Module Two - Task 6C - Award Specialism Title

Chosen Title: 

BA (Hons) Professional Practice in Arts (Creative Arts in Education)

Explanation: 

Since my work as a part-time tutor during my Acting career, I have been fascinated by the way incorporating the Dramatic Arts into my lessons engages and impacts young people. I currently teach Music in a Primary School, as well as covering various lessons within the school curriculum and running a Drama Club. I have been able to use a variety of skills developed from my profession in Acting, and feel as though I have been able to use it effectively in my teaching so far. However, there is still further I want to go with this investigation and I aim to continue enhancing children from all different backgrounds through the Creative Arts. I eventually want to train as a teacher and feel that my knowledge of the Creative Arts and the impact it has on Education will enhance my chances of undertaking all the extra-curricular activities within schools, such as concerts, productions and assemblies, making me a teacher who many 'strings to my bow.' However, I also want to see how I can my skills in the Arts to enhance the current curriculum, including lessons such as English. They often say that the one thing you have to have as a teacher is a great imagination, creating engaging lessons whilst aiming to reach children with various backgrounds and abilities. I am currently using the Creative Arts everyday within my teaching and feel that by having the 'Creative Arts in Education' as my specialism, I am showing not just my knowledge of Educational and Curricular Practice, but also Extracurricular and Creative Practices too and the importance of both, side by side. 

Module Two - Task 6B - Critical Reflections of the Merits and Limits of the 4 Tools

A quick insight into the the merits and limits of four different research tools that can enable me to gather data. Just from weighing up the pros and cons I can now see that it's important to develop a wide range of research data in both qualitative and quantitative formats. I am now looking at how I can balance my results with a wide range of data tools.

1) An Interview

Merits

You can gain a very detailed perspective of what a person is truly thinking.

You can remain focused on the task at hand and be specific with what you really want to gain.

You do not have to worry about being distracted by other people. Instead, you can focus on one person's viewpoint without the influence of others.

Interviews are direct with questions and go about finding a specific answer which can be beneficial in finding out exactly what you want to know. 

Limits

You only get the perspective of one person and therefore have to carry out several different interviews in order to get a broad range of views and opinions.

A question may be worded in a way that can potentially influence a person's answer.

Interviews are direct which means that certain opinions and ideas may not be included due to the nature of the question resulting in a possibility of valid points being missed.

2) A Survey

Merits
A Survey is useful to establish how high or low someone rates a particular element.
A survey can provide numerical data that can easily be compared to each other.
A survey can be more straightforward in approach and get right to the point about what is good and what is bad. 
A survey question could be rated between 1-10 and not influence decisions through biased wording of questions. 

Limits
You may only be able to receive one straight forward answer from a survey and completely miss out on the details which could explain why something is good or bad.

3) Focus Group

Merits
Allows everyone to speak and share their views
It means that you get a variety of views and beliefs that you can later compare as data
You have the opportunity to expand on and go deeper into a topic. 

Limits
You have to make sure that not everyone speak at the same time and that people are fair to each other.
People may be aware that their conversations are being recorded and may alter their views slightly with this knowledge.
There may be less assertive members in the group that do not share their views as much as more assertive members of the group.
You have to keep time if a topic is expanded on and be aware that people could dwell too much on one particular subject.
Certain topics may be overlooked because their may be an instant change in subject resulting in less time being spent on a topic which could be vital.

4) Pilot Observation 

Merits
It is both qualitative and quantitative so gives a good balance between the two sides to data.
You are noting down first and foremost exactly what you see in front of you. It is an immediate form of data, seeing what is 'happening in that very moment.'
Knowing people you are observing can have benefits from knowing a person's behaviour and when they may potentially 'change' in the process. In a way, you can compare how they were before the study to how they are now and ask, 'how has that particular experience affected them?'

Limits
It is both qualitative and quantitative which means both sides of data have to be respected and analysed in a way that is the most effective and helpful to the study. 
You could be biased in what you are observing and noting down, which may not be an accurate or true representation of findings and data.
You have to develop a neutral and critical approach to what you see and not let yourself be easily influenced by the fact you already have a personal relationship with the child. 

Plan for collecting Data

I plan to interview a set of teachers who use Drama within their lessons and to find out what they have noticed as the benefits of doing this. I plan to interview Lauren, who is also studying on the programme first, as she is a teacher herself and would like to see what she thinks first before asking Miss Hudson, a teacher who studied Drama at University, as well as undertaking her teaching qualification. I plan to interview Daniel Chantler, a teacher and trained Dancer for a second time, however this time asking him more specifically about how the Arts has personally impacted his lessons and when and what skills he has used. I want to compare all the teacher's answers to see if there is a common link or topic they mention that could potentially be the key to enhancing my teaching and lessons overall. 

How can this help others?
By getting teachers to participate in this study, they may be able to pinpoint themselves the successful factors in teaching Drama and Creative subjects to their children. It could make them realise the specific things that enable their lessons to be so successful.

