Thematische Bibliographien / Dancing body

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Dancing body“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Dancing body"

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Flanderová, Veronika. „For the dancing body“. Kontradikce 4, Nr. 2 (2020): 198–204. http://dx.doi.org/10.46957/con.2020.2.19.

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Ericksen, Julia A. „Dancing the Body Beautiful“. Contexts 11, Nr. 2 (Mai 2012): 48–53. http://dx.doi.org/10.1177/1536504212446460.

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Born, Caroline. „Life Dancing: Birthing the Body“. Self & Society 21, Nr. 1 (März 1993): 18–20. http://dx.doi.org/10.1080/03060497.1993.11085303.

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Markula, Pirkko. „The Dancing Body without Organs“. Qualitative Inquiry 12, Nr. 1 (Februar 2006): 3–27. http://dx.doi.org/10.1177/1077800405282793.

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Bergonzoni, Carolina. „We Are Travellers: The Body as a Compass“. Journal of the Canadian Association for Curriculum Studies 18, Nr. 2 (16.03.2021): 192–98. http://dx.doi.org/10.25071/1916-4467.40590.

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This article introduces the practice of walking-as-dancing. In this article, the terms walk and walking are often considered as synonymous with wandering since the practice of walking-as-dancing that I will describe does not have a set goal. When walking-as-dancing, I explore the improvisational nature of a wandering movement that allows me to let go of certainty and attune to the not-yet-known. I define the body as a compass that guides us through the path of the curriculum-as-lived (Aoki, 1993) and the curriculum itself. Through the analysis of the practice of walking-as-dancing, I will show how the knowledge of the body is already in us; it is us.
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Summers-Bremner, Eluned. „Reading Irigaray, Dancing“. Hypatia 15, Nr. 1 (2000): 90–124. http://dx.doi.org/10.1111/j.1527-2001.2000.tb01081.x.

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My essay incorporates Irigaray's notion of the sensible transcendental, a dynamic attempt to reconstitute the body/mind dualism which founds Western thought, into a reading of the practice of European concert dance. I contend that Irigaray's efforts toward articulating a language of the body as active agent have much to offer (feminist) analyses of dance practice, and develop this claim through a reading which reflects philosophically on the changing nature of my own dance activity.
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Franko, Mark. „The Dancing Body in Renaissance Choreography“. Journal of Aesthetics and Art Criticism 47, Nr. 2 (1989): 199. http://dx.doi.org/10.2307/431845.

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Jisun Lee und MalborgKim. „Dancing Body in Digital Image Era“. Korean Journal of Dance Studies 37, Nr. 37 (Juli 2012): 63–84. http://dx.doi.org/10.16877/kjds.37.37.201207.63.

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Foster, Susan Leigh, und Mark Franko. „The Dancing Body in Renaissance Choreography“. Theatre Journal 40, Nr. 3 (Oktober 1988): 429. http://dx.doi.org/10.2307/3208343.

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김기화 und 백현순. „The Phenomenon of Dancing 'Body' Awareness“. Journal of Korean Dance 35, Nr. 3 (September 2017): 29–50. http://dx.doi.org/10.15726/jkd.2017.35.3.002.

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Dissertationen zum Thema "Dancing body"

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Khudaverdian, Clara. „The dancing body“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39453.pdf.

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Davidson, Julia Rose. „Listening to the Dancing Body| Understanding the Dancing Body as Performative Agent within the Choreographic Process“. Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096902.

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The performativity of dance relies on the the power that different dance practices and choreographies have to shape culture, “making and unmaking” identities by “molding” the moving body (Franko, 2012). While theorists have connected dance technique and instruction to the perpetuation of larger cultural and historical ideologies, few methods yet have attempted a critical study of how performative impact is connected to a dancer’s own embodied experience.

