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The article presents the results of studying the influence of socio-psychological personality traits of highly qualified dancers and their assessment of dyadic coping on the subjective level of satisfaction with interpersonal relationships in dance couples. The purposes of the research are aimed at identifying specific personality traits of dancers and their coping strategies that have a positive impact on the process of intraparty interpersonal communication. The research also involves an empirical analysis and identification of the features of this influence. The following diagnostic tools have been used: the authors’ modified version of the questionnaire of satisfaction with marriage by V.V. Stolin, T.A. Romanova and G.P. Butenko, the Dyadic Coping Inventory by G. Bodenmann in the adaptation of T.L. Kryukova, O.A. Ekimchik and the five-factor personality questionnaire, 5PFQ, by H. Tsuji in the adaptation of A.B. Khromov. Such socio-psychological personality qualities of female dancers have been revealed as extroversion, emotional stability, and practicality, which have the greatest influence on subjectively high level of satisfaction with relationships in representatives of both sexes. It is stated that among all copings of dyadic interaction delegated coping (in the direction of a young man) and coping of support from both partners impact the high level of satisfaction with the existing interpersonal relations most. Further study of the socio-psychological determinants of interpersonal communication between all participants of the dance and sports process is a promising line of research.

Abstract Background In Latin American dance sport (LD), the shoulder girdle and the torso area are particularly stressed due to the dance style specific requirements. The aim of the study was to define differences in various dance specific upper body postures in Latin American dancers and to show gender-specific differences. Methods Three dimensional back scans were performed in n = 49 dancers (28 f/21 m). Five typical trunk positions in Latin American dance (habitual standing and 4 dance specific positions, P1–P5) were compared with each other. Statistical differences were calculated using the Man-Whitney U test, Friedmann test, Conover-Iman test and a Bonferroni-Holm correction. Results Significant gender differences were found in P2, P3 and P4 (p ≤ 0.01–0.001). In P5, the frontal trunk decline, the axis deviation, the standard deviation of the rotation, the kyphosis angle and the shoulder as well as the pelvic rotation were also significantly different. The comparison of the postures showed significant differences between postures 1–5 (p ≤ 0.01–0.001) in the males, (scapular height, right and left scapular angles and pelvic torsion). Similar results were observed for the female dancers, with only the parameters of frontal trunk decline with the lordosis angle as well as the right and left scapular angles being non-significant. Conclusions This study is an approach to better understand the involved muscular structures in LD. Performing LD changes the static parameters of the upper body statics. Further projects are needed to analyse the field of dance even more thoroughly.

Background: In Latin American dance sport (LD), the shoulder girdle and the torso area are particularly stressed due to the dance style specific requirements. The aim of the study was to define differences in various dance specific upper body postures in Latin American dancers and to show gender-specific differences. Methods: Three dimensional back scans were performed in n = 49 dancers (28 f/21 m). Five typical trunk positions in Latin American dance (habitual standing and 4 dance specific positions, P1–P5) were compared with each other. Statistical differences were calculated using the Man-Whitney U test, Friedmann test, Conover-Iman test and a Bonferroni-Holm correction. Results: Significant gender differences were found in P2, P3 and P4 (p ≤ 0.01–0.001). In P5, the frontal trunk decline, the axis deviation, the standard deviation of the rotation, the kyphosis angle and the shoulder as well as the pelvic rotation were also significantly different. The comparison of the postures showed significant differences between postures 1–5 (p ≤ 0.01–0.001) in the males, (scapular height, right and left scapular angles and pelvic torsion). Similar results were observed for the female dancers, with only the parameters of frontal trunk decline with the lordosis angle as well as the right and left scapular angles being non-significant. Conclusions: This study is an approach to better understand the involved muscular structures in LD. Performing LD changes the static parameters of the upper body statics. Further projects are needed to analyse the field of dance even more thoroughly. [ABSTRACT FROM AUTHOR]

To assist academics and coaches to better understand dance and the training methods, a literature review of all pertinent articles was conducted. Although it has been proposed that dancers should add strength training into their regimen, many dance institutions are either hesitant to do so or lack the resources or knowledge necessary to do it. It has been suggested that dancers are hesitant to engage in strength training because they are concerned about muscular hypertrophy and the potential effects it may have on dance aesthetics. However, recent study has indicated that this might no longer be the case and that attitudes toward strength training are changing, especially among dance students and professionals. We conducted a search into multiple database (PubMed, Google Scholar, ScienceDirect) to gather the most important research articles to achieve our purpose. Our key word for this search was: strength training, plyometric training, dancers, ballroom, resistance training. The inclusion criteria were as follows: healthy subjects (male or female) who participated in a type of supplementary training, articles no older than year of 2000. Exclusion criteria: ballet dancers, injury related articles, elderly participants. [ABSTRACT FROM AUTHOR]

