The Spiritual Connection: Ruminations and Curiosities from a Dance Artist

ERIC Educational Resources Information Center

Lerman, Liz

2008-01-01

The article discusses choreographer Liz Lerman's work with clergy, faith practitioners, and communities in the merging of religious themes with dance. Throughout the article, Lerman raises questions and provides answers that address her investigation of the power of creativity, prayer, ritual and performance, as well as artistry, spirituality,…

Scratch Nights and Hash-Tag Chats: Creative Tools to Enhance Choreography in the Higher Education Dance Curriculum

ERIC Educational Resources Information Center

Kelsey, Louise; Uytterhoeven, Lise

2017-01-01

This paper reports on a focused collaborative learning and teaching research project between the Dance Department at Middlesex University and partner institution London Studio Centre. Informed by Belinda Allen's research on creative curriculum design, dance students and lecturers shared innovative learning opportunities to enhance the development…

You Should be Dancin:! The Role of Performing Arts in the Lives of the Severely and Profoundly Handicapped.

ERIC Educational Resources Information Center

Barringer, Mary Dean

The manual presents a program planning framework and teaching units for teaching dance and movement to severely and profoundly handicapped individuals. The planning framework contains four components: (1) aesthetic perception/multisensory integration; (2) creative expression; (3) dance heritage/historical and cultural; and (4) aesthetic…

Idaho Dance Project. Creative Movement/Dance: A Model Program for Idaho K-6 Elementary Teachers 1990-1993.

ERIC Educational Resources Information Center

Neely, Hilarie

This report outlines and evaluates the Idaho Dance Project, a series of creative movement workshops designed for elementary school classroom teachers, physical education teachers, and music specialists. For three years, the workshops, conducted at various sites throughout the state, provided an introductory course for teachers who had little or no…

Interdisciplinary Working Practices: Can Creative Dance Improve Math?

ERIC Educational Resources Information Center

Leandro, Cristina Rebelo; Monteiro, Elisabete; Melo, Filipe

2018-01-01

This study is integrated in the field of Dance in Education, focusing on the instrumentalist aspect of art. We focused on creative dance as a catalyst to learn Mathematics' contents. This interdisciplinary work can enhance the learning, as far as the understanding of Mathematics' concepts is achieved through the body and revealed by expressive and…

Self psychology and the modern dance choreographer.

PubMed

Press, Carol M

2009-04-01

Theory and research methodology of self psychology are integrated with the experiences of modern dance choreographers to investigate the importance of creativity, art making, and aesthetics in mental health and our everyday lives. Empathy, as aesthetically based, is explored to understand the capacity of the arts to unite us in our humanity. Connections between aesthetic development, creativity, and infant patterns of learning are drawn. The influence of sensual and exploration/assertion motivational systems upon the contemporary choreographer are highlighted, leading to an understanding of the selfobject function of sensation and movement for the dance artist. Through an examination of the moment to moment ritualized experiences of studio work, the creative process in making dances is discussed. Ultimately understanding creativity and aesthetically based empathy inform our delineation of mental health and the need for aesthetic experience in everyday life.

Materials on Creative Arts (Arts, Crafts, Dance, Drama and Music) for Persons with Handicapping Conditions.

ERIC Educational Resources Information Center

American Alliance for Health, Physical Education, and Recreation, Washington, DC.

This guide provides information about resources for use in the creative arts--art, crafts, dance, drama, and music programs--for individuals with various handicapping conditions. Listings are provided for printed references, audiovisual materials, resource persons actively involved in one or more areas of the creative arts, associations and…

Creative Dance Practice Improves Postural Control in a Child With Cerebral Palsy.

PubMed

Stribling, Kate; Christy, Jennifer

2017-10-01

To investigate the effect of creative dance instruction on postural control and balance in an 11-year-old with spastic triplegic cerebral palsy, Gross Motor Function Classification Scale level II. We conducted 1-hour dance interventions twice weekly for 8 weeks, with a focus on somatosensory awareness and movement in all planes of motion. Computerized dynamic posturography using the SMART Balance Master/EquiTest (NeuroCom) was used to assess postural control and balance reactions before the first class and following the final class. Gains in standing stability, balance recovery, directional control, and endpoint excursion of movement were found. Participation in creative dance lessons appears to improve somatosensory effectiveness and postural control in a child with cerebral palsy. Dance is a fun way to improve balance and coordination. These interventions could be easily implemented into programs for children with cerebral palsy.

Art, Science, and the Choreography of Creative Process

NASA Astrophysics Data System (ADS)

Lomask, Jodi

2010-03-01

Through my performance company, Capacitor, I have designed a novel conceptual space - ``the Capacitor Lab'' - where artists and scientists exchange ideas and information about a concept that underlies my next performance piece. In 2000, I invited astronomers to advise my company on Earth's relationship to outer space. In 2003, we invited geophysicists into the dance studio to advise us about the layers of the Earth. In 2006, we invited an ecologist to the Monteverde Cloud forest to advise us on the on the quiet interactions among animals and plants in the forest. Currently we are working on a piece about ocean exploration, marine ecology, and the physics of sound underwater. Each of these Capacitor Labs results in a conceptually-rich dance piece which we perform in cities nationally and internationally. In my talk, I take a deeper look at the creative process that scientists and artists share. In the Capacitor labs, the process serves not only our creative team, but also our participating scientists by giving them an opportunity to view their own work in a new light. These collaborations are part of my ongoing research into creative problem solving and my belief that it is essentially the same process regardless of its application.

'The First Step Is the Two-Step': Hegemonic Masculinity and Dancing in a Country-Western Gay Bar

ERIC Educational Resources Information Center

Johnson, Corey W.

2005-01-01

Gay men are often rendered feminized males according to masculine, heterosexual ideologies. This research demonstrates that gay men are actually more creative and active agents in their gender performance, simultaneously resisting and reinforcing dominant ideologies around gender and sexuality. One context where the creative agency of gay men is…

Space, Time, Weight, and Flow: Suggestions for Enhancing Assessment of Creative Movement

ERIC Educational Resources Information Center

Petersen, David

2008-01-01

Background: Performance evaluation in the context of creative dance or expressive movement is often a challenging prospect for educators. Nonetheless, the process is a necessary one, not least of all because of the potential as a stimulus to growth. Ideally, assessment becomes a part of the feedback process, assisting teachers and students to…

Augmenting a Ballet Dance Show Using the Dancer's Emotion: Conducting Joint Research in Dance and Computer Science

NASA Astrophysics Data System (ADS)

Clay, Alexis; Delord, Elric; Couture, Nadine; Domenger, Gaël

We describe the joint research that we conduct in gesture-based emotion recognition and virtual augmentation of a stage, bridging together the fields of computer science and dance. After establishing a common ground for dialogue, we could conduct a research process that equally benefits both fields. As computer scientists, dance is a perfect application case. Dancer's artistic creativity orient our research choices. As dancers, computer science provides new tools for creativity, and more importantly a new point of view that forces us to reconsider dance from its fundamentals. In this paper we hence describe our scientific work and its implications on dance. We provide an overview of our system to augment a ballet stage, taking a dancer's emotion into account. To illustrate our work in both fields, we describe three events that mixed dance, emotion recognition and augmented reality.

The Evolution of Modern Dance Therapy.

ERIC Educational Resources Information Center

Levy, Fran

1988-01-01

The article traces the impact of the modern dance movement from the early 1900s and its emphasis on creativity and self-expression on the professional and institutional development of dance therapy. (CB)

Transforming Dance History: The Lost History of Rehearsals.

ERIC Educational Resources Information Center

Hodes, Stuart

1989-01-01

Explains that an important aspect of dance history is lost by not recording dance rehearsals. Argues that recording rehearsals can reveal the creative process and illuminate the environment that engendered this art form. Concludes that a transformed dance history will influence curriculum development. (GG)

Teaching Vocabulary through Movement: What Are the Outcomes for Children?

ERIC Educational Resources Information Center

Skoning, Stacey N.; Wegner, Theresa; Mason-Williams, Loretta

2017-01-01

Although past literature regarding the use of dance and creative movement to teach content has been supportive, it has been primarily anecdotal in nature. This study provided a systematic approach to evaluating the relationship between the use of dance and creative movement to teach character-trait vocabulary and students' understanding of those…

Are They Getting It?: Creating Dance Assessments That Honor the Creative Process

ERIC Educational Resources Information Center

Kranicke, Michelle; Pruitt, Lara

2012-01-01

This article examines assessment of "intangible" concepts in dance education such as creativity, risk, originality, or artistic thinking. Through the development of assessment workshops for arts educators, conducted from 2009 through 2011 across the state of Illinois and supported by the Illinois Arts Council, the authors developed a…

Translating the Essence of Dance: Rendering Meaning in Artistic Inquiry of the Creative Arts Therapies

ERIC Educational Resources Information Center

Manders, Elizabeth; Chilton, Gioia

2013-01-01

The authors used artistic inquiry to study intersubjectivity in a weekly, stimulated creative arts therapy studio experience for one year. They found that the conversion of meaning from the meta-verbal, imaginal, aesthetic language of dance and visual art into verbal and textual discourse required complex translational processes. Personal…

Leading by Design: A Collaborative and Creative Leadership Framework for Dance Integration in P-12 Schools

ERIC Educational Resources Information Center

Leonard, Alison E.; Hellenbrand, Leah; McShane-Hellenbrand, Karen

2014-01-01

This article presents the Mentorship, Integrated Curriculum, Collaboration, and Scholarship (MICCS) framework as an applicable model for transformative, creative, and curriculum-based K-12 dance education and arts integration. Developed and practiced by the authors--an artist/educator, a classroom teacher, and an arts education scholar and former…

Directing Performers for the Cameras.

ERIC Educational Resources Information Center

Wilson, George P., Jr.

An excellent way for an undergraduate, novice director of television and film to pick up background experience in directing performers for cameras is by participating in nonbroadcast-film activities, such as theatre, dance, and variety acts, both as performer and as director. This document describes the varieties of activities, including creative,…

Analysis of the Impact of Creative Technique on the Motivation of Physical Education Students in Dance Content: Gender Differences

ERIC Educational Resources Information Center

Amado, Diana; Del Villar, Fernando; Sánchez-Miguel, Pedro Antonio; Leo, Francisco Miguel; García-Calvo, Tomás

2016-01-01

The aim of this study was to learn about the effectiveness of two dance teaching techniques, the creative examination technique and the direct instruction technique, on the satisfaction of basic psychological needs, the level of self-determination, the perception of usefulness, enjoyment and effort of physical education students. Likewise, it…

Use of a Creative Dance Intervention Package to Increase Social Engagement and Play Complexity of Young Children with Autism Spectrum Disorder

ERIC Educational Resources Information Center

Nelson, Catherine; Paul, Kristen; Johnston, Susan S.; Kidder, Jaimee E.

2017-01-01

Play skills are central to development of children's language and cognitive skills. However, social, symbolic, and object play skills of children with autism spectrum disorder (ASD) are frequently impaired. This study examined the effects of a strategy that utilized preferred play materials, antecedent creative dance activities, and priming of…

In a Time of Change: Integrating the Arts and Humanities with Climate Change Science in Alaska

NASA Astrophysics Data System (ADS)

Leigh, M.; Golux, S.; Franzen, K.

2011-12-01

The arts and humanities have a powerful capacity to create lines of communication between the public, policy and scientific spheres. A growing network of visual and performing artists, writers and scientists has been actively working together since 2007 to integrate scientific and artistic perspectives on climate change in interior Alaska. These efforts have involved field workshops and collaborative creative processes culminating in public performances and a visual art exhibit. The most recent multimedia event was entitled In a Time of Change: Envisioning the Future, and challenged artists and scientists to consider future scenarios of climate change. This event included a public performance featuring original theatre, modern dance, Alaska Native Dance, poetry and music that was presented concurrently with an art exhibit featuring original works by 24 Alaskan visual artists. A related effort targeted K12 students, through an early college course entitled Climate Change and Creative Expression, which was offered to high school students at a predominantly Alaska Native charter school and integrated climate change science, creative writing, theatre and dance. Our program at Bonanza Creek Long Term Ecological Research (LTER) site is just one of many successful efforts to integrate arts and humanities with science within and beyond the NSF LTER Program. The efforts of various LTER sites to engage the arts and humanities with science, the public and policymakers have successfully generated excitement, facilitated mutual understanding, and promoted meaningful dialogue on issues facing science and society. The future outlook for integration of arts and humanities with science appears promising, with increasing interest from artists, scientists and scientific funding agencies.

Healthy and Creative Tap Dance: Teaching a Lifetime Physical Activity

ERIC Educational Resources Information Center

Hernandez, Barbara L. Michiels; Ozmun, Michelle; Keeton, Gladys

2013-01-01

As a result of competitive dance television shows, interest in tap dance seems to have increased in the past few years. Tap dance is a challenging and fun lifetime physical activity that is appropriate for people of all ages. It is an excellent activity for K-12 physical education programs, higher education, parks and recreation facilities,…

Education Through the Dance Experience. Designed for Children Series.

ERIC Educational Resources Information Center

Docherty, David

This text presents a creative, child-centered approach to the teaching of dance in the elementary school based on the theories and methods of Rudolf Laban and Joyce Boorman. The content area of dance is briefly described so that the practical experiences presented later in the text can be viewed in perspective. Dance experiences are presented that…

EEG-neurofeedback for optimising performance. II: creativity, the performing arts and ecological validity.

PubMed

Gruzelier, John H

2014-07-01

As a continuation of a review of evidence of the validity of cognitive/affective gains following neurofeedback in healthy participants, including correlations in support of the gains being mediated by feedback learning (Gruzelier, 2014a), the focus here is on the impact on creativity, especially in the performing arts including music, dance and acting. The majority of research involves alpha/theta (A/T), sensory-motor rhythm (SMR) and heart rate variability (HRV) protocols. There is evidence of reliable benefits from A/T training with advanced musicians especially for creative performance, and reliable benefits from both A/T and SMR training for novice music performance in adults and in a school study with children with impact on creativity, communication/presentation and technique. Making the SMR ratio training context ecologically relevant for actors enhanced creativity in stage performance, with added benefits from the more immersive training context. A/T and HRV training have benefitted dancers. The neurofeedback evidence adds to the rapidly accumulating validation of neurofeedback, while performing arts studies offer an opportunity for ecological validity in creativity research for both creative process and product. Copyright © 2013 Elsevier Ltd. All rights reserved.

Artful Biology Projects

ERIC Educational Resources Information Center

Hall, Megan

2005-01-01

While teaching science in an alternative arts high school, the author continuously addresses the challenge of welcoming creative, right-brained students into the world of systematic inquiry. Busily mixing paint colors, choreographing futuristic dances, performing comedic theater, and practicing the banjo, the students rarely initiate authentic…

Enlivening Dance History Pedagogy through Archival Projects

ERIC Educational Resources Information Center

Randall, Tresa

2012-01-01

Dance archives can bring students into contact with historical subjects through artifacts of the past. This article advocates the use of archival projects in undergraduate dance history courses, arguing that such hands-on learning activities give students dynamic and interactive experiences of history. The author describes a creative project she…

Best Practices in Administration of K-12 Dance Programs

ERIC Educational Resources Information Center

Henneman, Suzanne E.

2013-01-01

The role of administering K-12 dance education programs is both exciting and invigorating. Being part of the decision-making process, problem solving with teams of colleagues, establishing routines and initiatives, creating "something from nothing," and watching programs grow is appealing to dance teachers as creative and critical…

A New Dialogue in Ballet Pedagogy: Improving Learner Self-Sufficiency through Reflective Methodology

ERIC Educational Resources Information Center

Weidmann, Chelsea

2018-01-01

Current research into reflective pedagogy in dance almost exclusively discusses the tertiary education population. Additionally, the research is primarily focused on concert modern dance and creative dance pedagogies, techniques, and choreography. Ballet technique programs in precollegiate populations have, so far, been left out of the…

Importance of Students' Views and the Role of Self-Esteem in Lessons of Creative Dance in Physical Education

ERIC Educational Resources Information Center

Steinberg, Claudia; Steinberg, Fabian

2016-01-01

The purpose of this study was to capture the student's views in lessons of creative dance. A qualitative empirical research design was carried out using video-stimulated recall interviews. The participants in this study were 88 children (63 female and 25 male) between the ages of 9 and 11 years (M = 10.5, SD = 1.2) in physical education lessons. A…

Moving from Within The Maternal: The Choreography of Analytic Eroticism.

PubMed

Elise, Dianne

2017-02-01

With Kristeva's concept of maternal eroticism (2014) as starting point, the "multiverse" of mother/child erotic sensibilities-the dance of the semiotic chora-is explored and a parallel engagement proposed within the analytic dyad. The dance of psychoanalysis is not the creative product of the patient's mind alone. Clinical work invites, requires, a choreographic engagement by the clinician in interplay with the patient. The clinician's analytic activity is thus akin to choreography: the structuring of a dance, or of a session, expresses an inner impulse brought into narrative form. The embodied art of dance parallels the clinician's creative vitality in contributing to the shaping of the movement of a session. Through formulation of an analytic eroticism, the terrain of what traditionally has been viewed as erotic transference and countertransference can be expanded to clinical benefit.

Counseling the Gifted, Creative, and Talented. An Arts Activities Approach.

ERIC Educational Resources Information Center

Kenny, Adele

1987-01-01

The role of music and dance in counseling gifted students is discussed. Included are a rationale and description for both music and dance therapy as well as suggested activities and bibliographies. (DB)

Enhancing Student Employability?: Current Practice and Student Experiences in HE Performing Arts

ERIC Educational Resources Information Center

Brown, Ralph

2007-01-01

PALATINE, the Higher Education Academy Subject Centre for Dance, Drama and Music, received dedicated HEFCE funding (2003-2004) to address issues surrounding graduate employability, particularly focusing on the distinctive features of the labour market in the performing arts and creative industries. In the world of the Arts, the job market is very…

Dancing with Words: Transference and Countertransference in Biblio/Poetry Therapy.

ERIC Educational Resources Information Center

Ihanus, Juhani

1998-01-01

Argues that within biblio/poetry therapy, self and others are invented through expressive resources inherent in language. Shows how poetic communication conveys, through texts, "transformative" transferences and countertransferences that foster creative imagination. Sees biblio/poetry therapy as a performance scene where co-tellings,…

Dance and History in Inner-City Oakland

ERIC Educational Resources Information Center

Goodwin, Avilee

2010-01-01

In this article, the author shares how she was able to help young choreographers in East Oakland, California, to find their own creative voices, choose new movement styles and discover dance as a way to express something important and meaningful about their lives through their two-year dance history project. East Oakland School of the Arts (EOSA)…

Encores II: Travels through the Spectrum of Dance. A Selection of Readings from 1978-1987.

ERIC Educational Resources Information Center

Akins, Ann Severance, Ed.; LaPointe-Crump, Janice, Ed.

This anthology of articles, selected from writings in the "Journal of Physical Education, Recreation, and Dance" and the "Research Quarterly for Exercise and Sport" (previously "Research Quarterly") over a 10-year period, offers insights into the growth in dance education and the changes during those years in pedagogical, creative, and…

Dancing with Stones: Critical Creativity as Methodology for Human Flourishing

ERIC Educational Resources Information Center

Titchen, Angie; McCormack, Brendan

2010-01-01

Critical creativity is a paradigmatic synthesis linking critical social science with creative and ancient traditions. Our haiku summarises the essence of this three part paper. "Heavy feet of stone" describes the rationale for our creation of critical creativity. "Seeking transformation" sets out the background and methodology for our inductive,…

Exploring Children's Creative Narratives

ERIC Educational Resources Information Center

Faulkner, Dorothy, Ed.; Coates, Elizabeth, Ed.

2011-01-01

This fascinating collection of international research offers fresh perspectives on children's creative processes and the expression of their creative imagination through dramatic play, stories, artwork, dance, music and conversation. Drawing on a range of research evidence from innovative educational initiatives in a wide variety of countries,…

Differentiation in the Arts: What Does This Mean?

ERIC Educational Resources Information Center

Worley, Bess B.

2006-01-01

In most schools, the term "arts" represents visual arts (art appreciation, painting, clay, etc.), performing arts (including music, dance, and theater), creative writing, and media arts (i.e., photography, digital video, and traditional filmmaking). "Theater" and "drama" are often used interchangeably, but "theater" comprises all of the technical…

Development of A Dance Curriculum for Young Children. CAREL Arts and Humanities Curriculum Development Program for Young Children.

ERIC Educational Resources Information Center

Dimondstein, Geraldine; Prevots, Naima

The long-range objective of the Central Atlantic Regional Educational Laboratory (CAREL) dance program was to develop children's ability to solve problems in movement terms and to express emotional involvement and creative ideas through dance. Workshops were conducted for 15 non-specialist teachers to explore the concepts of space, time, and…

Global Creativity: Introduce a Creative Element to Your Teaching through Global Collaborations

ERIC Educational Resources Information Center

Stephenson, Peter

2004-01-01

The Qualifications and Curriculum Authority (QCA) has made no secret of its desire for teachers to introduce more creativity into UK classrooms. Imaginatively minded teachers have found a number of ways to introduce creativity into the classroom. Dance, music, problem solving and role-play exercises are all well trodden routes, but it was the…

Dancing with STEAM: Creative Movement Generates Electricity for Young Learners

ERIC Educational Resources Information Center

Simpson Steele, Jamie; Fulton, Lori; Fanning, Lisa

2016-01-01

The integration of science, technology, engineering, arts, and mathematics (STEAM) serves to develop creative thinking and twenty-first-century skills in the classroom (Maeda 2012). Learning through STEAM promotes novelty, innovation, ingenuity, and task-specific purposefulness to solve real-world problems--all aspects that define creativity. Lisa…

Fostering Creativity in Handicapped Children.

ERIC Educational Resources Information Center

Sherrill, Claudine

Of the nine long range goals of adapted physical education, creative thinking and moving has received the least attention. However, this goal may be more important than others in helping handicapped children self-actualize through sports, dance, and aquatics. This paper defines behaviors in the creative process and describes several assessment…

Can Clouds Dance? Neural Correlates of Passive Conceptual Expansion Using a Metaphor Processing Task: Implications for Creative Cognition

ERIC Educational Resources Information Center

Rutter, Barbara; Kroger, Soren; Stark, Rudolf; Schweckendiek, Jan; Windmann, Sabine; Hermann, Christiane; Abraham, Anna

2012-01-01

Creativity has emerged in the focus of neurocognitive research in the past decade. However, a heterogeneous pattern of brain areas has been implicated as underpinning the neural correlates of creativity. One explanation for these divergent findings lies in the fact that creativity is not usually investigated in terms of its many underlying…

Bodies that Shatter: Creativity, Culture and the New Pedagogical Imaginary

ERIC Educational Resources Information Center

Harris, Anne; Lemon, Andrea

2012-01-01

Taking Butler's notion of embodied performativity in relation to education and global flow, this article uses one example of Samoan cultural dance within a community arts education programme to argue the need for localised, context- and culture-specific arts pedagogies which incorporate diversity in all its expressions, suggest an emerging…

A Teaching Artist in Rural Schools: Sowing Seeds for Creative Expression

ERIC Educational Resources Information Center

Kuper, Kate

2006-01-01

For nearly 25 years, the author has driven the highways and back roads of Illinois, teaching dance to school children, leading family programs, performing lecture/demonstrations, and choreographing technically simple, conceptually complex pieces with and for young dancers. The author's home base is Champaign/Urbana (C/U), twin cities with a…

Ice can look like glass: a phenomenological investigation of movement meaning in one fifth-grade class during a creative dance unit.

PubMed

Nilges, Lynda M

2004-09-01

The movement meanings of students (n = 19) in one fifth-grade class during a creative dance unit focusing on effort (force, time, space, flow) are investigated using a perspective grounded in transcendental phenomenology (Husserl, 1931). Data were collected via videotape, journal, and homework documents and semistructured interviews. Analytical induction (Patton, 2002) structured a four-step analysis process that reduced meaning to its essential essence. Movement meaning was found to be a multifaceted construct that varied among students within and across five dimensions. To enhance meaningful learning, educators are encouraged to consider reflexively (a) their philosophical orientation relative to knowledge making and curriculum values, (b) instructional techniques that help students' access meaning, and (c) the contribution of dance as a source of meaning.

Artists, Creativity and Knowledge: A Challenge for Doctoral Change

ERIC Educational Resources Information Center

Phillips, Maggi

2009-01-01

This paper aims to extrapolate the difficulties and challenges posed by ideas about creativity principally in the context of doctoral theses in which the practices of dance play a prominent, if not, pivotal role. While resisting definitive transparency, creativity is a crucial marker as much for postgraduate scholars as it is for artists. The…

The Transformation of Traditional Dance from Its First to Its Second Existence: The Effectiveness of Music-Movement Education and Creative Dance in The Preservation of Our Cultural Heritage

ERIC Educational Resources Information Center

Georgios, Lykesas

2018-01-01

Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultural tradition and heritage and passes them down from generation to generation. Therefore, it contributes substantially to the reinforcement of our cultural identity and plays a crucial role in the "cultural development" of our society. Our…

Dancing the Curriculum

ERIC Educational Resources Information Center

Skoning, Stacey

2010-01-01

This article demonstrates how the use of creative movement and dance offers effective instructional strategies to meet the diverse learning needs of students in an inclusive classroom. Every day in one multi-age, fully inclusive classroom, students are meaningfully engaged in learning through movement--they move to learn science, social studies,…

Creativity and the Dyslexic Child: A Classroom View.

ERIC Educational Resources Information Center

Burrows, Dian; Wolf, Beverly

1983-01-01

Multisensory techniques can be used to provide opportunities for creative expression for children with specific language disabilities. Dramatics, art, movement activities, music, poetry, and dancing can help meet the children's emotional needs while also enhancing their self-concepts. (CL)

Using Improvisational Exercises in General Education to Advance Creativity, Inventiveness and Innovation

ERIC Educational Resources Information Center

Hackbert, Peter H.

2010-01-01

Creativity is the process of generating something new or original that has value to an individual, a group, an organization, an industry or a society. Improvisational theater techniques are used to enhance creative thinking and action in a variety of disciplines as broad as education, theater, dance, painting, writing and music, law, business, and…

Dancing Solutions to Conflict: Field-Tested Somatic Dance for Peace

ERIC Educational Resources Information Center

Eddy, Martha

2016-01-01

The ability to creatively resolve conflict supports excellence in communication and fosters a positive classroom/studio climate. Despite the fact that school violence continues to be high, many schools fail to teach conflict management, social-emotional skills, or community building to all educators. This research-based article shares dance…

Music in the Life Skills Classroom

ERIC Educational Resources Information Center

van Vuuren, Eurika Jansen; van Niekerka, Caroline

2015-01-01

Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject…

Necessity Fuels Creativity: Adapting Long-Distance Collaborative Methods for the Classroom

ERIC Educational Resources Information Center

Sopoci Drake, Katie; Larson, Eliza; Rugh, Rachel; Tait, Barbara

2016-01-01

Improved technology has made it possible to virtually bridge distance between dance makers, rendering physical location another choreographic device to be manipulated. Long-distance collaboration as an artistic process is not only a fertile new ground for creation and necessary for many practicing dance artists in the field today, but there is…

How Can I Make Social Studies Move? Pull-out 2.

ERIC Educational Resources Information Center

Nilges, Lynda M.; Gallavan, Nancy P.

1998-01-01

Suggests a four-stage framework that teachers can use to integrate creative dance into the social studies curriculum. Discusses the four stages through the use of a sample dance about tornadoes that complements a thematic social studies unit about the impact of weather and natural disasters upon people and their environments. (CMK)

Dance Is Not a Dirty Word

ERIC Educational Resources Information Center

Goodwin, Brenda

2010-01-01

Successful physical educators should always search for fun and effective ways to keep their students fit and active. According to Garber, McKinney, and Carleton (1992), an aerobic dance program can be "an effective alternative to a traditional walk-jog training regime." Such a program can provide students with a unique, creative, and worthwhile…

The Body and Other Demons

ERIC Educational Resources Information Center

Acaron, Thania

2011-01-01

"Perspectives" is a special feature included in this issue of the Journal of Creativity in Mental Health. It provides mental health professionals with an opportunity to discuss their positions on a variety of creativity-related topics. In this column, Thania Acaron, board-certified dance/movement therapist, dancer, educator, and curriculum…

Meeting Students on Their Own Ground: Best Practices in Teaching Dance Technique, Grades 9-12

ERIC Educational Resources Information Center

Purvis, Denise

2014-01-01

Dance education in the P-12 setting serves many purposes, including creating technicians, producing creative thinkers, and increasing students' understanding of emotional and physical health. However, in settings where there is often only one teacher running an underfunded program, how is it possible to attain all these goals? The instructor must…

Digital Technology in the Tertiary Dance Technique Studio: Expanding Student Engagement through Collaborative and Co-Creative Experiences

ERIC Educational Resources Information Center

Huddy, Avril

2017-01-01

Digital technology has long been integrated into the mainstream learning environment in a variety of ways from basic teaching delivery tools to specific courseware; however, it has struggled to make an impact in the dance technique studio. Despite the enthusiastic and alacritous integration of digital technologies within the repertoire and…

Using Movement to Teach Academics: The Mind and Body as One Entity

ERIC Educational Resources Information Center

Minton, Sandra

2008-01-01

This book is developed to help teach curriculum through the use of movement and dance, while giving students a chance to use their creative problem-solving skills. The text describes a step-by-step process through which instructor and students can learn to transform academic concepts into actions and dances. Theoretical information is also…

Creating Reflective Choreographers: The Eyes See/Mind Sees Process

ERIC Educational Resources Information Center

Kimbrell, Sinead

2012-01-01

Since 1999, when the author first started teaching creative process-based dance programs in public schools, she has struggled to find the time to teach children the basic concepts and tools of dance while teaching them to be deliberate with their choreographic choices. In this article, the author describes a process that helps students and…

Identifying Choreographic Knowledge: Choreographic "Techne" and "Phronesis"

ERIC Educational Resources Information Center

Kim, Na-ye

2016-01-01

This paper presents the core findings of a doctoral study conducted between 2009 and 2013 on teaching and learning the creative process in dance composition. Choreographic knowledge that enhances the technical and creative aspects of choreography is examined and interpreted on the basis of Aristotle's "techne" and "phronesis."…

Dancing Hearts: Creative Arts with Books Kids Love.

ERIC Educational Resources Information Center

Brady, Martha

This book focuses on the integration of children's literature and creative arts. Each chapter begins with a "Background" section designed to familiarize the reader with the children's book that is showcased. This is followed by the "Hook" activity, a starter experience that involves the entire class in a doing-and-listening…

Beyond Words: Dance and Movement Sessions with Young People with Social, Emotional and Behavioural Difficulties in Estonia

ERIC Educational Resources Information Center

Goodgame, Jenna

2007-01-01

This article details an experimental project in Estonian schools, using therapeutic dance and movement as a basis to explore beyond the boundaries of language in supporting young people to develop their creative expression. The author visited three residential schools in different areas of Estonia in September 2006 to lead sessions with groups of…

Materials on Creative Arts (Arts, Crafts, Dance, Drama, Music, Bibliotherapy) for Persons with Handicapping Conditions. Revised.

ERIC Educational Resources Information Center

American Alliance for Health, Physical Education, and Recreation, Washington, DC. Information and Research Utilization Center.

Intended as a resource guide for persons who include such subjects as arts, crafts, dance, and music in programs for the handicapped, resources are listed for printed materials, audiovisual materials, resource persons and organizations, and material and equipment suppliers. Brief literature reviews sum up the state of the art in the specific art…

Practice Makes Perfect.

ERIC Educational Resources Information Center

Vail, Kathleen

1997-01-01

Describes curriculum at New Orleans Center for Creative Arts (NOCCA), a public high school that offers a rigorous fine-arts curriculum in music, dance, visual arts, theater, and creative writing. A total of 260 students attend home schools half of the day and take classes at NOCCA the second half. Although not founded as a magnet school, the…

Counseling as an Art: The Creative Arts in Counseling.

ERIC Educational Resources Information Center

Gladding, Samuel T.

In this book counseling approaches with a variety of populations are examined using these creative arts: music; dance/movement; imagery; visual arts; literature; drama; and play and humor. It is noted that all of these arts are process-oriented, emotionally sensitive, socially directed, and awareness-focused. Chapter 1 discusses the history,…

The effect of creative psychological interventions on psychological outcomes for adult cancer patients: a systematic review of randomised controlled trials.

PubMed

Archer, S; Buxton, S; Sheffield, D

2015-01-01

This systematic review examined the effectiveness of creative psychological interventions (CPIs) for adult cancer patients. In particular, the findings of randomised controlled trials of art, drama, dance/movement and music therapies on psychological outcomes were examined. The review yielded 10 original studies analysing data from a total of 488 patients. Data extraction and quality assessment were conducted by two independent reviewers. Four of the papers focused on the use of art therapy, three studies used music therapy, one paper utilised dance therapy, one study used dance/movement therapy and the remaining paper used creative arts therapies, which was a combination of different art-based therapy approaches. Eight papers focused solely on breast cancer patients, and the remaining studies included mixed cancer sites/stages. The studies reported improvements in anxiety and depression, quality of life, coping, stress, anger and mood. However, few physical benefits of CPIs were reported; there was no significant impact of a CPI on physical aspects of quality of life, vigour-activity or fatigue-inertia or physical functioning. One study was assessed as high quality, seven studies were assessed as satisfactory and two studies were assessed to be of poorer quality. There is initial evidence that CPIs benefit adult cancer patients with respect to anxiety and depression, quality of life, coping, stress, anger and mood; there was no evidence to suggest that any one type of CPI was especially beneficial. However, more and better quality research needs to be conducted, particularly in the areas of drama and dance/movement therapies. Copyright © 2014 John Wiley & Sons, Ltd.

Dancing Mindfulness: A Phenomenological Investigation of the Emerging Practice.

PubMed

Marich, Jamie; Howell, Terra

2015-01-01

An extensive review of both quantitative and qualitative literature reveals numerous connections between mindfulness practice and psychological well-being. Dancing Mindfulness, as a holistic wellness practice, is a creative approach to mindfulness meditation that draws on dance as the vehicle for engaging in the ancient practice characterized by non-judgment, loving kindness, and present-centered awareness. Of the first participants who learned the Dancing Mindfulness practice in a community-based setting, 10 shared their lived experience with the practice, and these experiences were analyzed using A.P. Giorgi׳s descriptive phenomenological psychological method. As a collective sample, the women described positive experiences with the Dancing Mindfulness practice. Specific themes indicated improvements in emotional and spiritual well-being, increased acceptance, positive changes to the self, and increased application of mindfulness techniques and strategies to real-world living. Another thematic area suggested that dancing and music are the two major components of action within Dancing Mindfulness leading to these benefits. Copyright © 2015 Elsevier Inc. All rights reserved.

Active-learning Strategies for Legal Topics and Substance Abuse in a Pharmacy Curriculum.

PubMed

Steinhardt, Sarah J; Clark, John E; Kelly, William N; Hill, Angela M

2017-02-25

Objective. To implement active-learning strategies to engage students in learning, applying, and teaching legal and substance abuse topics. Design. Medication Safety course student groups created films on a National Patient Safety Goal (NPSG) using a movie genre and presented them in film festival format. Pharmacogenomics course student groups taught ethical, legal, and social implications (ELSI) topics through presentation of short stories about comic book characters with genetic mutations. Students in the Drugs of Abuse course composed and performed dances depicting the mechanism of action of a drug in an in-class rave dance format. Assessment. Course evaluations revealed student engagement with subject material and enjoyment of the creative applications, critical thinking, and collaborative aspects of the activities. Students performed well on examination questions and graded assignments. Conclusion. These active-learning strategies facilitated students' abilities to learn, apply, and teach material in medication safety, pharmacogenomics, and substance abuse courses.

Active-learning Strategies for Legal Topics and Substance Abuse in a Pharmacy Curriculum

PubMed Central

Clark, John E.; Kelly, William N.; Hill, Angela M.

2017-01-01

Objective. To implement active-learning strategies to engage students in learning, applying, and teaching legal and substance abuse topics. Design. Medication Safety course student groups created films on a National Patient Safety Goal (NPSG) using a movie genre and presented them in film festival format. Pharmacogenomics course student groups taught ethical, legal, and social implications (ELSI) topics through presentation of short stories about comic book characters with genetic mutations. Students in the Drugs of Abuse course composed and performed dances depicting the mechanism of action of a drug in an in-class rave dance format. Assessment. Course evaluations revealed student engagement with subject material and enjoyment of the creative applications, critical thinking, and collaborative aspects of the activities. Students performed well on examination questions and graded assignments. Conclusion. These active-learning strategies facilitated students’ abilities to learn, apply, and teach material in medication safety, pharmacogenomics, and substance abuse courses. PMID:28289294

Making It All Count: A Cross-Disciplinary Collaboration Model Incorporating Scholarship, Creative Activity, and Student Engagement

ERIC Educational Resources Information Center

Dailey, Rocky; Hauschild-Mork, Melissa

2017-01-01

This study takes a grounded theory approach as a basis for a case study examining a cross-disciplinary artistic and academic collaborative project involving faculty from the areas of English, music, dance, theatre, design, and visual journalism resulting in the creation of research, scholarly, and creative activity that fosters student engagement…

in the wind clothes dance on a line. Performative inquiry: A (re)search methodology. Possibilities and absences within a space-moment of imagining a universe

NASA Astrophysics Data System (ADS)

Fels, Lynn Margaret

in the wind clothes dance on a line is the conceptualization and articulation of performative inquiry as a research methodology within the field of education. Performative inquiry invites innovative and non-linear investigations, playing upon the multiple realities and interpretations of co-evolving worlds realized and recognized through creative action and interaction between researcher/teacher and participants/students within individual and shared, existing and imagined environments through motivating (im)pulse(s) of inquiry. Performative inquiry is elusively and momentarily balanced on the "edge of chaos" within the interstices of enactivism, complexity, interpretation, and performance. In articulating an ecological-cognitive reading of performance, I am in company with curricular theorists who envision curriculum as a journey and expression of students' and teachers' shared investigations within co-evolving landscapes of action and interaction. in the wind clothes dance on a line is a playful response to current conversations among researchers seeking recognition and articulation of arts-based processes as legitimate site(s) and praxis of research. Performative inquiry offers researchers---in drama education, in particular, and in education, in general---a theoretical and practical venue to investigate their fields of inquiry through an integrated vehicle of body, mind and imagination. This dissertation is informed by a three year science education research project (1995--1997) conducted with science educator, Karen Meyer. Our research investigated the teaching and learning of science education through drama and storytelling, culminating in a performance piece, Light Sound Movin' Around: What Are Monsters Made Of? Follow-up interviews with pre-service teachers speak eloquently to the possibility and power of performative inquiry as a research tool and learning vehicle in science education. in the wind clothes dance on a line has been imagined "in the air" through moments realized and recognized during the science education research project and through my work as a performing arts educator. And it is these moments that set the clothes dancing in the wind. in the wind clothes dance on a line is a conceptual piece, a performative work through which the reader will hopefully realize and recognize his or her own imaginings and understandings of possible universes within education.

Chiqui-traca-ban-tau: Movements and Creativity Expression without Limits

ERIC Educational Resources Information Center

Volmar-Vega, Vilmarie; Kozub, Francis M.

2016-01-01

Chiqui-traca-ban-tau is a creative dance activity that can be enjoyed by a wide range of children. It is also a game that provides teachers with a physical activity option that promotes higher-order thinking and remembering skills necessary to support learning in the Common Core. The game involves each child taking a turn leading a four-beat…

Coming Alive: Creative Movement as a Personal Coping Strategy on the Path to Healing and Growth

ERIC Educational Resources Information Center

Leseho, Johanna; Maxwell, Lisa Rene

2010-01-01

This study interviewed 29 women from various countries and spiritual backgrounds, between the ages of 16 and 67, seeking to better understand how dance/creative movement supports women during difficult life struggles such as trauma from abuse, relationship breakups, community violence and loss of self, and how it acts as a connection to the…

Sources of Embodied Creativity: Interactivity and Ideation in Contact Improvisation.

PubMed

Kimmel, Michael; Hristova, Dayana; Kussmaul, Kerstin

2018-05-23

Drawing on a micro-phenomenological paradigm, we discuss Contact Improvisation (CI), where dancers explore potentials of intercorporeal weight sharing, kinesthesia, touch, and momentum. Our aim is to typologically discuss creativity related skills and the rich spectrum of creative resources CI dancers use. This spectrum begins with relatively idea-driven creation and ends with interactivity-centered, fully emergent creation: (1) Ideation internal to the mind, the focus of traditional creativity research, is either restricted to semi-independent dancing or remains schematic and thus open to dynamic specification under the partner’s influence. (2) Most frequently, CI creativity occurs in tightly coupled behavior and is radically emergent. This means that interpersonal synergies emerge without anybody’s prior design or planned coordination. The creative feat is interpersonally “distributed” over cascades of cross-scaffolding. Our micro-genetic data validate notions from dynamic systems theory such as interpersonal self-organization , although we criticize the theory for failing to explain where precisely this leaves skilled intentionality on the individuals’ part. Our answer is that dancers produce a stream of momentary micro-intentions that say “yes, and”, or “no, but” to short-lived micro-affordances, which allows both individuals to skillfully continue, elaborate, tweak, or redirect the collective movement dynamics. Both dancers can invite emergence as part of their playful exploration, while simultaneously bringing to bear global constraints, such as dance scores, and guide the collective dynamics with a set of specialized skills we shall term emergence management .

[Creative therapy options for patients with dementia--a systematic review].

PubMed

Schmitt, B; Frölich, L

2007-12-01

The specifics of creative therapies aim at activating the creative potential of the patients in the sense of acceptance, orientation and coping with their illness "dementia" and at improving their quality of life. Creative therapies in the treatment of dementia offer the advantage of working with these patients, whose cognition and often also verbal communication skills are affected in a nonverbal way. This article presents a systematic review of studies and case studies, which could be found on the subject of the implementation of active creative therapies "music-, art-, drama- and dance-therapy" within the following databases (05/05): Medline, Psyndex Plus, PsychInfo and Cochrane. The search terms used were: "Creativ* and therapy and dementia and (stud*)", "Dance therapy and dementia", "Music therapy and dementia", "Drama therapy and dementia" and "Art therapy and dementia". As a result of this search we found seven quantitative evaluated controlled studies, three prae-post comparisons and three qualitative evaluated studies which have been finished since 1998. All of these studies included groups of at least three participants. Further reviews are mentioned in this article. This survey of studies on creative therapies for patients with dementia shows positive effects like the improvement of interaction skills. The data supplied thus supports the approach of using creative therapies in order to help patients accept dementia as their illness and finally to cope with it. The methodical approach to the registration of the therapies' effects and process-orientated contents of the therapy create a field of tension, leading to the request for a further development and validation of instruments, which allow the quantitative evaluation of parameters like liveliness, agility and interaction skills.

Dancing on Thinning Ice: Choreography and Science in the Chukchi Sea

NASA Astrophysics Data System (ADS)

Sperling, J.

2016-12-01

In 2014, Jody Sperling was the first-ever choreographer in residence to participate in a polar science mission, thanks to an invitation from Dr. Robert Pickart (Woods Hole Oceanographic Institution). This 43-day mission (SUBICE) aboard the USCGC Healy traveled to the Chukchi Sea with Sperling serving as part of an outreach team on climate science communication. Since the mission, Sperling has shared her Arctic experience with more than 4,200 people through dozens of live performances, lectures and workshops, plus press coverage across the US. Her film "Ice Floe," created during SUBICE, won a Creative Climate Award and has been aired on Alaska Public Television reaching thousands more. While Arctic sea ice is vitally important to the global climate system, the public knows little about its function (other than as a habitat for polar bears) or its precipitous decline. Sperling's research during the mission focused on sea ice and had three components: 1) As a contributor to SUBICE's Ice Watch Survey, she learned the descriptive nomenclature for sea ice and its processes of formation to transport its dynamics and aesthetics to the stage. This information served as critical inspiration for the creation of her dance work "Ice Cycle" (2015); 2) Sperling collected media samples of sea ice that were subsequently used in performances of "Ice Cycle" as well as her frequent public lectures; 3) Sperling danced on sea ice at a dozen ice stations. In collaboration with the WHOI outreach team, the SUBICE science party and the Healy crew, she created the dance film short "Ice Floe". Sperling's dance company, Time Lapse Dance, has performed "Ice Cycle" as part of the larger program "Bringing the Arctic Home" at many venues nationally and the work has been mounted on students at Brenau University in Georgia. Wherever she performs, Sperling programs talkbacks, lectures and panels with scientists, artists and climate educators, with the aim of increasing awareness of sea ice, the rapid changes happening in the Arctic, the connectedness of our global climate system and stimulating conversations on climate action. Sperling's participation in the SUBICE mission has allowed her to bring a remote region of the world a little closer to home.

Introducing Improvisational Skills Through Rhythm Tap: Whether Used in a Dance Class or in a Physical Education Dance Unit, These Simple Exercises Will Overcome Students' Inhibitions and Encourage Their Creative Abilities

ERIC Educational Resources Information Center

West, Colleen N.

2005-01-01

Rhythm tap is sweeping the nation as an outlet for self-expression. Also known as "jazz tap" or "percussive tap," this art form's dominant focus is musicality, improvisation, simple-to-complex rhythms, and new styles. It reaches beyond technique and serves as an outlet for self-expression, independence, and spontaneity. Rhythm tap incorporates an…

Arts-based and creative approaches to dementia care.

PubMed

McGreevy, Jessica

2016-02-01

This article presents a review of arts-based and creative approaches to dementia care as an alternative to antipsychotic medications. While use of antipsychotics may be appropriate for some people, the literature highlights the success of creative approaches and the benefits of their lack of negative side effects associated with antipsychotics. The focus is the use of biographical approaches, music, dance and movement to improve wellbeing, enhance social networks, support inclusive practice and enable participation. Staff must be trained to use these approaches. A case study is presented to demonstrate how creative approaches can be implemented in practice and the outcomes that can be expected when used appropriately.

Understanding the Impact of Expertise in Joint and Solo-Improvisation.

PubMed

Issartel, Johann; Gueugnon, Mathieu; Marin, Ludovic

2017-01-01

Joint-improvisation is not only an open-ended creative action that two or more people perform together in the context of an artistic performance (e.g., theatre, music or dance). Joint-improvisation also takes place in daily life activities when humans take part in collective performance such as toddlers at play or adults engaged in a conversation. In the context of this article, joint-improvisation has been looked at from a social motor coordination perspective. In the literature, the nature of the social motor coordination characteristics of joint-improvisation for either the creative aspect or daily life features of this motor performance remains unclear. Additionally, both solo-improvisation and joint-improvisation need to be studied conjointly to establish the influence of the social element of improvisation in the emergence of multi-agent motor coordination. In order to better understand those two types of improvisation, we compared three level of expertise - novice, intermediate and professional in dance improvisation to identify movement characteristics for each of the groups. Pairs of the same level were asked to improvise together. Each individual was also asked to perform an improvisation on his/her own. We found that each of the three groups present specific movement organization with movement complexity increasing with the level of expertise. Experts performed shorter movement duration in conjunction with an increase range of movement. The direct comparison of individual and paired Conditions highlighted that the joint-improvisation reduced the complexity of the movement organization and those for all three levels while maintaining the differences between the groups. This direct comparison amongst those three distinct groups provides an original insight onto the nature of movement patterns in joint-improvisation situation. Overall, it reveals the role of both individual and collective properties in the emergence of social coordination.

Understanding the Impact of Expertise in Joint and Solo-Improvisation

PubMed Central

Issartel, Johann; Gueugnon, Mathieu; Marin, Ludovic

2017-01-01

Joint-improvisation is not only an open-ended creative action that two or more people perform together in the context of an artistic performance (e.g., theatre, music or dance). Joint-improvisation also takes place in daily life activities when humans take part in collective performance such as toddlers at play or adults engaged in a conversation. In the context of this article, joint-improvisation has been looked at from a social motor coordination perspective. In the literature, the nature of the social motor coordination characteristics of joint-improvisation for either the creative aspect or daily life features of this motor performance remains unclear. Additionally, both solo-improvisation and joint-improvisation need to be studied conjointly to establish the influence of the social element of improvisation in the emergence of multi-agent motor coordination. In order to better understand those two types of improvisation, we compared three level of expertise – novice, intermediate and professional in dance improvisation to identify movement characteristics for each of the groups. Pairs of the same level were asked to improvise together. Each individual was also asked to perform an improvisation on his/her own. We found that each of the three groups present specific movement organization with movement complexity increasing with the level of expertise. Experts performed shorter movement duration in conjunction with an increase range of movement. The direct comparison of individual and paired Conditions highlighted that the joint-improvisation reduced the complexity of the movement organization and those for all three levels while maintaining the differences between the groups. This direct comparison amongst those three distinct groups provides an original insight onto the nature of movement patterns in joint-improvisation situation. Overall, it reveals the role of both individual and collective properties in the emergence of social coordination. PMID:28713301

Dance is more than therapy: Qualitative analysis on therapeutic dancing classes for Parkinson's.

PubMed

Rocha, Priscila A; Slade, Susan C; McClelland, Jodie; Morris, Meg E

2017-10-01

To understand the benefits and limitations of therapeutic dancing classes for people with Parkinson's disease (PD) and how best to design and implement classes. A stakeholder forum explored the opinions of 18 allied health clinicians, dance instructors, people with PD and caregivers. Data were thematically analysed and interpreted within a grounded theory framework. Four main themes were identified: (1) the need to consider the stage of disease progression when designing classes; (2) recognition that dance is more than just therapy; (3) the benefits of carefully selecting music to move by; (4) ways to design classes that are both feasible and engaging. These themes give rise to the theory that dancing classes can provide more than just therapeutic benefits. Dance affords creative expression and enables people to immerse themselves in the art-form, rather than focussing on the disease. The results highlight the benefits of enabling individuals with PD to be able to express themselves in a supportive environment that does not see them solely through the lens of Parkinson's. The feasibility of dance programs can be increased by educating dancing teachers about PD and the unique needs of people living with this condition. Well-structured dance classes can promote social-connectedness and joy, in addition to facilitating movement to music and physical activity. Consumers advised that careful planning of the classes and tailoring them to participant needs optimizes outcomes. Copyright © 2017 Elsevier Ltd. All rights reserved.

An Integrated Teaching Module.

ERIC Educational Resources Information Center

Samuel, Marie R.; Seiferth, Berniece B.

This integrated teaching module provides elementary and junior high school teachers with a "hands-on" approach to studying the Anasazi Indian. Emphasis is on creative exploration that focuses on integrating art, music, poetry, writing, geography, dance, history, anthropology, sociology, and archaeology. Replicas of artifacts,…

Social dancing in the care of persons with dementia in a nursing home setting: a phenomenological study.

PubMed

Palo-Bengtsson, L; Ekman, S L

1997-01-01

The purpose of this study was to describe the phenomenon of social dancing in the care of persons with dementia in a nursing home setting. Social dancing is an activity that has taken place once a month regularly during the last 10 years at a nursing home in Stockholm. The period of data collection for this study was the year 1995. At the time of the investigation, the subjects were in special units for persons with dementia. The analysis is based on the data contained in five 45-minute video tapes. All videotapes were analysed based on Husserl's philosophy and Giorgi's method of phenomenological analysis. The results suggested that dance music was a good stimulus for making social contacts. The earlier-trained social patterns, old social habits, and general rules seemed to awaken to life in the persons with dementia. It was important that the caregivers showed individual creativity, spontaneity, and supportive nursing care. Social dancing at the nursing home was found in this study to be very positive and successful for patients with dementia.

Creative Change: Art, Music, and Climate Science

NASA Astrophysics Data System (ADS)

Dahlberg, R. A.; Hoffman, J. S.; Maurakis, E. G.

2017-12-01

As part of ongoing climate science education initiatives, the Science Museum of Virginia hosted Creative Change in March 2017. The event featured multidisciplinary programming created by scientists, artists, and students reacting to and interpreting climate change and resiliency through a variety of artistic mediums and informal science education. Creative Change was developed in consideration of studies conducted at Columbia University that indicate traditional educational approaches, which rely heavily on scientific information and data literacy, fail to engage and inspire action in a majority of people. Our informal science education programming developed for Creative Change, by contrast, is inclusive to all ages and backgrounds, integrating scientific data and an artistic human touch. Our goal was to increase public awareness of climate change and resiliency through the humanities in support of the Museum's mission to inspire Virginians to enrich their lives through science. Visitors were invited to attend Coral Reef Fever, a dance performance of coral bleaching; high school and university art exhibitions; climate data performed by a string quartet; poetry, rap, and theater performances; and a panel discussion by artists and scientists on communicating science through the arts and humanities. Based on 26 post- event survey results, we found as a result that visitors enjoyed the event (mean of 9.58 out of 10), learned new information (9.07), and strongly agreed that the arts and humanities should be used more in communicating science concepts (9.77). Funded in part by Bond Bradley Endowment and NOAA ELG Award #NA15SEC0080009.

Gerontology and the Arts.

ERIC Educational Resources Information Center

Jones, Jean Ellen, Ed.

1982-01-01

Reviews research on the place of the arts in programs for the elderly. In nine articles deals with characteristics and attitudes of adult students in art and music, dance therapy, and creativity. Discusses the aging advocacy movement and suggests it can be useful to program planners and gerontologists. (JAC)

Girls Physical Education Handbook.

ERIC Educational Resources Information Center

Fairfax County Schools, VA.

This handbook was designed to provide the student with basic information for various individual, dual, and team sports. The individual and dual sports which are discussed include archery, badminton, creative dance, fencing, golf, gymnastics, and games such as deck tennis, table tennis, horseshoes, and shuffledboard. Basketball, field hockey,…

Navigating the Arts in an Electronic Sea.

