Module 2 - Task 4a: Developing Questions for Professional Inquiry

The subject of this module is to discover a viable topic for professional inquiry within my workplace, one that I will take into the third module of the BAPP programme. I have decided to take a few days prior to tackling this task to allow myself to digest the new course materials presented as well as reviewing my blog in an attempt to evaluate key notions that will be of use moving forward. I made a great number of discoveries about my professional practice that I would not have considered without following up on theory provided by the BAPP programme, whether it be from directly the resources to hand or through extended reading on my own behalf. From examining the module two handbook I can understand the motive being encouraged; to pursue a more independent focus of study as I look to establish a line of inquiry to take into module three. This said, there is also a big push to invoke outside participation from colleagues, peers and the like in helping to collate and form studies. These two aspects that were introduced and formerly developed in module now need to be stretched and developed.

“The tasks in this section have been developed to encourage you to take ownership of your critical thinking process. Questions are a way of looking at practice in a new way and identifying issues from your professional context that are meaningful to you.”

I noticed upon observation that tasks are not being discussed or set out categorically like the first module handbook but the above quote supports the aforementioned in that the programme is nurturing a more independent behaviour as a developing professional. The idea is strengthened by the fourth reader when it mentions that it “is not meant to tell you precisely what to research” and that it “introduces a number of relevant, but not exclusive, concepts that might help to frame the structures and processes for your practitioner research.” (Reader 4, 2015) This means that values and ideas can be exchanged between myself and other BAPP peers but in the context of our individual or similar subjects for inquiry.

 

Although I one day see myself transitioning to the more stable and grounded environment that comes with teaching, for the moment I work with a number of seemingly individual but unmistakably synonymous organisations in helping to carry out my professional practice as discovered whilst studying the concept of networking during module one (see an earlier post to find a diagram identifying my current modes of networking). If I can identify their presence and interaction between one another, the above diagram (Reader 4, 2015) presents a fashion in which they can be divided and some even melded together to form two separate factions for simplified network correspondence in planning my professional inquiry. It works like a trickle-down system in that two different networks (in this case the BAPP community and that of the workplace) receive an aspect of inquiry from myself with the hope the two networks can cast some similar or contrasting views that then feedback up to myself for consideration before the process begins anew and continues in this manner. Judi Marshall, renowned for her involvement in developing self-reflective and action-oriented form of inquiry compliments and builds upon practitioner’s work into reflective practice that has come before. She has referred to her way of thinking as ‘self-reflective inquiry’.

“Some of this approach derives from my belief that much research is partly personal process… In this integrated life, in which research is not separate or bounded, I must hold an attitude of continuing inquiry, as I seek to live with integrity, believing in multiple perspectives rather than on truth, holding visions of a more equal world and hoping to contribute to that practically, not separating off academic knowing from the rest of my activity.”

Ironically, it is hard to think about being conclusive in an academic environment (such as BAPP) when discussing an ongoing development within professional activity. Even after the course has finished, I will be discovering new aspects to my professional practice given that I actively remain inquisitive to my surroundings, inside and outside the professional sphere. Marshall mentions, however, that a background of “academic knowing” (1999) should not be neglected whilst accumulating these new findings. Marshall’s findings were partly influenced by earlier research as performed by Chris Argyris and Donald Schön. Argyris and Schön, who were further influenced by the likes of Kurt Lewin, John Dewey and other reflective practitioners, explored the idea of ‘theories in use’ and ‘double-loop learning’. They suggested that if a single-loop learning cycle, similar to that of David Kolb’s (1984) cycle, cannot bring about a successful alteration within the professional workplace, it may be right to look beyond organisational learning.

Argyris (1985) further defined the concept of theories in use into two separate methods of engagement known as ‘Model I’ and ‘Model II’. Model I essentially deals with self, not accounting for other persons or the prospect of a shift in the environment surrounding them. Argysis categorises characteristics of a subject operating in this manner. These include a desire to win and not lose, suppress negative feelings, emphasise rationality, treat ones’ own views as obviously correct. The repercussions of this thinking are severely damaging to inquiry leading to low freedom of choice, defensive relationships and reduced production of valid information. Argysis aims to encourage attributes for practice as found within the “governing values” of Model II. These include an openness to choice, sharing of information and participation with others as well as an acceptance of self-conflicting and surrounding ideals with an interest for investigation and pursuing a balanced argument. This latter model is the product of the individual employing double-loop learning.

