Task 3d Critical questions and issues that emerge

Overall module one has opened my eyes completely. I hadn't realised how much I had not been using the facilities available to me to improve and develop in my professional practice. Looking at the questions provided in this task it has lead me to critical questions and issues about my professional practice. 

First of all one of the biggest areas that have appeared to me, is how crucial communication is within the industry. Whether it be whilst still performing, teaching, learning or networking it is essential. One area, is keeping up-to-date with the technology available to us. For example I bought a MacBook Air in order to make a better quality show real and videos of my work. Knowing how to use technology to its full capability is important. Remaining up-to-date with your communication technologies is key as well, social media has a lot to offer within my professional practice and it makes it easier to stay in contact with people and find more job opportunities. Ultimately the biggest topic that has emerge is how much face to face interaction and taking more time to apply for opportunities is key. 

Currently my engagement has been limited and unplanned. I realised I had not been making enough time to network with people and to stay current with what is going on in my profession. Moving forward I have made a plan of how I can improve my time management and therefore increase the amount of time I spend in this area of my work. 

After touching briefly on some areas of the industry and from sharing and listening to the experience of others it has come to my attention that although we have an incredible amount of knowledge at the end of our fingertips, we may not be using these communication technologies in the right way. These are a few questions that I would like to explore further into: 

Are we relying too much on technology rather than communicating face to face?

Has the increase of accessibility weakened the professional industry?

Another area that I want to look into is largely inspired by my tour around China. I would like to look into the opportunities available to Chinese performer. Also after struggling so much with the restrictions to certain information and realising how vulnerable you can be if you just use one source of information for your profession, I would like to look further into how performers living in China find out about job opportunities and is it restricted? These issues have lead me to ask the following questions: 

-  Why are certain websites restricted in China?  

- Can dancers be successful in this industry without the same networking Web 2.0 facilities? 

- What is the accessibility of other dance styles in China?

- Do you have to be well educated in order to get these opportunities?

- Does the language barrier make a big impact? 

Task 3c Sources Of Information

Following on from the previous task about the different theories relating to networking, this task is mainly related to the theory of Connectivism. Looking at the way in which technology now teaches you.   

I started to look at the sources of information I currently use. I realised how much I have limited myself to just the internet. Although the internet is one of the biggest sources of information now it is definitely not the only source that is beneficial. Therefore I started to think of the different ways I could gain information for my professional practice: 

Books/publications: I rarely use books, publications or newspapers for my professional practice, as the internet is easier to access. When I would see articles about the industry or dance I would never had normally read them or books about dance as I used to see reading as a leisurely activity and therefore didn't want to bring what I do for a living into that, which seems ridiculous now. However since starting this module and looking into how I could develop my knowledge for my professional practice, I started to read articles about the industry, much like the one I have previously posted on my blog about auditioning. I now constantly try and find books or articles that I can read that will develop my knowledge further. 

Radio: Using the radio is great for keeping up-to-date with music and current affairs. With regards to teaching it is beneficial to be up-to-date as younger students enjoy dancing to the latest music that has been released. 

TV: With regards to TV I think it has made dancing more popular and has advertised the profession in a positive light, with the chance of instant fame. Shows such as Britain’s Got Talent, X Factor, and Got To Dance has made it easier for people to get into the profession and make a name for themselves. Although this can be great for people that haven't had the opportunity to have professional training, it is also frustrating to see people that have been seen on TV get a job over someone that has trained all their life not get a job over them. Usually the performer that has trained is the stronger candidate, however because the other person is now seen like a celebrity they are more likely to get the job, as the public would prefer to see someone they know perform. This isn’t always the case however I think the profession is now seen to be quite easy to get into when in fact it is an industry with a lot of competition. 

People: This area I decided to make the most of whilst I was touring with more established practitioners and ask them their experience and thoughts on networking. I interviewed three of the singers in my cast. Although two of them have predominately been singers and actors, one had been a professional dancer and has now made the transition into a singer/actor. I found the talk very beneficial and informative. For privacy reasons I will not use their names on the blog. I asked four main questions about networking in the industry:

1). What have you found is the best way to network in the industry?

2). Has it changed since you started your career?

3). Do you think the increase in technology/social media has made it better?

4). How do you think networking could be improved in the industry?

