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Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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.)

This article reflects on a week-long staff professional development program at Tezpur University), Assam, India, conducted during mid-December 2023. As a focus of the professional development, staff from the Cultural Studies Department along with visiting academics and staff from other departments at Tezpur University learned how to teach community dance to their master’s students in 2024. Embedded into this learning was a transformational pedagogical approach to teaching that offered an alternative to direct knowledge transmission. Khedkar & Nair (2016) commented on the value of this pedagogical approach, noting, Transformative pedagogy is defined as an activist pedagogy combining the elements of constructivist and critical pedagogy that empowers students to critically examine their beliefs, values, and knowledge with the goal of developing a reflective knowledge base, an appreciation for multiple perspectives, and a sense of critical consciousness and agency. (p.232). Outcomes have been drawn from the participants' personal reflections. All the participants responded with enthusiasm to the new ideas and learning that came from the week of professional development. Enthusiastic engagement and enjoyment observed during the sessions suggest that their positive reflections were honest and open according to the guidance they had been given. We reflect on the learning that emerged from this, both for the participants and the facilitator. [ABSTRACT FROM AUTHOR]

This article examines how dance artists with extensive experience with The Cultural Schoolbag (TCS), a national programme for bringing the arts into schools, convey their rationale for working in TCS. Previous research has found that the artists' rationale for doing TCS-art is far from established and agreeing on what TCS-art should be or become is inherently difficult. The goal that TCS-art should contribute to the school's curriculum, potentially challenging the artists' freedom, continues to pose a challenge to TCS that has so far remained unresolved. Interviews with nine professional dancers show, that they to a little degree have been challenged to contribute to the school's curriculum and have had few problems establishing a rationale for doing TCS-art in line with being or becoming a professional dancer. Even if this rationale has been adapted to the socio-material conditions of performing TCS-art, it is seemingly within what can be accepted in the art world of dance in Norway. [ABSTRACT FROM AUTHOR]

The teaching and creative movement course incorporates details of physical movements most suitable to be conducted face-to-face. However, the Covid-19 pandemic has undeniably changed pedagogical methodologies, forcing this course to be conducted online via the medium of technology. Therefore, this paper explains the challenges and advantages of the synchronous and asynchronous video conferencing mixed strategies in the teaching and creative movement course. The setting in this research is a semester of the teaching and learning conducted at a university in Malaysia using the Google Meet application and video. The factors of resources and technological capability as well as the psychological factor that is related to social activity hinder the full advantage of video conferencing and technological usage in this course. The researcher also pointed out the security and safety problem experienced by one of our students to get internet access from a remote area, and the need to consider individual student home situations before sending them to learn from home. The identification of strengths and weaknesses faced by this course will enable further efforts in improving the quality of online dance education which incorporate the use of technology to obtain maximum results, especially for developing countries such as Malaysia. [ABSTRACT FROM AUTHOR]

Any dance culture inherently carries the social and cultural values of the society in which it originated. Dance, as a performance-based art form, relies on the body, and thus, various dance styles and forms are influenced by and influence social norms and values related to the body. This article examines Latin dances such as salsa, merengue, bachata, and cha-chacha from a historical and sociocultural perspective. Latin dances, like other dance cultures, are not merely artistic practices but encompass much more. The sociology of dance seeks to illuminate how dance reflects and shapes and shaped by social norms and values by focusing on all these socio-cultural aspects of dance. Latin dances offer rich insights into the interplay between dance and society. They are not merely forms of entertainment but are deeply embedded with social meanings and cultural significance. The sociology of dance provides a framework for understanding these intricate connections, highlighting the importance of dance as a vital component of cultural expression and social life. Through this exploration, we gain a deeper appreciation for the ways in which dance both reflects and shapes the world in which we live. To understand the cultural and social dimensions of Latin dances, one must consider the historical context in which these dances developed. For example, salsa originated in the Caribbean with influences from African rhythms and Spanish melodies, merging into a dance that reflects the history of colonization, migration, and cultural fusion. The lively and expressive nature of salsa showcases a cultural narrative of resilience, celebration, and communal connection. [ABSTRACT FROM AUTHOR]

