Physical fitness, body image, and locus of control in college women dancers and nondancers

This study assessed the correlations among measures of physical fitness, body image and locus of control in college freshman women dancers and nondancers. 39 students enrolled in courses in modern, ballet, and jazz dance, and 120 students enrolled in an introductory personal health course were administered the Hall Physical Fitness Test Profile, the Winstead and Cash 54-item short-form Body Self-relations Questionnaire (BSRQ), and the Adult Nowicki-Strickland Locus of Control Scale. Analysis showed dancers were more physically fit, scored more positively on the BSRQ physical fitness and health domains, and were more internal in their locus of control than the nondancers. There was no significant difference between dancers and nondancers on the BSRQ appearance domain. The significant positive correlation between BSRQ health and physical fitness among dancers was not observed among nondancers. The significant positive correlation for BSRQ appearance and health was noted for nondancers but not for dancers.     

Does a visual reference help ballet dancers turn more successfully?

In dance, performing multiple rotations around the longitudinal axis is a complex task that can only be accomplished proficiently by highly skilled dancers. However, this extraordinary skill has been investigated sparsely. The few studies to date have focused on the biomechanical analysis of ballet rotations. However, none have investigated the influence of visual information on continuous rotations, such as Fouettés or à la Seconde turns. Therefore, the present study aims to examine the role of a visual reference on balance control and the dance-specific head coordination – spotting – during turning performance of highly skilled ballet dancers. To this end, 12 participants performed 12 Fouettés (females) or à la Seconde turns (males) with and without a visual reference. As dependent measures, we analysed balance control (i.e., supporting foot path length), spotting duration, head isolation, and orientation (i.e., deviation of pelvis from the front). A linear mixed model was performed to analyse the influence of the visual conditions overall and over the continued performance of 12 consecutive rotations. The results revealed that overall, path length was significantly smaller in the condition without a visual reference. Spotting duration and head isolation did not differ significantly between conditions. Moreover, dancers oriented themselves better towards the front in the condition with a visual reference. When looking closer into the progression of performance over each consecutive rotation, highly skilled ballet dancers significantly decreased the supporting foot path length, and improved orientation when turning with a visual reference. On the other hand, without a visual reference, the dancers increased the spotting duration over time. Additionally, dancers increased head isolation towards the end of the turns in both conditions. These findings suggest that a visual reference helps ballet dancers sustain performance of consecutive rotations, mainly in optimising balance control and orientation. Thus, the more rotations a ballet dancer must turn, the more relevant a visual reference becomes for sustaining successful performance.     

Exploring female dancer’s emotions and coping experiences following deselection: An interpretative phenomenological analysis

ObjectivesThe purpose of this study was to (a) explore female dancers’ experiences of emotions following deselection and (b) examine the coping mechanisms used by dancers to overcome these emotions.MethodsTwo one-on-one semi-structured interviews were conducted with ten female dancers (aged 20–26, average career length M = 6 years) from dance forms including ballet, jazz, commercial, and contemporary. Data were collected and analysed using interpretative phenomenological analysis by Smith (2009).ResultsDancers experienced a rollercoaster of emotions including disappointment, confidence impacts, and embarrassment, as well as changes in their feelings towards dance. To deal with these emotions the dancers often avoided their emotions, used dance as therapy, and sought social support as coping mechanisms.ConclusionsDancers’ emotional experiences of deselection seem to negatively influence the social identities of the dancer and the levels of motivation they held towards dance. Findings highlighted the importance of coping with these emotions, and suggested future sport psychologists should apply interventions to assist with this and the regulation of emotions to prevent dancers from dropping out.     

Synchronous vs. non-synchronous imitation: Using dance to explore interpersonal coordination during observational learning

Observational learning can enhance the acquisition and performance quality of complex motor skills. While an extensive body of research has focused on the benefits of synchronous (i.e., concurrent physical practice) and non-synchronous (i.e., delayed physical practice) observational learning strategies, the question remains as to whether these approaches differentially influence performance outcomes. Accordingly, we investigate the differential outcomes of synchronous and non-synchronous observational training contexts using a novel dance sequence. Using multidimensional cross-recurrence quantification analysis, movement time-series were recorded for novice dancers who either synchronised with (n = 22) or observed and then imitated (n = 20) an expert dancer. Participants performed a 16-count choreographed dance sequence for 20 trials assisted by the expert, followed by one final, unassisted performance trial. Although end-state performance did not significantly differ between synchronous and non-synchronous learners, a significant decline in performance quality from imitation to independent replication was shown for synchronous learners. A non-significant positive trend in performance accuracy was shown for non-synchronous learners. For all participants, better imitative performance across training trials led to better end-state performance, but only for the accuracy (and not timing) of movement reproduction. Collectively, the results suggest that synchronous learners came to rely on a real-time mapping process between visual input from the expert and their own visual and proprioceptive intrinsic feedback, to the detriment of learning. Thus, the act of synchronising alone does not ensure an appropriate training context for advanced sequence learning.     

