Relation of Dance Skills to Body Cathexis and Locus of Control Orientation

1978 ◽  
Vol 46 (2) ◽  
pp. 465-466 ◽  
Author(s):  
Carol Smith Dasch

33 subjects provided measures on extent of dance training, dance performance, locus of control orientation, and three measures of body cathexis. Pearson product-moment correlations yielded significant, though modest, positive relations between three measures of body cathexis and performance, and between time dancing and the Levenson Internal scale; and a negative relation between body cathexis 2nd the Levenson Chance scale.

2020 ◽  
Vol 11 (1) ◽  
pp. 43-57 ◽  
Author(s):  
Louis Laberge-Côté

Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first choreographic process to which I applied The Porous Body’s guiding principles, and which led to the creation and performance of edged, a solo work exploring the porous edges between inner/outer, planned/unplanned, control/surrender, pleasure/struggle and terror/courage.


2012 ◽  
Vol 3 (2) ◽  
pp. 84-86
Author(s):  
T. Manichander T. Manichander ◽  

1980 ◽  
Vol 2 (1) ◽  
pp. 49-60 ◽  
Author(s):  
Kathleen I. Hunter ◽  
Margaret W. Linn ◽  
Rachel Harris ◽  
Theodore C. Pratt

1981 ◽  
Vol 48 (2) ◽  
pp. 597-598 ◽  
Author(s):  
John Jones ◽  
Gloria Coleman ◽  
Sidney St. Leger

Significant negative correlations (—.60, —28, —.36) were found between Drinking-related Locus of Control scores and semiannual intoxication rates in three different samples totalling 177 subjects. Persons reporting more perceived control over both intrapersonal and interpersonal pressures to drink (internal scorers) became reliably less intoxicated from alcohol during a 6-mo. period than people reporting less control (external scorers).


2006 ◽  
Vol 99 (2) ◽  
pp. 603-618 ◽  
Author(s):  
John E. Barbuto ◽  
Liezel Barbuto ◽  
Piet De La Rey ◽  
Adre B. Boshoff ◽  
Ye Xu

The predictors of objectively measured sales performance were assessed with 245 sales representatives from a large South African life insurance company. Sales representatives completed measures of their locus of control, entrepreneurial attitudes, biographical history, and performance was assessed from company records of sales, net commissions earned, and lapse ratios. The nature of employment contract, job status, and race explained significant differences in performance outcomes. The predictive nature of locus of control and entrepreneurial attitudes for performance outcomes was tested using structural equation modeling procedures, with limited validity. The implications for research and practice are also discussed.


2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.


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