Question......Developed.....Potentially....

Is Issue based theatre in an inclusive environment more effective than other organisations/theatres that practice in an "non-inclusive" environment?

 

This is what i first thought my question could be, however upon reflection and comments from Ahmet and Paula and Anthony...it lead me to believe that potentially my question is fundamentally flawed. The term "effective" in it self harbours so many limitations and potential bias during my inquiry.

 

Now obviously i am going to try and be as un-biased as possible and allow me to be lead by my research and not my concieved conclusion leading my research. However i believe that using the term effective i could end up defending th company and the ehtos i am most used to unknowinly and deeming it more effective than others, in tern not allowing my self to learn from other organisations to further widen my knowledge.

 

SO

 

What are the comparing and contrasting factors of issue based theatre within and inclusive environment to a "non-inclusive" environment?

 

I do need to find a term for non-inclusive that is not non-inclusive...just because i feel that could sound offensive if i took that term to other organisations. I simply mean an organisation that does not actively practice inclusive theatre.

 

Thoughts comments or anything else will be greatly greatly recieved. And thankyou for all the comments so far they have been so helpful

 

Jojox

Ethics and Theatre

http://www.dokmfa.org/?p=16

This is an "Essay on theatre ethics" which i found on line. Its is written by David Orance Kelly. There was a particular paragraph i wanted to copy and paste, but as i clicked on the screen it said "copyright protected", now i really really want to use this essay as i completly struggled to find something that was related to ethics and issue based theatre...so can i still quote from this article?

Something i found really interesting in this article was when he started talking about how ethics within theatre changes determinned on the theatre, community and interesting the theatre size.

This stuck out to me as in my first priminary questions i asked "what leads theamatic drive in issue based theatre? the issue? or  the theatre?"

Is it correct to put on stage a issue which is directly affecting somebodies lives without their permission, or if it could cause offence...but for the greater need of the awareness for the issue?....
...now that might not make sense..but if it does.....should i go further into this?




It then lead me to ask questions about Chickenshed and the processes it goes through when producing issue based theatre. When digging i found out that actually Chickenshed have had alot of confrontation and alot of people that have been offended with some of the shows that have been on. This is something in my inquiry that hopefully i will further investigated

PERFECT MATCH

"ACTive INquiry promotes increased participation in the arts as a catalyst for active involvement in society"

http://www.leithlinks.co.uk/leith-theatre/active-inquiry-leith/ACTiveINquiry-leith-theatre.html

This link is not at all what i was looking for....but I was over the moon when i accidently clicked onto it. Obviously this is all based on a very surfaced knowledge which i have upon this company. The first quote at the top of the page is how they describe themselves which is EXACTLY what issue based theatre at Chickenshed prides themselves on and strives to continue to do..to be a "catalyst" for social change.

This company do not claim to be inclusive which gives me a direct comparison of an issue based theatre organisation...and Chickenshed- where one uses an inclusive ethos and one doesnt...to find the strengths and weaknesses of both.

Upon reflection of Paula comments however i do need to determine what "effective" is.....

THE QUESTION...potentially...

Is Issue based theatre in an inclusive environment more effective than other organisations/theatres that practice in an "non-inclusive" environment?

The wording of this question will be adapted changed..but thoughts on it would be great to see if it the correct road to go down...

What is actually IS inclusion?

in·clu·sion/inˈklo͞oZHən/

Noun:

The action or state of including or of being included within a group or structure: "the inclusion of handicapped students". A person or thing that is included within a larger group or structure

This is the most basic definition of inclusion. I simple typed into google the definition an copied and pasted what i found. However i feel the term in which i use this word due to my time at Chickenshed have vastly changed and  has a much wider range than simply feeling included. This is obviously the key foundation but the word spans over so much more ground.

To me inclusion is in the process and the feeling of the environment. To not only feel included but feel valued, wanted and needed. It moulds and adapts in different situations for different people. And it is NOT just the inclusion of "handicapped students"- my first thought when reading that definition is that its a contridiction in terms- stating and labelling students that have extra needs as "handicapped" is excluding in it self.

I did however really struggle to define inclusion and then questioned myself as to is my definition is the same as others who are involved in Chickenshed. As i had time on my hands and upon reflection came to the assumtion that everyone in Chickenshed doesnt hold a conclusive defination of inclusion i asked people that were walkin past me to sum up inclusion to them in one word. This is what i found:

Inclusion is.....

