Dance Students Research Articles

무용창작 수업에서 대학생의 경험에 대한 개방성 창의적, 프로세스 참여 내재적 동기 및 창의적 수행 간의 관계

Objectives The purpose of this study was to explore the latent factor structure of the Creative Process Engagement Scale (Zhang & Bartol, 2010a) and the Creative Performance Scale (Mutonyi & Slatten, 2020) adapted for college dance students (Study 1), and to examine the effects of openness to experience on college students' creative performance through creative process engagement and intrinsic motivation (Study 2). Methods Study 1 was conducted on 127 undergraduate dance majors (17 males, 110 females) to test the validity and reliability of two scales. Data were analyzed using descriptive statistics, principal component analysis, and re-liability analysis. Study 2 was conducted on 428 dance majors (54 males, 374 females, mean age= 20.08±1.62) to examine the mediating effects of creative process engagement and intrinsic motivation on the relationship be-tween openness to experience and creative performance. The data were analyzed using confirmatory factor anal-ysis, internal consistency, and regression analysis. Results In Study 1, the latent factor structure of the Creative Process Engagement Scale and Creative Performance Scale fit a two-factor structure. The internal consistency coefficient (ɑ) was .927 for the creative process engage-ment scale and .838 for the creative performance scale. In Study 2, confirmatory factor analysis supported a three-factor structure for the creative process engagement scale and a single-factor and two-factor structure for the creative performance scale. Regression analysis showed that openness to experience has an indirect effect on creative performance through idea generation and intrinsic motivation. Conclusions Findings suggest that fostering college students' engagement in the creative process, intrinsic moti-vation, and creative performance in dance composition classes requires the promotion of cognitive styles that are open to experience.

The impact of breathing, perceptivity, imagination and creativity on oneness of mind and body in dance performance

Interest in the immersive expression of dancers in contemporary performances is growing, often relying on body knowledge and awareness. However, a noticeable gap exists in empirical research aimed at enhancing body awareness within the modern dance education system. The aim of this study is to investigate on the oneness of mind and body the influences of breathing, perceptivity, imagination, and creativity. Employing a quantitative research methodology, this study administered a questionnaire to 47 dance students at Hunan Women's University in Hunan Province, China. Regression studies carried out reveal a comparable positive and substantial association between creativity and the harmonization of mind and body as well as a positive and significant link between breathing and oneness of mind and body. Interestingly, the relationship between perceptivity, imagination, and the oneness of mind and body did not exhibit statistical significance. We posit that the lack of a significant relationship may be influenced by variables extending beyond the scope of dance, suggesting the need for deeper investigation in the future. These findings not only contribute to our knowledge of dance but also have practical implications for dancers, educators, and researchers in the field.

Tai Chi training: An effective method to enhance the oneness of mind and body in dance performance

Since the nineteenth century, the primary goal of university dance programmes has been to enhance students' dance skills, while the development of artistic expression has been neglected. Tai Chi training has been shown to be an effective method of exercising the mind and body to enhance perceptivity and body creativity. However, there is still less research on its impact in teaching dance performance in universities. Therefore, this study aims to address two fundamental questions: (1) How does Tai Chi training affect students’ perceptivity and creativity in dance performances? (2) What are the specific effects of enhanced perceptivity and creativity on the state of dance performance? In order to answer these questions, this study utilized a qualitative research methodology involving 43 dance students from Hunan Women's University in China. The research methodology included a 10-week Tai Chi training program at Hunan Women's University in Hunan Province, China, and semi-structured interviews with participants. The findings reveal how Tai Chi training enhances dance students' perceptivity and creativity in dance performance and explains its effectiveness on the state of oneness of mind and body in dance performance. This exploratory study provides preliminary evidence for understanding the impact of Tai Chi training on mind and body awareness in dance and provides a basis for incorporating more mind and body exercises into dance education in the future.

