Communities Of Practise

With studying reader 3, ‘The Networked Professional’ along side blogging my sources of information, I now have a sparked interesting specifically in Wegner’s theory behind ‘Communities Of Practise’. Although we already now know that this idea explains learning as the process of engagement in social relationships rather than a process of gaining knowledge as an individual, I was really intrigued to dig a bit deeper into this. I am really interested to find where this concept actually comes from in the first place. With my findings, I am surprised to see that this concept is being applied in our day to day lives probably without us realising.

I furthered my reading by using the search engine Google. I came accross a very interesting sight and have posted its link below should anyone wish to read it:

http://www.ewenger.com/theory/Where does the concept come from?


Social scientists have used versions of the concept of community of practice for a variety of analytical purposes, but the origin and primary use of the concept has been in learning theory. Anthropologist Jean Lave and coined the term while studying apprenticeship as a learning model. People usually think of apprenticeship as a relationship between a student and a master, but studies of apprenticeship reveal a more complex set of social relationships through which learning takes place mostly with journeymen and more advanced apprentices. The term community of practice was coined to refer to the community that acts as a living curriculum for the apprentice. Once the concept was articulated, people started to see these communities everywhere, even when no formal apprenticeship system existed. And of course, learning in a community of practice is not limited to novices. The practice of a community is dynamic and involves learning on the part of everyone.
　
Where is the concept being applied?

The concept of community of practice has found a number of practical applications in business, organizational design, government, education, professional associations, development projects, and civic life. The concept has been adopted most readily by people in business because of the recognition that knowledge is a critical asset that needs to be managed strategically. Initial efforts at managing knowledge had focused on information systems with disappointing results. Communities of practice provides a new approach, which focuses on people and on the social structures that enable them to learn with and from each other. Today, there is hardly any organization of a reasonable size that does not have some form communities-of-practice initiative. A number of characteristics explain this rush of interest in communities of practice as a vehicle for developing strategic capabilities in organizations:
Communities of practice enable practitioners to take collective responsibility for managing the knowledge they need, recognizing that, given the proper structure, they are in the best position to do this.
Communities among practitioners create a direct link between learning and performance.
Practitioners can address the tacit and dynamic aspects of knowledge creation and sharing, as well as the more explicit aspects.
Communities are not limited by formal or solid structures: they create connections among people across organizational and geographic boundaries. The concept of community of practice is influencing theory and practice in many ways. From humble beginnings in apprenticeship studies, the concept was grabbed by businesses interested in knowledge management and has progressively found its way into other sectors. It has now become the foundation of a perspective on knowing and learning that informs efforts to create learning systems in various sectors and at various levels of scale, from local communities, to single organizations, partnerships, cities, regions, and the entire world.

New technologies such as the Internet have extended the reach of our interactions beyond the geographical limitations of traditional communities, but the increase in flow of information does not obviate the need for community. In fact, it expands the possibilities for community and seek for new kinds of communities based on shared practice. sector. In the civic domain, there is an emergent interest in building communities among practitioners. In the non-profit world, for instance, foundations are recognizing that philanthropy needs focus on learning systems in order to fully leverage funded projects. But practitioners are seeking peer-to-peer connections and learning opportunities with or without the support of institutions. This includes regional economic development, with intra-regional communities on various domains, as well as inter-regional learning with communities gathering practitioners from various regions.

 Schools are organizations in their own right, and they too face increasing knowledge challenges. The first applications of communities of practice have been in teacher training and in providing isolated administrators with access to colleagues. But in the education sector, learning is not only a means to an end: it is the end product. The perspective of communities of practice is therefore also relevant at this level. In business, focusing on communities of practice adds a layer of complexity to the organization, but it does not fundamentally change what the business is about. In schools, changing the learning theory is a much deeper transformation. This will inevitably take longer. The perspective of communities of practice affects educational practices along three dimensions: Like businesses, government organizations face knowledge challenges of increasing complexity and scale. They have adopted communities of practice for much the same reasons, though the formality of the bureaucracy can come in the way of open knowledge sharing. Beyond internal communities, there are typical government problems such as education, health, and security that require coordination and knowledge sharing across levels of government. There also, communities of practice hold the promise of enabling connections among people across formal structures.