Here is an summary of the answers to the questions:

1). All three singers said that the best way to network in the industry was to meet face-to-face and socialise with people. As they have continued to stay successful in the industry they now find it slightly easier to find jobs as they have built a wider network. People gradually work their way up in the industry so the people they once trained with or worked with are now casting directors, choreographers or assist in shows. Therefore they have built an employment history and rapport with people. They all said to make a lasting impression you should put yourself out more and not rely solely on social media. This could either be done by sending a well thought out email that is relevant to the job you want, or attend classes or workshops with companies or choreographers you want to work with. 

2). Yes! Each of them had their own opinions of how it has changed. One singer said he had originally hated the idea of networking and had hoped that it wasn’t essential to be successful in the industry and that it was solely on talent, however over the years he has realised it is not such a bad thing and that it is essential in order to be successful and have a ongoing career. The other two singers stated it has become easier to contact people and network, with the increase of technology and social media. Before the internet wasn’t really used to find out information. You had to network through meeting people, finding auditions in the newspaper, subscribe to ‘The Stage’ magazine or look on the noticeboards at the local dance studios, or rely solely on your agent. 

3). There were mixed thoughts about this question. They all felt it has made the industry more accessible, easier to stay in contact with people and it is easier to find out information with sites such as, Facebook, Twitter, Casting Call Pro, Talent Cast etc. However they feel it has weakened the industry by making it more accessible. With the increase in popularity largely due to shows such as ‘X Factor’, ‘Got to Dance’, ‘So You Think You Can Dance’ and ‘The Voice’, it has made people want and think they can get fame or success instantly. People that have trained since they were a young toddler and spent their lives dedicated to the craft are now working along side people who have ultimately just started. In the past if you had not trained at an established performing arts school then it was a lot harder for you to get anywhere. Although there are plus sides to this as people that haven't had the opportunity to have that sort of training are now able to make it, it also means the standard has dropped. If it is more accessible to anyone it becomes less of a craft, wages have decreased and a lot of jobs now are not paying. As the popularity has increased the value of jobs had decreased. 

4). They all felt if fellow performers, choreographers and casting directors could have more face-face time the industry would be better. Rather than just using the internet and social media websites, it would be better to spend time socialising and getting to know people more rather just another face in the crowd. The way the economy is at the moment in most areas of business want to save money where they can and spend as little time as possible on projects. As a result you lose the quality of talent, now a lot of the companies use performers that will dance for less. Making it less of a career but more of a hobby. Recently there have been petitions against not paying dancers for jobs. If more and more people continue to work for less it will no longer to possible to make a career out of it. Therefore they believe if there was a stronger union and performers stood by one another this would happen less. 

Conclusion

This task has made me realise how important it is to talk to people more and after discussing these issues with more established practitioners you can learn a lot about other peoples experiences. 

References

WBS 3730 Module 1 Reader 3 BAPP Arts, Middlesex University, Page 8 

Task 3b Theories Relating to Networking

After reading The Networked Professional Reader, I tried to get a better understanding of what each concept meant and how it links to my professional practice. There were four main concepts that stood out to me the most starting with: 

Cooperation

The definition I found that seemed most suited was, ‘an act or instance of working or acting together for a common purpose or benefit; joint action.’ (1)

Another way to describe this concept is, ‘the benefits of cooperating fully with others until you reach a point of maximum benefit,’ (2)

Robert Axelrod was the main researcher that looked into the benefits people take in to consideration when cooperating in something; is it worth getting involved or helping? and what can you gain from the situation? As I have been in China whilst carry out this module I have been surrounded by the Chinese culture. This concept reminded me of their culture and the way they carry out their business. This is called Guanxi 关系 meaning ‘the system of social networks and influential relationships which facilitate business and other dealings’(3). Most business transactions are carried out by favours. Helping one person out in exchange for something in return. This concept is also used in the performing industry. A successful way of networking in the industry is by gaining contacts that are useful to you who are able to help you and you help them in return. For example, by telling each other about auditions, opportunities, and putting a good word in for you. Without actually saying it out aloud you would expect that person to do the same for you, if you had done it for them, a lot like Guanxi. This also links back to Robert Axelord (1984) Game theory about cooperation. 

Affiliation 

Affiliation has been defined as, ‘a social or business relationship’(4). This looks into the way people like knowing or having a link to someone else. Crisp and Turner, 2007, page 266, explained this as an action that gives people, ‘a network of support that will help us when we are in need’ (5). I think this links into my professional practice when people ‘name drop’. This is when people like to associate/affiliate themselves with certain people. These people usually have something to give, either because they are successful, have power over something or are talented. For example, ‘The Royal Ballet’ has a great name for itself in the dance world. Therefore if someone mentions they performed in that company you will automatically assume they are great and are at a certain standard. 

