This article examines the evolving sonic politics of moçambicanidade — defined as Mozambican national identity — through popular music and sound after independence. Drawing on ethnographic research, media analysis, and interviews with musicians and audiences, it explores how national identity has been sonically constructed, corporatized, and contested. The article traces the ideological legacy of FRELIMO’s post-independence project of cultural nationalism through debates over youth dance genres, like pandza, in the mid-2000s, and the increasing alignment of music with corporate and state agendas during Armando Guebuza’s presidency (2005-2015). It argues that competing interpretations of a “Mozambican sound” reveal deep class, regional, and generational tensions, and that listening has become a key site for negotiating belonging, dissent, and the limits of state-imposed unity.

Background: DanceSport involves intermittent high-intensity efforts that may differ between styles and partners within a dance couple. However, dance-specific relative oxygen uptake (%VO2max) in elite Standard and Latin dancers remains insufficiently described. Objective: This study aimed to characterize relative oxygen uptake during simulated competition in elite Slovak national team dancers and to examine (i) differences between Latin and Standard styles, (ii) variability across individual dances, and (iii) sex-specific patterns. Methods: Twenty elite dancers (10 couples) participated in the study. Five couples (n = 10 dancers; 5 females and 5 males) specialized in Latin dances, and five couples (n = 10 dancers; 5 females and 5 males) specialized in Standard dances. VO2max was determined via an incremental treadmill test. During a simulated final round, breath-by-breath gas exchange was recorded using portable spirometry. Style-level differences were analyzed using a two-way ANOVA (Style × Sex), and dance-specific effects were examined using repeated-measures ANOVAs. Results: No significant difference in mean %VO2max was observed between styles (F(1, 16) = 1.31, p = 0.269, η2p = 0.076). In the Latin group, relative oxygen uptake differed significantly between dances (F(4, 32) = 22.45, p < 0.001, η2p = 0.737), with Jive eliciting the highest values (~103–105% VO2max in males) and Rumba eliciting the lowest values (~88–89% VO2max). No Dance × Sex interaction was detected in Latin dances (p = 0.526). In the Standard group, a significant Dance × Sex interaction was observed (F(4, 32) = 8.80, p < 0.001, η2p = 0.524), with male dancers demonstrating higher %VO2max during Quickstep (~96%) compared with other dances, whereas females showed a more uniform intensity profile (~80–86%). Conclusions: Relative oxygen uptake in DanceSport is highly dance-dependent and shows sex-specific metabolic patterns in Standard dances. Conditioning programs in elite DanceSport should therefore be structured according to individual dance demands and partnership-specific physiological roles.

The article is devoted to the history of the creation of the musical “Extraordinary Adventures on the Volga Steamship” based on the novella of the same name by A. N. Tolstoy, and the characteristics of its musical design by G. I. Firtich. The article explores the creative collaboration between renowned cultural fi gures, including V. S. Vysotsky, K. A. Laskari, and G. I. Firtich, who aimed to create a detective musical based on Soviet material. The author analyses the song numbers for the production of “Extraordinary Adventures on the Volga Steamship,” the psychological function of dance genres, and the role of Russian lyrical long songs. The article highlights the ideological aspect that infl uenced the creation of the music. In conclusion, the article identifi es the connection between the musical material and G. I. Firtich’s individual compositional style.

Background: Ballet dancers are deemed at a great risk of overuse injuries due to high training loads, biomechanical requirements related to technique, maturation, hypermobility, and injury history. Sex differences are known from previous studies, which have mainly focussed on all injury types particularly on the foot and ankle complex. Aims: To critically analyse the literature for differences between female and male professional and pre-professional ballet dancers in terms of prevalence, incidence, severity, and anatomical location of overuse injuries. Methods: The search for published original peer-reviewed articles from 2000 to July 2025 was conducted on PubMed, Web of Science, and Embase. The protocol was registered on PROSPERO (CRD420251104232). Screening, data extraction, and analysis were conducted by multiple independent reviewers according to PRISMA guidelines. The Newcastle-Ottawa Scale and AXIS were used for quality assessments including risk of bias. Meta-analysis of the difference between males and females for prevalence and anatomical location was calculated using a log-odds ratio; incidence was analysed using effect size. The Grade tool was used to assess certainty. Results: Nine cohort and 2 cross-sectional studies were included (n = 1650 dancers). The foot and ankle complex were the most affected region in both sexes. No significant difference was found in the prevalence, incidence, or anatomical location of overuse injuries in females compared to males (P > .05). Only 2 studies with contrasting findings were included for severity. All studies but 1 were of high quality; The certainty was very low. Discussion: Findings indicated that overall, the prevalence, incidence, and anatomical location of overuse injuries do not differ between male and female ballet dancers. However, these results refer to pre-professional and professional ballet dancers only. The findings of this study should be interpreted with caution due to low certainty score assessed by using the GRADE tool.

