Task 6c: Award Title

                I have chosen BA (Hons) Professional Practice Dance as the award tile for my degree.  The title chosen, reflects on my current area of practice and previous knowledge, and on what I believe will be beneficial for my future career.

                The topic for my inquiry is how creativity dance related practices can be crucial for dancers’ artistic development. I will bring on this discussion, by analysing how creativity is related to professional dancers careers, why is it important and how could be approached. Through literature, observations, interviews and my own personal experience, this inquiry aims to benefit professionals on the dance environment, bringing other discussions and tools for dancers’ development, motivate a better connection between techniques and methodologies and for my own career development.  Already on the title from my proposal, I aimed to bring on a theme which has been present on the current dance scene and which I believe is extremely necessary for dancers’ development

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                As a professional dancer, whose formation includes two professional schools which apply different methods, who has lived in four countries, has worked with different professionals and dance languages, whose repertoire includes different styles and who also, has a deep interest into composition and improvisation, the inquiry topic is very much about my own previous experiences and current necessity for artistic quality development and self-innovation. With this inquiry, I am aim to share different perspectives on dance, analyse different tools which work around the creativity theme and relate to dancers’ formation, and to be able to analyse my own experience, my current role into the dance environment and reach an artistic and career development. My main reason for joining into this course was to reach a deeper knowledge and have an opportunity to discuss and critically reflect on my current area of practice and role as a performer, subsequently I believe my award title is deep related to it.

Task 6b: Inquiry Tools

                In the last days I began to make an inquiry plan and analyse the considerations I should take when developing it. To plan how will I apply, use my data and connect my ideas and information obtained; think critically about the discussions I have been taking with my SIGS as well as with the literature researched; analyse what do I want to approach with my inquiry and what knowledge I already have from this area; and how is it connected with my daily basis and how will I use my own practice and experience as a research field for inquiry; demands a well-organized plan and a good clarification on the methods and structures necessaries for it.

                Reflecting about the methods described on Reader 6 from this Module , made it clear how should I plan my research process, take in consideration the advantages e disadvantages of each one and how would be the best way to apply  them. From the tools described, I believe I will focus on three of them during the development: observation, interview and focus group. As my inquiry has a more qualitative approach, I believe I might focus more on analysis methods.

                Here, I will share my thoughts of the four tools presented, evaluating their merits and their limits and how I might apply as well:

                Observation is already always part of our daily routine, especially in a work-based study program like this degree when we should reflect about our work environment, our role as a professional on this place and apply studied theories on it. To be able to bring questions for inquiries possibilities, observation was necessary firstly to be able to analyse my own thoughts. To apply observation as a method of study, a critical eye is necessary and deep reflection about it later on (and then recordings, notes, diaries are necessary). I got myself already applying this method as thoughts would come to my mind during classes and rehearsals which I could relate to my inquiry. Recently, especially after the Skype Session I had with Adesola, I concluded that my Inquiry theme is very much related with my personal journey, and a reflective diary will be one of the main resources I will apply on my research. With this conclusion, I realized I will be observing not only the ones around me but me as well. On some situations might be better to be a participant on the event then observing from outside totally. I felt this situation with certain classes when more than observing my colleagues, I could also fell their experiences and share my own point of view with them. Observation might be time consuming, especially if time is reserved to observe specific classes  however, I believe most of the observations happen during the daily routine. It is crucial to plan the manner on how observation could be used to the best advantage and end up with better results. It is necessary then just to keep always prepared in case notes should be taken or recordings, making sure what I am focusing on and being able to relate with the literature researched. Another important point, is the fact the while observing me, as an inside-observer, there is of course, a personal influence. However, while observing others and after discussing about their experiences, considerations will have to be taken to be open to other opinions, perspectives and influences, to balance between my own position, goals, preconceptions and the others as well. During an observation process, sensibility is required.

            Interviews are a very useful way to collect data, share perspectives and open new discussions about the chosen theme: “(…) You can ask the “why questions” directly to people who have knowledge, experience, and perceptions about you topic; their interpretations can be used as data when these views are collected using recognized data collection techniques” (Reader 6, page 16). This tool will be very crucial for my research process. The way the interview is structuralized, defines very much the results obtained and the shape of the inquiry. Questions about who will I interview, where and when will I interview, how will I prepare myself for it and how will I question are extremely important to take in consideration. More than collecting data, it is important to show to the participant the importance of my research , that he or she is part of this process and how could my research be useful not just for me, but for others as well. For my inquiry I believe I will plan an interview on a more informal environment, will set some questions and guide a direction for it however, I will try to be flexible for others emerging issues and create an open and productive discussion. Depending on the professional interviewed, the planning for it might be different.

                This tool of research requires a special attention on considerations that have to be taken. To be able to interview, the researcher can’t be inconvenient and need to make sure that the ones involved are very clear on what the inquiry is about. Also, consent forms are necessary and comply with confidentiality issues according to each one professional and personal situation. The analysis process after the interviews requires also special attention: accuracy on interpretations and also to be able to use the data efficiently on the research process. I believe I will record most of the interviews to able to don’t miss important parts, reflect carefully after and reach well interpretations.

                Focus Groups require a lot of organization. As other ones are involved, the group dedication on the activities and discussions asked is very crucial. For better results, planning is necessary not only to be able to manage to get people together and creating a proper atmosphere, but also to make the meeting productive, bringing up discussions and relating to the data collected previously. Confidentiality, privacy, data protection considerations require also a proper attention. For my inquiry, I am planning to organize two meetings with no more than four people. We would work on three improvisation methodologies and after the activity, discuss experiences together and relate to the material researched. The reason I believe a focus group would be interesting for the development of my inquiry, is to be able to have one more opportunity to exercise methods, observe my colleagues and share in an open and comfortable environment a discussion around my theme.

                Surveys and Questionnaires are very useful methods of research. These tools allow a good range of answers from many representative respondents and access to quantitative results to interpretation and bring up into the discussion. I believe I won’t use these methods for my inquiry, as my theme is a lot about analysis, however I will use surveys and questionnaires previously done by other researches (literature) to support my inquiry. Surveys can be a good start to initiate a research. 

Task 6a: Informal Trial

One of the methods I will use for the research process of my inquiry will be a personal diary from my daily routine. My inquiry will be much based on my personal experience, when since last year I began to get in touch with other techniques and methods and more interested on contemporary dance. It have been also a moment which I am connecting all my experiences from studying and working in different countries, and be part of different processes of education and lines of choreography.

