A case study of a Brazilian newcomer in a Luxembourgish school: understanding the role of Legitimate Peripheral Participation in identity development

2014 ◽  
Vol 8 (2) ◽  
pp. 293-313 ◽  
Author(s):  
Roberto Gómez Fernández
2017 ◽  
Vol 36 (3) ◽  
pp. 38-43 ◽  
Author(s):  
Erin J. Zaffini

This article is a review of theoretical and empirical literature on Wenger’s community of practice (CoP) theory and Lave and Wenger’s legitimate peripheral participation. It is organized into four broad parts: (a) Characteristics of CoPs in Music Communities, Education, and Teacher Education; (b) Benefits and Challenges Faced by Members of CoPs; (c) Situated Learning: Legitimate Peripheral Participation; and (d) Implications for Music Education. The theories posit that individuals within a CoP learn through social interaction, inform one’s identity development, and that participation and practice within a community change over time. Implications include (a) novice music educators may want to have access to multiple music mentors, (b) veteran music educators may want to be open to novice educators’ ideas and actively recruit new teachers who bring different experiences and perspectives into the field, and (c) music educators may want to allow all music educators into decision-making processes within their districts.


Animation ◽  
2011 ◽  
Vol 7 (1) ◽  
pp. 59-72 ◽  
Author(s):  
Paul Ward

The article examines a particular instance of animation practice through a reading of how Bob Sabiston’s Rotoshop software was used in the 2006 film A Scanner Darkly. By discussing the notions of ‘communities of practice’ and ‘legitimate peripheral participation’, and contextualizing the film in relation to different modes of working, the author excavates the ways in which a range of people came to work on the project. Moreover, he outlines some of the production history of the film to argue that certain assumptions and expectations about accepted working practice point to wider perceptions of ‘independent’ and ‘studio’ animation. Questions of division of labour and standardization, and how they relate to creativity, autonomy and animation production will be addressed; Rotoshop’s position in the history of animation forms an interesting case study for interrogating these issues.


1987 ◽  
Author(s):  
William A. Worrall ◽  
Ann W. Stockman

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