School Dance Research Articles

Who is taking dance electives, when, and for how long? Adolescents’ dance participation and persistence in middle and high school

ABSTRACT Inclusive and equitable dance education practices remain an important issue in United States public school settings. We explore adolescents’ participation in public school dance electives through the examination of an ethnically diverse, longitudinal sample of students living in Miami, Florida (N = 24,368), as they progress through secondary school between the 2009–2010 and 2015–2016 academic years. We describe participation rates in dance electives and give results from linear probability regression models showing the characteristics (demographics, school readiness skills, prior school suspension, attendance, and academic achievement) of adolescents who enroll and persist in dance electives between middle and high school. We found that 14% of students enrolled in a dance elective during middle school and only 2% of students did so in high school. The highest levels of uptake in dance electives occurred in 7th and 9th grade. Most adolescents enrolled in a dance elective for only one academic year. Ethnicity, gender, disability status, and prior academic performance were significant predictors of initially selecting into a dance elective in middle school, and for persisting in a dance elective in high school. These results prompt further discussion of the integration of inclusive dance pedagogy in public school contexts.

„Mitu nie zdradzajcie”. Modernistyczna koncepcja tańca w eksperymentach studia „Heptachor”

The Heptachor (Гептахор) studio was a leading early 20 th-century Russian modern dance school committed to a revival of the art of dance and the development of new forms of musical movement and new concepts of artistic creation. In the years 1914–1934, it was the centre of the Musical Movement dance school, experimenting with a wide range of artistic, educational and therapeutic practices. The aim of the article is, first, to present the history of the Heptachor studio on the basis of the recollections and memoirs of its co-founder Stephanida Rudneva, contemporary documents and archive materials, and, second, to analyze the typical creative process narratives included in those sources.

The Relationship Between Dancing and Eating Habits

This research paper is an analysis of how perceptions within the dance world affect eating habits. In order to answer these questions, a high school dance team of 36 girls completed a survey. Each girl was asked questions regarding eating and exercise habits, how often they danced, and their thoughts on their appearance. The completed surveys indicated that, although some disordered eating habits were present, they were not related to dance. This resulted in no correlation between the two. It was found that outside factors, such as social media and magazines, were the cause of the majority of disordered eating habits of the dance team members. The results also revealed that two-thirds of the dance team have tried to lose weight in order to be a better dancer. Despite prior research, dancing did not prove to be the root cause of disordered eating within this sample. Although the researcher's hypothesis was proven to be false, this research can now allow others to view other issues revolving around food and body image within the dance world.

Perspektif Belajar dengan Seni Tari Tradisional di Sekolah Menengah Pertama

This research aims to determine the perspective of learning with South Sulawesi Traditional Dance in Junior High Schools. This type of research uses qualitative research with an ethnographic approach. The subjects in this research were teachers and students at SMP Negeri 22 Bantimurung. The results of this research show that students who are already at the junior high school level have been equipped with sufficient knowledge to develop so that the learning process will be more challenging for teachers in order to increase students' interest and motivation to learn art in the classroom, one of which is by highlighting traditions and culture. Locally in the South Sulawesi area, namely the basic movements of South Sulawesi traditional dance. So, the role of arts education in junior high schools is an effort to improve students' abilities, especially in developing interests, increasing creative work, as well as knowing regional arts and the values ??contained therein. Through arts education, students are facilitated in the process of growth and development in three domains as learning outcomes, namely, cognitive, affective and psychomotor.

