Tuesday 30 April 2013

Literature review - Tim Webb

In search for literature surrounding my inquiry topic I bought a couple of books - I am bit old-fashioned and like to be able to sit down with a cup of tea and turn the page rather than always looking at a screen!  One of those books is Theatre for young audiences a critical handbook edited by Tom Maguire and Karian Schuitema.  The book is made up of chapters each written by a different practitioner on their chosen field.  After reading the contents one immediately struck a note of interest with me so that is the one I will review here and see how it relates to my inquiry.

Chapter 9 Impossible audiences: The Oily Cart's theatre for infants, people with complex disabilities and other young audiences who are primarily non-verbal Tim Webb

Tim Webb captures the work of the company he formed to create theatre for what he describes as 'impossible audiences'.  These audiences consist of the really young 3-5 year old's and young audiences with a multitude of special needs.  In relation to my enquiry Tim Webb and the work of Oily Cart highlight that the success of such work lies in really understanding the audience which in turn means that the audience experience goes beyond sitting in a theatre as an observer.  Webb seems to capture a problem in it's simplest form and tackle it head on.  Society and myself alike have a tendency to over complicate things.  I know there is always a lot more to the process but I admire the process of break it down, listen to the specialists and tackle the problem.  For example Webb talks of how children under the age of 5 seemed an 'impossible audience' in it's simplest form because of their limited attention span.  Oily Cart resolves this by focusing on audience accessibility making themes, language and characters relate able.  Also by using a variety of 'theatrical languages' like visual aids and music.  The simplicity resounds as being extremely clever to me.  They based a whole play 'Bedtime story' on the process of going to bed.  So simple but it is a huge part of your well when you are 3 and this means the performance will stay with them longer than the time they are watching it, it will be remembered when they go to bed that night and hopefully for a few nights after too! This a different way at looking at how the content of a piece can enhance and enrich a child's experience - another tool to add to my research scope! Webb highlights that they are 'making theatre not therapy' which I can imagine can become slightly blurred when working with children with a multitude of learning disabilities.  The companies dedication to really understanding and engaging their audience is truly humbling to me and is something I would love to know more about.  When starting their work with children with special needs Webb highlights the importance of listening to the specialists. 'Firstly staff were clear that if we were really to connect with the young people in the school we should rethink our ideas about the duration and location of the performance.' 'Considerably more time was needed to give the young people the chance to get to know us and us, them.' This may seem common knowledge but drawing from my own experiences it does not always happen.  It is so inspiring to see a company really working to understand in order to get it right! Webb talks of the productions they created after gaining this understanding and the constant development of getting a grasp on a variety of conditions and in turn how they could create theatre for these audiences. 'Box of Socks' for those with severe learning needs took place over a whole school day - with aliens crashing in assembly trying to understand life on earth walking around the school to fully engage the students.  'It was especially empowering for the group from the senior department who took an alien shopping for party ingredients and spent their time persuading the creature not to demand cake in the butchers and meat in the travel agents.' To me this project sounds great and it developed to create different modules suited to the different needs of the children   'Big splash' took place in hydrotherapy pools focusing on participants using a wider range of movement that they were used to.  This led to 'Boing' which took place on a trampoline.  Webb talks of many inspiring productions they have produced but in summary concludes that it comes down to really understanding your audience and like what I wish to explore the experience is enhanced and enriched by going beyond the statutory means of just being an observer.  'In conventional theatre, the audience's role is to sit and watch, but in an Oily Cart show it is the performers who must watch the audience with the greatest intention.'

I get really excited about work like this and it really inspires me! It stems from my work in special needs schools some of the most rewarding work I have ever done.  I have worked with an extensive multitude of different needs and have always thought that with my skills in theatre I have a lot more to give but I have never known how.  Seeing an unresponsive child light up when music is played or the television is on is amazing but to keep them engaged in theatre is another question all together.  For a child who does not understand the concept of imagination or pretend.  A child who does not use verbal language or who can not sit still for more than 10 minutes it does seem an 'impossible audience'.  Oily cart seems to have an answer - participatory theatre techniques and really understanding the audience.  This relates to my line of inquiry and my passion for this field highlighted by reading Tim Webb's writings is making me see this as a possible side line.

How are London theatre companies using different tools to enhance and enrich a child with special needs experience of live theatre?

