Dance Discipline Research Articles

KNOWLEDGE AND USE OF NUTRITIONAL SUPPLEMENTS IN DIFFERENT DANCE DISCIPLINES

In aesthetic sports the appearance of the body figure and its leanness plays an important role, therefore energy intake is often barely sufficient. By limiting the amount of food consumed, there are specific deficits that affect the health and performance of the dancer. The use of dietary supplements often compensates for the lack of nutrient intake and enables faster regeneration. Our study aimed to analyse the knowledge about nutrition and nutritional supplements in male and female dancers of four different dance disciplines: hip hop, Latin American and standard dances, acrobatic rock and roll, and breakdance. The sample consisted of 98 dancers (av. 18.8 years), who were compared by gender and by their involvement in the dance discipline. Their average length of dance career is 9.7 years. We found that dancers have an average knowledge about nutrition and nutritional supplements (5.1/10). Dancers put the most trust in physicians and trainers when it comes to nutrition knowledge. Dancers gather information about nutrition supplements mostly from the coaches or from teachers at school, and some dancers also independently, through the internet and literature. Less than half of the female dancers do not use nutritional supplements. Most of them consume energy bars and vitamin-mineral supplements. Male dancers regularly consume vitamin-mineral supplements (26.7%), occasionally more energy-efficient bars (42%) and isotonics (26.6%). Representatives of different dance disciplines do not differ significantly in the knowledge and use of nutritional supplements. Rock and roll dancers have the highest average rating in nutritional knowledge (5.3/10).

Emotional intelligence and dance: a systematic review

ABSTRACTIn this review, the background to the construct of Emotional Intelligence and its more widely accepted perspectives are presented. The scientific literature on the relationship between dance and Emotional Intelligence was obtained from the Web of Science (58) and Scopus (5) databases, and the results of these investigations were analysed. Dance is understood from a pragmatic point of view, without distinguishing the dance discipline of each of the analysed studies; likewise, we encompass any level of practice within this art and the different stages of life among practitioners. In summary, dance is understood as a beneficial component for the emotional and affective development of the human being, and it is presented as an element that favours different aspects of the Emotional Intelligence and others related to it.

Investigating the Prevalence and Predictors of Injury Occurrence in Competitive Hip Hop Dancers: Prospective Analysis.

Hip hop is a popular form of competitive and recreational sport worldwide, but studies rarely investigate injury prevalence and factors associated with injury occurrence in this sport. This study aimed to prospectively examine injury occurrence in hip hop dancers in a three-month period and to evaluate potential predictors of injury occurrence in hip hop dancers. The participants were 129 competitive hip hop dancers (114 females, 17.95 ± 4.15 years of age). Study predictors were obtained at study baseline and included sociodemographic factors, sport-related factors, previous injury status, anthropometric and body build indices (body height, mass, body mass index, and body composition variables), and dynamic balance performance (obtained by the Star Excursion Balance Test—SEBT). The outcome was injury occurrence, which was prospectively observed once a week by the Oslo Sports Trauma Research Center Overuse Injury Questionnaire (OSTRC). During the course of the study, 101 injuries occurred, equating to an annual injury incidence of 312%. On average, each dancer suffered 0.78 injuries (95% Confidence Interval (95% CI): 0.61–0.97) across a study period of three months (0.76 (95% CI: 0.60–0.95) and 0.93 (95% CI: 0.75–1.13), in females and males, respectively; Mann Whitney Z-value: 0.68, p = 0.52). Seventeen percent of dancers suffered multiple injuries, and 49% of all injuries were time-loss injuries. The knee was the most frequently injured body location (42% of all reported injuries), followed by the back region (32%) and the ankle (15%). Previous injury was a strong predictor of injury occurrence (Odds Ratio: 3.76, 95% CI: 1.87–4.59). Lower injury risk was evidenced among those participants who achieved better scores on several SEBT variables, irrespective of gender and previous injury status; with no significant influence of anthropometric and body build variables on injury occurrence. This study highlighted a high injury rate in hip hop dancers. Dancers and coaches should be informed about the certain protective effects of dynamic balance on the prevention of musculoskeletal injury in hip hop in order to assure safe and effective practices. The usage of SEBT as a convenient and cheap testing procedure is encouraged in other dance disciplines.

