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Many sports, such as gymnastics, diving, figure skating, etc. use judges' scores to generate a rank for determining the winner of a competition. These judges use some type of rating scale when assessing performances. Human ratings are subject to various forms of error and bias. The overall outcomes may largely depend upon the set of chosen raters. The aim of this paper is to illustrate how results from the Many-Facet Rasch Measurement framework can be used to highlight feedback to judges about their scoring patterns. The purpose is to analytically detect anomalous rater behaviours. We consider the field of Sport Dance, a discipline which enjoys increasing public interest and passion in recent years. We analyze data relating to two national competitions held in Italy in 2018 and 2019. [ABSTRACT FROM AUTHOR]

Purpose of the Article. The aim of the article is to analyze the processes of anglicization and canonization of ballroom dance, during the period of democratization of social dances in England, in the late 19th - early 20th centuries. Methodology is an organic set of basic principles of research: objectivity, historicism, multifactor essence, systematicity, complexity, development, and pluralism, to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical- analytical. Scientific Novelty. The scientific novelty lies in the identification of the processes of origin and development of competitive ballroom dancing in England at the end of the 19th - beginning of the 20th centuries. Conclusions. The widespread democratization of social dancing in England began as early as the 19th century when the Austrian waltz and other ballroom dancing became popular among all social strata. Democratic fervor of the common people, which at the end of the XIX century got the opportunity to relax on the resort coast of Great Britain, gave birth to the first dance competition in ballroom dancing. It was often noted by professional dance experts that the new British dance forms were superior to the original. Certainly, the distinctive features and high quality of British ballroom dancing were a matter of special professional pride. The advantages of a standardized English style as early as the late 30s. The XX century was recognized outside the country for the extraordinary success of British dancers in international ballroom dancing championships. Gradually, it established the international standard for ballroom dancing and was adopted by many of the world's dance organizations at the national level, with the exception of the United States of America (by many American competitive ballroom dancers, the English style was not adopted until the 1960s.). [ABSTRACT FROM AUTHOR]

Acknowledging criticisms of the values supported by competitive dance, this article seeks to develop and advocate a pedagogical reframing of the event in terms of situated learning and mediated learning experience. Making sense of the competitive experience with the contributions of 4E (embodied, embedded, extended, and enactive) cognition theory, understandings of the potentially transformative phenomena of performative impulse and performative affect are advanced. Employing theoretical frameworks from 4E cognition including autopoiesis, affective scaffolding, skilled intentionality, and meshed architecture, competitive dance is presented as a site of situated cognition that enhances the intensity, and therefore the transformative potential, of performative affect. Examples of reframed situated and mediated learning experiences are presented to explicate the theoretical underpinnings of a pedagogy of performance developed for the competitive context with applications extending beyond it. [ABSTRACT FROM AUTHOR]

The purpose is to identify the impact of perfectionism among middle and high school students majoring in dance on competition anxiety and dance immersion. 279 people were collected by means of a significant collection and survey tools were used in questionnaires. Data analysis was conducted for t-test, one-way random analysis, correlation analysis, and multiple regression analysis. There was a significant difference between perfectionist tendencies and competitive anxiety. There was a significant difference in perfectionism in dance immersion. There is a causal relationship between perfectionist tendencies and competitive anxiety and dance immersion. In order to increase dance immersion among middle and high school students, it is important to identify factors that can increase dance immersion by exploring various psychological factors. [ABSTRACT FROM AUTHOR]

Dance scholar and former dancer Susan Foster ([5]) considered: Dancers sacrifice their desires to eat certain foods or to socialize, and they endure pain, disappointment, or even humiliation, all to come closer to the ideal. : Navigating the Competition Dance Model " Consumer Dance Identity: The Intersection between Competition Dance, Televised Dance Shows and Social Media." ADDRESSING THE BODY Involvement in the competition circuit can lead to real-world outcomes: for studio owners, increased income, and for dancers, college scholarships or professional connections to commercial dance (Harrington [6]; Schupp [16]). [Extracted from the article]

