & Tincknell, E, "Ageing Femininities:Troubling Representions" Cambridge Scholar Press, 2012
MacIntyre, A, "A Short History of Ethics",
Ridout, N, "Theatre and Ethics" Palgrave,  Paperback e-book, 2009
Olivia Pratt, Prezi, "Ethics V Accuracy", E. Source

Task C Reflective Theory -

A Critical Reflection on Reflective Practice.

I have been aware of reflective practice in my profession for many years. We were encouraged when I attending drama school to keep a journal which we were able to draw upon when writing a reflective submission for examination. Reviews, positive or negative are a useful way of reflecting what was desirable in a performance and what steps need to be implemented to aid improvement in the present or future. I enjoy watching a performance and then analysing from the performers and the audience point of view. Did we all see the same cohesive vision that the director had?

My reflective practice is held together by a strong framework, under pinned by theory. I think reflection portrays professionalism as it shows we are willing to learn from our mistakes and successes.

One of the tools I have began to use is "blogging." When there is a thread, the blog becomes "alive" when it is not commented upon is it a "dead" piece of writing with endless possibilities unexplored.

Gil-Garcia and Cintron claim journals encourage self-assessment, collaborative critique and goal setting. Smith's 1989 four phase model of "describe, inform, confront and re-construct" suggests using a double entry journal with information on one side and reflection on the other. This is a reflective practice tool that I utilise as when I do not know how to begin. It supplies me with a strong starting point that focuses my creativity.

Moon states that reflective journals can be a tool to support critical thinking. This includes "multi-dimensionality" courses of different tools and sources that helps us to "stand outside ourselves."

Other tools that can be used are portfolios and E portfolios. Dietz and Wolf write these are -
"A collection of structured professional "artefacts" gathered together of skills and knowledge."

Whilst researching I read "The Generic Centre Reflection in Higher Education, Jenifer Moon, University of Exeter.  She explains the purpose of her paper is to "provide a concept of reflection that takes account of the theory but what can be applied practically or usefully" Moon's definition of reflective practice is "a set of abilities and skills, to indicate the taking of a critical stance, an orientation to problem solving or state of mind."

She qualifies "reflection is a form of mental processing" and describes Dewey as a classical theorist who had a specialised form of thinking. When reflecting on Kolb's Learning Cycle she feels this method can be constantly "re-cycled" through new experience as Kolb uses this method to encourage exploration and experimentation.

She writes that Schon used reflective practice "as a mechanism for practical development" and that Dewey was exceptional because he took a holistic view or reflection as a process. Moon theorises that reflective practice "slows down" our practice and we can take ownership by thinking about our actions and intentions. This relates to my practice as every performance will be my own creation, albeit with collaboration, and as an adjudicator my decision is considered final. I have to take ownership and responsibility.

Moon writes "reflective practices is an active, dynamic, action-based set of skills, placed in real time and dealing with real, complex and difficult situations."

As Tamora in Shakespeare's Titus Andronicus my character was responsible for mutilation, rape and murder. I found I was reflecting almost instantly on my actions during rehearsal and certainly afterwards. I needed to empathise with the character and had to find the reasons why she made such extreme choices.

Kolb states that we are "feeling watchers, thinking doers and thinking watchers." Does this lead to us becoming "feeling doers?" I believe it does because our creative nature cannot be natured unless we fall into one or preferably all of the above categories at different stages of our professional process. We need the ability to synthesis our skill-set.

Kolb's Learning Cycle is useful as I can relate to it and have incorporated it in my practice without knowing it. I have worked with directors who have encouraged a form of this theory and by association am noticing it more now in my professional practice. We all know more than we think we do.

I realised my is method generally is reversing Kolb's Learning Cycle.
Feel (Concrete Experience)
Feel and Do (Accommodating)
Think and Watch (Assimilating)
Observe, Watch and Feel again (Reflective Observation)
Abstract Conceptualisation (Thinking) is continuous from start to finish and would include any research I undertake. Workshops and "hot seating" would be the Active Experiment area.

I conclude that this is because I begin with the concrete experience level when undertaking new work. My intention is apply practice and methods with a clear rational. I like to be free to experiment and explore and then stand back and observe and think. The end result will have an element of "truth" I "felt" at the beginning of the process.

Boydell, Burgoyne and Pedlar believed that Kolb's cycle is weighted from the perspective of educators. Their simplified version becomes -"Something happens, What happens, So What and Now What?" There are many variants of Kolb's Learning Cycle and I will cherry-pick the phrasing that works for me in a particular circumstance. With a contemporary or controversial play the Pedlar, Burgoyne and Boydell questions feel more urgent and immediate.

