ummmmm.....

So I know I haven't blogged about Razzamataz in a while so here are a few posts as a catch up.

Can I fully complete Module 2 part 6??

I am concerned as to how I can complete tasks 6B & 6C without actually doing my inquiry. I find both tasks confusing. Has anyone got advice for me??? 

6B

For my first tool I conducted a pilot survey and had 1 response but I realise now that I wasn’t talking in the right context. I was talking about drama in mainstream schools and in theatre schools but realised that once I got my job at Razzamataz that I wanted to see what the curriculum was like in a full-time theatre school and a part-time theatre school. Therefore I no longer needed to do a pilot survey (as I could do interviews with the principals and maybe the staff about their knowledge of the curriculum, and more on the ethics of the schools) 

With my second tool I have conducted 2 interviews and I have had an informal interview with Sam Bradshaw, and I will have a formal interview with the principal of Sylvia Young (provided she says yes).

My third tool is some literature reviews (Appendix 10) on the curriculum of the schools. I am yet to obtain these pieces of literature due to a lot of articles being either for or against the schools and they may not have all the facts right. But I have a downloaded copy of the Sylvia Young’s prospectus and I have been reading it. It lacks information on what the students do on a weekly or a monthly basis in both vocational studies and academic studies.

However I found something in regards to my last question in my pilot interview about what it’s like to work as a professional performer/director etc. and a teacher, I did find some interesting literature that links in with it. I have recently finished reading “Judi Dench and Furthermore”.  In this book she has interesting views on the way things work with curriculums of performance institutions and how she thinks being a professional actress is better than being a director/teacher. Because she has had more experience in theatre than in television, I can use her as a valuable source for information on the background of her when she was studying drama, dance and/or music.

Pilot Focus Group

My pilot focus group is linked into the interviews being done as I speak. I stated in my critical reflection that "...I will be speaking to my colleagues and to Sylvia Young for my focus group." Once those interviews have been completed, I will collate the information and use the important parts to become the centre of my focus group. Whether this will be needed for my inquiry (I don't think it's necessary) only the next week or so will tell me. I am also not sure whether the staff can fit it into their schedules. I don't want to just get a Razzamataz view on this (because they will gladly take part), as it won't balance out. I need the views from staff members or just Sylvia Young herself from Sylvia Young Theatre School to ensure I get a balance on both sides. 

I will report more on this when I complete this process. 

A Pilot Observation

At Razzamataz, we don't allow the parents to watch the children and young people in their classes. Therefore I cannot do a pilot observation (as it is unfair to parents and other staff and it could make the students uncomfortable). I did ask about this for blog purposes (I already knew that an observation would be against the rules). Below is the email sent by me to Luke* and the email Luke* sent me back.

• Observation week?‏

21/05/2012

Reply  ▼

 Lily Corrigan

• 
  

  

To Sam Razzamataz

From:	Lily Corrigan (lilycorrigan@hotmail.co.uk)
Sent:	21 May 2012 10:59:55
To:	Sam Razzamataz (hampstead@razzamataz.co.uk)

Hi Sam, 

As part of the inquiry I have stated that I will use observation to help back up the information found in the inquiry and the interviews conducted by me. Would it be ok if I observed the seniors classes this Friday? It's doesn't have to be Singing, Dancing and Acting. But the more broader I am with the observation the better for the inquiry. 

I'm sorry to spring this on you. It's been madness last week and it will be again this week. 

The things we need to do to become BA Graduates hey? (laughs)

I will send you the interviews for Cat, David and Casey by this afternoon. 

Thanks in advance

Lily

observing classes‏

21/05/2012

Reply  ▼

 Sam Razzamataz

To Lily Corrigan

From:	hampstead@razzamataz.co.uk
Sent:	21 May 2012 18:28:48
To:	Lily Corrigan (lilycorrigan@hotmail.co.uk)

Hi Lily 

I will forward your questions on to the teachers with your email address and leave it in their capable hands to get back to you. 

With regards to observing the senior class I am afraid I am unable to help. As we do not allow any parents or spectators into the classes I am not able to make exceptions, also with such a small group of seniors I don't want them feeling any more exposed than they already are. I hope you understand my reasoning and the importance of non exposure to increase their confidence at this stage. 

I am willing to help all I can with your studies and am happy for you to write about the Juniors from a spectators perspective or may I suggest you doing a piece about the seniors at the end of term presentation when parents will be allowed in to view the classes. I hope this helps. 

Kind regards

Sam Bradshaw

Principal - Hampstead
Razzamataz Theatre Schools
Mobile: 07875331254
Office: 02081507198
www.razzamataz.co.uk

A Razzamataz Theatre Schools business operated under franchise and
independently owned by Sam Bradshaw.

As a teaching assistant, I cannot go against the rules or I will risk losing my job. And if I lose my job then I fear I won't be able to finish the course.

