Let's dance – feel better! Mood changes following dancing in different situations

Abstract

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood.     

Effects of Aerobic Dance on Physical Work Capacity,Cardiovascular Function and Body Composition of Middle-Aged Women

Abstract

The purpose of this study was to determine the effects of aerobic dance on physical work capacity, cardiovascular function and body composition of young middle-aged women. Maximal oxygen uptake ([Vdot]O ₂ max), heart rate during submaximal treadmill walking, resting heart rate and blood pressure, and body composition were determined before and after a 10-week aerobic dance conditioning program in 28 women (18 experimental and 10 control), aged 25 to 44 years. During the 10-week treatment period, the experimental subjects participated in 45 min of aerobic dance at 70–85% of the heart rate reserve, 3 days · week ^–1,whereas the control group did not participate in any regular strenuous physical activity. Changes in the experimental group were significantly greater than in the control group for [Vdot]O ₂ max expressed in 1 · min ^–1 or relative to body weight or fat-free weight (5 to 7% vs. – 5 to – 8%), time on a continuous grade-incremented walking treadmill test (16% vs. 1%), heart rate during submaximal stages of the treadmill test (– 9% vs. 1%) and resting heart rate (– 8% vs. 2%). Resting systolic and diastolic blood pressure; body weight; percent fat, fat weight, and fat-free weight estimated using underwater weighing; sum of seven skinfolds; and sum of seven circumferences did not change significantly in either group. It was concluded that aerobic dance performed 30–45 min, 3 days · week ^–1 for 10 weeks significantly improves physical work capacity and cardiovascular function, but without dietary control, does not alter body composition in sedentary middle-aged women.     

Variations in observation frequency in a self-controlled learning environment do not modulate learning of a pirouette en dehors

ABSTRACT

Little is known about the optimal frequency to observe a skilled model, yet this is potentially an important learning variable, and thus was examined in the context of self-controlled learning conditions. Participants chose the schedule in which they interspersed both physical and observational trials of a dance skill. The participants’ choice, however, was governed by an imposed observation frequency (OF) of either 25%, 50%, or 75%. Participants were in one of these OF groups, in addition to another group in which no constraint was put on OF. This last group was predicted to choose an OF of 10%, however, it was determined that they chose a 50% schedule. Consequently, a 10% OF group was added to the experimental protocol. All participants completed a pre-test, followed by an acquisition phase, and then a 24-hr post-test. Physical performance (F(1, 55) = 143.77, p< .001) and cognitive representation (F(1, 55) = 77.68, p< .001) scores both revealed a significant main effect of Test; scores at post-test were higher than those at pre-test. Thus, learning was demonstrated for both measures. No main effect of Group emerged. Consequently, OF varying from 10% to 75%, under self-controlled conditions, were equally beneficial for learning the dance skill.     

A Comparison of Video and Text-Based Questionnaire Methods for Testing Older Adults

Abstract

The purpose of this study was to initiate systematic research on dance as a creative and expressive art form. Although the process of expression through movement has concerned dancers and dance teachers for some time, there have been few attempts at a systematic analysis of either the process or the product of dance expression. Dance has generally been considered immeasurable because of its peculiarities as an art form.

While there is little apparent value in quantitative measurement of dance, qualitative measurement appears to have considerable value. It can sharpen the focus on principles of dance composition, contribute toward increased teaching effectiveness, enlarge dance's expressive range, and increase its ability to communicate.

Specifically, this study attempted to determine how effectively modern dance communicates by using a systematic analysis of individual dance compositions. Samples of dance studies with specific intentions were choreographed and filmed. The dances were then viewed and evaluated by a selected and trained jury on (a) their ability to communicate emotional and physical qualities, (b) the type and structure of their composition, and (c) their choreographic and artistic effectiveness.

Results of this study showed that least agreement was reached by the jurors in rating the dances according to structural strength and in identifying their composition type. Realistic vehicles of expression were more easily recognized than were abstract ones. There was substantial agreement on the emotion communicated by each composition. Presence of all the traditional dance elements appears unnecessary for effective communication.     

