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1
Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.
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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz.
Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz.
Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found.
Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.
Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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I N. N, Yadnya, Ramendra D. P., and Utami I.A.M.I. "JARGONS USED BY MALE BALINESE DANCER AT SANGGAR SENI MANIK UTTARA SINGARAJA." International Journal of Language and Literature 3, no. 1 (September 4, 2019): 17. http://dx.doi.org/10.23887/ijll.v3i1.20602.
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This study aimed at analyzing forms, meaning, and function of jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja. This study was conducted in descriptive qualitative method. the subject of this study were 2 dancers of Traditional Balinese Dance especially male dancer in Sanggar Seni Manik Uttara Singaraja. In this study, the methods of data collection were observation and interview. The result of this study represents there are 22 jargons used by male Balinese dancer at Sanggar Seni Manik Uttara Singaraja in which jargons were classified and investigated based on word formation processes and word class. There are 5 affixations, 5 nouns, 2 verbs, 7 compounding, 3 reduplications. The meaning of jargons was analyzed based on the context of male Balinese dancers’ conversation, picture, and interview. Additionally, this study denotes there are three function of jargons used by male Balinese dancer, to make communication effectively, to show the identity of the dancer and the last is to build the solidarity among Balinese dancer.
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Triana Titania Manuaba, Ida Ayu, I. Wayan Dibia, and I. Ketut Sariada. "A Dance Work Representing Ida Bagus Blangsinga’s Life Journey (The Maestro of Kebyar Duduk Dance in Blangsinga Style)." Journal of Aesthetics, Creativity and Art Management 1, no. 1 (April 17, 2022): 31–36. http://dx.doi.org/10.59997/jacam.v1i1.1594.
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This work aims to represent the figure of Ida Bagus Blangsinga, a master of the Kebyar Duduk dance in Blangsinga style. The method of creation used in this work uses the creation method which includes assessment, experimentation, and formation. This method is easily understood by the stylist to express and visualize several scenes in the work. The form of the chosen work is a new creation dance, because it provides space for development according to the wishes of the stylist. This work is danced by six female dancers and one male dancer using soft make-up and fashion that supports each part of the work. This work uses the fan and reverberation properties. This dance is made as a contribution to the development of Balinese dance especially to the new generation.
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Aksu, Neslihan, Vefa Atansay, Taner Aksu, and Işık Karalök. "Patellofemoral Chondropathy Areas in Folk Dancers: An MRI Study." Medical Problems of Performing Artists 36, no. 1 (March 1, 2021): 34–38. http://dx.doi.org/10.21091/mppa.2021.1005.
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BACKGROUND: Patellofemoral chondropathy (PFC) is one of the most important causes of patellofemoral pain syndrome. PFC may occur as a result of anatomic reasons such as patellar malalignment and/or increased patellofemoral joint stresses. Most research on this subject has involved sports injuries and anatomic variations. The literature is scarce on PFC related to the dance. METHODS: Fourteen dancers (14 knees, all male) were found to have PFC based on MRI evaluations and clinical examinations between January 2010 and December 2019 (3 dancers were excluded due to prior surgeries of the knee). Age, sex, side of injury, range of motion, Q angle, types of dances, body mass index, and patellar specifics (alta, baja, Wiberg) were recorded for 11 dancers included in the study. We observed PFC at the femoral contact areas (FCA) and patellar contact areas (PCA) of Goodfellow description. RESULTS: Chondral lesions were observed at Gooodfellow areas FCA-3 in 2 dancers, FCA-4 in 5 dancers, PCA-2 in 10 dancers, PCA-3 in 10 dancers, and PCA-4 in 9 dancers. CONCLUSION: Dance styles that include frequent deep flexions and strolling on a flexed knee joint may be risk factors for chondral lesions in the contact area of the femur in male dancers.
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Jagošová, Anna. "Slovácko Verbuňk as a Tradition and Performance." Národopisný věstník 82, no. 1 (June 30, 2023): 29–40. http://dx.doi.org/10.59618/nv.2023.1.02.
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The Slovácko verbuňk is a solo male dance of jumping nature. Originally, it was part of military recruiting and was danced by soldiers or, much more often, by the recruiters. Verbuňk had many functions. Some of them, for example the psychological and the symbolic and social ones, have already disappeared, some others, such as the identification, erotic, and competitive ones have survived to date. It is due to the competitive feature of the dance that a “dance race” has been organized at the International Folklore Festival in Strážnice since its foundation; the Festival has given rise to the Contest for the Best Dancer of the Slovácko Verbuňk. This has significantly changed the form of the Slovácko verbuňk - for example, the Contest has supressed the improvisation, but increased the awareness of the dance and attracted many dancers who want to learn it. The performance of the Slovácko verbuňk by child dancers is a phenomenon of the last twenty years. This fact has its supporters and opponents among Slovácko verbuňk dancers and leaders of folk ensembles.
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Jubb, Caroline, Leann Bell, Sonja Cimelli, and Roger Wolman. "Injury Patterns in Hip Hop Dancers." Journal of Dance Medicine & Science 23, no. 4 (December 15, 2019): 145–49. http://dx.doi.org/10.12678/1089-313x.23.4.145.
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Hip hop dance is becoming increasingly popular. It is performed in a variety of environments and can be fused with other dance styles. There is limited research on this dance demographic. The object of this study was to record and assess the injury patterns and diagnoses of hip hop dancers who presented to a dancer injury clinic at the Royal National Orthopaedic Hospital (RNOH) in London over a 5-year period. Of the 800 patients who attended the clinic, 73 (28 males, 45 females) identified themselves as hip hop dancers. The mean age of these dancers was 26.1 years (± 6.59 years). The majority were professionals (49%) and the next largest group was students (31.5%). The most common site of injury was the knee (36%), followed by the lumbar spine (19%) and the foot and ankle (15%). The site of injury appeared to be influenced by the sub-style of hip hop the dancer performed. There were gender differences in knee injuries; male dancers predominantly sustained meniscal injuries (45%) and female dancers primarily sustained patellofemoral pain (60%). All lumbar disc injuries were at the L5/S1 level. These results are comparable to those of previous studies investigating injury in hip hop dancers. More research is needed to explore injury etiology, develop injury prevention measures, and increase awareness of the injury complexities in this dance population.
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Nordin, Sanna M., and Jennifer Cumming. "The Development of Imagery in Dance: Part I: Qualitative Findings from Professional Dancers." Journal of Dance Medicine & Science 10, no. 1-2 (June 2006): 21–27. http://dx.doi.org/10.1177/1089313x06010001-206.
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A series of two studies was undertaken to investigate the development of imagery among dancers and how dance teachers might affect the imagery development process. The first study is reported here, the second in Part II. For the present study, in-depth semi-structured interviews were conducted with 14 female (n = 9) and male (n = 5) professional dancers from a range of ages and dance forms. The recorded interviews were transcribed verbatim and content-analyzed with NVivo 4.0. Results fell into three categories: Early Experiences, Teachers, and Imagery Changes. Findings included few dancers having been taught about imagery, and that dancers often preferred teachers who gave plenty of images so that each dancer could use images that suited his or her own needs. As dancers became more accomplished, imagery typically changed toward more frequent, complex, and kinesthetic images. Suggestions for further research and ideas for practical application are provided.
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Widyanarto, Widyanarto, Febrianti Febrianti, and Mega Lestari Silalahi. "Symbolic Study- Representation in Nyongsong Dance." Jurnal Seni Tari 12, no. 2 (November 30, 2023): 166–74. http://dx.doi.org/10.15294/jst.v12i2.75430.
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Nyongsong dance tells of the activities of clove harvesting farmers in the Anambas Islands. Harvesting cloves includes climbing, picking, crushing, and drying cloves. This research is qualitative. The data collection technique was carried out by researchers through participatory observation, and the data analysis stage used qualitative descriptive methods. The presentation of the Nyongsong dance consists of three rounds, act 1 presents the farmers climbing and picking cloves symbolized by up and down movements exploring the clove tree setprop, act 2 presents the activity of crushing cloves symbolized by female dancers exploring the movement of ukel and exploring the properties of the jute sack by male dancers, and in act 3, the activity of farmers drying cloves is presented, symbolized by seven dancers exploring brown cloth together. This Nyongsong dance used corrective makeup with brown and green clothes. The props used in this dance are inspired by the tools farmers use when harvesting cloves, such as bags, winnowing, and burlap sacks. Danced by seven dancers, including two male dancers and five female dancers. The accompanying music is created life using Malay musical instruments such as selondang, serunai, violin, mong, gong, bebano, darbuka, flute, multiped percussion, and sequencer. This research aims to examine the Nyongsong dance from the perspective of representational symbols as enriching knowledge about the study of choreography through symbols and representations.