Module 2 - Task 5D - Discussing Ethical Dimensions of my Inquiry

Special Interest Group Discussions on Safeguarding

From the Skype discussion I discovered a great deal about what I was thinking in terms of Ethics. I realised that in order to present my research, I wouldn't always look to the children to give their feedback, but instead ask around the 'subjects' of your inquiry. I remember discussing with some people the safeguarding issue within school and that the Ethical implications should be fairly addressed if the children have their identities hidden through facial blurring. I then wondered whether or not it was still needed to ask permission from parents and as a result, have decided to distribute an ethics release form to parents of the children in question as to whether or not I am allowed to take pictures of them rehearsing and use this as a form of ethical consideration in my evidence. 

It is an incredibly fragile topic when it comes to involving children and I have been very wary to ask permission from the Headteacher already. She too has advised me that blurring faces is perfectly acceptable to do and keeping the children's names anonymous is also something to remember too. 

Vulnerability

After undertaking the workshop in London with my friend Arthur, I have also been forced to think about what is 'intrusive.' When developing a child's acting skills or aiding them with creating music, I am now aware of how the children may feel when they are told to complete tasks, like simply standing on stage. This is because they are instantly being made to feel vulnerable and by taking part in any Art form, it can open up the soul of a human being. This is what I became aware of when I broke down at the Wednesday workshop. I wasn't necessarily in the right frame of mind and sometimes, these children aren't either, so I have to remember that. Some youngsters find it much harder than others, particularly if they have difficult backgrounds. Really, it is not my job to impose, but my job to encourage. 

Module Two - Task 5C - Reviewing Professional Ethics

One of the biggest ethical issues I have had the entire time throughout my Professional Practitioner study is the photographing of young children and presenting evidence of my work with them. It is an incredibly delicate subject due to their vulnerability and recently I have been trying to weigh up in my mind whether to blur their faces from pictures when presenting evidence of a study. I recently discussed this with the Skype group and from the discussion, most people appeared to believe that as long as the Headteacher authorised permission to take pictures on the basis that their faces were blurred and that their identities were hidden, I would be allowed to pursue this evidence. 

When looking at the theoretical ethical framework for this issue, I have considered the three strands of Ethics. 

Consequentialism - Morally right if it maximises the good 

Deonotology - The only good thing is a good will and benefits everyone involved

Virtue Ethicist - Emphasises the overall character of the moral agent

Taking Pictures of Children for Evidence

Consequentialist

It can be used in order to present evidence of children thriving through the Arts and supports their progress within the Arts.

Deontologist

The child is a vulnerable and innocent human being, who has the right to privacy and may not wish to appear in a picture.

Virtue Ethicist

I am a trusted member of staff who has had a Disclosure Barring Service check obtained and will not use the photographs in a neglectful way, respecting the younger person's wishes.

These are all things I have had to consider when looking into my Inquiry and it has made me realised that nothing should be taken lightly or simply just, 'assumed.' Every party within an inquiry is entitled to a voice and it is up to me to make sure that every person with the inquiry is valued and respected.Written consent in the eyes of the law is the most positive and permanent way to ensure that permission is fully granted and as a result, I will be undertaking both an Ethics Release Form to be signed by the parents and a Professional Support From, to be signed by either the school Headteacher, or a higher member within the School Leadership Team. 

The Art is in your Planning - Skype session, 31st October with Adesola and Students

At first the Skype was all about us discussing what we would like to comment on during the evening conversation and what struck me the most was how everything that was mentioned seemed to interlink. I found it interesting that one person in particular, Lauren, was doing exactly the same thing as me and was currently teaching herself which made discussing my topic of Ethics with her incredibly useful. 

Many queries were brought up, including referencing to people's ideas within their work and blogs, which consequently enabled me to lead on with my questions about ethics and how I go about dealing with and showing evidence of my work with children without disrupting the safeguarding of the youngsters. 

As I talked about these things, Lauren and others were able to guide me and to tell me that it was also important to consider other ways of evidencing things, rather than just taking pictures. When I talked about gathering my data, I asked whether or not it was a good idea to give parents a questionnaire on their child's confidence as a result of taking part in subjects in the Arts. Adesola mentioned that it was difficult to decide because as soon as you tell someone the situation of it being a study, results and data could be misinformed and potentially biased. 

Adesola also mentioned a good point about asking the children how they felt about their Arts tuition, pointing out that in order to work out whether cows would need current grass or new grass, you wouldn't necessarily ask them because you simply can't. You therefore have to find other ways of establishing which is better for them that doesn't always have their input. This really got me thinking about the other ways I could consequently collect data.

I then helped answer the questions of other pupils who were talking about how they go about their work and I shared my story of a recent science experiment I undertook. I explained that all of the things that I thought would make my lesson hard, such a sourcing all of the equipment and making sure no child hurts themselves, actually went to the back of my mind when combining the theory and the practical of the experiment together. I explained how one student, who often refuses to write, ended up writing just in order to see the experiment. I told him that everyone would have to wait for him to complete his work and that the experiment in itself was a piece of theatre. 

