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Academic literature on the topic 'Dancers - Training'
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Journal articles on the topic "Dancers - Training"
1
Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.
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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.
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Rosenthal, Miriam, Alyssa M. McPherson, Carrie L. Docherty, and Joanne Klossner. "Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach." Medical Problems of Performing Artists 36, no. 2 (2021): 78–87. http://dx.doi.org/10.21091/mppa.2021.2012.
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AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.
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Soronovych, Igor, Chenguang Mu, Di Huang, and Andrii Diachenko. "SYSTEMATIC APPROACH TO THE IMPLEMENTATION OF MODELING AS A FEATURE OF MANAGING THE FUNCTIONAL CAPABILITIES AMONG QUALIFIED DANCE ATHLETES." Sport Science and Human Health 5, no. 1 (2021): 149–68. http://dx.doi.org/10.28925/2664-2069.2021.111.
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Introduction. Current trends in the development of sports dance indicate the impact of modern knowledge of sports science on the system of improving the functional support of special performance of dancers. The lack of a systematic approach to the management of training loads significantly affects the formation of specific methodological approaches to improving the special performance of dancers, taking into account the specific characteristics of training inherent in sports that combine sports and art. The aim is to develop a systematic approach aimed at modeling the special functional training of dancers, taking into account the specific requirements of training in sport dances. Material and methods: analysis of special scientific and methodical literature. Theoretical research methods: analysis, synthesis, comparison, generalization, concretization, systematization. Results. The structure and algorithm of realization of modeling of special functional preparation in sports dance are developed: 1) Structural organization of the analysis directed on formation of the system approach to modeling of sports training. 2) Specific principles of forming a systematic approach to modeling the training of dancers. 3) Structural and logical scheme of modeling the functional readiness of dancers. 4) Characteristics of models of training of athletes-dancers. 5) Aids for modeling the readiness of athletes in sport dances. Conclusions. The system approach is developed on the basis of the model-target approach of realization of modeling as functions of management of special functional preparation of athlete-dancers. The formation of the structural components of the model-target approach requires taking into account the specific components of training and preparedness inherent in sports that combine sport and art. The structural and logical scheme of realization of the model-target approach provides the algorithm which purpose consists in formation of the software of special functional preparation in sports dance.
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Kish, Robin L., Janice Gudde Plastino, and Bethany Martyn-Stevens. "A Young Dancer Survey." Medical Problems of Performing Artists 18, no. 4 (2003): 161–65. http://dx.doi.org/10.21091/mppa.2003.4029.
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The purpose of this study was to determine, through self-reporting techniques, the training and injury rates among students studying dance in the private sector. The private studio provides the major venue for students to study dance. This is especially true for young students (ages 8–18) who study ballet, jazz, and tap and who participate in dance competitions. A private dance studio is defined as a studio open to the community with no audition requirements for entry that teaches various technique styles. Private studio dancers are not training specifically to be professional dancers in major ballet companies. Few data exist regarding the training or injury rates of these students in part because of difficulties with access and compliance. To date, 3,700 surveys have been distributed (January 2001-present) to students training in private studios throughout California. Information was requested concerning current and past injuries, dance training history, and competition schedules. This ongoing investigation currently has examined 173 (male = 6 and female = 167) completed surveys. The mean age of dancers who responded to the survey was 15.2 years. Of the dancers surveyed, 93% study at private dance studios, and 67% have studied in high school dance programs. The number of injuries reported (n = 226) included fractures, strains, sprains, and tendinitis. The ankle, knee, and back were found to be the most frequent injury sites. Correlations between the number of different techniques studied and the total hours danced, the number of different techniques studied and number of injuries for each individual, and the number of injuries for each individual and total hours danced all were significant at 0.01. Initial results support that dancers in the private dance studio are susceptible to injuries similar to those experienced by dancers in elite training centers.
5
Ji, Hualin. "Application of Functional Training in Sports Dance Training." Journal of Environmental and Public Health 2022 (August 28, 2022): 1–14. http://dx.doi.org/10.1155/2022/8695535.
