Dancing

Modern dancers suffer a high rate of musculoskeletal injuries. Preventing injury prolongs dance careers and eases financial burden on both individual dancers and dance companies alike. A medical student partnered with Garth Fagan Dance to develop a curriculum to teach principles of injury prevention specific to preprofessional and professional modern dancers. Quantitative assessments showed a significant increase in participant injury prevention knowledge after completion of the course (P < 0.0001). Participants’ concern that injury may end their careers showed no significant change after the course (P = 0.35). Injury prevention and dance-related injuries were reported the most often as useful topics while weight management was reported the least often as a useful topic. Qualitative evaluations showed that participants’ found a course on injury prevention valuable and desired a course of longer duration that includes a greater number of topics. These findings show that modern dancers perceive an educational course on injury prevention as valuable and retain information presented in the course in the short-term. Further study is warranted to assess changes in injury rates after the course and to continue to improve curriculum content and implementation.

Dancing is a popular form of physical exercise and studies have show that dancing can decrease
anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the
current study was to explore the motivational basis of recreational social dancing and develop
a new psychometric instrument to assess dancing motivation. The sample comprised
447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an
online survey. Eight motivational factors were identified via exploratory factor analysis and
comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising,
Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the
strongest motivational factor for both males and females, although motives differed according
to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement,
Socialising, and Escapism. The eight dimensions identified cover possible
motives for social recreational dancing, and the DMI proved to be a suitable measurement
tool to assess these motives. The explored motives such as Mood Enhancement, Socialising
and Escapism appear to be similar to those identified in other forms of behaviour such
as drinking alcohol, exercise, gambling, and gaming.

Todd Phillips’s 2019 movie 'Joker' reconfigures and actualizes body aesthetics and performance traditions—eccentric movements and so-called 'epileptic dancing'—celebrated around 1900 on the popular stage and in early film. This body language, consisting of bizarre contortions, dislocations, jerking, and gesticulating, is linked to medical discourses about the nervous system, and can be traced in popular theater throughout the twentieth century. This paper examines how it emerges in Arthur Fleck, aka the Joker.
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For it was not into my ear you whispered, but into my heart. It was not my lips you kissed, but my soul. Judy Garland After describing in the last chapter the nature of online relationships, this chapter describes the nature of emotions. It examines whether characteristics typical of emotions prevail in online relationships, and hence whether such relationships are likely to involve intense emotions. Although online relationships involve some virtual aspects, the emotions they generate are quite real. Emotions are highly complex and subtle phenomena whose explanation requires careful and systematic analysis of their multiple characteristics and components. The major reason for the complexity of emotions is their great sensitivity to personal and contextual circumstances. Cyberspace also involves a complex psychological reality: it includes many forms of relating that are highly available because of the imaginary nature of cyberspace. In light of this complexity, it is hard to generalize about the emotional realm in cyberspace. The typical cause of emotion: A perceived significant change Better make it four; I don&#39;t think I can eat eight. Yogi Berra&#39;s reply when asked if he wanted his pizza cut into four or eight slices. Emotions typically occur when we perceive positive or negative significant changes in our personal situation , or in the situation of those related to us. A major positive or negative change significantly improves or interrupts a stable situation relevant to our concerns.

Cultural Borrowing in a Pacific Context Jane Freeman Moulin The theme of a recent musicology conference in Auckland, &quot;Closer Musical Relations,&quot; provided an opportunity to examine the role of music in connecting the world&#x27;s peoples and allowed for important reflec-tion ...

The purpose of the study was to determine the prevalence and factors associated with injury in professional ballet and modern dancers, and assess if dancers are reporting their injuries and explore reasons for not reporting injuries. Cross-sectional study. Participants were recruited from nine professional ballet and modern dance companies in Canada, Denmark, Israel, and Sweden. Professional ballet and modern dancers. Sociodemographic variables included age, sex, height, weight, and before-tax yearly or monthly income. Dance specific characteristics included number of years in present dance company, number of years dancing professionally, number of years dancing total, and rank in the company. Self-reported injury and Self-Estimated Functional Inability because of Pain. A total of 260 dancers participated in the study with an overall response rate of 81%. The point prevalence of self-reported injury in professional ballet and modern dancers was 54.8% (95% CI, 47.7-62.1) and 46.3% (9...

Exer-games and virtual reality offer alternative opportunities to provide neuro-rehabilitation and exercise that are fun. Our goal was to determine how effective they are in achieving motor learning goals and fitness benefits as players gain experience. We employed a repeated measures design to determine changes in physical exertion and engagement with training. Fourteen healthy adults trained on the XBOX Kinect video game Dance Central using a skill-based protocol to examine changes in energy expenditure (EE), heart rate (HR), METs, limb movement, game proficiency, and player engagement in initial, post-training, and transfer-testing of a full-body dance exer-game. Data were analyzed using repeated measures analysis of variance, p&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;0.05. Both EE, HR, and METs increased from initial (EE 4.89±1.35, HR 103±18, METs 4.25±0.72) to post-training (EE 5.92±1.25, HR 110±15, METs 5.05±0.75) and were greatest during transfer-testing (EE 6.34±1.35, HR 115±17, METs 5.42±0.88, p≤0.001). Proficiency, measured by game scores, also increased from initial to post-training and transfer-testing (p≤0.002). Limb movement and player engagement remained unchanged. It is important to understand whether player physiological and psychophysiological responses change with continued game-play. Although Dance Central involves whole-body movement, physical exertion remained at moderate levels after training. As exer-game and virtual reality systems move from their initial novelty, research about how players react to continued involvement with a game can guide game developers to maintain a freshness through game progression that preserves the participant&amp;amp;amp;amp;amp;amp;amp;amp;amp;#39;s attentional focus, minimizes attrition and maintains a prescribed level of energy exertion.