A dancer's well-being: The influence of the social psychological climate during adolescence

ObjectivesResearch suggests promoting task-involving dance climates is beneficial to well-being (Quested & Duda, 2009, 2010). Likewise, caring climates are integral to optimizing well-being (Fry et al., 2012). However, perceptions of a caring climate have not been examined in dance studios and little is known about the relationship between perceptions of a broader climate and aspects of psychological well-being. This study examined the relationship between perceptions of the social psychological climate (task-involving, ego-involving, and caring) and aspects of psychological well-being (positive and negative affect, body-esteem, and teacher and peer friendship quality) in adolescent dancers.DesignCross-sectional correlational design.MethodEighty-three female dancers (M age = 16.28 ± .93) self-reported well-being and perceptions of their studio's dance climate.ResultsPerceptions of task-involving and caring climates were related to better positive affect, body-esteem, and relationships with teachers and peers (r range: .33–.68). Two climate cluster profiles emerged: a Positive Climate (n = 57) with lower ego-involving and greater task-involving and caring climate perceptions and a Mixed Climate (n = 26) with higher ego-involving and lesser task-involving and caring climate perceptions. MANOVA revealed significant differences (V = 0.266, F (6, 76) = 4.59, p < .001) between the profiles on well-being. Discriminant function analysis showed dancers in the Positive Climate cluster reported greater body esteem, more friends, and less negative affect than dancers in the Mixed Climate cluster.ConclusionsPromoting a task-involving and caring climate and de-emphasizing an ego-involving climate is an effective strategy for promoting well-being in dancers.     

Daily fluctuations in the affective states of dancers: A cross-situational test of basic needs theory

ObjectivesThis study tested the generalizability of basic needs theory (BNT; Deci & Ryan, 2000) across situations in which dancers learn and perform within vocational dance. Specifically, we examined the inter-relationships between daily and typical perceptions of autonomy support, basic psychological need satisfaction, and changes in affective states, across dance situations that were divergent in their learning and evaluative potential (dance classes, rehearsals, and performances). Genre differences were also examined.DesignA one-month diary study examined the inter-relationships between typical and daily perceptions of autonomy support, basic psychological need satisfaction and positive and negative affect among dancers studying three distinct genres and in three situations (classes, rehearsals, performances).MethodFifty-five dancers completed a series of scales tapping the variables of interest. Abbreviated versions of the scales were completed before (affective states) and after (affective states, basic needs and autonomy support) dance classes, rehearsals and performances over four weeks. Analyzes tested the BNT sequence across the learning and performance situations. Interactions between typical and state experiences were tested. Cross-genre comparisons were also made.ResultsResults partially supported the BNT sequence across classes, rehearsals and performances. There were situational differences in the salience of each need as a predictor of affective states. When comparing genres, some differences were also found in perceived autonomy support, basic need satisfaction and affective states.ConclusionsFindings point to the importance of promoting autonomy supportive dance teaching to facilitate dancers' day-to-day experiences of well-being.     

Rapid motor adaptations to subliminal frequency shifts during syncopated rhythmic sensorimotor synchronization