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With the rapid development of the economy, people’s various needs for daily life are also increasing. Because this sport combines sports and dance, which makes the sport have the effect of physical fitness, as well as the emotional edification and visual beauty that dance brings to dancers and audiences. With the increase in people’s needs, at the same time, corresponding to the relatively insufficient functional training of the project, this problem makes sports dance, the international standard ballroom dance, always at a low level of development, and at the same time, makes it lack of competitiveness. Also, the nature of dance is now more of a viewing experience. In view of the lack of functional training in international standard ballroom dancing, this article will study the role of functional training in this. By adopting the technology of human body feature recognition and functional action screening, it implements the steps of human action recognition detection technology, human action tracking technology, human body posture shape recognition method, and functional action screening. And the final experimental results show that functional training can screen out 57.3% of female dancers, with ligament damage, and 52.1% of male dancers. The screen outs were more than half of the total numbers, which shows that functional training effectively improves international standard ballroom dance that can provide good assistance for dancers’ training.
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Attwell, Caitlin, Cory Dugan, Alannah K. A. McKay, Joanna Nicholas, Luke Hopper, and Peter Peeling. "Dietary Iron and the Elite Dancer." Nutrients 14, no. 9 (2022): 1936. http://dx.doi.org/10.3390/nu14091936.
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Dancers are an athlete population at high risk of developing iron deficiency (ID). The aesthetic nature of the discipline means dancers potentially utilise dietary restriction to meet physique goals. In combination with high training demands, this means dancers are susceptible to problems related to low energy availability (LEA), which impacts nutrient intake. In the presence of LEA, ID is common because of a reduced mineral content within the low energy diet. Left untreated, ID becomes an issue that results in fatigue, reduced aerobic work capacity, and ultimately, iron deficient anaemia (IDA). Such progression can be detrimental to a dancer’s capacity given the physically demanding nature of training, rehearsal, and performances. Previous literature has focused on the manifestation and treatment of ID primarily in the context of endurance athletes; however, a dance-specific context addressing the interplay between dance training and performance, LEA and ID is essential for practitioners working in this space. By consolidating findings from identified studies of dancers and other relevant athlete groups, this review explores causal factors of ID and potential treatment strategies for dancers to optimise absorption from an oral iron supplementation regime to adequately support health and performance.
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Todorova, Valentyna, Valentina Sosina, Valentyna Vartovnyk, Natalia Pugach, and Olena Pogorelova. "DEVELOPMENT OF STRENGTH ABILITIES IN DANCERS BY MEANS OF CHOREOGRAPHIC TRAINING." Science and Education 2020, no. 4 (2020): 9–17. http://dx.doi.org/10.24195/2414-4665-2020-4-2.
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The article presents the results of studying the peculiarities of the development of various strength abilities of dancers who are the representatives of folk-stage dance. The purpose of the work is to develop a program for the development of strength abilities using the choreography in folk dancers. A group of theoretical and empirical methods was used in the study. The pedagogical observations at training sessions with 12-15 year-old dancers and surveys of teachers and coaches on the peculiarities of the development of strength abilities were conducted; testing of indicators of different strength abilities in 12-15 year-old adolescents engaged in folk-stage dance in the Honored Dance Ensemble of Ukraine «Youth» and in the school of folk dance, folk dance ensemble «Serpanok» (Lviv) was also held. This made it possible to develop a program for the development of strength abilities, taking into account their varieties, which are necessary in folk-stage dances. The main means of developing strength abilities in the program were folk-stage dance exercises, the selection of which took into account their predominant influence on the development of a particular strength ability, the possibility of local, regional or general impact on the musculoskeletal system and the need for accurate dosing. The positive influence of the developed program on the development of various strength abilities of dancers is revealed. The obtained results can be used in the practice of teachers of choreographic groups of folk-stage dance.
8
Christensen, Sarah Klopp, Aaron Wayne Johnson, Natalie Van Wagoner, Taryn E. Corey, Matthew S. McClung, and Iain Hunter. "Characteristics of Eight Irish Dance LandingsConsiderations for Training and Overuse Injury Prevention." Journal of Dance Medicine & Science 25, no. 1 (2021): 30–37. http://dx.doi.org/10.12678/1089-313x.031521e.
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Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p < 0.01; F(15, 15) = 65.0, p < 0.01; and F(15, 15) = 67.4, p < 0.01, respectively]. The variable years of experience was not correlated with peak force, rise rate, or impulse (p > 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.
9
Okdan, Bora, Gulbin Rudarli Nalcakan, Ece Onur, Arzu Oran, and Mesut Nalcakan. "Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins." Polish Journal of Sport and Tourism 23, no. 3 (2016): 133–39. http://dx.doi.org/10.1515/pjst-2016-0017.
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Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.
10
Solomon, Ruth. "Training Dancers." Journal of Physical Education, Recreation & Dance 58, no. 5 (1987): 51–56. http://dx.doi.org/10.1080/07303084.1987.10603891.
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