Expert Baseball Batters Have Greater Sensitivity in Making Swing Decisions

Abstract

The aims of this study were to describe the prevalence of dance participation in U.S. adolescents and to estimate the contribution of dance to total moderate-to-vigorous physical activity (MVPA). The sample was composed of 3,598 adolescents from the 2003–06 National Health and Nutrition Examination Survey. Youth reported frequency and duration of physical activities performed in the past month. Dance participation prevalence was calculated; among those who reported dance, its contribution to total MVPA was estimated. The prevalence of dance was much higher in girls (34.8%) than boys (8.4%). Girls had a greater contribution of dance to total MVPA (39.3%) than boys (23.0%). Dance is a prevalent form of physical activity among girls, and it accounts for a substantial fraction of their total MVPA.     

Development of an Objective Measure of Rhythmic Motor Response

Abstract

This study was undertaken to develop a test that would objectively measure the rhythmic element in dance, and one that could be used by teachers of dance. The resulting Test of Rhythmic Motor Response was administered to 92 college women enrolled in dance classes. Test reliability coefficients ranged from .90 to .91; validity coefficients with teachers' ratings, .49 to .51. An investigation of the relationship between this test and the rhythm imagery section of the Gordon Measures of Musical Perception yielded correlation coefficients ranging from .52 to .69. These findings are all statistically significant at the .01 level. The Test of Rhythmic Motor Response appears to have a substantial relationship with the rhythmic element in dance.     

Validity and Generalizability of Social Dance Performance Ratings

Abstract

The purpose of three related studies was to develop a social dance instrument that had logical validity and generalizable performance ratings. Three social dance experts critiqued the instrument and concluded the items described the characteristics of good social dance performance. Twelve couples from a social dance class were videotaped for 5 min while performing the fox trot. Their performances were evaluated by a different set of coders in each of the three generalizability (G-) studies conducted (Subjects × Coders × Days ANOVA design). Dance performances were held constant across coding occasions so the day facet represents degree of consistency in coding, not stability of subjects' performances. Decision (D-) studies were also conducted for various measurement conditions. Results of the G-studies indicated that coders with several years of experience teaching and evaluating dance had less systematic coder bias and less systematic coder bias for a subset of dancers than coders who had little or no experience evaluating movement of any form. The performance ratings given by novice coders could be generalized for any randomly selected coder evaluating on any given day (G = .79). It was concluded the social dance test was valid and coders could be trained to obtain generalizable performance ratings.     

Participation Profiles and Socialisation into Dance Among Non‐Professional Dancers

Abstract

The study was designed to determine how individuals become socialised into folk, competitive ballroom, ballet and modern dance through an investigation of background variables, the influence of significant others and the participation profiles of dancers, and the identification of those socialization and involvement variables that best discriminate among different groups of dancers.

The subjects were 308 adolescent and adult dancers of at least 16 years of age who had pursued their main dance form for a minimum of three years. The data were collected by questionnaire, supplemented with some additional data gathered through personal interviews. Differences between the four dance groups were analysed using t‐test, Chi Square analyses, analyses of variance, Scheffe's multiple‐range test and discriminant analysis.

Most subjects were from the middle or upper socio‐economic classes. Most art dancers were women while social dancers displayed a more even distribution of sexes. Ballet dancers were youngest and ballroom dancers oldest when they started dancing. Mother's influence was significant among those who had started dancing at a young age while a friend of the same sex was influential among all respondents regardless of the age at which they had taken up dancing. Among men the influence of a friend of the opposite sex was also significant. The involvement of other family members in dance correlated most strongly with folk dancing, least strongly with modern dance. The dance teacher or coach was perceived as the most encouraging person in every dance form.

The most wide‐ranging past and present dance activities were found among modern dancers. The variables which best discriminated between dance forms were starting age, the variety of present dance activities and the intensity of practising one's main dance form. Such differences in socialisation into different dance forms should be taken into account when developing dance and dance teacher education curricula, teaching dance and planning recreational dance activities.

