final work..1st draft!

A critical reflection on my developing professional practice

Professional Communication Technology

My initial reaction to communication technologies was a sceptical one (Appendix A). However, in continuing to blog and communicate with my peers via email and the internet I was forced to utilise the platforms available to me. The discussions within the ‘blogging’ world have allowed me to comment and discuss work and opinions with people who have a similar topic of interest (Appendix B) therefore extending my knowledge and inquiries into my own professional practice.

Embracing platforms such as flicker has allowed me to fulfil something that I often find difficult; to verbally explain the work of ChickenShed, as I expressed in my blog (Appendix C) therefore, simple and effective access to images and the like are crucial when conveying my professional practice. (Appendix D). The process of using these tools that I was initially ‘scared’ of, has provided me with the reassurance that they are a source of support for my work.

My skills within professional communication technologies are in constant development; however the demand to access such technologies in order to enhance my practice has allowed my work to become both efficient and effective.

Reflective practice

When reflecting on events within a given time, I find myself not only recalling incidents but forming my opinions and conclusions that I may not have considered at the time (Appendix E). This ‘reflection- on- action’, a theory formulated by Kottcamp, is one that I have used when writing my blogs, however I found myself questioning the way in which I learn most effectively(Appendix F). Evaluating my own learning has allowed me to gain an informed a perspective and extract a combination of theories that I both agree with and use: Kolb’s learning cycle- encouraging identification and active learning, Howard Gardener- each individual questioning their own learning strategies and raising question’s about Kottcamp’s ‘reflection-in-action’ theory. (Appendix G). The idea of actively encouraging my own learning and having an awareness of conflictions within theory has sparked a ‘rolling’ development of how to formulate my experiences.

The task of ‘Inquiry’ was one that led me to use and question resources available to me. My own discussion of professional’s around me formed a realisation of how far my relationships and skills have been both influenced and developed. Reflecting on sources of material that surround me led me to not only ask questions but also for others to do the same (Appendix H). The inquiry into my practice has allowed me to become my own ‘outside eye’, although a contradiction in terms, a tool in practice. Taking time to step back and reflect on my work is not only a necessity within my ‘inclusive training’ but in questioning comes progression as a professional.

Professional Networking

Understanding the construction of professional networking is something that has been influential to my way of working and communication. The idea that we divide ourselves into ‘units’ of people in order to achieve the most success, socially or professionally, is intriguing. The investigation of network theories has, for me, clouded the idea that a network is to work as a team or to co-operate and has highlighted the presence of competition within professional groups. From reading other blogs, I am fast discovering how the process’ by which I work and create within an inclusive professional network are often non- comprehendible to others (Appendix I). Networks within the Performing arts have shown a clear divide between on and off stage. A cast network is clearly one that is striving for the same acknowledgment of success; audience applause, and I agree with Crisp and Turner 2007 pp266 who said that 'a network of support that will help us when we are in need' but is this purely an on stage ideal? I have become aware of the networks around me and am now asking how they are an asset to me. Breaking down my networks into smaller pieces on my blog has allowed me to discover where I fit within them and how I utilise them to the best of my ability (Appendix J).

Studying my immediate networks in such detail gave me the impetus to question past networks and how I could incorporate them into my present practice to build a future. (Appendix K). I am now looking to develop my current networks in order to build awareness of my professional practice and how organisations/institutions could utilise my knowledge in the future. This is a platform that is ever growing in order to establish my career.