For this task, I decided to report here my observations from a special workshop which happened last Sunday:

Workshop

It was a Sunday workshop, and unique opportunity to work with a great professional with huge experience behind. Her formation includes diverse techniques such as, Release based Technique, Flying Low, Gaga technique, Contact and Improvisation, Soundpainting, Passing Through and others.

On the beginning of the class we moved constantly for 20 minutes, beginning with the lower members until reach the top of the body. During the process she didn’t speak much, just gave us some tips to increase our movements and expand our ideas of ways to get our bodies warm and approach new places. Some of those tips were of dynamics , others were images such as “getting air between our joints” , “fell like we are in a honey jar” and “each part of the body wants to move to one direction”.

Already on those twenty minutes, I could observe some experiences on my body. Because is a non-stop process, there is a moment where I felt tired or without any ideas on different ways to move. After this moment however, I felt that I just let it go and stopped rationalizing too much. At this moment, maybe because the mind fell freer and without self-judgement, non-conscious movements began to happen and continue to follow to other places not before reached. The body gets warm, I felt more concentrated and internalized.  It happened a wish to close my eyes and she mentioned about how important is to don’t close it: not just because a safety issue, but also because we need to be aware of us on that place that we were, to be able to be around by others without losing concentration, and to turn our eyes also a way to move our bodies. I found this last information very interesting: to make the eyes also part of the choreography. To be able to be concentrated in yourself and on what is around you as well.

After these twenty minutes, we began to walk around the room. She asked us to analyse how we were walking, how was the weight on our feet, hips, knees and up body. She then began to ask us to walk faster and make the curves faster. After she began to ask us to drop our weight on the curves, giving a feeling of “rebound” and from this just increased to turns, jumps, and slides. I really enjoy this method which began with a small, trivial action to a bigger and more complicated action. We did this game also very close to each other, trying to avoid the ones around you, as well as redirecting or conducting them to a movement.

The third part was more about Contact and Improvisation. One activity got my attention and made me reflect later about it: after one person has been manipulated/conducted/influenced by the others, she was asked to keep moving and improvise alone. The ones around her had to copy her movements. This generated an interesting dynamics, because at the same time that one shared her movements, the others received and gave their interpretation, stabilizing a cooperative work where all the ones involved would be influenced by each other.

We finished with a sequence choreographed by the teacher. All information shared during the class could be brought into the choreography and is interesting to notice how my body felt more “open” to the movements, and the sequence could be done lighter and more conscious. With all the exercises given, I believe my body had more information and bigger range of movements.

This workshop was an intense and very productive experience. New approaches were given and more possibilities for improvisation, composition and dance quality. Experiences which share creativity stimulus, contact, improvisation, self-conscious and routines on a whole connected package, I believe are very important. Not only because different methods are brought into one class, but also because it shows how is possible to connect all them.  

Task 5c and 5d: Reflection about Ethical Considerations on Professional Inquiry

                Professional ethics have been a constant discussed theme during our course. Each Module, Reader and Task the concept of ethics have been brought and how should be applied and reflected during our activities. For the research process and development of our inquiry, ethical issues are extremely important. Reading through Reader 5 made me re-think on important considerations I should take when developing my inquiry.

                The Figure 2 from Reader 5 which shows the arenas of professional practice and their connection, I believe should be a constant reminder that we should have during our career. The personal ethics is linked with the professional code, which can vary according to the place, and this one is linked with the employer expectation which can also vary. There is a moral and basic ethics we should always have, not just as a professional (and what it is a basic ethics is a very long discussion), however codes and expectations may vary according to the place of work which show the limits and considerations we should take once we sign a contract or have a duty with the chosen place. This situation can be also brought on the inquiry plan: in the case I do a research with a special group from an institution, or an interview or an activity I will have to take in consideration the codes from the place, employer and community.

                When applying ethical considerations on my professional inquiry, I believe certain responsibilities should take special considerations. This is due the fact that even if I am careful, by distraction I can miss one of these conducts: To ensure that the data collected is accurate, relevant and valid ; to ensure that the data is suitably stored and archived and that attention is paid to issues of confidentiality; to manage resources efficiently, such as finances, time and I intellectual property; and to provide feedback of the results of the research to the participants, or at least the intended use of the results, including any intention to publish. For my inquiry, I plan to make consent forms for the ones I interview and make sure that the ones involved are totally clear on what my inquiry is about and give a proper feedback. Also, I had ideas on watching classes, rehearsals and even planning “research/experience groups” and for these, special considerations will have to be taken for permission (to watch , to use the space, to maybe photograph/record), confidentiality, professional codes and employer expectations as I referred above.

                On the section “Power of researcher” from Reader 5, an important fact was brought and I believe is one more issue I will have to be careful about when planning my inquiry: How my status or opinion can influence on the attitude of my inquiry and maybe affect the accuracy of my findings. During the development of my project, I don’t believe my status as a researcher/dancer/student might affect my findings; however I will try to take different opinions and arguments and share different perspectives from the chosen discussion. As my inquiry will work on the section of artistic development (how creativity stimulus might support artistic development) different experiences from different professionals might be shared and I will try to take those in consideration.

                Ethical considerations will be constantly part of the research process for the development of our inquiries. As the Ethical forms are filled in and the discussions with my SIGS groups continue, more situations might come and have to be discussed. 

Task 5a

                On the last weeks I worked on a big festival in Rio called “Panorama” which has many activities and performances. As is being a very intense and new experience for me, I decided to take this place of work to analyse which ethical considerations might be applied.

                

                The Panorama Festival was first showed in 1992 and since 2007 it is organized by the Cultural Panorama Association and it’s recognized by many international institutions from performing arts. It has the goal of bringing different contemporary dance performances and projects from varied formats, to different areas from Rio de Janeiro.  Already with 22 years, the Festival has already brought many artists and dance companies (national and international) and has a fundamental spot on the cultural calendar of the city. During the Festival, many performances (with different formats) are presented in many places of the city, always with popular price tickets, as well as many activities.

                The Panorama Festival has different sections of work. I joined the Education Program of the Festival which brings activities that aim to approximate different audiences and institutions to the contemporary performance field and also, invest on bringing critical thinking to the audience as well to the professionals from this area. The Education Program invests on contacting schools, communities, ONGS and other organizations offering tickets and free transport to performances and do activities which aim to bring a critical reflection of the performance showed. There are also special activities and performances to the children’s’ audience and partnership with dance and arts universities. Some examples of the activities done by the Education Section of the Festival this year were:

-Workshops with choreographers/artists: activities for pre-selected artists from the performing arts segment.

