Today is the beginning of my weekend, (strangely I have Sunday and Monday off) and I'm really hoping to use my spare time to try and get Chapter 2 under my belt.
I was just wondering if anyone could clarify what the difference is between an aim and an objective. I have already discussed this with a few friends and my family and so far there are a couple of interpretations.
One interpretation is that an 'aim' is something that might not directly result from your project but something that it might contribute towards, for example......'I aim to help dancers all across the world find ways to cope with their psychological stress'.
The same people said that their interpretation of an 'objective' is something that might result directly from my project, for example.....'My objective is to increase my understanding of psychological stress so that I can advise the dancers in my theatre about it'
Another interpretation was that the aims were what might result directly from my project, and that the objectives were the things I would do to achieve the aims, for example......'My objective is to interview dancers in order to learn more about their personal experiences of psychological stress'
Anybody have any ideas?
I also wanted to quickly ask what the handbook means when it asks you to give a 'research statement'. Does this mean the title of your project?
Any thoughts or advice is welcome!
Thanks,
Laura
Sunday, October 10, 2010
Monday, October 4, 2010
Hi everybody,
I hope that this blog entry is finally the start of me getting back on track with the degree work that I have so badly neglected recently after having a rather dramatic and hectic start to my new season at work. After speaking briefly to Paula the other day she encouraged me to get back on my blog and it feels good to write on it again and get back in touch with you all.
I'm actually a little bit stuck at the moment and looking for a bit of guidance on how I should word some of my interview questions. I have actually written them all already and gained consent from my participants so I should feel ready to start, but for some reason I'm just not sure if I am happy with constantly repeating the phrase 'nerves and stress'.
My project is aiming to find out why dancers get nervous and feel stressed before rehearsals and performances and what can be done to help them cope with it. However, even though 'nerves' and 'stress' can be closely linked with eachother, they are also quite different issues and I am worried that my interviewees will either decide to focus on one or the other when answering my questions. I was wondering if it would be easier to have a single, more inclusive term like 'emotional stress'. Do you think this would work, or is it too broad a term and I should just stick with what I had before?
Any suggestions or new ideas are very welcome!!
Hope everyone is getting on ok and not too stressed just yet!
Laura
I hope that this blog entry is finally the start of me getting back on track with the degree work that I have so badly neglected recently after having a rather dramatic and hectic start to my new season at work. After speaking briefly to Paula the other day she encouraged me to get back on my blog and it feels good to write on it again and get back in touch with you all.
I'm actually a little bit stuck at the moment and looking for a bit of guidance on how I should word some of my interview questions. I have actually written them all already and gained consent from my participants so I should feel ready to start, but for some reason I'm just not sure if I am happy with constantly repeating the phrase 'nerves and stress'.
My project is aiming to find out why dancers get nervous and feel stressed before rehearsals and performances and what can be done to help them cope with it. However, even though 'nerves' and 'stress' can be closely linked with eachother, they are also quite different issues and I am worried that my interviewees will either decide to focus on one or the other when answering my questions. I was wondering if it would be easier to have a single, more inclusive term like 'emotional stress'. Do you think this would work, or is it too broad a term and I should just stick with what I had before?
Any suggestions or new ideas are very welcome!!
Hope everyone is getting on ok and not too stressed just yet!
Laura
Friday, May 7, 2010
Activity 7
Activity 7
Retirement Transition in Ballet Dancers: ‘Coping within and coping without’
Irina Roncaglia
(critique is in bold italics)
Appendix: Interview Schedule
Questions and sub-questions during interview schedule:
1. Can you start by telling me about yourself (e.g. your age, when did you start dancing, when did you stop)? Asking their age could be a potentially sensitive subject area, especially when dealing with people who are retiring from their job and may feel sensitive about it. If one is researching how people cope with retirement, does it matter how old they are if the researcher already knows they are retiring and are eligible for their study?
2. How did you feel when your career was coming to an end?
· Was retirement planned? Was retirement sudden?
· Do you want to share the reasons for your retirement?
3. How did you come to the decision of retiring?
· Was it a lengthy process?
4. Was/is the experience important for you?
· Do you want to share your feelings around the time of retirement?
5. Did/do you feel you have/had control of the situation? Control to what extent? Participants may have completely different ideas on what being ‘in control’ is so the interviewer would need to be aware of this. The interviewing process can be highly subjective and so the researcher would need to acknowledge this when analyzing their data.
· Did/do you feel that you had enough support around you?
6. If you explore the events since retirement, which area has been more important?
· Your friends? Your work? Your family? Yourself?
· What kind of support you received if any? (friends, family, outside agency)
7. How did/do you feel towards your family? This could be a sensitive subject area. Often the amount of support you receive from your family comes down to much more personal issues. Interviewer is assuming that they have close family.
8. How did they feel towards yourself? This could be a potentially uncomfortable question for the interviewee if their family felt negatively towards their retirement. They might not know how their family feels about it and might therefore feel embarrassed and/or alienated if they have to answer the question. The interviewer is making an assumption that the interviewee has some knowledge of what their family thinks of them.
9. How did/do you feel towards your colleagues that were still dancing? This is possibly another sensitive subject area. If they have negative feelings towards other dancers will they want to reveal them? The researcher might have to be aware of a slightly untruthful ‘sugar coated’ answer.
· How was the transition away from the Ballet Company?
10. How did you cope through the whole experience?
11. How did/do you cope with the transition?
Questions 10 and 11, the researcher would have to be aware that participants may have very different ideas of what coping is when analyzing their data
12. How do you feel about the future?
· Did/do you have a new purpose in life?
· How is the future looking for you?
13. How do you define yourself now that you have "retired"?
· Do you consider yourself still a dancer?
· Do you see yourself as an individual looking for a new identity?
14. Are there any other experiences that you might want to share or address?
15. Looking retrospectively has the experience been important in a positive or negative way?
This is a semi structured interview which includes specific but open ended questions in order that the interviewee has the opportunity to speak more freely. Considering that the researcher wants to find out about how individual dancers cope with retirement, the interview has well constructed questions that encourage the interviewees to give their in depth thoughts, insights and interpretations of the issue. I do feel, however, that the interview could be a bit long with 15 questions as most of them allow for the interviewee to speak freely and in depth, and so could last up to an hour and a half or more. An hour should be an appropriate length of time to gather the information that is needed and at the same time keep the interviewee’s interest. Because of the number of personal in depth questions, I think that this interview would be most suited to a smaller select group of individuals rather than a large group sample. I also think that the researcher would need plenty of time and a relaxed atmosphere to conduct the questions so it would be unsuitable for anyone short of time. I think that overall, other than what I have already critiqued, this interview has a good structure and does not contain any leading questions.
Reference for interview:
FQS Forum: Qualitative Social Research: Irina Roncaglia ‘Retirement transition in Ballet Dancers: Coping within and coping without’ Volume 2, No. 2, Article 1
Retirement Transition in Ballet Dancers: ‘Coping within and coping without’
Irina Roncaglia
(critique is in bold italics)
Appendix: Interview Schedule
Questions and sub-questions during interview schedule:
1. Can you start by telling me about yourself (e.g. your age, when did you start dancing, when did you stop)? Asking their age could be a potentially sensitive subject area, especially when dealing with people who are retiring from their job and may feel sensitive about it. If one is researching how people cope with retirement, does it matter how old they are if the researcher already knows they are retiring and are eligible for their study?
2. How did you feel when your career was coming to an end?
· Was retirement planned? Was retirement sudden?
· Do you want to share the reasons for your retirement?
3. How did you come to the decision of retiring?
· Was it a lengthy process?
4. Was/is the experience important for you?
· Do you want to share your feelings around the time of retirement?
5. Did/do you feel you have/had control of the situation? Control to what extent? Participants may have completely different ideas on what being ‘in control’ is so the interviewer would need to be aware of this. The interviewing process can be highly subjective and so the researcher would need to acknowledge this when analyzing their data.
· Did/do you feel that you had enough support around you?
6. If you explore the events since retirement, which area has been more important?
· Your friends? Your work? Your family? Yourself?
· What kind of support you received if any? (friends, family, outside agency)
7. How did/do you feel towards your family? This could be a sensitive subject area. Often the amount of support you receive from your family comes down to much more personal issues. Interviewer is assuming that they have close family.
8. How did they feel towards yourself? This could be a potentially uncomfortable question for the interviewee if their family felt negatively towards their retirement. They might not know how their family feels about it and might therefore feel embarrassed and/or alienated if they have to answer the question. The interviewer is making an assumption that the interviewee has some knowledge of what their family thinks of them.
9. How did/do you feel towards your colleagues that were still dancing? This is possibly another sensitive subject area. If they have negative feelings towards other dancers will they want to reveal them? The researcher might have to be aware of a slightly untruthful ‘sugar coated’ answer.
· How was the transition away from the Ballet Company?
10. How did you cope through the whole experience?
11. How did/do you cope with the transition?
Questions 10 and 11, the researcher would have to be aware that participants may have very different ideas of what coping is when analyzing their data
12. How do you feel about the future?
· Did/do you have a new purpose in life?
· How is the future looking for you?