Adesola then picked me up on a line that I said which was, 'the Art is in your planning.' I soon realised that this was a 'golden nugget' of wisdom, as once you have planned to intertwine the theoretical and practical together and set up your 'theatre' then you don't have to do the extra 'work.' It is simply already there for you to experiment with yourself. 

As a result of this Skype, I want to think about how I am going to present my data and have some ideas in which I can gain the evidence. I need to start looking at observations, maybe from students and the Teaching Assistants, as well as other teachers. In the words of Adesola, 'when you think you have a block, be creative.' 

Module Two - Task 5B - Comparing Codes of Practice and Initial Ethical Thoughts

Interestingly enough, when flicking through my Staff Handbook for my Primary School, I came across these two sections where one was actually titled 'Principles of Professional Practice!'

Most of this I knew anyway and is very similar to the bullet points that I wrote down, however, I was amazed that the last bullet point in this picture specified 'reflecting on your own practice.' Not only is this encouraged and vital for this BA Hons course, but it is also vital to many other workplaces. This shows me that one of the most important principles of Professional Practice is in actual fact thinking on and improving on what you already offer. It also specifies to 'adapt with and learn from colleagues,' something that is encouraged on this course to do with our peers and Special Interest Groups. The ethical considerations is mentioned under the 'working in partnerships with parents and carers, respecting their views.'

When looking at the code of conduct for photography and Creative Arts, it appears that there is no harm in recording images for extra school activities such as Drama. The main things I need to make sure are adhered to are the informing of the parents and the age-appropriate consent from the parent and the child. I must have this consent from both in order to publish these pictures and will do so when I come to create the Ethics Release form for Drama Club rehearsals. I think it is important for the child to also sign and give consent to having their photograph taken too, so that both parties are happy with this. If some children are not happy with this, I will respect their wishes and remove them from the camera. I will aim to disguise the child's identity at all times. I will never mention any names of any pupils whatsoever.

To be fair, I never thought about considering a signature space for the child to give consent, but I feel this would be valid so that I have confirmed consent as well as verbal. This means I am carefully considering every party along the way. The next step is to create my Ethics Release form so that it is ready to give out to parents and pupils to sign. 

Ticking the Right Box - Philip Pullman

Today I was scrolling through Facebook and came across this video that another teaching professional had shared. This is Philip Pullman, an English novelist, who spoke on BBC News recently about our Education system and how in a way it is doing a disservice to children because it is not honing in on something that is crucial in learning; imagination. I found this video incredibly interesting as this was something I had only just been writing about. He talks about the fact that teachers can see whether their pupils are engaged or are struggling as well as the fact that the Education system is obsessed with 'ticking the right box.'  He also discusses that there should be more trust in letting teachers 'get on' with their teaching. I think this also links to other forms of practice and not just teaching. I think we need to remember that in any Creative Practice imagination is vital.

'No work of Art, no book or painting, or poem or symphony was ever reasoned into existence.' - Philip Pullman

 

Module 2 - Task 5A - Initial Brainstorm of Ethical Codes of Conduct

For task 5a I had to quickly brainstorm some Ethical factors for my professional practice, so I decided to set myself the challenge of quickly noting down the first few factors that came to mind in bullet points. 

This was a very quick brainstorm into what I believed my ethics of working in a school were, without relying on actually documentation to assist me. Some factors were easy to think of, whereas others required more thought into them. What was interesting was that the ethics dealt with two things;  the professional and the emotional.

For example, in order to pursue a professional code of conduct you must listen to the children, however, factors like listening and communicating to the children can be for emotional benefit also. It appears that sometimes professional and emotional ethics can link hand in hand, which makes you think of how the code of conduct was created; quite simply with the children in mind. Surely you cannot have one without the other?

This is shown from Figure 2 in Reader 5 which presents the 'Arenas of Professional Practice.' The diagram shows cogs turning and that one cannot simply operate without the other. You have to achieve all three for your ethical practice to work; employer expectation, professional code and personal ethics. They all link hand in hand which makes me realise that without ethics, you can't really have a community or serve a profession to the best of your ability. 

Module Two - Task 4D - Literature Review

"Children have the capacity to see the wonderful in the ordinary." 

- Catharine Bell

Ken Robinson 

He defines creativity as the process of having original ideas that have value. Divergent thinking is more about how to find not just one, but multiple answers to questions. It’s more about thinking laterally rather than linear.

Within the video, Ken Robinson explains that ‘Collaboration is the stuff of growth’ and has noticed that most learning happens in groups.

The Arts deal with the here and now and engage the senses immediately. He talks about ADHD and how children are anaesthetised and medicated so that they can focus on the conformed way of teaching. He talks about how the Arts are an aesthetic experience rather than anaesthetic experiences where you’re in fact shutting your senses off. In his words, you are instead deadening yourself to what is happening. Instead Ken Robinson believes we shouldn’t be putting these children to sleep, we should instead be ‘waking them up.’