-Workshops on schools: Activities with artists from the Festival on public schools.

-University Laboratory: A three day laboratory where eight university groups from bachelor, masters or postgraduate programs are invited to show their academic researches to specialized professionals and artists from the Festival

-Practices and Tools for Dance Education Seminar: A three day event where professionals expose and discuss their methods of teaching with the goal of achieving better quality on dance education on public schools and other institutions.

-Review Laboratory: Selected students choose performances which after watching will be discussed and they construct a review under orientation from university teachers. The reviews will be exposed on the Festival website later on. 

-Public talks with choreographers and artists involved on the Festival.

                 The Panorama Festival is a very inspirational event and it was an amazing experience to work with. I decided to take those activities from the Education Section of the Festival to reflect which ethical considerations might be applied on it. First of all, for the pre-selection for workshops and laboratories, the applicants filled in forms which contain personal information sections that will be presented to the Festival such as contact, age, address, curriculum etc. The applicant might need to sign a document which agrees with the terms and conditions from the Festival. It is also from the Festival sake to don’t publish what it is private.  For the Review and University Laboratories this responsibility also involves the rights from the works presented, for example for the reviews that are posted on the Festival’s website. It must have also special consideration about the Image Rights from those activities: the applicants might have to sign documents which allow pictures and recordings to be taken during the activities and that if they can be shared on the Festival Facebook Page for example. With the activities that involve schools, institutions and children those considerations need to be taken even more seriously as they are under age. The Festival also needs to be careful with the material given to the activities and also with the artists rights as their performances and activities might be photographed/recorded by the Festival or Institution where the activity is being done.

              

              Those are the issues that came on my mind without referencing to any document or discussion. For the next task I will interview the Education Program Coordinator and analyse the considerations that are taken by the Festival. 

Task 4d: Literature Research

              Reading, talking to my colleagues and observing my routine, I began to be able to formulate the main idea of my inquiry. What has been catching my attention is the exercise of stimulating creativity which has been bringing crucial changes on my points of view, training and perspectives as a dancer. My researches for literature and bibliography focused on the main idea I began to have for my inquiry: How creativity dance related practices can be crucial for dancers’ artistic and technical development. I am quite glad to have found so many interesting papers that can be related with my inquiry. During this first process of research, I focused on looking for materials which aimed on personality/individuality/singularity of dancers, improvisations methodologies, dance creation processes, body expression/therapies methods and their effects on dance training. It didn’t surprise me that I found great academic researches, books, and inquiries from ones who have a similar point of view as me. Here, I will show some and relate them with what I am planning to focus on my inquiry.

               The first one was an article from Andreas Fink and Silke Woschnjak from University of Graz, Institute of Psychology, Austria, compared modern/contemporary dancers, classical ballet dancers and jazz/musical dancers on levels of creativity, general mental ability and different facets of personality:

“(…) designed to investigate personality characterises of professional dancers of varying dance disciplines in order to learn more about the manifold facets of personality specifically involved in outstanding creative individuals.” (“Creativity and Personality in Professional Dancers”, published on “Personality and Individual Differences 51 (2011), 754-758)

Through tests of creativity, personality, motivation and environmental and social variables the authors concluded that modern/contemporary dancers have a considerably higher level of creative expression than classical ballet dancers. They mentioned that this is due the fact that modern dancers are often required to freely improvised, share their experiences and explore their creative potential instead of following well-structure and rigid choreographies and scripts. In other questionnaire, Ballet dancers scored higher levels of conscientiousness compared to modern/contemporary dancers and jazz/musical dancers which maybe can be a result from the training and routine given as well. This study reveals important conclusions and what I thought would be interesting to my inquiry, is to bring those studies as a key on how different activities are able to bring different types of qualities/personalities/manners, and how could the exercise of them help on turning an artist more creative and on this path, develop identity and artistic quality as a dancer.

               When researching about Improvisation methodologies, I found an article on Dance Magazine (August 2008, Volume 82) from Rachael Strauss called “Teaching Improvisation” and a book from Eric Franklin called “Dance Imagery for Technique and Performance”. Both of them brought great descriptions on how Improvisation is crucial in dance education:

“Improvisation is no longer just an outpost of experimental dance. Choreographers are asking dancers to develop/improvise to help generate movement. It’s also an essential tool to develop a command of one’s instrument. Forward-thinking instructors are incorporating improvisation into their lesson plans to foster creativity, intellectual independence and courage” (“Teaching Improvisation” Strauss, Rachel; Dance Magazine. Aug, 2008, Vol. 82, Issue 8, P.74-75)

“Improvisation will improve your dance technique. You will develop an infinite variety of options for dealing with a given moment in motion-time. In an interview I conducted with ZviGotheiner, a New York-based choreographer, he pointed out: “After doing ballet for so long, going into an improvisation class was refreshing. To initiate movement in a different way, experience texture in a different way, and to explore the psychology of the behaviour created by the image was extremely enriching.” While improvising you forget about dance technique, and yet your technique ultimately improves. You forget alignment rules and anatomical reference points, and yet your alignment improves. Improvising is an opportunity to clarify and accumulate a repertoire of sensations which then be transferred to the performance of specific shapes and movement sequences.” (“Dance Imagery for Technique and Performance, Franklin, Eric N. Published by Human Kinetics, 1996)

There are many methodologies of improvisation and what I found interesting was this deep research that happens on the dancers’ body and how this is beneficial for the artist to reach better and different qualities and discover it owns singularity. I particularly found improvisation extremely beneficial for me and I would like to show the importance of this methodology on the dance training.

