Female Dancers Research Articles

ANKAI SITELU: KOREOGRAFI TERINSPIRASI DARI SISTEM KEKERABATAN PADA MASYARAKAT KARO

Ankai sitelu is taken from the Batak Karo language, the word ankai means understanding and sitelu which means sitiga. If these three words are interpreted, they mean a dance that originates from understanding rakut sitelu. " ankai sitelu" is a dance work inspired by the Batak Karo kinship system, namely rakut sitelu. Rakut sitelu consists of sukut, kalimbubu, and anak beru. Sukut is the party who is the host in a traditional or ritual ceremony, kalimbubu is the party who is highly respected because he is considered to be the representative of dibata (god) on earth who gives tendi and blood, while anak beru is the party who does the sukut work in traditional ceremonies and rituals. This work takes the essence of balance in the rakut sitelu system with traditional karo dance movement patterns which are developed according to broader teba movement intensity, volume, level and time.
 Ankai Sitelu's work is a group choreography consisting of three female dancers, a total of three dancers who will be composed in a large group and small group composition by paying attention to the composition of the parts. The number of three dancers is analogous to three social positions in the Rakut Sitelu kinship system. This work uses the exploration method as an initial part in developing the creativity of the creation process, improvisation to find movements by chance or spontaneously, composition to arrange the movements that have been obtained, as well as periodic corrective evaluation of the process. This work is expected to provide information about the meaning and values contained in Rakut Sitelu.
 Keywords: Rakut sitelu, balance, Karo Batak tradition

Epidemiology and management of ankle sprain injuries over seven seasons in an elite professional ballet company

ObjectivesTo investigate the epidemiology and management of ankle ligament sprains over seven seasons in a professional ballet company. DesignDescriptive epidemiology study. MethodsMedical attention injury, time-loss injury, and exposure data pertaining to 140 professional ballet dancers were prospectively recorded by Chartered Physiotherapists over seven seasons (2015/16–2021/22); a period including the COVID-19 global pandemic. ResultsSixty-nine ankle sprains (46 time-loss) in 45 dancers (32 %) were recorded: 51 sprains were classified as grade I, 15 were classified as grade II, and three were classified as grade III; 53 sprains affected only one ligament, whilst 16 were multi-ligament sprains. For time-loss injuries, median time-loss durations varied by grading (I - 31 days, II - 54 days, and III - 147 days) and the number of ligaments affected (one - 31 days, two - 54 days, three - 134 days, four - 137 days), with time-loss ranging from 1 to 188 days. Of the 46 time-loss ankle sprains, eight were mild, nine were moderate, and 29 were severe. The incidence rate (injuries·1000 h−1) of medical attention ankle sprains was 0.073 (95 % CI: 0.046 to 0.117) in male dancers and 0.101 (95 % CI: 0.069 to 0.148) in female dancers, and the incidence of time-loss ankle sprains was 0.044 (95 % CI: 0.024 to 0.080) in male dancers and 0.064 (95 % CI: 0.040 to 0.103) in female dancers. No significant effect of sex was observed on either medical attention (p = .304) or time-loss (p = .327) ankle sprain incidence rates. Ten percent of dancers sustained multiple sprains across the seven seasons. Fifty and 39 % of ankle sprains in female and male dancers, respectively, were preceded by a history of ankle sprains. Jumping and landing (30 sprains) and non-dance movements (16 sprains) were the most common inciting movements. Bone bruising and synovitis were the most common concurrent pathologies. ConclusionsAnkle sprains placed a considerable burden on the ballet company studied. These time-loss durations specified by number and grade of ligament sprain, injury history, and secondary pathologies can guide return-to-dance rehabilitation pathways.

