Hollie Victoria Smith: May 2013

Thursday, 16 May 2013

Critical Reflection on Professional Practicioner Inquiry

This module has allowed me to examine and engage in social learning to formulate a holistic approach. It has provided me with inherent tools and principles to develop into an informed practitioner.

Developing lines of Professional Inquiry

In questioning the territory of my current practice (Smith, 2012) (1), deciphering uninhabited areas of interest and recognising my objectives (Smith, 2013) (2) (3), I was able to create a relevant topic base from which to build my inquiry. Actively engaging within my BAPP network SIG's allowed me to draw from informed opinion (Morall, 2012) (4) and discuss my ideas in a reflective manner (Smith, 2012) (5). In sharing lines of inquiry with professional associates I developed further scope for ideas (Smith, 2012) (6) as well as clarity and direction (Smith, 2012) (7). In collation, social learning tools gave me the knowledge and skills to evaluate and refine my ideas. This encouraged me to take ownership of my critical thinking and make informed decisions about my lines of inquiry.

Professional Ethics

I transformed my surface relationship with ethics (Smith, 2012) (8) to a place of deeper understanding and practice (Smith, 2012) (9), taking the important step from a personal to a professional perspective. This was achieved through looking at opinions and frameworks of academics, exploring my workplace codes of practice (Smith, 2012) (10) (11) and applying these findings to my inquiry proposal. Involvement in discussion surrounding ethical practice shaped and affirmed my new found knowledge application (Smith, 2012) (9). This development allowed me to identify potential areas of ethical concern and specify my approach in dealing with them.

Tools of Professional Inquiry

I developed my practice regarding tools from a generalised idea (Smith, 2013) (12) to a base of structure and definition. Academic framework and the pilots of fellow BAPP students (Ahmet, 2012) (13) provided an insight into the different approaches and methods. By piloting these theories in the tool of observation and drawing from extensive workplace experience of interview I gained confidence in the strength of my research tools. Literature provided an invaluable source for gaining direction in my inquiry. From the outset a recurring theme of inspiration arose that led me to look at what inspired me (Smith, 2013) (2). In exploring these publicly available ideas and information I began making decisions for my proposal. Three literature reviews (Smith, 2013) (14) (15) (16) developed key themes, questions and sources that my final inquiry will include.

In summary the module has given me the skills and insight to move forward with my inquiry and professional practice. Investigating a new field that draws from my past experiences has initiated my move into pursuing a new career path. The development of my knowledge and approach has allowed me to create sufficient argument and confidence in applying to work that I previously had little or no awareness of. I am moving into a place of informed practice with the tools to conduct an effective inquiry in module 3.

Bibliography

Middlesex University, Reader 4 (2012) BA (Hons) Professional Practice in Arts, WBS 3630, Reader 4: Developing Lines of Professional Inquiry, Print

Middlesex University, Reader 5 (2012) BA (Hons) Professional Practice in Arts, WBS 3030, Reader 5: Professional Ethics, Print

Middlesex University, Reader 6 (2012) BA (Hons) Professional Practice in Arts. WBS 3630, Reader 6: Tools of Professional Practice, Print

Maguire, T and Schuitema, K, (2012) Theatre for young audiences a critical handbook, Print, A Trentham Book, Institute of Education Press, London

Reason, M, (2010) The young audience exploring and enhancing children's experiences of theatre, Print, Trentham Books Limited

Smith, H, (2012/13), Eblogger. Hollie Victoria Smith's Blog, Available at http://hollievictoriasmith.blogspot.co.uk/

Unicorn Theatre and Dr Thompson, C (2012) Capturing Imaginations, Available from: http://unicorntheatre.com/media/files/John%20Cass%20report.pdf

References

Hollie xx

Friday, 10 May 2013

Literature review - Unicorn Theatre Capturing Imaginations

I have started looking into the particular theatre companies that I would like to investigate. After being inspired by their work at the STEP conference I attended I have decided that the Unicorn Theatre will definitely be on my list! When looking at their website I came across an invaluable source of information - a project report on one of their programmes. This is exactly the sort of literature I am looking for so I got a bit excited upon finding it! This report and others like it are a source I intend to study at great depth for my inquiry. This review covers my initial thoughts and feelings.

