As discussed in my earlier bloggs i have already begun to formulate questions with regard to my inquiry plan and the inquiry itself. However it has become clear that the wording of this question needs to be just write in order to generate the right feeling ethically and with regards to relevant responses
here are some of my ideas:
Is it necessary to formally equip students with the methodology of inclusion at BTEC National level?
How relevent is inclusion at BTEC National level?
Does the knowledge of inclusion in further education maximise the individuals success?
any suggestions please comment....
Wednesday 13 April 2011
The BRIT: making movements!
Yesterday i was invited down to the BRIT School for a meeting to discuss a oroject opportunity. Term 5 at the BRIT is called the 'community' term, where groups from across the school; music, theatre. musical theatre, dance, art, media and production are merged together and sent out into a chosen community.
When i attended the school i took part in a project involving patients from St Christopher's Hospice- a project which changed me as a person and will stay with me forever.
So of course i was extacted to be asked back to the school to be involved as a profeesional within my field!
the project, as i understand it so far, will consist of 8 sessions run over four weeks working with students from dance, theatre and music strands as well as 10 members from the southside partnership- supporting people with mental health problems:
http://www.southsidepartnership.org.uk/fanon_mental_health_
the idea is to conduct a series of workshops to generate ideas and material to create a short piece relfective of all participants involved.
it goes wthout saying that i am SO EXCITED. it was strange sitting in the meeting and having people who used to teach me asking me for advice!
i have also been asked to run an 'inclusive skills' workshops for 70 students before the project begins to help equipp them for the project ahead.
as well as the project in june there was also mention of doing reaserch for the school in september; looking into inclusion with education at BTEC LEVEL, something which i am already exploring within my professional inquiry plan.
fingers crossed it all goes to plan!
When i attended the school i took part in a project involving patients from St Christopher's Hospice- a project which changed me as a person and will stay with me forever.
So of course i was extacted to be asked back to the school to be involved as a profeesional within my field!
the project, as i understand it so far, will consist of 8 sessions run over four weeks working with students from dance, theatre and music strands as well as 10 members from the southside partnership- supporting people with mental health problems:
http://www.southsidepartnership.org.uk/fanon_mental_health_
the idea is to conduct a series of workshops to generate ideas and material to create a short piece relfective of all participants involved.
it goes wthout saying that i am SO EXCITED. it was strange sitting in the meeting and having people who used to teach me asking me for advice!
i have also been asked to run an 'inclusive skills' workshops for 70 students before the project begins to help equipp them for the project ahead.
as well as the project in june there was also mention of doing reaserch for the school in september; looking into inclusion with education at BTEC LEVEL, something which i am already exploring within my professional inquiry plan.
fingers crossed it all goes to plan!
task 6c: literature reviews
The pieces i have chosen are just as individually relevant to my interests as they are combined. The pieces i have chosen to review are:
A plethora of benchmarks by Susan Elkin, december 2008- The Stage
Creative Inclusion in Community Theatre: A journey with Odyessy Theatre Company by Roger Wooseter, February 2009
Ofsted Report: How new teachers are prepared to teach pupils with learning difficulties and/or disabilites by Ofsted September 2008 (ref 070223)
All of the links to these are posted on the SIG WIKI page.
so lets start from the beginning..
A plethora of benchmarks by Susan Elkin, december 2008- The Stage
This is an article that i discovered on The Stage website and it discuss the National Association of Youth Theatres (NAYT)'s introduction of their Excellence and Inclusion Scheme. The idea is to eventually elimate external examinations from various boards across the country and for progression to monitered and examined internally. My intial reaction to this is that it gives companies the opportunity to focus on their own process and not become distracted by tickboxes and red tape from the outside, which in my oppionion is a good thing?
However the immediate contadiction in terms is the idea of a standadised membership with the 'inclusive' schene. Although the NAYT have said that they will 'keep and eye on' smaller companies that do meet the standard of excellence to become 'members' of the scheme, they have not outlined any strategies that could be put in place to help progression.
I agree with the authour when she says; 'too many organisations have had the same idea at once.' as i feel that the word 'inclusion' has become somewhat of a buzzword for many arts organisations and faliure to implement such a scheme would be highly frowned upon.
