peer mentoring in performing arts @ edge hill university

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PEER MENTORI N G IN PERFORMING ARTS @ EDGE HILL UNIVERSITY LISA ADAMS-DAVEY SENIOR LECTURER IN PERFORMANCE – DRAMA & PHYSICAL THEATRE

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PEER MENTORING in PERFORMING ARTS @ Edge hill university. Lisa Adams- davey senior lecturer in performance – drama & Physical Theatre. What is Mentoring ?. Homer’s Odyssey Odysseus , king of Ithaca – Trojan war Mentor Son – Telemachus - PowerPoint PPT Presentation

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Page 1: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

PEER M

ENTO

RING IN

PERFO

RMING ARTS @

EDGE H

ILL UNIVER

SITY

LISA A

DAMS-DAVEY

S E N I OR L

E C T U R E R I N P

E R F O R M A N C E –

D RA M A & P

H Y S I CA L T

H E AT R E

Page 2: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHAT IS MENTORING? • Homer’s Odyssey• Odysseus, king of Ithaca – Trojan

war• Mentor• Son – Telemachus• Athena, Goddess of War and

patroness of the arts and industry • Trusted advisor• Protégé• Friend• Teacher• Wise person

• Socrates & Plato• Hayden & Beethoven• Freud & Jung

Page 3: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

• Mentoring is a process in which one person [the mentor] is responsible for overseeing the career and development of another person [the mentee] outside the normal subordinate relationship.” (Collin (1979) cited in Clutterbuck, 2004:11)

Page 4: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHO IS IN CHARGE?• DIRECTIVE: Mentor takes primary

responsibility in managing the relationship

• NON-DIRECTIVE: Mentee sets the agenda and Mentor encourages independence and self-reliance in terms of coming to conclusions and finding the way forward

(Clutterbuck, 2004)

Page 5: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

SKILLS Mentorship can develop skills in

"time management... learning when to talk and when to listen is good for your communication skills; and you will develop good interpersonal skills as you interact with others, having to exercise tact, discretion and respect for values which may differ from your own." PA Peer Mentor Handbook (Adams-Davey 2012)

“The core skill of a mentor [is] having sufficient sensitivity to the mentee’s needs to respond with appropriate behaviours.”

(Clutterbuck, 2004:18)

Page 6: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

THE BASIC STYLES OF HELPING

• Directive (hands on, Mentor in control)• Non-Directive (more passive, mentee independent approach,

Mentee in control)• Stretching (assisting to extend & broaden possibilities) • Nurturing (cultivate, foster, protect)• Coaching (Setting goals, mentee (learner) commitment

important, challenging mentee’s assumptions, being a critical friend, demonstrating how – Directive)

• Guiding (giving advice, taking an interest in the mentee’s development, subtle psychological contract – Directive)

• Networking (making mentee aware of people, resources, and more formal repositories of knowledge – Non-Directive)• Counselling (support, listening ear, - Non-Directive) (Clutterbuck, 2004)

Page 7: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

THE MENTOR/MENTEE RELATIONSHIP “The interaction between the mentor and mentee is a self-

reinforcing system – each party’s behaviour influences the behaviour of the other. This in turn will influence the process – e.g. how frequently they meet, how deeply they explore issues. And finally, the effectiveness of the process will have a strong influence on the outcomes, which can be categorised as either supporting (often referred to… as psychosocial) or career-oriented.” (Clutterbuck, 2004:14) In Performing Arts the

mentee is less of a protégé and the relationship is non-hierarchical and more equal. (Adams-Davey, June 2013)

“the most effective relationships in which personal development is the desired outcome are those in which the mentee is relatively proactive and the mentor relatively passive or reactive.” (Ibid. 16)

Page 8: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

Developmental Mentoring Sponsoring MentoringMentee (literally, one who is helped to think)

Protégé (literally, one who is protected)

Two way learning One-way learning

The power and authority of the mentor are ‘parked’

The mentor’s power to influence is central to the relationship

Mentor helps mentee decide what he/she wants and [they] plan how to achieve it

Mentor intervenes on mentee’s behalf

Begins with an ending in mind Often ends in conflict, when mentee outgrows mentor and rejects advice

 Built on learning opportunities and friendship

Built on reciprocal loyalty

Most common form of help is stimulating insight

Most common forms of help are advice and introductions

Mentor may be peer or even junior- it is experience that counts

Mentor is older and more senior

Page 9: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

 HOW & WHY?

