Module 3 - reviewing and addressing my feedback and areas to improve from module 2.
The most challenging area of module 2 for me was the Methodological framework so I am trying to straighten out my thoughts....
What is the theoretical underpinning of my inquiry?
My beliefs..... I believe there are a set of skills that are required for dance captains to carry out their duties for the production. I believe this to be true because I have experienced dance captains and had the opportunity to observe their approach to the role.
I also believe that the transition process from dancer to dance captain is the key time where the learning of the duties and the ability to identify and develop skills to perform the duties should form.
I also feel from from the existing literature on Web 2.0 platforms that there is a lack of support or training for dance captains to transition successfully and therefore causing problems with the relationship between the dance captain and the dancers and the management team (from my experience). The assumption that because a person is good at remembering choreography or organised at work does not mean that the role of a dance captain will necessarily come easier to them or mean they would be well suited for the more authoritative position for that particular individual. Having knowledge does not always mean it is well used or passed on beneficially.
The inquiry is important for me to establish how the transition process could be universally improved or standardised throughout industries and also how the best person can be selected for the position to ensure a happy cast and production team.
What is the position of my inquiry in relation to structuralist and post-structuralist approaches and the way in which I frame the research?
I am framing the research inquiry with a non-positivist position so things are constructed from a number of elements, such as myself as the researcher, the industry they were dance captain for and the demands of the show ect.
My positioning is as an ethnographer in the research. As a dancer I have been under the leadership of the dance captain so I have already established a relationship as the listener within the field of my practice (dance). I have also already began to reflect on the duties of the dance captain and the impact he or she had on my experiences as a dancer at Circo Tihany Spectacular, I will now need to develop reflection on the information from the inquiry.
Understanding and evaluating theoretical paradigms and methodological approaches to research?Epistemologically and ontologically stance within the inquiry research project.... I am a dancer aspiring to become a dance captain. I believe I already posses some of the skills required to become a dance captain such as organisation as a freelance dancer and time management. I have already carried out some of the duties similar to a dance captains for example teaching class or new choreography to peers. I have had experience working with dance captains and has impacted my current professional practice therefore the inquiry closes links to my professional practice and how I wish to develop it.
One of the limitations of a qualitative method methodology is the research being situated in one
context, although the inquiry has emerged from my professional practice as a freelance dancer there are many different industries where I could work and the dance captains duties will most likely vary depending on the production.
What is the theoretical underpinning of my inquiry?
My beliefs..... I believe there are a set of skills that are required for dance captains to carry out their duties for the production. I believe this to be true because I have experienced dance captains and had the opportunity to observe their approach to the role.
I also believe that the transition process from dancer to dance captain is the key time where the learning of the duties and the ability to identify and develop skills to perform the duties should form.
I also feel from from the existing literature on Web 2.0 platforms that there is a lack of support or training for dance captains to transition successfully and therefore causing problems with the relationship between the dance captain and the dancers and the management team (from my experience). The assumption that because a person is good at remembering choreography or organised at work does not mean that the role of a dance captain will necessarily come easier to them or mean they would be well suited for the more authoritative position for that particular individual. Having knowledge does not always mean it is well used or passed on beneficially.
The inquiry is important for me to establish how the transition process could be universally improved or standardised throughout industries and also how the best person can be selected for the position to ensure a happy cast and production team.
What is the position of my inquiry in relation to structuralist and post-structuralist approaches and the way in which I frame the research?
I am framing the research inquiry with a non-positivist position so things are constructed from a number of elements, such as myself as the researcher, the industry they were dance captain for and the demands of the show ect.
My positioning is as an ethnographer in the research. As a dancer I have been under the leadership of the dance captain so I have already established a relationship as the listener within the field of my practice (dance). I have also already began to reflect on the duties of the dance captain and the impact he or she had on my experiences as a dancer at Circo Tihany Spectacular, I will now need to develop reflection on the information from the inquiry.
Understanding and evaluating theoretical paradigms and methodological approaches to research?Epistemologically and ontologically stance within the inquiry research project.... I am a dancer aspiring to become a dance captain. I believe I already posses some of the skills required to become a dance captain such as organisation as a freelance dancer and time management. I have already carried out some of the duties similar to a dance captains for example teaching class or new choreography to peers. I have had experience working with dance captains and has impacted my current professional practice therefore the inquiry closes links to my professional practice and how I wish to develop it.
One of the limitations of a qualitative method methodology is the research being situated in one
context, although the inquiry has emerged from my professional practice as a freelance dancer there are many different industries where I could work and the dance captains duties will most likely vary depending on the production.
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