The aim of this research structured with Case Study is to discuss the ability of AI to imitate the stylistic features of artists. It is desired to examine the ability of Artificial Intelligence, which creates a certain area of influence in the field of art, to carry style on the way to becoming an artist. Depending on this purpose; At what level is the artistic reflection skill of Artificial Intelligence? Can AI imitate style? How can this situation be evaluated from an artistic point of view? questions were discussed. The research consists of two stages: introducing the artist to the AI through the paid version and creating a painting and creating a work directly through the free versions. The free versions were created with 'ChatGPT 4.o' and 'Davinci', 'Craiyon' and 'Gencraft' AI programmes with the same text by changing only the artist name. Different variations for each artist are presented together in the text. The theme of migration was tried to be transformed into visuals reflecting the stylistic characteristics of the artists. Thus, in the research, the ability of AI to imitate the stylistic features of artists was investigated. The results show that AI can partially imitate stylistic features in terms of colour, figure and composition. However, while doing this, it interprets the works and artists with more recognition better. In the resulting images; anatomical problems in figure depictions, composition and technical problems were observed. Since no detailed experiments were carried out between paid and free versions during the process, no major differences were detected. However, it has been observed that the current AI infrastructure is not very compatible with the idea that artists can take away their professions. Nevertheless, the future status of artificial intelligence, which has a developing structure, may pose a question on the idea. [ABSTRACT FROM AUTHOR]

The artistic work, developed through the processing of units derived from and compiled by society itself, undoubtedly represents more than just a pure artistic production process. Like Arabesque music, which has emerged as a popular cultural product in Turkey, preferred by the society to which it belongs and emerging from internal collective stimulation, a movement pool that is familiar to both individuals on a micro level and society on a macro level has been reached. This study aims to offer a new artistic material pool to the world of dance studies by transforming the movement patterns of kinesthetic expression, which carry the emotions and characteristics of individuals engaging in the collective behavior of listening to a common music, into a dance design. This work proposes an experimental dance design that draws support from the knowledge of dance genres, including folk dances, but cannot be defined as a folk dance or any other type of dance. In this study, using the results of data collected through surveys on Arabesque music, one of the elements of popular culture in Turkey, joint reactive movement patterns were processed, and an experimental choreography of Arabesque Dance was created. This is a modeling study in which data obtained through interviews and observations were analyzed, coded, and an Arabesque Dance Choreography Design was developed. The study involved 100 voluntary participants. The results indicated that Arabesque music was listed as the sixth most frequently listened genre. While participants generally reported that they rarely listen to Arabesque music, the mood commonly associated with it was described as melancholy and sadness. The most frequently listened artists were Müslüm Gürses, Orhan Gencebay, and Ferdi Tayfur. The frequency of participants moving or not moving while listening to Arabesque was found to be nearly equal. Movements while listening to Arabesque were described as swaying, head movements, rhythm, hand movements, and dancing. In the structuring of Arabesque dance, analysis of videos collected from willing participants identified head positions such as front, center, back, left side, right side, front left side, front right side, back left side, and back right side. In the arm positions, various spontaneous variants with the inclusion of the hands can be utilized. These variants can be supported by technical studies from ballet arm positions. Ballet technique was also used in both the upper and lower extremities in the overall dance design. The created Arabesque dance choreography design is presented in the study. [ABSTRACT FROM AUTHOR]

The success of the operation and flow of a ballet class has many factors that can positively impact students both technically and artistically. One of the most important of these factors is the accompaniment. Contrary to popular belief, the harmony and collaboration between the ballet teacher and the ballet accompanist in a ballet class is both difficult and extremely important. This harmony in the ballet class lays the groundwork for the technical quality of the class, musical integrity, and a smooth flow. It is essential to establish a classroom environment where the elements of this communication during the class are well defined, any missing or incorrect information is mutually corrected, and the teacher and accompanist discover ways to communicate effectively. The quality of the ballet accompaniment should be such that it assists the lesson, containing musical features suitable for the movements, and it should be possible for the music to become a more effective tool in the class through the coordinated and collaborative work of the ballet teacher and ballet accompanist. This article aims to examine the obstacles in the harmony between the ballet teacher and the ballet accompanist, strategies to improve this harmony, and the musical technical elements. The views of some artists were consulted regarding the harmony between the ballet teacher and the ballet accompanist, and in light of this information, musical technical elements, forms of articulation, beginnings and endings of movements, determination of tonality and appropriate rhythms, use of staccato and legato terms in the class, accents, and use of dynamics were grouped under specific headings. Additionally, very few existing sources sufficiently emphasize the importance of the musical skill required to accompany technical ballet classes and the skills that a ballet accompanist should possess. At this point, it is necessary for the teacher to establish proper dialogue with the accompanist and guide them correctly, and for the accompanist to benefit from this feedback in light of their own knowledge. Since many studies do not address the cooperation between the accompanist and the teacher, this research topic has been emphasized as a small introductory guide for both ballet teachers and accompanists. [ABSTRACT FROM AUTHOR]

