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

Exploring further developing a line of Professional Enquiry.

In relation to my previous bog, I have come up with the question that is most fitting with regards to my personal professional practise. As I have stated in a previous bog,

‘….My work has involved working as a performing Dancer on a Cruise liner (Silversea, a 6 star smaller, luxury line) through the agency Jean Ann Ryan Productions. For meAs 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 that bit extra as Dance Captain and Company Manager. An inquiry located here might give weight to disciplinary knowledge (the ways or conventions or literature that exists and created by exemplary practitioners or researchers). Or, like me, it might be practical in nature (the ways we do things and these extra higher-level skills that were 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.

It is that bit of ‘extra knowledge’ required in a broad array of subject areas required to learn and adopt for the Dance Captain and Company Manager role that is really the key point to my personal practise. I have decided simply of developing a series of sub section under the question,

‘What Extra Skills are Required to successfully practise in the Dance Captain/Company Role’?

Although at first glance this may perhaps appear a very ‘bog standard’ question which lacks depth, but really looking into everything and reflecting on my various duties on a day to basis really covers a lot of possibly initially hidden forums. Please read on to see the approach I have taken, I am sure some of you have been or experienced a similar work practise.

1- Extra Knowledge on all choreography
- sound knowledge of every cast members tracking and steps, swell as my own, sense of providing trust within the group
- a possibly certain creative to flair to create new choreo, both in the case of re-blocks or need to change, but also in terms of wanted change for reasons of keeping shows fresh and up to date, preventing boredom to both dancers and audience.

2 - Understanding of various musical elements.
-understanding of musical timing, rhythms (able to communicate with band members also who work rhythmically very differently, need to read basic musical scores.
- understanding and definite clarity of knowledge of all entrances and exits for everyone’s, inevitably providing ability to swap and adjust the show in the case of re-blocks etc.

3 - Knowledge of basic Health, Nutrition, Mental and Social Well being
-all essential aspects of a well rounded, high performance cast.
- ensuring team are all at their best health for ultimately peak performances, maintaining these performances also.
- sense of awareness of any one member struggling, offering free and willing guidance, knowledge to give this guidance on whatever it may be
- being around at mealtimes to help, ensure correct nutrition for optimum performance. (must not be confused with ‘watching’ the cast’, merely being approachable should they choose to ask for my guidance.
- in the event of injury, knowledge of injury prevention, injury itself and of course recovery. Covers many areas, extending to possibly nutrition guidance, basic physiotherapy, possibly help with liaison with ships doctors, or even liaison with appointments made on land if necessary.
- general knowledge of promotion of sound health., a happy cast in every sense of the word is essential!

4 - Appreciation of differences in Social - Economic Backgrounds (combining with acquiring background knowledge of the countries we actually visit in three ways)
- before departure, offering info on required jabs, required action to getting visa’s/work permits, travel details, recommendations on effective travel to hotel upon arrival, currency info etc, depending on individuals nationality
- knowledge of the physical countries themselves, need to know when and where exactly I will have access to internet for example, access to resources (costumes replacement/refurbishment, any props shows etc, ability to lease with company to send essential reports, queries, info on any updates in the cast etc.) Related to this specific knowledge of particular docking ports in the event of needing parcels sent, both for cast members personal use (showing appreciation of the individuals needs, multi national cast brings some interesting and for agency/company related issues.
-appreciation/required learning of basic language skills (relating to ensuring the clearest communication), covering meaning to get the best performance to the extent of showing appreciation for different cultures, (personal approach to making them feel comfortable, introducing them to how we work as Brits, what is required/appropriate to wear to rehearsals, how to conduct yourselves effectively, general work ethic (for example a Ukrainian rehearsal schedule will be ran very differently to British one due to varying factors), setting clear and concise rehearsal times and structures. Moreover, introducing all cast members to how each nation works - all ultimately creating comfortable atmosphere were everyone’s traditions and needs are incorporated with and not always met exactly but a happy medium created) This leading again to most effective rehearsals with most beneficial results ultimately resulting in peak performance from all.