Open  13
Together 16
Belonging 7
Life 2
Safe 11
Wanted 4
Other 17

Other consisted of: included, here, not excluding, disabilities, home

This on the spot research i thought was important as to go forward with my inquiry plan i had to know when comparing the Inclusive environment in which i belong to- i actually knew what it was..in order to compare..if that makes sense.

Drama Way

http://www.slideshare.net/mrq/drama-a-way-to-social-inclusion

Currently i do not know alot about the company, but on it a breif readit seems to slightly follow the layout of the Chickenshed Process. For example titles in the document include " Drama a second chance to learn ".
Once i finish the reading of the document i will blogg about it, but i am quite excited to find a company who practises inclusion as it could help me to compare and contrast their process, method and product to the one of Chickenshed. Also in my actual finial project i could make contact and see if they have ever tackled issue based theatre.

E17

I have had contact over the last year with a group of students who have created a forum theatre based show which has the main issue of gang-violence. They do not claim to practice in an inclusive setting, and for that i believe could make an excellent compare and contrasting company.

These are all things in the pipe line. For my inquiry however im uncertain as to how far i need to go in researching these companies. Do i just find them and mention them in the inquiry, or do i find some basic facts about them then in my finial project go into much more detail with them.

Please let me know any thoughts

Why Issue based theatre is so important to me

This image is from a touring show called "Crime of the century". In this show i play the mother of the victim who gets killed after a fight kicks off.  (The mad woman at the top of this shape is me)

This show approaches the issue from a more holistic approach as my previous blogg mentions. It looks at all the factors that could add to why young individuals get into such a desensitised positive which can allow them to take someone elses life.

I think this is important to share with those of you who are interested in my blog or the themes which I'm interested in, as this show and my participation within this piece is the reason as to why my line of inquiry is taking this direction, and why i wish to find out more about it.

Another reason which is why i feel a sense of duty to further research this topic is because my cousin Shaquille Smith (see above) was murdered on the 31st August 2008. This shattered my family, and my life personally as i have never really been able to find closure on this. He was only 14years old and was killed literally outside his own home.

I have to try and help this issue in any way i can. And for more selfish reasons i feel that if reflective practise could do anything it could helpfully give me a little bit of closure and understanding as to what is happening about this issue, what more there is to do, and hopefully force me to look deeper into myself and my life and identify why i cant move on from this "incident" that happened 4years ago now.

Just thought some background as to why my inquiry is shaping up to how it is would be helpful. Not only for those who are reading this but for myself also.

So Much to do......

I thought it would be worth blogging my to do list. Not only does this mean i definately have to do it... but also if any one has questions as to why i am doing what i am doing, or feel that we could connect up with one of my to do list, or if anyone has any other thoughts then hopefully we can have that conversations.

To Do List

- Such for other inclusive theatres
b) see if these theatre have ever produced an issue based piece
c) after research, try and set up an interview if not send a questionnaire (This would be in my actual inquiry)

-Search for organisations which tackle issue without the use of theatres.
b) Once identified try to find the positives and negatives off there methods
c) Again try and set the foundations to be able to have an interview or observe their work when i progress to the next stage 

-Research ETHICs in issue based theatre
b) Try and find the contraversy behind ethics and issue based theatre as im certain that sometimes ethics potenially get over looked using the excuse of an artistic licence. That leads to questionning is this right? 

-See if there is literature about issue based theatre, Tackling issues, Inclusivity and it purpose. Other wise my inquuiry runs the risk of soley being a written debate without literature to add another level


-Set a difinitive path for my inquiry!!!!!!


This is what i aim to do. With my deadline for this being next friday. So would love feedback! Is this the best way to get started? 

Or if you have any information that i can further research or anything you could provide insight in. 

Thanks

Word4Weapons- a completly different approach to issues

http://www.word4weapons.co.uk/

I came accross this organisation a couple of weeks ago when i went to an "Anti-knife Crime" conference.

I spoke quite thouroghly with Michael who is the founder of Word4Weapons. When starting out on my inquiry and trying to think about the best way i could approach this i suddenly thought about our conversation.

I am very passionate about the power of Theatre in order to tackle issues as it has to in its creation and execution take a more holistic approach to any issue in its focus. This holistic approach takes away the element of blame- "Locke 2009" published a book on this "blame culture" which we are now livng in, where people strive to blame anybody, this is seen in lawsuits, compensation adverts, medical practises and in every single acticle in the paper where an issue is disscussed someone is blamed.

Michael from word4weapons has this "tough love" approach, using elements of the blame culture. He is very blunt with the reason why knife crime has risen, and what he has done is provide knife bins in certain areas of the country for young individuals to throw them away and start again.