ERIC Educational Resources Information Center

Brouch, Virginia

1994-01-01

The 1990s will usher in increasingly sophisticated interactive multimedia technologies leading to widespread employment of virtual reality. The arts (visual, music, drama, dance, and creative writing) are intimately involved with instructional technology's future. The arts provide both adult (commercial) creators and contributors to the programs…

Dancing to distraction: mediating 'docile bodies' in 'Philippine Thriller video'.

PubMed

Mangaoang, Áine

2013-01-01

This essay examines the conditions behind the 'Philippine Prison Thriller' video, a YouTube spectacle featuring the 1,500 inmates of Cebu Provincial Detention and Rehabilitation Centre (CPDRC) dancing to Michael Jackson's hit song 'Thriller'. The video achieved viral status after it was uploaded onto the video-sharing platform in 2007, and sparked online debates as to whether this video, containing recorded moving images of allegedly forced dancing, was a form of cruel and inhumane punishment or a novel approach to rehabilitation. The immense popularity of the video inspired creative responses from viewers, and this international popularity caused the CPDRC to host a monthly live dance show held in the prison yard, now in its seventh year. The essay explores how seemingly innocuous products of user-generated-content are imbued with ideologies that obscure or reduce relations of race, agency, power and control. By contextualising the video's origins, I highlight current Philippine prison conditions and introduce how video-maker/programme inventor/prison warden Byron Garcia sought to distance his facility from the Philippine prison majority. I then investigate the 'mediation' of 'Thriller' through three main issues. One, I examine the commodification and transformation from viral video to a thana-tourist destination; two, the global appeal of 'Thriller' is founded on public penal intrigue and essentialist Filipino tropes, mixed with a certain novelty factor widely suffused in YouTube formats; three, how dance performance and its mediation here are conducive to creating Foucault's docile bodies, which operate as a tool of distraction for the masses and ultimately serve the interests of the state far more than it rehabilitates(unconvicted and therefore innocent) inmates.

The dance of psychotherapy.

PubMed

Slavin-Mulford, Jenelle

2013-09-01

Using a dance metaphor, this article presents an approach to teaching therapeutic techniques to beginning graduate students in which interventions are first taught separately for purposes of clarity followed by an emphasis on integration, creativity, and flexibility. To illustrate the format of this approach, I provide theory, research, and prototypic clinical examples for the three therapeutic techniques that I use most frequently in my own practice. These techniques are support/empathy, immediacy, and affect exploration, experiencing, and expression. This is followed by a case presentation in which these three techniques are used together in a unique way to facilitate the work. 2013 APA, all rights reserved

The Virtual Stage

ERIC Educational Resources Information Center

Manzo, Kathleen Kennedy

2005-01-01

In this article, the author talks about Moore Square Museums Magnet Middle School, where educators are blending technology more heavily into the teaching of arts and music than most other schools. Arts teachers are integrating computer software with traditional instruction in dance, music, theater and visual arts to spark students' creativity. It…

Career Education Program for the Talented.

ERIC Educational Resources Information Center

Allegheny Intermediate Unit, Pittsburgh, PA.

The curriculum packet lists objectives and activities used in a career education program in which talented students in grades 4-9 interacted with practicing professionals in six arts areas (art, creative writing, dance, drama, media, and music). Information is presented according to session sequence, and includes descriptions of such aspects as…

Choreography Styles in Figure Skating

ERIC Educational Resources Information Center

Moormann, Peter Paul

2006-01-01

Fifty-eight figure skating trainers from fifteen different countries acted as volunteers in this study on choreography styles. The styles were based on reports of artistic-creative strategies in composing music, drawing, writing poems or novels, and in making dances. The prevalence of the Mozartian (at the onset the choreographer already has a…

Pablo Python Looks at Animals. [Multimedia Educational Kit].

ERIC Educational Resources Information Center

Sullivan, Rick; Green, David

Teachers and students can view the world of animals together through an exploration of how-and-why questions about animals in this curriculum unit. The problem-solving and critical thinking skills of students are improved through interactive activities involving oral and written communication, mathematics, creative arts, music, dance, and creative…

The Journal of the Imagination in Language Learning, 1997.

ERIC Educational Resources Information Center

Coreil, Clyde, Ed.; Napoliello, Mihri, Ed.

1997-01-01

Articles on second language teaching and learning include: "Creativity with a Small 'c'" (Alan Maley); "National Standards & the Role of the Imagination in Foreign Language Learning" (Rebecca M. Valette); "Who Am I in English? Developing a Language Ego" (Jean Zukowski/Faust); "Steps to Dance in the Adult EFL…

Creating Inclusive Classrooms through the Arts

ERIC Educational Resources Information Center

Henderson, C. Miki; Lasley, Elizabeth

2014-01-01

Art, drama, music, dance and literature activities are part of the basic components of an early childhood curriculum. They do not rely heavily on oral language or English proficiency, and this makes them accessible to all children regardless of language differences or language abilities. Teachers can use creative expression and art to practice…

Gifted Children & the Arts: Providing Opportunities for All

ERIC Educational Resources Information Center

Schroth, Stephen T.; Helfer, Jason A.

2011-01-01

Knowledge of English/language arts, mathematics, and the sciences are considered important in the development of gifted children. Familiarity with the arts--music, the visual arts, dance, creative writing, and theatre--is, for many, a more difficult proposition. Budget cutbacks have marginalized the art offerings in numerous school districts…

Can Clouds Dance? Part 2: An ERP Investigation of Passive Conceptual Expansion

ERIC Educational Resources Information Center

Rutter, Barbara; Kroger, Soren; Hill, Holger; Windmann, Sabine; Hermann, Christiane; Abraham, Anna

2012-01-01

Conceptual expansion, one of the core operations in creative cognition, was investigated in the present ERP study. An experimental paradigm using novel metaphoric, nonsensical and literal phrases was employed where individual differences in conceptual knowledge organization were accounted for by using participants' responses to categorize the…

Dance performance as a method of intervention as experienced by older persons with dementia.

PubMed

Ravelin, Teija; Isola, Arja; Kylmä, Jari

2013-03-01

Previous studies have shown that dance can bring out the strength and resources of persons with dementia. To describe for later evaluation how older persons with dementia experience dance performances in a nursing home. Four dance performances, based on the recollections the older persons had of different seasons, were arranged in one nursing home. Qualitative descriptive study, with 13 older persons with dementia, four family members, seven nurses and three practical nurse students. Data were collected and analysed using methodological triangulation. Older persons identified dance performance activity as a process. They had a positive attitude towards the dance performance and performers, and they had experiences of different elements of the dance performance. The older persons forgot their ailments during the performances, and the performances evoked various emotions and awoke memories. Some of them had negative experiences of dancing and dance performances. The older persons experienced a common bond with other spectators. Watching a dance performance is an active process for older persons with dementia. Reminiscence about the dance performance gives the older person an opportunity to deal with the experiences evoked by the performance. © 2011 Blackwell Publishing Ltd.

A Nonverbal Language for Imagining and Learning: Dance Education in K-12 Curriculum

ERIC Educational Resources Information Center

Hanna, Judith Lynne

2008-01-01

Curriculum theorists have provided a knowledge base concerning aesthetics, agency, creativity, lived experience, transcendence, learning through the body, and the power of the arts to engender visions of alternative possibilities in culture, politics, and the environment. However, these theoretical threads do not reveal the potential of K-12 dance…

The Governor's School for the Arts and Its Graduate Internship Component.

ERIC Educational Resources Information Center

Cross, Jim; Uldrick, Virginia

1990-01-01

The South Carolina Governor's School for the Arts is a summer residential program for high-school students talented in creative writing, visual arts, theatre, music, and dance. The School's internship component offers in-service education and preparation of art educators in the area of gifted education, in conjunction with Furman University. (JDD)

Perpetual Motion: Creative Movement Exercises for Dance and Dramatic Arts.

ERIC Educational Resources Information Center

Pomer, Janice

This book explores the moving world, introducing more than 100 movement experiences organized around the themes of rules, recipes, props, poetry and prose, objects and images, and integrated arts. It is intended to help the teacher develop an eye as choreographer. The book includes six chapters. Each chapter identifies a theme, specific learning…

The Urgent Need for Career Preview: Student Expectations and Graduate Realities in Music and Dance

ERIC Educational Resources Information Center

Bennett, Dawn; Bridgstock, Ruth

2015-01-01

Unlike the work available in many creative disciplines, musicians and dancers have the possibility of company-based employment; however, participants outweigh the number of positions. As a result, many graduates become "enforced entrepreneurs" as they shape their work to meet personal and professional needs. The similarities between…

Art, dance, and music therapy.

PubMed

Pratt, Rosalie Rebollo

2004-11-01

Art, dance, and music therapy are a significant part of complementary medicine in the twenty-first century. These creative arts therapies contribute to all areas of health care and are present in treatments for most psychologic and physiologic illnesses. Although the current body of solid research is small compared with that of more traditional medical specialties, the arts therapies are now validating their research through more controlled experimental and descriptive studies. The arts therapies also contribute significantly to the humanization and comfort of modern health care institutions by relieving stress, anxiety, and pain of patients and caregivers. Arts therapies will greatly expand their role in the health care practices of this country in the twenty-first century.

Bristol girls dance project feasibility trial: outcome and process evaluation results.

PubMed

Jago, Russell; Sebire, Simon J; Cooper, Ashley R; Haase, Anne M; Powell, Jane; Davis, Laura; McNeill, Jade; Montgomery, Alan A

2012-07-02

Many adolescent girls do not engage in sufficient physical activity (PA). This study examined the feasibility of conducting a cluster randomized controlled trial (RCT) to evaluate an after-school dance program to increase PA among 11-12 year old girls in Bristol, UK. Three-arm, cluster RCT. Three secondary schools were assigned to intervention arm. Intervention participants received a 9-week dance program with 2, 90-minute dance classes per week. Participants at 2 control schools received incentives for data collection. Participants at 2 additional control schools received incentives and a delayed dance workshop. Accelerometer data were collected at baseline (time 0), during the last week of the dance program (time 1) and 20 weeks after the start of the study (time 2). Weekly attendance, enjoyment and perceived exertion were assessed in intervention participants. Post-study qualitative work was conducted with intervention participants and personnel. 40.1% of girls provided consent to be in the study. The mean number of girls attending at least one dance session per week ranged from 15.4 to 25.9. There was greater number of participants for whom accelerometer data were collected in control arms. The mean attendance was 13.3 sessions (maximum=18). Perceived exertion ratings indicated that the girls did not find the sessions challenging. The dance teachers reported that the program content would benefit from revisions including less creative task time, a broader range of dance genres and improved behavioral management policies. At time 2, the 95% confidence intervals suggest between 5 and 12 minutes more weekday MVPA in the intervention group compared with the control incentives only group, and between 6 minutes fewer and 1 minute more compared with the control incentives plus workshop group. Between 14 and 24 schools would be required to detect a difference of 10 minutes in mean weekday MVPA between intervention and control groups. It is possible to recruit 11-12 year old girls to participate in an after-school dance study. An after-school dance intervention has potential to positively affect the PA levels of 11-12 year old girls but an adequately powered RCT is required to test this intervention approach.

Development of a Creative Arts Therapies Center for People with Developmental Disabilities

ERIC Educational Resources Information Center

Lister, Suzanne; Tanguay, Denise; Snow, Stephen; D'Amico, Miranda

2009-01-01

The Centre for the Arts in Human Development in Montreal has provided art, drama, music, and dance/movement therapies to adults with developmental disabilities for over 10 years with the goals of developing and enhancing self-esteem, social skills, and communication abilities. This report describes the development and purpose of the center,…

[Development and evaluation of a dance-based exercise therapy for patients with haemophilia].

PubMed

Czepa, D; van Ravenstein, S; Stäuber, F; Hilberg, T

2013-01-01

So far, the use of methods derived from creative arts has not been considered in the haemophilia treatment. The AIM was to investigate the expectations for a dance-based exercise therapy for patients with haemophilia and the extent of its acceptance. The one-hour dance-based exercise therapy was offered to 30 haemophilia patients (HI30) (49 ± 11, 30-67 years). For the evaluation of expectations, questionnaires were created and filled out by participants before and after the intervention. Additionally, 19 haemophilia patients (HF) and 20 controls without haemophilia (KF) who did not participate in the intervention were also questioned. The RESULTS show that haemophilia patients have more experience in dance than controls (HI30:62%, HF:74%, KF:45%). In contrast, the proportion of those who are currently dancing is higher in controls without haemophilia (HI30: 17%, HF: 10%, KF:26%). The termination of dance activity in patients with haemophilia who were part of the intervention was mainly due to pain (HI30: 40%, HF: 29%, KF: 0%), whereby controls without intervention terminated the dance activity mainly due to lack of time (HI30: 30%, HF: 57%, KF: 56%). Ultimately, 24 out of 30 patients with haemophilia (HI24) completed the intervention. All HI24 met their expectations. 38% felt limited by haemophilia while carrying out the exercises. The majority of the participants were able to follow the exercises well (96%) and were did not overstrain physically (92%) nor mentally (87%), also 79% did not have pain. 23 of HI24 (96%) can envision a continuation of the dance-based exercise therapy. The experience with the dance-based exercise therapy was predominantly positive. It represents an alternative sports therapy programme for patients with haemophilia. Further studies are needed in order to make statements concerning the long-term use of such training.

Dance-the-Music: an educational platform for the modeling, recognition and audiovisual monitoring of dance steps using spatiotemporal motion templates

NASA Astrophysics Data System (ADS)

Maes, Pieter-Jan; Amelynck, Denis; Leman, Marc

2012-12-01

In this article, a computational platform is presented, entitled "Dance-the-Music", that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers' models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method-can determine the quality of a student's performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures.

Responses to music and movement in the development of children with Down's syndrome.

PubMed

Stratford, B; Ching, E Y

1989-02-01

Physical responses to rhythmic stimuli and music, of different degrees of complexity were registered from 25 children with Down's syndrome and 25 other mentally handicapped children. Required performances were taught and then recorded on video-tape, after which they were assessed by experienced teacher/judges. Whilst there were no overall significant differences between the groups, important differences were detected between the children in different schools with attendant implications for differential treatment. Apart from an overall and general assessment of performance, analysis was made of demographic variables, for example, sex, intelligence, age and social development. It is concluded that specific teaching approaches can significantly effect the development of children with Down's syndrome in such creative aspects of the curriculum as music, movement and dance.

Exercise enhances creativity independently of mood

PubMed Central

Steinberg, Hannah; Sykes, Elizabeth A; Moss, Tim; Lowery, Susan; LeBoutillier, Nick; Dewey, Alison

1997-01-01

Objectives It has been widely accepted in the literature that various forms of physical exercise, even in a single session, enhance positive mood. It has also been shown that physical exercise may sometimes enhance creative thinking, but the evidence is inconclusive. Positive moods can favour creative thinking, but the opposite has also been reported and these relations are unclear. There is a large anecdotal literature suggesting that creative people sometimes use bodily movement to help overcome “blocks”. The aim of this study was to establish whether post-exercise creative thinking was attributable to improved mood. Methods The responses of 63 participants to an exercise (aerobic workout or aerobic dance) and a “neutral” video watching condition were compared. Mood was measured using an adjective list, and creative thinking was tested by three measures of the Torrance test. Results Analysis of variance showed a large and significant increase in positive mood after exercise (P<0.001) and a significant decrease in positive mood after video watching (P<0.001). A significant increase between the creative thinking scores of the two conditions was found on the flexibility (variety of responses) measure (P<0.05). A multifactorial analysis of all data failed to show a significant covariance of creative thinking with the two measures of mood (P>0.05). Conclusions These results suggest that mood and creativity were improved by physical exercise independently of each other. ImagesFigure 1Figure 2 PMID:9298561

A Song and a Dance: Being Inclusive and Creative in Practicing and Documenting Reflection for Learning

ERIC Educational Resources Information Center

Harvey, Marina; Walkerden, Greg; Semple, Anne-Louise; McLachlan, Kath; Lloyd, Kate; Baker, Michaela

2016-01-01

As the number of students engaging in higher education increases, so too does their diversity. Additionally, there is growing pressure on universities to better prepare graduates for the varied paths they will pursue beyond study. In responding to these conditions it is important to develop pedagogical approaches that are both inclusive and…

Young Children and Movement: The Power of Creative Dance

ERIC Educational Resources Information Center

Dow, Connie Bergstein

2010-01-01

Children move the instant they are born and the moment they wake up every morning. Moving is one of the first and most important ways infants and toddlers explore and learn about the world, and this process continues as they grow and develop. Research shows that movement and exercise can spark the growth of new brain cells and facilitate learning…

Dance Dynamics--Dance Science.

ERIC Educational Resources Information Center

Dunn, Jan, Ed.

1990-01-01

Five articles on dance dynamics and dance science focus on incorporating dance science into techniques class and performance training, the role of body therapies in dance training, psychological and nutritional concerns in dance, and training dancers and preventing injuries. (JD)

Bristol Girls Dance Project Feasibility Trial: outcome and process evaluation results

PubMed Central

2012-01-01

Background Many adolescent girls do not engage in sufficient physical activity (PA). This study examined the feasibility of conducting a cluster randomized controlled trial (RCT) to evaluate an after-school dance program to increase PA among 11–12 year old girls in Bristol, UK. Methods Three-arm, cluster RCT. Three secondary schools were assigned to intervention arm. Intervention participants received a 9-week dance program with 2, 90-minute dance classes per week. Participants at 2 control schools received incentives for data collection. Participants at 2 additional control schools received incentives and a delayed dance workshop. Accelerometer data were collected at baseline (time 0), during the last week of the dance program (time 1) and 20 weeks after the start of the study (time 2). Weekly attendance, enjoyment and perceived exertion were assessed in intervention participants. Post-study qualitative work was conducted with intervention participants and personnel. Results 40.1% of girls provided consent to be in the study. The mean number of girls attending at least one dance session per week ranged from 15.4 to 25.9. There was greater number of participants for whom accelerometer data were collected in control arms. The mean attendance was 13.3 sessions (maximum = 18). Perceived exertion ratings indicated that the girls did not find the sessions challenging. The dance teachers reported that the program content would benefit from revisions including less creative task time, a broader range of dance genres and improved behavioral management policies. At time 2, the 95% confidence intervals suggest between 5 and 12 minutes more weekday MVPA in the intervention group compared with the control incentives only group, and between 6 minutes fewer and 1 minute more compared with the control incentives plus workshop group. Between 14 and 24 schools would be required to detect a difference of 10 minutes in mean weekday MVPA between intervention and control groups. Conclusions It is possible to recruit 11–12 year old girls to participate in an after-school dance study. An after-school dance intervention has potential to positively affect the PA levels of 11–12 year old girls but an adequately powered RCT is required to test this intervention approach. PMID:22747608

Contemporary Elementary and Middle School Physical Education Conference (Georgia State University, Atlanta, Georgia, January 15-17, 1981). Proceedings, Saturday, Activity and Position Paper Sessions.

ERIC Educational Resources Information Center

Jones, Margaret A., Ed.

At the final session of the January conference on Contemporary Elementary and Middle School Physical Education, 40 discussions and workshops centered on physical fitness, health, safety, and adapting athletics for the disabled child. Other topics covered were creative dance, water activities, lifetime sports, and teacher resource materials and…

Difference as a Creative and Critical Force in Teacher Education: Reflective Partners Teaching in and out of the Wheelchair

ERIC Educational Resources Information Center

Østern, Tone Pernille; Øyen, Elen

2014-01-01

This study reflects on a research and development project between two dance practitioners, one of them a wheelchair user, working together to develop pedagogical design within teacher education at a university in Norway. The aim of the authors is to encourage student teachers toward becoming inclusive and brave teachers who define diversity among…

Dance Dynamics: Gender Issues in Dance Education.

ERIC Educational Resources Information Center

Meglin, Joellen A.; And Others

1994-01-01

Seven articles present gender issues from a variety of perspectives, discussing a gender fair dance education program in Australia, gender issues in dance history pedagogy, women and dance performance, encouraging male participation in dance, using West African dance to combat gender issues, and gender issues across the curriculum. (SM)

The Effect of a Six-Month Dancing Program on Motor-Cognitive Dual-Task Performance in Older Adults.

PubMed

Hamacher, Dennis; Hamacher, Daniel; Rehfeld, Kathrin; Hökelmann, Anita; Schega, Lutz

2015-10-01

Dancing is a complex sensorimotor activity involving physical and mental elements which have positive effects on cognitive functions and motor control. The present randomized controlled trial aims to analyze the effects of a dancing program on the performance on a motor-cognitive dual task. Data of 35 older adults, who were assigned to a dancing group or a health-related exercise group, are presented in the study. In pretest and posttest, we assessed cognitive performance and variability of minimum foot clearance, stride time, and stride length while walking. Regarding the cognitive performance and the stride-to-stride variability of minimum foot clearance, interaction effects have been found, indicating that dancing lowers gait variability to a higher extent than conventional health-related exercise. The data show that dancing improves minimum foot clearance variability and cognitive performance in a dual-task situation. Multi-task exercises (like dancing) might be a powerful tool to improve motor-cognitive dual-task performance.

Interfering with the Lived Field of Dance Pedagogy from Organizational and Leadership Studies Perspectives--An Explorative Intervention with Performing and Teaching Dance Artists

ERIC Educational Resources Information Center

Østern, Tone Pernille; Irgens, Eirik J.

2018-01-01

One Saturday, in November in 2014, a researcher made an explorative intervention with 22 professional performing and teaching dance artists on the independent dance field in Norway. Through the three-hour-long intervention, the researcher and participants dived into questions about choreographic processes and dance pedagogy in contemporary times.…

Cardiorespiratory Considerations in Dance: From Classes to Performances.

PubMed

Rodrigues-Krause, Josianne; Krause, Mauricio; Reischak-Oliveira, Álvaro

2015-09-01

When attempting to ascertain dancers' fitness levels, essential parameters, such as aerobic and anaerobic capacity, muscular power and strength, flexibility, and body composition, must be considered. Dance is characterized as an intermittent type of exercise, demanding energy from different metabolic pathways (aerobic and anaerobic, lactic or alactic). A dancer's maximum aerobic capacity (ranging from 37 to 57 ml·kg(-1)·min(-1)) is related to his or her dance style, gender, level of technical ability, and status in a dance company. However, dancers' cardiorespiratory requirements during dance classes (essentially designed for the development of technical skills) are significantly lower than during dance performances, indicating that there is a divergence between dance training and performance with regard to demands on dancers' physical fitness. It follows that supplementary fitness training is needed in order to optimize dancers' technical and artistic performance and to reduce the incidence of injury. Traditional aerobic and strength training have been proposed to cover dancers' lack of conditioning; however, it seems likely that high-intensity interval training would more properly meet the requirements of today's choreography. Therefore, with an approach that applies basic exercise physiology to dance characteristics, this review covers the following topics: 1. dance as physical exercise; 2. dancers' aerobic capacity; 3. cardiorespiratory demands of dance classes and performances; 4. supplementary fitness training for dancers; and 5. fitness testing and assessment for dancers.

Creative Arts Therapies as Temporary Home for Refugees: Insights from Literature and Practice

PubMed Central

Dieterich-Hartwell, Rebekka; Koch, Sabine C.

2017-01-01

One of the frequently overlooked psychosocial problems of refugees is the phenomenon of homesickness. Being forced into exile and unable to return home may cause natural feelings of nostalgia but may also result in emotional, cognitive, behavioral and physical adversities. According to the literature, the creative arts therapies with their attention to preverbal language—music, imagery, dance, role play, and movement—are able to reach individuals through the senses and promote successive integration, which can lead to transformation and therapeutic change. These forms of therapy can be a temporary home for refugees in the acculturation process, by serving as a safe and enactive transitional space. More specifically, working with dance and movement can foster the experience of the body as a home and thus provide a safe starting place, from which to regulate arousal, increase interoception, and symbolize trauma- and resource-related processes. Hearing, playing, and singing music from the home culture may assist individuals in maintaining their cultural and personal individuality. Creating drawings, paintings, or sculpturing around the topics of houses and environments from the past can help refugees to retain their identity through art, creating safe spaces for the future helps to look ahead, retain resources, and regain control. This article provides a literature review related to home and homesickness, and the role the arts therapies can play for refugees in transition. It further reports selected interview data on adverse life events and burdens in the host country from a German study. We propose that the creative arts therapies are not only a container that offers a temporary home, but can also serve as a bridge that gently guides refugees to a stepwise integration in the host country. Several clinical and research examples are presented suggesting that the support and affirmation through the creative arts can strengthen individuals in their process of moving from an old to a new environment. PMID:29039756

A Case-Based Approach to Creative Design

DTIC Science & Technology

1993-10-05

for solving the sometimes causal (e.g., the operation of ping-pong ball problem. Each time, the designer has different cues shooter 8) and sometimes...In addi- dance (15) is used to quickly communicate the struc- tion to the desired behavior, prominent visual cues may ture of a design alternative...and vague, incomplete havior. specifications. For example, Si’s mental picture of Structural cues describing the proposed solution, or a submarine

Creativity associated with the application of a motivational intervention programme for the teaching of dance at school and its effect on the both genders.

PubMed

Amado, Diana; Sánchez-Miguel, Pedro Antonio; Molero, Pablo

2017-01-01

The current study reviews processes of teaching-learning based on creativity, with the application by teachers of several strategies to support the need for autonomy, competence, and relatedness. The aim is to learn the effect of pupil's gender on their motivational level and the psychological consequences that might arise in the cognitive, affective, and behavioural domains. A quasi-experimental study was carried out at four schools in Mexico, with 12 physical education teachers and 40 natural groups of pupils aged between 11 and 17 (M = 13.17). The groups were randomly assigned to either an experimental group (24 groups, 447 pupils) or a control group (16 groups, 474 pupils). A prior training programme was carried out with the teachers in the experimental group to enable them to support the psychological need for autonomy, competence, and relatedness. Initial and final measurements were taken in both groups, and the results revealed that independently of the programme used, girls showed higher motivation and positive psychological consequences in the teaching of dance compared to the male participants. In conclusion, it is important to continue with research and set a methodology that addresses those differences, dedicating the necessary time and treatment to resolve their questions and necessities.

Creativity associated with the application of a motivational intervention programme for the teaching of dance at school and its effect on the both genders

PubMed Central

2017-01-01

The current study reviews processes of teaching-learning based on creativity, with the application by teachers of several strategies to support the need for autonomy, competence, and relatedness. The aim is to learn the effect of pupil’s gender on their motivational level and the psychological consequences that might arise in the cognitive, affective, and behavioural domains. A quasi-experimental study was carried out at four schools in Mexico, with 12 physical education teachers and 40 natural groups of pupils aged between 11 and 17 (M = 13.17). The groups were randomly assigned to either an experimental group (24 groups, 447 pupils) or a control group (16 groups, 474 pupils). A prior training programme was carried out with the teachers in the experimental group to enable them to support the psychological need for autonomy, competence, and relatedness. Initial and final measurements were taken in both groups, and the results revealed that independently of the programme used, girls showed higher motivation and positive psychological consequences in the teaching of dance compared to the male participants. In conclusion, it is important to continue with research and set a methodology that addresses those differences, dedicating the necessary time and treatment to resolve their questions and necessities. PMID:28333990

Adaptation or constraint? Reference-dependent scatter in honey bee dances

PubMed Central

Visscher, P. Kirk

2010-01-01

The waggle dance of the honey bee is used to recruit nest mates to a resource. Dancer bees, however, may indicate many directions within a single dance bout; we show that this scatter in honey bee dances is strongly dependent on the sensory modality used to determine a reference angle in the dance. Dances with a visual reference are more precise than those with a gravity reference. This finding undermines the idea that scatter is introduced into dances, which the bees could perform more precisely, in order to spread recruits out over resource patches. It also calls into question reported interspecific differences that had been interpreted as adaptations of the dance to different habitats. Our results support a non-adaptive hypothesis: that dance scatter results from sensory and performance constraints, rather than modulation of the scatter by the dancing bee. However, an alternative adaptive hypothesis cannot be ruled out. PMID:20585382

Adaptation or constraint? Reference-dependent scatter in honey bee dances.

PubMed

Tanner, David A; Visscher, P Kirk

2010-07-01

The waggle dance of the honey bee is used to recruit nest mates to a resource. Dancer bees, however, may indicate many directions within a single dance bout; we show that this scatter in honey bee dances is strongly dependent on the sensory modality used to determine a reference angle in the dance. Dances with a visual reference are more precise than those with a gravity reference. This finding undermines the idea that scatter is introduced into dances, which the bees could perform more precisely, in order to spread recruits out over resource patches. It also calls into question reported interspecific differences that had been interpreted as adaptations of the dance to different habitats. Our results support a non-adaptive hypothesis: that dance scatter results from sensory and performance constraints, rather than modulation of the scatter by the dancing bee. However, an alternative adaptive hypothesis cannot be ruled out.

Dance Specialists around the World--A Living History

ERIC Educational Resources Information Center

Musmon, Margaret; Welsh, Kariamu; Heath, Freddie-Lee; Minton, Sandra; Laverty, Mary Ann; Maeshiba, Naoko; Weeks, Sandy; Cardinal, Marita K.; Howton, Amy; Tavacioglu, Leyla

2008-01-01

Dance embraces the entire globe. Universities offer world dance classes to expose students to various styles and educators travel to different countries to experience how dance is viewed, performed, and taught in different cultures. In this article nine dance educators share their experiences of teaching and observing dance abroad. These accounts…

Genetic control of the honey bee (Apis mellifera) dance language: segregating dance forms in a backcrossed colony.

PubMed

Johnson, R N; Oldroyd, B P; Barron, A B; Crozier, R H

2002-01-01

We studied the genetic control of the dance dialects that exist in the different subspecies of honey bees (Apis mellifera) by observing the variation in dance form observed in a backcross between two lines that showed widely different dance dialects. To do this we generated the reciprocal of the cross performed by Rinderer and Beaman (1995), thus producing phenotypic segregation of dance forms within a single colony rather than between colonies. Our results are consistent with Rinderer and Beaman (1995) in that inheritance of the transition point from round dancing --> waggle dancing is consistent with control by a single locus with more than one allele. That is, we found one dance type to be dominant in the F(1), and observed a 1:1 segregation of dance in a backcross involving the F(1) and the recessive parent. However, we found some minor differences in dance dialect inheritance, with the most significant being an apparent reversal of dominance between our cross (for us "black" is the dominant dialect) and that of Rinderer and Beaman (1995) (they report "yellow" to be the dominant dialect). We also found that our black bees do not perform a distinct sickle dance, whereas the black bees used by Rinderer and Beaman (1995) did perform such a dance. However, our difference in dominance need not contradict the results of Rinderer and Beaman (1995), as there is no evidence that body color and dominance for dance dialect are linked.

Conditioning for Dance: Training for Peak Performance in All Dance Forms.

ERIC Educational Resources Information Center

Franklin, Eric

This book is designed to help dancers improve their technique and performance in all dance forms by strengthening the body's core while improving coordination, balance, alignment, and flexibility. It features 170 imagery illustrations paired with 160 dance-specific exercises to help maximize body-mind conditioning. It culminates with a 20-minute,…

Changes to Saccade Behaviors in Parkinson’s Disease Following Dancing and Observation of Dancing

PubMed Central

Cameron, Ian G. M.; Brien, Donald C.; Links, Kira; Robichaud, Sarah; Ryan, Jennifer D.; Munoz, Douglas P.; Chow, Tiffany W.

2012-01-01

Background: The traditional view of Parkinson’s disease (PD) as a motor disorder only treated by dopaminergic medications is now shifting to include non-pharmacologic interventions. We have noticed that patients with PD obtain an immediate, short-lasting benefit to mobility by the end of a dance class, suggesting some mechanism by which dancing reduces bradykinetic symptoms. We have also found that patients with PD are unimpaired at initiating highly automatic eye movements to visual stimuli (pro-saccades) but are impaired at generating willful eye movements away from visual stimuli (anti-saccades). We hypothesized that the mechanisms by which a dance class improves movement initiation may generalize to the brain networks impacted in PD (frontal lobe and basal ganglia, BG), and thus could be assessed objectively by measuring eye movements, which rely on the same neural circuitry. Methods: Participants with PD performed pro- and anti-saccades before, and after, a dance class. “Before” and “after” saccade performance measurements were compared. These measurements were then contrasted with a control condition (observing a dance class in a video), and with older and younger adult populations, who rested for an hour between measurements. Results: We found an improvement in anti-saccade performance following the observation of dance (but not following dancing), but we found a detriment in pro-saccade performance following dancing. Conclusion: We suggest that observation of dance induced plasticity changes in frontal-BG networks that are important for executive control. Dancing, in contrast, increased voluntary movement signals that benefited mobility, but interfered with the automaticity of efficient pro-saccade execution. PMID:23483834

Art-Science-Technology collaboration through immersive, interactive 3D visualization

NASA Astrophysics Data System (ADS)

Kellogg, L. H.

2014-12-01

At the W. M. Keck Center for Active Visualization in Earth Sciences (KeckCAVES), a group of geoscientists and computer scientists collaborate to develop and use of interactive, immersive, 3D visualization technology to view, manipulate, and interpret data for scientific research. The visual impact of immersion in a CAVE environment can be extremely compelling, and from the outset KeckCAVES scientists have collaborated with artists to bring this technology to creative works, including theater and dance performance, installations, and gamification. The first full-fledged collaboration designed and produced a performance called "Collapse: Suddenly falling down", choreographed by Della Davidson, which investigated the human and cultural response to natural and man-made disasters. Scientific data (lidar scans of disaster sites, such as landslides and mine collapses) were fully integrated into the performance by the Sideshow Physical Theatre. This presentation will discuss both the technological and creative characteristics of, and lessons learned from the collaboration. Many parallels between the artistic and scientific process emerged. We observed that both artists and scientists set out to investigate a topic, solve a problem, or answer a question. Refining that question or problem is an essential part of both the creative and scientific workflow. Both artists and scientists seek understanding (in this case understanding of natural disasters). Differences also emerged; the group noted that the scientists sought clarity (including but not limited to quantitative measurements) as a means to understanding, while the artists embraced ambiguity, also as a means to understanding. Subsequent art-science-technology collaborations have responded to evolving technology for visualization and include gamification as a means to explore data, and use of augmented reality for informal learning in museum settings.

AVPR1a and SLC6A4 gene polymorphisms are associated with creative dance performance.

PubMed

Bachner-Melman, Rachel; Dina, Christian; Zohar, Ada H; Constantini, Naama; Lerer, Elad; Hoch, Sarah; Sella, Sarah; Nemanov, Lubov; Gritsenko, Inga; Lichtenberg, Pesach; Granot, Roni; Ebstein, Richard P

2005-09-01

Dancing, which is integrally related to music, likely has its origins close to the birth of Homo sapiens, and throughout our history, dancing has been universally practiced in all societies. We hypothesized that there are differences among individuals in aptitude, propensity, and need for dancing that may partially be based on differences in common genetic polymorphisms. Identifying such differences may lead to an understanding of the neurobiological basis of one of mankind's most universal and appealing behavioral traits--dancing. In the current study, 85 current performing dancers and their parents were genotyped for the serotonin transporter (SLC6A4: promoter region HTTLPR and intron 2 VNTR) and the arginine vasopressin receptor 1a (AVPR1a: promoter microsatellites RS1 and RS3). We also genotyped 91 competitive athletes and a group of nondancers/nonathletes (n = 872 subjects from 414 families). Dancers scored higher on the Tellegen Absorption Scale, a questionnaire that correlates positively with spirituality and altered states of consciousness, as well as the Reward Dependence factor in Cloninger's Tridimensional Personality Questionnaire, a measure of need for social contact and openness to communication. Highly significant differences in AVPR1a haplotype frequencies (RS1 and RS3), especially when conditional on both SLC6A4 polymorphisms (HTTLPR and VNTR), were observed between dancers and athletes using the UNPHASED program package (Cocaphase: likelihood ratio test [LRS] = 89.23, p = 0.000044). Similar results were obtained when dancers were compared to nondancers/nonathletes (Cocaphase: LRS = 92.76, p = 0.000024). These results were confirmed using a robust family-based test (Tdtphase: LRS = 46.64, p = 0.010). Association was also observed between Tellegen Absorption Scale scores and AVPR1a (Qtdtphase: global chi-square = 26.53, p = 0.047), SLC6A4 haplotypes (Qtdtphase: chi-square = 2.363, p = 0.018), and AVPR1a conditional on SCL6A4 (Tdtphase: LRS = 250.44, p = 0.011). Similarly, significant association was observed between Tridimensional Personality Questionnaire Reward Dependence scores and AVPR1a RS1 (chi-square = 20.16, p = 0.01). Two-locus analysis (RS1 and RS3 conditional on HTTLPR and VNTR) was highly significant (LRS = 162.95, p = 0.001). Promoter repeat regions in the AVPR1a gene have been robustly demonstrated to play a role in molding a range of social behaviors in many vertebrates and, more recently, in humans. Additionally, serotonergic neurotransmission in some human studies appears to mediate human religious and spiritual experiences. We therefore hypothesize that the association between AVPR1a and SLC6A4 reflects the social communication, courtship, and spiritual facets of the dancing phenotype rather than other aspects of this complex phenotype, such as sensorimotor integration.

AVPR1a and SLC6A4 Gene Polymorphisms Are Associated with Creative Dance Performance

PubMed Central

Bachner-Melman, Rachel; Dina, Christian; Zohar, Ada H; Constantini, Naama; Lerer, Elad; Hoch, Sarah; Sella, Sarah; Nemanov, Lubov; Gritsenko, Inga; Lichtenberg, Pesach; Granot, Roni; Ebstein, Richard P

2005-01-01

Dancing, which is integrally related to music, likely has its origins close to the birth of Homo sapiens, and throughout our history, dancing has been universally practiced in all societies. We hypothesized that there are differences among individuals in aptitude, propensity, and need for dancing that may partially be based on differences in common genetic polymorphisms. Identifying such differences may lead to an understanding of the neurobiological basis of one of mankind's most universal and appealing behavioral traits—dancing. In the current study, 85 current performing dancers and their parents were genotyped for the serotonin transporter (SLC6A4: promoter region HTTLPR and intron 2 VNTR) and the arginine vasopressin receptor 1a (AVPR1a: promoter microsatellites RS1 and RS3). We also genotyped 91 competitive athletes and a group of nondancers/nonathletes (n = 872 subjects from 414 families). Dancers scored higher on the Tellegen Absorption Scale, a questionnaire that correlates positively with spirituality and altered states of consciousness, as well as the Reward Dependence factor in Cloninger's Tridimensional Personality Questionnaire, a measure of need for social contact and openness to communication. Highly significant differences in AVPR1a haplotype frequencies (RS1 and RS3), especially when conditional on both SLC6A4 polymorphisms (HTTLPR and VNTR), were observed between dancers and athletes using the UNPHASED program package (Cocaphase: likelihood ratio test [LRS] = 89.23, p = 0.000044). Similar results were obtained when dancers were compared to nondancers/nonathletes (Cocaphase: LRS = 92.76, p = 0.000024). These results were confirmed using a robust family-based test (Tdtphase: LRS = 46.64, p = 0.010). Association was also observed between Tellegen Absorption Scale scores and AVPR1a (Qtdtphase: global chi-square = 26.53, p = 0.047), SLC6A4 haplotypes (Qtdtphase: chi-square = 2.363, p = 0.018), and AVPR1a conditional on SCL6A4 (Tdtphase: LRS = 250.44, p = 0.011). Similarly, significant association was observed between Tridimensional Personality Questionnaire Reward Dependence scores and AVPR1a RS1 (chi-square = 20.16, p = 0.01). Two-locus analysis (RS1 and RS3 conditional on HTTLPR and VNTR) was highly significant (LRS = 162.95, p = 0.001). Promoter repeat regions in the AVPR1a gene have been robustly demonstrated to play a role in molding a range of social behaviors in many vertebrates and, more recently, in humans. Additionally, serotonergic neurotransmission in some human studies appears to mediate human religious and spiritual experiences. We therefore hypothesize that the association between AVPR1a and SLC6A4 reflects the social communication, courtship, and spiritual facets of the dancing phenotype rather than other aspects of this complex phenotype, such as sensorimotor integration. PMID:16205790

Careers in Dance: Beyond Performance to the Real World of Work

ERIC Educational Resources Information Center

Bennett, Dawn

2009-01-01

For the majority of undergraduate dance students, success is the realization of a career in performance; however, given that this will be the outcome for so few graduates, should this ideal be redefined? This paper draws on findings from a case study of Australian dance artists, which sought to determine how dance artists allocate their working…

Students as resurrectionists--A multimodal humanities project in anatomy putting ethics and professionalism in historical context.

PubMed

Hammer, Rachel R; Jones, Trahern W; Hussain, Fareeda Taher Nazer; Bringe, Kariline; Harvey, Ronee E; Person-Rennell, Nicole H; Newman, James S

2010-01-01

Because medical students have many different learning styles, the authors, medical students at Mayo Clinic, College of Medicine researched the history of anatomical specimen procurement, reviewing topic-related film, academic literature, and novels, to write, direct, and perform a dramatization based on Robert Louis Stevenson's The Body-Snatcher. Into this performance, they incorporated dance, painting, instrumental and vocal performance, and creative writing. In preparation for the performance, each actor researched an aspect of the history of anatomy. These micro-research projects were presented in a lecture before the play. Not intended to be a research study, this descriptive article discusses how student research and ethics discussions became a theatrical production. This addition to classroom and laboratory learning addresses the deep emotional response experienced by some students and provides an avenue to understand and express these feelings. This enhanced multimodal approach to"holistic learning" could be applied to any topic in the medical school curriculum, thoroughly adding to the didactics with history, humanities, and team dynamics.

Waggle dance effect: dancing in autumn reduces the mass loss of a honeybee colony.

PubMed

Okada, Ryuichi; Akamatsu, Tadaaki; Iwata, Kanako; Ikeno, Hidetoshi; Kimura, Toshifumi; Ohashi, Mizue; Aonuma, Hitoshi; Ito, Etsuro

2012-05-15

A honeybee informs her nestmates about the location of a profitable food source that she has visited by means of a waggle dance: a round dance and a figure-of-eight dance for a short- and long-distance food source, respectively. Consequently, the colony achieves an effective collection of food. However, it is still not fully understood how much effect the dance behavior has on the food collection, because most of the relevant experiments have been performed only in limited locations under limited experimental conditions. Here, we examined the efficacy of the waggle dances by physically preventing bees from dancing and then analyzing the changes in daily mass of the hive as an index of daily food collection. To eliminate place- and year-specific effects, the experiments were performed under fully natural conditions in three different cities in Japan from mid September to early October in three different years. Because the experiments were performed in autumn, all six of the tested colonies lost mass on most of the experimental days. When the dance was prevented, the daily reduction in mass change was greater than when the dance was allowed, i.e. the dance inhibited the reduction of the hive mass. This indicates that dance is effective for food collection. Furthermore, clear inhibition was observed on the first two days of the experiments; after that, inhibition was no longer evident. This result suggests that the bee colony adapted to the new environment.

Dance Technology. Current Applications and Future Trends.

ERIC Educational Resources Information Center

Gray, Judith A., Ed.

Original research is reported on image digitizing, robot choreography, movement analysis, databases for dance, computerized dance notation, and computerized lightboards for dance performance. Articles in this publication are as follows: (1) "The Evolution of Dance Technology" (Judith A. Gray); (2) "Toward a Language for Human Movement" (Thomas W.…

Appreciating "Thirdspace": An Alternative Way of Viewing and Valuing Site-Specific Dance Performance

ERIC Educational Resources Information Center

Munjee, Tara

2014-01-01

Site-specific dance performance involves the presentation of choreography in connection with a site. The context of the site combined with a viewer's personal history, beliefs, and identity impact the reading and appreciation of the performance. Although both stage and site dance performance valuing elicit multiple interpretations of artistic…

[Dance, art and top performance sport with specific injuries].

PubMed

Rietveld, Boni; van de Wiel, Albert

2011-01-01

Professional theatre dance has high and specific physical demands, comparable to top sport. Dance injuries are often caused by faulty technique due to compensation for physical limitations. Knowledge of these limitations and professional teaching can prevent many problems. Dance injuries mostly involve the lower limbs, especially the ankles and knees. Dance injuries require that the medical professional has knowledge of dance technique and respects the passion of the dancer. The advice to stop dancing has hardly ever to be given. Scientific, prospective dance medical research is recommended.

From Symbols to Movement: "LANTD", the Design and Implementation of a Laban Notation-Based Method for Teaching Dance

ERIC Educational Resources Information Center

Dania, Aspasia; Tyrovola, Vasiliki; Koutsouba, Maria

2017-01-01

The aim of this paper is to present the design and evaluate the impact of a Laban Notation-based method for Teaching Dance (LANTD) on novice dancers' performance, in the case of Greek traditional dance. In this research, traditional dance is conceived in its "second existence" as a kind of presentational activity performed outside its…

Preventing dance injuries: current perspectives

PubMed Central

Russell, Jeffrey A

2013-01-01

Dancers are clearly athletes in the degree to which sophisticated physical capacities are required to perform at a high level. The standard complement of athletic attributes – muscular strength and endurance, anaerobic and aerobic energy utilization, speed, agility, coordination, motor control, and psychological readiness – all are essential to dance performance. In dance, as in any athletic activity, injuries are prevalent. This paper presents the research background of dance injuries, characteristics that distinguish dance and dancers from traditional sports and athletes, and research-based perspectives into how dance injuries can be reduced or prevented, including the factors of physical training, nutrition and rest, flooring, dancing en pointe, and specialized health care access for dancers. The review concludes by offering five essential components for those involved with caring for dancers that, when properly applied, will assist them in decreasing the likelihood of dance-related injury and ensuring that dancers receive optimum attention from the health care profession: (1) screening; (2) physical training; (3) nutrition and rest; (4) specialized dance health care; and (5) becoming acquainted with the nature of dance and dancers. PMID:24379726

Motor Simulation without Motor Expertise: Enhanced Corticospinal Excitability in Visually Experienced Dance Spectators

PubMed Central

Jola, Corinne; Abedian-Amiri, Ali; Kuppuswamy, Annapoorna; Pollick, Frank E.; Grosbras, Marie-Hélène

2012-01-01

The human “mirror-system” is suggested to play a crucial role in action observation and execution, and is characterized by activity in the premotor and parietal cortices during the passive observation of movements. The previous motor experience of the observer has been shown to enhance the activity in this network. Yet visual experience could also have a determinant influence when watching more complex actions, as in dance performances. Here we tested the impact visual experience has on motor simulation when watching dance, by measuring changes in corticospinal excitability. We also tested the effects of empathic abilities. To fully match the participants' long-term visual experience with the present experimental setting, we used three live solo dance performances: ballet, Indian dance, and non-dance. Participants were either frequent dance spectators of ballet or Indian dance, or “novices” who never watched dance. None of the spectators had been physically trained in these dance styles. Transcranial magnetic stimulation was used to measure corticospinal excitability by means of motor-evoked potentials (MEPs) in both the hand and the arm, because the hand is specifically used in Indian dance and the arm is frequently engaged in ballet dance movements. We observed that frequent ballet spectators showed larger MEP amplitudes in the arm muscles when watching ballet compared to when they watched other performances. We also found that the higher Indian dance spectators scored on the fantasy subscale of the Interpersonal Reactivity Index, the larger their MEPs were in the arms when watching Indian dance. Our results show that even without physical training, corticospinal excitability can be enhanced as a function of either visual experience or the tendency to imaginatively transpose oneself into fictional characters. We suggest that spectators covertly simulate the movements for which they have acquired visual experience, and that empathic abilities heighten motor resonance during dance observation. PMID:22457754

Critical Postcolonial Dance Pedagogy: The Relevance of West African Dance Education in the United States

ERIC Educational Resources Information Center

Cruz Banks, Ojeya

2010-01-01

This dance ethnography examines work conducted by the Dambe Project--a nonprofit organization that specializes in African performing arts education and mentorship. The study focuses on the implications of the organization's dance pedagogy in light of its postcolonial context and the importance of West African dance education in the United States.…

The tremble dance of honey bees can be caused by hive-external foraging experience.

PubMed

Thom, Corinna

2003-07-01

The tremble dance of honey bee nectar foragers is part of the communication system that regulates a colony's foraging efficiency. A forager that returns to the hive with nectar, but then experiences a long unloading delay because she has difficulty finding a nectar receiver bee, will perform a tremble dance to recruit additional nectar receiver bees. A forager that experiences a short unloading delay will perform a waggle dance to recruit more nectar foragers. A long unloading delay was until now the only known cause of tremble dancing. However, several studies suggested that factors at the food source may also cause tremble dancing. Here I test whether one of these factors, crowding of nectar foragers at the food source, stimulates tremble dancing because it causes long unloading delays. To do so, I increased the density of nectar foragers at a food source by suddenly reducing the size of an artificial feeder, and recorded the unloading delay experienced by each forager, as well as the dance she performed, if any. A forager's unloading delay was measured as the time interval between entering the hive and either (1) the first unloading contact with a nectar receiver bee, or (2) the start of the first dance, if dancing began before the first unloading contact. I also recorded the unloading delays and dances of nectar foragers that returned from natural food sources. The results show that crowding of nectar foragers at the food source increases the probability of tremble dancing, but does not cause long unloading delays, and that tremble dancers that foraged at natural food sources also often have short unloading delays. When the cause of the tremble dance is not a low supply of nectar receiver bees, the tremble dance may have a function in addition to the recruitment of nectar receiver bees.

Communicating Science; a collaborative approach through Art, Dance, Music and Science

NASA Astrophysics Data System (ADS)

Smart, Sarah-Jane; Mortimer, Hugh

2016-04-01

A collaborative approach to communicating our amazing science. RAL Space at the Rutherford Appleton Lab, has initiated a unique collaboration with a team of award-winning performing artists with the aim of making space science research engaging and accessible to a wide audience. The collaboration has two distinct but connected strands one of which is the development of a contemporary dance work inspired by solar science and including images and data from the Space Physics Division of STFC RAL Space. The work has been commissioned by Sadler's Wells, one of the world's leading dance venues. It will be created by choreographer Alexander Whitley, video artist Tal Rosner and composers Ella Spira and Joel Cadbury and toured throughout the UK and internationally by the Alexander Whitley Dance Company (AWDC). The work will come about through collaboration with the work of the scientists of RAL Space and in particular the SOHO, CDS and STEREO missions, taking a particular interest in space weather. Choreographer Alexander Whitley and composers Ella Spira and Joel Cadbury will take their inspiration from the images and data that are produced by the solar science within RAL Space. Video artist Tal Rosner will use these spectacular images to create an atmospheric backdrop to accompany the work, bringing the beauty and wonder of space exploration to new audiences. Funding for the creation and touring of the work will be sought from Arts Council England, the British Council, partner organisations, trusts and foundations and private donors.The world premiere of the work will take place at Sadler's Wells in June 2017. It will then tour throughout the UK and internationally to theatres, science conferences and outreach venues with the aim of bringing the work of STFC RAL Space and the science behind solar science and space weather to new audiences. An education programme will combine concepts of choreography and space science aimed at young people in year 5 Key Stage 2 and be developed by a Creative Learning specialist with input from RAL Space scientists and engineers, the RAL Space communication and outreach group and Alexander Whitley Dance Company. The programme will be piloted in selected East London schools and then, following evaluation, be rolled out to several schools across the UK.

Flutter-by Interactive Butterfly Using interactivity to excite and educate children about butterflies and the National Museum of Play at The Strong's Dancing Wings Butterfly Garden

NASA Astrophysics Data System (ADS)

Powers, Lydia

The National Museum of Play at The Strong's Dancing Wings Butterfly Garden is a tropical rainforest that allows visitors to step into the world of butterflies, but lacks a more comprehensive educational element to teach visitors additional information about butterflies. Flutter-by Interactive Butterfly is a thesis project designed to enhance younger visitors' experience of the Dancing Wings Butterfly Garden with an interactive educational application that aligns with The Strong's mission of encouraging learning, creativity, and discovery. This was accomplished through a series of fun and educational games and animations, designed for use as a kiosk outside the garden and as a part of The Strong's website. Content, planning, and organization of this project has been completed through research and observation of the garden in the following areas: its visitors, butterflies, best usability practices for children, and game elements that educate and engage children. Flutter-by Interactive Butterfly teaches users about the butterfly's life cycle, anatomy, and characteristics as well as their life in the Dancing Wings Butterfly Garden. Through the use of the design programs Adobe Illustrator, Flash, and After Effects; the programming language ActionScript3.0; a child-friendly user interface and design; audio elements and user takeaways, Flutter-by Interactive Butterfly appeals to children of all ages, interests, and learning styles. The project can be viewed at lydiapowers.com/Thesis/FlutterByButterfly.html

Physical performance in recently aged adults after 6 weeks traditional Thai dance: a randomized controlled trial.

PubMed

Janyacharoen, Taweesak; Laophosri, Maneepun; Kanpittaya, Jaturat; Auvichayapat, Paradee; Sawanyawisuth, Kittisak

2013-01-01

Exercise has been shown to be effective in cardiovascular endurance in the elderly. We studied the effect of Thai dancing on physical performance of Thai elderly. This was an open-labeled, randomized intervention study. The Thai dancing group exercised for 40 minutes three times a week for 6 weeks. Physical performance ability was the primary outcome, including a 6-minute walk test (6MWT), five-times sit-to-stand (FTSST), and a sit-and-reach test measured before and after 6 weeks of intervention. There were 42 subjects enrolled in the study, and 38 female subjects completed (20 in Thai dance group, 18 controls), with an average age of 65.8 ± 5.1 years. The Thai dance group had significantly better physical performance in all measurements at the end of the study. The 6MWT was longer (416.7 ± 58.7 versus 345.7 ± 55.1 m; P = 0.011), FTSST was quicker (10.2 ± 1.5 versus 14.4 ± 3.3 seconds; P < 0.001), and flexibility was higher (14.9 ± 3.5 versus 11.1 ± 5.7 cm; P = 0.002) in the Thai dance group than the control group. Thai dance can improve physical performance in recently aged (elderly) female adults.

