Learning as a Circular, Reciprocal Force...

This week I have been really working on using my key texts to help me learn about Mental Health within the Arts. The book I am reading at the moment is called ‘The Authentic Performer: Wearing a Mask and the Effect on Health.’ It is mainly aimed at artists and discusses the life of performers, but the author very cleverly relates things back to everyday life, reminding the reader that often all of us feel like we are wearing a mask in some way, no matter what our profession or practice. 

In the introduction of the book the author talks about how by writing it, she hoped not to answer a specific question, but to provoke more questions to herself and her readers. I found this very interesting as that is exactly the aim of this course and our inquiries. She included a quote which I wanted to share…

‘as soon as man understands that, for him, the ladder of comprehension has no end, he can find comfort in the realisation that consequently there is no limit to his possible progress; no matter how advanced his wisdom, he remains capable of yet another step forward.’ Hans Selye P.320

I think at times we can become too goal-orientated, too fixed on the idea of a specific target or achievement. I do think that goals and targets are crucial to our development - they help to motivate us to reach a dream, kind of like a road map. They drive our effort and perseverance and encourage new ways to enhance our development. But if we get too fixed on one thing we risk loosing the circular, reciprocal forces of Art itself. We need to focus on what will happen after we reach our goal, where will this lead us next, how can we keep developing, questioning & growing. 

This quote really resonated with me and has helped me to understand the teaching & learning methods of the BAPP. And this is also very closely linked to my inquiry - as I learn about Mental Health with the Arts I am finding more and more questions that lead me to more and more answers…but then further questions. It’s a circular, reciprocal force that should never stop. 

It would be boring to live in a world where everything was already known, wondering about things and asking questions is a really great thing! Having a goal or target is a great way to add structure to that wonder but it should be open-ended to allow the learning, in this case, my inquiry, to take me in whichever direction it wants to!

Three Identical Strangers - A Documentary

I recently watched a very moving documentary called ‘Three Identical Strangers’. 

It was about triplets that had been separated when they were 6 months old. They were each adopted by separate families who thought they were single babies in-need of adoption and without any siblings, which obviously wasn’t the case. It later came out that the children had purposefully been separated and raised by different families who had different beliefs, financial situations etc. all as part of a study into Nurture Vs. Nature. 

The babies all suffered from separation anxiety when they were adopted by different families. The children were watched, studied and tested throughout their childhood to see how they were developing, and how this development differed from their brothers. Later in life, as adults all of the children suffered from mental health disorders in some way, and very sadly even one of the brothers ended up committing suicide. 

This documentary is loosely linked to my inquiry as there is an obvious presence of mental health issues. However, I am mostly sharing this because I am looking at it from an ethical side.

The choice to separate family members as children to study their development, to me and many, seems very morally and ethically wrong. The families were unaware of why the children were been studied and the study obviously caused a lot of pain to the participants. 

Through investigation it was later revealed that this family of triplets was not the only case and that this had happened to many babies who were either twins or triplets. 

The case has been deeply hidden and even the participants, now grown adults, are not allowed access to there own data that was collected and recorded about them.

It leads me to question how and why this was allowed, where the data has gone and who would do such a thing? It is shocking to me that people knew this was going on and happily took part in leading or carrying out the study!!

It is a very interesting documentary and I advise people to watch it if they can. It has lead me to really focus on the ethical side to carrying out my inquiry as it really highlights the importance of data protection, informing participants fully, getting consent and following ethical guidelines that are there for a very clear reason.

If any of you have chance to watch the documentary or have heard of other similar situations I would love to hear your opinions!

An insight to my Inquiry

I wanted to share a little of what my inquiry is about.

My inquiry is based around Mental Health within the Arts...what support systems are available to us, how accessible they are and how many of us actually know they exist! 
I am looking into the psychological-emotional demands of being a professional dancer. I want to map the facilities that are available to performers - including mental health care and emotional support. I also want to look at the possibilities of making dancers more aware of the support that is available, as well as making the profession aware of the possible need to support dancers better in this way.

I am carrying out interviews with 5 professionals who are at different stages of their careers within the arts. I am hoping to learn from them, information about the facilities available, whether they have experienced them for themselves and how they heard about them. Do they refer their students or employees? Do they have to pay for these services?


I am also doing a lot of book and internet based research into these facilities to really learn what is out there. I am finding a lot of interesting things that I am excited to document and share!!