When i first head of this approach of attempting to tackle this issue i did think quite ignorantly "it would never work it too simple", especially as i belive the way to tackle this issue is indepth conversations to get to the route of the problem and them work our way up from there. HOWEVER IT IS WORKING!

He has had MASSIVE success with these knive bins, his organisation has won awards ect.

Also at this conference an ambulance worker spoke to all of us that were there and told the most horrif stories of what hes seen and delt with in the most grusome detail. And by the look of the audience (who consisted of the target group i would use in my inguiry.) This scare tactit also worked!

This on reflection (and quite late reflection as i didnt think about it until yesterday) has meant that potentially i would change the direction of my inquiry to more of a comparision between other organisations that try and tackle issues in a non-theatrical way and directly compare that to organisations that do use theatre as the medium to push social change. But then compare Chickenshed inclusive methods with other organistions who do not practice inclusive theatre and see what i can find.

I belive this will be more effective in my line of study as all this different organisations are doing some right so combining the best elements and identifying the worst could create a more powerful product....potentially..i might just be getting carried away!

BUT i dont know wether to narrow my search to just knife crime antigang violence issue....or issue based theatre in general ....

any thoughts will be very well recieved

Inquiry questions

So its been awhile and after a sharp wake up call i have scrapped the work i did before and started agian.

These are some questions which i have created....what ive done this time is not cheat and ask questions that really i already new the answers to...i also want to generate both qualitative and quantitative data if i can- as i believe that provides a more solid foundation for my research results.

1) What leads the thematic drive in issue based theatre? The issue? Or the theatre?

2) Is it more impactful to devide and perform issue based theatre in an inclusive environment with an inclusive cast?

3)What percentage of young people involved in an issue based project need to be directly connected to the issue?

b) Can issue based theatre which only workd with those directly assosiated with the issue be considered seperate or excluded?

4) Does issue based theatre show a higher Social Return on Investment (SROI) than other forms of theatre?

b) How does this apply to Chickenshed?

5) What percentage of young people who have experiences Chickenshed's anti-gang violence piece "Crime of the Century) believe it was.....
a) able to positively impact on gang violence
b)able to positively impact on the own ability to effect change in their lives
c)belive it was potentilly irrelevent to their lives

These questions i composed because i am generally interested in the responce, i think it will be challenging to accurately find answers to them..and also i believe my result can benifit Chickenshed developement of Issue based theatre.

Please let me know what you think, how i can impove what you dont think works etc?

OR TIPS!

Verona

I'm currently in Verona- an amazing experience which is solely based on the work that I do at the Chickenshed Theatre company. It's experiences like these that remind me as to why I work at Chickenshed and why my passion lies there and also why I am intending to do my final project on issue based theatre. The values, ethos and Chickenshed methodology enable the work which Chickenshed completes to be so varied. A typical week at Chickenshed proves that. Two days a week I go out on "anti-knife crime" workshops, 2 days I work on a "tales" production for children under 5, also mentoring the foundation degree students and now in Verona doing workshops. This variety allows me to tap into my interest of issue based theatre and the 3rd year allows me to force myself to understand how everything I am doing is so valid and worth while- and if I reflect upon my practice I can develop much quicker than I would originally! Just a quick update Jojo x

Foundation Degree Show

I am currently in the process of helping to direct the Foundation Degree Year Two's in their final show. This experience has taught me alot, not only with how to help mould ideas together but also how societies issues- which on the surface are believed to be "adult" issues- are infact in the minds of young people. This provide me with more evidence as to why my investigation into issue based theatre being a successful vehiclefor tackling unsolvable issues is so important to do!
Young people myself included have ideas, worries and solutions- same as the older generations however we just have a different way of expressing these ideas- and society SHOULD and MUST become adaptable inorder to provide a forum to which every idea no matter how presented is as valued and acknowledged as the next.

Meadway follow up

Since my last visit to Meadway Youth offenders... it has inspired me to use what i gained from this workshop and also to try and make another appointment for Crime of the Century to go in and have a follow up workshop. Due to circumstance it would not be possible for Crime of the Century to do its usual 7week programme however a follow up would be helpful.

Ive started gathering information which i am going to need for my end project. Ive got a testimonial from Brooke Kinsella, and also some interviews and conferences which i have been to about the issue of knife crime- and also the positive outcome which Crime of the Century has on its audiences.
The true beauty of what i will eventually try to prove is that issue based theatre- crime of the century particularly can reach ALL types of audiences regardless of age, ethnicity, social standing and wealth. Therefore it has to be the best way to bridge those gaps between all the different boxes and labels in society.