Entitled 'Capturing Imaginations' the project report is an investigation into how the Unicorn Theatre's InterACT programme is beneficiary to a child's learning and the impact it has on participating teachers and their classroom practice. This report answers the how? that I am so keen to gain an understanding of. It outlines the content of the programme, how it is carried out and looks to understand the effects it is having. There is a focus on learning and participation within the report and these are words that I keep coming across as I research this area further. Having previously spoken to fellow students about the importance of the correct terminology I think this is one that I need to incorporate and understand as I move into this field. The job roles I have been looking at have this in the title so I feel the discovery of this recurring terminology will help me as I progress.

The InterACT programme focuses on the Unicorn's close partnership with schools. Catherine Greenwood the Learning and Participation Director at The Unicorn describes this relationship; 'The theatre's work with schools help us to reach children who may not otherwise get the opportunity to access theatre, and work with children from all across London and beyond. We believe that by working closely with teachers we can make the most of these children's live experience of theatre.' I have fore mentioned in my blogs about looking at where this form of work has come from and Greenwood has got me thinking about how it stems from relationship building. Although it is not my main inquiry focus in order to enforce tools that enhance a child's experience of theatre they have to have access to it and this does not lie within their control. So whether that be a teacher or a parent they are the gatekeepers to enhancing a child's experience of live theatre, InterACT is tapping into that and for me it has highlighted another factor to investigate in terms of where this work is stemming from.

The programme aims to go beyond looking at theatre in education to demonstrate the value of the actual theatre visit and engagement with it as an integral form of learning not just a 'treat or extra'. This is what the programme sets out to achieve and the project sets out to prove. InterACT works with over 25 schools in London with a lot of children who would have never visited the theatre before, it looks to support children and teachers through this process so that both parties get the most out of the experience. This is done through:

The theatre experience.
Offering Continuing Professional Development sessions to teachers.
Providing resources to teachers, which deepen and extend the theatre experience and create links to other curriculum areas.
Schools based workshops which involve teachers and children.

In my eyes these elements combined together create such a strong programme. There is support from A to B and the project goes above and beyond to create and enriching experience for the children involved. The child's visit to the theatre is 'at the heart' of the programme which is where my interest lies and it provides a central focus for the teachers and children involved. There is mention in the project that the programme draws on Education and Process Drama Theory - Pioneered by Dorothy Heathcote and Gavin Bolton from the 1970's to presented day and developed by Cecily O'Neil. This again relates to my interest in knowing where things came from in order to know where it is going. Having looked into it further Cecily O'Neil has literature available that may be of use to me. It is summarised as promoting 'the use of drama for learning; providing dramatic contexts where children are able to think, feel and take action from inside the situation.' Outside of this the Unicorn focuses on giving the children a 'strong sense of ownership' which is of great interest to me, I believe that in giving 'ownership' the experience is enhanced as it becomes the personal magic journey that I am all about promoting.

In terms of the project six schools were followed through the InterACT programme to gain a hold on the effects of it's work. Teacher's were integral in the research project with their expertise being made the most of. Led by Dr Charlotte Thompson teachers reported on child observations, they were a part of interviews, questionnaires and also provided samples of children's work. Key findings of the work were that the children were;

Highly able to access, discuss and comment on live theatre.
Positive impact on children's learning and engagement.
Improved writing ability.
Speaking and listening skills improved.
Improvement among under-achievers.
Retained ideas and themes.

These findings are inspiring to me and affirm my passion for this work as it is clear it is working. It makes me hungry to know more! The project goes onto to prove these findings from teacher's interaction and observation with students as well as the teacher's personal perspectives. Comments that are relayed provide great insight into the power of the theatrical experience for a child.

'When you use your imagination it makes you feel like you're in completely different world and for me it makes me dream - it makes me feel like I'm dancing in a blue dress.' InterACT participant, Year 5, St John's Primary. What beautiful words!

There is a wealth of information within this project report that has motivated me and given me the push I needed. It has got me thinking about the wealth of information out there to support my inquiry. It has affirmed my thoughts regarding how to look at the work of the theatre companies I wish to explore. I want to look at where their work originated from and the theories behind it in order to understand where they are and question where they are going - past, present, future. It has highlighted that I may need to choose particular programmes to explore in order to gain clarity in my inquiry and it will be important to look at the programme of events and picking carefully when taking the next step. I am also aware that on reading what the Unicorn do and the success stories I am very positive and maybe a little bias as I am enthusiastic about the field. I can see that actually being able to witness this work first hand would be of great benefit in creating informed opinions. I do not feel this is essential but it would be a bonus - I need to get through the gatekeepers! As well as being a great tool in terms of content it has been informative to see the format of the project report and its clarity that may be useful to relate to when formulating my own project.

