Literature on Rejection

Rejection​the act or process of rejecting someone or something:

•  fear of rejection
• I applied for ten jobs and got ten rejections.

Rejection is a fundamental part of a performers life, so I was keen to undertake some further research in to what may have already been written in regards to the auditioning process and resulting rejection.


The first article I found, via Summon 'Jazz artist thanks Simon Cowell for Idol rejection that spurred her on' (Edmonds, Lizzie. Evening Standard 14 June 2016) focuses on a singer who had been rejected by Simon Cowell at an audition for American Idol. However, the article claims this as her spurring moment, as the rejection for the popular TV show led her to audition instead for the Montreal Jazz Festival, which she won.
Through my inquiry, I want to find out how performers deal with the process of a Musical Theatre Audition. even though this is a relatively short article and the genre of music is pop and Jazz in this instance, the fundamental ideas of rejection on audition are the same and therefore this article highlights a very important point that I hope to explore further in my inquiry. Do all performers use rejection as a force to fight harder with? Do they take it to heart and let it effect their confidence at the next audition they go to?

I then read 'Rejection is just a hill an artist has to climb: Critics can be harsh but we should never let them dull our passion to create and perform' (Naughton, Eddie. Sunday Independent 13 Jan 2013).
This article focuses on rejection (of a writer) and dealing with the success of others, which has prompted me to consider that as auditionee's, we do not just deal with our personal rejection, but we also have to learn to cope (and be happy for) our peers success. As performers, a NO to us is a YES to someone else, and quite often that can be someone we are friends with, trained with or go to class with.

'WHENEVER a friend succeeds, something inside me dies." Thus wrote Gore Vidal, capturing perfectly the feeling of envy you experience when news that someone you know has had some success with a play, film or book they've written. This is usually followed by an email or letter informing you of yet another rejection of your script. Oh the agony!' (Eddie Naughton 2013)

When drafting an Inquiry question and turning my focus in particular towards how performers prepare for the process, deal with the process of an audition itself and then deal with success or failure, I had not actually considered that we do not just deal with our own success or failure but the success of others also effects us as well. This is a topic that my SIG had also failed to contemplate, and I wonder whether the connected emotions of someone else's success, jealousy being the main one, means that people are less willing to talk openly about the subject. 

I have nothing but admiration for the actors who lose out on academy award night. They sit there smiling, giving the performance of their lives when beneath the studied grin they are arm wrestling with the twin demons of jealousy and rejection. (Eddie Naughton 2013)

this article has been exceedingly thought provoking for me and its I intend to use its influence when shaping my questions for participants of my enquiry.


References

Mdxacuk, L.E. 2016. Jazz artist thanks Simon Cowell for Idol rejection that spurred her on. june 2016. Mdxacuk. [Online]. [11 December 2016]. Available from: http://search.proquest.com.ezproxy.mdx.ac.uk/docview/1796336181?pq-origsite=summon



Eddie naughton, E.D. 2013. Rejection is just a hill an artist has to climb: Critics can be harsh but we should never let them dull our passion to create and perform. 13TH JAN . Sunday Independant . [Online]. [11 December 2016]. Available from: http://search.proquest.com.ezproxy.mdx.ac.uk/docview/1268866615/abstract/E8B292332F7945BDPQ/1?accountid=12441

Trial interview: Is there a stigma surrounding dance as children mature?

I have conducted a trial interview with a member of my SIG who shall remain anonymous. I decided to trial an interview with one of the potential lines of enquiry I have now disregarded as I wanted to focus on the method of interviewing and not by the information given.

For the benefit of my research I do intend to reveal the gender of the interviewee as well as age. in this interview the participant was female and aged 23. Although this bares no relevance in this trial, I believe gender and age will play important factors in my real line of enquiry.

My interviewee began our semi structured interview by explaining that her classes were non syllabus and so the majority of the children she taught were there for fun or something to do after school. she went on to say that there were schools in the area that they could go to if they wanted to do exams, so the groups she taught were very mixed in ability. 

Q: Are you conscious of different attitudes towards dance, depending on age range?

'Most definitely, my early stages classes are angels, very well behaved and once settled and comfortable, have no inhibitions and are happy to dance and play confidently. All they want to do is dance and sing really. My most troublesome groups are my 6-9's, they are often quite embarrassed to dance and just want to play games.'