The study focused on the impact of socio- cultural, economic and environmental aspects to the perception of respondents in terms of festival components namely: Safety and Security, Festival Spirit, Contest and Activities, Promotion and Production Roles. This study also aimed to determine the significant relationship of the respondents' profile. This study was conducted from March to May 2019 at the Nueva Ecija University of Science and Technology-Gabaldon Campus. The identified festivals were from five (5) cities/municipalities who are known for their famous festivals namely, Gabaldon (Gulayan Festival), Cabanatuan City (Banatu Festival), Bongabon (Sibuyas Festival), Aliaga (Taong Putik), Muñoz (Lantern Festival). The study is limited only in describing the influences of Novo Ecijano's festivals towards the following aspects; socio-cultural, economic and environmental as being perceived by the local people. Quantitative description design of research was used in this study. Respondents were chosen by the use of purposive sampling techniques while collection of data was conducted through survey questionnaire. The said tool was validated using face to face and pilot testing approach. The gathered responses were computed using the different statistical tools (percentage, frequency distribution, weighted mean and Pearson r' respectively. Based on the findings and results of the study, the following conclusions were drawn. The respondents strongly recommend that the municipalities are free from terrorism and LGU officials are prepared during emergency results show that they have enough police security available during festivities and the organizer conducts and develops comprehensive security plan. The respondents strongly recommend that celebration of festival aids in the preservation of traditional beliefs, customs and traditions, time to reunite with relatives and friends and celebration of festival commemorates religious influence and honor Patron Saints. Furthermore, the study shows that dancing competition is one of the most awaited competition during festivals and is well participated by different agencies in the area. It was manifested that the respondents strongly agree that celebrations of festivals enhance community spirit and brings opportunity for dominant population to view other cultures. However, the respondents slightly agree that celebration of festivals causes traffic, increases crime and waste to the community. The respondents strongly agree that local community have the opportunity to showcase their skills and abilities and that festivals take seasonal source of income for the locals, increases the prices of goods and services, inadequate estimation of costs of event, money lost through leakage, shortage of supply due to increase numbers of tourists, negative reactions from existing enterprises due to the possibility of new competition for local manpower and government assistance, failure to attracts tourists. The respondents strongly agree that festivals preserve a rich heritage handed down from our ancestors and they agree that improvement of local infrastructure in the community, enhances waste management practices due to festivals, preserves the existing public/historical buildings, construction of new facilities. The respondents agree that celebrating festivals increases waste in a local community and they slightly agree that celebrating festival causes noise pollution, overcrowding, ecological damage, environmental community destroy the places where festivals took places. The study suggested that the LGU in cooperation with the City/ Municipal Tourism Office may develop a comprehensive long term tourism development plan anchored to the result of this study which is for the advancement of the tourism sector. [ABSTRACT FROM AUTHOR]

This article asks what the graffito incised on the Dipylon oinochoē (IG I2 919, eighth century b.c.e.) reveals about the nature of the dance competition that it commemorates. Through a systematic analysis of the evaluative and descriptive meaning of the adjective ἀταλός and its cognates in early Greek epic, it is argued that a narrower definition compared to previous suggestions can be established. The word refers to the carefreeness that is specific to a child or young animal, and its uses typically imply a positive evaluation which is connected not only to the well-being that this carefreeness entails but also to the positive emotion of tenderness and the sentiment of care that it engenders in a perceiver. It is concluded that, when used to specify the criterion by which a dance contest will be adjudicated, the term refers to an aesthetic property that is repeatedly praised in archaic Greek texts in other words: that of dancing with the adorable but short-lived carefree abandon of a child. [ABSTRACT FROM AUTHOR]