Introduction: Songlines for Parkinson’s is a group-based, music-and-movement intervention co-developed with people with Parkinson’s (PwP) and a multidisciplinary team of scientists and practitioners for use in community settings (Rose et al., 2025). Three trials have been conducted in Switzerland and the UK demonstrating its effects on motor and non-motor symptoms. This study aimed to evaluate the application of Songlines within outpatient clinical settings in Switzerland (Köchli et al., 2025). Methods: The Songlines program was adapted for two clinical settings to evaluate its feasibility and impact. Study 1 focused on program development and comparison with a Gentle Gym program, while Study 2 assessed its implementation in an independent clinic. Pre- and post-intervention assessments included motor outcomes (e.g., MDS-UPDRS, 6-Minute Walk) and non-motor outcomes (e.g., HADS, PDQ-8). Acceptability and participant experience were further explored through qualitative methods and the Theory-Informed Intervention Acceptability Questionnaire. Results: In Study 1 (Gentle Gym n = 5; Songlines n = 6), mixed-effect models indicated post-intervention improvements in Romberg ratio (p = .021), reduced variability in stride length (p = .001), and increased stride velocity (p = .012) in both groups. In Study 2 (n = 6), Timed Up and Go performance (p = .042) and vividness of auditory imagery (p = .048) improved. Participants reported increased use of music for emotional regulation, and program acceptability was rated high (M = 4.5 [out of 5]). Discussion/Conclusion: Together, these two studies provide converging evidence that Songlines is a promising, flexible, and highly engaging intervention that can be delivered in a group setting, yet individualized according to patient needs. The program improves balance, gait stability, functional mobility and subjective wellbeing. Future research should develop sustainable models to expand access to this non-pharmacological, group-based intervention.

show based on the study of Anglo-Saxon media content of the late 30s of the 20th century – the first quarter of the 21st century. Research methodology. The method of theoretical analysis, historical-cultural method, typological method, method of structural-functional analysis, method of culturological analysis, method of comparative analysis were applied. Scientific novelty. The features of the formation of the format of the modern television dance show on American and British television are considered. Common and distinctive features of the first television dance show and modern popular formats ‘So, You Think You Can Dance’ and ‘Strictly Come Dancing"’ are identified. The evolution of the television dance show is analysed through the prism of the transformation of mass culture. Conclusions. Based on the conducted research, it can be stated that in Anglo-Saxon mass culture, starting from the early stages of television broadcasting, there has been a significant interest in various forms of integrating dance into television programmes. At the same time, a study of the genesis and evolution of the television dance show on American and British cable channels allows us to speak about the presence of two different directions of development, which led to the formation of several distinctive formats, represented at the present stage by the television shows ‘So, You Think You Can Dance’ and ‘Strictly Come Dancing’, respectively. The first is characterised by the representation of a wide range of dance genres and styles, an emphasis on the personality and history of the participant, his transformation into one of the main characters of modern pop culture. The second is limited to ballroom dancing, the emphasis is on the star partner, competition between famous personalities, personal relationships between partners. Among the common features that ensure the immense popularity of the television dance show: a combination of bright spectacle that meets the artistic and aesthetic needs of the modern viewer, virtuosity of performance, emphasis on the competitive component, interactivity, transformation of the viewer and co-creator, social orientation of the subject of the performances, in particular in the aspect of diversity and inclusion, active presence in Internet content.

