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      <title>PCD4009: Introduction to Professional Practice by Kyah Lomax</title>
      <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio</link>
      <description>E-portfolio consisting of a series of short written outcomes and a reflective commentary based around all aspects of health and wellbeing &amp; preventing injury within the dance industry.</description>
      <language>en-us</language>
      <pubDate>2017-10-09 17:10:24 UTC</pubDate>
      <lastBuildDate>2025-10-29 10:13:36 UTC</lastBuildDate>
      <webMaster>hello@padlet.com</webMaster>
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      <item>
         <title>DOCUMENT 1i)                         Anatomical and physiological considerations for the dance forms and genres studied within Shockout Arts.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195319795</link>
         <description><![CDATA[]]></description>
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         <pubDate>2017-10-09 17:26:07 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195319795</guid>
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         <title>DOCUMENT 1ii)                           Nutrition and hydration in relation to training for the dance profession.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320317</link>
         <description><![CDATA[]]></description>
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         <pubDate>2017-10-09 17:27:15 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320317</guid>
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      <item>
         <title>DOCUMENT 1iii)                                   Risk assessment and safe practice.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320649</link>
         <description><![CDATA[]]></description>
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         <pubDate>2017-10-09 17:27:58 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320649</guid>
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      <item>
         <title>DOCUMENT 1iv)                                      Injury impact and prevention.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320756</link>
         <description><![CDATA[]]></description>
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         <pubDate>2017-10-09 17:28:12 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320756</guid>
      </item>
      <item>
         <title>DOCUMENT 1v)                                    The physical and psychological considerations of health and well being.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320864</link>
         <description><![CDATA[]]></description>
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         <pubDate>2017-10-09 17:28:28 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195320864</guid>
      </item>
      <item>
         <title>DOCUMENT 2)                             Reflective commentary</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195323000</link>
         <description><![CDATA[<div> </div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/132188159/e4075ae748ece4d24ae0f3b9e2cd7528/2__Reflective_commentary_.docx" />
         <pubDate>2017-10-09 17:33:57 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195323000</guid>
      </item>
      <item>
         <title>SOURCE 7.                                                 DANCE NUTRITION TIPS </title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195363424</link>
         <description><![CDATA[<div>#1 'TIME IT'<br>- Eat one hour prior to rehearsals.<br>- Eat three meals per day plus one snack.<br><br>#2 'THINK YOUR DRINK'<br>- Drink 2-3 litres of water per day.<br><br>#3 'CREATE A GREAT PLATE'<br>- 1/3 carbohydrates<br>- 1/3 protein<br>- 1/3 fruit and vegetables<br>- and a little fat<br><br>#4 'SUPPORT YOUR BONES'<br>- with protein, low fat dairy, dried plums and soy foods<br><br>#5 'RESPECT YOUR BODY'<br>- Get adequate sleep.<br>- Maintain even calorie distribution.<br>- Positive body talk.<br><br>UPMC, 2014.<em> Dance Nutrition with Leslie Bonci at Pittsburgh Ballet Theatre. </em>[online video] Available at: <a href="https://www.youtube.com/watch?v=FUbTBYlYmic&amp;t=5s">https://www.youtube.com/watch?v=FUbTBYlYmic&amp;t=5s</a> [Accessed 12 December 2017]</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=FUbTBYlYmic&amp;t=5s" />
         <pubDate>2017-10-09 19:24:15 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/195363424</guid>
      </item>
      <item>
         <title>SOURCE 9.                                                     THE 3 CONDITIONS OF THE FEMALE ATHLETE TRIAD</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215227056</link>