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The scenario of the dance contest from Ravel's Daphnis et Chloé presents a narrative in which the hero, Daphnis – in typical patriarchal fashion – is rewarded with Chloé as a prize. The period of Daphnis's creation saw widespread anxiety over the proper performance of masculinity. Given the 'duel' fought between Daphnis and Dorcon, I employ the gendered connotations of duelling narratives as an interpretative lens through which to view the ballet's scene. I propose a methodology developed from the conceptually similar praxes of A. J. Greimas and Heinrich Schenker for the analysis of narrative structures in different media from within the same theoretical framework. Central to my narrative analysis is the conceptualisation of a desiring musical subject who seeks to establish a state of conjunction with an object of value, in this case a specific tonal centre. I consider the inflection of underlying tonal processes by voice‐leading structures in relation to an examination of the expressive course of the narrative discourse, leading to an interpretation in which Daphnis's victory can be understood to express and emphasise the tensions at the heart of French masculinity at the fin de siècle. [ABSTRACT FROM AUTHOR]

Having served for a decade as a professional dance competition judge, specializing in special awards, in this article I articulate the unique and powerful role I see the special award playing in dance competition culture as an antithesis to the increasing focus on competition, comparison, and the emerging "sportsification" of dance. I provide some of my tricks of the trade as well as some suggestions for incorporating the transformative potential of the special award beyond the competition world and even beyond dance. In providing such resources, I also hope to stake the claim that the subjective nature of the special award accounts for its powerful potential within the larger dance community, and I advocate for its adoption and adaptation in multiple contexts. [ABSTRACT FROM AUTHOR]

The major importance of preschool children's mental health with regard to their emotional and social development has a documented ground in the literature. In these domains, it is crucial for young children to learn how to express their emerging emotions appropriately and efficiently. Creative dance and movement is already being used as a therapeutic technique in a wide range of interventional processes. But it can also be used as a preventive tool for both reducing socio-emotional risks and maximizing developmental and mental health for typically-developing children in early ages; using creative dance as such is a less discussed subject in the literature. Also, creative dance is thought to be an appropriate method for this purpose because of its compatible features with preschool children's developmental stages. From this point of view, this study discusses the importance of using creative dance in expressing emotions in early childhood and thus aims to emphasize the importance of integrating two domains in early childhood development, namely, socio-emotional development and expressive and creative movement. A literature review method has been used. The literature review has demonstrated that early childhood is parallel with the expression-based structure of creative dance. [ABSTRACT FROM AUTHOR]

In this paper, I examine the re-contextualisation of particular versions of solo traditional set dances from the region of North Kerry, Ireland, by teachers and step dancers of competitive step dancing for competition. These set dances, namely the Blackbird and Saint Patrick's Day, were choreographed by Jeremiah Molyneaux, the last of the itinerant dancing masters of the rural region of North Kerry (circa 1881–1965). The objective of the paper is to enquire into the reasoning behind the relatively recent appropriation of these dances and how competitive step-dance teachers and dancers learned to embody them as representative of a regional step-dance style. The paper proposes a particular model of transmission: a multi-sensory method of transmission where proprioceptive training and somatic sensation are considered in the stylistic embodiment and assessment of these solo set dances, and a theoretical engagement with relevant literature in the fields of Irish dance studies and ethnochoreology to contextualise and historicise the practice for deeper cultural understanding. This model might also be applied to the transmission of other dance practices. [ABSTRACT FROM AUTHOR]