Working from an understanding of embodied experience as central to the performative impact of dance, my research examines the dancing body’s role in constructing its own performativity. I begin with an analysis of how choreography “does” performativity, looking at historical changes in dance theory over time that have led to the imperative to examine agency specifically in relation to individually experienced embodiment. Current scholarship on the status of the 21st century contemporary dancer recognizes this need to study individual embodiment; dancers are creative agents within the choreographic process, able to alter the performative impact of a piece on the basis of how they learn or embody the movement. In order to substantiate this understanding of the dancing body’s agency, my research culminates in an interview project that includes dancers’ voices and lived experiences together with scholarship that prescribes agency and performativity to the moving body. Tracking a group of dancers through the process of learning new choreography, I attempt a method of understanding the moving body itself as communicative agent. The philosophical field of phenomenology supports such an understanding, viewing the body as having its own consciousness and perspective. In addition to phenomenology, I use critical ethnography and oral history practices to construct a reflexive interview process and affect theory to conduct a deep analysis of the dancers’ descriptions. Affect, being defined as those intensities, feelings and forces at the base of personal experience and social patterns, offers a way of comprehending dancers’ felt sense of embodiment from their own perspective.

An examination of affect within the dancers’ descriptions shows how the dancers’ linguistic moves parallel their diverse kinesthetic experiences of learning movement. The dancers’ heightened kinesthetic awareness throughout the process of learning choreography demonstrates how they experience their bodies in a different phenomenological way and ultimately how they enact performative impact through their very processes of embodiment. The resulting interviews, transcriptions and discussion in this project support practice-based research, in the form of phenomenologically-centered and analyzed interviews, as a way to include dancers’ embodied experiences in studies of the dancing body’s performativity.

Reference: Franko, Mark. "Dance and the Political: States of Exception." Dance. Ed. André Lepecki. London: Whitechapel Gallery, 2012. 145-48. Print.

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Shrubsall, Gina M., University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „The dancing body makes sense of place“. THESIS_CAESS_CAR_Shrubsall_G.xml, 2002. http://handle.uws.edu.au:8081/1959.7/805.

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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging
Master of Arts (Hons)
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Shrubsall, Gina M. „The dancing body makes sense of place“. Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/805.

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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging
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Shrubsall, Gina M. „The dancing body makes sense of place /“. View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030929.102832/index.html.

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Thesis (M. A.) (Hons.) -- University of Western Sydney, 2002.
A dissertation submitted in partial fulfillmemt of the degree of Master of Arts, UWS Nepean, School of Contemporary Arts : Dance, July 2002. Bibliography : leaves 81-84.
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Acker, Shaun Albert. „Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body“. Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.

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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
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Pienaar, Samantha. „Boyzie Cekwana the South African dancing body in transition“. Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002376.

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Boyzie Cekwana is one of many black male dancers and choreographers that is currently receiving widespread support and recognition for his contribution to the field of contemporary dance in South Africa. Why certain images of the dancing body - as presented by this individual dance practitioner - are currently being promoted as artistically more viable than others by dance critics and the media is the central concern of this thesis. An analysis of the dancing body in contemporary South Africa must take into account the current post-apartheid condition, a condition of transformation and reconstruction that allows people greater freedom to select the country's leaders, popularize its heroes and heroines, market and capitalize on images and icons of a New South Africa. By opting to look specifically at a black male dancer, social appreciations of the body in terms of ethnicity and gender can be challenged. This latter area of research - the role of gender in the production, presentation and appreciation of the dancing body - is largely unchallenged in South Africa. Yet, if South African's want to truly rid themselves of the shackles of hegemonic rule, gender-construction is an area of social experience that needs intensive confrontation. Chapter one will suggest some of the obstacles that might limit the South African dance researcher seeking an indepth analysis of the black dancing body, taking into consideration the country's history of elitist and autonomous rule. Attention will be drawn to multidisciplinary sites of information that might assist the researcher in such an excavation. The context of the research, however, is less interested in historical descriptions of the dancing body than with current motivating factors behind the preferential promotion of certain images over others in contemporary dance. Personal interviews and observations will therefore also provide crucial resource material. In chapter two, a case study of Boyzie Cekwana will be made looking at his personal background and the way in which it may have informed his contemporary experiences as a black male dancer and choreographer. The underlying belief of such a case-study approach is that "it carries implications about the extents to which the resulting analysis is applicable to other similar cases" ¹. This individual analysis includes information gathered from persona1 interviews with Cekwana; the author's own observations and experiences of Cekwana' s work at the Vita FNB Dance Umbrella, the Grahamstown National Arts Festival, and the Durban Playhouse Theatre; and analyses of articles on Cekwana by journalists, and performance reviews by dance and theatre critics such as Adrienne Sichel (The Star Tonight!), Tommy Ballantyne (The Natal Sunday Tribune) and David Coleman (The Mercury). Further examinations in chapter three and four will assess to what degree Cekwana re-presents culture-specific images of gender-modelling in his own performing body and the bodies of his multi-racial and multi-gendered dancers in selected dances. To prevent placing sole responsibility at Cekwana' s feet for the representation of the dancing body to a society in transformation, the role of dance critics and mass mediators in this process of artistic communication will also be dealt with. It is hoped that the ensuing discussion will suggest the possible effects that present frameworks of aesthetic appreciation may hold for choreographers and dancers in the country's future cultural development; this involves confronting a still controversial issue in South Africa the relationship between dance and politics, choreographer and social responsibility. The thesis will round-off very briefly with suggestions to dance practitioners and educators in South Africa of alternative ways of perceiving and appreciating the dancing body based on gender, and· not just racial, constructions; this is especially invaluable in the light of current efforts to include dance as a core-curriculum subject in all schools.
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Samuel, Gerard M. „Dancing the Other in South Africa“. Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22781.

