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Unit 2 Professional Development Assignment Brief 2024 - 2025 V3 DATE CHANGE

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Formative

Task 1 (slides) – 25th October 2024

Task 2 (Development Plan)– 29th November 2024

Summative

Task 1- Presentation - 15th November 2024

Task 2 – Portfolio/Padlet Page – 31st January 2025

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Unit 33 WITPA Assingment Brief 2024 - 2025 V3 Date Change

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15th November 2024: Assessments

22nd November 2024: Motion Capture workshop

Morning Session in MoCap: Actors (dancers in lesson as normal with me)

Afternoon Session in MoCap: Dancers (actors in lesson with Cat looking at task 2 for THIS class)

29th November 2024: STAFF DEVELOPMENT DAY - COLLEGE CLOSED TO LEARNERS (Level 4 Development Plan Deadline)

6th December: Input on task 2

13th December: Potential trip TBC (actors / level 6)

20th December: Study session/1:1s for task 2

CHRISTMAS

10th - 31st January - Level 4 finishing task 2; Level 5 starting task 3.

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Formative Submission

Task 1 Presentation Career Goals (Slides)– 18th October 2024

Task 2 Health, Safety and Wellbeing & Sustainable Career– 20th December 2024

Summative Submission

Task 1 Presentation Career Goals – 15th November 2024

Task 2 Health, Safety and Wellbeing - 31st January 2025

Task 3 Masterplan - 31st January 2025

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Here are some questions to consider when analysing the diversity of a workforce within the performing arts industry:

Demographic Diversity

Gender: What is the breakdown of male and female employees? Are there any disparities in representation across different roles (e.g., performers, directors, technicians)?

Race and Ethnicity: What is the racial and ethnic composition of the workforce? Are there any underrepresented groups?

Age: What is the age distribution of employees? Are there any age-related biases or discrimination?

Sexual Orientation: What is the representation of LGBTQ+ individuals in the workforce? Are there any policies or initiatives in place to support LGBTQ+ employees?

Disability: Are there any employees with disabilities? Are there accommodations in place to ensure equal access and participation?

Socioeconomic Diversity

Income: What is the income distribution of employees? Are there any disparities based on race, ethnicity, gender, or other factors?

Education: What are the educational backgrounds of employees? Are there any barriers to entry for individuals from diverse socioeconomic backgrounds?

Geographic Origin: Where do employees come from? Are there any geographic biases in hiring or promotion?

Cultural Diversity

Cultural Background: What are the cultural backgrounds of employees? Are there any opportunities for employees to share their cultural perspectives and experiences?

Language: Are there any language barriers for employees? Are there any language training or support programs in place?

Religious Beliefs: Are the religious beliefs of employees accommodated? Are there any policies or practices in place to ensure religious tolerance?

Diversity and Inclusion Initiatives

Policies and Procedures: Are there any policies or procedures in place to promote diversity and inclusion? Are these policies enforced effectively?

Training and Development: Are there any training or development programs in place to educate employees about diversity and inclusion?

Mentorship and Sponsorship: Are there any mentorship or sponsorship programs in place to support employees from diverse backgrounds?

Employee Resource Groups: Are there any employee resource groups or affinity groups for employees from diverse backgrounds?

By asking these questions, you can gain a better understanding of the diversity of a workforce within the performing arts industry and identify areas where improvements can be ma

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Full interview with Sophie Willan and Jayde Adams 

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Full interview with Sophie Willan and Jayde Adams 

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This interview was used for promotion for Sophie's show Alma's Not Normal (S2) but they discuss issues of working class employment trends and nepotism within the industry

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"Comedy is anger, love and optimism" Sophie Willan & Jayde Adams on Alma's Not Normal S2  | BAFTA

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Equality and Diversity data report 2021 - 2022 (most recent) 

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Equality and Diversity data report 2021 - 2022 (most recent) 

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Arts Council England

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Equality, Diversity and Inclusion - A data report, 2021-2022

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15th November 2024: Assessments

22nd November 2024: Motion Capture workshop

Morning Session in MoCap: Actors (dancers in lesson as normal with me)

Afternoon Session in MoCap: Dancers (actors in lesson with Cat looking at task 2 for THIS class)

29th November 2024: STAFF DEVELOPMENT DAY - COLLEGE CLOSED TO LEARNERS (Level 4 Development Plan Deadline)

6th December: Input on task 2

13th December: Potential trip TBC (actors / level 6)

20th December: Study session/1:1s for task 2

CHRISTMAS

10th - 31st January - Level 4 finishing task 2; Level 5 starting task 3.