Six months of dance intervention enhances postural, sensorimotor, and cognitive performance in elderly without affecting cardio-respiratory functions

PubMed Central

Kattenstroth, Jan-Christoph; Kalisch, Tobias; Holt, Stephan; Tegenthoff, Martin; Dinse, Hubert R.

2013-01-01

During aging, sensorimotor, cognitive and physical performance decline, but can improve by training and exercise indicating that age-related changes are treatable. Dancing is increasingly used as an intervention because it combines many diverse features making it a promising neuroplasticity-inducing tool. We here investigated the effects of a 6-month dance class (1 h/week) on a group of healthy elderly individuals compared to a matched control group (CG). We performed a broad assessment covering cognition, intelligence, attention, reaction time, motor, tactile, and postural performance, as well as subjective well-being and cardio-respiratory performance. After 6 months, in the CG no changes, or further degradation of performance was found. In the dance group, beneficial effects were found for dance-related parameters such as posture and reaction times, but also for cognitive, tactile, motor performance, and subjective well-being. These effects developed without alterations in the cardio-respiratory performance. Correlation of baseline performance with the improvement following intervention revealed that those individuals, who benefitted most from the intervention, were those who showed the lowest performance prior to the intervention. Our findings corroborate previous observations that dancing evokes widespread positive effects. The pre-post design used in the present study implies that the efficacy of dance is most likely not based on a selection bias of particularly gifted individuals. The lack of changes of cardio-respiratory fitness indicates that even moderate levels of physical activity can in combination with rich sensorimotor, cognitive, social, and emotional challenges act to ameliorate a wide spectrum of age-related decline. PMID:23447455

Is Low-Impact Aerobic Dance an Effective Cardiovascular Workout?

ERIC Educational Resources Information Center

Williford, Henry N.; And Others

1989-01-01

Presents results of an investigation comparing energy cost and cardiovascular responses of aerobic dance routines performed at different intensity levels in varying amounts of energy expenditure. For low-impact dance to meet minimum guidelines suggested by the American College of Sports Medicine, it should be performed at high intensity. (SM)

Affective temperaments in tango dancers.

PubMed

Lolich, María; Vázquez, Gustavo H; Zapata, Stephanie; Akiskal, Kareen K; Akiskal, Hagop S

2015-03-01

Links between affective temperaments and folk culture have been infrequently explored systematically. Creativity and personality and temperament studies, conversely, have reported several associations. Tango is one of the most typical Argentinean folk dance-musical repertoires. The main purpose of this study is to compare affective temperaments between Argentinean professional tango dancers and the general population. TEMPS-A was administered to a sample of 63 professional tango dancers and 63 comparison subjects from the general population who did not practice tango. Subscale median scores and total median scores with non-parametric statistics were analyzed. Median scores on hyperthymic subscale (p ≤ 0.001), irritable subscale (p=0.05) and total median score were significantly higher among tango dancers compared to controls (p ≤ 0.001). Self-report measures were used. A larger sample size would have provided greater statistical power for data analysis. Besides, the naturalistic study design did not allow controlling for other clinical variables and limited the generalization of results to broader populations. Our data adds new evidence for the hypothesis that artistic performance is related to one's temperament. Tango passionata, which has both melancholic and vigorous (including "upbeat") features, seems to impart tango dancers' hyperthymic and irritable temperament features. Our study supports the increasing literature on the validity of utilizing temperament as a sub-affective traits in relation to artistic creativity and performing arts. Copyright © 2014 Elsevier B.V. All rights reserved.

Time motion and video analysis of classical ballet and contemporary dance performance.

PubMed

Wyon, M A; Twitchett, E; Angioi, M; Clarke, F; Metsios, G; Koutedakis, Y

2011-11-01

Video analysis has become a useful tool in the preparation for sport performance and its use has highlighted the different physiological demands of seemingly similar sports and playing positions. The aim of the current study was to examine the performance differences between classical ballet and contemporary dance. In total 93 dance performances (48 ballet and 45 contemporary) were analysed for exercise intensity, changes in direction and specific discrete skills (e. g., jumps, lifts). Results revealed significant differences between the 2 dance forms for exercise intensity (p<0.001), changes in direction (p<0.001) and discrete skills (p<0.05) with gender differences noted in the latter (p<0.05). Ballet was characterised by longer periods at rest (38 s x min(-1)) and high to very high exercise intensities (9 s x min(-1)), whilst contemporary dance featured more continuous moderate exercise intensities (27 s x min(-1)). These differences have implications on the energy systems utilised during performance with ballet potentially stressing the anaerobic system more than contemporary dance. The observed high rates in the discrete skills in ballet (5 jumps x min(-1); 2 lifts x min(-1)) can cause local muscular damage, particularly in relatively weaker individuals. In conclusion, classical ballet and contemporary dance performances are as significantly different in the underlying physical demands placed on their performers as the artistic aspects of the choreography. © Georg Thieme Verlag KG Stuttgart · New York.

Extending Our Vision: Access to Inclusive Dance Education for People with Visual Impairment

ERIC Educational Resources Information Center

Seham, Jenny; Yeo, Anna J.

2015-01-01

Environmental, organizational and attitudinal obstacles continue to prevent people with vision loss from meaningfully engaging in dance education and performance. This article addresses the societal disabilities that handicap access to dance education for the blind. Although much of traditional dance instruction relies upon visual cuing and…

Reconstructing Contemporary Dance: An Occasion for Reflective Learning

ERIC Educational Resources Information Center

Barr, Sherrie

2005-01-01

Reconstructions are critical in giving body to the history of dance. For student dancers, participating in reconstructions is a participation in both the legacy of dance and in dance as a form of cultural discourse. When choreographers generate movement vocabulary and improvisational parameters together with performers, the resulting collaborative…

Televised Dance: Evaluation of Three Approaches.

ERIC Educational Resources Information Center

Oglesbee, Frank W.

A study was conducted to determine whether dance-trained, television-trained, and regular television viewing audiences would evaluate different approaches to televising dance differently. Three versions of a dance performance were videotaped: (1) version A, a one-camera, one-shot recording; (2) version B, a two-camera, real-time-edited approach,…

Dance and the brain: a review.

PubMed

Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

2015-03-01

Dance is a universal form of human expression that offers a rich source for scientific study. Dance provides a unique opportunity to investigate brain plasticity and its interaction with behavior. Several studies have investigated the behavioral correlates of dance, but less is known about the brain basis of dance. Studies on dance observation suggest that long- and short-term dance training affect brain activity in the action observation and simulation networks. Despite methodological challenges, the feasibility of conducting neuroimaging while dancing has been demonstrated, and several brain regions have been implicated in dance execution. Preliminary work from our laboratory suggests that long-term dance training changes both gray and white matter structure. This article provides a critical summary of work investigating the neural correlates of dance. It covers functional neuroimaging studies of dance observation and performance as well as structural neuroimaging studies of expert dancers. To stimulate ongoing dialogue between dance and science, future directions in dance and brain research as well as implications are discussed. Research on the neuroscience of dance will lead to a better understanding of brain-behavior relationships and brain plasticity in experts and nonexperts and can be applied to the development of dance-based therapy programs. © 2014 New York Academy of Sciences.

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

PubMed

Hanna, Katherine; Hanley, Anne; Huddy, Avril; McDonald, Michael; Willer, Fiona

2017-03-01

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.

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training.

PubMed

Burzynska, Agnieszka Z; Finc, Karolina; Taylor, Brittany K; Knecht, Anya M; Kramer, Arthur F

2017-01-01

Dance - as a ritual, therapy, and leisure activity - has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson's disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training

PubMed Central

Burzynska, Agnieszka Z.; Finc, Karolina; Taylor, Brittany K.; Knecht, Anya M.; Kramer, Arthur F.

2017-01-01

Dance – as a ritual, therapy, and leisure activity – has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson’s disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations. PMID:29230170

Physical performance in recently aged adults after 6 weeks traditional Thai dance: a randomized controlled trial

PubMed Central

Janyacharoen, Taweesak; Laophosri, Maneepun; Kanpittaya, Jaturat; Auvichayapat, Paradee; Sawanyawisuth, Kittisak

2013-01-01

Background Exercise has been shown to be effective in cardiovascular endurance in the elderly. We studied the effect of Thai dancing on physical performance of Thai elderly. Methods This was an open-labeled, randomized intervention study. The Thai dancing group exercised for 40 minutes three times a week for 6 weeks. Physical performance ability was the primary outcome, including a 6-minute walk test (6MWT), five-times sit-to-stand (FTSST), and a sit-and-reach test measured before and after 6 weeks of intervention. Results There were 42 subjects enrolled in the study, and 38 female subjects completed (20 in Thai dance group, 18 controls), with an average age of 65.8 ± 5.1 years. The Thai dance group had significantly better physical performance in all measurements at the end of the study. The 6MWT was longer (416.7 ± 58.7 versus 345.7 ± 55.1 m; P = 0.011), FTSST was quicker (10.2 ± 1.5 versus 14.4 ± 3.3 seconds; P < 0.001), and flexibility was higher (14.9 ± 3.5 versus 11.1 ± 5.7 cm; P = 0.002) in the Thai dance group than the control group. Conclusion Thai dance can improve physical performance in recently aged (elderly) female adults. PMID:23950640

Automatic detection and decoding of honey bee waggle dances.

PubMed

Wario, Fernando; Wild, Benjamin; Rojas, Raúl; Landgraf, Tim

2017-01-01

The waggle dance is one of the most popular examples of animal communication. Forager bees direct their nestmates to profitable resources via a complex motor display. Essentially, the dance encodes the polar coordinates to the resource in the field. Unemployed foragers follow the dancer's movements and then search for the advertised spots in the field. Throughout the last decades, biologists have employed different techniques to measure key characteristics of the waggle dance and decode the information it conveys. Early techniques involved the use of protractors and stopwatches to measure the dance orientation and duration directly from the observation hive. Recent approaches employ digital video recordings and manual measurements on screen. However, manual approaches are very time-consuming. Most studies, therefore, regard only small numbers of animals in short periods of time. We have developed a system capable of automatically detecting, decoding and mapping communication dances in real-time. In this paper, we describe our recording setup, the image processing steps performed for dance detection and decoding and an algorithm to map dances to the field. The proposed system performs with a detection accuracy of 90.07%. The decoded waggle orientation has an average error of -2.92° (± 7.37°), well within the range of human error. To evaluate and exemplify the system's performance, a group of bees was trained to an artificial feeder, and all dances in the colony were automatically detected, decoded and mapped. The system presented here is the first of this kind made publicly available, including source code and hardware specifications. We hope this will foster quantitative analyses of the honey bee waggle dance.

Dance Theater of Harlem Arts Exposure Program. Cue Sheet for Students.

ERIC Educational Resources Information Center

John F. Kennedy Center for the Performing Arts, Washington, DC.

This publication is a performance guide containing several brief articles for students to use before and after attending an Arts Exposure Program given by the Dance Theatre of Harlem (DTH). The first article, "Dancing," traces the origins and history of dance itself, and in particular, ballet. The second article, "Arthur Mitchell…

Developing and Sustaining an Inclusive Dance Program: Strategic Tools and Methods

ERIC Educational Resources Information Center

Morris, Merry Lynn; Baldeon, Marion; Scheuneman, Dwayne

2015-01-01

In the 1980s, mixed ability or physically integrated dance companies, such as AXIS and DancingWheels, began with professional performance goals, aimed at producing highquality choreographic work involving individuals with and without disabilities. Those companies are pioneers in the integrated dance field and serve as beneficial models of…

"Boys Don't Do Dance, Do They?"

ERIC Educational Resources Information Center

Holdsworth, Nadine

2013-01-01

In 2005, the Warwick Arts Centre launched the "Boys Dancing" project through the formation of the West Midlands Boys Dance Alliance. Aimed exclusively at boys and young men, the project has offered a range of performance-making opportunities with male professionals including Liam Steel (DV8, Stan Won't Dance) and David McKenna…

Mathematical analysis of the honeybee waggle dance.

PubMed

Okada, R; Ikeno, H; Kimura, T; Ohashi, Mizue; Aonuma, H; Ito, E

2012-01-01

A honeybee informs her nestmates of the location of a flower by doing a waggle dance. The waggle dance encodes both the direction of and distance to the flower from the hive. To reveal how the waggle dance benefits the colony, we created a Markov model of bee foraging behavior and performed simulation experiments by incorporating the biological parameters that we obtained from our own observations of real bees as well as from the literature. When two feeders were each placed 400 m away from the hive in different directions, a virtual colony in which honeybees danced and correctly transferred information (a normal, real bee colony) made significantly greater numbers of successful visits to the feeders compared to a colony with inaccurate information transfer. Howerer, when five feeders were each located 400 m from the hive, the inaccurate information transfer colony performed better than the normal colony. These results suggest that dancing's ability to communicate accurate information depends on the number of feeders. Furthermore, because non-dancing colonies always made significantly fewer visits than those two colonies, we concluded that dancing behavior is beneficial for hives' ability to visit food sources.

The acquisition of socio-motor improvisation in the mirror game.

PubMed

Gueugnon, Mathieu; Salesse, Robin N; Coste, Alexandre; Zhao, Zhong; Bardy, Benoît G; Marin, Ludovic

2016-04-01

Socio-motor improvisation is defined as the creative action of two or more people without a script or anticipated preparation. It is evaluated through two main parameters: movement synchronization and movement richness. Experts in art (e.g., dance, theater or music) are known to exhibit higher synchronization and to perform richer movements during interpersonal improvisation, but how these competences evolve over time is largely unknown. In the present study, we investigated whether performing more synchronized and richer movements over time can promote the acquisition of improvisation. Pairs of novice participants were instructed to play an improvisation mirror game in three different sessions. Between sessions, they performed an unintended interpersonal coordination task in which synchronization and richness were manipulated, resulting in four different groups of dyads. Our results demonstrate that synchronization during improvisation improved for all groups whereas movement richness only enhanced for dyads that performed synchronized movements during unintended coordination tasks. Our findings suggest that movement synchrony contributes more than movement richness to the acquisition of socio-motor improvisation in the mirror game. Copyright © 2015 Elsevier B.V. All rights reserved.

Joint action aesthetics.

PubMed

Vicary, Staci; Sperling, Matthias; von Zimmermann, Jorina; Richardson, Daniel C; Orgs, Guido

2017-01-01

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers' movements, and the spectators' affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators' heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance-and perhaps all performing arts-in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts.

And Dance Like a Wave of the Sea.

ERIC Educational Resources Information Center

Banks, Geraldine

1985-01-01

The author describes the beginning of a ballet/modern dance class for deaf elementary students. The group has performed, attended practice sessions of ballet companies, and participated in dance workshops. (Author/CL)

Dancing in the golden age: a study on physical function, quality of life, and social engagement.

PubMed

Brustio, Paolo Riccardo; Liubicich, Monica Emma; Chiabrero, Marcello; Rabaglietti, Emanuela

2018-05-14

The aim of this study was to determine the effects of dancing activity based on different dance styles, in groups as well as with a partner, on mobility performance, quality of life and social engagement in a sample of older adults. One hundred and sixty-three older adults (mean age, 70 years; SD = 4 years) participated in a supervised dancing activity programme for 16 weeks. The dancing activity included different dance routines and was progressive in terms of motor complexity. Data on mobility, health-related quality of life and social engagement were collected before and after a 16-week training period. Significant improvements in mobility, quality of life and social engagement were noted in single as well as dual-task performance after the intervention. Our results emphasise the benefit of a 16-week dance training on multidimensional features, including physical and psychosocial domains, which are important for successful ageing. Copyright © 2018 Elsevier Inc. All rights reserved.

Dance on cortex: enhanced theta synchrony in experts when watching a dance piece.

PubMed

Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

2018-03-01

When watching performing arts, a wide and complex network of brain processes emerge. These processes can be shaped by professional expertise. When compared to laymen, dancers have enhanced processes in observation of short dance movement and listening to music. But how do the cortical processes differ in musicians and dancers when watching an audio-visual dance performance? In our study, we presented the participants long excerpts from the contemporary dance choreography of Carmen. During multimodal movement of a dancer, theta phase synchrony over the fronto-central electrodes was stronger in dancers when compared to musicians and laymen. In addition, alpha synchrony was decreased in all groups during large rapid movement when compared to nearly motionless parts of the choreography. Our results suggest an enhanced cortical communication in dancers when watching dance and, further, that this enhancement is rather related to multimodal, cognitive and emotional processes than to simple observation of dance movement. © 2018 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

DANCE, BALANCE AND CORE MUSCLE PERFORMANCE MEASURES ARE IMPROVED FOLLOWING A 9-WEEK CORE STABILIZATION TRAINING PROGRAM AMONG COMPETITIVE COLLEGIATE Dancers.

PubMed

Watson, Todd; Graning, Jessica; McPherson, Sue; Carter, Elizabeth; Edwards, Joshuah; Melcher, Isaac; Burgess, Taylor

2017-02-01

Dance performance requires not only lower extremity muscle strength and endurance, but also sufficient core stabilization during dynamic dance movements. While previous studies have identified a link between core muscle performance and lower extremity injury risk, what has not been determined is if an extended core stabilization training program will improve specific measures of dance performance. This study examined the impact of a nine-week core stabilization program on indices of dance performance, balance measures, and core muscle performance in competitive collegiate dancers. Within-subject repeated measures design. A convenience sample of 24 female collegiate dance team members (age = 19.7 ± 1.1 years, height = 164.3 ± 5.3 cm, weight 60.3 ± 6.2 kg, BMI = 22.5 ± 3.0) participated. The intervention consisted of a supervised and non-supervised core (trunk musculature) exercise training program designed specifically for dance team participants performed three days/week for nine weeks in addition to routine dance practice. Prior to the program implementation and following initial testing, transversus abdominis (TrA) activation training was completed using the abdominal draw-in maneuver (ADIM) including ultrasound imaging (USI) verification and instructor feedback. Paired t tests were conducted regarding the nine-week core stabilization program on dance performance and balance measures (pirouettes, single leg balance in passe' releve position, and star excursion balance test [SEBT]) and on tests of muscle performance. A repeated measures (RM) ANOVA examined four TrA instruction conditions of activation: resting baseline, self-selected activation, immediately following ADIM training and four days after completion of the core stabilization training program. Alpha was set at 0.05 for all analysis. Statistically significant improvements were seen on single leg balance in passe' releve and bilateral anterior reach for the SEBT (both p ≤ 0.01), number of pirouettes (p = 0.011), and all measures of strength (p ≤ 0.05) except single leg heel raise. The RM ANOVA on mean percentage of change in TrA was significant; post hoc paired t tests demonstrated significant improvements in dancers' TrA activations across the four instruction conditions. This core stabilization training program improves pirouette ability, balance (static and dynamic), and measures of muscle performance. Additionally, ADIM training resulted in immediate and short-term (nine-week) improvements in TrA activation in a functional dance position. 2b.

DANCE, BALANCE AND CORE MUSCLE PERFORMANCE MEASURES ARE IMPROVED FOLLOWING A 9-WEEK CORE STABILIZATION TRAINING PROGRAM AMONG COMPETITIVE COLLEGIATE Dancers

PubMed Central

Graning, Jessica; McPherson, Sue; Carter, Elizabeth; Edwards, Joshuah; Melcher, Isaac; Burgess, Taylor

2017-01-01

Background Dance performance requires not only lower extremity muscle strength and endurance, but also sufficient core stabilization during dynamic dance movements. While previous studies have identified a link between core muscle performance and lower extremity injury risk, what has not been determined is if an extended core stabilization training program will improve specific measures of dance performance. Hypothesis/Purpose This study examined the impact of a nine-week core stabilization program on indices of dance performance, balance measures, and core muscle performance in competitive collegiate dancers. Study Design Within-subject repeated measures design. Methods A convenience sample of 24 female collegiate dance team members (age = 19.7 ± 1.1 years, height = 164.3 ± 5.3 cm, weight 60.3 ± 6.2 kg, BMI = 22.5 ± 3.0) participated. The intervention consisted of a supervised and non-supervised core (trunk musculature) exercise training program designed specifically for dance team participants performed three days/week for nine weeks in addition to routine dance practice. Prior to the program implementation and following initial testing, transversus abdominis (TrA) activation training was completed using the abdominal draw-in maneuver (ADIM) including ultrasound imaging (USI) verification and instructor feedback. Paired t tests were conducted regarding the nine-week core stabilization program on dance performance and balance measures (pirouettes, single leg balance in passe’ releve position, and star excursion balance test [SEBT]) and on tests of muscle performance. A repeated measures (RM) ANOVA examined four TrA instruction conditions of activation: resting baseline, self-selected activation, immediately following ADIM training and four days after completion of the core stabilization training program. Alpha was set at 0.05 for all analysis. Results Statistically significant improvements were seen on single leg balance in passe’ releve and bilateral anterior reach for the SEBT (both p ≤ 0.01), number of pirouettes (p = 0.011), and all measures of strength (p ≤ 0.05) except single leg heel raise. The RM ANOVA on mean percentage of change in TrA was significant; post hoc paired t tests demonstrated significant improvements in dancers’ TrA activations across the four instruction conditions Conclusion This core stabilization training program improves pirouette ability, balance (static and dynamic), and measures of muscle performance. Additionally, ADIM training resulted in immediate and short-term (nine-week) improvements in TrA activation in a functional dance position. Level of Evidence 2b PMID:28217414

Dance floors as injury risk: analysis and evaluation of acute injuries caused by dance floors in professional dance with regard to preventative aspects.

PubMed

Wanke, Eileen M; Mill, Helmgard; Wanke, Alice; Davenport, Jaqueline; Koch, Franziska; Groneberg, David A

2012-09-01

A dance floor is often the only support of movements in dance. A dance floor surface that shows deficiencies, can result in acute injuries and chronic problems. Although the significance of an adequate dance floor is well known, there is still a lack of differentiated analyses of dance floor-related acute injuries. This study presents data on acute injuries exclusively caused by the dance floor. The data were obtained from standardized work accident reports from consultants (F 1000), documentary accident records from all Berlin theatres, a state ballet school (n=2,281), and case records from the Berlin State Accident Insurance (UKB) covering a period of 17 years. All analyses and descriptive statistics were conducted with Excel 2007 and SPSS 18. Dance floor surfaces were the causative factor in 12.8% of all accidents (n=291, female 183, male 108). Almost two thirds (62.6%) of all accidents in professional dancers happened on stage, and almost half (49.5%) occurred during performances. As for causative factors, 53.1% of the professional dancers (P) and 42.5% of the dance students (S) claimed that the floor had been "too slippery," with "getting stuck" or (tripping) as the second most common problem (P 18.4%, S 11.3%). Of the injured dancers, 41.8% were older than 30 years and can therefore be categorized as experienced. Dance floors play a significant role in the occurrence of acute injuries, even in experienced dancers. Performances on stage seem to be a particular risk. However, injury prevention measures should include all work locations (P) as well as non-dance-specific locations (S).

Example-Based Automatic Music-Driven Conventional Dance Motion Synthesis

DOE Office of Scientific and Technical Information (OSTI.GOV)

Xu, Songhua; Fan, Rukun; Geng, Weidong

We introduce a novel method for synthesizing dance motions that follow the emotions and contents of a piece of music. Our method employs a learning-based approach to model the music to motion mapping relationship embodied in example dance motions along with those motions' accompanying background music. A key step in our method is to train a music to motion matching quality rating function through learning the music to motion mapping relationship exhibited in synchronized music and dance motion data, which were captured from professional human dance performance. To generate an optimal sequence of dance motion segments to match with amore » piece of music, we introduce a constraint-based dynamic programming procedure. This procedure considers both music to motion matching quality and visual smoothness of a resultant dance motion sequence. We also introduce a two-way evaluation strategy, coupled with a GPU-based implementation, through which we can execute the dynamic programming process in parallel, resulting in significant speedup. To evaluate the effectiveness of our method, we quantitatively compare the dance motions synthesized by our method with motion synthesis results by several peer methods using the motions captured from professional human dancers' performance as the gold standard. We also conducted several medium-scale user studies to explore how perceptually our dance motion synthesis method can outperform existing methods in synthesizing dance motions to match with a piece of music. These user studies produced very positive results on our music-driven dance motion synthesis experiments for several Asian dance genres, confirming the advantages of our method.« less

Report from the Dance and the Child Conference.

ERIC Educational Resources Information Center

Schwartz, Judith

1979-01-01

An international conference on "Dance and the Child," held in Edmonton, Canada, concerned itself with the belief that dance should become a part of the education of children as performers, creators, and spectators. (JMF)

An Examination of Critical Approaches to Interdisciplinary Dance Performance

ERIC Educational Resources Information Center

Kennedy, Michelle

2009-01-01

As artists seek new ways to reflect an increasingly digital and global culture, theatrical dance in the UK and Europe has seen a growing collaboration and cross-fertilisation between forms of dance, theatre, visual art, film and technology. As the boundaries between artistic disciplines continue to blur, it seems clear that dance audiences need to…

Automatic detection and decoding of honey bee waggle dances

PubMed Central

Wild, Benjamin; Rojas, Raúl; Landgraf, Tim

2017-01-01

The waggle dance is one of the most popular examples of animal communication. Forager bees direct their nestmates to profitable resources via a complex motor display. Essentially, the dance encodes the polar coordinates to the resource in the field. Unemployed foragers follow the dancer’s movements and then search for the advertised spots in the field. Throughout the last decades, biologists have employed different techniques to measure key characteristics of the waggle dance and decode the information it conveys. Early techniques involved the use of protractors and stopwatches to measure the dance orientation and duration directly from the observation hive. Recent approaches employ digital video recordings and manual measurements on screen. However, manual approaches are very time-consuming. Most studies, therefore, regard only small numbers of animals in short periods of time. We have developed a system capable of automatically detecting, decoding and mapping communication dances in real-time. In this paper, we describe our recording setup, the image processing steps performed for dance detection and decoding and an algorithm to map dances to the field. The proposed system performs with a detection accuracy of 90.07%. The decoded waggle orientation has an average error of -2.92° (± 7.37°), well within the range of human error. To evaluate and exemplify the system’s performance, a group of bees was trained to an artificial feeder, and all dances in the colony were automatically detected, decoded and mapped. The system presented here is the first of this kind made publicly available, including source code and hardware specifications. We hope this will foster quantitative analyses of the honey bee waggle dance. PMID:29236712

Factors affecting dance exercise performance in students at a special needs school.

PubMed

Ito, Yukiko; Hiramoto, Izumi; Kodama, Hideya

2017-09-01

In Japan, dance exercise has been introduced as a compulsory element of health and physical education, but there is a considerable discrepancy in the levels of performance among students with intellectual disability (ID) at special needs schools. The aim of this study was therefore to identify the factors affecting the performance of dance exercise in students with ID. A 4 month dance exercise program was implemented for junior high school students at a special needs school, and the performance of 32 students at 22 sessions was assessed quantitatively according to calorie use during exercise and performance proficiency score. The measures were compared according to gender, age, body mass index, diagnosis, and development quotient (DQ) score. Performance in many students improved with repetition and reached the highest attainment level at around the third month. Male gender and older age had a significant positive impact on calorie use, whereas diagnosis of Down syndrome and higher DQ score had a significant positive impact on proficiency score. Four students with poor performance were all female students with autism. This study provides some possible explanations for differences in the levels of dance performance among students with ID. © 2017 Japan Pediatric Society.

Lakota Sioux Indian Dance Theatre. Cuesheet for Students.

ERIC Educational Resources Information Center

Carr, John C.; And Others

This performance guide provides students with an introduction to Lakota Sioux history and culture and to the dances performed by the Lakota Sioux Indian Dance Theatre. The Lakota Sioux believe that life is a sacred circle in which all things are connected, and that the circle was broken for them in 1890 by the massacre at Wounded Knee. Only in…

Dance Careers for the Next Decade.

ERIC Educational Resources Information Center

Lappe, Mary Martha

1984-01-01

Dance educators need to be aware of current career trends and focus their programs on practical needs of their students. Teaching, dance journalism, therapy, and photography are career options for the dancer who is not a professional performer. (DF)

[Fall during dancing can lead to urinary bladder rupture].

PubMed

Winck-Flyvholm, Lili

2013-12-02

The definition of dancing is body movements performed to music. It is hard to imagine any festive occasion without music and dancing. It is also a great exercise which helps you to stay in shape. As with any other form of sports, dancing can lead to injury. In this case report it is described how a fall during dancing resulted in urinary bladder rupture. This type of injury under these circumstances has never been described before in the literature.

Dance and music share gray matter structural correlates.

PubMed

Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

2017-02-15

Intensive practise of sensorimotor skills, such as music and dance, is associated with brain structural plasticity. While the neural correlates of music have been well-investigated, less is known about the neural correlates of dance. Additionally, the gray matter structural correlates of dance versus music training have not yet been directly compared. The objectives of the present study were to compare gray matter structure as measured by surface- and voxel-based morphometry between expert dancers, expert musicians and untrained controls, as well as to correlate gray matter structure with performance on dance- and music-related tasks. Dancers and musicians were found to have increased cortical thickness compared to controls in superior temporal regions. Gray matter structure in the superior temporal gyrus was also correlated with performance on dance imitation, rhythm synchronization and melody discrimination tasks. These results suggest that superior temporal regions are important in both dance- and music-related skills and may be affected similarly by both types of long-term intensive training. This work advances knowledge of the neural correlates of dance and music, as well as training-associated brain plasticity in general. Copyright © 2016 Elsevier B.V. All rights reserved.

Disrupting privilege, identity, and meaning: A reflexive dance of environmental education

NASA Astrophysics Data System (ADS)

Neilson, Alison Laurie

By inviting educators from diverse backgrounds to participate in creative conversations, I had hoped to reflect on experiences that had helped construct our theories of environmental education, and inform practice. I sought consistency across the espoused ethics of co-participants, namely critical perspectives grounded in environmental justice. However, this quest was interrupted by a growing awareness of the interference of power dynamics between myself and the other participants, and of my own commitment to respect the stories being told. This narrative describes my "dance" of meaning making. The community dance examining privilege, identity and meaning is a study of how I may be contributing to the same oppressive situations I passionately strive to work against. Concepts of knowledge, power, and identity ebbed and flowed within stories drawn from the mountains of Tanzania to the hills of Colombia, and from the frozen shores of Kirkland Lake to the trout filled streams of Karman, Iran. Making meaning is itself an act of power and privilege, so I danced to make room for multiple understandings of these stories, of environmental education, and of research. This work offers an experience of disruption that raises questions and broadens the inclusion of people, ideas and other life into "accepted" research and pedagogical practices. Conventions embedded within research and education were disrupted throughout this reflexive process. As the author of this text, I was uncomfortable with the role of being the dominant voice, and consciously chose not to impose my interpretation on the stories shared by co-participants. The struggle to resist the very privilege in which my own education practice and this research process are so deeply steeped revealed normative forces that often threaten to undermine attempts by educators and researchers to act according to critical theories and environmental justice ethics. To accept the invitation to dance with the text is to step into the rhythmic intricacies of a collaborative process of reflexion. Circling hand-in-hand and giving weight to fellow dancers' movements shifts individuals from being carriers of truths to being community members sharing in the collaborative process of dancing the world into existence.

Dance Theatre of Harlem: Inspiring the Deprived

ERIC Educational Resources Information Center

Weil, Henry

1976-01-01

The Dance Theatre of Harlem, which includes both a school and a publicly performing dance company, is described from its inception by its artistic director, Arthur Mitchell, to its current activities. Budgets, student characteristics, and philosophy are discussed. (LBH)

Hydrocarbons Emitted by Waggle-Dancing Honey Bees Increase Forager Recruitment by Stimulating Dancing

PubMed Central

Gilley, David C.

2014-01-01

Hydrocarbons emitted by waggle-dancing honey bees are known to reactivate experienced foragers to visit known food sources. This study investigates whether these hydrocarbons also increase waggle-dance recruitment by observing recruitment and dancing behavior when the dance compounds are introduced into the hive. If the hydrocarbons emitted by waggle-dancing bees affect the recruitment of foragers to a food source, then the number of recruits arriving at a food source should be greater after introduction of dance compounds versus a pure-solvent control. This prediction was supported by the results of experiments in which recruits were captured at a feeder following introduction of dance-compounds into a hive. This study also tested two nonexclusive behavioral mechanism(s) by which the compounds might stimulate recruitment; 1) increased recruitment could occur by means of increasing the recruitment effectiveness of each dance and/or 2) increased recruitment could occur by increasing the intensity of waggle-dancing. These hypotheses were tested by examining video records of the dancing and recruitment behavior of individually marked bees following dance-compound introduction. Comparisons of numbers of dance followers and numbers of recruits per dance and waggle run showed no significant differences between dance-compound and solvent-control introduction, thus providing no support for the first hypothesis. Comparison of the number of waggle-dance bouts and the number of waggle runs revealed significantly more dancing during morning dance-compound introduction than morning solvent-control introduction, supporting the second hypothesis. These results suggest that the waggle-dance hydrocarbons play an important role in honey bee foraging recruitment by stimulating foragers to perform waggle dances following periods of inactivity. PMID:25140740

Hydrocarbons emitted by waggle-dancing honey bees increase forager recruitment by stimulating dancing.

PubMed

Gilley, David C

2014-01-01

Hydrocarbons emitted by waggle-dancing honey bees are known to reactivate experienced foragers to visit known food sources. This study investigates whether these hydrocarbons also increase waggle-dance recruitment by observing recruitment and dancing behavior when the dance compounds are introduced into the hive. If the hydrocarbons emitted by waggle-dancing bees affect the recruitment of foragers to a food source, then the number of recruits arriving at a food source should be greater after introduction of dance compounds versus a pure-solvent control. This prediction was supported by the results of experiments in which recruits were captured at a feeder following introduction of dance-compounds into a hive. This study also tested two nonexclusive behavioral mechanism(s) by which the compounds might stimulate recruitment; 1) increased recruitment could occur by means of increasing the recruitment effectiveness of each dance and/or 2) increased recruitment could occur by increasing the intensity of waggle-dancing. These hypotheses were tested by examining video records of the dancing and recruitment behavior of individually marked bees following dance-compound introduction. Comparisons of numbers of dance followers and numbers of recruits per dance and waggle run showed no significant differences between dance-compound and solvent-control introduction, thus providing no support for the first hypothesis. Comparison of the number of waggle-dance bouts and the number of waggle runs revealed significantly more dancing during morning dance-compound introduction than morning solvent-control introduction, supporting the second hypothesis. These results suggest that the waggle-dance hydrocarbons play an important role in honey bee foraging recruitment by stimulating foragers to perform waggle dances following periods of inactivity.

Dance and sexuality: many moves.

PubMed

Hanna, Judith Lynne

2010-03-01

This literature review of dance and sexual expression considers dance and religion, dance and sexuality as a source of power, manifestations of sexuality in Western theater art and social dance, plus ritual and non-Western social dance. Expressions of gender, sexual orientation, asexuality, ambiguity, and adult entertainment exotic dance are presented. Prominent concerns in the literature are the awareness, closeting, and denial of sexuality in dance; conflation of sexual expression and promiscuity of gender and sexuality, of nudity and sexuality, and of dancer intention and observer interpretation; and inspiration for infusing sexuality into dance. Numerous disciplines (American studies, anthropology, art history, comparative literature, criminology, cultural studies, communication, dance, drama, English, history, history of consciousness, journalism, law, performance studies, philosophy, planning, retail geography, psychology, social work, sociology, and theater arts) have explored dance and sexual expression, drawing upon the following concepts, which are not mutually exclusive: critical cultural theory, feminism, colonialism, Orientalism, postmodernism, poststructuralism, queer theory, and semiotics. Methods of inquiry include movement analysis, historical investigation, anthropological fieldwork, autoethnography, focus groups, surveys, and self-reflection or autobiographical narrative. Directions for future exploration are addressed.

The Effects of Dance Education on Motor Performance of Children

ERIC Educational Resources Information Center

Aldemir, Gulay Yasemin; Ramazanoglu, Nusret; Camliguney, Asiye Filiz; Kaya, Fatih

2011-01-01

This research has been aimed to demonstrate the effects of dance education on preadolescent children. A total of 114 students (56 of whom in dance group/58 in control group) at preadolescent (aged 11 [plus or minus] 0.0 year) and adolescent (aged 14 [plus or minus] 0.0 year) stages participated in the research. Prior to dance classes a variety of…

The interplay between dancing and trophallactic behavior in the honey bee Apis mellifera.

PubMed

Farina, W M

2000-03-01

The interplay between the recruitment dance and food-giving trophallactic contacts of returning Apis meellifera foragers was analyzed. Dancing and trophallactic events were recorded for bees returning from a rate feeder that provided 50% weight on weight sucrose solution at a constant flow rate of 5 microl min(-1). Bees that had danced immediately before their trophallactic contact had more recipients per trophallaxis compared with bees that did not dance before. Thus, besides information coded in dancing behavior, dance maneuvers could serve as a stimulus to increase attention of bees located on the dance floor to receive nectar. In addition, the number of bees receiving food during a trophallaxis showed a positive correlation with the probability of dancing immediately after contacting. The time from arrival at the hive to when the first or the subsequent contacts took place presented no correlation with the probability of dancing after trophallaxis. Also, the duration of a trophallaxis was positively correlated with the number of recipients per trophallaxis. These results suggest that returning foragers could receive information during a trophallactic contact with their hive mates that modify thresholds for dancing. Dance maneuvers and trophallactic contacts performed by foraging bees seem to be "mutually" affected.

An Exploration of the Perception of Dance and Its Relation to Biomechanical Motion: A Systematic Review and Narrative Synthesis.

PubMed

Chang, Michael; Halaki, Mark; Adams, Roger; Cobley, Stephen; Lee, Kwee-Yum; O'Dwyer, Nicholas

2016-01-01

In dance, the goals of actions are not always clearly defined. Investigations into the perceived quality of dance actions and their relation to biomechanical motion should give insight into the performance of dance actions and their goals. The purpose of this review was to explore and document current literature concerning dance perception and its relation to the biomechanics of motion. Seven studies were included in the review. The study results showed systematic differences between expert, non-expert, and novice dancers in biomechanical and perceptual measures, both of which also varied according to the actions expressed in dance. Biomechanical and perceptual variables were found to be correlated in all the studies in the review. Significant relations were observed between kinematic variables such as amplitude, speed, and variability of movement, and perceptual measures of beauty and performance quality. However, in general, there were no clear trends in these relations. Instead, the evidence suggests that perceptual ratings of dance may be specific to both the task (the skill of the particular action) and the context (the music and staging). The results also suggest that the human perceptual system is sensitive to skillful movements and neuromuscular coordination. Since the value perceived by audiences appears to be related to dance action goals and the coordination of dance elements, practitioners could place a priority on development and execution of those factors.

Towards a sensorimotor aesthetics of performing art.

PubMed

Calvo-Merino, B; Jola, C; Glaser, D E; Haggard, P

2008-09-01

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures.

Computer Graphics Animation for Objective Self-Evaluation.

PubMed

Usui, Yoko; Sato, Katsumi; Watabe, Shinichi

2017-01-01

The increased number of students enrolling in dance classes in Japan has resulted in a shortage of qualified instructors, leaving classes to be taught by instructors who are not trained in dance. The authors developed a system specifically designed to help nonqualified dance instructors teach dance using motion capture and animation. The goal is to allow dancers to easily self-evaluate their own performances by comparing it to a standard example.

The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations.

PubMed

Morton, Jennie

2015-06-01

Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.

Recruitment-dance signals draw larger audiences when honey bee colonies have multiple patrilines

PubMed Central

Mattila, H. R.; Seeley, T. D.

2010-01-01

Honey bee queens (Apis mellifera) who mate with multiple males produce colonies that are filled with numerous genetically distinct patrilines of workers. A genetically diverse colony benefits from an enhanced foraging effort, fuelled in part by an increase in the number of recruitment signals that are produced by foragers. However, the influence of patriline diversity on the attention paid to these signals by audiences of potentially receptive workers remains unexplored. To determine whether recruitment dances performed by foragers in multiple-patriline colonies attract a greater number of dance followers than dances in colonies that lack patriline diversity, we trained workers from multiple- and single-patriline colonies to forage in a greenhouse and monitored their dance-following activity back in the hives. On average, more workers followed a dance if it was performed in a multiple-patriline colony rather than a single-patriline colony (33% increase), and for a greater number of dance circuits per follower. Furthermore, dance-following workers in multiple-patriline colonies were more likely to exit their hive after following a dance, although this did not translate to a difference in colony-level exit rates between treatment types. Recruiting nest mates to profitable food sources through dance communication is critical to a colony’s foraging success and long-term fitness; polyandrous queens produce colonies that benefit not only from increased recruitment signalling, but also from the generation of larger and more attentive audiences of signal receivers. This study highlights the importance of integrating responses of both signal senders and receivers to understand more fully the success of animal-communication systems. PMID:21350596

Recruitment-dance signals draw larger audiences when honey bee colonies have multiple patrilines.

PubMed

Girard, M B; Mattila, H R; Seeley, T D

2011-02-01

Honey bee queens (Apis mellifera) who mate with multiple males produce colonies that are filled with numerous genetically distinct patrilines of workers. A genetically diverse colony benefits from an enhanced foraging effort, fuelled in part by an increase in the number of recruitment signals that are produced by foragers. However, the influence of patriline diversity on the attention paid to these signals by audiences of potentially receptive workers remains unexplored. To determine whether recruitment dances performed by foragers in multiple-patriline colonies attract a greater number of dance followers than dances in colonies that lack patriline diversity, we trained workers from multiple- and single-patriline colonies to forage in a greenhouse and monitored their dance-following activity back in the hives. On average, more workers followed a dance if it was performed in a multiple-patriline colony rather than a single-patriline colony (33% increase), and for a greater number of dance circuits per follower. Furthermore, dance-following workers in multiple-patriline colonies were more likely to exit their hive after following a dance, although this did not translate to a difference in colony-level exit rates between treatment types. Recruiting nest mates to profitable food sources through dance communication is critical to a colony's foraging success and long-term fitness; polyandrous queens produce colonies that benefit not only from increased recruitment signalling, but also from the generation of larger and more attentive audiences of signal receivers. This study highlights the importance of integrating responses of both signal senders and receivers to understand more fully the success of animal-communication systems.

Occupational accidents in professional dancers with regard to different professional dance styles.

PubMed

Wanke, Eileen M; Mill, Helmgard; Arendt, Michael; Wanke, Alice; Koch, Franziska; Groneberg, David A

2014-01-01

The term "professional dance" comprises various dance styles. There are no studies which investigated work related traumatic injuries with regard to five different dance styles. To define dance-style related differences of traumatic injuries. The basis for the evaluation were the occupational injuries of professional dancers of six theaters (n=1339; f: n=658, m: n=681) and one State Ballet School (n=612; f:n=421, m: n=191). Independent of the dance style, the lower extremity (leg and hip) is the most frequently injured anatomical region (p< 0.001). The more dancers move away from the classical dance technique, the more traumatic head/neck injuries increase (p<0.001). Injury patterns and injured structures also show differences subject to dance styles (p< 0.001). In classical dance the most commonly sustained injuries are due to intrinsic factors with the significance of extrinsic factors increasing the more dancers diverge from defined classical dance techniques. The results shown in the study clarify the enormous dance-style related differences in traumatic injuries sustained by dancers. These differences support the development of dance-style related injury prevention measures and suggest further investigations with the focus being placed on the influence of organizational structures (e.g. number of performances) as well as on the working environments.

May I have the next dance? Chinese gay men exploring selves and practices through the tradition of dance in public spaces.

PubMed

Miège, Pierre

2017-11-07

This study explores the way in which some Chinese gay men negotiate dance performances in parks and other public spaces in an attempt to invent and experiment with 'possible selves'. In most circumstances, these same men conceal their sexual orientation for fear of stigma and discrimination, experiencing in the process something of a 'divided self'. Little attention has been given to understanding the way such individuals negotiate and construct same-sex experiences, especially through the negotiation of specific and restricted social interactions and performances. Based on participant observation with a group of dancers practising in a Chinese public park, this paper analyses how these men explore same-sex relations and lifestyles through the circumscribed performance of collective public dance.

Verbal Auditory Cueing of Improvisational Dance: A Proposed Method for Training Agency in Parkinson’s Disease

PubMed Central

Batson, Glenna; Hugenschmidt, Christina E.; Soriano, Christina T.

2016-01-01

Dance is a non-pharmacological intervention that helps maintain functional independence and quality of life in people with Parkinson’s disease (PPD). Results from controlled studies on group-delivered dance for people with mild-to-moderate stage Parkinson’s have shown statistically and clinically significant improvements in gait, balance, and psychosocial factors. Tested interventions include non-partnered dance forms (ballet and modern dance) and partnered (tango). In all of these dance forms, specific movement patterns initially are learned through repetition and performed in time-to-music. Once the basic steps are mastered, students may be encouraged to improvise on the learned steps as they perform them in rhythm with the music. Here, we summarize a method of teaching improvisational dance that advances previous reported benefits of dance for people with Parkinson’s disease (PD). The method relies primarily on improvisational verbal auditory cueing with less emphasis on directed movement instruction. This method builds on the idea that daily living requires flexible, adaptive responses to real-life challenges. In PD, movement disorders not only limit mobility but also impair spontaneity of thought and action. Dance improvisation demands open and immediate interpretation of verbally delivered movement cues, potentially fostering the formation of spontaneous movement strategies. Here, we present an introduction to a proposed method, detailing its methodological specifics, and pointing to future directions. The viewpoint advances an embodied cognitive approach that has eco-validity in helping PPD meet the changing demands of daily living. PMID:26925029

Exploring Dance Careers. A Student Guidebook.

ERIC Educational Resources Information Center

Cornell, Richard; Hansen, Mary Lewis

One of six student guidebooks in a series of 11 arts and humanities career exploration guides for grade 7-12 teachers, counselors, and students, this student book on exploration of dance careers presents information on specific occupations in both performance careers and dance education. An introductory section describes the four different dance…

Dancers Exult at the Awakening

ERIC Educational Resources Information Center

Smith, W. Alan

2004-01-01

This article explores the art form of dance as a metaphor for the teaching of theology. Employing the work of Maria Harris, the author contends that there are seven elements of dance than can serve as metaphors for teachers of theology: preparation, rhythm, movement, expectancy, response, embodiment, and performance. Each dance element is…

Dancing Earthquake Science Assists Recovery from the Christchurch Earthquakes

ERIC Educational Resources Information Center

Egan, Candice J.; Quigley, Mark C.

2015-01-01

The 2010-2012 Christchurch (Canterbury) earthquakes in New Zealand caused loss of life and psychological distress in residents throughout the region. In 2011, student dancers of the Hagley Dance Company and dance professionals choreographed the performance "Move: A Seismic Journey" for the Christchurch Body Festival that explored…

A randomized controlled trial of Turkish folklore dance on the physical performance, balance, depression and quality of life in older women.

PubMed

Eyigor, Sibel; Karapolat, Hale; Durmaz, Berrin; Ibisoglu, Ugur; Cakir, Serap

2009-01-01

The present study has been carried out to investigate the effects of group-based Turkish folkloric dances on physical performance, balance, depression and quality of life (QoL) in 40 healthy adult elderly females over the age of 65 years. Subjects were randomly allocated into Group 1 (folkloric dance-based exercise) and Group 2 (control). A 8-week dance-based exercise program was performed. Outcome measures included a 20-m walk test, a 6-min walk test, stair climbing and chair rise time, Berg balance scale (BBS), the Medical Outcomes Study (MOS) 36-item short form health survey (SF-36), and geriatric depression scale (GDS) questionnaires. In Group 1 statistically significant improvements were found in most of the physical performance tests, BBS and some SF-36 subscales after the exercise (p<0.05). In the Group 2 there was no clinically significant change in the variables. Comparing the groups, significant improvements in favor of Group 1 have emerged in most of the functional performance tests, in some of the SF-36 subscales and BBS score (p<0.05). We achieved improvements in physical performance, balance and QoL in elderly females. Application of folkloric dance specific to countries as an exercise program for elderly people may be helpful.

Bringing Art, Music, Theater and Dance Students into Earth and Space Science Research Labs: A New Art Prize Science and Engineering Artists-in-Residence Program

NASA Astrophysics Data System (ADS)

Moldwin, M.; Mexicotte, D.

2017-12-01

A new Arts/Lab Student Residence program was developed at the University of Michigan that brings artists into a research lab. Science and Engineering undergraduate and graduate students working in the lab describe their research and allow the artists to shadow them to learn more about the work. The Arts/Lab Student Residencies are designed to be unique and fun, while encouraging interdisciplinary learning and creative production by exposing students to life and work in an alternate discipline's maker space - i.e. the artist in the engineering lab, the engineer in the artist's studio or performance space. Each residency comes with a cash prize and the expectation that a work of some kind will be produced as a response to experience. The Moldwin Prize is designed for an undergraduate student currently enrolled in the Penny W. Stamps School of Art & Design, the Taubman School of Architecture and Urban Planning or the School of Music, Theatre and Dance who is interested in exchange and collaboration with students engaged in research practice in an engineering lab. No previous science or engineering experience is required, although curiosity and a willingness to explore are essential! Students receiving the residency spend 20 hours over 8 weeks (February-April) participating with the undergraduate research team in the lab of Professor Mark Moldwin, which is currently doing work in the areas of space weather (how the Sun influences the space environment of Earth and society) and magnetic sensor development. The resident student artist will gain a greater understanding of research methodologies in the space and climate fields, data visualization and communication techniques, and how the collision of disciplinary knowledge in the arts, engineering and sciences deepens the creative practice and production of each discipline. The student is expected to produce a final work of some kind within their discipline that reflects, builds on, explores, integrates or traces their experience in the residency. This talk will describe the program, the inaugural year's outcomes, and plans to expand the program to other research labs.

The relevance of Newton's laws and selected principles of physics to dance techniques: Theory and application

NASA Astrophysics Data System (ADS)

Lei, Li

1999-07-01

In this study the researcher develops and presents a new model, founded on the laws of physics, for analyzing dance technique. Based on a pilot study of four advanced dance techniques, she creates a new model for diagnosing, analyzing and describing basic, intermediate and advanced dance techniques. The name for this model is ``PED,'' which stands for Physics of Expressive Dance. The research design consists of five phases: (1) Conduct a pilot study to analyze several advanced dance techniques chosen from Chinese dance, modem dance, and ballet; (2) Based on learning obtained from the pilot study, create the PED Model for analyzing dance technique; (3) Apply this model to eight categories of dance technique; (4) Select two advanced dance techniques from each category and analyze these sample techniques to demonstrate how the model works; (5) Develop an evaluation framework and use it to evaluate the effectiveness of the model, taking into account both scientific and artistic aspects of dance training. In this study the researcher presents new solutions to three problems highly relevant to dance education: (1) Dancers attempting to learn difficult movements often fail because they are unaware of physics laws; (2) Even those who do master difficult movements can suffer injury due to incorrect training methods; (3) Even the best dancers can waste time learning by trial and error, without scientific instruction. In addition, the researcher discusses how the application of the PED model can benefit dancers, allowing them to avoid inefficient and ineffective movements and freeing them to focus on the artistic expression of dance performance. This study is unique, presenting the first comprehensive system for analyzing dance techniques in terms of physics laws. The results of this study are useful, allowing a new level of awareness about dance techniques that dance professionals can utilize for more effective and efficient teaching and learning. The approach utilized in this study is universal, and can be applied to any dance movement and to any dance style.

Joint action aesthetics

PubMed Central

Vicary, Staci; Sperling, Matthias; von Zimmermann, Jorina; Richardson, Daniel C.

2017-01-01

Synchronized movement is a ubiquitous feature of dance and music performance. Much research into the evolutionary origins of these cultural practices has focused on why humans perform rather than watch or listen to dance and music. In this study, we show that movement synchrony among a group of performers predicts the aesthetic appreciation of live dance performances. We developed a choreography that continuously manipulated group synchronization using a defined movement vocabulary based on arm swinging, walking and running. The choreography was performed live to four audiences, as we continuously tracked the performers’ movements, and the spectators’ affective responses. We computed dynamic synchrony among performers using cross recurrence analysis of data from wrist accelerometers, and implicit measures of arousal from spectators’ heart rates. Additionally, a subset of spectators provided continuous ratings of enjoyment and perceived synchrony using tablet computers. Granger causality analyses demonstrate predictive relationships between synchrony, enjoyment ratings and spectator arousal, if audiences form a collectively consistent positive or negative aesthetic evaluation. Controlling for the influence of overall movement acceleration and visual change, we show that dance communicates group coordination via coupled movement dynamics among a group of performers. Our findings are in line with an evolutionary function of dance–and perhaps all performing arts–in transmitting social signals between groups of people. Human movement is the common denominator of dance, music and theatre. Acknowledging the time-sensitive and immediate nature of the performer-spectator relationship, our study makes a significant step towards an aesthetics of joint actions in the performing arts. PMID:28742849

Tanko Bushi: Designing a Japanese-American Dance Experience

ERIC Educational Resources Information Center

Sweeting, Terry; Werner, Peter; Williams, Lori H.; Crump, Alyssa

2012-01-01

Many folk dances reflect the everyday activities of the people, celebrating the commonplace through physical forms of expression. The traditional Japanese folk dance, Tanko Bushi, is still performed in Japan and among Japanese-Americans today, and its theme of coal mining makes it relatable to many cultures around the world. With its traditional…

Music, Dance and the Total Art Work: Choreomusicology in Theory and Practice

ERIC Educational Resources Information Center

Mason, Paul H.

2012-01-01

Euro-American performance arts are exceptional among the world's cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While…

Democratic Bodies: Exemplary Practice and Democratic Education in a K-5 Dance Residency

ERIC Educational Resources Information Center

Leonard, Alison E.

2014-01-01

This research highlights a K-5 dance artist-in-residence as a form of democratic and exemplary dance education that ignited collaboration, promoted equity, fostered student autonomy, and demonstrated rigor in school curriculum. Through examining observation, interview, and performance-based data and calling upon critical, democratic education…

Lower extremity kinetics in tap dance.

