Occupational accidents in professional dancers with regard to different professional dance styles

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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Motor Imagery Practice for Enhancing Elevé Performance Among Professional Dancers: A Pilot Study

Medical Problems of Performing Artists ◽

10.21091/mppa.2016.3025 ◽

2016 ◽

Vol 31 (3) ◽

pp. 132-139 ◽

Cited By ~ 5

Author(s):

Amit Abraham ◽

Ayelet Dunsky ◽

Ruth Dickstein

Keyword(s):

Pilot Study ◽

Motor Imagery ◽

Motion Capture ◽

Training Method ◽

Post Intervention ◽

Dance Movement ◽

3 Dimensional ◽

Dance Company ◽

Professional Dance ◽

Professional Dancers

OBJECTIVE: Eleve is a core dance movement requiring the greatest ankle plantarflexion (PF) range of motion (ROM). One possible way to enhance eleve performance is by using motor imagery practice (MIP). The aims of this pilot study were to investigate: 1) functional ankle PF maximal angles and ROM while performing eleve among professional dancers, 2) the effect of MIP on enhancing eleve performance, and 3) participants’ views on the MIP intervention and its feasibility in a professional dance company setting. METHODS: Five professional dancers, mean age 31 yrs (SD 1.87), participated in a 2-week MIP intervention. Data on ankle PF maximal angles and ROM were collected pre- and post-intervention using 3-dimensional motion capture while performing repeat (10 repetitions) and static (10 sec) eleve. RESULTS: At baseline, ankle PF maximal angles were 169.20° (SD 2.81°) and 168.36° (2.23°) and ankle PF ROM were 40.21° (3.35°) and 35.94° (3.95°) for the repeat and static tasks, respectively. After the MIP intervention, ankle PF maximal angles were 170.28° (4.26°) and 170.74° (3.77°) and ankle PF ROM were 41.53° (2.33°) and 39.30° (2.30°) for the repeat and static tasks, respectively. Feasibility of MIP was established with 100% compliance and positive views were expressed by participants. CONCLUSION: The results suggest MIP holds potential as an adjunct training method for enhancing elev. performance among professional dancers.

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Occupational accidents in professional dance with focus on gender differences

Journal of Occupational Medicine and Toxicology ◽

10.1186/1745-6673-8-35 ◽

2013 ◽

Vol 8 (1) ◽

pp. 35 ◽

Cited By ~ 7

Author(s):

Eileen M Wanke ◽

Michael Arendt ◽

Helmgard Mill ◽

David A Groneberg

Keyword(s):

Gender Differences ◽

Occupational Accidents ◽

Professional Dance

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Estudio de los procesos cognitivos en bailarines semi-profesionales (Study of the cognitive processes in semi-professional dancers)

Retos ◽

10.47197/retos.v37i37.70936 ◽

2019 ◽

pp. 493-497

Author(s):

Macarena Nieto Romero ◽

José Luis Chinchilla-Minguet ◽

Alfonso Castillo-Rodríguez

Keyword(s):

Data Collection ◽

Coping Strategies ◽

Cognitive Processes ◽

Cognitive Strategies ◽

Sixth Grade ◽

Classical Dance ◽

Before And After ◽

Professional Dance ◽

Professional Dancers ◽

Stage Performance

El objetivo de este estudio es conocer cuáles son las estrategias cognitivas utilizadas por estudiantes bailarines pre-profesionales de Conservatorios Profesionales de Danza cuando tienen que solucionar problemas de índole psicológica antes, durante y al finalizar una actuación escénica o/y en una clase/ensayo. Se contó con una muestra de 125 bailarines/estudiantes pre-profesionales de los tres últimos cursos de enseñanzas profesionales de danza (cuarto, quinto y sexto), pertenecientes a las tres especialidades (danza clásica, danza española, baile flamenco) de los Conservatorios Profesionales de Danza de Córdoba, Sevilla y Málaga. El instrumento de recogida de información en esta primera fase ha sido el Cuestionario de Estrategias Cognitivas en Deportistas CEAD de Mora, García, Toro, & Zarco (2001), sobre el cual se sustituyeron términos propios del ámbito de la danza por los términos propios del campo del deporte. Los resultados del estudio nos permiten hallar conclusiones sobre los problemas cognitivos más destacados en bailarines de similares características a los estudiados y éstos poderse tener en cuenta en las etapas de formación y aprendizaje de los bailarines para poder presentar a bailarines/as en el ámbito laboral y profesional de la danza con estrategias de afrontamiento cognitivo óptimas para alcanzar el máximo rendimiento escénico.Abstract. The purpose of this research is to acknowledge the cognitive strategies used by dance students at pre-professional stages within professional Dance Conservatories when attempting to solve issues of psychological nature, during, before, and after the stage performance and/or rehearsal/classes. A sample of 125 pre-professional dance students currently enrolled in the last three academic years of professional dancing degrees (fourth, fifth, and sixth grade) belonging to the three disciplines (classical dance, Spanish dance, and flamenco dance) from the professional Dance Conservatories of Córdoba, Seville, and Malaga were recruited. The instrument employed for data collection in this first stage was the Cuestionario de Estrategias Cognitivas en Deportistas (CEAD; Mora, García, Toro, & Zarco, 2001), in which certain terms pertaining to the field of sports were substituted with specific dance terms. The outcomes of the research allow us to draw conclusions about the most remarkable cognitive issues in dancers with similar characteristics to those in our sample, and to take them into account in educational and learning stages so to provide such dancers, both in labor and professional environments, with optimal coping strategies for reaching the highest stage performances.