This study sought to determine the effects of dancing on college students' psychological well-being before and after the intervention. This quantitative research study used a quasi-experimental design, specifically the one-group pretestposttest research design. The results of the study revealed that the data gathered before and after the intervention of BSIT and BPED students as a whole were closely similar. However, when the results were analyzed per subscale, the findings revealed an increase in autonomy, environmental mastery, positive relationships with others, purpose in life, and self-acceptance, and a slight decrease in the personal growth subscale. Additionally, findings showed a significant difference existed before and after the intervention in BSIT students. However, in the BPED students, it was found that a significant difference existed before and after the intervention. The researchers concluded that while dancing is a fun and enjoyable form of physical activity, it may not have any significant effects on the psychological well-being of BPED students but has a great impact on the psychological well-being of BSIT students because it gives students a chance to engage with others, which helps lessen feelings of loneliness and isolation. Thus, this study suggests that teachers must encourage BSIT students to use dance as a form of stress relief by incorporating dance breaks into classes or by suggesting dance as a way to unwind after a long day of studying. For BPED, the intervention does not have any specific psychological benefits beyond what they can already achieve through other forms of physical activity. [ABSTRACT FROM AUTHOR]

Utilising Pierre Bourdieu's (1977) concept of 'doxa', this article proposes the notion of a 'doxic agreement', exploring its relationship with agency in the context of contemporary dance technique training. The discussion draws on the data gathered from two cycles of action research, which the author conducted in an undergraduate dance training setting in a British university. During this research, a 'reflexive-dialogical' (RD) approach to dance technique training was developed; this approach subverts dominant training structures by allowing dialogue and critical reflection to occur alongside physical dance practice. Data analysis reveals that the environment constructed through the application of the RD approach created a doxic agreement, a mutually negotiated structure that determined a code of behaviour in the training setting. Positioning the doxic agreement as a flexible structure that disrupted the recursive reproduction (Giddens1984) of the dominant training structures, the author examines the extent to which the agreement facilitated agency, leading to an expanded understanding of how agency is developed and displayed through the body-minds of undergraduate dance students. [ABSTRACT FROM AUTHOR]

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio 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.)

This article examines teaching strategies to empower metacognition through dance writing and collaborative dance making based on a project for middle school dance students at a Title I middle school during the Fall of 2020. This project draws on theoretical frameworks of critical pedagogy, intersectionality, and educational constructivism. Based on class interactions and informal conversations with students, the project was designed to develop class community across the digital divide of virtual and hybrid learning environments, promote social-emotional skills of self and social awareness, and to support the unique needs of diverse learners. The goal of the project was to empower student metacognition and cognitive monitoring within a middle school dance class through dance writing and collaborative dance making. Through this project the dancers examined complex social issues that matter to them personally, cultivated social emotional skills of self and social awareness, and gained confidence in higher order thinking and metacognition. [ABSTRACT FROM AUTHOR]

The novel coronavirus caused a global pandemic with negative implications on stress and a significant impact on dance education. The aim of this study was to investigate mental well-being and sleep hygiene in undergraduate dance students during this global pandemic. Fourteen undergraduate dance students completed the DASS-21, PSQI, and questions relating to motivation to participate in online and in-studio classes in week 2 and week 26 of the 2020–2021 academic year. Although no significant differences were found between these time points for depression, anxiety, stress, or sleep quality, levels of anxiety and stress were classified as severe and extremely severe consistently. Sleep quality, efficiency, and duration were good; however, sleep timings may impact mental well-being. It is recommended that due to chronic levels of stress amongst dancers, which may have also been accentuated by the global pandemic, that mindfulness, somatic practice, and aerobic fitness training be incorporated into dance programs. [ABSTRACT FROM AUTHOR]

Professional dancers have described high levels of performance anxiety while also experiencing flow on stage. However, such research tends to capture one period of time in the performance experience and rarely focuses on vocational dance students. The current study samples vocational dance students at a UK performing arts school and captures their cognitive, somatic, and emotional experiences from pre- to post-performance. Eleven interviews were conducted with female students aged between 15 and 17 years. Thematic analysis was employed and three themes identified: Facilitative and Debilitative Anxiety in the Wings, Constructions of Anxiety and Flow on Stage, and After the Show; the Highs and the Lows. Findings produced an understanding of the psychological journey from pre- to post-performance. Students have the potential to manipulate their cognitions to facilitate flow suggesting that dance schools can implement psychological techniques to manage anxiety and increase flow, thus enhancing well-being and performance. [ABSTRACT FROM AUTHOR]

Climate change is a contemporary global crisis that necessitates pedagogical innovation for the middle school dance classroom. This article describes an integrated design for a dance and science unit. Building on students' kinesthetic abilities, teachers are able to create a unit comprising a series of lessons on bird migrations effected by climate change, culminating in a final performance. Students engage in research on climate change and its effects on global bird migrations and view past performances reflecting avian formations from Marius Petipa and Lev Ivanov's Swan Lake (1895) to non-Western influences on dance. Yoga poses such as Swan, Eagle, and Pigeon evolve into dance phrases. The teacher facilitates students' selection of a musical soundtrack for the choreography of an ensemble performance with props and upcycled costumes. An assessment of the dance and science unit is performed through a continuous feedback loop during practice and through a final group interview after the performance. [ABSTRACT FROM AUTHOR]