Connectivism

At first I found this theory very difficult to understand. After researching different articles about the topic I feel as though I have a slightly better understanding. The idea has been described as ‘a learning theory for the digital age’ (6). It looks at the way in which technology now teaches you with interactive learning. The main researcher on this theory was Siemens, G (2004). 

In terms of networking and how we learn more about our professional practice is directly linked to connectivism. Technology and access to information has completely evolved. For example it use to be a lot harder to access information. You didn't carry a device around with you that you could use to send emails, photos, or gain all types of information that you could possibly need for an audition or job opportunity. It was also harder to stay in contact with people, but now with social media it is easier to stay in contact with friends, colleagues and employers. The increase of connectivism has made the performing arts industry a lot more accessible. 

Communities of Practice

This concept is described as a group of people with shared knowledge or interests that want to gain more knowledge in the area they are interested in. This idea is seen to be more beneficial than acting alone and finding information out by yourself. From experience this form of gaining knowledge is very strong. The performing arts industry is a specialised area in which not everyone knows a lot about. Therefore it is very useful to contact, work with, help and share opinions or knowledge about what you know as you will more than likely gain something in return. An example of this in my professional practice is on the social networking site called ‘Facebook’. On this there is a group called ‘The Hustle’. On this group performers share audition information, part-time work opportunities when you are not performing, deals on photographs, places to rent and any other information that could help in the industry. This is a great platform for fellow performers to help and share their knowledge, which I think directly relates to communities of practice.   

Conclusion

Looking at these different concepts has made me realise I need to share and gain more knowledge from others that are in a similar profession to me. I do not think I have been utilising the opportunities that I have around me, particularly with the contacts I have already made. My next step in my professional practice will be to start putting these concepts into practice. 

References

(1) http://dictionary.reference.com/browse/cooperation

(2) WBS 3730 Module 1 Reader 3 BAPP Arts, Middlesex University, Page 5

(3) https://www.google.co.uk/?gws_rd=ssl#q=definition+of+guanxi

(4) http://www.definitions.net/definition/affiliation

(5) WBS 3730 Module 1 Reader 3 BAPP Arts, Middlesex University, Page 6 

(6) http://en.wikipedia.org/wiki/Connectivism 

http://www.elearnspace.org/Articles/connectivism.htm

http://en.wikipedia.org/wiki/Community_of_practice

Task 3a Current Networks

I started this section of the module by looking up the definition of Network:

 

A supportive system of sharing information and services among individuals and groups having a common interest. (1)

 

1) What are the current and different ways (tools) that you have, or do, engage your professional network?

 

At the moment my current networking is mainly online based. I am part of several online agencies such as, Talent Cast, Dancers Pro, and Spotlight. There are a lot of other online sites that offer a similar service to these; however I have eliminated the sites that do not suit me and found which ones are best for me with regards to the jobs and opportunities they post.

 

Another area that has become increasingly bigger and useful are social networking sites, although they are good for the ‘social’ aspect of life, it is now becoming increasingly important that you have these facilities for your professional practice. Now there is a huge networking group for performers on Facebook, called ‘The Hustle’. On the group people post job opportunities, places to rent, headshot and body shot deals for photographers or even if you want advice or ask a question about the industry. It is a great platform for performers to use and network.

 

One of the best forms of networking I have is my friends in the industry and people I have worked with before. I have gotten most of my opportunities through a recommendation. Most people would like to hire people they know are reliable, talented, hard-working and easy to work with, that is why I believe this area of networking is the strongest. There is nothing better than someone putting in a good word for you or when someone asks what you are like they can say good things about you, much like an informal job reference. This only comes if you have made a good impression on your previous jobs. Remaining professional and keeping in contact with people is essential.   

 

2) What are the established (and different) ways that others use their networks, especially if they are more established or experienced practitioners that you admire?

 

I would say a lot of more established performers would have an agent. I personally have managed without an agent so far, however I know if I wanted to change into a different area of the industry or go to the next step in my career it would be easier with an agent. Although there are increasing ways to get jobs yourself you are still limited to certain jobs and would not get private auditions unless you had a higher connection. Usually a more established practitioner would have a wider network, as they would have worked with more people, and have had more experience. As employers tend to go for people that someone already knows it is easier to help other people out if you have more connections. For example if you have history with someone and you’ve done them a favour in the past and they like you, they can help you too. However when you are just starting out or at the early stages of your career it is harder to do that as you have no employment history. You gain this over time, with the more jobs you do and networking with the people you work with.