Injury incidence and severity in Chinese pre-professional dancers: A prospective weekly monitoring survey

ObjectivesTo determine dance injury incidence and severity in full-time Chinese pre-professional dancers. Study designProspective weekly online monitoring survey. MethodsRespondents were asked to record all dance-injury incidences between September 2020 and July 2021 using a remote weekly self-report injury monitoring tool. An inclusive definition of injury was used in this study to record all injuries, even if they didn't cause a cessation of training. Data were excluded if respondents completed <90 % of the survey period and had over 3 consecutive weeks of missing data. Results450 individuals from 11 different schools were included in the analyses. A total of 1157 injuries were reported over a 30-week academic year. Injury prevalence was 64.9 % and injury incidence was 5.51 injuries per 1000 h. Forty-eight percent of the injuries were minor severity and 41 % were of moderate severity, and the main injury sites were knees (0.89/1000 h), lower back (0.80/1000 h), feet (0.58/1000 h) and groin (0.56/1000 h). Female dancers reported significantly higher injury prevalence and injury incidence, and higher rates of moderate to severe injuries than males. The university group reported higher injury incidence than the adolescent group (p < 0.05), whereas the latter reported higher rates of moderate to severe injuries than the former (p < 0.001). ConclusionsThe injury incidence found in this study (5.1 injuries/1000 h) is higher than most previous sets of data. Female dancers are at a higher risk of injury and reported higher levels of injury severity than male dancers, especially for the female adolescent group.

Blood Lactate and Heart Rate Responses Between Active and Passive Recovery Modes Over a 15-Minute Recovery Period in Female Dancers After Kathak Dance.

Introduction: Dance is physically demanding and results in blood lactate (BL) accumulation and elevated Heart Rate (HR). Researchers recommend using either Active Recovery (AR; eg, low-to-moderate intensity-exercise) or Passive Recovery (PR; eg, complete rest) modes after activity. We compared BL and HR responses between AR or PR over a 15-minute recovery period following a Kathak dance. Methods: Twelve female dancers (31.0 ± 6.0 years; 161.5 ± 4.9 cm; 55.5 ± 5.8 kg) performed 2 dance testing sessions (Day 1 = AR, Day 2 = PR) 48 hours apart. Each session started with a 10-minute warm up followed by dancers performing four 2-minute stages of Kathak dance, with three 1-minute periods between stages where we recorded HR and their Rate of Perceived Exertion (RPE:scale = 6-20) to match the intensity of both sessions. Post-dance, we recorded dancers' BL and HR at 1, 3, 5, 10, and 15 minutes while they recovered via AR or PR. Separate 2(mode) × (time) Repeated-Measures-ANOVA followed by simple-main-effects testing and adjusted Bonferroni-pairwise-comparisons examined differences in BL and HR responses across modes and time(α = .05). Results: Dancers' HR and RPE were similar across sessions. No mode × time interaction existed in BL (F4,8 = 3.6, P = .06). BL levels were similar across modes (F1,2 = 0.5, P = .5). BL levels reduced over time (F4,8 = 6.0, P = .02), but Bonferroni-comparisons did not reveal any pairwise differences. In HR a significant mode*time interaction (F4,36 = 11.0, P = .01, η2 = .55) was observed. Both Active and Passive recovery modes achieved absolute HR levels by 15 minutes, with PR mode stabilizing within 5 minutes. Conclusions: Over a 15-minute recovery period after Kathak dance, dancers' BL and HR responses were similar across time in both AR and PR, with HR being higher in AR. Dancers' HR remained similar from 1 to 3 minute post dance recovery and then dropped over time. Thus, dancers can rest up to 3 minutes and still maintain the same elevated HR. Overall, dancers can choose either AR or PR as their recovery mode based on their individual preferences.

