Interviews for audio podcast

In my podcast I interviewed 3 students in order or appearance is Tom Guy, Jun Simons and Zack Lovell. Tom is a media student in my class as the other two are performing arts students. Firstly I recorded Tom in a quiet room and asked him questions on how he survives college and what advice he would give, he then said about how football helps him. Secondly I recorded Jun and Zack together as they were playing a football game called Fifa 10 on the Playstation 3. They also were footballers and gave their experiences and advise for new students. The reason I filmed the three boys is because they have all be at the college for more than one year and I feel that they have had the experience and advice to help new students. I recorded all three of the boys on the same day of June 15th 2010. I recorded Tom on the 3rd floor of the west wing at Mid Kent College, I then recorded Jun and Zack on the East wing seconded floor in the social zone at Mid Kent College. The way I did this was by borrowing an Audio Recorder from the media department at MidKent College.


Interview for healthy body healthy mind

For my interview I interviewed a dance student named Mat Nickels first I interviewed him with the camera. I asked Mat questions about dance and how he feels about dance over all the interview went very well. I then filmed Mat dancing and got around 3 to 4 minutes of dance footage with no retakes it was all his own free style. The reason I chose Mat for the interview was I feel he is one of the best dancers I know and would be a great interviewee for my film. I filmed Mat in the dance studios at Mid Kent college ground floor west wing. I borrowed a hand held camera with a tri-pod from the college Media Department.

Armed Forces blog research

In my Armed Forces Blog I gathered my research from my own personal experience, army jobs website, interviews and off camera chats with other members of the Armed Forces. I mostly talk about my own unit with the Army.

Royal logistics corp.

The Royal Logistic Corps is the British Army Corps that provides the logistic support for the Army. It is the largest corps in the British Army. Their flags are dark blue with the Corps Badge emblazoned on the centre.

RLC Drivers

RLC Drivers operate, maintain and service most military vehicles, including all variants of Land Rovers, load-carrying trucks, trailers and rough-terrain forklift trucks. They work in all types of conditions from the Arctic to the desert because overseas postings are common.

Port Operators

Port Operators usually work in small teams, outdoors and in all weathers. They should be robust, have technical ability, want to work with their hands and be up for a physical challenge. It is the Port Operator’s job to load and discharge all types of cargo including containers, vehicles and pallets from both military and civilian ships using a variety of Mechanical Handling Equipment (MHE) and cranes. These operations usually take place at the Army’s Sea Mounting Centre near Southampton, but can be carried out through civilian port facilities or over a beach anywhere in the world. Port Operations are a key part of the logistic supply chain. They play a vital role by ensuring essential supplies and equipment are transported safely and on time, to areas of operations worldwide.

Vehicle specialists

This job does not exist in the Regular Army and is unique to the RLC TA. The role can be best described as what a garage would do after a new car is received from the factory and before it is issued to a buyer, fit for the road. The garage staff would inspect the vehicle to ensure what you expect is what you get. All de-greasing would be done and the vehicle would be inspected from top to bottom to ensure it is serviceable. All equipment you expect with the vehicle would be checked as would all electrics, fluid levels and tyre pressures. Paintwork would be inspected for any damage, all associated paperwork would be in order and the car would be road-tested. This outlines what the Vehicle Specialist does for all the Army’s vehicles from Harley Davidson Motor Cycles to Challenger Tanks in all climates from a hot desert to the Canadian Arctic. They ensure all vehicles are fit for the road and all documents are correct before issuing the vehicle to a unit.


Chefs in the Royal Logistic Corps feed everyone from recruits to royalty, making meals in static or field kitchens. They are trained to prepare, cook and present healthy and nutritious food under supervision both in and out of barracks – whatever the weather.

Royal Army Medical Corp.

Combat Medical Technician

Combat Medical Technicians (CMT) give emergency treatment, evacuate casualties and deal with the routine medical needs of soldiers both in conflict and in times of peace. Combat Medical Technicians are employed within Medical Regiments and Medical Centres in a support role, working under the guidance of Medical Officers. CMTs are highly skilled and highly respected members of the British Army.

Medical Officer (Doctor)

They lead a small but highly trained team of soldiers, providing medical services to Army personnel and possibly their families in times of war and peace. Along with all the medical complaints they would see in a civilian practice, they will also become experienced in dealing with the specialist health problems encountered in the course of military duty and will deploy alongside the unit to which they are attached. They will have the choice of general practice, hospital specialisation and public health/occupational medicine. As an officer he/she will also be the person the soldiers turn to for advice – and not just about medical matters.


A Pharmacy Technician is responsible for providing drugs and equipment to patients. The role involves working during both peacetime and operations. During operations, you would be deployed to provide a similar role in the field, and could face challenging conditions. Pharmacy Technicians are able to work in both clinical and technical roles in locations across the world. This might be as varied as working in a Field Hospital on deployment or in a Medical Centre in peacetime, to provide vital support to medical staff and patients.


The British Infantry is the best in the world. As an Infantry Soldier you will be trained to operate worldwide as part of a powerful team, in a wide range of activities from peacekeeping and disaster relief to full-scale war. Having acquired the basic infantry skills you can specialise in the following jobs: Driver, Communications, IT Specialist, Sniper, Mortar man, Physical Training Instructor, Store man, Anti-Tank Missile Crewman, Reconnaissance Soldier, Paratrooper, Combat Medic (paramedic), Assault Engineer, Regimental Policeman or Musician.

All these jobs are available at my unit based in Ditton in Kent.

This information was found on

In this movie I interviewed Private Gavin Keeler (Royal Army Medical corp. I interviewed him about his job and his life in the army, the reason why I did this was for people to get a insight from a soldiers point of view. I filmed this December time at Ditton barracks with a borrowed hand held camera with tri-pod from Midkent College.

