Dancers’ Perceptions of Accessibility and Quality of the Relationship with Healthcare Professionals in Quebec

OBJECTIVE: To understand dancers’ perception of accessibility to care and quality of the relationship with healthcare practitioners in Quebec; to identify the key elements of an optimal dancer–physician relationship; and to propose recommendations for improvement. METHODS: An online questionnaire consisting of multiple choice, “yes/no,” and short answer questions was sent to professional dance organizations, companies, agencies, and schools in Quebec, Canada. Information regarding the dance artists’ sociodemographics, dance background, dance-related injuries, and access to a primary care physician were collected. Experiences and expectations regarding the dancer–physician relationship were surveyed. One-way ANOVA analyses and Pearson correlations were performed to assess differences of perception between dancers’ demographic characteristics and associations between the variables. RESULTS: Out of 161 participants, 144 met inclusion criteria, consisting of largely French-speaking females, North American or European decent, self-employed contemporary dancers with an average age of 33.13 ± 10.81 yrs. Dance artists sought medical care from osteopaths (47.9%) and physiotherapists (36.1%) more frequently than from physicians (8.3%). Fully employed dancers had more favorable perceptions of the dancer–physician relationship compared to self-employed dancers and those who had mixed streams of income. The perception of most participants was that physicians do not comprehend the unique dance-associated impacts on health (81.8%). The most important aspect affecting perception of the relationship with the physician was diagnostic acumen (41.3%). Most participants (79.0%) selected “works with other health professionals [...] and gives expert advice” as an important expectation from physicians. CONCLUSION: This research is the first investigation of the dancer–physician relationship in Quebec. It reveals a desire amongst the dance artist community to improve the dancer–physician relationship and the overall quality of their unique healthcare requirements.

How Does Pedagogy Compare between Professional Dance Education and Non-Professional Dance Education

Nowadays, dance education has been popularised at different educational levels, so dance teachers have the opportunity to teach students of different ages and backgrounds. However, this created a problem for me as, although I was teaching different people, I did not alter my teaching style. The pedagogy which aimed to foster professional dancers had no effect to non-professional students. In order to combine my experiences and resolve my problem, this paper concentrates on the difference between school-based and vocational dance pedagogy.

Pain catastrophizing in Flamenco dance students at professional dance conservatories

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.

“Lindy Hopper’s Delight”

As jazz music became popular entertainment nationwide, many dances circulated from social venues to professional floor shows and ballroom stages and then back again to amateur social practice. As musicians built careers playing for social dancers touring with professional dance acts, they learned to structure their performances collaboratively by listening visually to dancers’ bodies. Jazz musicians, and especially drummers, learned to accentuate dancers’ movements and engage them in playful “catching” games while also providing the stable rhythmic framework that encouraged dancers to participate kinesthetically with the music. This chapter explicates the dynamics of such relationships through the career of drummer Chick Webb, whose reputation was built on the strength of his close connection with lindy hop dancers during his tenure as house bandleader at Harlem’s Savoy Ballroom throughout the 1930s. Specifically, it explores his close connections with Whitey’s Lindy Hoppers, a group of talented young dancers who became among the first to adapt this social partnered dance for the professional stage and, ultimately, for Hollywood films. Webb played regularly for elite lindy hop dancers in films, in touring stage shows, for amateur dance contests, and nightly at the Savoy, and his evolving relationship with them throughout the 1930s reveals the fluid boundaries between labor and play through which musicians and dancers co-creatively shaped jazz’s development.

“Ballet” is a Dirty Word

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.

APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

Estrategias de afrontamiento psicológico de las compañías de danza españolas (Psychological coping strategies of Spanish dance companies)

La danza es la actividad física artística por excelencia y ejerce una enorme tensión psicológica para los que lo practican. Son casi inexistentes los estudios que se interesan por conocer qué particularidades del entorno de la danza son las adecuadas para que los bailarines se desarrollen de forma óptima. Este estudio analiza las diferencias que existen en las estrategias de afrontamiento psicológico entre los bailarines de Danza Española y Flamenco de las mejores compañías españolas, siendo el único en conseguir este tipo de muestra. Para ello participaron un total de 14 Compañías Profesionales de danza con gran prestigio nacional. A todos ellos se les aplicó el Cuestionario de Estrategias de Afrontamiento (ACSI-28) de Graupera, Ruiz, García y Smith (2011). Los resultados mostraron diferencias significativas en todos los factores del cuestionario, siendo la Compañía de Sara Baras la que obtuvo los mejores resultados a excepción del rendimiento bajo presión. Por lo tanto, este estudio demuestra como es importante proporcionar a los bailarines estrategias eficientes con las que lograr un mayor rendimiento y disfrute de su disciplina. Abstract. Dancing is the artistic physical activity par excellence. This discipline exerts a psychological strain for those who practice it, but there is scarce evidence on what environmental characteristics are adequate for dancers to evolve in optimum conditions. This study analyses the existing differences in the psychological coping strategies between Spanish Dance and Flamenco dancers from the best Spanish companies. This research is the first in achieving this kind of sample. A total of 14 highly prestigious professional dance companies participated in this study. All participants were asked to complete the Questionnaire of Coping Strategies (ASCI-28) created by Graupera, Ruiz, García and Smith (2011). The results showed significant differences in all the surveyed factors, being Sara Baras Company the one obtaining the best values in all variables, except for the performance under pressure. Therefore, this study shows how important effective strategies are for dancers to meet a higher performance and enjoyment of their discipline.