Regarding the Campus Session from last year, seems to be the case that we need to start deciding on ideas for developing a line of profession enquiry in relation to my personal professional practise.
My work has involved working as a performing Dancer on a Cruise liner (Silversea, a 6 star smaller, luxury line) aswell as taking responsibility for the whole Performance Team once given the role iof Dance Captain and Production Company Manager through the agency Jean Ann Ryan Productions. Although thoroughly enjoying working abroad in a performance based role, now having completed this contract having gained new knowledge on managing a team of performers from many ages and nationalities, I have embarked upon making the transition to discovering the world of dance teaching. I have not given up performing as I know this is my first love, however I feel a potential change in my career direction will only encourage me to diversify and explore new horizons enabling me to be the most experienced practitioner I can be. I have always had a strong personal interest in sound health and nutrition and promotion of this to all ages, and more specifically the potential benefits dance and physical movement can have on the body. I intend to base my personal inquiry on a concept of this nature.
As I start to work through and explore important questions relating to our professional practice, it strikes me there are perhaps two broad types of questions.
Firstly, what type of inquiry will improve my performance to create, make, interpret or teach my art. This is for me a ‘disciplinary’ or ‘subject’ question. It is fundamentally about how I operate as not just a dancer but as a developing Dance Teacher. An inquiry located here might give weight to disciplinary knowledge (the ways or conventions or literature that exists written by exemplary practitioners or researchers). Or it might be practical in nature (the ways we do things and these extra higher-level skills that are required in my specific Professional Practise). My inquiry involves understanding something more effectively which in turn lead to a change or improvement in my experience and overall practice.
Lets see where this leads me………
Sunday, 25 September 2011
Comments function Problem!
Is anyone else experiencing difficulties leaving comments?
I recently read a great blog from Stephanie Thomas, I have come to comment on it but apparently the gmail account I always used now won't allow this. Desperately trying to fix this!
In the meantime, I hope Stephanie won't mind me posting my comment as a blog below:
I recently read a great blog from Stephanie Thomas, I have come to comment on it but apparently the gmail account I always used now won't allow this. Desperately trying to fix this!
In the meantime, I hope Stephanie won't mind me posting my comment as a blog below:
Welcome back, how was your summer break?
I have been reading your post with some interest here. I am hoping we will be able to help each other this term by sharing views and opinions. Although we are focusing on different mediums, Dance and Arts, we both potentially want to explore aspects of theatre in ones education, as well as personal growth and career development.
With regards to your questions about who your inquiry will benefit alongside reading reader 4, I think you must not under estimate that any posts of your findings or research will aid others in the bapp network without you realising. Also, I feel that by undertaking a inquiry that helps you to develop and grow as a professional practitioner, surely that will benefit any fellow cast members, future employees or members of professional arts communities you may come across in the future.
It sounds fantastic that you have some initial ideas already, but not to specify too early sounds wise. I intend to so similar and keep options open. Within my working environment, each day I have having new experience which makes me want to tweak my ideas for the inquiry ever so slightly, sticking to one topic is proving a little difficult at the moment!
Saturday, 24 September 2011
Identifying Knowledge In The Workplace
Hello everyone and welcome back!
I hope everyone has enjoyed their summer and got to explore, discover and experience some new and interesting things.
Whilst reading the reader for this module, and after spending an intense week assisting my Dance Teacher at her school this summer, I had some thoughts I wanted to blog....