Another piece of literature I found has a focus on the significance emotions and feelings have in a collaborative dance-making process. However as the research was done during a creation process, I analysed interesting points which I believe would be important for my inquiry. The article “Emotions and Feelings in a Collaborative Dance-Making Process” by Leena Rouhianinen and Soili Hämäläinen (Theater Academy Helsinki, Finland) published at International Journal of Education & the Arts was a study written by the observation of a specific case study from a second-year MA student in dance pedagogy at the Theatre Academy Helsinki who final work was an experiment with cross-artistic work that originated from the interests of the collaborative group members (Rouhiainen & Hämäläinen: Collaborative dance-making process; IJEA Vol.14, Number 6, Pag 3). I could relate some of the discussions brought by the study with the importance of stimulating creativity:

“Through conversations with our dance colleagues, we have learned that what motivates many dance artists to work collaboratively is the chance to produce something novel, the opportunity to explore new ways of working as well as the possibility of sharing the inherent uncertainty of the creative process with others (…). Creativity not only transforms objective materials into creative products, it also transforms the creator (Moran & John Steiner, 2004). Overtime, creative collaboration can become a vehicle for identity development. However successful collaboration is challenging and requires skill to be accomplished fruitfully.” (Rouhiainen & Hämäläinen: Collaborative dance-making process; IJEA Vol.14, Number 6, Pag 2)

“Creativity is understood to require psychological safety, freedom, high internal motivation, lack of external evaluation, surveillance, reward, competition and time pressure. That being said, creativity also requires a certain level of confrontation and group tensions (Parviainen 2006, Sauer 2005, p.80). (…) creative processes thrive on a sufficient level of difference within the group.” (Rouhiainen & Hämäläinen: Collaborative dance-making process; IJEA Vol.14, Number 6, Pag 6).

               I found important how the idea of creativity is brought so many times during this process of dance making and how the differences between the dancers (which I believe it is the singularity of each one) are also necessary during this process as well. Many choreographers nowadays work on a collaborative manner so the creation process requires creativity from the whole group as well as showing their own personality/identity.

Others pieces of literature were found on the past days, but I chose those three to expose primarily here.  Books from body expression methods as well the classes I have been taking and workshops with choreographers such as Anne Teresa Keersmaeker (Artistic Director from Rosas Dance Company) and David Mambouch (Dancer from Compagnie Maguy Marin) have been also part of my research process.

 

 

 

Developing themes for Professional Inquiry and beginning of SIGS

                On the past days I have been talking with many professionals about my thoughts and questions presented on the last posts. I tried to reach different perspectives: talking to professionals from different areas, teachers, classical dancers , contemporary dances, acrobats and musicians and allow my thoughts to flow during the day and get to a more concrete idea.

                

               My focus turned more and more to the constant process of research for artistic quality on professional artists. I concluded with the others I have been talking to, that this research is a constant process and once is stopped, improvement and actually passion for your profession is gone. The research consists not just on the technical aspects from a class but also, on news ways to constantly innovate yourself and reach different qualities for your practice. The technique also needs to be adapted for yourself, and for this success deep research and dedication must be given. On this flow then, it is important to be what I have mentioned so many times on my other posts: “open-minded” and be actually part of the, in this case , dance community , being updated of new choreographies , needs and ways to reach artistic quality. One of the professionals I have talked to (a dancer from a professional contemporary company in Brazil and my contemporary teacher), related this process as a discovery to be a complete artist. In the case of dancer, would be one that have the domain on different techniques and movement qualities, the one that have a deep body conscious, the one that tries to internalize the choreography given, that wants to give a meaning for his movement and captivates the audience.

                

              I would like to relate my inquiry on the research for artistic quality and singularity on professional dancers. Discuss about the importance on dominating different movement qualities/dance techniques/body conscious methods; give importance for the knowledge on dance, the importance on studying; being updated of the dance community and the new needs for the audience. I would like to analyse this process during the last years of dance formation (the graduated student getting to the professional field) and during the professional career when formation is concluded (actually, never concluded! We need to reach for constant development!). For example about the domination of different qualities for your dance, I believe that techniques which aim for a more spontaneous movement have an extreme importance for this own body research and maturity on performance: The Gaga Technique developed by Ohad Naharin emphasizes the exploration of sensation and availability for movement, fostering a greater confidence in ability to improvise. The Gaga Method requires deep self- knowledge and a sense of freedom of movement which allows the artist to discover many new ways to work his/her own body. The Contact and Improvisation Technique given firstly by Steve Paxton (and under constant development through many others later on and being one of the most used methods by choreographers nowadays) it is a constant experimentation through physical contact, working on movement aspects such as rolling, falling, supporting, lifting etc. The relationship with the partner is very important building up a sense of cooperation, confidence and communication.  Telling about my own experience, when I began to take Contact and Improvisation classes I found very difficult to actually let my body to be conducted and feel what the other person was asking from me and being part of this “dialogue” between the bodies.  Once I began to reach this place, I began to recognize bad addictions and limitations I had, as well as finding new qualities of movement which I didn't imagine I had.

               

               All this focus and conclusions have been made after a very turbulent and busy moment which I have been through.  So many discoveries were made and some many great professionals I have met and had the opportunity to work and talk to. I realized how immature I still was and that I needed to find new ways to reach for a better development and a more professional quality. Ways to discover my own singularity, to apply techniques and to dedicate to my job. For this, contemporary dance classes, ballet classes, body therapies, very long talks, reading and watching different performances allowed me to begin this new research.  With those professionals I have been talking to and began to build up my “Special Interest Group” (SIG), which include professional contemporary dancers, classical ballet dancers, teachers from the “Angel Vianna Dance University in Rio de Janeiro” and professionals involved with the Choreographic Centre in Rio de Janeiro. Soon, I will be taking part in more contemporary projects and I hope to be able to talk to even more professionals. I would like to reach a big range of opinions, from recent graduates, dance professionals from different fields and dance researches and teachers.

               

                I found very few from my Module who have a similar direction of inquiry. I believe that this is due the fact that many are teachers and have inquires more directed for the teaching perspective. However some questions from Pip Spalton and Della Estlin about how to stimulate motivation on students, I believe can be related to my idea of inquiry. I think that stimulating an artistic quality research can be a way to help students build up confidence and self-motivation. I believe that applying different dance/movement techniques can help this process. As well as updating about the actual dance scene. From my personal experience I used to appreciate very much when workshops with choreographers were given who used to bring new experiences for us or talks with professional dancers; I used to also appreciate when my teachers used to recommend us dance videos, companies, artists to study about. I used to have to research about the repertoire I was dancing and Dance History which I believe helped me to build up interest. I always fell a great motivation after performing, after watching performances and after classes/experiences/ talks which shows me new ways to discover my abilities.

                

                To be able to talk more about those issues and about other inquiries I would like share my email here as maybe will be easier than the blogs: julia.juliagil@gmail.com

                Soon I will be posting more about my SIGS, about the opinions I have been listening to, about my thoughts and also about the literature I have been researching. 