The summary of the reports findings are a great testament to the work of the Unicorn:

'The findings in this report seem to point very strongly toward a case that drama can be powerful as a tool in communicating with children at a deeper level, creating new and imagined worlds in which a child can engage with meaning and debate on terms he or she is able to determine. Empowering children to learn, by teaching the whole person rather than the intellect alone, is clearly a tool that today's education system and it's children desperately need.'

Hollie xx

Tuesday, 7 May 2013

Next step!

So my inquiry is going to based around London theatre companies and I need to start looking at those which I wish to explore! In order to get my head around this I have gone to my resources - paperwork from the conference I went to, twitter, my colleagues and friends and of coarse the Internet. I have a knowledge of a few companies but in order to get a simple but better understanding I have searched for mission statements or brief summaries of their work.

Unicorn Theatre The Unicorn Theatre is the UK’s leading theatre for audiences aged 2-21, serving over 70,000 children, young people and families every year through its professional performances, participation and other events. It is a central part of the Unicorn’s mission to commission new work, to tour, to be accessible to all and to encourage exchange and collaboration between theatre-makers from different countries and traditions, coming together to develop ideas and projects.

Polka Theatre Polka is devoted to work for and with children, presenting a year-round programme of theatre productions, other arts related events and a wide range of educational and participatory activities. Polka’s mission is to spark the imagination and fuel a sense of discovery in children from every background. We do this through thrilling world-class theatre and a creative programme of learning, in a welcoming and stimulating environment.

Little Angel Theatre Little Angel Theatre is one of only three building-based puppet theatres in England. The Little Angel Theatre is committed to working with children, young people, adults and families, both through schools, at the theatre and in the local community. We are developing innovative projects to improve access to our work, offer opportunities for participation, and stimulate learning and creativity for all using puppetry.

Oily Cart Since 1981 Oily Cart has been taking its unique blend of theatre to children and young people in schools and venues across the UK. Challenging accepted definitions of theatre and audience, we create innovative, multi-sensory and highly interactive productions for the very young and for young people with profound and multiple learning disabilities.

The Blue Elephant Theatre Aims to nurture new and emerging artists across all art-forms. The wide range education work caters for both in and out-of-school provision, with drama and forum theatre workshops in primary and secondary schools, after-school clubs, two young people's theatre groups and school holiday programmes.

Half moon Young People's Theatre Gives young people from birth to 18 an opportunity to experience the best in young people's theatre, as participants and audience members. The company places emphasis on engaging participants and artists often excluded from arts activity, such as those from BME communities, Deaf and disabled people, or those excluded due to socio-economic circumstance.

Chickenshed Theatre Company As an inclusive theatre their aim is to bring people together of all ages, backgrounds and abilities to produce outstanding theatre that inspires, challenges, entertains and educates both audiences and participants alike. Elsewhere difference divides, at Chickenshed the difference makes the art.

There are many more than this but I have picked out a few that are of particular interest to me and to be honest that I would love to work for! As I worked through I went back to my question and realised that I have not highlighted the fact that I am looking at children's theatre companies and by focusing on this I think I will find clarity in my inquiry. So it should be:

How are London based children's theatre companies using different tools to enhance and enrich a child's experience of live theatre?

In focusing on children (under 14) rather than young people (14 and above) I need to make sure the companies that I approach are focused on the same age group or at least have a wealth of work covering this field.

After looking at various literature I have also decided that studying 5 companies within my time frame may be slightly unrealistic and I would not be able to understand their work fully. I now plan to look at 3 and see it as a comparative study. It will be important to choose the right companies to explore but obviously this all depends on the access I am given - I have to get past the gatekeepers!

Hollie xx

Saturday, 4 May 2013

Literature review - Matthew Reason

The next book I invested in was The young audience exploring and enhancing children's experiences of theatre written by Matthew Reason. The book as a whole is provides a wealth of information surrounding my chosen field but I am have looking closely at and will review Part 3 - Enhancing engagement.