The objectives of this study are to: (1) describe and analyze the arrangement tutorial of Beksan Nir Corona on a virtual dance competition in the Kraton of Yogyakarta; and (2) describe and analyze the level of similarity in imitation of movement patterns and creativity in the presentation of the participants in the dance competition of Beksan Nir Corona. The method used in this research is descriptive qualitative supported by percentage descriptive quantitative data. The data collection process was carried out using observation, interview, and document techniques. Data analysis was carried out by the stages of data reduction, data presentation, and drawing conclusions. The research results show that the virtual dance tutorial of Beksan Nir Corona as a competition guide contains a recording of a dance model, which is a stylization of five steps of washing hands into a simple variety of movements in the classical dance of Yogyakarta style. Judges' assessment results through dance performance videos uploaded by 196 participants showed that: (1) the ability of participants to imitate all movement patterns according to the dance material of Beksan Nir Corona reached 85%; (2) the ability of participants to be creative which is manifested in the ability to express ideas only reached 60%; and (3) the remaining 40% of participants only danced the dance of Beksan Nir Corona by imitating the movement patterns that had been exemplified. The average ability to imitate the movement patterns of the dance of Beksan Nir Corona based on the assessment of the six judges is 85.5. In contrast, the creative ability in dance presentation is 70.5. [ABSTRACT FROM AUTHOR]

The study was conducted with the aim of identifying the impact of competition anxiety on dance immersion and performance in high school students majoring in dance. As of 2020, online surveys were conducted on students majoring in dance at high schools in Seoul and the metropolitan area. A total of 222 people's data were processed by applying t-test, one-way variable analysis, correlation and multiple regression analysis through SPS 18.0 for Windows, resulting in the following conclusions. First, male students were more confident in their condition than female students, and students who recognized that their family's economic power was in the middle class were more aware. In addition, it was found that the group perceived that economic power was at the top of the list was higher than the median. Second, cognitive anxiety and self-confidence have been shown to have a static effect on immersion into dance. Third, cognitive anxiety and self-confidence have been shown to have a static effect on the achievement of uselessness. Fourth, immersion in dance appeared to be a powerful parameter related to competition anxiety and achievement of dance. To sum up the above conclusions, competition among high school students majoring in dance has been shown to increase their performance by immersing themselves in dance, but further studies of these psychological variables are expected to have side effects. [ABSTRACT FROM AUTHOR]

This special issue on Dance, Movement and Leisure Cultures showcases theoretically informed articles illuminating different ways of knowing about the passions, actions, and practices within the economic, political, social, and cultural contexts of leisure-based dance. This introduction contextualises the content of the special issue within the previous dance research. Nuanced and detailed, these studies have examined diverse dance styles from ballroom to street dance, but share several main themes: the commercialisation of dance into popular culture; the increasing emphasis on competition in dance; gender roles in dance; community dance; and dance that has been recreated as an exercise form. To set the stage for the special issue, this introduction provides a closer reading of each of these themes. [ABSTRACT FROM AUTHOR]

This article provides an introductory contextualization to dance competition culture's evolution since the early 1980s in relationship to serious leisure. Dance competition culture (which includes the for-profit regional and national competition events focused on jazz, contemporary or lyrical dance, hip hop, tap, and ballet and the dance studios that train dancers for these events) is a significant site for dance training in the United States. Using a physical cultural studies lens in relation to the conceptualization of serious leisure, the article suggests that dance competition culture is shifting towards pre-professional dance training thereby changing dance competition culture from a serious leisure pursuit into vocational training. [ABSTRACT FROM AUTHOR]

This article employs a theoretical framework, utilizing cultural analysis, to explore how the intersection in the United States between competition dance, televised dance shows, and social media (which will be defined as consumer dance) is affecting the embodiment, pedagogy, and appreciation of dance, and contributing to the objectification and commodification of these dancers. Hegemonic constructions of gender and beauty populate consumer dance, giving birth to identities that are predominately reliant on the sense of sight due to technological changes that have plunged society into a nonstop visual world found on a screen. Engaging with the scholarship of Karen Schupp, Susan Foster, and Alexis Weisbord that examines competition dance, the current consumer dance model is analyzed for how it shapes the dancer's body and psyche. As a researcher, I see an intersection of my identities as a figure skater, modern dancer, choreographer, educator, feminist, and the mother of two daughters who dance informing the trajectory of my research. This scholarship draws from different lenses delving into philosophy, dance studies, feminism, and psychology in order to reveal the complexity of the forces that create consumer dance. [ABSTRACT FROM AUTHOR]