     

Exergames ‘as a teacher’ of movement education: exploring knowing in moving when playing dance games in physical education

Background: A fundamental dimension of school physical education (PE) is arguably movement and movement activities. However, there is a lack of discussion in the context of PE regarding what can be called the capability to move in terms of coordinative abilities, body consciousness and educing bodily senses.

Purpose: This article explores and articulates what there is to know, from the mover's perspective, when knowing how to move in specific ways when playing exergames (dance games). Taking different ways of moving as expressing different ways of knowing as a point of departure, the following questions are the focus of this article: (i) How do students move when imitating movements in a dance game, and what different ways of knowing the movements can be described in the student group? (ii) What aspects of the movements are discerned simultaneously through the different ways of knowing the movements? (iii) What aspects seem critical for the students to discern and experience in order to know the movements in as complex a way as possible?

Design and analysis: The theoretical point of departure concerns an epistemological perspective on the capability to move as knowing how with no distinction between physical and mental skills, and also knowing as experiencing aspects of something to know. The data in this study comprise video recordings of students playing Nintendo Wii dance games in PE lessons in a compulsory school (for children aged between 7 and 16 years) in a small Swedish town. There were three PE lessons with four different stations, of which one was Nintendo Wii dance games (Just Dance 1 and 2). In total, the videoed material covers three 60-minute PE lessons, recorded during the autumn of 2012 and in which just over twenty students participated. In the study, we have used video observation as a data collection method. Jordan and Henderson maintain that video observation removes the gap between ‘what people say they do and what they, in fact, do’ (51). To conduct a systematic and thorough analysis of how the students experienced the avatar's movements, we looked for moments where all the students and the avatar could be simultaneously observed. Two video sequences were chosen, showing four students imitating two distinct and defined movements which constituted the basis for a phenomenographic analysis.

Conclusion: The result of the phenomenographic analysis shows different ways of knowing the movements as well as what aspects are discerned and experienced simultaneously by the students. In other words, these aspects also describe knowing in terms of discerning, discriminating and differentiating aspects of ways of moving. By examining a certain exergame's role ‘as a teacher,' we have emphasized the capability to move, from the mover's perspective, as an intrinsic educational goal of PE while highlighting the need for systematically planning movement education.     

A Hand Held Electrode for Quick Assessment of the EKG

Abstract

We examined how different types of dance activities, along with their duration, influenced heart rate responses among fifth-grade physical education students (N = 96) who participated in the Dancing Classrooms program. Results indicated that the overall Dancing Classrooms program elicits a moderate cardiovascular heart rate response (M = 124.4 bpm), in which 47% of class time was spent above a 60% maximal heart rate threshold. The swing dance in particular (M = 143.4 bpm) stimulated a much higher heart rate level than all other dances in the program, with a mean heart rate change of 52.6 bpm. Girls (127.3 bpm) achieved marginally higher heart rates (p = .059) than boys (121.1 bpm).     

Coeducational and single-sex physical education: students’ situational interest in learning tasks centred on technical skills

Background: A student’s choice to engage in a learning task is highly related to the student’s environmental stimuli and his or her perception of interest. From this perspective, the construct of situational interest (SI) has been used to interpret students’ motivation in task engagement. SI is assumed to be transitory, environmentally activated, and context specific. It has been conceptualized as a multidimensional construct with five dimensions: instant enjoyment, exploration intention, attention demand, novelty, and challenge. Few prior studies have compared SI between girls and boys in physical education (PE) contexts, and these studies have offered contrasting findings. They were conducted in coeducational (coed) or single-sex contexts and used learning tasks centred on a variety of outcomes: technical or tactical skills, creativity and cultural understanding.

Purpose: In the context of the debate on single-sex and coed classes in PE, this study aimed to estimate the effects of single-sex and coed PE classes on students’ situational interest (SI) within learning tasks centred on technical skills. The researchers decided to study learning tasks centred on the development of students’ technical skills, since these tasks are often used by teachers in PE.