I feel as though my professional artifact is going to be a great way for me to share my findings and really spread the word to other performers about what is out there. I need it to be something that will really speak but I am struggling at this point to decide on what to do and how to best format it??

Due to my schedule out at sea, I am not often available to attend the Skype discussion. However I really want to get involved in the community and share information. I would love to hear about other peoples inquiries. I would also love to know if anyone has any information or experience about mental health within the arts...any useful websites, journals or blogs that may support my inquiry?

Thank you in advance :)

Module 3

We are a couple weeks into the term now and I have been very busy with my Module 3 inquiry!

Unfortunately I have been unable to attend the Skype Sessions due to being at sea. Although this has been frustrating, browsing other peoples blogs from the course has proven super helpful in keeping me in the loop of what has been discussed and helping to guide my personal learning. 

I have spent time going over my inquiry plan from Module 2 and using the feedback given to consider any changes that I want to make. I am pleased with my plan but I do think it is important for me to be open to the fact that my inquiry might inspire questions that I hadn't even considered, leading me to further questions in other areas! This is something that I have noticed is highlighted a LOT in my Module 3 Handbook...to be looking for my research to lead me to ask more questions, rather than looking for a closed answer. 

I have also completed my Study Plan - I think this is such a helpful tool in making sure I keep on top of my work. I am starting to see already how easy to is to get so deep in amongst carrying out the research that it is hard to know when to 'stop' and start analysing. So the plan is a great tool at staying within time limits.

Something I am struggling with at the moment is waiting on other people! I am waiting to hear back from participants to carry out several interviews - it is proving hard to find times that work for both parties, especially for me being out at sea for the majority of October. This just means that as soon as I get confirmation and the interviews take place, I need to be in a good spot with the rest of my research...allowing me to start my analysis on track.

Has my inquiry changed the direction of my future professional development?

I have always wanted to go into casting when I feel as though I have reached my potential as a performer. I think that this is a natural progression and that I would embrace the ability to cast performers and teach them the shows. But I had never previously considered the impact that a casting director can truly have, not only on someones career but on their emotional well-being. 

Companies are not afraid to advertise that they are auditioning for a certain 'type' of performer. Whether it be your height, hair colour or general physique that they specify, there are always requirements. This has often angered me. Being a short dancer I have frequently been 'un-suitable' for a company. We are judged on our physical appearance and not our talent and that can be infuriating. I do understand the pressure that a casting director is under- they have specific costumes to fill and other factors beyond their control. But the choice to eliminate a performer from consideration without them even getting the chance to show what they can do can be soul destroying. 

This has made me realise that maybe I would not enjoy being a casting director. I would have to choose between organisational culture and my own morals and beliefs. Personally I think that a cast full of different 'types' of dancer fills the stage with contrast and excitement. But my employer may not feel the same and that is where the conflict could prove difficult.

Developing my knowledge on how rejection can affect a dancer has made me realise that auditions form a crucial part of a performers emotional well-being. Being aware of psychological support groups available to performers and maybe advertising them within dance studios holding auditions is something that I now want to try to promote and share the importance of.

My research has also made me realise the importance of my role as a manager when it comes to emotional support. My cast is onboard a cruise ship so we are away from our family, friends - the people that we have choose as our own support system. This can make us more vulnerable than ever. I need to encourage my cast to lean on each other, take the time to notice when somebody isn't themselves and go out of your way to try to make them smile. 

Being more knowledgable about the emotional support available will help me to support my cast better. I want to share knowledge and love and be more than just a manager.

Module 2 Skype, Thursday 12th April - "Imagine you can't do an Interview..."

So yesterday we had Skype Session and it was extremely beneficial! It cleared up a lot of things for me and helped to put me back on the right track so I thought I would share some of the things that we discussed...

- What do you want to learn from your inquiry? -
We need to know what it is that we are hoping to achieve from doing this inquiry. What is it that we want to find out more about and importantly how can this help us in developing within our own practice. Keep thinking this through so that you have a good understanding of what you want to learn. 

- Analysing the data that you acquire - 
You need to know what it is that you will do with the results of your inquiry when you have them. Understanding how they can help you in your own profession is key in this as it helps you to make sure you are learning about something beneficial. If your data is relevant, analysing and using the data should seem natural as it is very clear to you how the information will help you. You need to gather the right information to allow you to get out of the inquiry what you want!