13. How do you define yourself now that you have "retired"?
· Do you consider yourself still a dancer?
· Do you see yourself as an individual looking for a new identity?
14. Are there any other experiences that you might want to share or address?
15. Looking retrospectively has the experience been important in a positive or negative way?
This is a semi structured interview which includes specific but open ended questions in order that the interviewee has the opportunity to speak more freely. Considering that the researcher wants to find out about how individual dancers cope with retirement, the interview has well constructed questions that encourage the interviewees to give their in depth thoughts, insights and interpretations of the issue. I do feel, however, that the interview could be a bit long with 15 questions as most of them allow for the interviewee to speak freely and in depth, and so could last up to an hour and a half or more. An hour should be an appropriate length of time to gather the information that is needed and at the same time keep the interviewee’s interest. Because of the number of personal in depth questions, I think that this interview would be most suited to a smaller select group of individuals rather than a large group sample. I also think that the researcher would need plenty of time and a relaxed atmosphere to conduct the questions so it would be unsuitable for anyone short of time. I think that overall, other than what I have already critiqued, this interview has a good structure and does not contain any leading questions.
Reference for interview:
FQS Forum: Qualitative Social Research: Irina Roncaglia ‘Retirement transition in Ballet Dancers: Coping within and coping without’ Volume 2, No. 2, Article 1
Rationale for Award Title
Rationale for award title
I would like my award title to be ‘BA Hons Professional Practice in Dance’
I would like to propose this award title because since the age of eleven, my life has been completely centred round dance. In 1999 I left home to become a student at Elmhurst School for Dance where I studied professionally for 8 years. During my time there, I trained not only in Classical Ballet but also in Jazz, Tap, Flamenco, Contemporary, Character and Irish dance. I was lucky to work with choreographers such as Michael Corder (Ballet), Sherrill Wexler (Flamenco) and Stephen Paling (Jazz). I also worked with companies such as Birmingham Royal Ballet and English National Ballet in various productions as a student. On graduating in my final year I received my level 6 National Diploma in Professional Dance before beginning my first job as a classical ballet dancer with Dortmund Ballet Theatre in Germany. I signed a 6 month contract with the company to perform in their production of ‘Swan Lake’ which required my skills in both classical and neo classical ballet. After my six months employment was complete I was then taken on by the Vanemuine Ballet Company in Estonia where I signed a year’s contract. During that first year I performed in Par Isberg’s production of ‘Sleeping Beauty’ in which I had the challenge of dancing my first classical solo since graduating. I also danced in Ruslan Stepanov’s ‘Kevade’, a contemporary production and Mare Tommingas’s ‘Queen’, a collaboration between dancers and renowned Estonian pop singers that called upon all my skills and versatility as a dancer. After a successful and enjoyable first year, I signed a second contract for a further two years. Now in my second year, I have continued to perform in all of the company’s classical and contemporary works and additionally in their Estonian production of Andrew Lloyd Webber’s ‘Evita’.
With my career taking off I hope to continue as a performer for a while yet. I have therefore decided on my project topic of ‘How can dancers cope with nerves and stress’, in order to address an issue I and other dancers are constantly faced with. Having had a strict dance education and much performing experience, I have often felt the effects of nerves and stress and have witnessed others going through the same experience. I therefore think that developing my knowledge in this topic would be extremely worthwhile, not only for my future career but also for others in the same position.
Although my main area of expertise is in Classical Ballet and my project will involve and be largely based on classical ballet dancers, I believe that whatever information I find out from my research will be useful and beneficial to all types of dancers.
I feel, therefore, it is important for me to have the word ‘Dance’ as opposed to specifically ‘Classical Ballet’ in my award title as I have always been interested and appreciative of different genres. I hope in the future to continue to perform in the many different styles of dance.
I would like my award title to be ‘BA Hons Professional Practice in Dance’
I would like to propose this award title because since the age of eleven, my life has been completely centred round dance. In 1999 I left home to become a student at Elmhurst School for Dance where I studied professionally for 8 years. During my time there, I trained not only in Classical Ballet but also in Jazz, Tap, Flamenco, Contemporary, Character and Irish dance. I was lucky to work with choreographers such as Michael Corder (Ballet), Sherrill Wexler (Flamenco) and Stephen Paling (Jazz). I also worked with companies such as Birmingham Royal Ballet and English National Ballet in various productions as a student. On graduating in my final year I received my level 6 National Diploma in Professional Dance before beginning my first job as a classical ballet dancer with Dortmund Ballet Theatre in Germany. I signed a 6 month contract with the company to perform in their production of ‘Swan Lake’ which required my skills in both classical and neo classical ballet. After my six months employment was complete I was then taken on by the Vanemuine Ballet Company in Estonia where I signed a year’s contract. During that first year I performed in Par Isberg’s production of ‘Sleeping Beauty’ in which I had the challenge of dancing my first classical solo since graduating. I also danced in Ruslan Stepanov’s ‘Kevade’, a contemporary production and Mare Tommingas’s ‘Queen’, a collaboration between dancers and renowned Estonian pop singers that called upon all my skills and versatility as a dancer. After a successful and enjoyable first year, I signed a second contract for a further two years. Now in my second year, I have continued to perform in all of the company’s classical and contemporary works and additionally in their Estonian production of Andrew Lloyd Webber’s ‘Evita’.
With my career taking off I hope to continue as a performer for a while yet. I have therefore decided on my project topic of ‘How can dancers cope with nerves and stress’, in order to address an issue I and other dancers are constantly faced with. Having had a strict dance education and much performing experience, I have often felt the effects of nerves and stress and have witnessed others going through the same experience. I therefore think that developing my knowledge in this topic would be extremely worthwhile, not only for my future career but also for others in the same position.
Although my main area of expertise is in Classical Ballet and my project will involve and be largely based on classical ballet dancers, I believe that whatever information I find out from my research will be useful and beneficial to all types of dancers.
I feel, therefore, it is important for me to have the word ‘Dance’ as opposed to specifically ‘Classical Ballet’ in my award title as I have always been interested and appreciative of different genres. I hope in the future to continue to perform in the many different styles of dance.
Saturday, May 1, 2010
Critical Commentary
Critical commentary
Looking back it is really interesting for me to see the way that I have learnt and progressed through this module.
From reading my first diary entry, I can remember how completely overwhelmed I felt at the beginning of the module, confronted with an email containing a seemingly never ending handbook to read. (I later realised I should have asked for a printed version of this as I progressively found it difficult to learn when reading off the screen.) At this point in the module I had managed to familiarise myself with a few research terms, but was struggling to find a research topic idea and felt rather lost. It wasn’t until my first phone call with my tutor that I had a little confidence restored and started to get my teeth into the course. I have realised from this that I am the kind of learner that needs someone to support and build my confidence and who also likes to see how other people approach the tasks. Particularly from looking at the way I have utilised people’s blogs in this module I now understand I like to have a little guidance from my colleagues, or just a taste of how they are doing things to reassure myself that I am going about matters in the right way. I have to mention that the BAPP network has been of great help to me as a long distance learner and other than the handy skype conversations with my tutor, has been the one source I have relied upon for help and information on campus sessions.
This module has also opened my eyes to a completely different way of learning. Work-based learning requires you to almost be your own teacher, it is up to you to look for information, complete the various tasks and look back and realise what you have learnt in order to progress. From being unable to go to the campus sessions, although having support from my tutor, I have found that I have almost been undertaking this course and learning from it completely by myself. This is a totally different way of learning for me coming from a background of strict schooling, and at first was a rather daunting prospect, almost like your first time riding a bike without stabilizers. However, now I feel I have gained more of an idea of my capabilities and a better understanding of the way I learn. The thought of having to choose a topic idea myself rather than it being handed to me was at first a struggle, but now I realise will enable me to be more knowledgeable about an area I really care about.
Then of course, there is all the new information that I have learnt from completing the tasks in this module. I had never heard about the different research approaches and am now pleased to have an acquired knowledge of them. Since learning about them, I have been able to link the requirements of my research topic with the most suitable research approach and move on to choosing an appropriate data collecting technique. Although I had encountered data collecting techniques before, this module has given me a much better understanding of how they can be used to most effect and how they must be carefully constructed in order to be as free from bias and as ethical as possible. Ethics, in particular, has been one of the most critical aspects of conducting a research project that I have learnt. I have never had to consider ethical issues before when conducting a project and my eyes were opened to their importance. In particular, for a worker –researcher, familiarity with their organisation and those within it will make it difficult to eliminate bias and be totally ethically correct. I have learnt, therefore, it is important to carefully consider what you mean when promising such things as confidentiality and anonymity.
Time management is also something I have had to consider in this module, and I now know it is important for me to allow myself enough time to complete my research project.
Looking back it is really interesting for me to see the way that I have learnt and progressed through this module.
