Dance Experience Research Articles

Relationship Among Upper, Middle, and Lower Thoracic Vertebrae and Upper and Lower Lumbar Vertebrae in Dancers During Arabesque.

Background: Low back pain is a common disorder with high severity among dancers. Since Arabesque used in dance is more likely to cause lower back pain, it is important to prevent the onset of lower back pain during arabesque. Previous studies are investigating motion of the lumbar vertebrae during various tasks in targeting dancers. However, since the thoracic and lumbar vertebrae are connected, it is necessary to assess including motion of the thoracic spine. The purpose of this study was to clarify the relationship between the upper, middle, and lower thoracic vertebrae and the upper and lower lumbar vertebrae in dancers during arabesque. Methods: The participants were 13 university students with dance experience, and they performed double-standing and arabesque tasks. During the tasks, the positions of reflective markers attached to the spine (upper, middle, and lower thoracic vertebrae, and upper and lower lumbar vertebrae) were measured using a three-dimensional motion analysis system. The amount of change in the spinal angle of during standing and arabesque were calculated based on positions of spinal markers, and the relationship between the amount of change each spinal region (6 pairs) were analyzed by using Pearson's correlation test. Results: A significant negative correlation was observed between the amount of change in the angle of the middle thoracic vertebrae and the amount of change in the upper lumbar vertebrae (r = -.66, P = .013), which means that as the movement of the middle thoracic vertebrae increases, the movement of the upper lumbar vertebrae decreases. No significant correlation was observed between other spinal angles (P > .05). Conclusion: The results of this study suggest that increasing mobility in the middle thoracic vertebrae may be able to prevent hyperextension of the upper lumbar vertebrae, leading to the prevention of upper back pain in dancers.

“We’re still seeing people on the screen, we still keeping our bodies moving”: exploring the transition from face to face to online dance classes for community-dwelling older adults during the COVID-19 pandemic

ABSTRACT Background The COVID-19 outbreak meant that people were unable to attend art-based community classes such as dance. In response, activities transitioned to digital modes of delivery. In this study, we aimed to explore the feasibility, inclusivity, and impact of transitioning to an online dance class. Methods Thirty community-dwelling older adults (59–84 years old) were recruited from community groups in Yorkshire (UK). Participants completed an online survey at baseline and after attending 8 weeks of online dance classes. The survey captured perceived benefits on physical activity and mental wellbeing. Two separate focus groups (N = 12) were conducted to explore if the online dance transition could be an opportunity to keep this group active and socially connected. Results Survey data revealed no significant difference in the amount of time engaged in physical activity, but mental wellbeing significantly improved. Themes from the focus groups included holistic wellbeing related to the experience of dance, inclusive participation of online dance, and online dance facilitating social connection and sense of belonging. Conclusions The research provided insight into the online transition of a dance class for older adults, especially regarding inclusivity, sense of belonging and social connection.

Dance for Parkinson, multifaceted experiences of persons living with Parkinson’s Disease

Background Dance classes for people with Parkinson’s Disease (PD) are offered worldwide; however, further studies are needed to explore patients’ experiences of how dance affects well-being. Purpose To explore how Dance for Parkinson (Dance for PD) is experienced, and how it contributes to the well-being and health of participants in Sweden. Methods This qualitative study collected data from four focus groups. Participants were asked how dance classes impacted their well-being, and their ability to perform activities of daily life. The focus groups were recorded and transcribed. Data were analysed using content analysis, meaning units were coded, and codes were coalesced into categories from which themes were abstracted. Results Dance for PD provided a multifaceted experience related to social relationships, aesthetic context, feelings of wellbeing and the physical experience of dancing. The main theme contained four sub-themes: Connectedness, Pleasure and glamour, Well-being in mind and body and Customized movements. Conclusion The present study highlights that health and well-being are improved by Dance for PD. It is an enjoyable activity that meets the specific needs of persons living with the consequences of PD and should therefore be promoted by occupational therapists.