Reason's writing is of particular interest to me because of his passion for quality driven theatre for children that is enriching and engaging - a passion that is similar to my own. Within this part of his book he looks to explore different techniques surrounding how a child's engagement in theatre can be enhanced. Talking of how theatre can exist on an immediate level Reason says 'We could legitimately argue that this is fair enough. But that would neglect the richness and playfulness of the responses that emerged when people do take the narratives or characters or techniques forward for themselves. It would also be to neglect how such increased engagement makes a deepening and extending of the children's knowledge and ownership - creative, imaginative, emotional and technical - of the performance.' This a great summary of why I think it is important to go beyond the performance and offer more. Aptly Reason's words are the reasoning behind my inquiry. During the chapter Reason questions some techniques and tools in a way I had never thought of before. Talking of resource packs that are often given to teachers to extend the production into a classroom setting Reason says '- they can make watching resemble a decoding exercise of spotting themes and responding accordingly. Anecdotally, I find that such resources tend to flatten and homogenise the experiences and responses produced.' This will be an important factor to consider in my inquiry, where does the extension of a live performance have to stop so it does not take away from the magic of a theatrical performance? To be honest this also got me thinking about my own personal perceptions. As I am new to this area and very positive about any tools that set out to enhance and enrich a child's experience I am maybe a little naive and had not stopped to think that some of these tools may hinder their experience not help. This has highlighted where the critical analysis will come into my inquiry, it will be important for me to analyse my perception of the tools in question and draw from reports they have surrounding their success. Although Reason does not believe that resource packs are the way forward he does have a passion for other tools in this field.

Quoting Peter Brook 'theatre 'is an event for that moment in time, for that audience in that place - and it's gone. Gone without a trace' (cited in Melzer, 1995:148) like me Reason does not want the experience to be 'gone' and looks to explore how. I admire the way in which Reason does not look to assess memory or what a child has gained in his research he looks to see how we can 'develop reflection, play, transformation and knowledge.' Reason explores the tools of drawing and discussion in great detail. He concludes that the playful, reflective and creative nature of drawing can evolve a child's relationship with the performance. There is no right or wrong answer with drawing but it encourages taking time to stop and think, recalling thoughts and feelings that the production may or may not have set out to provoke. It is inspiring to see the power of drawing without the adult fear of 'I can't draw'. It is clear that this tool encourages a child's ever so precious imagination in a safe format.

Regarding talking about theatre Reason sees this as a fundamental tool as do I. Even as an adult we have the urge to talk about our perceptions and interpretations so I believe it is important to instill this thought process in children too encouraging expression and opinion formulating. Reason explores different techniques and models for discussion and then goes on to create his own resource for asking the right questions. It was enlightening to read about P4C - Philosophy for children that looks to 'enhance thinking skills, including the ability to think for oneself, weigh up evidence and challenge received opinions through scrutiny and reasoning' and how Reason has developed this into a model for post theatre discussion. 'Talking about Theatre' focuses on 'description, analysis, interpretation and evaluation'. These are resources that I did not know were out there and as I move forward with my inquiry I intend to really get my head around and grasp. It is invaluable information that will stand me in better stead for my inquiry and in turn my career development.

Reading back over this review I realise I have quoted Reason's work quite a lot, this is because the words he writes resound with me and inspire me! His writing has got me thinking about how much scope there is to take theatre further for young people, the positive effects it can have and the fact that there is so many resources and research out there to help me understand how. I can draw a lot from Reason's research and it will be interesting to see if theatre companies are putting his theories and others into practice and if the theory works in practice. One more!

'The way children use, play with and transform their cultural experiences in their imaginative lives reveals how the passive consumer is in reality an active participant. Acquiring knowledge, and skills of reflection and critically enables the powerless child to become enfranchised and empowered by their own cultural experiences. That is why the relationship between young audiences and theatre should never be conceptualised merely in terms of access, of getting bums on seats and of cultural rights equating simply to exposure to rich cultural experiences. Cultural rights must encompass art form knowledge and critically as essential elements in the empowerment of young audiences.'

Hollie xx

Also take a look at these photos of children watching theatre at the Unicorn they are really cool!

http://lisabarnard.co.uk/projects/unicorn-theatre/lookingattheatre/