Index of healthy eating and emotional eating in relation to psychological inflexibility in dance students

Dance places significant physical and cognitive demands on both students and professionals. These demands increase dancers’ susceptibility to a variety of problems. Between them, the prevalence of eating disorders in dancers of various dance genres is significant. In this context, emotional eating is a common problem among people struggling with weight issues. On the other hand, a construct that has been shown to be relevant is Psychological inflexibility. Psychological flexibility refers to the possibility of fully embracing unpleasant private events in the present, without attempting to modify them. The aim of this paper is to determine the different components of emotional eating and the healthy eating index as a function of psychological inflexibility in dance students. This was a cross-sectional study using non-probabilistic sampling. One hundred fourteen dance students enrolled in conservatories or dance schools participated in the study. Evaluations were conducted using the Acceptance and Action Questionnaire, the Healthy Eating Index for the Spanish population, and the Eating and Appraisal Due to Emotions and Stress Questionnaire. Data were collected in person and online format. No differences in psychological inflexibility were observed between men and women. While women showed greater utilization of food to regulate emotions, they did not differ from men in scores on the healthy eating index. Students with high psychological inflexibility reported greater utilization of food as a regulator of emotions. No differences were found in healthy eating according to psychological inflexibility. It is recommended to transform dance conservatories into healthy spaces by promoting habits that facilitate students’ well-being. Faculties can help in the pursuit of excellence by aligning performance goals with research findings and improving holistic care.

Classical dance and Mediterranean imaginaries: Jia Ruskaja in Fascist Italy

Abstract Russian dancer and film actress Jia Ruskaja (Evgeniya Borisenko, 1902–70) forged a rapidly rising career in Italy as a dancer, teacher and company director during the thirties. The author of La danza come un modo di essere (1927) was a female education reformer, whose Milan dance schools were subsidized by the Fascist Regime. In 1940, she was entrusted with the directorship of the newly founded Royal School for Classical Dance. Though inspired by Isadora Duncan, in the early thirties, Ruskaja added ballet to her modern dance since she considered it crucial for the sound training of the body. According to her, the century-old codified system of ballet, once mingled with the ability to make artfully crafted movements inspired by classical imagery (‘plastique’) and rhythmic gymnastics, could transform into a new and organic physical practice, able to create a new beginning in dance. Was this so? Could her modernized ballet, imbued with the Mediterranean myth that inspired a number of artists in the twenties and thirties, convey such a modernist futural thrust, or was it rather held captive by centuries-old balletic values and culture?

A Quantitative Study of Dance Teaching and Students’ Aesthetic Ability Development in the Framework of Aesthetic Education

Abstract With the deepening of today’s education reform, the development of students’ aesthetic ability is becoming more and more an important part of the education system, and dance teaching, as an indispensable part of the cultivation of aesthetic ability, is receiving more and more attention. This study takes students majoring in preschool education in colleges and universities as the research object, integrates dance teaching in music courses, conducts a questionnaire survey research, and then conducts research on the characteristics of the dance teaching mode under aesthetic education, studies the relationship of the factors between the survey object and the school dance teaching in terms of the one-way analysis of variance (ANOVA), correlation analysis, and multiple regression analysis, and further analyzes the factors influencing the development of the aesthetic ability of the students. After the analysis, it can be concluded that the place of residence has the main influence on the development of students’ aesthetic abilities, despite the individual differences of students. The integration of art courses and dance courses in schools, the degree of attention of dance teachers to students’ aesthetic ability in dance teaching, the development of dance club activities in schools, students’ participation in club activities, and the cultural atmosphere of dance on campus had high correlations with students’ aesthetic ability, with the highest correlation value of 0.412** for art courses. From the multiple regression analysis to explore the development of art courses and students’ aesthetic ability, it can be seen that the school is the main influencing factor in cultivating the development of students’ aesthetic ability towards dance, so the school should improve the content of art and culture courses and focus on the development of students’ aesthetic ability.

Nudges Impacting Sense of Competence to Promote Enrollment in Ballet Class: A Survey Experiment on Framing and Visual Designs

ABSTRACT Evidence that physical activities are good for health and well-being is well established. However, the intrinsic motivation for many people is not high enough to generate active engagement. A simple way to encourage enrollment in ballet classes is to make course descriptions more attractive by combining textual impulses with before-and-after photos representing progress that is feasible in case of participation. Such nudges, which influence sense of competence, are yet understudied. By drawing on self-determination and self-efficacy theories as well as the visual preference heuristic, this article describes the results from a survey experiment in a Swiss dance school. It demonstrates that choices are stimulated when both visual and framing inputs are simultaneously encountered, especially for individuals with low intrinsic motivation “to know and to accomplish.” This evidence gives insights for dance organizations when advertising classes and employs an innovative means to address insufficient enrollment in healthy activities.

