Embodied collaborative writing in graduate dance education

This paper explores how embodied writing can inform teaching, learning, and research presentation in graduate-level dance education in a kinesiology faculty. The focus is on a graduate dance course "The Dancing Body in Motion", which combines the anatomical analysis of the physical body, social theory, and lived dance experiences to promote more embodied and holistic teaching and learning. The authors, an instructor and a student of the course, share their experiences and reflections on the course through an embodied presentation of a dialogue that combines the instructor's lecture notes, the student's learning journal entries, and their reflections both separately and in conversation with each other. Their reflections offer insights into how the body and mind, material and social body, and practice and theory can all be brought together using embodied writing practices, such as a learning journal and performance ethnography, in a dance performance.

Prevalence and risk factors of musculoskeletal injuries in modern and contemporary dancers: a systematic review and meta-analysis

Background

A large number of studies have found that the musculoskeletal injury of modern and contemporary dancers has a high incidence. Previous publications have indicated that there are many potential factors that are related to dancing injury; however, they have not been proven, and even some data are conflicting in different research.

Results

The search yielded 18 prospective studies reporting on professional and pre-professional modern or contemporary dancers from companies and schools. The prevalence of modern and contemporary dancers was 0.82 (95% CI: 0.74~0.90). The injury proportion of trauma, overuse, ankle and foot, lower extremity, joint and ligaments, muscle and tendons, and time-loss were 0.40, 0.26, 0.49, 0.34, 0.33, and 0.29 in the total number of injuries. There was no evidence of a significant difference in sex, age, and education program. The factors of BMI and injury history achieved statistical significance, and the p-values were less than 0.01.

Conclusion

Based on the results of this article, BMI and injury history may be risk factors for injury in contemporary and modern dancers. Modern and contemporary dancers have a high prevalence of musculoskeletal injuries. Lower extremity injuries are the most common in the whole body, with injuries to the foot and ankle being more frequent. The mechanism of injury is mostly overuse injury, and the injured tissues are mostly muscle tendons and joint ligaments.

I Feel Like I Am Flying and Full of Life: Contemporary Dance for Parkinson's Patients

Parkinson’s is a neurodegenerative disease characterized by motor and non-motor symptoms which are strongly associated with patients’ quality of life, affecting social skills and support. It strikes not only the motor abilities but may harm cognitive and emotional functioning. For the past 15 years, contemporary dance has been employed as an intervention to help people diagnosed with Parkinson’s disease cope physically and mentally by way of motor, vestibular, and sensory stimulation as well as social interaction. In this study we aimed to examine psychological flexibility, creative self-efficacy and quality of life of Parkinson’s patients participating in contemporary dance sessions. To obtain this goal we conducted a cross-sectional comparative study of 50 Parkinson’s patients aged 50–87 years, half of which had been participating for at least 3 months once a week, in contemporary dance classes, and the matched controls participated in a verbal support group. Study participants completed questionnaires after participating in a dance class (Intervention) or in a support group (control). Participants in the intervention group were also asked to answer three open-ended questions that examined the experience of participating in contemporary dance classes. We found that psychological flexibility and quality of life were significantly higher in the dance class participants. Participants reported positive changes that occur in their overall feeling and quality of life following their participation in dance classes. Since PD patients’ experiences are deeply embedded in the body, it is significant to explore the use of movement in treatment. The importance of the study is in its potential to highlight the relationship between psychological flexibility and quality of life and to increase awareness of clinicians treating Parkinson’s patients to the importance of incorporating dance as an inherent part of a multidisciplinary team effort.

Time Course of Creativity in Dance

Time-motion studies revolutionized the design and efficiency of repetitive work last century. Would time-idea studies revolutionize the rules of intellectual/creative work this century? Collaborating with seven professional dancers, we set out to discover if there were any significant temporal patterns to be found in a timeline coded to show when dancers come up with ideas and when they modify or reject them. On each of 3 days, the dancers were given a choreographic problem (or task) to help them generate a novel, high quality contemporary dance phrase. They were videoed as they worked on this task for sessions of 15, 30, and 45 min. At the end of each 15 min interval during each session, we had them perform the phrase they were creating. They recorded and then coded the video of themselves dancing during these sessions by using a coding language we developed with them to identify when ideas are introduced, modified, and rejected. We found that most ideas are created early and that though these early ideas are aggressively pruned early on, many still make it into the final product. The two competing accounts of creativity in design research make predictions for the temporal structure of creativity. Our results support neither account, rather showing a more blended version of the two. The iterative design view, arguably the dominant view, is that good ideas are the product of generating many ideas, choosing one fairly early, committing to it, and iteratively improving it. The “fail fast fail often” view is that good ideas are the product of rapidly generating and discarding ideas and holding back from early commitment to any one in particular. The result of holding back commitment, typically, is not that an idea is taken up later and then incrementally improved at the last minute, as much as that later designs are not completely novel, instead incorporating the best parts of the entire sequence of ideas. In our study, we found no evidence that one account or the other was more predictive for the domain of contemporary dance. The behavior of the dancers that we studied revealed elements of both, calling into question how predictive these theories are.

