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Artigos de revistas sobre o tema "Dance therapy"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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Kunkel, D., C. Fitton, L. Roberts, RM Pickering, HC Roberts, R. Wiles, S. Hulbert, J. Robison e A. Ashburn. "A randomized controlled feasibility trial exploring partnered ballroom dancing for people with Parkinson’s disease". Clinical Rehabilitation 31, n.º 10 (1 de fevereiro de 2017): 1340–50. http://dx.doi.org/10.1177/0269215517694930.

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Objective: To determine the feasibility of a Dance Centre delivering a programme of mixed dances to people with Parkinson’s and identify suitable outcomes for a future definitive trial. Design: A two-group randomized controlled feasibility trial. Methods: People with Parkinson’s were randomized to a control or experimental group (ratio 15:35), alongside usual care. In addition, participants in the experimental group danced with a partner for one hour, twice-a-week for 10 weeks; professional dance teachers led the classes and field-notes were kept. Control-group participants were given dance class vouchers at the end of the study. Blinded assessments of balance, mobility and function were completed in the home. Qualitative interviews were conducted with a subsample to explore the acceptability of dance. Results: A total of 51 people with Parkinson’s (25 male) with Hoehn and Yahr scores of 1–3 and mean age of 71 years (range 49–85 years), were recruited to the study. Dance partners were of similar age (mean 68, range 56–91 years). Feasibility findings focused on recruitment (target achieved); retention (five people dropped out of dancing); outcome measures (three measures were considered feasible, changes were recommended). Proposed sample size for a Phase III trial, based on the 6-minute walk test at six months was 220. Participants described dance as extremely enjoyable and the instructors were skilled in instilling confidence and motivation. The main organizational challenges for a future trial were transport and identifying suitable dance partners. Conclusion: We have demonstrated the feasibility of conducting the study through a Dance Centre and recommend a Phase III trial.

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Baena-Chicón, Irene, Sebastián Gómez-Lozano, Lucía Abenza Cano e Alfonso Vargas-Macías. "Pain catastrophizing in Flamenco dance students at professional dance conservatories". Archivos de Medicina del Deporte 38, n.º 2 (26 de abril de 2021): 86–90. http://dx.doi.org/10.18176/archmeddeporte.00030.

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Introduction: Flamenco is marked by the deep emotional impression it creates and its percussive footwork steps, performed in traditional high-heeled shoes. It places high demands on the dancer which leads to risks of injury, pain and associated emotional repercussions. Catastrophizing is a key factor determining how the context is valued and pain is experienced. The objectives of this study were: firstly, to analyse the general incidence of catastrophizing among flamenco students and secondly, to determine the repercussion this has on catastrophizing in professional practice among dancers who perform on stage even though they are still students. Material and method: The sample analyses 70 students from the Conservatorios Profesionales de Danza de Andalucía (Andalusian Professional Conservatoires for Dance) (17.67±5.65 years old); 44.29% (n=31) also danced professionally. The dancers completed the Pain Catastrophizing Scale (PCS). Results: The results do not show significant differences in categories: rumination, magnification, nor in the overall catastrophizing of pain when comparing participants who were dance students with those who also danced professionally. However, in terms of helplessness, there is a significant difference between both groups, with those who danced both as students and professionals displaying higher levels of helplessness than those who were only students. Conclusions: The artistic professional development on stage before spectators can trigger anxiety states that can have a directly proportional association to the levels of catastrophism. Perhaps being a student at the same time as dancing professionally signifies a greater physical and mental load which can lead to certain psychological processes.

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Aditama, Putu Wirayudi, I. Dewa Gede Agung Pandawana, Rizkita Ayu Mutiarani, Dewa Ayu Novi Swijayanti e I. Gede Iwan Sudipa. "Aplikasi Digital Kearifan Lokal Tarian dan Busana Tari Bali Berbasis Android". JUSIFO (Jurnal Sistem Informasi) 8, n.º 1 (30 de junho de 2022): 23–34. http://dx.doi.org/10.19109/jusifo.v8i1.12095.

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Bali has various types of traditional dances with their distinctive functions and clothing depending on the dance's function, story, and movement. UNESCO recorded 9 Balinese dances from every district in Bali. But along with the times, one of the local wisdom in the form of Balinese dance is starting to become unattractive to the younger generation. The purpose of the research is to create a Balinese dance mobile application, so that it can preserve local wisdom of dance and dance clothing and the application can be a medium of information for the younger generation while keeping abreast of technological developments. This study uses primary and secondary data collection methods: interviews, observation, documentation, and literature study. The results of the study are in the form of an android-based application that can be downloaded for users and can be used by the younger generation to recognize and know the history of Balinese dance, classification of Balinese dance, types of dances, functions, clothing used, accompaniment instruments, and staging time for every detail of 9 types of Balinese dances and the fashion used. This application has gone through the process of testing the system's functional requirements validation with valid status.

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Mandlik, Yogita. "DANCE THERAPY". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de janeiro de 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3417.