Sources Of Information

This task has been all about exploring the different methods by which I, and my peers on this course, gather and organise information. Most of the methods I have not are already well established however are perhaps not always seen as a technology. The main tool, is obviously the Internet. Here I would like to make reference to the theory of Connectivism, being that this is a way of learning influenced by the spread of Internet and digital technologies. I am finding that I use my blogging site, Google, Hotmail, and even social media sites such as Facebook to connect with fellow students. Having so many different ways to connect and share information with each other has meant I have really been able to produce well rounded, critically reflected work for the BAPP. Ultimately, this will have helped my professional practise already, but even more importantly is the fact that it will continue to be aided as I am sure many of us will continue to share our views and opinions on any professional practise related issues. The theory of Connectivism really provides an explanation about how networks provide the means for individuals to connect and learn from and within the network. It has therefore become apparent to me that learning about my professional practise comes from gaining knowledge from 'teacher to student' but I, being the student, have to modify it. It is the me as the 'learner' who connects the information, and then put it into my 'higher schemes' that make sense of my personal experiences.

Another major source of information is simply meeting and discussing experiences related to our professional practises as a group. I regularly meet with fellow cast members, teachers, friends in similar career lines etc. It is this social construction that encourages each individual to share their meaning of the world around them and their personal experiences in their own practise. I may even say that this method is perhaps the most valuable, I think witnessing peoples reactions physically, as you would do when meeting in a face to face situation is considerably more telling and truthful that via the Internet. In a sense, you cannot really hide what your true feelings and opinions are, ultimately producing more honest reactions and constructive criticism.

To inform my practise further I rely a lot on some external sources. I get vast amounts on information regarding the latest jobs, auditions, upcoming dance schools, even the latest uniform from my subject literature. I have a weekly subscription to both 'The Stage' and 'The Dancing Times' magazines. Both provide me with useful reading materials on dance related topics happening today, but also pages upon pages of auditions. Without them I would really struggle to remain 'on the scene' and up to date with whats going on in the dance world.

Through reading her blog, and on my knowledge of her gained with our blossoming friendship, I know that Sonal uses similar sources of information to aid her professional practise. I have become awear of her advantage of living in Manchester. Also, from her blog and posts I can see that location is key to optimum professional practise as a teacher, as well as an auditionee. Manchester, the capital of the North as they say, always has big auditions from reputable companies and agents as well as a population large enough for someone teaching dance to have a secure and sustainable financial lifestyle. With training there for three years myself, I found links to more sources of information from specific places. The Royal Northern College of Music, The Dancehouse Theatre, The Palace Theatre and the Sunshine Studios all have helped to aid my professional practise in different ways, whether it be from providing a safe, suitable workplace to practise or having a fully equipped theatre with an up to date show schedule or wide range of versatile dance class timetables. It seems clear to me that she organises herself in such a way that she is achieving as a dance teacher by finding a school with enough eager and willing pupils, and creating herself a sound reputation as a skilled practitioner. She seems to have really set herself up fantastically for her professional practise by utilising her sources of information correctly.

On reflection, the issue has now risen that I simply will not be aiding the success of my professional practise should I choose to stay living where I am currently in the Lake District. There simply are not the same kind of resources available. My county's smaller population provides literally only a handful of other keen dancers. There is a noticeable severe lack of opportunity to expand as a professional practitioner. Thank goodness for the new direct train line to Manchester City Centre!

Exploring Professional Networking

The conclusion I have come to after doing lots of researching is that there really are many Networks we use as Professionals. Making a judgement on which networks’ are most efficient is each specific circumstance comes wit common sense as to which will give the most appropriate and desired responses. The main resources used are technology based however, there are some that are non-technology based. Looking specifically into my personal Professional practise as a Dancer, I have found these are the resources I use to apply my professional networking in my daily routine:

Facebook
Email (Gmail/Hotmail) -
Twitter
Blackberry - (Phone calls/Text messaging/Email/BBM instant messaging)
Websites - Dance Cast/Spotlight/Professional Profiles
Face to Face Conversation
Air Mail
Other resources I have gradually built up - specific companies and agents.