Task 2c: Reflective Theory

Education: 'Continual re-organisation, reconstruction and trasformation of experience' Dewey, 1916. This quote from John Dewy acknowledges the constant development ab]nd responsibility within learning. As this course is based on 'self' learning and relflection this idea of constant evalution is key in order to sucessfully produce the skills and knowledge needed to complete tasks. I agree that the quality of education is reflected in the engagement of the pupil, In my oppinion the non-engagement or desire to learn should be seen as a direct impact from the both the teaching environment and method NOT the learner themselves.
The importance of identification is acknowledged in the Kolb leaning cycle. This compliments Dewey's conecpt of evaluation and promts active rather than passive learning methods.
Howard Gardner's (1983) mulitple intelligences prompted me to explore my own style of learning and relflection. Looking back on experiences i have i had i think that it is true to say that i am a kinasthtic and interpersonal learner. For example;  having watched and studied workshop practices i find myself needing to make my own mistakes when workshop leading inorder to learn and devlop from them. Although i love discussion and oppionion, the physical side of learning definatly has the most positive influence on my own development.
Having discoverd this about myself i find myself asking if Robert Kottcamp's 'reflection-in-action' is easier for kinasthetic learners; 'the actor must simultaneously attend to performing the action and observe and analyze his or her action' (Kottcamp, R. B. (1990). Means
for facilitating reflection. Education and Urban Society, 22, 182-203.) The physcial action process for a kinasthetic learner is to their advantage and could it therefore positvley influence their reflection?

Task 3c: Sources of information

As i said in the earlier task, my main source of information and networks has to be the Chickenshed Theatre, however from within the company their are more specific sources that are of great improtance to my own individual development:

• The Chickenshed education programmes- I have written previous blogs regarding the nature of Chickenshed's education and its students, however it is the staff that have begun to inform my learning. Watching the teaching skills first hand has become invaluble as this is my most reponsive form of self-education. With each educator comes a variation of approach to the subject matter, however the core principles of inclusion are clear throughout'

• Professionals of all levels- It has been important for me to discover the levels at which staff are expected to adhere to regardless of artisitc/teaching level. The 'heirarchy' has allowed me to develop an understanding of each staff members contribution to the work while having understanding of their own personal training and development. 

• Communication via email-  Email has fast become my most valuble source of communication. It is a tool that i constantly utilise in order to sustain my contacts, and is something that i use purley as a professional communciation to create some sort of organisation.

• Blogs- Using blogging sucessfully is a great way for me to question and query both my own and other's interpretations of the same/similar event's. Although not all shared expriences will be blogged by both parties it is interesting to read how it effected someone and why they felt it was important  to write a blog about it. For expample; Lucy's reflective writing task consited of a project that we both took part in; 'Carterhatch School Project'. It was eye-opening to read about her understanding of a project in which we both took part.

• Linking my Profession to other things-  Although my interest for inclsuion lies within the arts, I have found it interesting to look at other areas where inclusion is being implemented. My part-time Job, for exmaple, is working at a health and fitness spa. Althought the lesuire industry is not particularly a place of interest for me, my curiosity led me to ask question regarding the inclusive practice and reading up on schemes such as the 'The Inclusive Fitness Initiative (IFI)'. This has become an area where i can explore and expand my general knowledge of inclusion.

Task 3b: theories relating to networking

Having read the course reader on 'Professional Networks' i have found the comparision from the theories to my own practices intreguing. The extract from Axelrod, R. (1984 pp xi – xiv) asked the question 'How far should cooperation go before it becomes selfish?', something that i have often ondered myself both in a professional and social context. The ability to cooperate with someone is something that inclusion strives for; cooperation should lead to harmony. However, at what point does cooperation become compromise? Chickenshed as a company have always statmented that they will never compromise the quality of their work or members. Every member of the company is individually cast to fulfill their roll to their own highest standard which inturn reflects in the overall work. In order to do this they ask that their members cooperate and trust in them but, for example; should this coopertation be challenged and what point should a compromise acknowleged?
This non-compromise policy co-insides Crisp and Turner 2007 pp266, who said that the theory of affiliation aims to provide everyone 'with a network of support that will help us when we are in need'. This alongside the idea of homeostasis acknowledges the inclusive practioner's constant awareness of different needs and abilities within a group.
These theories boil down to the importance of the individual. Although we use Social Constructionism to buikd our own interpretation of the world, no mnatter how large the social/professional network, our own interpretation is what we keep with us and acknowledge to be true.
Communities of Practice, i believe, is probably the biggest source of professional and social networking. Having mutual interest in a subject is something that simply exists without force or debate and therefore in my oppinion is the most powerful. Going to events such as shows and festivals make it easy for these mutual interests to become apparant and can often have the most enourmouse repercussions, eg. Live aid, Student Marches ETC.

