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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]

Study aim: To assess the impact of an ordinary training week cycle lasting 6 months on the anaerobic endurance of dance sport athletes.

Copyright of Turkiye Klinikleri Journal of Sports Sciences is the property of Turkiye Klinikleri 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.)

Problem statement: As a newly established science, the science of physical education and sports, through the study of man as a bio-psycho-socio-cultural being and its manifestations in clearly defined conditions, uses methods from different fields such as biology, psychology, social sciences and cultural sphere. In order to achieve high performance, to know all the aspects of the complex training regarding the dancers, is vital. The evaluation and grading criteria, in Dance Sport, increasingly emphasize the importance of artistic and expressive training of dancers. The aim of the research: The aim of the research is to define the type of body activity that aims to educate and develop expressiveness at different quality levels, from spontaneous, natural manifestation to psychical and that is expressed through body movement rich in meanings, built with a well-defined purpose. Conclusions: If we approach the motor skills in a systematic learning process, we can influence in a favorable way, the path from spontaneous - unconscious expression in order to educated expressive behavior. The expressive behavior responds effectively to both communication and understanding needs and to the requirements that are imposed by the appreciation code in Dance Sport. The psychology of sport is the one that, through its specific application, permanently feeds the coach's knowledge (specific information, techniques and methods) capable of leading to increased sports performance. [ABSTRACT FROM AUTHOR]

Charakteristisch für den lateinamerikanischen Formationstanz (LFT) sind den Schulter-Arm-Bereich belastende Dreh-, Schleuder- und Zugbewegungselemente. Ziel dieser Studie ist die Analyse von Schulterverletzungen im LFT. Insgesamt nahmen n=81 Tanzsportler*innen (TS) (m: n= 43; w: n= 38) an einer retrospektiven Fragebogenstudie teil. 22,8% (m: 21,9% vs. w: 23,7%, p= 0,310) der TS verletzten sich im 12-Monats-Zeitraum mindestens einmal an der Schulter. Es fanden sich geschlechtsspezifische, jedoch nicht signifikante Unterschiede hinsichtlich der betroffenen Seite (w: re: 80%, li 13,3%; m: re: 38,5%, li: 46,2%, p=0,429). Die meisten Schulterverletzungen ereigneten sich während der Formationstanz spezifischent echnischen Höchstschwierigkeiten (m: 76,9% vs. w: 73,3%, p= 0,675). 31,6% der Tanzsportler*innen (m: 29,3% vs. w: 34,2%, p= 0,884) gaben an, unter chronischen Schulterbeschwerden zu leiden (re> li: m: 41,7% vs. w: 38,5%, p= 0,137). Die Ergebnisse weisen auf die Notwendigkeit eines additiven Koordinations-, Kraft- und Stabilisationstrainings für den Schultergürtel hin. Zuvor sind weiterführende Studien mit höheren Fallzahlen erforderlich, um Risikofaktoren und geschlechtsspezifische Besonderheiten abschließend klären zu können. Characteristic for Latin American formation dance are turning-,catapulting- and pulling movements affecting the shoulder-arm-region. The aim of thisstudy is to analyse shoulder injuries in Latin American formation dancers. A total of n=81 dancers (m: n= 43; w: n= 38) volunteered for thisretrospective cross-sectional cohort study using questionnaires. 22.8% (m: 21.9%, f: 23.7%, p= 0.310) of dancers suffered from shoulderinjuries at least once during a 12-month period. Gender-specific non-significant differences regarding the affected side (f: right 80%, left 13.3%; m: right: 38.5%, left 46.2%, p=0.429) were observed. Most of the shoulder injuries occurred during the technically maximum difficulties (m: 76.9%; f: 73.3%, p= 0.675) characteristic for Latin American formation dance. 31.6% of the female dancers (m: 29.3% vs. f: 34.2%, p=0.884) reported to suffer from chronic shoulder damage (right>left: m: 41.7% vs. f:38.5%, p= 0.137). The results reveal the need to consider an additive coordination-, strength- and stabilization training for the shoulder girdle. However, further studies with a higher number of cases are necessary in order to identify risk factors for shoulder problems and to finally clarify the existing gender-specific aspects. [ABSTRACT FROM AUTHOR]