Kreativitas Eka Rosy dalam Penciptaan Karya Tari Jejak

The Jejak dance work is a new choreography that has a background from the spirit of the Jathil Ponorogo dance. The value contained in the Jejak dance work is the value of the spirit of never giving up. The Jejak dance work is presented in the form of a group dance danced by six female dancers. This dance work isdivided into four parts, namely the intro, the first scene shows anxiety about goals and what you want to achieve, the second scene is conflict within the personal sphere, the third scene is self-confidence, which shows an atmosphere of enthusiasm or fighting spirit values. This study used a qualitative research method with a choreographic approach, to dissect the form of the choreography of the Jejak danceusing Y. Sumandiyo Hadi's theory. Meanwhile, to describe the creative process of creating Jejak dance works, it uses the theory of Rhodes, 4P (person, press, process, product). The stages in the process of creating a Jejak dance work go through several stages, namely the stage of determining ideas which are refined through several phases including the phase of selecting themes, maturation ofconcepts, observation, then the process of exploration, improvisation, and composition.This is very fundamental to creating a work that can be accounted for scientificallyacademically. The results of this research show: Eka Rosy's creativity in creating Jejak dance works is influenced by several factors (internal and external), Eka Rosy's creativity is reflected in Eka Rosy's ability to actualize ideas that are compiled through a process of exploration, improvisation, and composition then implemented in the form of works Jejak dance.Keywords: Jejak, dance work, creation process, choreography.

Plantar intrinsic foot muscle activity and its relationship with postural sway during tiptoe standing in ballet dancers and non-dancers

BackgroundMinimizing postural sway during tiptoe standing is essential for ballet dancers. Investigation of the activity of the plantar intrinsic foot muscles (PIFMs) may provide insight into postural sway in dancers. Herein, we compared PIFM activity during tiptoe standing between dancers and non-dancers and examined its relationship with postural sway. MethodsWe enrolled 14 female ballet dancers and 13 female non-dancers. Electromyography (EMG) amplitudes of 64 channels of PIFMs and center of pressure (COP) data were recorded during bipedal tiptoe standing tasks performed with ankle plantarflexion angles of 20°, 40°, and 60° (dancers only). The EMG amplitudes were normalized to those during the maximum voluntary contraction, and the muscle activity level and its coefficient of variation over time (EMG-CVtime) during the task were assessed. Standard deviations in the anteroposterior and mediolateral directions, velocity, and area were calculated from the COP data. ResultsMost COP and EMG variables were significantly lower in dancers than in non-dancers in both the 20° and 40° tasks (p < 0.05). Significant correlations were found between most combinations of the COP and EMG variables in both the 20° and 40° tasks in the whole cohort (r = 0.468–0.807, p ≤ 0.014). In the 60° task in dancers, COP velocity was strongly correlated with EMG-CVtime (r = 0.700, p = 0.005). ConclusionThese results provide novel evidence that the PIFMs do not require high activity, but rather that its low, steady activity is the key, to achieve less postural sway during bipedal tiptoe standing in dancers.

Is the Symmetry of Classical Ballet Positions Perfect?

It is expected that in classical ballet dancers would be able to execute all the techniques symmetrically from the right as well as from the left side of the body. This study aimed to evaluate the symmetry of kinematic parameters of hip joints, knee joints, and foot progression angle of the left and right lower extremities (LE) in five classical ballet positions, as well as the symmetry of active and passive turnout and range of passive hip external rotation. The experimental testing involved 12 female pre-professional ballet dancers. Three measurements of range of motion, made using a standard goniometer, were carried out to characterize the study group. Kinematic data of left and right LE in the five classical ballet positions were recorded using a motion capture system. The comparisons revealed significantly lower (p < 0.01) hip external rotation values by 9.8% (1st position), 5.4% (2nd position), and 8.5-11.8% (3rd position) for the right LE than the left LE. Moreover for 3rd, 4th and 5th positions, there was significantly higher (p < 0.05) hip external rotation values by 7.0%-27.2% in the back LE than the front LE. In 4th position there was asymmetry in foot progression angle with significantly lower values (p < 0.01) by 5.3% in the front LE (left) than the back LE (right). In case of goniometric measurements, the results showed significantly higher (p < 0.05) passive hip external rotation values by 10.8% for the right LE than the left LE. The perfect ballet symmetry pursued by dancers is not in fact so ideal. The most astonishing result was the existence of statistically significant differences in hip external rotation in the case of the 1st and 2nd positions.

