Young Dancers Research Articles

Dance Nationand Its Representational Challenges

Clare Barron’s award-winning 2018 play Dance Nation revolves around a group of elite young dancers as they prepare for the annual competition season. Praised for its authentic depiction of adolescence, ferocious and witty feminism, no-holds-barred dialogue, and engagement with women’s lives in our #MeToo moment, Barron’s work also features distinctive casting and performance directives. By encouraging productions to use adult actors without dance talent, Barron seeks to counter mainstream cultural representations of teenagers. But in performance, these directives create dissonance not only with her narrative but also with her efforts to portray the nexus of young women and artistic excellence. Additionally, Barron relies upon both conventional dance narrative tropes and dramaturgical structures that reinscribe her characters within the cultural framework she aspires to resist. Closer analysis suggests that Dance Nation ultimately offers deeply conflicted images of youth-forward feminism and girl culture, undermining Barron’s stated goal “to present a different picture of teenage girls onstage.”

A study of the perception and use of attention in undergraduate dance training classes

ABSTRACT Deploying action research methods this article investigates how students perceive and use attention in undergraduate dance training classes. A main aim of this research has been to develop strategies for encouraging agency in young dancers’ attentional choices in order to facilitate confident navigation of the bricolage approaches that make up dance training today. I explore the contextual aspects of UK higher education dance training that impact upon practices and expectations of attention. I draw on the literature of mindfulness and pedagogic research to explore how attention flow can promote a sense of agency for dance students. This article contributes to pedagogic debates about the challenges of bricolage approaches and embodied connectedness in dance training. My research explores how a framework for attentional awareness could be beneficial to young dancers in training.

Practical Resources for Dance Educators! Considering the Health and Well-Being of Our Young Dancers

Dance educators have a vested interest in helping our young dancers maintain their health and well-being, especially with regard to the intensity at which they train. We want our young dancers to r...

Development of a performance evaluation tool to track progress in an inclusive dance syllabus

ABSTRACT The lack of systematic training available for young dancers with disabilities has previously presented a barrier for those wishing to develop their skills and pursue a career in dance. Recently, a number of initiatives have launched to help bridge this gap; however, currently no established assessment measures exist that are sensitive to the needs of young dancers with disabilities while providing evidence of their competencies. The aim of this study was to develop a performance evaluation tool to allow tracking of progress in technique and performance skills in young dancers with a range of physical and/or intellectual disabilities. The tool allows scoring on a Likert-type scale on eleven criteria, including control of movement, coordination, spatial awareness, timing and rhythm, and surface or partner work. Six dancers were filmed during classes to allow retrospective evaluation of their performance by four judges. Intra-Class Correlation Coefficients (ICCs) for inter-rater and test–retest reliability demonstrated good reliability. Inconsistencies in scoring reduced and ICCs strengthened when trial one was removed from analysis; therefore, a familiarisation trial is recommended for future uses of this tool. Overall, this appears to be a reliable tool for evaluating elements of dance technique and performance in young dancers with disabilities.

Unilateral and bilateral patellofemoral pain in young female dancers: Associated factors

ABSTRACTAiming to evaluate the prevalence of unilateral/bilateral patellofemoral pain (PFP) among young dancers, and to investigate whether different factors are associated with PFP in young dancers, 132 dancers aged 12–14 years were assessed for PFP. Anthropometric parameters, proprioception ability, dynamic postural balance (DPB), and muscle strength were measured. PFP was found in 64.1% of the dancers. No significant differences in the prevalence of dancers with no, unilateral, or bilateral PFP at different ages were found. Significant age effects were found for anthropometric and developmental measurements, and for intensity of training. PFP effect was found for DPB asymmetry, ankle proprioception, and leg-length %height. A higher hip abductor/adductor ratio was associated with PFP in 14-year-old dancers. Binomial logistic regression showed that increased number of hours per day (h/day) and decreased number of hours per week (h/week), low proprioception scores, greater leg length as %height, and more anterior DPB asymmetry were significant predictors of PFP. In conclusion: unilateral/bilateral PFP is common among young dancers. Body morphology, reduced ankle proprioception ability, DPB asymmetry, and increased h/day of practice are associated with PFP. Dance teachers should start monitoring the impact of training and implement injury modification/prevention strategies when their students are at a young age.