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At the centre of discourse of Dance in South Africa is the notion of Other. The form and approach in Contemporary Dance in South Africa in the 21st century has been shaped by cultural forces such as apartheid and colonialism. This thesis sets out a phenomenological study of Othering in Dance in South Africa through a hermeneutical unpacking of 'Older dancing'. Its critical question grapples with the notion of age as a new marker of alterity in Dance and asks: How does dancing the Other bring new ways of seeing bodies? The lived experiences of four categories in Older dancing: dancers, choreographers, directors and dance critics, in and outside of South Africa since the 2000s, will be analysed. My own position in each of the categories above has allowed me to participate in Contemporary Dance and the performing arts field in South Africa for over 45 years. A partial history of Contemporary Dance in South Africa is explicated in order to provide paradigmatic frames for this study. The philosophical enquiry of this thesis has foregrounded Dance Studies as a discrete research field in order to highlight dance and the body itself, and to reassert an enviable position of dancing bodies as research instruments and knowledge producers. A hermeneutical narrative analysis was deployed following twelve interviews that were conducted over 4 years (2012-2014). Seven South African and five non-South African 'voices' were analysed and coded against four primary lines of enquiry in Experience: notions of cultural inscription and dancing bodies as blank slates; questions of (in)visibility and frailty of older persons, wisdom and (in)dependent older dancers and the ontologies of marginalisation for Older dancing within concert theatre Dance. This suggested a thesis of wider Body-space reading and continuum for Dance that could be useful in understanding epistemology of prejudice. Recommendations that flow from this study will relate to Dance Studies in South Africa that is already moving away from its anthropological roots in tribal dances, experimentations with multicultural dance, towards unpacking intersectionality, public art and the contested label African dance. It provides Body-space as a further theoretical tool with which to observe dancing and bodies as states of becoming that will be of interest to Dance Studies, Performance Theory and Cultural Studies.
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Ramphal, Vena Radha. „A word on movement : thinking approaches to the dancing body“. Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420643.

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Kissell, Kristin. „Dancing Theology - A Construction of a Pneumatology of The Body“. Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/941.

