Dance Group Research Articles

Descriptive Analysis of Mental and Physical Wellness in Collegiate Dancers.

Understanding the physical and mental health of collegiate dancers is important for developing appropriate screening protocols and treatment interventions. This study aims to provide descriptive data on the overall health, injury burden, and well-being of a group of collegiate dancers, including the interactions between injury, nutrition, and mental health, to provide insight for wellness screening and interventions in collegiate dance programs. Members of the School of Dance at the University of Utah were sent an electronic general health survey. The survey included questions regarding medical history, family history, injuries, diet, sleep quality, symptoms of depression and anxiety, and history of eating disorders. Of the 231 dancers who received the survey, 198 responded (response rate = 85.7%). Fifty 2% of respondents had an active injury. Symptoms of depression and anxiety were common (35.4%), and 37.4% of the dancers were interested in receiving mental health support. Symptoms of depression and anxiety had a significant association with both a history of injury and active injuries (P = .033 and .039, respectively). History of eating disorder was also significantly associated with active injuries (P = .005). The most commonly injured body area was ankle or foot (n = 144, 72.7%), followed by lower leg or shin (n = 76, 38.4%), and knee (n = 61, 30.8%). Over a quarter of the dancers (n = 54, 27.3%) reported having trouble sleeping, and 9.1% reported having a history of eating disorder. This study highlights the important interplay between mental health, sleep, nutrition, and injury. These results show that in a group of collegiate dancers, active injuries and mental health concerns are common, and that there are statistically significant associations between injury, nutrition, and mental health. These data provide insight into factors that affect dancer wellness and help inform future screening and intervention protocols for dance programs.

Differences in Peripheral Vision Between Contemporary Dancers, Folk Dancers and Non-Dancers

Abstract Introduction. In stage performances, dancing requires synchronous connections, choosing paths in space, forming, balancing shapes, adjusting tempo and energy, as well as partnering. Therefore, in addition to proprioceptive abilities and central vision, peripheral vision is used to a large extent. Will the role of peripheral vision be relevant in selected dance styles and techniques? The aim of this study was to compare peripheral perception between contemporary dancers, folk dancers and non-dancers. Material and Methods. The study included 126 individuals. This group consisted of 48 contemporary dancers, 19 folk dancers and 58 non-dancers (the control group – students who did sports other than dance). The Vienna Test System was used to assess peripheral perception. Statistical analysis of the results was performed using a one-way analysis of variance (ANOVA). Results. Interpretation and analysis of the test results indicate that the dancers’ visual range is relatively large, averaging 175.3° for contemporary dancers and 175.58° for folk dancers. As for the control group, the visual range was 172.64°. In the case of peripheral vision, statistically significant differences were noted between the control group and the contemporary dance group (p < 0.01) as well as between the control group and the folk dance group (p < 0.05). Conclusions. Contemporary and folk dancers did not show variation in peripheral vision. However, differences occurred between dancers and non-dancers. It was noted that the studied groups of contemporary and folk dancers had a better range of visual functions related to the peripheral visual field than the control group.

P33: “Digital Dance”: Analyzing and Quantifying Signatures of a Demi Plié via Stretchable Electronic Wearable Sensors for Dance Movement Therapy