Dancing the Cross-Lateral: Variations on a Brain Dance Theme

ABSTRACT This article reflects on observations as a dance pedagogue, adapting Gilbert’s BrainDance to a range of learning and teaching opportunities in intergenerational classroom contexts. Initially applied in an early childhood education context, BrainDance provided a point of departure into conversations and observations with teachers on how the children moved, took risks or not, within their Early Childhood Center. Findings from the initial project inspired my adaptation of BrainDance elements into an entire lesson for undergraduate dance students, as a structure for a primary school drama class warm-up, and for a circle-based warm-up for a class of adults age 65+ in their fitness and training program. Using Schön’s praxis of reflection-on-action, this article proposes the intergenerational links that may inspire or inform dance teachers, educators, curriculum designers, or physical activity facilitators. I propose that crossing the midline, the lifespan line, parallels moving with young and old—spanning generational dance praxis.

The impact of racial discrimination on the well-being of dance students

The impact of racial discrimination on the well-being of dance students

Dancing Well with Mindfulness

ABSTRACT Mindfulness has recently flooded the health and wellness social media landscape. With roots in Buddhism, mindfulness is a skill of attention involving focusing on the present moment with curiosity and nonjudgment. Mindfulness practices, including meditation, have many benefits for busy young dance students, who often face a unique combination of stresses around social comparison, self-doubt, body image issues, performance anxiety, and increasingly overscheduled lifestyles. Many may lack an understanding of mindfulness or misperceive its components. Persistent stigmas around mental health may also keep students from openly experimenting with mindfulness practices. The purpose of this article is to concisely define mindfulness for dance students, its potential benefits, and considerations for how mindful practices, particularly meditation, can be integrated into dance students’ lives.

Sleep Characteristics in Dance Students Related to Psychological Inflexibility.

Introduction: Dance, as a performance activity, is associated with various problems. Among these challenges, sleep disturbances are notably prevalent. Aims: This study aimed to explore the potential relationship between sleep characteristics-specifically chronotype and subjective sleep quality- and psychological inflexibility in dance students. Methods: This research adopted a cross-sectional design using non-probabilistic sampling. The data were collected in paper format by visiting public conservatories and private academies, and online. One hundred fourteen dance students, with a mean age of 23.87 years, participated in the study. Assessment tools included the Acceptance and Action Questionnaire-II, Pittsburgh Sleep Quality Index, and the Composite Scale of Morningness. Results: The results revealed that 80.7% of all students reported poor sleep quality, compared to 19.3% who reported good sleep quality. Differences emerged in both subjective sleep quality (F(2, 113) = 4.825, P = .010) and chronotype (F(2, 113) = 6.172, P = .003) when students were grouped according to low, medium, or high levels of psychological inflexibility. Those with low inflexibility, as opposed to those with high inflexibility, report better sleep quality, with no differences observed between medium and high inflexibility groups. Students with high-medium levels of psychological inflexibility showed a higher risk (OR = 6.373 times higher) of experiencing poor sleep quality compared to those with low psychological inflexibility. In terms of chronotype, the low inflexibility group is inclined to be more of a morning type than the medium and high inflexibility groups, with no differences between the latter 2 groups. Students categorized as having low inflexibility tend to have a longer history of dancing under the guidance of a teacher and dedicate more hours and days per week to rehearsal. Conclusion: Conservatories can become "healthy spaces." In this regard, sleep hygiene programs and Acceptance and Commitment Therapy interventions can provide guidance to professionals working with dancers in professional companies and conservatories.

Psychological aspects and level of physical activity of female students of Physical Education, dance and rhythmic gymnastics: a transversal research

Psychological aspects and level of physical activity of female students of Physical Education, dance and rhythmic gymnastics: a transversal research

Peak angular momentum of pirouettes by a university-level contemporary dance cohort