         <description><![CDATA[<div>1) Osteoporosis - a weakening of the bones which can lead to stress fractures and other injuries.<br>2) Disordered eating – which can range from not consuming enough calories to serious eating disorders.<br>3) Amenorrhea – a decrease in the hormones, which regulate the menstrual cycle and can result in irregularity, or complete stopping of periods. <br><br>Please engage with the image below that demonstrates how the three components of the Triad recover at different rates with the appropriate treatment.<br><br>De Souza MJ, Nattiv A, Joy E. 2014. Female Athlete Triad Coalition Consensus Statement on Treatment and Return to Play of the Female Athlete Triad. <em>Female Athlete Triad Consensus Statement,</em> vol. 13, no. 4, p. 223.</div>]]></description>
         <enclosure url="http://bjsm.bmj.com/content/bjsports/48/4/289/F3.large.jpg?width=800&amp;height=600&amp;carousel=1" />
         <pubDate>2017-12-11 21:18:28 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215227056</guid>
      </item>
      <item>
         <title>SOURCE 10.                                                 THE IMPORTANCE OF FLUIDS AND STAYING HYDRATED</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215641189</link>
         <description><![CDATA[<div>Please engage with the video below which highlights the importance hydration for dancers and  alternative ways to get your daily intake of fluids instead of just drinking water.<br><br>Milk Means More, 2016. <em>Sports Nutrition with Leslie Bonci: Think Your Drink: What's in Your Glass. </em>[online video] Available at: <a href="https://www.youtube.com/watch?v=zU0I7F_H9do">https://www.youtube.com/watch?v=zU0I7F_H9do</a><br>[Accessed 12 December 2017]</div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=zU0I7F_H9do" />
         <pubDate>2017-12-12 23:01:42 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215641189</guid>
      </item>
      <item>
         <title>SOURCE 8.                                                  THE ESSENTIAL COMPONENTS FOR A HEALTHY DANCERS DIET</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215642869</link>
         <description><![CDATA[<div>Please engage with the resource paper below, produced by the influential International Association for Dance Medicine &amp; Science, which is a practical guide for dancers and dance educators focusing on the whole nutritional milieu.<br><br>Iadms.org. (2017). <em>Resource Paper: Nutrition (2016) - International Association for Dance Medicine &amp; Science</em>. [online] Available at: http://www.iadms.org/?RPnutrition [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="http://c.ymcdn.com/sites/www.iadms.org/resource/resmgr/resource_papers/dance-nutrition-2016.pdf" />
         <pubDate>2017-12-12 23:19:17 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215642869</guid>
      </item>
      <item>
         <title>SOURCE 6.                                               THE BALANCHINE BODY - WHERE IT ALL STARTED</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215643732</link>
         <description><![CDATA[<div>Please engage with the journal below that discusses the archetypal 'Balanchine Body' and how this discrimination of body image that still exists today, could restrict the discipline's creativity and future if there is a right and wrong body for it.<br><br>Cynthia Roses-Thema, D.W. 2001, <em>In regard to the Balanchine body The concept of the 'ideal' dancer's proportions originated with one man - and has remained</em>, Sarasota, Fla.</div>]]></description>
         <enclosure url="http://search.proquest.com.ezproxy.bolton.ac.uk/docview/270648953?pq-origsite=summon" />
         <pubDate>2017-12-12 23:27:33 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215643732</guid>
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      <item>
         <title>SOURCE 19.                                       &#39;LEGS ARE REQUIRED TO BE HIGH, SPINES MUST BEND IN EVERY DIRECTION.&#39; (McCormack, 2010, p.5) </title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215644075</link>
         <description><![CDATA[<div>Please engage with the image below that accurately represents the type of aesthetics that influence unrealistic expectations within dancers whose joints are not capable of performing the same range of motion that a dancer with hyper mobility syndrome can.<br><br></div><ul><li>Love, W. (2017). <em>Ulyana Trifomova - post by: rhythmicisourgrace - via Tumblr</em>. [online] We Heart It. Available at: https://weheartit.com/entry/67804413 [Accessed 12 Dec. 2017].</li></ul><div><br></div><ul><li>McCormack, M. 2010, “Teaching the Hypermobile Dancer”, <em>The IADMS Bulletin for Teachers, </em>vol. 2, no. 1, p.5</li></ul>]]></description>
         <enclosure url="https://data.whicdn.com/images/67804413/large.jpg" />
         <pubDate>2017-12-12 23:32:22 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215644075</guid>
      </item>
      <item>
         <title>SOURCE 16.                                                       CAN / SHOULD DANCERS BE CONSIDERED AS ATHLETES?</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215644095</link>