Dance educators frequently function in a performance situation–teaching, leading discussion, rehearsing, choreographing. Because of the nature of the work, introverts may be driven to behave in a more extroverted manner and less like themselves. How do introverted teachers navigate the demands of teaching and preserve their energy while best serving their students and themselves? This paper shares strategies on teaching, learning, and leading as an introverted teacher. I draw on existing literature about the introverted teacher, learner, and leader, as well as ideas on effective teaching, and I apply these ideas specifically to dance. While many introverted dance educators successfully teach and perform as extroverts, by openly claiming their introverted personality and implementing practices for teaching, leading, and learning that are specific to introverts, they can feel more confident and engaged in their teaching and working lives. [ABSTRACT FROM AUTHOR]

Introduction: In Taiwan, university physical education (PE) courses are expected to promote students' ability to explore and learn independently and develop their interests and habits in exercise and sports. Students have many different PE courses to choose from, including aerobic dancing. Common challenges in aerobic dancing include high heterogeneity and little time for independent thinking and movement learning. Students' lack of prior experience in the linkage of movement skills may also effect their learning process when creating aerobic movement programs during the course. This study combined an augmented reality (AR) movement device with elements of aerobic dance materials based on self-determination theory and social constructivism to design a teaching method to enhance students' performance and motivation. Methods: This study used a quasi-experimental design (i.e., a 12-hour course attended over six weeks with the same knowledge content for the experimental [EG] and control groups) was implemented. The EG class was taught with the additional help of AR technology. The aerobic dance routines were built using the three axes of aerobic dance (movement, rhythm, and style). The AR technology allowed students to compare movements and design the choreography independently. Experts measured learning outcomes before and after the learning module. Results: The EG showed significantly improved learning motivation and dance learning performance and greater courage in embracing challenges associated with movement changes, connections, and combinations. Using AR software and equipment and the overwhelming amount of information also impacted students' time spent on the AR technology and their willingness to use it. Conclusion: Using AR in the dance course enabled real-time visual learning and allowed students to reference and be inspired by choreography taught earlier. Overall, integrating AR into collegiate PE modules benefited students' dance learning outcomes and provided a better learning experience. [ABSTRACT FROM AUTHOR]

The objective of this research is to examine the impact of eccentric training on hamstring flexibility and strength in young dancers during the concluding stages of their foundational dance training program. A total of 24 female, second-year dance students from Hebei Normal University were selected as participants. They were divided into three distinct groups: Nordic hamstring exercise and single-leg deadlift group (NHE&SLD), forward bending exercises and standing leg lift group (FBE&SLL), and a control group (CG). The study was designed around a 6-week training regimen. An isokinetic dynamometer was used to measure seated knee flexor–extensor strength, while electronic goniometry was employed to measure hamstring flexibility in the supine position. Paired sample t-tests were conducted within each group, and one-way analysis of covariance (ANCOVA) was utilized for comparisons between groups. In the NHE&SLD group, significant disparities were observed in both concentric (T = − 5.687, P = 0.001) and eccentric (T = − 3.626, P = 0.008) hamstring strength pre and post-intervention. The pre-intervention dominant leg concentric strength test values significantly influenced the post-intervention outcomes (F = 5.313, P = 0.001, η2 = 0.840). Similarly, the pre-intervention dominant leg eccentric strength test values impacted the post-intervention results (F = 4.689, P = 0.043, η2 = 0.190). Following the intervention, the NHE&SLD group displayed marked changes in the active straight leg raising angle on both left (T = − 4.171, P = 0.004) and right (T = − 6.328, P = 0.001) sides. The FBE&SLL group also revealed significant changes in the active straight leg raising angle on both left (T = − 4.506, P = 0.003) and right (T = − 4.633, P = 0.002) sides following the intervention. The pre-intervention left leg concentric strength test value significantly influenced the post-intervention outcomes (F = 25.067, P = 0.001, η2 = 0.556). Likewise, the pre-intervention right leg eccentric strength test value significantly influenced the post-intervention results (F = 85.338, P = 0.01, η2 = 0.810). Eccentric training can better enhance the flexibility and strength of hamstring muscles in dance students. Traditional stretching training significantly improves the flexibility of the hamstring muscles. Eccentric training has more training benefits than traditional stretching training. It is recommended for dance students to use eccentric training when increasing hamstring flexibility and strength. [ABSTRACT FROM AUTHOR]