Q: What do you think is the cause of this change in attitude?

'I personally think that the parents are responsible for the changes, it depends on what the child is allowed to watch on TV - for example I know lots of my kids watch 'Wiggle Town' which has children on the show who dance - when it comes to ballet, they only show girls doing the ballet, therefore depicting from a very early age that ballet isn't for boys. Children don't argue with what they see on the telly, so it is a battle to change their perspective, even at five years old.'

Q: What type of music do you use for your classes? Does your music choice change depending on age?

'Yes definitely. I do a lot of nursery rhymes with my early stages classes, but where as you might expect the next step to be disney music there is now a straight jump to pop music. I play chart music now from age 5+ and the majority know all the words and tell me they listen to the songs at home.

She then explained that she also does princess parties as well as teaching

'I see the divide at parties as well, particularly with the 5-7 age range. I did one party where the mum asked specifically for only childrens music to be played and none of the kids knew any of the music and all asked me to put pop music on. Most kids have Ipads now, so they can easily access youtube or listen to what their parents are listening to if it is a shared device. Kids are really smart when it comes to technology. 

I also think the age of the parents plays a key role as well. I think older parents tend to stick to the classic kids music and disney where as a younger couple might introduce their taste in music earlier on.'

Q: Have you experienced anything else that suggests there is a stigma?

'I was running a mixed gender street class for months and was only getting girls sign up. I decided to advertise an all boys street class and suddenly I had loads of parents sign their boys up. If that doesn't indicate that the stigma continues into adulthood I don't know what does! I also teach dance as an after school club in a school and spoke to the head teacher about organising an assembly to advertise my new cheerleading class. When I turned up on the day of the assembly I walked into a room full or girls and when asking where all the boys were was told by the head teacher that she had told the class teachers it was an all girls assembly as it was to advertise cheerleading, so not only had the head of the school decided that cheerleading was only for girls, but none of the other teachers had questioned it either. I made it very clear that cheerleading was for boys too, and i now have seven ten year old signed up.'

                                                               ..................................

4d - Literature

As this is an ongoing task, I intend to continue to update this blog when needs be as I discover other published pieces that support or give new light to my line of enquiry, where I want to discover if auditionee's feel they were/are prepared for the rigorous process.

My first port of call was 'summon' where I typed in the key word 'audition'. This lead me to numerous documents that I sifted through until I found '"DS" 2009 Auditions Guide: Impress and Be Your Best: 10 Tips for Audition Excellence' (Levy, Monica Dance Spirit; Feb 2009; 13, 2; Performing Arts Periodicals Database pg. 66) which caught my attention instantly as I always find top tips can make light of something and as all performers know, the technique of a perfect audition, most would argue, goes beyond ten tips.

Nevertheless, I began to read. I don't get offered a job from every audition I go to, who does? So maybe this article might shed some light on something we are all missing.

the top ten tips for audition excellence and a brief summary of the tip, were as follows;

1. Exude professionalism - discusses the power of the way you enter a room. States that a persons attitude can be felt immediately.
2. Be 'on' at all times - takes note on an auditionee's keenness to learn. 
3. Get pumped - mentions the importance of what an auditionee does with there time before the audition begins
4. Don't stress - argues that your nerves make a panel anxious
5. Always know what you're auditioning for - discusses the importance of doing your research on the company you are auditioning for and dressing appropriately
6. Arrive at least an hour before - states that being late gives off the worst impression and that if you are late for an audition the casting team will assume you might be late for a show.
7. Be (the best version of) yourself - suggests heeding the other tips but not losing yourself in the process
8. Focus, focus, focus! - states the importance of getting in the zone and not thinking about anything else other than the choreography
9. Be mindful of interactions with other dancers - discusses the importance of the creative team being able to see that you work well with other performers
10. A botched first impression doesn't have to be your last chance - discusses the idea of a first impression not being the end of the world. If you aren't great the first time but go away and come back having improved, then you still have a chance.

As my enquiry is focusing on how auditionee's deal with the process of an audition I was interested to see what my SIG group made of this list article. The discussion that followed was long and very interesting as all of my fellow auditionee's within my SIG group stated that, yes, in essence, all of these points were valid. However everyone also agreed that there was a lot more to successfully auditioning than ten points and other factors had to be considered. When I asked the group what other factors needed to be considered, they added this to the equation...