PubMed

Mayers, Lester; Bronner, Shaw; Agraharasamakulam, Sujani; Ojofeitimi, Sheyi

2010-01-01

Tap dance is a unique performing art utilizing the lower extremities as percussion instruments. In a previous study these authors reported decreased injury prevalence among tap dancers compared to other dance and sports participants. No biomechanical analyses of tap dance exist to explain this finding. The purpose of the current pilot study was to provide a preliminary overview of normative peak kinetic and kinematic data, based on the hypothesis that tap dance generates relatively low ground reaction forces and joint forces and moments. Six professional tap dancers performed four common tap dance sequences that produced data captured by the use of a force platform and a five-camera motion analysis system. The mean vertical ground reaction force for all sequences was found to be 2.06+/-0.55 BW. Mean peak sagittal, frontal, and transverse plane joint moments (hip, knee, and ankle) ranged from 0.07 to 2.62 N.m/kg. These small ground reaction forces and joint forces and moments support our hypothesis, and may explain the relatively low injury incidence in tap dancers. Nevertheless, the analysis is highly complex, and other factors remain to be studied and clarified.

"Some like it hot": spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music.

PubMed

Jola, Corinne; Pollick, Frank E; Calvo-Merino, Beatriz

2014-01-01

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer's physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators' properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators' physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators' reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences.

“Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

PubMed Central

Jola, Corinne; Pollick, Frank E.; Calvo-Merino, Beatriz

2014-01-01

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences. PMID:25309393

The Effectiveness of Dance Interventions on Physical Health Outcomes Compared to Other Forms of Physical Activity: A Systematic Review and Meta-Analysis.

PubMed

Fong Yan, Alycia; Cobley, Stephen; Chan, Cliffton; Pappas, Evangelos; Nicholson, Leslie L; Ward, Rachel E; Murdoch, Roslyn E; Gu, Yu; Trevor, Bronwyn L; Vassallo, Amy Jo; Wewege, Michael A; Hiller, Claire E

2018-04-01

Physical inactivity is one of the key global health challenges as it is associated with adverse effects related to ageing, weight control, physical function, longevity, and quality of life. Dancing is a form of physical activity associated with health benefits across the lifespan, even at amateur levels of participation. However, it is unclear whether dance interventions are equally as effective as other forms of physical activity. The aim was to systematically review the literature on the effectiveness of structured dance interventions, in comparison to structured exercise programmes, on physical health outcome measures. Seven databases were searched from earliest records to 4 August 2017. Studies investigating dance interventions lasting > 4 weeks that included physical health outcomes and had a structured exercise comparison group were included in the study. Screening and data extraction were performed by two reviewers, with all disagreements resolved by the primary author. Where appropriate, meta-analysis was performed or an effect size estimate generated. Of 11,434 studies identified, 28 (total sample size 1276 participants) met the inclusion criteria. A variety of dance genres and structured exercise interventions were compared. Meta-analyses showed dance interventions significantly improved body composition, blood biomarkers, and musculoskeletal function. The effect of either intervention on cardiovascular function and self-perceived mobility was equivalent. Undertaking structured dance of any genre is equally and occasionally more effective than other types of structured exercise for improving a range of health outcome measures. Health practitioners can recommend structured dance as a safe and effective exercise alternative.

Effects of kinesthetic versus visual imagery practice on two technical dance movements: a pilot study.

PubMed

Girón, Elizabeth Coker; McIsaac, Tara; Nilsen, Dawn

2012-03-01

Motor imagery is a type of mental practice that involves imagining the body performing a movement in the absence of motor output. Dance training traditionally incorporates mental practice techniques, but quantitative effects of motor imagery on the performance of dance movements are largely unknown. This pilot study compared the effects of two different imagery modalities, external visual imagery and kinesthetic imagery, on pelvis and hip kinematics during two technical dance movements, plié and sauté. Each of three female dance students (mean age = 19.7 years, mean years of training = 10.7) was assigned to use a type of imagery practice: visual imagery, kinesthetic imagery, or no imagery. Effects of motor imagery on peak external hip rotation varied by both modality and task. Kinesthetic imagery increased peak external hip rotation for pliés, while visual imagery increased peak external hip rotation for sautés. Findings suggest that the success of motor imagery in improving performance may be task-specific. Dancers may benefit from matching imagery modality to technical tasks in order to improve alignment and thereby avoid chronic injury.

Effects of Thai Dancing on Median Neurodynamic Response During 4-Hour Computer Use.

PubMed

Mekhora, Keerin; Septham, Chatdao; Jalayondeja, Wattana

2015-06-01

To investigate the effects of Thai dancing on median neurodynamic response during 4-hour computer use. Twenty-four healthy participants aged 20-30 years performed 5 minutes of Thai dancing including Prom See Na, Yoong Fon Hang, Sod Soy Mala, Lor Keaw and Cha Nee Rai Mai during a 10-minute break of 4-hour computer use. All participants were assessed for nerve tension by elbow range of motion ofupper limb neurodynamic test 1 (ULNT1) and components of quick test. The discomfort was measured by visual analogue discomfort scale (VADS). These measurements were assessed before and after computer work. The statistical analyses employed paired t-test for continuous outcome and Friedman's test. The median nerve tension (indicated by elbow range of motion) was significantly reduced at before and after work, when 5 minutes of Thai dancing was introduced during the break. While components of the quick test emphasized that Thai dance immediately helped reduce the median nerve tension. The VADS in eight body areas increased over the period of 4 hours, but decreased after performing Thai dancing (p<0.05). Thai dancing helped relieve median nerve tension and body discomfort. It may be recommended as an exercise during break for computer users who continuously work to prevent WMSDs.

Assessment method of digital Chinese dance movements based on virtual reality technology

NASA Astrophysics Data System (ADS)

Feng, Wei; Shao, Shuyuan; Wang, Shumin

2008-03-01

Virtual reality has played an increasing role in such areas as medicine, architecture, aviation, engineering science and advertising. However, in the art fields, virtual reality is still in its infancy in the representation of human movements. Based on the techniques of motion capture and reuse of motion capture data in virtual reality environment, this paper presents an assessment method in order to evaluate the quantification of dancers' basic Arm Position movements in Chinese traditional dance. In this paper, the data for quantifying traits of dance motions are defined and measured on dancing which performed by an expert and two beginners, with results indicating that they are beneficial for evaluating dance skills and distinctiveness, and the assessment method of digital Chinese dance movements based on virtual reality technology is validity and feasibility.

Assessing Readiness for En Pointe in Young Ballet Dancers.

PubMed

Lai, Jeffrey C; Kruse, David W

2016-01-01

Children begin ballet lessons as young as age 2 years. The graceful movements of classical ballet require a combination of artistry, flexibility, and strength to perform. During the training and development of a young ballerina, the transition to dancing en pointe ("on the toes") represents a significant milestone and traditionally begins around age 11 or 12 years, assuming the proper training background and dance aspirations. However, current dance medicine literature describes factors such as maturity, proper technique, strength, and postural control as the more significant factors in determining pointe readiness. An in-office evaluation of these factors can be performed by the clinician to assist dancers, their family, and their dance instructor(s) determine pointe readiness. Copyright 2016, SLACK Incorporated.

Costume and Music-Specific Dance: A Structure for Experimentation with Process and Technology

ERIC Educational Resources Information Center

Brown, Nathan; Dasen, Ann; Trommer-Beardslee, Heather

2016-01-01

This article describes how the authors completed a project at Central Michigan University (CMU) with undergraduate theater majors and minors and dance minors as part of the annual mainstage dance concert. Although the concert is predominantly choreographed and designed by CMU faculty, students are engaged in every step of the performance and…

Through Our Eyes

ERIC Educational Resources Information Center

Narva, Sara

2009-01-01

Through Our Eyes was a multimedia performance created in collaboration with the author's five modern dance students. Through video, sound, and dance, the piece shows some ways race has affected their lives. The author did not set out at the beginning of the semester to make this project in her dance class. It was born out of a hard conversation,…

Is Dance a Sport?: A Twenty-First-Century Debate

ERIC Educational Resources Information Center

Guarino, Lindsay

2015-01-01

This article discusses a new debate which has emerged for dancers. For many years dancers debated dance as art versus entertainment. This age-old debate still exists without a consensus, yet there is suddenly a new generation of dancers with a fresh debate. Legions of young performers are fervently proclaiming that their dance is actually a sport.…

Giving Movement History

ERIC Educational Resources Information Center

Norris, Virginia

2003-01-01

This paper represents an attempt to document some of the methods and processes involved in creating a new dance work. I observed, over a 5-week period, the making of a contemporary dance piece with a group of 19 3rd-year BA dance students at the Western Australian Academy of Performing Arts. The choreographer was Melbourne-based Dianne Reid, who…

Bomba y Tambor: Bailes Tradicionales Afrolatinos ("Bomba" and "Tambor": Traditional Afrolatino Dances).

ERIC Educational Resources Information Center

Kennedy, James H.

A lesson in the traditional music and dance of Panama and Puerto Rico focuses on the significant African influence in Hispanic culture. The lesson describes a dance, the instruments used, and the costumes worn, and explains the customs surrounding its performance. Entirely in Spanish with side glosses in English, the lesson is followed by…

Sometimes There Are No Notes: An Auto Ethnographic Essay of a Collaboration at the Engagement Interface

ERIC Educational Resources Information Center

Doberneck, Diane M.; Miller, Paula K.; Schweitzer, John H.

2012-01-01

This autoethnographic essay represents the authors' critical reflection on their experiences partnering with Liz Lerman and Dance Exchange (a dance company) artists on a collaborative evaluation of "The Matter of Origins", a contemporary art and science dance performance. They describe meaningful moments in their collaboration and reexamine those…

North Dakota Dance Performance Standards.

ERIC Educational Resources Information Center

Anderson, Sue; Farrell, Renee; Robbins, Susan; Stanley, Melissa

This document outlines the performance standards for dance in North Dakota public schools, grades K-12. Four levels of performance are provided for each benchmark by North Dakota educators for K-4, 5-8, and 9-12 grade levels. Level 4 describes advanced proficiency; Level 3, proficiency; Level 2, partial proficiency; and Level 1, novice. Each grade…

Conditioning Methodologies for DanceSport: Lessons from Gymnastics, Figure Skating, and Concert Dance Research.

PubMed

Outevsky, David; Martin, Blake Cw

2015-12-01

Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.

Dancer perceptions of the force reduction of dance floors used by a professional touring ballet company.

PubMed

Hopper, Luke S; Wheeler, Talia J; Webster, James M; Allen, Nick; Roberts, Jonathan R; Fleming, Paul R

2014-01-01

The mechanical properties of dance floors have the potential to influence dancers' performance and injury risk. Little information is available that describes dancers' preferences for dance floor mechanical properties. Investigation of dancers' perceptions of varied dance floors can serve to enlighten governing bodies, floor manufacturers, and the dance community. The aim of this study was to assess the perceptions of dancers from a touring professional ballet company regarding four floors with varied force reduction (FR) that were created to replicate those used by the company in normal dance training and performance. A specialized questionnaire was developed that incorporated a series of qualitative and quantitative measures that could be used by participants to express their perceptions of the custom built dance floors. Floor FR was quantified with reference to the protocols specified by European standards. Dancer perceptions were in general agreement with floor FR values; however, some discrepancies were observed. Dancers expressed a preference for floor FR within the mid to upper limits (57% to 72%) of the European standards, although a minority preferred low FR (approximately 36%) floors. A limited ability to perceive inconsistencies in FR across test floors was observed, which may have implications for injury risk. Investigation of the perceptions of dancers from more diverse backgrounds, on floors that provide a closer representation of typical dance studio and stage sizes, over longer periods of time, would provide further insight into the perceptual and adaptive responses of dancers to varied floor mechanical properties.

Psychophysiological Responses to Salsa Dance

PubMed Central

Emerenziani, Gian Pietro; Meucci, Marco; Saavedra, Francisco; Gallotta, Maria Chiara; Baldari, Carlo

2015-01-01

Speculation exists whether dance provides physiological stimuli adequate to promote health and fitness benefits. Unfortunately, research to date has not addressed the affective and exertional responses to dance. These responses are of interest as positive affective and exertional responses experienced during physical activity may play an important role in predicting adherence. The present study aims to examine the psychophysiological responses of different Salsa dance styles. Ten pairs of dancers performed two different structured lessons of Salsa dance, including Typical Salsa and Rueda de Casino lessons, and a non-structured Salsa dance at a night club. Physiological responses (i.e., percent of heart rate reserve; %HRR) were continuously assessed and perceived exertion and affective valence were rated every 15 min throughout the trials. %HRR responses differed between the Salsa dance styles (%HRR from 41.3 to 51.9%), and participants were dancing at intensities near their ventilatory threshold. Specifically, Typical Salsa lesson elicited lower %HRR responses than Rueda de Casino lesson (p < 0.05), but similar %HRR responses to Salsa dance at a night club condition (p > 0.05). Surprisingly, exertional (from 8 to 11) and affective (from +3 to +5) responses were unaffected by Salsa dance styles (p > 0.05). These data support that different Salsa dance styles provide physiological stimuli adequate to promote health and fitness benefits, and perhaps more importantly, produce pleasurable experiences, which in turn might lead to an increase in adherence to Salsa dancing which likely provides exercise-like health benefits. PMID:25860568

The Transformative Potential of Community Dance for People With Cancer.

PubMed

Butler, Mary; Snook, Barbara; Buck, Ralph

2016-12-01

This research describes a community dance project for people affected by cancer, which was led by a trained community dancer over 10 movement workshops and three performances. Using a qualitative descriptive approach, the research explored the experiences of a convenience sample of 8 participants out of the original group of 17 individuals who took part in the community dance. The research was participatory and the researchers were involved in workshops and performances as members of the group who also had family members with cancer. The findings indicate the motivation of the dancers to continue in spite of hardship, their sense of pride in being part of something that was larger than themselves, the way the dance permitted them to embody a sense of courage, and finally, in performing, how they managed to share something that genuinely moved an audience. © The Author(s) 2015.

Neurological implications and neuropsychological considerations on folk music and dance.

PubMed

Sironi, Vittorio A; Riva, Michele A

2015-01-01

Neurological and neuropsychological aspects of folk music and traditional dance have been poorly investigated by historical and scientific literature. Some of these performances could be indeed the manifestation of latent pathological conditions or the expression of liberation rituals. This chapter aimed at analyzing the relationships between traditional dance, folk music, and neurological and psychiatric disorders. Since ancient times, dance has been used in the individual or collective as treatment of some diseases, including epilepsy and movement disorders (dyskinesia, chorea, etc.). Dionysia in Ancient Greece, St. Vitus dance in the Middle Age, tarantism and other traditional dances of southern Italy and of non-Western countries might be credited as curative rituals of these neurological and psychiatric conditions. During the nineteenth century, dance was also used for the treatment of psychiatric patients; the relationship between dance and insanity could also be reflected in classical ballets and music of that period. Nowadays, neuropsychiatric manifestations could also be evidenced in modern dances (mass fainting at rock concerts, flash mobs); some ballroom dances are commonly used for the rehabilitation of patients suffering from neurodegenerative and psychiatric conditions. Interdisciplinary research on these subjects (ethnomusicology and cultural anthropology, clinical neurology and dynamic psychology, neuroradiology and neurophysiology, and socioneurology and neuromusicology) should be increased. © 2015 Elsevier B.V. All rights reserved.

Dance choreography is coordinated with song repertoire in a complex avian display.

PubMed

Dalziell, Anastasia H; Peters, Richard A; Cockburn, Andrew; Dorland, Alexandra D; Maisey, Alex C; Magrath, Robert D

2013-06-17

All human cultures have music and dance, and the two activities are so closely integrated that many languages use just one word to describe both. Recent research points to a deep cognitive connection between music and dance-like movements in humans, fueling speculation that music and dance have coevolved and prompting the need for studies of audiovisual displays in other animals. However, little is known about how nonhuman animals integrate acoustic and movement display components. One striking property of human displays is that performers coordinate dance with music by matching types of dance movements with types of music, as when dancers waltz to waltz music. Here, we show that a bird also temporally coordinates a repertoire of song types with a repertoire of dance-like movements. During displays, male superb lyrebirds (Menura novaehollandiae) sing four different song types, matching each with a unique set of movements and delivering song and dance types in a predictable sequence. Crucially, display movements are both unnecessary for the production of sound and voluntary, because males sometimes sing without dancing. Thus, the coordination of independently produced repertoires of acoustic and movement signals is not a uniquely human trait. Copyright © 2013 Elsevier Ltd. All rights reserved.

Dance and Music in “Gangnam Style”: How Dance Observation Affects Meter Perception

PubMed Central

Lee, Kyung Myun; Barrett, Karen Chan; Kim, Yeonhwa; Lim, Yeoeun; Lee, Kyogu

2015-01-01

Dance and music often co-occur as evidenced when viewing choreographed dances or singers moving while performing. This study investigated how the viewing of dance motions shapes sound perception. Previous research has shown that dance reflects the temporal structure of its accompanying music, communicating musical meter (i.e. a hierarchical organization of beats) via coordinated movement patterns that indicate where strong and weak beats occur. Experiments here investigated the effects of dance cues on meter perception, hypothesizing that dance could embody the musical meter, thereby shaping participant reaction times (RTs) to sound targets occurring at different metrical positions.In experiment 1, participants viewed a video with dance choreography indicating 4/4 meter (dance condition) or a series of color changes repeated in sequences of four to indicate 4/4 meter (picture condition). A sound track accompanied these videos and participants reacted to timbre targets at different metrical positions. Participants had the slowest RT’s at the strongest beats in the dance condition only. In experiment 2, participants viewed the choreography of the horse-riding dance from Psy’s “Gangnam Style” in order to examine how a familiar dance might affect meter perception. Moreover, participants in this experiment were divided into a group with experience dancing this choreography and a group without experience. Results again showed slower RTs to stronger metrical positions and the group with experience demonstrated a more refined perception of metrical hierarchy. Results likely stem from the temporally selective division of attention between auditory and visual domains. This study has implications for understanding: 1) the impact of splitting attention among different sensory modalities, and 2) the impact of embodiment, on perception of musical meter. Viewing dance may interfere with sound processing, particularly at critical metrical positions, but embodied familiarity with dance choreography may facilitate meter awareness. Results shed light on the processing of multimedia environments. PMID:26308092

Ballroom dance and body size perception.

PubMed

Fonseca, Cristiane Costa; Thurm, Bianca Elisabeth; Vecchi, Rodrigo Luiz; Gama, Eliane Florencio

2014-10-01

Ballroom dancing consists in the performance of rhythmic movements guided by music, which provide sensorimotor integration and stimulate feelings. The body schema is the unconscious sensorimotor representation that allows the individual to perceive his anatomical body in space. Comprising tactile, proprioceptive, kinesthetic, and environmental information, it is directly related to movement. The aim of this study was to investigate the influence of non-competitive practice of ballroom dancing on body perception. The projection point test was applied to 30 volunteers before and after a period of 3 mo.; 15 controls attended lectures on body perception and 15 participants took dance lessons. It was observed that ballroom dancing brought perceptual benefits for those who practiced it.

Effects of dancing on the risk of falling related factors of healthy older adults: a systematic review.

PubMed

Fernández-Argüelles, Esther López; Rodríguez-Mansilla, Juan; Antunez, Luis Espejo; Garrido-Ardila, Elisa María; Muñoz, Rafael Perez

2015-01-01

Deficits of balance or postural control in persons of advanced age are one of the factors that influence the risk of falling. The most appropriate treatment approaches and their benefits are still unknown. The aim of this article is to systematically review the scientific literature to identify the therapeutic effects of dancing as a physical exercise modality on balance, flexibility, gait, muscle strength and physical performance in older adults. A systematic search of Pubmed, Cochrane Library Plus, PEDro, Science Direct, Dialnet and Academic Search Complete using the search terms "dance", "older", "dance therapy", "elderly", "balance", "gait" and "motor skills". The eligibility criteria were: studies written in English and Spanish, published from January 2000 to January 2013, studies which analyzed the effects of dance (ballroom dance and/or dance based exercise) in older adults over 60 years of age with no disabling disease and included the following variables of study: balance, gait, risk of falls, strength, functionality, flexibility and quality of life. 123 articles were found in the literature. A final selection of seven articles was used for the present manuscript. Although the selected studies showed positive effects on the risk of falling related to factors (balance, gait and dynamic mobility, strength and physical performance), there were some aspects of the studies such as the methodological quality, the small sample size, the lack of homogeneity in relation to the variables and the measurement tools, and the existing diversity regarding the study design and the type of dance, that do not enable us to confirm that dance has significant benefits on these factors based on the scientific evidence. Copyright © 2014 Elsevier Ireland Ltd. All rights reserved.

Using TAGteach to improve the proficiency of dance movements.

PubMed

Quinn, Mallory J; Miltenberger, Raymond G; Fogel, Victoria A

2015-01-01

Behavioral research to enhance sports performance has been conducted in numerous sports domains and often involves feedback from the coach to the student. One promising form of feedback is the use of an acoustical stimulus such as a clicker to provide more immediate feedback. Similar to clicker training with animals, acoustical stimuli are used with humans to reinforce desired behavior in a procedure called TAGteach, which involves using a clicker as a conditioned reinforcer in training. The purpose of this study was to evaluate the effectiveness of TAGteach, implemented by dance teachers, to increase the fluency of 3 dance movements in a multiple baseline design across behaviors with 4 students of dance. Target behaviors included a turn, kick, and leap. The targeted dance movements remained at relatively low levels of performance during baseline and improved for each participant after the introduction of the TAGteach intervention. Implications for future research are discussed. © Society for the Experimental Analysis of Behavior.

Designing Modern Dance Classes for the Mature Mover: Physiological and Psychological Considerations

ERIC Educational Resources Information Center

Brodie, Julie A.; Lobel, Elin E.

2016-01-01

Dancers are continuing to dance longer due to changes in technique and increased awareness of the body and safe movement practices. Even after performing careers have ended, it is healthy both physically and emotionally for dancers to continue to take technique class, particularly if they are teaching dance classes. It can be a challenge, however,…

Cultures Flex: Unearthing Expressions of the Dancing Child

ERIC Educational Resources Information Center

Welsh, Kariamu

2009-01-01

In this article, the author describes the 11th Dance and the Child International (daCi) Conference 2009 which was hosted by the Edna Manley School of the Visual and Performing Arts in Kingston, Jamaica from August 2-8. Nicholeen Degrasse-Johnson, the director of the Edna Manley School of Dance along with daCi officials, including the president of…

Bringing Carnaval Drum and Dance Traditions into 4-H Programming for Latino Youth

ERIC Educational Resources Information Center

Conklin-Ginop, Evelyn; Braverman, Marc T.; Caruso, Robyn; Bone, Dennis

2011-01-01

4-H Bloco Drum and Dance is an afterschool program that teaches adolescents drumming, dancing, and theater arts in the rich traditions of Brazilian Carnaval. Teens learn to express themselves in a variety of modalities and perform at community events. The program was developed by a community coalition that included 4-H, other youth programs, and…

Balancing Identity, Motivation, and Internal Dialogue in the Making of Solos: Conquering the High Wire

ERIC Educational Resources Information Center

Andrzejewski, Carey E.

2011-01-01

This exploratory study emerged out of my interests in dance-making and phenomenology. In order to develop a portrait of how student dance artists choreograph self-performed solos, I asked nine graduate student dance-makers to contribute accounts of their experiences. From my efforts to make meaning of the participants' experiences, a composite…

Tap dancing birds: the multimodal mutual courtship display of males and females in a socially monogamous songbird.

PubMed

Ota, Nao; Gahr, Manfred; Soma, Masayo

2015-11-19

According to classical sexual selection theory, complex multimodal courtship displays have evolved in males through female choice. While it is well-known that socially monogamous songbird males sing to attract females, we report here the first example of a multimodal dance display that is not a uniquely male trait in these birds. In the blue-capped cordon-bleu (Uraeginthus cyanocephalus), a socially monogamous songbird, both sexes perform courtship displays that are characterised by singing and simultaneous visual displays. By recording these displays with a high-speed video camera, we discovered that in addition to bobbing, their visual courtship display includes quite rapid step-dancing, which is assumed to produce vibrations and/or presumably non-vocal sounds. Dance performances did not differ between sexes but varied among individuals. Both male and female cordon-bleus intensified their dance performances when their mate was on the same perch. The multimodal (acoustic, visual, tactile) and multicomponent (vocal and non-vocal sounds) courtship display observed was a combination of several motor behaviours (singing, bobbing, stepping). The fact that both sexes of this socially monogamous songbird perform such a complex courtship display is a novel finding and suggests that the evolution of multimodal courtship display as an intersexual communication should be considered.

Error in the Honeybee Waggle Dance Improves Foraging Flexibility

PubMed Central

Okada, Ryuichi; Ikeno, Hidetoshi; Kimura, Toshifumi; Ohashi, Mizue; Aonuma, Hitoshi; Ito, Etsuro

2014-01-01

The honeybee waggle dance communicates the location of profitable food sources, usually with a certain degree of error in the directional information ranging from 10–15° at the lower margin. We simulated one-day colonial foraging to address the biological significance of information error in the waggle dance. When the error was 30° or larger, the waggle dance was not beneficial. If the error was 15°, the waggle dance was beneficial when the food sources were scarce. When the error was 10° or smaller, the waggle dance was beneficial under all the conditions tested. Our simulation also showed that precise information (0–5° error) yielded great success in finding feeders, but also caused failures at finding new feeders, i.e., a high-risk high-return strategy. The observation that actual bees perform the waggle dance with an error of 10–15° might reflect, at least in part, the maintenance of a successful yet risky foraging trade-off. PMID:24569525

Naturalistic music and dance: Cortical phase synchrony in musicians and dancers

PubMed Central

Toiviainen, Petri; Tervaniemi, Mari

2018-01-01

Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise. PMID:29672597

Naturalistic music and dance: Cortical phase synchrony in musicians and dancers.

PubMed

Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

2018-01-01

Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise.

Exercise intensity and gender difference of 3 different salsa dancing conditions.

PubMed

Emerenziani, G P; Guidetti, L; Gallotta, M C; Franciosi, E; Buzzachera, C F; Baldari, C

2013-04-01

The aims of this study were to estimate the difference in exercise intensity (METs), energy cost (EE) and gender difference between a typical salsa lesson (TSL), rueda de casino lesson (RCL), and salsa dancing at a night club (SDN). Subjects performed 1 pre-testing session and 3 testing conditions. During the pre-testing session height, weight and V˙O2max were assessed. During the testing conditions all subjects performed 3 different kinds of salsa dance. Heart rate was assessed during each dance condition. The exercise intensity of the 3 salsa dancing conditions was moderate ranging from 3.9 to 5.5 METs. A significant difference between genders for HRpeak (P=0.01), max%HRR (P=0.006) and mean EE (P=0.02) were observed. Significant gender×condition interactions for HRpeak (P=0.03), mean %HRR (P=0.02), mean METs (P=0.02) and mean EE (P=0.02) were found. In addition, a significant main effect for each condition was found in all variables (P<0.01). Our results showed that the exercise intensities of all 3 salsa dancing conditions were moderate. Findings showed some significant differences in exercise intensity between males and females and within conditions. Salsa dancing could be useful in achieving a significant training effect in people who have a low level of fitness. © Georg Thieme Verlag KG Stuttgart · New York.

The Adapted Dance Process: Planning, Partnering, and Performing

ERIC Educational Resources Information Center

Block, Betty A.; Johnson, Peggy V.

2011-01-01

This article contains specific planning, partnering, and performing techniques for fully integrating dancers with special needs into a dance pedagogy program. Each aspect is discussed within the context of the domains of learning. Fundamental partnering strategies are related to each domain as part of the integration process. The authors recommend…

Physics and the Art of Dance - Understanding Movement

NASA Astrophysics Data System (ADS)

Swope, Kenneth Laws

2005-03-01

Written by a physicist with professional dance training, Physics and the Art of Dance explains how dancers can achieve better, safer performances through an understanding of physics in motion. Using simple, non-technical terms, Kenneth Laws combines his knowledge of both physics and dance to describe how the laws of gravity, momentum, and energy affect dancing bodies. The book explores the natural laws that govern the subtleties of balance, the techniques of leaps and pirouettes, and the impressive lifts and turns executed by ballet partners. Finally, Laws offers insight into two current discussions in the dance world--the effect of body size on ballet technique, and the relationship between science and the art of dance. Beautiful, original stop-action photographs by Martha Swope, along with clear diagrams, illustrate the concepts described in the text. Plus, an intriguing "puzzler" at the beginning of each chapter provides an engaging entree into the topics presented. For those who want a more advanced understanding of the physics, extensive appendices are provided. This new book combines the best features of Laws's widely acclaimed The Physics of Dance and Physics, Dance, and the Pas de Deux by Laws and Cynthia Harvey. Its expert application of the basic principles of physics to the art of dance will be an invaluable resource for dancers and dance instructors and will open a new level of appreciation for lovers of the form. It will also appeal to physicists who seek to include the arts in their scientific pursuits.

Older adults' acceptance of a robot for partner dance-based exercise.

PubMed

Chen, Tiffany L; Bhattacharjee, Tapomayukh; Beer, Jenay M; Ting, Lena H; Hackney, Madeleine E; Rogers, Wendy A; Kemp, Charles C

2017-01-01

Partner dance has been shown to be beneficial for the health of older adults. Robots could potentially facilitate healthy aging by engaging older adults in partner dance-based exercise. However, partner dance involves physical contact between the dancers, and older adults would need to be accepting of partner dancing with a robot. Using methods from the technology acceptance literature, we conducted a study with 16 healthy older adults to investigate their acceptance of robots for partner dance-based exercise. Participants successfully led a human-scale wheeled robot with arms (i.e., a mobile manipulator) in a simple, which we refer to as the Partnered Stepping Task (PST). Participants led the robot by maintaining physical contact and applying forces to the robot's end effectors. According to questionnaires, participants were generally accepting of the robot for partner dance-based exercise, tending to perceive it as useful, easy to use, and enjoyable. Participants tended to perceive the robot as easier to use after performing the PST with it. Through a qualitative data analysis of structured interview data, we also identified facilitators and barriers to acceptance of robots for partner dance-based exercise. Throughout the study, our robot used admittance control to successfully dance with older adults, demonstrating the feasibility of this method. Overall, our results suggest that robots could successfully engage older adults in partner dance-based exercise.

Older adults’ acceptance of a robot for partner dance-based exercise

PubMed Central

Chen, Tiffany L.; Beer, Jenay M.; Ting, Lena H.; Hackney, Madeleine E.; Rogers, Wendy A.; Kemp, Charles C.

2017-01-01

Partner dance has been shown to be beneficial for the health of older adults. Robots could potentially facilitate healthy aging by engaging older adults in partner dance-based exercise. However, partner dance involves physical contact between the dancers, and older adults would need to be accepting of partner dancing with a robot. Using methods from the technology acceptance literature, we conducted a study with 16 healthy older adults to investigate their acceptance of robots for partner dance-based exercise. Participants successfully led a human-scale wheeled robot with arms (i.e., a mobile manipulator) in a simple, which we refer to as the Partnered Stepping Task (PST). Participants led the robot by maintaining physical contact and applying forces to the robot’s end effectors. According to questionnaires, participants were generally accepting of the robot for partner dance-based exercise, tending to perceive it as useful, easy to use, and enjoyable. Participants tended to perceive the robot as easier to use after performing the PST with it. Through a qualitative data analysis of structured interview data, we also identified facilitators and barriers to acceptance of robots for partner dance-based exercise. Throughout the study, our robot used admittance control to successfully dance with older adults, demonstrating the feasibility of this method. Overall, our results suggest that robots could successfully engage older adults in partner dance-based exercise. PMID:29045408

Video game play (Dance Dance Revolution) as a potential exercise therapy in Huntington's disease: a controlled clinical trial.

PubMed

Kloos, Anne D; Fritz, Nora E; Kostyk, Sandra K; Young, Gregory S; Kegelmeyer, Deb A

2013-11-01

To investigate the feasibility, acceptability, and safety of a supervised video game exercise program administered via Dance Dance Revolution in individuals with Huntington's disease. A cross-over, controlled, single-blinded, six-week trial. Home-based. Eighteen ambulatory individuals with Huntington's disease (seven male, mean age 50.7 SD 14.7). Participants played the Dance Dance Revolution game with supervision and the handheld game without supervision for 45 minutes, two days per week for six weeks. Game play performance and adherence, participant perceptions of the game, safety (vital signs, adverse health changes), spatiotemporal gait measures, Four-Square Step Test, Tinetti Mobility Test, Activities-Specific Balance Confidence Scale, and World Health Organization Quality of Life - Bref, before and after each intervention. Most participants improved on game play, enjoyed playing the game, and wanted to continue playing after study completion. After playing Dance Dance Revolution, participants showed significant reductions in double support percentage (adjusted mean difference (95% confidence intervals): -2.54% (-4.75, -0.34) for forward walking and -4.18 (-6.89, -0.48) for backward walking) and those with less severe motor symptoms had reductions in heel-to-heel base of support during forward walking. The remaining measures were not significantly impacted by the intervention. Dance Dance Revolution appears to be a feasible, motivating, and safe exercise intervention for individuals with Huntington's disease.

"It Doesn't Feel Like a Job to Learn": Preservice Elementary Teachers' Perceptions of Dance-Themed Mathematics Education

ERIC Educational Resources Information Center

An, Song A.; Kim, So Jung; Tillman, Daniel; Robertson, William; Juarez, Martha; Guo, Connie

2017-01-01

A series of dance activities were introduced to preservice teachers (n = 76) to help them understand how mathematics concepts could be associated with dance performance and choreography processes. A total of 468 pieces of qualitative data were collected, including 147 online discussion entries with 248 follow-up comments, and 73 individual…

Moving the School and Dancing Education: Case Study Research of K-5 Students' Experiences in a Dance Residency

ERIC Educational Resources Information Center

Leonard, Alison E.

2012-01-01

This dissertation chronicles the qualitative case study of a dance artist-in-residence at a diverse and inclusive K-5 school in an urban district, integrating science, social studies, physical education, music, and visual arts school curriculum and culminating in two public performances. This study focused on how students made meaning through this…

The Effect of Chinese Yuanji-Dance on Dynamic Balance and the Associated Attentional Demands in Elderly Adults

PubMed Central

Wu, Wen-Lan; Wei, Ta-Sen; Chen, Shen-Kai; Chang, Jyh-Jong; Guo, Lan-Yuen; Lin, Hwai-Ting

2010-01-01

Walking performance changes with age. This has implications for the problem of falls in older adults. The aim of this study was to investigate the effects of Yuanji-Dance practice on walking balance and the associated attention demand in healthy elderly. Fifteen community-dwelling elderly (comparison group, no regular exercise habit) and fifteen Yuanji- Dance elderly (exercise group, dancing experience: 5.40 ± 1.95 years), aged 60-70 years, were included in this study. The subjects in exercise group participated in a 90-minute Yuanji-Dance practice at least three times per week and the comparison group continued their normal daily physical activity. Walking balance measures (including walking velocity, step length, step width, and percentage of time spent in double limb support, COM velocity and COM-COP inclination angles) and attentional demand tests (button reaction time and accuracy) were conducted under different conditions. Our results showed that stride lengths, walking velocities, peak A/P velocities (AP V) of the COM, medial COM-COP inclination (M angle) angles, reaction time, and accuracy decrease significantly as the dual-task (walking plus hand button pressing tasks) applied for either the comparison or exercise groups. These results demonstrated that walking performance is attenuated in our elderly participants as the cognitive tasks applied. Analysis also identified a significantly faster RT for our exercise group both in standing and walking conditions. This may indicate that physical exercise (Yuanji-Dance) may have facilitating effects on general cognitive and perceptual- motor functions. This implies that Chinese Yuanji-Dance practice for elderly adults may improve their personal safety when walking especially under the condition of multiple task demand. Key points The purpose of this study was to investigate the training effects of a Chinese traditional exercise, Yuanji-Dance, on walking balance and the associated attention demand in the healthy elderly. Walking performance is attenuated in elderly participants as the cognitive tasks applied. A significantly faster reaction time for our exercise group both in standing and walking conditions. Yuanji-Dance exercise training can improve the information processing speed of elderly people and has no influence of the dynamic walking balance. PMID:24149395

A cognitive-motor intervention using a dance video game to enhance foot placement accuracy and gait under dual task conditions in older adults: a randomized controlled trial.

PubMed

Pichierri, Giuseppe; Murer, Kurt; de Bruin, Eling D

2012-12-14

Computer-based interventions have demonstrated consistent positive effects on various physical abilities in older adults. This study aims to compare two training groups that achieve similar amounts of strength and balance exercise where one group receives an intervention that includes additional dance video gaming. The aim is to investigate the different effects of the training programs on physical and psychological parameters in older adults. Thirty-one participants (mean age ± SD: 86.2 ± 4.6 years), residents of two Swiss hostels for the aged, were randomly assigned to either the dance group (n = 15) or the control group (n = 16). The dance group absolved a twelve-week cognitive-motor exercise program twice weekly that comprised progressive strength and balance training supplemented with additional dance video gaming. The control group performed only the strength and balance exercises during this period. Outcome measures were foot placement accuracy, gait performance under single and dual task conditions, and falls efficacy. After the intervention between-group comparison revealed significant differences for gait velocity (U = 26, P = .041, r = .45) and for single support time (U = 24, P = .029, r = .48) during the fast walking dual task condition in favor of the dance group. No significant between-group differences were observed either in the foot placement accuracy test or in falls efficacy. There was a significant interaction in favor of the dance video game group for improvements in step time. Significant improved fast walking performance under dual task conditions (velocity, double support time, step length) was observed for the dance video game group only. These findings suggest that in older adults a cognitive-motor intervention may result in more improved gait under dual task conditions in comparison to a traditional strength and balance exercise program. This trial has been registered under ISRCTN05350123 (www.controlled-trials.com)

Silent disco: dancing in synchrony leads to elevated pain thresholds and social closeness

PubMed Central

Tarr, Bronwyn; Launay, Jacques; Dunbar, Robin I.M.

2016-01-01

Moving in synchrony leads to cooperative behaviour and feelings of social closeness, and dance (involving synchronisation to others and music) may cause social bonding, possibly as a consequence of released endorphins. This study uses an experimental paradigm to determine which aspects of synchrony in dance are associated with changes in pain threshold (a proxy for endorphin release) and social bonding between strangers. Those who danced in synchrony experienced elevated pain thresholds, whereas those in the partial and asynchrony conditions experienced no analgesic effects. Similarly, those in the synchrony condition reported being more socially bonded, although they did not perform more cooperatively in an economic game. This experiment suggests that dance encourages social bonding amongst co-actors by stimulating the production of endorphins, but may not make people more altruistic. We conclude that dance may have been an important human behaviour evolved to encourage social closeness between strangers. PMID:27540276

The evolution of dance.

PubMed

Laland, Kevin; Wilkins, Clive; Clayton, Nicky

2016-01-11

Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation. Copyright © 2016 Elsevier Ltd. All rights reserved.

Participatory Arts for Older Adults: A Review of Benefits and Challenges

PubMed Central

Noice, Tony; Noice, Helga; Kramer, Arthur F.

2014-01-01

This article reviews the scientific literature on the enhancement of healthy aging in older adults through active participation in the arts. Methodologies and conclusions are described for studies of dance, expressive writing, music (singing and instrumental), theatre arts, and visual arts including documentation of mental/physical improvements in memory, creativity, problem solving, everyday competence, reaction time, balance/gait, and quality of life. In addition to these gains in measures of successful aging, the article also provides (in a Supplementary Appendix) some selected examples of arts engagement for remedial purposes. Finally, it offers suggestions for expanding inquiry into this underinvestigated corner of aging research. PMID:24336875

Rhythmic displays of female gibbons offer insight into the origin of dance

PubMed Central

Fan, Peng-Fei; Ma, Chang-Yong; Garber, Paul A.; Zhang, Wen; Fei, Han-Lan; Xiao, Wen

2016-01-01

Dance is a universal art form practiced by all human societies and has many functions including sexual attraction, social cohesion, and the therapeutic release of energy. Dance also has been reported in a small number of non-human primate species, in particular apes. However, its function has not been systematically evaluated. We observed 357 intentional, rhythmic, and nonverbal dance displays performed by four adult female cao vit gibbons (Nomascus nasutus) residing in four polygynous groups during 3000 h of observation in Bangliang, Guangxi, China. Females used dance to solicit copulations, as well as to promote a social bond with the group’s lone adult male. In addition, this display appears to represent a form of non-aggressive competition among adult females living in the same group. We found that a female who had a weaker social relationship with the breeding male increased her social and sexual access to the male by an increase in dancing frequency. Given that gibbons dance in various behavioral contexts, and appears to serve several important social and sexual functions, a greater understanding of this form of gestural communication offers an instructive model for examining the origin and evolution of dance in humans and other apes. PMID:27687686

Rhythmic displays of female gibbons offer insight into the origin of dance.

PubMed

Fan, Peng-Fei; Ma, Chang-Yong; Garber, Paul A; Zhang, Wen; Fei, Han-Lan; Xiao, Wen

2016-09-30

Dance is a universal art form practiced by all human societies and has many functions including sexual attraction, social cohesion, and the therapeutic release of energy. Dance also has been reported in a small number of non-human primate species, in particular apes. However, its function has not been systematically evaluated. We observed 357 intentional, rhythmic, and nonverbal dance displays performed by four adult female cao vit gibbons (Nomascus nasutus) residing in four polygynous groups during 3000 h of observation in Bangliang, Guangxi, China. Females used dance to solicit copulations, as well as to promote a social bond with the group's lone adult male. In addition, this display appears to represent a form of non-aggressive competition among adult females living in the same group. We found that a female who had a weaker social relationship with the breeding male increased her social and sexual access to the male by an increase in dancing frequency. Given that gibbons dance in various behavioral contexts, and appears to serve several important social and sexual functions, a greater understanding of this form of gestural communication offers an instructive model for examining the origin and evolution of dance in humans and other apes.

A norming study and library of 203 dance movements.

PubMed

Christensen, Julia F; Nadal, Marcos; Cela-Conde, Camilo José

2014-01-01

Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across--and even within--these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data. We propose a library of dance stimuli which responds to the stimuli requirements and design criteria of these three areas of research, while at the same time respecting a dance art-historical perspective, offering greater ecological validity as compared with previous dance stimulus sets. The stimuli are 5-6 s long video clips, selected from genuine ballet performances. Following a number of coding experiments, the resulting stimulus library comprises 203 ballet dance stimuli coded in (i) 25 qualitative and quantitative movement variables; (ii) affective valence and arousal; and (iii) the aesthetic qualities beauty, liking, and interest. An Excel spreadsheet with these data points accompanies this manuscript, and the stimuli can be obtained from the authors upon request.

Frontotemporal oxyhemoglobin dynamics predict performance accuracy of dance simulation gameplay: temporal characteristics of top-down and bottom-up cortical activities.

PubMed

Ono, Yumie; Nomoto, Yasunori; Tanaka, Shohei; Sato, Keisuke; Shimada, Sotaro; Tachibana, Atsumichi; Bronner, Shaw; Noah, J Adam

2014-01-15

We utilized the high temporal resolution of functional near-infrared spectroscopy to explore how sensory input (visual and rhythmic auditory cues) are processed in the cortical areas of multimodal integration to achieve coordinated motor output during unrestricted dance simulation gameplay. Using an open source clone of the dance simulation video game, Dance Dance Revolution, two cortical regions of interest were selected for study, the middle temporal gyrus (MTG) and the frontopolar cortex (FPC). We hypothesized that activity in the FPC would indicate top-down regulatory mechanisms of motor behavior; while that in the MTG would be sustained due to bottom-up integration of visual and auditory cues throughout the task. We also hypothesized that a correlation would exist between behavioral performance and the temporal patterns of the hemodynamic responses in these regions of interest. Results indicated that greater temporal accuracy of dance steps positively correlated with persistent activation of the MTG and with cumulative suppression of the FPC. When auditory cues were eliminated from the simulation, modifications in cortical responses were found depending on the gameplay performance. In the MTG, high-performance players showed an increase but low-performance players displayed a decrease in cumulative amount of the oxygenated hemoglobin response in the no music condition compared to that in the music condition. In the FPC, high-performance players showed relatively small variance in the activity regardless of the presence of auditory cues, while low-performance players showed larger differences in the activity between the no music and music conditions. These results suggest that the MTG plays an important role in the successful integration of visual and rhythmic cues and the FPC may work as top-down control to compensate for insufficient integrative ability of visual and rhythmic cues in the MTG. The relative relationships between these cortical areas indicated high- to low-performance levels when performing cued motor tasks. We propose that changes in these relationships can be monitored to gauge performance increases in motor learning and rehabilitation programs. Copyright © 2013 Elsevier Inc. All rights reserved.

Kinematic and Kinetic Analysis of Repeated and Static Elevé in Adolescent Female Dance Students.

PubMed

Abraham, Amit; Dunsky, Ayelet; Hackney, Madeleine E; Dickstein, Ruth

2018-03-15

Elevé is a fundamental dance movement practiced routinely by dance students and serving as an integral component of screening in dance. It consists of ankle plantar flexion (PF) movement and is considered to be a frequent cause of foot and ankle injuries among dancers, with adolescent female dance students being at greatest risk for such injuries. Therefore, gaining additional knowledge regarding elevé functional range of motion (ROM) and inter-leg weightbearing distribution (WBD) properties among adolescent dance students is warranted for pedagogic, screening, injury prevention, and rehabilitation purposes. The aims of this study were three-fold: 1. to report and compare dance-specific, functional kinematic (ankle PF maximum angle and ankle PF ROM), kinetic (inter-leg WBD), and self-reported level of difficulty (balance, muscular force, and concentration) properties of repeated and static elevé among adolescent female dance students; 2. to look for correlations between elevé properties and participants' demographics (age, height, weight, dance experience, and leg dominance); and 3. to describe the relationships between the two kinematic properties in both elevé tasks. Twenty-three adolescent female dance students (mean age 13.57 ± 0.50 years) were measured while performing two elevé tasks: 10 repetitions ("repeated elevé task") and 10 consecutive seconds hold ("static elevé task"). Data regarding ankle motion and WBD were collected and analyzed using three-dimensional motion capture and two force plates. The data gained from this study expand our current understanding of elevé dance movement and may contribute to clinical relevancy and applicability of screening procedures being conducted in pre-professional dance settings. This may help to identify adolescent dance students with the potential to undertake a career in professional dance as well as to investigate the parameters associated with risk of ankle injuries in this population.

International Ballroom Dancing Against Neurodegeneration: A Randomized Controlled Trial in Greek Community-Dwelling Elders With Mild Cognitive impairment.

PubMed

Lazarou, Ioulietta; Parastatidis, Themis; Tsolaki, Anthoula; Gkioka, Mara; Karakostas, Anastasios; Douka, Stella; Tsolaki, Magda

2017-12-01

Many studies have highlighted the positive effects of dance in people with neurodegenerative diseases. To explore the effects of International Ballroom Dancing on cognitive function in elders with amnestic mild cognitive impairment (aMCI). One-hundred twenty-nine elderly patients with aMCI diagnosis (mean age 66.8 ± 10.1 years) were randomly assigned into 2 groups: intervention group (IG, n = 66) and control group (CG, n = 63). The IG exercised systematically for 10 months, and both groups were submitted to extensive neuropsychological assessment prior and after the 10-month period. According to the independent sample t test at the follow-up, significant differences between groups were found in benefit of the IG while the CG showed worse performance in the majority of neuropsychological tests. According to the Student t test, better performance is detected in IG in contrast with CG, which had worse performance almost in all scales. Dance may be an important nonpharmacological approach that can benefit cognitive functions.

Talent Developed: Conversations with Masters in the Arts and Sciences. Eliot Feld.

ERIC Educational Resources Information Center

Subotnik, Rena F.

2002-01-01

In this interview, Eliot Feld, a ballet dancer who has choreographed more than 100 ballets for every major company in the United States and around the world, discusses his passion for dance, dance training, mentors, balancing academics and performance at the High School of Performing Arts, and establishing Ballet Tech. (CR)

The Performing Arts: Music, Dance, and Theater in the Early Years

ERIC Educational Resources Information Center

Koralek, Derry

2010-01-01

This article presents an interview with Mimi Brodsky Chenfeld, a longtime early childhood teacher, author, teacher educator, and advocate for integrating the arts with every aspect of the curriculum. In this interview, Chenfeld shares her thoughts about the performing arts: music, dance, and theater. She explains why it is important for young…

Structured self-reflection as a tool to enhance perceived performance and maintain effort in adult recreational salsa dancers

USDA-ARS?s Scientific Manuscript database

The purpose of this study was to determine if the use of structured self-reflection in community dance classes would influence achievement goal orientations, levels of intrinsic motivation, or perceived dance performance. The Task and Ego Orientation in Sport Questionnaire (TEOSQ) and the Intrinsic...

Sensory coding of nest-site value in honeybee swarms.

PubMed

Seeley, Thomas D; Visscher, P Kirk

2008-12-01

This study investigates the first stage of the decision-making process of a honeybee swarm as it chooses a nest site: how a scout bee codes the value of a potential nest site in the waggle dances she produces to represent this site. We presented honeybee swarms with a two-alternative choice between a high-value site and a medium-value site and recorded the behavior of individually identifiable scout bees as they reported on these two alternatives. We found that bees performed equally lengthy inspections at the two sites, but that, on the swarm cluster, they performed more dance circuits per bee for the high-value site. We also found that there was much individual-level noise in the coding of site value, but that there were clear population-level differences in total dance circuits produced for the two sites. The first bee to find a site had a high probability of reporting the site with a waggle dance, regardless of its value. This discoverer-should-dance phenomenon may help ensure that a swarm gives attention to all discovered sites. There was rapid decay in the dance response; the number of dance circuits produced by a bee after visiting a site decreased linearly over sequential visits, and eventually each bee ceased visiting her site. This decay, or ;leakage', in the accumulation of bees at a site improves a swarm's decision-making ability by helping a swarm avoid making fast-decision errors.

Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness.

PubMed

Himberg, Tommi; Laroche, Julien; Bigé, Romain; Buchkowski, Megan; Bachrach, Asaf

2018-02-09

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of "togetherness" associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a 'rhythm battle' dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts.

Karate and Dance Training to Improve Balance and Stabilize Mood in Patients with Parkinson’s Disease: A Feasibility Study

PubMed Central

Dahmen-Zimmer, Katharina; Jansen, Petra

2017-01-01

The present pilot study investigated the effect of karate (according to the rules of the German Karate Federation) and dance training compared to an inactive control group in patients with Parkinson’s disease (PD). 65 patients were recruited. At the end, 37 patients completed the post-test. From those 37 patients, 16 had chosen the karate training, 9 the dance training and 12 the waiting control group. Before and after the whole training phase cognitive performance, emotional well-being and balance were measured. The results showed that both, karate and dance training groups, improved balance. Furthermore, the mood dropped only in the waiting control group receiving no training at all, whereas it remained stable in patients who attended the karate and dance group. The training adherence was higher in the karate than the dance group indicating a high acceptability in PD patients for karate. In sum, karate can have the same positive effects as dance for PD patients. Further studies with larger samples and more rigorous methodologies are required to investigate the reported effects in more detail. PMID:29312945

Karate and Dance Training to Improve Balance and Stabilize Mood in Patients with Parkinson's Disease: A Feasibility Study.

PubMed

Dahmen-Zimmer, Katharina; Jansen, Petra

2017-01-01

The present pilot study investigated the effect of karate (according to the rules of the German Karate Federation) and dance training compared to an inactive control group in patients with Parkinson's disease (PD). 65 patients were recruited. At the end, 37 patients completed the post-test. From those 37 patients, 16 had chosen the karate training, 9 the dance training and 12 the waiting control group. Before and after the whole training phase cognitive performance, emotional well-being and balance were measured. The results showed that both, karate and dance training groups, improved balance. Furthermore, the mood dropped only in the waiting control group receiving no training at all, whereas it remained stable in patients who attended the karate and dance group. The training adherence was higher in the karate than the dance group indicating a high acceptability in PD patients for karate. In sum, karate can have the same positive effects as dance for PD patients. Further studies with larger samples and more rigorous methodologies are required to investigate the reported effects in more detail.

Choreographing lived experience: dance, feelings and the storytelling body.

PubMed

Eli, Karin; Kay, Rosie

2015-06-01

Although narrative-based research has been central to studies of illness experience, the inarticulate, sensory experiences of illness often remain obscured by exclusively verbal or textual inquiry. To foreground the body in our investigation of subjective and intersubjective aspects of eating disorders, we-a medical anthropologist and a contemporary dance choreographer-designed a collaborative project, in which we studied the experiences of women who had eating disorders, through eight weeks of integrating dance practice-based, discussion-based and interview-based research. Grounded in the participants' own reflections on choreographing, dancing and watching others perform solos about their eating disordered experiences, our analysis examines the types of knowledge the participants used in choreographing their dance works, and the knowledge that they felt the dance enabled them to convey. We find that the participants consistently spoke of feeling as guiding their choreographic processes; they also said the experiences they conveyed through their dance works were centred in feelings, rather than in practices or events. Through dance, the participants said they could communicate experiences that would have remained unspoken otherwise. Yet, notably, dance practice also enabled participants to begin defining and describing their experiences verbally. We suggest, therefore, that through engaging participants in contemporary dance practice, we can begin to identify and address embodied experiences of illness and recovery that may be silenced in speech or writing alone. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://group.bmj.com/group/rights-licensing/permissions.

Eating Disorders in Non-Dance Performing Artists: A Systematic Literature Review.