Cortical oscillations are modified by expertise in dance and music: Evidence from live dance audience.

Over the past decades, the focus of brain research has expanded from using strictly controlled stimuli towards understanding brain functioning in complex naturalistic contexts. Interest has increased in measuring brain processes in natural interaction, including classrooms, theatres, concerts and museums to understand the brain functions in the real world. Here, we examined how watching a live dance performance with music in a real-world dance performance setting engages the brains of the spectators. Expertise in dance or music has been shown to modify brain functions, including when watching dance or listening to music. Therefore, we recorded electroencephalography (EEG) from an audience of dancers, musicians and novices as they watched the live dance performance and analysed their cortical oscillations. We compared intrabrain oscillations when participants watched the performance (with music) or listened to the music alone without the dance. We found that dancers have stronger fronto-central and parieto-occipital theta phase synchrony (4-8Hz) than novices when watching dance, likely reflecting the effects of dance experience on motor imagery, multisensory and social interaction processes. Also, compared with novices, dancers had stronger delta phase synchrony (0.5-4Hz) when listening to music, and musicians had stronger delta phase synchrony when watching dance, suggesting expertise in music and dance enhances sensitivity or attention to temporal regularities in movement and sound.

Dance experience vs. pedagogical knowledge in a dance teacher

Dance experience vs. pedagogical knowledge in a dance teacher

Correlation of Dance Functional Status with Lower Limb Flexibility, Power and Dynamic Balance in Recreational Ballet Dancers – A Cross-Sectional Study

Background: Paediatric ballet dancers are particularly prone to injuries due to the demanding nature of their art form, exacerbated by intensive training during crucial growth and maturation phases. The prevalence of injuries, especially those affecting lower limbs, hampers dancers’ functional capacity. Unlike their professional counterparts, recreational ballet dancers lack specialized training, heightening their vulnerability. The accumulation of repetitive injuries often hampers their ability to attain the highest levels of achievement in their careers, underscoring the necessity to identify and comprehend contributing factors. The aim is to fnd a correlation between the Dance Functional Outcome Survey (DFOS) and critical factors like lower limb flexibility, power, and dynamic balance among recreational ballet dancers. Methodology: 53 recreational ballet dancers aged 10–18 years with at least one year of dance experience were included. Lower limb flexibility was assessed using the sit and reach test, ankle flexibility, and straddle in supine tests, while power and dynamic balance were evaluated through vertical jump tests and Y balance tests. The DFOS questionnaire measured health status. Result: Results revealed statistically significant weak positive correlations between DFOS and various factors: sit and reach test (r=0.3060), ankle flexibility (r=0.3830), straddle in supine (r=0.3270), vertical jump test (r=0.3250), and Y balance composite (Right: r=0.3200; Left: r=0.3420). Conclusion: This study concludes that recreational ballet dancers with greater flexibility, power, and dynamic balance in the lower limb tend to exhibit a higher dance functional status. Keywords: paediatric, ballet dancers, flexibility, power, dynamic balance, Dance Functional Outcome Survey.

The correlation between generalized joint hypermobility and musculoskeletal disorders in female dancers

Background: Bali is a popular tourist destination because of its unique culture. One of its unique features is the Balinese dance, which is used to welcome guests, perform arts, and perform religious ceremonies. Many Balinese dancers experience generalized joint hypermobility (GJH) without realizing it, which may have a negative impact on them, especially if they have a problem of musculoskeletal pain. Methods: This research used an analytical observational design of a cross-sectional study. This study employed the sampling technique of purposive technique with a total sampling method. The inclusion criteria for this study were traditional Balinese dancers living in Denpasar city, female, aged 14-20, and having dancing experience more than 1 year. Exclusion criteria were subjects after surgery for fractures or other musculoskeletal injuries in the upper or lower extremities, subjects with signs of acute inflammation in the joints, and those unwilling to be research subjects. The number of samples was calculated using the lame show formula, and 85 samples were obtained. Data was collected by measuring GJH and musculoskeletal disorders using the Nordic body map questionnaire. Results: Based on the bivariate analysis test with Spearman's rho, p-value = 0.000 (p < 0.05) was obtained for the two independent variables with a correlation coefficient of r = 0.797. Conclusion: Based on the research results, it can be concluded that there is a relationship between GJH and MSDs in the Balinese dancer population in Denpasar City.

