SURVEY

Hey guys!

I have put together a survey to gather information for my final line of inquiry. Please can you take a few moments of your time to complete it.
Much appreciated. <a href="http://www.surveymonkey.com/s/BMXLGLQ">Click here to take survey</a>
Thanks!

Just click the link ;)

Task 5B...Codes of conduct within the workplace

Although i am not actually working for a professional organisation at present, i have had to do extensive research into the code of conduct used within community dance companies and organisations in order to provide my own company with a code of conduct and regulations.

Code of conduct for Community Dance Company students:
Have fun!
Arrive on time
Adhere to the dress code (appropriate uniform for style of dance)
No talking in class
Notify your instructor immediately if you are injured or ill
Do not wear dance shoes outside the studio
Maintain a positive attitude
Absolutely no exclusive social cliques
No foul language
No sitting down during class (this is harmful to the body)
Always give 100% of your effort and heart





Code of conduct for parents:


Maintain a positive attitude
Give uplifting feedback to dancers
No foul language
Have a great time watching your children grow and learn
Drop off and pick up dancer(s) on time. We are NOT responsible for children outside of the dance classroom.
Do not leave children unattended at the studio. Your children and their conduct is your responsibility. If you bring additional children to wait while class is in session, bring something for them to sit and do quietly.
Unruly behavior of children in the waiting area will not be tolerated.
Trust the professional advice/assessment/opinion of teachers.
The Staff reserves the right to dismiss anyone at anytime due to misconduct.
 

My take on Professional ethics

As a Dance teacher working within a professional community there are many things i have to think about.

Proposed Code of Conduct:

• Safety: Making sure risk assessments are carried out before classes.
• Timing: Important to stress that being punctual is crucial for both teacher and students
• Equal opportunities: All have any role within an organisation are treated equally regardless of disability.
• CRB: All those in the presence or care of children need to have a CRB.
• Studio cleanliness: No eating within the studio at any time
• Respect for all: There is a level of respect for all students and teachers. Respect for the company or establishment you work for.
• Correct attire: Correct clothing to be worn to get the best out of a class.
• Personal finances, tax returns, studio hire
• Commitment: Sporadic attendance not tolerated, both students and teachers should be committed to taking part in classes, performances and overall personal and group development.
• Responsibility: As a teacher it is your responsibility to ensure students adhere to the company ethos

Further thoughts of inquiry

After my talk with Adesola on Friday afternoon, as well as starting to think deeply about my line of inquiry, i had to think of how i was going to research answers and solutions to my questions.
This weekend i participated in the Making Tracks Masterclass with Thomas "Talawa" Presto. http://www.iriedancetheatre.org/education/professional-development/making-tracks/ 
Presto is the Artistic Director of  Tabanka African and Caribbean Peoples Dance Ensemble based in Norway. I knew that by attending this masterclass, i would be able to get an idea of how other practitioners taught their technique, most importantly without being part of an examining body.
I noticed that although the Masterclass wasn't set, it still maintained the fundamentals of the African and Caribbean dance technique,whilst still allowing a freedom of improvisation and self-expression. I was also able to learn about the history of the movements i was taught, the culture and how the movements had been developed. 
This weekend i also attended Collabo 2011 held at East London Dance.
Stratford Circus - Dance - Collabo www.stratford-circus.com. I was surrounded by dancers who specialize in all forms of  Hip-Hop, Locking, Popping, Vouging, Waacking and House to name a few. I thought it would be the perfect opportunity to hold a small discussion with one of my oldest friends whilst on our way there. She has been dancing since the age of three and in the earlier years of her dance career, took IDTA exams. I basically wanted to get an idea of how she felt as a dancer now, in relation to taking these exams when she was younger.
 She stated that she DID NOT think these exams had helped her progress as a dancer, her main concern was the fact that she or her guardian at the time had to pay for them....and they are not cheap! Although as a dancer she feels exams are "a waste of time and money" she did express a genuine interest when i asked her if she thought Street and Hip-Hop dance forms needed some way to measure the development of a student.
She mentioned that it is vital for students of these dance forms to know the fundamentals, the history and the culture in order for them to grow within them. Stylizing through self-expression is encouraged but without knowing the basic movements, the original style will be lost.



So it got me thinking..

• WHAT IS A SYLLABUS REALLY?...CAN IT COVER ALL ASPECTS YOU WANT IT TOO? 

or is a syllabus, in effect, having information and passing it on?.....If that's the case could i not create my own?

• WHAT WOULD I INCLUDE?
• HOW WILL I  BREAK IT DOWN?

I would want students to have an understanding of.....