11. Preparation - have the correct dance shoes, a selection of different song choices, different outfits, spare pares of tights, hair bands, extra makeup, a paper copy of your cv and headshot, plan your route the day before so you know how long it will take you to get there, prep some food and drink incase you are there all day for recalls and don't get a break, dress appropriately for standing outside (this happens at pineapple all the time at open auditions)

the SIG group also felt that because of the format of this article, the points didn't go into enough detail. for example they would add;

Tip 2: Be 'on' at all times - takes note on an auditionee's keenness to learn. 

But there are levels to this. You can't dance full out at the sides of the room while another group is having there go. If the panel say its alright to mark, then you can mark, just don't mark your arms, ever! 

Tip 3: Get pumped - mentions the importance of what an auditionee does with there time before the audition begins. 

The article doesn't actual mention the importance of warming yourself up, whether this be vocally or physically before an audition. A panel should give you time to do this, but it doesn't always happen, so make sure you spend your time wisely leading up to the audition and make this a priority. 

Tip 4: Don't stress - argues that your nerves make a panel anxious. 
My SIG group simply said this was easier said then done! They all agreed that as a performer, you have to learn to channel your nerves into adrenaline that actually helps your performance. Its not about losing a sense of fear, but using it to assist you. 

Tip 10: A botched first impression doesn't have to be your last chance - discusses the idea of a first impression not being the end of the world. If you aren't great the first time but go away and come back having improved, then you still have a chance. 
My SIG group strongly disagreed with this. They agreed that a panel (if they remembered you) might accept that you had improved. But felt that getting your face recognised for the right reasons was vital and that walking into a room for a second time in front of a panel who were not impressed by their first meeting with you makes your life so much harder. 

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My SIG group had previously mentioned how auditioning is getting even tougher because roles that would usually be cast to trained professionals are going to celebrities off the back of talent shows such as the X Factor. this led me to my next article 'It's a hard knock life' (Reischel, Jennifer

The Stage; Apr 14, 2011; Performing Arts Periodicals Database pg. 22) as I was interested to see how other professionals felt towards the growing popularity towards the celebrity, and the fact that more and more casting directors are now using 'celebrities' in lead roles in order to sell tickets. 

This article asked a lot of the questions I have asked in regards to my enquiry. Jennifer Reischel begins by discussing the ever growing popularity of the TV Talent Show 'where Maria's, Nancy's and Joseph's are being selected for west end musical prominence', and stresses her concern of the ability of the public to recognise what makes a leading West End star. Peter Barlow suggests that large scale West End productions should not be placed on the shoulders of a new comer with little or no experience as 'they do not necessarily endorse the ongoing commitment to the craft of acting, and the persistent dedication required to sustain a life long career treading the boards'  This quote sums up, in my eyes, why many of my SIG group are so anti talent shows as many of them feel angry and almost robbed of work after training for years and spending a lot of money pursuing a career and then watching jobs go to the winner (or runners up) of a TV show. 

The article goes on to then list the benefits of professional training; tutorials in application letter writing, interview practice, networking opportunities, self marketing and tax related matters, before rounding up by questioning the responsibility of professional colleges to prepare the performer for long term career prospects. This ties in with my inquiry greatly as in my opinion colleges should have a duty of care to prepare students for the audition process, resulting in success or rejection.

It is important for me to be able to recognise that other professionals within the industry are asking the same questions that I am, as this means there is a general interest in my line of enquiry and definitely something to research that may benefit others.

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Looking at the preparation needed for the level of rejection acquired in the life time of a performer led me to reading 'Spotlight on Young Performers: That's Show Biz, Kids! A Complete Guide To A Career As A Young Performer' (Castellani, Catherine. Back Stage; Mar 30, 2001-Apr 5, 2001; 42, 13; Performing Arts Periodicals Database pg. 32 ) which discusses whether you can tell from an early age if the performing arts world is for you. Even though I am not intending to research/interview anyone under the age of 18, it is interesting to read and definitely a point to consider, that in fact rejection is a fundamental part of learning, whether you are a performer or not, and understanding that rejection is part of life stems from the way you are taught from an early age and brought up, suggesting that on some level, and going back to my enquiry, that parents/guardians are also responsible for preparing us for how we deal with whatever life throws at us, the example in regards to my enquiry being rejection or success. 