Visual motor imagery predominance in professional Spanish dancers

Purpose: The main objectives of the study were to analyse the predominant motor imagery modality used by professional Spanish dancers and to compare Spanish dancers’ ability to perform mental motor imagery with that of non-dancers, and to analyse differences between male and female dancers. As a secondary aim, to compare the motor imagery ability between two styles of Spanish dance: classical Spanish dancers and Flamenco dancers.Methods: A total of 74 participants were classified into two groups: professional Spanish dancers (n = 37) and sedentary participants (n = 37). The professional Spanish dancer group was composed of two dance disciplines: flamenco dancers (n = 17), and classical dancers (n = 20).Results: Professional Spanish dancers used predominantly visual imagery modalities over kinesthetics to generate motor imagery, with a moderate effect size (p < .01, d = 0.68). Regarding the ability to generate motor imagery, significant intergroup differences between professional Spanish dancers and sedentary participants were observed in all variables, with a large effect size (p < .05, d > 0.80). Differences were obtained between men and women among non-dancers group (t = −3.34; p = .03; d = 0.5). No differences between Flamenco and classical dancers were observed.Conclusion: Visual motor imagery modality was easier than the kinaesthetic modality in the generation of motor imagery for professional Spanish dancers regardless of the dance style. Spanish dancers had a greater ability to perform motor imagery compared with non-dancer individuals, needing less time to perform these mental tasks. Men non-dancers had a greater ability to generate motor imagery than women. Reinforcing the training of kinaesthetic motor imagery might be useful for professional Spanish dancers.

Rebalancing dance curricula through repurposing black dance aesthetics

ABSTRACT In my investigation of dance curricula in US higher education, the dance discipline’s primary pedagogical concentrations in classical ballet and Eurocentric modern dance techniques implicitly signal their centrality to the development of any academically trained dancer. This focus, in turn, generalizes and essentializes other cultural and innovative approaches that could be vital to the foundation of the well-trained 21st century dancer and undergraduate dance studies major. Although components of black aesthetic dance techniques and vernaculars, such as Dunham, Umfundalai, and Jazz, as well as Hip Hop and African derived styles, are being offered, they are typically not a central part of the curriculum, but electives. This study proposes the necessary approach to curricular overhauling. I offer an alternative ‘entercultural engaged pedagogy’ that can rectify what is currently lacking in higher education dance departments. Subsequently, this study’s approach to a paradigm shift away from the historical ethnocentric paradigm is not only the introduction of an entercultural approach to dance education but also the undoing of the monocultural epistemology.

Functional muscle asymmetries and laterality in Latin American formation dancers.

Despite the high popularity of Latin American dance and the specific movement patterns characteristic of this dance discipline, studies on the physical effects of these dance style specific movement patterns are still lacking. The purpose of the present study is to analyze strength level differences and shortening of relevant muscle groups resulting from formation dance, taking performance standard and gender into consideration. Furthermore, the correlation between the findings of muscle function tests (MFT) and the occurrence of lumbar spine complaints is evaluated. A total of 66 participants (m: n= 31, f: n= 35) volunteered for this cross-sectional study (examination group, n= 39, m: n= 19, f: n= 20). The control group consisted of n= 27 participants (m: n= 12, f: n= 15). Besides isometric maximal strength tests (Digi Max system, mechaTronic), relevant muscle groups were examined for shortenings (hip flexors, hamstrings). The male participants in dance sport reached a significantly higher strength level in the muscles of the spine region (p= 0.011) than the participants of the control group. The female elite dance athletes developed a significantly higher strength level in the knee flexors on the right side than the dancers of the advanced group (NL) (p= 0.021). At that, muscle shortening were observed that seem to be specific to dance sport. In addition, gender specific differences were observed both in strength levels and in tendency to shortenings. The specific requirements profile of Latin American formation dance seems to produce affects in the form of muscular imbalance on both sides of the body. These differences of muscular status were mainly observed between dance sport competitors and non-dancers rather than between performance levels. Future investigations with higher numbers of participants would be necessary here.