The synchronization of rhythmic arm movements to a syncopated metronome cue was studied in a step-change design whereby small tempo shifts were inserted at fixed time points into the metronome frequency. The cueing sequence involved three stimulus types: (1) target contact in synchrony with the metronome beats, (2) syncopated target contact midway in time between audible beats, and (3) syncopated target contact following either a +2% or -2% change in stimulus frequency. Analysis of normalized and aggregated data revealed that (1) during the syncopation condition the response period showed a rapid adaptation to the frequency-incremented stimulus period, (2) response period was less variable during syncopated movement, (3) mean synchronization error and variability, calculated during syncopation relative to the mathematical midpoint of the stimulus cycle, were reduced during syncopated movements, and (4) synchronization error following the frequency increment showed trends to return linearly to pre-increment values which was fully achieved in the -2% change condition only. The results suggest that frequency entrainment to stimulus period was possible during syncopated movement with the response and stimulus onsets 180 degrees out of phase. Most remarkably, 70-80% of the adaptation of the response period to the new stimulus period was immediately attained during the second half cycle of the syncopated movement. Finally, a mathematical model, based on recursion, was introduced that accurately modeled actual data as a function of the previous stimulus and response intervals and a weighted response of period error and synchronization error, which showed dominance of frequency entrainment over phase entrainment during rhythmic synchronization.     

The Root of Dance Therapy: A Consideration of Movement,Dancing, and Verbalization vis-à-vis Dance/Movement Therapy

How and when does dance become therapy? And why is there a need for such intervention? The author, one of the great choreographer Balanchine's prima ballerinas and a professional choreographer in her own right as well, ranges far in seeking societal as well as individual causes for the creation of a new psychotherapy. She uses her passionate adherence to dance per se as a vantage point from which to view humanity's trials and tribulations. She also opens a door into the realm of professional, performing dancers who wanted to give their dancing to the world. Her ironic wit takes note of the nondancers who want to be dance therapists. She also draws a loving portrait of one of the originators of dance therapy in the United States, Marian Chace, who became her friend and mentor.     

Stereotype accuracy of ballet and modern dancers

The authors recorded preprofessional ballet and modern dancers' perceptions of the personality traits of each type of dancer and self-reports of their own standing, to test the accuracy of the group stereotypes. Participants accurately stereotyped ballet dancers as scoring higher than modern dancers on Fear of Negative Evaluation and Personal Need for Structure and accurately viewed the groups as equal on Fitness Esteem. Participants inaccurately stereotyped ballet dancers as lower on Body Esteem; the groups actually scored the same. Sensitivity correlations across traits indicated that dancers were accurate about the relative magnitudes of trait differences in the two types of dancers. A group of nondancers reported stereotypes that were usually in the right direction although of inaccurate magnitude, and nondancers were sensitive to the relative sizes of group differences across traits.     

Investigating the acute effect of an aerobic dance exercise program on neuro-cognitive function in the elderly

ObjectiveThe present study investigated the types of aerobic dance programs that positively impact cognition, such as executive function, in elderly people.DesignRandomized controlled trial.MethodThe study compared the effects of acute aerobic dance exercise on cognitive performance using two 40-min aerobic dance programs. Thirty-four elderly participants, aged 65–75 years, were randomly assigned into either free (N = 17) or combination (N = 17) style workout groups. The free style (FR) workout consisted of several patterns of movement, while the combination style (CB) workout consisted of similar patterns of movement to FR, but the patterns were joined to form a long choreographic routine. Both dance programs were controlled to be the same in exercise intensity, approximately 40% heart rate reserve. Reaction time and correct rates were measured using a task-switching reaction time test to evaluate executive cognitive performance immediately before and after the 40-min dance exercise.ResultsA two-way (dance program × pre-post dance exercise) repeated-measures analysis of variance for switch reaction time increase (switch cost) demonstrated a significant interaction (p = .006), showing that the switch cost in the CB group became smaller after the dance exercise than before (p = .009).ConclusionThe results suggest that the executive cognitive network was facilitated in a CB dance workout that has a dual-task nature and induces movement (task) interference with unexpected movement changes.     

Physical strength and gender identification from dance movements

Here we show that gender identification of male (but not female) heterosexual, right-handed dancers correlates with physical strength (measured via handgrip strength) after controlling for the effect of body-mass-index on strength. Using optical motion capture technology, we collected the dance movements of men and women for subsequent animations of uniform shape- and texture-standardized virtual characters (avatars). Short video clips (15 s) of these movements were presented to male and female adults and children, who were asked to identify the gender of the avatar. Gender identification performance was significantly higher than chance for both adults and children. Among adults (but not among children) the avatars of male dancers who were physically stronger were perceived as males significantly more often than were the avatars of male dancers who were physically weaker. There was no relationship between strength and gender identification for female dancers. We conclude that physical strength affects gender identification from human dance movements at least for male dancers, and that pre-pubertal children might not be sensitive to strength cues in dance movements.     