From reading my first diary entry, I can remember how completely overwhelmed I felt at the beginning of the module, confronted with an email containing a seemingly never ending handbook to read. (I later realised I should have asked for a printed version of this as I progressively found it difficult to learn when reading off the screen.) At this point in the module I had managed to familiarise myself with a few research terms, but was struggling to find a research topic idea and felt rather lost. It wasn’t until my first phone call with my tutor that I had a little confidence restored and started to get my teeth into the course. I have realised from this that I am the kind of learner that needs someone to support and build my confidence and who also likes to see how other people approach the tasks. Particularly from looking at the way I have utilised people’s blogs in this module I now understand I like to have a little guidance from my colleagues, or just a taste of how they are doing things to reassure myself that I am going about matters in the right way. I have to mention that the BAPP network has been of great help to me as a long distance learner and other than the handy skype conversations with my tutor, has been the one source I have relied upon for help and information on campus sessions.
This module has also opened my eyes to a completely different way of learning. Work-based learning requires you to almost be your own teacher, it is up to you to look for information, complete the various tasks and look back and realise what you have learnt in order to progress. From being unable to go to the campus sessions, although having support from my tutor, I have found that I have almost been undertaking this course and learning from it completely by myself. This is a totally different way of learning for me coming from a background of strict schooling, and at first was a rather daunting prospect, almost like your first time riding a bike without stabilizers. However, now I feel I have gained more of an idea of my capabilities and a better understanding of the way I learn. The thought of having to choose a topic idea myself rather than it being handed to me was at first a struggle, but now I realise will enable me to be more knowledgeable about an area I really care about.
Then of course, there is all the new information that I have learnt from completing the tasks in this module. I had never heard about the different research approaches and am now pleased to have an acquired knowledge of them. Since learning about them, I have been able to link the requirements of my research topic with the most suitable research approach and move on to choosing an appropriate data collecting technique. Although I had encountered data collecting techniques before, this module has given me a much better understanding of how they can be used to most effect and how they must be carefully constructed in order to be as free from bias and as ethical as possible. Ethics, in particular, has been one of the most critical aspects of conducting a research project that I have learnt. I have never had to consider ethical issues before when conducting a project and my eyes were opened to their importance. In particular, for a worker –researcher, familiarity with their organisation and those within it will make it difficult to eliminate bias and be totally ethically correct. I have learnt, therefore, it is important to carefully consider what you mean when promising such things as confidentiality and anonymity.
Time management is also something I have had to consider in this module, and I now know it is important for me to allow myself enough time to complete my research project.
Sunday, April 25, 2010
Learning Diary Entry 5
Campus Session 5
Thanks once again to the BAPP network, I am finally able to submit my last diary entry on Campus Session 5. From reading several blogs, in particular Paula’s and Ciera Mullan’s I have gathered that this last session was focused on running through what should be handed in on the 6th May and all the last details to consider before doing so.
I have to say that these last few weeks have been rather panicky and although now my project proposal is almost complete, I am still feeling on edge about having everything ready on time. I still have to:
· Complete Activity 7
· Write the 500 word critical commentary
· Write my 500 word rationale for my award title
· Write last section of project proposal (reflecting on learning in the module and from constructing project proposal)
· Fill in the two forms
I just hope that what I have left to do is feasible in the time left, I think there is a chance if I keep my head down and stick to it.
Although still having a fair amount to do whilst juggling various performances and rehearsals alongside, I do however feel like I am on the right track and that I know and understand what is being asked of me in each remaining activity (apart from perhaps Activity 7 about which I still feel a little dubious.)
If like me you have been unable to attend the campus sessions, then you will understand the isolated feeling that I have often had regarding knowing what to do in this module. I just want to acknowledge, in general, how much help the BAPP network has been to me as a long distance learner, so thank you to all of those that have put up detailed information on the campus sessions. If you are still not sure what was discussed in the last campus session, I recommend in particular Ciera Mullan’s blog which has a clear and detailed entry that I will certainly be referring to in the last stages of this module.
Thanks once again to the BAPP network, I am finally able to submit my last diary entry on Campus Session 5. From reading several blogs, in particular Paula’s and Ciera Mullan’s I have gathered that this last session was focused on running through what should be handed in on the 6th May and all the last details to consider before doing so.
I have to say that these last few weeks have been rather panicky and although now my project proposal is almost complete, I am still feeling on edge about having everything ready on time. I still have to:
· Complete Activity 7
· Write the 500 word critical commentary
· Write my 500 word rationale for my award title
· Write last section of project proposal (reflecting on learning in the module and from constructing project proposal)
· Fill in the two forms
I just hope that what I have left to do is feasible in the time left, I think there is a chance if I keep my head down and stick to it.
Although still having a fair amount to do whilst juggling various performances and rehearsals alongside, I do however feel like I am on the right track and that I know and understand what is being asked of me in each remaining activity (apart from perhaps Activity 7 about which I still feel a little dubious.)
If like me you have been unable to attend the campus sessions, then you will understand the isolated feeling that I have often had regarding knowing what to do in this module. I just want to acknowledge, in general, how much help the BAPP network has been to me as a long distance learner, so thank you to all of those that have put up detailed information on the campus sessions. If you are still not sure what was discussed in the last campus session, I recommend in particular Ciera Mullan’s blog which has a clear and detailed entry that I will certainly be referring to in the last stages of this module.
Can anybody help me?
Hi there everybody! Hope everyone's getting on ok in the last couple of weeks of this module.
I am hoping to start on my Critical commentary of my learning in this module (blog, 500 words) asap,but wanted to consult the learning objectives that are supposed to be in the Handbook before doing this. The WBS 3835 handbook says to refer to section 4 'Reflecting on learning', but i can't find it anywhere, as far as I can see section 4 is on analysing data. This is the only handbook I know of so I don't understand where else it could be. Very confused and hoping for some help,
Thanks,
Laura
I am hoping to start on my Critical commentary of my learning in this module (blog, 500 words) asap,but wanted to consult the learning objectives that are supposed to be in the Handbook before doing this. The WBS 3835 handbook says to refer to section 4 'Reflecting on learning', but i can't find it anywhere, as far as I can see section 4 is on analysing data. This is the only handbook I know of so I don't understand where else it could be. Very confused and hoping for some help,
Thanks,
Laura
Friday, April 23, 2010
Learning Diary Entry 4
Research Ethics
From what I have read and learnt, Ethics in research seems to me to play a huge part in the success and efficiency of the research that is being undertaken. Whether access to participants and the information that they give is easy or not, every researcher is expected to either make their own ethics clear or to follow the ethics and guidelines of the institution involved in order to eliminate (as much as possible) any doubts and concerns of the participant and to try and avoid any breeches of confidence.
So how can I make sure that I do my best to make my research as ethical as possible?
On page 57 of Bell’s book, I think there is an extremely helpful ‘ethics and integrity in research’ checklist which makes clear each pointer that must be considered when embarking on the challenge of producing ethical research.
The checklist helped me to identify several ethical issues that I must consider including:
· Being aware of research contracts, codes of practice and protocols
· Informed consent and its principles
· The involvement of Ethics committees
· Confidentiality and Anonymity
· Safeguarding confidentiality and anonymity if disseminating information by computer
· Ethical research in practice and the problems of ‘inside research’
· Codes of Ethical practice relating to intellectual ownership or property
Having already read through the chapter on ‘The Ethics and Integrity in Research’, from which there was a lot of information to take in, I found the checklist helped me compile all the information down into the most important points to give me a clearer understanding of each issue that I would need to address.
In addition to this, from looking at Rosemary’s blog entitled ‘Research Ethics’ and a few fellow students’ blogs, campus session 4 also prompted us to:
1. Realise the importance (when analysing a questionnaire) of taking a whole sentence so the meaning of it is clear and to avoid taking it out of context. (example on Rosemary’s slideshow). You must make sure that you are attributing fairly.
2. Be aware that there are different types of Ethics, two were discussed in detail: Pragmatic Ethics and Moral Ethics.
An example of Pragmatic Ethics is: ‘You must always drive on the left hand side of the road in England.’ Do something because you should, not because it is based on moral grounds.
An example of Moral Ethics is: ‘Adults must not have sexual relations with minors’ Doing something (or not) because it is morally correct.
3. Be aware of Ethical considerations
· Be ethical in the questions you set, don’t show bias.
· Be aware of deliberate fraud to produce desired results. DO NOT LIE
· You must state how you define confidentiality and anonymity to avoid misconceptions.
· Carefully consider what you are promising to participants, particularly when considering the previous point.
· Consider any risks to humans when conducting an experiment. If in doubt, would you be prepared to do it yourself, as this might have to be an option?
· Be aware of potentially sensitive subject matter, for example, eating disorders.
As a researcher it is also vitally important that you obtain consent from participants. This is usually a signed consent form that provides sufficient information on your proposed topic. Those under the age of 16 need careful consideration and attention.
As participants voluntarily agree to take part in your research, it is important to inform them that they have the right to withdraw at any time, even when the data has already been collected.
And last but not least, it is also important that the researcher very carefully considers the confidentiality and respect of the participant’s privacy. For example; consider how to avoid revealing participant identities to anyone, including those that live and work alongside the individual, how data that is gathered will be stored and what will be done with the data after it is finished with.
It seems Paula and Peter also touched on two other different topics. Paula discussed the 2500 word research proposal which I’ve read she has posted on her blog and so will hopefully get round to reading that next.