Lower extremity and spine characteristics in young dancers with and without patellofemoral pain

ABSTRACTVery little is known about patellofemoral pain syndrome (PPFS) among young dancers. Understanding the mechanism of the injury and implementing a preventative programme are important in order to minimize the risk of PFPS. The aim of the current study is to determine the extent to which factors such as lower extremity and back characteristics are common among dancers with PFPS. The study population included 271 dancers with PFPS and 271 non-injured dancers, aged 10–16 years. All dancers were screened for morphometric profile, dance discipline (h/week), anatomical anomalies (present/absent of scoliosis, genu valgus/varum, etc.), and joint range of motion (measured by goniometer at the hip, knee, ankle, foot, and spinal joints). The predicting factors for PFPS among young dancers (10–11 years old) were: hyper hip abduction (OR = 0.906) and lower back and hamstring flexibility (OR = 3.542); for adolescent dancers (12–14 years old): hyper ankle dorsiflexion (OR = 0.888), hind foot-varum (OR = 0.260), and mobility of patella (OR = 2.666); and, for pre-mature dancers (15–16 years old): scoliosis (OR = 5.209), limited ankle plantar-flexion (OR = 1.060), and limited hip internal rotation (OR = 1.063). In conclusion, extrinsic and intrinsic parameters predisposing the dancers to knee injuries should be identified by screening in early stages of dance classes.

The sensitive knowledge of dance

Abstract In this article I will discuss the dancer’s physical potential and the sensitive knowledge (‘la connaissance sensible’) that emerges from dance practice. For this, I take Lévi-Strauss’ (2010) theory of the ‘savage mind’ as a reference. This theory is important to understand how the discipline of dance does not need to be justified through modern science (Lévi-Strauss 2010). It is understood that dance operates from sensitive knowledge, while modern science is expressed through the intelligible. I will point out how the dancer operates the sensitive, or dancing, thought, stressing that this type of knowledge is created through interest in how to use it and not through interest in how it serves, or what it means. I will then explain how, through sensitive knowledge, dancers propose new challenges during their aesthetic training in order to develop new body technologies, thereby increasing their expressive potential. For this, dancers need to develop body acuity. In other words, I will discuss the processes that dancers use to transform the perception of the self and of the world through danced gestures. In this process, the dancer is always looking for new challenges; he/she constantly deals with new risks in order to discover new knowledge. I will also discuss the problem that dance faces in traditional academia, which disregards sensitive knowledge and values scientific knowledge.

Energy requirements in top-level DanceSport Athletes

Dancesport is a sport of recent history: recognition by the IOC as Olimpic discipline came in 1997. Scientific literature on this new sport is almost nonexistent. The purpose of this study is for define the energy expenditure and the intensity of the two main dancesport disciplines (latin-american and standard dances) in top-level athletes and verify characteristics and differences of these two dance genres. Twenty dancers, 10 male and 10 female (10 couples,), aged between 19 and 31 years, have been enrolled in this study. 5 couples were latin-american dancers while 5 couples standard dancers. Athletes were asked to wear a metabolic holter (Sensewear Armband)for 25 hours and to perform a training session and a simulated competition to record BMR (Basal Metabolic Rate), DEE (Daily Energy Expenditure), TEE (Training Energy Expenditure), MET (Metabolic Equivalent) and PAL (Physical Activity Level). Statistical analysis reveals no differences between the two dance disciplines, our results suggest that dancesport is a moderate/heavy activity that requires a strong energy expenditure. Athletes involved in continuous training programs show a vigorous Physical Activity Level.