• “Mentors can be a powerful force for developing [students and institutions]. Mentoring experiences often contain a bit of improvisation and drama, which we later remember and use.” (my italics, Shea, 2002:10)

ATHENA…

Page 10: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

APPROPRIATENESS Empathy Focus Maturity Listening skills Determination to succeed Good sense of equality

and inclusion Patience

Success as a human being and their ability to relate to others on a human level is imperative to the role of the Mentor. (Adams-Davey, June 2013)

Page 11: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

1. EMAILDear All,

You have been recommended as having the skills to be a suitable candidate to be a student mentor for the next academic year. I am, therefore, writing to request if you would consider applying for a position in the scheme starting from September 2013?

A mentor is someone who a student can turn to in times of need, and it is about giving first years help, support, and advice, whilst they are new to University life, from peers who are in an informed position to do so. Mentors will be responsible for a small group of first year students and, equally, mentors will have an allocated member of staff who they can turn to if they need help, support, and advice within role.

There will be a day’s training in September and it is my intention for this to be a dialogue workshop between us all, in order that the best possible mentorship service is available for everyone.

If this is something that you would be interested in, please could you complete the attached application form and return it to me as an email attachment by Monday 1st July 2013.

 Kind Regards, Lisa Adams-Davey

“When people achieve a great level of success, it is their personal responsibility to share what they have learned with those around them. This is Mentoring.” (Jay et al, 2007:55)

Page 12: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

2. APPLICATION

3. PROCESSING

4. SUMMER CORRESPONDENCE

 Please provide a brief statement about why you think you would make a good student mentor. Consider the necessary qualities that would make a successful mentor.

Page 13: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

THE TRAINING DAY - AGENDA12.00pm Registration & Lunch1.00pm Welcome from the Mentor Co-ordinator:

Lisa Adams- Davey1.05pm What is a Mentor?

The Aims and Objectives of a Mentor The Scheme, how it works, & what we

can do better this year1.45pm Transition 2.30pm Communication

The Mentor HandbookInduction MaterialsThe Mentor Schedule

2.55pm AOBDate of the next meeting

3.00pm Close

Page 14: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

PEER MENTOR HANDBOOKTable of contents 9. Well Being and Opportunities

1. Introduction 10. What’s in it for me? 2. Contacts: Peer Mentor Co-ordinator & ContactDetails

11. Do’s and Don’ts

3. Contacts: Performing Arts, Accommodation

12. Mature students, Meeting your students

4. Contacts: Counselling, Medical 13. Mature students, Meeting your students

5. Contacts: Finance, SU, IT Services 14. Fresher’s Week

6. Students with additional support needs

15. When are the holidays?

7. Contacts: Inclusion, Edge Ahead,

 Chaplaincy Service

16. My student list

8. Library Services, Sporting Edge

17. Useful numbers/notes

Page 15: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

YOUR RESPONSIBILITIES 

Being a peer mentor is a responsible position. The new students you will be befriending may look to you for support and advice and should be able to trust you. Confidentiality is extremely important. However, you must be able to recognise your own limits and know when you need to refer a new student on to a member of academic staff, an academic department, or the SIC.

  Your job is to answer questions to the best of your ability, or to refer

them on to someone that can, either within your department, or in student services. You should advise the student whom they need to see, if they are unsure, wherever possible, the best option is to take them there yourself.

Page 16: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

DO’S & DON’TSDo• Remember what it felt like

to be a new student• Get to know your new

students• Encourage the new

students to meet others• Be positive• Give them your email

address• Try and arrange a contact

hour or meet for coffee each week, just to chat

• Seek advice if you feel overwhelmed by a situation

  

Don’t• Give out your phone

number to someone you don’t know

• Give specific advice on finance, welfare, health or academic issues. Instead, take your student to an appropriate and qualified source of help.

• Give biased opinions, or over-influence new students.

• Give the impression you’re too busy to talk – arrange a convenient time

• Guess the answer to a question. Admit you don’t know the answer then take your student to find the correct one.

• Forget you represent not only yourself but the University

Page 17: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHY DO WE NEED A PEER MENTORING SCHEME?