Peter informed the group about Survey Monkey, something I have never come across before. Being one of those people that if they so much as touch a computer it malfunctions, I haven’t yet had the confidence to try it out but I have watched the handy slideshow that Peter posted on his blog and will probably watch it again before having a crack at it.
Having read a lot about ethics, including colleagues blogs and the slide show Rosemary presented I feel I have a good understanding of the importance of conducting ethical research and what doing that will involve. I do however still feel intimidated by the amount of consideration that has to go into making my research as ethical as possible and have concerns that there will still be things that I miss, and that won’t be discovered until I have actually begun to collect the information from the participants. I understand, however, that even if I am as thorough as possible, not all problems that may crop up can be solved, so I think that you have to do your best in making a thorough checklist and hope that you have done enough so that the people who partake in your project stay enthusiastic and trusting towards your role as a worker/researcher and your research.
From what I have read and learnt, Ethics in research seems to me to play a huge part in the success and efficiency of the research that is being undertaken. Whether access to participants and the information that they give is easy or not, every researcher is expected to either make their own ethics clear or to follow the ethics and guidelines of the institution involved in order to eliminate (as much as possible) any doubts and concerns of the participant and to try and avoid any breeches of confidence.
So how can I make sure that I do my best to make my research as ethical as possible?
On page 57 of Bell’s book, I think there is an extremely helpful ‘ethics and integrity in research’ checklist which makes clear each pointer that must be considered when embarking on the challenge of producing ethical research.
The checklist helped me to identify several ethical issues that I must consider including:
· Being aware of research contracts, codes of practice and protocols
· Informed consent and its principles
· The involvement of Ethics committees
· Confidentiality and Anonymity
· Safeguarding confidentiality and anonymity if disseminating information by computer
· Ethical research in practice and the problems of ‘inside research’
· Codes of Ethical practice relating to intellectual ownership or property
Having already read through the chapter on ‘The Ethics and Integrity in Research’, from which there was a lot of information to take in, I found the checklist helped me compile all the information down into the most important points to give me a clearer understanding of each issue that I would need to address.
In addition to this, from looking at Rosemary’s blog entitled ‘Research Ethics’ and a few fellow students’ blogs, campus session 4 also prompted us to:
1. Realise the importance (when analysing a questionnaire) of taking a whole sentence so the meaning of it is clear and to avoid taking it out of context. (example on Rosemary’s slideshow). You must make sure that you are attributing fairly.
2. Be aware that there are different types of Ethics, two were discussed in detail: Pragmatic Ethics and Moral Ethics.
An example of Pragmatic Ethics is: ‘You must always drive on the left hand side of the road in England.’ Do something because you should, not because it is based on moral grounds.
An example of Moral Ethics is: ‘Adults must not have sexual relations with minors’ Doing something (or not) because it is morally correct.
3. Be aware of Ethical considerations
· Be ethical in the questions you set, don’t show bias.
· Be aware of deliberate fraud to produce desired results. DO NOT LIE
· You must state how you define confidentiality and anonymity to avoid misconceptions.
· Carefully consider what you are promising to participants, particularly when considering the previous point.
· Consider any risks to humans when conducting an experiment. If in doubt, would you be prepared to do it yourself, as this might have to be an option?
· Be aware of potentially sensitive subject matter, for example, eating disorders.
As a researcher it is also vitally important that you obtain consent from participants. This is usually a signed consent form that provides sufficient information on your proposed topic. Those under the age of 16 need careful consideration and attention.
As participants voluntarily agree to take part in your research, it is important to inform them that they have the right to withdraw at any time, even when the data has already been collected.
And last but not least, it is also important that the researcher very carefully considers the confidentiality and respect of the participant’s privacy. For example; consider how to avoid revealing participant identities to anyone, including those that live and work alongside the individual, how data that is gathered will be stored and what will be done with the data after it is finished with.
It seems Paula and Peter also touched on two other different topics. Paula discussed the 2500 word research proposal which I’ve read she has posted on her blog and so will hopefully get round to reading that next.
Peter informed the group about Survey Monkey, something I have never come across before. Being one of those people that if they so much as touch a computer it malfunctions, I haven’t yet had the confidence to try it out but I have watched the handy slideshow that Peter posted on his blog and will probably watch it again before having a crack at it.
Having read a lot about ethics, including colleagues blogs and the slide show Rosemary presented I feel I have a good understanding of the importance of conducting ethical research and what doing that will involve. I do however still feel intimidated by the amount of consideration that has to go into making my research as ethical as possible and have concerns that there will still be things that I miss, and that won’t be discovered until I have actually begun to collect the information from the participants. I understand, however, that even if I am as thorough as possible, not all problems that may crop up can be solved, so I think that you have to do your best in making a thorough checklist and hope that you have done enough so that the people who partake in your project stay enthusiastic and trusting towards your role as a worker/researcher and your research.
Thursday, April 15, 2010
Learning Diary Entry 3
Data collecting techniques
Feeling incredibly behind and unprepared, wishing I could attend the campus sessions but unable to do so, I turned to Abbi’s blog in the hope that she could enlighten me on what has been happening in the recent campus sessions as I often feel she is very much on top of things. However I learnt that she too seems to be rather swept off her feet at the moment and so was grateful when she suggested Sophie’s blog as being well informed and helpful to read.
It seems, from reading Sophie’s blog that the focus of Campus Session 3 was on identifying and learning about the different research tools. Three of them were discussed in depth; Questionnaires, Interviews and Observations.
Questionnaires
A Questionnaire is:
‘A prepared set of questions designed to generate data necessary for accomplishing the objectives of the research project’ (http://www.glencoe.com/)
‘Questionnaires have advantages over some other types of surveys in that they are cheap, do not require as much effort from the questioner as verbal or telephone surveys, and often have standardised answers that make it simple to compile data. However such standardized answers may frustrate users. Questionnaires are also sharply limited by the fact that respondents must be able to read the questions and respond to them. Thus for some demographic groups conducting a survey by questionnaire may not be practical. As a type of survey, questionnaires also have many of the same problems relating to question construction and wording that exist in other types of opinion polls.’ (Wikipedia.org)
References:
http://www.glencoe.com/sec/busadmin/marketing/dp/mktg_resrch/gloss.shtml
http://en.wikipedia.org/wiki/Questionnaire
http://sophiejgilbert.blogspot.com/2010/03/learning-diary-entry-4.html
Interviews
‘An interview is a conversation between two or more people (the interviewer and the interviewee) where questions are asked by the interviewer to obtain information from the interviewee.’ (Wikipedia.org)
‘Interviews provide in-depth information about a particular research issue or question. Because the information is not quantifiable (i.e., not amenable to statistical analysis), the interview often is described as a qualitative research method. Whereas quantitative research methods (e.g., the experiment) gather a small amount of information from many subjects, interviews gather a broad range of information from a few subjects’. (www-usr.rider.edu)
References:
en.wikipedia.org/wiki/Job_interview
http://www-usr.rider.edu/~suler/interviews.html#whatis
http://abbiwilliams.blogspot.com/2010/03/ways-of-collecting-data.html
Observations
‘Observation methods have been developed with the objective of observing people in their natural setting – as they go about their everyday lives’. They can ‘overcome some of the criticisms of quantitative research methods (Validity, bias etc.) and can be useful when its subject can't provide information, or can only provide inaccurate information’. (Information by Design Ltd)
‘Non participant observation is where the researcher observes behaviour from a distance without interacting with the subject being studied.’(Information by Design Ltd)
‘Participant observation involves the researcher participating in the daily life of an individual, group or community and listening, observing, questioning and understanding (or trying to understand) the life of the individuals concerned.’ (Judith Bell, 2005:p186)
Unstructured observation is often conducted by researchers who ‘generally do so because although they may have a clear idea of the purpose of the observation, they may not be so clear about the detail. They are prepared to spend sufficient time on fieldwork, familiarization and accumulation of data, from which they anticipate that focus and structure will emerge’. (Punch 1998: p186)
A researcher using structured observation has already decided on the focus rather than allowing the focus to emerge. However they will already have formulated a hypothesis or identified the objectives of their study and the importance of observing some aspect of behaviour will have become apparent.
References:
Information By Design. Ltd, NHS, Date unknown: South East Public Health Observatory Lifestyle Survey Toolkit. http://www.lifestylesurvey.org.uk/observation.html
Judith Bell (1995:p186) ‘Doing your Research Project’
Punch (1998:p186) cited in Judith Bell (2005:p185) ’Doing your Research Project’
From looking at both Abbi and Sophie’s blogs, (which were both very helpful so thank you girls!), looking at the slide shows on Paula and Rosemary’s blogs and reading the appropriate sections in Judith Bell’s book, I think I have acquired a much better understanding of what data collection techniques are available to me and which ones will be of most use for collecting information on my project topic. Although I will almost certainly be devising a questionnaire to collect some of my primary data, I think that already the ‘semi structured’ interview method that is mentioned in both Paula’s slide show and Bell’s book is looking like a strong contender for my main data collecting tool. I understand that there is a huge amount to consider before making any definite decisions so I plan to continue making notes and to consult a checklist of pros and cons so I can fully understand what I’ll be taking on and hopefully do it to the best of my ability.