Dance places significant physical and cognitive demands on both students and professionals. These demands increase dancers' susceptibility to a variety of problems. Between them, the prevalence of eating disorders in dancers of various dance genres is significant. In this context, emotional eating is a common problem among people struggling with weight issues. On the other hand, a construct that has been shown to be relevant is Psychological inflexibility. Psychological flexibility refers to the possibility of fully embracing unpleasant private events in the present, without attempting to modify them. The aim of this paper is to determine the different components of emotional eating and the healthy eating index as a function of psychological inflexibility in dance students. This was a cross-sectional study using non-probabilistic sampling. One hundred fourteen dance students enrolled in conservatories or dance schools participated in the study. Evaluations were conducted using the Acceptance and Action Questionnaire, the Healthy Eating Index for the Spanish population, and the Eating and Appraisal Due to Emotions and Stress Questionnaire. Data were collected in person and online format. No differences in psychological inflexibility were observed between men and women. While women showed greater utilization of food to regulate emotions, they did not differ from men in scores on the healthy eating index. Students with high psychological inflexibility reported greater utilization of food as a regulator of emotions. No differences were found in healthy eating according to psychological inflexibility. It is recommended to transform dance conservatories into healthy spaces by promoting habits that facilitate students' well-being. Faculties can help in the pursuit of excellence by aligning performance goals with research findings and improving holistic care. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver 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.)

The purpose of this study was to explore the potential of capture systems in improving high school students' dancing skills through the use of experimental design. The major findings were as follows: First, using a MoCap system and high-speed camera to document dancers' movements can provide reference materials for students to improve their skills through self-practice. Second, using a MoCap system and high-speed camera as teaching aids at dance studio can enhance the effectiveness of dancing teaching. Third, incorporating MoCap and high-speed camera technologies into dance art is becoming necessary for achieving peak performance. [ABSTRACT FROM AUTHOR]

It may appear commonsensical that undergraduate dance majors, sharing a programmatic experience within a bounded space and time, might feel connected to others involved in that experience. However, the multi-faceted and dynamic considerations of who and what comprise this learning environment are often not holistically explored. To better identify and ascribe meaning to practices that might support student success and build community within an undergraduate dance program, the voices of students must be central. Therefore, the purpose of this case study research was to better understand how dance majors described their own experiences and relationships. The data surfaced student-identified and program-wide factors that contributed to their engagement and matriculation. Considered together, these factors empowered the students in this study to become contributing members of a healthy, productive, and engaged dance major program. Positioned through a critical pedagogy framework, the researcher crafted the term, 'Culture of Basic Goodness,' to better describe these collective practices. The existing variability in undergraduate dance programs can present a challenge if simply trying to replicate these practices. However, this research, which considered both the learner and the environment as central to education, provides valuable insight into the role of teaching and learning dance in higher education. [ABSTRACT FROM AUTHOR]

This paper describes the Virtual Borders project developed in response to the dramatic changes in dance teaching and learning globally, arising from the COVID-19 pandemic. Drawing from action research, Virtual Borders presents an innovative adoption of Peirce's sign theory to tertiary dance choreographic pedagogy, that enhances students physical, creative and cognitive engagement with dance training in the virtual arena. Virtual Borders used digital technology to connect tertiary dance students from geographically distant locations: London, England and Brisbane, Australia, in choreographic practice enhanced by digital and reflective pedagogies. In doing so, the tertiary dance students developed their emergent choreographic practice and embodied understandings concurrently with their peer networks and an international community of practice. Such digitally mediated across-cultural exchange would provide a means through which to support tertiary dance students learning in isolation and facilitate their development of necessary skills for the 21st century dance practitioner operating within the COVID-19 reality. Virtual Borders foregrounds these skills in tertiary dance training praxis to the considerable advantage of the tertiary dance students. [ABSTRACT FROM AUTHOR]

The pedagogical approach in the flipped classroom (FC) reverses traditional in-class lectures by delivering content instructions outside the classroom followed by practice as homework. Although several studies develop the FC model in science, technology, engineering, mathematics (STEM), and Higher Education or High School, few educational studies for inclusive education at primary school levels are conducted. From a teachers’ perspective, this small-scale research project explored the potential of the FC approach in one Swedish primary school (n=25), including ten students with different educational needs. This study aims to investigate how FC contributes to students’ ability to discern and perform choreographed dance movements to music in Physical Education and Health (PEH) according to the teachers’ views. The data collection contained teachers’ PowerPoint presentations of two dance lessons for colleagues, pre-and post-meeting, and three delayed post-interviews with four teachers. Descriptive and content analysis methods were used to analyse the data. The results provide evidence for a potential advantage that the FC supports a general structure of inclusive education. However, there is a risk that students with different educational needs spend moretime out of school hours to reach the same level as other students, which requires further investigation. [ABSTRACT FROM AUTHOR]

