Questions expanded

Looking at my previous post I have decided I might be better to expand the questions I have asked;

Career Development

Where do performers turn for career advice?
A quick google has shown that Spotlight, The stage and many other recognisable companies are offering industry specific advise.  Not only is this advice available but also free and available as not only in written format but also as pod casts etc.   In my survey it was suggested that careers advice for performers is a slightly difficult issue as performing jobs still seem to be viewed as not 'real' jobs.  I wonder whether this is true to how many people feel? If so then what can be done to change this opinion? Can it ever be changed?

Is age a factor when it comes to deciding on a career path?
So far my survey suggests that performers naturally reach an age when they require a more stable career choice.  Is this an idea that is ingrained in our minds? Do we subconsciously take on the information given to us from the media? It seems there are times when older presenters get replaced with younger ones? Is this the natural cycle or are we jumping to conclusions?

http://www.guardian.co.uk/stage/theatreblog/2013/feb/13/is-british-theatre-ageist

This is a great piece because it looks at the age of directors and playwrites.  The blog suggests that often people want to find someone who is naturally talented and gifted from an early age however offers many examples of people who find success later in life.  It would be lovely to believe that we can all perform forever but I think it is worthwhile looking at not only the toll performing as a career takes on your body but also the effect it has on you mentally.  It can often be draining working short contracts and not having a huge amount of stability, this idea is what has made me take on these questions and research them in such a way.

How can performers continue to work professionally when they become parents?
I have many friends who are also parents however their careers have taken a different paths and have often continued to perform in a different capacity, often taking casual performing work alongside a tradition 9-5 type job.  I think when looking at parenting it would be foolish not to look at the difference between men and women.  Performers do have to fit certain 'looks' and once women have babies they may find it harder to fit the certain requirements that are needed.  I also think this idea fits nicely alongside my previous thought that performers reach an age where they require a bit more stability and financial security.  When performers become parents they probably require a more stable job and reliable income.

http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2012/may/31/dance-arts-motherhood-having-children-rights


http://www.thestage.co.uk/news/2009/10/motherhood-clashes-with-top-jobs-in-dance/



Companies

How can companies help performers sustain a healthy work/life balance?
When performers work on cruise ships etc I think it is vital that they can remain in good contact with home, things like providing an Internet service can really help.  I think realistically their is limited things that companies can do, however accepting that life isn't always easy for performers leaving family and friends for six months at a time, can help companies put this into prospective.

Should companies allow performers to take time off for important events such as weddings, funerals, graduations etc?
This is a difficult question really because companies have to provide the services that they have agreed.  However it can be a very difficult time for performers constantly missing big events.  When you work a 9-5 type PAYE job you have allowances for holiday etc however many performance contracts are self employed.

How soon should companies advise about their contracts for the following season?
Often when performers wish to return to a contract the following season companies seem to leave it until the last minute to advise of their contract renewal, why is this the case? Personally I think companies have a lot of things to consider and really need to decide what product they will be putting together for the following season before they can cast.  However from a performers point of view you need the most amount of time possible to prepare your options.  I don't think this is a situation that will ever change, however it does help for both sides to see things from the other side.

Should companies allow time for performers who are also studying?
This is a difficult question because schedules need to be adhered to.  I am a perfect example of this as for the last few weeks I have been rehearsing all day and performing shows in the evening.  My schedule has not allowed me to fit in any study time and this has greatly effected my emotional balance.  I am currently feeling panicked and behind and not fully able to commit to anything, however the company I work for are very supportive of my course and have offered me assistance.

Should companies support performers in their studies?
I thinks companies should support performers who are studying.  Anything anyone does to better themselves should be encouraged, also from a companies point of view that person studying may gain a skill that can help the company move forward.

Financial

Often performance contracts are self employed, should companies pay self employed persons holiday pay?
Companies have no legal requirement to pay self employed persons holiday pay.  I feel it is an issue that sometimes causes problems for performers because if they require time off for any events they must take that time unpaid.

How do performers manage their finances when they often only work short contracts?
This is a question that is quite personal.  Personally I save when I am working to cover the time when I am auditioning, however this does not make me very financially secure particularly when looking at the future.

Do many performers have pension plans?
During my research time I have found that many performers don't have anything like a pension plan as they can not afford to put money in regularly.  Again this relates to the type of jobs that are worked and the unsteadiness of the industry.  Google has shown me that there are companies who offer specific performers pensions however personally I couldn't afford to commit to a twelve month payment plan.

Social

How do performers feel when they are often unable to attend family events due to work commitments?
In my experience this is a very difficult issue for performers.  On one hand I feel blessed that I am able to do a job that I love but on the other hand I miss so much of my families lives. 

How do performers cope when they are often living and socialising with their work colleagues?
In my research it seems that many performers enjoy this side of the job.  Living and working with like minded people is enjoyable and many strong friendships are built in this way.  Personally I think this also relates to age, what you enjoy when you are younger is something that can be a problem when you are older and want different things from your life.