Purpose: Highlighting the particularities of planning the basic methodological components in the specific training of Junior I dancers. Material. Organizing a comparative study during the period 2011- 2013, based on the analysis of the key methodological components in the specific training of Junior I dancers. The research was carried out in „Step in Two" Sports Club of Bucharest with the help of a group of 12 dancers of 12 to13 years old. The experimental methodology includes the following components: competition calendar, performance and training objectives, dynamics of physical fitness, structure of the basic training sessions, training requirements, directing and supervising the training sessions etc. Results. The share of the sports training components throughout the training year 2012 - 2013 was highlighted in comparison with the period 2011-2012, as follows: 26.36% of the training methodology was allocated to the technical training (29.87%); 19.88% (22.58%) to the artistic training, 21.50% (22.58%) to the physical training, 10.10% (14.58%) to the psychological training, 2.8% (3.58%) to the tactical training, 1.16% (2.63%) to the theoretical training and 17.00% (2.87%) to the integral training. As for the training of Junior I dancers for the Romanian National Championships (macro-structure 1), March 2013 compared with 2012, the share of the training components had the following values: 30.35% technical training (32.85%), 22.0% physical training (24.12%), 19.54% artistic training (21.83%), 11.64% psychological training (13.72%), 2.91% tactical training (3.33%), theoretical training 1.25% (1.66%) and integral training 12.27% (1.66%). Regarding the training for the German Open Championships (macro-structure 2), September 2013 in comparison with 2012, the integral training increased up to 23.16% (4.49%), the psychological training was 10.53% (15.73%), technical training 21.35% (25.84%), artistic training 20.53% (23.60%), physical training 20% (21.35%); 1.05% (4.0%) each were allocated for the tactical and the theoretical training. Conclusions. The comparative analysis of the training experimental methodology over the period 2011 - 2013 and the assessment of the results obtained by the dancers in the target competitions point out the share assigned to the components of sports training and the importance given to the integral training. A good analysis of sports training components in dance sport provides the favorable premises for including in the specific training methodology the key elements that condition the manifestation of the performance capacity and the achievement of superior results in the competition. [ABSTRACT FROM AUTHOR]

Objective. Creation of action modules specific to dance sport training intended to develop the psychomotor skills of junior I dancers (12 - 13 years old). Methods. The experiment was conducted from March 2010 to February 2011 within the „Step in Two" Sports Club of Bucharest, with a group of 12 dancers aged 12 to 13 years. The study consisted in the implementation of an experimental module of training in dance sport, aiming at the influence on the development of the psychomotor skills. The structure of the module included four variants of content, in which the lesson means were grouped in 6 categories, with distinct objectives: dance specific training means with restricted movement of certain segments; means of dance without visual control; means of dance combining the dynamic actions with the static positions; means of dance for the development of the coordination in strength regime; means of dance involving the execution of unusual motor tasks, with visual contact; means of dance for the training of rhythm capacity. Results. In the 155 lessons included in the experimental training, the means of dance sport were distributed as follows: 43 lessons or 27.74% in the first variant; 37 lessons (23.87%) in the second variant; 33 lessons (21.29%) in the third variant and 42 lessons in the fourth variant, namely 21.10% means. The variants are different from one another by the selection of the category of means that address the psychomotricity, by the unilateral or mixed approach of the dance sections, by the selection of the means belonging to one category or another (according to the objective), by the dosing of the effort depending on the training period and the time left until the competition, by the adaptation of the lessons content to dancers' reaction. Conclusions. The use of the specific means for the development of the psychomotor skills in junior 1 dancers (aged 12 to 13 years) contributed to the increase of the tactile sensitivity of the palms, the self-perception of the body and the connection with the partner for providing information in real time regarding the dance steps and figures. [ABSTRACT FROM AUTHOR]