- Methodology - 
Knowing what you want to learn and understanding how you will analyse this data is essential when considering what methodology you will use. You need to make sure you are asking the right questions to get the answers that will be most useful.
When asked about methodology, most of us in the Skype session went straight for interviews. Interviews can be useful but Adesola explained that they are usually the 'go-to' choice. We like them because they are fun to do and we think that asking someone and being told the answer directly is the best way to learn something new. But they aren't always that helpful. If we ask our colleagues and people that we work with it is likely that they will know similar information to us. Interviewing them and learning that they know as little or as much as we do about a certain subject is not helpful. There are many more ways that you can gain more information....going much deeper into a literature review, carrying out desk based research, utilising resources available etc.
Interviews can be beneficial too, but you need to really make sure you are asking the right questions to the right people to get information that will help you in learning something new, not confirming something that you already know.

** - Work in reverse -  **
We have the 6 steps in our handbook to help us in planning our inquiry. Something interesting that we discussed was working in reverse. Obviously you will need to have a set question or area of interest for this to work out. But when you know why you are developing this knowledge and understand what you will do with it...then you can really start to plan the how. The how will be easier to plan effectively when the what and why are strongly confirmed in your mind.

Thinking about planning my inquiry in this way has really helped things to make more sense to me. I now have a very strong basis of what I am trying to learn, why I am doing my chosen inquiry and how I can carry it out to learn as much as possible.

One final thing that we discussed were our blogs. We are all often unsure and would like reassurance from others that we are headed in the right direction. We should all really try to make more of an effort to utilise these blogs...reading what each other have to say, commenting back, sharing opinions and experiences to help each other along. 
Getting into the habit of checking blogs often enough can be tough...however you can subscribe via email. If you don't have this gadget on your blog I do recommend that you add it in. That way people can add there email and 'subscribe' to you so that every time you post something they get an email notification. Hopefully this will encourage people to read it and comment back. If we all did this I think our blogging network would grow and we would all gain a lot more from it!

P.S When you subscribe to someone you should get a confirmation email sent to you. You have to follow this link and make sure to confirm your email address before you have successfully subscribed!

I hope this was helpful! 
:)

What support systems are available to performers?

I am spending time looking into support systems available to dancers.

Is there a place we can go to talk about our emotions and experiences after being rejected at a really tough audition? Are there specific forums, discussion groups, helplines aimed for performers? 

I know that I mostly use my own support system made up of my close friends and family...that is who I would call to vent about an audition or open up to about my disappointment in not getting cast. But do I rely so much on my own support system because there aren't enough advice professionals available to us? Or are they there and I just haven't heard about them yet?

I would love to know what you all think! 

Who do you turn to when our rewarding but demanding career leaves you feeling rejected and not good enough? And do you feel that there is enough support available?

Thank you in advice for your opinions...

Module 2: Finding A Focus

It has taken me some time to get back into study mode. I was extremely busy coming to the end of a 9 month contract onboard the Nieuw Amsterdam and then settling back into life on land. But I am now home and ready to work!

I have spent a lot of time wondering what topic to base my inquiry around. I found that I was trying to 'think up' a question which is rather difficult to do. However after a very helpful Skype with Helen I learnt that I need to spend time exploring whats out there and see if that sparks any particular areas of interest and just follow the questions that naturally develop from this. 

There were a couple of topics that I had been considering...

The first was 'Gender Roles within Dance.' I wanted to focus on the stereotypes in the dance world and what each gender is 'supposed' to do. Especially in things like ballroom dancing...the men are usually the 'lead' and the females the 'follow.' My question is why? And how can we try to ensure that the dance world keeps up with modern day developments of gender equality.

My second topic was looking at 'Mental Health in Dancers.' In our industry there is such a huge competition. Going to auditions and not getting anywhere can be heartbreaking...you experience constant criticism and start comparing yourself to others and with this comes many insecurities. This can lead onto more serious insecurities such as body issues and consequently eating disorders. There is also a sense of discrimination that you don't experience in many other workplaces...not getting the job because of your height, hair colour or physique. Is there a support system out there for us? 
This is a very broad topic so I need to spend some more time looking into which particular area of mental health I will choose to focus in on.

Looking at my particular practice and where I am in my career right now, I feel as though the route of mental health will be much more beneficial and relevant to me at this time. As a company manager it is my responsibility to look out for my cast members which can be difficult when we are all away from home and living in an intense environment like a cruise ship. If I understand more about the psychological issues dancers are likely to feel and experience then I can be a better manager and create a stronger support system for my dancers.