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Alimena, Stephanie, and Mary E. Air. "Trust, Satisfaction, and Confidence in Health Care Providers Among Student and Professional Dancers in France." Medical Problems of Performing Artists 31, no. 3 (September 1, 2016): 166–73. http://dx.doi.org/10.21091/mppa.2016.3030.
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BACKGROUND: Patients who trust their physicians are more likely to communicate about medical problems, adhere to medical advice, and be satisfied with care. Dancers have demonstrated low utilization of physician services for both preventive care and dance injuries. The purpose of this cross-sectional study was to examine trust in physicians as a variable influencing dancers’ health care-seeking behavior. METHODS: The validated Trust in Physician Scale was administered to 45 professional and 34 student ballet/contemporary dancers in France (36.7% male, 63.3% female) to evaluate their trust in medical doctors (MDs) vs physical therapists (PTs). Dancers were also asked about satisfaction and confidence in medical treatment for dance injuries. RESULTS: Dancers indicated greater trust in PTs than MDs (70.61±10.57 vs 65.38±10.79, t=–3.499, p=0.001). Students exhibited significantly less trust in MDs than professional dancers (62.04±9.96 vs 67.65±10.42, t=–2.381, p=0.020). Trust scale scores for PTs did not differ between students and professionals (69.53±8.30 vs 71.68±12.09, t=–0.866, p=0.389). Students were less confident than professional dancers in their physician’s ability to treat their most severe injury (6.7% of students vs 35.7% of professionals “very confident,” X2=9.402, p=0.052). CONCLUSIONS: Dancer patients exhibit lower trust in physicians compared to previously studied non-dancer populations. Our results suggest that reduced trust in physicians and factors related to professional status may influence dancers’ health care-seeking behavior. Student dancers may comprise a unique subpopulation of dancers with distinctive health care needs.
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Adela Rosyadi, Suci, and Desfiarni Desfiarni. "Estetika Tari Piriang di Ateh Kaco Karya Syofyani Pada Sanggar Syofyani Kota Padang." Jurnal Sendratasik 11, no. 2 (June 30, 2022): 264. http://dx.doi.org/10.24036/js.v11i2.114320.
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This study aims to reveal and describe the aesthetic value of the Piriang Dance at Ateh Kaco by Syofyani at the Syofyani Studio, Padang City. This type of research is qualitative research using a descriptive method. The main instrument in this study is the researcher himself and is assisted by supporting instruments such as writing instruments, photo cameras and audio conversion tools. This type of data uses primary data and secondary data. Data collection techniques were carried out employing library research, observation, interviews and documentation. The steps to analyze the data are data reduction, data display, and conclusion verification. The results showed that the form in terms of shape and arrangement of the main elements (motion) consisted of the name of the motion and the description of the motion. From the shape of the supporting elements, the shape and arrangement are that the floor pattern is formed by the formation of dancers. Broadly speaking, there are two-floor patterns, namely straight line patterns such as trapezoid, vertical, and horizontal, and curved lines such as making a circle. This dance is usually danced by nine dancers, namely four male dancers and four female dancers, plus one dancer to steps on the kaco. Weight in dance consists of atmosphere, ideas or ideas, and like. Three elements play a role in performing arts, namely talent, skills, and means of media.
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Rudisill, Kristen. "Subversion and reinforcement of gender norms in the Tamil reality dance competition show Maanada Mayilada." Indian Theatre Journal 6, no. 1 (August 1, 2022): 59–75. http://dx.doi.org/10.1386/itj_00027_1.
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This article explores the ways Tamil-language dance reality competition show Maanada Mayilada (The Deer Dances and the Peacock Dances) (MM) interacts with and partially subverts the gender norms of Tamil cinema. While the structure of MM supports and promotes female contestants, the choreography tends to reinforce the gender stereotypes found in the larger industry. The show, consisting of male/female song-and-dance sequences, privileges women in a way the larger film industry does not. The choreographers are all male, and they conceptualize the dances, select and edit the music, and compose the movements for the contestants and backup dancers. The performances are then evaluated and scored by a panel of female actors and choreographers led by Kala Master. They sometimes praise dancers and choreographers for breaking gender stereotypes and at other times admonish them to work within them. MM positions women in such a way that it does not default to their objectification and exploitation as is common in the reality show genre.
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Suhesti, Merry, and Desfiarni Desfiarni. "MAARAK BUNGO LAMANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108132.
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AbstractMaarak Bungo Lamang Dance is a result of the creation of dance creations based on the life phenomenon of the Durian River of the South Solok district in order to celebrate the day of the Prophet Maulid. In this regard, the tradition of society that has a sense of gratitude for the day of the Prophet Maulid in a festive way is not separated from the Islamic faith. The dance work "Maarak Bungo Lamang" is an interpretation of the community tradition of the river Durian in welcoming the Prophet's Maulid by means of a journey around the village along with Shalawat-Shalawat. It is as an expression of gratitude for the Prophet's Maulid day. The dance works were performed by 7 dancers, 3 male dancers and 4 female dancers as well as 13 Pendukkung dancers for the early dances, expected to be a new form of dance creations. Program artwork is aimed at adding a wealth of dance artwork, as well as an educational platform for new artists.Keywords: Maarak Bungo Lamang
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Putri Amanda, Aprilia, and Nerosti Nerosti. "Bentuk Penyajian Tari Galombang Sanggar Umbuik Mudo dalam Pesta Perkawinan di Nagari Sungai Asam, Kabupaten Padang Pariaman." Jurnal Sendratasik 12, no. 1 (March 30, 2023): 93. http://dx.doi.org/10.24036/js.v12i1.121220.
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This study aims to describe and analyze the form of presentation of the Galombang Dance at Sanggar Umbuik Mudo at a wedding party and to reveal the form and sequence of the entire presentation of the Galombang Dance at a wedding party. This type of qualitative research uses a descriptive analytical method. While the main instrument is the researcher himself and requires tools in collecting data in the field, namely in the form of stationery and photo cameras. Data collection techniques in the form of literature, observation, interviews and documentation. The data analysis technique is by collecting data, describing the data and concluding the data. The results showed that the Galombang dance at the Umbuik Mudo Studio was a creative dance danced by 6 dancers, consisting of 1 male and 4 female dancers and 1 carano carrier. The movements of the male dancers consist of 6 movements, while the movements of the female dancers consist of 16 movements. The two-row floor pattern stretches backwards with two performances, that is, after the carano presenter offers betel nut to the guest of honour, the dancers continue the dance with a faster tempo. The costume for the female dancers is to wear a creations brackets shirt, salempang, songket skirt and the head wears a lenggek duo horn and uses accessories, namely lace, yellow net cloth, talepon earring, suntiang limo finger and kaban necklace and gold cakiak necklace. The accompanying music used in this performance is gandang, tambua, bass guitar, bansi, jimbe and talempong.
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Koutedakis, Yiannis, Antonis Stavropoulos-Kalinoglou, and Giorgos Metsios. "The Significance of Muscular Strength in Dance." Journal of Dance Medicine & Science 9, no. 1 (March 2005): 29–34. http://dx.doi.org/10.1177/1089313x0500900106.
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The physical demands placed on dancers make their physiology and fitness just as important as skill development. However, dancers’ muscular strength and bone and joint integrity seem to suffer as a result of the dance-only selection and training system. This partly reflects the unfounded view that exercise training that is not directly related to dance would diminish dancers’ aesthetic appearances and destroy muscle flexibility. Nevertheless, data on male and female dancers have demonstrated that supplemental strength training can lead to better dancing and reduced incidents of dance injuries without interfering with key artistic and aesthetic requirements. An awareness of these factors will assist dancers and their teachers in improving training techniques, employing more effective injury prevention program, and in determining better physical conditioning strategies.
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Keay, Nicola, AusDancers Overseas, and Gavin Francis. "Indicators and correlates of low energy availability in male and female dancers." BMJ Open Sport & Exercise Medicine 6, no. 1 (November 2020): e000906. http://dx.doi.org/10.1136/bmjsem-2020-000906.
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ObjectivesTo investigate indicators and correlates of low energy availability (LEA) in male and female dancers.MethodsA Dance-Specific Energy Availability Questionnaire (DEAQ) was developed and administered online internationally to dancers training at preprofessional, professional or advanced amateur level. The DEAQ drew on current validated, published questionnaires for LEA, linked to the clinical outcomes of relative energy deficiency in sport (RED-S). Questions addressed recognised physiological indicators and consequences of LEA in the context of dance, together with potential correlates. LEA was quantified using a scoring system to include these characteristics.Results247 responses to the DEAQ were analysed (225 female and 22 male), mean age 20.7 years (SD 7.9) with 85% practising ballet. Psychological, physiological and physical characteristics consistent with LEA were reported by 57% of the female dancers and 29% of male dancers, indicating a risk of RED-S. The unique nature of dance training, in terms of demands and environment, was found to be potentially influential in development of this situation. Less than one-third (29%) of dancers were aware of RED-S.ConclusionThis study found dancers to be a specific group of high-level artistic performers displaying indicators of LEA and consequently at risk of developing the adverse clinical health and performance consequences of RED-S. Awareness of RED-S was low. The DEAQ has the potential to raise awareness and be a practical, objective screening tool to identify dancers in LEA, at risk of developing RED-S.