Initial development of the Dance Imagery Questionnaire for Children (DIQ-C): establishing content validity

Abstract Given the differences between young dancers’ and adult dancers’ use of imagery, a valid and reliable questionnaire specific to young dancers was necessary. The current study is the first phase of a multi-phase study in the development of the Dance Imagery Questionnaire for Children (DIQ-C). Specifically, the purpose of this study was to establish content validity of the DIQ-C. This was achieved through the following three stages: (1) definition, item, and scale development, (2) assessment of item clarity and appropriateness via cognitive interviews, and (3) assessment of item-content relevance via an expert rating panel. Guided by previous qualitative research with young dancers, 46 items representing seven subscales (i.e., imagery types) were developed. The initial item pool was then implemented during cognitive interviews with 16 dancers (15 females; M age=10.63, SD=1.82), which led to the removal of 13 items and the modification of 21 items. Consequently, the revised 33-item pool was then administered to an expert panel of four imagery researchers and four dance instructors to measure item-content relevance. This resulted in the removal of eight items, the revision of four items, and the merging of two subscales. Overall, the current study provides content validity evidence for a 25-item pool (representing five subscales) to be used in further development of the DIQ-C (i.e., identifying and establishing factor structure).

Factor structure of manifestation of success in the formation of choreographic skills in young dancers

The aim: to study the factor structure of success in the formation of choreographic skills in young athletes.
 Material and methods. The study involved 32 qualified dancers (16 couples) aged 14-15 years. According to the success criteria, athletes were divided into two groups: with a high and reduced level of success. Psychophysiological characteristics were studied using neurodynamics functions, as well as verbal and non-verbal intelligence.
 Results. The analysis revealed the presence of two factors that determine success in the formation of complex coordination and choreographic skills of young dancers: neurodynamics and verbal. It was established that the success and effectiveness of mastering complex choreographic skills in young dancers is determined by individual typological properties - perception, information processing and verbal intelligence. The presence of the verbal intelligence factor is associated with the peculiarities of sports dance. Among young dancers who have a reduced level of success, the factor structure has two factors: psychophysiological and verbal-speed.
 Conclusions. The results can be used to differentiate the training process to improve the level of success in the formation of complex choreographic skills in young dancers.

Dance Trends: Pointe Work Readiness

Tevin Johnson. Photo by Tevin Johnson.Alandmark in the training of many young ballet dancers is the moment they begin working in pointe shoes. It is also a landmark moment for the dance educator, w...

Assessment of Body Composition and Nutritional Risks in Young Ballet Dancers - The Bioelectrical Impedance Analysis.

BackgroundYoung ballet dancers are at risk of health issues associated with altered nutritional status and of relative energy deficiency in sport compared to the general population.AimTo evaluate the nutritional status and body composition in ballet dancers.Materials and methodsThe study group consisted of 40 young ballet dancers (mean age 19.97 years). Height and weight were measured and body mass index was calculated in all subjects (mean BMI value 19.79 kg/m2, SD: 2.051). Body composition was estimated using the bioelectrical impedance method.ResultsThe dancers’ fat-free mass was 47.33 kg (SD: 5.064) and, on the average, body fat represented the 15.92% (SD: 16.91) of their body weight.ConclusionsBallet dancers, who usually show significantly lower BMI values compared to the general population, also displayed body fat values under the suggested range. Some screening for altered nutritional status should be performed. In addition, education programs should be recommended in young ballet dancers, in order to inform about energy and nutrition requirements for health and training and to prevent malnutrition-related problems.

Analysis of foot structure in young recreational female ballet dancers

Summary Study aim: The human foot is an essential element of the locomotor system. It plays a key role in both the dynamics and the statics of the whole lower limb. The normal structure of the foot determines its mechanical function. During growth and formation of the foot structure, sport activity plays an important role. The aim of this study was to analyse the structure of the foot in ballet dancers aged 6 to 14 years compared with a clinical reference peer group that did not do ballet. Material and methods: The study involved 120 girls aged 6 to 14 years (mean age 9.6, sd. 2.4). Sixty of them formed the study group of ballet dancers, and the other 60 formed the reference group. To conduct the measurements, the computer podoscope CQ-ST produced by the CQ Elektronik System, connected to a portable computer, was used. Results: A few differences were found between the foot structure in young female ballet dancers and their peers. A statistically significant difference was found in the hallux valgus α angle. The left foot of the examined ballet dancers was found to have a larger hallux valgus. A statistically significant correlation was found between the length of time of ballet training and the increase in the α angle values of the left foot and the right foot in the ballet group. Conclusions: Ballet dancing in childhood may increase the risk of developing hallux valgus, with the tendency of worsening with training time.