This will satisfy my earlier thoughts of going down an inquiry line relating to disability and access to theatre.  This response to my first literature review has made me want to get reading more! The chapter in this book mentions:

Oily Cart: all sorts of theatre for all sorts of kids edited by Mark Brown

This will be a great resource for my side line inquiry!

Hollie xx

So now to the how!!

How are London theatre companies using workshop/outreach to enhance and enrich a child's experience of live theatre?

After attending the campus session surrounding tools of professional inquiry and discussing each others  questions it became evident that in order to start looking at what our tools will be we need look at where our answers lie!  The answer to my question lies in the theatre companies focusing on knowledge gathering therefore the basis of my inquiry will be qualitative research.

I plan to pick roughly five companies to focus on and I will thoroughly research their work and compare what that are doing in terms of enriching and enhancing a child's experience of theatre.  This research will lie within the company websites and literature.  I think five is a good number as it gives me scope to compare but is also realistic within the time frame that I have.  Once I have chosen the companies I would like to explore I plan to contact them and hope to get access to the programmes that they have in place in order to see them in action and not just in written format.  The level of access I am given will affect my inquiry but I am hopeful that those opportunities will be there in my current workplace and networks that I have operated within throughout my career.  Although this is a new field for me to explore the inspiration stems from my experience and I hope this will help me in gaining the information that I need.  However some of the companies I would love to gain an understanding of are completely out of my network.  I am being hopeful that this does not mean that they are unobtainable but I am also realistic about how important the way in which I contact them can be.    Every company will have a gatekeeper that I need to address in the correct way in order to talk to the right people.  Drawing from experience I have from working as a recruitment resourcer, events organiser and workshop bookings coordinator I feel I have a good knowledge to work from.  I was responsible for talking to schools, universities and companies to secure booking and opportunities stemming from cold calls.  These are a few points I need to consider:
  •  Be 100% clear on what I am asking for before making any form of contact.
  • Extensively research the company and the work they do.
  • Find the names of the people I need to talk to.
  • Really think about my form of contact. Email - spend time on the writing.  Call - have notes in front of me regarding what to say.
  • Think about any benefits the company may gain.
  • Formulate an understanding of the ethics behind exploring a companies work in a research project.
After formulating a list of possible companies I will probably contact more than five as I am realistic in the thought that not all of them will allow me access to their work.  But before I do this I need to address my first bullet point - be 100% clear on what I am asking for and this lies in the tools I will use.  Here are my initial thoughts on each tool in relation to my inquiry?

Observations

This will be the primary tool for my inquiry.  I will be observing the work of the companies in question and analysing the tools that they are using to enhance and enrich a child's experience of theatre.  I will need to consider if I will be an observer on the outside looking in or a participant reflecting after the experience.  I think both formats would be beneficial to understand their work and it's effects.  These observations may lie in actor workshops, teacher CPD sessions and facilitator led discussion.  I am hoping that I will come across other avenues to observe that I do not know know of.  The answer as to whether a companies work is in fact enhancing and enriching a child's experience will in theory lie with asking the children. However I do not feel that gathering information from children will be feasible in my inquiry so the answer will be in my observations and speaking to those involved in the work because my emphasis is on what the companies are doing.  As my inquiry develops this may affect my question wording but only slightly.

Interviews

I feel that I will use this tool alongside my observations to gain a better understanding of the companies and their work.  It would be great to interview a programme leader or actor involved in a workshop to ask their opinion on how their work is enriching and enhancing the child's experience.  I think I will need to be careful not to ask questions that I could find by taking the time to research as this could be deemed as annoying.  The interview would be based around getting a personal view to work alongside my paper research asking mainly why? and how? questions.  Having worked in a recruitment role where I interviewed lots of people every day I feel that with careful planning I could put together the right questions to find the answers I wanted.

Focus Groups

I do not feel that this tool will help in my inquiry.  Although I plan to conduct an interview if possible I am not trying to gain mass opinions I am trying to gain a detailed understanding.  The only way I can see this working is if I am talking to a group of workshop leaders about their experiences but I feel I would gain more from asking that in a one-to-one scenario. 

Surveys and Questionnaires

I do not feel that this tool will be beneficial to my inquiry.  As my focus is on what London theatre companies are doing and in turn the effect it is having a survey or a questionnaire is not going to further my knowledge.  I am not looking to collate mass information I am trying to look closely at work that is going on.


