Dance Research Articles

Injury Prevention Strategies in Dance: A Systematic Review.

Background: Dance is a popular activity worldwide that comes with inherently high injury rates. Despite the call for implementation and evaluation of injury prevention strategies, the utility and efficacy of injury prevention practices in dance are unknown. Objective: The primary objective of this systematic review was to describe dance-specific injury prevention strategies in any dance population. The secondary objective was to evaluate the effectiveness of these strategies in the reduction of injury prevalence or incidence rates. Methods: Six electronic databases were searched to March 2024 (Medline, EMBASE, SportDiscus, CINAHL, SCOPUS, Cochrane). Selected studies met a priori inclusion criteria that required original data describing an injury prevention strategy for any genre of dance. Studies were excluded if; no injury outcomes were reported, no injury prevention strategy was utilized, or if dance was used as a therapeutic intervention/fitness. Two reviewers independently assessed abstracts and full texts for inclusion. Study quality was evaluated using the Joanna Briggs Institute Level of Evidence tool. Results: From 2209 potentially relevant records, 8 studies met criteria for inclusion. Injury prevention strategies were diverse across conditioning and exercise programs, neuromuscular training warm-up, psychological coping skills training, and educational programs, with a range of duration and adherence measures. Due to inconsistent injury surveillance methodology, efficacy of these programs could not be determined. Quality of included studies was moderate to high, with moderate to low risk of bias. Conclusions: Efficacy and adherence to dance-specific injury prevention strategies are understudied in the dance science literature. Conditioning and exercise programs are currently the most common injury prevention strategies, with initial evidence suggesting they may be efficacious in reducing injury rates. Further research using valid injury surveillance methodologies and standardized injury definitions to examine the efficacy of these strategies in reducing dance-related injury is needed. Level of evidence: I.

Effects of dynamic stretching of different duration on lower limb flexibility in male sport dancers: A randomized controlled trial

In the field of sports training and teaching, stretching is regarded as a highly valuable technique, particularly in its capacity to facilitate gradual acclimatization of the body to the exercise state during the warm-up session and as a means of enhancing flexibility qualities. As the research on athletic training continues to deepen, the discussion on the respective advantages of static stretching and dynamic stretching is becoming increasingly prominent. In this study, dynamic stretching was selected as the primary intervention to investigate the effects of varying durations of dynamic stretching on the flexibility of the legs of male students majoring in sport dance, with a particular focus on the underlying biomechanical mechanisms. Method: The subjects were 40 male first- and second-year students majoring in physical education dance at Yichun College, randomly assigned to one of four groups of 10 students each. The methodology comprised a dynamic stretching warm-up and quality training prior to the commencement of regular sports dance teaching, after which the basic teaching session was initiated. The study employed SPSS 22.0 software to conduct a T-test to analyze the effects of different stretching durations on flexibility. SPSS 22.0 software was utilized to perform a T-test. Biomechanical parameters such as muscle fiber recruitment patterns, joint range of motion, and force generation during stretching were also measured and analyzed. Results: (1) Dynamic stretching in warm-ups and training can boost lower limb flexibility. Biomechanically, this is attributed to the activation of specific muscle groups and the modulation of connective tissue properties. A significant difference observed between dominant and non-dominant limbs, which may be related to differences in neuromuscular control and muscle fiber composition. (2) A 20-minute stretch in warm-ups and a 30-minute stretch in training were best for flexibility, showing a more pronounced effect on the dominant side. This could be due to the dominant limb's greater ability to generate force and adapt to biomechanical stress, as well as its more efficient neuromuscular coordination. (3) The right side, which corresponds to the dominant limb in most subjects, improved more than the left with dynamic stretching. This could be attributed to the greater neural activation and muscle recruitment efficiency, which are key biomechanical factors in the stretching response. (4) Although dynamic stretching is slower than static stretching in enhancing flexibility, consistent sessions exceeding 20 minutes can still yield positive results for both limbs though the dominant limb may benefit more initially., likely due to its pre-existing biomechanical advantages and more refined neuromuscular pathways. Conclusion: Dynamic stretching effectively improves lower limb flexibility, though more slowly than static stretching. Regular sessions over 20 min, especially 20-minute warm-ups and 30-minute training, can notably enhance flexibility, with a significant impact on the dominant limb, suggesting that while non-dominant limbs also benefit, the dominant limb may require less time to achieve similar flexibility improvements due to its inherent biomechanical and neuromuscular characteristics.