Symbolic Study- Representation in Nyongsong Dance

Nyongsong dance tells of the activities of clove harvesting farmers in the Anambas Islands. Harvesting cloves includes climbing, picking, crushing, and drying cloves. This research is qualitative. The data collection technique was carried out by researchers through participatory observation, and the data analysis stage used qualitative descriptive methods. The presentation of the Nyongsong dance consists of three rounds, act 1 presents the farmers climbing and picking cloves symbolized by up and down movements exploring the clove tree setprop, act 2 presents the activity of crushing cloves symbolized by female dancers exploring the movement of ukel and exploring the properties of the jute sack by male dancers, and in act 3, the activity of farmers drying cloves is presented, symbolized by seven dancers exploring brown cloth together. This Nyongsong dance used corrective makeup with brown and green clothes. The props used in this dance are inspired by the tools farmers use when harvesting cloves, such as bags, winnowing, and burlap sacks. Danced by seven dancers, including two male dancers and five female dancers. The accompanying music is created life using Malay musical instruments such as selondang, serunai, violin, mong, gong, bebano, darbuka, flute, multiped percussion, and sequencer. This research aims to examine the Nyongsong dance from the perspective of representational symbols as enriching knowledge about the study of choreography through symbols and representations.

The effects of strength and balance exercises on the center of pressure and plantar pressure distribution in adolescent ballet dancers

ABSTRACT We aimed to examine whether the changes in neuromuscular strength indices and balance affect the gait patterns of five fundamental ballet techniques performed on a single leg after 8-weeks of strength+balance exercise coupled with traditional ballet classes. Thirty female ballet dancers were recruited (age:12.77 ± 1.52y). Anthropometric parameters, isokinetic ankle, knee, hip, and trunk muscle strength, and static and dynamic gait kinematics were performed using a repeated measures study design. The exercise group revealed greater knee, hip, ankle, and trunk muscle strength and lower center of pressure (COP) during follow-up measurements (p < 0.05, p < 0.001). Hip and trunk muscle strength was inversely correlated with heel impulse parameters (p < 0.05). Reduced R2 values were revealed for the normalized impulse measures of the forefoot, during all five techniques. However, an increase in normalized impulse measures of the heel region of the foot, on average, to a decrease in percent forefoot/rearfoot impulse and explained a significant proportion of variance in passé (R2 = 0.87), développé à la seconde side (R2 = 0.73), développé à la seconde front (R2 = 0.74), développé à la seconde back (R2 = 0.90), and penché (R2 = 0.84) heel impulse parameters. Muscle strengthening exercises and impulse-based load patterns of foot regions and COP may be used to verify the effectiveness of such treatments in redistributing the pressure throughout the foot.

The interactions between agonist-to-antagonist muscle strength performance and plantar pressure distribution, foot contact area, and impulse in novice ballet dancers.

Hip, trunk, knee, and ankle/foot muscles may lead to increased variability in the components of balance and plantar pressure distribution (PPD) analysis. However, the role of these muscle groups in the PPD of different ballet techniques in novice ballet dancers has not previously been studied. Our objective was to examine whether balance and PPD vary among five different ballet techniques and correlate with the agonist-to-antagonist strength performance of trunk, knee, hip, and ankle muscles in adolescent ballet dancers. The anthropometric parameters, muscle strength performance, balance, and PPD of sixty healthy female ballet dancers (age: 14.36 ± 2.18y) were measured at 48-h intervals. The forefoot's PPD was significantly greater than the midfoot and rearfoot for all techniques (p= 0.000). The percent plantar load of forefoot during développé à la seconde (side, front, back), passé, and penché was greater than midfoot (166.56%, 161.51%, 168.11%, 165.14%, 174.04%) and rearfoot (47.75%, 32.84%, 43.83%, 48.73%, 49.66) for all techniques, respectively. The forefoot's PPD, impulse, and contact area during all techniques were significantly correlated with the trunk muscle strength ratio (p< 0.05). Ballet dancers with higher trunk muscle strength imbalance showed a greater percentage difference in pressure load between the left and right foot in the anterior and posterior directions, poor balance, aggravated trunk imbalance, increased PPD, contact area, and impulse in the forefoot during each technique.