In this student reading, I use examples from dance technique classes to bring attention to the choices that students make when learning new movement via observation and repetition. Based on these examples, I frame learning in technique class not as a process of imitation but a process of translation. In doing so I hope to advocate for the intellectual practices and opportunities for student agency embedded in dance technique learning. [ABSTRACT FROM AUTHOR]

This provocation reflects on the experience of taking a class in contemporary African dance in Senegal, arguing that it represents a physicalisation of solidarity. The class included dance students from Europe and the African continent who came together through moving rhythmically despite having no common verbal language. Drawing on Sara Ahmed's proposals about solidarity and Judith Butler's theory of performative assembly, this intervention argues that the aesthetic underlying these students' dancing was one that challenged dominant aesthetic values and the power relations underling them to generate solidarity as feeling the feeling of this challenge. This is a short provocation that was prepared for the roundtable discussion on 'Decolonisation and Solidarity' as part of the conference, Borderlines IX: Seeking Solidarity and Wonder Through Performance, which took place at De Montfort University in Leicester, UK, on 30 June and 1 July 2022. [ABSTRACT FROM AUTHOR]

This present study described the effect of dance and its various genres on students' mental health from a sample of 83 undergraduate students specializing in Performing Arts at selected local college in the Philippines. The researcher-made questionnaire "Mental Effect of Dance Questionnaire" was utilized via online survey to gather data from the respondents. Descriptive and inferential statistical analyses were used to describe the effect of dance and its various genres to students' mental health. Furthermore, Independent Samples T-Test, Mann-Whitney U, and Kruskal-Wallis H were performed to determine the significant difference between groups concerning the cognitive effect of dance and its genre with respect to gender and year level. Based on this preliminary survey, it was found that dance and its various genres positively affects students' mental health. On the one hand, no significant difference was observed between groups, specifically gender and year level, in terms of the mental effect of dance. In this regard, it can be inferred that students' perceived dance to have a great benefit on their mental health. Implications of the study, recommendations, and future research endeavors to support or repudiate the claims of this study are hereby presented. [ABSTRACT FROM AUTHOR]

The purpose of this qualitative study is to explore the experiences of college dance majors in Texas who have a background in studio dance, competitive dance, or drill team as they navigate the culture of dance in postsecondary education. At this stage in the research, the experience of college dance majors will be generally defined as the benefits and challenges they face, the positive and negative impacts of these challenges and benefits, and the interpretations they have of their existence within the culture of dance in postsecondary education, as well as how they define that culture of dance. Findings from this study show dance majors from this participant pool who had consistently challenging experiences regarding their own integration into postsecondary programs. The conclusion of this study provides a recommendation for postsecondary dance programs to consider curriculum revision to better suit the needs of a significant demographic within their student populations. [ABSTRACT FROM AUTHOR]

We demonstrate the ways an improvisational dance workshop provided the opportunity for university students to be autonomous actors and engage in embodied sense-making through dance—two key parts of the conceptualization of enactive cognition. As part of a Design-Based Research project, we use Interaction Analysis to present examples of using autonomy in dance learning in a public art museum. We describe the interactions of one pair of novice dancers engaging in two designed dance activities, and how their improvisational dancing highlights the ways in which dance is a tool for sense-making. This research explores dance as both the content and context for learning, deepening the conceptualization of 4E cognition in dance education. [ABSTRACT FROM AUTHOR]

Low resilient students are vulnerable to adversities that hinder academic success and wellbeing. However, little is known about the extent of low resilience among higher education students. We searched 11 electronic education and health-science related databases. We targeted higher education journals and relevant reference lists for published and unpublished articles in English and Chinese up to January 1, 2021. The Newcastle–Ottawa Scale and the Grading of Recommendations, Assessment, Development, and Evaluation system were used to assess individual and overall evidence. Meta-analysis was conducted for 41 cross-sectional studies using the Stata software. The pooled prevalence of low resilience was 36% among 13,931 students across 18 countries. Subgroup analysis revealed that resilience measures affected resilience prevalence significantly. A higher prevalence of low resilience was found among dance or nursing students in Europe than those in their counterparts. Univariate meta-regression random-effects analyses did not find any significant covariate effects on prevalence estimates. Quality assessment showed that majority (78.05%) of individual studies was high quality, but the overall evidence was rated low. This study provides the prevalence of low resilience in higher education, identifying vulnerable student groups for targeted intervention. Well-designed observational research with standard resilience measures is recommended for future studies. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Sport Science (MJSS) is the property of Mediterranean Journal of Sport Science (MJSS) 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.)