Schools are still geared towards the interest of factory lines; school subjects, ringing bells, age groups, separate classrooms. In a sense, its geared towards industrialisation. This is a concept I had never really thought about, until now. I can now see how as humans age, we start to conform to the rules of working life; going to university, getting a job, driving a car etc. Nowadays, a lot of this is an expectation that we are very often expected to fill.

The most important thing about them appears to be their date of manufacture or their age. In the Changing Education Paradigms video, Ken asks the question ‘why is their age the only thing they’re meant to have in common with each other?’

The Changing Education Paradigms video can be viewed here:

https://www.ted.com/talks/ken_robinson_changing_education_paradigms

Much like Howard Gardner, he is an advocate for considering multiple types of intelligence and the understanding that all children think and learn differently.

Howard Gardner

Howard Gardner has been the theorist that so far has truly interested me the most whilst I have been undertaking my studies. This is because he takes the notion of the four types of learning and expands on them further, looking not just at one strength in learning, but looking at the character of a person and how they respond to different things. 

I often believe that behavioural issues within my school up till now have been a result of skills not being focused on and supported. There are many boys in my school who excel at sports, but until now have never had a chance to be on a football team or have a Physical Education specialist to really encourage their talents. It makes me realise the more and more I work with them that not everyone is a theoretical academic; some people are just more practical than others and therefore I feel we have a right to serve every type of learner there is and to do this, we should make our lessons both theoretical and practical to engage everyone at some point. This can only happen, therefore, if we provide those opportunities for them.

John Dewey and Phillip Jackson  

"Progressive Education is essentially a view formed by John Dewey, exploring the idea of Education that emphasises the need to learn by doing."
(Adam Jordan, http://study.com/academy/lesson/john-dewey-on-education-impact-theory.html)

This idea relies heavily on the art of pragmatism and the idea that the reality cannot be informed unless it is experienced.

This helps heavily in the school I work in and is a great way of enabling the children to try it and make mistakes. I realised the other day, when I undertook a science experiment about gas with the children. They were so engaged in the practical and because they were so engaged I was then able to make sure that they all finished writing their theoretical elements before we continued the practical experiment. This got them to be more involved with their writing and to be more enthusiastic about the things they were writing down and exploring. This made the lesson simply like a piece of theatre. It truly inspired them to write what they had seen. 

The idea that the teacher is more of a facilitator, rather than an instructor is explored by John Dewey.

“What the best and wisest parents wants for his own child, that must the community want for all its children.” (Dewey, J, The School and Society, 2007 edition, Page 19, Cosimo, Inc.) He also discusses how school is geared towards the industrial world we live in, explaining, “the growth of a worldwide market as the object of production” (Dewey, J, 2007 edition, The School and Society, page 21, Cosimo, Inc.) makes me realise that it is to facilitate a society that already exists in its own way.

Phillip Jackson

Phillip Jackson develops further and talks about John Dewey’s beliefs which he believed was true.

"He believed in creating school experiences that provided children access to wonderful lives, because he believed children have the capacity to see the wonderful in the ordinary."
 (Catharine Bell, PhD'07, Phillip Jackson's former doctoral student, UChicagoNews article.)  

Phillip Jackson continued throughout his career to look deeply into how to teach imaginatively and to look deeper at what teachers were trying to achieve in their work with their pupils. 

 "it is greatly to his intellectual credit that he began to look at classrooms and teaching in a more holistic and imaginative way - one that, among other things, paid attention to the tacit messages that emanated from classrooms and from teacher's work, matter that had been long ignored." 
(Professor Emeritus Robert Dreeben, a University colleague of Jackson explained, UChicagoNews article.) 

Ofsted recently arrived at the school and it made me realise that there is an expectation to uphold a particular standard. As teachers we have to uphold the National Curriculum, but we also have a duty to the children to engage them in any way we can. To spark enthusiasm for learning. This is where ethical factors come into question.

Bibliography

Abowd, M, July 31, 2015, Phillip W. Jackson, education scholar committed to children's flourishing, 1928-2015, UChicagoNews.

Dewey, J, 2007 edition, The School and Society, page 19, Cosimo, Inc.

Dewey, J, 2007 edition, The School and Society, page 21, Cosimo, Inc.

Jordan, A, http://study.com/academy/lesson/john-dewey-on-education-impact-theory.html

Robinson, K, October 2010, Changing Education Paradigms, RSA Animate

https://www.ted.com/talks/ken_robinson_changing_education_paradigms

The Real Truth - Why did I Crumble at the Wednesday Workshop?

Yesterday was so strange. I met Arthur at Liverpool Street Station at 12pm and when I met him, I couldn't believe how different he looked. It's been 3 years since Drama School and this guy walking towards me had long hair in a bun, which he told me he didn't wash the usual way anymore, holes in his jacket, was thinner than I remember and told me that he was now Vegan. This wasn't the Arthur I remembered. The Arthur I remembered used to have tamed hair and absolutely loved to feast on meat. He even told me yesterday that he missed sausages...