Feeling incredibly behind and unprepared, wishing I could attend the campus sessions but unable to do so, I turned to Abbi’s blog in the hope that she could enlighten me on what has been happening in the recent campus sessions as I often feel she is very much on top of things. However I learnt that she too seems to be rather swept off her feet at the moment and so was grateful when she suggested Sophie’s blog as being well informed and helpful to read.
It seems, from reading Sophie’s blog that the focus of Campus Session 3 was on identifying and learning about the different research tools. Three of them were discussed in depth; Questionnaires, Interviews and Observations.
Questionnaires
A Questionnaire is:
‘A prepared set of questions designed to generate data necessary for accomplishing the objectives of the research project’ (http://www.glencoe.com/)
‘Questionnaires have advantages over some other types of surveys in that they are cheap, do not require as much effort from the questioner as verbal or telephone surveys, and often have standardised answers that make it simple to compile data. However such standardized answers may frustrate users. Questionnaires are also sharply limited by the fact that respondents must be able to read the questions and respond to them. Thus for some demographic groups conducting a survey by questionnaire may not be practical. As a type of survey, questionnaires also have many of the same problems relating to question construction and wording that exist in other types of opinion polls.’ (Wikipedia.org)
References:
http://www.glencoe.com/sec/busadmin/marketing/dp/mktg_resrch/gloss.shtml
http://en.wikipedia.org/wiki/Questionnaire
http://sophiejgilbert.blogspot.com/2010/03/learning-diary-entry-4.html
Interviews
‘An interview is a conversation between two or more people (the interviewer and the interviewee) where questions are asked by the interviewer to obtain information from the interviewee.’ (Wikipedia.org)
‘Interviews provide in-depth information about a particular research issue or question. Because the information is not quantifiable (i.e., not amenable to statistical analysis), the interview often is described as a qualitative research method. Whereas quantitative research methods (e.g., the experiment) gather a small amount of information from many subjects, interviews gather a broad range of information from a few subjects’. (www-usr.rider.edu)
References:
en.wikipedia.org/wiki/Job_interview
http://www-usr.rider.edu/~suler/interviews.html#whatis
http://abbiwilliams.blogspot.com/2010/03/ways-of-collecting-data.html
Observations
‘Observation methods have been developed with the objective of observing people in their natural setting – as they go about their everyday lives’. They can ‘overcome some of the criticisms of quantitative research methods (Validity, bias etc.) and can be useful when its subject can't provide information, or can only provide inaccurate information’. (Information by Design Ltd)
‘Non participant observation is where the researcher observes behaviour from a distance without interacting with the subject being studied.’(Information by Design Ltd)
‘Participant observation involves the researcher participating in the daily life of an individual, group or community and listening, observing, questioning and understanding (or trying to understand) the life of the individuals concerned.’ (Judith Bell, 2005:p186)
Unstructured observation is often conducted by researchers who ‘generally do so because although they may have a clear idea of the purpose of the observation, they may not be so clear about the detail. They are prepared to spend sufficient time on fieldwork, familiarization and accumulation of data, from which they anticipate that focus and structure will emerge’. (Punch 1998: p186)
A researcher using structured observation has already decided on the focus rather than allowing the focus to emerge. However they will already have formulated a hypothesis or identified the objectives of their study and the importance of observing some aspect of behaviour will have become apparent.
References:
Information By Design. Ltd, NHS, Date unknown: South East Public Health Observatory Lifestyle Survey Toolkit. http://www.lifestylesurvey.org.uk/observation.html
Judith Bell (1995:p186) ‘Doing your Research Project’
Punch (1998:p186) cited in Judith Bell (2005:p185) ’Doing your Research Project’
From looking at both Abbi and Sophie’s blogs, (which were both very helpful so thank you girls!), looking at the slide shows on Paula and Rosemary’s blogs and reading the appropriate sections in Judith Bell’s book, I think I have acquired a much better understanding of what data collection techniques are available to me and which ones will be of most use for collecting information on my project topic. Although I will almost certainly be devising a questionnaire to collect some of my primary data, I think that already the ‘semi structured’ interview method that is mentioned in both Paula’s slide show and Bell’s book is looking like a strong contender for my main data collecting tool. I understand that there is a huge amount to consider before making any definite decisions so I plan to continue making notes and to consult a checklist of pros and cons so I can fully understand what I’ll be taking on and hopefully do it to the best of my ability.
Activity 2
Influences on the worker/researcher
Whilst contemplating the role of the worker/researcher and the advantages and disadvantages that it might entail, I was able to come up with both positive and negative aspects of someone undertaking the role. However since summer is on its way, the sun is finally coming out and the snow melting, I am leaning towards a more positive outlook on life and so have chosen to talk about one of the advantages.
I believe that one of the benefits of being a worker/researcher is that you are surrounded and motivated by the thing that inspired you in the first place; your job. When choosing a project topic, a lot of emphasis was put on the fact that the researcher needs to be inspired and passionate about their topic and as much as possible have it present in their daily routine. A worker/researcher has the support of the organisation surrounding them as well as their own personal interest and that of their peers to motivate them. An outsider researcher may lack key motivation if they do not receive much support from the organisation they wish to work with, and because they are detached from the people participating, may lack the interest and passion that is necessary to do the job thoroughly and make any kind of difference. They may also have less or more restricted access to the organisation that is concerned therefore gaining less experience of the problem that they are trying to research.
Whilst contemplating the role of the worker/researcher and the advantages and disadvantages that it might entail, I was able to come up with both positive and negative aspects of someone undertaking the role. However since summer is on its way, the sun is finally coming out and the snow melting, I am leaning towards a more positive outlook on life and so have chosen to talk about one of the advantages.
I believe that one of the benefits of being a worker/researcher is that you are surrounded and motivated by the thing that inspired you in the first place; your job. When choosing a project topic, a lot of emphasis was put on the fact that the researcher needs to be inspired and passionate about their topic and as much as possible have it present in their daily routine. A worker/researcher has the support of the organisation surrounding them as well as their own personal interest and that of their peers to motivate them. An outsider researcher may lack key motivation if they do not receive much support from the organisation they wish to work with, and because they are detached from the people participating, may lack the interest and passion that is necessary to do the job thoroughly and make any kind of difference. They may also have less or more restricted access to the organisation that is concerned therefore gaining less experience of the problem that they are trying to research.
Activity 1
Glossary
Qualitative Research
Qualitative research is mostly concerned with the individual and their perception of the world. It aims to gain insights into the thoughts and feelings of the participants. Its purpose is to try and specify the quality of the relationship between two or more things.
Semi- structured interview
A semi-structured interview involves set questions and themes but with enough flexibility that any interesting or useful emerging issues can be followed and discussed.
More words of interest:
Annotate/Annotation - adding explanatory notes
Critique – a critical assessment
Document – a piece of work that provides information or evidence. It can be in written, printed or electronic form.
Ethics - research ethics is about being clear about the nature of the agreement that you enter into with the participants/ organisations of your research
Fieldwork - is the process of going out to collect data
Leading questions – these are questions that are not concise or easily understandable that may lead the participant into giving a desired answer
Observation – is analysing events of interest by watching and recording them
Primary Data – is material collected directly from a source by the researcher
Rationale – a reason or set of reasons for a specific belief or course of action
Reflexivity - work that includes self criticism and alerts the individual to the human subjective processes involved in undertaking research.
Research proposal – a proposal for a work based research whose findings/results will alter a situation/ action in the workplace.
Validity – measuring and investigating what you set out to research.
e.g by asking questions and using legitimate methods to obtain information which is analyzed and leads to logical conclusions and recommendations
Qualitative Research
Qualitative research is mostly concerned with the individual and their perception of the world. It aims to gain insights into the thoughts and feelings of the participants. Its purpose is to try and specify the quality of the relationship between two or more things.
Semi- structured interview
A semi-structured interview involves set questions and themes but with enough flexibility that any interesting or useful emerging issues can be followed and discussed.
More words of interest:
Annotate/Annotation - adding explanatory notes
Critique – a critical assessment
Document – a piece of work that provides information or evidence. It can be in written, printed or electronic form.
Ethics - research ethics is about being clear about the nature of the agreement that you enter into with the participants/ organisations of your research
Fieldwork - is the process of going out to collect data
Leading questions – these are questions that are not concise or easily understandable that may lead the participant into giving a desired answer
Observation – is analysing events of interest by watching and recording them
Primary Data – is material collected directly from a source by the researcher
Rationale – a reason or set of reasons for a specific belief or course of action
Reflexivity - work that includes self criticism and alerts the individual to the human subjective processes involved in undertaking research.
Research proposal – a proposal for a work based research whose findings/results will alter a situation/ action in the workplace.
Validity – measuring and investigating what you set out to research.
e.g by asking questions and using legitimate methods to obtain information which is analyzed and leads to logical conclusions and recommendations
Learning Diary Entry 2
I’ve finally figured out what my project topic is going to be and so now I need to be looking into ways that I might be able to research that project idea.