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Dance is the aesthetic language of organs and expressions. The dance expresses Karan, Angahar, Bhava, Vibhav, Anubhav and Rasas. Therefore, dance opens up a door to balanced delivery and development of organs and emotions, which gives satisfaction to the heart and mental conditions. The composition of Kathak dance makes the body a powerful powerful coordinated body and mental level and helps in providing spiritual peace at the spiritual level. Dance is a medium through which emotional energy is carried from one place to another. Dance therapy Kandabam Jimanchal is based on this. It can be called an experiment of speed that not only keeps us physically healthy, but also makes us mentally strong. Dance contains such elements by which the treatment of various diseases is possible. नृत्य अंगो व भावों की सौन्दर्यमयी भाषा हैं। नृत्य में करण, अंगहार, भाव, विभाव, अनुभाव और रसों की अभिव्यक्ति की जाती हैं। अतएव नृत्य द्वारा अंगो व भावों के संतुलित प्रसव और विकास का एक द्वार जैसा खुल जाता है, जो ह्दय और मानसिक स्थितियों को तृप्ति प्रदान करता है। कथक नृत्य की रचना देह को शारीरिक व मानसिक स्तर का समन्वित शक्तिशाली पुंज बना देती हैं और आध्यात्मिक स्तर पर आत्मिक शांति प्रदान करने में सहायक सिद्ध होती है। नृत्य एक ऐसा माध्यम है जिसके जरिए भावनात्मक ऊर्जा को एक जगह से दूसरी जगह ले जाया जाता हैं। नृत्य चिकित्सा क्ंदबम ज्ीमतंचल इसी पर आधारित है। इसे गति का एक ऐसा प्रयोग कह सकते है जो न सिर्फ हमंे शारीरिक रूप से स्वस्थ रहता है, बल्कि हमे मानसिक रूप से भी मजबुत बनाता है। नृत्य मंे ऐसे तत्व निहित होते है जिनके द्वारा विभिन्न रोगों की चिकित्सा संभव है।

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Hendricks, Kathlyn. "Dance Therapy". Journal of Physical Education, Recreation & Dance 57, n.º 6 (agosto de 1986): 72–74. http://dx.doi.org/10.1080/07303084.1986.10606171.

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Edsall, Mary E. "Moving Out of the Black and Into the Blue: The Cross-referencing of Performative Metaphor in Dancing, Psychotherapy, and Writing". Dance Research Journal 37, n.º 2 (2005): 25–37. http://dx.doi.org/10.1017/s0149767700008548.

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Introduction: This article cross-references metaphors in therapy, performance, and writing. It is an exploration of the power of metaphor and image in a path of personal discovery. Utilizing interpretive and aesthetical modes of inquiry, I investigate my lived experience in these three activities as applied and manifested in a concert performance, “No Two Alikeand Other Dances by Alan Good and Philip Grosser” (Grosser 2001a), within which I was a featured dancer. Through meta-analysis of my clinical work in therapy, deconstruction of certain sections of the dance work as it was created and performed, and a review of personal journals, text and drawings, I examine the transverse effects of the dance, psychotherapeutic processes, and writing, as well as the aesthetical concern of discovering and conveying personal voice in performance.

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Zhang, G. "Comparative Characteristics of Dances in China and Ukraine from the Point of View of Historical, Genre, Target, Methodological and Socio-Political Aspects: a Review Article". Health, sport, rehabilitation 7, n.º 3 (25 de setembro de 2021): 67–80. http://dx.doi.org/10.34142/hsr.2021.07.03.05.

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Purpose: to compare target, style, methodological, historical and socio-political features and determine the possibilities of mutual application of various approaches to the development of dance education in China and Ukraine. Material and methods. The review included articles on the peculiarities of historical development, methodological aspects, the dance influence on health of people of different ages and different social status. The review also included articles on the peculiarities of the social and political aspects of dance art in China and Ukraine. The analysis of literary sources was carried out by working with scientific articles that are presented in the databases "Web of Science", "Scopus", "Pub Med" and others. Results. The features of Chinese dances that can be applied in Ukraine have been identified: 1 - the practice of mass dances on the streets and squares of cities; 2 - the inner orientation of the dance art towards unity with nature, towards the self-expression of people of their feelings, emotions, experiences, towards achieving harmony through movement; 3 - increased attention to the psychological preparation of dancers; 4 - high attention of researchers to the influence of dancing on the mental and cardiological health of people of different ages; 5 - high number of articles, published in rating journals. The features of Ukrainian dances, which can be applied in China, have been determined: 1 - the development of speed-power qualities of dancers; 2 - implementation of an individual approach, which is currently beginning to develop in Ukraine. Conclusions. The combination of Ukrainian speed-power dance and Chinese inner focus on harmony of body and soul, on unity with nature will create a qualitatively new approach to the development of dance art in general and to the process of teaching dance. This study is the first from the point of view of a comparative analysis of the process of teaching dance in China and Ukraine in terms of historical, socio-political, methodological, substantive aspects, as well as the impact of dancing on the body of the practitioners.

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Chakravarty, Esha, Indrani Chakravarty, Ipsito Chakravarty e Prasenjit Bhattacharjee. "Effects of Dance Therapy on Balance and Risk of Falls in Older Persons". Innovation in Aging 4, Supplement_1 (1 de dezembro de 2020): 234–35. http://dx.doi.org/10.1093/geroni/igaa057.756.

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Abstract Loss of balance and risk of falls is a major problem in older persons. Literature shows increasing use of yoga practices and dance therapy across Indian oldage homes and day care centres to improve balance and reduce risk of falls in older persons. Aim of this study is to evaluate the effects of dance therapy with focus on therapeutic movements derived from Indian classical dances on balance and risk of falls in older adults of Day Care Centres in Calcutta Metropolitan Institute of Gerontology, under Ministry of Social Justice and Empowerment, Govt. of India. Total of 24 older adults across 2 day care centres participated in the study attending dance therapy sessions for 3 months. All of them self reported problems of balance and repeated falls alongwith difficulties in performing Activities of Daily Living. Twenty one of them were females and 3 males. The mean age of the participants was 75.5 years. Limits of Stabililty (LOS) was used to measure balance and pre tests and post tests were performed. Results showed that the Limits of Stability were significantly higher (17.5%) in older persons after participating in the dance therapy sessions. This study supports that dance therapy using movements derived from Indian classical dance forms can support older persons to function with reduced risk of falls, improved balance, safely carry out mobility tasks and perform better Activities of Daily Living . Further studies can show how dance therapy can facilitate healthy ageing and influence State policies on healthy ageing.