Although i have deferred my project due to poor time management I'm starting to really enjoy what i am doing and am investigating a topic which i am very very passionate about!

Please feel free to leave your thoughts positive or negative as it will all help my investigation

Social Return on Investment Policy

"A recent report sponsored by The Social Investment Business, and The City UK – “Making Good in Social Impact Investment- Opportunities in an Emerging Asset Class” also suggests organisations “measure what is important” in their quest for investment.
At the recent Labour party conference, leader Ed Miliband stated that businesses who deliver long term social value should be rewarded.
On the back of all of this, people are now beginning to recognise a need to incorporate and understand a broader concept of value – social, economic and environmental value from a stakeholder perspective, to give a fuller picture of how value is created and destroyed. In addressing this need, we must begin with a set of principles."

http://www.socialinnovationeurope.eu/node/2557

This is an article which I found when researching the Social Return on Investment structure. The reason why i am researching this particular topic is because on the surface it looks to be a positive framework which should allow companies to tackle issue which do not have a tangible profit return ie making more money.
However this structure has hindered the progress of Chickenshed Theatre Company's "Crime of the Century" which is an anti-gang violence piece. This is because to create this model to give to investors to tell them how society will save money in the long run is a very long and ironically enough- an EXPENSIVE process. The time in which it takes to complete this model and tell investers how every £ which they have been given will be given out is a very hard task to make.
I haven't completed my research yet- but from a possibly ignorant view point i cannot see the sense in this model. How can you prove that a child has been effected by a workshop process and then therefore will not turn to knife-crime violence or murder in the future?
I can understand why it is possibly needed- but with the result of knife-crime murder being 70% likely to end in death of the removal of a limb- it seems like society- more directly investors with money to help the issue- should just watch the process and decide if it is one they would like to invest in

BUT TIME IS MONEY! and most people have too much money but little time!
so Social Investment on Return Policy is the way it is at the moment!

knife crime artical

Very interesting artical on knife crime

Questions working towards my final project

So I almost certain that my final project will be based on issue based theatre. My actual line of inquiry- and what questions I want to ask and answer is still blury. However I have created a questionnaire and have pilotted this questionnaire with numerous members of staff at the Chickenshed Theatre Company, who have all been involved with Chickenshed issue based theatre work in one way or another.

These are my questions, feed back and critsim welcome so that i can improve it and then send it out to a much wider target group;

1. What does issue based theatre mean to you?                                                     
2. Do you think issue based theatre is effective?   Yes    if so why                    No  if not why              
3. Chickenshed has tackled many issues over the years using issue based theatre as the medium between Chickenshed and various target groups. Has there been any contraversy atttached to any of these pieces?                                                                                                    
4. What three issues do you believe can be most effectively challenged using issue based theatre? (Consider factors such as contravery, ethic, causing offence, and how genuwine it is, please circle 3) Racism, Sexual Abuse, Knife Crime, Rape, Murder, Domestic Violence, Peodophilla, Sex Trafficing, Prison System, Mental Health, War Replecation of real events, Cancer and Politics
5. Rate your own personal belief on the effectiveness of issue based theatre from 0% (not effective) to 100% (eniterely effective)                                              
6. Should you prevent issue based theatre becoming too artistically creative?   Yes    No

Why?                                                                    


The layout of this is much better when on paper im just not very good on work to be able to do it now. Ive also started on the ethics regarding my possible project which it proving harder than I originally expected.

Please let me know what you think

Jojo x

Struggling....

So the pressure of trying to balance getting all my work done and also working almost full time is beginning to become a strain. However after my first assignment I have noticed my self asking the questions which are require for the course- and also trying to think of methods to answer these questions.

I cannot hide that my confusion of the this course asks of me has lifted but I will continue to persevere to TRY and full fill this. So i am going to start getting used to the blogging circle so see if any of my fellow student who i hope felt the same way when they started this course can help.

I have been a cast member of a show call "Crime of the Century" now for around 2/3 years. I have gathered a scrap book together with interviews that i have gathered from Brooke Kinsella who was formally on Eastenders and also lost her brother Ben to knife crime. As in 2008 I lost my cousin Shaquille Smith to a similar event we have become quite close in our passion to over come this issue. She has given me a number of interviews which i can use, and also says that she will be willing to partake in any extra research which i need on this topic.
Also last summer i attended a meeting at the Ministry of Justice, about victims and their treatment after a crime has been committed. Baroness Helen Newlove has also given me some material on her views on the issue, which i think will be useful as she is now a member in the House of Lords.