PubMed

Kapsetaki, Marianna E; Easmon, Charlie

2017-12-01

Previous literature on dancers and athletes has shown a large impact of eating disorders (EDs) on these individuals, but there is limited research on EDs affecting non-dance performing artists (i.e., musicians, actors, etc.). This systematic review aimed to identify and evaluate the literature on EDs in non-dance performing artists. A systematic review of the literature was performed on 24 databases, using search terms related to EDs and non-dance performing artists. All results from the databases were systematically screened for inclusion and exclusion criteria. The initial search returned 86,383 total articles, which after screening and removal of duplicates and irrelevant papers yielded 129 results. After screening the 129 full-text results for eligibility, 10 studies met criteria for inclusion: 6 papers addressed EDs in musicians, and 4 papers addressed EDs in theatre performers. Most studies used questionnaires and body mass index (BMI) as diagnostic tools for EDs. Most were small-scale studies and participants were mostly students. Because of the studies' heterogeneity and varying quality, the results obtained were often contradictory and questionable. Although there has been a lot of literature in dancers, we found relatively few studies associating EDs with other performing artists, and most were inconsistent in their information.

The Effect of Active Creation on Psychological Health: A Feasibility Study on (Therapeutic) Mechanisms

PubMed Central

Lange, Gudrun; Leonhart, Rainer; Gruber, Harald

2018-01-01

Creation is an important part of many interventions in creative arts therapies (art, music, dance, and drama therapy). This active part of art-making in arts therapies has not yet been closely investigated. The present study commits to this field of research using a mixed-methods design to investigate the effects of active creation on health-related psychological outcomes. In an artistic inquiry within an experimental design, N = 44 participants engaged in active art-making for eight minutes in the presence of the researcher (first author) with a choice of artistic materials: paper and colors for drawing and writing, musical instruments, space for moving or performing. Before and after the creation, participants completed a well-being, a self-efficacy and an experience of creation scale, and in addition found their own words to express the experiences during the activity. We hypothesized that the experience of empowerment, freedom, impact, and creativity (Experience of Creation Scale) mediates the positive effect of active creation on the outcomes of self-efficacy and well-being, and evaluated this assumption with a mediation analysis. Results suggest that the effect of active creation on both self-efficacy and well-being is significantly mediated by the Experience of Creation Scale. This article focuses on the quantitative side of the investigation. During the process, qualitative and quantitative results were triangulated for a more valid evaluation and jointly contribute to the emerging theory frame of embodied aesthetics. PMID:29439541

The Effect of Active Creation on Psychological Health: A Feasibility Study on (Therapeutic) Mechanisms.

PubMed

Lange, Gudrun; Leonhart, Rainer; Gruber, Harald; Koch, Sabine C

2018-02-12

Creation is an important part of many interventions in creative arts therapies (art, music, dance, and drama therapy). This active part of art-making in arts therapies has not yet been closely investigated. The present study commits to this field of research using a mixed-methods design to investigate the effects of active creation on health-related psychological outcomes. In an artistic inquiry within an experimental design, N = 44 participants engaged in active art-making for eight minutes in the presence of the researcher (first author) with a choice of artistic materials: paper and colors for drawing and writing, musical instruments, space for moving or performing. Before and after the creation, participants completed a well-being, a self-efficacy and an experience of creation scale, and in addition found their own words to express the experiences during the activity. We hypothesized that the experience of empowerment, freedom, impact, and creativity (Experience of Creation Scale) mediates the positive effect of active creation on the outcomes of self-efficacy and well-being, and evaluated this assumption with a mediation analysis. Results suggest that the effect of active creation on both self-efficacy and well-being is significantly mediated by the Experience of Creation Scale. This article focuses on the quantitative side of the investigation. During the process, qualitative and quantitative results were triangulated for a more valid evaluation and jointly contribute to the emerging theory frame of embodied aesthetics.

Dancing with Lassitude: A Dramaturgy from Limbo

ERIC Educational Resources Information Center

Grace, Alicia

2009-01-01

To perform from a state of lassitude is to reside on the edge of action. Like the limbo, the dance of lassitude is a negotiation between confinement and mobility. But edges, middle spaces and absences can be undesirable, stigmatised terrain in performance: the prompter hides the absence of speech whilst cloaked by the proscenium wings, the walk-on…

Arts, Brain and Cognition.

PubMed

Demarin, Vida; Bedeković, Marina Roje; Puretić, Marijana Bosnar; Pašić, Marija Bošnjak

2016-12-01

Art is a product of human creativity; it is a superior skill that can be learned by study, practice and observation. Modern neuroscience and neuroimaging enable study of the processes during artistic performance. Creative people have less marked hemispheric dominance. It was found that the right hemisphere is specialized for metaphoric thinking, playfulness, solution finding and synthesizing, it is the center of visualization, imagination and conceptualization, but the left hemisphere is still needed for artistic work to achieve balance. A specific functional organization of brain areas was found during visual art activities. Marked hemispheric dominance and area specialization is also very prominent for music perception. Brain is capable of making new connections, activating new pathways and unmasking secondary roads, it is "plastic". Music is a strong stimulus for neuroplasticity. fMRI studies have shown reorganization of motor and auditory cortex in professional musicians. Other studies showed the changes in neurotransmitter and hormone serum levels in correlation to music. The most prominent connection between music and enhancement of performance or changing of neuropsychological activity was shown by studies involving Mozart's music from which the theory of "The Mozart Effect" was derived. Results of numerous studies showed that listening to music can improve cognition, motor skills and recovery after brain injury. In the field of visual art, brain lesion can lead to the visuospatial neglect, loss of details and significant impairment of artistic work while the lesions affecting the left hemisphere reveal new artistic dimensions, disinhibit the right hemisphere, work is more spontaneous and emotional with the gain of artistic quality. All kinds of arts (music, painting, dancing...) stimulate the brain. They should be part of treatment processes. Work of many artists is an excellent example for the interweaving the neurology and arts.

Doors and thresholds: Jeddi's approach to psychiatric disorders.

PubMed

Devisch, R; Vervaeck, B

1986-01-01

Professor Essedik Jeddi and his team have introduced a most significant institutional and therapeutic innovation at the Ibn Rochd and Pinel section of the Razi university long-term mental hospital in Tunis (Tunisia). The innovation focuses upon the ambiguity of doors and boundaries in the mental asylum. Doors and walls influence the rhythm of activity and the nature of contact between patients, therapists and the wider society and culture. If they are very rigid, they may disjoin the patient from him- or herself, from his/her body, social network and culture. On the other hand, if such boundaries are completely neglected they may merge these related dimensions as undifferentiated entities. Jeddi's innovation is primarily concerned with placing the spatio-temporal experience of the body and the intimate interpersonal interaction at the centre of treatment. It aims at establishing creative modes of expression, interaction and exchange such as tea-sessions, dancing, singing, verbal communication, clay-modelling, figurative or plastic expression, agricultural works. These relationships mediate and differentiate at the same time between the patient, his/her body-self, and his/her social and cultural world, thus avoiding both the disjunction and the merging. It would seem that the activities concerned with the distinction between 'inside' and 'outside', peasant and urban, self and other (e.g. dancing and singing) are of paramount importance in bringing about such mediating and differentiating relationships. In the present study we limit ourselves to one particularly revealing therapeutic activity, namely dancing to live music. Jeddi's innovation is a unique blend of current developments in psychiatry and psychotherapy with Arabo-Islamic science and philosophy.

Urban Latino children's physical activity levels and performance in interactive dance video games: effects of goal difficulty and goal specificity.

PubMed

Gao, Zan; Podlog, Leslie

2012-10-01

To examine the effects of different levels of goal specificity and difficulty on Latino children's performance and physical activity (PA) levels in an after-school program incorporating an interactive dance program (Dance Dance Revolution [DDR]; Konami Corporation). Comparison study. Rose Park Elementary School, Salt Lake City, Utah. Ninety-eight Latino children in the first through sixth grades, aged 7 to 13 years. After the pretest, the participants were randomly assigned into 1 of the following 3 goal-setting conditions: (1) easy, (2) difficult, and (3) best effort (hereinafter referred to as do-your-best goal). Participants' PA levels were measured using piezoelectric pedometers, and steps per minute were used as the outcome variable. Participants' total points for their dance on television screens were retrieved as their performance scores. These outcome variables were assessed again 8 weeks later (posttest score). The multivariate analysis of covariance yielded a significant main effect for the goal-setting condition. Follow-up tests revealed that children who set specific (easy or difficult) goals had significantly greater increased PA levels (mean scores, 10.34 for easy and 22.45 for difficult) and DDR performance (0.011 for easy and 0.67 for difficult) than those in the do-your-best group (0.83 for PA and 0.17 for performance). In addition, children's increased PA levels in the difficult-goal group were significantly higher than those in the easy-goal group. The easy- and difficult-goal groups show a significant improvement on DDR performance. The difficult- goal group also displays the highest improvement on PA levels. Strategies to enhance children's DDR performance and PA levels are discussed in relation to the extant goal-setting literature.

Stable and destabilised states of subjective well-being: dance and movement as catalysts of transition

PubMed Central

Atkinson, Sarah; Scott, Karen

2014-01-01

The pursuit of subjective well-being has become an important object of policy and personal action, which within geography has been engaged largely by those with an interest in health. But to date, geography has given little attention to the ways in which subjective well-being changes and in particular, the ways in which it may be understood as both stable and amenable to change. Similarly, the field of arts and health asserts the value of participation in the creative arts for enhancing subjective well-being, but has also hardly addressed how this may come about. The paper explores stability and change in well-being through a case study of a dance and movement intervention in an English primary school. We draw on Deleuze and Guattari’s notions of assemblages and of striated and smooth space to explore how participation in the arts may enable escape from habituated practices. This exploration expands the scope of geographies of health towards capturing the moments and processes through which transitions in subjective well-being may occur. The study indicates the need for greater attention to gentler and gendered forms of transition. PMID:25729326

Hip Hop Dance Experience Linked to Sociocognitive Ability.

PubMed

Bonny, Justin W; Lindberg, Jenna C; Pacampara, Marc C

2017-01-01

Expertise within gaming (e.g., chess, video games) and kinesthetic (e.g., sports, classical dance) activities has been found to be linked with specific cognitive skills. Some of these skills, working memory, mental rotation, problem solving, are linked to higher performance in science, technology, math, and engineering (STEM) disciplines. In the present study, we examined whether experience in a different activity, hip hop dance, is also linked to cognitive abilities connected with STEM skills as well as social cognition ability. Dancers who varied in hip hop and other dance style experience were presented with a set of computerized tasks that assessed working memory capacity, mental rotation speed, problem solving efficiency, and theory of mind. We found that, when controlling for demographic factors and other dance style experience, those with greater hip hop dance experience were faster at mentally rotating images of hands at greater angle disparities and there was a trend for greater accuracy at identifying positive emotions displayed by cropped images of human faces. We suggest that hip hop dance, similar to other more technical activities such as video gameplay, tap some specific cognitive abilities that underlie STEM skills. Furthermore, we suggest that hip hop dance experience can be used to reach populations who may not otherwise be interested in other kinesthetic or gaming activities and potentially enhance select sociocognitive skills.

Working against gravity: horizontal honeybee waggle runs have greater angular scatter than vertical waggle runs

PubMed Central

Couvillon, Margaret J.; Phillipps, Hunter L. F.; Schürch, Roger; Ratnieks, Francis L. W.

2012-01-01

The presence of noise in a communication system may be adaptive or may reflect unavoidable constraints. One communication system where these alternatives are debated is the honeybee (Apis mellifera) waggle dance. Successful foragers communicate resource locations to nest-mates by a dance comprising repeated units (waggle runs), which repetitively transmit the same distance and direction vector from the nest. Intra-dance waggle run variation occurs and has been hypothesized as a colony-level adaptation to direct recruits over an area rather than a single location. Alternatively, variation may simply be due to constraints on bees' abilities to orient waggle runs. Here, we ask whether the angle at which the bee dances on vertical comb influences waggle run variation. In particular, we determine whether horizontal dances, where gravity is not aligned with the waggle run orientation, are more variable in their directional component. We analysed 198 dances from foragers visiting natural resources and found support for our prediction. More horizontal dances have greater angular variation than dances performed close to vertical. However, there is no effect of waggle run angle on variation in the duration of waggle runs, which communicates distance. Our results weaken the hypothesis that variation is adaptive and provide novel support for the constraint hypothesis. PMID:22513277

Working against gravity: horizontal honeybee waggle runs have greater angular scatter than vertical waggle runs.

PubMed

Couvillon, Margaret J; Phillipps, Hunter L F; Schürch, Roger; Ratnieks, Francis L W

2012-08-23

The presence of noise in a communication system may be adaptive or may reflect unavoidable constraints. One communication system where these alternatives are debated is the honeybee (Apis mellifera) waggle dance. Successful foragers communicate resource locations to nest-mates by a dance comprising repeated units (waggle runs), which repetitively transmit the same distance and direction vector from the nest. Intra-dance waggle run variation occurs and has been hypothesized as a colony-level adaptation to direct recruits over an area rather than a single location. Alternatively, variation may simply be due to constraints on bees' abilities to orient waggle runs. Here, we ask whether the angle at which the bee dances on vertical comb influences waggle run variation. In particular, we determine whether horizontal dances, where gravity is not aligned with the waggle run orientation, are more variable in their directional component. We analysed 198 dances from foragers visiting natural resources and found support for our prediction. More horizontal dances have greater angular variation than dances performed close to vertical. However, there is no effect of waggle run angle on variation in the duration of waggle runs, which communicates distance. Our results weaken the hypothesis that variation is adaptive and provide novel support for the constraint hypothesis.

Effects of line dancing on physical function and perceived limitation in older adults with self-reported mobility limitations.

PubMed

Bennett, Crystal G; Hackney, Madeleine E

2018-06-01

Older adults with mobility limitations are at greater risk for aging-related declines in physical function. Line dancing is a popular form of exercise that can be modified, and is thus feasible for older adults with mobility limitations. The purpose of this study was to assess the effects of 8 weeks of line dancing on balance, muscle strength, lower extremity function, endurance, gait speed, and perceived mobility limitations. An experimental design randomly assigned older adults to either an 8-week line dancing or usual care group. The convenience sample consisted of 23 participants with mobility limitations (age range: 65-93 years). The intervention used simple routines from novice line dance classes. At baseline and at 8 weeks, balance, knee muscle strength, lower extremity function, endurance, gait speed, and mobility limitations were measured. ANCOVA tests were conducted on each dependent variable to assess the effects of the intervention over time. Results found significant positive differences for the intervention group in lower extremity function (p < 0.01); endurance (p < 0.01); gait speed (p < 0.001); and self-reported mobility limitations (p < 0.05). Eight weeks of line dancing significantly improved physical function and reduced self-reported mobility limitations in these individuals. Line dancing could be recommended by clinicians as a potential adjunct therapy that addresses mobility limitations. Implications for Rehabilitation Line dancing may be an alternative exercise for older adults who need modifications due to mobility limitations. Line dancing incorporates cognitive and motor control. Line dancing can be performed alone or in a group setting. Dancing improves balance which can reduce risk of falls.

Differential Effects of Tango Versus Dance for PD in Parkinson Disease

PubMed Central

McNeely, Marie E.; Mai, Marina M.; Duncan, Ryan P.; Earhart, Gammon M.

2015-01-01

Over half of the general population does not achieve recommended daily levels of physical activity, and activity levels in people with Parkinson disease (PD) are lower than in healthy older adults. Dance can serve as an adjunct to traditional treatments to improve gait, balance, and quality of life in people with PD. This study directly compares a tango dance intervention and a dance intervention based on the Dance for PD model, which integrates multiple dance styles. Eleven people with PD participated in a community-based mixed styles dance intervention called Dance for Parkinson’s (D4PD). Participants in the D4PD group were matched to participants in an ongoing community-based exercise study who participated in tango dance. The groups received 12 weeks of intervention, attending 1-h group classes twice a week. Participants were evaluated off anti-PD medication before and after intervention. Measures of balance, repeated sit-to-stand performance and endurance (mini-balance evaluation systems test, four square step test, five times sit to stand, 6-min walk time) improved from pre to post similarly in both groups. Motor sign severity (movement disorders society unified Parkinson disease rating scale motor subsection) and functional mobility (timed up and go) improved in the tango group and worsened in the D4PD group. Gait velocity was not affected by either intervention. Direct comparisons of different interventions are ­critical for developing optimal exercise interventions designed to specifically target motor impairments in PD. Tango dance interventions may preferentially improve mobility and motor signs in people with PD, compared to D4PD. PMID:26733865

The Artistic Infant Directed Performance: A Mycroanalysis of the Adult's Movements and Sounds.

PubMed

Español, Silvia; Shifres, Favio

2015-09-01

Intersubjectivity experiences established between adults and infants are partially determined by the particular ways in which adults are active in front of babies. An important amount of research focuses on the "musicality" of infant-directed speech (defined melodic contours, tonal and rhythm variations, etc.) and its role in linguistic enculturation. However, researchers have recently suggested that adults also bring a multimodal performance to infants. According to this, some scholars seem to find indicators of the genesis of the performing arts (mainly music and dance) in such a multimodal stimulation. We analyze the adult performance using analytical categories and methodologies of analysis broadly validated in the fields of music performance and movement analysis in contemporary dance. We present microanalyses of an adult-7 month old infant interaction scene that evidenced structural aspects of infant directed multimodal performance compatible with music and dance structures, and suggest functions of adult performance similar to performing arts functions or related to them.

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

PubMed Central

Brown, Derrick D.; Meulenbroek, Ruud G. J.

2016-01-01

In this study we investigated the effects of a mirror-mediated, partial view of one’s dance partner on interpersonal coordination in dance duets. Fourteen participant pairs (dyads) were asked to perform a reflectionally-symmetric eight-segment dance-relevant arm movement sequence in two visual conditions: with one dancer facing the mirror and providing a partial view on the dance partner, or both dancers facing back to back with, for both dancers, no view on one’s partner. During an eight-count beat-preparation phase, the task was paced via a metronome at three TEMPI; 1.6, 1.9, and 2.3 Hz, which was subsequently removed after which the movement sequence continued in silence. Interpersonal coordination was assessed using two tri-axial wireless accelerometers, one fixed to each dancer, that allowed the off-line kinematic analyses of dyad correlation, mean relative phase and mean standard deviation of relative phase of the up–down movements of (one of) the hands of the two dancers. In addition, two independent raters estimated the realized movement frequencies and percentage of the trial duration that the dancers moved in sync. Repeated measure ANOVAs revealed systematic effects of tempo on the performance measures, a positive effect of the use of the mirror on the coordination of the dancers’ movements but no facilitating effect of the mirror on the dancers’ synchronization. Overall, the results support the contention that when dancing to an internalized rhythmic beat the use of a mirror provides an ecological means to stabilize interpersonal coordination in dance duets without an effect on synchronization. PMID:27199847

FMA Live! at Hardy Middle School

NASA Image and Video Library

2013-09-16

Performers dance and sing during a performance of "FMA Live!" at Hardy Middle School in Washington on Monday, Sept. 16th, 2013. "FMA Live!" is a program sponsored by NASA and Honeywell that teaches Newton's three laws of motion mixed with dance and music. The program travels across the country and has reached nearly 300,000 students.Photo Credit: (NASA/Jay Westcott)

Theatre and Dance with Deaf Students: Researching Performance Practices in a Brazilian School Context

ERIC Educational Resources Information Center

Berselli, Marcia; Lulkin, Sergio A.

2017-01-01

The article presents performance practices created with deaf students in the project "Theater and dance with deaf students," an outreach activity of the Federal University of Rio Grande do Sul (UFRGS). The project took place in the Bilingual Deaf Municipal Elementary School Salomão Watnick in Porto Alegre, Brazil from 2013 to 2015. The…

[Analysis and evaluation of occupational accidents in dancers of the dance theatre].

PubMed

Wanke, E M; Groneberg, D A; Quarcoo, D

2011-03-01

The dance theatre is an autonomous form of presentation within the performing arts. It is a combination of dance, drama, singing and speaking. As the actors are usually professional dancers the dance theatre is associated with the professional dance. Compared with other dance styles there is an enhanced usage of props, costumes or décor to intensify the production and the expressiveness. In contrast to the defined professional dance technique the range of movements is unlimited. There has not yet been done any research on the influence of props as well as décor in terms of exogenous factors potentially favouring injuries. Aim of this study is to characterize specific injury patterns, as well as their causes and to suggest basic approaches to prevent injuries in the dance theatre. The data of this evaluation comprise occupational accident reports, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 1106) of the Berlin State Accident Insurance over a 9-year period. 103 occupational accidents are accounted for the dance theatre. 44.6 % of the accidents happen during rehearsals, 42.4 % during performances, 76.7 % on stage and adjoining areas and 10.7 % in the ballet studio. Second most common movement resulting in an injury are jumps with 25.4 %. Altogether 69.7 % of the accidents have a uniquely defined exogenous cause with 30.5 % by props, 12.7 % by the floor and 17.2 % by the dance partner. 30.3 % of the accidents have multifactorial causes (e. g. the social situation, state of training and nutrition). 61 % of all accidents happen within three hours after starting work with an increase of occupational accidents between 11:00 - 12:00 hrs and 08:00- 09:00 hrs. The lower extremity is the most affected location (53.3 %), followed by the head/neck area (21.4 %) and the upper extremity (17.5 %). Contusions (26.2 %), distortions (17.5 %), muscular strains (19.4 %) and wounds (13.6 %) are the most frequent types of injuries. In combination with the partly undefined movement pattern the majority of the acute injuries is - compared to other dance styles - above all caused by susceptible exogenous factors. Corrections of the daily routine, the working conditions, state of training as well as of the state of nutrition of the dancers may be initial steps towards injury prevention. At that, early interactions and interventions in the planning process of a dance theatre production could help to minimize the amount of accidents caused by exogenous factors and contribute to a practicable injury prevention in the dance theatre. © Georg Thieme Verlag KG Stuttgart · New York.

Practicing finding the spaces available within the educational situation—an essay review of John Dewey and education outdoors: making sense of the `educational situation' through more than a century of progressive reform

NASA Astrophysics Data System (ADS)

Ware, Molly Noelle

2015-03-01

In this piece, I begin by reviewing and summarizing the book John Dewey and Education Outdoors by John Quay and Jayson Seaman. After an overview of the authors' work, I use nuanced presumptions within the authors' work to explore how principles of ecology (complexity theory), principles of embodied movement practices such as yoga and five Rhythms Dance, and a poststructural both/and perspective might create opportunities for re-imagining and transforming the cultural institution of education. Questions explored in this review include: What sort of relationship might allow us to remain open and engaged within a dynamic environment where change is the norm? What sort of relationship to difference allows us to remain open to the creative potential found in what is oppositional? Through exploring these questions, I hope to clarify a vision of transformation and change as a creative practice that grows out of learning to both work with, accept, and honor ourselves and strengthen connection with others, communities, the planet and the environment.

The representation of epilepsy in popular music.

PubMed

Baxendale, Sallie

2008-01-01

Much can be learned about the contemporary stereotypes associated with epilepsy by studying the representation of the disorder in paintings, literature, and movies. Popular music is arguably the most accessible and ubiquitous of the creative art forms, touching most of us on a daily basis. Reviewed here are the ways in which epilepsy and seizures are used in the lyrics of musicians from a wide variety of musical genres, from hip-hop to rhythm and blues. Many of the ancient associations of epilepsy with madness, horror, and lunacy can be found in these lyrics. However, the language of epilepsy has also been appropriated by some musical artists to represent a state of sexual ecstasy and dance euphoria. The references to these states as "epilepsy" or a "seizure" in numerous songs suggest that this shorthand is widely recognized within some subcultures. Although epilepsy has frequently been associated with female sexual availability in other creative art forms, this novel use of the language of epilepsy represents a contemporary departure in the artistic application of epilepsy-related images and associations in the 21st century.

Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness

PubMed Central

Laroche, Julien; Buchkowski, Megan; Bachrach, Asaf

2018-01-01

Collective dance improvisation (e.g., traditional and social dancing, contact improvisation) is a participatory, relational and embodied art form which eschews standard concepts in aesthetics. We present our ongoing research into the mechanisms underlying the lived experience of “togetherness” associated with such practices. Togetherness in collective dance improvisation is kinaesthetic (based on movement and its perception), and so can be simultaneously addressed from the perspective of the performers and the spectators, and be measured. We utilise these multiple levels of description: the first-person, phenomenological level of personal experiences, the third-person description of brain and body activity, and the level of interpersonal dynamics. Here, we describe two of our protocols: a four-person mirror game and a ‘rhythm battle’ dance improvisation score. Using an interpersonal closeness measure after the practice, we correlate subjective sense of individual/group connectedness and observed levels of in-group temporal synchronization. We propose that kinaesthetic togetherness, or interpersonal resonance, is integral to the aesthetic pleasure of the participants and spectators, and that embodied feeling of togetherness might play a role more generally in aesthetic experience in the performing arts. PMID:29425178

Senior Dance Experience, Cognitive Performance, and Brain Volume in Older Women.

PubMed

Niemann, Claudia; Godde, Ben; Voelcker-Rehage, Claudia

2016-01-01

Physical activity is positively related to cognitive functioning and brain volume in older adults. Interestingly, different types of physical activity vary in their effects on cognition and on the brain. For example, dancing has become an interesting topic in aging research, as it is a popular leisure activity among older adults, involving cardiovascular and motor fitness dimensions that can be positively related to cognition. However, studies on brain structure are missing. In this study, we tested the association of long-term senior dance experience with cognitive performance and gray matter brain volume in older women aged 65 to 82 years. We compared nonprofessional senior dancers ( n = 28) with nonsedentary control group participants without any dancing experience ( n = 29), who were similar in age, education, IQ score, lifestyle and health factors, and fitness level. Differences neither in the four tested cognitive domains (executive control, perceptual speed, episodic memory, and long-term memory) nor in brain volume (VBM whole-brain analysis, region-of-interest analysis of the hippocampus) were observed. Results indicate that moderate dancing activity (1-2 times per week, on average) has no additional effects on gray matter volume and cognitive functioning when a certain lifestyle or physical activity and fitness level are reached.

Incremental effects of reward on creativity.

PubMed

Eisenberger, R; Rhoades, L

2001-10-01

The authors examined 2 ways reward might increase creativity. First, reward contingent on creativity might increase extrinsic motivation. Studies 1 and 2 found that repeatedly giving preadolescent students reward for creative performance in 1 task increased their creativity in subsequent tasks. Study 3 reported that reward promised for creativity increased college students' creative task performance. Second, expected reward for high performance might increase creativity by enhancing perceived self-determination and, therefore, intrinsic task interest. Study 4 found that employees' intrinsic job interest mediated a positive relationship between expected reward for high performance and creative suggestions offered at work. Study 5 found that employees' perceived self-determination mediated a positive relationship between expected reward for high performance and the creativity of anonymous suggestions for helping the organization.

The influence of creative process engagement on employee creative performance and overall job performance: a curvilinear assessment.

PubMed

Zhang, Xiaomeng; Bartol, Kathryn M

2010-09-01

Integrating theories addressing attention and activation with creativity literature, we found an inverted U-shaped relationship between creative process engagement and overall job performance among professionals in complex jobs in an information technology firm. Work experience moderated the curvilinear relationship, with low-experience employees generally exhibiting higher levels of overall job performance at low to moderate levels of creative process engagement and high-experience employees demonstrating higher overall performance at moderate to high levels of creative process engagement. Creative performance partially mediated the relationship between creative process engagement and job performance. These relationships were tested within a moderated mediation framework. Copyright 2010 APA, all rights reserved

Unraveling Effects of Novelty on Creativity

ERIC Educational Resources Information Center

Gillebaart, Marleen; Förster, Jens; Rotteveel, Mark; Jehle, Astrid C. M.

2013-01-01

Novelty is inherent to creative processes. A positive effect of novelty on creative task performance was therefore predicted. However, creativity can benefit from divergent, as well as convergent thinking. Subsequently, novelty may benefit creative performance when divergent thinking is required, but it could inhibit creative performance when…

Kinematic parameters that influence the aesthetic perception of beauty in contemporary dance.

PubMed

Torrents, Carlota; Castañer, Marta; Jofre, Toni; Morey, Gaspar; Reverter, Ferran

2013-01-01

Some experiments have stablished that certain kinematic parameters can influence the subjective aesthetic perception of the dance audience. Neave, McCarty, Freynik, Caplan, Hönekopp, and Fink (2010, Biology Letters 7 221-224) reported eleven movement parameters in non-expert male dancers, showing a significant positive correlation with perceived dance quality. We aim to identify some of the kinematic parameters of expert dancers' movements that influence the subjective aesthetic perception of observers in relation to specific skills of contemporary dance. Four experienced contemporary dancers performed three repetitions of four dance-related motor skills. Motion was captured by a VICON-MX system. The resulting 48 animations were viewed by 108 observers. The observers judged beauty using a semantic differential. The data were then subjected to multiple factor analysis. The results suggested that there were strong associations between higher beauty scores and certain kinematic parameters, especially those related to amplitude of movement.

Prosthetic Rasa: Dance on Wheels and Challenged Kinesthetics

ERIC Educational Resources Information Center

Vimal C., Akhila

2017-01-01

This paper analyses "Bharatanatyam on Wheels" by Ability Unlimited Foundation, Delhi. It interrogates the possibilities and challenges that disability performance presents to codifications in the form and grammar of "Bharatanatyam," a "classical" dance form of India. The Indian classical scriptures of performance…

Phase reversal of vibratory signals in honeycomb may assist dancing honeybees to attract their audience.

PubMed

Tautz, J; Casas, J; Sandeman, D

2001-11-01

Forager honeybees dancing on the comb are able to attract dance-followers from distances across the comb that are too remote for tactile or visual signals to play a role. An alternative signal could be the vibrations of the comb at 200-300 Hz generated by dancing bees but which, without amplification, may not be large enough to alert remote dance-followers. We describe here, however, an unexpected property of honeycomb when it is subjected to vibration at around 200 Hz that would represent an effective amplification of the vibratory signals for remote dance-followers. We find that, at a specific distance from the origin of an imposed vibration, the walls across a single comb cell abruptly reverse the phase of their displacement and move in opposite directions to one another. Behavioural measurements show that the distance from which the majority of remote dance-followers are recruited coincides with the location of this phase-reversal phenomenon relative to the signal source. We propose that effective signal amplification by the phase-reversal phenomenon occurs when bees straddle a cell across which the phase reversal is expressed. Such a bee would be subjected to a situation in which the legs were moving towards and away from one another instead of in the same direction. In this manner, remote dance-followers could be alerted to a dancer performing in their vicinity.

Hip Hop Dance Experience Linked to Sociocognitive Ability

PubMed Central

Bonny, Justin W.; Lindberg, Jenna C.; Pacampara, Marc C.

2017-01-01

Expertise within gaming (e.g., chess, video games) and kinesthetic (e.g., sports, classical dance) activities has been found to be linked with specific cognitive skills. Some of these skills, working memory, mental rotation, problem solving, are linked to higher performance in science, technology, math, and engineering (STEM) disciplines. In the present study, we examined whether experience in a different activity, hip hop dance, is also linked to cognitive abilities connected with STEM skills as well as social cognition ability. Dancers who varied in hip hop and other dance style experience were presented with a set of computerized tasks that assessed working memory capacity, mental rotation speed, problem solving efficiency, and theory of mind. We found that, when controlling for demographic factors and other dance style experience, those with greater hip hop dance experience were faster at mentally rotating images of hands at greater angle disparities and there was a trend for greater accuracy at identifying positive emotions displayed by cropped images of human faces. We suggest that hip hop dance, similar to other more technical activities such as video gameplay, tap some specific cognitive abilities that underlie STEM skills. Furthermore, we suggest that hip hop dance experience can be used to reach populations who may not otherwise be interested in other kinesthetic or gaming activities and potentially enhance select sociocognitive skills. PMID:28146562

Social Dancing and Incidence of Falls in Older Adults: A Cluster Randomised Controlled Trial

PubMed Central

Merom, Dafna; Mathieu, Erin; Cerin, Ester; Morton, Rachael L.; Simpson, Judy M.; Anstey, Kaarin J.; Sherrington, Catherine; Lord, Stephen R.; Cumming, Robert G.

2016-01-01

Background The prevention of falls among older people is a major public health challenge. Exercises that challenge balance are recognized as an efficacious fall prevention strategy. Given that small-scale trials have indicated that diverse dance styles can improve balance and gait of older adults, two of the strongest risk factors for falls in older people, this study aimed to determine whether social dance is effective in i) reducing the number of falls and ii) improving physical and cognitive fall-related risk factors. Methods and Findings A parallel two-arm cluster randomized controlled trial was undertaken in 23 self-care retirement villages (clusters) around Sydney, Australia. Eligible villages had to have an appropriate hall for dancing, house at least 60 residents, and not be currently offering dance as a village activity. Retirement villages were randomised using a computer generated randomisation method, constrained using minimisation. Eligible participants had to be a resident of the village, be able to walk at least 50 m, and agree to undergo physical and cognitive testing without cognitive impairment. Residents of intervention villages (12 clusters) were offered twice weekly one-hour social dancing classes (folk or ballroom dancing) over 12 mo (80 h in total). Programs were standardized across villages and were delivered by eight dance teachers. Participants in the control villages (11 clusters) were advised to continue with their regular activities. Main outcomes: falls during the 12 mo trial and Trail Making Tests. Secondary outcomes: The Physiological Performance Assessment (i.e., postural sway, proprioception, reaction time, leg strength) and the Short Physical Performance Battery; health-related physical and mental quality of life from the Short-Form 12 (SF-12) Survey. Data on falls were obtained from 522 of 530 (98%) randomised participants (mean age 78 y, 85% women) and 424 (80%) attended the 12-mo reassessment, which was lower among folk dance participants (71%) than ballroom dancing (82%) or control participants (82%, p = 0.04). Mean attendance at dance classes was 51%. During the period, 444 falls were recorded; there was no significant difference in fall rates between the control group (0.80 per person-year) and the dance group (1.03 per person-year). Using negative binomial regression with robust standard errors the adjusted Incidence Rate Ratio (IRR) was 1.19 (95% CI: 95% CI = 0.83, 1.71). In exploratory post hoc subgroup analysis, the rate of falls was higher among dance participants with a history of multiple falls (IRR = 2.02, 95% CI: 1.15, 3.54, p = 0.23 for interaction) and with the folk dance intervention (IRR = 1.68, 95% CI: 1.03, 2.73). There were no significant between-group differences in executive function test (TMT-B = 2.8 s, 95% CI: −6.2, 11.8). Intention to treat (ITT) analysis revealed no between-group differences at 12-mo follow-up in the secondary outcome measures, with the exception of postural sway, favouring the control group. Exploratory post hoc analysis by study completers and style indicated that ballroom dancing participants apparently improved their gait speed by 0.07 m/s relative to control participants (95% CI: 0.00, 0.14, p = 0.05). Study limitations included allocation to style based on logistical considerations rather than at random; insufficient power to detect differential impacts of different dance styles and smaller overall effects; variation of measurement conditions across villages; and no assessment of more complex balance tasks, which may be more sensitive to changes brought about by dancing. Conclusions Social dancing did not prevent falls or their associated risk factors among these retirement villages' residents. Modified dance programmes that contain "training elements" to better approximate structured exercise programs, targeted at low and high-risk participants, warrant investigation. Trial Registration The Australian New Zealand Clinical Trials Registry ACTRN12612000889853 PMID:27575534

Social Dancing and Incidence of Falls in Older Adults: A Cluster Randomised Controlled Trial.

PubMed

Merom, Dafna; Mathieu, Erin; Cerin, Ester; Morton, Rachael L; Simpson, Judy M; Rissel, Chris; Anstey, Kaarin J; Sherrington, Catherine; Lord, Stephen R; Cumming, Robert G

2016-08-01

The prevention of falls among older people is a major public health challenge. Exercises that challenge balance are recognized as an efficacious fall prevention strategy. Given that small-scale trials have indicated that diverse dance styles can improve balance and gait of older adults, two of the strongest risk factors for falls in older people, this study aimed to determine whether social dance is effective in i) reducing the number of falls and ii) improving physical and cognitive fall-related risk factors. A parallel two-arm cluster randomized controlled trial was undertaken in 23 self-care retirement villages (clusters) around Sydney, Australia. Eligible villages had to have an appropriate hall for dancing, house at least 60 residents, and not be currently offering dance as a village activity. Retirement villages were randomised using a computer generated randomisation method, constrained using minimisation. Eligible participants had to be a resident of the village, be able to walk at least 50 m, and agree to undergo physical and cognitive testing without cognitive impairment. Residents of intervention villages (12 clusters) were offered twice weekly one-hour social dancing classes (folk or ballroom dancing) over 12 mo (80 h in total). Programs were standardized across villages and were delivered by eight dance teachers. Participants in the control villages (11 clusters) were advised to continue with their regular activities. falls during the 12 mo trial and Trail Making Tests. The Physiological Performance Assessment (i.e., postural sway, proprioception, reaction time, leg strength) and the Short Physical Performance Battery; health-related physical and mental quality of life from the Short-Form 12 (SF-12) Survey. Data on falls were obtained from 522 of 530 (98%) randomised participants (mean age 78 y, 85% women) and 424 (80%) attended the 12-mo reassessment, which was lower among folk dance participants (71%) than ballroom dancing (82%) or control participants (82%, p = 0.04). Mean attendance at dance classes was 51%. During the period, 444 falls were recorded; there was no significant difference in fall rates between the control group (0.80 per person-year) and the dance group (1.03 per person-year). Using negative binomial regression with robust standard errors the adjusted Incidence Rate Ratio (IRR) was 1.19 (95% CI: 95% CI = 0.83, 1.71). In exploratory post hoc subgroup analysis, the rate of falls was higher among dance participants with a history of multiple falls (IRR = 2.02, 95% CI: 1.15, 3.54, p = 0.23 for interaction) and with the folk dance intervention (IRR = 1.68, 95% CI: 1.03, 2.73). There were no significant between-group differences in executive function test (TMT-B = 2.8 s, 95% CI: -6.2, 11.8). Intention to treat (ITT) analysis revealed no between-group differences at 12-mo follow-up in the secondary outcome measures, with the exception of postural sway, favouring the control group. Exploratory post hoc analysis by study completers and style indicated that ballroom dancing participants apparently improved their gait speed by 0.07 m/s relative to control participants (95% CI: 0.00, 0.14, p = 0.05). Study limitations included allocation to style based on logistical considerations rather than at random; insufficient power to detect differential impacts of different dance styles and smaller overall effects; variation of measurement conditions across villages; and no assessment of more complex balance tasks, which may be more sensitive to changes brought about by dancing. Social dancing did not prevent falls or their associated risk factors among these retirement villages' residents. Modified dance programmes that contain "training elements" to better approximate structured exercise programs, targeted at low and high-risk participants, warrant investigation. The Australian New Zealand Clinical Trials Registry ACTRN12612000889853.

Survey of Musculoskeletal Disorders Among Indian Dancers in Mumbai and Mangalore.

PubMed

Nair, Shruti Prabhakaran; Kotian, Shruti; Hiller, Claire; Mullerpatan, Rajani

2018-06-15

Classical Indian dance has earned recognition across the globe; however, the health of dancers who are carrying forth this heritage has not received due attention. Therefore, this study aimed to explore musculoskeletal pain and injury prevailing among Indian dancers in Mumbai and Mangalore. A secondary aim was to compare pain tolerance levels between dancers and non-dancers. Fifty-one dancers trained in different traditional Indian and Western dance forms and 164 recreational dancers were recruited as participants. An indigenous questionnaire was designed and validated by physical therapists across various levels of experience and dancers across various training levels. The questionnaire recorded dance, pain, and injury profiles. Additionally, pain tolerance was evaluated using the Pain Sensitivity Questionnaire among dancers and healthy age- and gender-matched controls (N = 200). Descriptive statistical analysis was performed to present results of the site of current pain, site of past injury, perceived causes of injury, and exercise routine. The Student's t-test was used to compare Pain Sensitivity Questionnaire scores between dancers and non-dancers, and independent one-way ANOVA was used to compare scores among dancers practicing different dance forms. For both current pain and past injury, dancers reported the back (42.5%) followed by the knee (28.3%) and ankle (18.6%) as the most common sites. Stress was the most commonly perceived cause of injury (34.4%), followed by over work (24.7%), tiredness (17.2%), and falls (13.5%). Warm-up exercises were always performed by 43.30% of dancers, whereas only 20% performed stretching after dance. Almost 60% of dancers participated in forms of exercise other than dance, e.g., swimming, yoga, and aerobics. Pain sensitivity was not significantly different between dancers and non-dancers (p = 0.159). Level of training and gender did not influence pain.

A deep learning pipeline for Indian dance style classification

NASA Astrophysics Data System (ADS)

Dewan, Swati; Agarwal, Shubham; Singh, Navjyoti

2018-04-01

In this paper, we address the problem of dance style classification to classify Indian dance or any dance in general. We propose a 3-step deep learning pipeline. First, we extract 14 essential joint locations of the dancer from each video frame, this helps us to derive any body region location within the frame, we use this in the second step which forms the main part of our pipeline. Here, we divide the dancer into regions of important motion in each video frame. We then extract patches centered at these regions. Main discriminative motion is captured in these patches. We stack the features from all such patches of a frame into a single vector and form our hierarchical dance pose descriptor. Finally, in the third step, we build a high level representation of the dance video using the hierarchical descriptors and train it using a Recurrent Neural Network (RNN) for classification. Our novelty also lies in the way we use multiple representations for a single video. This helps us to: (1) Overcome the RNN limitation of learning small sequences over big sequences such as dance; (2) Extract more data from the available dataset for effective deep learning by training multiple representations. Our contributions in this paper are three-folds: (1) We provide a deep learning pipeline for classification of any form of dance; (2) We prove that a segmented representation of a dance video works well with sequence learning techniques for recognition purposes; (3) We extend and refine the ICD dataset and provide a new dataset for evaluation of dance. Our model performs comparable or better in some cases than the state-of-the-art on action recognition benchmarks.

Why We Think We Can't Dance: Theory of Mind and Children's Desire to Perform

ERIC Educational Resources Information Center

Chaplin, Lan Nguyen; Norton, Michael I.

2015-01-01

Theory of mind (ToM) allows children to achieve success in the social world by understanding others' minds. A study with 3- to 12-year-olds, however, demonstrates that gains in ToM are linked to decreases in children's desire to engage in performative behaviors associated with health and well-being, such as singing and dancing. One hundred and…

Impact of the Supervisor Feedback Environment on Creative Performance: A Moderated Mediation Model.

PubMed

Zhang, Jian; Gong, Zhenxing; Zhang, Shuangyu; Zhao, Yujia

2017-01-01

Studies on the relationship between feedback and creative performance have only focused on the feedback-self and have underestimated the value of the feedback environment. Building on Self Determined Theory, the purpose of this article is to examine the relationship among feedback environment, creative personality, goal self-concordance and creative performance. Hierarchical regression analysis of a sample of 162 supervisor-employee dyads from nine industry firms. The results indicate that supervisor feedback environment is positively related to creative performance, the relationship between the supervisor feedback environment and creative performance is mediated by goal self-concordance perfectly and moderated by creative personality significantly. The mediation effort of goal self-concordance is significantly influenced by creative personality. The implication of improving employees' creative performance is further discussed. The present study advances several perspectives of previous studies, echoes recent suggestions that organizations interested in stimulating employee creativity might profitably focus on developing work contexts that support it.

The effect of passive listening versus active observation of music and dance performances on memory recognition and mild to moderate depression in cognitively impaired older adults.

PubMed

Cross, Kara; Flores, Roberto; Butterfield, Jacyln; Blackman, Melinda; Lee, Stephanie

2012-10-01

The study examined the effects of music therapy and dance/movement therapy on cognitively impaired and mild to moderately depressed older adults. Passive listening to music and active observation of dance accompanied by music were studied in relation to memory enhancement and relief of depressive symptoms in 100 elderly board and care residents. The Beck Depression Inventory and the Recognition Memory Test-Faces Inventory were administered to two groups (one group exposed to a live 30-min. session of musical dance observation, the other to 30 min. of pre-recorded music alone) before the intervention and measured again 3 and 10 days after the intervention. Scores improved for both groups on both measures following the interventions, but the group exposed to dance therapy had significantly lower Beck Depression scores that lasted longer. These findings suggest that active observation of Dance Movement Therapy could play a role in temporarily alleviating moderate depressive symptoms and some cognitive deficits in older adults.

Health-Related Quality of Life in University Dance Students.

PubMed

White, Hayley M; Hoch, Johanna M; Hoch, Matthew C

2018-03-01

Injuries are common among dancers and may negatively affect health-related quality of life (HRQL). The modified Disablement in the Physically Active Scale (mDPA) is a generic patient-reported outcome instrument that could be used when providing care to patients participating in performing arts. The objective of this pilot study was to examine the internal consistency of the mDPA and assess overall HRQL using the mDPA in university dance students. Thirty-one female university dance students completed the mDPA during one data collection session. Higher scores on the Physical Summary Component (mDPA-PSC), the Mental Summary Component (mDPAMSC), and mDPA-Total indicated increased disablement. The internal consistency was determined using Cronbachs alpha. The mDPA-Total, mDPA-PSC, and mDPAMSC scores were examined descriptively using mean and standard deviations. Individual item responses were also examined. The proportion of university dance students with clinically relevant levels of disablement on the mDPA-Total was examined using a previously established minimally clinically important difference value. The internal consistency for the mDPA-MSC (a=0.91) and mDPATotal (a=0.90) was excellent and good for the mDPA-PSC (a=0.88). A large proportion (71%) of university dance students demonstrated clinically relevant levels of disablement despite fully participating in dance-related activities. Pain, impaired motion, and stress were the greatest contributors to increased disablement in these individuals. The mDPA scores observed in this pilot study indicate that many dance students experience levels of disablement and decreased HRQL which may warrant physical and mental intervention. Clinicians providing healthcare services to performing artists should consider using the mDPA to provide patient-centered care.

Dancing for Healthy Aging: Functional and Metabolic Perspectives.

PubMed

Rodrigues-Krause, Josianne; Krause, Mauricio; Reischak-Oliveira, Alvaro

2018-02-10

Context • Dancing has been used as a form of exercise to improve functional and metabolic outcomes during aging. The field lacks randomized, clinical trials (RCTs) evaluating metabolic outcomes related to dance interventions, but dancing may be a form of exercise that could induce positive effects on the metabolic health of older adults. However, primary studies seem very heterogonous regarding the trial designs, characteristics of the interventions, the methods for outcomes assessments, statistical powers, and methodological quality. Objective • The current research team intended to review the literature on the use of dance as a form of intervention to promote functional and metabolic health in older adults. Specifically, the research team aimed to identify and describe the characteristics of a large range of studies using dance as an intervention, summarizing them and putting them into perspective for further analysis. Design • The research team searched the following data sources-MEDLINE, Cochrane Wiley, Clinical Trials.gov, the Physiotherapy Evidence Database (PEDRO), and the Literatura Latino-Americana e do Caribe em Ciências da Saúde (LILACS)-for RCTs, quasi-experimental studies, and observational trials that compared the benefits of any style of dancing, combined with other exercises or alone, to nonexercising controls and/or controls practicing other types of exercise. Setting • The study took place at the Federal University of Rio Grande do Sul (Porto Alegre, Brazil). Participants were aging individuals, >55 y, both with or without health conditions. Interventions • Interventions should be supervised, taking form as group classes, in a dance setting environment. Dance styles were divided into 5 categories for the review: (1) cultural dances developed by groups of people to reflect the roots of a certain region, such as Greek dance; (2) ballroom dance (ie, dances with partners performed socially or competitively in a ballroom, such as foxtrot); (3) aerobic dance with no partner required, which mixes aerobic moves with dance moves; (4) dance therapies, whichare special dance programs including emotional and physical aspects; and (5) classical dances, which are dances with a unique tradition and technique, such as ballet or jazz dance. Outcome Measures • Studies needed to have evaluated functional and/or metabolic outcomes. Functional outcomes included (1) static and/or dynamic balance, (2) gait ability, (3) upper and/or lower muscle strength or power, (4) cardiorespiratory fitness, (5) flexibility, (6) risk of falls, and (7) quality of life. Metabolic outcomes included (1) lipid and glycemic profile; (2) systolic and diastolic blood pressure; (3) body composition; and (4) other specific cardiovascular risk factors or inflammatory or oxidative stress markers. Results • The research team retrieved 1042 articles, with 88 full texts assessed for eligibility, and 50 articles included in the analysis. Of the analyzed studies, 22 were RCTs evaluating dancing vs controls, and 3 were RCTs evaluating dancing vs other exercise. Regarding the participants of the reviewed studies: (1) 31 evaluated healthy individuals, (2) 7 evaluated patients suffering from Parkinson's disease, (3) 4 evaluated postmenopausal women, (4) 2 evaluated obese women, (5) 2 evaluated patients with chronic heart failure, (6) 1 evaluated frail older adults, (7) 1 evaluated individuals with visual impairments, (8) 1 evaluated persons with metabolic syndrome, and (9) 1 evaluated individuals with severe pain in the lower extremities. Regarding the interventions, most interventions were 12 wk long, 3 ×/wk, for 60 min each session. The dance styles most used were ballroom and cultural dances. Regarding the outcomes, functional and metabolic benefits were described in most of the included studies. Balance was the functional outcome most often assessed. Conclusions • Any dance style can induce positive functional adaptations in older adults, especially related to balance. Metabolic improvements may also be a result of dancing; however, more RCTs are needed. Dancing may be a potential exercise intervention to promote health-related benefits for aging individuals.

Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population

PubMed Central

Porat, Shai; Goukasian, Naira; Hwang, Kristy S.; Zanto, Theodore; Do, Triet; Pierce, Jonathan; Joshi, Shantanu; Woo, Ellen; Apostolova, Liana G.

2016-01-01

Introduction We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). Methods 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Results Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II) short delay free recall (p = 0.004), the CVLT-II long delay free recall (p = 0.003), and the CVLT-II learning over trials 1-5 (p = 0.001). Discussion Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI. PMID:27920794

Kazakh Traditional Dance Gesture Recognition

NASA Astrophysics Data System (ADS)

Nussipbekov, A. K.; Amirgaliyev, E. N.; Hahn, Minsoo

2014-04-01

Full body gesture recognition is an important and interdisciplinary research field which is widely used in many application spheres including dance gesture recognition. The rapid growth of technology in recent years brought a lot of contribution in this domain. However it is still challenging task. In this paper we implement Kazakh traditional dance gesture recognition. We use Microsoft Kinect camera to obtain human skeleton and depth information. Then we apply tree-structured Bayesian network and Expectation Maximization algorithm with K-means clustering to calculate conditional linear Gaussians for classifying poses. And finally we use Hidden Markov Model to detect dance gestures. Our main contribution is that we extend Kinect skeleton by adding headwear as a new skeleton joint which is calculated from depth image. This novelty allows us to significantly improve the accuracy of head gesture recognition of a dancer which in turn plays considerable role in whole body gesture recognition. Experimental results show the efficiency of the proposed method and that its performance is comparable to the state-of-the-art system performances.

Physiological fitness and professional classical ballet performance: a brief review.

PubMed

Twitchett, Emily A; Koutedakis, Yiannis; Wyon, Matthew A

2009-12-01

Although classical ballet is an artistic expression through the use of the body, there is a real opportunity to improve and extend the dancer's career by simply applying sports science principles to dance training and performance. Dance training is a long process of physical, intellectual, and psychological preparation, through physical exercise, often beginning in childhood and continuing until retirement. Fitness programs, supplementary to traditional dance classes, have only recently been considered as a part of this process; it may be suggested that this cross-training has generally been avoided thus far because of tradition and a reluctance to follow principles associated with sport. Classical ballet training, rehearsal, and performance do not elicit significant stimulus to result in increased aerobic fitness levels. Therefore, dancers often demonstrate low levels of aerobic fitness even though a strong aerobic foundation is necessary to meet the required workload. Dancers have greater than average range of motion and strength at the hip joint but weaknesses in the upper body, torso, hamstrings, and quadriceps. In the past, dancers have been wary of strength training because they perceive this leads to aesthetically undesirable hypertrophy. Dancers also have low body weights and low percentage body fat. Given that training does not provide the opportunity to expend enough energy to maintain these aesthetic demands, this aesthetic demand may be met by caloric restriction, which may lead to subsequent increased injury risk. It has been hypothesized that a "fit for purpose" body can help improve performance, reduce the risk of injury, and ensure prolonged dance careers. This review aims to explore the extent to which physical fitness components relate to dance performance, in particular classical ballet.

Dance movement therapy and falls prevention.

PubMed

Veronese, Nicola; Maggi, Stefania; Schofield, Patricia; Stubbs, Brendon

2017-08-01

Falls are a leading cause of morbidity, healthcare use and mortality. Dance is a popular form of physical activity among older people and previous research has suggested that it may improve various health outcomes in this population, including balance, gait and muscle performance. A systematic review of the potential benefits of dance on falls and fear of falling is lacking. Thus, we conducted a systematic review considering all randomized controls trials (RCTs) investigating if dance can reduce falls and improve fear of falling in older adults. Major databases were searched from inception until 1 March 2017 and a total of 10 RCTs were identified, which included a total of 680 people (n=356 dance, n=324 control). Overall, the mean age of the samples was 69.4 years, and 75.2% were female. Across four RCTs, dance therapy reduced falls versus usual care in only one study. Dance therapy improved fear of falling in two out of three included RCTs. There were no serious adverse events reported in the RCTs. In summary, we found a paucity of studies investigating the effect of dance on falls and fear of falling and the evidence base is preliminary and equivocal. Given the heterogeneity of the included samples and interventions, in addition to the short-term follow-up, no firm conclusions can be drawn. However, dance appears to be safe and, given its popularity and demonstrated benefits on other health/wellbeing outcomes in older adults, it is important that future research considers its potential benefits on falls/fear of falling in older age. Copyright © 2017 Elsevier B.V. All rights reserved.

Core stability: implications for dance injuries.