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Yadav, Mudita. "Rehabilitation Through Dance Therapy". Shodh Sari-An International Multidisciplinary Journal 02, n.º 04 (1 de outubro de 2023): 60–72. http://dx.doi.org/10.59231/sari7624.

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Rehabilitation through dance therapy represents a holistic and innovative approach that integrates movement and creative expression to enhance physical, emotional, cognitive, and social well-being. This paper explores the history, benefits, methodologies, and future potential of dance therapy in the context of rehabilitation. By examining case studies, success stories, challenges, and the integration of dance therapy with traditional rehabilitation, this research underscores the transformative power of dance in fostering recovery and well-being.

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Volkova, Valeriya G., Anu Räisänen, Lauren Christine Benson, Reed Ferber e Sarah J. Kenny. "Systematic review of methods used to measure training load in dance". BMJ Open Sport & Exercise Medicine 9, n.º 3 (julho de 2023): e001484. http://dx.doi.org/10.1136/bmjsem-2022-001484.

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Dance is a popular physical activity. Increased dance training has been associated with an increased risk of injury. Given the established association between training load (TL) and injury in sport, knowledge of how TL is currently being measured in dance is critical. The objective of this study is to summarise published literature examining TL monitoring in dance settings. Six prominent databases (CINAHL, EMBASE, Medline, ProQuest, Scopus, SportDiscus) were searched and nine dance-specific journals were handsearched up to May 2022. Selected studies met inclusion criteria, where original TL data were collected from at least one dancer in a class, rehearsal and/or performance. Studies were excluded if TL was not captured in a dance class, rehearsal or performance. Two reviewers independently assessed each record for inclusion at title, abstract and full-text screening stages. Study quality was assessed using Joanna Briggs Institute Critical Appraisal Tool checklists for each study design. The 199 included studies reported on female dancers (61%), ballet genre (55%) and the professional level (31%). Dance hours were the most common tool used to measure TL (90%), followed by heart rate (20%), and portable metabolic systems (9%). The most common metric for each tool was mean weekly hours (n=381; median=9.5 hours, range=0.2–48.7 hours), mean heart rate (n=143) and mean oxygen consumption (n=93). Further research on TL is needed in dance, including a consensus on what tools and metrics are best suited for TL monitoring in dance.

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Ikem, Awele Peace, e Victor Osae Ihidero. "When Conventional Medicine Fails: Bori and Olokun Ritual Dance as Treatment for Post-Traumatic Stress Disorder (PTSD) for Nigerian Armed Forces". International Journal of Current Research in the Humanities 27, n.º 1 (30 de abril de 2024): 216–27. http://dx.doi.org/10.4314/ijcrh.v27i1.14.

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This article attempts a conceptualisation of African ritual dance therapy (ARDT) as a distinct form and practice of dance movement therapy (DMT). We argue that Bori and Olokun dances, two of Nigeria’s most potent ritual dances, possess therapeutic elements that bear on the treatment of combatants of the Nigerian armed forces currently engaged in a theatre of war against terrorism and banditry in Nigeria. Our argument is premised on the discovery that military hospitals in Nigeria is currently over-stretched with about 57% of the military and paramilitary personnel (participants) suffering from post-traumatic stress disorders (PTSD) resulting from their encounters with terrorists’ cells and bandits. We argue against the institutional frame that sanctions the normalization of conventional medical practice as well as medicine in the diagnosis and treatment of men of the armed forces faced with PTSD. We use ARDT dance ethnography as a theoretical premise to contend that African ritual dance therapy (ARDT) offers an alternative curation for the men of the Nigerian Armed Forces. We use the research instrumentations of focus group discussion and ARDT workshop sessions to get data from 12 para/military participants. We found out that the Bori and Olokun ARDT convey diverse spirit-restorative medicaments that can serve the Nigerian Armed Forces.

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KYUNG SOON KO. "Allow Your Creativity to Dance: Dance/Movement Therapy". Korean Journal of Dance Studies 70, n.º 3 (agosto de 2018): 11–23. http://dx.doi.org/10.16877/kjds.70.3.201808.11.

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Li, Suxiang, e Roberto Guzman Jr. "Cultivating Practical Skills in Dance Therapy Professionals within Vocational Education". Academic Journal of Science and Technology 10, n.º 2 (15 de abril de 2024): 187–90. http://dx.doi.org/10.54097/z7797n89.

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The concept of "Dance Therapy" originated in the field of dance therapy in the United States, integrating elements of dance and psychology, emphasizing the philosophy of unity of body and mind. Dance therapy is not only an art form but also a therapeutic method. Through dance movements, rhythm, and expression, it helps individuals explore themselves, release emotions, and enhance social and cognitive abilities. In vocational education, the training of dance therapy professionals is of great significance. They can apply the concepts and methods of dance therapy to provide effective guidance and support for patient groups, promoting their rehabilitation and healing. To cultivate professionals with practical skills in dance therapy, it is necessary to study the value of dance therapy deeply. By analyzing its functions, we can understand how dance therapy helps individuals progress in social, cognitive, and personal qualities. Therefore, training dance therapy professionals in vocational education is a task of great importance. Through research and practice, the theory and methods of dance therapy can be continuously refined, offering effective help and support to more people.

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Nevins, A., e D. Van der Laan. "Dance Therapy and Dementia". Gerontologist 33, n.º 5 (1 de outubro de 1993): 701. http://dx.doi.org/10.1093/geront/33.5.701.

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Schmais, Claire, e Elissa Q. White. "Introduction to dance therapy". American Journal of Dance Therapy 9, n.º 1 (dezembro de 1986): 23–30. http://dx.doi.org/10.1007/bf02274236.