Frequency of Upper Body Muscular Demands in Contemporary and Ballet Dance Performance: A Cross Sectional Performance Analysis.

Introduction: There is currently little research relating specifically to the muscular strength and endurance requirements of the upper body such as lifts at varying heights, ground floor contact with the hands and inversions such as handstands. Enhanced understanding of muscular demands can inform training program design to build physical tolerance to meet the demand of the activity. The aim of this study was to ascertain the frequency of upper body muscular skills in contemporary and ballet dance performance. Methods: Analysis of 46 individual ballet performers (F = 23, M = 23) from 12 performances (duration 63.5 ± 44.5 minutes) and 44 individual contemporary performers (F = 21, M = 23) from 12 performances (duration 35.7 ± 4.3 minutes) was carried out. Frequency of upper body skills was recorded using Dartfish Easytag-Note and converted to mean frequency per minute of total performance and per performance by genre and by sex. Differences in frequency between genre were analyzed via Mann-Whitney U. Phase two analyzed differences between sex via Mann-Whitney U. Finally, analysis of differences between sex within dance genre was carried out via Wilcoxon signed rank test. Significance was accepted at P < .05. Results: A significant difference was apparent between ballet and contemporary dance for holding own weight (P < .05) with a greater total mean frequency within contemporary performances of 8.50 ± 9.03 compared to a total mean frequency of 1.51 ± 3.13 within ballet performances. Additionally, there was a significant difference for above shoulder assisted lift (P < .05) when comparing male dancers, with male contemporary dancers carrying out significantly more (9.82 ± 8.56) per performance than male ballet dancers (2.33 ± 4.66). A higher mean frequency of below shoulder lifts than above shoulder lifts was also noted, with the majority of above shoulder lifts remaining at eye level. Conclusion: Training programs must prepare dancers for upper body movements that consider differing biomechanical demands of a variety of lifts and inversions.

The effectiveness of dance interventions on the cognitive functioning of people with dementia or cognitive impairment: A systematic review

Background &amp; Aim: Dementia significantly impair cognitive abilities, well-being, and the functioning of daily life, but there is no cure yet. In the search for non-pharmacological interventions, dance has emerged as a potential complementary therapy to support people with dementia or cognitive impairment. The aim of this study is to investigate the effectiveness of various dance interventions on the cognitive performance of people with dementia or cognitive impairment. Methods &amp; Materials: In accordance with the PRISMA 2020 guidelines, a systematic search was conducted in six databases (APA-PsycINFO, Web of Science, Medline, CINAHL, Embase, and Cochrane)from 2002 to 2023. The quality of the studies was rigorously assessed using the JBI tool. A narrative synthesis approach was used to summarize the findings. Effects of the interventions were presented either as Standardized Mean Difference (SMD), Weighted Mean Difference (WMD), or Mean Difference (MD). An effect size of &lt; 0.1 is considered trivial, 0.1-0.3 is small while &gt; 0.5 is interpreted as a large effect. Results: The systematic results showed significant improvements in global cognition (SMD= 0.54 to 6.10), memory (SMD= 0.24 to 0.56), attention (SMD= 0.38), and language and fluency (SMD=0.61) in different dance genres such as ballroom, Latin and aerobics. However, different effects were observed in executive and visuospatial functions. Conclusion: This systematic review shows the effectiveness of dance interventions in improving several cognitive functions in people with dementia, including memory, attention, language, and fluency. This study supports the use of dance as an effective non-pharmacological approach in dementia care and merits its consideration in treatment strategies and further research studies.