Men's perception of women's dance movements depends on mating context,but not men's sociosexual orientation

We investigated the influence of mating context and sociosexual orientation (interest in sex without emotional involvement) on men's perceptions of women's dance movements. One hundred men aged 18 to 33 (M = 23.5, SD = 3.5) years viewed brief videos of five “high attractive” and five “low attractive” female dancers (aged 18 to 22 years; M = 19.8, SD = 1.2) from a sample of 84 motion-captured dancers, and judged them on promiscuity and movement harmony. Additionally, half the participants judged the dancers on attractiveness as a long-term mate and the other half on attractiveness as a short-term mate. Men were more attracted to high attractive dancers than to low attractive dancers and judged them higher on attractiveness when choosing as a potential short-term mate. In addition, high attractive dancers were rated higher than low attractive dancers on promiscuity and movement harmony. Specifically, promiscuity judgments predicted men's short-term attractiveness ratings, whereas movement harmony judgments predicted long-term attractiveness ratings. Men's sociosexual orientation did not influence perceptions of female dance movements. Results are discussed with reference to trade-offs in time and energy expenditure on child rearing in men's mate preferences, corroborating the hypothesis that women's body movements inform on these qualities.     

Profiles of perfectionism,body-related concerns,and indicators of psychological health in vocational dance students: An investigation of the 2 × 2 model of perfectionism

ObjectivesThe study examined 1) profiles of multidimensional perfectionism; and 2) inter-relationships between these profiles and indices of body-related concerns and psychological health in the case of vocational dance students.DesignA cross-sectional design was employed.MethodsOne hundred and ninety-four vocational dance students (females = 169, males = 25; M age = 16.73, SD = 1.45) completed the Multidimensional Perfectionism Scale (Frost-MPS; Frost, Marten, Lahart, & Rosenblate, 1990), the Brief Measure of Positive and Negative Affect (Watson, Clark, & Tellegen, 1988), the Social Physique Anxiety (SPA) Scale (Martin, Rejeski, Leary, McAuley, & Bane, 1997), an assessment of physical symptoms (Emmons, 1992), and the emotional and physical exhaustion subscale from the Athlete Burnout Measure (Raedeke & Smith, 2001).ResultsUsing a two-stage cluster analysis procedure, the dancers were grouped according to their scores on three Frost-MPS subscales (personal standards, concern over mistakes, and doubts about action). Four different profiles emerged: (1) dancers with pure personal standards perfectionism; (2) dancers with non perfectionism; (3) dancers with pure evaluative concerns perfectionism; and (4) dancers with a mixed profile of perfectionism. The results suggested that these different profiles of perfectionism distinguished according to body-related concerns and indicators of psychological health.ConclusionsIn support of the 2 × 2 model of perfectionism (Gaudreau & Thompson, 2010), dancers with adaptive achievement tendencies demonstrated greater psychological adjustment compared to other three subtypes, whereas dancers with relatively greater concerns over mistakes and high doubts about actions, regardless of their personal standards, reported greater psychological distress.     

Unipodal performance and leg muscle mass in jumping skills among ballet dancers

We examined the vertical jump performance of each leg among 10 right-footed female ballet dancers with 1 yr. of international professional experience (quadrilles: Opera ballerinas). Their mean age was 17.5 yr. (SD=0.3). The maximal height of the unilateral jump was recorded, and muscle mass was evaluated by biphotonic absorptiometry method. Muscle mass and maximal jump height were similar for the two legs. A strong inverse relation was found between the muscle mass of the right leg (67%) and maximal jump height (r=-.81, p<.01) but not for the left leg. These results highlight a functional asymmetry and the effect of motor laterality in dance.     

Dancing faith: contemporary Christian dance in Norway

ABSTRACT

Although dance is a common religious expression, its place in the Christian tradition has been contested. In modern Protestant Norway, dance has mostly been considered irrelevant to church life or even sinful. In recent decades, however, dance has become increasingly common in Norwegian churches. The present analysis of empirical data on dance in Christian settings in contemporary Norway is based on participant observation and interviews. While younger dancers (born after 1990) consider it natural to dance in church, and are usually welcome to do so, older participants have met significant resistance. When dancing, dancers find personal meaning (wellbeing, processing emotions and life events), social meaning (communication, belonging), and religious meaning (contact with God, prayer, growth). Dance emerges as a part of lived religion that clearly highlights how bodies matter, and how spiritualities are gendered, in this contribution to understanding the embodied dimensions of religion.     