Hollie xx



Monday 29 April 2013

The big question!!

In order to formulate my question I have looked back through all my blogs and picked out some key words that recur:
  •  Inspire
  • Access
  • Enhance
  • Engage
  • Learning
  • Participation
  • Outreach
  • Community
  • Experience 
Now to put these words into questions.  From previously formulating questions I have gained clarity on this process.

1. Due to my desire to gather knowledge the focus will be on how questions.
2. I have decided I want to focus on theatre for children and young people but I need to choose one age group to focus on.  Because my experience and current practice lies in working with primary aged children this is where it will lie.
3. I need to focus on an area because scope for children's theatre varies so much across the country.  I live and work in London so this is where I will base it.

Here goes the questions:
  • How can theatre for primary aged children be more accessible in London?
  • How can primary aged children's experience of theatre engage, educate and inspire?
  • How can a child's experience of theatre be enhanced?
  • How can theatre be made more accessible to children from all walks of life across London boroughs?
  • How can more children in London get access to live theatre?
  • How do current profit and non profit children's theatre organisations compare in terms of outreach work and access to children across London?
  • How can theatre inspire a generation?
  • Observing and participation - does one work without the other in terms of a child's engagement in theatre?
In refreshing my thoughts I can reflect on these questions and see that I am focusing on a child's engagement in theatre or their access to it.  I often think with my heart and not my head - in terms of my studying I think it is time I listen to my head and be realistic about my learning, taking ownership of my learning.  I am very passionate about making theatre accessible but I worry that purely going down that line of questioning will not be right for me.  I think that fundamentally the answers will lie within the arts council, government funding and school policies.  Although I would like to gain knowledge surrounding these things I am a creative person and I can not see myself being inspired by a money driven inquiry.  So I am veering towards a question surrounding engagement and from the list above the last question stands out to me! I took it to my BAPP colleagues and my adviser Paula at a campus session.

Observing and participation - does one work without the other in terms of a child's engagement in theatre?

Firstly I found myself explaining what I meant by this question and what I wanted to know.  That was not a good sign as the question should explain that! Basically I think that in order for a child to fully engage in a live theatre production their experience needs to go beyond the couple of hours in theatre with actor workshops, teacher involvement, discussion and reflection before and after.  I want to know what companies in London are currently doing to enhance a child's engagement in live theatre as this is something I would love to be a part of and a field I am interested in going into.  Everyone sat round the table said 'oooo that sounds interesting but that is not what your question portrays'.  I lost sight of all the specifics that I spoke of in my previous blog and earlier in this one too.  But that's ok sometimes you need to loose clarity in order to be free with your thoughts and then you can find it again.  So after talking it through with my colleagues and analysing what I want to know this is my question:

How are London theatre companies using workshops/outreach to enhance and enrich a child's experience of live theatre? 

The only thing I am unsure of is my terminology surrounding 'workshops/outreach' I am not sure if this is right? Maybe it should be 'participatory techniques' but then then avenues they are using might not be participatory.  Actually maybe that is it 'different avenues'?  Any one who has any advice on this it would be greatly appreciated!  I am hoping I might hit on the correct terminology as I start to explore literature too.

I feel excited and inspired about this question!  Time to get to work on realising how I will answer it!

Hollie xx


Thursday 25 April 2013

Soooo to my inquiry....

Sooooo to my inquiry.  First things first what am I trying to achieve?
  • Take ownership of my critical thinking process.
  • Create questions that make me look at my practice.
  • Identify issues from my professional context that are important to me.
  • Find an inquiry that can clarify and provide solutions.
  • Find an inquiry that sustains successful practice or defines more personal issues.
In order to take ownership of my critical thinking process I think it is important to look back on what I want to gain from my inquiry.  By understanding where I am coming from in asking certain questions I can ascertain the goal I am trying to achieve and in turn develop an inquiry that is important, relevant and useful.

I started by looking at the importance of the what? and why? surrounding question asking. Here is a link to that particular blog:
 
What is a question? Why do we ask certain questions?

In breaking down my thinking to it's simplest form in this way it allowed me to gain insight and understand that I needed to get my head around what I want to gain from my inquiry before I start throwing out questions that bear no relevance to my current or future practice.  This is something I feel I can begin to clarify further now.