However, i do challenge the authors point that 'This is surely a recipe for muddle, mayhem and confused parents?' - is this the case? or should there be positive recognition for the fact that companies are embracing the need for 'inclusion' regardless of motive?
Creative Inclusion in Community Theatre: A journey with Odyessy Theatre Company by Roger Wooseter, February 2009
From the outset in this piece, the terminology used, for me raises imediate questions about the writers true comprehension on the subject matter. Although 'pre-warns' the reader of the terminolgy he will be using; 'In this article the term ‘learning disabled’ and ‘non-learning disabled’ will be used.' there is no explination as to why. Using the word 'disabled' within the context on inclusion, for me is an immediate contradtiction in terms. The 'dis'-abled immideatly implies the inability of the individual. I would argue that when arguing the positive's of inclusion the positives of the individual should be the foucs rather than enforcing the idea of people having a 'lack of skill'.
The first thing this piece does is recognise the struggle for quality within inclusion to be recognised. Mainstream views of quality are often immediatly comprimised for an 'inclusive' piece has been seen due do sympathy or patronage.
This patronising view is emphasised in the piece when the writer acknowledges the Department of Education's document published in 2006. Phrases such as 'them joining 'us'' are pointed out as patronising to anybody who is deemed to be outside of the norm which then raises the question for me;
How do we define who is 'them' and who is 'us'?
Wooseter also recognises the National Disability Arts Forum (NDAF) who say that 'specialist knowlege of disbility is vital in inclusion'. This is a statment that i would have to disagree with. If the understanding of inclusion is that labels are to be removed, knowledge of each individual specifically built and not having their individuallity removed by the knowledge of their disability.
It is discussed in the piece that, Gaynor Lougher, heavily involved with the ODYSSEY theatre company, emphasis her work on the engagement of the members and not on a fantastic performnace- is this not conflicting with the quality of the work produced? does her approach to ensemble and chrous work provied enough of a challenge for all involved in production from cast to director?
Ofsted Report: How new teachers are prepared to teach pupils with learning difficulties and/or disabilites by Ofsted September 2008 (ref 070223)
I chose to look at this report inparticular as it covers my interest in education and how teachers are trained to outlook various situations in the classroom. The first recommendation this report makes is to 'ensure awareness of what constitutes 'good practice' when teaching pupils with learning difficulties and/or disabilites'. My first question is how is 'good practice' recognised across the board? is there documentation of such practice? or guidlines given to the entire education system to ensure consistency? non of these questions can be answerd from this report.
it also discusses the use of teachers with 'appropriate expertise' to conduct training. Although i agree that a certain level of relevance to the subject matter would of course be positive- it then brings me to the question; how do we measure expertise? surely when dealing with individuals no matter what their age ability or background, there is not a generic course of action?
Interms of progression within schools the report embraces the need to adapt courses without great emphasis on any 'disadvatage' and individual may have in order to maintain the quality of work at a high level. This is something that i agree with as it compliments the ideals that every child learn's differently in order to acheieve their best.
The base of this report is in the need to ground teachers with professional standards giving them a familiar and strong guidline that they feel able to use as a point of reference.
A plethora of benchmarks by Susan Elkin, december 2008- The Stage
Creative Inclusion in Community Theatre: A journey with Odyessy Theatre Company by Roger Wooseter, February 2009
Ofsted Report: How new teachers are prepared to teach pupils with learning difficulties and/or disabilites by Ofsted September 2008 (ref 070223)
All of the links to these are posted on the SIG WIKI page.
so lets start from the beginning..
A plethora of benchmarks by Susan Elkin, december 2008- The Stage
This is an article that i discovered on The Stage website and it discuss the National Association of Youth Theatres (NAYT)'s introduction of their Excellence and Inclusion Scheme. The idea is to eventually elimate external examinations from various boards across the country and for progression to monitered and examined internally. My intial reaction to this is that it gives companies the opportunity to focus on their own process and not become distracted by tickboxes and red tape from the outside, which in my oppionion is a good thing?
However the immediate contadiction in terms is the idea of a standadised membership with the 'inclusive' schene. Although the NAYT have said that they will 'keep and eye on' smaller companies that do meet the standard of excellence to become 'members' of the scheme, they have not outlined any strategies that could be put in place to help progression.