My research into the aforementioned practitioner’s is prompting and reaffirming my view and I feel it will only serve to grow stronger; that the work of an actor and the concepts as found thus far on the BAPP course are fascinatingly intertwined. Arygsis sought broadly to eliminate self-consciousness in the individual, a bold task that has been shared with many acting practitioner’s over the years. Declan Donnellan (2001) uses an analogy that similarly describes the need for change as Argyris presented.

“Imagine you are hungry and have no food in your flat. It doesn’t matter how often you search the fridge: it will remain empty. The only place to get food is outside. If you stay in, you’ll starve, no matter how often you rummage round the wire racks. For the actor, ‘seeing’ is like going outside. It seems so safe at home, it seems so frightening on the streets, but this is a delusion.

It is not safe at home; it is only safe on the streets. Don’t go home.”

The excerpt from the text is of course written and intended for developing actors but it shares parallels in breaking the conventions of organisational learning. It is the correlation between these ideas, moving away from familiar and comfortable activities focusing on self to look beyond and trust that the individual’s surroundings can in fact provide answer. Environment and its effect on the professional workplace is a topic that seems to be becoming something of a fascination for myself, particularly after looking back at task 2d from the last module. That said, the series of prospective questions for inquiry found below feature some unchanged, unrelated topics and others that I have thought about since. I have provided some with sub-questions with an aim to provoke more tailored thought. I have decided to proffer all existing findings in order to refrain from pigeon-holing or blocking any other possibilities for investigation before giving them consideration, not only by myself but from peers also. It is also an opportunity to employ Argysis’ ‘model’ theory.

Can the arts industry ever return to or accommodate for the demand in today’s current climate? Is performing arts becoming exclusive to those of the higher class?

·         Does this affect the type of practice/work and performance that is produced?

In comparison to dancing and singing, what makes acting as an art form subjective?

Why is there so much conflict of ideals within performance (with particular regards to acting) when theorists of reflective practice seem to acknowledge one another?

·         Does this qualify an argument for art against education?

·         Can any examples of a crossover between ideologies be proven?

·         How does this translate within the context of the professional workplace?

·         Does vocational training, formal public/syllabus education or self-acquired skills from separate practitioners within a single company affect collaboration?

I understand that my communities of practice are ever changing and collating information within my personal professional field will prove difficult compared to practitioners who work within the more confined parameters of a school, for example. Projects I have worked on of recent have lasted no longer than four or so weeks and although networking has taken place via social media platforms such as Facebook, it is sometimes difficult to create and sustain a steady stream of communication, especially due to the freelance nature of performance work. I have, however, taken the task’s guideline into consideration and realised I have a number of other arts practitioners who exist outside my immediate performer community at my disposal, such as musicians. It can be noticed that I have drafted my developing questions without detailing particular areas within professional practice. My hope is that this leaves responses open to interpretation, potentially leading to a set of differing results than originally predicted due to the various types of practitioners who have drawn upon their own experiences. This can only serve as a positive for my developing line of inquiry before I begin honing in on a particular area. Until then please feel free to comment on any of my prospective lines of inquiry you have seen above, whether you can relate to them in any way and ultimately if you feel they are worth pursuing moving forward.

Bibliography

Donnellan, D (2001) The actor and the target, 2002 re-print, London: Nick Hern Books.

Marshall, J, 1999, “Living life as inquiry” Systematic Practice and Action Research 12 (2), pp. 115-171 [online] Available at: http://www.jmarshall.org.uk/papers.htm [Accessed 19 October. 2015]

Middlesex University, Module 2 Handbook, 2015

Middlesex University, Module 2 Reader 4, 2015

Smith, M, K, 2001, 2013 “Chris Argysis: theories of action, double-loop learning and organizational learning”, the encyclopedia of informal education [online] Available at: http://infed.org/mobi/chris-argyris-theories-of-action-double-loop-learning-and-organizational-learning/#_Single-loop_and_double-loop [Accessed 19 October. 2015]

Continuing with studies and BAPP Arts Meeting Room via Adobe Connect (Breeze)

After a long break, the new study period for BAPP has begun. I meet this second module with a degree of trepidation after such an extended amount of time away from the programme. I fell into a rather effective rhythm prior to the first module ending in balancing acting work, auditions and my regular job amongst studies and, after reading the module two handbook and fourth reader for the first three weeks of study, am feeling slightly overwhelmed by the amount of new material to process. However, amongst these fears I am also eager to continue discovering new findings that link the theory found on the course and my own professional practice. At the start of module one, I was struggling to find many correlations between the material on the course and the knowledge I had acquired during my time training and working since graduating. I was, therefore, elated to find as the module progressed an array of similarities and that disparities in fact made for increased discussion on topics, leading to potential lines of inquiry and important in informing this coming module.