I have concluded that each situation in particular will determine which networking methods are best and why. I know that, generally, when wanting to contact an Agent for example, I would always use Email. Largely due to the fact of its simplicity, often these Agents are based in America so waiting for deliveries through air mail would take forever. This method is also a reliable way of receiving and sending extra information, most commonly to send CV’s and headshots, and to receive contract or flight details etc. From the agent or companies perspective, this is their way of them being able to contact you should they wish to employ you. I feel they have tendencies not to give out phone numbers to prevent being constantly hounded by over eager dancers! On the other hand, I know I choose alternative methods to be in touch with friends. These social networks differ greatly and are efficient for their purpose in very different ways. I think I most commonly use text messages, I rarely seem to have the time to have lengthy phone conversations! I have an application on my blackberry called BBM, it is a great way of communication as it works world wide and is always instant.
In my line of work it is necessary to be part of a professional network or even a social network having employers as friends. Employers are always advertising auditions and casting on Facebook, Twitter and other web sites. Talking online is always easier than in person especially with someone you are yet to develop a relationship with.

All methods that we as professional practitioners use mean we are all becoming part of or creating a social media. Social media participation is an essential tool in networking with professional contacts, making new contacts, recruiting employees, and keeping in touch with the world. I feel in a way that if you’re not participating in the top social media and networking sites, the world is leaving you behind! Why not become involved on the social media Web sites? Participating in this in someway can hugely advance your human resources and surely, ultimately increase your chance of becoming and staying employed in your professional practise. Huge benefits are also gained for specific jobs. If for example like me you are interested in teaching, social media participation can help us to obtain superior employees by enlarging a sort of ‘candidate pool‘, and enable you to easily stay in touch with coworkers and former coworkers at one or many locations. (Perhaps if you teach in more than one place, or when the number of pupils you teach becomes too much for you as an individual).

I think to get the best out of these social media sites takes some trial and error. I feel it is necessary to explore the possible sites to see which sites fits our needs for participation. Some sites specialize in certain industries and on specific topics. Some even focus on networking within regions and nations, again beneficial for us as in my experience, more often that not every cast I have worked with have been multi national. With doing all this research I have concluded that social media sites are a critical component in professional networking, career success, and career development going forward. I think that, for the inevitable future, social media sites will play an increasing role in networking, career advancement, and professional success.　

Professional Enquiry - Nutritional Requirements of a Dance

Following on from my previous posts, I have been doing some further research into the particular areas of interest that I have highlighted. Sifting through pages and pages of information has been very time consuming, Google is a god sent however finding what you really need takes some serious evaluating and eliminating.

With focus on my interest to increase my knowledge of the nutritional requirements of a dancer I have come across some interesting information. I initially started searching under the sub topic 'Athlete', as we all are right?! However, looking further into what I was finding it has actually been really valuable to specify more to the specific requirements of a Dancer. Most of the information stated I did, as I'm sure we all already know, however there were a few points that were knew to me. Really feel this was a beneficial practise for me. Obviously, I also have to take into account that some of the websites etc are not necessarily based on scientific fact or evidence, I have therefor tried to stick with sites I know are reputable and 100% reliable.

This is the passage I found interesting from one reputable site, I have pasted directly from the site, the link is below too should this stimulate anyone else to looking further into this subject.

http://www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=2

Nutrition Fact Sheet: Fueling the Dancer

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To perform at their best, dancers need to be well fueled for classes, rehearsals, and performances. This paper will present a strategy for obtaining the energy needed for dance training and the right balance of carbohydrate, fat, protein, micronutrients, and fluids.

One important challenge facing many dancers is ingesting sufficient quantities of food to meet the energy demands of dance. The first step in planning a high performance diet is to be sure that the dancer is obtaining adequate caloric intake. The easiest rough estimate of how many calories a dancer requires during heavy training is 45-50 calories per kilogram of body weight for females and 50-55 calories per kilogram of body weight for males. For a more accurate assessment, dancers should consult a dietitian.

