Dance becomes therapeutic in the mid to late 20th century

The convergence of dance art and therapeutic culture engendered the development of dance-movement therapy in the mid to late 20th century internationally. This article traces the sociopolitical, institutional, and aesthetic influences that coalesced in this process by contrasting histories of dance-movement therapy in Hungary and in the United States. The professionalization dance-movement therapy, through which it established its own theory, practice, and training institutions, occurred first in the United States in the late 1940s. Modern dancers in the United States began to conceptualize their activity as therapeutic, and the dancer as a (secular) healer, a therapist. The influx of therapeutic concepts into the field of dance is viewed as an example of therapeutic discourse permeating various areas of life in the 20th century. The Hungarian case provides a contrasting history of therapeutic culture, one that deviates from the predominant view of the phenomenon as a product of the global spread of Western modernization and the growth of free-market capitalism. Hungarian movement and dance therapy indeed developed independently from its American predecessor. Its history is intimately tied to the sociopolitical context of state-socialist period, particularly to the institutionalization of psychotherapy in public hospitals, and to the adaptation of Western group psychotherapies within the informal setting of the “second public sphere.” The legacy of Michael Balint and the British object-relations school provided its theoretical framework. Its methodology was rooted in postmodern dance. The methodological differences between American dance-movement therapy and the Hungarian method reflects the shift in dance aesthetics that occurred internationally between 1940 and 1980s.     

Sole Expression: A Trauma-Informed Dance Intervention

The primary treatment for individuals who have encountered violence and/or abuse is trauma-focused cognitive and behavioral modalities. However, these therapeutic approaches are not always effective for youth who have encountered this type of trauma. Trauma is often communicated through the body via physical ailments, particularly when words are insufficient to capture an individual’s experience or when adequate processing of the trauma is not possible due to profound stress. Dance offers an alternative form of therapy that can address “where” the trauma is held, relieve tension, and restore a sense of ownership with one’s body and mind. In this article, we discuss the development of Sole Expression, a trauma-informed hip-hop dance program for youth who have experienced abuse and/or exposure to violence. We provide an overview of establishing the team, securing funding, trauma training, program curriculum, and the related research. We conclude with recommendations for best practices that benefit both practitioners and the young people served.     

Specificity of Postural Control: Comparing Expert and Intermediate Dancers

The expert–novice approach is inappropriate for studying postural control in sport and dance when novices are completely unable to perform relevant postural tasks and experts cannot demonstrate specific skills on everyday postural tasks. We tested expertise-specific differences on 6 static everyday and 5 dynamic dance-like postural tasks of varying difficulty in 13 professional and 12 intermediate nonprofessional dancers. Results showed a clear expert advantage on sway area for dance-like postural tasks, but not for static everyday tasks. This effect was also found for the control parameter of root mean square (RMS) velocity and partly for RMS amplitude of the difference signal between CoP and CoG line location. Results indicate that the expert advantage is task-specific and deliver new insights into the specificity of experts' postural performance.     

Whole-body angular momentum in a complex dance sequence: Differences across skill levels

Due to the redundant degrees of freedom (DOF) and nonlinearity of reactional kinetic elements within the human motor apparatus, controlling the complex dynamics of the human musculoskeletal system presents considerable difficulties. Based on this challenge, Bernstein (1967) viewed skill development as the process whereby the central nervous system (CNS) gains mastery of kinematic DOF and kinetic reactional elements (passive forces, moments etc.), with the highest level of skill characterised by optimal exploitation of reactional elements in the achievement of movement goals. A previous kinematic investigation into coordination differences in a complex multidirectional dance sequence demonstrated that general unfreezing of kinematic DOF occurred as dance skill progressed (Chang et al., submitted for publication). To gain insight into the role of angular reactional elements in skill, the present kinetic study investigated angular momentum and associated variables across three skill levels (beginners, intermediates, experts) within this same complex dance sequence. The results showed that the angular momenta of segments and accompanying angular reactional elements generally increased with skill level. More specifically, the findings suggested that while improvements in movement economy from cancellation of angular momentum between body segments occur early in skill progression, later in skill progression, experts utilise increased whole-body angular momentum. Although this is energetically expensive, it may enhance the aesthetic value of dance movements, and/or have mechanical advantages. Overall, the findings here provide support for Bernstein’s (1967) model of skill development. Future research should quantify the relations between energy expenditure, key biomechanical variables that reflect skill and dance aesthetics as perceived by audiences.     