 

3). Are there methods, approaches and technologies that you use socially that might apply and help you develop your professional networking?

 

I have come to realise that you need to use social networking to get by in this industry. There is an increasing amount of sites that provide useful information. The benefit of using social networking sites, rather than using normal web pages is that the information is up-to-date. For example if you are attending a class at Pineapple and the teacher is no longer able to make you can find out who will be covering. If you were to just look at the website it would say the same information and nothing about the change to the timetable as it takes too long on a normal website to change information that regularly. You are now also able to follow agencies, casting directors, choreographers, and other performers on Instagram, Twitter and Facebook.

 

Another area that I have found successful although it may seem obvious, is to, socialise in the industry. When I first graduated I thought it was important to always remain professional and to not mix your professional life with your personal life. Although I still think this is important to an extent, I have found socialising one of the best ways to network. This could be during a class or an audition, talking to other dancers in the same position as you and sharing experiences. If you are asked out for a drink after the show with your fellow cast members join them. Socialising and relating to people on a personal level and knowing that you are all in pretty much the same position can really help. People are more likely to remember you and you are essentially networking with more people.

 

4). When you reflect upon current networks, can you think about the motives of others to be in the network and what values and purpose they have in mind?

 

Looking at the current networks I think the motives of others are the mostly the same as mine. Firstly if we are just looking at performers, most people want to get a performing job and stay in work as long as possible without having a gap in employment. Everyone has their dream job they are working towards and most people want to make money along the way. Everyone involved can offer something different and most people in the industry are linked in some way or another. The trouble with most people having the same goals means that there is competition. In the industry if you are looking to join in a company the casting directors usually want people that look similar, have the same shape and height and preferably dance the same. On the other hand there are some cases where people want different types of people in there cast. This is where the problem usually lies and competition takes over. For example I am a 5ft 5 brunette with a slim build. If I saw a job that was not looking for this description I would let other people I know about the audition or job opportunity, however it wouldn’t be tactful for me to let someone I know that is the same description as me, as I would be in direct competition with them. This is where the motives and values of others differ.

 

Another aspect to look at it is from an agency point of view. They will have slightly different motives as a performer. Most agencies want great people who they believe will get a lot of jobs; therefore they will get more money themselves. Although both parties, the agency and the performer, want the same thing, for you to get a job, the lines can sometimes be blurred. I have heard so many stories of an agent putting someone up for a job they have already said they do not want or encouraging them to take the longer contract or the one that earns the most money as that is how they can make more money, rather than looking at the opportunity they are usually more driven by the amount of money they can make. 

 

5) What would your ideal network look like and why?

 

Thinking about how I would like my ideal network to be, I first begun to think about what I didn't like about the network I have at the moment. One of the biggest problems I find is that there are too many sites and profiles that you can have. This is largely due in order to get more of a variety of job opportunities however I constantly find myself being behind. I find it so hard to find time to keep up-to-date with all of the social networking sites, emails, surfing the net and keeping in contact with people. There isn’t enough time in the day. Therefore my ideal network would be to cut down the amount of sites involved so that most information would be in a few places and not over lots of different sites that you need to check everyday. This also could be helped by having an agent as they could do a lot of that work for you, as they would be looking for auditions for you to attend.

 

6) What realistic things could you do to work towards developing your ideal network?

 

I could start by looking for an agent and also having a clear out of the sites I use. Looking realistically into what I gain from them and is it worth still using them. Also to make sure I dedicate specific time to networking and looking for opportunities, and not just leave it till later when I have
more time. I also need to start thinking more towards the future whilst still on a contract. I tend to just focus on what I am doing at the time rather than thinking ahead to what I should be doing next. I usually get to the end of the contract then start to look for my next job rather than looking whilst I am still working.

 

7) What tools and methods do you need to use? What do you know about your current and intended networks, and importantly, what do you not know?

 

In order to improve my problem with time I need to plan in advance what I am going to do. I now know the different tools in which enable me to improve my network, for example useful social networking sites, networking with friends and colleagues and using a diary to be more organised. An area which I now what to explore is whether it is important for me to get an agent in order to move onto my next goal, if so what agent and would they be suitable for what I want or is it better to do it yourself?