A low caloric intake will not only compromise energy availability, it can also lead to an under-ingestion of many micronutrients that could affect performance, growth and health. After calculating the number of calories needed, the next step is to estimate the necessary amount of carbohydrate, fat, and protein, the building blocks of the diets.

Carbohydrate
A dancer's diet should be composed of about 55-60% carbohydrate, 12-15% protein, and 20-30% fat. During heavy training and rehearsals the amount of carbohydrate should be increased to about 65%. The reason is that carbohydrate is the major energy source in muscles. Ingested carbohydrate is broken down into simple sugars (glucose) in the digestive tract then stored in muscle in the form of glycogen, the primary fuel for energy production. Dancers who do not ingest sufficient carbohydrate in their diet will compromise their ability to train because of low muscle glycogen levels. They may feel more fatigued during classes and rehearsals.
To achieve a high carbohydrate diet, food choices should be complex carbohydrate (bagels, cereal, bread, english muffins, pasta, rice) rather than simple sugars, because complex carbohydrate has many micronutrients associated with it (nutrient dense) while simple sugars are nutrient poor. The estimated carbohydrate need is 6-10 grams of carbohydrate per kilogram of body weight.
In addition to meals, other times when carbohydrate ingestion is important are before, during, and after class, rehearsal, or performance. About 1-2 hours prior to these activities, a small carbohydrate snack should be consumed. This will increase glucose levels in the circulation and "top-off" muscle glycogen stores. A carbohydrate snack, such as a bagel or commercially available "energy" bars, can provide the added boost needed for optimal performance.
During long rehearsals it is also important to ingest some carbohydrate to maintain circulating levels of glucose to prevent fatigue. A good way to ingest this carbohydrate is in solution such as sports drinks that are specially formulated to contain the right amount of carbohydrate (6-8% glucose) to empty from the stomach quickly. Ingesting carbohydrate in a solution provides the added benefit of fluid replacement.
After a period of dancing, the muscles require an adequate supply of carbohydrate to replenish the muscle glycogen stores. Because the fastest rate of glycogen re-synthesis occurs in the 2 hours following exercise, it is important to ingest carbohydrate as soon as possible after a long or strenuous exercise period to refill muscle stores and be ready for the next activity.

Fat
Fat from the diet provides structure for all cell membranes, comprises the insulating layer around nerves, forms the base of many hormones, is needed for the absorption of fat soluble vitamins, and is an important fuel for muscles. The estimated grams of fat in the diet are about 1.2 gm per kilogram of body weight. Because ingestion of high amounts of saturated fats is associated with chronic disease, the recommended amount of saturated fat in the diet should be less than 10%.
Muscle and adipose (fat) tissue store fat in the form of triglycerides. During exercise, triglycerides are broken down into fatty acids which are metabolized to produce energy for muscle contraction. Fatty acids are used as an energy source in the muscle for endurance activities such as during a long rehearsal where the body is continuously exercising for over 20 minutes at a time. A diet too low in fat can have serious health consequences and ultimately can impair performance.

Protein
Adequate protein ingestion is essential for all dancers who are training. For those dancers who are not building muscle, protein is needed to repair the breakdown of muscle fibers that are stressed by constant use. Protein is also used as an auxiliary fuel, and it is important for synthesizing the many enzymes necessary for metabolism. The estimated protein need is 1.4-1.6 grams of protein per kilogram of body weight. For non-vegetarians, chicken or turkey without the skin are excellent low fat protein sources. For vegetarians, tofu, seitan (wheat gluten), and mixtures of beans and rice are good protein choices. Protein powders are not necessary, even for male dancers, if they are following the recommendations above. If a protein supplement is warranted, the best choice is milk powder. The high tech and expensive protein supplements on the market are not any better than simple dry milk.