If this is the case then why is a career in performing arts deemed so much harder? What makes an audition more physically and mentally demanding than an interview process for any other job? 

According to a study completed by health.com, being a performer is one of the top ten careers with the highest rates of depression. In the article it puts this down to this area of work bringing in irregular pay checks, uncertain hours and isolation and it goes as far as stating that in men it is the job category most likely to be associated with an episode of major depression.

I took these further questions in relation to the article and my findings back to my SIG group who all felt very strongly that the audition process is tougher than a standard interview because its so personal. Many of my SIG said that they connect emotionally with a dance or song and therefore you are giving a part of yourself every time you perform in an audition. They also brought up the harshness of an audition, as you can often be cut publicly for all to see, rather than a private interview where they might email you a few days later to say you had been unsuccessful. They discussed that, when an audition is public, you are constantly comparing yourself (even though we shouldn't) with the other people in the room, on every level. Am I as flexible, Am I too short, Am I too fat, Should I have picked a different song etc.  I attach below a link to a song from the musical 'The Last Five years' by Jason Robert Brown, which perfectly sums up what goes through the majority of auditionee's heads at some point during the process, and which was mentioned in my SIG group as being hilariously true.

'Climbing Uphill' Written by Jason Robert Brown and performed by Anna Kendrick for the movie adaptation of the musical 'The Last Five Years'.

https://www.youtube.com/watch?v=xl3VhuNCPKg


REFERENCES

"DS" 2009 Auditions Guide: Impress and Be Your Best: 10 Tips for Audition Excellence
Levy, Monica
Dance Spirit; Feb 2009; 13, 2; Performing Arts Periodicals Database pg. 66

It's a hard knock life
Reischel, Jennifer
The Stage; Apr 14, 2011; Performing Arts Periodicals Database pg. 22 

'Spotlight on Young Performers: That's Show Biz, Kids! A Complete Guide To A Career As A Young Performer' (Castellani, Catherine. Back Stage; Mar 30, 2001-Apr 5, 2001; 42, 13; Performing Arts Periodicals Database pg. 32 )

http://www.health.com/health/gallery/0,,20428990,00.html/view-all

https://www.youtube.com/watch?v=xl3VhuNCPKg

6B

Data collection Tools

The four main tools available to me to use in order to gather information in regards to my enquiry are;

1. interview
2. survey
3. focus group
4. observation

I will be using my current employment status to conduct this research and therefore shall be targeting fellow auditionee's in the Musical Theatre sector. It is important that I chose the right tools in order to assist me in gathering the correct information.

INTERVIEW

• Who do I need to interview and why?

In order to get a good spread of data my participants need to be a mix of male and female and have all graduated or begun auditioning for professional theatre at different times. This is because I am interested to see if training is a factor in how people then go on to deal with the audition process.  Maybe the way in which colleges prepare you for the audition process has changed over the years? Age is also an important factor as someone who is new to auditioning may deal with the process differently to someone who has been doing it for a long time. I am interested to see if males and females deal with the process in different ways aswell - maybe there is something we can learn from each other?  

• What degree of structure will the interviews have?

The three main forms of interview are: structured, semi structured and unstructured.

from reading up on all three I think a semi structured interview would benefit my enquiry best.

The meaning of a semi structured interview is as follows; 'Semi-structured interviews consist of several key questions that help to define the areas to be explored, but also allows the interviewer or interviewee to diverge in order to pursue an idea or response in more detail.' (British Journal 204, 291 - 295 (2008) 
Published online: 22 March 2008)

This format of a semi structured interview would allow me to ask all the required questions and have a plan to follow but would also mean that I, with the participants permission, could delve into greater detail if a particular question sparks a responce that I feel might be beneficial to the enquiry.

• Where will my interviews be held?

 I think some form of neutral ground or a place where the participant is most confortable is the most beneficial place to hold interviews. I want my participants to feel comfortable enough in their surrounding to speak openly. This may also mean that a level of privacy needs to be ensured when deciding the venue. 

• Will all interviews contain the same questions?

As I intend for my interviews to be semi structured, I will begin all interviews with a list of generic questions which will then take different routes depending on the participant. 

• How will I access data from the interviews?

I will access data by transcribing my tape recordings and reflect on any notes I take.

• How will you record the interviews?

I think it is best to record the interviews by using a tape recorder. this means I can focus on the participant.