Although I could not attend Campus Session 2, I was able to access the slide show that was presented on the day about ‘Developing a Research Design’. As I understand it, a research design is a plan that you make for yourself in order to organise your research so that you are collecting the appropriate information for your specific topic. It makes the job of researching easier by giving you a clearer focus on what type of information you are going to collect and how you are going to collect it.
The slide show introduced me to many different research approaches, Quantitative research,
Qualitative research, Secondary research, Primary research, Exploratory research, Descriptive research and Causal research.
Quantitative Research is concerned with the collection and analysis of data in numeric form. It involves interviewing a large number of people in order to try and quantify the relationship between two or more things.
Qualitative Research is more concerned with the individual and their perception of the world. It aims to gain insights into the thoughts and feelings of the participants. Its purpose is to try and specify the quality of a relationship between two or more things.
Secondary Research gathers data from already existing pieces of research or information.
Primary Research is information that is collected directly by the researcher and is specific to the particular problem they are investigating.
Exploratory Research helps the researcher to develop an understanding of their specific problem or topic and is often used in the initial stages of the research.
Descriptive Research describes the behaviour of phenomena in a research problem by answering the questions ‘who?’, ‘what?’, ‘when?’, ‘where’? and ‘how?’ Descriptive research has a clear statement of the research problem and specifies exactly what needs to be measured.
Causal Research describes the relationship between two or more variables. It is used to gather evidence on cause and effect relationships, and is basically used to answer the question ‘why?’
Although many of these approaches will be touched upon whilst conducting my research, as many of them can be used alongside one another, I have already selected three that I know will be of particular use regarding my own project topic.
These are Secondary Research, Primary Research and Qualitative Research.
I will be relying a lot on the secondary research that I will gather to give me an understanding of exactly what nerves and stress are and why people in general suffer from them. I will also need to use secondary research to find out about existing forms of stress relief and their effectiveness in order for me to formulate my own ideas on how those ways might be better applied or adapted to dancers.
The primary and qualitative research I will conduct will overlap as the evidence that I will collect myself will be mostly that of people’s personal opinions, their perception of how to deal with nerves and stress and their thoughts and feelings on the topic. I will most likely conduct a survey and have in depth interviews with the participants in order to gather this information.
Although I could not attend Campus Session 2, I was able to access the slide show that was presented on the day about ‘Developing a Research Design’. As I understand it, a research design is a plan that you make for yourself in order to organise your research so that you are collecting the appropriate information for your specific topic. It makes the job of researching easier by giving you a clearer focus on what type of information you are going to collect and how you are going to collect it.
The slide show introduced me to many different research approaches, Quantitative research,
Qualitative research, Secondary research, Primary research, Exploratory research, Descriptive research and Causal research.
Quantitative Research is concerned with the collection and analysis of data in numeric form. It involves interviewing a large number of people in order to try and quantify the relationship between two or more things.
Qualitative Research is more concerned with the individual and their perception of the world. It aims to gain insights into the thoughts and feelings of the participants. Its purpose is to try and specify the quality of a relationship between two or more things.
Secondary Research gathers data from already existing pieces of research or information.
Primary Research is information that is collected directly by the researcher and is specific to the particular problem they are investigating.
Exploratory Research helps the researcher to develop an understanding of their specific problem or topic and is often used in the initial stages of the research.
Descriptive Research describes the behaviour of phenomena in a research problem by answering the questions ‘who?’, ‘what?’, ‘when?’, ‘where’? and ‘how?’ Descriptive research has a clear statement of the research problem and specifies exactly what needs to be measured.
Causal Research describes the relationship between two or more variables. It is used to gather evidence on cause and effect relationships, and is basically used to answer the question ‘why?’
Although many of these approaches will be touched upon whilst conducting my research, as many of them can be used alongside one another, I have already selected three that I know will be of particular use regarding my own project topic.
These are Secondary Research, Primary Research and Qualitative Research.
I will be relying a lot on the secondary research that I will gather to give me an understanding of exactly what nerves and stress are and why people in general suffer from them. I will also need to use secondary research to find out about existing forms of stress relief and their effectiveness in order for me to formulate my own ideas on how those ways might be better applied or adapted to dancers.
The primary and qualitative research I will conduct will overlap as the evidence that I will collect myself will be mostly that of people’s personal opinions, their perception of how to deal with nerves and stress and their thoughts and feelings on the topic. I will most likely conduct a survey and have in depth interviews with the participants in order to gather this information.
By George, I think I've got it!
Choosing my project topic
Since my first diary entry I went back to my gigantic list of possible project topics and looked through again. I felt that I only had to ask myself one question in order to narrow it down to 5 and that was ‘do I find it interesting?’ I thought there was no point to go through each one with a checklist of questions until I had established whether or not I would enjoy it.
Once I had narrowed it down to 5 topics, I then used the 5 questions that Peter Bryant put up on his blog to select my final three topics. I asked myself;
1. ‘so what?’- what is the relevance of this topic?
2. Is it just ‘nice to know’ or is it relevant, interesting, does it explore aspects of my or somebody else’s practice?
3. Is it ‘done to death’, can my research add anything new to existing research?
4. Does it stimulate my imagination and passion?
5. Is it really obvious? Is there a simple and obvious answer or is it worth the research?
My final three choices were:
Dance Psychology - dealing with nerves and stress
Theatre and money issues – how to attract and keep faithful audiences-how to deal with the economic crisis
Prejudice towards male dancers/boys doing ballet and the public perception that they are gay
I ended up with three very different topics, all very interesting and closely connected to my line of work so I turned to friends and family to discuss each topic in order to help me choose.
I went through one by one sharing my ideas, and my friends and family helped my analyse them until I came to my final conclusion for each one.
The topic of ‘Theatre and money issues’, I realised, was interesting but not very feasible. I would only have access to one theatre so my project could only relate to that theatre’s specific problems. There would also be very little secondary data in order to help me understand this project topic, and if there are existing files, access to them would be difficult and most likely written in Estonian.
At first I was really interested and passionate about doing my project on prejudice of male dancers and the public perception that they are gay. It is something that I would really like to get to the bottom of so that right from the age of 3 or 4 boys wouldn’t have to feel worried or ashamed if they felt they wanted to do ballet. I also work for a ballet company in which only two men are gay out of almost 20 guys, a prime example of public misconception. However I realised that I was very opinionated about this topic and I was worried I’d end up fighting one side and trying to convince people of my opinion. I also thought it would need a large sample of people to conduct the research which for me is not really feasible, especially as most of the public here in Estonia do not speak English. It is also a delicate subject that people may not feel comfortable talking about which leaves room for a lot of untruthful or misguiding answers that would not be conducive to my research.
So finally I have decided that I will go with the first topic ‘Dance psychology - dealing with nerves and stress’. I felt that this topic would not only be of great use to me personally but also help my colleagues and other dancers outside of my company. I think that it will be of interest to directors of companies and choreographers too, if it can provide them with more confident, stress free performers. Hopefully the research I’ll conduct will not only make a difference to dancers today but also for many to come in the future.
Although I have referred to my topic with the original title ‘Dance Psychology-dealing with nerves and stress’, I decided I needed a slightly more specific working title in order to form the questions that I would like to answer in my project, so the current title I am now working with is ‘How can dancers cope with nerves and stress?’
These are some of the questions that I will be aiming to answer in my project:
· What are nerves and stress?
· Why do dancers suffer from nerves and stress?
· How do nerves and stress affect dancers at work?
· Are dancers able to control their nerves and stress? If so, what methods do they use to do this?
· Have dancers ever been taught/educated in how to cope with nerves and stress? If not how can we educate dancers to cope with nerves and stress
· Are there any new methods or rarely used methods to cope with nerves and stress that can either be improved, be brought more to our attention or be more effective?
Please let me know what you think about this, I know there are a lot of fellow dancers on this course so it would be great to know if you would find the subject of my project topic interesting or helpful. If there’s anything I’ve missed about this topic that you think I should include or you would like me to find out, any suggestions are welcome.
Hope everyone’s getting on ok!
Since my first diary entry I went back to my gigantic list of possible project topics and looked through again. I felt that I only had to ask myself one question in order to narrow it down to 5 and that was ‘do I find it interesting?’ I thought there was no point to go through each one with a checklist of questions until I had established whether or not I would enjoy it.
Once I had narrowed it down to 5 topics, I then used the 5 questions that Peter Bryant put up on his blog to select my final three topics. I asked myself;
1. ‘so what?’- what is the relevance of this topic?
2. Is it just ‘nice to know’ or is it relevant, interesting, does it explore aspects of my or somebody else’s practice?
3. Is it ‘done to death’, can my research add anything new to existing research?
4. Does it stimulate my imagination and passion?
5. Is it really obvious? Is there a simple and obvious answer or is it worth the research?
My final three choices were:
Dance Psychology - dealing with nerves and stress
Theatre and money issues – how to attract and keep faithful audiences-how to deal with the economic crisis
Prejudice towards male dancers/boys doing ballet and the public perception that they are gay
I ended up with three very different topics, all very interesting and closely connected to my line of work so I turned to friends and family to discuss each topic in order to help me choose.