Collaborative Pathways in Studio Dance Education

In this article, we explore the transformational power of holistic studio culture in dance education, drawing from our personal experiences growing up in dance studios that engaged in community events and dance competitions. Unlike traditional studios bound by a single technique, our formative environments embraced a rich tapestry of dance experiences, including community involvement, competitions, and workshops. This diversity has significantly shaped our approaches to teaching dance today. We aim to demonstrate how embracing a holistic studio culture can enrich dance education, providing a model for fostering creativity and inclusivity in the classroom. Through this reflection, we invite readers to consider the impact of varied dance experiences on educational practices and student development.

Factors associated with musculoskeletal pain in professional dancers, including lapse period of group practice due to the COVID-19 outbreak: repeated-measures analysis.

This study investigated the prevalence and associated factors of musculoskeletal pain among professional dancers who experienced a lapse in group practice due to coronavirus disease 2019. General characteristics, practice time, region of musculoskeletal pain due to injury using the visual numeric scale (VNS), and causative motion were surveyed among professional dancers. Pain of VNS 0 to 3 was categorized as "no or minor," 4 to 6 was categorized as "moderate," and 7 to 10 was categorized as "severe." The causal motions of musculoskeletal pain were analyzed according to body region. Factors other than motion associated with pain were also analyzed. In total, 368 participants were included. In the univariate analysis, age and practice time were positively associated with "moderate" pain. Practice time, dance experience, and postural accuracy were positively associated with "severe" pain, as was performing Korean traditional dance. In the multivariable analysis, practice time, group practice, and age were positively associated with pain of VNS 4 to 10, and practice time, group practice, and Korean traditional dance were positively associated with pain of VNS 7 to 10. Among the factors related to dancer training, practice time, group practice, and dance type affect the occurrence of pain.

Creative dance – practising and improving … what? A study in physical education teacher education

Creative dance, that is to say, movements, with or without music, which allow participants to express ideas, thoughts, and feelings, are sometimes accompanied by a ‘there is no right or wrong way to move’ rhetoric. This may reinforce the impression among physical education teacher education (PETE) students, who often have limited experience of (creative) dance, that there is nothing to practise in creative dance and that this activity is merely directionless movement. In this paper, however, based on Aggerholm's notion of practising movements, we explore an occasion in a PETE course where a magic moment occurred, indicating that the students had practised and ‘figured out’ something that made this moment possible. The purpose of the paper is to explore the knowledge in movement that PETE students were practising as they participated in creative dance. The purpose is also to shed light on what pedagogical practice contributed to enabling such practising. Video documentation and short interviews with students in one PETE course and one continuing professional development course for physical education teachers indicate that the magic moment was made possible as the students’ practised making sense of moving in non-predetermined – creative – ways and appreciating the expressive dimension of movement. Laban's movement analysis framework seemed, along with the teachers’ knowledge of movement, to be an important element in the pedagogical practice that made the magic moment possible.

