The All Module Campus Session (13/10/15) – Considering reflective practice as a catalyst for change/Further theory between Reader Four and my own professional practice examined.

Although this was my second visit to the campus, the structure in which the session was to be carried out would slightly vary to previous in that it was being participated by students from all three modules of the BAPP Arts programme. As before, Paula headed the session with Jess, Lily (Module One), James, Irini, Lisa, myself (Module Two) and Emma (Module Three) in attendance. It was wonderful to reconnect with those I had met prior and to also become acquainted with those I had not. I was most intrigued as to how the session was going to serve all three modules as after all we were at different stages on the course. The subject of the session was revealed by Paula; to look at reflective practice and its properties in creating change. Once announced, I understood its value at this point in time to us all. Module one students would be shortly beginning their work on part two, the reflective practitioner, beginning to look examine theorists and research and its relevance to professional practice. Module two part four revisits reflective practice with an objective to build and expand upon previous knowledge, refining it, and challenging the existing with alternative methods for evaluating experiential knowledge. I cannot speak for module three but I imagine, for Emma, it would have been useful for reviewing and gaining an insight into any potentially valuable literature not already considered for inquiry.

Paula started with a phrase that was to become a recurring theme for the duration of the session and that was ‘agency’. When asked what our first thoughts were after hearing this term, a number of us collectively answered what a lot of performers would commonly associate with it, the agency that will seek find work for their clients much like we experience ourselves. Paula pointed out we were describing the noun by one of two definitions. Upon a Google search, we took note of the second description.

 

We were then given a minute to think what the word now meant to us in relevance to our professional practice. Irini likened the phrase to her own practice in that she believed only feels her career and the people who help sustain it around her such as her manager, marketing team, booking agents for events, will only move as fast as she does. To spin an analogy on agency within the context of the example given for its definition as featured above. If Irini’s networks are the ‘canals’, she is the ‘running water’. Paula then introduced a number of practitioners to help us understand what constitutes effective agency and what this means within our professions.

Anthony Giddens has been a leading practitioner in helping develop social theory and within that the concept of agency. In his book ‘The Constitution of Society’ (1984) he incidentally refers to non-specific individuals as “actors” and suggests that knowledge naturally invokes reflection. He goes on to discuss the idea that reflection aids awareness of self and in turn the ability to be reflexive, the act of looking to change something about an action that has taken place. Giddens recognises, however, that ‘self-consciousness’ is perhaps not the best term for the individual to focus on when assessing action as “Human action occurs as a durée, a continuous flow of conduct, as does cognition.” The diagram below demonstrates an illustration of Giddens’ proposed system that agency undergoes.

 

Giddens’ theory draws a remarkable parallel with some acting practitioner’s impressions on analysing action in an attempt to provoke change. It is worth mentioning at this point that there are now two meanings of ‘action’ within my professional practice. The first is as an actor. An action is a transitive verb that is sought out by the actor in order to support a character’s objective being played. For example, the objective may be to ‘seduce’ another character, but by what means? To seduce does not have to necessarily carry romantic connotations. One way it can be achieved is in a threatening manner. The actor may play ‘I terrorize you’ and it will still inform the objective. The point is to persuade the other character by any means in an attempt to achieve the objective. A character will quite often fail in achieving this to provide discourse and intrigue for the narrative. It is therefore the job of the actor to change their action or even objective to try to rectify their circumstances.

“To free ourselves from having to decide whether something is effective, beautiful or germane, we ask the question ‘Is it essential to the action?’… In doing so, we choose not to manipulate the audience, though we might; we choose not to manipulate the script, though we might; and we find, by so doing, that the audience, the script, and ourselves function better. What we are doing is eschewing narration. If we devote ourselves to the punchline, all else becomes clear.” (Mamet, 1998)

David Mamet has largely been regarded as a touch ‘method’ when it comes to character preparation. In the cases of Uta Hagen and later Stanislavski work, they believed that an in depth research of character and scenrario was required in order to aspire any sort of plausibility to performance. Mamet, however, argues that this knowledge can lead to a lack of decisiveness and ability to commit to choices in the moment. He believes the immediate and non premeditated action is the most effective as it is spurred from what the actor perceives as a stereotypical response and in turn the audience will also.

The second interpretation of action is within the work being studied as part of the BAPP course. I have at times been confused by how I should perceive this term as my prior training as an actor has lead me to believe it is not always but often a conscious or deliberated decision. The work as studied last module introduced the idea reflection as a product of experiential learning. The theories presented by the likes of Jennifer Moon presented a framework for reflecting on action after the event had taken place. This was at times difficult for me to comprehend as acting relies on an attention to your opposing players. Loss of this leads to block and self-consciousness, taking the actor out of the performance and tempting introspection. This can be a damaging experience for actors and sometimes stump creativity. Giddens’ theory, however, seems to compliment that of Mamet’s views. He states that “motivation is not as directly bound up with the continuity of action as are its reflexive monitoring or rationalization.” Giddens rejects the theory that action is the consequence of an objective and that it can be a subconcscious decision employed as an effect of agency. All the same, he does accept that action cannot be improvised in all circumstances but as a result of knowledge gained through experiential learning.

