Dance Training for the Dance Therapist

1972 ◽  
Vol 43 (8) ◽  
pp. 67-68
Author(s):  
Claire Schmais
Keyword(s):  
Dance Therapist ◽  
Dance Training

Panel discussion: “What’s in a plié: The function and meaning of dance training for the dance therapist’

1978 ◽  
Vol 2 (2) ◽  
pp. 32-33 ◽  
Author(s):  
Martha Myers ◽  
Beth I. Kalish ◽  
Stephanie S. Katz ◽  
Claire Schmais ◽  
Linni Silberman
Keyword(s):  
Panel Discussion ◽  
Dance Therapist ◽  
Dance Training

scholarly journals Validity of Inertial Sensors for Assessing Balance Kinematics and Mobility during Treadmill-Based Perturbation and Dance Training

Sensors ◽  
2021 ◽  
Vol 21 (9) ◽  
pp. 3065
Author(s):  
Ernest Kwesi Ofori ◽  
Shuaijie Wang ◽  
Tanvi Bhatt
Keyword(s):  
Concurrent Validity ◽  
Inertial Sensors ◽  
Intraclass Correlation ◽  
Correlation Coefficients ◽  
Human Motion ◽  
Intraclass Correlation Coefficients ◽  
Dance Training ◽  
Silver Standard ◽  
Mean Square Errors ◽  
Reactive Balance

Inertial sensors (IS) enable the kinematic analysis of human motion with fewer logistical limitations than the silver standard optoelectronic motion capture (MOCAP) system. However, there are no data on the validity of IS for perturbation training and during the performance of dance. The aim of this present study was to determine the concurrent validity of IS in the analysis of kinematic data during slip and trip-like perturbations and during the performance of dance. Seven IS and the MOCAP system were simultaneously used to capture the reactive response and dance movements of fifteen healthy young participants (Age: 18–35 years). Bland Altman (BA) plots, root mean square errors (RMSE), Pearson’s correlation coefficients (R), and intraclass correlation coefficients (ICC) were used to compare kinematic variables of interest between the two systems for absolute equivalency and accuracy. Limits of agreements (LOA) of the BA plots ranged from −0.23 to 0.56 and −0.21 to 0.43 for slip and trip stability variables, respectively. The RMSE for slip and trip stabilities were from 0.11 to 0.20 and 0.11 to 0.16, respectively. For the joint mobility in dance, LOA varied from −6.98–18.54, while RMSE ranged from 1.90 to 13.06. Comparison of IS and optoelectronic MOCAP system for reactive balance and body segmental kinematics revealed that R varied from 0.59 to 0.81 and from 0.47 to 0.85 while ICC was from 0.50 to 0.72 and 0.45 to 0.84 respectively for slip–trip perturbations and dance. Results of moderate to high concurrent validity of IS and MOCAP systems. These results were consistent with results from similar studies. This suggests that IS are valid tools to quantitatively analyze reactive balance and mobility kinematics during slip–trip perturbation and the performance of dance at any location outside, including the laboratory, clinical and home settings.

Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India

2021 ◽  
Vol 36 (3) ◽  
pp. 199-206
Author(s):  
Lavanya P Kumar ◽  
Shruti J Shenoy
Keyword(s):  
Medical Professional ◽  
Musculoskeletal Injuries ◽  
Limited Information ◽  
Classical Dance ◽  
Dance Training ◽  
Lower Back ◽  
Injury Occurrence ◽  
Indian Classical Dance ◽  
The Impact ◽  
And Training

BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.

Life satisfaction and increased self-perceived attractiveness as psychological benefits of physical activity

2020 ◽  
Vol 9 (6) ◽  
pp. 477-484
Author(s):  
Paulina Barczak ◽  
Hanna Bednarek
Keyword(s):  
Physical Activity ◽  
Life Satisfaction ◽  
Young Adults ◽  
Satisfaction With Life ◽  
Well Being ◽  
Psychological Benefits ◽  
Dance Training ◽  
Crossfit Training ◽  
The Relationship ◽  
Scientific Argument

The studies demonstrate the relationship between higher level of life satisfaction and exercise. The purpose of this article was to determine what type of physical activity, CrossFit training or Latin Dance, positively impacts the level of life satisfaction and self-perceived physical attractiveness in young adults. After CrossFit and Latin Dance training participants declared greater overall satisfaction with life, greater life optimism, increased self-efficacy and greater self-esteem. The results of the authors’ study may be an important contribution to the discussion about factors influencing human well-being. Furthermore, the research could be a scientific argument to promote physical activity among young adults.

“Ballet” is a Dirty Word

2021 ◽  
pp. 373-388
Author(s):  
Henrique Rochelle
Keyword(s):  
Public Interest ◽  
Strong Influence ◽  
Modern Dance ◽  
Sao Paulo ◽  
São Paulo ◽  
The Past ◽  
Dance Training ◽  
Professional Dance ◽  
Dance Companies ◽  
The City

Professional dancing in São Paulo, Brazil, developed from the 1950s on, with a constant and strong influence from modern dance. As modernism looked disapprovingly at ballet, seeing it as something from the past, prejudice grew in the city toward the form. Directors and choreographers of dance companies currently speak about ballet and contemporary ballet as something that is done, but always by others, never themselves. Even the word “ballet” is avoided, since it seems to diminish the works being discussed, as it became something strictly associated with dance training, and not professional dance. This chapter investigates the roots of ballet in São Paulo, discussing both its origins and the origins of its rejection, while pointing to the recent indications of its newfound public interest.

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