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Presently there are approximately 50 million ballroom dancers in China, and over 100 tertiary institutions offering bachelor's degrees majoring in ballroom dance. It was this context and the growth of tertiary ballroom dance education and the prosperity of ballroom dance competition in China that prompted this research question: What are tertiary teachers' meanings of competition in tertiary ballroom dance education in China? In contextualising the study in China, the history of tertiary ballroom dance education and ecology of ballroom dance competition was outlined. Related to this were the various pedagogical approaches valued within Chinese educational institutions and ballroom dance contexts. A qualitative methodology was utilised in answering the research question. This study found that ballroom dance competition culture informed tertiary teachers' pedagogy, students' learning, and curriculum setting. This study posits that as ballroom dance continues to grow in China, tertiary ballroom dance education in China will require a more finely balanced approach to the role of competition within the curriculum, pedagogical approaches and assessment. [ABSTRACT FROM AUTHOR]

Competitive dancesport (DS) performance is a multifactorial phenomenon influenced by physical and mental factors. The emotions experienced by athletes in competition are strongly linked to their sports performance. However, to our knowledge, no studies have investigated the direct relationship between performance and emotional states in DS. Consequently, the aims were four: (I) to investigate the influence of anxiety and self-confidence on DS performance; (II) to examine the influence of years of experience, prior victories, and perceived preparedness on performance outcomes; (III) to identify the optimal emotional state levels for peak performance; (IV) to investigate differences between different athletes' levels and class. The participants were 71 Italian DS athletes divided into three groups (22 B-class, 25 C-class, 24 D-class). Before competition, they supplied demographic information about their gender, years of experience, perceived preparedness, previous winnings in the current class, followed by the completion of the Italian version of Revised Competitive State Anxiety Inventory–2 (CSAI-2R). To assess the athletes' performance, the final classification of the competition was taken into consideration. The results showed that both overall and relative variables from the CSAI-2R significantly predicted performance outcomes (p < 0.05), although somatic anxiety did so to a lesser extent. Significant differences emerged between athletes of different classes in terms of years of experience (p = 0.000), perceived preparedness (p = 0.000), cognitive anxiety (p = 0.000) and self-confidence (p = 0.000). The optimal levels for good performance were cognitive anxiety (11.61 ± 2.27), somatic anxiety (15.77 ± 1.72) and self-confidence (15.12 ± 2.56). The findings of this study provide valuable insights into the multifactorial nature of competitive DS performance, particularly highlighting the significant role of emotional states such as anxiety and self-confidence, as well as other variables such as class, level, years of experience and perceived preparedness. [ABSTRACT FROM AUTHOR]

Digital competences develop professional profiles that are more and more attainable for labor communities in constant transformation. The aim is to verify the impact of dances performed in virtual environments on the digital skills of university students affected by coronavirus. An experimental design of two groups of subjects with sequel due to COVID-19 was developed. The total number of participants was 106 students of the Professional Career of Primary Education of a university in Lima. A rubric to measure skills and a self-report questionnaire were used. The experiment was carried out through the execution of a dance competition in the professional practice, which was part of the curricular program. The results showed that the gamified dances in their virtual format developed better digital competencies than the dancers in the face-to-face format. Digital dances had a positive impact on digital competences in their procedural component, and evidence on perceived self-efficacy received insufficient impact. The study contributes has reported digital competence with variable characteristics in subjects with severe and mild sequel, considering that their perceived self-efficacy develops to a lesser extent than their skills. [ABSTRACT FROM AUTHOR]

This study unravels the intricate dynamics of ballet competitions in South Korea, highlighting the interplay between domestic and international competitions. Expected to function as fair and credible tests, domestic competitions in South Korea are entwined with academicism, neoliberalism, and private education. Meanwhile, international ballet competitions are perceived as more prestigious and occupy a hierarchical status over domestic events, which influences and, at times, compromises local practices and discourses. This research examines the interplay of nationalism, commercialism, and genre rivalry in dance competition to emphasize how these events in South Korea serve diverse entities and play both symbolic and practical roles. [ABSTRACT FROM AUTHOR]

The present study uses an autoethnographic situated strategy to undertake an analysis of the vogue/ballroom subculture. Vogue is an urban dance performed by a subculture with global reach. It is done in balls or dance competitions where identities challenging cis-heterosexist norms participate. These encounters have achieved enormous visibility, both through productions such as Pose and Paris is Burning, and in seminal academic essays such as the influential "Gender is Burning" by Judith Butler. This essay analyzes the way this dance acts as a stage for identity construction. At three analytical/biographical moments, an approach is developed, which, on the one hand, questions the romanticization of this scene and, on the other, criticizes the simplistic analyses conducted on it. [ABSTRACT FROM AUTHOR]