Task 5C

Consult the reader on Professional Ethics. How does what you have learnt fit in to

the theoretical ethical framework. How does what you have discovered fit in with

the ethics of professional inquiry? Blog what you have learned about ethics in a

professional context.

What I have learnt fits into the theoretical ethical framework by encouraging me not to break the rules of ethics, and how to ensure the safety of those who are involved in my inquiry.

What I have discovered so far doesn’t fit in with the ethics of professional inquiry as I am not conducting research involving parents and children. However I must make sure that those who are involved in my inquiry know everything about my goals, what I will be researching, and that they can withdraw from the inquiry at any given point.

After I have finished my inquiry, the information gained and stored will remain private, and not be published anywhere (unless otherwise discussed). 

Critical Reflection on Professional Practitioner Inquiry

                                Critical reflection on Professional Practitioner Inquiry

In the last few months I have explored three areas (module 2) which will help me with module 3 (the actual inquiry). I have also explored these areas within my professional practice. 

Developing Lines of Professional Inquiry

In the developments of the lines of professional inquiry, I wrote out a set of questions that I thought related to what I wanted to inquire about. I wrote out 3 lots of questions and the third set of questions really spoke the beginning of my inquiry plan into motion (Appendix A). The inquiry I wanted to find out was ‘To study the performance teachings with Razzamataz & other performance schools for children’. I created an SIG (special interest group) on Facebook (Appendix B), but found that there no conversations. I then joined LinkedIn, but nothing arose from this (Appendix C). I found that speaking with those outside of my university network was more effective to my inquiry plan.

I found that reading the material in Dench, Judi 2010 ‘Judi Dench and Furthermore’ was helpful with the developments of my plan. It showed her experiences with her performance education, finding work, and how she feels about directing to being a professional. In order for me to be able to have a factual inquiry, I realised that I can’t do things on half measures. I have to look at both sides to the curriculum at Sylvia Young and I have to look at the different class groups at Razzamataz.

Having looked at both the business side and the curriculum, I realised that my inquiry would be too broad and I would need to be more specific. I chose to do the curricular side only because it was more important and I had more of a mystery to explore.

Professional Ethics

With the ethics of both schools I found that I knew more about the Razzamataz ethics and code of conduct than I did for Sylvia Young (Appendix D). The ethics were different for each school, and the ethics were what the principals or the founders of the schools wrote, so they could be right and/or wrong. After reading a friend’s critical reflection (Appendix E) I realised that I had to read the data protection act because I am going to interview people and such, so I needed to know what I can do and what I cannot do.

Tools of Inquiry

In order to figure out what tools I should use, I formulated a pilot survey, and a pilot interview. I found that in the tools above I would only need one, the interview. (See Appendix A) I did my first interview already (See Appendix A). The second is yet to be done. I used ‘Survey Monkey’ for my survey (which is not needed), and I will be speaking to my colleagues and to Sylvia Young for my focus group.

This inquiry will develop my knowledge in my professional practice and preparation for my future career in teaching.

Proposed Award Title and Rationale

Proposed Award Title and Rationale

The award title that I hope to achieve as a result of the programme is BA (Hons) Professional Practice in Children’s and Adolescence Performance Education. I am trained as a performer and director with a foundation degree in Drama and Theatre Production from Middlesex University. I have been performing from the age of 13 (having wanting to be a doctor first), and I have a broad knowledge of directing for theatre and acting for film, television and theatre.

I am currently working as a teaching assistant for Razzamataz Theatre Schools. I am based at Razzamataz Hampstead. I love my job and I get a great deal of experience and knowledge from this. I hope to open another Razzamataz franchise in London within 2 -4 years from now. I want to do this because I think that performing arts is the future investment for children and young people. Whilst at Razzamataz Hampstead I will be learning about teaching, being a principal, and hopefully taking a training course for franchising.

I thought a lot about my proposed award title and came up with a lot of ideas (due to the fact that I hadn’t found a job in my profession until just before Easter began). But I feel that this award title expresses exactly what I do at Razzamataz and what I hope to do in the future.

This is my first job in performance education, but I have worked extensively with children for more than 8 years.  I wanted my award title to state education because that’s what I want to do eventually (as stated above).

Over the course of the first two modules and talks with tutors and fellow students I have come to realise that Education is where I need to be. To use my working experience and my experiences of taking performance classes, to help children and young people learn. Talking to one specific student on the BA Professional Practice course has really helped me broaden (but still be specific) to come up with the above award title.

Pilot Interview 2

1. What are your views on Performing Arts teaching in schools and Drama schools?




2. In your opinion How has Sylvia Young beat most theatre schools in the last few years?



3. What rules and regulations are in place for Sylvia Young Staff and Children?


4. What is the curriculum like at Sylvia Young? Meaning How does it compare with Part-Time theatre education.


5. Finally what is it like to be a principal of a theatre school to being a professional in the Performing Arts industry?

Sorry my Inquiry Plan is running a little late

I will have it sent to Paula tomorrow and have it posted tomorrow on here.

Sorry for any inconvenience caused.

Lily