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Dance is the language of the soul. Dance, as a theological source, can remind us of who we are in and with the living perichoresis of the Trinity. Dance, as embodied art, can provide us with a new way of viewing and discussing pneumatology and that we too, in our incarnate reality, participate in perichoresis. Within this work I seek to answer the questions of how dance is a source of theology, why a pneumatology of the body is significant, and how dance provides a framework for a pneumatology of the body. The creation of a pneumatology of the body is a rooting or re-membering of the Spirit and our own spirit in incarnational—skin and bones—reality that includes us in Trinitarian perichoresis. Pneumatology of the body is dancing with the Holy Spirit in our given time and space to retrieve the dignity of our embodied inspirited selves as made in the imago Dei. The gifts and fruits of the Holy Spirit are not abstract concepts. Through dance as embodied art we can move from abstract, intellectual concepts of the Spirit to incarnational truth of our flesh and blood, wounds and joys, where the Trinity dwells within and around.Dance as a source of theology can provide a framework for a pneumtology of the body. The Holy Spirit as relationality holding all of life together is our Holy Bridge. Within this work, we re-member our foundational belief in the interconnectedness of body and soul, and that we too participate in the Trinitarian perichoresis as part of God’s dancing revelation. In a world of division and duality, the Spirit as Holy Bridge brings us back home to the core of who we are individually and collectively, while dance provides a space for honoring difference and duality together in harmony. Dance gives expression to situations and things in our lives that are challenging to grasp conceptually and intellectually, while allowing for the embodied witnessing of a person’s and community’s story.A dancing theology as a framework for a pneumatology of the body reminds us that Spirit is our Holy Bridge between body, senses, feelings, challenges, and transformations, between my body soul temple and your body soul temple, and between individual and communal. By dancing with us in our daily lives, the Holy Spirit draws us ever deeper across loving bridges into communion with Trinitarian perichoresis. The Trinity is the Dance of Life in which the Spirit performs the role of empowering the never-ending communion and relational vitality that is God in and with Godself.
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Bücher zum Thema "Dancing body"

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Gottschild, Brenda Dixon. The Black Dancing Body. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2.

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Duchamp, L. Timmel. Love's body, dancing in time. Seattle WA, USA: Aqueduct Press, 2004.

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Copyright Paperback Collection (Library of Congress), Hrsg. Body lines. New York: Aladdin Paperbacks, 1998.

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Dancing women: Female bodies on stage. London: Routledge, 1998.

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King, Jamie. Rock your body: The ultimate hip-hop inspired workout to slim, shape, and strengthen your body. Emmaus, Pa: Rodale, 2007.

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The dancing body in renaissance choreography (c. 1416-1589). Birmingham, Ala: Summa Publications, 1986.

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From ballroom to dancesport: Aesthetics, athletics, and body culture. Albany: State University of New York Press, 2005.

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Valerie, Gladstone, Hrsg. Rock your body: The ultimate hip-hop inspired 'dance as sport' guide for slimming, shaping and strengthening your body. London: Rodale, 2007.

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Rykwert, Joseph. The dancing column: On order in architecture. Cambridge, Mass: MIT Press, 1996.

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Peyer, Katia de. Dancing with myself: Sensuous exercises for body, mind, and spirit. Willow Springs, MO: Nucleus Publications, 1991.

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Buchteile zum Thema "Dancing body"

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Sweeney, Bernadette. „The Dancing Body: Dancing at Lughnasa“. In Performing the Body in Irish Theatre, 111–37. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582057_5.

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Vedel, Karen. „‘Female Nature’, Body Culture and Plastique“. In Dancing Naturally, 124–38. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230354487_10.

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Ericksen, Julia A. „Dancing the Body Beautiful“. In Gender, Sexuality, and Intimacy: A Contexts Reader, 48–51. 2455 Teller Road, Thousand Oaks California 91320: SAGE Publications, Inc, 2018. http://dx.doi.org/10.4135/9781506352299.n16.

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Mathis, Lydia J. „Unlocking joy in the body“. In Dancing Across Borders, 77–79. Abingdon, Oxon ; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781003008569-12.

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Gottschild, Brenda Dixon. „Latitude I“. In The Black Dancing Body, 2–11. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_1.

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Gottschild, Brenda Dixon. „Location: To Be or Not … (Continued from Location: Who’s There?)“. In The Black Dancing Body, 219–20. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_10.

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Gottschild, Brenda Dixon. „Latitude III“. In The Black Dancing Body, 222–25. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_11.

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Gottschild, Brenda Dixon. „Soul/Spirit“. In The Black Dancing Body, 226–58. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_12.

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Gottschild, Brenda Dixon. „Blood Memories, Spirit Dances“. In The Black Dancing Body, 259–80. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_13.

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Gottschild, Brenda Dixon. „Position: From Coon to Cool“. In The Black Dancing Body, 281–99. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-03900-2_14.

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Konferenzberichte zum Thema "Dancing body"

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Zari, Nurmalinda, und Juju Masunah. „Body Relationship with Dancing Skills“. In Proceedings of the International Conference on Arts and Design Education (ICADE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icade-18.2019.49.