So I began to analyse what I wanted to gain from my question: 

Pyschology lesson in campus session

Back to the reader

Inspire....

In summary of these three blogs the following comments stood out and still ring true:
  •  I want to make a difference.
  • Desire to do more with my skills.
  • What can I do? How can I get involved?
  • I want to gain knowledge on my subject area coupling it with my experience and current practice.
I took my original questions to my colleagues, friends and fellow bappers developing them in content and clarity:
 
What Erica thought

What Tara thought

What they thought

From doing this the main points I gained were:
  • Be more specific.
  • Chose one line of inquiry don't try and cover too much.
  • Importance of choosing a subject I am really interested in but not seeing it as a career choice.
The conclusion I came to in terms of my question was this:

May have hit my idea.....maybe

What is the social drive behind inclusive theatre?

In reflection I have decided that I do not want to narrow my inquiry to that of just inclusive theatre and I want to make it more applicable to my current practice.  With my recurring theme of the desire to inspire I want the focus to be on theatre for children and young people.  Also looking at what has inspired me recently and the career path I now want to go down focusing on just inclusive theatre would limit me.  I want to work within community, outreach and young people so this is where I want my question to lie.  I want to be able to use the resources I do have not just new ones.  There is lots of I wants in this paragraph but now I need to formulate it into a question.  I may have decided not to follow this line of inquiry but still believe the steps I took to get there have further my development and thinking.

To quote myself 'I want to gain knowledge about a new field, I want to understand what is going on out there and where it has stemmed from, I want to know how I can get involved.  This doesn't mean I am ignoring what I currently do and enjoy I am simply adding to it.'  This is still the key factor as I move forward.

Hollie xx










Inspiration continued further......

I recently went to a conference surrounding my inquiry subject.  This is something I had never done before and was quite nervous about to be honest.  I am fine doing things on my own when in my comfort zone with an idea of what to expect but outside of that as with anything new it is quite daunting.  But this scary new experience was more than worth it I gained soooooo much from a very inspiring day! I found out about it through twitter as I follow all the companies that I am interested in.  The conference was run by STEP - Southwark Theatre's Education Partnership and was entitled Who Needs Drama and Theatre? What does drama do for children and young people, and what do children and young people do for drama?

This video gives you a taster of what the day was all about - you can see me at one point making notes I have an orange bag try and spot me!


Referring back to a previous blog of mine:

Back to reader

I went back to the reader to find clarity in the subject matter of my inquiry. I addressed my key problems in this blog and they were yet to be answered until I went to the STEP conference 2013!

Problem: In my inquiry I need to engage with relevant problems and scenarios in my practice.  In analysing my problems the main factor was a lack of knowledge as I am looking to move into a slightly different field.
Answer: With so many different guest speakers at the conference I learnt so much about existing companies and their work.  It opened my eyes to things I didn't even know were going on and I found comfort in the fact that there was a community of people who shared the same feelings as me.  I gained access to knowledge and scope for how to tackle further research.

Problem: Needing to work in a transdisciplinary manner and drawing on my work and previous experiences not just looking at what I don't know.
Answer: At the end of the day there was a question and answer section where attendees were given the chance to debate.  To be honest I was nervous about staying thinking I may get picked on to speak or comment on others thoughts.  I am glad I did though - although I did not get involved it made me realise that I do have something to offer.  My knowledge of working in the private and public sector of the arts, my background in performance and young outlook and passion meant I had things to say, I had an opinion that had I been brave enough to share would have counted.  The point is it gave me the confidence to draw on what I know not just look outside the box as what I have to offer is valuable!

Problem:  In the blog I looked at Penelope Hanstien's diagram about inquiry and my lack of literature was where I was getting stumped!
Answer: I now have endless amounts of literature I picked up from the conference and names of writers to look into.