Other than that i have countless experiences and testimonies from young people who i have worked with over the years which i can use as evidence. As my Passion for this subject and also the ease at which i can gather material is enormous i know i definitely want to base my final project on issue based theatre.

So .... I have material and what i want to do....but now what to actually start doing has meant Ive hit a blockade can anyone help me please?

I sooo confused!

Module 1- Finding my own proffessional practice?

I have not blogged for a while as currently i have been part of the the Christmas Show performance of Cinderella at the Chickenshed Theatre Company. This has consumed alot of my time however through looking back at notes and theories which i have encountered through module one i can now gain an fuller understanding of the models and theories which i have come across.

The Honey & Mumford model of "experience" is one that stuck out for me- originally in quite a negative way, as i thought (possible quite ignorantly of me) that far too much time was being put into an "experience". And that it simple was what it is called- and experience end of! However every thought and every action is based upon a life experience whether it be positive or negative from appearance, life, love, socially, professionally etc, and maybe mistakes are continually made in ones life by them overlooking the importance of an experience and reflecting upon this. As the Christmas shows have dominated so much of my life for the last 6 weeks i thought i would follow Honey and Mumfords model but relate it to my own experiences and see if through this i can start to develop my own reflective practise.

1. Having and Experience
During this Christmas show I was/am a signer to signs for Cinderella, Buttons and a few other smaller characters. This on first glance was not a different experience to what i had done the previous year- however this year i was given much more responsibility in that when my signing teacher was not there i had to ensure all the signers was there, in the correct light, cover any absences and ensure the signing was always being performed the way it was taught. This i had to do for all 4 rotas which equals out to about 60 shows excluding dress rehearsals and the preview nights.

2.Reviewing the experience
This experience has become significantly relevant to me, as i believe the extra responsibility which i had been given for the show, has forced me to have more confidence in what i do, and that i can do it- which is always something that holds me back, and also has developed me professionally in having to manage a group of signers, most of whom had no previous experience of signing on stage- which can be very daunting and isolating at times. The pressure at times was massive- and if I'm being honest particularly low moments during this process has been more of nuisance and i have felt restricted by the responsibility. Although through reviewing the situation i can now see that the feeling of irritant which i experienced is my own personal protection method which i do when things start getting difficult and there is a chance that i could fail at a task. By making it an irritant- i can pretend i don't care if it went wrong.

3.Concluding from the experience
Concluding this experiences has shown me many factors about myself in a profession setting which i had not been aware of before now. As my life in professional practise has been insignificant before now i had not noticed traits which i have which can in fact hold me back in my future. I have always worked since the age of 16 - and in 4 years have had several jobs ranging from teaching assistant to barista at Starbucks Coffee company. My times in these jobs have been limited and through reflection i can see that is because i opt out of a task when it gets difficult- or the first time i make a mistake. And therefore leave. My work at Chickenshed however is very different- as i hope that i will work at Chickenshed for many years to come i cannot leave or turn my back on it and the work. So therefore i have to put myself on the line and complete everything which is given to me. As quite a critical person its shocking that i have only learnt this about myself at the age of 20- which explains so many mistakes of my past.

4.Planning next steps
This experience has further enhanced my love of teaching, managing and creating. I always new i had this passion but never before have had the chance to put my passion into practise to see if it was just a fantasy or my reality. Therefore i will put myself forward to more teaching roles in order to gain understanding of what it is to be a teacher, and also develop my own style based on great role models i have in my life at the moment. I also have learnt to not take sign language for granted, as to me it is just a pass time to learn another skill and i think it look beautiful- but to someone who relies on signing to communicate it is essential and needs to be more accessible that it is at the moment. Through speaking to a lot of the members from the deaf community in recent years it disgusts me how limited signing is in contemporary society- and how much money it costs in able to make it accessible. I do not know how i would help this but i am going to continue through to my BSL level 2- and try to become a part time interpreter, and see where that takes me.


I found simply plotted my experience to Honey and Mumford model so satisfying to my own development as i don't think people put the time into reflecting on a experience in order to draw conclusions which can further develop their practise.

"It is important to find your own reflective practises through doing that finding you own professional direction or "artistic vision"

This note which i made from the reader has stuck in my head through out this whole experience as i what to discover my own "artistic vision" but do not know whether it is something you develop. or you always have it, or you either have or do not have it, etc.
I do not know how to do about finding my own reflective practise- i can relate a great deal to other people but not my own

And do not know where to start