“I do not intend the distinction between discursive and practical consciousness to be a rigid and impermeable one. On the contrary, the division between the two can be altered by many aspects of the agent’s socialization and learning experiences. Between discursive and practical consciousness there is no bar; there are only the differences between what can be said and what is characteristically simply done. However, there are barriers, centred principally upon repression, between discursive consciousness and unconscious.”

I have found two separate and interesting diagrams that help distinguish the difference in thinking between the actor’s technique of action and that of Giddens’. Developed by practitioners Marina Calderone & Maggie Lloyd-Williams (2004), they present a process for actors in applying actions into practice.

“One thought. One Sentence. One breath. One action…

-          We choose an action for each whole thought.

 

-          A whole thought is comprised within a whole sentence.

 

-          This sentence should be spoken with one breath.

 

-          And each thought should contain one action.

… One thought. One Sentence. One breath. One action.” (Calderone & Lloyd-Williams, 2004)

The clipped and staccato nature of the text suggests a rigorousness in its execution. It could be likened to the ‘mirror-signal-manouevre’ technique for drivers in that one stage must be followed by another and they not interchangeable. The process is laborious and must be planned before being instigated. Giddens own diagram presents that change can be achieved by an agent during action and take a number of different forms during this process.

 

“Between discursive and practical consciousness there is no bar; there are only the differences between what can be said and what is characteristically simply done. However, there are barriers, centred principally upon repression, between discursive consciousness and the unconscious.” (Giddens, 1984)

Giddens expresses that practical action does not need to be spurred by pre-assumed thought and can be later influenced by a change in subject, though this is normally a result of the agent becoming interested in something else that is happening around them. He also believes that physical movement need not be influenced by thought. Giddens does argue, however, that whilst agency can take effect out of discourse and a lack of interest in current activity, it cannot be performed whilst supressed by the individual and hence will not be noticed by others.

After examining the concept of agency and how it pervades our professional practice, we looked at practitioner Tony Ghaye’s (2006) view on reflective practice as a catalyst for change. He believes that “failure, or fear of it, can be a powerful catalyst for change” and that it can be a gateway for continued evaluation. He drew up a series of questions that could help in this;

1.      What are we trying to accomplish?

2.      What practical action can we take that might lead to success?

3.      How we will know that something is a success?

The first two questions can be conventionally straight-forward with regard to the circumstances but the third is often difficult to assess in its value to who exactly. Who had achieved the most out of the change in agency? The individual? Other human subjects involved? Reflection is not an exact science and will continuously be re-worked and shaped to fit the individual’s purpose. Ghaye’s thinking has been in part influenced by previous practitioner John Dewey. In several of his articles, Dewey mentions a variety of ways in which the individual’s receptiveness to reflection can be enhanced. Ghaye ties the following three ideas together for thought which were then examined in the session:

“Open-mindedness includes an active desire to listen to more sides than one; to give heed to facts from whatever source they come; to give full attention to alternative possibilities; to recognize the possibility of error even in the beliefs that are dearest to us.” (Dewey, 1910)

“Positive Responsibility.—In this way the individual is made aware of the stake the community has in his behavior; and is afforded an opportunity to take that interest into account in directing his desires and making his plans.” (Dewey & Tufts, 1908)

“Wholeheartedness, also called single-mindedness… indicates a genuine, no holds barred enthusiasm about one’s subject matter.” (Rodgers, 2002)

The last quote, taken from Carol Rodgers, was written as an adaptation of Dewey’s findings. He compiled separate investigations and channelled them in order to cite reflective learning in his later work (as covered in module one). As found with previous research into practitioner knowledge, the above are skills required of an actor. Beyond this, however, these are skills that individuals from all backgrounds can look to implement into their working lives. Being open to these ideals and evaluating a change in circumstances as a result is proof of agency working effectively.

Taking this forward we participated in another exercise. Developed by practitioner Mary Hartog, the exercise is designed to provoke reflective practice by developing a sense of self-evaluation, much like BAPP students have been with their journals. The difference here, however, is that we were given only five minutes to recount a memory. I chose to focus on one that I hope to explore further within my current idea for inquiry. I will not go into the specifics of the particular memory, however, as it is something I may want to discuss in further tasks (maybe not even the memory itself, but the concept that drives it). We were also asked to create a 'headspace'. Although events charted are my general leisurely goings on outside of the course, they do inform a thinking as to where we are at and how these seemingly separate activities govern our trail of thought. The results for both can be seen below.