The relationship between Ballet Body and Professional Ballet - the History, System and Future behind Ballet

The paper delves into the stringent physical standards set for professional female ballet dancers worldwide, commonly termed as the "ideal ballet body". This concept largely emphasizes the physical appearance of dancers, such as long limbs, small head, and a specific proportion between the leg and upper body lengths. While it's acknowledged that this "ideal" is mostly a fantastical standard, professional ballet institutions in different countries respond variably. Using Russia and China as examples, the paper underscores their focus on recruiting dancers whose physiques align closely with this ideal. In contrast, the American professional ballet system is explored for its broader and more holistic approach to recruitment, beyond the "ideal" physique. The paper then offers an in-depth exploration across three chapters: a comparative look at how countries prioritize the "ideal ballet body"; an analysis of the pros and cons of these systems; and, finally, a discussion on the role and future of China's ballet system based on interviews.

Koreografi Tari Rancak Sumatera Di Sanggar Silodang Production Kota Padang

The purpose of this study was to explain the choreography of Sumatran Rancak Dance at Sanggar Silodang Production Kota Padang. The type of research used is qualitative research with descriptive methods of analysis. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature study, observation, interviews, and documentation. The steps of analyzing data are data collection, data reduction, data presentation and data verification. The results showed that the choreography process carried out by choreographers has stages such as ideas / themes, exploration, improvisation, and composition. So from the process carried out by the choreographer produces the following aspects of form: motion, space design, time design, power design, upper design, dramatic design, floor design, group composition, equipment, and music. Sumatran Rancak dance has several types of movements consisting of movement developments from the regions of Aceh, Medan, Riau, and West Sumatra which are worked on by choreographers with the concept of entertainment. The costumes used have been created and modified using bludru brackets, metered songket, shoulder tokah, shoulder scarves, belts, and complete accessories for female dancers. As for male dancers, they wear satin, galembong, batik deta, and silodang cloth. Sumatran Rancak dance uses the plate property at the end of this dance with a plate size of 5.

The impact of diaphragmatic breathing on the endurance of contemporary dancers at the Institut Seni Budaya Indonesia Aceh: model-based experimental design

Managing dance movement elements is crucial for maintaining endurance and movement quality. The purpose of this study was to investigate the effects of applying diaphragmatic breathing on dancer endurance. The study employed a mixed-methods approach with an exploratory sequential design. The first phase, qualitative in nature, aimed to formulate hypotheses concerning the endurance issues faced by dancers in choreography courses. The second phase tested these hypotheses through experiments, incorporating control variables between two groups: Group 1, trained in dance movements using diaphragmatic breathing, and Group 2, solely trained in movements. The experiment took place at the Indonesian Institute of Cultural Arts in Aceh, with six female dancers enrolled in choreography classes randomly divided into two groups. None of the participants had prior experience with diaphragmatic breathing techniques while dancing. The study utilized a sphygmomanometer and oximetry for measurement. The endurance test involved dancing to a metronome for 5 minutes at tempos of 100, 110, and 120 without interruption. The results indicated that the respiratory frequency of dancers using diaphragmatic breathing was more stable compared to the group that did not employ this technique. These findings suggest that incorporating diaphragmatic breathing alternately while dancing can serve as a recommendation for maintaining dancers' endurance, particularly for students at the Indonesian Institute of Cultural Arts in Aceh.

Pengembangan Tari Lamang Di Sanggar Bidodari Kanagarian Koto Gadang Guguak Kabupaten Solok

This research aims to reveal, describe and analyze about the Development of Lamang Dance at the Bidodari Kanagarian Studio Koto Gadang guguak Solok Regency. This type of research is descriptive analysis method research. Object of research This is the Lamang dance at the Bidodari Kanagarian Studio Koto Gadang Guguak Regency Solo. The types of data in this research are primary and secondary data. Research instrument this is the researcher himself. Data collection techniques are carried out by means of literature, observation, interviews and documentation. The data collected was analyzed using techniques interpretation so that the truth can be obtained. The results of the research show that the Lamang Dance in Nagari Koto Gadang Guguak has experienced development that can be seen in terms of quality and quantity. On in terms of quality, namely from the aspects of movement, floor patterns and costumes. In terms of quantity, namely from the aspect of increasing the number of actors from 2 female dancers to 8 dancers Woman. Costumes developed in terms of colors, headdresses and clothing. So the process of developing the Lamang dance in Nagari Koto Gadang Guguak was because there was a desire Meri Suryati is the younger sister of the founder and permanent supervisor of Sanggar Bidodari maintain the Lamang dance by changing it to an attractive Lamang dance used by the people of Nagari Koto Gadang Guguak.