Lower limb kinematic variability in dancers performing drop landings onto floor surfaces with varied mechanical properties

Elite dancers perform highly skilled and consistent movements. These movements require effective regulation of the intrinsic and extrinsic forces acting within and on the body. Customized, compliant floors typically used in dance are assumed to enhance dance performance and reduce injury risk by dampening ground reaction forces during tasks such as landings. As floor compliance can affect the extrinsic forces applied to the body, secondary effects of floor properties may be observed in the movement consistency or kinematic variability exhibited during dance performance. The aim of this study was to investigate the effects of floor mechanical properties on lower extremity kinematic variability in dancers performing landing tasks. A vector coding technique was used to analyze sagittal plane knee and ankle joint kinematic variability, in a cohort of 12 pre-professional dancers, through discrete phases of drop landings from a height of 0.2 m. No effect on kinematic variability was observed between floors, indicating that dancers could accommodate the changing extrinsic floor conditions. Future research may consider repeat analysis under more dynamic task constraints with a less experienced cohort. However, knee/ankle joint kinematic variability was observed to increase late in the landing phase which was predominantly comprised of knee flexion coupled with the terminal range of ankle dorsiflexion. These findings may be the result of greater neural input late in the landing phase as opposed to the suggested passive mechanical interaction of the foot and ankle complex at initial contact with a floor. Analysis of joint coordination in discrete movement phases may be of benefit in identifying intrinsic sources of variability in dynamic tasks that involve multiple movement phases.     

How Do Creative Experts Practice New Skills? Exploratory Practice in Breakdancers

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of “deliberate practice” (Ericsson, Krampe, & Tesch‐Römer, 1993, Psychological Review, 100, 363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers’ practice processes as they developed proficiency in new, specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers’ stated purposes for practicing. The results showed that dancers’ practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development.     

When two limbs are weaker than one: Sensorimotor syncopation with alternating hands

This study addresses the demands of alternating bimanual syncopation, a coordination mode in which the two hands move in alternation while tapping in antiphase with a metronomic tone sequence. Musically trained participants were required to engage in alternating bimanual syncopation and five other coordination modes: unimanual syncopation where taps are made (with the left or right hand) after every tone; unimanual syncopation where taps are made after every other tone; bimanual synchronization with alternating hands; unimanual synchronized tapping with every tone; and unimanual tapping with every other tone. Variability in tap timing was greatest overall for alternating bimanual syncopation, indicating that it is the most difficult. This appears to be due to instability arising from the simultaneous presence of two levels of antiphase coordination (one between the pacing sequence and the hands, the other between the two hands) rather than factors relating to movement frequency or dexterity limits of the nonpreferred hand.     

Achievement goal theory and disordered eating: Relationships of disordered eating with goal orientations and motivational climate in female gymnasts and dancers

ObjectivesTo examine the relationships between disordered eating in female gymnasts and dancers and their perspective towards achievement in sport and dance, respectively. With an emphasis on outperforming others (ego involvement), more disordered eating was expected than when personal progress (task involvement) was emphasized.MethodsNinety-four aesthetic performers from gymnastics (n = 59) and dance (n = 35) completed questionnaires measuring ego and task involvement (individual orientation and motivational climate), dieting, self-esteem, perfectionism and weight-related peer and coach pressure.ResultsPartial correlations indicated that a stronger ego orientation was related to more dieting, greater perfectionism, more weight-related peer pressure, and lower self-esteem. Similar relationships were found for performance climate. Mastery climate on the other hand was negatively related to dieting, and coach and peer pressure, suggesting that when performers perceived the motivational climate as mastery, less frequent dieting was reported and less weight-related coach and peer pressure was perceived. No relationships were found between task orientation and disordered eating. Most importantly, regression analysis showed that after controlling for BMI, both ego orientation and mastery climate made a unique significant contribution to explaining dieting variance.ConclusionsGoal achievement theory is an important framework for explaining disordered eating in female aesthetic performers. Both ego orientation and mastery climate play a role in dieting of gymnasts and dancers. Aesthetic performers who are strongly ego-oriented tend to display more disordered eating correlates. Furthermore, it seems that to protect against disordered eating, coaches and teachers should create a mastery climate and target self-improvement and self-referenced comparisons over interpersonal competitiveness.