We talked about our current lives as we bought a vegan lunch, but we didn't have time to eat it as Arthur was already late for for the start of his workshop. 

I went in and met the course leader, Faith, as well as the others and was instantly thrown into watching the 'Repetition' exercise, where the other actors repeat what the other has just said, based on what they observe about the other person. 

I had finally seen the truth in Arthur as I watched, remembering that at Drama School he had struggled with this at times. There were moments he was so real at this workshop and of course there were also times when he was bullshitting...

I watched for those few hours people crying and becoming so emotional on particular repeated lines.

Finally it was my turn to stand a face another new person to the workshop and had to describe what I could see. 

I could do this looking at him, but when I was asked to close my eyes and say the first thing I saw it became harder instantly and I wasn't sure why.

I kept saying things that had an opinion, like 'Granddad' and 'Monster.' All I had to do was say things like, eyes, hair, teeth, lips etc. Just simply state the physical.

Faith told me, 'You look defeated. You look defeated before you have already begun.'

And I cried.

I cried, I think, for a mixture of reasons. I cried, because I had been feeling defeated for so long. That I had dealt with these feelings in my own way, but now I was exposed again. And I think I'm starting to realise that I don't want to be vulnerable again. People watching me and being told to state the physical in someone else was suddenly just not easy anymore. All I wanted to do was to be left alone. For once in my life, I didn't like that feeling of being on stage, with people watching and looking right into me. I've had emotional baggage recently that's hard to handle. I find out today whether or not my mum has cancer and was told recently by my dad that I should start 'taking responsibility,' despite the fact I have many responsibilities already. 

I wanted to hide away from the world yesterday, because I wasn't ready to unleash what I'd been feeling. Low and scared. I didn't want people to see that. 

I left the workshop because I had to see my friend, another Drama School colleague, Chloe. I decoded with her what had happened. I feel now as if I'm over Acting. And I think Drama School did me damage. It's made me realise that I didn't want to keep living in the dramatic world. Instead, I want to do my job and be a teacher, who makes classes fun and is a role model to children who have nobody. Not to stand up and crumble in front of strangers because I'm 'holding back.' I want to cry in front of people who love me and have been on that journey with me. Not to indulge in any 'techniques' or 'strategies.' I feel like I'm passed that and this may be why I couldn't connect with the exercise. I wasn't being there for me, I was actually being there for someone else. 

At this moment in time, I want to do what makes me happy, and when I teach, I forget my worries and my fears and help others with their own issues because the people who are meant to listen to them simply can't or won't. I want to use Drama as a way of building people up and focusing on their positives, not going deep inside them and trying to pull out their fears or worries, because I see it in their eyes every day. If they want to talk, I am here. 

But I think sometimes, it's better to let people deal with things in their own way. I have dealt with it in my own way and it is not in front of people on a stage under beaming lights. It's with people who care. I do not want to be feel like a spectacle. I am a human being. 

Module Two - Task 4C - Developing my Questions

Since interviewing teacher, Daniel, with my questions I then wanted to see if I could develop them further with him. I wanted to see if there was any way in which I could refine them so that they were more specific and truly honed in on why the question would benefit my practice.

The previous questions were:

What is creativity? What does Creative Arts mean?

How do you teach someone to be creative?

Is there any time where you think the Creative Arts isn't creative?

How do you think the Creative Arts benefits Education?


Our revised versions of the questions now are:

How would you describe the term, 'Creative Arts?'


Can you teach someone to be creative or not?


Can the Creative Arts be restrictive and if so, how?


In what ways can the Creative Arts benefit the current National Curriculum?

I feel as if these questions have been rewritten in order to be much more specific, but to also not presume that the answer would be a 'yes' or 'no' before an explanation. Instead of asking 'what do you think X is?'  I'm instead asking 'can it be like this?' leaving the question open to the person to first consider if it is even a yes or no answer to start with. I've asked if people can 'describe' what they think instead, yet talk more specifically about what The Arts can benefit in my current situation. Education can mean anything, but by specifying the National Curriculum I can think about the benefits to the current Education system, which is something that theorists, (such as Ken Robinson), refer to. This is my current setting; a Primary School. 

Module Two - Task 4B - A Very Special Interest

Today, in my Music class, I wanted to get the classes to listen and to think and discuss how they feel, because it’s a skill that children find so hard to grasp most of the time. 

I decided to make them listen to 5 different songs, all different and all with different moods. I picked one particular song that had inspired me before. The song is called ‘Any Other Name’ by Thomas Newman and when I have listened to it before I have felt so many emotions stir up inside me. I’ve felt sad, heartbroken, calm, uplifted and happy all at the same time and it’s probably been the only song that’s been able to do this for me before. So I thought I would include this song as well as the others to see the response it would have. I deliberately put this song after the Mission Impossible theme tune, to see the affect of the difference directly after an upbeat song. 

