Contemporary Dance Students Research Articles

Pushing Boundaries: Reflections on Teaching and Learning Contemporary Dance in Amman

ABSTRACT This study reflects on teaching and learning contemporary dance in Amman, Jordan, focusing on the experiences of three contemporary dance students. Through the three case studies, various issues regarding teaching and learning contemporary dance in a Jordanian context are raised, revealing that contemporary dance can be perceived as a taboo and also an activity that evokes belonging and artistic freedom. The study illuminates how family, friends, social values, and religion influence perspectives of dance. The three dance students’ responses to learning contemporary dance taught by a teacher from a Western cultural context provide further insight into the pedagogical concerns and challenges in cross-cultural arts education and cultural interventions. It is hoped that through the analysis and dissemination of these issues, the possibilities for developing future dance education programs and reflection on current dance pedagogy within Jordan, and the wider Middle Eastern region, can be better assessed.

Correlations between General Joint Hypermobility and Joint Hypermobility Syndrome and Injury in Contemporary Dance Students

The first objective of this study was to ascertain the prevalence of general joint hypermobility (GJH) and joint hyper-mobility syndrome (JHS) in BA Dance Theatre 1st and 3rd year students at a contemporary dance conservatory. The second objective was to determine the statistical correlation between GJH, JHS, and injury in this population. A total of 85 (female, Ν = 78; male, Ν = 7) contemporary dance students participated in the study. The Beighton score (with a forward flexion test modification) was used to determine GJH, and the Brighton criteria were used to verify JHS. Participants completed a self-reported injury questionnaire that included type of injury (physical complaint, medical diagnosis, or time-loss) and injury frequency. Statistical analysis (Pearson correlation) was used to correlate GJH, JHS, and frequency-of-injury scores. Overall, 69% of the students were found to have GJH, and 33% had JHS. A statistical correlation of r = + 0.331 (p < 0.01) was found between JHS and injury. No significant correlation was found between GJH and injury. This is the first study to look at these correlations in contemporary dance students and suggests that screening programs should include the Brighton criteria to identify JHS in these dancers. Subsequent injury tracking and injury prevention programs would then provide data for further research in this area.

The Relationship Between Postural Stability and Dancer’s Past and Future Lower-Limb Injuries

In an effort to address dance-related injuries, screening programs are typically employed to assess injury susceptibility. The aim of this study was to explore for potential links between postural stability and dancers' previous lower-limb injuries and susceptibility to future lower-limb injuries. Eighty-five contemporary dance students were recruited at a UK dance conservatoire. Information concerning previous injuries was collected by self-report survey. The participants completed two balance tasks, one static and one dynamic, performed on a RS Scan Footscan pressure pad to calculate postural sway. Injuries in the participant cohort were then tracked for a 10-month period to assess injury susceptibility. The participants exhibited significantly less postural sway when balancing on the left leg than their right, and the women exhibited less postural sway than the men. A one-way ANOVA revealed that participants who had experienced a lower-limb injury in the 12 months prior to testing exhibited more postural sway than participants who had not experienced a lower-limb injury, with some of the differences attaining significance (p <0.05). No significant links were found between either postural sway or previous injury and future injury susceptibility. The results suggest that assessments of postural stability via centre of pressure measurements are a reliable method for assessing dancers' balance ability. While reaffirming the importance of comprehensive, multidisciplinary screening programs, the results also highlight the necessity of developing a greater understanding of both dancers and the environments in which they dance and work to fully ascertain injury susceptibility.

Self-Reported and Reported Injury Patterns in Contemporary Dance Students

Injury is a major concern among dancers, as currently rates are reported as being high. The purpose of the present study was to assess the incidence and details of injuries across an academic year at a full-time contemporary dance school. A questionnaire was distributed to 57 dancers at the end of their first academic year. Reported injury information was also retrieved from a database as collected from a physiotherapist over the same period. Differences were found between the reported and self-reported information, particularly with reference to shin injuries. The majority of injuries occurred in November and May, noted to be close to assessment periods. Injury rates in contemporary dance are high; notably, 89% of dancers reported one or more injuries. This problem is particularly evident in the lower limb. Med Probl Perform Art 2010; 25:10-15.

Fitness in Contemporary Dance: A Systematic Review

It has been suggested that dancers are less fit compared to other athletes. However, the majority of studies make their arguments based on data deriving mainly from ballet. Therefore, the aim of the current review was to investigate: a) aerobic and anaerobic fitness, muscular strength and body composition characteristics in contemporary dancers of different levels, and b) whether supplementary exercise interventions, in addition to normal dance training, further improves contemporary dance performance. Three databases (Medline, Cochrane and the Cumulative Index to Nursing & Allied Health research database) were searched to identify publications regarding the main fitness components of contemporary professional and student dancers. At a professional level, it appears that contemporary dancers demonstrate higher maximal oxygen uptake and higher scores in muscular endurance than ballet dancers. However, contemporary dance students are equally fit compared to their ballet counterparts and their body composition is also very similar. Only two studies have investigated the effects of supplementary exercise training on aspects of dance performance. Further research is needed in order to confirm preliminary data, which suggest that the implementation of additional fitness training is beneficial for contemporary dance students to achieve a better performance outcome.

Electrocardiography and Echocardiography Findings in Contemporary Dancers

Alterations in cardiac structure and function as a result of chronic training have been extensively reported in the literature. To date, there is limited data on dancers. This study attempts to define cardiac electrical, structural, and functional characteristics in female contemporary dancers. Forty-four female full-time contemporary dance students (age: 23.0 ±5.6 years; height: 165.2 ± 7.9 cm; body mass: 59.2 ± 7.2 kg) volunteered for the study and underwent 12-lead electrocardiography and two-dimensional echocardiography. Echocardiographic results were compared with 30 age-matched and gender-matched controls. Sixteen percent (7/44) of dancers presented with sinus bradycardia (&lt; 60 bpm) and seven percent (3/44) demonstrated shortened PR intervals (&lt; 120 ms). Sokolow voltage criteria for left ventricular hypertrophy was observed in only 4% (2/44). Fourteen percent of dancers (6/44) demonstrated right axis deviation and nine percent (4/44) had incomplete right bundle branch block. One dancer exhibited nodal rhythm. Minor ST segment elevation (&lt; 0.2 mV) was present in 7% (3/44) of dancers, and equally minor ST segment depression (&lt; 0.2 mV) was present in 7% (3/44). Negative T waves and large T waves (&gt;1.0mV) were observed in 14% (6/44) and 4% (2/44) of the dancers respectively. QRS and QT duration were within normal limits for all dancers. Echocardiography revealed no significant differences between dancers and controls for all structural and functional indices. It is concluded that contemporary dancers demonstrate limited cardiac structure and function changes compared to matched controls.