Belly Dance as an Embodying Activity?: A Test of the Embodiment Model of Positive Body Image

The study aimed to test Menzel and Levine’s (2011) embodiment theory of positive body image in the context of belly dance. Participants were 213 women from Adelaide, South Australia. They comprised 112 belly dancers recruited from two belly dance schools, and a sample of 101 college women who had never participated in belly dance. Participants completed questionnaire measures of positive body image, body dissatisfaction, self-objectification, and enjoyment of sexualization. It was found that belly dancers scored higher on positive body image and lower on body dissatisfaction and self-objectification than the college students. There was, however, no difference between groups in enjoyment of sexualization. Importantly, in support of the embodiment model, the effect of belly dance group on positive body image was mediated by reduced self-objectification. It was concluded that belly dance represents an embodying activity, one associated with a number of benefits for its practioners, including positive body image.     

A comparison of actual-ideal weight discrepancy, body appreciation, and media influence between street-dancers and non-dancers

Previous work on body image has tended to treat dancers as a relatively homogenous group, despite the existence of different dance styles and genres. In the current study, we examined body image among individuals involved in street-dancing (genres that typically evolved outside formal settings and are often improvisational in nature) and an age-matched comparison of non-dancers. A total of 83 street-dancers and 84 non-dancers completed scales measuring their actual-ideal weight discrepancy, body appreciation, sociocultural attitudes toward appearance, and demographics. Controlling for participant body mass index (BMI), results showed no significant between-group difference in actual-ideal weight discrepancy, although street-dancers had significantly higher body appreciation than non-dancers. In addition, media influences were implicated in body image concepts for both groups, although internalisation of athletic ideals was more important for street-dancers. These results are discussed in relation to the extant research on body image among dancers.     

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.     

Mirror,mirror on the wall,who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers’ physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers’ physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers’ expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.     

The effects of sport dance on brain connectivity and body intelligence

Dancing is characterised by physical movement in accordance with rhythm perception. Twelve sport dancers and 12 age- and sex-matched young adults who had no dance experience (control group) were recruited. Body intelligence and brain activity were assessed in both groups using the Body Intelligence Scale (BIS) and resting state functional magnetic resonance imaging. BIS scores of dancers were higher than those of control subjects. The dancer group showed increased functional connectivity from the precentral gyrus to the right cingulate gyrus, right occipital fusiform gyrus, right inferior frontal gyrus, right medial frontal gyrus, left inferior frontal gyrus, right parietal postcentral gyrus, and right frontal lobe compared with control subjects. Sport dancers had increased body intelligence sensitivity compared with matched controls. In addition, the characteristics of dance, including physical movement in accordance with rhythm perception, might be associated with increased brain activity in the somatosensory and rhythm perception networks.     

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.     

Men’s personality and women’s perception of their dance quality

Recent research shows that women judge men who show variability in their body movements as good dancers. Here we report data on women’s perception of dance quality in 48 men, aged 18-42 years, and relate them to men’s self-reported personality traits. Male participants completed a standardised personality inventory (the NEO-FFI) and then danced to a basic rhythm while their body movements were tracked with optical 3D motion-capture technology. Dance movements were applied to a featureless virtual humanoid character and judged on their dance quality by 53 women, aged 17-57 years, who viewed 15 s of the rendered video clips of each male dancer. Conscientiousness and social agreeableness was correlated positively and significantly with women’s perception of men’s dance quality. Extraversion showed a positive correlation and neuroticism and openness were associated negatively with women’s perception of men’s dance quality, though these correlations failed to reach significance. We suggest that male dance movements may convey aspects of their personality, though possible consequences in terms of female mate preferences and selection remain to be explored.     

Can dancers suppress the haptically mediated interpersonal entrainment during rhythmic sway?