When I began to Blog I entered the cycle from the opposite side and went around in a clockwise motion form Diverging to Accommodating. I researched, read, wrote and reviewed.

Dewey's idea of "continuous  re-organization, reconstruction and transformation of experience" is a concept that I have used in my professional practice. We need to adapt and be open to change as we work and learn. If we do not our performance could be one-dimensional and uninspiring to watch. It is fruitful to evaluate and re-evaluate as we work.

Whilst working on a script I will draw on Dewey's ideas of reflective thought and experience. Acknowledging many professions can benefit from reflective theory and practice Dewey writes "interaction with the arts can led to a unique and valuable experience".

Dewey uses the term "reflective thought", considering after having an experience how it affected us. We need to first comprehend we are having an experience and then compare it to any other previous experiences so we can understand our own process. Our aim is to find meaning as if we do not understand this basic premise we may be blocked. Reflection and reflexivity are a "sophisticated human process requiring sophisticated educative support". Doubt and uncertainty is a state of mind that Dewey believes is essential to reflection. As he lived through two World Wars, it is not surprising he hoped reflection, used to help create fully-rounded responsible humans, could help democratic rule and solve wordy-issues.

I embrace Dewey's concept of "puzzling" through. It suggests we are not fully aware of what we need and are willing to admit we are still a work in progress. Of   Dewey;s book"How We Think"  Rorty writes this became the progressive educators "bible  Dewey's work influenced Boud et al (1985) but questions have been raised with reference to his model. Dewey uses five stages of thinking "suggestions, an intellectualisation of the difficulty, learning idea, the mental elaboration of the idea and testing the hypothesis".

Infed, a web journal, suggests that Dewey is "left hostage to fortune by using terms like "stage and phase" and because of this invites a sequence and therefore is still offering a set method.

Schon introduces us to the terminology "reflection-in-action and reflection-on-action." If we use one do we then automatically go on to use both? This would work well in a workshop environment. To present this idea and see how different individuals would approach and incorporate these theories.

Erault claimed reflection can be "too hot" to use-in action as problems may arise when time is limited and decisions made in haste. Erault claims Schon "technically rational paradim" does not analysis everyday practice and Kinsella suggests there is much confusion concerning reflective practice.

As an Adjudicator of one-act festivals I have to grade performances whilst in-action and on-action and usually only have fifteen minutes to add to my notes. Full length drama festivals have more time for consideration but the original notes are almost the most valuable reflection tool. Brookfield (1995) suggests we "connect to our practitioner selves. When we use our metacognitive skills it is important to be aware of conscious competence and to understand the limitations of our current skill-set.

My relationship with reflective practice has developed over time. Although I do not consciously call upon it I know it always there. A few years ago I was cast in a part I had previously played. Although my performance may have appeared comparable I knew I was bringing all my current experience and had reflected on how it could be improved.

When using critical thinking as part of reflective practice it is necessary to apply, synthesise and evaluate. We need to approach the task with a clear, rational and open mind using informed evidence obtained relating if possible to real events. To explore critical reflection we need to journey back and call on our experience, knowledge, skills and theory to help us form our every-changing opinions.

References

Gil Garcia, A & Cintron, Z.  Available on e-resources (2002)
Moon, J, "Reflection in Learning and Professional Development", Kogan Page, London, 1999
Moon, J, Learning Journals: A Handbook for Academics, Students and Professional Development" Kogan Page, London, (1999)
Moon, J, "Reflection in Higher Education" University of Exeter, e-resource
Kolb, D. A, & Fry, R. Towards an applied theory of experiential learning in C. Cooper (ed) "Theories of Group Process" John Wiley, London, 1975
Pedler, M, Burgoyne, J & Boydell, T. "The Learning Company. A strategy for sustainable development", McGraw, London, 1996
Dewey, .J. "How we Think": A restatement of  the relation of reflective thinking to the educative process." D.C. Heath & Company, Boston, 1933
Infed e-sourcs "Reflection, learning and education", M.K. Smith 1996, 1999
Schon, D.A, "The Reflective Practitioner: How professionals think in action",  Basic Books, New York, 1988
Erault, M, "Developing Professional Knowledge and Competence", Falmer Press, London, 1994
Rorty, R. "John Dewey, The Later Works 1925-1953" Volume 8, Southern Illlinois University Press, 1987