I went through one by one sharing my ideas, and my friends and family helped my analyse them until I came to my final conclusion for each one.
The topic of ‘Theatre and money issues’, I realised, was interesting but not very feasible. I would only have access to one theatre so my project could only relate to that theatre’s specific problems. There would also be very little secondary data in order to help me understand this project topic, and if there are existing files, access to them would be difficult and most likely written in Estonian.
At first I was really interested and passionate about doing my project on prejudice of male dancers and the public perception that they are gay. It is something that I would really like to get to the bottom of so that right from the age of 3 or 4 boys wouldn’t have to feel worried or ashamed if they felt they wanted to do ballet. I also work for a ballet company in which only two men are gay out of almost 20 guys, a prime example of public misconception. However I realised that I was very opinionated about this topic and I was worried I’d end up fighting one side and trying to convince people of my opinion. I also thought it would need a large sample of people to conduct the research which for me is not really feasible, especially as most of the public here in Estonia do not speak English. It is also a delicate subject that people may not feel comfortable talking about which leaves room for a lot of untruthful or misguiding answers that would not be conducive to my research.
So finally I have decided that I will go with the first topic ‘Dance psychology - dealing with nerves and stress’. I felt that this topic would not only be of great use to me personally but also help my colleagues and other dancers outside of my company. I think that it will be of interest to directors of companies and choreographers too, if it can provide them with more confident, stress free performers. Hopefully the research I’ll conduct will not only make a difference to dancers today but also for many to come in the future.
Although I have referred to my topic with the original title ‘Dance Psychology-dealing with nerves and stress’, I decided I needed a slightly more specific working title in order to form the questions that I would like to answer in my project, so the current title I am now working with is ‘How can dancers cope with nerves and stress?’
These are some of the questions that I will be aiming to answer in my project:
· What are nerves and stress?
· Why do dancers suffer from nerves and stress?
· How do nerves and stress affect dancers at work?
· Are dancers able to control their nerves and stress? If so, what methods do they use to do this?
· Have dancers ever been taught/educated in how to cope with nerves and stress? If not how can we educate dancers to cope with nerves and stress
· Are there any new methods or rarely used methods to cope with nerves and stress that can either be improved, be brought more to our attention or be more effective?
Please let me know what you think about this, I know there are a lot of fellow dancers on this course so it would be great to know if you would find the subject of my project topic interesting or helpful. If there’s anything I’ve missed about this topic that you think I should include or you would like me to find out, any suggestions are welcome.
Hope everyone’s getting on ok!
Sunday, March 7, 2010
Learning Diary Entry 1
I have had great relief in reading the frequently used words ‘overwhelmed’ and ‘panic’ in many of my fellow student’s blogs as I too feel that those words suit my reaction to the huge file that I received by email for this module. I have only recently just finished my reading due to being busy rehearsing our new ballet which premieres in just over a week. I think initially the sheer amount of reading made me feel like I couldn’t possibly take in all the information and understand it fully, especially when reading it all off a computer screen, my eyes were struggling too. I was actually surprised that when I began to read the module handbook I was able to understand quite a lot of what was expected of me and I understood the general aim of the module. I read Judith Bell’s book beforehand and think this really helped because I began to recognise things such as specific research terms when reading the handbook through for the first time. The biggest problem for me now is that there just seems so much work ahead of me and I feel a bit intimidated by it. After reading the handbook I was also left feeling like I had no idea where I was supposed to start.
Luckily my advisor (Paula) managed to get hold of me over Skype during one of my breaks and I had my first phone conversation with her since I started the course. I had up until then been a bit shy about calling her since I had been unable to go to the campus and meet her in person. Though initially I felt a lack of confidence due to not being able to attend the campus sessions, I came away feeling encouraged after talking to her and with a better idea of where to start. I feel I have already learnt that the relationship between me and my advisor is really important, not only from reading about it in Bell’s book, but also from the difference it made to my confidence after only 20 minutes of conversation. I’m really looking forward to involving Paula more in my work and developing our relationship over the course of this next module.
One thing I discussed over the phone was some ideas that I had about my project topic. I mentioned that I had brainstormed in the shower and written pretty much everything down that I could think of doing. I was encouraged to include my list in my blog diary entry......so here goes;
• Eating disorders and issues in dancers
• Dance Psychology – dealing with nerves and stress, using visualisation as an aid
• Auditions and the auditioning process
• Choreographic devices – how to successfully create movement (for new and inexperienced choreographers)
• Ballet and sport i.e ballet connected with football training
• Ballet or dance and aiding physical problems/disabled people
• Ballet, dance and theatre for disadvantaged people- projects such as Ballet Hoo! by BRB
• Dance and the public - what does it mean to them - preferences to different types of dance -why?
• Ballet and different techniques - physiology - body types and abilities for different styles
• Comparison of Narrative and Abstract dance works – their effectiveness
• Old Classics and Modern dance works – difference in impact – preferences
• Ballet companies and unions – fair treatment of dancers , company etiquette
• Theatre and money issues- how to attract and keep faithful audiences – economic crisis, impact on theatres, dance and music productions
• Dance and Injury
• Dance and Physical health benefits
• Dance as an art form – accessing emotions, presentation. Artistry over technique? Physicality over quality? etc
• Ballet dancers and ‘normal life’ outside the theatre. Married to their career? Coping with families and yet sustaining technical standard, physical strain on the body as you become older (and or) have children
• Alternative careers for a dancer after retirement
• Becoming/being an artistic director – decisions, responsibilities, relationship with company
• Male dancers and prejudice, public perception that they are gay
Now I’ve really got to try and narrow the list down. I’ve learnt from my reading that it is important to choose something that you are interested in and passionate about as well as something that is relevant to you or your field of work and that others will be interested in too. I found Peter Bryant’s blog very helpful, providing some really good questions that you can ask yourself to try and select the most promising two or three topics.
So good luck to everyone on this, I’m looking forward to reading more blogs and I’ll let you know how I’m getting on soon........fingers crossed!
Luckily my advisor (Paula) managed to get hold of me over Skype during one of my breaks and I had my first phone conversation with her since I started the course. I had up until then been a bit shy about calling her since I had been unable to go to the campus and meet her in person. Though initially I felt a lack of confidence due to not being able to attend the campus sessions, I came away feeling encouraged after talking to her and with a better idea of where to start. I feel I have already learnt that the relationship between me and my advisor is really important, not only from reading about it in Bell’s book, but also from the difference it made to my confidence after only 20 minutes of conversation. I’m really looking forward to involving Paula more in my work and developing our relationship over the course of this next module.
One thing I discussed over the phone was some ideas that I had about my project topic. I mentioned that I had brainstormed in the shower and written pretty much everything down that I could think of doing. I was encouraged to include my list in my blog diary entry......so here goes;
• Eating disorders and issues in dancers
• Dance Psychology – dealing with nerves and stress, using visualisation as an aid
• Auditions and the auditioning process
• Choreographic devices – how to successfully create movement (for new and inexperienced choreographers)
• Ballet and sport i.e ballet connected with football training
• Ballet or dance and aiding physical problems/disabled people
• Ballet, dance and theatre for disadvantaged people- projects such as Ballet Hoo! by BRB
• Dance and the public - what does it mean to them - preferences to different types of dance -why?
• Ballet and different techniques - physiology - body types and abilities for different styles
• Comparison of Narrative and Abstract dance works – their effectiveness
• Old Classics and Modern dance works – difference in impact – preferences
• Ballet companies and unions – fair treatment of dancers , company etiquette
• Theatre and money issues- how to attract and keep faithful audiences – economic crisis, impact on theatres, dance and music productions
• Dance and Injury
• Dance and Physical health benefits
• Dance as an art form – accessing emotions, presentation. Artistry over technique? Physicality over quality? etc
• Ballet dancers and ‘normal life’ outside the theatre. Married to their career? Coping with families and yet sustaining technical standard, physical strain on the body as you become older (and or) have children
• Alternative careers for a dancer after retirement
• Becoming/being an artistic director – decisions, responsibilities, relationship with company
• Male dancers and prejudice, public perception that they are gay
Now I’ve really got to try and narrow the list down. I’ve learnt from my reading that it is important to choose something that you are interested in and passionate about as well as something that is relevant to you or your field of work and that others will be interested in too. I found Peter Bryant’s blog very helpful, providing some really good questions that you can ask yourself to try and select the most promising two or three topics.
So good luck to everyone on this, I’m looking forward to reading more blogs and I’ll let you know how I’m getting on soon........fingers crossed!
Monday, January 4, 2010
Descriptive writing Draft 3 - Final Draft
Leading up to the premiere of Andrew Lloyd Webber’s musical ‘Evita’ ,it has been very exciting to see the show coming together, merging all the components to make the final spectacle.
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, myself and the rest of the cast shed our black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as we go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as disatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
At the end of the show, the performers gather on stage to the audience’s appreciative applause. Peering into the audience I see the glint of tears in the eyes of those on the front row and I feel a tingle of pride begin to swell inside me, glad to have been part of such a huge team effort that has brought Evita’s amazing yet tragic life story to the forefront of Estonian theatre.
