Week 3 Blog Post

This week I read all materials given to me by my supervisor, Yan Pang. This included the case study draft "Exploring the Collaboration Principle," and all other reference materials she provided such as "K-12 visioning from Formulation to Communication" dissertation, "Teacher Leaders" dissertation, and the Saldana Coding Manual. I then began writing the portion of Yan's dissertation that I am to help with which is the "Data Analysis Procedures" portion. Below is what I have written so far, though it still needs a lot of editing and rework:

A code in qualitative data typically comprises of a word or phrase representing a summarizing, salient, essence-capturing, or evocative attribute assigned to the written, verbal, or visual data. This data can consist of various sources such as interview transcripts, field notes, surveys, and more. During the first cycle coding, the coded data can range from a single word to entire paragraphs or pages. In second cycle coding, the coded portions can be the same units, longer text passages, analytical memos, or reconfigurations of existing codes. It is crucial not to confuse the use of code in qualitative data analysis with semiotics, where a code interprets symbols in specific social and cultural contexts. In qualitative data analysis, a code is a researcher-generated construct “translating” data, providing interpreted meaning for pattern detection, categorization, and theory development (Saldana, 2016). 

The in vivo analysis process was utilized to extract meaningful insights from the array of qualitative data collected. The data is derived from a comprehensive range of materials including program, workshop, and board meeting notes, along with rehearsal reports, emailed and texted responses to survey question and journal reviews.  

Through the qualitative analysis process, the study seeks to unravel nuanced patterns, sentiments, and key themes embedded in the collected data. As a result, the meanings extracted from the data serve to underscore the intrinsic value of collaborative leadership in the context of musical theater productions.

Week 5 Blog

This week I posted on Yan Pang’s social media account, creating a caption and posting when I thought would be the best time to gain the most engagement. I have also read and re-read Chapter 1 for Yan Pang so I can gain a full understanding of it to be able to write about it in the Organization and Summary excerpts. 

Week 7 Blog

This week I created a caption and posted photos on Instagram for Yan Pang. I also began writing the summary of chapter 1 in the dissertation and I am working on how I want to write the organization section of chapter 1 as well. Below is the excerpt I wrote for the summary.

One-Log Bridge explores the potential of horizontal leadership structures within theater production. It challenges traditional vertical hierarchies that have long been utilized in the creative field. By encouraging a horizontal leadership structure, characterized by shared responsibility, collaborative decision-making, and a dynamic distribution of creative roles, the study seeks whether such a structure can enhance creative output. This model facilitates a more democratic space where performers and creators alike have the opportunity to contribute to the project, in turn fostering an environment ripe for innovation and collective creativity. 

The horizontal leadership approach is particularly relevant to the creative field, as the harmony of diverse skills and perspectives can yield unique and groundbreaking results. It underscores the necessity of reimagining leadership structures to accommodate the evolving dynamics of artistic projects, which are multi-faceted and intercultural in nature.  

In summary, this dissertation not only highlights the creative potentials that a horizontal leadership structures could unlock, but also sets a precedent for future artistic collaborations in theater and beyond. It exemplifies how adopting ideas from diverse voices and shared leadership not only can elevate the quality of a production but also build a more inclusive environment in the theater.