         <description><![CDATA[<div>Please engage with the article below that studies the similarities between dancers and athletes and discusses whether the term 'athlete' does justice for dancers and the art form, or whether it reduces their ability to physical skill alone.<br><br>Danceconsortium.com. (2017). <em>Dancers as Athletes | Dance Consortium</em>. [online] Available at: http://www.danceconsortium.com/features/article/dancers-as-athletes/ [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="http://www.danceconsortium.com/features/article/dancers-as-athletes/" />
         <pubDate>2017-12-12 23:32:35 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215644095</guid>
      </item>
      <item>
         <title>SOURCE 20A.                                    HYPERMOBILITY - AN ASSET OR A LIABILITY? A SIGN OF TALENT OR VULNERABILITY?</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215648481</link>
         <description><![CDATA[<div>Please engage with the journal below that refers to the attention hyper mobility syndrome has long attracted, and explores both the positive and negative accompaniments of it.<br><br>Howard A. Bird, Elaine C. Foley. 2013, Hypermobility in dancers, <em>Rheumatology</em>, vol. 52, no. 4, p. 585–586,</div>]]></description>
         <enclosure url="https://academic.oup.com/rheumatology/article/52/4/585/1796089" />
         <pubDate>2017-12-13 00:20:39 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215648481</guid>
      </item>
      <item>
         <title>SOURCE 24.                                           THE HEALTHIER DANCER PROGRAMME</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215649965</link>
         <description><![CDATA[<div>Please engage with the webpage below, which introduces an education programme that aim to improve the physical and psychological health and wellbeing of dancers through their work in advocacy and education.<br><br>One Dance UK. (2017). <em>Healthier Dancer Programme - One Dance UK</em>. [online] Available at: http://www.onedanceuk.org/programme/healthier-dancer-programme/ [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="http://www.onedanceuk.org/programme/healthier-dancer-programme/" />
         <pubDate>2017-12-13 00:32:58 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215649965</guid>
      </item>
      <item>
         <title>KYAH LOMAX</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215842268</link>
         <description><![CDATA[<div><strong>Student ID:</strong> 1705121<br><br><strong>Date of submission: </strong>15/12/2017</div>]]></description>
         <enclosure url="" />
         <pubDate>2017-12-13 15:44:57 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215842268</guid>
      </item>
      <item>
         <title></title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215844314</link>
         <description><![CDATA[<div>Please scroll down to view all of this Padlet wall...</div>]]></description>
         <enclosure url="http://www.dcav.com.au/wp-content/uploads/2014/06/enjoy-2.jpg" />
         <pubDate>2017-12-13 15:48:43 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215844314</guid>
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      <item>
         <title>SOURCE 17.                                            DO INCREASES IN SELECTED FITNESS PARAMETERS AFFECT A DANCER&#39;S AESTHETIC?</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215851762</link>
         <description><![CDATA[<div>Please engage with the study below that examines how the effects of a specifically tailored fitness training programme for dancers can not only enhance the aesthetic quality of performance, but contribute to decreasing the frequency of injury.<br><br>Twitchett EA, e. (2017). <em>Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance? - PubMed - NCBI</em>. [online] Ncbi.nlm.nih.gov. Available at: https://www.ncbi.nlm.nih.gov/pubmed/21442135 [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="http://www.ncbi.nlm.nih.gov/pubmed/21442135" />
         <pubDate>2017-12-13 16:02:14 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215851762</guid>
      </item>
      <item>
         <title></title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215859869</link>
         <description><![CDATA[￼]]></description>
         <pubDate>2017-12-13 16:17:39 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215859869</guid>
      </item>
      <item>
         <title>SOURCE 11.                                                                      SUITABLE DRESS</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860198</link>