EMPOWERMENT IN MOTION: ANALYZING THE EXPERIENCE OF WOMEN HIP-HOP DANCE CREW

Abstract Hip-hop dance is known as one of the dance genres, primarily associated with the younger generation. However, it has gained popularity among not only the youth but also the older generations worldwide. Participants in this study have formed hip-hop dance crews targeting middle and old-aged women, engaging in regular practices and performances to create and enjoy their leisure activities. According to the innovation theory (Nimrod &amp; Kleiber 2007), individuals can achieve successful aging by actively engaging in leisure activities. This theory emphasizes the importance of continuously seeking new experiences and challenges, even in later stages of life. Therefore, this study aimed to explore the experiences of participation in the women’s dance crew based on the innovation theory. In-depth interviews were conducted with 16 middle and old-aged women regarding their motivations, identity as members, and outcomes. The interview results confirmed that participants initially began their activities for various reasons (e.g., family recommendations, maintaining health), but continued their activities due to intrinsic motivation. Interestingly, it was found that both self-preservation innovation (leisure activities related to previous life experiences) and self-reinvention innovation (completely new leisure activities) were simultaneously discovered among the participants. Furthermore, participants were able to enhance psychological, physical, and social well-being through dance activities. These findings align with the key factors proposed in the innovation theory. Consequently, it was observed that middle and old-aged women preserve their past identities and explore new aspects of themselves by enjoying hip-hop dance, highlighting the significance of leisure activities in later life.

Didactic Values in the Gending Text of the Baris Dadap Dance in Adat Batur Village, Bali

The Baris Dadap dance is a sacred dance performed by four to six male dancers, typically staged during the Dewa Yadnya ceremony (a sincere and wholehearted offering to the Almighty God). The Baris Dadap dance has distinctive characteristics that set it apart from other types of Baris dances, particularly in its performance structure, which combines movements and gending (traditional Balinese song), referred to in Balinese as wirama. This study aims to (1) describe the performance form of the Baris Dadap dance and (2) analyze the didactic implications of the gending text in the Baris Dadap dance on the formation of knowledge within the Batur traditional village community in Bali. This research employs a qualitative method with data sources including the Baris Dadap dance performance, dancers, musicians, community elders, cultural figures, and journals related to previous research findings. Structural functional theory and Balinese dance theory are used to analyze all data collected through observation, interviews, and documentation. The results of the study indicate that (1) the performance form of the Baris Dadap dance is built on three main frameworks—dance movements, gending texts sung by the dancers, and accompanying music—with the structure of the performance divided into three parts: the first part called pepeson, the second part called pengadeng, and the third part called pekaad; (2) the didactic values in the gending text of the Baris Dadap dance have implications for the formation of a knowledge system in the aspects of tattwa (philosophy), susila (morality), and upacara (rituals). The new findings of this study reveal that the values embedded in traditional dances and their meanings can serve as a conscious means of imparting human knowledge to achieve physical and spiritual harmony.

Limb Symmetry Index in Collegiate Dancers Using the Modified Star Excursion Balance Test and Single Leg Hops.

Introduction: Dance is physically demanding and often involves unilateral movements performed within a small base of support. Prior authors have reported that dancers use one leg preferentially over the other (ie, lower extremity asymmetry). Increased leg asymmetry-quantified using the Limb Symmetry Index (LSI), is associated with increased injury risk. Clinicians often use LSI to make return-to-performance decisions (eg, >85% performance on injured vs non-injured limb). However, limited research has examined leg symmetry in collegiate dancers. Purpose: To examine LSI in collegiate dancers using the modified star excursion balance test (mSEBT) and single-leg hop test (SLH). Methods: 120 healthy collegiate dancers (105 females, 15 males; 18.31 ± 0.80 years; 164.18 ± 7.12 cm; 61.18 ± 8.46 kg) performed the mSEBT (normalized to % leg-length: LL) in the anterior, posteromedial, and posterolateral directions and the SLH test (normalized to % body height: BH) across both legs using previously published guidelines. mSEBT scores were averaged for all three directions per leg. SLH scores were averaged per leg. LSI was calculated as (lower value/higher value) × 100 to obtain a percentage. Results: Mean mSEBT scores were 95.7 ± 14.2%LL (lower score) and 96.6 ± 14.3%LL (higher score). Dancers LSI for mSEBT was 99.1 ± 0.9%. Mean SLH scores were 82.8 ± 13.3%BH (lower score) and 86.4 ± 13.5%BH (higher score). Dancers LSI for SLH was 95.9 ± 3.5%. Conclusions: Dancers' LSI% was greater than 90% for mSEBT and SLH, concurrent with the normal values of LSI > 90% in healthy, physically active adults. Dancers displayed lower leg symmetry. Practitioners can thus use the contralateral leg as a reference for return-to-performance decisions following injury in dancers. LSI should be integrated into a comprehensive screening process to identify large (>85%) asymmetries and guide training programs post-injury to assist educators and practitioners' evidence-based return-to-performance decisions. Future researchers should examine LSI in other dance genres and across levels.Level of Evidence: 2C.