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Šifrar, Tina, Kim Majoranc e Tanja Kajtna. "Matching of personality traits, emotional intelligence and social skills among dance partners in competitive dancing". Kinesiology 52, n.º 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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Granec, Jozef, e Hermína Mareková. "INDICATIONS FOR DANCE THERAPY IN SOCIAL WORK". Proceedings of CBU in Social Sciences 3 (1 de dezembro de 2022): 28–34. http://dx.doi.org/10.12955/pss.v3.301.

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The present study analyses the therapeutic use of dance in social work, particularly the possibilities of using Argentine tango. Through dance, contacts are made, communication happens, and feelings are shared. It is wrong to perceive dancing as fun rather than one of the vital human needs. Dance is one of the binding forces holding people together that, despite all the differences, can prevent society from falling apart. Dance has the power of overcoming what otherwise is difficult; even without using drugs, it can reduce anxiety. The rediscovery of dance, the use of dance movements, and music in social work brings new possibilities. However, these possibilities depend upon certain skills and the broader perspective of a dance therapist. The research aims to summarise and synthesise information from various sources, especially from the medical field. The study focuses on the possible indication of dance therapy, and it’s elements that could draw more attention to this hitherto unexplored therapy. It is also the pioneering research in this area.

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Moţ, Raluca-Dana, e Bogdan Almăjan-Guţă. "Dance therapy for Parkinson’s disease: a systematic review". Timisoara Physical Education and Rehabilitation Journal 15, n.º 28 (1 de junho de 2022): 55–65. http://dx.doi.org/10.2478/tperj-2022-0007.

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Abstract Introduction: Dance therapy has rapidly gained popularity among patients with Parkinson’s disease because it is an enjoyable form of exercise and can provide multi-dimensional benefits. Clinical studies have shown that dance improves motor symptoms, particularly balance and mobility problems, as well as the overall physical condition of Parkinson’s patients. Purpose: The aim of this paper is to highlight the benefits of dance therapy in the clinical management of parkinsonian patients and also to find out which dance is the most advantageous for use in therapy and whether the type of dance used leads to significantly different results. Methods: This paper is a systematic and topical review. After a keyword search, 20 articles on dance therapy in Parkinson’s disease were selected according to the PRISMA model, using Google Scholar and Pubmed as search engines. Results: As a form of physical exercise, dance incorporates vigorous movement, social interaction and cognitive stimulation. Studies have shown that dance can reduce tremor, bradykinesia and stiffness, increasing forward speed and multi-tasking gait. At the same time, spontaneous balance disturbances improved and the risk of falls decreased. Argentine Tango is the most widely used dance in therapy. Although other forms of dance used in research led to significant changes, tango dance was found to produce changes of greater value. However, all types of dance achieved positive results in terms of physical, motor and psycho-emotional aspects of patients. Conclusion: Dance therapy is a feasible and safe method for the rehabilitation of parkinsonian patients, brings improvements in motor and non-motor signs of Parkinson’s disease and practiced for at least 12 months regularly, slows down the progression of the disease.

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Lauffenburger, Sandra Kay. "Dance and creativity within dance movement therapy: international perspectives". Body, Movement and Dance in Psychotherapy 16, n.º 3 (20 de maio de 2021): 244–48. http://dx.doi.org/10.1080/17432979.2021.1920463.

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Best, Penelope, J. Exiner e D. Kelynack. "Dance Therapy Redefined: A Body Approach to Therapeutic Dance". Dance Research: The Journal of the Society for Dance Research 13, n.º 2 (1995): 97. http://dx.doi.org/10.2307/1290918.

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Jarman, Sara. "Dance movement therapy Bonnie Meekums Dance movement therapy Sage £17.99 130pps 0761957677 0761957677". Mental Health Practice 6, n.º 3 (novembro de 2002): 24. http://dx.doi.org/10.7748/mhp.6.3.24.s22.

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Seidel, Andrea Mantell. "Sacred Sound: Tuning the Cosmic Strings of the Subtle Dancing Body". Congress on Research in Dance Conference Proceedings 2012 (2012): 140–45. http://dx.doi.org/10.1017/cor.2012.18.

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A. K. Coomaraswamy writes in The Dance of Shiva that Nataraja, the Hindu dancing figure, is the “clearest image of the activity of God which any art or religion can boast of.” Nataraja's dance activates dormant vital energy (kundalini) and resonates with the primordial sacred seed sounds (bijas) of the cosmos. Sanskrit seed sounds such as Aum are described in the Katha Upanishads as “consciousness or God (Brahman) itself.” In his book, Healing Mantras, Ashley-Farrand writes that the practice of mantra brings about positive changes in matter and consciousness by the agency of a subtle vibration. Cyndi Dale in The Subtle Body correlates each note of the ancient Solfeggio scale used in Gregorian chants to the energy centers (chakras) in the body. Sacred sounds are recited in Buddhist chants, Jewish hymns (Zemirot), and the dances of Sufi whirling dervishes, among other traditions. The dancer, through mastery of breath, form, and heightened awareness of sound, possesses the potential to “ride” on the crests of musical waves of sacred sound and harmoniously vibrate with wavelike patterns of energy or “cosmic strings,” identified in quantum physics as the essence of matter, and thereby facilitate healing and self-integration. However, in mainstream dance practice and research, sound/movement spiritual practices are largely relegated to the separate category of “new age,” dance therapy, or yoga. This performative paper discusses how the integration of the mindful use of sacred sound in contemporary dance training has profound implications for expanding consciousness, heightening creativity, and enhancing physical capabilities.

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Schorn, Ursula. "The healing encounter of dance, Gestalt, and art based on Anna Halprin’s Life/Art Process". British Gestalt Journal 24, n.º 2 (1 de novembro de 2015): 14–20. http://dx.doi.org/10.53667/ppxw4748.