Task 3a: Current Networks

As a developing 'inclusive Practicitioner' my current and main source of professional networking is the Chickenshed Theatre itself. Having full time access to a profesional inclusion environment is something that is a major asset to me and my interest(s). A building mangaged by people who have the same beliefs and goals that i do within the arts, along side the physical offering of profesional facilites is priceless.
This network allows me not only to learn, discuss and be inspired by the staff within it but offers me a platform of responsibilites if i want them. I have been able to deliver and manage workshops/one to one support/ performances as a trusted member of the company, being given the support that i need to do so.
Another network i am starting to gradually build is with the BRIT school. By keeping in contact with them through exchanges of emails and phonecalls i am able to draw from both their knowledge and to an extent their 'ignorance' towards my inclusive practice.
The performing arts has the fantastic ability to mix 'business' with 'pleasure' as the forums and meeting's for the practice often take place in what is considered a social setting- the theatre. Going to the theatre can be seen a lesiure activity and therefore allows the ease of discussion and debate between 'strangers' after watching the same performance, inturn a possible creation of a professional network.
This is a tool that i know was used greatly by the cast of 'Crime of the Century' by the Chickenshed theatre company, when touring at the Edinburgh fringe. As professionals they were able to initiate their own networks through Q & A sessions but also through the 'Communities of pracitice' that the fringe brings.
As well as the theatre there are other social networks that i think could greatly impact on my own professional networks. Conversation and communication in order to develop any interest, is something that i am a great believer in and now that i am at this stage of my profession i must be constatly be aware of my engagement within social interaction regarding mutual interests. Facebook groups and blogging are also great sources as they already have an ever growing social interest and are therefore a great platform for professional networking.

questions, questions, questions!

Over the last term not only have i had the opportunity to work on the broad spectrum of work that Chickenshed offers, but on a proffessional level. Although i have been a part of the company for over two years it is the last term that has helped me to realise my true interest's within the work. Having worked closly with the BTEC students, i have found myself asking how inclusion affects and could potentially benefit students at their level of education? and if educating students at this level in inclusive practice would be practical or of interest to them?

Most of these questions have stemed from my workshop at the BRIT school as the mature debate and discussion it sparked was a pleasent suprise to me.
Studying inclusion at degree level is something that i found extremely benefical for my development both in education and socially; therefore could inclusion at BTEC/A Level start these benefits sooner and have a greater impact later on?

All of these lines of inquiry are ones that i intend to explore as the academic year continues both with groups and individuals.

Task 1d: Images- Flickr

So i have FINALLY managed to get some photo's of my work from the Chickenshed Theatre and upload them to flickr:
http://www.flickr.com/photos/56523286@N06/

I have to say that i was impressed at how easy it was to do this. As i have said before i am a slight technophobe but Flickr is a great way to display my work doing using images; the step by step instructions made everything quick and simple!

It is often hard to describe the work that i do at ChickenShed as the concept of inclusion can be an 'alien' concept to those either in the mainstream or diability arts; so second to watching it in action, using imagry and tools such as Flickr is a great way of getting an initial surface understanding of the work.

There are more pictures to be added soon but i thought i would make a start!

task 2d: relflective inquiry

For me, the thing that makes me most enthusiastic about my practice is finding unexpected positive qualities within individuals. I love meeting and getting to know new people and discovering how each and every person can have a positive impact on the creation of theatre both creatively and 'socially'. I find it so interesting that everyday both new discoveries are made and old ones are being pushed. To see the development of positive skill within any individual is in my opinion why the work and practice of inclusion is so important.
What can be frustrating, however, is the ignorance of inclusion that some people have, even within and inclusive setting such as Chickenshed. The frustration is usually heightened when it comes to shows and casting. Often people are so caught up in the bright lights and 'main' parts that they forget or do not acknowledge that the reason Chickenshed is so amazing is that every part has exactly the same value and importance and is influenced by every individual within it. Although this is frustrating I completely accept that inclusive performance practice is a minority compared to the 'mainstream' majority. When I feel frustrated I admire the work of Dina Williams, Associate Director of Chickenshed/Dancer, who completely shares my belief in hard work and that every section should matter. She pushes and stretches positive skills and seems to balance her direction as firm but fair.
I love to watch the practice of inclusion within creation, especially within the children’s theatre. I love to watch the complete innocence that children share and their open attitude with no inhibitions. The fact that the work they are producing within the environment that they are working is a set up that I admire greatly. One of the most talented men I have ever met, Paul Morral, Chickenshed's Director of education and outreach, shares this belief with me and this is reflected in his writing:

Making new worlds (Chorus)

Eat all your heart our destiny, we're making plenty new worlds
stirring up old humanity, creation is in a swirl
stretch out your countries, flex up your seas
link up your people, bush up your trees
we're making it slowly 'cos there no doubt..
when we get in our new world..when we get in our new world..
when we get in out new world we wont come out!

These world were written for a song performed by the Children’s theatre; ‘Making new worlds’.For me this sums up the ambition and beauty of a child’s imagination, something which Paul has shown massive passion for in his words.

At Chickenshed, I often find myself not understanding why any sort of negativity would be present within our working environment. I often struggle to understand why attitudes towards achievement or success can be negative. I suppose as I expressed earlier, there can be a certain ignorance that is notorious within the performing arts and the opinions that someone else’s success makes you experiences and achievements less valuable.  Louise Perry, Director of Performance at Chickenshed, is someone who also shares this non-understanding, however her opinion of ignorance is that it isn’t the individual concerned that has the issue it is often the uncertainty and influence of their environment. She has often said that it is up to us as practitioners of inclusion to convey our understanding and reason of practice so that each individual we work with can utilise the practice and know why certain decisions are being made.  This is a woman that I admire and aspire to because of her openness to not only asking questions but also not knowing that answer, she accepts and acknowledges that inclusion is an ongoing process that with forever be adapted and evaluated.

The workshop I delivered at the BRIT School (as described in my earlier blog ‘BRIT’) has sparked and interest within me to push inclusion further within the arts. It has made me want to discover more about how this can be achieved and on what scale inclusion can be used in an already established environment.

Task 2b: Reflective writing

Performance Workshop

Yesterday was the return of the BTEC students after half term and the return of my supporting role within their lessons. The day begun with ‘Performance Workshop’ in the studio theatre with students covering all aspects of the arts strung together with the theme ‘Concrete Jungle’. The initial part of the session was reflecting and re-capping work that had been set/created in the previous half of the term.

     With this particular year group I was always feel an initial struggle as it is difficult to channel their energy and enthusiasm into their work, especially after having a week’s holiday with no focus at all. In my opinion I think that many of the students are not completely inspired by the concept of the material but contradict this in practice. My first thoughts about the session were that I was slightly anxious and I can remember thinking that although I was in a positive mood I was aware that excited atmosphere could create a struggle when delivering activities. Something that I didn’t expect was the lack of participants, it seemed that the first day of term was not the most popular day to fit in with everyone’s ‘social calendars!’. What was clear from the turn out of students was that there were some key individuals that can drive focus and creation within groups that were missing, which only added to my anxiousness.

      Another unexpected outcome was that I had to sign for one of the girls as her allocated signer had called in sick. Although I have signed to her a few times before I suddenly felt nervous, which was slightly disconcerting as signing is one of my most confident attributes. The bubbly atmosphere of the room was great but I became very exposed and aware of my signing in front of different people a feeling that I am not used to at all.

     Within that session as well as signing I had a number of roles; supporting the creation of work, delivering an activities, recognising individual needs and adhering to them appropriately to ensure the best possible outcome. 

     Contrary to my initial reaction I felt that the session progressed as it went on, with the atmosphere becoming more focused and engaging, which I think was helped by the re-capping of previous work as it gave a familiar base of work for students to connect with. The most successful parts of the session, I feel were achieved when direction was given to the entire group to work as a whole, so that there was no room for anyone to ‘hide’ of ‘pull focus’. Something that I noticed from this session was the positive changes in certain individuals towards both the work and the people around them. It became clear that for some, having been a ‘college’ student for half a term has matured their behaviour and yesterday I could start to see how beneficial this maturity could be to the entire group.