THE EFFECT OF A RHYTHMIC GYMNASTICS-BASED POWER-FLEXIBILITY PROGRAM ON THE LOWER LIMB FLEXIBILITY AND POWER OF CONTEMPORARY DANCERS

BACKGROUND

There is an increasing cross-fertilization between the movements in contemporary dance and aesthetic sports such as rhythmic gymnastics. In such sports, supplementary training is commonly used to enable athletes to achieve all of their training goals, however dancers typically do not engage in cross training from other disciplines.

PURPOSE

The aim of this research was to test the effectiveness of a rhythmic gymnastics-based supplementary training program on lower limb flexibility and power of contemporary dancers.

STUDY DESIGN

Experimental study using a between-groups design.

SETTING

Training Intervention: Prahran Rhythmic Gymnastics Specialist Centre, Testing: Deakin University.

METHODS

Eleven female contemporary dancers were randomly assigned to either a control or intervention group. The intervention group (n = 6) participated in an eight-week rhythmic gymnastics-based supplementary training program comprising two one-hour sessions per week in addition to their usual training. The control group (n = 5) continued their usual dance training. Pre and post measures of range of motion (ROM) and power were taken via a dance-specific kick test using an isokinetic dynamometer and a customized grand jeté test in a 3D-motion laboratory.

RESULTS

Significant increases in right and left leg grand jeté ROM, right leg peak kicking torque and left leg grand jeté height were recorded in the intervention compared to the control group.

CONCLUSION

The results of the study suggest that rhythmic gymnastics training could provide a viable means for contemporary dancers to target active ROM and power of explosive dance movements. Future research should include subjective evaluations of dance performers to confirm that training adaptions are transferred to improvements in performance quality.

LEVEL OF EVIDENCE

III.

The Epidemiology of Low Back Pain and Injury in Dance: A Systematic Review

BACKGROUND

Dance is a physical pursuit that involves loading the spine through repetitive dynamic movements and lifting tasks. As such, low back pain (LBP) and low back injury (LBI) have been identified as common health problems in contemporary and classical ballet dancers. However, clarity regarding the experience of LBP and LBI in dance is lacking.

OBJECTIVES

To systematically review and synthesize the epidemiology of LBP and LBI in dance populations.

METHODS

A comprehensive search of 6 electronic databases, back catalogs of dance science-specific journals, and reference lists of relevant articles and a forward citation search were performed.

RESULTS

Fifty full-text articles were included in the final systematic review. There was considerable methodological heterogeneity among the included studies. The median (range) point, yearly, and lifetime prevalence of LBP was 27% (17%-39%), 73% (41%-82%), and 50% (17%-88%), respectively. The lower back contributed to 11% (4%-22%) of time loss and 11% (5%-23%) of medical-attention injuries.

CONCLUSION

Dancers are vulnerable to LBP and LBI. The use of definitions that are sensitive to the complexity of LBP and LBI would facilitate improved understanding of the problem within dance, inform health care strategies, and allow for monitoring LBP-specific intervention outcomes. J Orthop Sports Phys Ther 2019;49(4):239-252. Epub 18 Jan 2019. doi:10.2519/jospt.2019.8609.

Engaging With Contemporary Dance: What Can Body Movements Tell us About Audience Responses?

In live performances seated audiences have restricted opportunities for response. Some responses are obvious, such as applause and cheering, but there are also many apparently incidental movements including posture shifts, fixing hair, scratching and adjusting glasses. Do these movements provide clues to people's level of engagement with a performance? Our basic hypothesis is that audience responses are part of a bi-directional system of audience-performer communication. This communication is part of what distinguishes live from recorded performance and underpins live performers' moment-to-moment sense of how well a performance is going. Here we investigate the range of visible real-time movements of audiences in four live contemporary dance performances. Video recordings of performers and audiences were analyzed using computer vision techniques for extracting face, hand and body movement data. The meaning of audience movements were analyzed by comparing clips of the audience at moments of maximum and minimum movement to expert and novice judges. The results show that audience clips with the lowest overall movement are judged as displaying the highest engagement. In addition, we found that while there is no systematic relationship between audience and dancers movement, hands seem to play an especially significant role since they move significantly more compared to the rest of the body. We draw on these findings to argue that collective stillness is an especially salient signal of audience engagement.

Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique

In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers’ livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others’ work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed.

Mapping the audit traces of interdisciplinary collaboration: bridging and blending between choreography and cognitive science

Two long-term sci-art research projects are described and positioned in the broader conceptual landscape of interdisciplinary collaboration. Both projects were aimed at understanding and augmenting choreographic decision-making and both were grounded in research conducted within a leading contemporary dance company. In each case, the work drew upon methods and theory from the cognitive sciences, and both had a direct impact on the way in which the company made new work. In the synthesis presented here the concept of an audit trace is introduced. Audit traces identify how specific classes of knowledge are used and transformed not only within the arts or sciences but also when arts practice is informed by science or when arts practice informs science.