 

After looking into these questions, it has made me realised how much time I need to put into this area of my professional practice. Networking is an area that I have neglected and I hadn’t realised how many more opportunities I could gain if I put more time and effort into this area.

 

 

Networking Image (2)

 

References

 

(1) http://dictionary.reference.com/browse/Networking

 

(2) http://comerecommended.com/wp-content/uploads/2012/02/2.jpg

Task 2c: Reflective Theory

After reading Reader 2 I looked up the definition of ‘Reflection’. These were the two that I felt fitted the best of what I originally thought about reflection.

 

Serious thought or consideration (Oxford Dictionaries)

 

An idea about something, especially one that is written down or expressed (Oxford Dictionaries)

 

Looking at these definitions you get the idea that reflection is an after thought and something to look back on, weather it be about your day, an event, an encounter or a moment either in your professional or personal life. From writing my reflective journal I have realised how much reflection can help as a dancer. Without realising I have been constantly reflecting in my professional life, especially since starting the journal. As a performer you are continuously given feedback and corrections. During class and rehearsals you are given by the teacher or choreographer instant feedback usually correcting as you learn, either in your actual movement or positions or in your overall performance. Once you are performing in a show, you are usually given feedback after the performance from the dance captain, whether it is positive or negative, but all feedback is constructive. Another area I have found very useful to correct yourself is by filming your performance. Every show I have performed in I have filmed sereval times throughout the contract. This enables me to see where I can make improvements myself and to see if I have improved whilst on a contract.

 

After studying Reader 2 it has proved to me even more how important reflection is in order to progress and develop in your professional practice. The key aspects that stood out to me the most were from researchers, John Dewey, David Kolb, Howard Gardner, Donald Schön, and Robert Kottcamp. Firstly looking at Dewey, he was one of the first researchers to look into the idea of reflection. Dewey described ‘reflective thought’ as: ‘ active, persistent and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusions to which it tends’ (Dewey, 1933). He had the idea that experience was the key to having more knowledge and you would be better equipped in society. From reading through some of Dewey’s concepts I came to the opinion that reflection is a big key in order to improve, develop and experiment. If you are just taught information from books, teachers or online sources whether it be through reading, writing or practical work you are still learning from other sources. With reflection you yourself are looking over what you have gained from something, usually looking at what you have found out, what you thought/ felt about it and then possibly how it could be improved or a different area that could be explored.

Moving on from the idea of reflection, David Kolb came up with the Learning Cycle:

 

He thought there were four different areas in which people started to learn at different points:

-     Concrete Experience

-     Reflective Observation

-     Abstract Conceptualisation

-     Active Experimentation

 

From the example given in Reader 2, I thought about how I learnt to start a blog. Looking at these four stages I realised I came under two categories the most ‘Active Experimentation’ meaning I used a trail and error process and ‘Reflective Observation’ looking at other peoples to see what they had done. From analysing how I learnt to start the blog I started to think about how I learn as a performer. You can link the cycle very clearly to the process in which others and I learn new choreography or dance technique. Sometimes you will see an example or be shown (Reflective Observation) or you will try and do it yourself (Active Experimentation) or you will do it yourself and know what it should be (Concrete Experience) or you will figure it out in your head first (Abstract Conceptualisation). I found this very useful and interesting. I had not previously thought about how you start to learn something and the different ways in which each person could.

 

Moving on from Kolb’s idea of the Learning Cycle, Howard Gardner (1983) looked into the possible different ways in which people can learn and understand. He called them multiple intelligences. There are eight different areas, Spatial, Verbal-linguistic, Logical-mathematics, Bodily-kinaesthetic, Musical, Interpersonal, Intrapersonal, Naturalistic. I found the idea of multiple intelligences very relevant for the dance world. I have noticed the different ways people find it easiest to learn choreography or technique. A great example of this is learning tap. Tap can be one of the hardest things to learn choreography for, as its not just about the steps, your alignment, the choreography or the style its also about the rhythm, the accents, and light and shade you put into the sound you are making. Looking into the process of teaching tap there are four main areas: demonstrating, speaking, counting, rhythm. Although essentially you need all areas to learn the choreography but the way in which people remember it the most is through these ideas. For example I personally find it easiest when it is demonstrated and someone sings/hums the rhythm, rather than saying the steps or counting, where as others prefer the opposite.