Background: Dance, an artistic movement, has utility in dance/movement therapy (DMT) when performed accurately and safely. Dance movements consist of exercises promoting muscle building, flexibility, and enhancing longevity as well as providing psychological benefits. Here we evaluated the foundational ballet exercise, the demi plié, and the associated movements of the knees and pelvis. We hypothesized that deviations in motion signatures are identifiable between dancers performing correct vs. incorrect demi pliés, as well as between collegiate level dancers and non-dancers. Methods: Motion sensors (BioStamps) were placed on the left tibialis anterior and sacrum of seven classically trained, injury-free, collegiate-level dancers, who then performed: 1) correct demi pliés, 2) incorrect demi pliés with anterior pelvic tilt, and 3) incorrect demi pliés with posterior pelvic tilt. Then, six non-dancers of similar age, performed correct demi pliés to the best of their ability after brief instruction. For all conditions, acceleration and gyroscope data was collected (X, Y, and Z axes). Results: The dancers movement of the sacrum differed between Conditions 1 and 2 (p=0.00018) and Conditions 1 and 3 (p=0.00178). No significant difference in movement of the sacrum was found between Condition 1 in the dancer group and the non-dancer group (p=0.30952). In addition, no statistically significant difference was found between the depth of plié in the dancers between Conditions 1 and 2 (p=0.50162) and Conditions 1 and 3 (p=0.84254) and in the non-dancer group compared to Condition 1 in the dancers (p=0.26011). No consistent patterns were found regarding medial and lateral motion of the tibialis anterior in both the dancer and non-dancer groups. Conclusions: The BioStamps technology accurately tracked the movements of the tibialis anterior and sacrum during correct and incorrect classical demi pliés in both the “Dancer” and “Non-dancer” groups. This knowledge when applied could promote correct ballet technique and be used in injury prevention, as well as for dance/movement therapy (DMT).

Adapting Dance to Complex Clinical Contexts: A Methodology Model.

This study aimed to document the process of adapting a dance intervention in a complex clinical setting, in order to propose a methodology that could inspire the development of other interventions in specific clinical contexts. While the content of health-related dance interventions is still relatively undocumented in the literature, the processes of adapting dance to specific situations are even less so, and rarely seem to be based on theoretical or practical guidelines. Yet the description of these processes could guide the adaptation of other interventions. The adaptation methodology described in this article is part of an embedded single-case study, where the case unit was the adaptation process of a dance group intervention and the subunits of analysis were the intervention's clinical and theoretical premises, content, and pedagogy. Participants were rehabilitation therapists (n = 21), patients (n = 6), relatives (n = 4), and rehabilitation assistants (n = 4). Data were collected through various techniques (focus groups, situational observation, pilot dance sessions, interviews, critical incidents, research journals, template for intervention description, and replication/TIDieR checklist, and video recordings) to allow an iterative adaptation process. Inductive qualitative analysis revealed that the adaptations were made prior to and throughout the intervention, taking into account relevant scientific and disciplinary knowledge, as well as the different actors' implicit, and explicit experiences. The intervention pedagogy focused on adapting the dance content to meet the participants' needs while inviting them to self-adapt this content. The resulting methodology model includes 4 stages: preliminary design, validation with rehabilitation therapists, specific tailoring, and ongoing tailoring. Optimizing the adaptation of dance and ensuring its complementarity within a complex clinical context requires collaboration with the different disciplinary clinicians in order to offer synergistic coherence and ensure dance's contribution to therapeutic objectives.

The Many Masks of Andy Zhou by Jack Cheng

Reviewed by: The Many Masks of Andy Zhou by Jack Cheng Danica Ronquillo Cheng, Jack The Many Masks of Andy Zhou; written and illus. by Jack Cheng. Dial, 2023 [320p] Trade ed. ISBN 9780525553823 $17.99 E-book ed. ISBN 9780525553847 $10.99 Reviewed from digital galleys R Gr. 5-8 Sixth-grader Andy Zhou tends to go with the flow, which means he’s mostly unfazed when his grandparents arrive from Shanghai to live with his family in Detroit for six months, giving them his room and bed with little fuss. Unfortunately, that tendency also means his best friend Cindy walks all over him, and now she’s convinced him to lie to his parents about joining a school dance group he’s not terribly interested in. Anxiety soon overtakes Andy’s usual easy demeanor, and then he’s totally thrown off balance when his bully from science class, Jameel, suddenly wants to befriend him. Torn by juggling so many responsibilities and identities, Andy tries to cope by focusing on drawing, something that feels uniquely special to him. Inspired by personal experiences immigrating from Shanghai to America, Cheng crafts a poignant novel that follows Andy’s first months of middle school, when [End Page 323] he faces microaggressions in his community and difficulty navigating friendships. Bridges appear as a motif throughout the novel, especially as friendships progress, take detours, or crumble; there’s an aching poignancy in Andy’s observation of a demolished pedestrian bridge: “All that’s left are the twisty ends of rusted metal bars, sticking out where it used to be.” Andy and Jameel bond over pop culture and anime, and their relationship gives nuance to Jameel, presenting him as a kid who is good at heart and has his personal hardships. This moving novel about self-discovery will resonate with kids navigating the shifting waters of middle school. End matter includes an author’s note and mental health resources. Copyright © 2023 The Board of Trustees of the University of Illinois