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P3 Analyse the risks associated with sustaining health and wellbeing in a career in the performing arts industry.

P4 Analyse own health and wellbeing strategies relevant to own career development

D2 Critically analyse the health, safety and wellbeing issues in the wider performing arts industry using specific examples

See post below to help with questions to critically analyse necessary content (this may also help with P3)

[M2 Discuss own areas for development based on an analysis with a clear improvement/maintenance plan] you are likely to reach this criteria in Task 3 (Master Plan) however it has strong links to Task 2 content.

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Working From Home Task Friday 27th September 2024 

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Working From Home Task Friday 27th September 2024 

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These tasks and questions will be discussed in next weeks lesson.

Please make sure you complete these as this module moves VERY fast and I will need next lesson to complete something different.

Read the assignment briefs and answer the following questions (add answers to a padlet page/word doc/platform of your choice):

What are the assessment dates?

What are the tasks?

What are the tasks asking you to do?

If you did Level 3 here last year, what module is this similar too?

Task:

On a platform of your choice, identify your desired career pathway after completing your Higher Education. Be specific here, do not just put 'Performer'.

What skills (think both performance and transferrable) do you need to be able to pursue this career?

Make an extensive list.

Rate yourself against all these skills; on a scale of 1 - 10, how good are you at the skills identified.

What gaps has this highlighted for you?

What targets could you set yourself to work towards?

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Working From Home Task 27th September 2024 

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Working From Home Task 27th September 2024 

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These tasks and questions will be discussed in next weeks lesson.

Please make sure you complete these as this module moves VERY fast and I will need next lesson to complete something different.

Read the assignment briefs and answer the following questions (add answers to a padlet page/word doc/platform of your choice):

What are the assessment dates?

What are the tasks?

What are the tasks asking you to do?

Task:

On a platform of your choice, identify your desired career pathway after completing your Higher Education. Be specific here, do not just put 'Performer'.

Analyse that future career goal by answering a selection the following questions; pick at least 2 questions from each subheading.

1. Skills and Suitability for the Job

What are your current strengths as a performer/artist?

What areas do you need to develop to be competitive in your chosen field?

What specific skills are required for the role(s) you are aiming for (e.g., acting, choreography, directing, etc.)?

Do your skills align with the requirements of your desired role? If not, how can you address this gap?

What personal qualities or attributes do you possess that would make you successful in the performing arts industry?

2. Qualification and Training Routes

What formal qualifications (e.g., degrees, diplomas, certificates) are essential for the career path you're pursuing?

Are there industry-recognised courses or training programs that would benefit you?

What types of ongoing professional development or training (workshops, masterclasses, etc.) are important to stay current in your field?

What mentors, networks, or communities are available to support your growth in the performing arts?

3. Barriers to Entry and Challenges

What challenges or barriers (e.g., financial, geographic, personal) might you face in obtaining the necessary qualifications or training?

How do you plan to overcome these barriers?

Are there scholarships, grants, or financial aid programs available to help with the cost of training or education?

What impact could external factors, such as the economy or technology, have on your chosen career path?

4. Accessibility of the Job

How competitive is your desired role in the performing arts industry?

What steps can you take to increase your visibility and chances of securing roles?

Is the role you are targeting financially accessible in terms of entry-level pay versus living expenses?

Are there any systemic barriers (e.g., bias, lack of diversity) within the industry that might impact your ability to access certain roles? (Consider your own personal circumstances here).

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Sending self tapes to agents

What the progression route involves:

filming and sending self tapes to agents/agency's.

finding agency's that are suitable for you, and finding ones that are taking new recruits/people.

what barriers are there to achieving this progression route:

you might get turned away or rejected by agency's or agents.

some agency's/agents have fees to pay if you get accepted, and you may not be able to afford.

your audition tapes may not be seen at all.

what are the positives:

you can refilm, and do do overs unlike an in person audition.

you can do it in your own time when you have the time to do it.

you can sometimes choose your own material and showcase your strengths.

what opportunities does this open up in the industry:

If you are accepted by the agent/agency they can help find auditions or closed casting calls.

what are the negatives of this progression route:

it can be expensive and you may loose more than you gain, a certain percentage of your earnings from roles is then given to the agent/agency that helped you get it.

You may be dismissed at any point or rejected from the agency right of the bat.

Does this progression route create any boundaries for pursuing a career in the industry:

you could get into an industry and find not actually getting any jobs.

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We’re currently checking your connection. This shouldn’t take long.If you keep getting this page, check if there’s a problem with Canva.