5 - Knowledge of Safety In The Workplace
This covers knowledge of use of technical equipment in rehearsal space. The stage we use has moving floors for example, training was required to be able to do this. Everyone then needs to be a wear of how it works and where emergency stop buttons are situated etc. Simple factors such as use of plugs for CD players, need to ensure safe practising as so many dancers choose to rehearse on their own whenever the space is free. Involves working closely with Stage Manager and his team, need to keep each other in the know all the time. Also, with being on a ship, safe practise involves being a wear of objects that may become hazardous doe to the ships movement. Specifically, in the fitness studio which we use to practise in, there is a bar attached to the wall however it is not always totally secure. When a lot of people are using it in bad weather, I often worry it may become loose. Dancers and singers have to be made a wear of the correct maintenance of their footwear too, it is essential to have rubbered shows for example. I simply will not allow a performer on stage unless they meet the requirements. Injury prevention is the main reason for all knowledge of safety in the workplace.

I’m sure the list could go on and on, when I really think in depth there are so many factors affecting my inquiry. I intend to monitor and bog how all these factors will develop, some I am expecting to perhaps come to a stop, almost where my interest stops. Others which I have stated (specifically knowledge of nutrition and promoting good health) I know I want to explore in much greater details.

Has anyone else had much luck with theirs?

　
　
　
　
　
　

Ideas for emerging lines of Professional Enquiry.

Ideas for emerging lines of Professional Enquiry.

For this task, I am really trying to focus on looking inward and how the different ideas and theories I have researched (Dewey, Schon, Kolb and Moon) on Reflection really relate to me and my professional practise. I have simply followed the points suggested on the Module Handbook to see where my research into emerging lines of professional enquiry takes me.

I have found I really am lucky to experience huge amounts of enthusiasm daily. I think waking up in a new city, or country even every morning keeps me on my toes- I love not knowing what t expect or what I will find once the ship is cleared and crew can get exploring. The inspiration I get from new cultures, sighs and surroundings is phenomenal. There is never a sense of the monotonous same old same old that so many people experience on a daily basis. This inevitably lifts my mood as soon as I wake so I am able to face the trials of my daily tasks as Dance Captain. I think you will agree, I cannot really complain about having to write the tediously long Dance Captain reports that are required at the end of every cruise whilst lying on a beautiful beach on the exclusive island of St Bart’s or whilst admiring the fantastic city skyline of New York’s busy Manhattan district.
I admire all my fellow cast who, like me, manage fantastically to set appropriate time for rehearsals, going to the gym, working on own personal corrections etc, yet balance this with creating time to explore these wonderful places. Both of these factors are very important in regards to our Professional Practise as I believe very strongly, like ‘Tharp’ and ‘Moon’, that to initiate instinctual sensory and response from the outside world can set our ‘creative juices’ flowing like nothing else. They key, I feel is to establish a real ‘work hard, play hard’ ethic from the very beginning.

The question ‘What do I love?’ got me thinking of a specific cast member who I have had the pleasure of working with. What I loved and admired, was witnessing the total focus he displayed 100% of the time. He conducted himself perfectly professionally without fail and was a fine example to everyone, including myself. Although he was technically far more experienced than I was, in the sense that he was much older and even has a Broadway credit to his name, he accepted that I was Dance Captain and was always offering positive encouragement to my developing leadership skills. I really admired his total dedication to his job as lead male singer on board, but also my admiration for him extended to witnessing how really very clever he has been to work extremely hard training in a forte he loves and therefore creating a situation where his will never dread going to work as soon many do these days. He has managed to make a sustainable living from his passion, this I feel is an extremely admirable quality. He is also a perfect example of someone who really was ‘born to perform’. This was just so evident from rehearsal day one. I can relate so well to him perhaps because I took feel this way!

Taking a slightly different approach now, the ideas upon what I perhaps struggle with or have a lack of understanding on in my Professional Practise. I have found I do not understand why I am not totally comfortable with delegating corrections to peers of my own age or older. I am assured in knowing I am a very fair person, who, according to my best judgement would never demand the unrealistic, this should then let me feel entirely ok tell fellow cast members what is expected of them in that particular moment. I am however definitely wear of a feeling of slight anxiety it is necessary to reprimand someone appropriately. For instance, being late to a set rehearsal, displaying inappropriate behaviour in or outside the rehearsal situation, perhaps even something like not wearing the correct uniform according to the ships policy etc. In conclusion, I admire all who are able to feel totally comfortable in knowing they handle the responsibilities in their specific role with complete contentment as a result of their required self-acceptance and satisfaction of its results. I am sure many of us have been in the position of feeling slightly unfairly done by when such roles are given to say a totally new member, or someone with seemingly little experience to their age, but what’s important is learning to develop a sense of acceptance that the role of Dance Captain is delegated based on shown promise of the relevant leadership skills. The face of age, sex and other similar factors are simply irrelevant in this situation.