Task 4a: Inquiry Questions

           

I wrote on the last post about the classes and experiences I’ve had on the last months. I can affirm that many discoveries were made: on my development, on new dance languages, on body therapies, on body conscious methods, improvisation methods and on my own personality and perspectives for the future. I also wrote already few questions and since then I began to develop them better. Reading through Reader 4, more possibilities of enquiries came through and I was also more able to structure my thoughts. Talking with professionals from this field, looking into my practice, daily routine and current issues were helpful as well. Is a complex process of thinking and get even more complex once you begin to connect with the concepts worked on Module 1. However, I recognized that some issues were not actually from my current area of practice or were way too extensive. I wouldn’t be able to connect theory with the practice and on this path, wouldn’t develop my role as a professional and my workplace. They are important issues, maybe one day I will work on them once I’ve studied it, but I guess we should take one step after the other. And after all, my current role on this environment is as a dancer, so I will use this performing and practice environment as a research foundation.

            

            The vision of a learning organization by Peter Senge really got my attention. The five disciplines described and his deal as real learning became fundamental on my opinion and made me question about my own education and learning process:

“The basic rationale for such organizations is that in situation of rapid change only those that are flexible, adaptive and productive will excel. For this to happen, it is argued, organizations need to discover how to tap people’s commitment and capacity to learn at all levels (ibid. : 4). (…) For Peter Senge, real learning gets to the heart of what is to be human. We become able to re-create ourselves. This applies to both individuals and organizations.” (Peter Senge and the Learning Organization: http://www.infed.org/thinkers/senge.htm).

I believe this statement is very important and realistic on our area of practice. On a such competitive, unstable and hard area of practice (performing arts and arts studies) this focus on constant development, increasing knowledge, capacity to learn and re-create ourselves are keys for the progress. This commitment into work made me connect with the concept of Social Constructionism: meaning is not discovered but constructed. An actual meaning emerges only when consciousness engages with them. To fully live the routine and engage with the process of learning brings a meaning into your work. On the explanation of one of the five disciplines, “Systems thinking”, Peter Senge states that “We tend to focus on the parts rather than seeing the whole and to fail to see organization as a dynamic process”. I believe this idea of dynamism on organization is a very necessary and also tricky process. The professional fields change, societies, values, methods, goals change. The dance environment nowadays is totally different from the past, as well as the audience and also the countries where performed. Organization then, should adapt into the new necessities. I question myself nowadays if dance schools actually prepare us for the current professional field and also bring us the possibilities on it. The question of if we actually graduate with a professional perspective and if we are prepared. But is also a tricky task once a fundamental basic process and structure of learning might be questioned. On this path, also began questions about keeping traditional models, the costs, adapting to the future as well. It is then a very deep discussion.

Peter Senge also emphasised on the individual learning, to be able to hold a creative tension and recognize your growth and ignorance areas. To be able to bring the discussion to the surface and on this flow create a dialogue between the group and a sense of thinking together. It is one of the challenges for the next modules once we will have to manage this discussion place.  However, during the dance career the space for dialogue isn’t very accessible. Bringing this idea into reality, few places this “Team Learning” actually happen. On few companies the dancers have space for dialogue during the choreographic process and managing of the company. Few schools support this dialogue between the professionals and students and within the students as well. During the training as a dancer this space for discussion is very restrict or if not nonexistent. This issue is brought in the end of the text about Peter Senge, questions about the costs, support, politics and moral issues. I believe would be very important all this discussion to come through into the dance environment but I have to recognize that more than the support from institutions , a support from the dancers is very necessary once the discussion need to be brought from us and also the ideal to make professional places better and more creative.

Those issues about the structure from dance schools and companies showed up but I am not really sure if I would focus on them on my inquiry. However, I thought I should bring them up anyway and would be happy to share my opinions with who might work on those issues.  I believe what have been intriguing me on the past weeks is what is asked from a dancer nowadays. Recently I have been focusing a lot on my contemporary technique and being very amazed with the repertoire and type of work required. My training has been very classical and I see myself going to a more contemporary dance path from now on. Or for companies/choreographers/workplaces that require both classical and contemporary technique.  I have worked on contemporary projects on the last months and being with contemporary dance professionals (even if I continue to do a classical ballet class every day), during this time and also during my experience in Germany I realized how much is necessary for dancers to be versatile nowadays. When I write versatile, I mean dancers who are able to dance classical based choreographies (or what is called “neoclassical”) to very contemporary based choreographies. Actually I can also affirm that I improved much more on classical dance since I began to take contemporary classes. Not just contemporary classes, but classes that bring another sense of body conscious such as Improvisation Technologies, Alexander Technique, Eutony and Gyrotonics. With this affirmation, I can relate to my last post when I asked about kinds of training which are helpful for dance development. I can also relate to what I have written on Task 2d, when I talked a lot about creativity and singularity. It is an aspect that I love from my area of practice. Other issues also came for example, what currently inspires choreographers. As I have an interest into choreography, this area also showed up on my mind. I still think I might be a bit extensive and even vague, but I guess is a beginning.

What I have been talking a lot about with dancers and teachers around me as well, is the importance of the singularity and development of artistic quality. That is another very interesting area that puzzles me. Even if technique is very much required nowadays, personality is crucial. I believe this is a constant research for dancers and should be under constant development. Some would say that the dancer is born with the gift, some that this self-knowledge can be brought during different classes, some by watching other dancers, some with specific classes such as drama. I think is an interesting point to think about. I will have to do a better research into this area, as emotional, education and even cultural issues (which I mentioned before) might need some investigation.

I can affirm that I have been through a quite brainstorm after reading through blogs, talking with my colleagues, taking different classes, working on different projects and after the group Skype Session. Issues on what is also possible to be able to do a good research. 

An Introduction for Module 2

Firstly, I decided writing an introduction for Module 2, reflecting about my holidays, my thoughts and already about our future tasks.

The last period of the Season with Dortmund Ballet was very intense. We went on tour in Russia and the Company supported the Young Choreographers project. The Tour in Russia was an incredible experience which I am so grateful to have had. Performing in another theater, for another type of public in a country, which is completely different from yours, is an unique experience. Our repertoire was quite modern for Russia, so I believe we were a big surprise for the local public. The country is so unusual in every aspect that I also received a cultural shock. Another interesting aspect from this trip was that I got to know better the others professionals from the theater. In a tour, more than the dancers, stage managers, make-up artists, costume department, lighting department and etc. also travel with us. So there, I could talk to them and see how much it takes for a big production to be done. 