This article seeks to reveal and problematize the multi-layered construction of whiteness in dance competition culture by illuminating assumptions about technique embedded in 'all styles' competition dancers perform on stage. The phrase 'dance all styles' is a shorthand of sorts for those in dance competition culture, as what they really mean is they dance all styles represented in competition dance. In dance competition culture, technique is key in 'all dance styles,' and over time youth unknowingly come to equate the idea of technique with the attributes of ballet inherently reinforcing whiteness as normative. Policies and practices such as competition organizations' rules and regulations, judges' commentary, and choreographic content are examined in relation to critical race theory to demonstrate how whiteness, white privilege, and white supremacy are performed on the competition stage. [ABSTRACT FROM AUTHOR]

This paper seeks to illuminate the challenges of integrating new technologies in private sector dance education and explores the formation of digitally mediated identities in adolescent female dancers. Autoethnographic research is supported by Foucauldian theory as well as surveillance and social media scholarship. Research examines how the imagined audience, produced by live-streamed closed-circuit television (CCTV), perpetuates the status quo in systems of Western concert dance education and creates new dimensions in dance competition culture. The values of the dominant class are embedded in institutional systems of training. Structural systems of oppression exclude marginalized groups and maintain the status quo. The argument is extended to include how the imagined audience produced by social media plays a role in reinforcing dance's established exclusionary aesthetic, as dancers create online identities to meet perceived audience expectations and build cultural capital. The discussion explores ways in which the imagined audience exacerbates current concerns in the field of dance education. Existing socioeconomic and institutional barriers perpetuate patriarchal values and reinforce gender expectations. In a post-pandemic world, teachers and students will negotiate new dimensions in dance education produced by manifestations of surveillance as this technological mediation will continue to be the norm. [ABSTRACT FROM AUTHOR]

Irish and Scottish migration to Australia included the transportation of traditional arts, including dance. Dance competitions were popular community activities, but the presence of an Irish Jig in the canon of Scottish Highland dance and its imputed association with the vaudeville 'stage Irish' provoked anger among Irish migrants. This is because it threatened their notions of the representation of Irish identity through dance. The controversy surrounding the Irish Jig in the nineteenth century was perceived by Irish dancers as illustrating the wider socio-cultural circumstances of Irish immigrants in Australia. [ABSTRACT FROM AUTHOR]

Purpose: This study looked at the physiological effects of performance in Highland-dance competition to consider whether the traditional methods used during class and rehearsal provide an appropriate training stimulus toward this performance. Methods: Nine championship standard, female Highland dancers (age 14.2 ± 1.47 years) had their heart rate and blood lactate concentrations measured before and after 3 dances during a championship competition. Heart rate was also measured during the same 3 dances in rehearsal and during class. Results: Repeated-measures analysis of variance showed significant differences in predance lactate concentrations between the first dance (Highland Fling, 1.4 ± 0.3 mM/L), the second dance (Sword dance, 2.3 ± 0.8 mM/L), and the third dance (Sean Truibhas, 3.5 ± 1.8 mM/L; F2,16 = 11.72, P < .01. This, coupled with a significant rise in lactate concentration during the dances (F1,8 = 76.75, P < .001), resulted in a final postdance lactate concentration of 7.3 ± 2.96 mM/L. Heart-rate data during competition, rehearsal, and class (195.0 ± 6.5, 172.6 ± 5.4, and 151.9 ± 7.4 beats/min, respectively) showed significant differences between all 3 (F2,16 = 107.1, P < .001); these are comparable to research on other dance forms. Conclusions: Given the disparity between the anaerobic predominance of competition and the aerobic predominance during class, it is suggested that the class does not provide an appropriate training stimulus as preparation for competitive performance in Highland dance. [ABSTRACT FROM AUTHOR]