The purpose of this study was to investigate the effects of visual condition (low light, full light, and full light with mirror) on balance control and technical form during two technical dance movements in a group of elite collegiate dance students. Dancers demonstrated higher center of pressure velocity indicating lower control while performing a static dance task (parallel relevé retiré) and a dynamic dance task (fondu relevé en croix) under low light conditions than either lighted condition. Measures of Western ballet technique (pelvic obliquity, knee extension, and ankle plantar flexion) showed no decrement under low light conditions. No effect of concurrent mirror feedback was found on either center of pressure velocity or technical requirements of the dance tasks. [ABSTRACT FROM AUTHOR]

Bulgarian national dances can be systematically organized taking into account different parameters and criteria, when considering the opinions of specialists in the field of Bulgarian folklore. The national folk dances called Horó are the most popular and most widely spread characteristic way of dancing in our national folklore dances. PURPOSE: The purpose of the current article is to analyze the opinions and the attitudes towards the Bulgarian national dances and Horó among students. METHODS: In the text we have used data gathered via a questionnaire-based study. It covers 157 students. The questionnaire is created by the author, constructed especially for the purposes of the current study, and consists of 12 context questions and a sociodemographic block. In order to interpret the results, we have used statistical analysis for non-representative studies, among which descriptive statistics and the method of grouping. RESULTS: The main advantage of Bulgarian Horó dances and folk dances during leisure time is that they give the opportunity to students to have fun and to relax, to recover from stress, and in the university - to get new knowledge and skills while learning to dance new Hora which would also help their physical training, fitness and development. CONCLUSIONS: As per the analysis carried out we can observe that the most popular Horó dances among the students at the SWU "Neofit Rilski", are Pravo ("lined up/straight-line"), Dunavsko ("Danube), Elenino ("Elena's"), all of which are largely popular in our country. [ABSTRACT FROM AUTHOR]

We conducted an intervention based on Solution-Focused Brief Therapy (SFBT) with dance students to improve their performance and reduce their anxiety levels. Sixteen students from a dance conservatory participated in a quasi-experimental mixed research, test-posttest design without control group, consisting of five SFBT sessions. Their teachers evaluated their performance. The results showed the intervention was effective in reducing levels of performance anxiety (O1 = 126; O2 = 105.68), thought credibility and anxious thoughts (O1 = 64.43; O2 = 51.81), and self-perceived anxiety (O1 = 6.21; O2 = 4.58). The teachers reported an improvement in student performance (p <.05). Qualitative results demonstrate that participants could identify problems and take distance, transform negative thoughts into positive ones, and understand and expand their resources to face anxiety-related situations. These findings suggest that SFBT can be a valuable tool for dance teachers looking to enhance the performance of their students, reduce their anxiety levels to overcome stage fears, and improve their overall performance. [ABSTRACT FROM AUTHOR]

Touch in performance and movement practice is not a new concept, although it tends to inhabit movement therapy, partnering techniques, alignment studies, and ethics. However, this article addresses the importance of touch in creative practice with reference to holistic embodied movement, sense of self, one's agency and situatedness. Employing a somatic methodology and phenomenological lens, this article presents tactile practice as research carried out from 2019 to 2022 with master's students and professionals delivered in the space and online as a lecture-workshop at People Dancing UK's Perspectives on Practice. This overarching framework highlights methods of touch prior to the pandemic demonstrating how one perceives and responds to contact from another body whilst retaining authenticity; shifts in tactile engagement during the pandemic and how it aids solo practice; and opens up conversations on reintroducing touch post pandemic with possible cross-disciplinary practice. The research investigates/investigated tactile stimulations within passive, active and intra-active touch as a listening tool in the solo body and between bodies. Through various case studies, these are examined in relation to creative inquiry and artistic identity. The article aims to challenge power relations and conventional connotations around touch and practice as well as offer new tactile engagements within solo creative practice. It also proposes touch as a collaborative mesh for cohesion and keep us in touch through a practical tactile toolkit. This will resonate with somatic movement practitioners in particular, however its inclusive nature means specific approaches may resonate with practitioners in other creative disciplines. [ABSTRACT FROM AUTHOR]

Drawing on the multimodal analysis of interaction, this study investigates the coordination between language and body in an instructional setting where students are asked to move their bodies along with the instructor. The data examined comprise a videotaped interaction during a Japanese classical dance (Nihon Buyo) workshop held for international students in which a professional dance instructor introduced the dance to the students by having them perform a few simple choreographies. The data showed that the instructor often employed onomatopoeias (mimetics or ideophones) during her demonstrations. The study investigated how onomatopoeias are employed in coordination with bodily demonstration and what they accomplish in the instruction. The analysis revealed that the instructor coordinated her body movements with onomatopoeias using sound stretch, pitch and volume change, and voice quality. Onomatopoeias with such modulated prosody along with bodily demonstration highlight the features of the body movements in the choreography. Additionally, onomatopoeias act as resources for synchronized movements among participants in a physical activity through their prolongation and repetition. This suggests an interactional function of onomatopoeias that has not been discussed previously in the relevant literature. • The data examined for the study came from a videotaped traditional Japanese dance class. • The study investigated how the instructor employs onomatopoeias with bodily demonstration and what they accomplish. • Onomatopoeias are employed with modulated prosody and depict and highlight co-occurring body movements. • Onomatopoeias are a resource for synchronized movements among performers in a physical activity. • The study suggests an interactional function of onomatopoeias. [ABSTRACT FROM AUTHOR]