...................................................................................................................................................................
The benefits of the qualitative method of interviews is that you 'Can follow up on ideas, probe responses and investigate motives and feelings' (Bell, 2005, p157.)

The disadvantages may be that the interviewer may affect the interviewee's responces for some reason, be it interpersonal variables (gender, ethnicity, personal qualities) or the way the questions are worded, creating a bias.

SURVEY/QUESTIONNAIRE

• check questionnaires as soon as they are completed
• make sure all questions are answered correctly
• add a reference number to the form
• store forms in a data file that is secure
• record data anonymously 
• accuracy is key when organising responces
• code questionnaires to be able to create percentages of data

...................................................................................................................................................................

The benefit of using surveys and questionnaires;

• 'is the ability to gather data from a wide range of representative respondents' (reader 6, pg 24). 
• Question responces can be easily structured and coded. 
• The respondent has time to consider their answer. 
• Stadardised questionairres have already been validated so you can potentially compare your work to other studies. 

Disadvantages may be;

• If i don't administer the survey corrctly I may get minimal responce
• questions could be misinterpreted
• limited choice of answers if I create a pre coded questionnaire 

FOCUS GROUP

A group of people assembled to participate in a discussion about a product before it is launched, or to provide feedback on a political campaign, television series, etc. 'The following table groups topics that people in the focus group mentioned as of high interest to them.' (Oxford Dictionary)

• Create a list of trigger topics before group interview takes place in order to keep group and context of chat on topic
• channel the discussion to elicit the data needed for the research (Denscombe,2007)
• create a seating plan to allow optimum participation
• have people identify themselves before speaking for the benefit of the recording and the transcription

...................................................................................................................................................................

the benefits;

• allows interaction between participants which could generate fresh ideas
• participants may prefer to share stories in a supportive group situation

the disadvantages;

• stronger personalities may influence the group
• recording voices and trandscription may be more difficult

OBSERVATION

Observation is a systematic data collection approach. Researchers use all of their senses to examine people in natural settings or naturally occurring situations. Observation of a field setting involves: prolonged engagement in a setting or social situation. (Qualitive Research Guidlines Project)

...................................................................................................................................................................

• events may be recorded, at the time or subsequently
• obserations may be structured in a pre determined framework or open
• the observer may also the a participant or act solely as an observer

advantages;

• provides a rich source of information
• gives researcher an insider view

cons;

• time consuming
• difficult to record
• subjects may not act in true nature
• invasive/intrusive

REFERENCES

http://www.nature.com/bdj/journal/v204/n6/full/bdj.2008.192.html

5c - Professional Ethics

Ethics: Moral principles that govern a person's behaviour or the conducting of an activity
(Oxford Dictionary)


Having read reader five I have learnt that there are three main contexts in which ethics is considered: personal, professional and organisational. so I began by thinking about my own qualities and considering the extremes of these. for example I am Confident (which you have to be in my profession) but the extremes of this would be insecure or arrogant. 

I particularly like this quote from some online research into Aristotle's theories on ethics as fundamentally I think all ethical considerations should firstly begin by looking at ourselves. 

'a virtuous person is someone who is kind across many situations over a lifetime because that is her character and not because she wants to maximise utility or gain favours or simply do her duty.' (Internet Encyclopedia of Philosophy)

However in case study 1 in Reader 5 'Mid-Staffordshire Inquiry: Unhealthy System' (The Guardian 8/11/10) personal and professional ethics appear to clash which resulted in 1200 patients dying of preventable causes. I was shocked to discover that 'there is no statutory obligation to be honest with patients when things go wrong.' and this clearly indicates that personal ethics does not work alone in a professional setting and that codes of conduct are required. Although health care does not relate to my line of enquiry, this case proves how important professional ethics are, and how vital it is to not imply regulations but also follow them.


Reading through the 'Educational Guidelines for Ethical Research', provided on the BERA website, has given me a good general understanding of what is expected of me ethically as I begin to plan my enquiry in preparation for module 3. Using the theoretical ethical framework I now feel more confident in filling out the ethics release form and also have gained a greater understanding of my responsibility as a researcher. 

BERA's ethical guidelines for researchers state that;


Responsibilities to the Community of Educational Researchers 

43 The community of educational researchers is considered to mean all those engaged in educational research including academics, professionals (from private or public bodies), teachers and students. 