Fidel Alejandro Benitez Cardenas, a fifteen-year-old resident of Nueva Germania, shares his perspective on the changes he has observed in the town. He recalls a time when the youth were more united and dedicated to activities such as the Ballet Group, which won competitions and traveled to different countries. However, Fidel notes a decline in motivation and discipline among the youth, with some even dropping out and engaging in partying, drinking, and drug use. Fidel believes that by organizing themselves better and working towards common goals, the young people can improve their town. He also mentions the popularity of motorcycle tuning and suggests the need for courses on motorcycles, road safety, and driving rules. Fidel highlights the lack of a playground, proper ballet practice space, and opportunities for further education in Nueva Germania. He also emphasizes the importance of better access to computers, internet, and foreign language education. [Extracted from the article]

In this article, we explore the transformational power of holistic studio culture in dance education, drawing from our personal experiences growing up in dance studios that engaged in community events and dance competitions. Unlike traditional studios bound by a single technique, our formative environments embraced a rich tapestry of dance experiences, including community involvement, competitions, and workshops. This diversity has significantly shaped our approaches to teaching dance today. We aim to demonstrate how embracing a holistic studio culture can enrich dance education, providing a model for fostering creativity and inclusivity in the classroom. Through this reflection, we invite readers to consider the impact of varied dance experiences on educational practices and student development. [ABSTRACT FROM AUTHOR]

Copyright of Asia Minor Studies is the property of Asia Minor Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Brasileira de Nutrição e Esportiva is the property of Instituto Brasileiro de Pesquisa e Ensino em Fisiologia do Exercicio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rising temperatures are redrawing the map of global power. Climate space, the environmental security landscape within this new geopolitical system, demands a fresh approach to securing our future. Analyzing the US--China dynamic in this domain, this study traces how security strategies have evolved (culminating in the 2022 US National Security Strategy) to address climate- induced threats. It then explores the delicate dance between competition and collaboration necessary for environmental security in this emergent system. Notably, cooperation--even with rivals--becomes key to national security. This challenges traditional thinking, potentially requiring a paradigm shift where securing the environment supersedes geopolitical rivalries. Creating a controlled space for competition within environmental security could be a critical step toward this paradigm shift, ultimately safeguarding national interests in a climate- altered world. [ABSTRACT FROM AUTHOR]

Is dance a sport? Is dance an art? Can dance be categorized as both? The controversy surrounding dance's categorization has been an ongoing debate since the early 1970s. With no definite conclusion to this debate, dancers do not have a clear designation as either artists and/or athletes. As such, unresolved challenges remain in the perceived value and significance of dance, particularly in postsecondary contexts. These challenges have significant implications for competitive dancers in postsecondary contexts, as their experiences as student-athletes and opportunities for participation in sport contexts are largely impacted by conceptualizations of dance by various stakeholders in university athletics. This research examined perceptions surrounding dance as a sport, art, or a combination of both in universities across Ontario, Canada. Competitive dancers, dance coaches, and athletic department staff in postsecondary contexts participated in semi-structured interviews to share their individual beliefs, knowledge, and understandings about competitive dance and the ways dancers occupy spaces as artists and athletes. Most participants stated they viewed dance as both an art and a sport but demonstrated tension in how dancers occupied spaces as legitimate athletes within postsecondary institutions. While participants indicated openness to the idea of dance as a sport and dancers as athletes, the ways in which this was attainable at the university-level was hindered by various institutional and systemic barriers. [ABSTRACT FROM AUTHOR]

The article examines the motivations, attitudes, and practices of senior ballroom dancing (dancers over 30 years of age). The paper is based on qualitative research (interviews and participant observation) conducted in one Warsaw dancing club and presents senior ballroom dancing as serious leisure as conceptualized by Robert Stebbins, that is, a pursuit of leisure activity that involves long-term commitment and substantial investment in one's development (and thus, significant personal effort) that creates a distinct social world and a strong identification with the chosen activity. Dancing as a serious leisure activity falls somewhere in the middle of the sport-leisure continuum, and senior ballroom dancing is analyzed as a liminal case between these two, oscillating between recreation and competitive approach. The article investigates the process of professionalization of leisure, showing what place dance and competitions occupy in the lives of senior dancers. [ABSTRACT FROM AUTHOR]

The experience of the tap dance educator in the private-sector studio was studied using a mixed methods approach that included a survey and individual interviews. Three hundred thirty-eight tap teachers responded to 25 survey questions about enrollment and hiring, training and curriculum, dance competitions and social media, and challenges and benefits. Interviews with nine tap educators collected in-depth descriptive data that expanded on the topics explored in the survey. Key findings include the following: tap enrollment is inconsistent; teachers teach the way they were taught; classroom content is focused on choreography with tap history, music theory, and improvisation listed eighth through tenth in importance; tap is fusing with other dance forms; and tap dance competitions lack qualified judges, appropriate flooring, and proper amplification. For tap dance to become more relevant in today's dance scene, improved teacher training programs are needed. [ABSTRACT FROM AUTHOR]