창의적 자기효능감과 정서조절 및 창의적 성취간의 관계

Objectives The purpose of this study was to examine the indirect effects of creative self-efficacy on creative ach-ievement through emotion regulation strategies in dance majors, and to examine whether the effectiveness of emotion regulation strategies in mediating the relationship between creative self-efficacy and creative achieve-ment varies by dance experience level. Methods A total of 434 dance majors (46 males, 388 females, mean dance experience level: 7.35±3.79 years) re-sponded to questionnaires measuring creative self-efficacy, emotion regulation strategies, and creative achieve-ment, and the data were processed through mediation analysis and controlled mediation analysis using PROCESS version 4.0 for SPSS (Hayes, 2018). Results Creative self-efficacy positively influenced creative achievement directly as well as through emotion reg-ulation strategies. Furthermore, the effect of emotion regulation strategies on mediating the positive relationship between creative self-efficacy and creative achievement was stronger when the level of creative self-efficacy was high but the level of dance experience was low. We also found that the emotion regulation strategies that me-diate the positive relationship between creative self-efficacy and creative achievement are stronger when crea-tive self-efficacy is high but dance experience is low, and that the effect of creative self-efficacy on creative ach-ievement is stronger when college students with low creative self-efficacy have high dance experience. Conclusions The results suggest that it is important for college students majoring in dance to develop the ability to effectively manage their emotional experiences in order to be confident in their ability to effectively generate and perform creative ideas in order to solve problems and achieve goals during creative activities.

Inter-Viewing Socialist Dancing Bodies

In October 2021, I interviewed three Chinese professional dancers who had completed undergraduate dance degrees in China and pursued their MFA in Dance degrees in the US. Their bi-cultural experiences and unique training narratives motivated me to re-search the Chinese dancing bodies beyond the borders. In this article, I draw on Robin Nelson’s methodologies of Practice/Performance as Research and Diana Taylor’s Performance Studies theory of the archive to examine the performativity of my interviewees’ dance experiences and my own educational experiences in both the US and in China. I explore how Chinese dancers, with their distinctive, yellow-skinned appearance, embody the national spirit and cultural traditions of China as they navigate various dance practices across the diverse landscape of the United States. Through their daily movements, these dancers inhabit a space of in-betweenness, leaving indelible but untraceable traces of their experiences on their bodies. My analysis delves into how these dancers, through their encounters in the field of dance and performance in the US, reinterpret their cultural memories, social identities, and socialist ideologies through choreography. Drawing from my own cross-border experiences between the US and China, I approach the examination of their performances through interviews, textual analysis, and movement interpretations.

How spotting technique affects dizziness and postural stability after full-body rotations in dancers

Consecutive longitudinal axis rotations are very common in dance, ranging from head spins in break dance to pirouettes in ballet. They pose a rather formidable perceptuomotor challenge – and hence form an interesting window into human motor behaviour – yet they have been scarcely studied. In the present study, we investigated dancers' dizziness and postural stability after consecutive rotations. Rotations were performed actively or undergone passively, either with or without the use of a spotting technique in such an order that all 24 ordering options were offered at least once and not more than twice.Thirty-four dancers trained in ballet and/or contemporary dance (aged 27.2 ± 5.1 years) with a mean dance experience of 14.2 ± 7.1 years actively performed 14 revolutions in passé or coupé positions with a short gesture leg “foot down” after each revolution. In addition, they were passively turned through 14 revolutions on a motor-driven rotating chair. Participants' centre-of-pressure (COP) displacement was measured on a force-plate before and after the rotations. Moreover, the dancers indicated their subjective feeling of dizziness on a scale from 0 to 20 directly after the rotations. Both the active and passive conditions were completed with and without the dancers spotting.As expected, dizziness was worse after rotations without the adoption of the spotting technique, both in active and passive rotations. However, the pre-post difference in COP area after active rotations was unaffected by spotting, whereas in the passive condition, spotting diminished this difference. Our results thus suggest that adopting the spotting technique is a useful tool for dizziness reduction in dancers who have to perform multiple rotations. Moreover, spotting appears most beneficial for postural stability when it involves less postural control challenges, such as when seated on a chair and occurs in situations with limited somatosensory feedback (e.g., from the cutaneous receptors in the feet). However, the unexpected finding that spotting did not help postural stability after active rotations needs to be investigated further in future studies, for example with a detailed analysis of whole-body kinematics and eye-tracking.