Micronutrients
Vitamins and minerals comprise the micronutrients in the diet. Water soluble vitamins are the B vitamins and vitamin C. Vitamins A, D, E, and K are fat soluble. The B vitamins play important roles in energy production (especially thiamin, riboflavin, niacin and vitamin B₆) and in red blood cell formation (folic acid and vitamin B₁₂). Deficiency of these vitamins can impair performance. Vitamins A (beta carotene), C, and E function as antioxidants that are necessary for the repair of over-stressed muscles and are needed to help muscles recover from strenuous classes and rehearsals. Vitamin D is important in bone formation.
Minerals are classified into macrominerals that are needed in levels of over 100 mg/day and microminerals (trace minerals) that are needed in levels of under 100 mg/day. Macrominerals are calcium, phosphorus, and magnesium, but only calcium will be discussed because of its importance for dancers. There are 9 trace minerals but only iron and zinc will be discussed because of the possible deficiency of these minerals in dancers.
Calcium is important in bone formation. During the first 2-3 decades of life, bone mass is developed and thereafter, bone formation ceases. It is essential to ingest adequate calcium during the bone growth years. Low bone mass and low calcium intake are also associated with increased risk of stress fractures. The richest source of calcium is dairy products.
Iron is a trace mineral needed to carry oxygen in the blood because it forms part of the hemoglobin molecule. Oxygen is used for the production of energy in muscle cells. Dietary iron is of two types, the heme, found in meat, and non-heme, less absorbable type found in plants. Dancers should include some lean red meat in their diet to obtain adequate iron. However, if dancers are vegetarians, then they should be careful to ingest foods rich in iron, like whole grains. Because vitamin C increases the absorption of non-heme iron, ingesting a source of vitamin C along with food will maximize absorption of non-heme iron. Red meat is also a good source of zinc which is a component of several enzymes important in energy production and plays a role in red blood cell production.
Dancers should be cautious about taking vitamin and mineral supplements because supplements containing only selected micronutrients could do more harm than good. Excessive amounts of one can interfere with the absorption of another, and megadoses of some vitamins and minerals could be toxic. Adjusting the diet so that it is rich in micronutrients is the recommended means of obtaining necessary micronutrients. Furthermore, there are numerous phytochemicals in food that impart important health benefits.
To obtain all important micronutrients, dancers should increase the amount of fresh fruit and vegetables (recommended 5 servings of fruit or vegetables per day), whole grains, dairy products, and lean red meat. Because not all vitamins or minerals occur in all foods, dancers should ingest a wide variety of foods. A calorie restricted or monotonous diet could lead to a deficiency in some of these vitamins and could impair the ability to train strenuously and recover. As an insurance policy, a multivitamin/mineral supplement containing equal to or less than the recommended level of each micronutrient will provide a balance that is not harmful. Read the label carefully before purchasing a vitamin/mineral supplement.
There are many dietary supplements on the market designed to enhance performance or decrease body weight. Dancers should be warned that these supplements are ineffective or even dangerous. Dietary supplements can be marketed without adequate proof that they are effective or safe.

Fluid
Exercise increases heat production by muscles. Cooling the body depends on evaporation of sweat from the skin. Sweat losses during a hard class or long rehearsal can be substantial-up to 2 liters/hour. Fluid loss results in dehydration that can impair performance and mental functioning, such as the ability to quickly pick up complicated choreographic combinations and execute them effectively.
A cup (8 ounces or 250 ml) of fluid every 15 minutes is recommended. Whenever there is a break in class or rehearsal, the dancer should have ready access to fluid, and they should be encouraged to drink because the thirst mechanism does not keep up with the body's need for fluid. A water bottle or sport drink should be part of a dancer's "gear," and, if possible, the dancer should be able to bring the bottle into the studio for frequent drinks. Following class and rehearsal, dancers should continue to increase fluid consumption for the next few hours. Avoid carbonated drinks and large quantities of fruit juice.
A simple way to monitor hydration is to check urine color: clear to light yellow is hydrated; yellow to dark yellow means dehydrated. One caveat, vitamin B supplements will result in yellow urine and make this dehydration "test" inaccurate.

All dancers need to ingest sufficient energy to meet the rigors of hard training. Consuming the right amounts and types of food and fluid will provide the body with "high performance fuel" necessary to achieve optimal training benefits and peak performance.

Written by Priscilla Clarkson, PhD, under the auspices of the Education Committee of IADMS. With special thanks to Elizabeth Snell, BSc, RD