Фортепианные пьесы М.П. Мусоргского. Статья I. Танцы, оперные сцены, скерцо

The article is devoted to the little–studied part of the piano heritage of M.P. Musorgsky — dance genres (Polka and Hopak), a Fair scene from the opera Sorochinskaya Fair and several plays written in the genre of Scherzo and Schercino. An attempt has been made to comprehensively present and analyze Musorgsky’s piano opuses, which are not part of large cyclic forms. The issues of genre specificity, piano stylistics and performance interpretation are discussed. The formal structure of the plays is considered by referring to the theoretical systems of A.B. Marx, I.V. Sposobin and L.A. Mazel. Textual issues are an important component of the article, since referring to the composer’s autographs makes it possible to identify features lost in publications of the XIX–XX centuries. It is concluded that the specific symphonic pianism was one of the characteristic essential properties of Mussorgsky’s piano style, expressed in various compositions (or versions of one composition) with varying degrees of strength. The study and publication were initiated by the ongoing work at the State Institute of Art Studies on the publication of the Complete Academic Collection of Works by M.P. Musorgsky.

Self-reported Health Problems of Professional Dancers from Five German Opera Houses or State Theatres: A Prospective Study with Weekly Follow-ups during One Season

BackgroundMost studies on injuries of professional dancers used a medical-attention and/or time-loss definition and did not analyse all health problems. Further, almost all studies included just one company. The aim was to analyse all self-reported health problems of professional ballet and contemporary dancers during one season and compare sexes and five companies in Germany.MethodsDancers of five professional companies completed weekly health questionnaires during the season (September 2022 to June 2023). Numerical rating scales were used for severity of all health problems, musculoskeletal pain, impairment of the ability to dance at full potential, physical and mental workload in the previous seven days. If the severity of all health problems were rated greater than “0”, the dancers were asked to report the type and consequences of their most severe health problem.ResultsDuring 43 weeks, 98 dancers (39.8% male) completed 3123 weekly reports (response rate 74.1%). The season prevalence of any health problem was 100% and of time-loss health problems 74.5%. The average weekly prevalence of any health problem was 62.7%, of musculoskeletal pain 83.4% and of impaired ability to dance at full potential, due to health problem 48.6%. While the season prevalence and type of health problems was similar between sexes, the average weekly prevalence of severe health problems was higher in female than in male dancers (Chi2 = 23.2; p < .001), and female dancers saw a qualified health professional more often than male dancers (Chi2 = 19.5; p < .001). Companies differed in almost all investigated variables, with more health problems in companies where more dancers rated their workload higher than “ideal”.ConclusionHealth problems are frequent in professional dancers and affect their ability to dance. Future studies should analyse the impact of physical and mental workload on health problems.

The 'ideal' dancer: An investigation into predictors of body image dissatisfaction among male dancers, female dancers and their non-dancing counterparts.

Body image dissatisfaction is consistently highlighted as a precursor for eating disorders, arising from several factors. One factor surrounds social expectations of being thin, which can be emphasised in certain physical activities, like dance. Whilst research is available for body image dissatisfaction among female dancers, literature has neglected the male demographic. The present study investigated seven predictors of body image dissatisfaction within male and female dancers, from a variety of genres. The study employed a non-experimental quantitative method, utilising an independent groups correlational design. The role of clothing practices, body ideal internalisation and sociocultural influences were investigated as predictors for body image dissatisfaction. Data from 180 participants (mean age = 23.7, SD = 7.51) was analysed from an online survey. Hierarchical multiple regression revealed that the model consisting of all predictors significantly accounted for over 60% of variance in body image dissatisfaction scores within all independent groups. The individual contribution of predictors differed between groups, with clothing practice being the only significant predictor in all four groups. Media pressure was a significant predictor within non-dancer groups only. This research highlights the importance of clothing practices, specifically tight-fitting garments within the dance environment and general population. Future research should investigate potential differences in the predictors between each level of dance.