To determine population values of femoroacetabular translation using dynamic hip ultrasonography (DHUS) in professional ballet dancers. Cross-sectional cohort. Three ballet companies. Ninety professional ballet dancers. Dynamic hip ultrasonography was performed (12 images/dancer, 1080 images). Biometrics included Trochanteric Prominence Angle Test and Beighton Score. Anterior and posterior DHUS measures were documented, and femoroacetabular translation was calculated. Anterior exam mean values for female dancers in neutral (N), neutral flexed (NF), and extension external rotation (EER) positions were 4.3 ± 2.05, 9.4 ± 2.61, and 11.4 ± 2.83, respectively, and anterior translation 2.1 ± 2.08; for posterior exam, posterior neutral, posterior flexion adduction internal rotation, and posterior stand positions showed a median value (interquartile range [IQR]) 0 (0-2) and mean values of 11.7 ± 4.89 and 8.8 ± 4.63, respectively, and posterior femoroacetabular translation 10.4 ± 4.62. Ultrasound measures for male dancers' anterior exam showed 5.5 ± 2.86, 10.9 ± 2.82, and 12.9 ± 2.78 and anterior translation 1.9 ± 1.62, and posterior exam measures showed median (IQR) 0 (0-3) and mean 11.3 ± 4.69 and 10.1 ± 5.36 and posterior femoroacetabular translation 9.6 ± 3.82. Differences by sex were found in N and NF positions: male dancers had greater translation versus female dancers in the left (P = 0.03 and P = 0.03, respectively) and right hips (P = 0.02 and P = 0.004, respectively). Males had greater EER in the right hip compared with females (P < 0.001). Dynamic hip ultrasonography determined population values in professional ballet dancers. Sex-based differences among dancers were found.

There is controversy regarding whether dance training improves balance performance. This study aims to compare the dynamic balance performance of non-dancers and amateur dancers, as well as to examine whether differences in dynamic balance exist across various dance genres. Eighty-one participants, including 24 Flamenco dancers (FLA), 15 Latin dancers (LAT), 20 Chinese folk dancers (CHF), and 22 non-dancers as the control group (CG), completed the Y-Balance test. Anterior (YBant), posteromedial (YBpm), posterolateral (YBpl), and composite (YBcom) scores were calculated. All significant differences between groups were observed in YBcom, YBpl, and YBpm (p < 0.05), with no differences in YBant (p > 0.05). The CHF and FLA achieved higher scores compared to CG in both dominant leg (DL) and non-dominant leg (NDL), and to those of LAT in NDL for YBpm. The LAT scored slightly higher than CG (p < 0.05, d < 0.2), but it was not statistically significant. Dancers have better dynamic balance except for the YBant direction. FLA and CHF may be more effective in improving dynamic balance compared to LAT. This study was designed by considering previously contentious research findings that may be due to the distinct movement patterns and training methods of professional dancers, as well as the variations across different dance styles. The comparison of balance performance between amateur dancers, rather than professional dancers, and non-participants has significant practical implications for determining whether dance can improve an individual's balance.

Unveiling mental health nuances of male Indian classical dancers.

This study explored the genre and stylistic integration of jazz and classical music through the works of Maurice Ravel, focusing on L’enfant et les sortilèges, the Sonata for Violin and Piano, and the Concerto in G major. The aim was to determine how jazz elements interact with Ravel’s compositional method. Through a detailed analysis, this study identified dance rhythms, instrumental dialogue, and jazz-inspired syncopation as key devices of artistic expression in these works. The findings highlight Ravel’s innovative synthesis of musical traditions, demonstrating how his incorporation of jazz idioms contributed to both his distinctive style and the broader development of 20th-century composition. State the contribution of this study to scholarship.

Introduction: Perceptions of pain are influenced by individual characteristics, such as personality traits and gender. This study investigated, in professional male and female ballet dancers, the associations between pain catastrophizing and personality traits by calculating correlations and a regression model between scores of pain catastrophizing and extraversion, neuroticism, and psychoticism. Methods: Eighty two professional Brazilian ballet dancers (59 women, 23 men; M = 26.8 years, SD = 8.1) completed the Eysenck Personality Questionnaire (EPQ) and the Brazilian version of the Pain Catastrophizing Scale (B-PCS). Correlational analyses were conducted to assess associations between personality traits (neuroticism, extraversion, psychoticism) and pain catastrophizing. A linear regression model was developed to examine the predictive power of personality traits, using the Enter method. Analyses were stratified by gender. Results: In the total sample, neuroticism was significantly and positively correlated with pain catastrophizing, whereas extraversion and psychoticism showed no significant associations. Among male dancers, neuroticism was moderately correlated with pain catastrophizing; this relationship was not significant in females. The regression model identified neuroticism as the only significant predictor of pain catastrophizing, yielding the predictive equation: Neuroticism = 29.76 + (0.38 × PCS). Conclusion: Neuroticism is a key psychological factor associated with pain catastrophizing in professional ballet dancers, particularly among males. Contrary to prior findings, male dancers reported higher PCS scores than females, and their neuroticism levels more strongly predicted pain catastrophizing. Practical applications include the implementation of routine assessments to identify at-risk individuals, integration of cognitive-behavioral strategies to reduce maladaptive pain responses, and the development of gender-sensitive mental health interventions.