Practising sameness: Inside a long-term dance improvisation practice

This article describes the practising of a weekly group dance improvisation practice that has been taking place for more than ten years. The practice was/is instigated by Olivia Millard resulting from a three-year Ph.D. exploration. Although the practice is based in Millard’s own dance interests, the practice is not aimed at ‘teaching’ this practice or suggesting that this model of practising should be adopted or ‘learned’. Instead, the (non-deliberate) teaching that takes place emphasizes the ongoing act of practising itself. This article explores the embodied experiences of practising over time in two parts. The first is written by Millard who describes the way the practising is tied to the use of scores and how the significance of the practising lies in the regular doing of the same thing, over and over again. The second part of the article is written by a long-term participant, Ashlee Barton, who writes from the point of view of participating in this practice regularly and consistently over such a long period of time.

MUSEUM OF HISTORY OF UKRAINIAN CHOREOGRAPHIC ART AS A CUMULATION CENTER OF DANCING FOLKLORE

The state and prospects for the development of contemporary choreographic art significantly increase interest in the study of dance folklore of Ukraine. The 21st century opens up new opportunities for the study of Ukrainian dance in the context of the latest methodological approaches. This extraordinary issue causes serious controversy. Choreographic folklore is a system of endless creative process. In fact, the challenge for the researchers is to determine the place of individual folk fact in the whole dynamic system of its creative development. This is a rather complex task that cannot be ignored in the research process. When studying the choreographic folklore of Ukraine, we must constantly take into account its dynamic procedural nature as a whole. This phenomenon develops and functions in organic correlation with all elements of people’s life: its historical, social and labor experience, morality, traditions, ethical and aesthetic ideas. The whole course of studying the choreographic folklore of Ukraine demonstrates the complex and organic intertwining of signs of national unity, local specificity and development autonomy. The study of dance folklore is possible mainly through a thorough and detailed study of local choreographic traditions. Of course, in the present state of folklore, this position implies a very hard and time-consuming work. Material, that sometimes retains subtle traces of past years, requires careful differentiated analysis. The historiographical survey shows that, despite the numerous publications, the historical and cultural folklore and choreographic heritage of Ukraine, the center of which is located in the Museum of History of Ukrainian Choreographic Art, located in the small village Nadiia in Kirovohrad region requires a generalizing research. The introduction into the scientific circulation of archival data will significantly expand the scope of folklore-ethnographic research and give a truly historical and scientific coverage of the development of dance culture of the population of Ukraine. The materials collected in the museum reveal the possibilities of comparative characterization of choreographic folklore and cultural traditions as a whole. The exposition of each hall represents the cultural and historical events of the leading artists in the field of choreographic art, the creative path of well-known solo dancers, as well as the artistic retrospective of significant dancing groups who have introduced and continue to multiply and develop the heritage of Ukrainian choreographic art. Among the main tasks of the museum, the leading ones are the popularization of the dance art of Ukraine among contemporary youth, the discovery of the nature of Ukrainian folk dance, the process of its birth, formation and development, as well as acquaintance with a galaxy of leading masters of Ukrainian choreographic art. The Museum of History of Ukrainian Choreographic Art is systematically updated with new exhibitions on the history of the development of folk dance art of Ukraine, and constantly introduces the followers of the folk traditions of the founders of Ukrainian dance. Today, the Museum of History of Ukrainian Choreographic Art is a cultural, educational, research center, filled with the spiritual heritage of the Ukrainian people for many years. The conducted researches allow to ascertain the fact of extraordinary cultural value of the museum, its expositions and folklore-ethnographic content.