Injuries in Female Dancers Aged 8 to 16 Years

Most studies of injured dancers have been carried out on professional adult dancers; data on young, nonprofessional injured dancers are sparse. To identify the types of injuries sustained by recreational dancers and to examine their association with age, joint range of motion, body structure, age at menarche, presence of anatomic anomalies, and physical burden (i.e., practice hours en pointe). Descriptive epidemiology study. The Israel Performing Arts Medicine Center, Tel Aviv. A total of 569 injured female dancers, aged 8 to 16 years. Dependent variables were 61 types of current injuries that were later classified into 4 major categories: knee injuries, foot and ankle tendinopathy, back injuries, and other injuries. Independent variables were age, joint range of motion, body size and shape, age at menarche, anatomic anomalies, and dance discipline (e.g., hours of practice per week en pointe). At least 1 previous injury had been sustained by 42.4% of the dancers. The most common injuries involved the knee (40.4%), followed by other injuries (23.4%). The relative frequency of back injuries and tendinopathy decreased with age, whereas knee injuries increased. Types of injuries were significantly associated with ankle plantar flexion, hip external rotation, hip abduction, and knee flexion. Multinomial regression analysis revealed only 3 predictive variables (with other as baseline), all for back injury: scoliosis, age, and hip external rotation. Joint range of motion and scoliosis may signal the potential for future injury. Young dancers (less than 10 years of age) should not be exposed to overload (especially of the back) or extensive stretching exercises.

Morphological characteristics of the young scoliotic dancer

BackgroundThe literature lacks important data about the relationship between scoliosis and growth process, scoliosis and intensive exercise, scoliosis and morphological characteristics, and scoliosis and injuries, among young dancers. ObjectiveThe aims of the present study were to determine the extent to which dance experience, body structure, anatomical anomalies and injuries are associated with scoliosis, and to identify variables able to discriminate between scoliotic and non-scoliotic female dancers at time of screening. DesignCross-sectional cohort study. MethodsOne thousand two hundred and eighty-eight non-professional female dancers, aged 8–16 years, were screened for the current study. We determined their morphometrical profile (height, weight, BMI), dance discipline (as hours of practice per week), manifestation of anatomical anomalies, and existing injuries. All dancers were clinically examined for presence of scoliosis. ResultsThree hundred and seven of the 1288 dancers (23.8%) were diagnosed as having scoliosis. Dance experience and body structure were similar for dancers with or without scoliosis. Scoliotic dancers presented a significantly higher prevalence of anatomical anomalies (such as genu varum, and hallux valgus). Back injuries were more common among scoliotic dancers compared to non-scoliotic dancers. ConclusionScreening and identifying the young scoliotic dancers prior to their advancing to higher levels of exercise is recommended. The scoliotic dancers should realize that there might be a connection between the presence of scoliosis and increased incidence of anatomical anomalies and back pain, hence, it should be suggested they seek help with an adequate assessment and exercise rehabilitation program.

Physiological characteristics of elite dancers of different dance styles

The present investigation was aimed to study international level dancesport dancer's aerobic capacity during incremental test and competition simulation in relation to the gender, dance style and international ranking. A total of 30 couples (12 Standard, 7 Latin American and 11 Ten Dance; aged 22.8±6.6 years male and 22.0±6.4 years female) performed an incremental treadmill test and competition simulation. In this study for the first time we carried out longer than one round competition simulation and compared three different dancesport styles (Standard, Latin American and Ten Dance). The results showed that dancers of these three dance styles had similar aerobic capacity values. The average maximal oxygen consumption ([Vdot]O2max) values were 59.6±5.1 and 51.2±6.2 ml·min−1·kg−1 for male and female dancers, respectively. Competition simulation showed that Latin American Dance discipline is physiologically more intensive compared to Standard and Ten Dance styles especially for the female dancers. It appeared that male and female Standard dancers tended to perform at lower intensity than anaerobic threshold (AT) during competition simulation (male 97.3±2.9%; female 97.9±3.6%), while Latin (male 101.4±2.9%; female 106.7±5.9%) and Ten Dance (male 100.7±6.4%; female 99.2±5.6%) competition intensity was higher compared to AT level of athletes. The highest heart rate during competition simulation was always found during the last dances (Paso Double, Jive or Quickstep) and in the last round of each dance style. No significant relationship between [Vdot]O2max values and international rankings was registered.