         <description><![CDATA[<div>Improper attire can be a cause of injury, for example, correct footwear is crucial, as dancing in bare feet can cause damage to the knees and shins if exposed to high impact movements without provided support.<br><br>In the image below, you can see the proper attire for a ballet class. This includes; a leotard, tights, soft ballet slippers and hair slicked back in a secure bun.<br><br>Ballerina, G. (2017). <em>Girls Adult Ballet Leotard Black Women Dance Clothes Long Sleeve Cotton Ballet Dancewear Bodysuit For Ballerina-in Underwear from Mother &amp; Kids on Aliexpress.com | Alibaba Group</em>. [online] aliexpress.com. Available at: https://www.aliexpress.com/item/Girls-Adult-Ballet-Leotard-Women-Black-Dance-Clothes-Long-Sleeve-Cotton-Ballet-Dance-Wear-For-Ballerina/32803627188.html [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="https://ae01.alicdn.com/kf/HTB1X9.HQXXXXXbyXFXXq6xXFXXXk/Girls-Adult-Ballet-Leotard-Black-Women-Dance-Clothes-Long-Sleeve-Cotton-Ballet-Dancewear-Bodysuit-For-Ballerina.jpg" />
         <pubDate>2017-12-13 16:18:21 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860198</guid>
      </item>
      <item>
         <title>SOURCE 12.                                     SPACE</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860229</link>
         <description><![CDATA[<div>This image represents correctly how a studio should appear when ready for use. <br>The flooring is sprung as "it has been found that dancing on suspended floors helps to reduce injury in dancers because it decreases the shock and pressure in the legs." (Mueller, 2013, p.34) There are no objects or equipment left openly on the floor and mirrors are securely fixed to the wall, to prevent anything that could lead to trips, falls or anything else jeopardising physical safety. <br><br>Mueller. A, 2013, "The Influence of Warm-Up on Ballet Dancers' Risk of Injury", <em>Arts Biomechanics, </em>vol. 2, no. 1, p.33-54</div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/132188159/cffb78646e595924bd5727782975494c/image1_1.jpeg" />
         <pubDate>2017-12-13 16:18:24 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860229</guid>
      </item>
      <item>
         <title>SOURCE 13.                                                                              FIRE EXITS</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860333</link>
         <description><![CDATA[<div>In the image below, you can see one of many fire exits within Shockout Arts. When entering a studio, you should always make yourself of the fire exits (which should always be unlocked and lit) and the position of fire alarms. No exit should ever be obstructed in case an immediate exit is required in the event of a fire.</div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/132188159/951157f4e93cd606228857534fff6ae5/image1_2.jpeg" />
         <pubDate>2017-12-13 16:18:33 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860333</guid>
      </item>
      <item>
         <title>SOURCE 14.                     TEMPERATURE AND ENVIRONMENTAL CONDITIONS</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860439</link>
         <description><![CDATA[<div>A well ventilated studio is always a must, as without a source of fresh air, the studio becomes stuffy and the risk of accidents becomes greater. It is also necessary for the temperature of a studio never to drop below 18.3 degrees Celsius as recommended by Equity, this assists the dancer's body in warming up properly and therefore reduces the chance of injury.<br><br>In the image below, you can see the built-in unit that Shockout Arts has in every studio, it can be utilised as heating or air-conditioning and temperatures and settings can be perfectly altered to the classes needs, allowing easy maintenance of injury preventing conditions.</div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/132188159/5e0dae280f607b59d8e21d1245b345b0/image1.jpeg" />
         <pubDate>2017-12-13 16:18:47 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215860439</guid>
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      <item>
         <title>SOURCE 1.                                          THE BASIC ANATOMY OF &#39;TURN OUT&#39;</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215870148</link>
         <description><![CDATA[<div>Please engage with the resource paper below, that summarises how contributions from the hips, knees, tibia, and feet create a dancer's turnout. It puts to bed the idea of 'flat turnout' being a necessary quality and focuses on how to safely optimise a turnout catered to the individual, with an understanding of their underlying anatomical and biomechanics mechanisms.<br><br>Iadms.org. (2017). <em>Resource Paper: Turnout for Dancers - Hip Anatomy and Factors Affecting Turnout - International Association for Dance Medicine &amp; Science</em>. [online] Available at: http://www.iadms.org/?323 [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="http://www.iadms.org/?323" />
         <pubDate>2017-12-13 16:37:16 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215870148</guid>
      </item>
      <item>
         <title>SOURCE 2.                               SUPPLEMENTAL TRAINING METHODS TO CONDITION AND RECRUIT THE PRIMARY AND SUPPORTING MUSCLES INVOLVED IN TURN OUT</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215874203</link>