Interpersonal entrainment emerges spontaneously when partners performing rhythmic movements together exchange sensory feedback about the other's movements. In this study, we asked whether couples of expert dancers, non-dancers and mixed couples can suppress the spontaneous haptically mediated inter-personal entrainment when their rhythmic sway is paced by differing metronome tempos. Fifty-four young participants formed three types of couples: nine dancer couples, consisting of individuals with at least eight years systematic practice in traditional Greek dance; nine non-dancer couples, consisting of individuals with no prior experience in dance and nine mixed couples, consisting of one dancer and one novice partner. Partners swayed rhythmically for 60 s, at different pacing frequencies (one at 0.25 Hz and the other at 0.35 Hz) under three haptic contact conditions: no contact between them; light fingertip touch established in the 2nd trial segment (30 s); and light fingertip touch released in the 2nd trial segment (30 s). Spectral analysis of the antero-posterior center of pressure displacement revealed that light touch increased the deviation of the dominant from the target (pacing) sway frequency, decreased the proportion of the signal's power at the target frequency and increased the coherence between the partners' sway signals (inter-personal coherence). These effects were specific to the mixed group whereas touch interference was weaker in non-dancers and absent in dancers. In addition, the coherence between the trial segments (intra-personal coherence) significantly decreased with touch only for the non-dancer while it remained unchanged for the dancer partner of the mixed group suggesting that the dancer was leading the non-dancer partner. It is concluded that systematic practice with traditional dance can modulate the spontaneous tendency towards haptically mediated interpersonal entrainment.     

Neuroaesthetics and beyond: new horizons in applying the science of the brain to the art of dance

Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities.     

Static images with different induced intensities of human body movements affect subjective time

Modulation of subjective time was examined using static images eliciting perceptions of different intensities of body movement. Undergraduate students were exposed to photographs of dancer sculptures in different dance positions for 36 sec. and asked to estimate the exposure duration. Lower movement intensities were related to shorter estimated durations. Mean durations for images of unmoving dancers were underestimated and for dancers taking a ballet step were overestimated. Temporal estimations were also related to the order of presentation of the stimuli, which suggested that subjective time estimations were influenced by the experimental context. Subjective time is related not only to the visual perception of moving images, but also of elicited perceptions of movement in static images, suggesting an embodiment effect on subjective time estimation.     

现代舞训练与弦乐训练对脑灰质体积的差异影响

目前舞蹈与音乐两种训练对脑灰质结构影响的差异尚不明确。本研究利用基于体素的形态学分析方法(voxel-based morphometry, VBM), 比较现代舞训练被试、弦乐训练被试与对照组被试的脑结构磁共振数据。结果表明现代舞训练组在涉及感觉运动控制的皮层、皮层下结构及小脑多个区域出现灰质体积的显著增加与减少; 弦乐训练组则在与音乐训练直接相关的听-动-读皮层出现灰质体积的显著增加。这一发现提示现代舞训练可能系统性地影响广泛脑区的灰质结构, 弦乐训练可能局部地改变了具体功能脑区的灰质结构, 两种训练对脑灰质结构的影响模式存在差异。     

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.     

Body appreciation in adult women: Relationships with age and body satisfaction

The major aim of the present study was to investigate the effect of age on positive body image (operationalized as body appreciation) across the female lifespan. A secondary aim was to examine the effect of age on the relationship between positive body image and body satisfaction. Participants were 158 women aged between 18 and 75 years who completed questionnaire measures of body appreciation and body dissatisfaction–satisfaction. A significant positive linear relationship was found between age and body appreciation; that is, older women had higher levels of body appreciation than their younger counterparts. Although body appreciation was positively correlated with body dissatisfaction–satisfaction across all age groups, the association was weaker for older women. The results contribute to a richer picture of women's body image across the lifespan, as well as confirming positive body image as something beyond the mere absence of body dissatisfaction.     