Spinning Outside of Our Selves: Pole Dance, Materiality, and Embodied Existence Beyond Colonial Binaries

In this essay, I analyze three embodied experiences of pole dance: spinning movement, the continual material relationship between the pole and the body, and the unique movements of pole dance. I argue that these material experiences support an expansion of embodied existence beyond the foundational colonial binary of otherness: human/nature. My analysis illuminates how this is possible and provides conceptual understandings of material processes that enable reconfigurations of visual perception, embodied relations, and expansion beyond the colonial boundary of the “self.” These findings can support further research into how a more just future can be created and embodied.

Dancing Bodies in Zadie Smith's Swing Time

Abstract: This essay reads Zadie Smith's Swing Time (2016) as generating innovative and insightful conversations between literary criticism and dance studies. Smith's novel explores the onstage and offstage performative experiences and challenges of hybridized bodies and hyphenated identities in a transcontinental context. The novel sets up an interactive dancefloor for its leading characters—the unnamed female narrator and her childhood friend Tracey—both of whom are biracial and live in the working-class neighborhoods of Northwest London. Drawing from cultural studies and dance theories, this essay considers the narrator's and Tracey's practices and experiences of dance to discuss the swinging connections and disconnections between selves, bodies, and cultures carried through the protagonists' challenged expressions of agency and mobility in glocal and transnational contexts.

Embodied collaborative writing in graduate dance education.

This paper explores how embodied writing can inform teaching, learning, and research presentation in graduate-level dance education in a kinesiology faculty. The focus is on a graduate dance course "The Dancing Body in Motion", which combines the anatomical analysis of the physical body, social theory, and lived dance experiences to promote more embodied and holistic teaching and learning. The authors, an instructor and a student of the course, share their experiences and reflections on the course through an embodied presentation of a dialogue that combines the instructor's lecture notes, the student's learning journal entries, and their reflections both separately and in conversation with each other. Their reflections offer insights into how the body and mind, material and social body, and practice and theory can all be brought together using embodied writing practices, such as a learning journal and performance ethnography, in a dance performance.

Examination of the Attitudes of Individuals Playing Folk Dances Towards Folk Dances

The purpose of this study is to investigate the attitudes of individuals who perform folk dances towards folk dances. 193 people who actively studied and performed folk dances at Alanya Aladdin Keykubat University participated voluntarily in our study. Tekkurşun Demir, Ozbek, and Gündüz (2022) established the validity and reliability of the Attitude Scale Towards Folk Dances (ASTFD), which was used in our study. In accordance with the 95% confidence interval, statistical frequency analysis, reliability coefficient calculations, the Mann Witney U test, and the Kruskal Wallis H test were conducted using the SPSS 25 package program. In the age variable of our research, the average age is close to each other, in the gender variable, women are more than men, graduate students are negative compared to undergraduate students, in the monthly income levels variable, individuals above the minimum wage are positive compared to individuals below the minimum wage, in the folk dance experience variable, individuals who receive 1-2 years of education and actively play folk dance are positive compared to individuals who are 3-4 years and 5 years and above. As a result, it was observed that According to the results of the Man Witney U Test conducted between the ages of the individuals and their Attitudes towards Folk Dances, there was a statistically significant difference in the scale total score and three sub-dimensions (p

Does the direction of shapes and bodies influence the aesthetic perception of stage setups in dance?