Islam Mazhab Cinta ala Kiai Amin Maulana Budi Harjono Al-Jawi, 1990-2021: Pemikiran Tasawuf Seorang Kiai Sufi

This article discusses the Kiai Amin Maulana Budi Harjono Al-Jawi (hereinafter referred to as Kiai Budi)’s thoughts about sufism, from 1990 to 2021. Kiai Budi was the caretaker of Al-Ishlah Islamic Boarding School, Semarang who was known as a Sufi kiai. Kiai Budi’s important contribution is his ability to translate Sufism ideas that are difficult to be easily understood by common people. Through four stages in the historical method, this research uncovers the factors behind the birth of Kiai Budi’s thought. Interpretation of the personal side of a Kiai Budi and his social actions through a social hermeneutic approach, has revealed the style, substance, and implementation of Kiai Budi’s thoughts which are passionate about Sufism themes. Sufism, which he calls Islam Mazhab Cinta/Islam the School of Love, can be categorized in several aspects, namely monotheism, social relations, Islam and nationality, as well as art and culture. In practice, Kiai Budi’s thoughts have been implemented through the formation of the Sufi Dance group and the Sedulur Caping Gunung Movement.

Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency

Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.

The Effect of Twelve-Week Karate and Salsa Dance Training on the Physical Fitness Performance of University Students

This study was performed to determine the effect of 12-weeks Karate and Salsa Dance training on the physical fitness performances of university students. A total of 124 students (age: 21.35 ± 1.59 year; height: 1.70 ± 0.08 cm; body weight: 67.1 ± 10.78 kg) have voluntarily participated in the study. The participants were divided into three groups using a random coin toss. The numbers of Karate group (KG), the Salsa Dance Group (SDG) and Control Group (COG) are 43 people (20 female, 23 male), 40 people (17 female, 23 male) and 41 people (12 female, 29 male), respectively. Technical training programs including two days a week and 90 minutes a day for 12 weeks were applied to the KG and SDG members accepting to the study. Body weight, height measurement, BMI calculation, bass stick balance test, handgrip strength test in upper and lower extremity strength measurements, wall squat leg strength test and plate tapping test for movement speed were performed to all participants before and after 12 weeks training. Since the data did not show normal distribution, Kruskal Wallis test was used in more than two groups and Mann Whitney-U test was used in binary comparisons. Looking at the results of KG and SDG, it was found that the BMI and muscle strength values of KG were better than the SDG values (p= .00). It was determined that the static balance values of SDG were higher than KG (p= 0.00). However, there was no significant difference between the movement speed of both groups (p> .05). All physical fitness parameters of both groups were found to be better than COG. We can suggest that sedentary individuals can benefit from karate technique training in gaining muscle strength. In addition, we can emphasize that it may be more appropriate to use salsa dance training in the development of static balance.

The Effects of Dance Interventions on Depression in Older Adults: A Meta-Analysis.

Meta-analyses of the effects of dance on depressive symptoms in older adults have shown contradictory results, but few primary studies were included (5 and 8 studies). We aimed to examine the effects of dance on depressive symptoms in older adults aged 60 years and older and to examine the moderator effects of the source, participants, methods, and intervention characteristics. We included 23 primary studies that compared depressive symptoms across dance and comparison/control groups of older adults (72 ± 6.7years old) and were written in English (N = 1,398) participants. Dance groups showed significantly less depressive symptoms post-intervention than comparison groups (ES = 0.66, 95% CI [0.42, 0.91], p < .001, I2 = 76.80%). South America and Australia showed the greatest effects. Using quasi-experimental designs showed significant effect sizes compared to using randomized designs. Only one quality indicator, intention-to-treat, influenced effect size. Dance might be used as an alternative treatment to improve depression.