Korean dance performance influences on prospective tourist cultural products consumption and behaviour intention

We examined to what extent viewing the Korean dance performance by Beyond The Scene (BTS) at the 2018 Melon Music Awards influenced global viewers’ purchase of Korean cultural products and tourism behaviour intention. We surveyed 230 prospective tourists from the USA (black adult females = 50%; mean age = 34.9, SD = 1.116) in terms of their preference for Korean cultural products and intention to visit Korea. We conducted structural equation modelling to map the paths among cultural product preferences and tourism intentions. We found that viewing the Korean dance performance by BTS not only increased the purchase of Korean cultural products among participants, but also their tourism behaviour intention. We also found that the purchase of Korean cultural products by participants was associated with increased Korea tourism behaviour intention. We conclude from these data that viewing cultural performances by would-be tourists and their purchase preferences are important for promoting tourism through cultural industries.     

Responding to the embodiment of distress in individuals defined as obese: Implications for research

This article examines the evidence for a relationship between body image distress (BID) and obesity, and between emotional eating and obesity. The need is highlighted for treatment programmes that are responsive to these complex issues and combine this with diet and physical activity. Weight loss programmes so far have had a poor success rate. They have often sought to capitalise on BID as a motivation to lose weight, but there is some evidence that such an emphasis may be self‐defeating, as seriously overweight individuals may eat either to self‐punish or self‐comfort and may also avoid social situations that could support healthy lifestyles. The case is made for new research that addresses the highlighted psychological aspects of obesity. There is a need for both a randomised controlled trial (RCT) that will enable a statistical inference of causality relating to new treatments and qualitative, interview‐based research to elicit information regarding individual responses to treatment. Dance Movement Therapy (DMT) is proposed as one new treatment option for those individuals whose obesity is linked to emotional eating. Theoretical support and empirical research evidence for DMT are explored. However, since this treatment has not so far been applied with obese individuals, a pilot study is proposed prior to a RCT.     

Religiousness as a Protective Factor for Substance Use in Dance Sport

Although religiousness is found to be a significant protective factor in substance use, there is an evidential lack of studies of such in athletes. The aim of the study was to identify the predictive value of the religiousness and some social, educational, and sport factors on substance use in 43 sport dancers. An originally developed questionnaire for studying substance use and precipitation factors was applied. The Chi-square showed male dancers as more religious than females. Using the Spearman’s correlation, religiousness was found to be a significant protective factor in cigarette smoking, sport nutritional supplementation, and the likelihood of doping. Data were interpreted emphasizing the previous findings from the literature.     

Sport Skill–Specific Expertise Biases Sensory Integration for Spatial Referencing and Postural Control

The authors asked how sport expertise modulates visual field dependence and sensory reweighting for controlling posture. Experienced soccer athletes, ballet dancers, and nonathletes performed (a) a Rod and Frame test and (b) a 100-s bipedal stance task during which vision and proprioception were successively or concurrently disrupted in 20-s blocks. Postural adaptation was assessed in the mean center of pressure displacement, root mean square of center of pressure velocity and ankle muscles integrated electromyography activity. Soccer athletes were more field dependent than were nonathletes. During standing, dancers were more destabilized by vibration and required more time to reweigh sensory information compared with the other 2 groups. These findings reveal a sport skill–specific bias in the reweighing of sensory inputs for spatial orientation and postural control.     

Effects of a 6-week aerobic dance intervention on body image and physical self-perceptions in adolescent girls

Research examining the impact of physical activity on body image dissatisfaction and physical self-perceptions has been both limited and equivocal. The current research investigated the effects of 6-week aerobic dance on these variables with 50 British schoolgirls aged 13–14 years. A cross-over design was used with two equivalent groups taught normal physical education and aerobic dance in a different order. The Body Attitude Questionnaire (BAQ) and Children and Youth Physical Self-Perception Profile (CY-PSPP) were administered as pre, mid and post-test to each participant in each group before the first intervention, at the change over and after 12 weeks. The results of this study revealed that participation in 6 weeks of aerobic dance significantly reduced body image dissatisfaction (Attractiveness, Feeling Fat, Salience and Strength and Fitness) and enhanced physical self-perceptions (Body Attractiveness and Physical Self-Worth), although these improvements were not sustained. The implications and future research directions are discussed.