If anyone is still struggling to finalise a question for their inquiry I highly recommend committing time to browse books, journals and articles....explore different areas of your practice and just see where it takes you. That was definitely the way forward for me and I now feel confident in my topic and excited about what more I can discover and how this will help my practice!

Professional Networks - Affiliation, Communities of Practice & Privacy

As human beings, we seek out interactions with each other, craving the formation of ‘close relationships’ (Crisp & Turner 2007:266) that can be both gratifying and beneficial. In relation to a professional network we need to understand why people make certain affiliations, why some people seek out affiliations at different levels of intensity and how we strive to achieve our ideal network. 

Crisp & Turner talk about our need for affiliation and how it "provides us with a network of support that will help us when we are in need” (Crisp & Turner 2007:266), suggesting that we mostly desire affiliation when we require assistance with something. In the world of performing arts we are introduced to new experiences regularly and rely upon the support of others and the knowledge and information that they may share in order to feel comfortable enough to make the most of a learning situation. 

My general need for affiliation is strong. I enjoy the company of others and much prefer it to working alone. I feel positive and motivated when working alongside others, and generally just much more comfortable knowing they are there. When I work individually I find that I am anxious, I trust myself less and feel worried, causing me to stress. It’s the whole safety in numbers thought, I just feel more settled working in a team. However it has to be said that in some situations, I do prefer working alone; if I need a quiet space in order to focus, like when spending time on my BAPP course. This shows that the need for affiliation can vary, and this depends on a number of factors.

The type of person that we are, our personality traits and preferences, plays a huge part in the level of affiliation that we desire. For example, someone’s social behaviour can tend toward introvert or extrovert; this can affect participation as it changes the level of interaction - social or professional - that we are comfortable with. This personal desire for solitude or contact is suggested by O'Connor & Rosenblood as operating according to the principle of homeostasis. (Crisp & Turner 2007:267). It’s the idea that people control their own levels of affiliation to keep it stable and as close to the preferred level as possible. People with extrovert traits usually prefer to spend much more time interacting within a network than those with introvert traits. Personally I think that both can be advantageous in different situations depending on the desired result. 

Then there is the theory that variation in participation can be dependent upon different cultures.  Hofstede’s 6 Cultural Dimensions Theory (2010) helps to evaluate approaches, decisions and actions when interacting with people from different cultures within the workplace, as to not cause offence to anyone. Working onboard a cruise ship I interact with people from over 50 different nationalities and being respectful of different cultures and beliefs is crucial, especially when relying upon a professional network.  

Altman introduced the privacy regulation theory (1975) which suggests that we each require different levels of privacy and these levels can fluctuate over time. I agree with Altman and also think that privacy should be considered from an ethical viewpoint too. Opposing feelings such as isolation or over-crowding can occur when our privacy levels are off balanced. Personally I feel anxious if I am totally alone, but I also feel anxiety when I am overwhelmed by too many people. So I agree with Altman that privacy is a very important factor to consider, especially when thinking about people’s comfort levels within a network.

I think that ‘Affiliation’ in general has really evolved over time…of course our need and desire to affiliate has always been present, but our environment, culture and the development of technology has caused this to change. Personally I think that global participation in Web 2.0 platforms has influenced our need to affiliate and also the way that we choose to affiliate, especially considering the workplace and our professional networks. When I originally started utilizing Web 2.0 platforms I was extremely tentative about what information I shared and made available online. However, through experiences that I accumulated over time I have really developed an understanding that engagement, participation and sharing of information is key to benefitting to the maximum. 

A theory that I found I could really relate to is 'selection, evocation and manipulation' (Buss 1987). He talks about how we choose to avoid certain social situations and then actively interact in others. I definitely avoid groups and situations that I don't think I 'fit in' with and choose to interact with people that I know I have things in common with.

Communities of Practice!

"groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” (Wenger - Trayner 2015:1) 

My own communities of practice include…

• The Arts Garage Dance Studios - I attend multiple times a week when I am home and not away on a ship contract. I enjoy meeting and socialising with people who have similar interests, talking about our job and what our future and present plans are but in a very social, relaxed setting. At the same time as chatting and learning from each other, we are taking a class and developing our physical practice too.