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T. Scull, Maren. "Male Strippers and the Toll of Exotic Dance." Humanity & Society 44, no. 3 (June 19, 2020): 268–97. http://dx.doi.org/10.1177/0160597620930928.
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While researchers have looked at the impact stripping has for female exotic dancers, very little attention has been given to the consequences the profession has for male strippers. In this research, I draw from 22 in-depth interviews with male exotic dancers and 18 months of fieldwork at a strip club to examine the extent to which male strippers experience “the toll” of exotic dance. Specifically, I focus on dancers’ interactions with customers, their experiences with stigmas, the impact stripping has on their romantic relationships, how they negotiate boundaries with patrons, and the consequences stripping has for their self-esteem. Overall, I found that patriarchal privilege and the sexual double standard significantly mitigated the toll of the profession.
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Alderson, Jacqueline, Luke Hopper, Bruce Elliott, and Tim Ackland. "Risk Factors for Lower Back Injury in Male Dancers Performing Ballet Lifts." Journal of Dance Medicine & Science 13, no. 3 (September 2009): 83–89. http://dx.doi.org/10.1177/1089313x0901300303.
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Lower back injuries are common in ballet dancers. Allegedly there is a higher incidence in males than in females due to their lifting requirements. This study analyzes the estimated forces generated at the L5/S1 joint in five professional and three pre-professional male dancers performing full press (FP) and arabesque (AR) ballet lifts. The estimated peak lumbar anterior shear force (PLASF) was identified using a 3D motion analysis system, and was found to occur at the beginning of each lift, approximately 0.01 seconds prior to the ballerina moving vertically into the lift. Data representing the male dancers’ posture at the point of PLASF were input into a 3D Static Strength Prediction Program (3DSSPP, University of Michigan, Centre for Ergonomics, 2006) to calculate the PLASF and corresponding compression forces. The compression forces identified in this way were found to be greater than the National Institute of Occupational Safety and Health, Back Compression Design Limit (3400N). This suggests that administrative controls such as monitoring the number of lifts performed daily are required to reduce the risk of lower back injury in male dancers. Comparison of the two lifts found significantly (p < 0.05) higher compression forces in the FP versus the AR lift. This could be attributed to a significantly (p < 0.05) larger horizontal distance between the male dancer and the ballerina, or the eccentric loading of the male dancers’ lower limb and trunk musculature in the preparation phase of the FP. Retrospective regression analysis indicated that peak trunk extension velocity and the horizontal distance between the male dancer and the ballerina were significant (p < 0.05) predictors of PLASF.
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Luke, Anthony C., Susan A. Kinney, Pierre A. D’Hemecourt, Jessica Baum, Michael Owen, and Lyle J. Micheli. "Determinants of Injuries in Young Dancers." Medical Problems of Performing Artists 17, no. 3 (September 1, 2002): 105–12. http://dx.doi.org/10.21091/mppa.2002.3016.
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The epidemiology of dance injuries requires further study, in order to properly implement effective health interventions. This study aimed to pilot injury surveillance tools to assess the incidence of injuries in adolescent pre-professional dancers and identify the intrinsic and extrinsic risk factors associated with dance injuries. The study involved a prospective, cohort design. A population of adolescent dancers at a liberal arts high school dance program in Natick, Massachusetts, was studied over the nine-month school year in 2000/2001. Intrinsic risk factors, including anatomical characteristics, past medical history, menstrual history, and dance experience, were assessed with a pre-participation history and orthopedic physical exam. The extrinsic risk factors, including training, fatigue, stress, shoes, and calcium intake, were assessed with surveys completed every two weeks by the dancers. Study outcomes were: 1) self-reported injuries (SRIs), 2) reported injuries (RIs) assessed by a physical therapist in the school clinic, 3) duration of injuries, and 4) severity of injuries. Descriptive statistics and univariate analyses were performed on each risk factor. Thirty-nine of 55 dancers participated in the study. The average age was 15.3 years, and 85% of the dancers were female. The return rate for the biweekly surveys was 90%. Over one school year, there were 112 self-reported injuries, averaging 2.8 SRIs per dancer, and 71 reported injuries assessed by the physical therapist, averaging 1.4 RIs per dancer. Consistent with other studies, the most common locations for injuries were ankles, lower leg/calf, and back, usually caused by overuse, muscle strains, and sprains. Although the female dancers reported dancing significantly more hours (3.3 hours per day) than the males (2.7 hours/day), the males had a higher injury rate of SRIs (8.4 injuries/1,000 exposure hours of dancing vs. 4.1 injuries/1,000 hours) as well as RIs (5.5 injuries/1,000 hours vs. 2.6 injuries/1,000 hours). Older age and male sex were risk factors associated with SRIs and RIs. Most risk factors were found not to be statistically associated with the number of SRIs or RIs. Self-reported injuries occur frequently in pre-professional student dancers, who seek medical care in more than half the cases. Health professionals involved with dancers should be familiar with posterior ankle and low back problems. The rates of injuries appear almost twice as high in male dancers than female dancers. The main limitations to this study were small sample size and misclassification, recall, and reporting biases. With the information and tools of this pilot study, a multi-center study can be carried out to better assess risk factors on a larger dance population. Further research should aim to standardize injury definitions and classifications.
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Hirsch, Nicole M., Joey C. Eisenmann, Sylvia J. Moore, Scott D. Winnail, and Margaret A. Stalder. "Energy Balance and Physical Activity Patterns in University Ballet Dancers." Journal of Dance Medicine & Science 7, no. 3 (September 2003): 73–79. http://dx.doi.org/10.1177/1089313x0300700301.
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This study estimates daily energy expenditure (DEE) and the amount and relative intensity of daily activity energy expenditure (AEE) and compares DEE with self-reported daily energy intake (DEI) among university ballet dancers. Three male and eleven female university-level ballet dancers, ranging from 19 to 24 years of age, participated in the study. Daily energy expenditure and physical activity intensity were assessed by minute-to-minute heart rate monitoring during two weekdays and one weekend day. Prior to the assessment of energy expenditure, heart rate-oxygen consumption measurements during sedentary activity and submaximal and maximal exercise were established for each individual. Estimated DEE in male and female dancers was 4,617 ± 1,244 and 2,945 ± 823 kilocalories per day (kcals. day1), respectively. Male dancers accumulated 450 ± 162 min-day-1 and female dancers accumulated 296 ±198 min-day-1 in moderate-to-very hard physical activity (greater than 50% maximal heart rate). Reported DEI was 1,949 kcals-day-1 and 938 kcals-day-1 less than DEE in male and female dancers, respectively (p < 0.05). This information provides a guide to the energy demands of ballet dancers that nutritionists and instructors can use to optimize performance without compromising the health of the dancer.
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Kish, Robin L., Janice Gudde Plastino, and Bethany Martyn-Stevens. "A Young Dancer Survey." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 161–65. http://dx.doi.org/10.21091/mppa.2003.4029.
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The purpose of this study was to determine, through self-reporting techniques, the training and injury rates among students studying dance in the private sector. The private studio provides the major venue for students to study dance. This is especially true for young students (ages 8–18) who study ballet, jazz, and tap and who participate in dance competitions. A private dance studio is defined as a studio open to the community with no audition requirements for entry that teaches various technique styles. Private studio dancers are not training specifically to be professional dancers in major ballet companies. Few data exist regarding the training or injury rates of these students in part because of difficulties with access and compliance. To date, 3,700 surveys have been distributed (January 2001-present) to students training in private studios throughout California. Information was requested concerning current and past injuries, dance training history, and competition schedules. This ongoing investigation currently has examined 173 (male = 6 and female = 167) completed surveys. The mean age of dancers who responded to the survey was 15.2 years. Of the dancers surveyed, 93% study at private dance studios, and 67% have studied in high school dance programs. The number of injuries reported (n = 226) included fractures, strains, sprains, and tendinitis. The ankle, knee, and back were found to be the most frequent injury sites. Correlations between the number of different techniques studied and the total hours danced, the number of different techniques studied and number of injuries for each individual, and the number of injuries for each individual and total hours danced all were significant at 0.01. Initial results support that dancers in the private dance studio are susceptible to injuries similar to those experienced by dancers in elite training centers.
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Šifrar, Tina, Kim Majoranc, and Tanja Kajtna. "Matching of personality traits, emotional intelligence and social skills among dance partners in competitive dancing." Kinesiology 52, no. 2 (2020): 242–49. http://dx.doi.org/10.26582/k.52.2.9.