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, myself and the rest of the cast shed our black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as we go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as disatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
At the end of the show, the performers gather on stage to the audience’s appreciative applause. Peering into the audience I see the glint of tears in the eyes of those on the front row and I feel a tingle of pride begin to swell inside me, glad to have been part of such a huge team effort that has brought Evita’s amazing yet tragic life story to the forefront of Estonian theatre.
Marketing writing Draft 3 - Final Draft
The State Theatre Vanemuine welcomes you to the 2009/2010 season of dance and music productions celebrating its 140th anniversary as the oldest theatre in Estonia.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to June 12th 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to June 12th 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
Sunday, January 3, 2010
Academic Writing Draft 2 - Final Draft
Throughout her life and indeed after her death, Eva Peron has been heralded by many as a heroine and saint and was even given the title of ‘Spiritual Leader of the Nation’ shortly before she died on July 26th 1952. So when in Andrew Lloyd Webber’s ‘Evita’ she is referred to more as a ‘whore’ than a ‘saint’ it leads to the question, ‘ Is the musical/opera ‘Evita’ a fair portrayal of the life of Eva Peron’?
‘Prostitute, Fascist, Profligate- Eva Peron was much maligned most unfairly.’ Thomas Eloy Martinez (1997)
One of the most negative aspects in the portrayal of her life in the musical is almost certainly the introduction of the character ‘Che’, whose role is to narrate the story. Strongly based on Che Guevara, a very famous revolutionary of the era, he is constantly present on stage, criticising and questioning Evita and her lifestyle. From the very beginning of the show, as the other characters representing Argentinean people mourn for Evita at her funeral, he is singled out from their grief singing ‘Oh what a circus, oh what a show’, demonstrating his belief that the reaction to Eva Peron’s death is ludicrous.
Two Evita biographers, Nicholas Fraser and Maryssa Navarro, have suspicions that Andrew Lloyd Webber and Tim Rice based their opera/musical on Mary Main’s biography ‘The Woman with the Whip’, which Tim Rice openly praised. This biography looks very negatively upon Evita with Mary Main later claiming in an interview with The New York Times (1980) that ‘Eva did evil things’, and so it would seem that ‘Che’ is almost the embodiment of author Mary Main’s views.
Mary Main grew up in privileged Anglo-Argentine society, far from the poverty Eva experienced as an illegitimate child, struggling to make her way in the world. It is easy to see how Eva’s efforts to become an actress could be misinterpreted by someone from a privileged upper class. In the musical, during the song ‘Goodnight and Thank you’, Eva Duarte is shown letting men in one door and out the other once she has got what she needs. The character ‘Che’ sings the lyrics
‘Goodnight and Thankyou Emilio, you’ve completed your task...............
And that will be all, if she needs you she’ll call,
But I don’t think that’s likely somehow.’
This is suggestive of a prostitute’s behaviour. But when Eva arrived in Buenos Aires she was just fifteen, with little talent and no money. As Thomas Eloy Martinez (1997) points out, ‘Each time Eva auditioned for a part in radio, theatre or film, she was expected to pay a sexual toll.....It was a matter of survival.’
In the song ‘And The Money Keeps Rolling In’, the character ‘Che’ also takes a very negative stance on the ‘Eva Peron Foundation’, implying that Evita was keeping some of the funds for herself. This is quite explicit in the lyrics:
‘Now cynics claim a little of the cash has gone astray,
But that’s not the point my friends.’
This aspect of the musical relates strongly to Mary Main’s opinion that the foundation was merely a way of channelling government money into private Swiss bank accounts controlled by Evita and Peron. However authors Fraser and Navarro (1996) counter these claims, saying that the Minister of Finance did keep records and that the foundation ‘began as the simplest response to the poverty encountered each day in her office’. They also state that the foundation was started with 10,000 pesos that Evita provided herself.
Scholars now recognise that much of Mary Main’s biography is made up of scandal and gossip and the close relationship between the book and the show suggests the musical is also prejudiced. So even though towards the end of the second act, Evita is finally given a chance to fight back in ‘Waltz for Eva and Che’, I would conclude overall that the opera/musical is great entertainment, but not a fair portrayal of Eva Peron’s life.
References
Thomas Eloy Martinez (January 20th 1997) ‘The Woman behind the Fantasy’, Time Magazine
An interview (1980) with Mary Main, Evita biographer, author of ‘The Woman with the Whip’, The New York Times (cited in a biography/obituary (Monday, November 16th 1998) of Mary Main, The New York Times)
Nicholas Fraser and Maryssa Navarro (1996), Evita: The Real Life of Eva Peron (cited in Wikipedia, the free encyclopaedia, en.wikipedia.org/wiki/Eva_Peron
‘Prostitute, Fascist, Profligate- Eva Peron was much maligned most unfairly.’ Thomas Eloy Martinez (1997)
One of the most negative aspects in the portrayal of her life in the musical is almost certainly the introduction of the character ‘Che’, whose role is to narrate the story. Strongly based on Che Guevara, a very famous revolutionary of the era, he is constantly present on stage, criticising and questioning Evita and her lifestyle. From the very beginning of the show, as the other characters representing Argentinean people mourn for Evita at her funeral, he is singled out from their grief singing ‘Oh what a circus, oh what a show’, demonstrating his belief that the reaction to Eva Peron’s death is ludicrous.
Two Evita biographers, Nicholas Fraser and Maryssa Navarro, have suspicions that Andrew Lloyd Webber and Tim Rice based their opera/musical on Mary Main’s biography ‘The Woman with the Whip’, which Tim Rice openly praised. This biography looks very negatively upon Evita with Mary Main later claiming in an interview with The New York Times (1980) that ‘Eva did evil things’, and so it would seem that ‘Che’ is almost the embodiment of author Mary Main’s views.
Mary Main grew up in privileged Anglo-Argentine society, far from the poverty Eva experienced as an illegitimate child, struggling to make her way in the world. It is easy to see how Eva’s efforts to become an actress could be misinterpreted by someone from a privileged upper class. In the musical, during the song ‘Goodnight and Thank you’, Eva Duarte is shown letting men in one door and out the other once she has got what she needs. The character ‘Che’ sings the lyrics
‘Goodnight and Thankyou Emilio, you’ve completed your task...............
And that will be all, if she needs you she’ll call,
But I don’t think that’s likely somehow.’
This is suggestive of a prostitute’s behaviour. But when Eva arrived in Buenos Aires she was just fifteen, with little talent and no money. As Thomas Eloy Martinez (1997) points out, ‘Each time Eva auditioned for a part in radio, theatre or film, she was expected to pay a sexual toll.....It was a matter of survival.’
In the song ‘And The Money Keeps Rolling In’, the character ‘Che’ also takes a very negative stance on the ‘Eva Peron Foundation’, implying that Evita was keeping some of the funds for herself. This is quite explicit in the lyrics:
‘Now cynics claim a little of the cash has gone astray,
But that’s not the point my friends.’
This aspect of the musical relates strongly to Mary Main’s opinion that the foundation was merely a way of channelling government money into private Swiss bank accounts controlled by Evita and Peron. However authors Fraser and Navarro (1996) counter these claims, saying that the Minister of Finance did keep records and that the foundation ‘began as the simplest response to the poverty encountered each day in her office’. They also state that the foundation was started with 10,000 pesos that Evita provided herself.
Scholars now recognise that much of Mary Main’s biography is made up of scandal and gossip and the close relationship between the book and the show suggests the musical is also prejudiced. So even though towards the end of the second act, Evita is finally given a chance to fight back in ‘Waltz for Eva and Che’, I would conclude overall that the opera/musical is great entertainment, but not a fair portrayal of Eva Peron’s life.
References
Thomas Eloy Martinez (January 20th 1997) ‘The Woman behind the Fantasy’, Time Magazine
An interview (1980) with Mary Main, Evita biographer, author of ‘The Woman with the Whip’, The New York Times (cited in a biography/obituary (Monday, November 16th 1998) of Mary Main, The New York Times)
Nicholas Fraser and Maryssa Navarro (1996), Evita: The Real Life of Eva Peron (cited in Wikipedia, the free encyclopaedia, en.wikipedia.org/wiki/Eva_Peron
Saturday, January 2, 2010
Descriptive Writing Draft 2
Leading up to the premiere of Andrew Lloyd Webber’s musical ‘Evita' ,it has been very exciting to see the show coming together, merging all the components to make the final spectacle.
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, the cast then shed their black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as they go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as disatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
At the end of the show, the performers gather on stage to the audience’s appreciative applause. Peering into the audience I see the glint of tears in the eyes of those on the front row and I feel a tingle of pride begin to swell inside me, glad to have been part of such a huge team effort that has brought Evita’s amazing yet tragic life story to the forefront of Estonian theatre.
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, the cast then shed their black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as they go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as disatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
At the end of the show, the performers gather on stage to the audience’s appreciative applause. Peering into the audience I see the glint of tears in the eyes of those on the front row and I feel a tingle of pride begin to swell inside me, glad to have been part of such a huge team effort that has brought Evita’s amazing yet tragic life story to the forefront of Estonian theatre.
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