Professional Dancers Research Articles

A study of the validity of Spanish version of the Self-Estimated Functional Inability because of pain (SEFIP) in pre-professional dancers

ABSTRACT The aim of this research was to analyse the psychometric properties of the Spanish version of the Self-Estimated Functional Inability due to Pain Questionnaire (SEFIP) in Dance Conservatory students. For this purpose, the Self-Estimated Functional Inability Because Of Pain (SEFIP) instrument was used, translated into Spanish, validated by experts and administered to a total of 451 students from the Professional and Superior Dance Conservatories of Andalusia (418 females = 92.7%; 33 males = 7.3%) aged 10 and 48 years (M = 18.66; SD = 5.296). The structure of the instrument was then analysed using confirmatory procedures. The Spanish version of the instrument was named Cuestionario de Incapacidad Funcional Autoestimada debido al Dolor. The results show that the model that presents correct fits in the confirmatory analysis is the one-factor model. The model fit data were very good: χ2/gl = 3.37, p = .000; CFI = .94; NFI = .95; GFI = .91; RMSEA = .07 (90% CI = .603; .821). The results support the validity and reliability of this instrument in this population to be used to prevent injuries in dancers.

Inter-Viewing Socialist Dancing Bodies

In October 2021, I interviewed three Chinese professional dancers who had completed undergraduate dance degrees in China and pursued their MFA in Dance degrees in the US. Their bi-cultural experiences and unique training narratives motivated me to re-search the Chinese dancing bodies beyond the borders. In this article, I draw on Robin Nelson’s methodologies of Practice/Performance as Research and Diana Taylor’s Performance Studies theory of the archive to examine the performativity of my interviewees’ dance experiences and my own educational experiences in both the US and in China. I explore how Chinese dancers, with their distinctive, yellow-skinned appearance, embody the national spirit and cultural traditions of China as they navigate various dance practices across the diverse landscape of the United States. Through their daily movements, these dancers inhabit a space of in-betweenness, leaving indelible but untraceable traces of their experiences on their bodies. My analysis delves into how these dancers, through their encounters in the field of dance and performance in the US, reinterpret their cultural memories, social identities, and socialist ideologies through choreography. Drawing from my own cross-border experiences between the US and China, I approach the examination of their performances through interviews, textual analysis, and movement interpretations.  

[Dance-specific eligibility of vocational ballet students - examinations at a governmental training institution for classical ballet].

During their training, pre-professional ballet students are confronted with physical stresses comparable to those of competitive sports. In competitive sports, there are mandatory and binding aptitude tests to ensure that the growing athlete meets the requirements. In ballet, there are no such mandatory examinations preceding the start of training. For adult professional dancers, musculoskeletal ideals could be isolated from the dance medicine literature. However, only a few studies describe musculoskeletal characteristics of pre-professional ballet students. It is neither known at what age a student should meet the ideal measurements for an adult nor what deviations from the ideal can be considered normal. This study aims to describe sociodemographic and musculoskeletal characteristics of pre-professional ballet students and discusses to what extent they already meet or deviate from dance-specific eligibility criteria for adult professional ballet dancers. In this study, n = 414 female and n = 192 male students of John Cranko School (JCS) were seen by an experienced orthopaedist and dance physician. Mean age was 13.9 years (SD 3.5, range 5-22 years). Their medical history was taken (age; nationality; start of ballet/training) and a physical examination was performed (height/weight; symmetry of shoulder girdle, spine, waist triangles; pelvic tilt; tibial torsion; range of motion of base of index finger joint, spine, hips, ankle and base of great toe joint). Subsequently, the results of this study were compared with suitability criteria for adult professional ballet dancers that had been isolated from the dance medicine literature for a previous article. Examinees were from 49 different nations. 34.6% of the female subjects (≥16 years) were between 165 and 170 cm and 33.3% of the male subjects (≥18 years) were between 178 and 185 cm tall. 45.0% of those examined showed low body weight (<10th percentile, BMI <18.5 kg/m²). The trunk of 61.0-84.8% of those examined was erect and symmetrical. 25.2% had scoliosis. Half (53.5%) were found to have a bilateral external rotation of the hips of at least 60°, and 68.7% had a bilateral internal rotation between 20 and 50°. 87.3% exhibited a bilateral tibial torsion between 15 and 40°. A bilateral en dehors of 90° was calculated for 25.0%. In 9.1% of those examined, the upper ankle joints presented a dorsiflexion of at least 25°, and in 70.2%, a plantarflexion of at least 70° was seen. In 88.0%, the metatarsophalangeal joint of the great toe was 90° (f) and 80° (m) on both sides. The results of this study showed that pre-professional ballet students fulfil many characteristics of adult professional ballet dancers. High values already among young age groups suggest a ballet-specific selection. Nevertheless, not all students fulfil the theoretical "ideal measurements" for professional classical ballet. These anatomical limits should be considered individually in training to protect the growing pre-professional ballet dancer. The high ballet-specific anatomical demands, but especially the large number of students with a low body weight, underline the necessity of mandatory aptitude tests at the beginning and regular check-ups in the course of training to avert compensatory mechanisms and their consequential damage and to screen for eating disorders and disorders of eating behaviour.