Positive body image is positively associated with hedonic (emotional) and eudaimonic (psychological and social) well-being in British adults

Studies examining associations between positive body image and well-being have used a limited array of measures of each construct. To rectify this, we asked an online sample of 1148 U.K. adults to complete a range of measures of positive body image (body appreciation, body image flexibility, body pride, body acceptance from others) and a multi-dimensional measure of well-being (emotional, psychological, and social). Results showed that, once the effects of age and body mass index (BMI) had been accounted for, body appreciation significantly predicted all dimensions of well-being. Other positive body image measures emerged as significant predictors, but patterns of associations were mixed across sex and well-being dimension. Additional analyses showed that women had significantly lower scores than men on most body image measures, and that BMI was negatively associated with all body image measures. These results have implications for the promotion of well-being, which we discuss.     

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.     

Factor structure of the Body Appreciation Scale among Indonesian women and men: Further evidence of a two-factor solution in a non-Western population

While the Body Appreciation Scale (BAS) reduces to a single dimension among Western samples, a two-factor solution has been found among non-Western populations. The present study examined the factor structure of the BAS among Indonesian women and men, a previously neglected population. A total of 262 women and 278 men in Jakarta, Indonesia, completed an Indonesian version of the BAS. Factor analyses revealed the existence of two factors that were only moderately correlated: a dominant 10-item factor representing general body appreciation and a second 3-item factor representing adaptive body image investment. However, only general body appreciation met criteria for acceptable internal consistency; thus, additional analyses were conducted with this factor alone. There were no significant ethnic differences in general body appreciation, but men had significantly higher body appreciation than women. Suggestions for future research, particularly in terms of uncovering culture-specific factors that contribute to positive body image, are discussed.     

Exotic Dance Research: A Review of the Literature from 1970 to 2008

This article presents the process and findings of a review of the empirical research literature on exotic dance/dancers in the United States and Canada from 1970 to 2008. We present research methods represented in this sample, as well as the main purposes of these studies, the deployment of theory in exotic dance research, and the visibility of researcher subjectivities. Over time researchers have gradually moved from micro-level analysis with singular explanations toward multi-dimensional and contextual understandings of exotic dance/dancers. Contemporary researchers are less grounded in deviance, pathology, or victimization. We conclude with a discussion and a series of recommendations for future research.     

Moderating Effect of Self-Esteem on the Relationship between Perfectionism and Creative Thinking among Collegiate Dancers

Social cognitive theory has supported the view that perfectionism can be a hindrance to creativity, and also considers self-esteem to have a moderating effect on their relationship. Therefore, the purpose of this study was to examine the moderating effect of self-esteem on the relationship between perfectionism and creativity in college dancers. Two hundred and sixty-six college dance students completed the Multidimensional Perfectionism Scale of Frost, the Rosenberg Self-Esteem Scale, and the New Test of Creative Thinking. The moderating effect was tested with a four-step moderated hierarchical regression analysis. Bivariate analyses showed that creative thinking was, as a dependent variable, significantly related to multidimensional perfectionism and self-esteem in college dancers. Additionally, the hierarchical regression analysis revealed that self-esteem moderated the association between multidimensional perfectionism and creative thinking after controlling for selected socio-demographic characteristics. It can thus be concluded that self-esteem might regulate the positive effect of multidimensional perfectionism on creative thinking. Professional dance instructors who are working with perfectionist dancers should, therefore, seek ways to improve dancers’ self-esteem as one of the strategies to improve their creative thinking.     

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.     

The Self-Concept as a Side Bet: How Stripping Enhances the Self-Views of Men who Dance for Women

Because stripping is considered a form of “dirty work,” it has the capacity to negatively influence exotic dancers’ self-definitions. While some researchers have looked at the ways in which stripping impacts the self-concepts of women who dance for men and men who dance for men, there have been very few studies of the self-views of men who dance for women. Using qualitative methods, I examine how stripping shapes the self-concepts of male strippers. Overall, I found that the positive effect on dancers’ self-definitions was an important side bet that kept them committed to the occupation.