The Young Choreographers project was an experience to reflect about the concepts we studied on Module 1. The piece I was taking part was out of my comfort zone and the choreographer as well: was one of her first pieces. Doing the process I kept my diary updated to reflect on my progress on the piece, find the best method to learn it and develop some identity on the piece. Also, thinking about the concepts of Cooperation and Affiliation I could think how that experience could bring advantages and disadvantages for me. When is about choreographic process communication is fundamental.

Finishing the Season I came back to Brazil with the focus not just to enjoy my time at home but also to work on issues that would help my development. This involved working on my contemporary dance technique and knowledge, getting a better sense of what is the dance community in Brazil and overseas (in the classical and contemporary field), on my artistic quality and approaching what is called, and so mentioned “professional look”. Working on my own confidence as well on my body conscious to avoid injuries and over working were other focus as well. So, I talked to many professionals, took part in many classes and workshops and watched performances. With this time for reflection and work, I could also look back at the first year at a professional company and at a university course. I can now much better recognize my doubts from the time, my issues, and my discoveries. Adesola got my attention on my final work from Module 1, for relating more the concepts worked to my daily basis and self experience. Nowadays, looking back can recognize and understand this requirement. It is almost like I avoided questions to myself. Allowing those issues to come, I began to interrogate me and maybe to see some possibilities for my inquiry: How can I develop my artistic quality, does our individuality comes more from the physical (body conscious) or emotional aspect , how to become a versatile dancer , how to become a classical and contemporary dancer , how can one technique help the other , how other types of training can help our development , how culture issues can affect our work and what is this so called “professional look” ?

Reading through Reader 4 and all texts required, I can conclude: we all have a long way to go!

3d - Critical questions and issues that emerge

The last task from this Module brought the issue of networking and professional relationships which is extremely important for our careers as performers. By finishing them, reading Reader 3 and all other texts and going on other students Blogs, made me think about my current sources and network and how could I improve it.

 From the sources that the students comment, any was totally new for me. From the concepts presented, I was part of them but never really understood or was really aware about them. I believe that what the last tasks brought to me were the capacity to analyse my current professional relationships and how could I enhance my current network and also how a good network can be crucial for a successful career. I recognized that my current “data” is unorganized, limited and not updated. Nowadays I am graduated, with further experience, with new goals and new plans for the future. By reading other students blogs and observing better Web 2.0 sources such as Facebook, I recognized that nowadays, those are the main ways to keep connected with professional contacts as well as a source to promote your work. I have said before how I wasn’t updated from those sources until this course and how recently I began to use Facebook as a professional network (literally this year). However, I still believe strongly that the most important way to be updated about dance, get new contacts and promote yourself are in actual face to face conversations, courses, performances, social events. I still avoid Twitter, Linkedin and some others. The most sources you have, better is your network and chance to promote yourself?  Or maybe keeping an organized with more focus sources actually makes your network better? I think I agree with the second one and I believe that the biggest change that the last tasks brought to me is on how I could keep my network productive. Reading Reader 3 helped me on that as well. The involvement required to be in a certain community, the participation, the capacity to share ideas, the capacity to recognize the limits about a relation and if it is beneficial are examples of tools on how I would like to change my current situation in networking.

Ethical considerations were currently reminded during the whole Module. Della Estlin, Pip Spalton and Kim Morrison wrote very interesting reflections about it, and because they came from different backgrounds and have different jobs, other situations such as Internet in relation to student and teachers, were brought. At the same time that keeping a good and organized network is important for a successful career, ethical considerations are crucial. A comment on Facebook which might get a wrong interpretation or is unappropriated can really affect your job. The Media nowadays provided a revolutionary type of communication and we are all dependent on it. But also brought major problems such as cyber bullying and lack of privacy that were not part of the society before. The main issue that I think it actually happens nowadays is that the sense of what is social and what is private changed a lot. Some Facebook profiles are actually diaries nowadays. Some may begin to do two profiles on Facebook for example (a professional and a social one). I don’t really agree with that. I think I would like to show my personality, opinion and my reality for my professional contacts as well as I don’t need to hide them. What I don’t think should be published would be for anyone else, as Internet is a really easy way to get information and spread it out. I think is still important to have a sense of privacy. However, I might change my opinion later as I recognize that ways of networking and privacy are changing on the past few years. 

Task 3c: My Current Sources of Information

The communication tools that Internet allowed us were revolutionary as it was already mentioned and worked in the past tasks. It is not a surprise then to realize that most current sources used to professional network are done by Internet. However, I don’t get information and build my network just through the Web world, other activities are also important. Here, I will list my current sources of information that I use most and find the most important to keep me into this “Community” and be in touch with my current “affiliations” and “cooperation”.

Facebook:

               

           Of course Facebook is one of the most crucial ones. As I told before in the past tasks, for a long time Facebook was just a social website for me with no professional contacts. I realized that I had to change and nowadays I recognize as an important tool to keep in touch and to keep updated. Many companies nowadays have Facebook pages, ballet dancers as well and recently, dance auditions pages which are extremely useful. I am part of three of those dance auditions pages. Facebook is also great to promote yourself. By uploading pictures, sharing your performances and current jobs your contacts are able to know about your current activities and approaches. Recently, I posted more about Ballet Dortmund and many talked to me after that.

Dance websites such as “Tanznetz”; “Danza.es”; “Balletnews”; “Balletcompanies”

Dance websites are great not just for auditions but also for interviews and reviews which I enjoy reading. I constantly check the “Tanznetz” website for reviews from Ballet Dortmund productions. I think is really important as a professional to read reviews from pieces which you are taking part. I believe makes you reflect about it. Those websites are great as well to know companies current productions and some news, such as if a company is changing the artistic director. I try to read different nationality websites to have a better overview from the dance world.

Networkdance and DancersPro

          Those websites have the main proposal of promoting dancers, companies, job offers and courses. I find them really useful to keep updated about auditions and courses however, sometimes I ask myself how helpful it is to actually promote yourself. Do directors and choreographers really check our profiles? Do they look for dancers on those websites? If anyone would like to discuss about that , I would be more than happy! Helping or not , if a company asks for a personal website I usually give my Networkdance profile which has my CV , lots of pictures and now , I am trying to get some videos as well. Recently, I made a profile at DancersPro which has the same proposal as Networkdance but , I found more organized and detailed. Also DancersPro informs more about short-term , commercials and freelance jobs. I just got into it so I still don’t know how effective it is.

