Dance Research Articles

A Case Study of Liability for Damages due to the Infringement of Portrait Rights of a Dance Performer

A Case Study of Liability for Damages due to the Infringement of Portrait Rights of a Dance Performer

Impact of Mirrors on Body Image of Beginning Modern and Ballet Students.

This mixed methods study compared the impact of studio mirrors on body image in beginning level female collegiate modern dance and ballet students utilizing the Cash 69-item Body Self-Relations Questionnaire and semi-structured interviews. For the overall Body-Areas Satisfaction there was a statistically significant mirror condition x time interaction (p = 0.029); regardless of dance genre, students' body satisfaction in mirrored classes decreased. Specifically at the mid torso, a statistically significant class type x time interaction (p = 0.012) occurred; ballet dancers decreased in satisfaction. Interviews reflected that: 1. students in the mirrored classes spent more time discussing specific body parts with objectifying language; and 2. students in the non-mirrored classes spent more time describing their participation in dance in terms of kinesthetic sensations. These findings suggest that satisfaction with one's body in beginner ballet and modern classes may be compromised by the use of mirrors.

Putting the social back into archaeology

We are proud and strong Wiradjuiri-Ngiyampaa people. We take our strength from the land and the culture of our people. We are connected to the land through our stories, songs and dances, and the sp...

Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV. Melinda J. Gough.

<i>Dancing Queen: Marie de Médicis’ Ballets at the Court of Henri IV</i>. Melinda J. Gough.

An Analysis of Autoethnography Works on the Creative Dance “shaman”

An Analysis of Autoethnography Works on the Creative Dance “shaman”

Injury, Illness, and Training Load in a Professional Contemporary Dance Company: A Prospective Study.

Professional dance is a demanding physical activity with high injury rates. Currently, no epidemiologic data exist regarding the incidence of injury and illness together with training load (TL) over a long period of time. To provide a detailed description of injury, illness, and TL occurring in professional contemporary dancers. Descriptive epidemiology study. A single professional contemporary dance company during a 1-year period. A total of 16 male and female professional contemporary dancers. Injury data consisted of medical-attention injury (Med-Inj) and time-loss injury (Time-Inj). Illness was measured using the Wisconsin Upper Respiratory Tract Infection Survey. Training load was collected for each dance session using the session rating of perceived exertion and classified into 3 groups based on individual and group percentiles: low, medium, or high. Reported injuries totaled 79 (86.1% new, 6.3% reinjury, and 7.6% exacerbation). The Med-Inj incidence rate was 4.6 per 1000 hours (95% confidence interval [CI] = 3.8, 5.8), and the Time-Inj rate was 1.4 per 1000 hours (95% CI = 0.8, 2.1). The median time until injury for Med-Inj and Time-Inj was 3 months. The number of days dancers experienced illness symptoms was 39.9 ± 26.9 (range = 1-96), with an incidence rate of 9.1 per 1000 hours (95% CI = 7.7, 10.7). Mean weekly TL was 6685 ± 1605 (4641-10 391; arbitrary units). Inconsistent results were found for the incidence of injury and illness based on individual and group categorizations of TL. Professional dancing is associated with high injury and illness rates. This is worrying from a health perspective and underlines the need for further studies to understand how to decrease the risk. The TL is higher than in other sport disciplines, but whether the high incidence of injuries and illnesses is related to high training demands needs additional investigation, possibly conducted as international, multicenter collaborative studies.

Can Samba and Forr\xf3 Brazilian rhythmic dance be more effective than walking in improving functional mobility and spatiotemporal gait parameters in patients with Parkinson\u2019s disease?