 

 

Afterwards, Paula asked that we circle three keywords from our texts that we felt important to our practice. Mine were as follows:

 

Truth

Emulation

Death of creativity

 

The phrases I plucked from my text were important in explaining my current practice with regards to preparing for an acting role but more broadly, and in relation to the BAPP course, they can signify my work ethic. Truth in accuracy when discussing my current practice. Emulation to be avoided in being inspired by others but respecting the work as theirs and an understanding for developing my own ideas on a subject even if crediting other influences. This is all to avoid a death of creativity (a phrase that sounds slightly strange on its own but is taken from Mamet’s teachings). If the first two cannot be met, I fail to offer anything new for an external reader. It can be difficult at times to stick to these terms but I feel it makes for the most fulfilling results in practice. This brought a close to the session. Since its end, I have continued to examine literature within and outside of the course’s reach. At the time I was unsure as to whether my potential inquiry would hold any real value but after an extensive look into reader four I believe I have a strong line for further investigation. I will, however, remain open to other possibilities and feel confident that my work through the rest of this part of the module, and indeed the others, will provide me with a larger scope for gauging ideas.

Bibliography

Calderone, M, Lloyd-Williams, M (2004) Actions: the actor’s theasaurus, London: Nick Hern Books

Dewey, J (1910) How we think, Massachusetts: D.C. Heath and Company

Dewey, J, Tufts, J, 1908 “John Dewey and the progressive conception of freedom” Social organization and the individual 20 (2), pp. 3-7 [online] Available at: http://www.heritage.org/initiatives/first-principles/primary-sources/john-dewey-and-the-progressive-conception-of-freedom [Accessed 03 November. 2015]

Ghaye, T, 2006, “Reflection as a catalyst for change” Reflective practice 6 (2), pp. 177-187 [online] Available at: http://www.tandfonline.com/doi/abs/10.1080/14623940500149583?journalCode=crep20 [Accessed 30 October. 2015]

Giddens, A (1984) The constitution of society, 1986 re-print, Cambridge: Polity Press

Mamet, D (1998) True and false: heresy and common sense for the actor, London: Faber & Faber

Rodgers, C, 2002, “Defining reflection: another look at John Dewey and reflecting thinking” Dewey’s criteria for reflection 104 (4), pp. 858-859 [online] Available at: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCAQFjAAahUKEwj8-aPL3_TIAhXBIA8KHdf2Cus&url=http%3A%2F%2Fwww.bsp.msu.edu%2Fuploads%2Ffiles%2FReading_Resources%2FDefining_Reflection.pdf&usg=AFQjCNHQHfcHJfPAECRN4UN1GhsdpS0GnA&sig2=3H6qGcoRd82Ew_t6xoGk-g&bvm=bv.106379543,d.ZWU {Accessed 03 November. 2015]

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.

Module 1 - Task 3b: Theories Related to Networking

Before discussing and exploring several important practitioner’s views surrounding the concept, it is necessary to establish what professional networking is and differentiate between some common misconceptions.

“Networking is establishing and maintaining informal relationships with people whose acquaintance or friendship could bring advantages such as job or business opportunities… Networking does not mean “using” people for the information you hope they have. It means building relationships so that you feel comfortable asking for information, advice, and referrals.”

The latter part of the statement, credited to Penn State Alumni Association, recognises that those seeking to advance their career prospects through networking often enter it with an end game to obtaining a job. The article suggests that this is incorrect and that individuals often don’t look to utilise it until they are looking for jobs when they should be implementing it as part of their everyday practice. Admittedly, this has been in part my own view until recently. However, after studying the third reader for the module and through extended reading I am learning the mode of networking is in fact a lot more nuanced than previously thought.

Cooperation

Political scientist Robert Axelrod is one of the leading researchers on the area of cooperation. After examining its association with ‘Game Theory’, he identified the potential for bringing in other theorists for an experiment he called the ‘The Project’ as titled in his article (2006). These theorists would submit computerised adaptations of the renowned ‘prisoner’s dilemma’ concept in an attempt to determine, based on a previous history of cooperation, whether or not it is worth continuing with negotiations with another party. Axelrod reveals the program dubbed as “TIT FOR TAT” as the eventual and continued winner upon multiple entries in several tournaments. The aforementioned is the act of returning the same amount of cooperation as was received for another. After its initial successes however, Axelrod began to question and argue as to whether the approach was a sustainable strategy for long-term relations and developed an evolutionary perspective. He posed a series of questions, two of which I saw to be extremely valuable;

“how can a potentially cooperative strategy get an initial foothold in an environment which is predominantly noncooperative? … under what conditions can such a strategy, once fully established among a group of people, resist invasion by a less cooperative strategy?” (Axelrod, 2006)

The former quote refers to the exchange of fair information between individuals in an environment where competition is prevalent, and the latter being the breakdown of such a strategy after extended use and information becomes too widely spread and therefore of lesser use to the person who originally imparted with it. This is when the idea of ‘defecting’ forms, the idea that knowledge can be retained to better serve an individual rather than sharing it with other parties whilst they in turn will pass on information to receive nothing in return. The vice versa can happen or, even more damaging, both parties fail to cooperate and defect. In the case of the latter, it is likely the transaction has not been carried out at all. This can be put to better explanation through context of human interaction. While I would say I don’t currently use networks well enough to say I account for a lot of these occurrences I could certainly say I have been at times in the past selfish in the amount of content I have received, consumed and not reciprocated.