I walked away from the day truly inspired and proud that I had put myself out there to get involved.  In terms of career development this was a big step for me and I intend to go to more events like this. I learnt so much about what is going on in this field and it was great to soak up the knowledge from the professionals.  The Unicorn Theatre's Interact Programme stood out to me as of great personal interest.  This aims to develop young audiences capacity to engage with the performance in an active, self-reflective and empowered way.  They do this by creating a link with teachers and investing in workshops with them that they can take back to their pupils in the classroom.  This led me to realise that there is great scope to exploring their work further and seeing what other companies are doing in this field.  I plucked up the courage to network in a coffee break and I hope to have gained a valuable contact for my inquiry and some documents that will be a great research tool.  A quote they highlighted in their presentation stood out to me:

' If we conceptualise the relationship between young audiences and theatre as one of access only then we limit the view of the audience to one of passive consumer'

Matthew Reason (2010)

I plan to look into Reason's writing further.  I also noticed the job title of the speaker Catherine Greenwood - Learning Associate.  I found myself thinking I want a job like yours, as far as I understood her job was to administer the Interact Programme holding workshops linking schools to theatres, enhancing a child's experience of theatre and promoting it at the same time, in my eyes really making a difference.  I started searching jobs like this obviously at an assistant level as I am new to the field and have started to apply so wish me luck! Without BAPP and without going to this conference I would not have known those jobs were out there.

At the conference I also did an interactive workshop with London Bubble which demonstrated their work on the project Speech Bubbles in which they help children with communication and confidence problems through the medium of drama.  Their work was really interesting and highlighted the scope of work that is going on out there.

I saw the work of Now Press Play in action which was a really great tool I had never seen before.  Take a look at the website I have linked to it is great.  The participants all wear headphones it is a bit like a silent disco but they are spoken through a story that they act out - it was brilliant!

There was so much great work going on I gained invaluable information and sources.  Take a look at the companies I have listed if you are interested in this field!

Hollie xxx


Inspiration continued....


I recently went to see the new play Peter and Alice at the Noel Coward Theatre starring Judi Dench and Ben Whishaw.  If you have tickets or are thinking of going to see it then you should stop reading now because I will probably spoil it for you. John Logan's writing resurfaced and assured my fascination with stories and how all children should have access to the magic of them.  The magic I believe that theatre can bring - therefore relating back to my line of inquiry.

The play focuses on the characters of Peter Pan and Alice in Wonderland.  We meet the real people behind the characters and see how this constant association has effected them in later life.  We see reality, memory and imaginary getting blurred as their is interaction with JM Barrie, Lewis Carroll and the characters of themselves.  We follow the journey of how never quite living up to a fairytale depiction of themselves has affected their lives, they are almost haunted by their fictional selves.  It sounds pretty dark doesn't it....but the beauty of the stories and the magic they have created for so many is demonstrated too! The point of affirmation for me came at the end.  Throughout the play Alice is more of a dreamer saying why can't I believe in stories and pretend that I am in wonderland sometimes - the character dies peacefully in her sleep.  Peter is always searching for truth and holds onto reality steadfastly seeing no purpose in make believe - the character kills himself.  I am sure this is taken differently by every member of the audience but to me it highlights my belief that there is so much grim reality surrounding us every day why not dream in stories, let our imagination run and let our minds play in fictional, past or present worlds.  People visit the theatre as a form of escapism from reality and that is something we all need to keep perspective and happiness in our lives.  Some people go to a bar, some people go on holiday, some people read a book - we all have our own forms of escapism.  But for a child I believe tapping into their imagination letting them explore, experiment, create and express themselves is so important in development.  I think theatre can let a child do this.  Theatre lies in storytelling and has the power to educate, inform and let us explore - I want children to be children for as long as they can, after all we all hold on to our childhood just like Peter and Alice.  That is why my line of inquiry will focus on engagement and access that children have to theatre, in my dream world every child would get to visit the theatre regularly and take away an amazing, memorable experience from it.  I remember one line spoken by fictional Alice, 'Adults carry round an umbrella even when there isn't a cloud in the sky.' I looked in my bag and I had an umbrella on a sunny day - life can take away the positive and fun nature of childhood but theatre can bring us back.  I took my umbrella out of my bag! This theatre trip had an influence on me just like it would have many others.  It also inspired me in my inquiry search - to bring stories to young people through theatre.

I picked out a couple of quotes that I found interesting from Jane Grahams piece in the programme that examines why the stories of Peter Pan and Alice in Wonderland are so iconic even now:

'Both are notable for lack of moral piety, still rare in children's literature and a source of escapist thrill to readers of all ages.  Both exhibit an almost baffling affinity with the real experience of childhood, the kind adults can usually only access through children's diaries and sketches.  And perhaps most significantly of all, both pang with a melancholy truth that weighs more heavily on parents with each passing year, and children sense as encroaching peril that can not be be avoided, no matter how far or fast they run.'