Healthy Body and Healthy Mind – Fit to Dance2

Fit to dance 2

By Dance UK

Dancers should be physically fitter

Messages suggesting that a fitter dancer is more able to concentrate suffer less often from fatigue and is therefore potentially less risk of injury, seem to be getting thought to the profession. Many dancers take their own steps to supplement their training with cardiovascular fitness sessions and keep up some level of training during time off. Schools and companies have provided supplemental training within training schedules. However, some have later dropped this as schedules became too full and establishments were reluctant to drop any dance technique classes or needed the time for rehearsals.

Many companies and schools have Pilates and fitness training equipment available on the premises for dancers to use when required. Where this has not been possible others established relationships and provided or encouraged membership with local gyms.

Several of the larger dance companies carry out orthopaedic assessments of dancers not only on first joining the company but regular intervals over the year. Some are also paying for exercise physiologists to assess dancers’ fitness in various areas. Dance scientists are developing protocols for testing dancers’ fitness, working with dance schools and companies to make the tests as dance specific and relevant as possible. Together, company physiotherapists and exercise physiologists are devising individual training programmes for dancers to work on their own particular areas of strength and weakness.

This works best when there is regular monitoring of the results of training and of dancers’ progress so that programmes can be individually adapted. Some establishments report a lack of time to properly assess the effectiveness of the supplemental training they are implementing, relaying on anecdotal evidence only.

Dance UK’s Healthier Dancer Programme (HDP) offers both practical and theoretical workshops on various principles of fitness for dance, and informs the profession of some of the latest thinking in this area thought articles published in Dance UK News.

heathly body and healthy mind – Dance and Dancers’ Injuries

Dance and Dancers’ Injuries

By Chris Caldwell

Chapter 1

An Overview

When one sees an injury, whether to a dancer or another sports person, the first part of any treatment, particularly the initial treatment should always involve a detailed analysis of the process of factors that have caused the injury. Any therapist will agree that this is an acquired skill in itself; it is neither an interview with a clipboard or an informal ten minutes of ‘chitchat’. After several years in practice, it has become somewhat easier than it was in those first heady weeks. The therapist has to remember the ideas that the client will be nervous and in pain, possibly afraid of the treatment, or worried about a possible career-threatening injury. This can prey upon the mind of the client to such a extent that information given during this ‘history taking’ session is sometimes hazy and inaccurate. However, ones favourite attitude to history taking and initial consultations is the Kevin and Perry syndrome, the characters portrayed on the harry Enfield show (BBCTV), whereby injured teenagers sit awkwardly between parents and proceed to give no information whatsoever about the injury! If it is any consolation to young female dancers, this usually applies to the lads!


Chapter 5

Young dancers and injuries

Regular practise and dancing is of course, very common. Not only in dancing, but in many sports, participants begin at a very early age and may train for two hours and five or six days per week (Petersen and Renstrom, 1986). Examples are well-documented in sports like swimming, gymnastics and figure skating. It is difficult to predict whether the enthusiastic five-year old will become a future start at senior level but the over-riding principle at this age is that all sports (and that includes dancing) should be fun and not involve hard, even painful training.

Young people are spontaneously active (Caldwell, 1990) but by adolescence only about twenty-five per cent engage in vigorous activity – many become lazy and obese as they adapt to a Westernised adult lifestyle. At any age, the benefits of dancing and exercised should be balanced against the risks involved.

Healthy body healthy mind – The fit and healthy dancer

The Fit and Healthy Dancer.

By Yiannis Koutedakis and N.C. Craig Sharp.

Chapter 3

Non-artistic components of dance performance.

 1 Introduction

               Dance performance is not a single act. It is a continuum of different but interrelated constituents which derive from such unlikely and diverse areas as material science, body  science and medicine and, even, space science. Most specifically, dance performance is a very complex phenomenon depending, inter alia, on a large number of technical, medical, psychological, nutritional, physiological, economic and environmental elements (Table 3.1). At professional level, these elements may be divided into those that directly affect dancers’ performance and those with an indirect role. It is conceivable, however, that two similar performances may be achieved by various combinations of participating factors. In the present text it is not possible to examine everything that may potentially affect dance. However, after a brief introduction of aspects that may directly affect dancers and their performance, we will concentrate on the physiological elements of dance. Knowledge of these is mainly useful to assess physical fitness, to detect areas of weakness that require special attention, and to prescribe the most suitable form of supplementary training for the needs of the individual dancer.

Healthy body and healthy mind research – Your body your risk

Your body your risk

By Dance UK

Prevention is easier than cure.

The booklet i read provides lots of suggestions for keeping healthy the key points are:

  • Be the best dancer you can be. This means looking after your body, giving it enough fuel and enjoying its achievements.
  • There is no absolute, ideal body shape. Different dance styles, cultures and choreographers emphasise different shapes and other qualities in their dancers.
  • Don’t become obsessed with the mirror. Enjoy the physical sensation of dancing.
  • Create your own performance eating plan.
  • Be aware of the risks connected with disordered eating, amenorrhoea and osteoporosis and see help and advice early if you are worried.


Schools and companies

Increasingly, vocational dance schools and companies have a written policy that explains their attitude to managing eating disorders. The best ones include:

  • Recognition of the risks for dancers.
  • A commitment to promoting the health and well-being of their recovery.
  • Issues relating to confidentiality.


Make sure you are aware of any policy that your school or company might have.

“it’s about quality and performance, not just physical shape. I’ve always been very interested in what you can do with training. It’s about being strong, fit and healthy – and making the most of the dancer you are.”

David Nixon, Artistic Director, Northern Ballet Theatre.