I can recall experiences not directly related to my networking methods today, but whilst training at college. I felt hesitant at times to impart information to my peers for knowing they may look to implement it in their own work. My initial reasons for this thinking were because I felt that my hard work should not be shared with others and they should look to do the same if they wish to achieve a similar. Another reason was because I felt my skill set was individual and what worked for me would not necessarily work for others. I still believe in the second view, however the first I now look at as quite a destructive way of thinking. This was probably brought on by the enclosed space in which I spent three years with students who I would be competing against upon graduating, as well as everyone else already out there. It may have shown a flair of immaturity in my age as well. I essentially took a selfish decision in keeping information for myself, something I am confident I am not solely accountable for doing. These are product of another practitioner’s work explored by Axelrod in his own, that of Charles Darwin’s infamous theory of evolution, the idea of ‘natural selection’ and ‘survival of the fittest’. I will say, however, that my opinion on the matter changed in due course before I graduated. Since leaving college I have found plenty of occasions that have provoked or benefitted from my passing of knowledge to others. This has been noticeable in events such as returning to my dramatic society to help with a current production they were staging or teaching some of the children in the cast of a fringe production I was involved in last year. They benefit from my expertise whilst I from exercising and demonstrating techniques to a new, enthused audience that hunger and show an aptitude for furthering their current knowledge. In this case, both individuals are met with reciprocation and so the “TIT FOR TAT” ideology for cooperation has been fulfilled and proved a success.

Affiliation

Affiliation, a concept explored within social psychology, deals with a much more immediate form of networking; the need to form personal relationships with other people. Richard Crisp and Rhiannon Turner describe “our tendency to seek out others and form close relationships is an inherited trait that helps us to survive and reproduce by providing us with a network of support that will help us when we are in need.” (2010) I believe it is a requirement for all individuals, not just those directly connected with the arts industry. In whatever profession or walk of life, we often find ourselves looking to others for counsel or inspiration.

Affiliation can exist on differing levels, however, which is furthered explored by Crisp and Turner. They cite the ‘privacy regulation theory’ (Altman, 1975) and its argument for the bounds of privacy being adjusted as and when it suits the individual. “We also operate by an optimization principle, where we try to align our desired level of contact with our actual level of contact with others. If we have too little contact, we feel isolated, but if we have too much contact, we feel crowded.” (Crisp and Turner, 2010) I can instantaneously relate to this argument in relevance to my own professional practice. Right now, for example, I am experiencing a rather robust schedule in my week-to-week activities. I have auditions, film-work, my regular job, work for the BAPP course to keep up with, as well as a couple of other projects to work around. As can be imagined, I am therefore dealing with a variety of different parties on a daily basis in comparison to a time immediately after graduating when so many networks were not available to me. Although these are networks by choice, there is a natural feeling and hunger for space when juggling so many activities. On the other hand, I have experienced periods of draught in my career thus far (as I’m sure is common with many performers) and in these circumstances I have often felt closed off to others. Whilst I heard from of peers at college gaining jobs and progressing ahead of myself, I would often question why the same was not occurring for myself. It is all relevant, of course, as some had access to networks that I was yet to and that in fact talent and skill only goes so far before an administrative role needs to be assumed, something I admittedly neglected for a little while out of fear for a lack of knowledge of it. As relationships with individuals and involvement with networks grow, my interest to maintain and develop them further does also.

Further research has been carried out against the privacy regulation theory and social affiliation model in that they do not recognise different networks of people who characteristically depend or don’t so on the aforementioned. Although I have included my own experience and stressed the importance of these theories in relation to my own profession, I can understand that others need not so much for them in their own livelihoods. Carl Jung (1975), an early established practitioner in the field of psychology, identified people being inherent with introverted or extroverted personalities from birth. Others have expanded on the theory. Tieger and Barron-Tieger (1995) went on to strengthen the differentiations in character by identifying behavioural traits that separate them.

Extraverts

·         Focus attention outward

·         Enjoy a variety of tasks

·         Seek out and need other people

·         Work at a rapid pace

·         Need to talk about their ideas to think them through

Introverts

·         Focus attention inward

·         Consider things fully before responding

·         Enjoy tasks that require concentration

·         Work best on one project at a time

·         Work at a careful, steady pace

“Everyone’s personality fall onto side or the other… But’s important to keep in mind: everyone uses both sides if each dimension – people are primarily Extraverts (or Introverts, etc.) but not exclusively one or the other.” (Tieger and Barron-Tieger, 1995)

The above quote paints the same picture I share in that all aspects of an individual’s behaviour is not set in black or white. In my own practice, I call upon different aspects of both sides whether directly related to my skill set as a performer or as an overall practitioner. For example, I will research and study for a role, work on the physicality and take time to develop characteristics by looking inwardly before transferring them outside of myself to assess how my findings relate amongst others. This division of work also informs my focus whilst in rehearsal, allowing me to be attentive in finding new information in the moment. The same happens with my work outside of this, including the BAPP course. I tend to spend time on my own away from other distractions working through tasks before uploading them and engaging with other students in discussing ideas and concepts.