Participants: The sample consisted of 177 Swiss secondary school students, aged 11–17 years (M?=?14.07, SD?=?1.41, 96 boys, 81 girls).

Data collection: The students completed the French 15-item SI Scale after practising a technical learning task in single-sex and coed PE contexts. The researchers chose five physical activities (i.e. athletics, basketball, dance, gymnastics, and volleyball), which are commonly taught in the state of Vaud (Switzerland) and provide a balance between masculine and feminine activities.

Data analysis: A two-way repeated-measures MANOVA was performed to examine the main and interaction effects of student sex and class sex composition on the five SI dimensions.

Findings: The results showed a main effect of class sex composition on student SI but no main effect of student sex and no interaction effect of student sex and class sex composition. More precisely, the scores for three SI dimensions (i.e. instant enjoyment, exploration intention, and attention demand) were higher in the coed context than in the single-sex context.

Conclusions: This study encourages teachers to propose coed PE classes to enhance students’ motivation and engagement when practising learning tasks centred on technical skills. This study offers supplementary evidence of the teacher’s role in promoting student SI. Beyond accounting for students’ dispositional factors (e.g. sex), PE teachers can significantly impact students’ SI in technical learning tasks through instructional choices.     

Teachers as agents of change in curricular reform: the position of dance revisited

This paper reports findings from a recent large-scale survey of Physical Education (PE) teachers’ perceptions of teaching dance and compares them to results of a study completed 10 years previously [MacLean, J. (2007). A longitudinal study to ascertain the factors that impact on the confidence of undergraduate physical education student teachers to teach dance in Scottish schools. European Physical Education Review, 13(1), 99–116]. The current position of dance is examined in light of the introduction of Curriculum for Excellence (CfE) in 2010, a national initiative in Scottish schools that provides a unified flexible curricular framework for children aged 3–18. Dance remains part of the PE curriculum but also for the first time in Scotland occupies an additional position within the Expressive Arts (EA). Teachers are positioned as agents of change tasked with greater autonomy, flexibility and responsibility in curriculum design. The inclusion of dance in both PE and EA provides potential for teachers to design curricula that excludes dance from the PE curriculum or alternatively use the opportunity to increase dance provision. Currently, little is known about the impact CfE has on the provision and position of dance or the factors that impinge on teachers’ decisions regarding the inclusion of dance in the curriculum. To further such understanding, 85 secondary school PE teachers responded to a questionnaire concerning dance opportunities within the current school context. In addition, the original participants from MacLean (2007) research were re-interviewed to identify and explore the factors that enable teachers to achieve agency when teaching dance. The results indicated that collaborative planning, united goals and collective action had enabled teachers to significantly increase dance provision in schools. Teacher attention had shifted from concerns about individual capacity to a focus on the level of social, cultural and material support in providing valuable educational experiences in dance for all pupils.     

Ice can look like glass: a phenomenological investigation of movement meaning in one fifth-grade class during a creative dance unit

The movement meanings of students (n = 19) in one fifth-grade class during a creative dance unit focusing on effort (force, time, space, flow) are investigated using a perspective grounded in transcendental phenomenology (Husserl, 1931). Data were collected via videotape, journal, and homework documents and semistructured interviews. Analytical induction (Patton, 2002) structured a four-step analysis process that reduced meaning to its essential essence. Movement meaning was found to be a multifaceted construct that varied among students within and across five dimensions. To enhance meaningful learning, educators are encouraged to consider reflexively (a) their philosophical orientation relative to knowledge making and curriculum values, (b) instructional techniques that help students' access meaning, and (c) the contribution of dance as a source of meaning.     