I was amazed by the reaction of one boy who suffers from ADHD (Attention Deficit Hyperactive Disorder.) and ODD (Obsessive Defiance Disorder.) I played this song and I automatically saw his whole body language change. He became quite. And still. It was amazing how much he had connected with a song and for once wanted to be still and quiet. A complete change of character. I asked him, ‘do you like this song?’ All he did was nod. It was enough.

Later on a girl from Year One told me the song reminded her of ‘flowers opening in spring,’ with another later on saying that it had reminded him of his ‘Grandma, who had recently died.’

All from just one song.

I discussed this this evening with Jess and Eleanor on the course within our new ‘Special Interest’ Facebook group. Jess thought it was amazing that this boy had enjoyed it so much and seeing as Jess is considering mental health as her topic, I thought it was useful to share this experience with her, because a good number of children within my school have some form of Special Educational Need. Jess and Eleanor are still searching for the topic question to reflect upon and in a way this probably takes time to establish, because you firstly have to explore to find a certain direction. Jess was talking before in her own blogs about asking the wrong questions in order to ask the right ones but now I’m asking, is there such thing as a right or wrong question? Is it more a case that every question must be answered in order to establish which one is simply more helpful?!

I have also recently been contacted by my old Drama School friend, Arthur, who heard recently that I, myself, had been suffering with the state of my own mental health recently. The things he told me were astonishing. Not only did he want to see how I was, but he also wanted to tell me that he had been thinking about me recently. He told me that whilst undertaking a Meisner workshop, it had completely changed his life. And even though we were at Drama School together for two years, he felt as though he had finally, truly understood. He told me the most flattering of things, about how real I was when I was acting and telling me that he had thought of me at times when portraying truth. He admitted to me that when we were at Drama School, he always felt as if the teachers there never truly let me be who I was and that they were too busy trying to make me into something else, they were missing the raw emotion that I had to offer the whole time. 

I was amazed. This was because I had felt exactly the same way since leaving Drama School. I had always wished that they had honed in on the real ‘me’, instead of trying to perfect my natural speaking voice, or to make me more elegant in my movements. I had always felt that what I had to offer wasn’t actually good enough. And at last, someone told me exactly what I had been thinking. For once, someone else has finally seen this.

As a result of Arthur’s encouragement, I have decided to attend a workshop next Wednesday to see what it’s all about. Arthur keeps mentioning words such as ‘truth’ and ‘real’ and I can’t help but feel intrigued. I have always been an advocate for the truth in both myself and other people and I think this is why I love working with children and that this is why I am doing what I am doing. There is beauty in truth.

Below is my favourite song, ‘Any Other Name.’ 

To me, it is beautifully tragic and tragically beautiful.

This, however, is for you to experience your own feelings... whatever they may be.

Module Two - Task 4A - Interviewing a Fellow Professional

After discussing in my last blog about the types of questions to consider and reflect on, I decided to produce questions appropriate to my practice and chosen topic question. I had decided to complete another audio-visual video, but this time, not to film myself, but to film an interview with a professional colleague within the school environment, who had also previously undertaken a Performing Arts training. 

Daniel Chantler, a Year 4 teacher, originally trained at Masque Theatre and following his Dance tuition decided to pursue a career in teaching. I decided to compile a group of questions that would be useful to explore with another professional and gain an insight into his views. 

These were questions that Adesola had asked me to think about in my Reflective Feedback for Module One and made it clear that these were not questions to answer, but to simply think about. As a result, instead of thinking about them on my own, I decided to explore these questions with someone else to see their thoughts on the Arts in Education. 

After all, the Creative Arts is all about bouncing ideas off of each other and working collaboratively to explore a much deeper meaning, isn't it?

Module One Reflection Feedback from Adesola

I was told by Adesola to write my response on the feedback for the previous module and what I learnt from the feedback that Paula had given me. I tried to write as honestly as I could and discussed my strengths and weaknesses from the previous module. I talked about the fact that I had now found my topic of interest and was in actual fact realising what my topic was as I was writing Module One. The question I want to ask and explore is simply:

How can the Creative Arts benefit and impact a child’s education?

What was interesting was the fact that Adesola asked me some specific questions, such as; what is Creativity? What do we mean by Creative Arts? Are there any ways in which the Creative Arts is potentially not very creative? More interestingly, she explained that these were not necessarily questions that needed to be answered, but instead thought reflected upon.

I also talked about the fact that my work needs to be a lot more structured in format and that I need to be much more specific about what I’m trying to achieve and ask myself. I’m starting to realise that this seems to go hand in hand, because the more specific I become, the more I will begin to delve deeper into my topic question.

I am so pleased that I have found my chosen topic relatively easily and with my new responsibility of not only cover teaching, but also undertaking Music and Drama each week, I have so many opportunities to truly see how the Arts can benefit Education. This new job role has without a doubt provided me with opportunities where I can truly see a difference that the Arts can have and have been keeping note in my reflective journal each week about my findings and discoveries.

