University Dance Research Articles

The Cultural Recognition and Development Path of Contemporary College Dance Creation

Contemporary college students have a keen eye on the world, independent thinking and opinion, making their works embody the college students' understanding of themselves and the pulse of the times. Under the deepening development of education reform, the dance education in our country has been rapidly developed. The emphasis of dance art education is the output of artistic creation. Through the creation of dance art, students' personality is improved and more high-quality dance talents are cultivated for social development. Meanwhile, the creation of dance art in colleges and universities also shoulders the important mission of inheriting culture. In the course of its development, it is necessary to highlight its own artistic features and meet the needs of social development. This article, based on the characteristics of college dance creation, probes into the cultural recognition of contemporary college dance creation from the combination of ethnic elements and cultural symbols, based on the traditional Chinese motifs and the formation of cultural consciousness.

The Dissemination of Chinese Dragon Culture and the Inheritance and Innovation of Dragon Dance in Colleges and Universities

As a cultural heritage of the Chinese nation, the Chinese dragon culture has run through the long history of the Chinese nation for thousands of years, which is a symbol of the industrious, brave, progressive, enterprising determined and fighting spirit of the Chinese Nation. The dragon dance derived from the Chinese dragon culture does not haves a high artistic appreciation value, but also passed the national wisdom, promote the national spirit. Colleges and universities are the holy land for cultural education and heritage, enjoy a unique advantages in the development of Chinese dragon culture. With the development of dragon dance in colleges and universities, this study starts from the change of times, discusses how to retain the excellent gene of traditional Chinese dragon culture while enhance its realm, how to integrate modern sports and positive elements in the modern life at the same time of retaining the characteristics of folk sports. The purpose is to focus on the inheritance and innovation of the value of times to achieve endless inheritance and increasing prosperity of Chinese dragon dance culture.

The Relationship between of Dance Instructors` Use of Nonverbal Communication, Dance Achievement Ability, Performance Confidance in University Dance Students.

The Relationship between of Dance Instructors` Use of Nonverbal Communication, Dance Achievement Ability, Performance Confidance in University Dance Students.

The prevalence and impact of low back pain in pre-professional and professional dancers: A prospective study

ObjectivesTo determine the prevalence of low back pain (LBP) in pre-professional and professional dancers and its impact on dance participation, care-seeking and medication use. DesignProspective cohort study. SettingOne pre-professional ballet school, two pre-professional university dance programs, and a professional ballet company. ParticipantsMale and female classical ballet and contemporary dancers. Main outcome measuresAn initial questionnaire collected demographic and LBP history data. The monthly prevalence of LBP (all episodes, activity limiting episodes and chronic LBP) and impact (activity limitation, care-seeking, and medication use) was collected over a nine-month period. Results119 dancers participated, which represented 54% of those invited. Activity limiting LBP was reported by 52% of dancers, while chronic LBP was reported by 24%. Seventeen percent of all episodes of LBP resulted in some form of dance activity being completely missed. One-third of the sample reported care-seeking and one-fifth of the sample used medication. A history of LBP was associated with activity limiting LBP (p < 0.01; adjusted odds ratio: 3.98; 95% confidence interval: 1.44, 11.00). ConclusionsLBP in dancers was common and had multiple impacts. This study reinforces the need for dancer access to healthcare professionals with expertise in evidence-based LBP prevention and management.

Study of Assessment Factor for College Dance Practice Class

Study of Assessment Factor for College Dance Practice Class

The Relation between Dance Education Class with Non-verbal Communication of University Dance Major Students, Dance Engagement, and Emotional Expressivity of Dance

The Relation between Dance Education Class with Non-verbal Communication of University Dance Major Students, Dance Engagement, and Emotional Expressivity of Dance

문화예술교육사 제도도입에 따른 대학 무용학과 교과현황 조사 연구

문화예술교육사 제도도입에 따른 대학 무용학과 교과현황 조사 연구

Methods of Reflective Practice in a Service-Learning Dance Pedagogy Course

In redesigning a pedagogy course for college dance majors, the author sought ways to provide practical teaching experience for students that coincided with making connections within the local community. Through research on best practices in service-learning courses, diverse methods of reflection proved key toward enhancing student experience beyond surface volunteerism by connecting the service (teaching dance to elementary students in this case) to broader and deeper personal learning. This article describes best practices from a survey of service-learning literature and shares reflective assignments specific to the author’s dance pedagogy course. Emphasis is placed on how the process of reflection aims to link course content to problem solving in real-world contexts, thus providing a deeper and more significant learning experience for students.