The association of range of motion, lower limb strength, and load during jump landings in professional ballet dancers

This study aimed to investigate the associations between peak plantarflexion ankle joint moments and vertical ground reaction forces (vGRF) during jump landings, and static ankle dorsiflexion range of motion (ROM), three-dimensional ankle excursions, and lower extremity strength in professional ballet dancers. Twenty-seven professional ballet dancers volunteered to participate (men = 14, women = 13). Participants attended one data collection session to measure dorsiflexion ROM and isometric lower extremity strength. Two further sessions were used to establish ankle mechanics and vGRFs during countermovement jump landings in seven foot positions, via a seven-camera motion capture system and piezoelectric force platform. Two linear mixed-effects models were used to investigate associations between the target variables and strength, dorsiflexion ROM, and ankle excursions. Dancer identification, sex, and foot position were entered as random effects. Model fit, when considered independent of random effects, was generally poor with the predictor variables explaining little of the variance of peak plantarflexion ankle joint moments (R2 = 0.02) or vGRF (R2 = 0.01). Model fit improved when random effects were considered (R2 = 0.65 & 0.34). Frontal plane ankle excursion was the only predictor variable with a significant negative association with peak plantarflexion ankle joint moments (p = .016), although coefficient estimates were small. Strength, static ankle dorsiflexion ROM, and three-dimensional ankle excursions are poor predictors of load experienced at a joint and system level in professional ballet dancers. Differences between individuals, sex, and foot position may be better indicators of the load experienced during jump landings.

Preventing eating pathology among elite adolescent ballet dancers: a pilot trial of the Athlete Body Project

ABSTRACT Adolescent ballet dancers are commonly recognized as aesthetic athletes who are at higher risk for body dissatisfaction, disordered eating, and eating disorders. Although athletic participation can generally protect against negative mental and physical health outcomes, idealization of a body ideal specific to ballet can confer unique vulnerability for eating pathology. Despite this known vulnerability, rigorous efforts to prevent eating pathology among young dancers are lacking. Previously, we reported on a trial of the Female Athlete Body Project adapted for professional female ballet dancers. The current study tested a subsequent adaptation, the Athlete Body Project (ABP), tailored for younger dancers, including a version for boys. This non-randomized, uncontrolled pilot trial tested ABP among boys and girls in two elite ballet schools (N = 23), formatted in-person and via video-conferencing. Program delivery met benchmarks for feasibility and acceptability across gender and delivery formats, and dancers provided positive qualitative feedback. Overall results suggest the potential of ABP in intervening on pre-post eating pathology and body appreciation, and significantly decreasing drive for muscularity among young ballet dancers. Taken together, this pilot work addresses a gap in the field and advances the needed development of eating disorder prevention programming for young, high-risk aesthetic athletes.

Esoteric Dance Practices of the Early Twentieth Century: Case Study of George Gurdjieff’s Movements

Abstract The beginning of the twentieth century was marked by colossal changes in various spheres of life, including art, where appeared numerous choreographies produced by both professional dancers and esoteric teachers. This article analyzes the choreography of George Gurdjieff, a dance practice simply called “Movements.” This practice was often considered as closely related to and being a product of the artistic environment of the time. The article argues that even though being the product of the time, Gurdjieff’s dance requires a close attention. It will show that his approach to dance downplays aesthetic and emotional aspects. Applying the hybrid methodology, this article will first identify the place of the Movements in Gurdjieff’s teaching. It will then illustrate how the Movements differ from modern German dance. Finally, it will analyze and describe the author’s ethnographic experiences in the study and practice of the Movements.