In reference to the reader topic of identifying knowledge and skills in the workplace, I really tried to make light of identifying with this knowledge whilst I had a week completely immersed in the working studio environment. Using this personal workplace as my learning environment, I realised that a lot of my knowledge has come from the organisation of the specific dance school (Spotlight Theatre School) itself. In relation to the literature recommended from Libguides , my understanding of the Double Loop Learning Cycle is growing as I am able to relate its theories practically in my professional practise environment. In my experience so far, I have found a single loop learning cycle (such as Kolb’s Learning Cycle that we exploring during the first module) cannot always address and deliver any necessary changes that may be required to have an effective professional practise. After communication with my Dance Teacher, the Principle of the school who taught myself knowledge of the desired classical technique and performance skills, and ways in which to achieve these attributes as an eager and passionate individual from a very young age, it was clear that the position she holds can be key to a future dancers career. The early ears are clearly crucial as the child is developing their sense of technique, musicality, performance, self – confidence in their work and even a sense of self – reflection in order for them to maintain sustainable and gradual improvement. It became apparent to me that sometimes, key elements outside of the organisational system need to be examined to ensure the most beneficially practising can be undertaken. For example, looking at a student’s home or social environment outside of the dance school was important to me. My key interest to ensure equal opportunities for all students is a subject delicately approached every Spring Term regarding the planning and evaluating of the annual production show rehearsal schedule. Ensuring a sense of fairness throughout the entire school is a many sided discussion with many elements to consider and appreciate. My initial views, which upon reflection now appear perhaps naive, were than ensuring fairness and equal opportunities for all young performers was just a simple, basic practise guideline – one should include every student/involve as many students and even their parents or guardians in discussions regarding choices of numbers and chorographical or musical choices, swapping principle roles between students to give more than one the responsibility to take on a challenge and execute it to the best of their ability etc. However, reflections discussed with someone who has been working reputably in the dance and dance teaching professions for over 40 years has enabled to me realise there are many factors across different boundaries to consider and subsequently consequences involved in whatever final decisions are made.
This has provoked a potential line for professional inquiry, my interest in this subject area lead me to researching into Argyris and Schon’s theory of congruence and learning. (Single and Double Loop Learning, Argyris and Schon, 1974). The suggest by using a format such as the double loop learning cycle, we as practitioners can make more informed decisions about the way we design and implement action. Research here has enable me to incorporate my thoughts reflections and evaluations into a ‘theories in use’ model (ultimately clarifying the ‘dark area’ and problems that mat arise , but can now be avoided). Please see this model below in reference to their literature found at http:/www.scu.edu.au/schools/gcm/ar/arp/argyris.html :
The Governing Variables:
- Ensuring a sense of fairness
- Offering equal opportunities for all students regardless of the individuals circumstances
The Action Strategy:
- Implementing an audition process to assign roles open for all
- Rotation of principle roles between cast members once assigned
- Creation of pieces to incorporate everyone regardless of differing levels of performance and technical ability
- Keep parents, families and guardians ‘in the know’ to maintain their trust and support
- Offer guidance and help equally to all students involved
- Offer safe and controlled environment for all to practise efficiently
Consequences:
- Swapping principle roles for specially talented students, a way to avoid producing stereotypical ‘favourites’ who repeatedly get offered bigger roles. Intension to avoid potential animosity between students, maintaining motivation and work hard ethos throughout whole rehearsal process. This may also provide a safe environment for healthy controllable competition.
Unintended Consequences:
- Not physically possible to please everyone, including parents of students drawing knowledge from previous experience. Who has the ultimate decision as to what is and what is not ‘fair’?
- Pressure financially, teaching faculty involved need to earn from this process, emphasis of ensuring show is of highest quality for all potential theatre goers.
- It is actually ‘unfair’ to give a role to a student that is too challenging, puts them under too much pressure to achieve?
- Finding a show incorporating numbers that will or can involve everyone and all subjects studies with elements from the acting, singing and dancing disciplines is very difficult - copy write/performance rights limit choices hugely
In summary, all of these ‘consequences’ effect you and your choices and decision making as the professional, but also effect the students, the school and the professional organisational company itself in many ways too.
In conclusion, I know the ultimate goal of my inquiry is to explore a topic that has intent, and initially identifying my own unique learning needs is important. The topic explored should aim to benefit not only my work, but the work of colleagues, fellow professions, work from associated affiliations and work organisations. Would there be anyone else interested in the topic, perhaps generalising more into what it actually takes to make the transition between dancer and dance teacher, as a potential line of inquiry, I would be interested to hear your views to I can explore new evidence perhaps, then eventually work towards analysing and presenting it all upon completion.
Sunday, 10 April 2011
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.
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.
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 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.
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.
Saturday, 9 April 2011
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!
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!
Thursday, 7 April 2011
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.
Email (Gmail/Hotmail) -
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.
Sunday, 3 April 2011
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
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
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
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
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