Finally, and the one point suggested in the Module Handbook that I already knew the answer too was the question ’has an event or experience prompted questions that you would like to find out more about?’. Unfortunately, whilst on board, I have recently been helping to support a fellow dancer who is suffering from a developing eating disorder. Obviously, this issue is an extremely delicate one which affects the girl in question but all around her as well. Seeing such struggles stimulates me further to want to be able to offer advice and help in any way I can. Alas, my knowledge on this specify subject is not particularly sound so I feel almost helpless. Linking to this though, I already have an interest and thirst for knowledge on nutrition as I feel so strongly about promoting having good nutrition in order to maximise optimum performance for dancers. I have done some extra research as I feel so passionately about this, my most valuable findings were as follows. By simply typing in the Google toolbar ’The Definition of Health’ this is what I found:

‘Health is not merely the absence of disease, it is the balance of mind, body and soul’.

I found this really inspirational, what does any body else think?

Journal Writing Experience

Hi Everyone!

So I have just finished task 2b of our module, the Reflective Writing, taking a day and reflecting upon it. I have discovered really how vast the number of different thoughts and views really are within my mind just on one day. Then of course, now that I have been introduced to the idea of coinciding these thoughts and views of another person or object too - that’s really a lot of thinking and reflection!

I decided to specify writing about one specific event during the day as it was such a major event to me in context with my Professional Practise. I have reflected upon the day when I audition for the company I work for, Jean Ann Ryan Productions. Although this specific audition day took place last year no, I can still so vividly remember all thoughts and feeling experiences. I felt this was a sign therefore that this day in particular could introduce some interesting reflection, rather than reflection upon just an average day in the life so me!

The recollection of the feelings and thoughts initially was a strange process actually, it almost felt like I was there reliving the nerves experienced pretty throughout the whole day!

What I found specifically interesting when I re-read through my reflections was the actual transitions between each new feeling. So, for example, how I felt in-between the initial pre -audition nerves and anticipation, into the sheer strength of concentration and complete focus on the task in hand mid audition into the final utter relief experienced at the end of a successful audition. The areas in-between I found were somewhat more difficult to write about, possibly because I was not actually thinking of anything other than what would be required of me next, and how I could show myself to the best of my ability in every way.

What was also very interesting is that I now notice there were great similarities between my thoughts and feelings and the thoughts and feeling of my Mum. (I chose to imagine she was there with me, experiencing things from a mother who has absolutely no dance experience what so ever!) Coincidently, I asked her what she would predict she would feel if she had have actually been there, it was pretty similar to what I had already written! (Trust me guys, mums really do get as nervous as we do!)

I also reflected upon the thoughts and views of a specific object, I chose my water bottle - a crucial ‘must have’ at any audition I think you will all agree! Although at first it seemed quite silly to be thinking from the mind of some plastic, but it turned out to be a really interesting and new way of thinking, literally thinking outside the box! It opened up a new way of reflecting on something which I now intend to do again with other experiences in my Professional Practise.

The main theme that came out of this task was really clear to me straight away. I now realise that the anticipation of the thoughts one may have on an event can actually have a negative effect on the person in that situation of experiencing the event. I realise that me as a person, I tend to get over anxious about a situation, such as an audition, I tell myself that it will be ridiculously tough and that I will be so very nervous so inevitably I end up being a total nervous wreck because I start to believe what I have conjured up in my mind! In reality, it probably was not as bad as I had expected. The theory, of even philosophy if you like behind my findings is really a great lesson in life, not just in my professional precise. This being that usually, anticipation of some things is usually worse than the actual event, so if we can, we should not try to predict how we will feel but rather to ‘go with the flow’, more often than not I think we will all be pleasantly surprised that things are never as bad as they seem. Moreover, as naïve as it may sound, I have come to realise the power of positive thinking. This rational, logical way of perceiving events can help determine their outcome, so keep up the positive vibes people!

How has everyone else found this task?