대학무용 전공자들의 무용경연 스트레스 척도개발

The present study has the purpose of developing the scales to gauge stress from competitive performance Stress of college dance majors. For this purpose, open-ended questions were prepared and their validity was checked first at the meetings of experts and then through the preparatory survey as the 1st process as well as through the exploratory factor analysis as the 2nd process of development. The questions further underwent the confirmatory factor analysis by means of significant purpose sampling with 869 male and female dance majors enrolled in the dancing departments of the 4-year universities across the country. A group of four experts (the author of the present paper, 2 dance professors and one with the doctor degree in dance) met for analyzing the data of total open-ended questionnaires. Subsequently, an analysis of inductive categorical system was conducted with the first data (combined raw materials), the second one (detailed areas) and the third one (general areas), respectively. The statistical package programs SPSS 19.0 and AMOS 19.0 were used for statistically analyzing the final data with unfaithful or non-responded replies excluded in compliance with the aim of the study. From the survey, it was possible to select 14 items in 4 factors (technique-related stress, psychological stress, environmental stress, and stress from dissatisfaction with body type) to be considered in developing the scales to rate the stress from dancing competition of college dance majors. Conclusion: Participants in competitive performance Stress used to suffer from stresses for technical, psychological and environmental reasons, as well as due to dissatisfaction with their body type, because their performances are usually rated by how well they could exercise extremely difficult techniques and display their expressions, artistry, etc. In order to encourage them to perform dancing successfully, it seems needed to assist them to maintain positive attitude and focus on their internality with the mind-set that, basically, it is each person

Artists as Scholars: The Research Behavior of Dance Faculty

The research behaviors and library use of dance scholars are widely unknown, particularly in regard to issues of access to historical materials and new technology preferences. In the past thirty years, college and university dance departments in the United States have developed into independent, research-based programs. Despite the lack of current research examining the information needs of dance scholars, academic librarians must support the performance, research, and pedagogy of these programs. Interviews with dance faculty from three diverse institutions of higher education provide exploratory data about these scholars’ research needs. This qualitative study provides context for dance faculty experiences as both artists and teachers.

Leadership Narratives in Postsecondary Dance Administration: Voices, Values and Gender Variations

ABSTRACTDance in the U.S. university finds its beginnings in the visionary leadership of women. Since the mid-1910s, dance faculty and students in higher education have been predominantly female. Gender in postsecondary dance today remains much the same, with the exception of dance leadership, which is increasingly male. This narrative inquiry is drawn from a mixed-method study (n = 75) that examined the lives of administrative leaders—defined as chairs, directors, heads, or coordinators—who lead departments or programs of dance in colleges and universities in the U.S. The purpose of the exploratory investigation was to develop a status report drawn from quantitative survey data and qualitative interview narratives of administrators in postsecondary dance with particular attention to gender. This inquiry focuses on representative data of nine participants from the larger study. Findings are presented on participants’ leadership approach; support for work; work–life balance; and research, creative activity and teaching. Gender implications are discussed.

Physical Activity Participation and Nutrition and Physical Activity Knowledge in University Dance Students.

To assess participation in physical activity and knowledge of general nutrition and current public health messages about the health benefits of physical activity in university dance students, and to investigate differences between first-year and later-year students and between students in dance and dance performance course groups. This cross-sectional study recruited 67 participants from dance undergraduate degrees in a university in Australia. Nutrition knowledge was assessed using the General Nutrition Knowledge Questionnaire. Physical activity participation and awareness of its benefits were assessed using the Active Australia Survey. Results indicate low nutrition knowledge among dance students, with 47% and 52% of responses correct in dance and dance performance students, respectively. Nutrition knowledge did not vary between students in first or later years. Self-reported participation in moderate and vigorous physical activity varied substantially and met or exceeded recommendations based upon duration and frequency for 98% of participants. However, awareness of physical activity messages varied, with dance students more likely to disagree about the level of activity needed for health benefits. Dance students report varying levels of physical activity that usually met or exceeded recommendations; however, knowledge of general nutrition and physical activity benefits was low. Improved knowledge could contribute to changes in behavior that improve health status in this population.

Life history and point prevalence of low back pain in pre-professional and professional dancers

ObjectivesTo investigate lifetime history and point prevalence of low back pain (LBP) in pre-professional and professional dancers and to identify any demographic or physical factors associated with LBP in dancers. DesignCross-sectional study. SettingOne pre-professional ballet school, two pre-professional university dance programs, and a professional nationally touring ballet company. ParticipantsMale and female classical ballet and contemporary dancers aged 12 years old and above. Main outcome measuresLifetime history and point prevalence of LBP. ResultsA total of 110 (n = 19 male) dancers (mean (SD) 17.8 (2.9) years old) participated in the study, which represented 50% of the population invited to participate. A 74% lifetime prevalence of LBP was reported by dancers. Point and 12 month prevalence were 24 and 64%, respectively. No significant association was observed between LBP and any demographic or physical variables. ConclusionPre-professional and professional dancers have an increased vulnerability to LBP. The development of LBP within this population is complex and may not be associated with individual factors measured in this study.