In many dance competitions in North America, performances of sexualized choreography have become normalized. One result is that bodies of girl dancers are increasingly constructed as sexual objects. Sexual objectification is highly problematic for the development of girls' self-identities, body image, psychological health, and overall wellbeing. Based on feminist perspectives on the body and data from feminist ethnography, this article investigates how objectification of young, female bodies in dance is reinforced through embodiment and repetition of sexualized movement and how it can negatively impact identity development and wellbeing. This research emphasizes that social-cultural processes of sexualization acting on the bodies and lives of young girls who dance should be of concern to all dance educators and privately-operated studios and suggests strategies for cultivating resistance and alternative approaches. [ABSTRACT FROM AUTHOR]

The Indonesian Dance Robot Contest (KRSTI) is a competition for the manufacture, design, and programming of dance robots with elements of the arts and culture of the dance department, especially the archipelago. The obstacle faced by the robot is when the robot is required to stop according to time on the music but there is a movement that appears when the time has been declared over. The method used is using the RTC module. The DS3231 type RTC module is a circuit that functions to store time and date with accuracy and precision and is integrated with the AT24c32 eeprom serial for other data storage purposes. The results of time research testing on this robot are running well, the first results obtained are that the robot can adjust the time when it runs. Furthermore, at the time of pause the RTC module does not interfere with the running of the robot. Finally, the success rate of the robot stopping at the specified time is 100%, the robot can be tested with time according to the user's wishes. [ABSTRACT FROM AUTHOR]

Sports dance-specific physical fitness training can improve sports dance players' physical posture and performance abilities while enhancing their overall quality. This study is conducted to ascertain the effect of physical and mental health on sports dance performance. This research analyzes 20 outstanding sports dance athletes who have won the top five national sports dance competitions, the top three provincial sports dance competitions, and the top three group sports dance competitions, as well as 20 renowned sports dance experts, teachers, and coaches. The research indicates that the combination of physical and psychological qualities directly impacts the performance of sports dance. This study uncovered novel findings and concluded that general physical fitness and special physical fitness must be clearly defined in the physical fitness training strategy, and targeted training must be performed. After considering both their practical and theoretical implications, the findings of this study have some limitations. Future studies should resolve these limitations. [ABSTRACT FROM AUTHOR]

In modern competitive sports, the optimal mental condition enables athletes to perform at the optimal competitive level. The competition is a test and confirmation of the talent level of the athletes. Performance in the competition is not only related to honor but also to the remuneration and future of the athletes. This study administered a psychological test to twenty college dance athletes who participated in the 2022 National Undergraduate Dance Championships to ascertain the relationship between psychological training, psychological selection, and performance enhancement. In this investigation, a comparative before-and-after experimental design was used. Athletes were evaluated for mental state indicators two months before the competition to ascertain the baseline level of these indicators. Consequently, the emotional/physical depletion of international elite athletes was significantly higher than that of elite athletes, and their energy levels were significantly lower. In addition, psychological regulation has dramatically enhanced the level of psychological fatigue and mood state among athletes, as evidenced by the significant decrease in emotional/physical exhaustion among international athletes (P<0.01) and the significant decrease in panic among level 1 and 2 athletes (P<0.05). After regulation and control, the negative evaluation of sports and the dread factor have a highly significant [ABSTRACT FROM AUTHOR]

This study examined the reliability and validity of judging system scores of past hip-hop dance competitions in Japan. The analysis focused on the scores for each assessment category separately. Judges' scores were obtained from national dance competitions held annually in Japan between 2014 and 2019. In these competitions, five experienced judges evaluated the dancers' performances. The judges scored on a 10-point scale in five categories as follows: creativity, expression and interpretation, impression, technical quality, and synchronisation. This study found that the technical quality category demonstrated good reliability, whilst the impression showed poor reliability. Systematic bias was significant for all categories. There are no levels of difficulty defined for technique, no criteria set for correct movement and no explanation provided for each scoring level, which suggests that each judge may have interpreted the criteria for evaluating hip-hop dance differently. Developing these definitions and identifying the biases that affect evaluation would ensure a reliable evaluation system. [ABSTRACT FROM AUTHOR]

The article focuses on Moira Ragen who had captured a central aspect of Irish dance identity rarely seen, a stark contrast to the polished competition routines and stage-ready costumes typically posted online. It mentions event was smaller than usual to encourage social distancing, the dancers' enthusiasm was palpable. It also mentions feis music plays a role beyond that of a metronomic placeholder in modern competitive Irish step dancing and driving creativity and love.