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We investigated whether there was more matching in personality traits, emotional intelligence, and social skills in better performing dance couples than in their less successful counterparts and if better- and lower-performing dancers individually have more equivalent personality traits, emotional intelligence, and social skills. Twenty-four dance couples (i.e. 24 male and 24 female dancers), performing both the Latin and standard dances at a competitive level, were included in the study. Among the measured metrics were: personality traits (using the Big Five Questionnaire), social skills (using the Interpersonal Skills Questionnaire), and emotional intelligence (using the Emotional Competence Questionnaire). When comparing differences between couples, results showed that the better dance couples were more orderly, agreeable and conscientious than the lower-performing dance couples who seemed to be more open. When comparing differences between individual dancers, results showed that the better-performing dancers tended to be older, more experienced, with a higher “competitive mileage” and better-trained bodies, more diligent with a firm belief in their success, confident in attaining their goals, and more motivated. They were also more emotionally stable – a trait that stemmed from their maturity and many years of competing. Findings obtained by our study will certainly allow us to view competitive dancers from a different, as yet undiscovered and potentially deeper viewpoint of psychology. One of the practical aspects of our research lies in understanding how to keep dance couples together for a longer time, allowing dancers to perform in unison for longer periods than would be otherwise possible.
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Marwah, Diniati, Ismunandar Ismunandar, and Regaria Tindarika. "BENTUK PENYAJIAN TARI LANGKAH DUA BELAS DI DESA SUNGAI BUNGKOK KALIMANTAN BARAT." Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) 11, no. 6 (June 29, 2022): 421. http://dx.doi.org/10.26418/jppk.v11i6.55840.
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This research aims to describe the Langkah Dua Belas dance. This study used qualitative approach with method of interview, observation and document analysis. The documents that the author used in this study were written documents, pictures and videos. The authors concluded that Langkah Dua Belas dance has an opening movement structure, namely the motion of respect, the core movement which consists of 12 steps and the closing motion is the motion of the throne. The number of dancers must be even, namely 4, 6, 8, and so on. This dance can be danced by both men and women. The floor pattern is a straight line forming the letter V. Musical instruments used are selodang, segmented, and small tambourines. The clothes used by female dancers are brackets clothes, Malay lotus, and gill pattern cloth. Meanwhile, the male dancers use the Teluk Belanga shirt, pants, gill pattern cloth, and skullcap. The makeup used by dancers is natural makeup. The venue for the show is a proscenium stage or open field.
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Shay, Anthony. "The Male Dancer in the Middle East and Central Asia." Dance Research Journal 38, no. 1-2 (2006): 137–62. http://dx.doi.org/10.1017/s0149767700007427.
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Within this quotation the reader may find a rich description of historical and even contemporary Middle Eastern attitudes toward dance and male dancers in particular, penned from a native point of view. In this article I address those attitudes, but more importantly challenge several cherished, long-held assumptions and theoretical stances expressed by native elites and Westerners interested in Middle Eastern dance and dancers. First, I challenge the romantic views that many gay men hold that the presence of male dancers and the sexual interest expressed toward them by Middle Eastern men somehow constitutes evidence for an environment accepting of homosexuality and a Utopian gay paradise, where the possibility of unbridled sexual congress with handsome, passionately out-of-control Arabs, Persians, and Turks exists. Thus, they crucially confuse gay or homosexual identity with homosexual activity or behavior. Because of this confusion, I use an important aspect of queer theory that counters “the monolithic alternative of liberationist gay politics” (Bleys 1995, 7) to look at the phenomenon of professional male dancers in a somewhat grittier, more realistic light. In particular, I refer to Stephen O. Murray's groundbreaking article, “The Will Not to Know” (1997, 14–54) which establishes a valuable lens through which to view how the vast majority of Middle Eastern individuals regard homosexual acts.
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Sari, Anggi Wulan, and Sri Rochana Widyastutieningrum. "REKONSTRUKSI TARI JEPIN TALI DI KABUPATEN SINTANG." Greget 21, no. 2 (December 29, 2022): 113–22. http://dx.doi.org/10.33153/grt.v21i2.4691.
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The purpose of this study was to analyze the reconstruction process and the results of the reconstruction of the Jepin Tali dance in Sintang Regency by Anggi Wulan Sari. Jepin Tali dance is one of the traditional Malay dances originating from Sintang Regency, West Borneo Province. The Jepin Tali dance is presented in the form of a group dance and can be danced by both male and female dancers. The theory used in this research is the theory of reconstruction by Burra Charter and the theory of form proposed by Slamet, MD. This research is qualitative with interpretive descriptive method with data collection techniques by observation, literature study, and interviews. The results showed that: First, the Jepin Tali dance has a function as entertainment and as a medium for public education about mutual cooperation and tolerance. Second, the reconstruction process is carried out in the excavation and arrangement stages. Third, the results of the reconstruction are the addition of a variety of movements from 3 to 16 variations, the addition of musical instruments, make-up and clothing, as well as the floor pattern used. Fourth, the Jepin Tali dance is presented in the form of a group dance with a total of 4 female dancers and has a presentation structure which is divided into 3 parts, namely the beginning, the core, and the closing using the 8 rope property. Fifth, the hallmark of the Jepin Tali dance presentation is the use of the rope property and Siti Zubaidah's poetry.
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Schultz, Marianne. "‘Sons of the Empire’: Dance and the New Zealand Male." Dance Research 29, no. 1 (May 2011): 19–42. http://dx.doi.org/10.3366/drs.2011.0003.
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This article traces the journeys of dancing men from the stages of New Zealand to the stages of London during the twentieth century. The oft-repeated history of ‘the hard man’ of New Zealand who belonged to the ‘culture of imperial manliness’ is challenged by the stories of these men who, beginning in the 1920s with Jan Caryll, became professional dancers. I argue that within early twentieth-century New Zealand culture the opportunity existed for men and male bodies to be on display. The Maori haka, which featured men dancing in public exhibitions and ceremonies, had been seen by non-Maori (Pakeha) since first contact, while the emergence of body-building, beginning with the visit in 1902 of Eugen Sandow and a culture of sport, allowed men to be on show. Not least of all, tours to the antipodes of European dancers inspired young men to study ballet and contemporary dance. As a consequence, throughout the twentieth century New Zealand male dancers continued to arrive in London and contributed to both New Zealand and British dance histories.
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Aksu, Neslihan, Vefa Atansay, Safiye Koçulu, and Işık Karalök. "Injuries Requiring Surgery in Dancers Performing High-Demand Dances." Orthopaedic Journal of Sports Medicine 5, no. 2_suppl2 (February 1, 2017): 2325967117S0009. http://dx.doi.org/10.1177/2325967117s00091.
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Aim: Dancers are professional athletes. Dance injuries resemble sports injuries, however, they push the limits of anatomy and physiology for rightful expression of the esthetics. In this study, we examined a group of dancers and injuries which required surgery to understand the associated factors (age, gender, dexterity, dance style) and also the time to return to their full capacity. Methods: 75 members of the Fire of Anatolia professional dance group (55 ethnic folk, 12 modern ballet, 8 Caucasian folk dancers) (mean age: 26.8±5.2; 17-38 years) performers were evaluated between the dates February 2009 and February 2016. The dancers suffered 14 orthopedic injuries requiring surgery during a six-year period. Nine of surgeries (64.2%) were the result of an acute trauma requiring meniscal repair in three due to meniscus tears, ACL reconstruction in two (one of them had to also undergo primary repair of the posterolateral corner of the knee) due to ACL tear, PCL reconstruction in one due to PCL tear, open medial patellofemoral ligament repair in one due to acute patellar dislocation, percutaneous fixation of the scaphoid in one due to scaphoid fracture and an extensor tendon repair of the hand in one due to extensor tendon cut. Five of the surgeries (35.7%) were due to chronic injuries consisting of deep infrapatellar bursitis treated by open bursectomy in one, arthroscopic fat pad resection due to Hoffa’s fat pad impingement in two, and arthroscopic resection of an symptomatic medial plica in two patients. Findings: Fourteen (12 male, 2 female; mean age: 30±5.45, range: 22 to 38) dancers out of 75 members (18.7%) of this high-demand dance group suffered injuries requiring surgery. Twelve (85.8%) of these injuries were at the knee joint and two (14.2%) were in the hand. There was no statistically significant difference between the mean ages of the dancers with and without injuries (p>0.05). Males suffered an injury 8.64 times more than females according to logistic regression analysis (p=0.003). Results: Male dancers are more susceptible to injuries that require surgery when compared to female dancers. All of the operated patients continue with their careers in dancing and arthroscopic surgery does not pose a threat to the career of the dancer. Level of Evidence: Level of evidence III. Retrospective cohort study
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Rizky Prawitha, Fatia, Rahmawati Rahmawati, and Baricza Maulid Pradipta. "Overview of Family Education and Culture: Masculinity Male Dancer." Jurnal Pendidikan Indonesia Gemilang 3, no. 1 (February 17, 2023): 26–47. http://dx.doi.org/10.53889/jpig.v3i1.167.