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"Abstract: Anna Halprin, influential American dancer and artist, in her search for new ways to activate the transformative potential in dance, integrated Fritz Perls’ approach to Gestalt therapy in her work, called Life/Art Process. Gestalt principles of awareness in the ‘here and now’ find a structure in the Principles of the Creative Process, a central theoretical model of the Life/Art Process offering a holistic approach to creativity. The experience of physical, emotional, and mental awareness through movement extends into the field of artistic expression in dance and visual arts. The creative encounter between dance and art follows guidelines of the Psychokinetic Visualisation Process as applied to therapeutic settings. Key words: transformative potential of dance, Gestalt and dance, Principles of the Creative Process, Psychokinetic Visualisation Process, from the narrative to the abstract, the intelli- gence of the body."

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Feng, Ying. "Explore the development of dance education and the application of art dance therapy in medical field". Lecture Notes in Education Psychology and Public Media 17, n.º 1 (26 de outubro de 2023): 280–86. http://dx.doi.org/10.54254/2753-7048/17/20231260.

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This thesis aims to explore the development of dance education and the application of art dance therapy in the medical field. As a comprehensive form of art education, dance education not only helps to cultivate students aesthetic ability and artistic accomplishment, but also promotes physical and mental health and personal development. This article first reviews the history and development of dance education, and introduces the status and role of dance education in the education system, as well as the reflection on the current education system. Then, the thesis discusses the application of art dance therapy in the medical field. Art dance therapy is a comprehensive treatment method that combines dance and psychotherapy, and promotes the individuals psychological and physical recovery through dance and physical movement. Through in-depth research on the development of dance education and the application of art dance therapy, this thesis aims to provide theoretical and practical support for promoting the development of dance education in the medical field.

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Davenport, Kathleen L. "Dance Medicine". Physical Medicine and Rehabilitation Clinics of North America 32, n.º 1 (fevereiro de 2021): i. http://dx.doi.org/10.1016/s1047-9651(20)30096-6.

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CRISAN, Raluca. "The effects of dancing on young people with down’s syndrome". SERIES VII - SOCIAL SCIENCES AND LAW 13(62), n.º 1 Special Issue (janeiro de 2021): 41–48. http://dx.doi.org/10.31926/but.ssl.2020.13.62.3.5.

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Dance and movement therapy is about the creative use of movement and dancing in a therapeutic alliance. The present study analysis semi-structured interviews from people connected to young people with Down’s syndrome. Our subjects practiced dances like ballet, zumba, vals, tango and also therapeutic movement. Some of them proved their skills in events specially organized for people with disabilities, but also in inclusive events, where they danced together with professional dancers, in Romania, Republic of Moldavia and Italy. The effects of dancing include increased self- esteem, relaxation, social inclusion, improved learning skills; they also developed social skills, because they met a lot of people in different social contexts.

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Rosenberg, Susan. "Investigating Theatricality in Trisha Brown’s Work: Five Unstudied Dances, 1966–1969". Arts 10, n.º 2 (6 de maio de 2021): 31. http://dx.doi.org/10.3390/arts10020031.

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Trisha Brown (1936–2017) forged her artistic identity as part of Judson Dance Theater, which embraced everyday pedestrian movement as dance. Between 1966 and 1969, Brown’s work took a surprisingly theatrical turn. Five unstudied dances from this period reflect concerns with autobiography, psychology, and catharsis, influences of her exposure to trends in Gestalt therapy and dance therapy during a sojourn in California (1963–1965). Brown let these works fall from her repertory because she did not consider them to qualify as ‘art’. Close readings of these works shed light on a period in Brown’s career before she rejected subjectivity as the basis for her creative process prior to her consolidation of her identity as an abstract choreographer in the 1970s and 1980s, while raising intriguing questions as to Brown’s late-career devotion to exploring emotion, drama and empathy in the operas and song cycle that she directed between 1998 and 2003.

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Mateu Serra, Mercè, Mariana Giustina Baravalle, Xènia Gumà Marimon e Glòria Sardà Crous. "Proyectos educativos en danza: una realidad creativa en construcción (Educational projects in dance: developing a creative reality)". Retos, n.º 24 (7 de março de 2015): 154–57. http://dx.doi.org/10.47197/retos.v0i24.34549.

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La presente aportación se centra en la pedagogía de la danza. Extiende el concepto de pedagogía de la danza a la relación con el bailarín, con el espectador y con los alumnos. Reflexiona pues, sobre los aspectos pedagógicos de la creación coreográfica (y concretamente en la relación pedagógica entre el coreógrafo/a-director/a, y la compañía de bailarines/as –intérpretes). Asimismo aporta el concepto de una pedagogía del espectador/a que necesita educarse para la lectura y disfrute de los espectáculos en este caso, bailados. Y finalmente, la tercera aproximación pedagógica se centra en la relación pedagógica entre el/la enseñante y el alumno/a de la danza. A partir de esta reflexión inicial, el artículo expone diversos ejemplos y proyectos de experiencias didácticas actuales, ya implantadas socialmente, y que conjugan diversos «protagonistas» pedagógicos con distintas finalidades educativas y sociales. Y todo ello en el marco social de unos agentes que interactúan y darán lugar a una pedagogía singular para cada combinación de elementos implicados. El artículo estimula la creación de proyectos educativos emergentes en danza y proporciona para ello, herramientas y ejemplos ya consolidados. Palabras clave: Pedagogía de la danza, pedagogía de la expresión corporal, experiencias didácticas, proyectos pedagógicos artísticos, educación motriz artística.Abstract: The present contribution focuses on dance pedagogy. Extends the concept of dance pedagogy to the relationship with the dancer, with the audience and students. Think therefore on the pedagogical aspects of choreography (and specifically in the pedagogical relationship between the choreographer/director, and the company of dancers/ performers). It also provides the concept of a spectator’s pedagogy, that needs to educate yourself for reading and enjoy the shows in this case, danced. And finally, the third pedagogical approach focuses on the pedagogical relationship between the teacher and the student dance. From this initial reflection, the paper presents several examples of learning experiences and current projects, and implemented socially, and that combine various «players» teaching with different educational and social purposes. And all within the social framework of a pedagogical agents that interact and give rise to a unique pedagogy for each combination of elements involved. The article encourages the creation of emerging educational projects in dance and provides for it, tools and examples already in place.Keywords: Pedagogy of dance, body language pedagogy, learning experiences, educational artistic projects, artistic movement education.