I agree with the authour when she says; 'too many organisations have had the same idea at once.' as i feel that the word 'inclusion' has become somewhat of a buzzword for many arts organisations and faliure to implement such a scheme would be highly frowned upon.
However, i do challenge the authors point that 'This is surely a recipe for muddle, mayhem and confused parents?' - is this the case? or should there be positive recognition for the fact that companies are embracing the need for 'inclusion' regardless of motive?
Creative Inclusion in Community Theatre: A journey with Odyessy Theatre Company by Roger Wooseter, February 2009
From the outset in this piece, the terminology used, for me raises imediate questions about the writers true comprehension on the subject matter. Although 'pre-warns' the reader of the terminolgy he will be using; 'In this article the term ‘learning disabled’ and ‘non-learning disabled’ will be used.' there is no explination as to why. Using the word 'disabled' within the context on inclusion, for me is an immediate contradtiction in terms. The 'dis'-abled immideatly implies the inability of the individual. I would argue that when arguing the positive's of inclusion the positives of the individual should be the foucs rather than enforcing the idea of people having a 'lack of skill'.
The first thing this piece does is recognise the struggle for quality within inclusion to be recognised. Mainstream views of quality are often immediatly comprimised for an 'inclusive' piece has been seen due do sympathy or patronage.
This patronising view is emphasised in the piece when the writer acknowledges the Department of Education's document published in 2006. Phrases such as 'them joining 'us'' are pointed out as patronising to anybody who is deemed to be outside of the norm which then raises the question for me;
How do we define who is 'them' and who is 'us'?
Wooseter also recognises the National Disability Arts Forum (NDAF) who say that 'specialist knowlege of disbility is vital in inclusion'. This is a statment that i would have to disagree with. If the understanding of inclusion is that labels are to be removed, knowledge of each individual specifically built and not having their individuallity removed by the knowledge of their disability.
It is discussed in the piece that, Gaynor Lougher, heavily involved with the ODYSSEY theatre company, emphasis her work on the engagement of the members and not on a fantastic performnace- is this not conflicting with the quality of the work produced? does her approach to ensemble and chrous work provied enough of a challenge for all involved in production from cast to director?
Ofsted Report: How new teachers are prepared to teach pupils with learning difficulties and/or disabilites by Ofsted September 2008 (ref 070223)
I chose to look at this report inparticular as it covers my interest in education and how teachers are trained to outlook various situations in the classroom. The first recommendation this report makes is to 'ensure awareness of what constitutes 'good practice' when teaching pupils with learning difficulties and/or disabilites'. My first question is how is 'good practice' recognised across the board? is there documentation of such practice? or guidlines given to the entire education system to ensure consistency? non of these questions can be answerd from this report.
it also discusses the use of teachers with 'appropriate expertise' to conduct training. Although i agree that a certain level of relevance to the subject matter would of course be positive- it then brings me to the question; how do we measure expertise? surely when dealing with individuals no matter what their age ability or background, there is not a generic course of action?
Interms of progression within schools the report embraces the need to adapt courses without great emphasis on any 'disadvatage' and individual may have in order to maintain the quality of work at a high level. This is something that i agree with as it compliments the ideals that every child learn's differently in order to acheieve their best.
The base of this report is in the need to ground teachers with professional standards giving them a familiar and strong guidline that they feel able to use as a point of reference.
task 6b: reaserch methods
Having read the course reader on 'Tools of Professional inquiry' It has become clear that, the nature of my work will inform the research methods i choose in order to balance the ethics of both my inquiry and my working environment.
For example, in order to comply with chickenshed's inclusive methodology and my interpretation of this, i will need to choose methods that are right for individuals involved as well as taking into account my own need to gather information.
For myself , as the reasercher i need to identify my own oppionion from my professional one- or are they the same thing? because chickenshed has not only informed me as professional but has also had a huge impact on me as a person, i need to take be aware of the bias' that this can cause when gathering research.
previous knowledge of my participants
personal experiences within my workplace
awareness of current norms and values within my area
REASERCHER- WHY COULD BIAS PLAY A PART?
passion/love for my work
already knowing my 'ideal' outcome
having identified these bias' the question is- HOW ARE THEY ELIMINATED?
as i am looking to form a question that incorporates two area's of interest- inclusion and education, the use of a hypothesis could be of use to me.
in my oppionion is that the hypothesis is used within a scientific setting with a quantitative answer. However although this is a tool that i would like to use in my own inquiry to outline my own oppinions and predictions before my inquiry begins. This, for me, will give me a point of reference during my studies on which i can comment and compare my own thoughts alongside gathering information from outside parties.