Turning movements are an important movement to master in many dance styles. For advanced or professional dancers, the pirouette (completing one or more turns with a specific stylistic form) is difficult to master and increasing the revolutions heightens difficulty further. The purpose of this study was to investigate peak angular momentum generation (PAM) of completing single- and attempting triple-revolution pirouettes for contemporary dance students. Adaptations made by dancers whilst rotating and imbalances within the centre of mass over the base of support were identified. Ethical approval was received. Seven female university-level contemporary dance students completed five successful single-revolution pirouettes en dehors (PeDh) and attempting to complete five successful triple-revolution PeDh whilst being recorded using a three-dimensional VICON motion capture system. PAM and torso lean (TL) and a two-dimensional foot vector (FV) were then calculated using a six degree of freedom model (Visual3D). A one-way ANOVA (P < 0.05) compared mean variance between single-, double-, and triple-revolution pirouettes. Significant effects were determined for all variables in each pirouette condition. A Tukey post-hoc test (P < 0.05) determined overall significant differences between PAM (F2, 37 = 15.8, ⍵² = 0.426), TL (F2, 37 = 3.4, ⍵² = 0.108), and FV (F2, 30 = 4.9, ⍵² = 0.192) for the midpoint turn of each pirouette condition. Independent samples T-Tests (𝛼 < 0.05) were conducted to compare PAM (t11 = 1.8, d = 1.026), TL (t11 = 0.1, d = 0.030), and FV (t6 = 0.6, d = 0.433) between successful and unsuccessful double pirouettes, with no differences reported. This test was repeated for successful and unsuccessful triple pirouettes. Again, no differences were observed for PAM (t15 = −2.2, d = −1.093), TL (t15 = −1.6, d = −0.802), and FV (t15 = −1.3, d = −0.648). This study concluded that PAM increased as the number of pirouette revolutions increased. Furthermore, a minimum threshold for PAM was calculated to produce successful double (0.597 kg·ms2⎺¹) and triple (0.637 kg·ms2⎺¹) pirouettes. Observations from the pirouette trials and FV data illustrated that dancers ‘hop’ when an imbalance is sensed, in an attempt to regain balance and continue pirouette revolutions. However, this method predominately produced unsuccessful pirouettes as the initial PAM was not achieved. This research can be applied to dance coaching as it provides an initial insight into mechanisms to support successful pirouette technique.

실용무용 전공 대학생의 전공선택 동기가 전공 만족도 및 진로 결정에 미치는 영향

실용무용 전공 대학생의 전공선택 동기가 전공 만족도 및 진로 결정에 미치는 영향

Testing the Measurement Invariance and Latent Mean Difference of the Creative Trait Motivation Scale for Dance Students

Testing the Measurement Invariance and Latent Mean Difference of the Creative Trait Motivation Scale for Dance Students

The Effect of the1Use of Audio-Visual Media on Learning Outcomes of Cultural Arts (Dance) Class XI Students at SMA Negeri 9 Padang

The purpose of this study was to see and describe the influence of the use of audio-visual media on the academic achievement of grade 11 Cultural Arts (Dance) students of SMA Negeri 9 Padang. This type of research is experimental research. The population of this study is all students of SMA Negeri 9 Padang class XI science and social studies for the 2021/2022 academic year who are active in Semester 2 (up to) with a sample of 72 people from XI IPA3 and XI IPA5. The instrument in this study is in the form of an objective written test. Primary data and secondary data were used in this research material. Data collection techniques include tests (pre-test and post-test), observation and documentation. The material is analyzed using comparative test techniques to obtain average learning outcomes according to the T-test formula. The results of the study illustrate that during the same semester at SMA Negeri 9 Padang, the use of audiovisual media in dance education had a significant influence on the academic achievement of students in the field of cultural arts. It can be seen from hypothesis testing with a significance value of 0.000 and alpha (confidence level) of 0.05. From the average learning outcomes of the experimental class of 87.36 while the average learning outcomes of the reference class were 77.77. Then the difference between the experimental class and the control class is 9.95. The t-test value was calculated > ttabel (6.203>-1.799). So it can be concluded that the average difference between students who use audiovisual media and traditional media is 9.95 and the t test is (6,203>-1,799).