Hybrid lives of teaching and artistry: a study of teaching artists in dance in the USA

This paper investigates teaching artists in the USA whose work is rooted in dance and dance-related disciplines. Teaching artists, although the descriptor itself remains both ambiguous and debated in the USA, provide a good deal of arts education delivery in K12 schools and afterschool programs. Based on survey data from a range of dance teaching artists across the nation (n = 64), the study presents emergent themes including: (1) insufficient preparation, (2) obstacles and challenges in the workplace and (3) diverse perspectives on teaching artist professionalization and credential programs. The paper concludes with recommendations for post-secondary (tertiary) curriculum development in dance programs.

Extrinsic and intrinsic risk factors associated with injuries in young dancers aged 8–16 years

In the present study, we tried to determine the association between joint ranges of motion, anatomical anomalies, body structure, dance discipline, and injuries in young female recreational dancers. A group of 1336 non-professional female dancers (age 8–16 years), were screened. The risk factors considered for injuries were: range of motion, body structure, anatomical anomalies, dance technique, and dance discipline. Sixty-one different types of injuries and symptoms were identified and later classified into four major categories: knee injuries, foot or ankle tendinopathy, back injuries, and non-categorized injuries. We found that 569 (42.6%) out of the 1336 screened dancers, were injured.The following factors were found to be associated with injuries (P < 0.05): (a) range of motion (e.g. dancers with hyper hip abduction are more prone to foot or ankle tendinopathies than dancers with hypo range of motion; (b) anatomical anomalies (scoliotic dancers manifested a higher rate of injuries than non-scoliotic dancers); (c) dance technique (dancers with incorrect technique of rolling-in were found to have more injuries than dancers with correct technique); (d) dance discipline (an association between time of practice en pointe and injury was observed); and (e) early age of onset of menarche decreased risk for an injury. No association between body structure and injury was found. Injuries among recreational dancers should not be overlooked, and therefore precautionary steps should be taken to reduce the risk of injury, such as screening for joint range of motion and anatomical anomalies. Certain dance positions (e.g. en pointe) should be practised only when the dancer has already acquired certain physical skills, and these practices should be time controlled.

Higher Order Thinking in the Dance Studio

ABSTRACT The author identifies higher order thinking as an essential component of dance training for students of all ages and abilities. Weaving together insights from interviews with experts in the field of dance education with practical pedagogical applications within an Improvisation and Composition class for talented and gifted youth, this article reveals the author's uncovering understanding of higher order thinking. Emphasis is placed on the higher order thinking skills: critical thinking, analytical reasoning, problem solving, and writing. These skills, which are “thought to be particularly important in the knowledge economy, and shared by most educators as key aims of instruction” (Benjamin 2008, 51), are related within the unique curiosities and objectives of the dance discipline. Utilizing classroom experiences, primarily the author's, complemented by illustrative anecdotal responses from students, this article strategizes ways in which dance teachers can create opportunities for higher order thinking in the classroom and reveals how learning dance can enhance higher order thinking.

Paratenonitis of the Foot and Ankle in Young Female Dancers

In their pursuit of excellence, dancers continually face the risk of injuries, such as paratenonitis. This attests to the strong need for preventive action, which is possible only if major risk factors are identified. The aim of the present descriptive study was to determine the association between risk factors and paratenonitis in young recreational female dancers. One thousand eighty-two non-professional female dancers, aged 8 to 16 years, were screened. The risk factors considered for paratenonitis were: joint range of motion (ROM), body structure, anatomic anomalies, dance technique, and dance discipline. All dancers were clinically examined for current ankle/foot paratenonitis. Ninety-three dancers (8.6%) manifested a paratenonitis at the ankle or foot joints. ROM such as hyper ankle plantarflexion and hyper hip external rotation, false dance technique, and hours of practice per week were found to be associated with increased rate of injury. Regression analysis indicated that dancers with paratenonitis had greater hip external rotation ROM compared to dancers without paratenonitis. No association with injury was found with age of onset of menarche, body structure, and anatomic anomalies such as scoliosis. Precautionary steps, such as screening for joint ROM and dance technique, may reduce the risk of dance injury. Furthermore, our results led to a very significant justification of the dance maxim ``don't force your natural joint ROM and especially your `turnout' position,'' as it could increase your chance to develop paratenonitis.