龙狮运动高校课程适应性探究

本文通过文献资料法，对当前高校舞龙舞狮运动的发展状况进行了梳理，总结了龙狮运动的文化源流，通过分析历年高校龙狮锦标赛得出目前高校龙狮运动的开展状况。在此基础上，归纳并总结了高校舞龙舞狮运动的文化特征，着重分析了当前高校舞龙舞狮运动的人文关怀特征。本文旨在探究当前中国舞龙舞狮运动的发展特点及其在高校中的开展状况，为传承和发展民族传统体育及建设高校体育文化提供理论依据。 Using the documentary analysis, this passage will roughly clarify current development of dra-gon-lion dance in colleges and universities, summarize cultural origins of this Chinese traditional sports activity, and then come to a conclusion on the situation of development about dragon-lion dance in colleges and universities through analyses of dragon-lion dance tournaments in these colleges and universities over the years. Based on it, this passage will make a conclusion and summary of Dragon-lion dance’s cultural characteristics in colleges and universities, and then focus on the analysis of humanitarian characteristics about dragon-lion dance in these places. As a theoretical basis that encourages people, especially college students, to inherit and develop traditional national sports, this passage is aimed at probing into current features of the development of Chinese dragon-lion dance as well as its evolution in colleges and universities.

An investigation into eating attitudes, body image satisfaction and nutritional status of dance and non-dance students

Dancers undergo huge pressure from the industry to adhere to a specific body shape; therefore, studies have demonstrated a high prevalence of eating disorders and body image dissatisfaction in comparison to non-dancers( 1 , 2 , 3 ). Despite previous studies focusing on dancers, there is limited research in the area of university dance students. Commonly accompanied with disordered eating behaviours and body image dissatisfaction is a failure to meet nutritional requirements; however, except for the examination of calorie intake( 4 ), investigation into the nutritional status of dancers is scarce. The aim of this study was to investigate the differences between dance students and non-dance students in terms of eating attitudes, body image satisfaction and nutritional status. After gaining ethical approval, female dance students (n = 15) and non-dance students (n = 14) were recruited. Anthropometric measures including height, weight and body fat percentage were conducted using standardised procedures and participants completed a three day validated food diary. Eating attitudes and body image satisfaction were assessed using the EAT-26 questionnaire( 5 ) and Stunkard Figure Rating Scale, respectively. The dietary intake data was analysed using Microdiet software (v3) and statistical analysis was conducted using SPSS Statistics (v22). Statistical significance was set at 0·05. Normal distribution was investigated using the Kolmogorov-Smirnov test of normality and because the main variables were not normally distributed (P < 0·05), they were investigated using the nonparametric Mann Whitney U Test. Dance students scored significantly higher than non-dance students on the total EAT-26 and on the EAT-26 subscales of dieting and oral control (Table 1). Five dance students, as opposed to zero non-dance students, scored above the EAT-26 cut-off for being at risk of an eating disorder. There were no significant differences in nutrient intake, anthropometric measures or body image satisfaction between dance and non-dance students (Table 1). Table 1. Median, 25th percentile and 75th percentile of parameters measured in dance students and non-dance students (*p < 0·05, **p < 0·01). Results from the EAT-26 questionnaire support previous studies and show that students studying dance are at higher risk of developing an eating disorder and are more likely to partake in dieting practices than non-dance students. These findings suggest negative eating behaviours are present within Higher Education; therefore, an intervention at this level may be necessary and beneficial.

The effect of classical ballet and contemporary dance training on hip extensor flexibility and strength in novice dancers: A pilot study

The purpose of this study was to investigate the effect of an 11-week intervention of classical ballet and contemporary dance training on hip extensor flexibility and strength in college-aged students with no prior dance experience. An experimental group of college students enrolled in an introductory college dance course (n=22) were compared to a control group of college students (n=7). Measurements of flexibility and strength were taken at baseline and after the 11-week intervention, which consisted of 160min of classical ballet or contemporary dance technique training per week. A one-way repeated measures analysis of variance (ANOVA) revealed statistically significant changes in bilateral hip extensor flexibility in the experimental group (p<0.001 bilaterally) and in right hip extensor strength (p<0.05). The current findings suggest that participating in classical ballet and contemporary training may increase bilateral hip extensor flexibility and right sided hip extensor strength in college-aged students, which could potentially be beneficial for athletic and fitness training. Additionally, the atmosphere of live music, social support uniquely found in a dance class, may be useful for athletes in training in their respective sport.