Retention???? TRANSITION

Page 18: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

TRANSITION&

PROHIBITING FACTORS• Economic and emotional

insecurity• Poor health• Poor prior transition experiences• Hostile work/school environment• Poor transition management

Page 19: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

EDUCATIONAL TRANSITIONS• Learning environments, between or

within institutions• Teachers and facilitators• Pedagogical practices• Peer and friendship groups• Expectations of performance and

types of assessment• Changes in required skills• Conceptual understanding• Perceptions of the nature of

knowledge itself• Ways of thinking about learning• Ways of thinking about self and

identity

Page 20: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

TRANSITION ISSUES

Conceptions of new environment (stereotypes, schemas, teaching and learning strategies)

Decline in levels of attainment

Social support (family, peers)

Focus, motivation and resilience

Self beliefs and self-efficacy

Changing Emotions

Page 21: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

CONCEPTUAL TRANSITIONS

• Loss of skills in holidays• Lack of continuity of

curriculum, teaching environment

• Disillusionment / boredom• Difficulty in transition related to

dissatisfaction and subsequent dropout

DECLINE IN LEVELS OF ATTAINMENT

• When students have misconceptions, they constitute a barrier to effective Learning

Page 22: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

JUST ANOTHER TRANSITION?

Sheehy, G. (1976). Passages: Predictable Crises of Adult Life . New York: Random House Publishing Group.

Page 23: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

ARCHETYPICAL TRANSITIONS FOR OUR UNDERGRADUATES…• Leaving college or school• Moving house• New Peer group• New campus• New Lecturers • New Teaching Philosophies• Information Overload• Independence • New Found Freedom• Fresher’s Flu• Illness• Finances• New part-time work • Illness and/or Death of a Grandparent

• Stress (e.g. Exam pressures)

Page 24: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

“…MANY PEOPLE… WISH THEY COULD HAVE… A MENTOR AT FORMATIVE PERIODS OR TIMES OF CRITICAL PERSONAL TRANSITION” (CLUTTERBUCK, 2004:7)

• ENROLMENT • INDUCTION

“Sustained and consistent induction increases the retention rate when it is custom designed and incorporates personal attention.” (Blackwell (2004) cited in Mitchell 2008)

Tutor Group Meetings

Activities Performances Organised

Q&A’s Workshops Visibility &

Availability

Page 25: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHAT’S IN IT FOR ME?Making a Difference• Through the time and effort you put in, you will see that you are really

making a difference to the kind of start many new students get at university.

 Skills and Recognition• In your role as peer mentor you will use and develop a lot of skills that

will be useful to you in the future. However, simply telling a potential employer that you have been a peer mentor is not actually showing you have the skills. You need to make the potential employer understand why your role as a peer mentor makes you valuable: you need to analyse what you have learned/have experience of, and explain it in business terms, the careers team and your peer mentor co-ordinator can help you with this for your CV.

• Balancing work commitments and your social life, and finding time to make sure that new students you are looking after are well and happy, is about using your time management skills; learning when to talk and when to listen is good for your communication skills; while you will develop good interpersonal skills as you interact with others, having to exercise tact, discretion and respect for values which may differ from your own.

• In addition, when writing your references for future applications, your referee can make a testimonial about your participation in the Mentor Scheme and how this has benefitted you and those that you have helped.

Page 26: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

ONLINE PEER MENTORING SURVEY 2013 (PERFORMING ARTS & MEDIA)

• Establish another role in the community• Enhance the community and relations • Develop a personal profile, networking, &

friendship groups• Provide peer support & help for others

Communication Social interaction Building rapport Helping people Awareness of

problems Empathy

Time management Adaptability Management and leadership Confidence Mediating between staff and

students Building relationships

Objectivity

Page 27: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

“MENTORING SKILLS ARE TRANSFERABLE.”

(JAY ET AL, 2007:46)

12% had been involved in mentoring before

Just over half wanted to enhance their cv

94% wanted to help other students

Online Peer Mentoring SURVEY 2013 (Performing Arts & Media)

With mentorship “comes the satisfaction from helping someone else – the vicarious pleasure of seeing someone else succeed.” (Clutterbuck, 2004:6)

88% felt that the training they had received had prepared them for the role and 12% were neutral.

59% sought support from other Mentors

82% felt that the handbook they received was helpful and the same percentage felt that the Facebook group was useful.

  100% felt that they had a

manageable number of mentees. 83% were able to deal with the

questions raised by mentees 53% referred mentees onto central

services

Page 28: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

MENTOR & MENTEE INTERVIEWS PERFORMING ARTS MAY 2013

“A Mentor teaches you the tricks of the trade. They know things you need to know from years of practice.” (Jay et al, 2007:57)

Page 29: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

IMPROVEMENTS?• Celebratory Lunch /

Presentations• Meetings and Correspondence• Sharing – DVD & Data

SUCCESSES…?

