Training Effects on Affective Perception of Body Movements

2021 ◽  
pp. 213-218
Author(s):  
Louise P. Kirsch ◽  
Emily S. Cross
Keyword(s):  
Training Intervention ◽  
Body Movements ◽  
Training Effects ◽  
Dance Training ◽  
Dance Movements ◽  
Bodily Experiences ◽  
Affective Perception ◽  
And Training ◽  
Key Questions

What leads us to enjoy watching others’ bodies in motion? In this chapter, the authors discuss their motivation to explore how our bodily experiences, especially in the form of dance training, shape our perceptions and preferences for watching others move, especially in dance contexts. They highlight findings from several studies that they conducted to investigate how general dance experience (or lack thereof) influences our enjoyment of watching dance and how acquiring experience specifically related to the dance piece being observed shapes the pleasure we derive from watching that piece specifically. Overall, our work finds that the richer experience an observer has with learning particular dance movements, the more enjoyment that observer derived from watching those movements. This research underscores the utility of dance as a stimulus and training intervention for addressing key questions relevant to human neuroscience, psychology, and philosophy, particularly in the domain of neuroaesthetics.

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.

Characteristics of Eight Irish Dance LandingsConsiderations for Training and Overuse Injury Prevention

2021 ◽  
Vol 25 (1) ◽  
pp. 30-37
Author(s):  
Sarah Klopp Christensen ◽  
Aaron Wayne Johnson ◽  
Natalie Van Wagoner ◽  
Taryn E. Corey ◽  
Matthew S. McClung ◽  
...  
Keyword(s):  
Large Range ◽  
Force Plate ◽  
Three Dimensional ◽  
The Body ◽  
Peak Force ◽  
Warm Up ◽  
Dance Training ◽  
Rise Rate ◽  
Dance Movements ◽  
Reaction Forces

Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p < 0.01; F(15, 15) = 65.0, p < 0.01; and F(15, 15) = 67.4, p < 0.01, respectively]. The variable years of experience was not correlated with peak force, rise rate, or impulse (p > 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.

scholarly journals Analysis of Movement Entropy during Community Dance Programs for People with Parkinson’s Disease and Older Adults: A Cohort Study

2022 ◽  
Vol 19 (2) ◽  
pp. 655
Author(s):  
Peter Gates ◽  
Fred M. Discenzo ◽  
Jin Hyun Kim ◽  
Zachary Lemke ◽  
Joan Meggitt ◽  
...  
Keyword(s):  
Older Adults ◽  
Parkinson’S Disease ◽  
Parkinson's Disease ◽  
Cohort Study ◽  
Knee Flexion ◽  
Movement Patterns ◽  
Body Movements ◽  
Community Dance ◽  
Significant Difference ◽  
Dance Movements

Dance therapy can improve motor skills, balance, posture, and gait in people diagnosed with Parkinson’s disease (PD) and healthy older adults (OA). It is not clear how specific movement patterns during dance promote these benefits. The purpose of this cohort study was to identify differences and complexity in dance movement patterns among different dance styles for PD and OA participants in community dance programs using approximate entropy (ApEn) analysis. The hypothesis was that PD participants will show greater ApEn during dance than OA participants and that the unique dance style of tango with more pronounced foot technique and sharp direction changes will show greater ApEn than smoother dance types such as foxtrot and waltz characterized by gradual changes in direction and gliding movement with rise and fall. Individuals participated in one-hour community dance classes. Movement data were captured using porTable 3D motion capture sensors attached to the arms, torso and legs. Classes were also video recorded to assist in analyzing the dance steps. Movement patterns were captured and ApEn was calculated to quantify the complexity of movements. Participants with PD had greater ApEn in right knee flexion during dance movements than left knee flexion (p = 0.02), greater ApEn of right than left hip flexion (p = 0.05), and greater left hip rotation than right (p = 0.03). There was no significant difference in ApEn of body movements (p > 0.4) or mean body movements (p > 0.3) at any body-segment in OA. ApEn analysis is valuable for quantifying the degree of control and predictability of dance movements and could be used as another tool to assess the movement control of dancers and aid in the development of dance therapies.

scholarly journals Current-driven vortex oscillations in metallic nanocontacts: zero-field oscillations and training effects

2009 ◽  
Vol 42 (24) ◽  
pp. 245001 ◽  
Author(s):  
M van Kampen ◽  
L Lagae ◽  
G Hrkac ◽  
T Schrefl ◽  
J-V Kim ◽  
...  
Keyword(s):  
Zero Field ◽  
Training Effects ◽  
And Training

Who, what, where and how much: tDCS and training effects on working memory

2019 ◽  
Vol 12 (2) ◽  
pp. 460
Author(s):  
M. Berryhill ◽  
H. Arciniega ◽  
K. Jones ◽  
J. Stephens ◽  
F. Gozenman
Keyword(s):  
Working Memory ◽  
Training Effects ◽  
And Training
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