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Goodwin, Donna L., Joan Krohn e Arvid Kuhnle. "Beyond the Wheelchair: The Experience of Dance". Adapted Physical Activity Quarterly 21, n.º 3 (julho de 2004): 229–47. http://dx.doi.org/10.1123/apaq.21.3.229.

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This phenomenological case study sought to understand the wheelchair dance experiences of five children (ages 6-14 years) with spina bifida. The experiences of one boy and four girls were captured using the phenomenological methods of semistructured interviews, journals, visual artifacts, and field notes. The perspectives of their parents were also gathered. The dancer data and parent data were analyzed separately, revealing four common themes: unconditional acceptance, a dream comes true, beyond the wheelchair, and a stronger self. The experience of dancing from a wheelchair was interpreted and understood by reflecting upon the concepts of ableism, dualism, and the minded body.

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Reva, Yana. "AESTHETIC AND THERAPEUTIC POTENTIAL CHOREOGRAPHY". Aesthetics and Ethics of Pedagogical Action, n.º 14 (9 de setembro de 2016): 184–91. http://dx.doi.org/10.33989/2226-4051.2016.14.171614.

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The article is about necessity of psyco-pedagogical attention to the problems of people psycophysical and emotional health saving. In order to get this difficult goal real, art of dance helps person to understand himself and leads to selfperfection. The dance is a merge of physical, psychological and esthetic activities. But the art of dance is also a therapeutic factor and its value is rising with developing of sangennic role of the art in modern life and in harmonization of Human-Universe relations.Functionality of dance art is quite wide. Thoughtful usage of dance impact leads to psychological and physical conditions stabilization and return of a person to harmonic life. Dance therapy is use of dance, plastic and rhythms for prophylactics and cure. So the objective of dance therapy is to establish a contact between a person and world. It could be done in parallel with language impact or without. Dance usage is based on the following: movement shows the person characteristics, its thoughts, mood, feelings, gained experience; combined elements of the movements make expressive dance with ability to self-expression. Dance therapy helps children to identify themselves and achieve better self-understanding. The objective of dance therapy is to destroy internal obstacles of child on its way to happiness and harmony.Also professional usage of dance therapy helps to stabilize child psychological condition and return it to normal life. That is why future dance teacher should pay attention to esthetic and therapeutic abilities of dance art and use them in their professional activities.

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Nursilah, Michelle Marieta Sarajar, Putri Najla Ayu Rasyid, Monik Alvianisa e Lusia Dame Mariana Sihombing. "THE CONCEPT OF DEVELOPING A THERAPEUTIC DANCE MODEL AS AN EFFORT TO INCREASE THE INTEREST OF SANGGAR SURYA KIRANA STUDENTS". International Journal of Performing Arts (IJPA) 2, n.º 1 (30 de março de 2023): 24–31. http://dx.doi.org/10.56107/ijpa.v2i1.107.

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Dance that is known by the general public is a dance that functions as a traditional ceremony, entertainment and performance. But on the one hand, dance is able to become a medium for expressing feelings, processing feelings and providing concentration. Using Margareth H. Doubler's method regarding the quality of movement, the dance therapy model was developed based on existing theories of dance therapy. The results also showed that there were changes felt in students who underwent dance therapy during four meetings as evidenced by the results of observations and interviews conducted together with students.

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Stanton, Kristina. "Dance Movement Therapy: An Introduction". British Journal of Occupational Therapy 54, n.º 3 (março de 1991): 108–10. http://dx.doi.org/10.1177/030802269105400308.

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Hayes, Jill. "Dance Therapy: Process and Performance?" Studies in Theatre Production 13, n.º 1 (janeiro de 1996): 29–38. http://dx.doi.org/10.1080/13575341.1996.10806924.

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Baron, Jill R. "Dance as an Integrative Therapy". Alternative and Complementary Therapies 22, n.º 3 (junho de 2016): 93–96. http://dx.doi.org/10.1089/act.2016.29053.jrb.

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Pratt, Rosalie Rebollo. "Art, dance, and music therapy". Physical Medicine and Rehabilitation Clinics of North America 15, n.º 4 (novembro de 2004): 827–41. http://dx.doi.org/10.1016/j.pmr.2004.03.004.

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Carey, Richard J. "Athletic Therapy for Dance Injuries". Athletic Therapy Today 2, n.º 3 (maio de 1997): 50–51. http://dx.doi.org/10.1123/att.2.3.50.

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Koch, Sabine C., e Diana Fischman. "Embodied Enactive Dance/Movement Therapy". American Journal of Dance Therapy 33, n.º 1 (27 de abril de 2011): 57–72. http://dx.doi.org/10.1007/s10465-011-9108-4.

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Gorham, Linda J. "Dance therapy and self psychology". Clinical Social Work Journal 23, n.º 3 (setembro de 1995): 361–73. http://dx.doi.org/10.1007/bf02191756.