LIGHTING DESIGN SCHEMES AND COLOURS IN DANCE PERFORMANCES: THE MAGICAL ILLUSION

Dance is a creative expression of movements, patterns, and stories they perform. The lighting design contributes to a complete theatrical experience for the audience by highlighting and framing every movement in each dance piece at the right moment. In solos and duets, lighting can emphasize this intimacy by using different spotlights in a particular area and it can make the rest of the stage dark. Different lighting fixtures will help by adding texture to the dance performances. The ambient lighting helps to set the scene, often shadow lighting, and backlighting produces striking images to elevate the body lines and also emphasize the shapes and angles. Few dance groups perform with the integrity of new technologies and Body.This article aims to attempt a definitive and comprehensive illustration of how light design plays an important role in contemporary performances. The lighting design as an art form within the theater is certainly a creative process that illuminates the performer's body to create a visual bonanza experienced by the spectator. In contemporary dance performances, it became an essential illustrative medium rather than decorative elements like in some traditional dance performances.Lighting design is a scenic art in contemporary dance performances concerned with atmosphere and 'body form' in relation to the performance space. The lighting design for a performance with a style and colour on a performer's body creates the magical illusion that is being experienced by the audience. Combinations of lighting design styles and body pigment are crucial and Indian contemporary dance groups adopted such technologies and make some interesting performances.This study analyzes how lighting design influences dance works as a creative approach to performance-making. Blending of costume, makeup, set, interactive media, and lighting design is an added advantage that we can observe in these Indian contemporary Performances. This paper analyzes how lighting design and dance are an integral part of a colorful performance.

English

Dances are part of our socio cultural identities in Nigeria. They are performed for different purposes and at different settings such as home, social gatherings, religious centres, schools, concert halls, dance halls and theatres.&nbsp; Some dance steps are peculiar to certain ethnic groups within each geo-political zone in Nigeria. These peculiarities of dance steps are seemingly going into oblivion. This paper seeks to find out reasons for the erosive state of these dance steps and reasons for the consequent emergence of modified dance steps. Primary data were collected through oral interview of selected dance groups in Ile-Ife, Ibadan, Ijaw, Calabar, Istekiri and Jos metropolis.&nbsp; Secondary data were collected by reviewing works of scholars in published books and articles from national and international journals. The findings reveal that the emergence of modified dance steps has now become an accompaniment to popular music as against the conventional concept of music as an accompaniment to dance. These dance steps become more popular than the traditional dances and adapted as homely dances in all the selected geo-political zones in Nigeria. The paper concludes that the emergence of modified dance steps has eroded and sniffed the dance peculiarities of these towns as a result of popular music artiste&rsquo;s quest for identity and unity of dance steps to their music. &nbsp; Key words: Appraisal, evolution, dance, accompaniment, popular music.

Vietas nozīme stāstījumos par dejošanu Pārdaugavā

It is important for people to structure the space around them and give it meaning, and this is evident in the stories of people involved in dance, not only talking about the process of dancing itself but also about the place and space where they dance. The project “Urban Experiences: Narratives, Memories and Place Heritage” (lzp-2020/1-0096), implemented by researchers from the Institute of Literature, Folklore and Art at the University of Latvia and launched in 2021, includes a study in Rīga, Pārdaugava. It involved interviews with representatives of folk dance and stage folk dance groups working in Pārdaugava. In order to deepen the understanding of an important community of practitioners of Latvia’s intangible cultural heritage – dancers and dance teachers – the aim of this article is to find out where folk dance and stage folk dance perform today, which are the places they pay attention to and highlight as important, and how they shape their everyday dance life. Experiencing different places and spaces in the city shapes both the identity of dancers and dance teachers and the perception of a particular place. In other words, there is a two-way interaction: the person shapes the place, and the place shapes the person. Through semi-structured interviews with members of the dance community and subsequent analysis, the place where classes and concerts take place is crucial in sustaining their everyday practices. Rehearsal spaces create an atmosphere for everyday activities and are also important for socialising and maintaining a sense of community. Although most dancing takes place indoors, in recent years, there has been more dancing outdoors. And although this experience has not always been seen as a success, it has provided a different perspective on the space around us, and an opportunity for people who do not dance to be exposed to different dance practices. The article “The importance of place in narratives about dancing in Pārdaugava” analyses the contexts in which places appear in the narratives of people involved in dance, the meanings they attach to them and what they highlight as important characteristics of the dance environment, which in turn constitute this important part of the intangible cultural heritage.