Analysis of Media Needs for Dance Learning for Deaf Students Based on Interactive Multimedia

This study aims to analyze the essential needs in the development of digital media for learning the art of dance for deaf students in special schools. This research design uses a descriptive study approach. The population of this research is all dance teachers who teach deaf students at Special Schools (SLB) Central Java. The sampling technique used was the incidental sampling technique. The data collection technique used a questionnaire sent in google form format through WhatsApp media. Data analysis used a descriptive technique by measuring each item with percentage criteria. The results of the study show that the expected digital media is interactive multimedia, with a duration of 15 to 20 minutes. The media can be stored and operated on all digital media. The content of the dance that is expected is a traditional dance. The media is equipped with a complete user manual.

Training mode of university dance performers based on sequential quadratic programming algorithm

Dance performance is an art form, which needs to cultivate students’ dance skills, artistic accomplishment and stage performance ability. Sequential quadratic programming algorithm is an optimization algorithm that can be used to solve complex optimization problems. In this paper, Sequential Quadratic Programming (SQP) is applied to explore the training mode of dance performers in colleges to help dance performers develop the optimal training plan and program. Aiming at the problems existing in the training mode of dance performance talents in colleges, this paper put forward an optimization method based on SQP algorithm, and implemented its optimization scheme in actual colleges. In the planning of dance performance talent training mode, particle swarm optimization (PSO) is used to optimize SQP algorithm, so that it can have higher planning efficiency. This paper studied the goal and index system of the training of dance performance talents in colleges, generated a personalized training program, and further improved the scientific and practical effectiveness of the training mode. This paper investigated the current situation of dance performance talent training in several dance schools in a certain province of China. The survey data include practical curriculum planning, teachers’ teaching philosophy and teaching content. Combined with SQP algorithm, the teaching and training program is optimized. After evaluation, it can be concluded that the SQP algorithm optimized by PSO shows good stability and accuracy. It can calculate the optimal solution of the cultivation scheme, and when calculating the optimal solution, the running time of the Central Processing Unit (CPU) was only 5.6 s, which can further improve the efficiency of the planning. Finally, through the satisfaction and resource utilization test, it can be found that the number of people who are very satisfied with the teaching content of the dance performance talent training program optimized by SQP increased from 38.4% to 52.4%. After optimization, the average utilization rate of teaching resources reached 88.1%. It can be concluded that SQP algorithm can provide scientific basis for dance education institutions to improve the training mode of dance talents. This can help dance education institutions better improve the training mode, and improve the overall quality and dance skills of dance students.

Difficulties Faced by Dance Graduates in Higher Vocational Colleges: An Analysis

With the rapid development of our country has brought opportunities and challenges to dance art education. This study aims to strengthen the education of dance majors, guide them to plan their career development reasonably, and explore new methods to adapt to the needs of the times and students. In recent years, the employment situation of dance graduates has been grim, and enterprises have reflected difficulties in recruitment, the reasons for which involve students, recruiters and college graduates management. Highly efficient expansion of colleges and universities, the number of graduates increased, exacerbating the employment pressure; the art exam boom led to a surge in the student population of dance performance majors, further increasing the difficulty of employment. The employment of dance majors is restricted, competition is fierce, and the prospects of graduates are worrying. Higher vocational dance students are not optimistic about employment prospects and tend to be directly employed, especially in the teaching profession. Employment problems are rooted in the mismatch between students' quality and career needs, the lack of coordination between professional development and market demand, and the inconsistency between social expectations and entrepreneurial atmosphere. The solution lies in improving personal quality, firm beliefs and cultivating innovative thinking. Schools need to deepen reforms, improve students' comprehensive quality and employability, improve teaching methods, and stimulate creativity and curiosity. Employers should change their mindset and the government should provide support.

Examining the Artistic Voices of Community College Dance Students Using a Narrative Inquiry Approach

ABSTRACT In this study, we use a narrative inquiry approach to understand how students construct their artistic voices as part of their educational experience in California community college dance classes. Data collection techniques included semi-structured interviews, video recordings of a dance performance, and a reflective one-page journal where participants described the attributes of their artistic voices. Participants included ten community college dance students. We used socio-cultural theories and the Laban Movement Analysis (LMA) framework to analyze individuals’ personal construction and movement vocabulary. We present three findings to inform dance teachers. First, deeper self-understanding was a foundational component of students’ artistic voice. Second, the performance of the artistic voice was guided by students’ construction of personal-interpretative narratives that inspired their bodily choices. Third, the construction of the artistic voice was sustained through three types of power negotiation (compliance, resiliency, and resistance).