Consciousness and commodity: towards a critical theory of genre in American popular music

ABSTRACT This paper uses a critical theory approach to analyse the process of genre in American popular music. Synthesizing views from Herbert Marcuse and Theodor Adorno with more optimistic perspectives from Angela Davis and Tia DeNora, the paper proposes a cyclical theory of genre transformation from communal resistance to commodified product. Three case studies are used to show this process. In the 1920s, Appalachian music transformed from indigenous, multi-racial folk to commercialized ‘hillbilly music'. During the 1970s disco originated in queer communities to provide liberation on the dancefloor, became the dominant music of the decade, resulting in its homophobic extinction while inspiring new dance genres like house. Finally, the 1980s saw the rise of rap as a mode of defiance to racial and economic violence, but subsequent generations of artists worked to self-commodify to appeal to suburban white audiences, becoming the world's most popular genre. The paper examines how each genre originated as a form of resistance, gained widespread popularity, and ultimately became commodified. It concludes by exploring how AI-driven algorithms have disrupted traditional consumption patterns based on genre. In its place, machine learning and artificial intelligence is fabricating an ‘algorithmic self’ that individuates while disconnecting from specific communal expressions.

Biomechanical Analysis of the “Cuban Motion”

Abstract Purpose “Cuban Motion” (CM) is a term often used to label a basic movement of many Latin-American dances, such as salsa and bachata. It is characterized by a cyclical and rhythmic flexion and rotation of the pelvis, accompanied by ample movements of the spine and lower limbs. Since Latin dances are considered both a recreational activity and a kind of healthy gymnastics for young and older subjects, a biomechanical analysis of the CM was performed to quantitatively assess the main features of this movement, from joint kinematics to muscle activations. Method The study combined experimental acquisitions with a Vicon Motion Capture system and musculoskeletal analyses in OpenSim. Only one subject was considered, an instructor of Latin dances, who was equipped with 55 retro-reflective markers, according to the Full Body CGM2.5 marker set. Data were processed in OpenSim, using the ThoracoLumbar model (111 DoFs and 620 musculo-tendon actuators). Results The cycle of the CM and its main events were defined. Results showed a wide RoM of many joints, with correlations between hip and knee flexion angles and among list, between hip adduction and shoulder flexion. The main role of the iliopsoas and the ileus costalis muscles was observed. Conclusions The current study quantified the CM as a physical exercise using a biomechanical approach similar to a gait analysis. The main kinematic and kinetic features were described, also providing an estimation of the muscle activations and joint reactions, derived from simulation activity in OpenSim. The main limitation of this study is the focus on a single subject, but this step was necessary to define a context and guidelines for future investigations, where we are going to compare èlite vs. novices and male vs. female dancers.

Поэма Абу Бакра Каландара Руми «Каландар-наме» как источник сведений по суфийской ритуальной музыке

This paper is devoted to analyze the text of Abu Bakr Qalandar Rumi’s poem “Qalandar-name” from the point of view of describing the Sufi ritual of listening to sama`. As it is known, Sufi zikr can be two types – “loud”, with singing, dancing movements and playing musical instruments, and “quiet” without any musical part. Research materials: The statement of the author of the poem is of scholarly interest because the author welcomes both two types of zikr, as his Ushshaki group used singing, dancing and musical instruments. All these activities were used for the sole purpose of unity with the divine. The text of the poem is a source on Sufi rituals and their musical peculiarities in different tariqats. The poet also provides theoretical justifications for the permissibility of music in Sufi rituals, based on famous Sufi sheikhs of the earlier centuries. Also the author of the poem displays a deep knowledge of the general Sufi Islamic culture of his time, often referring to poetic images of famous Sufi poets of different countries. The musical instruments presented in the poem give a deep insight into the fact that each group of dervishes may have had their own set of instruments and their own dances. A common genre for all Sufi groups in the world is the genre of munajat, which appears four times in the poem as a separate prayer chapter. Results and novelty of the study: In this paper much attention is paid to the analysis of Sufi musical genres and instruments which were typical of that era. Also a number of the most favorite musical instruments are identified, which were widely used during the Sufi ritual of listening to sama`. The differences between the terms sama` (Sufi listening ritual) and the dance genre of Crimean Tatars “sema” and Tajik “samo” are explained separately. The musical instruments, such as arganun and organ, as well as musikar / musigar, which have different descriptions in historical and modern scientific literature, are also studied separately. The description of the organ in the context of the poem together with the image of the immortal bird Kuknus / Phoenix gives the readers the poem the image about two variants of the wind instrument – the Pan flute type and the keyboard type with mechas. Since we have not found a precise description of the organ and the arganun / musikar in the poem itself, this question remains open for future research. The poem “Kalandar-nameh” will no doubt be useful as a source on Sufi culture of different tariqats of the Middle Ages.