• Total Fitness Gym, Weekly Yoga Classes - Here I get to meet people who do not work within the same practice as me, however they have a huge interest in fitness which is a very key part to my employability and the success of my career. I find it so beneficial to make sure to interact with people independent of my practice, getting an outside opinion and a different view on things.

Due to the nature of my personality and the tendencies of my practice, interacting with people in this more relaxed, social setting is a great way to meet people and make connections that could really benefit my development & career. This has made me realise that I need to make the most of this and really attend as many dance related social events as possible.

References…

(Crisp & Turner 2007:266/267) Crisp & Turner, Essential Social Psychology, 2007

Hofstede’s Cultural Dimensions Theory (2010) 

Altman, I. (1975). The environment and social behaviour (p. 46). Monterey, CA: Brooks/Cole.

Wenger-Trayner, E., & Wenger-Trayner, B. (2015) Communities of Practice:A brief introduction

(Buss 1987) - New Theoretical Perspectives: Selection, Evocation & Manipulation

Web 2.0 - Looking at it from an ethical side

It is no secret that there are some concerns over certain aspects of the Web. 

The fact that online we can be anything we want to be or whoever we say we are is a huge worry. There is always that issue of reliability, making us question sources and profiles. There have been so many reported ‘cat-fish’ stories where someone has very easily and believably presented themselves as a totally different person. There is an opportunity to create a whole new profile for yourself and become whatever you want, and then share this online with other people, making them believe you are who you say you are. This can have an effect on not only personal lives but professional lives too. People have often approached others on social media acting as a boss looking to employ you, and it turns out to be just a huge scam. And although applications try their best to monitor situations like these, there is no real way of knowing whether someone is telling the truth or not.

Then there is the issue of privacy. Anyone anywhere in the world can see what you post and share on social media, we can monitor settings yes, making things more private, but even if they can’t see everything, your name and photo is still out there for the world to see. There have been many cases of stolen identity, people creating social media profiles based off another individual's photos and information. This is a scary thought. 

And then there is the more recent concern of being ‘web-famous’. It seems as though people will do anything these days to get more followers or likes on a video. To be popular in the online-community, no matter what that takes. I have often seen disturbing videos online that have attracted a lot of web attention and wondered which morals that creator had broken in order to get these followers and likes?

Most social media sites have privacy settings that can be changed. I don’t know whether this is just me, but personally I have always found these settings rather confusing – difficult to understand what each setting means or how to change it. 

I feel as though the age at which children get their own device allowing them to access Web 2.0 and create profiles on social media sites is getting younger and younger each year. Younger children are much more naïve and trusting. Personally I think that sites like Instagram & Facebook should automatically be private, you should have to accept someone for them to be able to see anything on your page. 

With this blog I like the fact that I have to share the web link with people for them to be able to view it. It isn’t on google for everyone to access, I must choose to share the link. I think there should be more sites like this and generally more emphasis on privacy on social media sites and Web 2.0 in general.

I am not denying the benefits of Web 2.0…it is a hugely positive development with many advantages. But I do think that more attention needs to be given to the ethical side of things, to protect the people that utilize Web 2.0 in all its glory. 

Lewin's 'Spiral Steps' Technique...

I used Lewin’s ‘Spiral-Steps’ technique to look at an experience I have had lately. I have been working on choreographing a piece for our Christmas Show…