When Bharatanatyam Moved from the Popular to the Classical

This paper is abstracted from my larger research where I study the aesthetics of Bharatnatyam through the axis of spectacularization of the Bharatanatyam body at different points of its history. This paper specifically deals with the period between the end of 1950s and 1970s which set off the rupture from the popular aesthetics in the movies to the classical aesthetic in the mainstream Bharatanatyam world outside of it. This period led to the complete transition of transmission techniques to a tertiary model of learning from its primary habitus in hereditary practitioner households spearheaded as early as 1936 by Rukmini Arundale through her institution of mass learning and transmission, Kalakshetra. Several dance schools mushroomed among the Bharatantyam middle and upper class, largely populated by upper caste, brahmin female students of hereditary Nattuvanar teachers following the lead set by Arundale’s tertiary model of transmission. This period was punctuated by a loss of dancing bodies, practices and methods that irrevocably impacted how dance is being transmitted, presented and assimilated by the Bharatnatyam field today.

Perwujudan Manajerial dan Kepemimpinan dalam Ekstrakurikuler Seni di Sekolah

One of the most popular school organizations is the student council. But in reality, the student council also has limitations to embrace all the large number of students in the school. Therefore, other organizations are needed that can be a place for students, especially with kinesthetic intelligence, to develop and self-actualize. This paper aims to open the insight that extracurricular dance can be a place for students' leadership training. How the cultivation of leadership values in extracurricular dance and implementation in schools is the core that will be discussed. The result is that leadership characteristics such as: honest, knowledgeable, courage to make decisions, trustworthy, initiative, wish, firm, fair, exemplary, resilient, loyalty, unselfish, enthusiastic, and humble can be developed in extracurricular dance. The implementation of leadership in extracurricular dance is reflected in the tasks carried out in its simple organizational structure, namely the chairman, deputy, secretary, choreography section, fashion makeup section, music and accompaniment section, performance section, public relations section, to members.

WORKSHOP TARI KHAS PAMEKASAN SEBAGAI PENGUATAN SUMBER BELAJAR LOCAL WISDOM DI SEKOLAH DASAR

WORKSHOP TARI KHAS PAMEKASAN SEBAGAI PENGUATAN SUMBER BELAJAR LOCAL WISDOM DI SEKOLAH DASAR

Breaking the normalization of appropriation and exploitation

Capitalism often gives away gold in exchange for something much more lucrative. Breaking was created by people of color whose ancestors originally owned the land from which the gold, now offered to the best dancers at the Olympics, was extracted. In this article, I wish to examine the financial inequity between the creators and the exploiters in the Hip Hop Dance Scene globally. I examine the relationship between dancers, dance schools and intermediary dance organizations globally. I question how most of the money is made and how much trickles down. I also consider how people of colour participate in the global organization efforts of breaking in the Olympics and discuss how the notion of ‘winning’ can also obscure the healing power of dance. Gold is symbolic of scarcity and capitalism will sell this to dancers in the same way that overnight fame is sold to rappers. I reflect on three primary questions: Will this dance join the others already exploited by dance schools who have no historic connection to the culture? Will the World DanceSport Federation and the International Olympic Commission celebrate the creators of the Breaking moves or will it perpetuate racist appropriation of culture without learning about its heritage? and finally, what efforts are being made to create an economically self-sustaining dance community?

Prevalence of dance-related injuries and associated risk factors among children and young Chinese dance practitioners.