BackgroundParkinson’s disease (PD) causes motor and nonmotor disorders in patients. Unlike aerobic training, potential adaptations from the practice of dance are less understood in PD, particularly compared with better known exercise modes. This study aimed to verify and compare the effects of a Brazilian dance program, inspired by Samba and Forrró rhythms, and a walking program on functional mobility and spatiotemporal gait parameters in patients with PD.MethodsEighteen participants with PD were divided into a dance group (DG) and a walking group (WG) and were assessed before and after an intervention period of 24 1-h sessions, performed twice per week for 12 weeks. The timed-up-and-go test (TUG) and walking kinematics at self-selected speed (SSS) and fast speed (FS) were determined. The generalized estimating equation method was used to compare the DG and WG pre- and post-intervention and to evaluate the group*time interaction (α < 0.05).ResultsBoth groups demonstrated a significant improvement in TUG test at SSS (p = 0.02; effect size [ES] = 0.42) and FS (p = 0.02; ES = 0.24). In general, spatiotemporal parameters remained unchanged, except at SSS, in which the DG increased the stride frequency (p = 0.011; ES = 0.72). At FS, the swing time demonstrated a significant group*time interaction (p < 0.001; ES = 1.10), in which the two groups exhibited different behaviors: DG decreased (p = 0.015) and WG increased (p = 0.012).ConclusionsFunctional mobility improved similarly in both groups. The results suggest that a 12-week program of Brazilian dance was sufficient to produce improvements in functional mobility and gait in individuals with PD.Trial registrationThis study is registered with the International Clinical Trial Registry under number NCT03370315. Registered December 28, 2017 - Retrospectively registered.

Isadora Duncan e la sua danza del futuro tra Germania e Russia

The figure of Isadora Duncan, as a woman and dancer, is an authentic cultural phenomenon. She has produced a strong artistic and cultural impact and has deeply influenced lifestyles with her proclamations about the liberation of dance and the emancipation of women. In Russia, writers, thinkers, musicians, choreographers, dancers and critics were divided between those who regarded the dancer as the embodiment of the progressive ideas of the new era and those who accused her of desecrating music and dance. Isadora Duncan has not only deeply influenced the development of dance and the whole theatre, but has revolutionized many aspects of life, from fashion, through the enhancement of physicality and body, to women’s self-awareness.

A Study on the Glocalization of Chinese Contemporary Dance

A Study on the Glocalization of Chinese Contemporary Dance

Expert Event Segmentation of Dance Is Genre-Specific and Primes Verbal Memory.

By chunking continuous streams of action into ordered, discrete, and meaningful units, event segmentation facilitates motor learning. While expertise in the observed repertoire reduces the frequency of event borders, generalization of this effect to unfamiliar genres of dance and among other sensorimotor experts (musicians, athletes) remains unknown, and was the first aim of this study. Due to significant overlap in visuomotor, language, and memory processing brain networks, the second aim of this study was to investigate whether visually priming expert motor schemas improves memory for words related to one’s expertise. A total of 112 participants in six groups (ballet, Bharatanatyam, and “other” dancers, athletes, musicians, and non-experts) segmented a ballet dance, a Bharatanatyam dance, and a non-dance control sequence. To test verbal memory, participants performed a retrieval-induced forgetting task between segmentation blocks. Dance, instrument, and sport word categories were included to probe the second study aim. Results of the event segmentation paradigm clarify that previously-established expert segmentation effects are specific to familiar genres of dance, and do not transfer between different types of experts or to non-dance sequences. Greater recall of dance category words among ballet and Bharatanatyam dancers provides novel evidence for improved verbal memory primed by activating familiar sensorimotor representations.

A Study on the Acculturation Process of the National Dance Company

A Study on the Acculturation Process of the National Dance Company

Dance Connects

Dance Connects

Physiological Parameters of Bone Health in Elite Ballet Dancers

This study aimed to characterize bone health in relation to stress fracture history, body composition, eating disorder risk, and blood biomarkers in professional male and female ballet dancers. A single cohort of 112 dancers (male: 55, 25 ± 6 yr; female: 57, 24 ± 6 yr) was recruited. All participants underwent bone and body composition measures using dual-energy x-ray absorptiometry. In a subset of our cohort (male: 30, 24 ± 6 yr; female, 29, 23 ± 5 yr), a blood panel, disordered eating screen, menstrual history, and stress fracture history were also collected. Age-matched Z scores and young-adult T scores were calculated for bone mineral density (BMD) and body composition. Independent-samples t-tests and Fisher's exact tests were used to compare BMD, Z-scores, T scores, and those with and without history of stress fractures. A 1 × 3 ANOVA was used to compare BMD for those scoring 0-1, 2-6, and 7+ using the EAT26 questionnaire for eating disorder risk. Regression was used to predict BMD from demographic and body composition measures. Female dancers demonstrated reduced spinal (42nd percentile, 10%T < -1) and pelvic (16th percentile, 76%T < -1) BMD. Several anthropometric measures were predictive of BMD (P < 0.05, r = 0.65-0.81, standard error of estimate = 0.08-0.10 g·cm, percent error = 6.3-8.5). Those scoring >1 on EAT26 had lower BMD than did those with a score of 0-1 (P < 0.05). Professional female ballet dancers exhibit reduced BMD, fat mass, and lean mass compared with the general population whereby low BMD and stress fractures tend to be more prevalent in those with a higher risk of disordered eating. Anthropometric and demographic measures are predictive of BMD in this population.