 

I think this concept is very important for teachers as well. If you are able to teach using different types of learning methods then you are a well rounded teacher that would get the most out of their students. As a dancer it is important to be able to learn well in all areas. When working with different choreographers each person has their own teaching style, which you would need to adapt to. Another area in which some dancers struggle with is changing their spacing or order of choreography. A role in performing is often you would have to swing. Being a swing in a show involves learning someone else's role so that if they are unable to go on through injury or illness you are able to take their place. Some performers find this role very difficult. Tharp and Reiter 2006 talk about the idea of muscle memory. If you have been use to your own spacing and choreography it is then engrained in your muscle memory and almost becomes automatic, therefore to then have to change that is quite difficult. Many dancers struggle with this and that is why if you are hired as a swing you are usually paid more, as it requires a higher skill set.

 

Another concept I thought was very relevant was Donald Schön and Robert Kottcamp. Schön (1987) came up with the concept of reflection in-action and reflection on-action. Reflection in-action is where you are reflecting whilst you are doing the activity, so as you go. Reflection on-action is where you reflect after you have done the activity. Robert Kottcamp looked into the concept further. Kottcamp called reflection in-action ‘on-line’ and reflection on-action ‘off-line’. He believed that it is harder is reflect on-line than it is off-line. As dancers we naturally use reflection more on-line as we are corrected as we go by either ourselves or the teacher. Otherwise the process of development and improvement would take much longer, as it is physical and muscle memory takes over. Where as for academics it is natural to look back over something after you have finished the activity, off-line. For performers, although it is so natural to be corrected as you go you forget how you’ve improved and how you got there. I believe it is also important for performers to reflect off-line as well on-line, to see how they got to the end result and where they could improve from the beginning. For example whilst I was training my teachers would correct my posture when I carried out pirouettes, and said my weight was too far back. I started to correct myself when carrying out a pirouette. Reflecting on-line. However it wasn't until I had reflected off-line that I realised that my posture was not just related to my pirouettes but my posture in everyday life and whilst dancing. I realised that if I corrected my posture all the time it would increase my chances of changing this bad habit for good rather than just when I carry out a pirouette.

 

Looking at my reflective journal from the previous tasks and after reading Reader 2, I had noticed a lot about the way I learn and how different people teach. An area which I found affected me a lot was the environment in which you work in. I had been rehearsing whilst writing my journal. For the first week and a half I had rehearsals by myself, as I came into the show at the last minute. The rest of the cast knew the choreography and so it was just me and the choreographer until the last few days of rehearsals. At first I thought it was great to have one-to-one attention and it would be more beneficial, however I found the learning process incredibly hard without having the rest of the cast there. For obvious reasons, learning the routines was hard without my dance partner as you need to build a connection and get use to each other, but apart from that, I missed not having people to work with. You gain a certain atmosphere and a better understanding of the show when there are other people there to learn with. I found that I picked up the choreography quicker than usual as it was just me learning it, however I did not remember the order of the show or my spacing as well as I normally do. Without having anyone there it is very hard to place where you should be and what the overall dance is supposed to look like. After experiencing this myself I am interested into looking into this area of learning and reflecting with regards to the environment around you. 

 

Overall looking at some of the concepts on reflection, it has really opened my eyes at the ways in which you can improve and develop as a dancer if you just take time to reflect on what you have learnt. Looking at the variety of ways people learn can really help you as a dancer to know your strengths and weaknesses, but also as a teacher. I have recently started teaching however this area has made me see how I can improve as a teacher to get the best out of the students. From my own recent experience of learning I now want to explore this area more of how the environment in which you learn and reflect can have an affect on your development.

 

 

 

Reflection Image (2)

References

 

http://www.oxforddictionaries.com/definition/english/reflection

 

WBS3730 Module 1, Reader 2, BAPP Arts, Middlesex University, page 4

 

(1) http://global.bing.com/images/search?q=robert+kolb+learning+cycle&qpvt=robert+kolb+learning+cycle&FORM=IGRE#view=detail&id=9EBE3BACA1A8F5260442065E5048E69D943919FA&selectedIndex=1

 

http://en.wikipedia.org/wiki/Reflective_practice

 

WBS3730 Module 1, Reader 2, BAPP Arts, Middlesex University, pages 5 & 6

 

WBS3730 Module 1, Reader 2, BAPP Arts, Middlesex University, pages 7 & 8

 

(2) 1http://tariqmcom.com/show-image/?img=/wp-content/uploads/2014/05/reflection2.jpg