Audience entrainment during live contemporary dance performance: physiological and cognitive measures

Perceiving and synchronizing to a piece of dance is a remarkable skill in humans. Research in this area is very recent and has been focused mainly on entrainment produced by regular rhythms. Here, we investigated entrainment effects on spectators perceiving a non-rhythmic and extremely slow performance issued from contemporary dance. More specifically, we studied the relationship between subjective experience and entrainment produced by perceiving this type of performance. We defined two types of entrainment. Physiological entrainment corresponded to cardiovascular and respiratory coordinated activities. Cognitive entrainment was evaluated through cognitive tasks that quantified time distortion. These effects were thought to reflect attunement of a participant’ internal temporal clock to the particularly slow pace of the danced movement. Each participant’ subjective experience—in the form of responses to questionnaires—were collected and correlated with cognitive and physiological entrainment. We observe: (a) a positive relationship between psychological entrainment and attention to breathing (their own one or that of dancers); and (b) a positive relationship between cognitive entrainment (reflected as an under-estimation of time following the performance) and attention to their own breathing, and attention to the muscles’ dancers. Overall, our results suggest a close relationship between attention to breathing and entrainment. This proof-of-concept pilot study was intended to prove the feasibility of a quantitative situated paradigm. This research is inscribed in a large-scale interdisciplinary project of dance spectating (labodanse.org).

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Entrainment theory focuses on processes in which interacting (i.e., coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues, and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models.

One month of contemporary dance modulates fractal posture in aging

Understanding the human aging of postural control and how physical or motor activity improves balance and gait is challenging for both clinicians and researchers. Previous studies have evidenced that physical and sporting activity focusing on cardiovascular and strength conditioning help older adults develop their balance and gait and/or decrease their frequency of falls. Motor activity based on motor-skill learning has also been put forward as an alternative to develop balance and/or prevent falls in aging. Specifically dance has been advocated as a promising program to boost motor control. In this study, we examined the effects of contemporary dance (CD) on postural control of older adults. Upright stance posturography was performed in 38 participants aged 54-89 years before and after the intervention period, during which one half of the randomly assigned participants was trained to CD and the other half was not trained at all (no dance, ND). CD training lasted 4 weeks, 3 times a week. We performed classical statistic scores of postural signal and dynamic analyses, namely signal diffusion analysis (SDA), recurrence quantification analysis (RQA), and detrended fluctuation analysis (DFA). CD modulated postural control in older trainees, as revealed in the eyes closed condition by a decrease in fractal dimension and an increase in DFA alpha component in the mediolateral plane. The ND group showed an increase in length and mean velocity of postural signal, and the eyes open a decrease in RQA maximal diagonal line in the anteroposterior plane and an increase in DFA alpha component in the mediolateral plane. No change was found in SDA in either group. We suggest that such a massed practice of CD reduced the quantity of exchange between the subject and the environment by increasing their postural confidence. Since CD has low-physical but high-motor impact, we conclude that it may be recommended as a useful program to rehabilitate posture in aging.

Practice of contemporary dance promotes stochastic postural control in aging

As society ages and the frequency of falls increases, counteracting gait and posture decline is a challenging issue for countries of the developed world. Previous studies have shown that exercise and hazard management help to improve balance and/or decrease the risks for falling in normal aging. Motor activity based on motor-skill learning, particularly dance, can also benefit balance and decreases falls with age. Recent studies have suggested that older dancers have better balance, posture, or gait than non-dancers. Additionally, clinical or laboratory measures have shown improvements in some aspects of balance after dance interventions in elderly trainees. This study examined the impact of contemporary dance (CD) and of fall prevention (FP) programs on postural control of older adults. Posturography of quiet upright stance was performed in 41 participants aged 59–86 years before and after 4.4-month training in either CD or FP once a week. Though classical statistic scores failed to show any effect, dynamic analyses of the center-of-pressure displacements revealed significant changes after training. Specifically, practice of CD enhanced the critical time interval in diffusion analysis, and reduced recurrence and mathematical stability in recurrence quantification analysis, whereas practice of FP induced or tended to induce the reverse patterns. Such effects were obtained only in the eyes open condition. We suggest that CD training based on motor improvisation favored stochastic posture inducing plasticity in motor control, while FP training based on more stereotyped behaviors did not.

Practice of contemporary dance improves cognitive flexibility in aging

As society ages and frequency of dementia increases exponentially, counteracting cognitive aging decline is a challenging issue for countries of the developed world. Previous studies have suggested that physical fitness based on cardiovascular and strength training helps to improve attentional control in normal aging. However, how motor activity based on motor-skill learning can also benefit attentional control with age has been hitherto a neglected issue. This study examined the impact of contemporary dance (CD) improvisation on attentional control of older adults, as compared to two other motor training programs, fall prevention and Tai Chi Chuan. Participants performed setting, suppressing, and switching attention tasks before and after 5.7-month training in either CD or fall prevention or Tai Chi Chuan. Results indicated that CD improved switching but not setting or suppressing attention. In contrast, neither fall prevention nor Tai Chi Chuan showed any effect. We suggest that CD improvisation works as a training for change, inducing plasticity in flexible attention.