Misconduct 

44 All educational researchers must protect the integrity and reputation of educational research by ensuring they conduct their research to the highest standards. Researchers must therefore not bring research into disrepute by, for example:
 • Falsifying research evidence or findings;
 • ‘Sensationalizing’ findings in a manner that sacrifices intellectual capital for maximum public exposure; 
• Distorting findings by selectively publishing some aspects and not others;
 • Criticizing other researchers in a defamatory or unprofessional manner;
 • Exploiting the conditions of work and roles of contract research staff; 
• Undertaking work for which they are perceived to have a conflict of interest or where selfinterest or commercial gain might be perceived to compromise the objectivity of the research; 
• Undertaking work for which they are not competent; 
• Using work carried out with co-researchers as the basis of individual outputs without the agreement of the co-researchers concerned; 
• Using research for fraudulent or illegal purposes. 

45 Where researchers become aware of examples of malpractice or potential malpractice they must present their concerns, in the first instance, to the researchers involved. With due consideration to the important principle of the public’s right to know, researchers should avoid bringing the community into disrepute through public accusations or allegations.

 46 Subject to any limitations imposed by agreements to protect confidentiality and anonymity, researchers must make their data and methods amenable to reasonable external scrutiny. The assessment of the quality of the evidence supporting any inferences is an especially important feature of any research and must be open to scrutiny. Where sponsors initiate the request for scrutiny, and disclosure of aspects of the data may be injurious to participants, researchers should consider assuring the sponsor of the integrity of the work through the scrutiny of a mutually acceptable third-party, who is also bound by the non-disclosure agreements.

 47 Researchers must accord due respect to all methodologies and related methods. They must contribute to the community spirit of critical analysis and constructive criticism that generates improvement in practice and enhancement of knowledge. 


The Participants Wellbeing

Because my research will involve speaking with fellow performers I must make sure that they are fully briefed on what the aims of my research are, and that before they agree to taking part in my research they know what I am asking them to do. Participants are welcome to decline my request for them to be included in my enquiry research and this will not affect them in anyway and can also freely withdraw from the enquiry at any point in the duration. My life is slightly easier because I will not be gaining research from minors and the nature of my question means that I will only be researching into musical theatre performers. In order to accurately represent participants views and to gather a broad range of data I will be gathering data from both male and female participants as well as from a range of different age groups, as performers fresh out of college may well have completely different opinions on my subject matter than those who have been in the industry for some time.

Methods of Enquiry

My main ways of collecting data for my enquiry will be through interview and also questionnaire (post to follow!) Both procedures will be appropriate to the line of enquiry and not delve into the personal lives of the participants beyond the necessary requirements for research purposes. I will clarify with all participants that by taking part in my enquiry they accept that I am free to use the data they provide me for use only in regards to my enquiry for purposes on this course. I will also be keeping all records of information given in a secured folder so that I am the only person capable of accessing the information given to be by participants. In accordance with the guidelines set out by ICO in regards to data protection, all data gathered will be destroyed upon completion of the course.  

Personal data processed for any purpose or purposes shall not be kept for longer than is necessary for that purpose or those purposes.

'This is the fifth data protection principle. In practice, it means that you will need to:

• review the length of time you keep personal data;
• consider the purpose or purposes you hold the information for in deciding whether (and for how long) to retain it;
• securely delete information that is no longer needed for this purpose or these purposes; and
• update, archive or securely delete information if it goes out of date.'

(data protection act 1998)

Effects/Impact

My line of enquiry is something I am extremely passionate about as it is a huge part of my life as well of many of my close friends and colleagues. I hope that by participants sharing information with me and by collecting as much data as possible in order to aid my enquiry that the impact of change will only be positive. For the most part, at this moment in time, I can see no real need for my participants identities to be revealed as their names will play no role in the benefit of the data I collect. Age, gender and length of time ‘in the business’ are all factors that may well be relevant though. In short, the impact of change to my participants themselves will be minimal, most likely nil. However the outcome from my research, I am hoping, may help us all in regards to the auditioning process.

References

https://www.bera.ac.uk/wp-content/uploads/2014/02/BERA-Ethical-Guidelines-2011.pdf

https://ico.org.uk/for-organisations/guide-to-data-protection/principle-7-security/

http://www.iep.utm.edu/virtue/