Masculine Violence in Turkish Folk Dances

As a social issue, violence continues to manifest and remains a current topic of academic research. Scientific studies mostly focus on the individual and societal dimensions of violence; however, studies that address violence in the context of everyday life practices remain limited. This study argues that violence has a masculine character as a result of gender inequality and within the framework of the masculinity-power relationality. On the other hand, this study considers folk dances as a product of social culture and views them as an effective form of non-verbal communication within society. The study is based on the claim that, in folk dances observed in formal or informal ceremonial events, which are part of everyday life and contain elements of violence, violence is legitimized as a spectacle. In this context, local folk dances from different regions of Turkey, performed exclusively by male dancers and portraying themes of heroism, victory, bravery, and courage, have been selected as examples. These include Trabzon Bıçak Horonu, Bursa Kılıç-Kalkan, Manisa Seğmen Sekmesi, Balıkesir Bengi, Erzurum Köroğlu Barı, Giresun Tüfekli Çandır Karşılaması, and Diyarbakır Şur-u Mertal. The violent content of these dances has been analyzed through the method of semiotic analysis. Weapons used in these dances, fast and rhythmic tunes, and rigid movements have been considered as indicators of violence. It has been concluded that these dances, admired and enthusiastically applauded, normalize violence. This study makes a significant contribution by addressing folk dances within the context of violence and aims to fill the gap in the literature in this field.

Music-stylized hierarchical dance synthesis with user control

BackgroundSynthesizing dance motions to match musical inputs is a significant challenge in animation research. Compared to functional human motions, such as locomotion, dance motions are creative and artistic, often influenced by music, and can be independent body language expressions. Dance choreography requires motion content to follow a general dance genre, whereas dance performances under musical influence are infused with diverse impromptu motion styles. Considering the high expressiveness and variations in space and time, providing accessible and effective user control for tuning dance motion styles remains an open problem. MethodsIn this study, we present a hierarchical framework that decouples the dance synthesis task into independent modules. We use a high-level choreography module built as a Transformer-based sequence model to predict the long-term structure of a dance genre and a low-level realization module that implements dance stylization and synchronization to match the musical input or user preferences. This novel framework allows the individual modules to be trained separately. Because of the decoupling, dance composition can fully utilize existing high-quality dance datasets that do not have musical accompaniments, and the dance implementation can conveniently incorporate user controls and edit motions through a decoder network. Each module is replaceable at runtime, which adds flexibility to the synthesis of dance sequences. ResultsSynthesized results demonstrate that our framework generates high-quality diverse dance motions that are well adapted to varying musical conditions and user controls.

Tibetan Dance and Its Artistic Value Rediscovered

Tibetan dance carries a rich history, culture and national feelings, and its history can be traced back to the Neolithic Age. At that time, the ancestors of the Qinghai-Tibet Plateau had begun to express their lives and emotions in the form of dance. After thousands of years of development and evolution, Tibetan dance has formed a unique artistic style and a complete dance system, which not only reflects the profound historical and cultural heritage, but also shows the unique aesthetic pursuit and national spirit of the Tibetan people. This paper reviews the historical development of Tibetan dance, sorts out the characteristics and changes of Tibetan dance in different historical periods, analyzes the dance posture, rhythm and costumes of Tibetan dance, and discusses the value of Tibetan dance in contemporary times.