Differential Treatment of Whole Classes by a University Dance Teacher

abstract

The purpose of this case study was to examine whether a university dance teacher treated students in two dance classes differentially. Based on instructor feedback results, it was found that students were treated differentially. Students in the beginning jazz class received less instructive feedback than students in the beginning modern dance class. Data were collected through informal interviews and analysed following tenets of qualitative research. Themes which emerged from the interviews included the teacher's teaching philosophy, her style of teaching, her preference for one dance style over the other, her physical limitations, and the mixture of student abilities. It was suggested that this differential treatment was the result of the teacher viewing the two classes differently through her own lenses composed of her beliefs, curricular knowledge, values, movement preferences, and experiences as a student herseff. Findings from this study have relevance for teacher educators, dance teachers, and pre‐service teachers. The importance of personal teaching philosophy, teaching style, preference for a specific dance style, and specific movement preferences cannot be overlooked as factors affecting one's teaching. When these factors impact instructive feedback negatively then alternative measures must be considered to enhance the teaching‐learning environment.     

Individuals Who Determined the Dance Philosophy of Graduate Education

Abstract

Twenty-nine teachers of dance in graduate schools in the United States were interviewed to find out what teachers and what performing artists were seminal in determining their teaching philosophies. Data on the longevity of the teaching careers of the subjects were gathered. A statement of teaching philosophy was sought. The subjects named Gertrude Kline Colby and Margaret Newell H'Doubler as seminal teachers and Martha Graham, Hanya Holm, Doris Humphrey, and Mary Wigman as seminal artists. The longevity of the subjects' careers indicated that they have largely determined the teaching philosophy of dance in education in the United States. The statements of philosophies, although available, are too complex and lengthy for this report.     

Changes in selected cardiorespiratory responses to exercise and in body composition following a 12‐week aerobic dance programme

Cardiorespiratory and body composition changes were evaluated in 25 sedentary females, aged 18 to 30 years, following 12 weeks of aerobic dance training (3 days a week, 45 min a session). Fifteen subjects, from the same population, comprised a control group: they maintained their normal activity and dietary habits over the course of the study. Analysis of variance of the values for selected cardiorespiratory responses revealed that the aerobic dance programme produced training effects in the experimental group. These training effects were indicated by significant improvements in O₂ pulse, V _E, heart rate and perceived exertion during submaximal exercise. Significant improvements were also noted in VO₂ max, maximal O₂pulse, V _E max, maximal heart rate and maximal running time on the treadmill. Additionally, increases in lean body mass and body density, together with decreases in percentage body fat and the sum of four skinfold thicknesses were found to be significant for the experimental group. No significant improvements in any of these variables were found for the control group. It was concluded that this 12‐week aerobic dance programme was successful in promoting beneficial changes in cardiorespiratory fitness and body composition.     

Movement concepts approach in studies on flamenco dancing: A systematic review

Background: Flamenco is a highly emotional and demanding dance form. It is important to understand how the dancer’s body works in order to improve fitness levels and reduce injuries. Thus, our investigation reviewed studies on kinesiological aspects of flamenco over recent years. Methods: The review was restricted to experimental studies. Literature searches were conducted using the following databases: PubMed, Scopus, and Ebsco: SPORTDiscus with Full Text, Medline, Health Source: Nursing/Academic Edition, Health Source – Consumer Edition. After limiting the search, 180 potential articles remained for analysis. Results: A total of 27 papers on different aspects of flamenco dance were finally selected: biomechanics (14), podiatry (6), injury incidence (3), anthropometry (2), and physiology (2). These studies have applied well-established methods from sports studies. However, we noted a number of potential limitations when applied to flamenco. Conclusions: The evidence from this review shows that flamenco dancing demands high levels of effort. Further research is required to understand how the dancer’s body works in order to improve fitness levels and reduce injuries. Most of the results presented here are consistent among studies. However, there is a great scarcity of research addressing flamenco movement in a more comprehensive perspective.     