I found Adesola’s feedback incredibly useful, informing me about particular practitioners to look into, including Ken Robinson, a practitioner who has researched extensively into the Education system and how it operates, as well as researching children’s use of imagination. I am finding his research incredibly interesting and have started my Literature review on his findings as well as those of other practitioners, which Adesola has now encouraged me to do.

Let's make this place Sparkle. Let's make Art.

Before the end of the term at my Primary school, the school itself took on a massive shift. The head teacher had left and in his place was a temporary head to fill that space. Whilst I saw the new Head's view of discipline and attempt at controlling behaviour, I was also introduced to another person from the school association who was planning on taking over the school starting from September.

When I met her I instantly liked her. She was full of life and kept joking about how she kept seeing me everywhere! She is already the Head of two outstanding schools and by the end of the term, it was time to find out where she had placed us teachers and assistants. 

She said to me, 'Emma, I'd like a chat with you in private about your position within this school.' I was nervous at first, as it sounded bad! She took me into the school hall and told me, 'I want to put you in a brand new team. I want to make you part of the new PPA team and to take charge of Creative Arts cover, firstly teaching children music alongside another teacher.' I was stunned. And excited! She was trusting me with something new and fresh. She told me I was secondarily be with year 6, which would be a challenge in itself, but she told me, 'the main thing I want you to do, is to make this place sparkle.'

This week was the first week back and I have been up to my eyeballs in several jobs. I've been put in charge of Accelerated Reader, a new programme which will accurately analyse children's reading levels to aid their progression, as well as creating cursive handwriting displays, copying, sticking  and laminating every letter of the alphabet and now, creating lesson plans for both Music and Drama. 

I remember saying to the Head, 'but I don't play a musical instrument!' She replied, 'you don't have to. It just needs to be fun.'

(I knew I liked her!)

She recently pulled me in on the School INSET Day and asked me, 'if you're willing, I would very much like to fastrack you to becoming a teacher. It will cost the school money, but I want to do it.'

I said,' there's only one problem with that.' She asked me what it was. I said, 'I need to get my degree first!'

A little while ago I also got talking to the Director of Education, which strangely happened outside the school toilets! It turned out, he was good friends with my old Commercials teacher at Drama School! What a small world it truly is. Ever since he knows me as, 'the Actress.' He encouraged me to look into teaching programmes within the school, becoming another person on the list to support my development.

It amazes me now to think that, eventually, I will be able to fulfil my dreams because someone believes in me and has seen my love for the Creative Arts. It's how people grow and she believes I can do it. And you can't have any opportunities like this unless a person truly believes in your talents. I can't help but feel as if more of this should be happening in the world. To not just go by experiences, but to also go by passion.

This reminds me why I am here. She's inspired me to inspire others.

I definitely like her. 

Let's make this place sparkle. And let's make Art.

Module 1: Task 3D - Critical Questions and issues that emerge

Does some very specific ideas emerge about your networking and sources? Does your engagement to date seem appropriate? Limited? Focused? Planned? Unplanned? 

I would say that when looking at Acting jobs I have always been very focused and specific about what I want to gain, however, now looking at this module I'm not sure I've always been able to use particular networks or various media forms to the best of my ability, particularly when trying to reflect on my processes. Before taking up this module I would only ever reflect internally when it came to what I had done. 

Are your ideas, position or concerns shared by others within and/or beyond your professional area of work?

I recently discussed with BAPP Arts peer, Eleanor Byrne, with regards to a blog about Instagram and left her a a reply to her comment on my blog asking her, 'how much is too much?' In her blog she discusses the way in which we use Instagram for self-gratification and probably to gain a great number of likes or comments. This seems to be where personal and professional interlinks and makes me wonder, 'how can you have the professional without an element of the personal when it comes to the Arts?' 

The blog can be viewed here at: http://emmalouisefitchett.blogspot.co.uk/2017/03/task-1d-2d-images.html#comment-form

Does sharing ideas and communicating with others shift your thinking, planning or practice?

I often find that many of my fellow peers tend to think the same as me in terms of the Industry, because they regularly mention the same things through virtual and non-virtual discussions. However, I often discover things I never considered before as a result of listening to other people on the course. At a recent campus session we were able to discuss the pros and cons of the technological world in regards to the Creative Industry which was very useful in terms of understanding other professional's motives. 

Does critical reflection help you decide what really matters and the actions to take?

I definitely believe that critical reflection enables you to weigh up the pros and cons to everything you do as a professional and believe it is important to never stop questioning what you are doing within your practice. I'm not sure it helps you 'decide' what actions to take as such, but i definitely believe it makes you look at every option from all angles to inform a much more well-rounded decision. 

To what extent do concepts and theories assist you in thinking about your professional networking in different ways? And do these different ways of thinking have some purpose for you?