It is important for me to gather data that is 'representative' from my sample participants. However, this representation must be achieved with both my inclusion and ethics knowledge in mind, for example; the sample of participants i choose must not only be chosen because it is what is needed for my reasearch but also becasue it is right for them as individuals to conribute.
Observation will be something that will be great for me to use within my inquiry. My intial idea is to write a workshop plan that will be used in two environments- Chickshed and BRIT School; keeping common factors the same, e.g age range, number of participants- and what ever else i decide- but comparing the workshops based on factors such as behaviour, response, diasaplines and feedback.
Having conducted some informal interviews with friends and collegues i have found that is important to piolet my questions before putting them to use. I found from my discussions that my questions didnt always flow as well as i thought and my articulation of the question varied dependant on the setting in which i was talking. In order to eliminate bias as much as possible the need for and 'interview structure' will be of great importance.
For example, in order to comply with chickenshed's inclusive methodology and my interpretation of this, i will need to choose methods that are right for individuals involved as well as taking into account my own need to gather information.
For myself , as the reasercher i need to identify my own oppionion from my professional one- or are they the same thing? because chickenshed has not only informed me as professional but has also had a huge impact on me as a person, i need to take be aware of the bias' that this can cause when gathering research.
previous knowledge of my participants
personal experiences within my workplace
awareness of current norms and values within my area
REASERCHER- WHY COULD BIAS PLAY A PART?
passion/love for my work
already knowing my 'ideal' outcome
having identified these bias' the question is- HOW ARE THEY ELIMINATED?
as i am looking to form a question that incorporates two area's of interest- inclusion and education, the use of a hypothesis could be of use to me.
in my oppionion is that the hypothesis is used within a scientific setting with a quantitative answer. However although this is a tool that i would like to use in my own inquiry to outline my own oppinions and predictions before my inquiry begins. This, for me, will give me a point of reference during my studies on which i can comment and compare my own thoughts alongside gathering information from outside parties.
It is important for me to gather data that is 'representative' from my sample participants. However, this representation must be achieved with both my inclusion and ethics knowledge in mind, for example; the sample of participants i choose must not only be chosen because it is what is needed for my reasearch but also becasue it is right for them as individuals to conribute.
Observation will be something that will be great for me to use within my inquiry. My intial idea is to write a workshop plan that will be used in two environments- Chickshed and BRIT School; keeping common factors the same, e.g age range, number of participants- and what ever else i decide- but comparing the workshops based on factors such as behaviour, response, diasaplines and feedback.
Having conducted some informal interviews with friends and collegues i have found that is important to piolet my questions before putting them to use. I found from my discussions that my questions didnt always flow as well as i thought and my articulation of the question varied dependant on the setting in which i was talking. In order to eliminate bias as much as possible the need for and 'interview structure' will be of great importance.
Monday 11 April 2011
taks 5c: my understanding of ethics
After reading through course reader 5 on Proffesional Ethics, my inital thoughts are to the three theorists; Aristotal, immanuel Kant and JS Mill, and whether i believe or practice their therories both in my personal and professional life.
Aristotals belief was in virues of character-bad habits/trates within a person, the list below is one of my own identified virtues as well as what i belive to be virtues that chickenshed carry:
Me
Impatience
negative assumption
need for control
Chickenshed
inability to openly acknowledge the negative
insufficent funds for new developing staff
these lists are short, although no reference to say they are? but i found them extremely difficult to complile. Attempting to negativly pick apart my own nature and the subject matter that i am so passionate about that left me emotions in dilemma.My argument to aristotal would be that as the nature of individuals very so much, what if, for an individual the acknowldgement of virtues could not exist? do we then ask others to evalute? or should it be a 'self comfessing' exercise?