The materiality key: how work on empirical data can improve analytical models and theoretical frameworks for multimodal discourse analysis

This article is a critical reflection on the way the notion of materiality informed the project and the development of The Kinesemiotic Body project carried out by a UK and German research teams and of the model of analysis it adopted, the Functional Grammar of Dance. It starts with an excursus of some of the most interesting developments in other discipline that turned to the investigation of materiality as an epistemological perspective, and it shows how the same type of focus has impacted on multimodal discourse analysis focusing on movement-based communication. The overarching theme that characterises this multidisciplinary attention to materiality is its anchoring function to the temporal and spatial coordinates in which social phenomena are contextualised, which is taken as the fundamental condition for shaping our perception and understanding of the world in all areas of experience and knowledge. A more specific example of how the notion of materiality impacted on the development of movement-based discourse analysis will be provided by an example of analysis of rich movement data captured live from professional dancers from the English National Ballet.

Passion and performance anxiety: How it affects the incidence of musculoskeletal disorders in dancers

ObjectivesThis study aimed to examine the association between the incidence of musculoskeletal disorder episodes (MDEs) and obsessive and harmonious passion as well as performance anxiety throughout a dance season, which lasted 38 weeks. DesignProspective cohort study. MethodsA total of 118 professional and preprofessional dancers were recruited and assessed at baseline, while 88 completed the follow-up. Their levels of passion and performance anxiety were assessed at the beginning of a dance season using the Passion Scale and the Kenny Music Performance Anxiety Inventory, respectively. To monitor the incidence of MDEs throughout a dance season, dancers were asked to complete a weekly electronic diary. ResultsA higher level of obsessive passion was associated with a higher incidence of MDEs causing an interruption of dance activities (β = 0.264, p = 0.022). Harmonious passion and performance anxiety were not associated with MDEs throughout the season. ConclusionsFindings of this study support the role of obsessive passion in the development of MDEs in dancers.

Single-Leg Heel Raise Capacity is Lower, and Perceived Ankle Instability is Greater, in Dancers and Athletes With Posterior Ankle Impingement Syndrome.

To compare clinical assessment findings between elite athletic populations with and without a clinical diagnosis of posterior ankle impingement syndrome (PAIS). Cross-sectional case-control study. Elite ballet and sport. Ten male and female professional ballet dancers and athletes with a clinical diagnosis of PAIS and were matched for age, sex, and activity to 10 professional ballet dancers and athletes without PAIS. Posterior ankle pain on body chart and a positive ankle plantarflexion pain provocation test. Single-leg heel raise (SLHR) endurance test, range of motion testing for weight-bearing ankle dorsiflexion, passive ankle plantarflexion, and first metatarsophalangeal joint dorsiflexion, and Beighton score for generalized joint hypermobility. Participants also completed the Cumberland Ankle Instability Tool (CAIT) questionnaire. The group with PAIS achieved significantly fewer repetitions on SLHR capacity testing (P = 0.02) and were more symptomatic for perceived ankle instability according to CAIT scores (P = 0.004). Single-leg heel raise endurance capacity was lower, and perceived ankle instability was greater in participants with PAIS. The management of this presentation in elite dancers and athletes should include the assessment and management of functional deficits.

Wheelchair Dance: Exploring a Novel Approach to Enhance Wheelchair Skills, Belongingness and Inclusion among Children with Mobility Limitations

Playful approaches are recommended to enhance wheelchair skills training with young people. Inclusive dance allows participants to discover motor skills and improve social participation. Integrating wheelchair skills training into dance has not been evaluated. This study aimed to explore participants’ experiences in dance while integrating wheelchair skills, and the influence of dance on wheelchair skills and wheelchair use confidence in young people. A convergent mixed-methods design was used during a one-week dance camp. Data collection combined observations, two focus groups (with young dancers who used manual wheelchairs and with professional dancers without disabilities), and evaluation of wheelchair skills and confidence. Data analyses included deductive thematic analysis guided by the Quality Parasport Participation Framework, merged with pre–post comparisons in wheelchair skills and confidence. Three young female dancers were 11, 12 and 15 years of age and three professional female dancers were 22, 27 and 27 years of age. Emergent themes included skill mastery, belongingness, and supportive environments. There were improvements in wheelchair skills and confidence (16.7%, 19.4%, 16.7%; 0.8%, 11.4%, 4.5%, respectively). Participants described overall positive experiences with the dance camp and perceived enhanced skills and confidence. This study advances knowledge about innovative approaches to integrate wheelchair skills training for young people. Future larger-scale controlled studies are needed to determine efficacy.