ÖZET
İnsanlar hayatlarının temelinde bir ihtiyaç olarak, yaşadığı her şeye bir anlam yükleme gereksinimi duyarlar. Dansın zaman içinde sadece içgüdüsel olarak yapılan bir davranış olmaktan çıkıp belirli anlamlar taşımasının en büyük sebebi bu gereksinimdir. İnanç danslarıyla başlayan bu anlam yükleme daha sonra hayatın içinden gelen tüm sosyal olaylara yapılan danslarla devam etmiştir.

Bu çalışmada amaçlanan, bu kadar çeşitli dans türü içerisinde dansçının performansını sergilerken etkilendiğini faktörlerin neler olduğunun kavratılmasıdır. Dansı sanat olarak icra eden dansçıların bireysel ve çevresel olarak etkisi altında kaldıkları birçok faktör bulunmaktadır. Bu faktörlerin, dansçıyı olumlu yönde etkilediği gibi olumsuz yönde etkilemeleri de söz konusudur.

Anahtar Kelimeler: Dans, Dans Türleri, Performans, Dansçıyı Etkileyen Faktörler

The purpose of this study was to determine the dynamics of singing and dancing techniques in preventing aggressive behavior in early childhood. This research uses descriptive qualitative research methods. The subjects of the study were students or children who behaved aggressively in PAUD Al-Adiba institutions, Blitar. Data collection was carried out by several methods, namely observation, interviews, and documentation study. The results of the data were analyzed using a grounded theory analysis approach model. The results showed that the aggressive behavior of the children of PAUD Al-Adibal Blitar, among others: beatings, screaming, crying, etc. were caused by factors of parenting, social environment, and genetics. Singing or dancing techniques can be used by teachers in overcoming children's aggressiveness. As much as 80% of early childhood education learning activities are used for singing and dancing for each material. So that singing and dancing can be used as a means of preventing aggressive behavior at PAUD Al-Adiba Blitar from an early age.

The urge to move to music is universal among humans. Unlike visual art, which is manifest across space, music is manifest across time. When listeners get carried away by the music, either through movement (such as dancing) or through reverie (such as trance), it is usually the temporal qualities of the music- its pulse, tempo, and rhythmic patterns-that put them in this state. In this article, we review studies addressing rhythm, meter, movement, synchronization, entrainment, the perception of groove, and other temporal factors that constitute a first step to understanding how and why music literally moves us. The experiments we review span a range of methodological techniques, including neuroimaging, psychophysics, and traditional behavioral experiments, and we also summarize the current studies of animal synchronization, engaging an evolutionary perspective on human rhythmic perception and cognition. Expected final online publication date for the Annual Review of Psychology Volume...

The present study investigated perfectionism prevalence and its relationship to imagery and performance anxiety. Two hundred and fifty (N = 250) elite students (66.4% female; Mage = 19.19, SD = 2.66) studying mainly classical ballet or contemporary dance in England, Canada, and Australia completed questionnaires assessing perfectionism, imagery, and performance anxiety. Cluster analysis revealed three distinct cohorts: dancers with perfectionistic tendencies (40.59% of the sample), dancers with moderate perfectionistic tendencies (44.35%), and dancers with no perfectionistic tendencies (15.06%). Notably, these labels are data driven and relative; only eight dancers reported high absolute scores. Dancers with perfectionistic tendencies experienced more debilitative imagery, greater cognitive and somatic anxiety, and lower self-confidence than other dancers. Dancers with moderate perfectionistic tendencies reported midlevel scores for all constructs and experienced somatic anxiety as ...

This is the second chapter of my book PALACES OF PLEASURE (Yale, 2019) where it appears as 'The Free-and-Easy; or The Glorious Apollo'. It describes the early history of music hall, from 'club-room' glee singing above public houses, to the creation of purpose-built concert-rooms (such as the Grecian Saloon at the Eagle Tavern) to the saloon theatres of the 1840s, all of which predated the so-called 'first music hall', Canterbury Hall in Lambeth.

This review introduces different techniques used in biomechanics that have been used in analyzing dance movement. Biomechanics provides information not only for analysis of motion, but for understanding muscle use, forces acting on the body, issues of motor control, and the interaction between any one body part and the body as a whole. The goal of this review is to highlight the role that biomechanical analysis plays in understanding dance movement, with applications for teaching, skill enhancement, and injury prevention.