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Gender is a characteristic difference between women and men formed by cultures learned and socialized since childhood. Characteristics of gender that give rise to the notion that men should be masculine and women should be feminine. From the characteristics it appears a profession that is identical with a particular gender. This is if there is a certain gender have a profession that is opposite to gender it would be underestimated or considered less feasible. Male dancers are often considered not masculine because of the public view. This study wanted to describe how male dancers retain their identity as men and are considered masculine by society, the type of masculinity of eachsubject and the reason the subject chooses the profession as a dancer. The method used in this study uses the results of research from Tuncay that mentions masculinity can be defined socially as a way to become a man grouped into 11 elements. The type of masculinity uses four masculinity configurations in the hierarchy of masculinity, And approach the theory of special learning in career selection by Krumboltz. The theories are used to analyze 3 male respondents who work as dancers. The technique used is qualitative research techniques in the form of interviews and observation. From the results of the study is known to all respondents still show their masculinity without being influenced by the profession they choose. For the respondents to be a dancer is a thing they like. Can be concluded that the profession someone does not always affect the level of masculinity or feminitas a person.
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Batu Bara, Emeilya, and Nerosti Nerosti. "KESENIAN RONGGIANG PASAMAN GROUP RANAH SAIYO DARI BENTUK HIBURAN KE BENTUK PERTUNJUKAN." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 441. http://dx.doi.org/10.24036/jsu.v9i2.110627.
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This study aims to reveal the art of Ronggiang Pasaman of Ranah Saiyo group from entertainment to performance form. This is a qualitative research using analytical descriptive method. The main instrument in this study was the researcher it self with primary and secondary data. The data were collected throughliterature study, observation, interview, and documentation. The object of this research was Ronggiang Pasaman Art of Ranah Saiyo group. The results show that Ronggiang is the only entertainment dance which has its own characteristics, uniqueness, and beauty from other entertainment dances in AuaKuniang village. Ronggiang can be seen from the form of presentation. Ronggiang is danced by three or four dancers. There are male dancers and one of which acts as singer. This is due to the fact that in ancient times women were prohibited to dance in crowd by the customs of Aur Kuning community. The place to show Ronggiang performance is not arbitrary because the performanceis arranged as well as possible. Music in Ronggiang is the main support which serves to provide atmosphere and enthusiasm for the dancers and the audiences who watch it. The differences can be seen from the entertainment and performance form Ronggiang. Ronggiang performance usually serves as entertainment for the community. Such entertainment is performed in some events such as Mamasak, maaghak-aghak, youth events, and West Pasaman's Birthday. As for the show, it is usually performed in a special place.Keywords: ronggiang pasaman, form of entertainment, form of performance.
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Wyon, Matthew A., Julie Harris, Faye Adams, Ross Cloak, Francis A. Clarke, and Janine Bryant. "Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style." Medical Problems of Performing Artists 33, no. 3 (September 1, 2018): 198–204. http://dx.doi.org/10.21091/mppa.2018.3028.
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AIMS: Dancers need to constantly maintain and develop their physiological capabilities to support their performances. Previously these physiological demands have been investigated only in traditional dance styles such as ballet and modern. The aim of this study was to examine the physiological demands of two types of hip-hop: new style and break dance. METHODS: Nine female new style dancers (age 20±6 yrs, height 163.5±1.4 cm, mass 55.8±22 kg) and 9 male break dancers (age 23±4.2 yrs, height 178.2±5.7 cm, mass 62.1±7.7 kg) volunteered for the study. Each subject completed a maximal graded treadmill test and a dance performance routine, either new style (approx 1:45–2:30 min) or breaking (2 min). Breathe-by-breathe gas analysis and heart rate (HR) were collected by a portable gas analyser, and blood lactate (BLa) was measured at the end of the treadmill test and each routine. RESULTS: The male breaker dancers had significantly higher VO2 peak than other equivalent dancers in other genres, whilst the female new style dancers were similar to that previously reported for female dancers. Performance data showed significant differences between the two styles for VO2, HR, and BLa (p<0.001) and for VO2 and HR relative to individual maximal treadmill data (p<0.05). CONCLUSION: New style is more comparable to other theatrical dance genres, with a lower relative mean VO2 demand, whilst break dance is shorter in duration, allowing a higher cardiorespiratory demand and generating significant levels of blood lactate. This difference is also reflected in the dancers’ cardiorespiratory profiles.
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Arnwine, Rachael A., and Douglas W. Powell. "Sex Differences in Ground Reaction Force Profiles of Ballet Dancers During Single- and Double-Leg Landing Tasks." Journal of Dance Medicine & Science 24, no. 3 (September 15, 2020): 113–17. http://dx.doi.org/10.12678/1089-313x.24.3.113.
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It is well known that sex differences exist in landing biomechanics in athletes, and these differences are purported to underlie a prevalence of traumatic knee injuries in females compared to males. However, it remains unknown if these differences also apply to artistic athletes such as dancers. The purpose of this study was to investigate sex differences in ground reaction forces (GRFs) between male and female dancers during single- and double-leg dance-specific landing movements. Fourteen pre-professional and professional ballet dancers (seven female and seven male) performed grand jeté (single-leg landing) and sauté (double-leg landing) jumps onto two force platforms. Visual3D was used to calculate the resulting GRF time-series, and MAT-LAB to select discrete variables of interest including peak vertical GRF, loading rate, landing duration, and vertical impulse. Paired t-tests were used to compare mean GRF variables between male and female dancers. During single-leg landing male dancers had smaller peak vertical GRFs (p < 0.01), greater time-to-peak GRF (p = 0.03), and smaller loading rates (p < 0.01) than female dancers. No differences were observed in vertical impulse during single-leg landing or in any variables during double-leg landing. These results indicate that sex differences in landing GRFs are most evident in single-leg landing and may underlie divergent injury rates in male and female dancers. Further investigation of relevant lower extremity biomechanics during single- and double-leg landing in male and female dancers should be conducted to identify the mechanisms underlying these distinct GRF profiles.
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Kico, Iris, and Fotis Liarokapis. "Investigating the Learning Process of Folk Dances Using Mobile Augmented Reality." Applied Sciences 10, no. 2 (January 14, 2020): 599. http://dx.doi.org/10.3390/app10020599.
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Learning how to dance is not an easy task and traditional teaching methods are the main approach. Digital technologies (such as video recordings of dances) have already been successfully used in combination with the traditional methods. However, there are other emerging technologies such as virtual and augmented reality that have the potential of providing greater assistance, in order to speed up the process as well as assisting the learners. This paper presents a prototype mobile augmented reality application for assisting the process of learning folk dances. Initially, a folk dance was digitized based on recordings from professional dancers. Avatar representations (of either male or female) are synchronized with the digital representation of the dance. To assess the effectiveness of mobile augmented reality, it was comparatively evaluated with a large back-projection system in laboratory conditions. Twenty healthy participants took part in the study, and their movements were captured using motion capture system and then compared with the recordings from the professional dancers. Experimental results indicate that augmented reality (AR) application has the potential to be used for learning process.
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Banio, Adrianna, and Jerzy Eider. "VERIFICATION OF SPECIAL AND TASK-ORIENTED MOTOR TEST AMONG COMPETITIVE BALLROOM DANCERS AT THE HIGHEST LEVEL OF ADVANCEMENT." Journal of Kinesiology and Exercise Sciences 28, no. 82 (June 30, 2018): 29–34. http://dx.doi.org/10.5604/01.3001.0013.5123.
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Aim: Verification of special and task-oriented fitness test of competitive ballroom dancers carried out among the most qualified contestants by Rokita (2006).Basic procedures: The research material consisted of 76 dancers (38 European couples) of the highest international dance class S, who train ballroom dance in European countries, i.e.: Poland, Italy, the United Kingdom, Germany, and Ukraine. The research methodology included carrying out a test constructed by Rokita (2006), consisting of a total of 16 “chaines” turns in 2/4 metre and at a rate of 40 bars per minute. Results: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dancers. It is obvious that the most qualified male and female dancers show a higher level of physical fitness due to, for example, training. This however does not mean that there are no significant differences between them. Nevertheless, it is impossible to measure them using this test. Therefore, the conducted research led to considerations on the principles of construction of a motor skills test. Conclusions: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dances. This test does not fully meet the criteria for the construction of a motor skills test.
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Asra, Restu Gustian, and Denny Eko Wibowo. "KEBERADAAN PENARI LAKI-LAKI PADA TARI JOGI." Melayu Arts and Performance Journal 3, no. 2 (October 18, 2020): 171. http://dx.doi.org/10.26887/mapj.v3i2.1347.