An Exploration of Low Back Beliefs of Male Pre-Professional and Professional Dancers.

Globally, male dancers are affected by low back pain (LBP) up to 2.5 times more than female dancers. While female dancers' beliefs around LBP and dance-specific low back movements exist, no research has explored male dancers' beliefs. This study aimed to (1) examine the low back beliefs of Australian male professional and pre-professional dancers, and (2) determine if beliefs toward common low back movements and lifting differed when current LBP or history of disabling LBP (DLBP) were considered. 40 male dancers (mean age [SD] 26.9 years [7.9]) from a range of dance backgrounds (all participating in ballet) were recruited to complete a cross-sectional survey comprising a beliefs questionnaire considering dance-specific movement and lifting tasks, the Back Pain Attitudes Questionnaire (Back-PAQ) and the Athletic Fear Avoidance Questionnaire (AFAQ). Primary analysis included initial descriptives, a repeated measures ANOVA for movement-specific beliefs and visual thematic analysis for written responses within the belief's questionnaire. Secondary subgroup analysis included independent T-tests for those with/without current LBP and those with/without a history of DLBP. Fourteen dancers reported current LBP and 30 reported a history of DLBP. Dancers held generally negative beliefs toward the low back (Back-PAQ mean 123.1 ± 9.7) with neither subgroup demonstrating significant between-group difference (P < .05). Dance-specific flexion movements were seen as safer than extension movements (P < .05), and more extended-spine lifting was seen as safer than more flexed-spine lifting (P < .05). Dancers experiencing current LBP held less positive beliefs surrounding some dance-specific movements. Dancers hold negative general beliefs toward the low back irrespective of current or historical DLBP, however their beliefs surrounding dance-specific movements were relatively positive. Dancers' beliefs surrounding some movements were affected by the presence of current LBP, in particular an arabesque and a fish dive.

Laterality in Body Coordination of Professional and Amateur Ballet Dancers While Performing a Single Pirouette with Pointe Shoes.

Imbalances in muscle strength coordination owing to lateral preference may be a risk factor for injury in dancers. Postural control is essential for the basic turn in ballet (pirouette), owing to its lateral asymmetry. Since dance with pointe shoes demands greater range of motion, muscle strength, and balance control compared to dancing with flat shoes, pointe shoes may further add to the risk and cause an imbalance between the preferred and non-preferred legs during pirouette. In this study, we examined lateral differences in professional and experienced amateur ballet dancers during single pirouettes with pointe shoes to understand the multiple elements involved in lateral balance control in pirouettes. Eight female professionals and seven female amateur ballet dancers performed single pirouettes in pointe shoes on both the preferred and non-preferred sides. To understand the body coordination laterality in single pirouettes, statistical parametric mapping was performed for the trunk, hip, knee, ankle angle, and center of mass-center of pressure inclination angle timeframe data during the pirouette in three phases: turn with double-leg (Phase 1), single-leg (Phase 2), and finish turning with a single-leg (Phase 3). In addition, the hop-up time was calculated as the percentage when the foot is not in contact with the ground in Phases 2 and 3. There were no lateral differences in trunk and lower limb angles in either group. Professional dancers showed slightly more inclination towards the stance leg during left rotation at the beginning of the movement (Phase 1) with longer hop-up time in Phase 2, whereas amateur dancers tended to tilt forward during the left turn (Phases 1 and 2) with longer hop-up time in Phase 3. It is notable that the COP-COM inclination angle was adjusted by hop-up and it caused the lateral differences in both professional and amateur dancers during a single pirouette with pointe shoes. This study highlights elements to consider in laterality when monitoring pirouette performance with pointe shoes.

Clinical outcomes and return to dance after total hip arthroplasty or hip resurfacing in professional dancers.