조선후기 궁중 선유락 복식 연구

This study examines the type, change, and characteristics of Seonyurak (船遊樂)&#x0D; dancers' clothing, based on 12 kinds of uigwe (royal protocols) that recorded&#x0D; Seonyurak performances. Seonyurak, which used to be handed down as gyobang&#x0D; jeongjae (courtesan's dance) in local areas, was introduced into the court due to&#x0D; the seonsanggi system after Injo’s Rebellion (仁祖反正). As a local performance&#x0D; presented to government officials, who were going abroad as envoys, became&#x0D; performed in the royal court, the venue, name, and performance content and&#x0D; method of Seonyurak were changed.&#x0D; The first performance of Seonyurak was recorded in Wonhaeng eulmyo jeongri&#x0D; uigwe (園幸乙卯整理儀軌) in 1795, and it was adopted as an official court dance in&#x0D; Gichuk jinchan uigwe (己丑進饌儀軌) in 1829. The clothing of jipsa, assistants, has&#x0D; been recorded since Gichuk jinchan uigwe (1829) while that of donggi, young&#x0D; female dancers, has been recorded since Musin jinchan uigwe (戊申進饌儀軌, 1849).&#x0D; Therefore, the clothing of Seonyurak performers was settled in 1849, and it was&#x0D; passed down until 1902, which was the period of the Empire of Korea.&#x0D; It is possible that Seonyurak performed in 1795 was in a similar form to&#x0D; Baettaragi (排打羅其), another courtesan's dance performed in the northwestern&#x0D; region, since its performance venue was in Hwaseong, not the palace. Among them,&#x0D; it can be seen that donggi in chaeseon, a boat located in the center of Seonyurak&#x0D; performance, served as sogyo (a position of military officer) of Baettaragi, which&#x0D; was confirmed by Bongsudang jinchando (奉壽堂進饌圖). However, donggi performed in&#x0D; Baettaragi wore red cheollik, the uniform of danghagwan (officials of the lower&#x0D; terrace), while those in Seonyurak wore navy cheollik, the uniform of&#x0D; dangsanggwan (officials of the upper terrace). Later, since Gichuk jinchan uigue (1829), donggi playing the role of sogyo was&#x0D; changed into jipno, and the role of donggi was played by jipsa. The clothing of&#x0D; Seonyurak jipsa was a military uniform of danghagwan, which was worn by donggi&#x0D; in Bongsudang jinchando (1795) and lasted in the last banquet in 1902. Seonyurak&#x0D; jipsa had worn a military uniform as a support garment for cheollik since Imjin&#x0D; jinchan (1889) until Imin jinyeon (1902). Before that, it is presumed that they wore a&#x0D; green daechangui as a support garment for cheollik.&#x0D; As for the clothing of Seonyurak jipno, donggi wore a red danui (丹衣), the uniform&#x0D; of the Yeonhwadae dance, in Gichuk jinchan uigwe (1829), and later on they wore&#x0D; green dangui (唐衣) since Musin jinchan uigwe (1848) until the last banquet of the&#x0D; Empire of Korea. It is confirmed that they wore a red skirt and green dangui in Imin&#x0D; jinyeondo (1902).&#x0D; Donggi wore a red skirt and a yellow top in Musin jinchando (戊申進饌圖), Jeongjae&#x0D; jinchando (丁亥進饌圖), and Sinchuk jinchando (辛丑進饌圖) whereas they wore a green&#x0D; dangui only in Imin jinyeondo (壬寅進宴圖). Stand-by dancers of Seonyurak wore the&#x0D; basic clothing of court dance performed by yeoryeong (female entertainers).