Sports dance is a competition project and a kind of sports, with the characteristics of being smooth, generous, leisurely, and comfortable, dance steps, smooth movements, and flowing clouds, and it can give full play to the indoor space. In the light of the new era, sports dance is also playing an increasingly important role. Through the time series data and feature analysis of dance sports movements through machine learning, the internal information is mined to find the trends and laws. Machine learning in the era of big data is widely used in research as the main tool for data analysis and mining. The key difficulty of data mining has always been time series data. Machine learning refers to a method of using the resulting data in a computer to derive a certain model and then using this model to make predictions. The core is "using algorithms to parse data, learn from it, and then make decisions or predictions about new data." [ABSTRACT FROM AUTHOR]

Argentine tango is considered a social leisure dance, but its evolution over the past two decades has brought it to elite level due to shows on several stages as well as national and international dance competitions divided into several categories. The current research was performed on a group of experienced tango dancers aged up to 35 years. The aim of the paper was to improve and increase the level of performance, proposing a new training method. The new method involves introducing and using the turning board training device in classical training. Initially, the turning board was invented for and used by ballet dancers, ice-skaters and gymnasts, but it was adapted for the first time in this research for Argentine tango through specific individual and couple exercises with the main goal of improving balance and pivots during the execution of this fundamental dance element that is present in almost every circular movement and change of direction. The research methodology used the well-established Y-Balance Test and Flamingo Balance Test as well as an invented rotation test on the turning board. The results of this method demonstrated a significant increase in coordination, balance, posture, spatial orientation and all turning movements involving pivots on the metatarsals around the vertical axis of tango dancers, who have improved both their individual and couple techniques. Following the results achieved, this paper can be considered a pilot study for future scientific research on Argentine tango as an art and elite sport. [ABSTRACT FROM AUTHOR]

While showing the cave complex to a group of girls, Vijay meets the female protagonist, Vidya (played in the film by Shantaram's own daughter, Rajshree). This essay looks at I Jhanak Jhanak Payal Baaje i ([15]; hereafter I JJPB i ), and I Geet Gaya Pattharon Ne i ([14]; hereafter I GGPN i ), both made by the legendary Indian filmmaker, Rajaram Vankudre Shantaram (1901-90; generally known as V. Shantaram). However, V. Shantaram, who was a Marathi and not from Bengal, embraces stereotypical ideas about women as being temptresses and distractions for legendary artists and ascetics - a theme that we also find in a few other Hindi films, such as I Baiju Bawra i ([12]), I Basant Bahar i ([13]) and I Sur Sangam i ([16]). We might add that both films under discussion are tributes to Classical music, a frequent feature of V. Shantaram's later movies. [Extracted from the article]

Ball-rolling dung beetles shape a portion of dung into a ball and roll it away from the dung pile for later burial and consumption. These beetles perform dances (rotations and pauses) atop their dung balls in order to choose an initial rolling direction and to correct their rolling direction (reorient). Previous mathematical modeling showed that dung beetles can use reorientation to move away from the dung pile more efficiently. In this work, we study whether reorientation can help beetles avoid competition (i.e., avoid having their dung balls captured), and if so, under what circumstances? This is investigated by implementing a model with two different type of beetles, a roller with a dung ball and a searcher which seeks to capture that dung ball. We show that reorientation can help rollers avoid searchers in a wide range of conditions, but that there are some circumstances in which rolling without reorienting can be a beetle's optimal strategy. We also show that rollers can minimize the probability that their dung ball is captured without making precise measurements of the time interval between dances or the angular deviation for dances. [ABSTRACT FROM AUTHOR]

The paper begins by drawing upon research to understand the genealogical position of dance within the school curriculum as a new 'entitlement' for all young Australians. Whilst dance is included within the Australian curriculum it has been historically marginalised as a 'soft' subject within curriculum hierarchy. This low position in the curriculum order has been questioned, with assertions that dance requires a high level of embodied intelligence not usually recognised by education systems. Ball's (1993) analytic framework for policy-making has been utilised to explore the context of influence through a genealogy of the dance curriculum; the context of policy text production through the process of writing about Dance for the Arts Shape paper in the Australian Curriculum; and the context of policy practice through a case study of pre-service teachers' lived experiences of dance in school. The findings revealed a series of complex factors which have impacted upon the implementation and practice of dance in schools including the relationship between teacher control, disciplinary power and student agency; the impact of dance competitions and their influence on the perceptions of dance; the interests of diverse faiths and cultures as well as the potential of dance to support growing interest in Aboriginal and Torres Strait Islander histories and culture; and the twenty-first century proliferation of dance on screen via new technologies and access to highly sexualised performance are discussed. These factors prompt the need for critical approaches towards developing a more accessible and socially just dance curriculum that is culturally responsive and meaningful for diverse learners. [ABSTRACT FROM AUTHOR]