     Something I would have loved to have happened in that session was for all the students to commit to everything they were doing and push themselves to create something that would blow us all away. It doesn’t sound particularly farfetched but it really is so frustrating watching a year group so full of talent and potential, not making the most of their opportunities. Within the building it is clear that certain assumptions have been made about this group as a whole and nothing would give me more pleasure than for them to prove them wrong.

     From a certain students point of view I think they would of felt that their lesson was balanced. This girl seemed to switch between someone who wants to create and someone who doesn’t appear to care. From her opinion I think she embraced the work but probably felt like the directors and deliverers of the session could have handled difficult situations better. I spoke to her within the session and at one point she felt that she shouldn’t have to do all the work if no-one else was going to bother, a point that I argued saying that as an individual she should be utilising her skills as a group leader and pushing for the best quality which something that would be reflected in her own personal grade. Looking back, I do acknowledge in this discussion that our opinions were coming from completely different ends of the spectrum; hers from a performing arts BTEC student, mine as a degree student studying inclusion, both valid and informed by our own influences.

     This particular day/session is one that encourages my interest for inclusion within further education and excites my further and more developed participation within them. Something that I would do differently, I think, is channelling my initial anxiety/nerves into my confidence when supporting a group or individual as I think It can inhibit me to an extent. From the session I gained the knowledge of how individuals have developed from their first day to now and I know that this is something that really interests me. The question for me is; ‘How can inclusion influence students in further education?’, and this is something I am able to see first hand within Chickenshed’s educational setting.

Tak 1b: Professional Communication and Technology

As i said in my first blog i am a bit of a tecnophobe so my enthusiasm towards web 2.0 and its affects on our everyday lives can be fairly biased.
Although i am intreged by the concept of social networking and the idea of building realtionships between 'strangers' i am slightly scepetiacal about how positive it is to be able to get hoards of information at the touch of a button.

Platforms such as 'google' are a fantastic source of knowledge but could it create a generation of laziness or complacency? where the need for practical discussions or experiements to find the answer could become secondary to the search engine.
I agree and embrace that web 2.0 has allowed people to extend their 'exisitng proffesional networks' (feenberg & Bakardjieva 2004) and that this can have massive positive impacts on peoples proffesional and social lives.

My outlook on this subject interms of education is still fairly sceptical however i am open to the use of tecnology within this course, changing my oppionion!

BRIT

Alot of my experiences within the performing arts were generated from my four years attending the BRIT school. Having gone through a rigerous application process, GCSE and Alevel's, my experiences at the BRIT  have made a huge impact on both my working practice and social oppinions. Being a part of Chickenshed's 'Inclusive Theatre' has developed these and helped my goals, with regards to my career, become more grounded.
I have always wanted to create a working relationship between the BRIT and Chickenshed as i feel that the collaberation between two presigous and respected arts establishments could have a massive impact of the development and practice of inclusion.

A couple of weeks ago the BRIT invited me to deliver an inclusion workshop as part of their year 13's 'Proffessional Opportunities' module. This was a great opportunity for me to build the intial foundations of this exciting relationship between the companies. I split the wokshop into two sections, the first half was using activites to analayse what people would consider 'mainstream' working practice and allowing the students to reflect on their immidiate reactions to certain activites whether positive of negative and how activites could be adapted to create a more 'inclusive' setting.
The second half was asking to students to create together using Chickenshed's devising process, working as a group to achive a product that reflected them. What they came out with was a small presentation of inclusion without even realising it, i had asked them to create a traveling sequence, group shape and write a verse to our 'Inclusin rap' which they all contributed to fully and it was fantastic!
The bulk of the feedback from the students was that they couldnt beleive how subtle differences in activity and delivery could mean the difference between someone feeling included or excluded. They were also amazed at the quality of work they had achieved in their creation as a whole group.

I felt that the workshop was a great success and has started some cause for critial reflection on working practice, an outcome i was hoping for. It also sparked an excitment between the two companies that i have been waiting to achieve in order for the collaberation to get off the ground.
We are now arranging meetings and drafting projects between Chickenshed and the BRIT in the hope that an offical collaberation as part of a new BRIT BTEC Course could be achieved.