Dance teaching pedagogy: A time for change

The dance world has a dance teaching pedagogy problem. The typical dance teaching model follows an authoritarian approach, which is increasingly criticised for causing more harm than good to our developing dancers. It is contended that this is not a necessary element of the equation of creating a competent dancer. Our experiences as developing dancers, and now as emerging dance teachers, ignited a desire to seek change. This desire to improve our own teaching led us to explore our own pedagogies and identify the need for increased pedagogical knowledge in dance teachers. Through research and practice, we have come to embrace a combined pedagogy that incorporates somatic and student-centred approaches as an alternative approach to dance teaching. This approach to pedagogy has the potential to create not only dancers but choreographers, teachers, creators and critical thinkers. The opportunity to protect the rights of young dancers is present and must not be ignored.

Acquisition and maintenance of motor memory through specific motor practice over the long term as revealed by stretch reflex responses in older ballet dancers.

The present study addressed whether motor memory acquired earlier in life through specific training can be maintained through later life with further training. To this end, the present study focused on the training effect of a specific ballet practice and investigated the spinally mediated stretch reflex responses of the soleus muscle in ballet dancers of upper‐middle to old age (60.6 ± 5.4 years old) with experience levels of 28.4 ± 7.4 years (“older ballet” group). Comparisons were conducted with a group of young ballet dancers (“young ballet” group) and groups of both young and older individuals without weekly participation in physical activities (“young sedentary” and “older sedentary” groups). The results revealed natural age‐dependent changes, with reflex responses being larger in older sedentary than in young sedentary individuals. A training‐induced effect was also observed, with responses being smaller in ballet dancers than in sedentary groups of the same age. Furthermore, the responses were surprisingly smaller in the older ballet dancers than in the young sedentary group, at an equivalent level to that of the young ballet dancers. The influence of training, therefore, overcame the natural age‐dependent changes. On the other hand, the onset latencies of the responses showed a solely age‐dependent trend. Taken together, the present is the first to demonstrate that the motor memories in the spinal cord acquired through specific ballet training earlier in life can be maintained and carried forward in later life through further weekly participation in the same training.

The effect of different sports specialization on ankle joint mobility of young players

The aim of the study was to investigate the effects of practicing different sports on ankle joint mobility (AJM) in young subjects. In 344 players of 5 different sports (soccer, classical ballet, gymnastics, volleyball and basketball), mean age 12.0 ± 2.4 years, sex (male/female: 237/107), BMI 19.0 ± 2.8 (Kg/m 2 ), AJM was evaluated by using an inclinometer while the trunk flexibility was evaluated by the Sit and Reach test. Compared to all other groups, soccer players showed a significant reduction of AJM (p < .005) that is already present in younger subjects and that tends to worsen with aging (p < .04). On the contrary, the young dancers of classic ballet showed a significant increase in the AJM (p < .002). Basketball, volleyball and gymnastics groups showed a similar AJM. The higher AJM showed by females compared to males (128.5 ± 21.0° vs 144.6 ± 18.5°; p < .001) was not significant when the group of soccer players and dancers were excluded from the calculation. All groups investigated did not show a different mobility between the two ankles or the dominant and non-dominant limb. The age of the subjects investigated was not correlated with AJM. The group of gymnasts showed a significant increase in trunk flexibility (p < .001) compared to all other groups. Sport practice can significantly modify AJM both by increasing and reducing it. Such process should be timely assessed in order to prevent these alterations along with the related possible negative effects in the short and long term.

‘It’s my dream come true’: experiences and outcomes of an inclusive dance talent development programme

There are few opportunities for young disabled dancers to develop their talents, and even fewer studies investigating their experiences of such opportunities. The aim of this study was to explore the perspectives and outcomes of an inclusive talent development programme, and how these were facilitated. Semi‐structured interviews and focus groups with one teacher, four young dancers and four parents revealed that participation in the programme yielded multiple benefits for the young people involved. These included high levels of enjoyment, improved technical and creative ability, greater independence and confidence, and opportunities for socialising with like‐minded peers. A range of factors facilitated these benefits, such as the inclusive and caring ethos of the programme, its comprehensive development and teacher training, particular teaching strategies, and relationships between staff, students and parents. The study attests to the value of programmes designed for young disabled dancers who wish to develop their talents.

Call of the Sea by Harriet Whitney Frismuth

Recognizing the contribution art has had in the Mayo Clinic environment since the original Mayo Clinic Building was finished in 1914, Mayo Clinic Proceedings features some of the numerous works of art displayed throughout the buildings and grounds on Mayo Clinic campuses as interpreted by the author.