Objectives. Organization of the basic specific training sessions with technical-physical, artistic-physical and technical-choreographic artistic content in C class meant to create the performance basis and to develop the motor skills specific to Standard and Latino dances, taking into account the particularities of the 12 to 13 years old dancer and the structure of the methodological module in the double macro-cycle of training. Methods. Organization of an ascertaining experiment during the period 2011- 2012 for the analysis of the basic methodological components in the specific training of junior 1 dancer. The research was conducted in „Step in Two" Sports Club of Bucharest, with a group of 12 dancers aged 12 to 13 years. The ascertaining experimental module includes the following components: competitions calendar, performance and training objectives, dynamics of the specific fitness, structure of the basic training sessions, training requirements, guidance and control of the training sessions etc. Results. The study highlights the share of sports training components throughout the training year 2011 - 2012: a share of 29.87% of the training methodology was allocated to the technical training, a share of 22.58% to the physical training, 22.58% to the artistic training, 14.58% to the psychological training, 3.58% to the tactical training and 2.63% to the theoretical training. The integral training had a share of 2.87% as it was addressed during the precompetitive mezzo-structures only. Regarding the preparation of junior I dancers for the Romanian National Championships 2011-2012, the training sessions included a share of 32.85% technical training, 24.12% physical training, 21.83% artistic training, 13.72% psychological training, 3.33% tactical training and 1.66% theoretical training, while the integral training was not a priority and represented only 1.66% of the competitive mezzostructure. Conclusions. The analysis of the training experimental module over the period 2011 - 2012 and the evaluation of the results obtained by the dancers in the target-competitions demonstrate that the performance objectives were achieved as the dancers succeeded to qualify for the quarter-finals of the international competitions in which they participated. [ABSTRACT FROM AUTHOR]

Purpose: make analyze the impact of the step aerobics on the indicators of physical development and functional preparedness of athletes in Dance Sport on the stage of specialized basic training. Material & Methods: 20 athletes (10 sport duets) aged 14–15 years were divided into two groups: control (CG) and experimental (EG). To achieve the objectives we used methods: theoretical - analysis and synthesis data of scientific and methodological literature; pedagogical methods: pedagogical observation; pedagogical testing; medical and biological methods: anthropometry, functional methods of research; methods of mathematical statistics. Results: after the implementation of a training process means step aerobics significantly improved indicators of cardio-respiratory system of athletes in Dance Sport. Conclusions: materials research to assess allow us to estimate the extent of influence of step aerobics on indicators of physical development and functional preparedness athletes in Dance Sport on the stage of specialized basic training.

The purpose of this paper is to highlight the influence of the training methodology on the motor sphere of junior I dancers. This scientific approach has involved the organization of an experimental study in ”Two Step” Club of Bucharest. The research activity was conducted from January 2012 to November 2013, by investigating two groups of athletes, an experimental group and a control group; each group included 12 dancers, aged from 12 to 13, corresponding to sports classification category Junior I. The results of the research show that thanks to the training methodology applied to the Junior I dancers included in the experimental group, these ones improved their strength of abdominal and arms muscles, they had an increase of the spine and coxo-femoral joint mobility and they improved their strength under speed conditions as well.

Purpose. The paper demonstrates the influence of the specific training on the technical and artistic execution of the choreographies of Standard and Latin-American dances by the 12-13 years old dancers. Material. With this aim in view, an ascertaining and formative pedagogical experiment was conducted from 2011 to 2013 in the „Two Step" Dance Sport Club. Two groups of investigation participated in this study: an experimental group and a control group, each one formed of 12 dancers of 12 and 13 years old, corresponding to Junior 1 sports category. A test taken over from Barow & McGee and adapted to dance sport, graded with marks from 0 to 10 points, was used to assess the quality of the technical and artistic execution of the competition choreographies of Standard and Latin dances. Results. The different approaches to the training components throughout the research have also included the participation in formative competitions for checking dancers' reactivity to the competitive stress and to assess their training level. The quality of competition choreographies execution of Standard and Latin dances (separately) in the case of Junior 1 dancers (12 - 13 years old) was monitored. Discussions. The participation of juniors in both sections - Standard and Latino, separately, but also in the competition of 10 dances, determined the assessment of the quality of competition choreographies execution. The review of the specialized literature and the opinion of specialists revealed that the specific training of the dancers is based on the integral approach to the training sessions through a permanent increase of the complexity and refinement of the technique and choreographic compositions. Conclusions. The combination of the means of technical and artistic training and their overlapping in different choreographies for the dancers of 12 - 13 years old led to the development of the capacity for performance and to the achievement of performance objectives, implicitly. [ABSTRACT FROM AUTHOR]