• Why they are doing a movement
• Where the movement came from
• Cultural aspects

Thinking back to Communication Technologies and Networking, i know i am going to have to connect with other practitioners,masters and community Companies, in order to discover answers to these questions and in effect, find my final line of inquiry and my award title.

I want to....

• Conduct interviews
• Look up examining papers
• Create an SIG group
• Network 

AND SO IT BEGINS....

I need to think about the bigger picture. I need to clear my mind of panic and doubt and just focus. I shouldn't see this as a task but more as an on going learning curve. Inquiry questions i had previously thought about now seem a bit lost or maybe far fetched as no one has really had the opportunity to see how they came about or why they were raised. 

Yes i spoke of opening my own community dance company and of issues and obstacles i have faced but i now think about weather the questions raised as a result of this will have a direct impact on what i'm doing? As i said in my previous blog, most of these already have answers so what would be the point of further inquiry?

 I know that reflecting on the process so far will lead me to discover further lines of inquiry that will possibly be more suited or directly associated with what i am trying to do. Which is?.....

Create a community dance company, which allows children and young adults to acknowledge their potential within dance and grow as creative artists at the same time.

• HOW?
• WHY?
• WHAT IS MY ROLE?

Initially, i had decided that i didn't want dance students within my company to partake in exams because i feel dance is largely about creativity and freedom of expression therefore no limits should be placed.

• HOW WILL STUDENTS REALIZE THEIR DEVELOPMENT AND ACHIEVEMENTS?
• DOES THIS MEAN THERE ARE NO STANDARDS?
• WHY ARE THEY DOING IT?
• HOW WILL THEY GAIN KNOWLEDGE AND UNDERSTANDING?

Whilst in the early stages of setting up my company i went to look at several venues. Whilst viewing one of these venues the lady who owned the premises asked me a question. The question was this;

"Are you a member of an examining board?"

My answer was:

"No, do i need to be?"

She replied:

"It would help"

My thought at this point was one of confusion. Why do i need to be part of an examining board in order to hold classes in your hall? Was it a matter of standards? Or does my not being a member of an examining board or planning to hold exams "ghettoize" the image of my company? 

What i should of done straight away was come away and reflect on the situation by blogging, asking fellow Bapp students for feedback and using my social networks to find an answer to this. Instead i thought about it for a number of days before finally seeking out a solution. I was told to look into membership with The Foundation for Community Dance.http://www.communitydance.org.uk/metadot/index.pl

Through the FCD i was able to acquire:

• Public liability insurance
• CRB
• Personal accident cover
• Members Directory

Reflecting further on this part of the process it leads me to further thoughts of inquiry.

• ARE EXAMS IMPORTANT?
• WHY DOES A DANCE FORM NEED TO BE FORMALIZED?
• WHAT ARE THE ALTERNATIVES?

...........

Thoughts of Inquiry

Planning a professional inquiry has actually come at one of the most significant points of my career...the beginning. Being in the process of opening and running my own community dance company has allowed me to open my mind to questions relating to the problems i have faced and obstacles i must still overcome. 

Going from a dance student to company manager is not an easy transition as there are so many issues to consider but from these issues, i managed to formulate questions that will lead me to my conclusive line of inquiry.

• What skills are needed in order to go from dancer in training to Company manager/leader?
• How easy it to obtain funding now that funding for the arts have been slashed?
• What are the legal requirements when setting up a dance company?
• Will the choice of venue impact on a target audience?
• What qualifications are needed to be effective in a teaching role?
• Do you have to be a member of an examining board such as the IDTA in order to run a successful dance company? 
• Do all dance forms require a syllabus to measure the development of a student?
• Can urban dance forms such as Street, Hip-Hop and Afro-Caribbean hold a formal place within the national curriculum?

 In the Bapp reader, which has been the basis of my research, it states;Work based learning "promotes awareness of the workplace as a learning environment and uses this to extend the learners capabilities and individuals effectiveness." (Durrant, et al 2009 p.1)

 Therefore and undoubtedly, many of these questions have already been answered. By joining the Arts Management SIG group discussion on facebook and by actively working and building upon my own organisation i now have the views, ideas, suggestions and experiences of  other practitioners who have been through or are in the process of making the transition from student to manager/ leader just like i am and that knowledge is priceless.