PubMed

Rickman, Ashley M; Ambegaonkar, Jatin P; Cortes, Nelson

2012-09-01

Dancers experience a high incidence of injury due to the extreme physical demands of dancing. The majority of dance injuries are chronic in nature and occur in the lower extremities and low back. Researchers have indicated decreased core stability (CS) as a risk factor for these injuries. Although decreased CS is suggested to negatively affect lower extremity joint motion and lumbar control during activity, this relationship has not been extensively discussed in previous dance literature. Understanding the relationship between CS and injury risk is important to help reduce dance injury incidence and improve performance. The purposes of this review were to discuss: 1. the core and components of CS, 2. the relationship between CS and injury, 3. CS assessment techniques, and 4. future dance CS research areas. CS is the integration of passive (non-contractile), active (contractile), and neural structures to minimize the effects of external forces and maintain stability. CS is maintained by a combination of muscle power, strength, endurance, and sensory-motor control of the lumbopelvic-hip complex. CS assessments include measuring muscle strength and power using maximal voluntary isometric and isokinetic contractions and measuring endurance using the Biering-Sorensen, plank, and lateral plank tests. Measuring sensory-motor control requires specialized equipment (e.g., balance platforms). Overall, limited research has comprehensively examined all components of CS together and their relationships to injury. Rather, previous researchers have separately examined core power, strength, endurance, or sensory-motor control. Future researchers should explore the multifactorial role of CS in reducing injury risk and enhancing performance in dancers.

Effect of metaphorical verbal instruction on modeling of sequential dance skills by young children.

PubMed

Sawada, Misako; Mori, Shiro; Ishii, Motonobu

2002-12-01

Metaphorical verbal instruction was compared to specific verbal instruction about movement in the modeling of sequential dance skills by young children. Two groups of participants (Younger, mean age 5:3 yr., n = 30: Older, mean age 6:2 yr., n = 30) were randomly assigned to conditions in a 2 (sex) x 2 (age [Younger and Older]) x 3 (verbal instruction [Metaphorical, Movement-relevant, and None]) factorial design. Order scores were calculated for both performance and recognition tests, comprising five acquisition trials and two retention trials after 24 hr., respectively. Analysis of variance indicated that the group given metaphorical instruction performed better than the other two instructions for both younger and older children. The results suggest that metaphorical verbal instruction aids the recognition and performance of sequential dance skills in young children.

Increase in dance imprecision with decreasing foraging distance in the honey bee Apis mellifera L. is partly explained by physical constraints.

PubMed

Beekman, Madeleine; Doyen, Laurent; Oldroyd, Benjamin P

2005-12-01

Honey bee foragers communicate the direction and distance of both food sources and new nest sites to nest mates by means of a symbolic dance language. Interestingly, the precision by which dancers transfer directional information is negatively correlated with the distance to the advertised food source. The 'tuned-error' hypothesis suggests that colonies benefit from this imprecision as it spreads recruits out over a patch of constant size irrespective of the distance to the advertised site. An alternative to the tuned-error hypothesis is that dancers are physically incapable of dancing with great precision for nearby sources. Here we revisit the tuned-error hypothesis by studying the change in dance precision with increasing foraging distance over relatively short distances while controlling for environmental influences. We show that bees indeed increase their dance precision with the increase in foraging distance. However, we also show that dance performed by swarm-scouts for a nearby (30 m) nest site, where there could be no benefit to imprecision, are either without or with only limited directional information. This result suggests that imprecision in dance communication is caused primarily by physical constraints in the ability of dancers to turn around quickly enough when the advertised site is nearby.

Dancing Effects on Preschoolers' Sensorimotor Synchronization, Balance, and Movement Reaction Time.

PubMed

Chatzihidiroglou, Panagiota; Chatzopoulos, Dimitris; Lykesas, Georgios; Doganis, Georgios

2018-06-01

In the present study, we compared an experimental group of preschool children ( n = 22; mean age = 5 years, 8 months) who followed an 8-week dance program with a control group ( n = 20; mean age = 5 years, 5 months) on pre-post measures of sensorimotor synchronization (K-Rhythm Test), balancing on one leg and movement reaction time. Compared with the control participants, the dance group demonstrated significantly better pretest to posttest improvements on sensorimotor synchronization and balance (but not movement reaction time). Considering the importance of sensorimotor synchronization and balance for subsequent child development and performance of daily and sport activities, these results suggest that dancing should be included in early childhood curricula.

Honey bees can perform accurately directed waggle dances based solely on information from a homeward trip.

PubMed

Edrich, Wolfgang

2015-10-01

Honey bees were displaced several 100 m from their hive to an unfamiliar site and provisioned with honey. After feeding, almost two-thirds of the bees flew home to their hive within a 50 min observation time. About half of these returning, bees signalled the direction of the release site in waggle dances thus demonstrating that the dance can be guided entirely by information gathered on a single homeward trip. The likely reason for the bees' enthusiastic dancing on their initial return from this new site was the highly rewarding honeycomb that they were given there. The attractive nature of the site is confirmed by many of these bees revisiting the site and continuing to forage there.

Developmental Trends in the Dance Performance of Children Age Six to Nine

ERIC Educational Resources Information Center

Little, Stephanie Lane

2011-01-01

Quality elementary physical education programs recognize the changing development and movement abilities of children (NASPE, 2007). Educational dance within these programs provides opportunities to engage in developmentally appropriate rhythmic activities. Research to date provides modest information for physical educators regarding what rhythmic…

Doctors Can Dance

ERIC Educational Resources Information Center

Newell, Anna; Kleiman, Paul

2012-01-01

Between 2008-2010 the School of Medicine at Queen's University Belfast funded and supported two unique and intensive three week interdisciplinary performance projects in which medical and drama students worked together to create an experimental dance theatre piece. One of the unique aspects of this collaboration was that the medical students who…

Heartfelt images: learning cardiac science artistically.

PubMed

Courneya, Carol Ann

2018-03-01

There are limited curricular options for medical students to engage in art-making during their training. Yet, it is known that art-making confers a variety of benefits related to learning. This qualitative study utilises a visual methodology to explore students' art-making in the context of the cardiovascular sciences. The existence of a multiyear repository of medical/dental student generated, cardiac-inspired art, collected over 6 years, provided the opportunity to explore the nature of the art made. The aim was to categorise the art produced, as well as the depth and breadth of understanding required to produce the art. The data set included a wide variety of titled art (paintings, photographs, sketches, sculptures, collages, poetry and music/dance). Systematic curation of the collection, across all media, yielded three main categories: anatomical renderings, physiology/pathophysiology renderings and kinesthetic creations (music/dance/tactile). Overall (medical and dental) student-generated art suggested a high level of content/process understanding, as illustrated by attention to scientific detail, integration of form and function as well as the sophisticated use of visual metaphor and word play. Dental students preferentially expressed their understanding of anatomy and physiology kinesthetically, creating art that required manual dexterity as well as through choreography and dance. Combining art-making with basic science curricular learning invited the medical and dentistry students to link their understanding to different modes of expression and a non-biomedical way of knowing. Subsequent incorporation of the student-generated cardiac art into lectures exposed the entire class to creative pictorial expressions of anatomy, physiology and pathophysiology. © Article author(s) (or their employer(s) unless otherwise stated in the text of the article) 2018. All rights reserved. No commercial use is permitted unless otherwise expressly granted.

Impact of the Supervisor Feedback Environment on Creative Performance: A Moderated Mediation Model

PubMed Central

Zhang, Jian; Gong, Zhenxing; Zhang, Shuangyu; Zhao, Yujia

2017-01-01

Studies on the relationship between feedback and creative performance have only focused on the feedback-self and have underestimated the value of the feedback environment. Building on Self Determined Theory, the purpose of this article is to examine the relationship among feedback environment, creative personality, goal self-concordance and creative performance. Hierarchical regression analysis of a sample of 162 supervisor–employee dyads from nine industry firms. The results indicate that supervisor feedback environment is positively related to creative performance, the relationship between the supervisor feedback environment and creative performance is mediated by goal self-concordance perfectly and moderated by creative personality significantly. The mediation effort of goal self-concordance is significantly influenced by creative personality. The implication of improving employees’ creative performance is further discussed. The present study advances several perspectives of previous studies, echoes recent suggestions that organizations interested in stimulating employee creativity might profitably focus on developing work contexts that support it. PMID:28275362

Senior Dance Experience, Cognitive Performance, and Brain Volume in Older Women

PubMed Central

Niemann, Claudia; Godde, Ben

2016-01-01

Physical activity is positively related to cognitive functioning and brain volume in older adults. Interestingly, different types of physical activity vary in their effects on cognition and on the brain. For example, dancing has become an interesting topic in aging research, as it is a popular leisure activity among older adults, involving cardiovascular and motor fitness dimensions that can be positively related to cognition. However, studies on brain structure are missing. In this study, we tested the association of long-term senior dance experience with cognitive performance and gray matter brain volume in older women aged 65 to 82 years. We compared nonprofessional senior dancers (n = 28) with nonsedentary control group participants without any dancing experience (n = 29), who were similar in age, education, IQ score, lifestyle and health factors, and fitness level. Differences neither in the four tested cognitive domains (executive control, perceptual speed, episodic memory, and long-term memory) nor in brain volume (VBM whole-brain analysis, region-of-interest analysis of the hippocampus) were observed. Results indicate that moderate dancing activity (1-2 times per week, on average) has no additional effects on gray matter volume and cognitive functioning when a certain lifestyle or physical activity and fitness level are reached. PMID:27738528

The Dung Beetle Dance: An Orientation Behaviour?

PubMed Central

Baird, Emily; Byrne, Marcus J.; Smolka, Jochen; Warrant, Eric J.; Dacke, Marie

2012-01-01

An interesting feature of dung beetle behaviour is that once they have formed a piece of dung into a ball, they roll it along a straight path away from the dung pile. This straight-line orientation ensures that the beetles depart along the most direct route, guaranteeing that they will not return to the intense competition (from other beetles) that occurs near the dung pile. Before rolling a new ball away from the dung pile, dung beetles perform a characteristic “dance,” in which they climb on top of the ball and rotate about their vertical axis. This dance behaviour can also be observed during the beetles' straight-line departure from the dung pile. The aim of the present study is to investigate the purpose of the dung beetle dance. To do this, we explored the circumstances that elicit dance behaviour in the diurnal ball-rolling dung beetle, Scarabaeus (Kheper) nigroaeneus. Our results reveal that dances are elicited when the beetles lose control of their ball or lose contact with it altogether. We also find that dances can be elicited by both active and passive deviations of course and by changes in visual cues alone. In light of these results, we hypothesise that the dung beetle dance is a visually mediated mechanism that facilitates straight-line orientation in ball-rolling dung beetles by allowing them to 1) establish a roll bearing and 2) return to this chosen bearing after experiencing a disturbance to the roll path. PMID:22279572

Impact of touring, performance schedule, and definitions on 1-year injury rates in a modern dance company.

PubMed

Bronner, Shaw; Wood, Lily

2017-11-01

There is ongoing debate about how to define injury in dance: the most encompassing one or a time-loss definition. We examined the relationship between touring, performance schedule and injury definition on injury rates in a professional modern dance company over one-year. In-house healthcare management tracked 35 dancers for work-related musculoskeletal injuries (WMSI), time-loss injuries (TLinj), complaints, and exposure. The year was divided into 6 segments to allow comparison of effects of performance, rehearsal, and touring. Injuries/segment were converted into injuries/1000-h dance exposure. We conducted negative binomial regression analysis to determine differences between segments, P ≤ 0.05. Twenty WMSI, 0.44 injuries/1000-h, were sustained over one-year. WMSI were 6 times more likely to occur in Segment-6, compared with other segments (incident rate ratio = 6.055, P = 0.031). The highest rate of TLinj and traumatic injuries also occurred in Segment-6, reflecting concentrated rehearsal, New York season and performances abroad. More overuse injuries occurred in Segment-2, an international tour, attributed to raked stages. Lack of methods to quantify performance other than injury may mask effects of touring on dancer's well-being. Tracking complaints permits understanding of stressors to specific body regions and healthcare utilisation; however, TLinj remain the most important injuries to track because they impact other dancers and organisational costs.

Things That Go "Peent" in the Night.

ERIC Educational Resources Information Center

Neidich, Carole Louise

1981-01-01

Describes early spring night field trips by two naturalists and ten adults, armed with cameras and flashlights, in search of Spotted Salamanders performing ritual mating dances. Although dancing salamanders proved elusive, their habits and those of other pond life were examined and Spring American Woodcock nuptial flights were observed. (NEC)

Teaching Dance in an Online Setting

ERIC Educational Resources Information Center

Caldwell, Linda Almar; Milling-Robbins, Stephanie

2007-01-01

The advent of distance education in universities has created curricular and pedagogical concerns as well as possibilities for dance educators. This article addresses questions concerning how technology has altered and broadened traditional viewing and performing venues, the role of the dancer and spectator within them, and how these changes impact…

Creating Living Forms: Choreography in Bharatanatyam

ERIC Educational Resources Information Center

Banerjee, Suparna

2005-01-01

This paper is a reflection on the process of dance choreography, an assignment for pedagogical evaluation at postgraduate level in an Indian university. It is also a recapitulation and reconstruction of my experiences while undergoing a Master's course in Bharatanatyam (a style of classical dance) in the Centre for Performing Arts (CPA),…

Formative Assessment in Dance Education

ERIC Educational Resources Information Center

Andrade, Heidi; Lui, Angela; Palma, Maria; Hefferen, Joanna

2015-01-01

Feedback is crucial to students' growth as dancers. When used within the framework of formative assessment, or assessment for learning, feedback results in actionable next steps that dancers can use to improve their performances. This article showcases the work of two dance specialists, one elementary and one middle school teacher, who have…

Toward a Psychology of Responses to Dance Performance

ERIC Educational Resources Information Center

Gervasio, Amy Herstein

2012-01-01

This paper applies contemporary principles in cognitive and social psychology to understand how Western ballet and modern dance is imbued with emotional and narrative meaning by an audience. These include nine Gestalt concepts of visual form perception as well as cognitive heuristics of representativeness and availability in concept formation and…

Pleasantness of Creative Tasks and Creative Performance

ERIC Educational Resources Information Center

Zenasni, Franck; Lubart, Todd

2011-01-01

To examine the impact of emotion on creative potential, experimental studies have typically focused on the impact of induced or spontaneous mood states on creative performance. In this report the relationship between the perceived pleasantness of tasks (using divergent thinking and story writing tasks) and creative performance was examined.…

Women's experiences of attending a creative arts program during their pregnancy.

PubMed

Demecs, Ilona Pappne; Fenwick, Jennifer; Gamble, Jenny

2011-09-01

This small qualitative study aimed to explore pregnant women's experiences of participating in a pregnancy program designed around the use of creative activities. Increasingly childbirth, in resource rich countries, is considered a medical event with limited attention paid to the emotional aspects of pregnancy. However, the use of the creative arts to promote physical and emotional health and well-being has also gained increasing acknowledgement and recognition. Based on this latter literature, a program of activities including singing, dancing, storytelling and weaving was developed for pregnant women. A qualitative descriptive approach was employed. Seven pregnant women participated in six 2-h creative activity sessions. Data were collected using diaries, interviews, field notes and a brief questionnaire. Thematic analysis was used to analyse the qualitative data. Four themes, labelled 'Seeking support', 'Connecting with each other, myself and the baby', 'Finding a place to share, learn and grow,' and 'Finding balance' were identified. The findings suggest that participating in the program afforded women social support, a sense of connection with each other and enhanced perceptions of emotional well-being during pregnancy. The findings provide preliminary evidence that engaging in creative activities during pregnancy may enhance women's sense of emotional well-being. In addition, the findings confirm the growing body of literature that suggests that when childbearing women come together in a supportive sharing environment an opportunity is created whereby women learn or regain their cultural knowledge about birth and feel confident to make the decisions that best meet their own individual needs and preferences. Although the creative activities program was not designed to prepare women for birth it facilitated the sharing of information which appeared to increase the women's confidence and sense of competence to give birth and transition into motherhood. While the number of women attending the program was small, the positive experiences expressed by participants warrant further development, implementation and investigation of similar approaches to childbirth preparation. Based on this study, it would seem that such a program is indeed feasible and that women would attend. Copyright © 2010 Australian College of Midwives. Published by Elsevier Ltd. All rights reserved.

Biofeedback and dance performance: a preliminary investigation.

PubMed

Raymond, Joshua; Sajid, Imran; Parkinson, Lesley A; Gruzelier, John H

2005-03-01

Alpha-theta neurofeedback has been shown to produce professionally significant performance improvements in music students. The present study aimed to extend this work to a different performing art and compare alpha-theta neurofeedback with another form of biofeedback: heart rate variability (HRV) biofeedback. Twenty-four ballroom and Latin dancers were randomly allocated to three groups, one receiving neurofeedback, one HRV biofeedback and one no intervention. Dance was assessed before and after training. Performance improvements were found in the biofeedback groups but not in the control group. Neurofeedback and HRV biofeedback benefited performance in different ways. A replication with larger sample sizes is required.

Injuries in Irish dance.

PubMed

Stein, Cynthia J; Tyson, Kesley D; Johnson, Victor M; Popoli, David M; d'Hemecourt, Pierre A; Micheli, Lyle J

2013-12-01

Irish dance is growing in popularity and competitiveness; however, very little research has focused specifically on this genre of dance. The purpose of this study was to analyze the types of dance injuries incurred by Irish dancers. A chart review was performed to identify all injuries associated with Irish dance seen in the sports medicine or orthopaedic clinics at the investigators' hospital over an 11-year period. "Injury" was defined as any dance-related pain or disorder that led to evaluation in the clinics. Survey data were also collected from study participants. Ultimately, 255 patients from over 30 different schools of dance were seen with injuries directly related (726 clinic visits) or partially related (199 visits) to Irish dance. Participants ranged in age from 4 to 47, with 95% (243/255) under the age of 19. These 255 patients received 437 diagnoses. Almost 80% of the injuries (348/437) were attributable to overuse, and 20.4% were acute and traumatic injuries (89/437). Ninety-five percent (95.9%) of injuries involved the hip or lower extremity. The most common sites were the foot (33.2%), ankle (22.7%), knee (19.7%), and hip (14.4%). Typical diagnoses were tendon injury (13.3%), apophysitis (11.4%), patellofemoral pain and instability (10.8%), stress injury (10.1%), and muscle injury (7.8%). The majority of traumatic injuries were seen in clinic within 3 weeks, but less than a quarter of overuse injuries were seen that quickly. The most common treatment, prescribed to 84.3% of patients, was physical therapy and home exercises, and the majority of dancers (64.3%) were able to return to full dance activity after injury.

Physiological and perceptual responses to Latin partnered social dance.

PubMed

Domene, Pablo A; Moir, Hannah J; Pummell, Elizabeth; Easton, Chris

2014-10-01

The purpose of this study was to investigate the physiological and perceptual responses to Latin partnered social dance to salsa music when performed as a self-selected activity within an ecologically valid setting. Eighteen non-professional adult Latin dancers undertook a laboratory-based graded exercise test for determination of maximal oxygen uptake and maximal heart rate. The dancers then attended two Latin partnered social dance sessions in established salsa venues in London, UK over a 2 wk period. Physiological data were collected using a wrist-worn ActiGraph wGT3X+ accelerometer with accompanying heart rate monitor. Perceived benefits of dance were assessed via the Exercise Benefits/Barriers Scale, and measurement of state intrinsic motivation during dance was undertaken using the Intrinsic Motivation Inventory. Total step count during 2h of dance was not different (t16 = -.39, p = .71) between females and males (9643 ± 1735 step); however, women expended a significantly lower (t16 = -2.57, p < .05) total energy expenditure when compared to men (479 ± 125 versus 651 ± 159 kcal). Dancers of both genders considered interest-enjoyment to be the motivator of primary importance. The highest rated perceived benefit of dance was psychological outlook. Latin partnered social dance to salsa music demands moderate to vigorous physical activity intensity levels, and further, fosters interest, enjoyment, and a positive psychological outlook among novice to advanced adult Latin dancers taking part primarily for leisure purposes. These findings may be of use for those interested in the efficacy of Latin social dancing as an expressive medium for the promotion of community health. Copyright © 2014 Elsevier B.V. All rights reserved.

Capture and fission with DANCE and NEUANCE

DOE PAGES

Jandel, M.; Baramsai, B.; Bond, E.; ...

2015-12-23

A summary of the current and future experimental program at DANCE is presented. Measurements of neutron capture cross sections are planned for many actinide isotopes with the goal to reduce the present uncertainties in nuclear data libraries. Detailed studies of capture gamma rays in the neutron resonance region will be performed in order to derive correlated data on the de-excitation of the compound nucleus. New approaches on how to remove the DANCE detector response from experimental data and retain the correlations between the cascade gamma rays are presented. Studies on 235U are focused on quantifying the population of short-lived isomericmore » states in 236U after neutron capture. For this purpose, a new neutron detector array NEUANCE is under construction. It will be installed in the central cavity of the DANCE array and enable the highly efficient tagging of fission and capture events. In addition, developments of fission fragment detectors are also underway to expand DANCE capabilities to measurements of fully correlated data on fission observables.« less

Capture and fission with DANCE and NEUANCE

NASA Astrophysics Data System (ADS)

Jandel, M.; Baramsai, B.; Bond, E.; Rusev, G.; Walker, C.; Bredeweg, T. A.; Chadwick, M. B.; Couture, A.; Fowler, M. M.; Hayes, A.; Kawano, T.; Mosby, S.; Stetcu, I.; Taddeucci, T. N.; Talou, P.; Ullmann, J. L.; Vieira, D. J.; Wilhelmy, J. B.

2015-12-01

A summary of the current and future experimental program at DANCE is presented. Measurements of neutron capture cross sections are planned for many actinide isotopes with the goal to reduce the present uncertainties in nuclear data libraries. Detailed studies of capture gamma rays in the neutron resonance region will be performed in order to derive correlated data on the de-excitation of the compound nucleus. New approaches on how to remove the DANCE detector response from experimental data and retain the correlations between the cascade gamma rays are presented. Studies on 235U are focused on quantifying the population of short-lived isomeric states in 236U after neutron capture. For this purpose, a new neutron detector array NEUANCE is under construction. It will be installed in the central cavity of the DANCE array and enable the highly efficient tagging of fission and capture events. In addition, developments of fission fragment detectors are also underway to expand DANCE capabilities to measurements of fully correlated data on fission observables.

Evaluation by Expert Dancers of a Robot That Performs Partnered Stepping via Haptic Interaction.

PubMed

Chen, Tiffany L; Bhattacharjee, Tapomayukh; McKay, J Lucas; Borinski, Jacquelyn E; Hackney, Madeleine E; Ting, Lena H; Kemp, Charles C

2015-01-01

Our long-term goal is to enable a robot to engage in partner dance for use in rehabilitation therapy, assessment, diagnosis, and scientific investigations of two-person whole-body motor coordination. Partner dance has been shown to improve balance and gait in people with Parkinson's disease and in older adults, which motivates our work. During partner dance, dance couples rely heavily on haptic interaction to convey motor intent such as speed and direction. In this paper, we investigate the potential for a wheeled mobile robot with a human-like upper-body to perform partnered stepping with people based on the forces applied to its end effectors. Blindfolded expert dancers (N=10) performed a forward/backward walking step to a recorded drum beat while holding the robot's end effectors. We varied the admittance gain of the robot's mobile base controller and the stiffness of the robot's arms. The robot followed the participants with low lag (M=224, SD=194 ms) across all trials. High admittance gain and high arm stiffness conditions resulted in significantly improved performance with respect to subjective and objective measures. Biomechanical measures such as the human hand to human sternum distance, center-of-mass of leader to center-of-mass of follower (CoM-CoM) distance, and interaction forces correlated with the expert dancers' subjective ratings of their interactions with the robot, which were internally consistent (Cronbach's α=0.92). In response to a final questionnaire, 1/10 expert dancers strongly agreed, 5/10 agreed, and 1/10 disagreed with the statement "The robot was a good follower." 2/10 strongly agreed, 3/10 agreed, and 2/10 disagreed with the statement "The robot was fun to dance with." The remaining participants were neutral with respect to these two questions.

Evaluation by Expert Dancers of a Robot That Performs Partnered Stepping via Haptic Interaction

PubMed Central

Chen, Tiffany L.; Bhattacharjee, Tapomayukh; McKay, J. Lucas; Borinski, Jacquelyn E.; Hackney, Madeleine E.; Ting, Lena H.; Kemp, Charles C.

2015-01-01

Our long-term goal is to enable a robot to engage in partner dance for use in rehabilitation therapy, assessment, diagnosis, and scientific investigations of two-person whole-body motor coordination. Partner dance has been shown to improve balance and gait in people with Parkinson's disease and in older adults, which motivates our work. During partner dance, dance couples rely heavily on haptic interaction to convey motor intent such as speed and direction. In this paper, we investigate the potential for a wheeled mobile robot with a human-like upper-body to perform partnered stepping with people based on the forces applied to its end effectors. Blindfolded expert dancers (N=10) performed a forward/backward walking step to a recorded drum beat while holding the robot's end effectors. We varied the admittance gain of the robot's mobile base controller and the stiffness of the robot's arms. The robot followed the participants with low lag (M=224, SD=194 ms) across all trials. High admittance gain and high arm stiffness conditions resulted in significantly improved performance with respect to subjective and objective measures. Biomechanical measures such as the human hand to human sternum distance, center-of-mass of leader to center-of-mass of follower (CoM-CoM) distance, and interaction forces correlated with the expert dancers' subjective ratings of their interactions with the robot, which were internally consistent (Cronbach's α=0.92). In response to a final questionnaire, 1/10 expert dancers strongly agreed, 5/10 agreed, and 1/10 disagreed with the statement "The robot was a good follower." 2/10 strongly agreed, 3/10 agreed, and 2/10 disagreed with the statement "The robot was fun to dance with." The remaining participants were neutral with respect to these two questions. PMID:25993099

Dance Education Research and Supplementary Articles.

ERIC Educational Resources Information Center

Minton, Sandra, Comp.

This bibliography presents listings in the following areas: assessment in dance education; attitudinal studies in dance education; dance certification, standards, status; dance curricula; dance education history; dance education and technology; dance education theory; dance teacher behaviors; dance teacher preparation; descriptions of dance…

The effect of dance on depressive symptoms in nursing home residents.

PubMed

Vankova, Hana; Holmerova, Iva; Machacova, Katerina; Volicer, Ladislav; Veleta, Petr; Celko, Alexander Martin

2014-08-01

To evaluate the effect of a dance-based therapy on depressive symptoms among institutionalized older adults. Randomized controlled trial. Nursing homes. Older adults (60 years or older) permanently living in a nursing home. Exercise Dance for Seniors (EXDASE) Program designed for the use in long-term care settings performed once a week for 60 minutes for 3 months. Baseline measures included sociodemographic characteristics, ability to perform basic as well as instrumental activities of daily living, basic mobility, self-rated health, and cognitive status. Outcome measures were collected before and after the intervention and included assessment of depressive symptoms using the geriatric depression scale (GDS). Comparison of participants with MMSE of 15 or higher showed that GDS scores in the intervention group significantly improved (P = .005), whereas the control group had a trend of further worsening of depressive symptoms (P = .081). GLM analysis documented highly statistically significant effect of dance therapy (P = .001) that was not influenced by controlling for intake of antidepressants and nursing home location. Dance therapy may have decreased depressive symptoms even in participants with MMSE lower than 15 and resulted in more discontinuations and fewer prescriptions of antidepressants in the intervention group than in the control group. This study provides evidence that dance-based exercise can reduce the amount of depressive symptoms in nursing home residents. In general, this form of exercise seems to be very suitable and beneficial for this population. Copyright © 2014 AMDA – The Society for Post-Acute and Long-Term Care Medicine. Published by Elsevier Inc. All rights reserved.

Dance floor force reduction influences ankle loads in dancers during drop landings.

PubMed

Hopper, Luke S; Alderson, Jacqueline A; Elliott, Bruce C; Ackland, Timothy R

2015-07-01

Dance floor mechanical properties have the potential to influence the high frequency of ankle injuries in dancers. However, biomechanical risk factors for injury during human movement on hard, low force reduction floors have not been established. The aim of this study was to examine the ankle joint mechanics of dancers performing drop landings on dance floors with varied levels of force reduction. Repeated measures cross sectional study. Fourteen dancers performed drop landings on five custom built dance floors. Ankle joint mechanics were calculated using a three dimensional kinematic model and inverse dynamics approach. Ankle joint kinematic (dorsiflexion; range of motion, peak angular velocity and acceleration) and kinetic (plantar flexion; peak joint moments and power) variables significantly increased with a decrease in floor force reduction. Many of the observed changes occurred within a latency of <0.1s post-contact with the floor and were associated with increased vertical ground reaction forces and decreased floor vertical deformation. The observed mechanical changes are interpreted as an increase in the load experienced by the energy absorbing structures that cross the ankle. The short latency of the changes represents a high intensity movement at the ankle during a period of limited cognitive neuromuscular control. It is suggested that these observations may have injury risk implications for dancers that are related to joint stabilization. These findings may be of benefit for further investigation of dance injury prevention and support the notion that bespoke force reduction standards for dance floors are necessary. Copyright © 2014 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

Lateral occipitotemporal cortex (LOTC) activity is greatest while viewing dance compared to visualization and movement: learning and expertise effects.

PubMed

Di Nota, Paula M; Levkov, Gabriella; Bar, Rachel; DeSouza, Joseph F X

2016-07-01

The lateral occipitotemporal cortex (LOTC) is comprised of subregions selectively activated by images of human bodies (extrastriate body area, EBA), objects (lateral occipital complex, LO), and motion (MT+). However, their role in motor imagery and movement processing is unclear, as are the influences of learning and expertise on its recruitment. The purpose of our study was to examine putative changes in LOTC activation during action processing following motor learning of novel choreography in professional ballet dancers. Subjects were scanned with functional magnetic resonance imaging up to four times over 34 weeks and performed four tasks: viewing and visualizing a newly learned ballet dance, visualizing a dance that was not being learned, and movement of the foot. EBA, LO, and MT+ were activated most while viewing dance compared to visualization and movement. Significant increases in activation were observed over time in left LO only during visualization of the unlearned dance, and all subregions were activated bilaterally during the viewing task after 34 weeks of performance, suggesting learning-induced plasticity. Finally, we provide novel evidence for modulation of EBA with dance experience during the motor task, with significant activation elicited in a comparison group of novice dancers only. These results provide a composite of LOTC activation during action processing of newly learned ballet choreography and movement of the foot. The role of these areas is confirmed as primarily subserving observation of complex sequences of whole-body movement, with new evidence for modification by experience and over the course of real world ballet learning.

Rewards and creative performance: a meta-analytic test of theoretically derived hypotheses.

PubMed

Byron, Kris; Khazanchi, Shalini

2012-07-01

Although many scholars and practitioners are interested in understanding how to motivate individuals to be more creative, whether and how rewards affect creativity remain unclear. We argue that the conflicting evidence may be due to differences between studies in terms of reward conditions and the context in which rewards are offered. Specifically, we examine 5 potential moderators of the rewards-creative performance relationship: (a) the reward contingency, (b) the extent to which participants are provided information about their past or current creative performance, (c) the extent to which the reward and context offer choice or impose control, (d) the extent to which the context serves to enhance task engagement, and (e) the extent to which the performance tasks are complex. Using random-effects models, we meta-analyzed 60 experimental and nonexperimental studies (including 69 independent samples) that examined the rewards-creativity relationship with children or adults. Our results suggest that creativity-contingent rewards tend to increase creative performance-and are more positively related to creative performance when individuals are given more positive, contingent, and task-focused performance feedback and are provided more choice (and are less controlled). In contrast, performance-contingent or completion-contingent rewards tend to have a slight negative effect on creative performance.

Flow, affect and visual creativity.

PubMed

Cseh, Genevieve M; Phillips, Louise H; Pearson, David G

2015-01-01

Flow (being in the zone) is purported to have positive consequences in terms of affect and performance; however, there is no empirical evidence about these links in visual creativity. Positive affect often--but inconsistently--facilitates creativity, and both may be linked to experiencing flow. This study aimed to determine relationships between these variables within visual creativity. Participants performed the creative mental synthesis task to simulate the creative process. Affect change (pre- vs. post-task) and flow were measured via questionnaires. The creativity of synthesis drawings was rated objectively and subjectively by judges. Findings empirically demonstrate that flow is related to affect improvement during visual creativity. Affect change was linked to productivity and self-rated creativity, but no other objective or subjective performance measures. Flow was unrelated to all external performance measures but was highly correlated with self-rated creativity; flow may therefore motivate perseverance towards eventual excellence rather than provide direct cognitive enhancement.

The Invisible Injury: Supporting the Recovery of Dancers with Concussions

ERIC Educational Resources Information Center

Kish, Robin L.; Koutures, Chris G.

2016-01-01

Dancers are "artistic athletes." They must possess the strength, agility, power and flexibility of any athlete and perform with perfect musicality and emotion, demonstrating the artistry of the dance. As an art form dance continues to push the physical boundaries of the human body, increasing the inherent risks to the dancers. Most…

Dance Theatre of Harlem--Theater Activity Packet.

ERIC Educational Resources Information Center

New York City Board of Education, Brooklyn, NY. Div. of Curriculum and Instruction.

Intended to complement the New York City communication arts curriculum, this packet introduces young students, guided by the classroom teacher, to a dress rehearsal performance of the Dance Theatre of Harlem ballet company. The packet is one of a series in the "Early Stages" program, a joint effort of the Mayor's Office of Film, Theater…

The Performance in Context Model: A 21st Century Tertiary Dance Teaching Pedagogy

ERIC Educational Resources Information Center

Stevens, Kym; Huddy, Avril

2016-01-01

Despite tertiary institutions acknowledging that reflective practice is an essential component of undergraduate dance teacher training, there is often a disparity between the tertiary students' reflective skills and the more sophisticated reflective ability needed to navigate the twenty-first-century workforce. This paper charts the evolution of a…

The Future of Dance and/as Work: Performing Precarity

ERIC Educational Resources Information Center

Van Assche, Annelies

2017-01-01

This article explores how and to what extent precarity is intertwined with a contemporary dance artist's labour, life and art in the neoliberal society. Throughout this investigation my arguments are supported by insights from an on-going qualitative study that uses in-depth interviews and observations of working processes within the Brussels…

DANCEing with the Stars: Measuring Neutron Capture on Unstable Isotopes with DANCE

DOE Office of Scientific and Technical Information (OSTI.GOV)

Couture, A.; Bond, E.; Bredeweg, T. A.

2009-03-10

Isotopes heavier than iron are known to be produced in stars through neutron capture processes. Two major processes, the slow (s) and rapid (r) processes are each responsible for 50% of the abundances of the heavy isotopes. The neutron capture cross sections of the isotopes on the s process path reveal information about the expected abundances of the elements as well as stellar conditions and dynamics. Until recently, measurements on unstable isotopes, which are most important for determining stellar temperatures and reaction flow, have not been experimentally feasible. The Detector for Advance Neutron Capture Experiments (DANCE) located at the Losmore » Alamos Neutron Science Center (LANSCE) was designed to perform time-of-flight neutron capture measurements on unstable isotopes for nuclear astrophysics, stockpile stewardship, and reactor development. DANCE is a 4-{pi}BaF{sub 2} scintillator array which can perform measurements on sub-milligram samples of isotopes with half-lives as short as a few hundred days. These cross sections are critical for advancing our understanding of the production of the heavy isotopes.« less

Neutron capture reactions at DANCE

DOE Office of Scientific and Technical Information (OSTI.GOV)

Bredeweg, T. A.

2008-05-12

The Detector for Advanced Neutron Capture Experiments (DANCE) is a 4{pi} BaF{sub 2} array consisting of 160 active detector elements. The primary purpose of the array is to perform neutron capture cross section measurements on small (> or approx.100 {mu}g) and/or radioactive (< or approx. 100 mCi) species. The measurements made possible with this array will be useful in answering outstanding questions in the areas of national security, threat reduction, nuclear astrophysics, advanced reactor design and accelerator transmutation of waste. Since the commissioning of DANCE we have performed neutron capture cross section measurements on a wide array of medium tomore » heavy mass nuclides. Measurements to date include neutron capture cross sections on {sup 241,243}Am, neutron capture and neutron-induced fission cross sections and capture-to-fission ratio ({alpha} = {sigma}{sub {gamma}}/{sigma}{sub f}) for {sup 235}U using a new fission-tagging detector as well as neutron capture cross sections for several astrophysics branch-point nuclei. Results from several of these measurements will be presented along with a discussion of additional physics information that can be extracted from the DANCE data.« less

Anthropometry and somatotypes of competitive DanceSport participants: a comparison of three different styles.

PubMed

Liiv, H; Wyon, M; Jürimäe, T; Purge, P; Saar, M; Mäestu, J; Jürimäe, J

2014-04-01

Anthropometry in dance and aesthetic sports has been shown to play an important role in selection and performance criteria. The aim of the present study was to examine variations in somatotype and anthropometry in three different competitive dance styles: DanceSport Standard, Latin American and Ten Dance. Anthropometry and somatotype data were collected from thirty couples competing in Standard (n=24 individuals), Latin American (n=14) and Ten Dance (n=22) styles. A single tester (ISAK Level 1) carried out all anthropometric measurements using the Heath-Carter protocol and somatotypes were calculated using the Heath-Carter's decimal equations. Results indicated that the mean somatotype for the male dancers was 2.4-3.9-3.2, whilst for females it was 2.7-2.7-3.5. Factorial analysis reported Standard dancers scored significantly higher for ectomorphy, sitting height and arm span than Latin dancers (p<0.05). Correlation analysis with the Standard dancer's International Ranking highlighted moderate positive correlation with mesomorphy (r=0.434, p<0.05) and negative correlation with ectomorphy (r=-0.546, p<0.001). The findings of this study show that somatotypes differ among DanceSport participants by dance style. Compared with other aesthetic sports, male and female dancers were less mesomorphic and more ectomorphic. Standard dancers tend to be more ectomorphic with greater height, longer arm span and greater sitting height compared with Latin American dancers. Although Standard dancers were ectomorphic, those dancers who had higher mesomorphic ranking had higher places in the dancers' international ranking. Copyright © 2013 Elsevier GmbH. All rights reserved.

Applying anodal tDCS during tango dancing in a patient with Parkinson's disease.

PubMed

Kaski, D; Allum, J H; Bronstein, A M; Dominguez, R O

2014-05-07

Gait disturbance in patients with Parkinson's disease remains a therapeutic challenge, given its poor response to levodopa. Dance therapy is of recognised benefit in these patients, particularly partnered dance forms such as the tango. In parallel, non-invasive brain stimulation has begun to show promise for the rehabilitation of patients with Parkinson's disease, although effects on gait, compared to upper limbs, have been less well defined. We applied transcranial direct current stimulation (tDCS) in a 79 year old male patient with moderate Parkinson's disease during tango dancing to assess its effect on trunk motion and balance. The patient performed a total of four dances over two days, two 'tango+tDCS' and two 'tango+sham' in a randomised double-blind fashion. In a separate experimental session we also assessed the isolated effect of tDCS (and sham) on gait without tango dancing. For the dance session, trunk peak velocity during tango was significantly greater during tDCS compared to sham stimulation. In the gait experiments we observed a modest but significant reduction in the time taken to complete the 3m 'timed up and go' and 6m walk, and an increase in overall gait velocity and peak pitch trunk velocity with tDCS compared to sham. Our findings suggest that tDCS may be a useful adjunct to gait rehabilitation for patients with PD, although studies in a larger group of patients are needed to evaluate the therapeutic use of non-invasive brain stimulation during dance therapy. Copyright © 2014 Elsevier Ireland Ltd. All rights reserved.

Risk Factors for Lower-Extremity Injuries Among Contemporary Dance Students.

PubMed

van Seters, Christine; van Rijn, Rogier M; van Middelkoop, Marienke; Stubbe, Janine H

2017-10-10

To determine whether student characteristics, lower-extremity kinematics, and strength are risk factors for sustaining lower-extremity injuries in preprofessional contemporary dancers. Prospective cohort study. Codarts University of the Arts. Forty-five first-year students of Bachelor Dance and Bachelor Dance Teacher. At the beginning of the academic year, the injury history (only lower-extremity) and student characteristics (age, sex, educational program) were assessed using a questionnaire. Besides, lower-extremity kinematics [single-leg squat (SLS)], strength (countermovement jump) and height and weight (body mass index) were measured during a physical performance test. Substantial lower-extremity injuries during the academic year were defined as any problems leading to moderate or severe reductions in training volume or in performance, or complete inability to participate in dance at least once during follow-up as measured with the Oslo Sports Trauma Research Center (OSTRC) Questionnaire on Health Problems. Injuries were recorded on a monthly basis using a questionnaire. Analyses on leg-level were performed using generalized estimating equations to test the associations between substantial lower-extremity injuries and potential risk factors. The 1-year incidence of lower-extremity injuries was 82.2%. Of these, 51.4% was a substantial lower-extremity injury. Multivariate analyses identified that ankle dorsiflexion during the SLS (OR 1.25; 95% confidence interval, 1.03-1.52) was a risk factor for a substantial lower-extremity injury. The findings indicate that contemporary dance students are at high risk for lower-extremity injuries. Therefore, the identified risk factor (ankle dorsiflexion) should be considered for prevention purposes.

A Dance to the Music of Time: Aesthetically-Relevant Changes in Body Posture in Performing Art

PubMed Central

Daprati, Elena; Iosa, Marco; Haggard, Patrick

2009-01-01

In performing arts, body postures are both means for expressing an artist's intentions, and also artistic objects, appealing to the audience. The postures of classical ballet obey the body's biomechanical limits, but also follow strict rules established by tradition. This combination offers a perfect milieu for assessing scientifically how the execution of this particular artistic activity has changed over time, and evaluating what factors may induce such changes. We quantified angles between body segments in archive material showing dancers from a leading company over a 60-year period. The data showed that body positions supposedly fixed by codified choreography were in fact implemented by very different elevation angles, according to the year of ballet production. Progressive changes lead to increasingly vertical positions of the dancer's body over the period studied. Experimental data showed that these change reflected aesthetic choices of naïve modern observers. Even when reduced to stick figures and unrecognisable shapes, the more vertical postures drawn from later productions were systematically preferred to less vertical postures from earlier productions. This gradual change within a conservative art form provides scientific evidence that aesthetic change may arise from continuous interaction between artistic tradition, individual artists' creativity, and a wider environmental context. This context may include social aesthetic pressure from audiences. PMID:19325705

A dance to the music of time: aesthetically-relevant changes in body posture in performing art.

PubMed

Daprati, Elena; Iosa, Marco; Haggard, Patrick

2009-01-01

In performing arts, body postures are both means for expressing an artist's intentions, and also artistic objects, appealing to the audience. The postures of classical ballet obey the body's biomechanical limits, but also follow strict rules established by tradition. This combination offers a perfect milieu for assessing scientifically how the execution of this particular artistic activity has changed over time, and evaluating what factors may induce such changes. We quantified angles between body segments in archive material showing dancers from a leading company over a 60-year period. The data showed that body positions supposedly fixed by codified choreography were in fact implemented by very different elevation angles, according to the year of ballet production. Progressive changes lead to increasingly vertical positions of the dancer's body over the period studied. Experimental data showed that these change reflected aesthetic choices of naïve modern observers. Even when reduced to stick figures and unrecognisable shapes, the more vertical postures drawn from later productions were systematically preferred to less vertical postures from earlier productions. This gradual change within a conservative art form provides scientific evidence that aesthetic change may arise from continuous interaction between artistic tradition, individual artists' creativity, and a wider environmental context. This context may include social aesthetic pressure from audiences.

Broadcast-quality-stereoscopic video in a time-critical entertainment and corporate environment

NASA Astrophysics Data System (ADS)

Gay, Jean-Philippe

1995-03-01

`reality present: Peter Gabrial and Cirque du Soleil' is a 12 minute original work directed and produced by Doug Brown, Jean-Philippe Gay & A. Coogan, which showcases creative content applications of commercial stereoscopic video equipment. For production, a complete equipment package including a Steadicam mount was used in support of the Ikegami LK-33 camera. Remote production units were fielded in the time critical, on-stage and off-stage environments of 2 major live concerts: Peter Gabriel's Secret World performance at the San Diego Sports Arena, and Cirque du Soleil's Saltimbanco performance in Chicago. Twin 60 Hz video channels were captured on Beta SP for maximum post production flexibility. Digital post production and field sequential mastering were effected in D-2 format at studio facilities in Los Angeles. The program was world premiered to a large public at the World of Music, Arts and Dance festivals in Los Angeles and San Francisco, in late 1993. It was presented to the artists in Los Angeles, Montreal and Washington D.C. Additional presentations have been made using a broad range of commercial and experimental stereoscopic video equipment, including projection systems, LCD and passive eyewear, and digital signal processors. Technical packages for live presentation have been fielded on site and off, through to the present.

Factors for radical creativity, incremental creativity, and routine, noncreative performance.

PubMed

Madjar, Nora; Greenberg, Ellen; Chen, Zheng

2011-07-01

This study extends theory and research by differentiating between routine, noncreative performance and 2 distinct types of creativity: radical and incremental. We also use a sensemaking perspective to examine the interplay of social and personal factors that may influence a person's engagement in a certain level of creative action versus routine, noncreative work. Results demonstrate that willingness to take risks, resources for creativity, and career commitment are associated primarily with radical creativity; that the presence of creative coworkers and organizational identification are associated with incremental creativity; and that conformity and organizational identification are linked with routine performance. Theoretical and managerial implications are discussed.

It takes two: the influence of dance partners on the perceived enjoyment and benefits during participation in partnered ballroom dance classes for people with Parkinson's.

PubMed

Kunkel, Dorit; Robison, Judy; Fitton, Carolyn; Hulbert, Sophia; Roberts, Lisa; Wiles, Rose; Pickering, Ruth; Roberts, Helen; Ashburn, Ann

2018-08-01

To explore the views of people with Parkinson's and their dance partners on the influence and issues surrounding dancing with an able-bodied dance partner during partnered ball room dance classes. In depth, semi-structured interviews explored purposively selected participants' experiences and views about dance classes. Fourteen people with Parkinson's and their dance partners (six spouses, two friends/relatives, five volunteers) were interviewed within a month of completing the 10-week dance class program. Data were analyzed thematically. Generally, those partnered with a spouse or an experienced dancer, or when dance couples were able to develop good rapport, gained greater enjoyment and sense of achievement from dance classes in comparison to couples who did not enjoy dancing together or had clashing approaches to dance. Managing and negotiating who would "lead" in a dance was challenging for dance couples particularly among male people with Parkinson's. People with Parkinson's experience of the dance classes were influenced by the relationship and compatibility with their dance partner. Dance partnerships may impact on recruitment, enjoyment, outcome and continued participation in dance classes. Potential effects of partnerships should be analyzed and reported in studies evaluating the outcomes of dance classes. Implications for rehabilitation We recommend that health professionals consider involving spouses in Parkinson's dance classes as this may improve recruitment, adherence, enjoyment and overall outcome of the dance classes. If volunteers are needed, aim to recruit those who already have good dancing ability, convey a love of dancing and have the sensitivity and social skills to interact positively with the person with Parkinson's. Consider dance partnership issues when advertising and promoting dance classes. Address partnership issues through open communication and by changing partners if the dance partnership is not working well.

Creative Arts Interventions for Stress Management and Prevention-A Systematic Review.

PubMed

Martin, Lily; Oepen, Renate; Bauer, Katharina; Nottensteiner, Alina; Mergheim, Katja; Gruber, Harald; Koch, Sabine C

2018-02-22

Stress is one of the world's largest health problems, leading to exhaustion, burnout, anxiety, a weak immune system, or even organ damage. In Germany, stress-induced work absenteeism costs about 20 billion Euros per year. Therefore, it is not surprising that the Central Federal Association of the public Health Insurance Funds in Germany ascribes particular importance to stress prevention and stress management as well as health enhancing measures. Building on current integrative and embodied stress theories, Creative Arts Therapies (CATs) or arts interventions are an innovative way to prevent stress and improve stress management. CATs encompass art, music, dance/movement, and drama therapy as their four major modalities. In order to obtain an overview of CATs and arts interventions' efficacy in the context of stress reduction and management, we conducted a systematic review with a search in the following data bases: Academic Search Complete, ERIC, Medline, Psyndex, PsycINFO and SocINDEX. Studies were included employing the PICOS principle and rated according to their evidence level. We included 37 studies, 73% of which were randomized controlled trials. 81.1% of the included studies reported a significant reduction of stress in the participants due to interventions of one of the four arts modalities.

Transforming Pain into Beauty: On Art, Healing, and Care for the Spirit

PubMed Central

Ettun, Rachel

2014-01-01

From drawing to sculpture, poetry to journaling, and dance to music and song, the arts can have a major impact on patients' spiritual well-being and health. The arts empower patients to fulfill the basic human drive to create and give patients a sense of possibility. Through creative expression, patients regain a feeling of wholeness, individually and as part of the larger world. Although spiritual caregivers have made occasional use of the arts, it would be better for the arts to be seen as a pillar of spiritual care provision. This paper provides a model for arts-based spiritual care (chaplaincy) in oncology/hematology and elsewhere. We discuss how to match the art form intervention to the individual patient and give examples of many kinds of uniquely spiritual arts-based interventions. In life, there are occasional “caseuras,” or ruptures. Using a theoretical foundation drawn from theologian Michael Fishbane, our model of arts-based spiritual care bridges the experience of the caesura to a renewed sense of meaning, or spiritual reorientation, that can be discovered within the reality of illness. Additionally, the ambiguity and playfulness inherent to creative expression strengthen the patient's flexibility and resilience. PMID:24834099

Methodological considerations for documenting the energy demand of dance activity: a review

PubMed Central

Beck, Sarah; Redding, Emma; Wyon, Matthew A.

2015-01-01

Previous research has explored the intensity of dance class, rehearsal, and performance and attempted to document the body's physiological adaptation to these activities. Dance activity is frequently described as: complex, diverse, non-steady state, intermittent, of moderate to high intensity, and with notable differences between training and performance intensities and durations. Many limitations are noted in the methodologies of previous studies creating barriers to consensual conclusion. The present study therefore aims to examine the previous body of literature and in doing so, seeks to highlight important methodological considerations for future research in this area to strengthen our knowledge base. Four recommendations are made for future research. Firstly, research should continue to be dance genre specific, with detailed accounts of technical and stylistic elements of the movement vocabulary examined given wherever possible. Secondly, a greater breadth of performance repertoire, within and between genres, needs to be closely examined. Thirdly, a greater focus on threshold measurements is recommended due to the documented complex interplay between aerobic and anaerobic energy systems. Lastly, it is important for research to begin to combine temporal data relating to work and rest periods with real-time measurement of metabolic data in work and rest, in order to be able to quantify demand more accurately. PMID:25999885

Expecting innovation: psychoactive drug primes and the generation of creative solutions.

PubMed

Hicks, Joshua A; Pedersen, Sarah L; Pederson, Sarah L; Friedman, Ronald S; McCarthy, Denis M

2011-08-01

Many individuals expect that alcohol and drug consumption will enhance creativity. The present studies tested whether substance related primes would influence creative performance for individuals who possessed creativity-related substance expectancies. Participants (n = 566) were briefly exposed to stimuli related to psychoactive substances (alcohol, for Study 1, Sample 1, and Study 2; and marijuana, for Study 1, Sample 2) or neutral stimuli. Participants in Study 1 then completed a creative problem-solving task, while participants in Study 2 completed a divergent thinking task or a task unrelated to creative problem solving. The results of Study 1 revealed that exposure to the experimental stimuli enhanced performance on the creative problem-solving task for those who expected the corresponding substance would trigger creative functioning. In a conceptual replication, Study 2 showed that participants exposed to alcohol cues performed better on a divergent thinking task if they expected alcohol to enhance creativity. It is important to note that this same interaction did not influence performance on measures unrelated to creative problem solving, suggesting that the activation of creativity-related expectancies influenced creative performance, specifically. These findings highlight the importance of assessing expectancies when examining pharmacological effects of alcohol and marijuana. Future directions and implications for substance-related interventions are discussed. (c) 2011 APA, all rights reserved.

Using a Feedback Environment to Improve Creative Performance: A Dynamic Affect Perspective.

PubMed

Gong, Zhenxing; Zhang, Na

2017-01-01

Prior research on feedback and creative performance has neglected the dynamic nature of affect and has focused only on the influence of positive affect. We argue that creative performance is the result of a dynamic process in which a person experiences a phase of negative affect and subsequently enters a state of high positive affect that is influenced by the feedback environment. Hierarchical regression was used to analyze a sample of 264 employees from seven industry firms. The results indicate that employees' perceptions of a supportive supervisor feedback environment indirectly influence their level of creative performance through positive affect (t2); the negative affect (t1) moderates the relationship between positive affect (t2) and creative performance (t2), rendering the relationship more positive if negative affect (t1) is high. The change in positive affect mediates the relationship between the supervisor feedback environment and creative performance; a decrease in negative affect moderates the relationship between increased positive affect and creative performance, rendering the relationship more positive if the decrease in negative affect is large. The implications for improving the creative performances of employees are further discussed.

Effects of a Resistance Training Intervention on Strength, Power, and Performance in Adolescent Dancers.