The Lengger dance is a traditional performing art originating from Wonosobo, Central Java. Historically, this dance was performed by a male dancer using a mask, but over time it shifted to being performed by two female dancers with distinctive costumes and makeup. This research examines the da'wah messages and cultural existence embedded in the Lengger dance, aiming to identify the religious values communicated through the performance and to understand how the dance has maintained its continuity from the past to the present. Using a qualitative approach with field study methods, the study reveals that the Lengger dance is historically linked to Sunan Kalijaga, who used the mask as a medium to convey Islamic moral teachings while concealing his identity. The dance contains messages encouraging humans to remember God in all life situations. Through the lens of Islamic communication, particularly cultural da'wah, the Lengger dance functions as a non-verbal medium that integrates symbolic movements, narrative sequences, and communal rituals. Although currently showcased in celebrations, thanksgiving events, village traditions, welcoming ceremonies, and rituals during the month of Suro, the Lengger dance continues to preserve ethical and spiritual values. The findings illustrate how traditional arts can sustain religious communication and remain relevant across generations.

The aim of the present study was to assess physical demands in professional dance during daily training routine using kinematic data and to categorize it ergonomically using the Rapid Entire Body Assessment (REBA) tool. The three phases of daily classical ballet training of n = 28 professional dancers (16f/12m) were recorded with the inertial motion capture system MVN Link (Xsens, Netherlands), extracted and analyzed by MATLAB; subsequently, the ergonomic risk was determined. Female dancers trained significantly longer in the high-risk range than their male colleagues (f: 94%; m: 89%; p < 0.001). During the entire training, the female and male dancers had a mean REBA score of 6.31 and 6.03 resp., with phase 3 tending to have lower REBA values but an increased likelihood of injury due to fatigue and ground reaction forces. It can be recommended that the daily training should be critically examined and adjusted to anthropometric characteristics and the integration of regeneration phases, cardiopulmonary components, and targeted strength training programs to relieve vulnerable structures, as substantiated in the main text and should not exaggerate the main conclusions.

n this study, the authors provide an investigation of how an AI based real-time feedback system can assist dance students to improve the effectiveness of training, precision and student learning outcomes. The system combines computer vision, pose estimation and machine learning algorithms to process motion data obtained by a video or a motion sensor. The AI, by comparing the actions of a dancer with the set reference models, can give immediate corrective feedback through visual overlay or sound and allows learners to dynamically change their posture, timing and rhythm. The paper evaluates some of the available motion-tracking and performance analysis instruments, their weaknesses in terms of latency, contextual interpretation, and suitability to a variety of dance genres. It suggests a solid methodology with the design of the system architecture, data acquisition, and the model training which seems to be concerned with the family of balancing real-time responsiveness with the analytical accuracy. The provided AI model is based on pose estimation frameworks (such as OpenPose or MediaPipe) and trained under the supervision of these algorithms, thus calculating the discrepancy of performance and providing explanatory feedback. In addition, the paper addresses technical and human-based issues, including sensor accuracy, data privacy and user acceptance. The ethical aspects of AI-assisted education are also discussed, and transparency and inclusivity are also regarded as essential. The experimental assessments prove the possibility of this method to transform the dancing instruction into an automated analysis as a way to bridge the existing gap between human and machine-mediated instructions.

The film Treasure (Buczkowski, 1949) unfolds against a backdrop of communist upheaval in post-World War II Poland. Despite the presence of Soviet troops in the country, the romantic comedy cleverly avoids any direct references to the USSR. The comedic element carries a subtle propaganda dimension, skilfully employing music reminiscent of the pre-war era, notably the foxtrot. Infusing dance rhythms with chaotic sounds creates a noisy revolutionary anxiety, expected to be followed by tranquillity, music, and love. Deliberate concealment of Soviet culture during the peak of the struggle for the new political system intriguingly helped present the new regime as native, underscoring a commitment to the continuity of Polish culture and Poland’s attachment to the West. In Treasure , expectation and hope are intertwined with noise and heteroglossia; sonoclash is a kind of a moral crusade. American-inspired music is a bridge, leading from a state of uncertainty to a new and reassuring situation. The film’s protagonist, Mr Rascal, functions as both a catalyst and a model, embodying contradictory sounds. The rapid socio-political changes are assimilated through a skilfully crafted sonic landscape.

