Are there any ideas from work based or organisational knowledge theories of learning that could be used to understand your own professional inquiry?
I think this question is important. As an actor I never stopped growing, every job and every professional experience enriched my knowledge as a professional. As a drama tutor, this sense of constant learning through my organisation still takes place. From volunteering to reflection in my journals. I am constantly turing to my work place to inform me of ways to improve as a practitioner. It has been said that as creative artists we prefer to learn through play, rather than passively absorbing information. Certainly as a drama practitioner, it's in the playing of an idea and the very doing of the action that one can learn, know and develop their practice.
Do you work within a disciplinary context in the arts? Or is your situation more transdisciplinary?
Both. Firstly I have two disciplines, I am a professional actor in constant engagement with the world of the theatre arts. I am also a drama teacher and this means my discipline also includes the world of education. Both the disciplines of actor and teacher need each other for me to be the practitioner I am. I also believe my situation to be transdisciplinary, meaning that the very concept of the discipline would change. As an actor, the main objective and focus of my practice is based on the finishing product. The attention of drama and art is about me and my capacity to perform to an audience. Now whilst teaching a drama class, from young children, secondary school students or training professionals. The very concept of the discipline of actor and tutor has to be diverse and subject to change. A training professional will need to grow as a product within the arts. Learning how to survive as an artist and create a successful performance and career. Secondary school drama students despite engaging the same discipline, are wanting something very different. They require the creativity the subject of drama can bring to a student. They might not be focusing on their art as a product, but rather on the process the drama classroom can bring and the life skills of confidence and commitment. These are two very different worlds, but still placed within my discipline. This means that I need to change and adapt my discipline as a practitioner to suit the people within my practice. This diversity in concept of my disciplines leads me to acknowledge my practice to be transdisciplinary.
What do you know?
This is a hard question to answer. It's not often I sit and think about what I can do, rather I noticed how much time I spend thinking of that of which I can't do. After taking some time to reflect deeper into the question, I came to the idea of expertise and what mine was. I feel that my area of knowledge and strengths are in Drama and the Theatre Arts. This knowledge is diverse and changes in concept constantly. From the practice of acting and performing, to teaching others how to do it, then also engaging in the creative process the knowledge brings to young people and life outside of the arts.
How do you know it?
This diverts me to my reasons for applying and studying on the BAPP programme. Upon applying, I spoke about my 'on the job' skills and knowledge that I have learnt on my path as a practitioner. Before I began my reflections on the course, I had already noticed that I know what I know today because I have been collecting knowledge and forming an expertise of my practice. This process of course never stops. I'm always subject to new ideas and new ways of thinking.
Make a brief list of your competencies and capabilities.
Another tough one, my list of competencies...
I can communicate information clearly and interestingly.
I can create a fun and creative environment for students to learn.
I can support fellow practitioners.
I can control and engage with a group of people.
I can create and adapt drama lesson to suit students needs.
I can bring Drama and subject expertise to an establishment.
I can apply new learning and develop my practice.
What knowledge and skills do you think you will need for the future?
I think it would help to know what professional shift needs to happen from actor to drama tutor. Obviously I need to learn classroom and behaviour management. But that is something I hope to gain through teacher training. I think it would be useful to discover the links between actor and teacher as well as the down falls.
What are some points in the reading that you will use to develop your topic? After reading Denscombe, M (2002).
For me the most potent message I would like to take from Denscombe (2002), is the idea of where to start. This can be the hardest thing to establish. He emphasised the importance to give your inquiry purpose. In my reflections, I realised there is no point in researching something you already know. The very purpose and reason for the inquiry is a great place to start. I then ask an important question, apart from myself, who else will benefit from my inquiry? The purpose of my research is important, it validates the research I'm doing as worthy of the deep and critical analysis the inquiry process provides.
What are some starting points that you might use for your questions? Are they questions or comments or observations at this point?
I've grown very interested in the area on transition from artist to tutor. Is it about giving up? So I might as well teach? Does a good actor necessarily make a good teacher? Is there a change in practice? Are you respected more as tutor if you have practitioner experience? Does your approach to your art need to change when teaching it? These are questions and observations? As I can probably give good and bad examples of all of them.
What are you expectations about discussing these questions with the people with whom you work?
It would aid me to know and understand this transition that I'm going through. By studying what teachers, teacher/actors, teachers that used to be actors and actors do/think with regards to drama in eduction, I might have a greater understanding of drama and the theatre arts and become a better practitioner in education. I could use this inquiry as preparation bridge for applying and studying as a teacher in training.
Can you 'theorise' your own worker-researcher position?
I work in several different establishment. However the establishment I am interested in researching is Jo Richardson community school. Here I think my insider-researcher position is a good one. As a regular volunteer I am enough if an insider to be trusted, however not directly involved with the department of drama to be close enough to cause an issue. It's professional with a touch of friendly trust. For the teachers and performers I will deliver the same question format. I think it important that I assess the reaction to the same thought provoking questions. However, I would also like to ask students. This would have to be adapted.
How does your SIG compare to others groups or communities that you are a part of in the work place?
My SIG is dispersed. I have no one group. I work in several different institutions, professional drama schools, after school clubs and primary and secondary schools. I would like have to have several groups of categories of practitioner type within my SIGs.
How will you use your SIG?
I would question using survey and then conduct interviews. I will then analyse the information to see if there are any major differences or common answers. All in attempt to lean on the knowledge of someone else to find out what I don't already know. I noticed a link to the networking theory of social constructionism I explored in module 1.
How will you evidence the shared practice within your own professional inquiry?
Firstly making sure I comply to inquiry ethics, something I know I will look at further into the module. It would be good, to record, film or publish the notes. All depending on if the subject being interviewed agrees of course. It's all about giving them choice I think.
No comments:
Post a Comment