Current interventional model for movement in Parkinson's disease: network meta-analysis based on the improvement of motor ability.

To identify optimally therapeutic exercise interventions for improving motor ability among patients with Parkinson's disease (PD), we conducted a network meta-analysis (NMA) of randomized controlled trials comparing different exercise regimens. Relevant RCTs were retrieved by searching PubMed, Embase, Cochrane, Web of Science, CINAHL, CBM, China National Knowledge Infrastructure (CNKI), Wan fang, VIP, and other databases from inception to July 9, 2023 is available in English as the primary language. Exercise outcomes as measured by Movement Disorder Society- Unified Parkinson's Disease Rating Scale Part III (MDS-UPDRS-III) score change were evaluated and ranked using STATA software version 18.0. All included studies were assessed for methodological quality using the Cochrane Risk of Bias tool. The final NMA included 71 studies involving 3,732 participants, 87 intervention experiments, and 27distinct interventions. Although most exercise interventions showed some efficacy (reducing MDS-UPDRS-III score), cumulative ranking probability surface (SUCRA) values indicated that the best exercise interventions for motor function improvement were archery (95.6%), riding a bicycle (80.9%), and binary rhythm dance (80.8%). An exercise intervention comprising archery, cycling, and(or) binary rhythm dance may yield superior improvements in motor function among patients with Parkinson's disease.

Unlocking the Perfect Beat: Reflections on Musical Hybridisation in the Work of Lander Gyselinck

ABSTRACT This article explores the artistic and scientific practices of Lander Gyselinck, focusing on the hybridisation of jazz and beat-based electronic dance genres. The research investigates how cross-fertilisation can stretch boundaries and break conventions in rhythm, harmony, and texture. Through an integrated approach of art and research, Gyselinck examines the symbiosis between man and machine to inspire new creative processes. Employing a cyclical methodology of discovery, listening, transcribing, studying, creating, and composing, Gyselinck reveals a dynamic interplay between inspiration and systematic practice. This process has enriched his artistic-creative practice, resulting in a new musical language and techniques. The composition Sun Salutations from the album Disleksikon exemplifies these innovative rhythmic and textural elements, illustrating how the Footwork genre has influenced Gyselinck's drumming. This article reflects on Gyselinck's artistic journey, offering insights into the genesis of his music and methodologies. By documenting these processes, the work contributes to the on-going hybridisation and evolution of music, providing valuable perspectives for other musicians to enrich their own practices.

Recruiting Places: Pearl Primus's Plans for Global Activism through Community-Engaged Dance Theatre

In the summer of 1944, Black modern dancer Pearl Primus searched for authenticity. Over the past year, she had achieved critical success for her modern dance choreography that protested racial injustice in the South, informed by a leftist political mission. However, she thought something was missing. She explained to Dance Magazine, “I had done dances about sharecroppers and lynchings without ever having been close to such things.” In search of that missing component, Primus traveled from New York City, her home since she was a toddler, to the US South. A budding anthropologist, she went to live among Southern communities as a way to retool her protest choreography and make it more authentic. Unbeknownst to them, Southern community members would be recruited by her to provide inspiration for her performances and the leftist political stance that fueled those works. In identifying authentic expressive practices of the South through her anthropological practice, transferring what she found to her choreography, and then performing that repertoire on New York stages, she would further develop her ability to instill in Northern audiences the necessity of leftist activism.

A Chinese Dance Therapy Framework.

Genuine Chinese dance therapy is in the ascendant and psychiatric approaches that involve a broad spectrum of principles such as ontological identity, social inclusion and collective support, aestheticisation and expressive catharsis, symbolic exorcism, trance and Buddhist mindfulness. Its models are based on a wealth of Chinese dance genres originating from various dynasties as well as cultural traditions of ethnic minorities. Due to different epistemological backgrounds of Western diagnostic manuals and traditional Chinese views of mental diseases, complex understanding of pathologies and therapeutic dynamics is needed. Therefore, this opinion piece suggests a theoretical framework that encourages interdisciplinary approaches as well as inclusive transcultural psychiatry and related philosophy of science.