I am still in the VERY early stages of this exciting project but i will keep updating!.....

     +=


(images from google images...BRIT logo origionally bbc website)

task 1a: Professional Profile

Emma Balaam C.V
19.04.1990

About Me

I am currently studying for a BA in Professional Practice within ‘inclusive performance’ with Middlesex University at the Chicken shed Theatre Company. Having been a part of Chickenshed’s two year Foundation Degree course I have built up a wide vocabulary of inclusion techniques and practice’s within both a professional and educational setting. Being a part of the Company has allowed me to work with children, young people and adults with a range of abilities and backgrounds within the performing arts. From workshops and performances to corporate events and education, being part of Chicken Shed has realised my passion for inclusion and allowed my theatre practice to become open and informed.

I am a person that will balance both my practical, first hand experiences with research and question both my own and others practice.

 Performance Experience (2008- current)

Date	Performance	Role	Level
May 2008	The Wonderful World of Disossia, Obie Theatre	Britney	BTEC National
October 2008	Fundraising Gala, Guildhall	Vocal Cast	Foundation Degree
December 2008- January 2009	The Twelve Days of Christmas, Rayne Theatre	Piper	Foundation Degree
March 2009	The Attraction, Rayne Theatre	Towns Person/Hals troop	Foundation Degree
July 2009	The One and Only Double Bill, Trilogy Quartet, Chickenshed Studio Theatre	Ensemble	Foundation Degree
October 2009	Fundraising Gala, Royal Albert Hall	Vocal Cast/Dancer	Foundation Degree
December 2009-January 2010	Pinocchio, Rayne Theatre	Crew/ Understudy signer	Foundation Degree
March 2010	A Midsummer Nights Dream	Mechanical	Foundation Degree
June 2010	‘Sorry…I was Miles Away’, Chickenshed Studio Theatre	Sophie	Foundation Degree

Relevant Experience (2008- Current)

Chickenshed

Chickenshed membership sessions (5- 21+ years)

Tales from the Shed sessions (0-4 years)

Carterhatch School Project

Debden secondary school project

Ridgeway school workshops

Home education network project 

 

All of the experiences listed above have involved me taking on a number of roles, working with children/young people from the ages of 0 to 21; delivering and supporting workshops, working as part of a group support team and giving one to one support to individual participants.

 

Qualifications/Education

Chickenshed Theatre Company (September 2008- current):

Foundation Degree, Inclusive Performance    First Class Honours

British Sign Language                                          Level One

IPOP (October 2009-current):

I have completed training courses within the following areas:

Epilepsy-including administration of buccal midazolam/ rectal diazepam

Makaton stages 1-4

Downs Syndrome

Introduction to Autism

The BRIT school (September 2004- June 2008):

Btec National Diploma, Theatre                                  Distinction

Btec First Certificate, Dance                                        Merit

As level, Sociology,                                                     Grade B

Full UK Drivers Licence

References

Charlotte Bull  Chickenshed Theatre Company                0208 351 6161 ext 222

Paul Morral     Chickenshed Theatre Company                0208 351 6161

Louise Allen       The Spa at Beckenham                           0208 650 0233

First Blog

Ok so this is my first blog, I'm a bit of a technophobe so this is all a bit alien to me!

The last couple of weeks at the ChickenShed Theatre have been a bit crazy, as the new intake of BTEC students has been...controversial shall i say! I have been a part of their induction process, getting to know them and helping them to produce a performance using Chickenshed's Inclusive method which a lot of  them aren't used to. They are a year of 'character's' which, in my opinion isn't necessarily a bad thing.
My role within this process was a support one that allowed me to get to know them as individuals which i think will benefit me in my future work with them.

(image from google images, Chickenshed Theatre Copyright)

I have also been a part of the 'Tales from the Shed' team which has been great. I was involved with the team over Christmas and at the beginning of the year so it was nice to go back into it having had a break and taking on a more established role.

Lucy and i wrote our first Tales session plan this week which was a bit scary but it seems to be going well so far and i think we surprised ourselves at how much material we know already...within the session i have to play 'Brutus' the kangaroo which is fun but it means using a dodgy Australian accent and wearing a costume that makes you boil!