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ABSTRACTThis article discusses the existence of male dancers in the presentation of the Jogi dance. Jogi dance is a dance originating from Batam, where the presentation of the dance movements is dominated by the technique of shaking the shoulders and noticeable hip movements. The variety of movements in the Jogi dance is referred to as duplicate related to the daily activities of the Batam people as fishermen. Applying a qualitative research method with interviewing techniques for Jogi dancers and observing the events of the Jogi performance, the discussion in this article covers the beginning of the appearance of male dancers and their development in supporting the choreography and function of Jogi dance in society. The analysis is carried out on the adaptation process carried out by male dancers in adjusting the motives of the movements of the female dancers that already exist first. The results show that the presence of male dancers in the choreography of the Jogi dance encourages new forms of presentation while finding new functions as part of a form of social action. ABSTRAKArtikel ini membahas tentang keberadaan penari laki-laki dalam penyajian tari Jogi. Tari Jogi merupakan sebuah tari yang berasal dari Batam, yang penyajian gerak tarinya didominasi oleh teknik goyang bahu dan pergerakan pinggul yang kentara. Ragam gerak dalam tari Jogi disebut sebagai rangkap yang berkaitan dengan kegiatan sehari-hari masyarakat Batam sebagai nelayan. Menerapkan metode penelitian kualitatif dengan teknik wawancara terhadap para penari Jogi dan observasi atas peristiwa pertunjukan Jogi, pembahasan dalam artikel ini meliputi awal mula kemunculan penari laki-laki dan perkembangannya dalam mendukung aspek koreografi serta fungsi tari Jogi di masyarakat. Analisis dilakukan atas proses adaptasi yang dilakukan oleh para penari laki-laki dalam menyesuaikan motif gerak-gerak penari perempuan yang sudah ada terlebih dahulu. Hasil penelitian menunjukkan bahwa keberadaan penari laki-laki dalam koreografi tari Jogi mendorong bentuk penyajian baru sekaligus menemukan fungsinya yang baru sebagai bagian dari bentuk tindakan sosial.
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Molnár, Cecília, Zsófia Pálya, and Rita M. Kiss. "Static Balancing Ability and Lower Body Kinematics Examination of Hungarian Folk Dancers: A Pilot Study Investigating the “Kalocsai Mars” Dance Sequence." Applied Sciences 11, no. 18 (September 21, 2021): 8789. http://dx.doi.org/10.3390/app11188789.
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Folk dance is a collection of traditional dances that requires years of practicing to perform correctly. The aim of the present study was to develop a complex biomechanical measurement procedure that investigated Hungarian folk dancers’ balancing ability and lower body kinematics through a dance movement called “Kalocsai mars”. Therefore, 11 dancers’ motion (5 female and 6 male; age: 20.5 ± 2.5 years; height: 173.82 ± 7.82 cm; weight: 64.77 ± 8.67 kg) was recorded with an optical-based motion capture system and force platforms simultaneously. Before and after the dancing session, static balancing tests were performed, examining bipedal stance with eyes opened and closed conditions. The ANOVA results showed that the values of the range of motions of the knee joint flexion-extension angles and hip flexion averaged for sessions increased significantly (p=0.044, p=0.003, p=0.005) during the dancing sessions. The deviation in the joint angle was greater in the nondominant legs, suggesting that the nondominant side requires more attention to execute the dance steps correctly. The results of the balance tests showed that the oscillation in the posterior direction increased significantly after dancing (p=0.023). In comparison, the visual feedback had no significant effect on the dancers’ balancing ability.
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Nordin, Sanna M., and Jennifer Cumming. "The Development of Imagery in Dance: Part II: Quantitative Findings from a Mixed Sample of Dancers." Journal of Dance Medicine & Science 10, no. 1-2 (June 2006): 28–34. http://dx.doi.org/10.1177/1089313x06010001-207.
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The present study was undertaken to investigate the development of imagery among dancers. To effectively extend the results presented in Part I, the main topics emerging from the interviews in that study were investigated quantitatively. Participants were 250 female (n = 218) and male (n = 27) dancers from various dance types and ranging from recreational to professional in standard. Dancers perceived their images to have improved both in quantity and quality across their years in dance, with qualitative changes including improved complexity, control, structure, deliberation, and sensory involvement. Several differences existed between experience levels. In particular, higher-level dancers reported having been encouraged to image more frequently and being given more metaphorical images in classes more often than lower-level dancers, both when they first started dancing and at present. Altogether, the study might have implications for dance teachers as well as for dancers and researchers.
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Okdan, Bora, Gulbin Rudarli Nalcakan, Ece Onur, Arzu Oran, and Mesut Nalcakan. "Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins." Polish Journal of Sport and Tourism 23, no. 3 (September 1, 2016): 133–39. http://dx.doi.org/10.1515/pjst-2016-0017.
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Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.
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Sekulic, Damir, Radmila Kostic, and Durdica Miletic. "Substance Use in Dance Sport." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 66–71. http://dx.doi.org/10.21091/mppa.2008.2013.
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Very few studies have been conducted on substance use (SU) in performing sports. In the current study, we analyzed SU and factors related to SU in dance sport. The sample subjects consisted of 21 female and 22 male dancers, all >19 years of age, who were given an anonymous questionnaire developed for this study. The questionnaire consisted of questions about 1) social, cultural, educational, and sport-related factors, and 2) SU, including alcohol, opiates, cigarettes, and doping consumption, and personal opinions. The chi-square test was used to define the differences between male and female dancers. To identify the relationships between the studied factors and SU, the Pearson's correlation coefficient was calculated separately in males and females. We found a relatively low incidence of cigarette smoking (<10%) and significant differences between males and females in opinions regarding doping issues. The level of the sport achievement in females and religiousness in male dancers was significantly related to SU. Although not frequent, the consumption of alcohol was more common in more successful and experienced dancers. The use of pain killers was related to age in female dancers (all at p < 0.05). Based on these results, we recommend educational programs regarding SU, especially about doping problems, in sport dance.
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Wanke, Eileen M., Helmgard Mill, Alice Wanke, Jacqueline Davenport, Fistd Checcetti, Franziska Koch, and David A. Groneberg. "Dance Partner or Dance Floor?: Exogenous Factors Resulting in Accidents in Professional Dancers." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 131–36. http://dx.doi.org/10.21091/mppa.2013.3027.
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OBJECTIVE: 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. METHODS: 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. RESULTS: 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%). CONCLUSION: 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.
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Şahin, Christine. "A Slippery Stage: Tensions and Solidarities in the Cairo Cabaret." Kohl: A Journal for Body and Gender Research 6, Summer (June 1, 2020): 105–18. http://dx.doi.org/10.36583/2020060112.
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This ethnographic case study viscerally explores the micro-level of tactics, tensions, and insights cabaret dancers offer in regard to macro-level gender, class, sexuality, and nationality politics within Cairo, Egypt. As the night wears on in a Pyramid Street cabaret, the dancer’s stage becomes increasingly slippery, not just from five-pound notes littered across the dance floor, but from the increasingly volatile intra-MENA male clientele, who contentiously perform their masculinities and nationalist identities through tahayas (greetings) and tipping. As the tipping wars become more heated, the cabaret ra’asa (female dancer), remains the centrifugal force in precariously performing, playing, and being policed by these intersectionally vexed power plays. This case study comes from larger Critical Dance Studies and Middle Eastern Studies ethnographic fieldwork in Cairo; it explores the ways raqs sharqi and other marginalized moving bodies engage with slippery possibilities despite and amidst the tensions of precarious political and economic transformations Egypt has been experiencing since the 2011 revolution.
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Mustikarani, Aidah, and Atiqa Sabardila. "Tradisi Reog Ponorogo di Desa Mrayan Sebagai Pengenalan Budaya untuk Generasi Muda." Jurnal Sendratasik 12, no. 2 (June 29, 2023): 307. http://dx.doi.org/10.24036/js.v12i2.121318.
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The purpose of this research is to; 1) Knowing the complaints experienced by Reog dancers in Mrayan Village, 2) Knowing the series of Reog performances in Mrayan Village, 3) Knowing the differences between Reog Ponorogo in the past and present. There are data collection methods carried out by researchers are interview and questionnaire techniques. The results of this study are; 1) Jathil dancers in Mrayan Village said that the complaints they often felt were pain and aches in the shoulders, calves, and wrists. For very severe or fatal injuries, dancers in Mrayan Village have never been found, 2) The series of Reog performances in Mrayan Village include remarks by the village head, the dancers pray together, start the show, and close, 3) Differences between Reog dancers in the past and now there is Jathil. Which in ancient times were played entirely by men but now they have changed to Jathil dancers played by women. Jathil dancers in the village of Mrayan no longer have male dancers because the youth there think "men really dance". They are proud to dance Jathil nowadays.