1.	Cycle of Ideas I think that this is truly an essential stage in any learning experience because it is the beginning of an idea…where it all starts and stems from. It is the foundation of an experience – so it must be strong!	Right now I am working on a piece of choreography for our Christmas Show here onboard. I decided that I wanted to create an emotive piece about love, and how the holidays bring everyone together. Especially onboard the ship where we’re all away from our loved ones, this unites us as one - we encourage and support each other during this special time. I did consider an upbeat piece of choreography – something fun and festive. But upon deliberation I felt that a deeper, more meaningful piece would be more effective in capturing my vision. I believe that the theatre is a very special place where we can all come together- dance is a language with no boundaries, everyone can watch a piece, understand it, and feel something. That is what I want to achieve with my Christmas choreography this year. Taking the time to think deeply about my idea; what I want to create and why, is so important because when I start choreographing and creating I have a clear vision.
2.	Fact Finding/Planning/Research This is the chance to collect all of the information I will need to support my idea. Making sure that I have all of the tools necessary to carry out the idea successfully. This is also the fun part, getting to play around with the different routes that my idea could take me in. I feel that in this stage it is important to ask opinions of those around me, see whether they like the music, or if they have any suggestions on costumes etc. Using their opinions to support my creative idea.	I started off with the creative side of things – looking at music, and really spending time searching for something that will really inspire the choreography and show off my vision. The music is a huge aspect and could really make or break the piece. I decided on ‘Ave Maria’ by Beyonce. It’s a beautiful song that I think is perfect for the emotions I am trying to create and share with the audience. We also have a female singer in the cast who’s voice is perfect for this song - I know will be able to sing it charmingly, creating the exact emotion I am going for. There were other options but this one just felt right. I then looked at the practical side of things. Taking time to check out the stage to understand how much space we have to dance. Considering whether I want a music track or whether I should ask the onboard musicians to play onstage with us.  I decided on the music track because I want my female singer and the choreography to be the main focus. I then had to brainstorm the costumes. I know that I want them to be white and for the lighting to have a very warm feel. But I am still deciding on what footwear the dancers will use. Once I decide on the choreography I am sure it will become apparent what footwear will be most feasible.
3.	Action This is the doing part of the experience. Actually taking the idea and making it a reality.	I spent time in the studio playing around with choreography. I first came up with a dance break that will be the core of the routine and will be danced to the chorus of the song. Then I worked on a partner work section that an adagio couple will lead. The style of the choreography is contemporary which I love because it leaves room for my dancers to interpret the steps and make them their own – telling their own story that contributes to my overall vision. I then spent time teaching this choreography to my dancers and trying things out onstage with them to figure out transitions, entrances/exits onto the stage etc. I ran the piece multiple times to prepare for the dress/tech rehearsal of the Christmas show. The piece came together nicely and I was really pleased with how it looked.
4.	Evaluation This is the chance to look back and see how to improve. Looking at parts that may be unnatural and can be fixed but also not forgetting to point out the positive, effective parts too. Not just evaluating myself but having others give feedback too.	My onboard managers came to watch the dress tech rehearsal and it was also filmed so that I could have the opportunity to watch it back. Overall I felt really pleased with the energy and emotion that the cast brought to my piece. There is a section towards the end that my manager noticed was a little clunky. The transition from the partner work section to the final dance break doesn’t flow as smoothly as it should. I hadn’t noticed this before but it was good to get a new set of eyes on the piece and I agreed with his feedback. I also spent time speaking with the dancers to see how the canvas dance shoes worked out. They said it made the stage a little slippery. I thought from watching the recording that the lighting and backdrop were perfect, I felt very proud of how it had come together. My managers agreed and it felt good to get that positive feedback. I think my female singer could start the song off a little softer to really make the piece grow in intensity and have that strong finish.
5.	Planning As creative practitioners we never stop. We are constantly challenging things, challenging ourselves, seeing what we can do better and how we can improve.	I took time looking at the feedback from the dress tech rehearsal to see how I could improve on the piece ready for the show. I tried the dancers out in bare feet and this worked so much better. It was less slippery for them whilst they were dancing and I also liked how it looked with the costumes. I spent time working though some of the transitions to make them smoother. I tried out different things until I found what was right – it just seemed to click and I am really pleased with how it all seems so natural and real and not over choreographed. It is exactly the look I was going for. I spent time working with my female singer to get the change of intensity just right so that it grows as the piece develops. She didn’t seems to understand what I was wanting at first but we really put time in and I think it is going to be great.
6.	Action This is what happens moving forward, as a result of this creative process. How will I continue to move forward and grow?	My dancers performed this piece last week in the opening. I was so proud of them and how they came together. They really felt the piece and I could feel the emotional energy building in the audience just s I had hoped. I now want to challenge myself and work on a more upbeat piece of choreography. Maybe an all male number full of tricks and jumps to really show off what my male dancers can do and capture the Christmas spirit. I have learnt that I tend to go for slower, contemporary pieces, and I want to push myself out of my comfort zone and try something new.

I have found this technique extremely useful in putting reflective thought into practice to better understand an experience, and outline how to move forward in order to continue my development. Noticing what stage I am at in the spiral steps makes it easier to move forward in the right direction.

I have learnt that my practice is an ongoing experience of challenges, achievements, developments, realizations and of course learning. The creative practitioner never stops! I have found it especially useful to focus on the feedback section of these steps…using this feedback to inspire me to keep pushing, growing and making things better.