While Chinese dance is a popular dance genre among Chinese teenagers and adults, little is known regarding the prevalence of dance-related injuries or factors associated with such injuries among Chinese dance practitioners. The current cross-sectional study aimed to determine the prevalence of dance-related injuries and their associated risk factors among young Chinese dance practitioners in Hong Kong. Online surveys were distributed to dancers through local dance associations, while paper-based surveys were distributed to young Chinese dance performers during the 54th School Dance Festival in Hong Kong. Self-reported hours of dancing, injuries in the last 12 months, injury sites, and related factors were collected. The injury rate, 12-month prevalence of dance-related injuries were determined. Risk factors for common dance injuries were analyzed using separate multivariate regression models. A total of 175 children (aged 10-14 years) and 118 young (aged 15-24 years) Chinese dance practitioners provided their dance injury information. Young dancers had a significantly higher injury rate (6.5 injuries vs 4.6 injuries/1000 dance hours) and 12-month prevalence (52.5% vs 19.4%) than their child counterparts. The most commonly injured sites were the knee (children:7.4%; young:15.3%), lower back (children: 4.6%; young: 9.5%), and ankles (children: 5.1%; young: 16.9%). Age was a significant independent risk factor for dance-related injuries to the upper back, lower back, and pelvis/buttock (odds ratios ranging from 1.2 to 1.3/additional years). Additionally, height was a significant independent risk factor for lower limb injury (odds ratios ranging from 1.0-1.1/additional centimeter). Collectively, young Chinese dance practitioners are more vulnerable to dance-related injuries than are child dancers. Older age increases the risk of trunk injuries, whereas taller dancers are more likely to sustain lower-limb injuries. Future research should determine the mechanisms underlying dance-related injuries among these dancers.

Feasibility of Digital-based Flipbook Teaching Materials to Improve Learning Outcomes of Grade V Elementary School Students

Teaching materials are one of the important components in learning. The use of printed teaching materials does not contain complete material so that it makes the low learning outcomes of students. This study aims to analyze the feasibility of digital-based flipbook teaching materials for plate dance floor patterns as a solution to improve student learning outcomes. This research method is Research and Development (RnD) developed with the ADDIE model. The subjects of this study were material experts, digital teaching material experts, teachers and fifth grade students. The method used to collect research data through observation, interviews, and questionnaires were used to obtain assessment data from material experts, digital teaching material experts, students, and teacher responses. The data analysis techniques used are qualitative and quantitative data. The result showed thar the feasibility of digital-based flipbook teaching materials from material experts was 91,5% with a very feasibility category, while the result of the validation of digital teaching material experts were 95% with a very feasibility category. The results of this study indicate that digital-based flipbook teaching materials for plate dance floor patterns are suitable for use in learning dance in elementary schools.

초등무용교육에서 케이팝 대중무용의 활용방안 모색

This study explores the potential applications of K-pop popular dance in the ‘subject expression’ component of primary dance education, specifically targeting sixth-grade students. The research proposes an approach to primary dance education that incorporates key elements derived from K-pop idols, including point choreography, group dancing and dance challenge. To explore the integration of K-pop popular dance into primary school dance education, the study employs a two-fold method. First, it conducts a textual analysis of Unit Four from eight primary school physical education textbooks specifically designed for sixth-grade students, with a particular focus on the ‘Subject Expression’ section. Second, it examines K-pop idol music videos from a semiotic perspective. Through these investigations, the study seeks to elucidate the rationale behind incorporating K-pop popular dance into primary school dance education, the methodology for applying K-pop popular dance to cultivate the desired human qualities for future societal needs, and the educational benefits that primary school students can derive from engaging with K-pop popular dance.

Aging Out of Studio Dance: What Happens Next and Transitioning to Postsecondary Education

This article provides private-sector and secondary school dance teachers with recommendations and strategies to help students effectively transition from studio dance training to an undergraduate dance program. I identify four areas in which certain introductory experiences and supplementary opportunities would better prepare high school dancers to bridge the gap between their current training and what collegiate dance will entail: nonperformance experiences, expanded exposure and understanding of dance techniques, reading and writing about dance, and conversations about artistry and future careers.

Interview with Sally Bailey: Reflections on the integration of mindfulness in drama therapy training

In this interview, Sally Bailey, MFA, MSW, RDT/BCT, director of the Drama Therapy Program at the School of Music, Theatre and Dance at Kansas State University, discusses the integration of mindful inquiry in the training of drama therapy students.