“…mentoring occurs only when the [student] creates an intervention in the relationship that goes beyond [studentship]; otherwise, the word mentoring has no special meaning.” (Shea, 2002:12)

• Mentor • Mentee • The

Department • The University• Lecturers/Tutors Retention Well-being A broadened sense of

community Better working relationships

“In practice, mentors provide a spectrum of learning and supporting behaviours, from challenging and being a critical friend to being a role model, from helping to build networks and develop personal resourcefulness to simply being there to listen, from helping people work out what they want to achieve, and why, to planning how they will bring change about. A mentor can also be a conscience, a friend….” (Clutterbuck, 2004:3)

Page 30: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHY I WANT TO BE A MENTOR?I want to help welcome the new first years. The first few months of university was quite scary … therefore, I would love to help people feel welcomed like my student mentor did last year…. It was nice knowing I could talk to someone who had already experienced first year… [it] gave me more of an insight to the year coming ahead. Therefore, I want to return the favour and do my part for the course…. Today, people on our course are good friends with their mentors and still ask for advice when needed, I too want to help guide first year students through their course and be there to help when I can. I believe I can achieve the role of student mentor, as I am an approachable person who is happy to help others, and want other people to enjoy their time at university [in the first year] like I did. (WESLEY MOXON)To be a mentor would be very fulfilling for me as I feel I would be giving

the first year students the same support that I received, which would hopefully ease them into university life. (PORTIA TRISTRAM)

I've learned a lot this year, and I think I'd be able to help the first years as I'm a good listener and I believe I could offer them practical advice on how to cope with their workload etc. I also think I'm quite an approachable person and someone who hopefully people can turn to if they want help with anything. Personally I want to do it as it seems to be a rewarding thing to do and I would enjoy being able to help others. (EMILY NEADS)

Page 31: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

WHY I WANT TO BE A MENTOR?I chose to ask to be a mentor because I like helping people out, making them feel safe and comfortable within their environment, and as the environment they are entering is quite overwhelming and new, an extra voice and person to talk to could help them ease into [it] better; and I would like to be that voice. Also I feel that it is a good opportunity to get more involved with [what’s] going on [in] Performing Arts, generating a warm and communicative community. As well as this, it means both the first years and I can ask for each others' help with [performance] pieces. In addition it would not go amiss on my CV!!! (ALEXAUNA DIXON)…. I am interested in being a mentor for the new fresher's [because] I think it would be a good opportunity and I would like to be there for the new students. I feel that I would get a lot out of being a mentor. (AMY COONEY)

Mentorship is about ‘Man’s Humanity to Man.” (Clutterbuck, 2004:7)

Page 32: PEER  MENTORING  in PERFORMING ARTS @ Edge hill university

BIBLIOGRAPHY Ali PA, Panther W (2008) Professional development and the role of

mentorship. Nursing Standard. 22, 42, 35-39. Date of acceptance: April 3 2008.

Clark Robin & Andrews Jane (2011) Tackling Transition: Peer mentoring as a route to student success: The Findings of a Multi-Case Study Research Project Aston University, UK

Clutterbuck, David (2004, 4th Edition) Everyone Needs a Mentor: Fostering Talent in Your Organisation The Chartered Institute of Personnel and Development

Daloz, Laurent A. (2012) Mentor: Guiding the Journey of Adult Learners Jossey Bass

Jay, Robin et al (2007) Thinking Beyond the Boundaries of Limitation: The Power of Mentorship Real Life Teaching / Publishing

Mitchell, Lisa Nanette (2008) Teacher Induction in North Carolina: Relationships to Retention Proquest LLC

Moor, Juan Thomas (2008) Effectiveness of Mentoring on the Retention of Urban Middle School Teachers Capella University

Shea, Gordon F (2002, 3rd Edition) Mentoring: How to Develop Successful Mentoring Behaviours Van Hoffman Graphics Inc.

Sheehy, G. (1976). Passages: Predictable Crises of Adult Life. New York: Random House Publishing Group.

 

With special thanks to:Ursula Curwen (Sociology, Edge Hill University)Debbie Pope (Psychology, Edge Hill University)

Alistair Emmett and the Media Development Team