BACKGROUND: Despite the high popularity of Latin American dance and the specific movement patterns characteristic of this dance discipline, studies on the physical effects of these dance style specific movement patterns are still lacking. OBJECTIVE: The purpose of the present study is to analyze strength level differences and shortening of relevant muscle groups resulting from formation dance, taking performance standard and gender into consideration. Furthermore, the correlation between the findings of muscle function tests (MFT) and the occurrence of lumbar spine complaints is evaluated. METHODS: A total of 66 participants (m: n = 31, f: n = 35) volunteered for this cross-sectional study (examination group, n = 39, m: n = 19, f: n = 20). The control group consisted of n = 27 participants (m: n = 12, f: n = 15). Besides isometric maximal strength tests (Digi Max system, mechaTronic), relevant muscle groups were examined for shortenings (hip flexors, hamstrings). RESULTS: The male participants in dance sport reached a significantly higher strength level in the muscles of the spine region (p = 0.011) than the participants of the control group. The female elite dance athletes developed a significantly higher strength level in the knee flexors on the right side than the dancers of the advanced group (NL) (p = 0.021). At that, muscle shortening were observed that seem to be specific to dance sport. In addition, gender specific differences were observed both in strength levels and in tendency to shortenings. CONCLUSION: The specific requirements profile of Latin American formation dance seems to produce affects in the form of muscular imbalance on both sides of the body. These differences of muscular status were mainly observed between dance sport competitors and non-dancers rather than between performance levels. Future investigations with higher numbers of participants would be necessary here. [ABSTRACT FROM AUTHOR]

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Purpose: to elaborate complex integrated method of psychological influence upon sport ballroom dancers for their quick response to assumed mistakes by executing other steps in training mode in place of given compositions. Material: 20 senior sport ballroom dancers: 10 - experimental group, 10 - control group. At the I stage dancers for participation in the experimental group with regard to their hypnosis ability for facilitation teaching dynamic meditation were selected. Sportsmen with the 2 nd -3 rd stage of hypnosis were enrolled to the experimental group. At the II stage the experimental group was trained in the method of dynamic meditation. For this, the static meditation was performed first, after this the test persons opened their eyes and without leaving the achieved result with help of the static state of meditation, practiced in dynamic meditation. At the III stage training in sports ballroom dances with introduction new steps changing the composition program sequence to composition was held. The coach evaluated response of the test persons in the state of the dynamic meditation. Results: at the II stage of the research on training in dynamic meditation the dancers of the experimental group needed 3-7 repetitions. At the III stage of the research 8 test persons had trained to response adequately to changes in the compositions within 10-15 repetitions. In the control group if a partner changed steps during performance of the composition it led to stop of the dancing couple. For 8 test persons in the experimental group steps replacement didn’t affect adversely the quality of the dance. The senior group of dancers studied new steps with great difficulty, their motion stereotype was formed badly, they preferred to dance compositions trained earlier. The seniors having insufficient technical background (2 persons) showed low abilities, they had bad memory, they spent 3 months for mastering new compositions. Conclusions: The methods elaborated by us providing for inclusion in the training process stand-alone dance steps in place of compensation steps, provided development of the dancers’ ability to respond quickly to assumed mistakes during dance performance. Mastering dynamic meditation depended on typological features of the nervous system: the higher hypnosis ability degree the better mastering. Women-partners of the experimental group who had high hypnosis ability degree and mastered dynamic meditation could quickly adequately response to the rapid changes in the composition performed by dance partner during dance. Consideration of possible errors trains a woman-partner’s ability to switch timely from one step to another. Using this method, improvement of professional skills of dancers accelerates greatly.