The Arts and Individual and Collective Agency: A Brazilian Favela Case Study

Brazil’s favela residents have long challenged the dominant media and social narrative that has, for decades, described them via discourses of criminality. This article examines the work of Redes da Maré, a civil society organization that offers cultural spaces and services for community-based creation and diffusion of the arts in its namesake favela. We employ the concepts of the social imaginary as well as individual and collective agency to investigate whether and in what ways a service-providing civil society organization that has adopted a cultural development approach encourages participants’ democratic attitudes and behaviors at the organizational and community level to challenge existing systemic social oppression by fostering participation in the development process and offering a platform for the expression of the voices of those it engages. Our analysis is based in part on interviews with 4 lead organizers and participants in Redes’ Free Dance School of Maré. Our analysis contributes to a more nuanced understanding of the roles the arts can play in encouraging democratic agency and possibility among favela citizens despite adverse political and social conditions exacerbated by neoliberal beliefs and policies.

Low Back Pain Perceptions and Coping Strategies in Pre-Professional Dancers: A Qualitative Study.

Low back pain (LBP) is a common health problem in pre-professional dancers which could hamper the dancers' professional career. However, pre-professional dancers are not often studied, although they may have their own pain perceptions and coping strategies towards LBP. Considering the biopsychosocial nature of LBP, it is important to increase the understanding of these perceptions and coping strategies. The aim of this qualitative research study was to explore the dancers' perceptions about LBP and their coping strategies when they suffered from LBP. Eighteen pre-professional dancers with and without LBP from different dance schools in Belgium were included in this study. Participants were invited for an in-depth online video interview. These in-depth interviews were based on a topic list. Afterwards, the interview transcripts were analyzed thematically. Two primary themes emerged from the data: 1) perceptions of LBP and 2) coping strategies which dancers applied when they suffered from LBP. The perceptions about LBP were related to two different themes: "it's all about the body" and "it's all about the psychosocial and contextual factors." In addition, the coping strategies were divided into "active coping strategies" and "passive coping strategies," whereas the most popular coping strategies were stretching exercises and passive coping strategies such as massages or heating cream. Although LBP has clearly been shown to be a biopsychosocial phenomenon, this qualitative study showed that dancers mainly considered biomedical factors as contributing factors to LBP. Additionally, instead of relying on coping strategies aimed at directly improving pain or trying to treat LBP on the basis of a single-cause diagnosis, it is important to consider the biopsychosocial origin of LBP in the management plans.

Features of the methodology for judging competitions in dance and dance sport

In this article, based on the analysis and systematisation of scientific research, the topical issues of the peculiarities of the methodology of judging competitions in sport dances and dance sport are considered. It is on the understanding of the sports judge of the criteria of the performance evaluation system that the objectivity of the evaluation of dancers during competitions in sport dances depends.
 Analysis and generalization of experience shows that every sports dance and dance sport specialist with professional training as a judge must know: fundamentals of fundamental and special disciplines; program and directive documents in the field of Physical Education and Sport; specific features of subjective nature of refereeing; regulations on qualification categories of sports dance judges; rules of sports dance competitions in the full range of the main chapters; "SKYTING" score determination system; content of the basic principles of the sport dance competitions. And also it is necessary to know the methods of judging: a) Students in dance schools and medalists; b) athletes in training groups (N, E, D); c) athletes at the level of sport perfection (C, B, A); d) athletes of higher sport mastery (S, M).
 The availability of a large amount of information is a prerequisite for the future career of a coach. This information must be correlated with the tasks and improved if necessary. First of all it is related to dance analysis and judging methodology.
 The education of judges plays a big role in the dance world. In this aspect judging experience, big outlook in dance world is important; the more knowledge a judge has, the better and more precise he/she evaluates performing skills of dancers. Judges get quite a lot of information for themselves when preparing for the judging examinations to obtain the judging category.