Professional dancers represent a unique patient population in the setting of hip arthroplasty, given the high degree of hip strength and mobility required by their profession. We sought to determine the clinical outcomes and ability to return to professional dance after total hip arthroplasty (THA) or hip resurfacing arthroplasty (HRA). Active professional dancers who underwent primary THA or HRA at a single institution with minimum one-year follow-up were included in the study. Primary outcomes included the rate of return to professional dance, three patient-reported outcome measures (PROMs) (modified Harris Hip Score (mHHS), Hip disability and Osteoarthritis Outcome Score for Joint Replacement (HOOS-JR), and Lower Extremity Activity Scale (LEAS)), and postoperative complications. A total of 49 hips in 39 patients (mean age 56 years (SD 13); 80% female (n = 39)) were included. Mean follow-up was 4.9 years (SD 5.1). Of these 49 hips, 37 THAs and 12 HRAs were performed. In all, 96% of hips returned to professional dance activities postoperatively. With regard to PROMs, there were statistically significant improvements in mHHS, HOOS-JR, and LEAS from baseline to ≥ one year postoperatively. There were complications in 7/49 hips postoperatively (14%), five of which required revision surgery (10%). There were no revisions for instability after the index procedure. Two complications (5.4%) occurred in hips that underwent THA compared with five (42%) after HRA (p = 0.007), though the difference by procedure was not significantly different when including only contemporary implant designs (p = 0.334). Active professional dancers experienced significant improvements in functional outcome scores after THA or HRA, with a 96% rate of return to professional dance. However, the revision rate at short- to mid-term follow-up highlights the challenges of performing hip arthroplasty in this demanding patient population. Further investigation is required to determine the results of THA versus HRA using contemporary implant designs in these patients.

시대적 제약 속에 문화적 기업가정신(Cultural Entrepreneurship)

This study explores the founding and development process of Cloud Gate Dance Theatre, the first professional modern dance company in Taiwan, established in 1973 by Lin Hwai-min(1947. 02. 19.~ ). This research has two main focuses. First, it analyzes the lasting imprint of the historical and social context of Taiwan in the 1970s on the development of the dance company. Second, it examines the role played by Lin Hwai-min as a cultural entrepreneur in the formation of Cloud Gate amidst the challenges of the era. Based on existing literature and prior research, this study analyzes how Lin Hwai-min integrated Taiwan's unique historical experiences and collective emotions with modern dance to establish the unique aesthetic identity of the dance company. Applying the theory of organizational imprinting and the concept of cultural entrepreneurship, the research deeply investigates how the socio-political climate of Taiwan in the 1970s influenced the establishment and early growth of Cloud Gate. It examines the impact of Taiwan's complex socio-political environment and the changes of that period on the organizational imprint, and highlights the significance of Lin Hwai-min's entrepreneurial approach in forming the aesthetic identity of Cloud Gate. The findings of this study provide sophisticated insights into understanding the identity formation of cultural and artistic organizations within a broader socio-historical context and emphasize the interaction between external environments and entrepreneurial spirit in shaping cultural institutions.

Dancemania: Analyzing the Commercialization of Dance Crew Competitions

This research delves into the intricate landscape of commercialization within dance crew competitions, employing a focused examination of prominent television series, notably the widely recognized "Dancemania." As the dance competition model gains unprecedented popularity and financial success, there is a discernible risk that the core authenticity of this expressive art form may be compromised. Rather than adhering to artistic values, there is a growing concern that these competitions may veer towards catering primarily to mass entertainment tastes. To comprehensively unravel the increasing commercial influences and economic incentives shaping the competition format, this study employs a multifaceted approach. Interviews and surveys are conducted, drawing perspectives from dance professionals, competitors, and television producers intimately involved in the dance competition milieu. Through qualitative insights and firsthand accounts, the paper aims to shed light on the evolving dynamics propelled by commercial interests. Quantitative data analysis forms a critical component of this research, uncovering correlations that exist between success metrics and influential factors, such as viewership ratings, which may take precedence over the technical prowess of dance ability. The findings from this analysis serve as a catalyst for discussions surrounding potential policy and structural adjustments. The overarching objective is to realign the priorities of competitive dance with a renewed emphasis on artistic values, countering the prevailing trend of prioritizing commercial interests. This research signals the need for holistic interventions and shifts in the competition landscape to preserve the inherent artistic integrity of dance within a commercialized context.