Social Constructionism

“Objectivism – the notion that truth and meaning reside in their objects independently of any conscious… has certainly come under heavy attack and constructionism is very much part of the artillery brought against it.” (Crotty, 2005, p.42)

The above quote underlies the effect caused by external influence of opinion, the concept known as ‘social constructionism’. The term just mentioned is described as a process where individuals makes sense of the world around us based on other’s opinion before receiving first-hand experience. In relation to networking this subjective view point can often form predetermined opinions about other groups, limiting or eliminating an opportunity for engagement. Crotty later argues that an individual’s preconception as to how the world functions is in fact often defeated by concrete knowledge upon experiencing it. He goes on to strengthen this argument;

“What constructionism claims is that meanings are constructed by human beings as they engage with the world they are interpreting. Before there were consciousnesses on earth capable of interpreting the world, the world held no meaning at all.” (Crotty, 2005, p. 43)

Crotty makes the case that if an individual were not able to receive external analysis, preoccupying fears for groups would be non-existent. With regards to my own practice, I have encountered many instances when the opinion of others have formed my own, particularly in these early years of my career and to some degree they continue to do so. I can vividly recall an example that occurred in my third year of study at Urdang. Throughout the course of this final year, a number of the students were selected to attend various industry auditions. During this period however I, among others, was not put forward for any of these that came available. I don’t say that begrudgingly, however. I wasn’t naïve enough to be unaware of how casting works and how much negotiation takes place before you even reach a panel for audition. Meanwhile, it did mean that accounts being relayed by my peers were giving me a second hand experience. From a lot of the information I was accumulating, I began to gather a grandiose picture for what lied ahead and seeds of fear had been planted before I had even graduated. Inevitably, I left college and did indeed begin to experience auditions for myself. I learned that the picture I had built in my mind was far greater than the actual process. I can, however, find a more positive example of theory working in my studies for the BAPP course. I sometimes question whether I am correctly identifying with concepts and tasks presented. With such an integrated network as the BAPP provides, I am able to assess this work perusing the existing work of fellow students and opening dialogues about specific areas via blog commenting or campus and online sessions. The two examples present varying levels of engagement from myself, the first beginning with an external influence to then receive it for myself and second of an opposite procedure. “The world is always already there” (Crotty, 2005, p. 44) and it is my right to receive it so.

Connectivism

One of the ways George Siemens describes the idea of connectivism is that learning is developed and tailored to fit their social environment. Previous methods largely adopted have been ‘instructional’. Technology today however has diluted the traditions of one-on-one tuition, between teacher and student for example, and allowed for a much more diverse passage for the individual to receive knowledge.

“The life of knowledge was measured in decades. Today, these foundational principles have been altered. Knowledge is growing exponentially. In many fields the life of knowledge is now measured in months and years.” (Siemens, 2004)

Siemens does recognise, however, that information so readily available in such places as online spaces is not always beneficial to the consumer and that “Knowledge that resides in a database needs to be connected with the right people in the right context in order to be classified as learning.” (Siemens, 2004) I see this on a regular basis in my own practice. Now that I am not learning in an establishment as structured as school or college, I must maintain skills and knowledge through other means. This isn’t necessarily through independent reading or private acting or singing classes either. Even auditions, as I have discovered in my reflective journal writing, serve well for receiving new understanding. All the aforementioned examples refer to a physical inception of networking and a principle of connectivism is that “Learning may reside in non-human appliances.” (Siemens, 2004) I may choose to seek help in my practice through means of online communities but the levels of knowledge shared between myself and unknown parties will vary and could often lead to disappointing results.

“In a knowledge economy, the flow of information is the equivalent of the oil pipe in an industrial economy… Knowledge flow can be likened to a river that meanders through the ecology of an organization. In certain areas, the river pools and in other areas it ebbs.” (Siemens, 2004)

Communities of Practice

This is a concept briefly covered in a previous blog post preceding my study of professional networking. It is different from other approaches in that it has been developed through the field of social science as opposed to political like Axelrod’s theory suggests. It shifts focus away from potential competitive and narcissistic behaviour alluding to in Axelrod’s theory on ‘cooperation’ by the individual and instead takes the approach that learning can be achieved via social engagement, inviting others into the process and often referred to as “social learning” (Lave and Wenger, 1991).