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Professional Dance in Relation to Quality of Life, Emotional Intelligence and Self Concept

International Journal of Indian Psychology ◽

10.25215/0302.045 ◽

2016 ◽

Vol 3 (2) ◽

Author(s):

Navdha Kapur ◽

Ms. Vaishali Rawat

Keyword(s):

Quality Of Life ◽

Emotional Intelligence ◽

The Self ◽

Self Concept ◽

Significant Difference ◽

Quality Of Life Scale ◽

Professional Dance ◽

Professional Dancers ◽

Personal Functioning

The present study focuses on studying professional dance in relation to quality of life, emotional intelligence and self concept. Quality of life tends to cover a variety of areas such as physical, mental, psychological, social and spiritual well being, personal functioning and general limitations. Emotional intelligence is the ability of an individual to be aware of their own and other feelings, understand them and use them to take decisions. Self concept is one’s perception of self. The samples consisted of 50 professional dancers and 50 non dancers in the age range of 18-30 years. Stratified convenience sampling technique was used for the choice of the sample. The Quality of Life-Scale-R, The Emotional Intelligence Scale (EIS) and the Self Concept Questionnaire (SCQ) was chosen for the conduction of data. The study conducted reveals that there is a highly significant difference in the quality of life of professional dancers and non dancers. There is highly significant difference in the emotional intelligence of professional dancers and non dancers. It also reveals that there is a highly significant difference in the self concept of professional dancers and non dancers.

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Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example

Journal of Educational Theory and Management ◽

10.26549/jetm.v2i3.992 ◽

2018 ◽

Vol 2 (3) ◽

pp. 84

Author(s):

Ziqiao Wang

Keyword(s):

Professional Training ◽

Folk Dance ◽

Classical Dance ◽

Face Expression ◽

Training Stage ◽

Starting Point ◽

Court Dance ◽

Professional Dance ◽

Professional Dancers ◽

Rich Content

Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.

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Differential Performance of Professional Dancers to the Music Apperception Test and the Thematic Apperception Test

Rorschachiana Journal of the International Society for the Rorschach ◽

10.1027/1192-5604/a000098 ◽

2018 ◽

Vol 39 (1) ◽

pp. 20-49

Author(s):

Leland van den Daele ◽

Ashley Yates ◽

Sharon Rae Jenkins

Keyword(s):

Visual Processing ◽

Assessment Tool ◽

Thematic Apperception Test ◽

Performance Tests ◽

Basic Emotions ◽

Gender And Age ◽

Thematic Apperception ◽

Professional Dancers ◽

Visually Based ◽

Modality Preference

Abstract. This project compared the relative performance of professional dancers and nondancers on the Music Apperception Test (MAT; van den Daele, 2014 ), then compared dancers’ performance on the MAT with that on the Thematic Apperception Test (TAT; Murray, 1943 ). The MAT asks respondents to “tell a story to the music” in compositions written to represent basic emotions. Dancers had significantly shorter response latency and were more fluent in storytelling than a comparison group matched for gender and age. Criterion-based evaluation of dancers’ narratives found narrative emotion consistent with music written to portray the emotion, with the majority integrating movement, sensation, and imagery. Approximately half the dancers were significantly more fluent on the MAT than the TAT, while the other half were significantly more fluent on the TAT than the MAT. Dancers who were more fluent on the MAT had a higher proportion of narratives that integrated movement and imagery compared with those more fluent on the TAT. The results were interpreted as consistent with differences observed in neurological studies of auditory and visual processing, educational studies of modality preference, and the cognitive style literature. The MAT provides an assessment tool to complement visually based performance tests in personality appraisal.

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