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Chaiklin, Harris. "The crossroads of dance therapy". American Journal of Dance Therapy 16, n.º 2 (setembro de 1994): 71–80. http://dx.doi.org/10.1007/bf02358567.

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Musicant, Shira. "Authentic movement and dance therapy". American Journal of Dance Therapy 16, n.º 2 (setembro de 1994): 91–106. http://dx.doi.org/10.1007/bf02358569.

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Sigel, Jane Ganet. "Dance movement therapy in China". American Journal of Dance Therapy 16, n.º 1 (março de 1994): 53–56. http://dx.doi.org/10.1007/bf02359241.

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Mettler, Barbara. "Creative dance?Art or therapy?" American Journal of Dance Therapy 12, n.º 2 (1990): 95–100. http://dx.doi.org/10.1007/bf00843884.

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Schmais, Claire. "Dance therapy & depth psychology". Arts in Psychotherapy 18, n.º 5 (janeiro de 1991): 465–66. http://dx.doi.org/10.1016/0197-4556(91)90061-e.

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NEMES, Bianca Oana, Radu PIRLOG, Dorina TARTAMUS, Camelia CAPUSAN e Dana Marieta FODOR. "The role of dance therapy in the rehabilitation of Parkinson disease patients". Balneo Research Journal 10, Vol.10, No.3 (3 de setembro de 2019): 300–304. http://dx.doi.org/10.12680/balneo.2019.272.

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Introduction: Parkinson disease is the second most common neurodegenerative disease which requires a complex approach including pharmacological and non-pharmacological treatment. While kinesiotherapy is a must in Parkinson’s disease patients, dance therapy in rehabilitation programs is not often taken into consideration. Dance therapy is a challenging non-pharmacological treatment which merges physical activity with musical synchronization, socialization , disease acceptance and creativity with daily activities. The aim of this study is to evaluate the effect of dance therapy on the quality of life, functionality and decrease of depression in Parkinson patients. Material and method: We developed a case control study to evaluate the benefit of dance therapy in Parkinson Patients. The study group consisted in 10 patients from “Puterea Sperantei Project”. The intervention consisted in 40 minutes/day of dance therapy during two weeks. First control group consisted of 10 patients admitted to Cluj-Napoca Rehabilitation Hospital for two weeks. The second control group consisted in 5 patients enrolled in the “Puterea Sperantei Project” which did not attended dance classes. All three groups followed standard therapy: kineto-therapy and ergo-therapy. To assess the effect of dance therapy we used: Beck scale, Parkinson Disease Questionnaire (PDQ-39) and a satisfaction questionnaire which we developed, for the dance therapy. Results and discussions: In the study group we registered an improvement of depression symptoms (p=0,017) and an increase in the life quality (p=0,005). In the hospital control group and in the “Puterea Speratei Project” control group there was no decrease in the depressions score (p >0,05). However, the quality of life increased also in the control group enrolled in the Rehabilitation Hospital, probably due to medication change. The mean of satisfaction questionnaire for dance therapy in the study group was 39,70 from a maximum of 48 points. Conclusions: Dance therapy is a holistic non-pharmacological therapy which improves the depression index, the quality of life and functionality of Parkinson disease patients. This initial results raise the possibility of including dance therapy as an alternative of non-pharmacological therapy in the rehabilitation programs for Parkinson Disease Patients.

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Auliya, Eldiana Putri, e Ananta Yudiarso. "Application of Dance Movement Therapy to Stress Levels: A Meta-Analysis Study". Psikostudia : Jurnal Psikologi 11, n.º 1 (12 de março de 2022): 135. http://dx.doi.org/10.30872/psikostudia.v11i1.7273.

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The Perceived Stress Scale, Self-Rating Depression Scale, Academic Stress Scale, and Distress CORE were used to determine the effectiveness of Dance Movement Therapy in lowering stress. A meta-analysis utilizing jamovi 1.6.6 was used as the approach. This research was conducted using a literature evaluation of 11 experimental journals on the effects of Dance Movement Therapy on stress (total n experimental group = 491 and total n control group = 454), for a total of 945 participants. Dance Movement Therapy was shown to be less effective in lowering stress levels (d=0,427), with a medium effect size. According to the findings, Dance Movement Therapy is less successful at reducing stress levels, hence it will be more effective if one type of dance/intervention is used in conjunction with other interventions. Penelitian ini bertujuan untuk melihat efektivitas dari Dance Movement Therapy terhadap penurunan stres yang diukur dengan menggunakan Perceived Stress Scale, Self-Rating Depression scale, Academic stress scale dan Distress CORE. Metode yang digunakan adalah meta-analisis dengan jamovi 1.6.6. Penelitian melalui literatur review 11 jurnal eksperimen mengenai Dance Movement Therapy terhadap stres (total n experiment group = 491; total n control group = 454) sehingga jumlah keseluruhan sebanyak 945. Hasil yang didapatkan ialah Dance Movement Therapy kurang efektif dalam menurunkan tingkat stres (d=0,427; medium effect size). Disimpulkan bahwa Dance Movement Therapy kurang efektif untuk menurunkan tingkat stres sehingga akan menjadi lebih efektif jika menggunakan satu jenis tari/ bentuk intervensi serta ada pendampingan dari intervensi lain.

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STROE, ALINA, SILVIU AXELERAD, ANCA GOGU, LAVINIA MUJA, CORINA FRECUS e CRISTINA MIHAI. "Narrative review on effects of dance therapy in Parkinson’s disease patients". Journal of Complementary Medicine Research 13, n.º 3 (2022): 33. http://dx.doi.org/10.5455/jcmr.2022.13.03.07.