After taking time to browse the third reader before beginning this task, I came across a statement that radically changed my perception, even after speaking on it in the online session with regards to negotiating practice; “they are social, they are informal and they are often connected with specific social groups. They can be characterised as self-organising rather than hierarchal.” (Reader 3, 2014) In my post regarding the online session, I mentioned about my part-time retail job acting as an epicentre around surrounding communities. “A community of practice is a set of relations among persons, activity, and world, over time and in relation with other tangential and overlapping communities of practice.” (Lave and Wenger, 1991) I realised that what made this particular network so central and integral to others was not just its regularity to me, but the relationships I form with individuals because of it. I would like to think I have good relations with my colleagues, not to be exploited just for the purpose of allowing me to maintain my activities in other networks. My management in particular are genuinely interested in my activities and help as best they can to accommodate. This is a rapport that is often not afforded in other networks I operate in due to their fast-paced nature. Although they are of course unconscious of these positive doings, their very involvement to participate is sharing an affect with other networks. “Our sustained engagement within our communities of practice produce learning, that is, social learning developed within, and between the members of the community of practice.” (Reader 3, 2014)

In the years that ensued Lave and Wenger’s article, some argued that the community of practice theory (made also by those came after) had yet to account for being a negative and unpurposive. Andrew Cox argues “Wenger’s conceptualisation of community is paradoxical in the history of that term. A community of practice is not necessarily friendly or harmonious.” (Cox, 2005) Wenger (1998) did later go on to discard his previous theory and rectify that there was in fact an adverse side to it. He also cites “joint enterprise” as part of communities of practice and that members continually renegotiate. In my own practice I can relate to it in regards to working in an industry such as the performing arts. Negotiations, such as audition processes, are often fickle and delicate whilst being dealt amongst people who only surround the individual for temporary time. They require something of the individual, and the individual requires something of them. Admittedly this is not the case in every circumstance, but on a basic level as described the ability to build a genuine relationship is largely lost, therefore validating the theory.

Ethical Considerations for Networking

It is important for working professionals to be aware that web 2.0 does dominate a large proportion of networking within communities of practice. For a lot of individuals, it is the first point of contact for opening a dialogue within communities. Therefore, it is important that ethical codes are kept and regulated. While a variety of sources provides the individual with an immense amount of detail, it is important that those who supply it are respected for doing so. Wenger et al. (2009) states that “The framework of community orientations is useful for thinking about the technology needs of a community because it places technology in the context of the community’s patterns of interest”. The BAPP course is again, another great example of this taking effect. The students and course leaders connect and share opinions on ideas and concepts through a tight-knit network but personal information that is logged in reference by the individual, whether related to their professional practice or not, must be treated with care. The creator has uploaded this information in the hope that they have truthfully responded and given evidence in support of the course. It is the job of the consumer, or in this case the creator’s peers, to treat information enclosed with a level of courtesy. It makes for a healthier and more positive networking experience.

My study on this task has arguably been the biggest undertaking to date. I entered with a fairly primitive knowledge as to what constitutes as networking but have come away confident in being able to differentiate how varying elements inform professional practice. I was surprised to find examples of all concepts discussed within my own practice, whether it be for positive or negative impact. All sides exist and it is important not to shy away from what is present but accept it and look to work with it.

Bibliography

Axelrod, R 2006 “The Evolution of Cooperation”, New York: BasicBooks

Cain, S, et al. 2011 “Research Bytes” Strengths of Introvert and Extrovert Personality Types [online] Available at: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CCEQFjAA&url=http%3A%2F%2Fstartsmartstaysafe.ca%2Fwp-content%2Fuploads%2F2013%2F05%2FThe-Strengths-of-Introverts-and-Extroverts.pdf&ei=hLNLVa3MGs3fsASc4YC4Bw&usg=AFQjCNFeh3bxvFxFm4jr0cPjDcZl6xzHDw&sig2=3bAHzrZwEfsIrIgS2UZr0Q [Accessed 07 May. 2015]

Cox, A 2005 “What are communities of practice? A comparative review of four seminal works” [online] Available at: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=11&ved=0CFEQFjAK&url=http%3A%2F%2Fcore.ac.uk%2Fdownload%2Fpdf%2F50817.pdf&ei=Z3ROVZevCsSN7AaVg4GgBg&usg=AFQjCNHv__gx0NnAWmWbco6XrjbuV6q4xQ&sig2=adph61d2V-TV5ETWPHHx8A [Accessed 09 May. 2015]

Crisp, J, Turner, R, 2010, “Essential Social Psychology”, 2^nd Edition, London: SAGE Publications Ltd

Lave, J, Wenger, E, 1991, “Situated Learning: Legitimate Peripheral Participation”, Cambridge: Cambridge University Press

Middlesex University, 2014, “Module 1 Reader 3”

Penn State Alumni Association, “Developing a Strong Professional Network” [online] Available at: https://www.mne.psu.edu/PSNES/Networking.pdf [Accessed 06 May. 2015]

Siemens, G, 2004, “Connectivism” A Learning Theory for the Digital Age [online] Available at: http://www.elearnspace.org/Articles/connectivism.htm [Accessed 09 May. 2015]