Strength Training Perception of Student Dancers of Secondary School

Strength Training Perception of Student Dancers of Secondary School

Pengembangan Media “Rahayuning Bawana” untuk Meningkatkan Kemampuan Motorik Peserta Didik dalam Pembelajaran Seni Tari

The aim of this research is to produce the development of learning media in the form of an interactive flipbook, namely the "Rahayuning Bawana" media in order to improve students' motor skills in dance learning in elementary school extracurriculars. This research uses the research and development (RnD) method, and the model used is ADDIE, which consists of five stages: analysis, design, implementation, development, and evaluation (Analysis, Design, Development, Implementation, and Evaluation). The media "Rahayuning Bawana" has been validated by material experts and media experts. Material expert validation received a score of 93% and was categorized as very suitable for use. Meanwhile, media expert validation received a score of 87% and was categorized as very suitable for use as well. The subjects of this research involved extracurricular dance students at SDN Tanjungsari II and SDN Cileutik. Student responses to the media "Rahayuning Bawana" reached an average of 93%, with very good qualifications. The average pretest result was 34 and the average posttest result was 88.4 with an increase in n-gain of 0.82. Therefore, it can be concluded that the existence of the "Rahayuning Bawana" media is very feasible and effective for use in dance learning to improve students' motor skills.

Constructing codes of behaviour: the ‘doxic agreement’ as a force for agency in contemporary dance technique training

Utilising Pierre Bourdieu’s (1977) concept of ‘doxa’, this article proposes the notion of a ‘doxic agreement’, exploring its relationship with agency in the context of contemporary dance technique training. The discussion draws on the data gathered from two cycles of action research, which the author conducted in an undergraduate dance training setting in a British university. During this research, a ‘reflexive-dialogical’ (RD) approach to dance technique training was developed; this approach subverts dominant training structures by allowing dialogue and critical reflection to occur alongside physical dance practice. Data analysis reveals that the environment constructed through the application of the RD approach created a doxic agreement, a mutually negotiated structure that determined a code of behaviour in the training setting. Positioning the doxic agreement as a flexible structure that disrupted the recursive reproduction (Giddens1984) of the dominant training structures, the author examines the extent to which the agreement facilitated agency, leading to an expanded understanding of how agency is developed and displayed through the body-minds of undergraduate dance students.

Dancers Show More Accurate Trunk-Pelvic Joint Angle Reproduction While Wearing a Jacket Augmented With Elastic Bands.

Purpose: The Backalast® compression jacket is intended to improve posture and proprioception of the trunk and shoulder girdle for dancers and dance students during dance training by way of elastic bands in the rear of the garment (which include bands enclosing the inferior thorax). This study was intended to investigate whether there is evidence to support those objectives. Materials and Methods: Fifteen dance students participated (4 male, mean age 19.9 ± 1.4 years old). The dependent variables of trunk-pelvis angle and proximity of trunk axis to global vertical for each participant were measured using optical motion capture before and after the completion of a series of trunk movements. The Helen Hayes model, which we used to represent the trunk, includes the shoulder girdles as part of the trunk. We compared the effect of the type of garment (Backalast® or control compression shirt) worn upon the 2 dependent variables, within-subject with paired t-tests. The order of whether Backalast® or control compression shirt was worn first was alternated between participants. Results: The pre/posttest difference in trunk proprioception as represented by the construct of ability to reproduce trunk-pelvis angle wearing the Backalast® was 0.8° ± 0.8°, but for the control shirt, the difference was 1.8° ± 1.4°, P = .03. The difference between garments in vertical trunk alignment, measured after the series of trunk movements, was not significant. Conclusion: Our findings suggest that the Backalast® can help enhance trunk proprioception when compared to the control compression shirt, although it did not change the angle at which the participants' held their trunks while standing erect (proximity to global vertical).