“I was ashamed, and now I am proud as I finally know how to let go.” How Female Polers Perceive, Experience, and Give Meanings to Their Bodies—An Ethnographic Case Study

Although the popularity of recreational pole dancing continues to gain momentum, its prevailing association with the erotic sphere and resulting stereotypes shape it as a borderline activity. Notably, the way pole dancing is approached and enacted elucidates how bodies, especially female embodiment, are socially constructed and controlled. Thus, to look at that issue from recreational female polers’ perspectives, this article sheds light on how their understandings of the body evolve with their engagement in the leisure activity at hand. That process is analyzed in the context of how women deal with tensions that arise while they navigate between the internalized societal expectations concerning desired femininity and personal agency. Drawing on ethnographic and interview data from pole dance studios in Poland, I discuss how polers’ perspectives on their bodies change from personal and interactional ‘limitations’ to embracing their bodies as interactional partners with whom to achieve their goals. In the process of learning by doing, women get to know their bodies and develop with them a relationship based on trust. Subsequently, growing to understand the bodies as their substantial selves that functionality allows them to achieve the ‘impossible’ as one empowers women. At the same time, I highlight how the process of espousing alternative perceptions of one’s body unfolds under the umbrella of an internalized frame of meanings concerning female embodiment that lures women to fit societal expectations. The interplay between the two sheds light on how female polers navigate toward reclaiming their self-confidence from the clutches of the critical social gaze while negotiating the notion of their bodies. Compelling in that regard is how relying on erotic associations with recreational pole dancing in terms of inciting empowerment through a sexual agency, as some studios do, plays out and factors into female pole dancers’ experiences concerning their leisure activity.

Differences in the Rotation Axis Between Professional and Experienced Amateur Ballet Dancers During pirouette en dehour in Classical Ballet With Wearing Pointe Shoes: A Pilot Study.

Introduction: En pointe, in which weight is placed on the tiptoes, is a fundamental practice for female ballet dancers with pointe shoes. The center of mass (COM) is maintained over the base of support and the relative position of COM to the center of pressure (COP) is especially important when conducting a pirouette in ballet. A pirouette is a fundamental turn in classical ballet with flat shoes and pointe shoes. The investigation of the turn with pointe shoes would be favorable for understanding the movement with limited base of support. Herein, we aimed to determine the differences in the ability to perform pirouettes with pointe shoes between professional and amateur ballet dancers. Methods: This study included 8 professional and 9 amateur ballet dancers. The dancers performed a single pirouette, and the movement was captured and analyzed in 3 phases: turning with double-leg support (TDS), turning with single-leg support in pre-swing (TSSp), and turning with single-leg support in mid-swing (TSSm). The analysis focused on the inclination between the vertical angle and the COP-COM line, the vertical maximum reaction force, and the jump-up time in each phase. Results: The results showed no significant differences between the TDS and TSSp. However, professional ballet dancers exhibited significantly lesser posterior inclinations (professional; 2.05° ± 0.90°, amateur; 3.88° ± 1.67°) and jump-up time (professional; 0%, amateur; 1.4% ± 1.3%) than amateur dancers during TSSm. Conclusion: Overall, the findings suggest that professional dancers exhibit superior control skills regarding the COP-COM line than amateur dancers during TSSm. These results may be attributed to the fact that professional dancers can maintain the COM as close to the upright as on the COP without jumping during TSSm. This enables professional dancers to conduct the movements esthetically and continue on to the other movements in the dance phase.