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Horiuchi, Saya, Hon J. Yu, Alex Luk, Adam Rudd, Jimmy Ton, Edward Kuoy, Jeffrey A. Russell, Kelli Sharp, and Hiroshi Yoshioka. "T1rho and T2 mapping of ankle cartilage of female and male ballet dancers." Acta Radiologica 61, no. 10 (February 6, 2020): 1365–76. http://dx.doi.org/10.1177/0284185120902381.
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Background Since ballet dancers begin their training before skeletal maturity, accurate and non-invasive identification of cartilage diseases is clinically important. Angle-dependent analysis of T1rho and T2 sequences can be useful for quantification of the composition of cartilage. Purpose To investigate the angle-dependent T1rho and T2 profiles of ankle cartilage in non-dancers and dancers. Material and Methods Ten female non-dancers, ten female dancers, and 9 male dancers were evaluated using T1rho and T2 mapping sequences. Manual segmentation of talar and tibial cartilage on these images was performed by two radiologists. Inter- and intra-rater reliabilities were calculated using intraclass correlation coefficients (ICCs) and Bland–Altman analysis. Mean thickness and volume of cartilage were estimated. Angle-dependent relaxation time profiles of talar and tibial cartilage were created. Results ICCs of the number of segmented pixels were poor to excellent. Bland–Altman plots indicated that differences were associated with segment sizes. Segmented cartilage on T1rho demonstrated larger thickness and volume than those on T2 in all populations. Male dancers showed larger cartilage thickness and volume than female dancers and non-dancers. Each cartilage demonstrated angular-dependent T1rho and T2 profiles. Minimal T1rho and T2 values were observed at approximately 180°–200°; higher values were seen at the angle closer to the magic angle. Minimal T2 value of talar cartilage of dancers was larger than that of non-dancers. Conclusion In this small cohort study, regional and sex variations of ankle cartilage T1rho and T2 values in dancers and non-dancers were demonstrated using an angle-dependent approach.
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Listiawan, Ketut Tara, Ni Luh Sustiawati, and I. Ketut Sariada. "Gending Aesthetics in Janger Menyali Dance in Sawan District, Buleleng Regency." Journal of Aesthetics, Creativity and Art Management 2, no. 1 (May 11, 2023): 10–16. http://dx.doi.org/10.59997/jacam.v2i1.2322.
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Janger dance is a variety of Balinese art which is classified as a type of social dance for young people in the form of groups (between 16-20 people), very popular among Balinese people. During the dance, groups of female dancers (janger) and groups of male dancers (kecak) dance and sing in unison (mutual sinawurin) with humorous and sometimes romantic songs. The gamelan that is usually used to accompany the Janger dance is called Batel (Tetamburan) which is equipped with a pair of gender puppets. The dance moves are still based on the aesthetic principles of Balinese dance, and the clothing uses the typical janger. Janger dance can adapt to contemporary developments, so janger activists have the freedom to interpret its form, melodies with song lyrics, musical accompaniment, and choreography. In the Janger Menyali dance, the uniqueness of this dance is in terms of the clothes that look quirky, resembling the clothes of the Dutch soldiers when they docked at the Buleleng customs, and the name for the dancers, namely for male dancers it is called jipak, while for female dancers it is called parik. In this study, it is more specific to the aesthetics of gending in the Janger Menyali dance regarding the two pieces that must be performed, namely Dewa Ayu Janger and Mepamit Ring Ratu Gusti Ayu which have the meaning of inviting Dewa Ayu Janger to attend the performance and returning Dewa Ayu Janger to return to his stana with the use of sekar alit banten properties and also kuwud mepayas.
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Mailuhu, Adinda K. E., Rogier M. van Rijn, Janine H. Stubbe, Sita M. A. Bierma-Zeinstra, and Marienke van Middelkoop. "Incidence and prediction of ankle injury risk: a prospective cohort study on 91 contemporary preprofessional dancers." BMJ Open Sport & Exercise Medicine 7, no. 2 (June 2021): e001060. http://dx.doi.org/10.1136/bmjsem-2021-001060.
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ObjectivesThis study examines the incidence of ankle injuries and identifies ankle injury risk among contemporary preprofessional dancers.MethodsA total of 91 first-year contemporary preprofessional dancers were prospectively followed during one academic year. Self-reported ankle injuries, assessed with the Oslo Sports Trauma Research Centre questionnaire, were categorised as all complaint ankle injuries, substantial ankle injuries or time-loss ankle injuries. In addition, ankle injuries leading to medical attention were included. Regression analyses were used to determine the association between potential risk factors (dancer characteristics, history of ankle injury in the previous year, ankle range of motion and dorsiflexion) and ankle injuries.ResultsThe 1-year ankle injury incidence proportion was 18.7% (n=17), 8.8% (n=8), 15.4% (n=14) and 7.7% (n=7), respectively, for all complaint ankle injuries, ankle injuries requiring medical attention, time-loss injuries and substantial injuries. Being male (OR=0.27; 95% CI 0.09 to 0.75) and being a student of the Bachelors in Dance and Education (OR=0.27; 95% CI 0.08 to 0.97) were univariately associated with a lower risk of an ankle injury.ConclusionAlmost 20% of first-year preprofessional dancers reported an ankle injury, with more than 80% of the dancers reporting that their injury leads to dance time loss. Males and students of the bachelors in dance and education were at lower risk of ankle injuries. As ankle injuries are common among dancers, studies with larger sample sizes, a more heterogeneous population (eg, different dance styles) and longer follow-up periods are necessary to evaluate the impact of ankle injuries in further detail.
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Shah, Selina, David S. Weiss, and Raoul J. Burchette. "Injuries in Professional Modern Dancers Incidence, Risk Factors, and Management." Journal of Dance Medicine & Science 16, no. 1 (March 2012): 17–25. http://dx.doi.org/10.1177/1089313x1201600103.
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Modern (or contemporary) dance has become increasingly popular, yet little has been reported with respect to modern dance injuries and their consequences. The purpose of this study is to define the incidence, risk factors, and management of musculoskeletal injuries in professional modern dancers. A total of 184 dancers in the United States completed an anonymous 17-page questionnaire on their injuries, including extensive details regarding the two most severe injuries that had occurred in the prior 12 months. According to their self-reports, a total of 82% of the dancers had suffered between one and seven injuries. The foot and ankle (40%) was the most common site of injury, followed by the lower back (17%) and the knee (16%). The rate of injuries was 0.59 per 1,000 hours of class and rehearsal. Injured male dancers returned to full dancing after a median of 21 days, while females returned after a median of 18 days. Most dancers missed no performances due to injury. Of the medical consultations sought by dancers for their injuries, 47% were made to physicians, 41% to physical therapists, and 34% to chiropractors. The majority of dancers adhered to the advice given them by consultants (87% of males and 78% of females for the most severe injury). While the majority of injuries were considered work-related (61% of the most severe injury and 69% of the second most severe), few were covered by Workers’ Compensation insurance (12% and 5% respectively). These professional modern dancers suffer from a rate of injury similar to other groups of professional dancers. Most dancers return to a partial level of dancing several weeks before attempting full-capacity dancing.
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Kadel, Nancy J., and Emily A. Donaldson-Fletcher. "Lisfranc Fracture-Dislocation in a Male Ballet Dancer during Take-Off of a Jump a Case Report." Journal of Dance Medicine & Science 8, no. 2 (June 2004): 56–58. http://dx.doi.org/10.1177/1089313x0400800205.
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While initiating a jump, a male professional ballet dancer (28 years old) sustained an acute injury to his midfoot. Radiographs revealed a fracture-dislocation of the first and second tarsometatarsal joints, with dorsal dislocation of the proximal second metatarsal. Surgical treatment included open reduction and internal fixation of the first and second tarsometatarsal joints and the intercuneiform joints. This injury caused the dancer to retire prematurely from professional ballet dancing, despite restoration of anatomical alignment and reacquisition of full mobility in the foot and ankle. Follow-up radiographs at three years post-injury indicated maintenance of the reduction and signs of mild arthritis in the midfoot. The dancer resumed ballet dancing at a non-professional level. It is important for dancers to realize that acute Lisfranc injuries can end dance careers despite immediate treatment. Proper footwear and floor-surface maintenance are important for prevention of this injury.
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Izaty, Rahmi, and Nerosti Nerosti. "BENTUK GARAPAN TARI PIRING LAMPU TOGOK KREASI SANGGAR LUBUAK NAN TIGO KOTA SOLOK." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 53. http://dx.doi.org/10.24036/jsu.v8i1.106420.