In Memoriam: Christopher Dickey, August 31, 1951–July 16, 2020

“They sang, they danced, they praised their god—and they slaughtered everyone in sight.” Nearly a quarter of a century later, I still recall how perfectly Chris Dickey summed up an emerging trend i...

The effects of body image of high school students majoring in dance on self-management and feeding attitude

The effects of body image of high school students majoring in dance on self-management and feeding attitude

Contemporary Dance, Advocating the ‘Post-’ of Dances

Contemporary Dance, Advocating the ‘Post-’ of Dances

The Analysis of Differences in Level of Importance and Level of Satisfaction in Recognition of Middle School Students on Good Classes in School Dance Education Using IPA Method

The Analysis of Differences in Level of Importance and Level of Satisfaction in Recognition of Middle School Students on Good Classes in School Dance Education Using IPA Method

La videodanza como arte de edición del cuerpo

La videodanza, una fusión del lenguaje audiovisual con la coreografía, utiliza el encuadre fotográfico y el montaje para editar el cuerpo y su movimiento. Analizamos el plano entero o general usado para mostrar el cuerpo y la coreografía enteros, y las composiciones coreográficas en gran plano general donde el cuerpo individual se convierte en fragmento de un conjunto coreografiado. El montaje clásico alterna planos generales y de detalle para destacar partes de la acción. Las micro-coreografías hacen bailar a manos o rostros filmados en primer plano. Ciertas videodanzas buscan la abstracción con el desenfoque y los planos de detalle extremos sobre partes del cuerpo que pasan a ser percibidas como texturas y líneas abstractas. La brevedad y el tiempo de lectura del plano, el ángulo de cámara y tamaño de plano influyen en el reconocimiento de la forma humana o la percepción de masas abstractas en movimiento.

МІЖНАРОДНІ ПРОЕКТИ ІВАНА ПУТРОВА В ІННОВАЦІЙНОМУ ОНОВЛЕННІ СВІТОВОГО БАЛЕТНОГО ТЕАТРУ

Mета статті – з’ясувати особливості творчої діяльності артиста балету українського походження І. Путрова в статусі провідного соліста Королівського балету (Лондон); розглянути художню структуру й творчі принципи продюсування митцем власних міжнародних балетних проектів «Чоловіки у русі», «Проти течії», «Шматочок неба» й ін. Методологія дослідження ґрунтується на використанні комплексу методів: аналізу й синтезу – для вивчення стану розкриття теми; культуролого-генетичного та мистецтвознавчого – для реконструкції творчого шляху І. Путрова; проблемно-тематичного й порівняльного – для виявлення художньої структури й творчих принципів продюсування митцем міжнародних балетних проектів; аксіологічного – для розгляду ціннісного змісту творчості І. Путрова. Наукова новизна статті полягає в тому, що в ній заповнено прогалину в науковій літературі з вивчення зарубіжного досвіду визначних майстрів балету українського походження та аналізу їхнього доробку в історичному й художньо-практичному аспектах; досліджено еволюцію культурних орієнтирів у характеристиках чоловічого модерного танцю та його видозмін у сценічно-виконавській практиці. Висновки. Творчий шлях І. Путрова проаналізовано з урахуванням його активної пропаганди чоловічого танцю як фактора оновлення тематики й стилістики світового хореографічного мистецтва, відновлення історичної пам’яті про авангардні досягнення трупи С. Дягілєва в інноваційному та мистецтвознавчому аспектах. Розкрито безпосередній зв’язок українського танцівника з традиціями іншого нашого співвітчизника –С. Лифаря. Розглянуто виконавські принципи І. Путрова в сфері хореографічної класики, що виникли на перетині київської школи танцю (заснованої в школі А. Ваганової) та англійської балетної драми, а також пластичних експериментів провідних західних хореографів кінця ХХ – початку ХХІ ст.

'Together, we dance alone'

'Together, we dance alone'