Since finishing module one, I have continued to think about the course over the summer and in that time experienced new events within my professional field that I feel could contribute to the work being pursued in the weeks to come. After signing with a new agency a couple of months ago I have had the opportunity to audition for productions that I had no means of prior, one of which being a West End show. This particular audition was something a revelatory experience for me but, at the same time, one I knew the outcome of all the while. I had something of a mental block about auditioning for West End productions. That they were the ‘crème de menthe’ for a performer to be partaking in and required an above average level of preparation, more so than any other audition. I had conjured visions of candidates singing and dancing in the theatre space that some of them would later be performing in two months or so down the line once they had landed the job. I think these ideas had spawned out of fantasy because my actual experience could have been mistaken for any other audition I had attended in the past. This feeling of anxiety, of treating the event above other of its kind evaporated as soon as I entered the space in which it took place, in this case a dance studio. And then two hours later, it was over.

To bring this story back to my preoccupation with the new module, I feel that this particular experience and its unfolding were not only formed by my own preconceived ideals but also a product of influence via my college training. This isn’t to be mistaken as a cry for help and that my college brainwashed or scare mongered me into this thinking. The belief was instilled that every audition must be treated and received with the upmost preparation. Perhaps it was because West End and touring productions were often used as examples when tutors referenced auditions and made me as a student feel like it existed on a plateau above other mediums of performance employment. I’m sure this was not the intent of all tutors and, in fact, a part was my own naivety at play. It does, however, present a question worthy of discussion; how does environment inform my professional practice? From what I have read of the handbook, this second module is about taking what we have learnt thus far and using it as a platform for developing a further understanding. If the first module was encouraging an awareness and critical thinking when analysing my professional practice, this new one looks to use extended theories to promote a more focused view into potential lines of inquiry. I must engage with all possible ideas either existing or yet to be developed, unpack and investigate all aspects of a proposed question before assessing if it is indeed valuable to pursue and take into the third module, not only for myself but its usefulness to other individuals on the BAPP course and anyone else working within the same professional field. I will be following this up in the first part of this module i.e. part four.

The last point made about finding significance in a potential line of inquiry for others outside of my own is one I will be constantly referring back to whilst progressing through this module. If module one was cultivating the ability to use tools including information technology, reflection and networking in assessing my own professional practice, module two looks to implement the same but with a thinking as to its relevance amongst other peers. I was unfortunate to miss the introductory orientation Skype sessions preceding the start date, so I was therefore keen to participate in the new platform being utilised for the course which works in tandem with goals as aforementioned; the ‘BAPP Arts Meeting Room’ via Adobe Connect (Breeze). Set up by Paula and Adesola prior to the study period commencing, the software works like a Skype session but with the added factor that presentation similar to that of Microsoft PowerPoint can be shared and viewed not only by Paula and Adesola as tutors, but us as students should we ever feel we can contribute to a discussion or topic. Entire presentations can be uploaded and edited within sessions. This style of a consumer/creator relationship plays very much like an online classroom, an excellent mode for instigating course activities.

The session was attended by Paula, Ellie and I. It was wonderful to connect with them and hear of their activities over the summer period. Unfortunately, I experienced some technical difficulties with the program which took me out of the session halfway through. These are errors that I am looking to address before the next one occurs. After the session concluded, I had a Skype conversation with Paula in which she filled me in on all information I missed. We spoke on ways in which to fall back into study and approaching the reader for the first part of this module. Since then, I have taken the time to examine it and have found many interesting theories that relate to questions for possible inquiry. I will, however, save dissection of these for my task posts. For now, I am enthused to be continuing my exploration and, unlike last study period, starting the new module with a few extra weeks in hand to allow for an increased and more thought-out plan in my studies.