THE IMPORTANCE OF STRENGTH IN SPORT DANCE PERFORMANCE TECHNIQUE

Strength is a motor ability that largely determines the features of a move. In the area of conventional sports, that is the very facet that serves as the basis for its importance, which is corroborated by several studies. In sport dance, it is usually demonstrated in the form of repetitive and explosive strength and in the function of introducing nuances in the dynamics of dance performance. How big the importance of some manifestations of strength for the quality of Latin-American and Ballroom dances performance as sport dance disciplines is, is the topic that this paper deals with. The research included 49 sport dancers of both genders, age 12-15. The results of the research point out to the fact that there are different approaches in validation of the contribution of strength for the quality and performance of Latin-American and Ballroom dance. Namely, strength as a motoric ability has statistically significant effects on the quality of Latin-American performance technique, while in Ballroom dances it does not appear to be statistically significant. The obtained differences in the significance of the contribution in the observed dance disciplines are, for sure, a confirmation of the necessity to have an individual approach in planning and programming of training process, particularly for Ballroom and Latin-American dances.

Design, digital gestures and the in[ter]ference of meaning: Reframing technology's role within design and place through performative gesture

ABSTRACTThis article focuses on performance as a tool to reconsider the design and occupancy of place. By appropriating the notion of gesture from the discipline of dance, we scrutinize pervasive technology and its influence on the built environment. Increasing requirements for technical and computing infrastructure cause us to firstly consider technology's role in the creation of non-place as conceived by Marc Augé (1995). New media and technology also continue to influence the creative processes, creating layers of filters and mediators within the discourse. This provides a theoretical grounding for the analysis of three test cases that appropriate gesture for reconsidering the role of technology within the design and construction of place. Findings suggest that gesture is a useful metaphor that resists bringing technology to centre stage and advances propositions by Brown and Duguid (2000) and also Heidegger (1977), who recommend looking beyond the functional and instead attending to the personal and social facets of interaction with technology.

Preserving Transience: Ballet and Modern Dance Archives

Dance is an ephemeral art in that it is primarily a visual and auditory medium that occurs in real-time within a performance. However, there is a wealth of extant primary sources in both print and non-print formats that are steadily being collected, stored and preserved in archives dedicated to the discipline of dance around the world in an attempt to provide some permanence to that ephemerality. There has been a growing movement over the past few decades to document materials belonging to this discipline, chiefly in the modern dance and ballet arenas; these movements sprang up not only to preserve the historical and organizational aspects for both posterity and the educational benefit of others inside and outside of the discipline, but also to capture the art form's essence and spirit. An examination of several dance archives and special collections in Great Britain, Australia, and America, as well as dance repository-related articles demonstrates how these small but thriving collections are capturing the essence of dance through typical archival activities such as acquisitions, processing, preservation, and providing access while dealing with the same logistical and budgetary limitations that archives of more general size and scope face. Information gleaned from this paper may be of use to researchers interested in the organizational, acquisition, collection development and preservation activities of such archives, as well as a general modern history of ballet and modern dance archives.

Perspectives on an Expansive Postsecondary Dance

Building on Doug Risner's recent call toward re-visioning postsecondary dance,1 this article explores and challenges traditional attitudes that have defined and contained dance in education and suggests a more inclusive, expansive vision: one that considers present challenges and realities while projecting forward to what current and future dance graduates will face in their individual journeys within the discipline. In the process of identifying what is relevant for our future, this article touches on three foundational challenges and opportunities within the dance discipline: (1) globalization and multiculturalism, with implications for dance education; (2) long-standing divisions between performing artists and educators; and (3) philosophical and practice-based conflicts between “educational” and “studio” dance. Within each challenge and opportunity this article offers alternate paradigms, which, if considered, move us toward a more expansive view of postsecondary dance. In so doing, we begin to identify possibilities for transforming dance in education.