         <description><![CDATA[<div>Please engage with the resource paper below, as a follow on from the part 1 which discussed the 5 main factors affecting turnout. Part two provides an overview of useful conditioning exercises and imagery work for improving turnout.<br><br>Iadms.org. (2017). <em>Resource Paper: Turnout for Dancers - Supplemental Training - International Association for Dance Medicine &amp; Science</em>. [online] Available at: http://www.iadms.org/?329 [Accessed 13 Dec. 2017].</div>]]></description>
         <enclosure url="http://www.iadms.org/?329" />
         <pubDate>2017-12-13 16:45:21 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215874203</guid>
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      <item>
         <title>SOURCE 3.                                            THE SOMATIC BASED APPROACH</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215881358</link>
         <description><![CDATA[<div>Please engage with the journal below that outlines a somatic based class, allowing students to personally further an understanding of their body and justifying why incorporating this information is apt and beneficial for dancers.<br><br>Kirk, J. 2017, "Moving from the Membranes: Exploring the Integumentary System Through Experiential Anatomy and Dance", <em>Journal of Dance Education, </em>vol. 17, no. 1, pp. 8-15.</div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/95847208/3667b3461794377ab33bbb18abc7b3a9/Moving_from_the_Membranes_Exploring_the_Integumentary_System_Through_Experiential_Anatomy_and_Dance.pdf" />
         <pubDate>2017-12-13 16:59:01 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215881358</guid>
      </item>
      <item>
         <title>SOURCE 5.                                                             &#39;COMBINATION CURRICULUM&#39; - COMBINING BOTH THE PROCESS AND THE PRODUCT</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215883505</link>
         <description><![CDATA[<div>Please engage with the book below that delivers an insight to two types of curriculum:<br>1) The 'process model' <br>and the:<br>2) The 'product model' <br><br>When the best of both models is combined this creates the 'combined model of curriculum', which delivers a complementary synergy of the artistic, aesthetic, and cultural aspects within dance.<br><br>Mary Jay, D, and Kassing, G. (2013) <em>Dance Teaching Methods and Curriculum Design, </em>Human Kinetics, Pudsey.</div>]]></description>
         <enclosure url="https://books.google.co.uk/books?id=bTm-W4oX0HgC&amp;pg=PA183&amp;lpg=PA183&amp;dq=dancers+focus+on+the+product+not+the+process&amp;source=bl&amp;ots=PGVsLcW2bw&amp;sig=1gaQqYyz466GWZ_YiNs6wpexnhQ&amp;hl=en&amp;sa=X&amp;ved=0ahUKEwihlOvcu4fYAhUCKMAKHUxtAakQ6AEINzAF#v=onepage&amp;q=dancers%20focus%20on%20the%20product%20not%20the%20process&amp;f=false" />
         <pubDate>2017-12-13 17:03:21 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215883505</guid>
      </item>
      <item>
         <title>SOURCE 4.                                 REMOVING THE MIRRORS AND LEARNING TO TRUST THE BODY</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215900288</link>
         <description><![CDATA[<div>Please engage with this resource paper that discusses whether using mirrors is a help or hindrance in dancers progressing from technique to artistry.<br><br>Iadms.org. (2017). <em>Resource Paper: Mirrors in the Dance Class: Help or Hindrance? - International Association for Dance Medicine &amp; Science</em>. [online] Available at: https://www.iadms.org/page/400 [Accessed 13 Dec. 2017].</div>]]></description>
         <enclosure url="https://www.iadms.org/page/400" />
         <pubDate>2017-12-13 17:34:41 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/215900288</guid>
      </item>
      <item>
         <title>SOURCE 15.                                                                                    A COMPLETE GUIDE TO RISK ASSESSMENT AND SAFE PRACTICE </title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216009145</link>
         <description><![CDATA[<div>Communitydance.org.uk. (2017). <em>Cite a Website - Cite This For Me</em>. [online] Available at: https://www.communitydance.org.uk/public/31286/Introduction%20to%20risk%20assessment.pdf [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="https://www.communitydance.org.uk/public/31286/Introduction%20to%20risk%20assessment.pdf" />
         <pubDate>2017-12-13 22:58:48 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216009145</guid>
      </item>
      <item>
         <title>SOURCE 18.                                                                     THE POSSIBILITY FOR PROGRESSION THROUGH SUPPLEMENTARY FITNESS TRAINING PROGRAMMES</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216010957</link>