In this article I share a series of writing assignments that were developed over a decade of working with general education students and dance majors at the tertiary level to guide their skills in describing and analyzing dancing. Across this curricular development, I sought to discretize the processes of describing, analyzing, and interpreting dances into smaller, more manageable skills that could be scaffolded over the course of a semester. I share eleven assignments that I have used throughout a semester and suggest in-class activities to prepare students to be successful in the assignments. I encourage readers to think critically and creatively about adopting and modifying the framework presented here to help students in their classes develop skills for clear and rich communication about dance and dance education. [ABSTRACT FROM AUTHOR]

This article presents a cross-disciplinary cascading mentorship model developed and implemented across art and dance programs by two college program directors, with first-year honors arts students (Muse Scholars) and graduate-level dance education students (Arnhold Scholars). Sustained for over a decade, this collaborative model integrates visual art with the study of dance in a museum, a dance studio, at a theater, and in the classroom. [ABSTRACT FROM AUTHOR]

An editorial is presented on enhancing the value and integrity of dance education research through engaging inquiry and critical examination. Topics include practising research in dance (2015), dance pedagogy in theory and practice, dance futures, dance and work, intersectionalities and identities; and importance of equity and quality of life for dancers, dance students, and dance educators with children.

Featured Application: This article examines a VR-based rotation task in an extracurricular dance class with a focus on the crucial didactic, collaborative, and perceptual components of dance training. Testing and application of suitable learning tools and methods can facilitate learning environments conducive to skill acquisition for the target group. This also applies to sports education at school level, including extracurricular activities. On the one hand, traditional learning methods are still effective in sports education; on the other hand, keeping up with societal and technological developments, new learning strategies are continuously being researched to complement existing pedagogical tools. An innovative tool that has been increasingly used in various fields of application in recent years is Virtual Reality (VR) as part of the Extended Reality (XR) domain. It enables learning in immersive and specifically designed learning environments and is particularly suitable for learning in (sports-)motor contexts due to its flexible use. In our study, we test a VR-based rotation task in an extracurricular dance class with the objective of supporting the crucial didactic, collaborative, and perceptual components of dance training in educational contexts. We conducted feedback sessions with the students and used direct observation to examine their behavioural actions. Based on the qualitative content analysis of the written feedback and the overview from the observations, we can identify integrative potentials of this innovative tool in sports education, especially extracurricular dance classes. [ABSTRACT FROM AUTHOR]

This article provides detailed information on the changes and innovations in the field of higher education, various methods, and tools for educating children with disabilities. The practical significance of increasing the participation of children with disabilities in society through choreography has also been studied. [ABSTRACT FROM AUTHOR]

In response to an invitation to integrate science and art pedagogy, science and dance students enrolled in specific disciplinary courses, collaboratively produced choreography based on scientific principles. This paper reports students' experience of this process. Science students reported an increased understanding of concepts, while dance students found inspiration for choreography within scientific concepts. Tensions and misconceptions were evident in the process with respect to disciplinary language, the notion of scientific thought, and the level of physical awareness. The relationship between movement and forms of knowledge production in science was investigated as well. The paper ends with recommendations for future classes. [ABSTRACT FROM AUTHOR]

In recent years, the number of publications on dance/movement therapy has increased. However, there has been no comprehensive quantitative assessment of dance/movement therapy publications that analyze research trends, impact, and structure. This study aims to provide an overview of research trends in dance/movement therapy by identifying the influencing factors of publications and analyzing the research structure. The study analyzed 589 publications retrieved from the Scopus database. Indicators of productivity, impact, and collaboration were determined. The study is the first bibliometric analysis in dance/movement therapy. The results show publications in the fields of medicine, psychology, and healthcare, mainly with authors from the United States, the United Kingdom, Israel, and Germany. Although several publications are available, only a few authors have more than one publication. This resource can be used by researchers, practitioners, and students in dance/movement therapy. It provides an overview of existing research and suggests potential avenues for future research. • The first bibliometric analysis provides an insight into the current research landscape. • This illustrates the dynamic expansion and tendency to establish the field interdisciplinarity. • Keyword analysis reveals a lack of systematization, with most keywords appearing only once. [ABSTRACT FROM AUTHOR]