Re:generations Conference

About a month ago I attended a conference. Working as an intern with the dance organisation ADAD I was lucky to be invited as a volunteer to help the smooth running of the day. It seems strange me writing about this event over a month after but to be honest, it was an experience that I will find very hard to forget. I remember  Adesola Akinleye saying to me briefly " you are going to blog about this aren't you?" I replied "Yes!!!" with a genuine enthusiasm because that was my intention, that is what I wanted to do. So here I am, a month later doing just that. This has also made me realize certain things about myself. Thinking back to my enthusiasm at the conference I don't understand why?, if i genuinely am excited about something, I procrastinate. "RE:GENERATIONS was a conference where dance artists, writers, academics and audiences explored current research in the field of 'dance of the African Diaspora' (sometimes referred to as 'Black dance' or 'African Peoples' Dance'). The event also provided an opportunity to learn about diverse approaches to education and training in the field and to participate in shaping future practice." (ADAD,2010)

The conference filled me with excitement. After listening to speakers such as Brenda Dixon-Gottschild, watching an amazing Performance at Lilian Baylis featuring the work of companies such as Taviziva Dance, ADiaspora Collective, Pair Dance, Movement Angol and participating in two dance workshops, one a traditional Caribbean-Contemporary fusion taught by Chris Walker and the other an Afro-Urban Contemporary workshop taught by Vicki Igbokwe of Uchenna dance, I remember thinking to myself "this is exactly what I want to be doing right now!"
When it was the turn of Rosie Lehan and Beverly Glean to give an Education Seminar on how after establishing Irie! Dance Theatre they then went on to write the Foundation Degree in Dance in partnership with London Metropolitan University, Irie! Dance theatre and City and Islington college, I felt surprisingly emotional. (although I kept it together of course). I felt proud to have been part of something that largely determined how my future would turn out as well as the future of Black dance in general.
Glean and Lehan had travelled the world to research the diversity of dance. As directors, they wanted to answer a question of equality. Why have African and Caribbean dance forms never been viewed in the same context of more established forms of Ballet and Contemporary dance?
Through the Foundation Degree they are managing to make young adults aware of traditional and contemporary dance techniques which celebrate the Afro-Caribbean culture. This is so important for the growth of diversity within dance and as a Foundation Degree graduate and a Dance Tutor for Irie! Dance Theatre it has made me aware of just why I want to pursue my idea of teaching African and Caribbean dance techniques within schools and the community, if these techniques are not carried forward or continuously taught, they will disappear and its fair to say that's a big piece of cultural heritage to just vanish.
This can be said for the whole Re:generations experience. Looking back on it now, I can see I was reflecting-in-action. As each practitioner spoke I took notes and even whilst taking notes I was already thinking, "right, so how am I going to use all of this information?" I was processing the talks, the verbal comments and questions and my mind was ticking, I actually couldn't wait to come away and put my thoughts into action.

Taking part in the practical workshops was a big deal for me. On reflection I realize I was nervous and lacked confidence in my ability to dance along side people, some of whom were a lot more experienced than me.I don't feel I danced my best and I was almost a bit awkward, if you can imagine that. Negative thoughts about my own personal technique let me down and I was constantly trying to head for the back but somehow always managed to end up right at the front (front line, openly available to the full scrutiny of others). The fact I was wearing bright green socks I had taken from my last flight on Virgin did nothing to help the situation. Despite these minor set backs, I did enjoy the workshop. I learnt that dancing in the presence of others who are technically better can only be seen as a positive thing. If I always dance with those on the same level, how will I ever improve? I need something better in front of me so I can excel towards it.
Reflecting on the Afro-Urban Contemporary workshop, I know I was more in my comfort zone. I walked into the studio ready because I felt confident that my technique was stronger with an Urban style. I was excited and there was a noticeable different between my attitude in this workshop compared to the first. I didn't mind standing at the front I didn't even mind that there was an audience I just wanted to get into the vibe and enhance my technique. Although I have had a few House dance classes, Waacking and Vouging were a styles I had frequently heard of but had never tried and I thoroughly enjoyed every minute of it. I took note of Vicki Igbokwe's laid back but firm teaching style, it was effective and although my arms were getting pushed to beyond their pain threshold through "REPETITION!" I felt that I had exceeded and this was a new technique that I would eventually take time to learn more about.

I look back on the Re:generations Conference and I think I wish the young people I teach could have been there. I wish they discovered, like I did that day, just why the teaching of African- Caribbean dance techniques should be taught equally alongside other forms such as Ballet, Contemporary, Street, Hip-hop, Jazz, Tap, to name a few. Many dance forms take from Afro-Caribbean techniques but few are aware. Before i attended the conference i had an idea. The idea came to me after completing the Foundation Degree in Dance at London Met and my idea was to begin teaching Afro-Caribbean dance classes alongside the classes I already teach in Street and eventually open up a facility that will provide this option to young people and adults within the community. I had this idea but I didn't realize the importance of it or why it would be so beneficial to the growth of diversity in dance. I do now, upon reflection.