Hard bodies: exploring historical and cultural factors in disabled people’s participation in exercise; applying critical disability theory

Abstract

The popularity of the Paralympics co-exists with persistent exclusion of disabled youth and adults in community sport and recreation programmes around the world. This study explored the experiences of disabled people in sport, fitness and dance, drawing upon a range of participants’ perspectives from Paralympic athletes and professional dancers, to those who’d never engaged in physical activities. We asked participants about the range of psycho-social factors that intervene between a disabled person and a workable, enjoyable fitness regimen. Insights emerged into factors that encourage enjoyable physical movement for some, and factors that discourage or prohibit this for others. Analytic tools of Critical Disability Theory were applied to penetrate stereotyped conceptualizations of disabled people, taking a long view into the history of disability discrimination and exclusion. An example is the concept and (English) word, ‘fitness’ used during the Eugenics Movement to dismiss the worth of disabled people. Along with other marginalized populations, the ‘unfit’ were systematically targeted with elimination. We addressed these archaic attitudes, in concert with the present era’s intrusions of architectural, programmatic and attitudinal barriers, which may become internalized as resistance to physical activities. Participants offered strategies to support others in the world of movement, along with encouragement to Disability Studies scholars to expand research in this arena.     

Development and validation of the Approach-Iron Skill Test for use in golf

Abstract

The primary aim of this study was to develop and validate a golf-specific approach-iron test for use with elite and high-level amateur golfers. Elite (n=26) and high-level amateur (n=23) golfers were recruited for this study. The ‘Approach-Iron Skill Test’ requires players to hit a total of 27 shots. Specifically, three shots are hit at each of nine targets on a specially constructed driving range in a randomised order. A real-time launch monitor positioned behind the player, measured the carry distance for each of these shots. A scoring system was developed based on the percentage error index of each shot, meaning that 81 points was the maximum score possible (with a maximum of three points per shot). Two rounds of the test were performed. For both rounds of the test, elite-level golfers scored significantly higher than their high-level amateur counterparts (56.3±5.6 and 58.5±4.6 points versus 46.0±6.3 and 46.1±6.7 points, respectively) (P<0.05). For both elite and high-level players, 95% limits of agreement statistics also indicated that the test showed good test–retest reliability (2.1±7.9 and 0.2±10.8, respectively). Due to the clinimetric properties of the test, we conclude that the Approach-Iron Skill Test is suitable for further examination with the players examined in this study.     

Does oligomenorrhoea/amenorrhoea and underweight imply athlete triad syndrome in young female dancers?

Abstract

The aim of this study was to compare the bone mineral density (BMD) of young dancers suspected of suffering from the female athlete triad syndrome and eumenorrhoeic/normal weight dancers with eumenorrhoeic non-exercising controls. Full-time dance students from a collegiate academy of performing arts were recruited. The female athlete triad syndrome was suspected when oligo/amenorrhoea was present together with underweight (body mass index below 18.5 kg · m^?2). The non-exercising group consisted of eumenorrhoeic age-matched patients presenting to an adolescent gynaecology clinic. All participants had a full hormonal profile, pelvic ultrasound, bio-impedance estimation of body fat, together with dual energy X-ray absorptiometry (DXA) and quantitative peripheral computed tomography scans (pQCT) to determine bone mineral density. A total of 47 dancers aged 17–20 years were recruited, of whom 14 (29.7%) fell within the criteria for suspected female athlete triad syndrome. Comparing the dancers with suspected female athlete triad with 36 non-exercising controls showed no significant differences in BMD at most sites between the two groups. Comparing the normal dancers (n=33) with the same control group showed the dancers had significantly higher BMD at the hip sites (P<0.005), as well as higher core tibial volumetric BMD (P=0.04) than the controls. Young dancers with oligo/amenorrhoea and apparent under-nutrition that fitted the clinical diagnosis of female athlete triad syndrome did not have lower BMD than non-exercising eumenorrhoeic controls, while eumenorrhoeic dancers actually had higher BMD. In addition, no significant differences were seen between eumenorrhoeic dancers and those with suspected female athlete triad. The risk of osteoporosis was apparently offset by the benefits of regular intensive weight-bearing exercises in those participants with suspected female athlete triad.