PERANCANGAN BUKU CERITA BERGAMBAR BERJUDUL ”ASAL-USUL TARI RONGGENG IBING” UNTUK REMAJA BERUSIA 13-17 TAHUN

Design of a Picture Storybook titled “Origins of the Ronggeng Ibing Dance” for Youth 13-17 Years Old. The Ronggeng Ibing dance is a type of ronggeng art known in the Sundanese community that has developed in the southeastern part of West Java, especially in Ciamis Regency, Banjar City, and Pangandaran Regency. In this Ronggeng Ibing, several female dancers are accompanied by Sundanese gamelan and kawih-kawih (singing) music. Sundanese kawih-kawih as accompaniment to the Sundanese Ibing dance also experienced development with many new kawih-kawih being created. The research method was carried out by conducting interviews with resource persons, distributing questionnaires, and collecting and reading literature. The result of this design is in the form of an illustrated storybook that will discuss the origins of the Ronggeng Ibing Dance. Through this design, it is hoped that it can provide insight to children about their origins more specifically in terms of dance culture, can increase children's reading interest, and can make it easier for children to understand cultureKeywords: storybook, ronggeng ibing, Pangandaran Regency, West Java

Acute Musculoskeletal Complaints Vary According to the Perceived Stress Among Hungarian Professional Dancers.

Introduction: Studies showed that professional dance is often associated with a high degree of acute musculoskeletal injuries. These injuries' etiology predominantly describes their biomechanical or other extrinsic factors, but there is a limited number of scientific reports dealing with the perceived stress or mental health status concerning the physical complaints especially, among Hungarian professional dancers. Materials and Methods: In this study, we used validated questionnaires (RESTQ, SEFIP, Mental Health Test) filled out by Hungarian professional female dancers (N = 168) via an online platform anonymously and analyzed statistically. Results: Our findings showed a significantly positive relationship between musculoskeletal complaints and perceived stress, an elevated level of general stress, and a higher level of resilience in this population compared to the general population. Conclusion: Dancers demonstrate a heightened perception of stress; however, they exhibit elevated scores on resilience assessments, indicative of heightened functionality in their daily lives. Stress, per se, may not be directly regarded as a causative factor for acute musculoskeletal conditions, but it could potentially influence the severity of pain sensations and subjective pain levels in the context of existing injuries. Additional investigations are warranted to elucidate the precise mechanisms by which stress exacerbates the pain experience among dancers.

Nutritional, anthropometric characteristics and the probability of suffering disorders of eating behavior in classical dancers in four academies of the central department

Background: Eating behavior disorders (EDs) are mental health disorders characterized by pathological behavior towards food intake and an obsession with weight control, accompanied by distortion of the perception of body image. Methods: An observational, descriptive and cross-sectional study with a quantitative approach was carried out, which included 4 classical dance academies in the Central department, specifically classical dance dancers within the age range 12 to 18 years, whose parents signed an informed consent. Poorly completed surveys and male dancers were excluded. Sociodemographic data, eating and anthropometric characteristics, and the probability of having eating behavior disorders were analyzed using two scales, SCOFF and BULIT. The work regarding the bioethical principles of research to manage the personal data of the participants, only those data strictly necessary to solve the research objectives were taken. A formal letter was provided to the parents to confirm that their daughters could be part of the investigation. The study was presented to the Ethics Committee of the Universidad del Pacifico. Results: Of 91 female classical dancers surveyed, 17 (19 %) were 12 years old; 27 (30 %) are from Academy A; 89 % (n=81) do eat fruit; 86 % (n=78) vegetables; 100 % (n=91) consume meat; dairy products and derivatives 98 % (n=89); legumes it was obtained that 82 % (n=75) consume it; 88 % (n=80) consume sugary drinks; and in terms of the consumption of pure water, 60 % (n=55) make adequate consumption. For the anthropometric data, 43 % (n=39) weigh between 50 and 59.9 kg; 57 % (n=52) measure between 151 and 160 cm, 85 % (n=77) have adequate height, 70 % (n=64) of classical dance students are at risk of suffering behavioral disorders food according to the SCOFF scale; while 99 % (n=90) of the dancers do not present any risk of suffering from Bulimia Nervosa according to the BULIT scale. Conclusion: We conclude that classical dance dancers are likely to suffer from eating disorders, since this population is considered highly exposed, especially in the adolescent stage, since even today there is social pressure on the canon of beauty that they must achieve and sustain to be accepted and included.