PubMed

Dowse, Rebecca A; McGuigan, Mike R; Harrison, Craig

2017-11-01

Dowse, RA, McGuigan, MR, and Harrison, C. Effects of a resistance training intervention on strength, power, and performance in adolescent dancers. J Strength Cond Res XX(X): 000-000, 2017-The aim of this study was to determine whether a 9-week resistance training program could have a significant effect on maximum lower-body strength and power, dynamic balance, and dance performance in adolescent dancers. Twelve competitive adolescent female dancers trained in jazz, ballet, and contemporary were recruited from local dance schools and assigned to a resistance training group (dance experience 9.2 ± 2.4 years; age 14.2 ± 1.9 years; height 155.6 ± 9.1 cm; and mass 48.9 ± 13.8 kg). Anthropometry (height, seated height, mass, and skinfolds), subjective dancing performance, dynamic balance (eyes open [EO] and eyes closed), maximum lower-body strength (isometric midthigh pull), and power (vertical countermovement jump, squat jump, and single-leg countermovement jump) were assessed before and after the 9-week intervention period. Posttesting identified a significant improvement EO overall stability (p = 0.003; effect size [ES] = 0.88), EO anterior-posterior stability (p = 0.003; ES = 0.92), peak force (p < 0.001; ES = 0.61), peak power (p = 0.021; ES = 0.22), and subjective dancing performance (p = 0.008; ES = 0.76). These results were accompanied by a trivial but significant change in mass (p = 0.023; ES = 0.09) that was attributed to growth and no significant change in body fat or the sum of skinfolds. This study demonstrated that resistance training can have a significant effect on dynamic balance, maximum lower-body strength, and power without adversely affecting artistic or esthetic components. The results suggest that incorporating resistance training may enhance strength and power adaptations and manage growth-related changes in adolescent dancers.

Cooperation makes two less-creative individuals turn into a highly-creative pair.

PubMed

Xue, Hua; Lu, Kelong; Hao, Ning

2018-05-15

This study aimed to investigate which type of group (e.g., consisting of less-creative or highly-creative individuals) would perform better in solving creativity problems, and explore the underlying inter-brain neural correlates between team members. A preliminary test (an alternative-uses task) was performed to rank individuals' level of creativity, and divide participants into three types of dyads: high-high (two highly-creative individuals), low-low (two less-creative individuals), and high-low (one highly-creative and one less-creative individual). Dyads were then asked to solve a realistic presented problem (RPP; a typical creativity problem) during which a functional near-infrared spectroscopy (fNIRS)-based hyperscanning device was used to record the variation of interpersonal brain synchronization (IBS). Results revealed that less-creative individuals, while working together, would perform as well as highly-creative individuals. The low-low dyads showed higher levels of cooperation behaviour than the other two types of dyads. The fNIRS results revealed increased IBS only for low-low dyads at PFC (prefrontal cortex) and rTPJ (right temporal-parietal junction) brain regions during RPP task performance. In the rDLPFC (right dorsolateral prefrontal cortex), the IBS in the low-low dyads was stronger than that of high-high and high-low dyads. In the rTPJ, the IBS in the low-low dyads was only stronger than that of the high-low dyads. Besides, the IBS at rDLPFC and rTPJ regions in the low-low dyads was positively correlated with their cooperation behaviour and group creative performance. These findings indicated when two less-creative individuals worked on a creativity problem together, they tended to cooperate with each other (indicated by both behaviour index and increased IBS at rDLPFC and rTPJ), which benefited their creative performance. Copyright © 2018 Elsevier Inc. All rights reserved.

What Can You Teach with Electronic Dance Music? A Music Teacher's Guide to EDM

ERIC Educational Resources Information Center

Halick, Mary E.

2016-01-01

Music teachers, who are working to develop students' musicianship skills, often focus on exposing students to new styles and genres of music. These initiatives encourage students to analyze, develop opinions, create, and perform music they may not normally hear. The purpose of this article is to introduce music educators to Electronic Dance Music…

KSC-02pp1749

NASA Image and Video Library

2002-11-10

KENNEDY SPACE CENTER, FLA. -- The Chickasaw Dance Troupe performs an Honor Dance during the Native American Ceremony at the Rocket Garden in the KSC Visitor Complex. The ceremony was part of several days' activities commemorating John B. Herrington as the first tribally enrolled Native American astronaut to fly on a Shuttle mission. Herrington is a Mission Specialist on STS-113.

KSC-02pp1750

NASA Image and Video Library

2002-11-10

KENNEDY SPACE CENTER, FLA. -- The Chickasaw Dance Troupe performs an Honor Dance during the Native American Ceremony at the Rocket Garden in the KSC Visitor Complex. The ceremony was part of several days' activities commemorating John B. Herrington as the first tribally enrolled Native American astronaut to fly on a Shuttle mission. Herrington is a Mission Specialist on STS-113.

A Case Study of a Greek Australian Traditional Dancer: Embodying Identity through Musicking

ERIC Educational Resources Information Center

Georgoulas, Renee; Southcott, Jane

2015-01-01

This article is a study of a bilingual and bicultural Pontian Greek Australian dancer. His musicking involves performing and teaching dancing. Dancing has been and continues to be a major part of the self-identity of the participant. This phenomenological single case study used interpretative phenomenological analysis to analyse the data collected…

Cultivating Presence in Movement: Student Reflections on the Practice of Feldenkrais "Awareness through Movement[R]" in Dance Training

ERIC Educational Resources Information Center

Diaz, Heidi; Chatfield, Steven J.; Cox, Jan

2008-01-01

The purpose of this study was to design, implement, and evaluate an experimental course investigating the effect of Feldenkrais "Awareness Through Movement (ATM)" on students' self-image and its transference to concept related dance phrases, motif based improvisations, outside training and performance, and their daily lives. As a dancer…

The Embodiment of Social Dynamics: A Phenomenon of Western Pop Dance within a Filipino Prison

ERIC Educational Resources Information Center

Williams, Fleur Cathrael

2013-01-01

In January of 2010, in Cebu, a southern province of the Philippines, a collaborative dance performance occurred between 1500 Filipino inmates, the choreographer Travis Payne, and backup dancers representing the late American pop star, Michael Jackson. The event took place at Cebu Provincial Detention and Rehabilitation Centre, a maximum security…

Visualizing Caribbean Performance (Jamaican Dancehall and Trinidadian Carnival) as Praxis: An Autohistoria of Kiki's Journey

ERIC Educational Resources Information Center

Carey, A'Keitha

2016-01-01

I discuss my journey in the construction, pedagogy, and philosophy of the dance technique CaribFunk™. CaribFunk fuses Afro-Caribbean (traditional and social dance), classical ballet, modern, and fitness elements. It also encourages exploration of self while investigating identity, citizenship, and culture through a kinesthetic expression of the…

The Intersection of Imagery Ability, Imagery Use, and Learning Style: An Exploratory Study

ERIC Educational Resources Information Center

Bolles, Gina; Chatfield, Steven J.

2009-01-01

This study explores the intersection of the individual's imagery ability, imagery use in dance training and performance, and learning style. Thirty-four intermediate-level ballet and modern dance students at the University of Oregon completed the Movement Imagery Questionnaire-Revised (MIQ-R) and Kolb's Learning Style Inventory-3 (LSI-3). The four…

Eating disorders in ballet dancing students: problems and risk factors.

PubMed

Toro, Josep; Guerrero, Marta; Sentis, Joan; Castro, Josefina; Puértolas, Carles

2009-01-01

To study the prevalence of symptoms of eating disorders and risk eating behaviours and the relationship between life at a dance school and the risk of developing an eating disorder (ED) in an adolescent population of Spanish dance students. Questionnaires were used to assess attitudes to eating, cultural influences on the body shape model, eating disorders (DSM-IV) and risk factors for eating disorders in 76 adolescent dance students (age 12-17 years) at the Barcelona Theatre Institute. Subjects were compared with a community sample of 453 female adolescents. To study the relationship between ED and characteristics of this particular school, an original questionnaire was administered to 105 students at the school aged from 12 to 21 years. The prevalence of eating disorders and several risk attitudes and behaviours were similar in the dance students and the female adolescents from the general population. Students at risk of eating disorders perceived greater pressure from coaches concerning eating, appearance, weight and artistic performance; they felt less satisfied with their weight and weighed themselves more often; they avoided performing so as not to exhibit their body in public, disliked comparing their body with their peers and believed that audiences paid a great deal of attention to their bodies. In contrast, Body Mass Index (BMI) had hardly any influence on these experiences. Depressive symptoms were associated almost exclusively with experience of stressors and aversive situations. Dance school students do not necessarily present a greater risk of ED than other girls of the same age. The risk of ED may be associated with greater pressure from coaches, with attitudes related to the ED itself, or with depressive symptoms, rather than with the BMI.

Dance-related concussion: a case series.

PubMed

Stein, Cynthia J; Kinney, Susan A; McCrystal, Tara; Carew, Elizabeth A; Bottino, Nicole M; Meehan Iii, William P; Micheli, Lyle J

2014-01-01

Sport-related concussion is a topic of increasing public and media attention; the medical literature on this topic is growing rapidly. However, to our knowledge no published papers have described concussion specifically in the dancer. This case series involved a retrospective chart review at a large teaching hospital over a 5.5-year period. Eleven dancers (10 female, 1 male) were identified who experienced concussions while in dance class, rehearsal, or performance: 2 in classical ballet, 2 in modern dance, 2 in acro dance, 1 in hip hop, 1 in musical theater, and 3 were unspecified. Dancers were between 12 and 20 years old at the time of presentation. Three concussions occurred during stunting, diving, or flipping. Three resulted from unintentional drops while partnering. Two followed slips and falls. Two were due to direct blows to the head, and one dancer developed symptoms after repeatedly whipping her head and neck in a choreographed movement. Time to presentation in the sports medicine clinic ranged from the day of injury to 3 months. Duration of symptoms ranged from less than 3 weeks to greater than 2 years at last documented follow-up appointment. It is concluded that dancers do suffer dance-related concussions that can result in severe symptoms, limitations in dance participation, and difficulty with activities of daily living. Future studies are needed to evaluate dancers' recognition of concussion symptoms and care-seeking behaviors. Additional work is also necessary to tailor existing guidelines for gradual, progressive, safe return to dance.

Risk factors for injuries in competitive Irish dancers enrolled in dance schools in Calgary, Canada.

PubMed

Eustergerling, Mercedes; Emery, Carolyn

2015-03-01

Irish dancing has become a popular activity following international exposure to touring dance companies. Previous studies have reported high injury incidence rates in dancers. The objective of this study was to examine risk factors for injuries in competitive Irish dancers in Calgary, Canada. This is a cross-sectional study. Competitive dancers over 12 years of age in Calgary, Canada, were eligible to participate. A pen-and-paper survey was administered to gather information on demographics, risk factors for injury, and injuries in the past year. Potential risk factors included age, competitive level, participation in other physical activities, years of participation in Irish dance, and performing a warm-up or cool-down. Incidence proportions (IP) and odds ratios (OR) were estimated. Three of the five accredited dance schools in Calgary participated and a total of 36 questionnaires were completed. Twenty-six dancers (IP=72.2%; 95% CI 54.8-85.8%) reported at least one Irish dance-related injury in the past year. There were 60 injuries reported and the majority (57%) were foot or ankle injuries. Elite level dancers (OR= 6.33; CI 1.27-31.57) and dancers over 18 years of age (OR= 24.43; CI 2.60-229.56) were at greater risk of injury in the past year than non-elite and younger dancers. Elite dancers and dancers over 18 years of age are at the greatest risk of injury in Irish dance in Calgary, Canada.

Creativity: Performativity's Poison or Its Antidote?

ERIC Educational Resources Information Center

Munday, Ian

2014-01-01

A common move in the study of creativity and performativity is to present the former as an antidote to the latter. Might we, therefore, see work on creativity in education as heralding an era of post-performativity? In this paper I argue that the portrayal of performativity in the literature on creativity presents an overly simplistic (vulgar?)…

Creative self-efficacy development and creative performance over time.

PubMed

Tierney, Pamela; Farmer, Steven M

2011-03-01

Building from an established framework of self-efficacy development, this study provides a longitudinal examination of the development of creative self-efficacy in an ongoing work context. Results show that increases in employee creative role identity and perceived creative expectation from supervisors over a 6-month time period were associated with enhanced sense of employee capacity for creative work. Contrary to what was expected, employees who experienced increased requirements for creativity in their jobs actually reported a decreased sense of efficaciousness for creative work. Results show that increases in creative self-efficacy corresponded with increases in creative performance as well. PsycINFO Database Record (c) 2011 APA, all rights reserved.

The Education, Training, and Development of Dance Educators in Higher Education.

ERIC Educational Resources Information Center

Hayes, Elizabeth R.

1980-01-01

Standards should be established for professional dance curricula in higher education. Courses in dance history, dance philosophy, dance notation, music for dance, kinesiology as applied to dance, and dance theater design and production should be taught by a core of experts. (CJ)

Group Composition, Creative Synergy, and Group Performance.

ERIC Educational Resources Information Center

Taggar, Simon

2001-01-01

A study of 94 intact autonomous work groups performing multi-part tasks revealed that group creative performance increased exponentially with the number of highly creative group members composing the group. However, this occurred only when Team Creativity-Relevant Processes within the group were relatively high. (Contains references.) (Author/CR)

Transcriptomic Profiling of Central Nervous System Regions in Three Species of Honey Bee during Dance Communication Behavior

PubMed Central

Sen Sarma, Moushumi; Rodriguez-Zas, Sandra L.; Hong, Feng; Zhong, Sheng; Robinson, Gene E.

2009-01-01

Background We conducted a large-scale transcriptomic profiling of selected regions of the central nervous system (CNS) across three species of honey bees, in foragers that were performing dance behavior to communicate to their nestmates the location, direction and profitability of an attractive floral resource. We used microarrays to measure gene expression in bees from Apis mellifera, dorsata and florea, species that share major traits unique to the genus and also show striking differences in biology and dance communication. The goals of this study were to determine the extent of regional specialization in gene expression and to explore the molecular basis of dance communication. Principal Findings This “snapshot” of the honey bee CNS during dance behavior provides strong evidence for both species-consistent and species-specific differences in gene expression. Gene expression profiles in the mushroom bodies consistently showed the biggest differences relative to the other CNS regions. There were strong similarities in gene expression between the central brain and the second thoracic ganglion across all three species; many of the genes were related to metabolism and energy production. We also obtained gene expression differences between CNS regions that varied by species: A. mellifera differed the most, while dorsata and florea tended to be more similar. Significance Species differences in gene expression perhaps mirror known differences in nesting habit, ecology and dance behavior between mellifera, florea and dorsata. Species-specific differences in gene expression in selected CNS regions that relate to synaptic activity and motor control provide particularly attractive candidate genes to explain the differences in dance behavior exhibited by these three honey bee species. Similarities between central brain and thoracic ganglion provide a unique perspective on the potential coupling of these two motor-related regions during dance behavior and perhaps provide a snapshot of the energy intensive process of dance output generation. Mushroom body results reflect known roles for this region in the regulation of learning, memory and rhythmic behavior. PMID:19641619

Transcriptomic profiling of central nervous system regions in three species of honey bee during dance communication behavior.

PubMed

Sen Sarma, Moushumi; Rodriguez-Zas, Sandra L; Hong, Feng; Zhong, Sheng; Robinson, Gene E

2009-07-29

We conducted a large-scale transcriptomic profiling of selected regions of the central nervous system (CNS) across three species of honey bees, in foragers that were performing dance behavior to communicate to their nestmates the location, direction and profitability of an attractive floral resource. We used microarrays to measure gene expression in bees from Apis mellifera, dorsata and florea, species that share major traits unique to the genus and also show striking differences in biology and dance communication. The goals of this study were to determine the extent of regional specialization in gene expression and to explore the molecular basis of dance communication. This "snapshot" of the honey bee CNS during dance behavior provides strong evidence for both species-consistent and species-specific differences in gene expression. Gene expression profiles in the mushroom bodies consistently showed the biggest differences relative to the other CNS regions. There were strong similarities in gene expression between the central brain and the second thoracic ganglion across all three species; many of the genes were related to metabolism and energy production. We also obtained gene expression differences between CNS regions that varied by species: A. mellifera differed the most, while dorsata and florea tended to be more similar. Species differences in gene expression perhaps mirror known differences in nesting habit, ecology and dance behavior between mellifera, florea and dorsata. Species-specific differences in gene expression in selected CNS regions that relate to synaptic activity and motor control provide particularly attractive candidate genes to explain the differences in dance behavior exhibited by these three honey bee species. Similarities between central brain and thoracic ganglion provide a unique perspective on the potential coupling of these two motor-related regions during dance behavior and perhaps provide a snapshot of the energy intensive process of dance output generation. Mushroom body results reflect known roles for this region in the regulation of learning, memory and rhythmic behavior.

Using a Feedback Environment to Improve Creative Performance: A Dynamic Affect Perspective

PubMed Central

Gong, Zhenxing; Zhang, Na

2017-01-01

Prior research on feedback and creative performance has neglected the dynamic nature of affect and has focused only on the influence of positive affect. We argue that creative performance is the result of a dynamic process in which a person experiences a phase of negative affect and subsequently enters a state of high positive affect that is influenced by the feedback environment. Hierarchical regression was used to analyze a sample of 264 employees from seven industry firms. The results indicate that employees’ perceptions of a supportive supervisor feedback environment indirectly influence their level of creative performance through positive affect (t2); the negative affect (t1) moderates the relationship between positive affect (t2) and creative performance (t2), rendering the relationship more positive if negative affect (t1) is high. The change in positive affect mediates the relationship between the supervisor feedback environment and creative performance; a decrease in negative affect moderates the relationship between increased positive affect and creative performance, rendering the relationship more positive if the decrease in negative affect is large. The implications for improving the creative performances of employees are further discussed. PMID:28861025

KSC-02pp1751

NASA Image and Video Library

2002-11-10

KENNEDY SPACE CENTER, FLA. -- The Chickasaw Dance Troupe performs an Honor Dance for John Herrington's parents during the Native American Ceremony at the Rocket Garden in the KSC Visitor Complex. The ceremony was part of several days' activities commemorating John B. Herrington as the first tribally enrolled Native American astronaut to fly on a Shuttle mission. Herrington is a Mission Specialist on STS-113.

"Here We Go 'Round the Mulberry Bush": Problematizing "Progress" in Ontario's Elementary School Dance Curriculum: 1900 to 2000

ERIC Educational Resources Information Center

Francis, Nancy R.; Lathrop, Anna H.

2014-01-01

Educational scholars agree that the relationship between curriculum development and practice is mitigated by complex political and cultural agendas (Goodson 1984; Vertinsky 2007). As a performing art form and physical activity, dance does not easily fit within the context of a typical school subject and is a site for ontological and…

Resource Letter PoD-1: The Physics of Dance

NASA Astrophysics Data System (ADS)

Laws, Kenneth; Lott, Melanie

2013-01-01

This Resource Letter provides a guide to the literature on the physics of dance. Journal articles and books are cited for the following topics: General references for dance, physics of dance, research methods in physics of human movement and in biomechanics, using dance in the physics classroom; anatomy and injuries; physics applied to specific dance movements or styles of dance; equipment (dance shoes, flooring, the barre); and dance of physics.

The Influence of Creative Process Engagement on Employee Creative Performance and Overall Job Performance: A Curvilinear Assessment

ERIC Educational Resources Information Center

Zhang, Xiaomeng; Bartol, Kathryn M.

2010-01-01

Integrating theories addressing attention and activation with creativity literature, we found an inverted U-shaped relationship between creative process engagement and overall job performance among professionals in complex jobs in an information technology firm. Work experience moderated the curvilinear relationship, with low-experience employees…

"Dance for Your Health": Exploring Social Latin Dancing for Community Health Promotion

ERIC Educational Resources Information Center

Iuliano, Joseph E.; Lutrick, Karen; Maez, Paula; Nacim, Erika; Reinschmidt, Kerstin

2017-01-01

The goal of "Dance for Your Health" was to explore the relationship between social Latin dance and health as described by members of the Tucson social Latin dance community. Social Latin dance was selected because of the variety of dances, cultural relevance and popularity in Tucson, and the low-key, relaxed atmosphere. Dance has been…

Improving the occupational skills of students with intellectual disability by applying video prompting combined with dance pads.

PubMed

Lin, Mei-Lan; Chiang, Ming-Shan; Shih, Ching-Hsiang; Li, Meng-Fang

2018-01-01

Individuals with intellectual disability (ID) are prone to inattention, are slow in learning and reaction, and have deficits in memory skills. Providing proper vocational education and training for individuals with intellectual disability is able to enhance their occupational skills. This study applied video prompting to provide instructional prompts to help participants accurately perform an assigned occupational activity. A control system installed with developed software was used to turn a standard dance pad into a sensor to detect the participants' standing position and to automatically trigger video prompting. The results show that the participants' correct performance of the target behaviour improved significantly after their exposure to the video prompting intervention, and this positive outcome remained consistent during the maintenance phase. Video prompting combined with dance pads was a feasible approach to improving the occupational skills of the three students with intellectual disability. © 2017 John Wiley & Sons Ltd.

"Nutcracker Fracture" in a Ballet Dancer Performing in The Nutcracker.

PubMed

Carsen, Sasha; Quinn, Bridget J; Beck, Elizabeth; Southwick, Heather; Micheli, Lyle J

2015-09-01

A 26-year-old female professional dancer sustained an acute injury to her mid-foot during a performance of The Nutcracker. An intra-articular, comminuted, minimally displaced fracture of the cuboid was found. The patient was treated non-operatively with cast and boot immobilization, modified weightbearing, and progressive rehabilitation. She was able to return to professional dance at 6 months post-injury and continues to dance professionally over 1 year out from injury without issue. The unique demands of classical ballet, especially dancing en pointe, increase the risk for mid-foot fractures, and clinicians should have a high-index of suspicion in dancers suffering an acute injury to the foot and ankle with greater than expected pain or swelling. Multiple imaging modalities can be used to make the diagnosis, to include plain film radiographs, MRI, and CT scan. Fracture characteristics and patient-specific factors should be taken into account when deciding on a treatment plan.

The Distracting Effects of Music on the Cognitive Test Performance of Creative and Non-Creative Individuals

ERIC Educational Resources Information Center

Doyle, Maddie; Furnham, Adrian

2012-01-01

This study examined the effect of background music upon performance of creative and non-creative individuals on a reading comprehension task. In the presence of musical distraction and silence, 54 individuals (27 creative) carried out reading comprehension tasks in a repeated measures design. An interaction was predicted, such that musical…

Local cultural conservation to support sustainable tourism in Kuta tourist area

NASA Astrophysics Data System (ADS)

Murni, NGN S.; Kanca, I. N.; Antara, D. M. S.

2018-01-01

Cultural conservation is very important in the tourism area to support sustainable tourism. This study uses the cultural studies approach and tourism. The specific purposes of this research are (1) to know the forms of cultural conservation conducted by the people of Kuta Traditional Village (Desa Adat Kuta), (2) to know the impact of tourism on the conservation of local culture, (3) to find out the strategy in preserving local culture for the sustainability of tourism in Kuta tourist area. The method used is qualitative interpretative method. Data collection conducted through direct observation in 13 banjar (sub-village), through in-depth interviews, and documentation. The results showed (1) the forms of cultural conservation are traditional arts such as dance, music orchestra,. Crafts, traditional song, classical barong and calonarang art performance, and local culture pancayadnya (five offerings). (2) the impact of tourism on cultural conservation is positive impacts such as increase of culture creativities, conservation of local culture, and the negative impact such as loss of culture space, decrease traditional subak, reduce fishermen, change of cultural value, and life style.(3) Strategy of Desa Adat in preserving culture by carrying out the festival annually, Kuta Cultural Art Festival (FBK) and Kuta Beach Festival (KBF).

Dance partner or dance floor?: exogenous factors resulting in accidents in professional dancers.

PubMed

Wanke, Eileen M; Mill, Helmgard; Wanke, Alice; Davenport, Jaqueline; Checcetti, Fistd; Koch, Franziska; Groneberg, David A

2013-09-01

Injury prevention in professional dancers is very important due to the high risk for acute injuries posing a threat to dancers' careers. Causative factors of acute injuries in professional dance can be divided into exogenous and endogenous factors. Although both are known in professional dance, there is still a lack of data to have a differentiated view. The aim of this study is to analyze exogenous factors resulting in work accidents of professional dancers. The data for the evaluation were obtained from work accident reports (n = 1,438, female 722, male 716) from six Berlin Theatres. Evaluation and descriptive statistics were conducted by SPSS 18 and Excel 2007. About half (48.5%, n = 698) of all work accidents are caused by exogenous factors. The "dance partner" is the most common exogenous factor (39.9%), followed by the dance floor (28.24%) and props (13.6%). The lower extremity is the most frequent structure injured in either sex (male 47.3%, female 61.3%), followed by the upper extremity in females (14.6%) and spine in male dancers (19.8%). The stage is the most common injury location in both genders (males 63.9%, females 56.8%). Acute injuries caused by exogenous factors were particularly sustained during performances (males 58.8%, females 50.5%) and during rehearsals (males 33%, females 39.9%). This study shows the key significance of exogenous factors in acute injuries in professional dance. Preserving the dancers' health and preventing injuries takes top priority, and therefore, interventions in the artistic work cannot be ruled out when preventive measures are implemented.

Ballroom dancing as physical activity for patients with cancer: a systematic review and report of a pilot project.

PubMed

Rudolph, Ivonne; Schmidt, Thorsten; Wozniak, Tobias; Kubin, Thomas; Ruetters, Dana; Huebner, Jutta

2018-04-01

Physical activity has positive effects on cancer patients. Dancing addresses diverse bio-psycho-social aspects. Our aim was to assess the evidence on ballroom dancing and to develop the setting for a pilot project. We performed a systematic review, extracted the data and designed a pilot training based on standard curricula. We included cancer patients during or after therapy. Training duration was 90 min with one regular pause and individual pauses as needed. We retrieved two systematic reviews and six controlled studies. Types of dancing varied. Only one study used ballroom dancing. Dance training might improve well-being, physical fitness, fatigue and coping during and after therapy. Yet, evidence is scarce and data to derive the effect size are lacking; 27 patients and their partners took part in the pilot training. Patients and partners needed more time to learn the steps than is planned in regular ballroom classes. Participants were very satisfied with the adaptation of the training to their physical strength and estimated the training in a sheltered group. No side effects occurred. In spite of a high rate of participants reporting fatigue, 90 min of physical activity with only a few minutes of rest were manageable for all participants. Ballroom dancing may offer benefits for patients with respect to quality of life. Cancer patients prefer sheltered training setting and curricula of regular ballroom classes must be adapted for cancer patients. Strict curricula might reduce motivation and adherence and exclude patients with lower or variable fitness.

Youth lead youth in Marshall Islands.

PubMed

Johnson, G

1988-01-01

The promotion of family planning and birth control in Pacific countries is often frustrated by traditional and religious beliefs, if not deterred by tremendous funding and logistics problems. In the central Pacific republic of the Marshall Islands, however, youthful health workers are taking a unique approach to health promotion that has spurred acceptance of the once controversial subjects of family planning and birth control. A group known as Youth to Youth in Health is spearheading a family planning outreach drive in the schools and community in the Marshall Islands. Coupling health presentations with traditional island music and dance to produce lively health shows, the group's programs on family planning, birth control, nutrition, and cancer have struck a responsive chord in a culture known for its religious and traditional conservatism. The group makes creative use of puppet shows, skits, health songs, and pantomimes, interspersed with contemporary renditions of Marshall Islands music and traditional dances. These have rekindled pride in their culture among the group and sparked a sense of urgency about the need to improve health conditions in the islands. As evidence of the group's impact, family planning staff point to a nearly 4-fold rise in the number of youth clients under 19 years since the Youth to Youth started in mid-1986. Their combination of traditional custom with family planning and other health information has proved to be an innovative and needed program for the islands.

Injuries among talented young dancers: findings from the U.K. Centres for Advanced Training.

PubMed

Steinberg, N; Aujla, I; Zeev, A; Redding, E

2014-03-01

The aim of the present study was to characterize the injuries of young dancers attending Centres for Advanced Training. 806 dancers, ages 10-18 years responded to surveys regarding their biological profile, dance experience and injury history, and were examined for their anthropometric profile. Of the 806 dancers, 347 reported an injury. Based on 4 age groups, the total hours of practice per week increased significantly with increasing age. Incidence of injuries per 1000 h of dance practice for dancers ages 11-12 were found to be significantly higher compared to the incidence for dancers ages 13-18 (p<0.05). Foot and ankle and other lower extremities were the most common injury location, and muscle injuries were the most common type of injury. Total months in CAT training (OR=1.044, 95% CI=1.014-1.075) and hours per week in creative style practice (OR=1.282, 95% CI=1.068-1.539) were found to be significantly associated with injuries. In conclusion, both young and mature dancers are exposed to extensive risk of injury. The intensity of training (such as number of months and number of hours of training per week) is important factor that should be taken into account in order to decrease future injuries among young dancers. © Georg Thieme Verlag KG Stuttgart · New York.

Kinematic and kinetic analyses of the toes in dance movements.

PubMed

Jarvis, Danielle N; Kulig, Kornelia

2016-09-01

Due to the significant amount of time dancers spend on the forefoot, loads on the metatarsophalangeal joints are likely high, yet vary between dance movements. The purpose of this study was to compare joint motion and net joint moments at the metatarsophalangeal joints during three different dance movements ranging in demands at the foot and ankle joints. Ten healthy, female dancers (27.6 ± 3.2 years; 56.3 ± 6.9 kg; 1.6 ± 0.1 m) with an average 21.7 ± 4.9 years of dance training performed relevés (rising up onto the toes), sautés (vertical bipedal jumps), and saut de chat leaps (split jumps involving both vertical and horizontal components). Metatarsophalangeal joint kinematics and kinetics in the sagittal plane were calculated. Total excursion and peak net joint moments during rising or push-off were compared between the three dance movements. Greater extension of the metatarsophalangeal joints was seen during relevés compared to sautés or saut de chat leaps, and the largest metatarsophalangeal net joint moments were seen during saut de chat leaps. The metatarsophalangeal joints frequently and repetitively manage external loads and substantial metatarsophalangeal extension during these three dance movements, which may contribute to the high rate of foot and ankle injuries in dancers.

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

PubMed Central

Van Dyck, Edith; Vansteenkiste, Pieter; Lenoir, Matthieu; Lesaffre, Micheline; Leman, Marc

2014-01-01

Recent research revealed that emotional content can be successfully decoded from human dance movement. Most previous studies made use of videos of actors or dancers portraying emotions through choreography. The current study applies emotion induction techniques and free movement in order to examine the recognition of emotional content from dance. Observers (N = 30) watched a set of silent videos showing depersonalized avatars of dancers moving to an emotionally neutral musical stimulus after emotions of either sadness or happiness had been induced. Each of the video clips consisted of two dance performances which were presented side-by-side and were played simultaneously; one of a dancer in the happy condition and one of the same individual in the sad condition. After every film clip, the observers were asked to make forced-choices concerning the emotional state of the dancer. Results revealed that observers were able to identify the emotional state of the dancers with a high degree of accuracy. Moreover, emotions were more often recognized for female dancers than for their male counterparts. In addition, the results of eye tracking measurements unveiled that observers primarily focus on movements of the chest when decoding emotional information from dance movement. The findings of our study show that not merely portrayed emotions, but also induced emotions can be successfully recognized from free dance movement. PMID:24587026

Evaluation of the Kòts'iìhtła ("We Light the Fire") Project: building resiliency and connections through strengths-based creative arts programming for Indigenous youth.

PubMed

Fanian, Sahar; Young, Stephanie K; Mantla, Mason; Daniels, Anita; Chatwood, Susan

2015-01-01

The creative arts - music, film, visual arts, dance, theatre, spoken word, literature, among others - are gradually being recognised as effective health promotion tools to empower, engage and improve the health and well-being in Indigenous youth communities. Arts-based programming has also had positive impacts in promoting health, mental wellness and resiliency amongst youth. However, often times the impacts and successes of such programming are not formally reported on, as reflected by the paucity of evaluations and reports in the literature. The objective of this study was to evaluate a creative arts workshop for Tłįchǫ youth where youth explored critical community issues and found solutions together using the arts. We sought to identify the workshop's areas of success and challenge. Ultimately, our goal is to develop a community-led, youth-driven model to strengthen resiliency through youth engagement in the arts in circumpolar regions. Using a mixed-methods approach, we conducted observational field notes, focus groups, questionnaires, and reflective practice to evaluate the workshop. Four youth and five facilitators participated in this process overall. Youth reported gaining confidence and new skills, both artistic and personal. Many youth found the workshop to be engaging, enjoyable and culturally relevant. Youth expressed an interest in continuing their involvement with the arts and spreading their messages through art to other youth and others in their communities. Engagement and participation in the arts have the potential to build resiliency, form relationships, and stimulate discussions for community change amongst youth living in the North.

The Effect of the Paideia Proposal on Dance.

ERIC Educational Resources Information Center

McCutcheon, Gene

1984-01-01

Notes recent growth of dance in America and lack of dance education in public schools. Comments on effects Paideia Proposal adoption would have on dance in schools. Discusses proposal effects on teacher education, particularly concerning dance. Covers citizen interest in dance and the future of the dance profession. (MH)

Multicultural Dance Education for Teaching Students with Disabilities

ERIC Educational Resources Information Center

Masunah, Juju

2016-01-01

There are two different goals of multicultural dance education. First, multicultural dance education is a concept of teaching strategies to understand people's cultural productions using various dances. The main goal of learning various dances is to understand the people behind those dances. Second, multicultural dance education is a concept to…

Synthesis of Thieno[3,2-b]indoles via Halogen Dance and Ligand-Controlled One-Pot Sequential Coupling Reaction.

PubMed

Hayashi, Yuki; Okano, Kentaro; Mori, Atsunori

2018-02-16

A two-pot synthesis of thieno[3,2-b]indole from 2,5-dibromothiophene is described. A halogen dance of 2,5-dibromothiophene was performed with LDA, and subsequent Negishi coupling was performed with 2-iodoaniline derivatives to provide the corresponding coupling products. The resulting two bromo groups have different reactivities, which were utilized for the one-pot Suzuki-Miyaura coupling/intramolecular Buchwald-Hartwig amination to produce thieno[3,2-b]indole via an assisted tandem catalysis that involved in situ ligand exchange.

Exergaming: Comparison of On-Game and Off-Game Physical Activity in Elementary Physical Education

ERIC Educational Resources Information Center

Reynolds, Craig; Benham-Deal, Tami; Jenkins, Jayne M.; Wilson, Margaret

2018-01-01

The purpose of this study was to describe fifth grade students' physical activity (PA) while playing a dance-based video game, Just Dance 4, and to examine the influence direct feedback about their performance had on their level of activity. Twenty-seven students in the 5th grade from an elementary school in the Rocky Mountain West participated.…

Corporeal and Sonic Diagrams for Cinematic Ethics in Rolf De Heer's "Dance Me to My Song"

ERIC Educational Resources Information Center

Hickey-Moody, Anna

2010-01-01

Rolf De Heer's 1997 Australian feature film "Dance Me to My Song" was devised with the late Heather Rose, a person with Cerebral Palsy. The film also features a central performance by Heather (as the character of Julia) and is clearly about "her world". The ethic of engagement exemplified by this film resonates with what Gerard Goggin has termed…

Dance experience sculpts aesthetic perception and related brain circuits

PubMed Central

Kirsch, Louise P; Dawson, Kelvin; Cross, Emily S

2015-01-01

Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewer's aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty-two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self-report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience, participants most enjoy watching those dance sequences they danced or observed. Moreover, brain regions involved in mediating the aesthetic response shift from subcortical regions associated with dopaminergic reward processing to posterior temporal regions involved in processing multisensory integration, emotion, and biological motion. PMID:25773627

Identifying enhanced cortico-basal ganglia loops associated with prolonged dance training

PubMed Central

Li, Gujing; He, Hui; Huang, Mengting; Zhang, Xingxing; Lu, Jing; Lai, Yongxiu; Luo, Cheng; Yao, Dezhong

2015-01-01

Studies have revealed that prolonged, specialized training combined with higher cognitive conditioning induces enhanced brain alternation. In particular, dancers with long-term dance experience exhibit superior motor control and integration with their sensorimotor networks. However, little is known about the functional connectivity patterns of spontaneous intrinsic activities in the sensorimotor network of dancers. Our study examined the functional connectivity density (FCD) of dancers with a mean period of over 10 years of dance training in contrast with a matched non-dancer group without formal dance training using resting-state fMRI scans. FCD was mapped and analyzed, and the functional connectivity (FC) analyses were then performed based on the difference of FCD. Compared to the non-dancers, the dancers exhibited significantly increased FCD in the precentral gyri, postcentral gyri and bilateral putamen. Furthermore, the results of the FC analysis revealed enhanced connections between the middle cingulate cortex and the bilateral putamen and between the precentral and the postcentral gyri. All findings indicated an enhanced functional integration in the cortico-basal ganglia loops that govern motor control and integration in dancers. These findings might reflect improved sensorimotor function for the dancers consequent to long-term dance training. PMID:26035693

Dance for Students with Orthopedic Conditions--Popular, Square, Folk, Modern, [and] Ballet.

ERIC Educational Resources Information Center

Harris, Cordelia Graves

1979-01-01

Preparation for teaching dance to orthopedically handicapped students is discussed in addition to specific suggestions for teaching popular dance, square dance, folk dance, modern dance, and ballet. Dancing is seen as a way to give orthopedically handicapped students physical education success without competition. Recommended music for each type…

General and Domain-Specific Contributions to Creative Ideation and Creative Performance

PubMed Central

An, Donggun; Runco, Mark A.

2016-01-01

The general objective of this study was to reexamine two views of creativity, one positing that there is a general creative capacity or talent and the other that creativity is domain-specific. These two views were compared by (a) testing correlations among measures of domain-general and domain-specific creativity and (b) examining how the general and the specific measures was each related to indices of knowledge, motivation, and personality. Participants were 147 college students enrolled in a foreign language course. Data were collected on participants’ domain knowledge, motivation, and creative personality, as well as four measures representing “General or Domain-Specific Creative Ideation” or “Creative Performance and Activity”. Results indicated that the four measures of creativity were correlated with one another, except for “General Performance and Activity” and “Domain-Specific Ideation.” A canonical correlation indicated that knowledge, motivation, and personality were significantly correlated with the four creativity measures (Rc = .49, p < .01). Multiple regressions uncovered particular relationships consistent with the view that creativity has both general and domain-specific contributions. Limitations, such as the focus on one domain, and future directions are discussed. PMID:27872664

The Sufi, his headdress and its significance.

PubMed

Mahdihassan, S

1990-01-01

Etymologically Sufi, as an Arabic word, means woolen-clad. This is unsuitable in designating a devotee who tries to have union with God. When the word is taken to Chinese it means (my) master-and-father, my Guru. There are at least nine more words used in addressing the Sufi or speaking of him, all of Chinese origin. This leaves no word specially used for the sufi which is not derived from Chinese. Next comes a rite special to the sufis, it is whirling-dancing. It has no precedence in traditional Islam. On the contrary "Dancing in ancient China was a powerful means of seeking divine will, and producing ecstasy for calling down spirits from the invisible word." Thus sufism would be an adaptation from Chinese Shamanism. The headdress, rather than the dress covering the body, is special to the sufis; it is a long hat made to resemble the male generative organ. In ancient times this organ was sanctified and, as sacred object, its emblem formed the headdress of male and female deities. Even sages were buried with emblem of the male organ on their heads. The earlier form of Hindu Trinity was called Trai-Linga-Ishwara, where Linga literally means the male organ but semantically connotes creative power. To understand creation man had projected Birth as Creation when the male organ of reproduction was sublimated as power of creation. The prehistoric word was Chhiu, meaning phallus. This was pronounced as Shiu or Shew and later became Shiva, who was Phallus-god. In Greece Hermes was Phallus-god. With Shiva there was the Trinity Trai-Linga-Ishwara; Hermes was correspondingly called Tris-Majestis. The headdress, originally formed to resemble the male organ of reproduction underwent modifications. It grew in length while the top, from being round became flat. In this form it could be used without a cloth wrapped round to support it on the head. This was again unique and used only by the Sufis. Its past took it to the emblem of male generative organ but in all stages represented creative power.

Teaching Collaborative Skills through Dance: Isolating the Parts to Strengthen the Whole

ERIC Educational Resources Information Center

Schupp, Karen

2015-01-01

Collaboration is inherently part of many dance pedagogies, dance practices, and dance careers, which is why dance students are frequently required to work and learn together in the dance studio and classroom. Outside of dance, in a variety of disciplines, the ability to collaborate is prized as a highly valuable competency, and the facility to…

Improving creativity performance by short-term meditation.

PubMed

Ding, Xiaoqian; Tang, Yi-Yuan; Tang, Rongxiang; Posner, Michael I

2014-03-19

One form of meditation intervention, the integrative body-mind training (IBMT) has been shown to improve attention, reduce stress and change self-reports of mood. In this paper we examine whether short-term IBMT can improve performance related to creativity and determine the role that mood may play in such improvement. Forty Chinese undergraduates were randomly assigned to short-term IBMT group or a relaxation training (RT) control group. Mood and creativity performance were assessed by the Positive and Negative Affect Schedule (PANAS) and Torrance Tests of Creative Thinking (TTCT) questionnaire respectively. As predicted, the results indicated that short-term (30 min per day for 7 days) IBMT improved creativity performance on the divergent thinking task, and yielded better emotional regulation than RT. In addition, cross-lagged analysis indicated that both positive and negative affect may influence creativity in IBMT group (not RT group). Our results suggested that emotion-related creativity-promoting mechanism may be attributed to short-term meditation.

Priming of Spatial Distance Enhances Children's Creative Performance

ERIC Educational Resources Information Center

Liberman, Nira; Polack, Orli; Hameiri, Boaz; Blumenfeld, Maayan

2012-01-01

According to construal level theory, psychological distance promotes more abstract thought. Theories of creativity, in turn, suggest that abstract thought promotes creativity. Based on these lines of theorizing, we predicted that spatial distancing would enhance creative performance in elementary school children. To test this prediction, we primed…

Team Proactivity as a Linking Mechanism between Team Creative Efficacy, Transformational Leadership, and Risk-Taking Norms and Team Creative Performance

ERIC Educational Resources Information Center

Shin, Yuhyung; Eom, Chanyoung

2014-01-01

Despite the growing body of research on creativity in team contexts, very few attempts have been made to explore the team-level antecedents and the mediating processes of team creative performance on the basis of a theoretical framework. To address this gap, drawing on Paulus and Dzindolet's (2008) group creativity model, this study proposed team…

SEA Change: Bringing together Science, Engineering and the Arts at the University of Florida

NASA Astrophysics Data System (ADS)

Perfit, M. R.; Mertz, M. S.; Lavelli, L.

2014-12-01

A group of interested and multifaceted faculty, administrators and students created the Science, Engineering, Arts Committee (SEA Change) two years ago at the University of Florida (UF). Recognizing that innovative ideas arise from the convergence of divergent thinkers, the committee seeks to bring together faculty in Science, Engineering, the Arts and others across campus to develop and disseminate innovative ideas for research, teaching and service that will enhance the campus intellectual environment. We meet regularly throughout the year as faculty with graduate and undergraduate students to catalyze ideas that could lead to collaborative or interdisciplinary projects and make recommendations to support innovative, critical and creative work. As an example, the Department of Geological Sciences and the School of Art and Art History collaborated on a competition among UF undergraduate painting students to create artistic works that related to geoscience. Each student gathered information from Geological Sciences faculty members to use for inspiration in creating paintings along with site-specific proposals to compete for a commission. The winning work was three-story high painting representing rock strata and the Florida environment entitled "Prairie Horizontals" that is now installed in the Geoscience building entrance atrium. Two smaller paintings of the second place winner, depicting geologists in the field were also purchased and displayed in a main hallway. Other activities supported by SEA Change have included a collaborative work of UF engineering and dance professors who partnered for the Creative Storytelling and Choreography Lab, to introduce basic storytelling tools to engineering students. A campus-wide gathering of UF faculty and graduate students titled Creative Practices: The Art & Science of Discovery featured guest speakers Steven Tepper, Victoria Vesna and Benjamin Knapp in spring 2014. The Committee plans to develop and foster ideas that will lead to more collaborative or interdisciplinary projects and make recommendations to the administration to support a creative environment across disciplines on UF campus.

A profile of the demographics and training characteristics of professional modern dancers.

PubMed

Weiss, David S; Shah, Selina; Burchette, Raoul J

2008-01-01

Modern dancers are a unique group of artists, performing a diverse repertoire in dance companies of various sizes. In this study, 184 professional modern dancers in the United States (males N=49, females N=135), including members of large and small companies as well as freelance dancers, were surveyed regarding their demographics and training characteristics. The mean age of the dancers was 30.1 +/- 7.3 years, and they had danced professionally for 8.9 +/- 7.2 years. The average Body Mass Index (BMI) was 23.6 +/- 2.4 for males and 20.5 +/- 1.7 for females. Females had started taking dance class earlier (age 6.5 +/- 4.2 years) as compared to males (age 15.6 +/- 6.2 years). Females were more likely to have begun their training in ballet, while males more often began with modern classes (55% and 51% respectively, p < 0.0001). The professional modern dancers surveyed spent 8.3 +/- 6.0 hours in class and 17.2 +/- 12.6 hours in rehearsal each week. Eighty percent took modern technique class and 67% reported that they took ballet technique class. The dancers who specified what modern technique they studied (N=84) reported between two and four different techniques. The dancers also participated in a multitude of additional exercise regimens for a total of 8.2 +/- 6.6 hours per week, with the most common types being Pilates, yoga, and upper body weightlifting. The dancers wore many different types of footwear, depending on the style of dance being performed. For modern dance alone, dancers wore 12 different types of footwear. Reflecting the diversity of the dancers and companies surveyed, females reported performing for 23.3 +/- 14.0 weeks (range: 2-52 weeks) per year; males reported performing 20.4 +/- 13.9 weeks (range: 1-40) per year. Only 18% of the dancers did not have any health insurance, with 54% having some type of insurance provided by their employer. However, 23% of the dancers purchased their own insurance, and 22% had insurance provided by their families. Only 16% of dancers reported that they had Workers' Compensation coverage, despite the fact that they were all professionals, including many employed by major modern dance companies across the United States. It is concluded that understanding the training profile of the professional modern dancer should assist healthcare providers in supplying appropriate medical care for these performers.

Effect of height on motor coordination in college students participating in a dancesport program.

PubMed

Li, Xiaoxin; Wang, Huazhuo; Yang, Yaohua; Qi, Chunying; Wang, Fei; Jin, Man

2015-03-01

Athlete screening tools combine measures of physical performance and morphometric parameters unique to each sport. Given the increasing competitiveness of dancesport, we designed the present quasi-experimental study to analyze the relationship between body height and motor coordination in college students. Six hundred eighty-six students were randomly selected to participate in a dancing sport program that consisted of 16 weeks (32 hrs) of training. The program included an assessment of basic skills (rhythm, movement specificity, intensity, expressive force, and action coherence) and skills related to a doubles dance routine. Male and female students were divided into four single-sex groups based on their heights (each group had a 5-cm range), and the average scores for each performance indicator were analyzed. A one-way ANOVA revealed significant differences in performance scores for each indicator of basic skills and double routine skills between the different height groups. Male in the 175-179 cm group and female students in the 165-169 cm group had the best performance scores on each indicator, while the shortest students had the worst performance scores. The height of students participating in sport dancing training had an impact on dancesport performance and motor coordination, counter to the traditional belief that shorter people have better coordination.

The Dance Teacher: The Ideal Case and Daily Reality

ERIC Educational Resources Information Center

Van Rossum, J. H. A.

2004-01-01

The dance teacher is a central figure in the world of dance; the impact of the dance teacher on the career of a young dancer can be decisive. A dance teacher is more often than not described as authoritarian. The present study investigated the various dimensions of the dance teacher's behavior. To map the teacher's behavior, a dance-adapted…

The Performer's Body in Creative Interpretations of Repertoire Music

ERIC Educational Resources Information Center

Hubrich, Sara G. B.

2016-01-01

Recent developments in the performing arts have led Western classical instrumentalists to reconsider their own creative input in their interpretative practice. Still recognising the composer as a main creative source, a fresh approach to interpretation specifically embraces possibilities for shared creativity. Such a shift of perception is…

Research Productivity and Performance of Journals in the Creativity Sciences: A Bibliometric Analysis

ERIC Educational Resources Information Center

Long, Haiying; Plucker, Jonathan A.; Yu, Qi; Ding, Ying; Kaufman, James C.

2014-01-01

A bibliometric approach was employed to analyze the research productivity and performance of creativity studies between 1965 and 2012. A dataset was constructed using all publications and citations retrieved from four key journals that publish creativity research: "Journal of Creative Behavior" ("JCB"), "Gifted Child…

Working memory benefits creative insight, musical improvisation, and original ideation through maintained task-focused attention.

PubMed

De Dreu, Carsten K W; Nijstad, Bernard A; Baas, Matthijs; Wolsink, Inge; Roskes, Marieke

2012-05-01

Anecdotes from creative eminences suggest that executive control plays an important role in creativity, but scientific evidence is sparse. Invoking the Dual Pathway to Creativity Model, the authors hypothesize that working memory capacity (WMC) relates to creative performance because it enables persistent, focused, and systematic combining of elements and possibilities (persistence). Study 1 indeed showed that under cognitive load, participants performed worse on a creative insight task. Study 2 revealed positive associations between time-on-task and creativity among individuals high but not low in WMC, even after controlling for general intelligence. Study 3 revealed that across trials, semiprofessional cellists performed increasingly more creative improvisations when they had high rather than low WMC. Study 4 showed that WMC predicts original ideation because it allows persistent (rather than flexible) processing. The authors conclude that WMC benefits creativity because it enables the individual to maintain attention focused on the task and prevents undesirable mind wandering.

Can social dancing prevent falls in older adults? a protocol of the Dance, Aging, Cognition, Economics (DAnCE) fall prevention randomised controlled trial

PubMed Central

2013-01-01

Background Falls are one of the most common health problems among older people and pose a major economic burden on health care systems. Exercise is an accepted stand-alone fall prevention strategy particularly if it is balance training or regular participation in Tai chi. Dance shares the ‘holistic’ approach of practices such as Tai chi. It is a complex sensorimotor rhythmic activity integrating multiple physical, cognitive and social elements. Small-scale randomised controlled trials have indicated that diverse dance styles can improve measures of balance and mobility in older people, but none of these studies has examined the effect of dance on falls or cognition. This study aims to determine whether participation in social dancing: i) reduces the number of falls; and ii) improves cognitive functions associated with fall risk in older people. Methods/design A single-blind, cluster randomised controlled trial of 12 months duration will be conducted. Approximately 450 participants will be recruited from 24 self-care retirement villages that house at least 60 residents each in Sydney, Australia. Village residents without cognitive impairment and obtain medical clearance will be eligible. After comprehensive baseline measurements including physiological and cognitive tests and self-completed questionnaires, villages will be randomised to intervention sites (ballroom or folk dance) or to a wait-listed control using a computer randomisation method that minimises imbalances between villages based on two baseline fall risk measures. Main outcome measures are falls, prospectively measured, and the Trail Making cognitive function test. Cost-effectiveness and cost-utility analyses will be performed. Discussion This study offers a novel approach to balance training for older people. As a community-based approach to fall prevention, dance offers older people an opportunity for greater social engagement, thereby making a major contribution to healthy ageing. Providing diversity in exercise programs targeting seniors recognises the heterogeneity of multicultural populations and may further increase the number of taking part in exercise. Trial registration Australian New Zealand Clinical Trials Registry ACTRN12612000889853 The trial is now in progress with 12 villages already have been randomised. PMID:23675705

Effect of dance exercise on cognitive function in elderly patients with metabolic syndrome: a pilot study.

PubMed

Kim, Se-Hong; Kim, Minjeong; Ahn, Yu-Bae; Lim, Hyun-Kook; Kang, Sung-Goo; Cho, Jung-Hyoun; Park, Seo-Jin; Song, Sang-Wook

2011-01-01

Metabolic syndrome is associated with an increased risk of cognitive impairment. The purpose of this prospective pilot study was to examine the effects of dance exercise on cognitive function in elderly patients with metabolic syndrome. The participants included 38 elderly metabolic syndrome patients with normal cognitive function (26 exercise group and 12 control group). The exercise group performed dance exercise twice a week for 6 months. Cognitive function was assessed in all participants using the Korean version of the Consortium to Establish a Registry for Alzheimer's disease (CERAD-K). Repeated-measures ANCOVA was used to assess the effect of dance exercise on cognitive function and cardiometabolic risk factors. Compared with the control group, the exercise group significantly improved in verbal fluency (p = 0.048), word list delayed recall (p = 0.038), word list recognition (p = 0.007), and total CERAD-K score (p = 0.037). However, no significance difference was found in body mass index, blood pressure, waist circumference, fasting plasma glucose, triglyceride, and HDL cholesterol between groups over the 6-month period. In the present study, six months of dance exercise improved cognitive function in older adults with metabolic syndrome. Thus, dance exercise may reduce the risk for cognitive disorders in elderly people with metabolic syndrome. Key pointsMetabolic syndrome (MS) is associated with an increased risk of cognitive impairment.Aerobic exercise improves cognitive function in elderly people and contributes to the prevention of degenerative neurological disease and brain damage. Dance sport is a form of aerobic exercise that has the additional benefits of stimulating the emotions, promoting social interaction, and exposing subjects to acoustic stimulation and music.In the present study, dance exercise for a 6-month period improved cognitive function in older adults with MS. In particular, positive effects were observed in verbal fluency, word list delayed recall, word list recognition, and the total CERAD-K score.Our data suggest that the implementation of dance exercise programs may be an effective means of prevention and treatment of cognitive disorders.

Can social dancing prevent falls in older adults? a protocol of the Dance, Aging, Cognition, Economics (DAnCE) fall prevention randomised controlled trial.