'Lying is wrong no matter what the circumstance.' Immanual Kant (1779 )
I think this statement is one that could cause a major contoversy, especially in today's society in terms of its harsh phrasing. Everything in today's society has to now be put on a scale or spectrum due to the sheer diverity of the makeup of our communities.
proffession
crime
religion
race
gender
age
sexuality...these listed are all compnents of society that inform descions and lives on an even broader scale in 2011 than at the time of Kant's statement in 1779.
'Blanket' statements such as his are of the age of 'tick boxes' and 'pigeon holes' a system that insitiutions such as chickenshed are continuoulsy trying to extinguish.
'The mean jusifies the end' JS MILL (1861)
This theory is one that, in my personal life i am aware that i put into practice, for example: in order to fund my placement at Chickenshed i work at a job that i dont partucularly enjoy or want to do. However, i know that in doing this work the money i make will benefit me in the end ie: i can afford to be unpaid at a charity at the busiest times because i save my wages in order to fudn my time when there is no time to work. This job as i see it is a means to end. I am aware that JS MILL probably had a more extreme example to be used but that is my understanding of the statement.
Interms of Chickenshed, however, i am struggling to decide whether this is statment they would use in practice..linking back to my quesion in my blog
http://emmabalaam.blogspot.com/2011/02/task-4a-my-questions.html :
'At what point does the process' of running a charity ever hinder the charity's intent/beliefs? if ever?'
After reading the Kevin Carter photography case it raised a number of quesions for my thinking:
How far will be go before the decion arrises whether to comply with ethics or save a human life?
should be stick by the rules if our own life is in danger regardless of another person if sickness is involved?
is it selfish to consider ourselves? or is it selfish to not think of our own lives and our own implications?
-----------------------------------------------------------
In the context of Chickenshed it is in my oppinion that Morals and Practice go hand in hand. The combination of;
HUMAN NATURE + RECOGNISED STRUCTURE + FOWARD PLANNING =
IMPLENTATION OF MORAL PRACTICE
However, when allowing morality to inform practically how far will/ can they go?
this question links back to one used in my interview pilot
How far does the individual's requirements affect the outcome of work before it become unbalanced?
My understanding of ethics within profession is that the ethics are there to ensure that each profession as a positive effect on society. A contrusctive critism of Chickenshed's work would be to expand their knowledge deeper and further into scoiety so that is a more accesable way of thinking/source of knowlege.
Aristotals belief was in virues of character-bad habits/trates within a person, the list below is one of my own identified virtues as well as what i belive to be virtues that chickenshed carry:
Me
Impatience
negative assumption
need for control
Chickenshed
inability to openly acknowledge the negative
insufficent funds for new developing staff
these lists are short, although no reference to say they are? but i found them extremely difficult to complile. Attempting to negativly pick apart my own nature and the subject matter that i am so passionate about that left me emotions in dilemma.My argument to aristotal would be that as the nature of individuals very so much, what if, for an individual the acknowldgement of virtues could not exist? do we then ask others to evalute? or should it be a 'self comfessing' exercise?
'Lying is wrong no matter what the circumstance.' Immanual Kant (1779 )
I think this statement is one that could cause a major contoversy, especially in today's society in terms of its harsh phrasing. Everything in today's society has to now be put on a scale or spectrum due to the sheer diverity of the makeup of our communities.
proffession
crime
religion
race
gender
age
sexuality...these listed are all compnents of society that inform descions and lives on an even broader scale in 2011 than at the time of Kant's statement in 1779.
'Blanket' statements such as his are of the age of 'tick boxes' and 'pigeon holes' a system that insitiutions such as chickenshed are continuoulsy trying to extinguish.
'The mean jusifies the end' JS MILL (1861)
This theory is one that, in my personal life i am aware that i put into practice, for example: in order to fund my placement at Chickenshed i work at a job that i dont partucularly enjoy or want to do. However, i know that in doing this work the money i make will benefit me in the end ie: i can afford to be unpaid at a charity at the busiest times because i save my wages in order to fudn my time when there is no time to work. This job as i see it is a means to end. I am aware that JS MILL probably had a more extreme example to be used but that is my understanding of the statement.