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Background: Parkinson's disease is a chronic neurodegenerative disease, with slow insidious onset, characterized by the presence of predominantly motor symptoms such as rest tremor, bradykinesia, and postural instability. Dance therapy has been used for many years for various conditions, especially for patients with Parkinson's disease. Methods: The PubMed, Elsevier, Wiley, and Springer databases were searched using the solitary or combination keywords "dance therapy", "Parkinson's disease", and "dance therapy in neurodegenerative disorders". Finally, the time period covered by the inclusion criteria for the papers chosen for evaluation was 2000–2022. Results: In comparison to other forms of exercise, dance resulted in substantial gains on the UPDRSIII and various other scales. Dance practice similarly resulted in substantial gains in motor scores when compared to the control group. Dance has been shown to enhance disease-related motor parameters and functional mobility in patients. Conclusion: Over time, dance therapy has been shown to help improve balance disorders, coordination of movement and mood. In summary, dance therapy is a novel and engaging kind of physical therapy for individuals with Parkinson's disease that could have a significant effect on motor and non-motor abilities.

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Bruno, Carol. "Maintaining a concept of the dance in dance/movement therapy". American Journal of Dance Therapy 12, n.º 2 (1990): 101–13. http://dx.doi.org/10.1007/bf00843885.

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Kurniadi, Benedicta Alvina, e Anny Valentina. "Visual Communication for Dance Movement Therapy Campaign". International Journal of Application on Social Science and Humanities 1, n.º 1 (20 de fevereiro de 2023): 1180–88. http://dx.doi.org/10.24912/ijassh.v1i1.25735.

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Dancing is an activity that moves the body through music, it’s not only having physical benefits, but also psychic benefits. Dance can burn more than 300 calories in 30 minutes. There is a Psychological Therapy called Dance Movement Therapy. Dance Movement Therapy promotes healing by motivating participants to express themselves. To do Dance Movement Therapy, participants must be guided by a certified person in Dance Therapy. Unfortunately, this therapy still unknown in Indonesia. This research involves 50 people. Target from this research is women 20-30 years old, like listening to music, social media active, and like to give important information to other people. The usage of visual communication to convey the benefits of dance movement therapy because visual communication has proven could help audience to understand about the message to be delivered. The author used a communication journey named 5A (Aware, Appeal, Ask, Act, Advocate) to make a sustainable message through visual communication. The main media that used in this visual communication is social media, such as Tiktok, Instagram and YouTube for Ad and Content. To support used On-Ground Activation and Microsite. This media is chosen based on media target behavior.

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DeSouza, Joseph F., e Rachel Bar. "The effects of rehearsal on auditory cortex: An fMRI study of the putative neural mechanisms of dance therapy". Seeing and Perceiving 25 (2012): 45. http://dx.doi.org/10.1163/187847612x646677.

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We were interested in examining the time course of the evolution when beginning to learn a motor habit and it’s associated neural functional changes in the brain. To accomplish this we employed five professional dancers that were scanned using a within subjects design. Each dancer participated in four fMRI (functional magnetic resonance imaging) scanning sessions over the training and learning of a dance to a 1 min piece of music employing a typical blocked design (5 epochs with alternations of a 30-s fixation period). We also tested five control subjects that had dance experience but did not learn the dance to this music. Subjects were asked to visualize dancing while listening to a piece of music. At the first scanning session, only 4 rehearsals of the piece (initial acquisition phase) were studied. The control subjects were also tested at this time period but they had no rehearsals and had no visual exposure to the music before scanning. The second scanning session occurred one week later, after a total of 9 rehearsals. The third scanning session was completed 7 weeks after initial acquisition of the dance (the dance was performed a total of 16 times after initial training). Thus in total there were 22 scanning sessions using 10 subjects. Additionally a control motor scan was performed in each scanning session to activate motor regions that should not change activation patterns across all scanning sessions. Results revealed a significant increase of BOLD signal, across the sessions in a network of brain regions including bilateral auditory cortex to supplementary motor cortex. These results suggest that as we learn a motor sequence from music, greater neuronal activity occurs and we discuss the potential neural network involved in dance and its implications towards alternative neural regions that are potentially recruited during dance therapy.

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Gomes Neto, Mansueto, Mayara Alves Menezes e Vitor Oliveira Carvalho. "Dance therapy in patients with chronic heart failure: a systematic review and a meta-analysis". Clinical Rehabilitation 28, n.º 12 (21 de maio de 2014): 1172–79. http://dx.doi.org/10.1177/0269215514534089.

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Objective: To see whether dance therapy was more effective than conventional exercise in exercise capacity and health-related quality of life (HRQOL) in patients with chronic heart failure. Design and methods: Systematic review and meta-analysis. We searched MEDLINE, Cochrane Controlled Trials Register, EMBASE, SPORT Scielo, CINAHL (from the earliest date available to August 2013) for randomized controlled trials (RCTs), examining effects of dance therapy versus exercise and/or dance therapy versus control on exercise capacity (VO2peak), and quality-of-life (QOL) in chronic heart failure. Two reviewers selected studies independently. Weighted mean differences (WMDs) and 95% confidence intervals (CIs) were calculated, and heterogeneity was assessed using the I(2) test. Results: Two studies met the study criteria (62 dance therapy patients, 60 exercise patients and 61 controls patients). The results suggested that dance therapy compared with control had a positive impact on peak VO2 and HRQOL. Dance therapy resulted in improvement in: peak VO2 peak weighted mean difference (4.86 95% CI: 2.81 to 6.91) and global HRQOL standardized mean differences (2.09 95% CI: 1.65 to 2.54). Non-significant difference in VO2 peak and HRQOL for participants in the exercise group compared with dance therapy. No serious adverse events were reported. Conclusions: Dance therapy may improve peak VO2 and HRQOL in patients with chronic heart failure (CHF) and could be considered for inclusion in cardiac rehabilitation programmes.

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