I would say that the various theories that I have studied certainly make me think about things for different angles. For example, Howard Gardner's Multiple Intelligence's (2008) have made me truly reassess deeper into what it is to actually learn, consequently aiding my development from actor to teacher. It makes me think about the bigger picture, which can enable me to truly assess my entire professional practice and process. One thing may work, but one thing may not. It is about experimenting and finding various ways of achieving the same professional goal, whatever that may be. 

Are you left thinking differently prior to this part of the module? And if so, how?

Because of this, I can now think much more deeply about what I 'think I know.' Honey and Mumford's Four stages of learning initially got me thinking about how myself and others reflect on learning processes, however, Gardner then got me assessing exactly 'how' people may learn, and what your strengths and weaknesses are. I discovered I was a professional who craved interpersonal relationships with people, because I am naturally sociable as a person, not just discovering that I am a theorist who likes reflecting on processes. 

Module 1: Task 3C - Sources of Information

The Theory of Connectivism has appeared incredibly prominent throughout the entire course so far and has made me realize how important this theory is. The various forms of Connectivity have enabled many to reach out to other professionals and establish what the professional world means to them. 

My forms of Connectivity in order to gain sources of information regarding the Arts are as follows:

Internet

Social Media

Contacts

Casting Websites

Verbal Communication

Audio-Visual

Internet

The internet has been the prime source of all of my Professional Acting jobs. It has given me so many links to Social Media, information and contacts and it is hard to think of how you would go about professionally connecting without Web 2.0 nowadays. It is a quick flick or press away and you are able to search whatever you would like to and discover the answers in seconds. The internet enables you to instantly link with someone, however with this freedom also comes great responsibility. You have to be careful about what you post, express and discuss with other people and be able to detect when something is authentic and when something is in actual fact misleading, as I found out when doing a Pantomime that was meant to be fun, but also involved very early mornings and lots of travelling. These things aren't always mentioned when they are first put on the internet, so you have to be cautious! 

Social Media

Social Media has been the crux of understanding people's thoughts and feelings in regards to the industry and is the platform that you can use in order to reach out to and engage an audience of viewers or follows. It enables you to create just the right and desired image, however there can also be a negative result because of this. I have often found that as a result of social media, many people end up over-dramatizing specific details. For example, I once went to an audition and began rehearsals in a Theatre that would be performing a Theatrical and Biblical classic that would be challenging to perform in London and would be a performance that had never been done before. However, the reality was that it was a play in which was being performed above a small, London pub with a tiny audience, a director that no one had ever heard of and were told would only get paid if we made a profit. It seems to be that the Dramatic Industry is named that for a reason!

Contacts

Having contacts and keeping friends has been very useful over the past few years and has served me particularly well when it has come to changing and developing my career. My drama school friend, Zara informed me about tuition company, Explore learning and sooner or later not only did I have a part-time job to fit around my auditions, but I also had a job that would eventually show me that I would also want to then develop a career in teaching. I only found out about an ex agent because I simply attended a drama school friend's Wedding and if I hadn't have gone I wouldn't probably have known. Just by undertaking a production I was able to meet with an agent, who then got me an audition and later on a job for Disney Channel. 

Casting Websites

Casting sites and how effective they are have been varied throughout my Acting career. I found that Spotlight for example didn't get me personally very far, however, Casting Call Pro was always successful in notifying me of jobs, mainly because I felt I was more 'in control' of what I could apply for, due to the fact that you didn't always need an Agent with CCP, but with Spotlight they appeared to have a much tighter vetting system and affiliation with particular agents. Without those websites, you would find it incredibly difficult to be in the know about different jobs.

Verbal Communication

This has been particularly useful when it's come to rehearsals and drama school discussions where I have been taught about all things Theatre. Often in rehearsals we were encouraged to discuss and questions things such as the character, the situation and the emotional intentions of every person that appeared in a play. However, the industry itself also includes an element of direction where actors can sometimes find themselves saying, 'I would like to share an idea with a director, but they already know what they want.' This is because at the end of the day, every actor is responsible for bringing the director's vision to life and no matter how much you discuss, you still have to portray the vision that is desired by the director.

Audio-Visual

This is fantastic in bringing people together, particularly when people can be so far away from each other. Throughout the BAPP course, people from all over the country have been able to connect and the various Skype sessions we have have enabled us all to do that. Therefore we are able to reach out to more professional individuals, but can also start to use other ways of communicating ideas of professional practice not just through discussions, but also through personal reflections, like my own audio-visual blog about the course and what I hope to achieve. The only issue with being able to find out and discover things through audio-visual is that technology and software can sometimes let you down. I was mid-conversation with Matt, an ex drama school colleague and fellow BAPP Arts course peer on Skype, when suddenly my laptop overheated and all suddenly crashed. I have also had issues with sound and microphone from my own laptop and with Paula and her software. 

All of these sources appear to have their positives in regards to Professional Practice, however it is also important to look at the ethical issues as well. What is it I need to be careful of? What should I take advantage of? How much is too much?