This article investigates the features of contemporary Kazakh male dance through an embodied and choreological analysis of three authorial works: Zholbarys Zhürek, Asan &amp; Üsen, and Tas Tülek. Drawing on somatic and anthropological approaches, it explores how movement encodes culturally situated masculinities, post-nomadic identity, and intergenerational memory. The analysis integrates fieldwork, visual documentation, and theoretical frameworks from gender studies, phenomenology, and dance ethnography. Methodologically, the study combines movement analysis with choreographic reconstruction and embodied inquiry to reveal how Kazakh male bodies negotiate tradition and innovation on stage. Findings suggest that these dances – while grounded in ethnic motifs and social roles – mobilize a plural, reflexive masculinity that challenges binary gender models and affirms dance as a legitimate medium of male expression and cultural continuity.

Introduction: Ballroom dancing, particularly in its competitive form of dancesport, has been recognized for its beneficial effects on physical health and psychological well-being. In recent years, research attention has also shifted toward examining its associations with psychological constructs such as stress, anxiety, and coping. Study Design: The present cross-sectional comparative study aimed to compare sport dancers and non-dancers in the level of perceived stress and the coping strategies. Additionally, the study explored the relative contribution of specific coping strategies to perceived stress while controlling for sex, age, and dance status. Methods: The sample consisted of 119 participants aged 18 to 31, of whom 61 were competitive sport dancers. Research data collection was conducted using a form containing a demographic section focusing on dancesport, the Perceived Stress Scale (PSS-10) and the Brief COPE questionnaire. The results of the research do not indicate significant differences in levels of perceived stress; non-dancers, male and female sport dancers perceive stress at similar levels. Regarding coping, sport dancers also less frequently choose a problem-solving coping compared to non-dancers (P = .007). Defensive strategies were the most significant predictor of perceived stress of the sport dancers (P < .001). Conclusion: The research findings can be applied in sport and dance psychology, dance coach education, promoting the development of constructive coping in sport dancers via mental contrasting, advanced competition practice and as well as the overall training program in a dynamic dance environment.

How to breathe,a rhythmic dance,Inhale, exhale, find your balance. Three stepsreveal,unmask your face,Release the burdens, let your soul breathe. Work, create, and teach,Love amidst sickness, a lesson. Ten ways to converse about shadows in the mind,Navigate the darkness with words so kind. LearnTwo new rituals, for the living, for the dead,A sacred dance,Tell a story where memories are bred. Listen.Seven podcasts echo,Join a protest at home,A symphony of voices, where movements spring forth. Creativity blooms in protests, diverse,Bake bread, turn vegan, let your voice traverse.Through the stages of griefFive steps to healing, on sacred ground. Set up a Teams meeting, the digital class,In the virtual realm, where connections amass.Take attendance virtually, a distant gaze, Six ways to engage,And as you breathe, ponder the belief within,What keeps your heart beating? Life's flavours entwine,A symphony of existence, a journey into the divine.

Female preference for males with enhanced cognitive abilities has been reported in many species, but it remains unclear which sexual signals reflect such skills. We hypothesized that male dance performance is correlated with cognitive performance, body condition and increased attractiveness in zebra finches (Taeniopygia castanotis). We collected dance behaviours from 164 male displays and assessed male condition, attractiveness and performance in four cognitive tasks: associative learning, motor learning, spatial learning and inhibitory control. Variance in male displays was mainly explained by two independent features: dance duration and dance complexity. Dance duration was not correlated with male cognitive performance, body condition or attractiveness, while dance complexity was significantly linked with body condition and attractiveness and marginally linked with motor learning performance. While our findings suggest that male dance attributes are unlikely to serve as indicators of general cognition in zebra finches, dance complexity might reflect general health and may be used by females as a mate-choice criterion. Despite the need for replication, our findings do not support the idea that intersexual selection based on male dance displays shapes the evolution of general cognition.

This article surveys the life and career of the dancer-actress Evered Laguerre (1702–1739), a leading dancer on the early eighteenth-century London stage. Trained by John Thurmond Junior, she spent much of her career at the Lincoln’s Inn Fields and Covent Garden theatres managed by John Rich. The article analyses the roles she danced in Rich’s pantomimes and investigates her repertoire of entr’acte dances. It also looks at her partnerships with the leading male dancers in Rich’s company. Mrs Laguerre danced alongside Marie and Francis Sallé when they appeared in London and the article considers the working relationships they may have had.