Developements

HI long time no blog!

I finally feel like i have a handle on my inquiry. I got myself into a bit of a frenzy having me inquiry so vast that i got lost with where to start. I narrowed it down and brought it right back to the fundamentals of what i am talking about..and so therefore what data to analyse ~(as i go swamped with data) not a bad thing but hard to manage.

My inquiry at such is

intro -done draft form
evaluation of inquiry- nearly done
analysis of findings- done
lit review done
critical reflect done

artifact- kinda everywhere but think done most of written form

that was more for my benefit than anyone Else's head is all over the place but confident i can  meet deadline.

for anyone that has other questions on me what im doing or if i can help them in anyway feel free to email me on jojom@chickenshed.org.uk

Proffession Artefact

Currently bringing the final bits together for my proffessional artefact.

I hope the way i have structured it is going to be fulfilling the criteria it needs to. As in my essay i refer to the workshop process and the benifits of its holistic approach i thought it would be benifical to have a breakdown on the workshop process. Including all the workshop activites why they are chosen and what the aims and outcome are.

Almost like a "Dummies Guide", but not so patronising. Ive tried to lay it out so that someone who doesnt know the process would be able to understand the reasons behid the activites and to possibly replicate it. Also bearing in mind that it could potentially be used to show funders so they can understand what they would be funding as it is a concept that is hard to conceptualise without have seen it.

Whilst doing this artefact in the Chickenshed Bar one of my line managers walked past and asked what i was doing. They read some of my work and said they thought it would be really useful and they would like a copy of it to be able to send it to funders and schools.

This has really given me a boost within my work process as it shows that it has some grounding in the "real world" and not just an inquiry that is just for the BAPP, but it is fullfilling the purpose of the BAPP process and it is a usueful document within my place of work.

I have run into some issues with photos. From talking to Emma Balaam, Anthony Pickersgill and Natalia Hyson i think i have somehow overlooked the ethics of using photos.

I was just wondering if it would be ok to use the permission the school gave me to use the photos, or do i need each participant to give their individual signature?

The teachers have used the pictures on the facebook sight so i know all the children do have their permission for that.

just wondering what everyone was thinking about my little dilemma?

Reminder of the basics

I have currently joined at Chickenshed the Young Directors scheme. This is where young individuals are taught/shadow and actively learn the skills in which many director at Chickenshed have.

Yesterday we had our first session and Mary Ward the co-founder of Chickenshed Theatre Company came in to talk to us, and allowed us to ask her questions about the processes in which she has been a part of and heading up.

This in terms of my work with BAPP has just brought me back to the meaning of inclusive theatre. When working along side this method on a day to day basis it is easy to forget the basics and take for graunted the work which was happening before i was even born.

Upon reflection i can appriciate how much this was needed for me in my line of work and also when finishing up with my inquiry.

These experiences i used to take for granted and not notice the immediate and long term effects it has on me as a practitionner but the skills which i have developed on this course allow me to notice these changes and experiences and then relay them into my inquiry

Process!

Soo im fully into this process and starting to bring it all together which i am really enjoying!

Im currently reading alot of books to ensure my literature is up to scratch! So if anyone has any recommendations they are all welcome!

Back at Chickenshed today and from some quite intense work on this inquiry im looking at everything in a new light.

This term at Chickenshed i am working quite intensly with their BA students. They have to create a piece of issue based theatre and tour the production followed by workshops. as this is pretty much what my inquiry is investigating the effectiveness of this process i was thinking wether it should be some how intergrated into my inquiry reaseach? as i have alot of information already i dont know if it would complicate things at this late stage? not sure but will have a think about it

Another diary entry from a workshop

1. Capital City Academy in Brent was the scene for another Crime of the Century workshop. The school have selected Year 9 children at risk of exclusion for the project and this was the first workshop in the sequence. This selection strategy is risky and difficult because in inclusion terms it means that children at risk of exclusion and involvement in potential gang or fringes of gang behaviour are being  separated and isolated from their mainstream peers. From an inclusion standpoint Chickenshed would usually want their development to happen alongside and with that of their peers not seen to be so much at risk.

We tried hard in the workshop to avoid the 13/ 14 year old students feeling stigmatised and stereotyped without total success but it is early days yet.

We emphasised as a team and I led this as the delivery leader for the project, that these young people were going to be anti- gang violence role models for their school and also anti- young people being stereotyped. Some have gone along with this because we have explained the issue so clearly and strongly. Others have yet to be convinced and are reacting as if the school have stereotyped them. This is not going to be an easy project over its next seven delivery weeks.

Starting a Facbook Page

www.facebook.com/chickenshedCOTC

After talking to some of my line-managers at Chickenshed Theatre company, i asked them a couple of weeks ago if i was able to start a Facebook page.

For as much as this would massively help me with my inquiry as it would be the easiest contact i can have with the participants in my project, it would also greatly benefit Chickenshed's work, and also linking together all the outreach projects they manage.

This also allows anyone who has participated in a workshop to see what the COTC team is doing and it doesn't feel like a door has just shut.

From my workshop process i felt like it was an "injustice" of some sort to get young people to open up and then leave, and only return if workshop opportunities arise.

So i started the Facebook page along side one of my colleagues. My decision to do this was heavily based on the work on BAPP which i have been doing the last year and a bit. Social Media creates so many opportunities for people to stay in contact, and for as much as i admit i have heavily shied away from it in my life- i think i might be starting to come round to the idea.

Have a look! Like it if you can!
And please please please tell me what you think about it!

Impact Measurement for Crime of the Century Projects.

  Diary entry

Had a great deal of debate and discussion about the impact measurement tools we are using for Crime of the Century Anti- Gang violence impact measurement. The tools are Questionaires and assorted practical guidance we have received from National Philanthropy Capital (NPC) over the last year where Chickenshed have paid for this training. We are piloting the materials and process in our projects at Capital City Academy Brent and Northumberland Park School Haringey.

 The Questionaires are long and quite involved. There are questions we have rejected such as " Do you consider yourself to be good looking" and "Do you jiggle and wiggle with objects while you sit on a chair ". And also rejected has been "Do you for most of the time consider yourself to be worthless."  In the impression of the team delivering the project these questions will hugely potentially unsettle the very complex and challenging groups we work with and potentially disrupt the entire questionaire process.

With these questions being carefully linked in pre-project and post- project form to externally validated mental well- being scales NPC are not in agreement that we are rejecting them but are happy if we can look at alternatives which mean the same thing or as close as can be. So we are working with ideas to enable this to happen convinced that we are correct.

We don't want the process itself of the questionaire to either contribute actively to lowering of self- esteem or to cause laughter or ridicule which will disrupt the whole process.

This one will run and run I feel and I feel a great sense of responsibility to help get this right for the target group and Chickenshed.

Joelyn Morrall Chickenshed.

Impact Measurement Planning.

ITS BEEN A WHILE!

It has been a very long time since Ive blogged! which i know is BAD ! really bad!

BUT silver lining

is that i have been keeping very detailed diary entries into everything i have been doing related in any way to my inquiry. Blogging ironically i have found to be the hardest part of the BAPP, but i know my diary entries do not equal out not bloggin, but it reminds me to share what i have done, and also means what i share is what was actually happening and not me trying to remember it.

For anyone who follows my blogs please let me know what you are doing! i would love to know where you are all at with your inquiries

jojox

ps, am going to start uploading my diary entries

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