Tieger, Barron-Tieger, 1995, “Do What You Are” Personality Type Handbook – A Counselor’s Guide for Using Personality Type To Understand and Counsel Students [online] Available at: https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=14&ved=0CFgQFjAN&url=https%3A%2F%2Fwww.andrews.edu%2Fservices%2Fcareer_services%2Fdocuments%2Fdwya.pdf&ei=EcBLVdPAGc3fsASc4YC4Bw&usg=AFQjCNELp881zDKbV0RMpZDOJMl2ghXLBg&sig2=4xWVf23lAZHi9RtzzU5Kaw [Accessed 07 May. 2015]

Wenger, E, 1998, “Introduction to Communities of Practice” [online] Available at: http://wenger-trayner.com/introduction-to-communities-of-practice/ [Accessed 09 May. 2015]

Wenger, E, White, N, Smith J, D, 2009, “Digital Habitats” Stewarding Technology for Communities [online] Available at: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=12&ved=0CCcQFjABOAo&url=http%3A%2F%2Fennuonline.com%2Fwp-content%2Fuploads%2F2012%2F02%2FDigitalHabitats-Chapter62.pdf&ei=44dOVdbWKqaR7Aby_oCwDg&usg=AFQjCNFhcoLCsZH-V1uAheo8giR5KD-JRA&sig2=uXncdP6_OdYm_f7kMcX9Sw [Accessed 09 May. 2015]

  

Module 1 - Task 3a: Current Networks

The online session focusing on the third part of module one brought attention to professional networks. If I’m honest, prior to the session I was of the belief that my current operation of networks do not stretch that far. It was a pleasant surprise, however, upon carrying out the session’s exercise to notice that I do in fact have a variety of networks that I deal with on a day-to-day basis within my practice. I am beginning to enter a mode of self-awareness regarding these communities, a way of thinking I have not been conscious of for some time and perhaps due to the amount of time I have spent operating within them. My diagram identified various communities of practice and provoked me into thinking about the various tools to be found within them, some of which I made note of. These recorded tools will be used a springboard for evaluating and sourcing ways to possibly extend methods of my on-going professional networks.

After having some time to reflect upon the outcome of my diagram in relation to the online session, I have noticed that a lot of my bullet points do not mention my use of web 2.0 platforms amongst other contributors. Looking at what I have so far I realised the reason I didn’t was because I engage with nearly all aspects listed through means of web 2.0. This is most recognisable in my practice as a performer and, indeed, my studies for the BAPP course. Particularly within the realms of performing, I have numerous tools at my disposal for promoting myself.

The use of e-mail for contacting the likes of agencies, casting directors and colleagues is a priority and it often supplies the most direct form of contact in advancing opportunities for myself. I also use a number of extended services such as Ray Knight Casting and Universal Extras’ websites for film work and the performer directory known as Spotlight serves as a constant stream for suggesting suitable work for audition. Being a member of Spotlight, there are a number of communities within the organisation that can help further the performer’s reach. Events such as ‘Surviving Actors’ or the ‘Spotlight Ball’ bring industry professionals together and can help inform the individual as to where they currently stand and how to build upon their current position. Recently, I have found a new tool for use offered by ‘The Stage’. In recent years they have expanded on their use of web 2.0 and now, as well as offering their weekly magazine to subscribers online, operate a castings (appropriately named ‘The Stage Castings’) service. Performers can audition for work through means of recorded video and sound clips. This service is ideal to the performer. It is an extremely accessible tool that allows for a quick and easy outreach, something incredibly effective for the industry relating to its current climate. I will also use more informal and social platforms such as Facebook for contact with others. I have often found upon meeting people on jobs that it is the quickest way to open up a dialogue post job’s end.

I am aware, however, that there is much more I can be doing to further extend my current networks. A common platform I frequently hear being used amongst industry professionals is ‘LinkedIn’, a networking site that allows job seekers to engage and build relations with companies and employers of interest. In terms of using it for the purpose of finding work within the arts, it can be an invaluable source. I myself set up an account some time ago but have not found much use for it just yet. I am constantly on the lookout for opportunities but maybe I do not invest enough time in discovering networks beyond initial, obvious and familiar sources e.g. responding to an audition for a cruise- line company advertised in The Stage magazine. Existing tools at my disposal such as Instagram and YouTube could be utilised to broadcast my current activities. This could be posting new pictures of a production I am working on or uploading my showreels or other video footage. If properly kept and maintained, an online presence could prove as effective today as physical practice e.g. travelling to attend auditions/meetings.