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PinkNews | Latest lesbian, gay, bi and trans news | LGBTQ+ news

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17 LGBTQ people of colour who blazed a trail in the arts in 2023

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In a knockout year for diverse LGBTQ+ talent, here’s a roundup of the queer people of colour paving the way in the arts industry in 2023.

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Not necessarily linked to performing arts

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New data reveals most popular occupations of lesbian, gay and bisexual people

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The census took place on March 21 2021 and the question on sexual orientation was voluntary for people aged 16 and over

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Could make links from this to wider performing arts industry

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LGBTQ+ Musicians Still Impacted by Discrimination and Harassment Says 2023 Musicians’ Census

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New findings from the Musicians’ Census show that LGBTQ+ musicians are disproportionately impacted by discrimination and sexual harassment, particularly for trans musicians, having a more widespread impact on their careers and ability to work.

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Working class creatives at ‘lowest level in a decade’ | Equity

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Equity’s Class Network has responded to new research showing that working class representation in the creative industries is at the lowest level in a decade.

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The proportion of working-class actors, musicians and writers has shrunk by half since the 1970s, new research shows.

Analysis of Office for National Statistics data found that 16.4% of creative workers born between 1953 and 1962 had a working-class background, but that had fallen to just 7.9% for those born four decades later.

This reflected a similar decline in the number of people with working-class origins, according to the paper in the journal Sociology by researchers from the universities of Edinburgh, Manchester and Sheffield. People whose parents had a working-class job accounted for about 37% of the workforce in 1981, but by 2011 that had fallen to about 21%.

The finding raises questions about why years of attempts to make the arts more open and diverse have not had more impact - people who grew up in professional families were four times more likely than those with working-class parents to be in creative work, the study found.

And with fewer film directors, authors or songwriters to describe the experience of growing up in a working-class household, some creatives fear their stories are being squeezed out of culture or confined to "poverty porn".

"These class imbalances have been with us for a long time," said Dave O'Brien, a professor of cultural and creative industries at the University of Sheffield and one of the paper's authors.

"It suggests that we need to do something more than just create access courses. It suggests that this is a big social problem, not just something that the BBC or the Arts Council or these kinds of organisations should be addressing."

Actors such as Michael Sheen, Christopher Eccleston, Julie Hesmondhalgh and Julie Walters have said repeatedly in the last few years that finding a career in the creative industries has become much harder for people from traditionally working-class backgrounds.

Gary Oldman in Slow Horses. Photograph: Jack English/Apple TV+

The reality, says O'Brien is more complex. "The backdrop is this massive change in British society where there are fewer coal miners or manual labourers to have these kinds of working-class sons and daughters, so there are fewer working-class people coming through. And so the odds of people making it stay the same, even if the experience of the industry is really different."

But the decline in numbers has other effects people should be concerned about, O'Brien said. "We know there's clearly a relationship between who makes decisions, particularly in commissioning, and the kinds of stories that get made," he said. TV commissioners and publishers come from a "reasonably kind of cohesive, quite narrow, elite social background" and may have a narrower view about what is interesting. He cited the BBC's lack of appeal among people who are younger and from less privileged backgrounds.

That creates access problems even for success stories such as Gary Oldman, a sailor's son from south London, Oscar winner and star of current Apple TV hit Slow Horses.

He has directed one film, Nil by Mouth, which won several awards including two Baftas in 1997.

"People say to me 'Why haven't you directed again?' and it hasn't been for want of trying," he said at the BFI in October. "They don't want another one of these [ Nil by Mouth]. That's the problem. They want Four Weddings and a Funeral."

Natasha Carthew, the author of nine books including All Rivers Run Free, founded The Working Class Writers festival last year to address the issue.

"A lot of [working-class] writers think that people are going to be prejudiced right off the bat but that's not the case," she said. "People do want authentic voices. What makes it harder for them is later on, when you haven't got the mates who are going to publicise your book."

But publishers need to remember that books dealing with working-class life are not "poverty porn", she added. "There are very different stories, about resilience and beauty and humour and hard graft."

The lack of ability to take risks is another barrier, Carthew said, such as working two jobs or not having money to go out for drinks to build a network or pay for a hotel in London while doing an internship.

"Publishers are trying more to get a broad church of people," Carthew said.

"But they've been slow, like everywhere's been slow.

"There are lots of schemes, and then the money runs out - they've ticked that box and then they move on and put their cash somewhere else. I've seen that with my festival. That's why the momentum keeps changing. They want novelty."