'Barrie once wrote 'Nothing that happens after we are 12 matters very much.'

Jane Graham, Peter and Alice Production Programme, 2013

Hollie xx

I want to inspire....

So it is time to re frame! When looking back through my previous blogs the following post stood out to me:

Inspire

To quote myself 'The word inspire is going to be the backbone of my inquiry'.  This still rings true for me and in searching for clarity for my inquiry I thought a good place to start would be to look at what inspires me!  I am going to be the one working on this inquiry so I need to be passionate about it and the research I will undertake.

I want to:
  • Explore theatre in direct link to young people.
  • Look at outreach and inclusive practice.
  • Explore companies already doing this work. 
  • How theatre can be made more accessible.
  • Theatre in link to education and child progression.
  • Explore how a child's engagement in theatre can be enhanced.

I have hit a stage in my career where I want to do more.  I have a strong desire to make a difference and I am driven by a sense of achievement.  This drive has led me to performing but we all know how hard that can be on a daily basis.  I feel I have a lot to offer - mainly my passion and I want to know what jobs are out there and how I can be a part of it.I want to work with young people inspiring them and building confidence through the power of theatre.  I do not want theatre to be elitist I want it to reach everyone and everyone.  So this is my starting point for my inquiry and here are a few things that have inspired me to go down this line:

An article about World Theatre for children and young people day:
 
How theatre for young people could change the world

I picked out this particular section as it resonates with my feelings and beliefs surrounding why theatre for young people can be so influential:

"Not to sound overly grand (too late), but so much of the toxicity in this world comes from a collective draining of empathy. We don't understand each other, and we don't want to. But theater invites us -- no, forces us -- to empathize.  As my friend Bill English of San Francisco's SF Playhouse says, theater is like a gym for empathy. It's where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people's actions. We practice caring.  Kids need this kind of practice even more than adults do. This is going to be their planet and they've got more time to apply that empathy and make a difference."

Inspirational words from those at ASSITEJ

ASSITEJ stands for Association Internationale du Theatre pour l'Enfance et la Jeunesse which means International Association of Theatre for Children and Young People.  They proposes to unite theatres, organizations and individuals throughout the world dedicated to theatre for children and young people.  I picked out a couple of quotes from the company directors that I love!


'For young people, coming to the theatre for the first time, the effect is electrifying, utterly compelling. It is live in front of their eyes, the story, the spectacle, the music, the lighting, the movement, the sound, the actors. Such an experience can change young lives. It informs and enriches us all.' Micheal Morpurgo

'Recently I was reminded of the saying, "You can count the seeds in an apple, but you can't count the apples in the seed." The impact of the theatre experience on children and young people may be impossible to measure precisely, but I believe that it is potent in containing the seeds for countless numbers of apples.' Yvette Hardie

Work of the following companies really inspires me and is what I would love to be a part of:

This video is a taste of the work at Chickenshed Theatre Company:


This video is a taste of the work that Oily Cart do working with what they call 'impossible audiences' the very young 3-5 year olds and children with special needs:


Here are links to other companies that inspire me:

The Unicorn Theatre

The Polka Theatre

Little Angel Theatre

And I am sure there are many more that I am yet to find out about that do similar work! Fellow bloggers if you know of any please let me know!

Hollie xx

Wednesday 10 April 2013

I'm back.......refocus, rethink, renew and reform!

Sooooo it's been a while fellow bloggers hope everyone is good! I am back after deferring on module 2 and ready to hit my BAPP journey with a positive and productive attitude.  After a chat with Paula make focus now needs to be on reframing my ideas and making some decisions.
























These images help me feel refreshed and ready to tackle my ideas.  I think it is important for me to hone in on what I am trying to achieve from my inquiry in order to gain clarity.  I have a tendency to do more than I need to which may be a good thing sometimes but not if I veer away from my end goal.  In order to refocus, rethink, renew and reform I have put a list together of what I am trying to achieve:

  • Find a line of enquiry that is important, relevant and useful.
  • Demonstrate why my line of enquiry is important, relevant and useful.
  • Read and analyse literature in relation to my inquiry.
  • Understand and explain how I will undertake my inquiry.
  • Have clarity surrounding research tools and ethical implications.
  • Gain depth and insight through reflection and methodologies. 
 With that clarity gained I can move forward and reframe each part of my work on module 2.