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Abstract This study aims to describe and analyze the forms of creation of Tari Piring Lampu Togok at Lubuak Nan Tigo Studio. This type of research was qualitative research with descriptive analytical methods. The main instruments in this study were the researchers themselves and assisted with supporting instruments including stationery, photo cameras and video cameras. The type of data used primary data and secondary data. Data collection techniques were carried out by means of library studies, observation, interviews and documentation. The steps in analyzing data were collecting the data, analyzing data, describing data and makingconclusions. The results of the study showed that the Tari Piring Lampu Togok was a creative dance by Lubuak Nan Tigo studio, arranged based on the dance movements of the traditional Tari Lampu Togok. The creation of the dance production resulteda quality form of work, including: (1) Motion, consists of: (a) opening motions are anta lampu,puta duduak, tagak itiak, duduak maagah piriang, pitungguang ayun piriang, then (b) core movements are ramo-ramo bagaluik, tupai bagaluik, tusuak muko balakang, usuak bawah ateh, simpia tagak, ayun rang mudo, tusuak mangayun, tupai bagaluik jantan, lenggok basamo, tusuak baganti, piriang manabeh tagak, piriang manabeh duduak, langkah puta ramo-ramo, tusuak sasampiang, simpia duduak, ayun ampek panjuru, next (c) the closing motion isputa habih. (2) Varied floor patterns, namely diagonal, triangle, letter V, letter W, circle and horizontal. (3) Accompanying music uses a musical instrument called tambua, talempong, canang, tasa, bansi, sarunai. (4) male dancers weartaluak balango, galembong pants, deta wrapped in batik cloth andsongket Silungkang and the costumes for female dancers wear baju kurung, pants, songketSilungkang, and tanduak wrapped in songket. (5) Female dancers wear beautiful makeup and male dancers wear foundation and powder only. (6) Dancer consists of 6 people;3 female dancers and 3 male dancers.Dancers are able to express their movements by maintaining balance and compactness swiftly so that Lampu Togok stands firmly on the headduring the performance. (7) Property is Lampu Togokitself which used to be a light for the community. The lights are turned on using kerosene. The balance ofTari Piring Lampu Togoksymbolizes caution in facing opponents and living life. The compactness of the Tari Piring Lampu Togok symbolizes the community and togetherness in living life. Keyword: Solok, Lubuak Nan Tigo Studio, Tari Piring Lampu Togok, Form of Creation.
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Ansar, Sarmianti, Septiana Wahyuningsih, Merianti Ansar, and Rumi Wiharsi. "Masculinity in the Body of Pakkanna Dancers in the Ability to Immunity." International Journal of Multicultural and Multireligious Understanding 10, no. 6 (June 9, 2023): 195. http://dx.doi.org/10.18415/ijmmu.v10i6.4855.
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Pakkanna dance is a new creation dance in Bone Regency that describes the devotion of female heroes during the Bone Kingdom led by Latenrisukki Petta Mulangge Pajung, the 5th King of Bone. This dance is covered with dangerous movements where dancers perform self-stabbing actions using Badik (sharp objects). This is what the author can convey to readers so that they can find out that there is a collection of dance creations in Bone Regency that have immunity like men even though the dancers are women. The findings in discussing the subject matter are that Pakkanna dance is one of the unique things because usually, only the male gender has immunity but in Pakkanna dance it is actually women. The dimensions of women's bodies in Bugis beliefs in Pakkanna dancers have penetrated the gender boundaries of femininity, namely women's needs should not be formed in immunity because women's instincts should be more subtle, more feminist, and softer. Pakkanna dance can be said to be an advantage and disadvantages, where the advantage is that it can equalize its position as the male gender and the disadvantage is that the Malebbi system in Bugis women's beliefs is no longer included in Malebbi because it has followed the male style in immunity.
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Armstrong, Ross. "The Beighton Score and Injury in Dancers: A Prospective Cohort Study." Journal of Sport Rehabilitation 29, no. 5 (July 1, 2020): 563–71. http://dx.doi.org/10.1123/jsr.2018-0390.
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Context: Joint hypermobility has a high prevalence in dancers and may be associated with injury and performance. Objectives: To investigate whether total Beighton score can predict injury and to determine the relationship between joint hypermobility and injury, and to report injury demographics. Design: A prospective cohort injury study. Setting: Edge Hill University dance injury clinic. Participants: Eighty-two dancers (62 females, 20 males). Main Outcome Measures: Joint hypermobility via the Beighton score ≥4 with lumbar flexion included and removed. Results: A total of 61 dancers were classified as hypermobile, which was reduced to 50 dancers with lumbar flexion removed. A significant difference existed between pooled total days injured in hypermobile dancers and nonhypermobile dancers with lumbar flexion included (P = .02) and removed (P = .03). No significant differences existed for total Beighton score between injured and noninjured groups with lumbar flexion included (P = .11) and removed (P = .13). Total Beighton score was a weak predictor of total days injured (r2 = .06, P = .51). In total, 47 injuries occurred in 34 dancers, and pooled injury rate was 1.03 injuries/1000 hours. Receiver operating characteristic curve analysis demonstrated an area under the curve of 0.83 for male dancers with lumbar flexion removed, which was considered diagnostic for injury. Conclusions: The Beighton score can be utilized to identify dancers who may develop injury. Clinicians should consider the role of lumbar flexion in total Beighton score when identifying those dancers at risk of injury. Different injury thresholds in female and male dancers may aid injury management.
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Ducher, Gaele, S. Kukuljan, A. P. Garnham, C. A. Nowson, M. G. Kimlin, and J. Cook. "Vitamin D Status and Musculoskeletal Health in Adolescent Male Ballet Dancers." Journal of Dance Medicine & Science 15, no. 3 (September 2011): 99–107. http://dx.doi.org/10.1177/1089313x1101500301.
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Adequate vitamin D levels during growth are critical to ensuring optimal bone development. Vitamin D synthesis requires sun exposure; thus, athletes engaged in indoor activities such as ballet dancing may be at relatively high risk of vitamin D insufficiency. The objective of this study was to investigate the prevalence of low vitamin D levels in young male ballet dancers and its impact on musculoskeletal health. Eighteen male ballet dancers, aged 10 to 19 years and training for at least 6 hours per week, were recruited from the Australian Ballet School, Melbourne, Australia. Serum 25(OH)D and intact PTH were measured in winter (July) from a non-fasting blood sample. Pubertal stage was determined using self-assessed Tanner criteria. Body composition and areal bone mineral density (aBMD) at the whole body and lumbar spine were measured using dual-energy x-ray absorptiometry (DXA). Injury history and physical activity levels were assessed by questionnaire. Blood samples were obtained from 16 participants. Serum 25(OH)D levels ranged from 20.8 to 94.3 nmol/L, with a group mean of 50.5 nmol/L. Two participants (12.5%) showed vitamin D deficiency [serum 25(OH)D level < 25 nmol/L], seven dancers (44 %) had vitamin D insufficiency (25 to 50 nmol/L), and the remaining seven dancers (44 %) had normal levels (> 50 nmol/L). No relationship was found between vitamin D status, PTH levels, body composition, and aBMD. The most commonly reported injuries were muscle tears and back pain. The average number of injuries reported by each dancer was 1.9 ± 0.4 (range: 0 to 5). There was no difference in the frequency of reported injuries between subjects with vitamin D deficiency or insufficiency (2.1 ± 0.6 injuries) and those with normal vitamin D levels (1.4 ± 0.6 injuries). This pilot study showed that more than half of highly-trained young male ballet dancers presented with low levels of vitamin D in winter. Further investigations in larger samples of adolescent athletes are needed to determine if this could negatively impact bone growth and place them at higher risk for musculoskeletal injuries.
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Wilmerding, M. Virginia, Bonnie Robson, and Angela Book. "Cigarette Smoking in the Adolescent Dance Population." Medical Problems of Performing Artists 17, no. 3 (September 1, 2002): 116–20. http://dx.doi.org/10.21091/mppa.2002.3018.
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Cigarette smoking continues to be a major international health problem that affects adolescents. Most adult smokers report their first contact with smoking occurring before the age of 18 years. Research has established figures of initiation rates to be as low as 5% and as high as 31%, with the male samples consistently smoking at a slightly higher rate than the female samples. This was a prospective study using a questionnaire to sample 397 preprofessional dance students. Participants averaged 16 years of age, and 90% were female. Nearly one third of the dancers who responded identified that they were occasional or regular smokers. Dancers who smoked even occasionally had a higher injury rate and lower overall health. They displayed a higher rate of comorbid behaviors associated with eating disorders, such as laxative use, diet pill use, and vomiting. Their rates of alcohol and illegal drug use were statistically higher than those of their non-smoking cohorts. Finally, nearly two thirds of the smokers reported that they trained with a teacher who was also a smoker. This study suggests that smoking has adverse effects on dancers, including increased injury rate, increased comorbid behaviors, and other health issues. In the world of dance, the teacher, choreographer, or director acts as a role model to students and, as such, has a particularly sensitive position in the choices the adolescent dancer makes. Effective prevention must go beyond informing dancers of health risks and must include the experience of a healthy role model.