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Huge decline of working class people in the arts reflects fall in wider society

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Study shows the proportion of musicians, writers and artists with working-class origins has shrunk by half since the 1970s

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Disabled people and the arts cultural sector workforce - ACE

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Today, on International Day of People with Disabilities 2021, we are raising awareness with Recite Me of the challenges and barriers people with disabilities face in the theatre industry, and sharing opportunities available to help.

The 2021 IDPWD theme is "fighting for rights in the post-COVID era". Since March 2020, every person has been affected by the COVID-19 pandemic in one way or another, but for those with accessibility barriers, this has been notably challenging.

Barriers and accessibility issues

Accessibility issues in the theatre industry impact both audiences and theatre workers. In the Theatre Access 2021 survey, published by VocalEyes, StageText and the Centre for Accessible Environments, 47% of respondents said more than half of the online theatre they encountered during the pandemic was inaccessible by failing to offer services such as audio description, British Sign Language or subtitles.

When it comes to live theatre, a recent survey by StageText revealed that two thirds of respondents sometimes find it difficult to hear what is happening and 77% were in favour of venues offering more captioned performances.

For disabled theatre workers, the access barriers can be even more challenging, particularly in the post-pandemic world. In findings published by the #WeShallNotBeRemoved campaign, nearly two thirds of respondents were worried they would have to leave the creative industries. Statistics released by Arts Council England in 2020 revealed that while disabled people made up 21% of England's population, disabled representation at arts organisations amounted to just 6% of employees.

Accessibility tools on Get Into Theatre

At Get Into Theatre, we believe that all young people should have the same chance to have a career in theatre, including easy access to current information on training, funding, experiences, theatre job profiles and advice.

To use the accessibility widget on our website, click the small orange icon in the bottom right corner.

You can change the text size, spacing, contrast and pause animations or hide images - all to make your experience best suited to how you digest information.

Opportunities and support for disabled Theatre-makers

While the majority of training, funding and experience opportunities on Get Into Theatre are open to everyone, we also list many opportunities created specifically to support Theatre-makers with disabilities. If you are registered on Get Into Theatre, have disclosed your disability and are opted in to receive emails, you can get these opportunities sent straight to your inbox. To change your settings, log in to the website and go to 'Your account'.

Access to Work is a government programme aimed at supporting disabled people to take up or remain at work. Find out everything you need to know about Access to Work in the theatre industry in our blog post here.

Check out our video interview with Actor Amy Trigg to find out what it is like to be a wheelchair user who has trained in musical theatre and starred in theatre productions across the UK.

Blog image: Alex Brenner

Published: 3 December 2021

Updated: July 2024

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Closing the disability employment gap in the theatre industry - Get into Theatre

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Read the latest advice from Get Into Theatre, including audition tips, advice on how to make a career in theatre, the different types of theatre careers and more.

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General data on diversity of educators in UK State Schools

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General data on diversity of educators in UK State Schools

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In 2021, white British people accounted for 85.1% of all teachers in state-funded schools in England.

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Parental responsibilities affecting performers leaving the industry 

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Parental responsibilities affecting performers leaving the industry 

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Parents & Carers In Performing Arts | Homepage

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Parental responsibilities affecting performers leaving the industry 

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Parental responsibilities affecting performers leaving the industry 

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Study Session.

Presentations next week

Live presentations: FS014

Freddie

Nikola

Max

Amelia

Recorded Presentations (see PowerPoint above for help with recording your voice over)

Emily

Esther

Maisie

Jack

Ace

Maddi

Charlie

Billy

Matt

FS011 a, b & c available for those that want to record their voice overs today.

Level 4s:

If you are finished with your PowerPoint you can:

Write a script for your recording/live presentation

Record your presentation

Look at the assignment brief and identify what you need to do for task 2 and the formative and summative hand in dates

Begin creating your development plan (artistic and commercial skills to update) that must be completed by the unit deadline.

What are you going to work on & how?

Level 5s

If you are finished with your PowerPoint you can:

Write a script for your recording/live presentation

Record your presentation

Look at the assignment brief and identify what you need to do for task 2 and the hand in date

Begin researching into Health, Safety and Wellbeing within the performing arts

How should a performer keep healthy in the performing arts industry?

How do you personally keep healthy in the performing arts industry?

Dates:

15th November 2024: (Next week) Assessments

22nd November 2024: Motion Capture workshop (EITHER dance or acting taking part in the morning)

29th November 2024: Level 4 Development Plan Deadline

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How To Record a Voice Over for a PowerPoint

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Questions to help D2 'Critically analyse the health, safety and wellbeing issues in the wider performing arts industry using specific examples'

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Questions to help D2 'Critically analyse the health, safety and wellbeing issues in the wider performing arts industry using specific examples'

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You don't need to answer all these questions, they are just to get you thinking :)

This may also help with P3.