         <description><![CDATA[<div>Please engage with the review below, which posits the theory that despite dancing being an artistic expression, if sports science principles were to be applied to the training, there is a real opportunity to improve a dancer's career and its longevity.<br><br>Twitchett, E., Koutedakis, Y. and Wyon, M. (2017). <em>Physiological Fitness and Professional Classical Ballet Performance: A Brief Review</em>.</div>]]></description>
         <enclosure url="http://journals.lww.com/nsca-jscr/Abstract/2009/12000/Physiological_Fitness_and_Professional_Classical.42.aspx" />
         <pubDate>2017-12-13 23:21:23 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216010957</guid>
      </item>
      <item>
         <title>SOURCE 21.                           PERFECTIONISM AND ITS TYPES</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216159119</link>
         <description><![CDATA[<div>Please engage with the image below with explains perfectionism and its subcategories.<br><br>Thehealthydancer.blogspot.co.uk. (2017). <em>The Perfectionist Adolescent Dancer and a Happy New Year Giveaway!</em>. [online] Available at: http://thehealthydancer.blogspot.co.uk/2016/01/the-perfectionist-adolescent-dancer-and.html [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="https://padletuploads.blob.core.windows.net/prod/132188159/a1053359257f6d8fa892ceaa60c387c3/Screen_Shot_2017_12_14_at_14_26_49.png" />
         <pubDate>2017-12-14 14:24:15 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216159119</guid>
      </item>
      <item>
         <title>SOURCE 23.                         MOTIVATIONAL CLIMATE, PERFORMANCE ORIENTED CLIMATE AND THE CAUSING OF PERFECTIONIST                    </title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216163429</link>
         <description><![CDATA[<div>Please engage with the journal below that shows how research has linked goal orientation, trait anxiety, and perfectionism to the quality of psychological responses in dance education contexts. In class competitiveness and the perception of unacceptability of making mistakes during teaching, learning and performing, may well be fuelling dancer's tendencies to experience concentration disruption due to constant worry. Specifically, how a consistent emphasis on a performance-oriented climate within the studio, seems to be linked to the development of potentially maladaptive dispositions such as neurotic perfectionism and a dispositional tendency to  define achievement in socially comparative terms.<br><br>Carr. S, and Wyon. M. 2014, "The Impact of Motivational Climate on Dance Students' Achievement Goals, Trait Anxiety and Perfectionism." <em>Journal of Dance Medicine and Science,</em> vol. 7, no. 4, p. 106-114</div>]]></description>
         <enclosure url="https://www.researchgate.net/publication/233628389_The_Impact_of_Motivational_Climate_on_Dance_Students%27_Achievement_Goals_Trait_Anxiety_and_Perfectionism" />
         <pubDate>2017-12-14 14:32:38 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216163429</guid>
      </item>
      <item>
         <title>SOURCE 22.                         PERFECTIONISM AND ITS LINK TO SUBSTANCE USE AND MISUSE</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216181073</link>
         <description><![CDATA[<div>Please engage with the article below that, discusses how drugs or alcohol can seem like a way to escape from overwhelming self-imposed feelings of inadequacy caused by perfectionism. <br><br>Addiction Intervention. (2017). <em>Perfectionism Linked to Drug Addiction - Addiction Intervention</em>. [online] Available at: https://www.addiction-intervention.com/addiction/addiction-research/perfectionism-linked-to-drug-addiction/ [Accessed 12 Dec. 2017].</div>]]></description>
         <enclosure url="https://www.addiction-intervention.com/addiction/addiction-research/perfectionism-linked-to-drug-addiction/" />
         <pubDate>2017-12-14 15:06:27 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216181073</guid>
      </item>
      <item>
         <title>SOURCE 20B.</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216291909</link>
         <description><![CDATA[]]></description>
         <enclosure url="http://ep.bmj.com/content/edpract/98/6/212/F1.large.jpg" />
         <pubDate>2017-12-14 19:00:24 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216291909</guid>
      </item>
      <item>
         <title>Overall word count:                          2657 words</title>
         <author>kyahchantelle</author>
         <link>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216296536</link>
         <description><![CDATA[<div>Thank you for reading!</div>]]></description>
         <enclosure url="https://media.istockphoto.com/photos/smiley-face-drawing-picture-id157527255?k=6&amp;m=157527255&amp;s=612x612&amp;w=0&amp;h=p_4F9YbgKNwo1lKXPq-Q-bhUTxABtUmZX6BrHdyjO0g=" />
         <pubDate>2017-12-14 19:12:07 UTC</pubDate>
         <guid>https://padlet.com/kyahchantelle/introductiontoprofessionalpracticeeportfolio/wish/216296536</guid>
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