Isometric exercises and somatosensory training as intervention programmes for patellofemoral pain in young dancers

Patellofemoral pain (PPF) is a common problem experienced by young dancers. Currently, there is no clear indication as to the optimal intervention programme for reducing the level of pain and improving functional abilities in young dancers with PFP. Our aim was to examine the efficacy of two intervention programmes compared with controls in relation to PFP symptoms (shown by pain level, Grinding test, and patellar inhibition test-PIT) and functional abilities of dancers with PFP. Ninety-eight young dancers (mean age 13.4 ± .97) with PFP were assessed for clinical parameters and functional abilities pre and post an intervention programme lasting 12 weeks. Using cluster sampling controlling for grade and school, the dancers were divided into three groups: isometric exercises (IE), somatosensory training (ST), and control (CO). Post-intervention, significantly lower pain levels upon patellar provocation testing were reported for the two treatment groups compared with controls. There was a significantly lower rate of legs recovered in the CO group compared with both intervention groups on the Grinding test, and on the PIT. Postural balance ability and proprioception abilities were significantly better post-treatment for the two treatment groups compared with controls. A significant interaction showed that hip abduction muscle strength improved more in the IE group. In conclusion, both isometric exercises and somatosensory training were effective for decreasing clinical symptoms and improving some functional abilities in young dancers with PFP. Further studies on these types of interventions could determine the most effective training protocol for prevention and treatment of PFP in young dancers.

Governed and Liberated Bodies: Experiences of Young Female Competitive Dancers

Dancers’ bodies are governed by rules, training, and expectations, yet dancers often report dance to be liberating and a source of emotional expression. In this study, a document analysis of the rules associated with 15 Canadian competitions was combined with focus groups conducted with 15 female dancers. These dancers had transitioned from competitive dance studio contexts as girls to training and competing at a postsecondary level. Applying a multidisciplinary theoretical approach that drew from self-determination theory, Foucault, and Bourdieu, we discovered that collectively these theories provide insights into the complex and contradictory world of competitive dance.

Values, Attributes, and Practices of Dance Artists in Inclusive Dance Talent Development Contexts

ABSTRACT There is a paucity of research focused on understanding the qualities which underpin dance artists’ practice in working with talented young dancers with disabilities. This study investigated what informs how dance artists work in inclusive dance talent development contexts. Four dance class observations were conducted to provide evidence of dance artists’ qualities in practice. Six dance artists participated in semi-structured interviews. Thematic data analysis revealed four categories: the dance persona; values; attributes; and practices of dance artists. The dance persona was typified by characteristics such as being human, humility, altruism, and confidence. Artists’ values and attributes included celebrating difference, aspiring towards equality and relationality. Their practices were exemplified by varied differentiation strategies and an emphasis on reflection. These findings provide new insight into what drives artists working with dancers with and without disabilities, and aids better understanding of best practice in this context.

Dancing faith: contemporary Christian dance in Norway

ABSTRACTAlthough dance is a common religious expression, its place in the Christian tradition has been contested. In modern Protestant Norway, dance has mostly been considered irrelevant to church life or even sinful. In recent decades, however, dance has become increasingly common in Norwegian churches. The present analysis of empirical data on dance in Christian settings in contemporary Norway is based on participant observation and interviews. While younger dancers (born after 1990) consider it natural to dance in church, and are usually welcome to do so, older participants have met significant resistance. When dancing, dancers find personal meaning (wellbeing, processing emotions and life events), social meaning (communication, belonging), and religious meaning (contact with God, prayer, growth). Dance emerges as a part of lived religion that clearly highlights how bodies matter, and how spiritualities are gendered, in this contribution to understanding the embodied dimensions of religion.

Strike a Pose! A mediação do videoclipe Vogue em performances do carnaval carioca

O artigo tem por objetivo abordar as mediações do videoclipe da canção Vogue, de Madonna, buscando discutir o seu agenciamento de corporeidades periféricas em dois momentos: o primeiro, nos anos 80, quando o videoclipe se apropria e amplia a visibilidade da dança Voguing, praticado pela cena cultural LGBT nova iorquina; e o segundo momento, duas décadas depois, quando o videoclipe é, por sua vez, uma das referências para jovens dançarinos gays nas suas apresentações em alas das escolas de samba do carnaval carioca na atualidade. Assim, interessa-nos discutir as zonas de diálogo e de tensão entre performances locais e globais, tendo como aportes teóricos a discussão sobre “cosmopolitismo estético” (Regev, 2013) e sobre as divas pop como ícones culturais (Jennex, 2013), dentre outras referências.