What are the most common physical injuries experienced by performers in dance, theatre, and live music, and how do these vary by discipline?
(Example: Ballet dancers often face repetitive stress injuries, while stunt performers may deal with acute trauma.)

How do working hours and schedules in the performing arts industry contribute to mental health challenges such as anxiety, depression, or burnout?
(Example: West End performers often face grueling 8-show weeks, leading to exhaustion.)

To what extent do employers provide access to mental health support or counseling services for performers dealing with job-related stress?
(Example: Some theatre companies offer wellness programs, but accessibility and stigma can still be barriers.)

How does the industry's reliance on freelancers or self-employed performers affect their access to education or support programs for maintaining a healthy lifestyle?
(Example: Freelancers may lack institutional support for health education or wellness programs.)

How does the precarious nature of employment in the performing arts (e.g., gig work or short contracts) affect access to healthcare and insurance for artists?
(Example: Freelance performers may struggle to afford physical therapy for work-related injuries.)

What role does workplace culture play in perpetuating harmful practices, such as tolerating harassment, body shaming, or overworking performers?
(Example: The #MeToo movement in Hollywood and theatre exposed systemic abuses in the industry.)

What initiatives or programs exist to educate performers and employers on best practices for maintaining physical and mental wellbeing, and how effective are these?
(Example: Actors’ Equity Association provides guidelines on health and safety, but enforcement varies.)

How does the irregular schedule of performers, such as late-night rehearsals or shows, impact their sleep quality, and what strategies can be employed to mitigate these effects?
(Example: Touring performers often face disrupted circadian rhythms due to inconsistent schedules.)

What role does nutrition play in sustaining a performer’s physical and mental stamina, and how accessible is tailored dietary support for those in the industry?
(Example: Dancers often require high-calorie yet balanced diets to meet intense physical demands.)

How prevalent is substance use, including smoking and alcohol, among performers, and what are the long-term implications for their physical and vocal health?
(Example: Vocal performers may experience permanent damage to their vocal cords due to smoking or excessive alcohol consumption.)

To what extent do cultural norms in the industry promote or discourage unhealthy habits, such as crash dieting or reliance on stimulants, to maintain performance standards?
(Example: Body image pressures in the dance community have led to disordered eating in some cases.)

What initiatives are in place to address the impact of alcohol and drug use on workplace safety, particularly in live performances or high-risk scenarios?
(Example: The safety of cast and crew in productions involving heavy machinery or pyrotechnics can be compromised by substance misuse.)

Are performers adequately educated on the impact of smoking or alcohol on their long-term physical health and performance capabilities?
(Example: Actors who smoke for stage roles may face vocal and respiratory challenges later in life.)

How do performers balance their physical training with adequate rest and recovery to prevent overtraining and associated injuries or exhaustion?
(Example: Athletes often have structured recovery periods, but performers may lack similar resources.)

What role does hydration and proper energy management play in reducing performance-related fatigue and enhancing stamina during long shows or tours?
(Example: Musicians on extended tours may experience dehydration or exhaustion from travel demands.)

Are adequate safety precautions taken in the design and execution of sets, props, and costumes to avoid accidents or injuries?
(Example: Unsafe set designs have caused falls, such as the case with Spider-Man: Turn Off the Dark on Broadway.)

What measures are in place to protect performers from the long-term effects of environmental hazards, such as stage smoke, pyrotechnics, or amplified sound?
(Example: Musicians in orchestras risk hearing loss due to prolonged exposure to high decibel levels.)

How effective are industry-wide standards or regulations in ensuring the safety of performers during high-risk activities, such as aerial performances or fight choreography?
(Example: The death of Sarah Guyard-Guillot during a Cirque du Soleil performance highlights the importance of safety harness inspections.)

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Missing development plan submissions.

Nikola

Matt

Freddie

These must be uploaded/completed and submitted by the end of today's lesson.

Reminder:

Next week (13th) Actors on a trip so there will be NO TIME in lesson to complete work towards development plan, leaving you only 1 week until Christmas.

Ester

Maisie

Ace

Jack

Billy

& everyone else once the Development Plan is submitted.

Use studio space available or FS011 to generate footage of you working towards your targets.

If you are using this lesson to work towards 'commercial' factors (e.g. Marketing / business licencing etc) then you need to be:

reading/accessing material

including links to this on your Padlet page

Writing a review of what you have learnt

Linking what this could mean for your future careers.

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Opportunities in animation, children’s TV, film, games, high-end TV, television, VFX (visual effects) and immersive media