YouTube

            YouTube is absolutely great. By watching videos from dancers and companies, you get to know much better about them. Usually before applying to an audition, I like watching videos from it to know better the style, if it worth going to the audition and to be more prepared for it. Also , when I rehearsing a choreography which was previously done , I like watching it to learn better , improve it and adapt to myself (as we mentioned on Task 2 , I am a visual learner so nothing is better than a YouTube link to watch the choreography !) It is also great to find inspiration by watching other dancers and of course, to promote your own videos.

Magazines

            I enjoy reading magazines for the same reason, I enjoy checking dance websites. Here, in Germany, I am finding harder to read those magazines as they don’t sell it here, but always when I have an opportunity I buy them. Some examples are Dance Europe, Pointe Magazine and Dancing Times. They are great for interviews, reviews and articles about dance (injury prevention, nutrition, tips etc.).

Travelling, watching performances, taking part in workshops

           We studied on Reader 3 how participation and knowledge are crucial to the process of learning and to be part of a community. I think that by watching performances, getting to know better other cultures and groups of dance are examples of this involvement in dance. When I arrived in Europe, I knew very little about companies, dancers and choreographers. I realized that it was important to have a better knowledge for the development of my career. I looked for workshops in the UK and performances. By watching each company and getting to do a different type of movement, my mind opened so much and I got to know much more people. I can even say that some courses that I have done were extremely important to my development and current network. It is a habit that I keep nowadays even if I don’t have the time I used to have. Here in Germany, as I mentioned before, there are so many different performance groups. I arrived here and had the same feeling that I had when I arrived in Europe for the first time: there is a lot to try, watch, know. So , I believe this habit gives a better knowledge to dancers and , even if you search on the Internet or watch YouTube links , the best way to get to know companies , choreographers and dancers it is by watching them , talking to them and doing classes.

Task 3b: Theories relating to Networking

Professional Network: “a work related community held together by either close working affiliation or more distant but common work interest or needs. So a professional network is a group who have common interests…” (Reader 3, page 4). In my current case , the common interest is dance , and being more specific my professional network is divided in smaller groups; the ones which the common interest it is more about classical dance , contemporary dance , choreography and other dance related issues. By reading the Reader 3, I was able to get a better knowledge about the relationships that are developed on those networks and recognized which way of engagement I currently have with my current contacts and which way of engagement I would like to develop better. 

I believe both Cooperation and Affiliation are fundamental for an artist career. However I think it is a hard task to recognize your relationships and achieve a benefit from it. Cooperation always happens on the dance environment: Choreographers need dancers to perform his/her work ; dancers need to improvise with other dancers in contact and improvisation works , as well as corps of ballet works; theatres need dancers and directors to build up a company; some dancers need agents to promote themselves. Cooperation is “working together with somebody to achieve something; help that you give by doing what somebody asks you to do” (…). However the strategy to get an advantage from this cooperation to your own benefit and to know when is the limit of this cooperation it is extremely important for a full enjoyment from it. I believe that cooperation needs to be reciprocal. For example, a dancer can get into an agency to get a better promotion, but the achievement of the final goal doesn’t depend just on the agency. The dancer should also do his/her job to be on the best shape for this agency. A dancer can work for a choreographer to promote his/her work; however this work should also bring something to the dancer (contacts, curriculum, professional experience…). In the dance career, I believe it is hard in the beginning specially to know if cooperation will worth it or not. After graduating most dancers are desperate looking for jobs (and not just after graduation, in other moments as well) and any opportunity paid or unpaid, short or long contract, enjoyable or not enjoyable that appears, without thinking twice you compromise yourself. It is important to analyse the offer and conclude if this opportunity will bring you future benefits and how long will you take an advantage from it. It is one of the reasons why you shouldn’t audition everywhere. However I have to recognize how hard it is to reflect about this issue.

Affiliation: “(…) a successful career requires effective professional networking. The concept of Affiliation suggests however that we have an innate need to network professionally, in our personal lives, at play, indeed, across the range of human activities. (…) This means whatever our status or need professionally, we will engage in affiliation. Whether we are new entrants into professional field, or well-established practioners, we have the same needs in terms of affiliation.” (Reader 3, page 7). Through affiliation we produce a network of support that will help us when we are in need (“Essential Social Psychology”, Crisp, Richard J. and Turner, Rhiannon N.; Chapter 11:“Affiliation and Attraction” page 323). Those definition shows how necessary is affiliation and I believe it is not just in a professional work but also for a personal way. Our work environment is a place where we spend most of our time of the day and especially in dance, we really interact with our work colleagues. Affiliation then it is important to avoid loneliness, isolation and to achieve a better enjoyment from your work. I think also that is important to keep good relationships and your work environment for your professional position and involvement with the company. Negative behaviours may complicate your professional position. Absence of social interaction can compromise you own work. I founded interesting what the “Affiliation and Attraction “chapter explains about culture differences, levels of privacy and differences about people. As a Brazilian, I believe that my culture is more extrovert and look for social relationships. We usually have more physical contact compared to other cultures and we are usually louder as well. I had to be careful once I moved to other countries to recognize those culture differences and achieve better relationships. Each country that I lived I had to pay attention to their culture and respect it. This doesn’t mean that I changed mine however, I think is important to respect the differences and get better results at your relationships. Learn from their cultures and show yours as well. In the UK for example, I was the only Latin American at my school and I think it would be impossible to achieve good results from my training in total isolation. Looking from a more professional way usually closer relationships happen with ones that have a similar professional position, however it can also happen “upwards”, with ones that are in other level of hierarchy. I believe this second one begins to happen more frequently once you are out of school environment (for example: corps of ballet member with soloists; dancers with teachers). However I strongly believe that in dance world, professional status might affect affiliations. Not knowing the ideal level of privacy or even not recognizing if the relation is an affiliation, or cooperation or not any of those two, might affect not just your relationships but also your career. Some relationships are for the work time only; some others will be for any moment. Some will be able to help you when you are in need, some others not, and of course this trust needs to be reciprocal. I don’t think however that this situation is exclusively from dance world; it is for all human beings in any professional field.

