Professional Artefact = *Aaarrgghhh*

I have spoken to Paula about doing a piece of choreography for my artefact, as I find communicating through dance easier than communicating with words. However, after reading the module handbook I'm concerned that choreography will not portray the complex ideas asked for in the handbook.

What is everyone else doing for their artefacts?

Also I have tried replying to everyone's comments but they just don't seem to be appearing so Lucy and Holly my skype address is no1-dancer if you ever want to chat.

And Katrina thanks for the advice, I too am just writing in the best way I can and then can hopefully adjust it with feedback.

Thanks

Personal Writing

I have struggled for a long time trying to write my professional inquiry, I have tried several drafts of the introduction and evaluation so far, to very little success. I don't have much experience with degree style writing, as a I did a professional diploma instead, and I find it difficult to get into that mind set.

However, I think I try to make my writing too formal, i think this is because I perceive degree writing as a formal endeavour, educational and factual, when in actual fact our inquiries and personal and life based. 

So how do I make something personal sound professional? I feel when I write in a personal way my inquiry sounds too journalistic.

Any thoughts fellow BAPPs?

Task 7A

Professional Inquiry

Where to start?

That is actually my question! I have found it increasingly difficult to know where and how to start this inquiry. Finding a linear approach to my jumbled ideas is challenging, in particular when it comes to starting the written part of the inquiry. 

I am also worried that my literature review will be lacking as I am finding it difficult to find relevant articles, papers and books that will help me with my inquiry, has anyone else struggled with this?

I am hoping my interviews will give me lots of information to work with!

I would very much like to join a SIG to do with dance in education if anyone knows of one?

Thanks

Task 6C

I have chosen the title Musical Theatre mainly because my original qualification from SLP College was in Professional Musical Theatre, but also because this is where I would like my future career to go. My knowledge and expertise is in this area but also my passion. 

I would like in the future to have a career as a musical theatre tutor, passing on my passion to other students and continuing to work within musicals and performing. I would like to teach post 16 so I can work with students who are hoping for a career in musical theatre so I can work eith them and share my experiences. 

Finally I think this is the most helpful title to achieve this career and is the most relevant to my training and knowledge. 

Task 6A

I chose to look int the tool of surveys, for my inquiry in particular I believe this could be useful in establishing how many teachers have experience working with sensory impaired students, this will give an indication as to how many opportunities there are for sensory impaired dance students. It will also help me to find out how teachers adapted their lessons to include these students if they do have experience in this field.

Later on in my inquiry I also intend to carry out lesson observations as this will give me key information and insight as to how teachers prepare and carry out dance lessons including sensory impaired students. 

Here is a link to my survey, I chose to use survey monkey as I have used their website before and was pleased with how it worked.

https://www.surveymonkey.co.uk/r/2G5LDLG

Please help me by taking my survey whether you are a dance teacher or a normal teacher!

Thanks.

TASK 5B

I found some documents of code of ethics and practice within teaching, specifically post 16 and SEND

http://dera.ioe.ac.uk/6466/1/code_of_practice__revised__for_providers_of_post-16_education_and_related_services__dda_.pdf

https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/398815/SEND_Code_of_Practice_January_2015.pdf

Even within the Post 16 PDF there is emphasis on SEND students:

"There are various actions which education providers can take in order to avoid discriminating against disabled people. By doing so, education providers are not only likely to improve the overall performance of the institution but will also minimise the incidence of expensive and timeconsuming litigation. In addition, these actions will assist education providers in complying with the Disability Equality Duty, which all those operating in the public education sector will be covered by either directly or indirectly. The Disability Equality Duty requires all public authorities – including education providers covered by the Part 4 duties outlined in this Code – when carrying out their functions to have due regard to the need to: ■ promote equality of opportunity between disabled persons and other persons ■ eliminate discrimination that is unlawful under the Act ■ eliminate harassment of disabled persons that is related to their disabilities ■ promote positive attitudes towards disabled persons ■ encourage participation by disabled persons in public life; and SI 2005/2966 13 2 How can discrimination be avoided? ■ take steps to take account of disabled persons’ disabilities, even where that involves treating disabled persons more favourably than other persons."

Finding information on a specific code of practice for teachers is harder than I thought, there doesn't seem to be a standardised set of rules, just common sense and good training.

I found some interesting questions online about dancers with disabilities

• What are the economic realities for a disabled dance practitioner?
• 
  
• Is the disabled dancing body more exposed to public consumption than the non-disabled body?
• 
  
• How do we value dance made by and performed by disabled dancers?
• 
  
• Can dance made by disabled artists find its rightful place in our cultural heritage?

"Dancers with disabilities encounter unique challenges. The professional dance community broadly supports the removal of labels such as ‘inclusive performance’. Such labels mark disabled dance artists out as ‘other’. Yet, disabled dance artists and performers like Claire Cunningham, Caroline Bowditch and David Toole are slowly making their mark upon the mainstream dance world. There is, however, a long way to go before disabled dances artists are fully integrated. The InVisible Difference project recognises this."

quoted from http://www.invisibledifference.org.uk/research/overview/

My mum works as a Teacher of the Deaf and I believe this could be a good choice as she can give an inside input on this topic. 

I found a list online of dance companies that use disabled:

dancers http://www.communitydance.org.uk/dance-and-disabled-people/useful-contacts/disability-related-dance-companies.html

http://www.communitydance.org.uk/dance-and-disabled-people.html

I also found a paper on "Barriers to dance training for young people with disabilities" by  Imogen J. Aujla 1 & Emma Redding.

I'm definitely going to give this a full read and find some questions within it.

https://www.trinitylaban.ac.uk/media/1044606/changing_perceptions_barriers_document.pdf