PurposePerceiving aesthetics in watching dance is a complex field of research, yet the component of space in general and stage setups, in particular in dance, is rarely studied. This study investigates the space on stage through the stage setups used in dance competitions. The main goal was to explore the aesthetic preferences of symmetry and the front-facing direction of shapes in a dance presentation. The investigation tries to determine how observers with differing dance experiences perceive the aesthetics of V-setups, diagonal lines, and their involved dancers by mirroring and turning shapes and bodies.MethodsCategorised into three groups (modern dancers, other dancers, non-dancers), 72 active female participants from dance studios and college sports courses evaluated the perceived aesthetics of eight arranged stage setups through a video ranking. Nine motion-captured avatars performed the hip-hop bounce movement in each setup. The participant’s task was to rank the presented stage setups based on their aesthetic perception. The ranking was illustrated with the means values, and the 5% significance criterion was tested with the Friedman-ANOVA.ResultsThe stage setups are perceived differently by the observers. The V-setups reached higher aesthetic scores than the diagonal lines. Only the group of modern dancers showed no preference for the V versus the diagonals. There was a significant difference between the direction of the arranged dancers on stage. The setups with all dancers’ bodies front-facing are aesthetically preferred. Furthermore, the regular V-setup with its top to the front and with all dancers’ bodies facing the front achieved the highest score in the aesthetic evaluation.ConclusionsThe results provide evidence that the feature of symmetry is a driving factor in perceiving aesthetics in dance. The V-setup can be suggested for use in dance choreographies to improve the aesthetic value of observers. Also, the direction of the dancers facing the front is recommended and should be used in dance stage setups.

Wheelchair Dance: Exploring a Novel Approach to Enhance Wheelchair Skills, Belongingness and Inclusion among Children with Mobility Limitations

Playful approaches are recommended to enhance wheelchair skills training with young people. Inclusive dance allows participants to discover motor skills and improve social participation. Integrating wheelchair skills training into dance has not been evaluated. This study aimed to explore participants’ experiences in dance while integrating wheelchair skills, and the influence of dance on wheelchair skills and wheelchair use confidence in young people. A convergent mixed-methods design was used during a one-week dance camp. Data collection combined observations, two focus groups (with young dancers who used manual wheelchairs and with professional dancers without disabilities), and evaluation of wheelchair skills and confidence. Data analyses included deductive thematic analysis guided by the Quality Parasport Participation Framework, merged with pre–post comparisons in wheelchair skills and confidence. Three young female dancers were 11, 12 and 15 years of age and three professional female dancers were 22, 27 and 27 years of age. Emergent themes included skill mastery, belongingness, and supportive environments. There were improvements in wheelchair skills and confidence (16.7%, 19.4%, 16.7%; 0.8%, 11.4%, 4.5%, respectively). Participants described overall positive experiences with the dance camp and perceived enhanced skills and confidence. This study advances knowledge about innovative approaches to integrate wheelchair skills training for young people. Future larger-scale controlled studies are needed to determine efficacy.

Effects of square dance exercise on cognitive function in elderly individuals with mild cognitive impairment: the mediating role of balance ability and executive function

BackgroundSquare dancing is a kind of aerobic fitness exercise without environmental restrictions that yields many benefits for physical and mental health; this exercise is popular among middle-aged and elderly people in China and in these populations in other countries. This study aimed to evaluate the effects of square dance exercise on the overall cognitive function of elderly individuals with mild cognitive impairment (MCI) and to research its mechanisms.MethodsA total of 60 elderly people with MCI (60–69 years old) without square dance experience were selected and randomly divided into an experimental group (n = 30) and a control group (n = 30). The experimental group participated in square dance exercise for 12 weeks, while the control group maintained their original lifestyle habits. One week before and after the intervention period, the overall cognitive function, physical fitness, and executive function of both groups were measured.ResultsAccording to the results, square dance exercise directly improved the overall cognitive function of elderly individuals with MCI and indirectly affected overall cognitive function through the mediating effects of balance ability and executive function.ConclusionsSquare dance exercise represents a nonpharmacological intervention for the prevention and treatment of MCI. Importantly, it is best to combine this exercise with other forms of physical exercise and comprehensive treatment programs such as cognitive training, social interaction, and psychological intervention to realize its maximum effect.