It is interests to reflect about those concepts in such an egoist and predominantly non cooperative environment such as dance. This “non cooperative” reaction may happen a lot during competitions, auditions and even school time. However, I found those relationships (cooperation and affiliation) not just necessary but fundamental for future results and also happiness. Culture is a social concept; it involves the customs, ideas, and beliefs of a society. Social relationships therefore are fundamental. Even if a total freelancer dancer , who choreographs for him/herself , promotes, performs, directs it he/her will have at some time to cooperate or affiliate with someone to achieve a greater result or promotion for it. Even if the relationship will be only with his/her audience.

The definition of Social Constructionism focuses on meanings, values and ways of engaging into a network to build up a large social process. The statement from the Chapter 3 “Constructionism: the making of meaning” from “The Foundations of Social Research: Meaning and Perspective in the Research Process” really got my attention: meaning is not discovered but constructed. An actual meaning emerges only when consciousness engages with them. How important it is then to be fully engaged into a work, relationship, research and to build up a meaning to it and on this process, contribute selflessly. How important is to recognize what are the values and ways to achieve what is being looking for. It made me reflect about building up a new project in the dance scene. How important it is the full engagement of all the ones involved to create a meaning for it , which can be a whole new and innovative choreography , a new concept of a traditional and old ballet , a revival from an old piece , a whole new company… and the values and ways involved on it: a really expensive production , a small and experimental production , a classical company , a contemporary company and so on. This engagement made me think about some companies that surprised me once I watched them: I had the feeling that the dancers were fully engaged with the movements, they really understood the meaning of the choreography even if they created a meaning for themselves. But it was a conscious engagement. They really knew the values from that company. In a personal way, I think is an important reflection to recognize all how all this interaction is bringing a contribution to yourself and if you are actually part of it.

Through all discussion about trends in learning and the concept of Connectivism at “Connectivism: A learning Theory for the Digital Age” (George Siemens, December 12, 2004) it is possible to recognize how the process of learning has changed in the past few years and the theories of what is and how to achieve knowledge, a change that my generation might not even realize about it. The technology provided nowadays made the access to information much easier and to share your personal information as well: “Informal learning is a significant aspect of our learning experience. Formal education no longer comprises the majority of our learning. Learning now occurs in a variety of ways- through communities in practice, personal networks, and through completion of work related tasks.” Internet allowed this process to be easily done. All theories of the process of learning focus on how the individual must have the experience to acquire knowledge; Constructivism suggest that the attempt to understand the experience it is the beginning of the process of knowledge; others view knowledge as external, the act of thinking is actually an internalization of the knowledge. However those theories always address the knowledge with the experience of the individual. In the digital age, theories have changed. The knowledge is achieved by looking to other experiences as well: “(…) we can no longer personally experience and acquire learning that we need to act. We derive our competence from forming connections. Karen Stephenson states: Experience has long been considered the best teacher of knowledge. Since we cannot experience everything, other people’s experiences, and hence other people, become the surrogate for knowledge” (“Connectivism: A learning Theory for the Digital Age”, George Siemens, December 12, 2004). This is what Social Medias allow most of the time. Experiences are shared. Communities create a meaning for themselves and form connections. Connectivism then is “the integration of principle explored by chaos, network, and complexity self-organization theories. (…) Learning (…) is focused on connecting specialized information sets, and the connections that enable us to learn more are more important that our current state of knowing.” (“Connectivism: A learning Theory for the Digital Age”, George Siemens, December 12, 2004). However, using a sentence from the previous theories (Constructionism, Behaviourism, Cognitivism…), learning is about behavior change. I agree with this sentence and I believe is important on this process of sharing experiences to acquire knowledge. That means is important to keep yourself updated, be open minded, internalize the others and yours experiences, create a meaning, be part of the group (which reminds the concept of social Constructionism) and reflect about it, especially nowadays, when information is spread out so fast.  This behavior can be linked to some principles of Connectivism: Capacity to know more is more critical than what is currently known; Ability to see connections between fields, ideas and concepts is a core skill; Decision-making is itself a learning process; creating , preserving , and utilizing information flow should be a key organisation activity. The personal motivation and knowledge is the start point to be part of a network, organization. The capacity to integrate will provide a feedback and learning to the individual. How important it is then to be updated, to realize that knowledge doesn’t exist in the mind of just one person, to be open to listen to others experiences and to know your current relations and connections. “The ability to learn what we need for tomorrow is more important than what we know today” (“Connectivism: A learning Theory for the Digital Age” , George Siemens , December 12, 2004).

“A community of practice is a set of relations among persons, activity, and world, over time and in relation with other tangential and overlapping communities in practice. A community of practice is an intrinsic condition for the existence of knowledge, not least because it provides the interpretive support necessary for making sense of its heritage. Thus, participation in the cultural practice in which any knowledge exists is an epistemological principle of learning.” (“Situated Learning: Legitimate Peripheral Participation” , Chapter 4: Legitimate peripheral participation in communities in practice , page 98, Lave, Jean and Wenger, Etienne). The idea of participation and how the experience of sharing knowledge is fundamental to learning were constantly worked through all concepts presented on Reader 3. Without the interaction a person can’t be involved in a community and this will affect your process of learning. Before, on the concept of Social Constructionism , was possible to notice how important is to be fully involved on the theme worked. This involvement will contribute to the community and the same, can also contribute for the person’s knowledge. In Connectivism, the idea of sharing experiences as a fundamental part for the development of the current state of learning is constantly highlighted.  More than that though , during the explanation on Reader 3 , the elements of what defines a Community of Practice were presented: What is about , how it functions and what capability it has produced. Those elements made me think about my situation as initially a classical ballet dancer. I was graduated in a classical ballet school, had more experience with a classical repertoire and nowadays would like to go more into the contemporary dance field. If the contemporary dance is a Community of Practice with many communities inside of it, in order to achieve a better involvement with it, I need to be aware of the mutual interests on this area, achieve experience to be able to share it with others, how it works and on this process understand what make me part of this group. So , again the ideas of participation and fully involvement come: more than to know what contemporary dance is , I need to achieve experiences , further knowledge on it, to be able to be fully part of this particular community.

By reading the Reader 3 and all other sources  involved , I gained knowledge about the different relationships at the professional environment. I was aware about them , however I didn't know how to define and getting a better understanding on it , I am able to have a better self-reflection on my work. Even in an independent activity and egoist environment like Dance, affiliations, cooperation, communities of practice are fundamental for the success of the practice.