Can many performers be described as workaholics? How does this affect their lives?
Through my research I have seen that many performers would describe themselves as workaholics however do not see this as a bad thing.  When you enjoy your work and it is described as a 'vocation' rather than a job it seems natural to throw yourself into it entirely.

Possible titles

Looking at my work so far I am trying to compile a variety of possible titles and the directions they could head in.  My problem is that looking into how performers manage to sustain a healthy work/life balance opens up so many doors;

Career Development

Where do performers turn for career advice?
Is age a factor when it comes to deciding on a career path?
How can performers continue to work professionally when they become parents?


Companies

How can companies help performers sustain a healthy work/life balance?
Should companies allow performers to take time off for important events such as weddings, funerals, graduations etc?
How soon should companies advise about their contracts for the following season?
Should companies allow time for performers who are also studying?
Should companies support performers in their studies?

Financial

Often performance contracts are self employed, should companies pay self employed persons holiday pay?
How do performers manage their finances when they often only work short contracts?
Do many performers have pension plans?
Can performers afford pension plans?

Social

How do performers feel when they are often unable to attend family events due to work commitments?
How do performers cope when they are often living and socialising with their work colleagues?
Can many performers be described as workaholics? How does this affect their lives?

Further research

I'm just setting up some further research, if you could take five minutes to complete my survey it would be gratefully appreciated.

http://www.surveymonkey.com/s/F9JD62T

Combining thoughts

I have been researching, developing and writing in my journal like a woman possessed, however I haven't felt there was anything to blog about.  Developing my line of enquiry is seeming quite a task and things seem to be fracturing off and growing into their own separate debate.  I guess the question more is how do I combine all these developing elements and combine them under one title?

How can performers find a healthy work/life balance?

How old is to old when it comes to performing?

Do companies support performers when working away from home?

Can performers continue to work in a full time professional capacity when they become parents?

Can performers be described as workaholics?

What are the effects on a person and their family if they are a 'workaholic'?

How do performers cope when they often live and work with colleagues?

Where should performers turn when they need to seek careers advice?

Can performers turn to companies such as 'The Job Centre' or do they need industry specific advice?

Looking into these questions has lead me to various in depth discussion with colleagues and friends.  I feel looking into these questions will give me plenty of scope for my writing, however how do I combine this into a title?

Blogs of interest

I have started researching some blogs of interest to do with my questions and so far have come up with these.


Striking a work/ life balance, can Dancers be mothers and continue performing?


http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2012/may/31/dance-arts-motherhood-having-children-rights

http://www.thestage.co.uk/news/2009/10/motherhood-clashes-with-top-jobs-in-dance/


Is theatre ageist?

http://www.guardian.co.uk/stage/theatreblog/2013/feb/13/is-british-theatre-ageist

Looking again at my questions I feel that this area has the biggest scope for me as issues like wage differences might be hard to gain information on.  Please feel free to add your comments as I would like to hear of other student with similar areas of interest.

Task 4a Professional Inquiry

At the moment I am looking into my current practice and the issues and questions that emerge whilst in a working environment.  These generally involve ethics surrounding various contracts I have done;

Financial

Wage differences between Dancers and Singers.

Wage differences between Male Dancers and Female Dancers.

Performers receiving half wages during rehearsal periods.

Creating a Work/Life Balance

How can performers have a good work/life balance when working on board cruise ships or on tour?

Can professional performers continue to work after becoming a mum?

Ethics

Is it ethical for agents or agencies to charge performers to be placed on their books? Even if this is described as an administration charge?


Looking into these questions I believe they can be broken down further. 

Financial
How do wage differences effect performers during contracts?
What effect does this have on the dynamic of show teams? 
Can self esteem issues etc be attributed to people not being treated the equally? 
How do wage differences between males and females stand legally?
Where do companies stand when the hours worked balanced with the half wage drops below the legal minimum wage?
How can companies manage to pay a full wage for rehearsals when they are not receiving any money from the booking?

Creating a Work/Life Balance
How does a minimal work/life balance effect performers emotionally, mentally and physically?
Would a company employ a performer who is a parent?
Should companies assist in finding nurseries for performing mums?

Ethics
If it costs a company time to find performers work why is a fee viewed so negatively?
How does paying an agent effect the rate they charge commission at?

This is just my basic starting point so far.  I would be really interested to hear other students views and experiences relating to any of these ideas.

New module, New way of thinking?

I feel like have had a complete change of heart about the way I view my studies.  Starting module one I was so afraid of making mistakes and really was overwhelmed by the thought of studying again.  Also as I was not dancing full time, there were times when I felt my life and what I was studying were disjointed in someways.  Staring module two I actually feel quite excited and although I will be studying whilst also rehearsing full time, I will feel more involved with my day to day practice and hopefully able to draw on that in my blogs. 

Onwards and upwards, I hope everyone else is feeling as upbeat as I am about module two and looking forward to getting going! X