Problem Statement. The current performances in dance sport bring to light the amazing level of human motor excellence as a synthesis of the manifestation of the bio-psycho-motor skills with ample resonance in sports show. Given the place and importance of the psychomotor skills for the technical and artistic achievement of dance steps and figures, we are interested in estimating the dance influence on these components of junior's motor skills, both as a result of the specific training and a conditional support of dancer's capacity for performance. Purpose. This paper highlights the development of laterality through the efficient use of the specific means with influence on psychomotor skills in dance sport at Junior I level (12-13 years old). Methods. The research was conducted in „Two Step" Dance Sport Club of Bucharest. The experiment aimed to estimate the influence of dance on the psychomotor skills at the age of 12 to 13 years. This approach lasted for a period of 12 months, from March 2010 to February 2011. During this research there were applied 3 tests for manual laterality and 4 tests for podal laterality. In the experimental group, specific means of dancing (grouped into actuation systems) were introduced for strengthening the technique and developing the psychomotor skills, in addition to the specific means of training in dance sport. Results. The results obtained by the dancers of the experimental group prove the advantages of sports training planning which implies the rational combination of the exercises intended for the development of psychomotor skills. This fact demonstrates the positive influence of sports dance on the improvement of manual and podal laterality indicators. Discussion. The value of manual ambidexterity was identified as smaller at the beginning of the research - 33.33%, compared to the value of 58.33% recorded at the end of the experiment. The performance difference of 25.0% for the share of ambidextrous subjects in the two tests proved that dance sport motor tasks in the experimental group were significantly influenced in terms of development of laterality ability depending on the psycho-functional progressive dominance of the brain hemispheres manifested by using the means of dance sport. Conclusions. Dance sport, through the specificity of the motor actions of its component means, has a positive influence on the development of the manual and podal laterality. The research confirmed that many of the right-handed dancers shown a predilection to the equal use of both hands in dance sport. The quality of podal laterality with the right foot has a higher calculated value, of 83.33% in initial testing, while in the final testing there is a decrease up to 75%; the increase in favor of ambidexterity is from 8.33% up to 16.67% at the end of the pedagogical experiment. [ABSTRACT FROM AUTHOR]

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Generally speaking, coordinative abilities are the abilities necessary to optimally manage situations requiring fast and rational action, being very important in accident prevention. Coordinative abilities are the basis for adequate sensorial -motor learning. Specialized literature deals with general and special coordinative abilities. General coordinative abilities are the result of a multifaceted training in various motor actions or sports branches. Therefore they are manifest in different areas of daily li fe by the fact that certain motor situations are treated creatively (according to Harre, Deltow, Ritter - 1984, quoted by Tudor V., 1999). Special coordinative abilities are mostly developed in disciplines characterized by rich technical variety. Starting from the premise that dance is a complex sport and its practice at the highest level presupposes the optimal development of psychomotor skills, the present study aims at evincing the importance of accurately mastering the components of coordinative abilities and the methodological aspects at the basis of their development in dance sport. [ABSTRACT FROM AUTHOR]

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The research was performed with the aim of determining the frequency and ways of application of information and communication technologies (ICT) in dance sport in Bosnia and Herzegovina. The research was conducted on the sample of 33 dance clubs, that is, their representatives, with the condition for the clubs to belong to one of the two national dance associations of Bosnia and Herzegovina. The data were collected via interviews, associations' web pages and their archives. The research utilized analysis and induction method. The results showed weak application of ITC in everyday work of dance clubs, but they also indicated the appropriate usage of ICT by dance associations (as the "umbrella" organizations of dance sport) at dance competitions. In this sense, it is advisable to steer finances towards improvement of dance clubs' equipment and IT training of employees. [ABSTRACT FROM AUTHOR]

Zusammenfassung: Vorgestellt wird eine 32-jährige international erfolgreiche Formations-tanzsportlerin mit chronischen Schmerzen im rechten Schultergelenk. Es handelt sich - typisch für die sportartspezifische Überlastung der rechten Schulter im Formationstanz - um eine Hyperlaxität mit sekundärer dorso-cranialer Impingement-Symptomatik sowie ebenfalls sekundärer chronischer subacromialer Überlastung. Zusätzlich findet sich in diesem Fall eine plica-ähnliche lokal irritierende strangförmige Induration an der Insertionsregion der langen Bizepssehne. Nach arthroskopischer Resektion der plica-ähnlichen Struktur, Synovektomie sowie subacromialer Bursektomie konnte durch zusätzliche muskulo-koordinative Stabilisation zügig eine beschwerdefreie Belastbarkeit und Sportfähigkeit erreicht werden. [Copyright &y& Elsevier]