Interms of Chickenshed, however, i am struggling to decide whether this is statment they would use in practice..linking back to my quesion in my blog
http://emmabalaam.blogspot.com/2011/02/task-4a-my-questions.html :
'At what point does the process' of running a charity ever hinder the charity's intent/beliefs? if ever?'
After reading the Kevin Carter photography case it raised a number of quesions for my thinking:
How far will be go before the decion arrises whether to comply with ethics or save a human life?
should be stick by the rules if our own life is in danger regardless of another person if sickness is involved?
is it selfish to consider ourselves? or is it selfish to not think of our own lives and our own implications?
-----------------------------------------------------------
In the context of Chickenshed it is in my oppinion that Morals and Practice go hand in hand. The combination of;
HUMAN NATURE + RECOGNISED STRUCTURE + FOWARD PLANNING =
IMPLENTATION OF MORAL PRACTICE
However, when allowing morality to inform practically how far will/ can they go?
this question links back to one used in my interview pilot
How far does the individual's requirements affect the outcome of work before it become unbalanced?
My understanding of ethics within profession is that the ethics are there to ensure that each profession as a positive effect on society. A contrusctive critism of Chickenshed's work would be to expand their knowledge deeper and further into scoiety so that is a more accesable way of thinking/source of knowlege.
5a: code of practice-my oppinion
The chickenshed practice is one that i would say does not have a 'rule book', however thier policies and regualtions are just necessary if not more so than other establishments, in order for them to continue their unique way of working. In my oppinion there are four key elements that all play a part in the companie's 'code of conduct':
Team delivery
This is something that is an unwritten rule at chickenshed wether delivering a session, during rehursal even on the stage during performance. Delivering as a team, in whatever manner that may be, immediatly creates the feeling of support- no one should ever feel alone or isolated in a chickenshed session. This doesnt mean all of the team are stood at the from speaking one by one, they are there as a form of extended communication for participants. Delivery supported by more than one person allows the communication to be adapted/shaped to the individuals who need that information as clearly and efficiently as possible in order for them to achieve their own personal best in whatever they are doing. This adaptation could come in many different forms, for example:
re-phrasing of a scentance
filtering of information
sign language/physical communication
demonstration of the task itself
This openess to adapt is something that chickenshed must continue to follow in order to adhere to the diverse community of members, staff and students.
Development of the Individual
In order for chickenshed to devlop as a company they need to recognise the contuious development of their participants. The care and time needed to do this is something that other companies dont have but it is in chickenshed's belief to do so.
I have often heard the saying 'Look at your own bigger picture' being used around the building, often after casting has been released. In my oppinion it is the companies way of asking people to focus on the significant development of themselves rather than others in order to understand why certain casting descions have been made (descions that would often conflict with 'mainstream' arts ideals). The word 'development' however can often be misunderstood as a negative process, meaning that development is needed because you are awful at something. It is my understanding that chickenshed 'develop' people/skills by combing positive attributes that will compliment eachother and create an outcome greater than one positive skill alone.
Quality
In order for chickenshed to be known and respected as a 'pionerring' company, the work they produce must be of absolute excellece. It is easy, in my oppinion, to become complacent and safe with the buzz word that is 'inclusion' and use the same stragegies to demostrate this over and over again. However, as part of their work, both process' and performance's should never by hinderd by inclusion, the goal should always be to enhance it therefor contiuously demonstrationg the belief and need for the work to exist.
The push for and demonstation of such quality can only boost chickenshed's profile, advertising their work and interest in the company which inturn leads to outside understanding of the methodology...
'One day this will be the way the world works' chickeshed.
Emotion
This words seems juxdaposed to 'codes of conduct' and 'regualtions', however there is no escape from the fact that chickenshed was build with the foundations of real emotion and belief from real people.
without the constant acknowledgement and engagement of feelings from the individual the company would not be able to convey the work that they produce.
Kindness
respect
generosity of spirit
listed above are core qualities that chickenshed belive should be in every individual within the company. I think this final element to my outlook onn chickenshed's code of conduct enforce that unique nature that Chickenshed carries with it both in reputaion and practice.