I often see performer’s post nearly all there is to do with their current activities to their Facebook, Twitter or Instagram. In my work as a performer, I have been taught to keep a lot of my work to myself before revealing it to an audience. It is as Declan Donnellan says, “All the actor’s research is part of the invisible work, while the performance is part of the visible work.” In my work as a developing practitioner, however, I am learning that maybe these ideals could arguably hinder progress in a more immediate sense. I should be celebrating even the smallest successes with my peers in order to maintain a stance of pro-activeness. On the other hand, maybe there is a way to develop professional practice without risking artistic integrity. It goes back to what I discussed in my previous post with regards to the online session, the idea of compartmentalising and calling upon different skills when required. In any case, perhaps by making more time to explore these other networks and approaches I could find a plethora of new tools for self-promotion and in turn make myself a lot more employable.

Even in my aforementioned tools I currently use I sometimes wish there could be a more cohesive, direct network for access, one where a number of the existing come together to exist in a singular space. This could include a section for uploading CV’s, headshots showreels for viewing as well as a direct messaging service to allow for industry professionals to contact each other. It could be particularly useful for casting directors and agents. They could find requirements for themselves and pull together a list of suitable candidates. I think this would be particularly effective for smaller productions and organisations. The network could also feature a group forum for members to chat and informed on industry happenings. Opportunities for auditions and such could be posted and seen by a much wider consumer basis than that of a post to a first-party website. It may mean an increased competition, but it would also encourage a much more diverse selection in candidates.

Whilst I recognise that my ideal network does not currently exist, there are certainly things I can do better with my current tools of practice. I have experienced fringe theatre but my engagement with it has been through word of mouth and by procedure of email. I am aware, however, that groups exist particularly through social media platforms such as Facebook and Twitter and offer the chance for networking. I feel I also neglect existing networks such as LinkedIn because I do not understand its use and discard in favour for what I know works well for me. This is probably short-sighted of myself and does no credit in helping advance my career. I could also take the opportunity whilst studying on the BAPP course to talk to other students about networks they use in their practice, whether there are any that cross-over with my own and where new ones can be found. I hope to find further inspiration through looking at other student’s blog entries relevant to this part of the module. With this in mind, I will now begin to critically look at my current level of engagement with networking, acknowledging established practitioner’s theories and how they could be of value to me in developing a new perspective on the subject.

Bibliography

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

Online Session (09/04/15) - Discussing Module 1 Part 3: The Networked Professional

This session was to be my first for one of two experiences; the first being an online discussion with the rest of the BAPP students and the second being my use for the web 2.0 platform that is ‘Skype’. The prospect of sharing ideals with other students in such a manner was one of excitement. As with the campus session, this post comes a few weeks after its occurrence. Since then, I have had time to read and develop views further via engagement with the third reader and conversations with other students via blogs. The session was held by Paula and included Catherine, Jessica and Laura. They have uploaded posts since with their own views on the session that are worth looking at.

We began the session with a recap of part two of the module, with particular regard to Schön’s theory of ‘reflection-in-action’ and ‘reflection-on-action’. After having appropriate time to evaluate its uses, there was a group consensus that reflection-on-action served as the best method for logging professional practice. We further agreed that we often enter Kolb’s learning cycle through ‘reflective observation’ or ‘abstract conceptualisation’, sometime after an experience has occurred. I was at this time still working through tasks for the second part of the module. Whilst I had started my journal I had yet to explore the writing style, informed by Moon’s framework, of ‘initial reflection’. During my entries utilising this approach I came to find more clarity, and that by use of adjectives and other literary devices for what I noticed around me that this was inflected on the overall outcome of an experience. This provoked me into thinking how environment informs my reflection and that perhaps reflection-in-action can be used to a lot effect than previously thought.

Paula then brought our attention to the next and final part of the module, ‘the networked professional’. She asked us to begin thinking about our current networks, where they exist and how they interplay to inform practice. We were then introduced to practitioners Jean Lave and Etienne Wenger and their theory of ‘communities of practice’, the belief that learning is conceived by the maintaining of social relationships as opposed to the individual gathering knowledge serving themselves by no other influence. We were then asked to carry out an exercise that would best demonstrate how our own networks, as vague or as distant as they seem from one another, work in cohesion to allow us to carry out our day-to-day practice. This took the form of a diagram that illustrated this process. We were given five minutes to carry out the exercise.

 

Although I drew the diagram again for presentational purposes, the layout featured is one of complete spontaneity within the time of the task. I knew my part-time retail job would be at the epicenter, not so much for its importance over other areas but for its grounding in allowing me to shape other activities around it. All other areas of networking have either presently or at some time previously co-existed around this constant network. Looking at the diagram as a piece, it is strange to see so many aspects of my practice and how much they overlap. These seemingly separate communities are manipulated to perform tasks that overlap with each other. My manager at my retail job, for example, will be asked if I can take time off for an audition, for example. His response will significantly affect the way I deal with replying to the individual who offered the audition. Neither parties will be actively aware of each other’s existence but they share an interlinking bond. We compartmentalise these communities and call upon them to perform a number of tasks that directly affect others. From looking at the diagram, a comparison could be made to that of a puzzle; each piece has its place, it is deciding how to where to fit each piece. We summarised that it was important to maintain relationships within communities in order for our practice to function as we would like see it.