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Liu, Xiaofang. „The Interactive Spatial Aesthetics between Holographic Display Technology and Dancing Body Language“. In IS4SI 2021. Basel Switzerland: MDPI, 2022. http://dx.doi.org/10.3390/proceedings2022081155.

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Amie, Kandyce. „Hidden Curriculums of the Black Dancing Body: Teaching Within and Among Racialized Perceptions“. In AERA 2022. USA: AERA, 2022. http://dx.doi.org/10.3102/ip.22.1890666.

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Takaaki Shiratori, Shunsuke Kudoh, Shin'ichiro Nakaoka und Katsushi Ikeuchi. „Temporal scaling of upper body motion for Sound feedback system of a dancing humanoid robot“. In 2007 IEEE/RSJ International Conference on Intelligent Robots and Systems. IEEE, 2007. http://dx.doi.org/10.1109/iros.2007.4399102.

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Mu Yingjie, Zha Xianfeng und Wang Wei. „Notice of Retraction A study on effects to body ingredient and blood lipoids for youth obese feminine by acrobatics dancing“. In 2011 2nd IEEE International Conference on Emergency Management and Management Sciences (ICEMMS). IEEE, 2011. http://dx.doi.org/10.1109/icemms.2011.6015717.

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Landry, Steven, und Myounghoon Jeon. „Participatory Design Research Methodologies: A Case Study in Dancer Sonification“. In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.069.

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Given that embodied interaction is widespread in Human-Computer Interaction, interests on the importance of body movements and emotions are gradually increasing. The present paper describes our process of designing and testing a dancer sonification system using a participatory design research methodology. The end goal of the dancer sonification project is to have dancers generate aesthetically pleasing music in real-time based on their dance gestures, instead of dancing to prerecorded music. The generated music should reflect both the kinetic activities and affective contents of the dancer’s movement. To accomplish these goals, expert dancers and musicians were recruited as domain experts in affective gesture and auditory communication. Much of the dancer sonification literature focuses exclusively on describing the final performance piece or the techniques used to process motion data into auditory control parameters. This paper focuses on the methods we used to identify, select, and test the most appropriate motion to sound mappings for a dancer sonification system.
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Prajapati, Kinjal, Fred Barez, James Kao und David Wagner. „Dynamic Force Response of Human Legs due to Vertical Jumps“. In ASME 2011 International Mechanical Engineering Congress and Exposition. ASMEDC, 2011. http://dx.doi.org/10.1115/imece2011-62261.

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Jumping is a natural exertion that occurs during a variety of human activities including playing sports, working, skateboarding, dancing, escaping from hazardous events, rescue activities, and many others. During jumping, the ankles in particular are expected to support the entire body weight of the jumper and that may lead to ankle injuries. Each year hundreds of patients are treated for ankle sprains/strains with ankle fractures as one of the most common injuries treated by orthopedists and podiatrists. The knee joint is also considered the most-often injured joint in the entire human body. Although the general anatomy of the lower extremities is fairly well understood, an understanding of the injury mechanism during these jumping tasks is not well understood. The aim of this study is to determine the reaction forces exerted on legs and joints due to vertical jumps, through musculoskeletal simulation and experimental studies to better understand the dynamic jump process and the injury mechanism. The joint reaction forces and moments exerted on the ankle, knee and hip joint during takeoff and extreme squat landing of a vertical jump were determined through the application of musculoskeletal simulation. It is concluded that during extreme squat landing of a vertical jump, joint reaction forces and moments were highest in proximal/distal and anteroposterior direction may cause most likely injury to the hip joint ligaments, ankle fracture and knee joint, respectively.
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Gimunová, Marta, Tomáš Vodička, Kristián Jánsky, Miriam Kalichová, Antonín Zderčík, Alena Skotáková, Petr Hedbávný und Kateřina Kolářová. „The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers“. In 12th International Conference on Kinanthropology. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-4.

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Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct exe-cution of complex movements used in all types of dance. The aim of this study was to analyse the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyse the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scien-tific Instruments, Niigata, Japan). To analyse the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spear-man Rank Order Correlation were used. Results: Abetter postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competi-tions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in pos-tural variables between genders was observed. Similarly, in analysed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training in-cludes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average ve-locity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analysed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.
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