Hip Hop Party Dance: Cardiorespiratory Profile and Responses to a Predefined Sequence.

Hip hop is a popular dance genre practiced worldwide that has gained popularity since the 1970s. Despite this, studies related to the area and its physiological demands are still scarce. The purpose of this study was to report the cardiorespiratory profile of a group of male and female hip hop dancers to determine the zones of intensity of a predefined hip hop party dance sequence. Eight Brazilian professional hip hop dancers, four women and four men, mean age 22 ± 2.3 years, participated in the study. Using a portable gas analyser (Cosmed K5) their cardiorespiratory variables were measured at two different times: first, during a maximal treadmill test and later during a predefined hip hop party dance sequence. Descriptive statistics (mean and standard deviation) were used for calculating the dependent variables: oxygen consumption (VO2), heart rate (HR), and the intensity zones for the predefined hip hop sequence. Data normality was verified using the Shapiro-Wilk test. The Mann-Whitney U-test was performed to check any sex-related difference (p < 0.01). No statistical difference between male and female dancers was found in the cardiorespiratory profile and responses to the predefined hip hop party dance sequence. On the treadmill, the participants' VO2peak was 57.3 ± 12.7 ml·kg-1·min-1, and HRmax was 190.0 ± 9.1 b·min-1. The predefined hip hop party dance sequence was mainly (61%) performed in the moderate aerobic zone. However, when the dancers jumped, the intensity of the sequence increased. This information could be used to develop a specific supplementary training protocols for hip hop dancers to improve their physiological fitness parameters and reduce the incidence of injury.

한국무용프로그램이 여대생의 골대사지표 및 골밀도에 미치는 영향

The purpose of this study examined the effects of 12 weeks Korea Dance program on bone metabolic markers and bone mineral density in female college students. The subjects were of 20 female college students, they were divided into two groups: the korea dance group(n=10) and the control group(n=10). Korea dance group participated in regular Korea dance program for 60 minutes a day, 3 times per week for 12 weeks, whereas control group were asked to maintain normal lifestyle during the same period. Variables of bone metabolic markers(Osteocalcin, CTx) and bone mineral density(BMD, T-score) were measured and compared between korea dance group and control group as well as pre and post-training using two way repeated ANOVA. Main results were as follows: Osteocalcin significantly in korea dance group. BMD, T-score increased significantly in korea dance group. In conclusion, 12 weeks of Korea Dance program would have positive effects on bone metabolic markers and bone mineral density in female college students. It also preventing the prevalence of Lifestyle diseases. It helps to maintain the independent lives of the female college students and provides them with a sense of confidence and achievement by preventing hypofunction mentally and physically.

“My Body, My Rhythm, My Voice”: a community dance pilot intervention engaging breast cancer survivors in physical activity in a middle-income country

BackgroundInterventions to promote physical activity among women breast cancer survivors (BCS) in low- to middle-income countries are limited. We assessed the acceptability and preliminary effectiveness of a theory-driven, group-based dance intervention for BCS delivered in Bogotá, Colombia.MethodsWe conducted a quasi-experimental study employing a mixed-methods approach to assess the 8-week, 3 times/week group dance intervention. The effect of the intervention on participants’ physical activity levels (measured by accelerometry), motivation to engage in physical activity, and quality of life were evaluated using generalized estimating equation analysis. The qualitative method included semi-structured interviews thematically analyzed to evaluate program acceptability.ResultsSixty-four BCS were allocated to the intervention (n = 31) or the control groups (n = 33). In the intervention arm, 84% attended ≥ 60% of sessions. We found increases on average minutes of moderate-to-vigorous physical activity per day (intervention: +8.99 vs control: −3.7 min), and in ratings of motivation (intervention change score = 0.45, vs. control change score= −0.05). BCS reported improvements in perceived behavioral capabilities to be active, captured through the interviews.ConclusionsThe high attendance, behavioral changes, and successful delivery indicate the potential effectiveness, feasibility, and scalability of the intervention for BCS in Colombia.Trial registrationClinicalTrial.gov NCT05252780, registered on Dec 7th, 2021—retrospectively registered unique protocol ID: P20CA217199-9492018.