As in any other branch of sport, in dance sport, as a result of competitive activity (increasingly intense in recent years), winners are designated, rankings, hierarchies, tops are made, based on more or less objective decisions of the adjudicators, who judge several aspects. In its early stages, judging in dance sports was achieved by comparing pairs that evolved simultaneously on the ring. Following this comparison, using an algorithm for processing the individual evaluations of the adjudicators (Skating system) it was decided who goes further in the competition or the places obtained by the athletes in the final. With the increase in the number of the couples participating in competitions, this comparative evaluation system was overwhelmed, requiring a modern evaluation system based on scoring the evolution of pairs, thus giving rise to a judging software that solves the shortcomings of the initial models. Our paper wishes to present a judging program derived from the latest judging systems developed by WDSF. This has been successfully adapted to online competitions held in the last months of 2020, in the context of the Covid 19 pandemic, through which the dance sport phenomenon remained alive, motivating athletes to prepare and further improve. The judging program is an application consisting of JavaScript files running in Chrome, using php programming language and MySQL database. We also wanted to point out that the use of this judging system brings an extra objectivity in the evaluation, constituting at the same time a tool for optimizing the training of the athletes. Most of the participants in our survey confessed that they were not at all satisfied with the old system of judgment (%); it was very opportune to create such a program (%), and the information provided by the software will help them “a lot” in their professional activity. The benefits of the new judging system are the following: more objective evaluation, provides information on artistic and technical training factors, creates the possibility to identify some gaps in the training of dancers, a better image of sport dance. The purpose for which this judging system was created, namely the increase of the objectivity in the evaluation of the dancers, has been achieved. The adjudicators have more time than in a live competition to review the participating pairs and their evolution for a more objective evaluation. These aspects have had a positive impact on the image of dance sport. This system permitted the survival of competitive activity also during the pandemic. [ABSTRACT FROM AUTHOR]

The aim of the research. To reveal the expression of communicative and organizational abilities in representatives of dance sport and other dance styles (ballet, street, modern, national, lindy hop) (adolescents). Methods. The research involved 50 adolescents (28 girls and 22 boys) that attended dance sport, and 50 participants (30 girls and 20 boys) that attended dance of other styles (ballet, street, modern, national, lindy hop). The age of the research participants was 12-14 years. The questionnaire was compiled according to the methodology of Fedorishin and Sinyavskiy (2017), aiming to assess communicative and organizational abilities. The abilities of the dancers assessed according to this methodology were classified as "very low", "low", "average", "upper average" and "high" levels. Results. After assessing the communicative abilities in the research participants of dance sport in the aspect of gender, we determined that the communicative abilities in most girls (36.42 per cent) and boys (37.50 per cent) were high. After assessing their organizational abilities, it was determined the organizational abilities in most researched (37.48 per cent of the boys and 45.49 per cent of the girls) matched to the low level. Among the research participants of other dance styles, the level of communicative abilities was high in 30.00 per cent of the boys and 24.98 per cent of the girls. After assessing the organizational abilities of this group of dancers, it was determined the low level of organizational abilities was most expressed, matching 30.24 per cent of the boys and 64.86 per cent of the girls. Conclusions. After assessing the adolescents that attended dance sport or dance of other styles, it was determined the level of communicative and organizational abilities among the research participants of those groups did not differ statistically significantly. [ABSTRACT FROM AUTHOR]

The aim of our study was to explore the conceptions related to partnership between dance sport couples. We conducted in-depth interviews with 20 registered athletes of the Chinese Dance Sports Federation (CDSF) about partnership between dance couples, using the Consensual Qualitative Research (CQR) method. Results revealed that partnership tended to stem from seven domains: (1) mutual understanding, (2) instant intimacy, (3) long-term affection, (4) obligational ties, (5) instrumental ties, (6) tacit factors, and (7) mutual self-disclosure. Each domain included several categories of core ideas, most of which were general and typical across the respondents. The general and most typical core ideas were related to mutual understanding in all aspects (17T), pleasure (18T), sense of substitution (15T), intimacy (20G), harmony (20G), mutual help (20G), mutual tolerance (20G), mutual attraction (15T), responsibility (20G), training plan (12T), consistent goals (20G), skills improvement (20G), image matching (16T), mutual self-disclosure (18T), which suggested a general belief in the equity perspective regarding partnership between Chinese dance sport couples. Future studies need to examine diverse samples of athlete-athlete dyads to advance interpersonal theory in sports and add to emerging theories of performance behavior and expertise in sport.