Artists as Scholars: The Research Behavior of Dance Faculty

The research behaviors and library use of dance scholars are widely unknown, particularly in regard to issues of access to historical materials and new technology preferences. In the past thirty years, college and university dance departments in the United States have developed into independent, research-based programs. Despite the lack of current research examining the information needs of dance scholars, academic librarians must support the performance, research, and pedagogy of these programs. Interviews with dance faculty from three diverse institutions of higher education provide exploratory data about these scholars’ research needs. This qualitative study provides context for dance faculty experiences as both artists and teachers.

The Influence of Creative Personality on Learning Flow of University Students Majoring in Dance

Background/Objectives: This research has purpose of investigating the influence of creative personality on dance learning flow of university students majoring dance. Methods/Statictical Analysis: This research was conducted on 331 university students majoring dance from 5 universities located in 4 cities. The survey was composed of a total of 48 items including 5 background characteristics, 25 creative personality items, and 18 learning flow items. The subjects were asked to write in self administration method. SPSS 18.0 statistical program was used on the collected surveys to conduct T-test, one-way ANOVA, correlation, and multiple regression analysis. Findings: First, self-conviction and curiosity among creative personality is higher in male than females and concentration on take at hand and loss of self-consciousness is higher as well. Also, creative personality was generally high in modern dance majors compared to other majors and loss of self-consciousness among learning flow was shown high in Korean dance. Groups with long dance experience or more practice time showed high imagination, concentration. Second, overall learning flow can increase if self-conviction among creative personality is higher. Also, endurance/obsession, curiosity, and independence partially influence concentration on take at hand, action-awareness merge, challenges-skills balance, and loss of self-consciousness. Application/Improvement: It is important to build confidence on one's dance and development oneself with challenge and endurance on high assignments. Therefore, this implicates that the clay education must be deviated by the university dance curriculum to actively lead students to the research study process to discover, aware, and use.

Dance at Graduate Universities in the South of Brazil: Experiences and Perspectives

This round table presents an overview of activities developed at higher education institutions with graduate and postgraduate studies in dance in Brazil, especially southern Brazil. Oddly enough, amid the global crisis in early 2008, the Brazilian government launched an educational program that allowed the expansion of courses at the graduate level, including dance, in several public and free universities. As an example of this scenario, we present our experiences in two public universities, UFRGS and UDESC. These dance courses have seen increasing interest and confrontation the presence of artists and researchers seeking to investigate their own work or the work of others. How can we contemplate structuring contents and methods to teach dance in the university context? How does a dance artist associate the experience of dancing to academic research? How does teaching dance force universities to think about embodied knowledge? The situation of teaching dance in Brazilian universities shows that there is still a lot to be done, considering that the creation of these courses is rather new and that dance, in this context, is an area of ongoing consolidation. The struggle to create a greater number of dance courses in universities is part of the discussion of this session. The practice of teaching dance in universities seeks to articulate repertoires of knowledges that belong to different traditions and artistic experiences transversed by reflections about contemporary dance, and to qualify the teacher, the dancer, and the researcher.

Popular Dance as the Embodied Expression of Musical Patterns and of Costume Design: The Case of Rallou Manou's Choreography on Hadjidakis’ Music and Yiannis Moralis’ Costumes

Does music “embody” the dancing movement? Or does (and if yes, how does) popular dance embody musical patterns and costume designs? On the one hand, dance and music curricula in universities and schools of dance in Greece consider music and dance mostly as coexisting and—in a superficial way—collaborating arts. They rarely refer to the “corporalization” of music, nor do they examine the relation between dance and other involving arts of a performance, such as painting and costume design. It should also be noticed that interdisciplinary creative collaboration between music and dance (and also other arts) was achieved in 1950s. This paper will try to explain how popular dance can reflect costume design and the patterns of music, and lead to a creative collaboration among these arts. For the performances of the Greek Chorodrama (Manou's Dancetheater Company), the composer, the painter, the writer, and the choreographer worked at the same time, interactively; Rallou Manou “translated” the traditional and modern elements of each art into movement, while Manos Hadjidakis (Oscar awarded composer) and Yiannis Moralis (well-known Greek painter) gave to the music, sets, and costumes a “corporal dimension,” correspondingly. As a result, the final “product” was a united, inseparable cultural event, which exceeded the dance performance and became a cultural product, with further aesthetic, artistic, pedagogical, and social value.