Team delivery
This is something that is an unwritten rule at chickenshed wether delivering a session, during rehursal even on the stage during performance. Delivering as a team, in whatever manner that may be, immediatly creates the feeling of support- no one should ever feel alone or isolated in a chickenshed session. This doesnt mean all of the team are stood at the from speaking one by one, they are there as a form of extended communication for participants. Delivery supported by more than one person allows the communication to be adapted/shaped to the individuals who need that information as clearly and efficiently as possible in order for them to achieve their own personal best in whatever they are doing. This adaptation could come in many different forms, for example:
re-phrasing of a scentance
filtering of information
sign language/physical communication
demonstration of the task itself
This openess to adapt is something that chickenshed must continue to follow in order to adhere to the diverse community of members, staff and students.
Development of the Individual
In order for chickenshed to devlop as a company they need to recognise the contuious development of their participants. The care and time needed to do this is something that other companies dont have but it is in chickenshed's belief to do so.
I have often heard the saying 'Look at your own bigger picture' being used around the building, often after casting has been released. In my oppinion it is the companies way of asking people to focus on the significant development of themselves rather than others in order to understand why certain casting descions have been made (descions that would often conflict with 'mainstream' arts ideals). The word 'development' however can often be misunderstood as a negative process, meaning that development is needed because you are awful at something. It is my understanding that chickenshed 'develop' people/skills by combing positive attributes that will compliment eachother and create an outcome greater than one positive skill alone.
Quality
In order for chickenshed to be known and respected as a 'pionerring' company, the work they produce must be of absolute excellece. It is easy, in my oppinion, to become complacent and safe with the buzz word that is 'inclusion' and use the same stragegies to demostrate this over and over again. However, as part of their work, both process' and performance's should never by hinderd by inclusion, the goal should always be to enhance it therefor contiuously demonstrationg the belief and need for the work to exist.
The push for and demonstation of such quality can only boost chickenshed's profile, advertising their work and interest in the company which inturn leads to outside understanding of the methodology...
'One day this will be the way the world works' chickeshed.
Emotion
This words seems juxdaposed to 'codes of conduct' and 'regualtions', however there is no escape from the fact that chickenshed was build with the foundations of real emotion and belief from real people.
without the constant acknowledgement and engagement of feelings from the individual the company would not be able to convey the work that they produce.
Kindness
respect
generosity of spirit
listed above are core qualities that chickenshed belive should be in every individual within the company. I think this final element to my outlook onn chickenshed's code of conduct enforce that unique nature that Chickenshed carries with it both in reputaion and practice.
Saturday 9 April 2011
explain myself
across my wokr: blogs, journals, workshops. SIG'S etc i have often talked about 'alternative's' and, in reference to my award title rationale, 'alterative assesment methods'. Because i use these methods everyday i have become ingnorant in the assumption that others who read or engage with my work will have the same understanding as me so thought it was time to explain myself.
Within the mainstream arts there is a massive emphais/use/history of the AUDITION which has become a traditional tool for assesment for various levels of the three disaplines. This method is used as a fliltering process..desifereing between the 'good' and the 'bad'.
as well as the expectations within an audtion there are also set ideas on perceptions on how to judge the level of talent....how deep can they strceth? how high can they sing? how loud can they shout?
all of these qurestions, in my oppinon have become accepted in the performance world due to complacency..
'its tough in the arts'
'thats just how it is'
but my interest starts with the questioning of the 'AUDITIONTRADITION'
how are we measureing talent? is it right?
is an audtion the right way for everyone to show maximum potential?
how far does a 'look' get you?
if we follow the 'un spoken rules' of audtion will we get through regardless of telent?
thoughts to begin with.....
Within the mainstream arts there is a massive emphais/use/history of the AUDITION which has become a traditional tool for assesment for various levels of the three disaplines. This method is used as a fliltering process..desifereing between the 'good' and the 'bad'.
as well as the expectations within an audtion there are also set ideas on perceptions on how to judge the level of talent....how deep can they strceth? how high can they sing? how loud can they shout?
all of these qurestions, in my oppinon have become accepted in the performance world due to complacency..
'its tough in the arts'
'thats just how it is'
but my interest starts with the questioning of the 'AUDITIONTRADITION'
how are we measureing talent? is it right?
is an audtion the right way for everyone to show maximum potential?
how far does a 'look' get you?
if we follow the 'un spoken rules' of audtion will we get through regardless of telent?
thoughts to begin with.....
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