“Let’s Get a Little Bit Aboriginal, Shall We?”: Transforming Cultural Appropriation into Spiritual Wellness via the Neohealthism of KINRGY

Celebrity-driven wellness ventures are pervasive and often spearheaded by white women, resulting in white-centric health guidance. One such venture is KINRGY, a workout and lifestyle method created by professional dancer Julianne Hough that regularly appropriates and exploits Eastern, Aboriginal, and BIPOC cultural practices. Through a critical rhetorical interrogation of the workout videos and Instagram feed of KINRGY, we assess how this method relies on cultural appropriation and New Age Orientalism to situate spirituality as the crux of universal health, thus establishing a reconfiguration of healthism into what we call “neohealthism”—a phenomenon that further obfuscates structural constraints on health, and expands the individual imperatives of healthful choices by placing metaphysical considerations on consumers’ shoulders. We theorize neohealthism through the following themes: the consumption of the Other via cultural exploitation, the question of expertise in spiritual leadership, and the intensified neoliberal imperatives that individualize health and wellness for self and the universe. 

Health variables and professional practice profile of ballroom dance teachers in Brazil

The objective was to investigate fatigue, quality of life (QoL) and professional profile of ballroom dance teachers in Brazil compared by gender. A total of 272 professionals from the five regions of Brazil were evaluated using a self-administered questionnaire divided into professional profile, QoL and fatigue. It was observed that women showed better results compared to men in terms of education and BMI. The general QoL of both sexes showed regular scores, with higher values for the social relations domain and lower values for the physical domain. The data reflect the search for information on the profile of the ballroom dance teachers and health factors related to their professional practice profile, with possible distinctions between the sexes and highlight the importance of awareness for the maintenance of the health of dance professionals.

PROBLEMS AND REFORM STRATEGIES OF COLLEGE DANCE EDUCATION UNDER THE BACKGROUND OF QUALITY EDUCATION

College dance education plays a crucial role in training qualified dance professionals and promoting the art form. However, it currently faces problems affecting program quality, including lack of standardization, outdated curricula and facilities, shortages of qualified faculty, and more. This paper analyzes key issues and challenges for college dance programs in China through an extensive literature review. Potential reform measures are proposed such as improving teacher training, modernizing curricula and teaching methods, upgrading facilities and equipment, and strengthening industry partnerships. Findings suggest comprehensive reforms are needed across areas such as administration, curriculum, faculty, facilities and assessment to improve program quality and enable college dance education to better meet the needs of the cultural market.

Excessive Knee Internal Rotation during Grand Plié in Classical Ballet Female Dancers.

Classical ballet dancers are exposed daily to physically demanding movements. Among these, the Grand Plié stands out for its biomechanical complexity, particularly the stress applied to the knee joint. This study investigates the knee kinematics of healthy professional classical ballet dancers performing the Grand Plié. Twenty dancers were evaluated with a motion analysis system using a marker-based protocol. Before measurements, the self-reported Global Knee Functional Assessment Scale was delivered for the knees' functional ability, and the passive range of knee motion was also assessed. The average score on the Global Knee Functional Assessment Scale was 94.65 ± 5.92. During a complete circle of the Grand Plié movement, executed from the upright position, the average maximum internal rotation of the knee joint was 30.28° ± 6.16°, with a simultaneous knee flexion of 134.98° ± 4.62°. This internal rotation observed during knee flexion exceeds the typical range of motion for the joint, suggesting a potential risk for knee injuries, such as meniscal tears. The findings provide an opportunity for future kinematic analysis research, focusing on the movement of the Grand Plié and other common ballet maneuvers. These data have the potential to yield valuable information about the knee kinematics concerning meniscus damage.

Moving Together, Sharing Space in Dance Your Way Home by Emma Warren

Italian has two words for dancing, ballare and danzare. The former refers to the informal, everyday dancing one does with family and friends; the latter means dancing of a high level, the kind that usually requires years of formal training. British author Emma Warren observes that the conflation of both these meanings into the single English verb ‘dance’ comes at the cost of nuance; for one to be defined as a dancer, the assumption follows that one is good at dancing. In her vibrant non-fiction book Dance Your Way Home: A Journey Through the Dancefloor, she seeks to decouple these meanings: if one dances, she argues, then one is a dancer, no matter how excellently or terribly one dances. Her book is concerned not with professional dance but with the ordinary movement of bodies together to music, the spaces this shapes, and the communities this creates. She writes: ‘Moving together to music, I realised, allows us to form new relationships with ourselves and with the wider world’ (7).