Uplifted by Dancing Community: From Physical Activity to Well-Being

The aim of the article is to present the dancing experience of older adult women who increase their well-being through dancing. That aim was realized through conducting qualitative research in accordance with COREQ among the members of a dance group "Gracje" from Wrocław. In the article, we show that senior women dance as a form of physical activity in the pursuit of health, enabling them to maintain the level of physical ability that allows them to fully enjoy different aspects of life. Thus, health is not only attempting to avoid illnesses, but, first of all, experiencing well-being, i.e., satisfaction with life in its physical, mental (cognitive) and social aspects. That satisfaction touches, in particular, such spheres as acceptance of an aging body, a need for personal growth and entering into new social relationships. Increasing that sense of satisfaction and agency (subjectivity) in each of those spheres as a consequence of organized dancing activity should be treated as one of the most important factors responsible for improving the quality of life of older adult women.

Interactive media-based dance and art therapies as interventions for treating posttraumatic symptoms among school children with abduction experience

ObjectiveThis study aimed to compare the effectiveness of interactive media-based dance and art therapies in reducing symptoms of posttraumatic stress disorder among school children in Nigeria who have experienced abduction. MethodThe study utilised a quasi-experimental design using a sample of 470 school children in Nigeria aged 10–18. The participants were divided into three groups, namely control, dance and art therapy groups. While participants in the art therapy group took part in art therapy sessions, those in dance therapy took part in dance therapy sessions. Participants in the control group received no intervention at all. ResultsThe result showed a drop in PTSD scores of participants in art and dance therapies at post-intervention and follow-up assessment after six months. However, those in the control group did not report a significant drop in their PTSD symptoms even after six months. Dance therapy was found to be more effective than art therapy. ConclusionThe conclusion of this study is that dance therapy is more effective even though both art and dance therapies assist children exposed to traumatic events. Practical implicationsThis study has offered empirical evidence that could guide the planning and implementation of therapies aimed at assisting school children aged 10–18 to recover from traumatic experiences.

Socio-Economic Status of Kingariya

Analyzing the socioeconomic situation and current circumstances of the Kingariya community of Dalit Muslims in Puraini, Nepalgunj, was the goal of this study. They are a group of traditional dancers and cultural performers from the upper caste of Muslims. Muslims from the Dalit community work as wage laborers in agriculture and construction. Despite spending a lot of time in the Terai region of Nepal, they are poor and landless. The primary goal of this study is to examine the socioeconomic situation of the Kingariya community in Kingariyanpurwa, Puraini, in the Banke district. In this study, a descriptive and exploratory research design was used. The socioeconomic situation of the Kingariya people is generally described in chronological sequence in this study design. Both primary and secondary data are used in this investigation. Interviews were used to gather primary data from the field survey, while secondary data came from the Nepalgunj Sub-Metropolitan Office, private agencies, government offices, numerous research publications, and other pertinent literature and websites on the internet. The 26 Dalit Muslim households in this study area make up the study's target population. To determine the socioeconomic status of the dalit Muslim community, a purposeful sample technique was chosen. The small population of Dalit Muslims lives in Puraini, Nepalgunj. In the 56 total households for the household survey, there were 26 Kingariya households, or 50% of all households. The study's conclusion is that Muslims live in a socioeconomically deplorable situation. They are hardworking, straightforward, and illiterate, yet they are also poor. High cast has complete control over them in all aspect of life. The socioeconomic status of the Muslim population has had both positive and negative effects over time.