PubMed

Merom, Dafna; Cumming, Robert; Mathieu, Erin; Anstey, Kaarin J; Rissel, Chris; Simpson, Judy M; Morton, Rachael L; Cerin, Ester; Sherrington, Catherine; Lord, Stephen R

2013-05-15

Falls are one of the most common health problems among older people and pose a major economic burden on health care systems. Exercise is an accepted stand-alone fall prevention strategy particularly if it is balance training or regular participation in Tai chi. Dance shares the 'holistic' approach of practices such as Tai chi. It is a complex sensorimotor rhythmic activity integrating multiple physical, cognitive and social elements. Small-scale randomised controlled trials have indicated that diverse dance styles can improve measures of balance and mobility in older people, but none of these studies has examined the effect of dance on falls or cognition. This study aims to determine whether participation in social dancing: i) reduces the number of falls; and ii) improves cognitive functions associated with fall risk in older people. A single-blind, cluster randomised controlled trial of 12 months duration will be conducted. Approximately 450 participants will be recruited from 24 self-care retirement villages that house at least 60 residents each in Sydney, Australia. Village residents without cognitive impairment and obtain medical clearance will be eligible. After comprehensive baseline measurements including physiological and cognitive tests and self-completed questionnaires, villages will be randomised to intervention sites (ballroom or folk dance) or to a wait-listed control using a computer randomisation method that minimises imbalances between villages based on two baseline fall risk measures. Main outcome measures are falls, prospectively measured, and the Trail Making cognitive function test. Cost-effectiveness and cost-utility analyses will be performed. This study offers a novel approach to balance training for older people. As a community-based approach to fall prevention, dance offers older people an opportunity for greater social engagement, thereby making a major contribution to healthy ageing. Providing diversity in exercise programs targeting seniors recognises the heterogeneity of multicultural populations and may further increase the number of taking part in exercise. Australian New Zealand Clinical Trials Registry ACTRN12612000889853The trial is now in progress with 12 villages already have been randomised.

Changes in Energy Demand of Dance Activity and Cardiorespiratory Fitness During 1 Year of Vocational Contemporary Dance Training.

PubMed

Beck, Sarah; Wyon, Matthew A; Redding, Emma

2018-03-01

Beck, S, Wyon, MA, and Redding, E. Changes in energy demand of dance activity and cardiorespiratory fitness during 1 year of vocational contemporary dance training. J Strength Cond Res 32(3): 841-848, 2018-Previous literature has demonstrated that the intensity of dance class as well as its discontinuous nature is not sufficient to elicit an aerobic training response and that the aerobic capacity of dancers is relatively low. These findings have raised questions on the suitability of training, through class and rehearsal, as adequate preparation for the physical demands of performance and a sustained, successful career in dance. The aim of this study was to describe changes in aerobic fitness and energy cost of dance movement occurring throughout 1 year of training. Subjects were 13 female dance students; 7 first-year undergraduate (UG) students, and 6 postgraduate (PG) students. At 3 time points (TP1, TP2, and TP3) during 1 academic year, each subject completed a treadmill test to determine V[Combining Dot Above]O2peak (ml·kg·min) and lactate threshold (LT) (ml·kg·min and %V[Combining Dot Above]O2peak) and a standardized 4-minute dance sequence, where the mean demand was expressed as V[Combining Dot Above]O2 (ml·kg·min), heart rate (b·min), %V[Combining Dot Above]O2peak, and %LT. Both groups displayed an overall decrease in mean V[Combining Dot Above]O2peak throughout the year, despite a peak in fitness at TP2 in the PG students. No significant changes in LT were noted over time for either group. A significant reduction in the relative intensity of the dance sequence, particularly in relation to mean VO2 (ml·kg·min) and %LT data, was observed over time in both groups, although the degree of change was less in the UG group than the PG group. Apparent adaptations during a rehearsal period in the PG group are presented in contrast to previous research findings. Recommendations for future research include further investigation into the energy demand of rehearsal and cardiorespiratory adaptation during rehearsal periods as well as further reporting of measures related to LT and movement economy.

A Retrospective Assessment of Return to Function in Dance After Physical Therapy for Common Dance Injuries.

PubMed

Junck, Emily; Richardson, Megan; Dilgen, Faye; Liederbach, Marijeanne

2017-12-15

An injury that causes a dancer to take time away from training or performance can be career ending, and thus it is important for dancers to have accurate expectations when considering treatment options. Thus far, few studies have reported functional outcomes after injury in dancers, which may be different than for the general athletic population. Therefore, our study sought to determine functional outcomes in dancers after operative and non-operative treatment for common dance injuries. Our outcome measures included a subjective assessment of the degree to which a dancer had returned to his or her previous level of dance, the SF-12 survey, and the WHO functional outcome scale modified for dance. We also compared these as outcome measurement tools for return to full function in dance. Secondarily, we sought to assess factors that may have contributed to poorer functional outcomes. We reviewed the charts of 675 dancers seen at our physical therapy facilities between 2006 and 2010 and identified 416 adult dancers who had experienced a dance-related injury that we categorized as "common," based on surveys of injuries among dancers (with back injuries excluded). One hundred and sixty-four dancers completed a tele- phone survey about their recovery after injury. Descriptive statistics, correlation, and linear regression were then used to identify factors associated with poor functional outcomes. Sixty-three percent of the participants had a full return to their pre-injury level. No variables were found to be significantly correlated (p < 0.05) with poorer outcomes by linear re- gression. However, there was a trend to- ward better outcomes when dancers were younger, their injuries were not chronic, and their recovery was not limited by fear. The three measurement tools were all highly correlated with one another (p = 0.000) and found to be useful determinants of functional return to dance. Given that there were few strongly correlated outcome factors, we concluded that poorer functional outcomes in dance resulted from a combination of many factors, including those of a psychosocial nature. We believe these results can be used to better advise dancers who are considering treatment options, provide better estimates of possible limitations and time needed to return to dance, and potentially promote easier recoveries and better functional outcomes.

Out of Our Heads! Four perspectives on the curation of an on-line exhibition of medically themed artwork by UK medical undergraduates

PubMed Central

Thompson, Trevor; van de Klee, Danny; Lamont-Robinson, Catherine; Duffin, Will

2010-01-01

The Medical School at Bristol University is noted for offering, and in some instances requiring, its students to work creatively with medical themes. Students, artists, educationalists and a web designer have worked to create an on-line exhibition of the resulting creative output. This can be viewed at www.outofourheads.net. This site is a themed repository of poetry, prose, drawings, paintings, cartoons, films, music, dance and rap. Most works come with commentaries that can be as illuminating as the works they describe. The site invites comment and welcomes new postings from anyone connected to medicine. As an alternative to the conventional pedagogical report, and in keeping with the subject matter, in this paper we tell the story of this unique educational enterprise through the narratives of four of its principle architects. The ‘Teacher's Tale’, the ‘Designer's Tale’, the ‘Curator's Tale’ and the ‘Artist's Tale’ offer different, personal, tellings of how the site came to be. Each tale contains hypertext links to notable works on the site some of which have become teaching resources within the institution. This paper is of relevance to anyone who seeks to explore and champion the human insights of this privileged community. PMID:21321667

Creative Arts Interventions for Stress Management and Prevention—A Systematic Review

PubMed Central

Martin, Lily; Bauer, Katharina; Nottensteiner, Alina; Mergheim, Katja

2018-01-01

Stress is one of the world’s largest health problems, leading to exhaustion, burnout, anxiety, a weak immune system, or even organ damage. In Germany, stress-induced work absenteeism costs about 20 billion Euros per year. Therefore, it is not surprising that the Central Federal Association of the public Health Insurance Funds in Germany ascribes particular importance to stress prevention and stress management as well as health enhancing measures. Building on current integrative and embodied stress theories, Creative Arts Therapies (CATs) or arts interventions are an innovative way to prevent stress and improve stress management. CATs encompass art, music, dance/movement, and drama therapy as their four major modalities. In order to obtain an overview of CATs and arts interventions’ efficacy in the context of stress reduction and management, we conducted a systematic review with a search in the following data bases: Academic Search Complete, ERIC, Medline, Psyndex, PsycINFO and SocINDEX. Studies were included employing the PICOS principle and rated according to their evidence level. We included 37 studies, 73% of which were randomized controlled trials. 81.1% of the included studies reported a significant reduction of stress in the participants due to interventions of one of the four arts modalities. PMID:29470435

Trunk Muscle Activation and Estimating Spinal Compressive Force in Rope and Harness Vertical Dance.

PubMed

Wilson, Margaret; Dai, Boyi; Zhu, Qin; Humphrey, Neil

2015-12-01

Rope and harness vertical dance takes place off the floor with the dancer suspended from his or her center of mass in a harness attached to a rope from a point overhead. Vertical dance represents a novel environment for training and performing in which expected stresses on the dancer's body are different from those that take place during dance on the floor. Two male and eleven female dancers with training in vertical dance performed six typical vertical dance movements with electromyography (EMG) electrodes placed bilaterally on rectus abdominus, external oblique, erector spinae, and latissimus dorsi. EMG data were expressed as a percentage of maximum voluntary isometric contraction (MVIC). A simplified musculoskeletal model based on muscle activation for these four muscle groups was used to estimate the compressive force on the spine. The greatest muscle activation for erector spinae and latissimus dorsi and the greatest trunk compressive forces were seen in vertical axis positions where the dancer was moving the trunk into a hyper-extended position. The greatest muscle activation for rectus abdominus and external oblique and the second highest compressive force were seen in a supine position with the arms and legs extended away from the center of mass (COM). The least muscle activation occurred in positions where the limbs were hanging below the torso. These movements also showed relatively low muscle activation compression forces. Post-test survey results revealed that dancers felt comfortable in these positions; however, observation of some positions indicated insufficient muscular control. Computing the relative contribution of muscles, expressed as muscle activation and estimated spinal compression, provided a measure of how much the muscle groups were working to support the spine and the rest of the dancer's body in the different movements tested. Additionally, identifying typical muscle recruitment patterns in each movement will help identify key exercises for training that should promote injury prevention.

Ballroom Dance: Linking Serious Leisure to Successful Aging.

PubMed

Stevens-Ratchford, Regena G

2016-09-01

This study explored ballroom dance as serious leisure and successful aging in a sample of community-dwelling older adults. Qualitative procedures were used to explore stories of ballroom dance and successful aging. Participants described positive successful aging and active leisure engagement. Three themes emerged from thematic analyses: (a) Ballroom Dance as Serious Leisure: Its Dimensions; (b) Ballroom Dance: Its Link to Successful Aging; (c) The Affinity: We Love to Dance!. The participants' ballroom dance revealed serious leisure characteristics in conjunction with their successful aging. They loved to dance, self-identified as ballroom dancers, and orchestrated their dance activities within its social world. Future research should examine the relation of successful aging to the social world of ballroom dance. © The Author(s) 2016.

Learning to Be Creatively Expressive Performers

ERIC Educational Resources Information Center

Strand, Katherine; Brenner, Brenda

2017-01-01

Research conducted on the development of expressive performance capabilities suggests that children can learn to demonstrate expressiveness in their music-making. Expressivity includes musical interpretation, performance technique, and musical and personal creativity. This article examines creativity as an important component of musical…

Cerebral blood flow associated with creative performance: a comparative study.

PubMed

Chávez-Eakle, Rosa Aurora; Graff-Guerrero, Ariel; García-Reyna, Juan-Carlos; Vaugier, Víctor; Cruz-Fuentes, Carlos

2007-11-15

Creativity is important for social survival and individual wellbeing; science, art, philosophy and technology have been enriched and expanded by this trait. To our knowledge this is the first study probing differences in brain cerebral blood flow (CBF) between highly creative individuals (scientists and/or artists socially recognized for their contributions to their fields with creativity indexes corresponding to the 99% percentile) and average control subjects while performing a verbal task from the Torrance Tests of Creative Thinking. Additionally, we correlated CBF with creativity dimensions such as fluency, originality and flexibility. Subjects with a high creative performance showed greater CBF activity in right precentral gyrus, right culmen, left and right middle frontal gyrus, right frontal rectal gyrus, left frontal orbital gyrus, and left inferior gyrus (BA 6, 10, 11, 47, 20), and cerebellum; confirming bilateral cerebral contribution. These structures have been involved in cognition, emotion, working memory, and novelty response. The score on the three creativity dimensions--fluency, originality, and flexibility--correlated with CBF activation in right middle frontal gyrus and right rectal gyrus (Brodmann Area 6, 11). Moreover, fluency and flexibility strongly correlated with CBF in left inferior frontal gyrus and originality correlated with CBF in left superior temporal gyrus and cerebellar tonsil. These findings suggest an integration of perceptual, volitional, cognitive and emotional processes in creativity. The higher CBF found in particular brain regions of highly creative individuals during the performance of a creative task provides evidence of a specific neural network related to the creative process.

Effect of dance therapy on blood pressure and exercise capacity of individuals with hypertension: A systematic review and meta-analysis.

PubMed

Conceição, Lino Sergio Rocha; Neto, Mansueto Gomes; do Amaral, Mayra Alves Soares; Martins-Filho, Paulo Ricardo Saquete; Oliveira Carvalho, Vitor

2016-10-01

Dance therapy is a less conventional modality of physical activity in cardiovascular rehabilitation. We performed a systematic review and meta-analysis to investigate the effects of dance therapy in hypertensive patients. Pubmed, Scopus, LILACS, IBECS, MEDLINE and SciELO via Virtual Health Library (Bireme) (from the earliest data available to February 2016) for controlled trials that investigated the effects of dance therapy on exercise capacity, systolic (SBP) and diastolic (DBP) blood pressure in hypertensive patients. Weighted mean differences (WMD) and 95% confidence intervals (CIs) were calculated, and heterogeneity was assessed using the I(2) test. Four studies met the eligibility criteria. Dance therapy resulted in a significant reduction in systolic blood pressure (WMD -12.01mmHg; 95% CI: -16.08, -7.94mmHg; P<0.0001) when compared with control subjects. Significant reduction in diastolic blood pressure were also found (WMD -3.38mmHg; 95% CI: -4.81, -1.94mmHg; P<0.0001), compared with control group. Exercise capacity showed a significant improvement (WMD 1.31; 95% CI: 0.16, 2.47; P<0.03). A moderate to high heterogeneity was observed in our analysis: I(2)=92% to SBP, I(2)=55% to DBP, and I(2)=82% to exercise capacity. Our meta-analysis showed a positive effect of dance therapy on exercise capacity and reduction of SBP and DBP in individuals with hypertension. However, the moderate to high heterogeneity found in our analysis limits a pragmatic recommendation of dance therapy in individuals with hypertension. Copyright © 2016 Elsevier Ireland Ltd. All rights reserved.

Analysis of static and dynamic balance in healthy elderly practitioners of Tai Chi Chuan versus ballroom dancing

PubMed Central

Rahal, Miguel Antônio; Alonso, Angélica Castilho; Andrusaitis, Felix Ricardo; Rodrigues, Thuam Silva; Speciali, Danielli Souza; Greve, Júlia Maria D′Andréa; Leme, Luiz Eugênio Garcez

2015-01-01

OBJECTIVE: To determine whether Tai Chi Chuan or ballroom dancing promotes better performance with respect to postural balance, gait, and postural transfer among elderly people. METHODS: We evaluated 76 elderly individuals who were divided into two groups: the Tai Chi Chuan Group and the Dance Group. The subjects were tested using the NeuroCom Balance Master® force platform system with the following protocols: static balance tests (the Modified Clinical Tests of Sensory Interaction on Balance and Unilateral Stance) and dynamic balance tests (the Walk Across Test and Sit-to-stand Transfer Test). RESULTS: In the Modified Clinical Test of Sensory Interaction on Balance, the Tai Chi Chuan Group presented a lower sway velocity on a firm surface with open and closed eyes, as well as on a foam surface with closed eyes. In the Modified Clinical Test of Sensory Interaction on Unilateral Stance, the Tai Chi Chuan Group presented a lower sway velocity with open eyes, whereas the Dance Group presented a lower sway velocity with closed eyes. In the Walk Across Test, the Tai Chi Chuan Group presented faster walking speeds than those of the Dance Group. In the Sit-to-stand Transfer Test, the Tai Chi Chuan Group presented shorter transfer times from the sitting to the standing position, with less sway in the final standing position. CONCLUSION: The elderly individuals who practiced Tai Chi Chuan had better bilateral balance with eyes open on both types of surfaces compared with the Dance Group. The Dance Group had better unilateral postural balance with eyes closed. The Tai Chi Chuan Group had faster walking speeds, shorter transfer times, and better postural balance in the final standing position during the Sit-to-stand Test. PMID:26017644

Analysis of static and dynamic balance in healthy elderly practitioners of Tai Chi Chuan versus ballroom dancing.

PubMed

Rahal, Miguel Antônio; Alonso, Angélica Castilho; Andrusaitis, Felix Ricardo; Rodrigues, Thuam Silva; Speciali, Danielli Souza; Greve, Júlia Maria D Andréa; Leme, Luiz Eugênio Garcez

2015-03-01

To determine whether Tai Chi Chuan or ballroom dancing promotes better performance with respect to postural balance, gait, and postural transfer among elderly people. We evaluated 76 elderly individuals who were divided into two groups: the Tai Chi Chuan Group and the Dance Group. The subjects were tested using the NeuroCom Balance Master¯ force platform system with the following protocols: static balance tests (the Modified Clinical Tests of Sensory Interaction on Balance and Unilateral Stance) and dynamic balance tests (the Walk Across Test and Sit-to-stand Transfer Test). In the Modified Clinical Test of Sensory Interaction on Balance, the Tai Chi Chuan Group presented a lower sway velocity on a firm surface with open and closed eyes, as well as on a foam surface with closed eyes. In the Modified Clinical Test of Sensory Interaction on Unilateral Stance, the Tai Chi Chuan Group presented a lower sway velocity with open eyes, whereas the Dance Group presented a lower sway velocity with closed eyes. In the Walk Across Test, the Tai Chi Chuan Group presented faster walking speeds than those of the Dance Group. In the Sit-to-stand Transfer Test, the Tai Chi Chuan Group presented shorter transfer times from the sitting to the standing position, with less sway in the final standing position. The elderly individuals who practiced Tai Chi Chuan had better bilateral balance with eyes open on both types of surfaces compared with the Dance Group. The Dance Group had better unilateral postural balance with eyes closed. The Tai Chi Chuan Group had faster walking speeds, shorter transfer times, and better postural balance in the final standing position during the Sit-to-stand Test.

The role of instrumental emotion regulation in the emotions-creativity link: how worries render individuals with high neuroticism more creative.

PubMed

Leung, Angela K-Y; Liou, Shyhnan; Qiu, Lin; Kwan, Letty Y-Y; Chiu, Chi-Yue; Yong, Jose C

2014-10-01

Based on the instrumental account of emotion regulation (Tamir, 2005), the current research seeks to offer a novel perspective to the emotions-creativity debate by investigating the instrumental value of trait-consistent emotions in creativity. We hypothesize that emotions such as worry (vs. happy) are trait-consistent experiences for individuals higher on trait neuroticism and experiencing these emotions can facilitate performance in a creativity task. In 3 studies, we found support for our hypothesis. First, individuals higher in neuroticism had a greater preference for recalling worrisome (vs. happy) events in anticipation of performing a creativity task (Study 1). Moreover, when induced to recall a worrisome (vs. happy) event, individuals higher in neuroticism came up with more creative design (Study 2) and more flexible uses of a brick (Study 3) when the task was a cognitively demanding one. Further, Study 3 offers preliminary support that increased intrinsic task enjoyment and motivation mediates the relationship between trait-consistent emotion regulation and creative performance. These findings offer a new perspective to the controversy concerning the emotions-creativity relationship and further demonstrate the role of instrumental emotion regulation in the domain of creative performance. PsycINFO Database Record (c) 2014 APA, all rights reserved.

AstroDance: Teaching Astrophysics Through Dance?

NASA Astrophysics Data System (ADS)

Noel-Storr, Jacob; Campanelli, M.; Bochner, J.; Warfield, T.; Bischof, H.; Zlochower, Y.; Nordhaus, J.; Watkins, G.; NSF CRPA AstroDance Team

2014-01-01

Through a collaboration involving scientists, artists and educators, members of the Center for Computational Relativity and Gravitation and the National Technical Institute for the Deaf at the Rochester Institute of Technology we developed a unique project for Communicating Research to Public Audiences. The project used dance and multi-media theater techniques to expose a broad audience, about half of which is comprised of deaf and hard-of-hearing individuals, to an aesthetic, educational performance representing the concepts of gravitational physics in astrophysical settings. Since deaf and hard-of-hearing people rely heavily on visual communication for learning and gaining access to information, dance and multi-media theater provide a kinesthetic and visual experience that is fully accessible to them, as well as hearing audience members, and help facilitate their learning and development of non-linguistic representations of concepts. Here we present the results of our research into the learning outcomes for the diverse audiences of this project in terms of both knowledge and attitudes towards science.

The Dance Within: A Pilot Project in Dance for the Handicapped and Teaching Dance for the Handicapped: A Curriculum Guide.

ERIC Educational Resources Information Center

Michigan Dance Association, Lansing.

The Michigan Dance Association's Dance Project for the Handicapped is the subject of the two pamphlets that make up this document. The first pamphlet, "The Dance Within," describes the history, nature and goals of the Jackson Pilot Project, the first handicapped dance program in Michigan; it also offers suggestions on how to set up similar…

Sensorimotor Synchronization with Different Metrical Levels of Point-Light Dance Movements.

PubMed

Su, Yi-Huang

2016-01-01

Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS) to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1), or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2). Results showed that, while synchronization with the bounce (lower-level pulse) was not influenced by the presence or absence of limb movements (metrical accent), synchronization with the legs (beat) was improved by the presence of the bounce (metrical subdivision) across different movement types. The latter finding parallels the "subdivision benefit" often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music.

Creating Cultures of Teaching and Learning: Conveying Dance and Somatic Education Pedagogy

ERIC Educational Resources Information Center

Dragon, Donna A.

2015-01-01

Often in teaching dance, methods of teaching and learning are silently embedded into dance classroom experiences. Unidentified and undisclosed pedagogic information has impacted the content of dance history; the perpetuation of authoritarian teaching practices within dance technique classes and in some dance classes deemed "somatics";…

Factors for Radical Creativity, Incremental Creativity, and Routine, Noncreative Performance

ERIC Educational Resources Information Center

Madjar, Nora; Greenberg, Ellen; Chen, Zheng

2011-01-01

This study extends theory and research by differentiating between routine, noncreative performance and 2 distinct types of creativity: radical and incremental. We also use a sensemaking perspective to examine the interplay of social and personal factors that may influence a person's engagement in a certain level of creative action versus routine,…

Charismatic, Ideological, and Pragmatic Leaders' Influence on Subordinate Creative Performance across the Creative Process

ERIC Educational Resources Information Center

Lovelace, Jeffrey B.; Hunter, Samuel T.

2013-01-01

Using the charismatic, ideological, and pragmatic (CIP) model of leadership as a framework, 2 primary research questions were examined. First, when engaging in different tasks along the creative process, does leadership style influence the creative performance of subordinates? Second, how does the level of stress, to which subordinates are…

Creativity in Men and Women: Threat, Other-Interest, and Self-Assessment

ERIC Educational Resources Information Center

Kemmelmeier, Markus; Walton, Andre P.

2016-01-01

Previous research into gender and creativity has provided little evidence for consistent differences between men and women in creative performance. This research revisits this topic by proposing a person × situation approach, arguing that gender differences in creative performance only occur in certain contexts, but not others. Based on the…

Too much noise on the dance floor: Intra- and inter-dance angular error in honey bee waggle dances.

PubMed

Schürch, Roger; Couvillon, Margaret J

2013-01-01

Successful honey bee foragers communicate where they have found a good resource with the waggle dance, a symbolic language that encodes a distance and direction. Both of these components are repeated several times (1 to > 100) within the same dance. Additionally, both these components vary within a dance. Here we discuss some causes and consequences of intra-dance and inter-dance angular variation and advocate revisiting von Frisch and Lindauer's earlier work to gain a better understanding of honey bee foraging ecology.

Synesthetic art through 3-D projection: The requirements of a computer-based supermedium

NASA Technical Reports Server (NTRS)

Mallary, Robert

1989-01-01

A computer-based form of multimedia art is proposed that uses the computer to fuse aspects of painting, sculpture, dance, music, film, and other media into a one-to-one synthesia of image and sound for spatially synchronous 3-D projection. Called synesthetic art, this conversion of many varied media into an aesthetically unitary experience determines the character and requirements of the system and its software. During the start-up phase, computer stereographic systems are unsuitable for software development. Eventually, a new type of illusory-projective supermedium will be required to achieve the needed combination of large-format projection and convincing real life presence, and to handle the vast amount of 3-D visual and acoustic information required. The influence of the concept on the author's research and creative work is illustrated through two examples.

Enhancement of Pleasure during Spontaneous Dance

PubMed Central

Bernardi, Nicolò F.; Bellemare-Pepin, Antoine; Peretz, Isabelle

2017-01-01

Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces. Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement. Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture. We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability (HRV) increased during dance compared to motor imitation. Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles. The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings. PMID:29238298

Enhancement of Pleasure during Spontaneous Dance.

PubMed

Bernardi, Nicolò F; Bellemare-Pepin, Antoine; Peretz, Isabelle

2017-01-01

Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces. Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement. Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture. We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability (HRV) increased during dance compared to motor imitation. Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles. The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings.

Neutron-Induced Fission Measurements at the Dance and Lsds Facilities at Lanl

NASA Astrophysics Data System (ADS)

Jandel, M.; Bredeweg, T. A.; Bond, E. M.; Chadwick, M. B.; Couture, A.; O'Donnell, J. M.; Fowler, M. M.; Haight, R. C.; Hayes-Sterbenz, A. C.; Rundberg, R. S.; Rusev, G. Y.; Ullmann, J. L.; Vieira, D. J.; Wilhelmy, J. B.; Wu, C. Y.; Becker, J. A.; Alexander, C. W.; Belier, G.

2014-09-01

New results from neutron-induced fission measurements performed at the Detector for Advanced Neutron Capture Experiments (DANCE) and Lead Slowing Down Spectrometer (LSDS) are presented. New correlated data on promptfission γ-ray (PFG) distributions were measured using the DANCE array for resonant neutron-induced fission of 233U, 235U and 239Pu. The deduced properties of PFG emission are presented using a simple parametrization. An accurate knowledge of fission γ-ray spectra enables us to analyze the isomeric states of 236U created after neutron capture on 235U. We briefly discuss these new results. Finally, we review details and preliminary results of the challenging 237U(n,f) cross section measurement at the LSDS facility.

Sexuality and Sexual Identity: Critical Possibilities for Teaching Dance Appreciation and Dance History

ERIC Educational Resources Information Center

Dils, Ann

2004-01-01

The intersections of dance and sexuality and sexual identity are part of the critical discourse important to teaching dance appreciation and dance history. This essay presents aspects of my teaching practice, informed by current writings in queer studies, dance studies, education, and sociology. Awareness of potential classroom diversity helps…

Selecting, Teaching and Assessing Physical Education Dance Experiences

ERIC Educational Resources Information Center

Little, Stephanie; Hall, Tina

2017-01-01

Dance is a form of physical activity that can be enjoyed for a lifetime. Students at the elementary level benefit greatly from successful experiences in dance that lead to competency in various dance forms as well as an appreciation of personal expression through dance. Teaching dance, however, may not be comfortable or easy for beginning…

Teaching Modern Dance: A Conceptual Approach

ERIC Educational Resources Information Center

Enghauser, Rebecca Gose

2008-01-01

A conceptual approach to teaching modern dance can broaden the awareness and deepen the understanding of modern dance in the educational arena in general, and in dance education specifically. This article describes a unique program that dance teachers can use to introduce modern dance to novice dancers, as well as more experienced dancers,…

Improving creativity performance by short-term meditation

PubMed Central

2014-01-01

Background One form of meditation intervention, the integrative body-mind training (IBMT) has been shown to improve attention, reduce stress and change self-reports of mood. In this paper we examine whether short-term IBMT can improve performance related to creativity and determine the role that mood may play in such improvement. Methods Forty Chinese undergraduates were randomly assigned to short-term IBMT group or a relaxation training (RT) control group. Mood and creativity performance were assessed by the Positive and Negative Affect Schedule (PANAS) and Torrance Tests of Creative Thinking (TTCT) questionnaire respectively. Results As predicted, the results indicated that short-term (30 min per day for 7 days) IBMT improved creativity performance on the divergent thinking task, and yielded better emotional regulation than RT. In addition, cross-lagged analysis indicated that both positive and negative affect may influence creativity in IBMT group (not RT group). Conclusions Our results suggested that emotion-related creativity-promoting mechanism may be attributed to short-term meditation. PMID:24645871

Creativity and Learning: What Research Says to the Teacher.

ERIC Educational Resources Information Center

Hennessey, Beth A.; Amabile, Teresa M.

The pamphlet reviews research on creativity and applies it to the learning process. After discussing the definition and measurement of creativity, the components of creative performance are outlined, including domain-relevant skills, creativity-relevant skills, and intrinsic task motivation. Factors which destroy students' creativity are noted,…

Interactive projection for aerial dance using depth sensing camera

NASA Astrophysics Data System (ADS)

Dubnov, Tammuz; Seldess, Zachary; Dubnov, Shlomo

2014-02-01

This paper describes an interactive performance system for oor and Aerial Dance that controls visual and sonic aspects of the presentation via a depth sensing camera (MS Kinect). In order to detect, measure and track free movement in space, 3 degree of freedom (3-DOF) tracking in space (on the ground and in the air) is performed using IR markers. Gesture tracking and recognition is performed using a simpli ed HMM model that allows robust mapping of the actor's actions to graphics and sound. Additional visual e ects are achieved by segmentation of the actor body based on depth information, allowing projection of separate imagery on the performer and the backdrop. Artistic use of augmented reality performance relative to more traditional concepts of stage design and dramaturgy are discussed.

"Tilting at Windmills" in a Changing Climate: A Performative Walking Practice and Dance-Documentary Film as an Embodied Mode of Engagement and Persuasion

ERIC Educational Resources Information Center

Allen, Jess; Jones, Sara Penrhyn

2012-01-01

In August 2010, dance artist Jess Allen undertook an eight-day journey on foot and public transport between the 10 wind farms of mid-Wales, talking to the people encountered about changing landscapes and changing values in a changing climate. The sound recordings of interviews and encounters conducted in this process were edited into a score that…

Dancing with the regulations - Part Deux

DOE Office of Scientific and Technical Information (OSTI.GOV)

Nitschke, R.L.

1995-12-31

The disposal of low-level radioactive waste (LLW) in the United States has long been subjected to two very similar regulations depending upon the location. Disposal sites located on Department of Energy (DOE) Reservations are subject to DOE Order 5820.2A {open_quotes}Radioactive Waste Management,{close_quotes} while disposal sites located elsewhere are subject to the Nuclear Regulatory Commission regulation 10 CFR 61 {open_quotes}Licensing Requirements for Land Disposal of Radioactive Waste.{close_quotes} While life was not necessarily good, there was only one sheet of music to dance to. Recently a new player, named CERCLA (Comprehensive Environmental Response, Compensation, and Liability Act), has ridden into those DOEmore » towns, and for those whose disposal facilities lie within or adjacent to Superfund sites, she has brought along a different drum to dance to. This paper discusses the differences and similarities between the different dance partners and their associated musical scores (i.e., the performance assessment (PA) required by the DOE order and the baseline risk assessment (BRA) required by CERCLA). The paper then provides a brief discussion on the latest dancer to cut in: the Defense Nuclear Facilities Safety Board (DNFSB). This discussion should help to alleviate the confusion while dancing on the LLW disposal regulatory ballroom floor.« less

Extreme Kinematics in Selected Hip Hop Dance Sequences.

PubMed

Bronner, Shaw; Ojofeitimi, Sheyi; Woo, Helen

2015-09-01

Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin', and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six expert female hip hop dancers performed three choreographed dance sequences, top rock, breaking, and house, to standardized music-based tempos. Hip, knee, and ankle kinematics were collected during sequences that were 18 to 30 sec long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with post hoc tests where appropriate (p<0.01). Peak angles of the breaking sequence, which included floorwork, exceeded the other two sequences in the majority of planes and joints. Hip hop maximal joint angles exceeded reported activities of daily living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where muscles are at a functional disadvantage. These results may explain why lower extremity injury rates are high in this population.

Creativity and working memory capacity in sports: working memory capacity is not a limiting factor in creative decision making amongst skilled performers.

PubMed

Furley, Philip; Memmert, Daniel

2015-01-01

The goal of the study was to investigate the relationship between domain-general working memory capacity and domain-specific creativity amongst experienced soccer players. We administered the automated operation span task in combination with a domain-specific soccer creativity task to a group of 61 experienced soccer players to address the question whether an athlete's domain-specific creativity is restricted by their domain-general cognitive abilities (i.e., working memory capacity). Given that previous studies have either found a positive correlation, a negative correlation, or no correlation between working memory capacity and creativity, we analyzed the data in an exploratory manner by following recent recommendations to report effect-size estimations and their precision in form of 95% confidence intervals. The pattern of results provided evidence that domain-general working memory capacity is not associated with creativity in a soccer-specific creativity task. This pattern of results suggests that future research and theorizing on the role of working memory in everyday creative performance needs to distinguish between different types of creative performance while also taking the role of domain-specific experience into account.

Creativity and working memory capacity in sports: working memory capacity is not a limiting factor in creative decision making amongst skilled performers

PubMed Central

Furley, Philip; Memmert, Daniel

2015-01-01

The goal of the study was to investigate the relationship between domain-general working memory capacity and domain-specific creativity amongst experienced soccer players. We administered the automated operation span task in combination with a domain-specific soccer creativity task to a group of 61 experienced soccer players to address the question whether an athlete’s domain-specific creativity is restricted by their domain-general cognitive abilities (i.e., working memory capacity). Given that previous studies have either found a positive correlation, a negative correlation, or no correlation between working memory capacity and creativity, we analyzed the data in an exploratory manner by following recent recommendations to report effect-size estimations and their precision in form of 95% confidence intervals. The pattern of results provided evidence that domain-general working memory capacity is not associated with creativity in a soccer-specific creativity task. This pattern of results suggests that future research and theorizing on the role of working memory in everyday creative performance needs to distinguish between different types of creative performance while also taking the role of domain-specific experience into account. PMID:25713552

Traditional Dance, Pedagogy and Technology: An Overview of the WebDANCE Project

ERIC Educational Resources Information Center

Karkou, Vicky; Bakogianni, Sophia; Kavakli, Evangelia

2008-01-01

With few exceptions, dance, and traditional dance in particular, has received little attention regarding the development of technological tools that can support teaching. The WebDANCE project was a pilot study with a European scope that aimed to experiment with the development of a web-based learning environment for traditional dances. The final…

The Sacred or the Profane: The Challenge of Modern Dance in Religious Educational Settings

ERIC Educational Resources Information Center

Clement, Karen

2008-01-01

The article addresses the utilization of modern dance compositional approaches in the development of sacred dance works. A brief history of sacred dance in the Western Church is traced as a foundation for students' stereotypical approaches to dance and religion. Also examined is the 20th Century modern dance choreographers' practice of…

Modern technologies and business performance in creative industries: a framework of analysis

NASA Astrophysics Data System (ADS)

Bujor, A.; Avsilcai, S.

2016-08-01

The creative economy is, at the moment, one of the most dynamic sectors of the world economy and international trade generating jobs, revenues, export earnings while promoting social inclusion and human development (United Nations Conference on Trade and Development). It is also a set of knowledge-based activities that make intensive use of creative talent incorporating techniques or technologies bringing added value to intellectual capital. The heart of the creative economy are the creative industries, those industries which have their origin in individual creativity, skill, talent and which demonstrates to have the potential for wealth and job creation "through the generation and exploitation of intellectual property" (Department of Culture, Media and Sport, UK, 2001). The aim of this paper is twofold: to explore and to analyze the role and the contribution of technology, particularly of the new technologies, on the economic and social performance of the Creative Industries at European Union level. The foreseen output is a model for analyzing the impact of technology on business performance level of Creative Industries.

Frontopolar activity and connectivity support dynamic conscious augmentation of creative state.

PubMed

Green, Adam E; Cohen, Michael S; Raab, Hillary A; Yedibalian, Christopher G; Gray, Jeremy R

2015-03-01

No ability is more valued in the modern innovation-fueled economy than thinking creatively on demand, and the "thinking cap" capacity to augment state creativity (i.e., to try and succeed at thinking more creatively) is of broad importance for education and a rich mental life. Although brain-based creativity research has focused on static individual differences in trait creativity, less is known about changes in creative state within an individual. How does the brain augment state creativity when creative thinking is required? Can augmented creative state be consciously engaged and disengaged dynamically across time? Using a novel "thin slice" creativity paradigm in 55 fMRI participants performing verb-generation, we successfully cued large, conscious, short-duration increases in state creativity, indexed quantitatively by a measure of semantic distance derived via latent semantic analysis. A region of left frontopolar cortex, previously associated with creative integration of semantic information, exhibited increased activity and functional connectivity to anterior cingulate gyrus and right frontopolar cortex during cued augmentation of state creativity. Individual differences in the extent of increased activity in this region predicted individual differences in the extent to which participants were able to successfully augment state creative performance after accounting for trait creativity and intelligence. © 2014 Wiley Periodicals, Inc.

Creativity on tap? Effects of alcohol intoxication on creative cognition

PubMed Central

Benedek, Mathias; Panzierer, Lisa; Jauk, Emanuel; Neubauer, Aljoscha C.

2017-01-01

Anecdotal reports link alcohol intoxication to creativity, while cognitive research highlights the crucial role of cognitive control for creative thought. This study examined the effects of mild alcohol intoxication on creative cognition in a placebo-controlled design. Participants completed executive and creative cognition tasks before and after consuming either alcoholic beer (BAC of 0.03) or non-alcoholic beer (placebo). Alcohol impaired executive control, but improved performance in the Remote Associates Test, and did not affect divergent thinking ability. The findings indicate that certain aspects of creative cognition benefit from mild attenuations of cognitive control, and contribute to the growing evidence that higher cognitive control is not always associated with better cognitive performance. PMID:28705663

DSI--Dance Scene Investigation: Exploring a Time in Dance History as Dancer, Choreographer, Historian, and Critic

ERIC Educational Resources Information Center

Spear-Jones, Gwen

2008-01-01

This article provides a brief description of a dance program at the Old Donation Center Dance Education Program in Virginia Beach, Virginia. The mission of DSI--Dance Scene Investigation--is to nurture the full development of each student's dance potential through intense involvement in every aspect of the art. The program provides differentiated…

What? Me? Teach Dance? Background and Confidence of Primary Preservice Teachers in Dance Education across Five Countries

ERIC Educational Resources Information Center

Russell-Bowie, Deirdre E.

2013-01-01

In primary schools across many countries, dance is now included within the arts key learning area with its own outcomes and content. But as future teachers of dance and other art forms, how do preservice generalist primary teachers perceive their background and confidence in relation to dance and dance education? This study investigates the…

[Dancing manias. Between culture and medicine].

PubMed

Prochwicz, Katarzyna; Sobczyk, Artur

2011-01-01

Dancing mania is a clinical and cultural phenomenon which occurred in Western Europe between 13th and 18th centuries. The term dancing mania is derived from the Greek words choros, a dance, and mania, a madness. An Italian variant was known as tarantism as victims were believed to have been bitten by tarantula spider. Although symptoms of dancing manias were well documented in contemporary writings the exact aetiology of dancing plaques is still unclear. Several causes for dancing mania have been postulated: demonic possession, the bite of tarantula, ergot poisoning, epilepsy, mass hysterias, exotics religious cults. The article contains a review of hypothesis of epidemic dances included both medical and psychological factors.

Creative Aspirations or Pipe Dreams? Toward Understanding Creative Mortification in Children and Adolescents

ERIC Educational Resources Information Center

Beghetto, Ronald A.; Dilley, Anna E.

2016-01-01

What experiences influence the development of creativity in children and adolescents? One experience is the mortification of creative aspirations. Creative mortification (CM) refers to the loss of one's willingness to pursue a particular creative aspiration following a negative performance outcome. The purpose of this article is to introduce an…

Evaluation of the Kts'iìhtła (“We Light the Fire”) Project: building resiliency and connections through strengths-based creative arts programming for Indigenous youth

PubMed Central

Fanian, Sahar; Young, Stephanie K.; Mantla, Mason; Daniels, Anita; Chatwood, Susan

2015-01-01

Background The creative arts – music, film, visual arts, dance, theatre, spoken word, literature, among others – are gradually being recognised as effective health promotion tools to empower, engage and improve the health and well-being in Indigenous youth communities. Arts-based programming has also had positive impacts in promoting health, mental wellness and resiliency amongst youth. However, often times the impacts and successes of such programming are not formally reported on, as reflected by the paucity of evaluations and reports in the literature. Objective The objective of this study was to evaluate a creative arts workshop for Tłįchǫ youth where youth explored critical community issues and found solutions together using the arts. We sought to identify the workshop’s areas of success and challenge. Ultimately, our goal is to develop a community-led, youth-driven model to strengthen resiliency through youth engagement in the arts in circumpolar regions. Design Using a mixed-methods approach, we conducted observational field notes, focus groups, questionnaires, and reflective practice to evaluate the workshop. Four youth and five facilitators participated in this process overall. Results Youth reported gaining confidence and new skills, both artistic and personal. Many youth found the workshop to be engaging, enjoyable and culturally relevant. Youth expressed an interest in continuing their involvement with the arts and spreading their messages through art to other youth and others in their communities. Conclusions Engagement and participation in the arts have the potential to build resiliency, form relationships, and stimulate discussions for community change amongst youth living in the North. PMID:26265489

Evaluation of the K[Formula: see text]ts'iìhtła ("We Light the Fire") Project: building resiliency and connections through strengths-based creative arts programming for Indigenous youth.

PubMed

Fanian, Sahar; Young, Stephanie K; Mantla, Mason; Daniels, Anita; Chatwood, Susan

2015-01-01

Background The creative arts - music, film, visual arts, dance, theatre, spoken word, literature, among others - are gradually being recognised as effective health promotion tools to empower, engage and improve the health and well-being in Indigenous youth communities. Arts-based programming has also had positive impacts in promoting health, mental wellness and resiliency amongst youth. However, often times the impacts and successes of such programming are not formally reported on, as reflected by the paucity of evaluations and reports in the literature. Objective The objective of this study was to evaluate a creative arts workshop for Tłįchǫ youth where youth explored critical community issues and found solutions together using the arts. We sought to identify the workshop's areas of success and challenge. Ultimately, our goal is to develop a community-led, youth-driven model to strengthen resiliency through youth engagement in the arts in circumpolar regions. Design Using a mixed-methods approach, we conducted observational field notes, focus groups, questionnaires, and reflective practice to evaluate the workshop. Four youth and five facilitators participated in this process overall. Results Youth reported gaining confidence and new skills, both artistic and personal. Many youth found the workshop to be engaging, enjoyable and culturally relevant. Youth expressed an interest in continuing their involvement with the arts and spreading their messages through art to other youth and others in their communities. Conclusions Engagement and participation in the arts have the potential to build resiliency, form relationships, and stimulate discussions for community change amongst youth living in the North.

How does emotion influence different creative performances? The mediating role of cognitive flexibility.

PubMed

Lin, Wei-Lun; Tsai, Ping-Hsun; Lin, Hung-Yu; Chen, Hsueh-Chih

2014-01-01

Cognitive flexibility is proposed to be one of the factors underlying how positive emotions can improve creativity. However, previous works have seldom set up or empirically measured an independent index to demonstrate its mediating effect, nor have they investigated its mediating role on different types of creative performances, which involve distinct processes. In this study, 120 participants were randomly assigned to positive, neutral or negative affect conditions. Their levels of cognitive flexibility were then measured by a switch task. Finally, their creative performances were calibrated by either an open-ended divergent thinking test or a closed-ended insight problem-solving task. The results showed that positive emotional states could reduce switch costs and enhance both types of creative performances. However, cognitive flexibility exhibited a full mediating effect only on the relationship between positive emotion and insight problem solving, but not between positive emotion and divergent thinking. Divergent thinking was instead more associated with arousal level. These results suggest that emotions might influence different creative performances through distinct mechanisms.

Creative thinking in schizophrenia: the role of executive dysfunction and symptom severity.

PubMed

Abraham, Anna; Windmann, Sabine; McKenna, Peter; Güntürkün, Onur

2007-05-01

This study examines the notion of enhanced creative thinking in schizophrenia and determines the mediating role of executive dysfunction and symptom severity in this relationship. Patients with chronic schizophrenia (n=28) were assessed on varied facets of creative cognition and standard tests of executive control relative to matched healthy control participants (n=18). Multivariate analyses revealed poorer performance by the patient group across almost all creative and executive function measures, except in the ability to be unconstrained by the influence of restrictive examples. Symptom-based contrasts using partial correlations revealed that differences were most extensive in the presence of thought disorder. Using hierarchical regression analyses, performance on the executive function tasks was found to play a mediatory role on specific aspects of creative cognition. Results are at odds with the popular notion of enhanced creative thinking in schizophrenia, but elucidate complex interactions between executive control and certain facets of creative thinking. In particular, performance of the schizophrenia group on measures that tap creativity elements of fluency and relevance were either partially or fully mediated by their performance on the executive control tasks, but this was not true of measures of originality.

Thinking Cap Plus Thinking Zap: tDCS of Frontopolar Cortex Improves Creative Analogical Reasoning and Facilitates Conscious Augmentation of State Creativity in Verb Generation.

PubMed

Green, Adam E; Spiegel, Katherine A; Giangrande, Evan J; Weinberger, Adam B; Gallagher, Natalie M; Turkeltaub, Peter E

2017-04-01

Recent neuroimaging evidence indicates neural mechanisms that support transient improvements in creative performance (augmented state creativity) in response to cognitive interventions (creativity cueing). Separately, neural interventions via tDCS show encouraging potential for modulating neuronal function during creative performance. If cognitive and neural interventions are separately effective, can they be combined? Does state creativity augmentation represent "real" creativity, or do interventions simply yield divergence by diminishing meaningfulness/appropriateness? Can augmenting state creativity bolster creative reasoning that supports innovation, particularly analogical reasoning? To address these questions, we combined tDCS with creativity cueing. Testing a regionally specific hypothesis from neuroimaging, high-definition tDCS-targeted frontopolar cortex activity recently shown to predict state creativity augmentation. In a novel analogy finding task, participants under tDCS formulated substantially more creative analogical connections in a large matrix search space (creativity indexed via latent semantic analysis). Critically, increased analogical creativity was not due to diminished accuracy in discerning valid analogies, indicating "real" creativity rather than inappropriate divergence. A simpler relational creativity paradigm (modified verb generation) revealed a tDCS-by-cue interaction; tDCS further enhanced creativity cue-related increases in semantic distance. Findings point to the potential of noninvasive neuromodulation to enhance creative relational cognition, including augmentation of the deliberate effort to formulate connections between distant concepts. © The Author 2016. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

The impact of creative tendency, academic performance, and self-concept on creative science problem-finding.

PubMed

Liu, Mingxin; Hu, Weiping; Adey, Philip; Cheng, Li; Zhang, Xingli

2013-04-01

This study was designed to address the impacts of science performance, science self-concept, and creative tendency on the creative science problem-finding (CSPF) ability of a sample of Chinese middle-school students. Structural equation modeling was used to indicate that CSPF could be directly predicted by creative tendency and academic performance, and indirectly predicted by science self-concept. The findings strongly support the idea that curiosity, imagination, and domain-specific knowledge are important for CSPF, and science self-concept could be mediated by knowledge that affects CSPF. © 2012 The Institute of Psychology, Chinese Academy of Sciences and Blackwell Publishing Asia Pty Ltd.

Effects of the Skills4Genius sports-based training program in creative behavior

PubMed Central

Santos, Sara; Jiménez, Sergio; Sampaio, Jaime; Leite, Nuno

2017-01-01

Team Sports has been suggested as a suitable environment to investigate creative behavior. This study’s purpose was two-fold: first, it intended to identify the effects of the Skills4Genius sports-bases training program in thinking, motor, and in-game creative behavior in team sports. Second, it aimed to investigate the relationship between creative thinking and in-game creativity. Forty children from primary school were allocated into control (n = 18, age: 9.2±0.4) and experimental (n = 22, age: 9.5±0.7) groups. The experimental group participated in a five-month training program involving either creative thinking, diversification, physical literacy, and nonlinear pedagogy approaches (Skills4Genius). Variables in the study included: a) creative thinking; b) motor performance (vertical jump, speed, and agility); c) in-game individual creative behavior (attempts, fluency, and versatility); and d) in-game collective behavior (positional regularity). The results suggested that the Skills4Genius program fostered creative thinking, agility, and speed performance. Moreover, it stretched the in-game individual creative behavior mainly through the improvement of the attempts and versatility of the player’s actions. Lastly, it nurtured a better learning of the tactical principles, whereas the children were more coordinated with their teammates’ and opponents’ positioning. Additionally, this study presents a positive correlation linking creative thinking and in-game creative performance. These findings highlighted that creativity is facilitated while players become more thinking and game-skilled. Coaches and educators may apply this functional environment to inspire children’s disposition to move outside the box and trigger a creative spark in team sports players. Notwithstanding, the sports environment is ideally suited for fostering creative behavior, a higher-order disposition that will go on to differentiate the everyday life of a child. PMID:28231260

Effects of the Skills4Genius sports-based training program in creative behavior.

PubMed

Santos, Sara; Jiménez, Sergio; Sampaio, Jaime; Leite, Nuno

2017-01-01

Team Sports has been suggested as a suitable environment to investigate creative behavior. This study's purpose was two-fold: first, it intended to identify the effects of the Skills4Genius sports-bases training program in thinking, motor, and in-game creative behavior in team sports. Second, it aimed to investigate the relationship between creative thinking and in-game creativity. Forty children from primary school were allocated into control (n = 18, age: 9.2±0.4) and experimental (n = 22, age: 9.5±0.7) groups. The experimental group participated in a five-month training program involving either creative thinking, diversification, physical literacy, and nonlinear pedagogy approaches (Skills4Genius). Variables in the study included: a) creative thinking; b) motor performance (vertical jump, speed, and agility); c) in-game individual creative behavior (attempts, fluency, and versatility); and d) in-game collective behavior (positional regularity). The results suggested that the Skills4Genius program fostered creative thinking, agility, and speed performance. Moreover, it stretched the in-game individual creative behavior mainly through the improvement of the attempts and versatility of the player's actions. Lastly, it nurtured a better learning of the tactical principles, whereas the children were more coordinated with their teammates' and opponents' positioning. Additionally, this study presents a positive correlation linking creative thinking and in-game creative performance. These findings highlighted that creativity is facilitated while players become more thinking and game-skilled. Coaches and educators may apply this functional environment to inspire children's disposition to move outside the box and trigger a creative spark in team sports players. Notwithstanding, the sports environment is ideally suited for fostering creative behavior, a higher-order disposition that will go on to differentiate the everyday life of a child.

How To Dance through Time. Volume IV: The Elegance of Baroque Social Dance. [Videotape].

ERIC Educational Resources Information Center

Teten, Carol

This 45-minute VHS videotape is the fourth in a series of "How To Dance Through Time" videos. It shows how to dance the most influential social dances of the French Baroque Court. The ceremonious Minuet is the most famous of the 18th century dance invention. The Allemande is the pivotal bridge linking to the 19th century. The Contredance…

How To Dance through Time. Volume VI: A 19th Century Ball--The Charm of Group Dances. [Videotape].

ERIC Educational Resources Information Center

Teten, Carol

This 48-minute VHS videotape is the sixth in a series of "How To Dance Through Time" videos. It shows the festivity of the 19th century group dances, enabling the viewer to plan and participate in the elegant opening to the ball, a refined square dance, and flirtatious Cotillion dancing games. Professional dancers demonstrate the…

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

ERIC Educational Resources Information Center

Herman, Amanda; Chatfield, Steven

2010-01-01

In the 1960s a visible shift in the ideology of contemporary dancers and choreographers took place. A desire for a dance language that rejected the need for the classical dancerly body paved the way for dance that was open to a more diverse population of participants. DanceAbility emerged in that late 1980s as a method of making dance accessible…

Metaphorical Perceptions of Folk Dances Trainers Regarding the Concept of Folk Dances

ERIC Educational Resources Information Center

Karabulut, Ebru Olcay; Dogan, Pinar Karacan

2018-01-01

This research was carried out with the help of metaphor to determine the perception of folk dances trainers regarding the concept of folk dances. The study was carried out with a total of 141 folk dances trainers (85 men and 56 women), who depend on the Folk Dances Federation of Turkey. In the study, a semi-structured interview form was used to…

How To Dance through Time. Volume V: Victorian Era Couple Dances. [Videotape].

ERIC Educational Resources Information Center

Teten, Carol

This 55-minute VHS videotape is the fifth in a series of "How To Dance Through Time" videos. It continues the tradition of the romance of the mid-19th century couple dances, focusing on Victorian era couple dances. The videotape offers 35 variations of the renowned 19th century couple dances, including the waltz, the polka, the galop,…

Mythology and Neurosurgery.

PubMed

Ökten, Ali İhsan

2016-06-01

Myths are the keystone of mythology. They are interpretations of events that have been told as stories and legends for thousands of years, inherited from generation to generation, and have reached the present day. Although most myths are considered figments of the imagination or fictitious legends, all of them contain references to facts from the time they occurred. Mythology, which is a collection of figments of imagination concerning nature and human beings, is a product of human effort to perceive, explain, and interpret the universe and the world, much like science. The interaction between mythology and science dates back to the early days of civilization. Mythology, a reflection of human creativity, is extensively used in modern science, particularly in a terminological context. This article aims to reveal the texture of mythology in neurosurgery, by analyzing the birth of medicine in mythology; heroes such as Apollo and Asklepios, the gods of healing and medicine, as well as Hygieia, the goddess of health and hygiene; and mythological terms and phrases such as Achilles tendon, atlas vertebra, gigantism, priapism syndrome, hippocampus, lethargy, syrinx, and arachnoid. Through the use of symbols, mythology has attempted to explain several subjects, such as human nature, disease, birth, and death. In this respect, mythology and medicine dance arm in arm, and this dance has been going on for centuries. As a result, mythology has manifested itself in many fields within medicine, either anatomically or by giving names to various diseases. Copyright © 2016 Elsevier Inc. All rights reserved.