Stressors, Recovery Processes, and Manifestations of Training Distress in Dance

Abstract
Dancers are expected to maintain consistently high levels of performance capability and to perform on demand. To meet these expectations, they subject their bodies to long hours of intensive physical training. Such training regimens are often combined with tight rehearsal and performance schedules, which over time, can lead to persistent fatigue, psychological distress, performance decrements, and injury. A similar process has been observed as a consequence of high-intensity training in many different sports, and considerable sport-related research has been devoted to identifying the antecedents, the symptoms that are experienced, and the most cost-effective ways of monitoring symptom development. This paper presents a general heuristic framework for understanding this “training distress process” and discusses the framework with specific reference to dance.

Learning to dance with a human

Artificial neural networks are an effective means of allowing software agents to learn about and filter aspects of their domain. In this paper we explore the use of artificial neural networks in the context of dance performance. The software agent’s neural network is presented with movement in the form of motion capture streams, both pre-recorded and live. Learning can be viewed as analogous to rehearsal, recognition and response to performance. The interrelationship between the software agent and dancer throughout the process is considered as a potential means of allowing the agent to function beyond its limited self-contained capability.

From score to work? Making a group, improvising a dance

A questioning of the authorial role in dance-making through the creation of an improvised group dance.

Dancing habitus: the formation of a group (dance)

This article discusses how six individual dancers came to belong, stylistically, to a group, in a project that did not aim explicitly to create or bring about that belonging. The studio-based research project tested the creation of a group improvised dance through practising over a significant period of time with ‘scores’ or verbal propositions, usually relating to physical, bodily or movement notions such as tangling and untangling or being subject to gravity. This article looks at one question within the research: namely, whether the dancing individuals came, over time, to belong to a group, and if so, what enabled that belonging and what made the dance a group dance? The project did not centre on an objective to direct the creation of a ‘groupness’ or stylistic consistency but, rather, it supported the investigation of how this ‘groupness’ might come about.

Development and assessment of an incremental fatigue protocol for contemporary dance

Nine trained contemporary dancers performed a modality-specific, heart-rate-monitored, choreographed fatiguing dance protocol with an assumption of fatigue at volitional exhaustion (RPE 16). Postural stability was assessed as the variability of ground reaction forces and the centre of pressure during the performance of a flat-foot arabesque. Psychological response was assessed using self-reported fatigue, psychological distress (PD), and psychological well-being (PWB) (Subjective Exercise Experience Scale). After reaching RPE 16 in 15.7 ± 2.6 mins, heart rate decreased to the post-warm-up level within 64 ± 9 sec. Variability of ground reaction forces or the centre of pressure was not changed. There were no significant changes in fatigue, psychological distress, or psychological well-being. Within fatigue, there was a significant increase in the item tired (p = 0.04). As supported by the heart rate data and RPE, the protocol achieved an appropriate level of physical demand. No changes in the stability indices were observed, possibly attributed to the rapid recovery in heart rate. The expression of only tiredness suggests the use of a disassociative attentional style by the dancers. The project represents pilot work toward the validation of a monitoring process that supports dancer health and awareness training.

Dance interrogations

A solo performance work incorporating live dance, spoken word and projected video.

Embodying principles - properties - potential in dance

Thi article explores outcomes of practice-led research. Discusses application of somatic movement, dance education and Body-Mind Centering® practice principles for physical preparation of dancers, contact improvisation, choreographic research and dance pedagogy.

Bollywood and Australia : worth making a song and dance about

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain.

Creating a space and place for culture bearers within tertiary institutions: Experiencing East African dance songs in South Africa

This paper highlights the intersections between formal and informal African music and dance within a tertiary setting. Reflective practice, journaling and survey data within case study methodology provide a snapshot of the teaching and learning that took place at North West University in South Africa in October 2012. I argue for the inclusion of informal pedagogy of indigenous musics within the formal context of university courses. The experience provided a pathway to connect local community and university to celebrate the rich diversity of African music and culture. The teaching and learning experiences served as onsite professional development for tertiary students, music staff and myself.

National dance forum report

 The National Dance Forum aims to foster the artistic development of dance in Australia by providing a platform for discussion and engagement across the dance sector. Through a series of panels, keynote speeches, open forums and networking events, the 2013 National Dance Forum sought to increase the profile of Australian dance and to celebrate diversity and innovation across the industry.

The 2013 National Dance Forum was held at the Footscray Community Arts Centre, having moved from its 2011 location, Arts House. As in 2011, the participants for 2013 National Dance Forum included choreographers, dancers, independent artists, artistic directors, educators, researchers, dance producers and students. 177 individuals attended the 2013 Forum, with many traveling from interstate/overseas to participate in the Forum and to attend Dance Massive events.
This evaluation for the 2013 National Dance Forum has been developed to evaluate the success of the event against its stated aims and to assist in targeting new opportunities and directions for future Forums.

This evaluation has undertaken an analysis of the relevancy and effectiveness of this forum for participants using evaluation questionnaires developed by the National Dance Forum and issued to all participants on the final day of the Forum. This evaluation collates and analyses the responses of 64 respondents in the areas of their own individual professional focus, their experiences as participants in the 2013 National Dance Forum including the strengths and weaknesses of the event, and the relevancy and effectiveness of the Forum for the Australian dance sector.

Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance

Thinking with the Body was an exhibition at London's Wellcome Collection, offering a glimpse into Wayne McGregor | Random Dance's interdisciplinary research and the impact it has in the rehearsal studio. Staged in the run-up to the first performances of Atomos at Sadler's Wells (Oct 2013), the exhibition featured the results of over a decade of interdisciplinary research into choreographic creativity which has been applied in the studio, in dance education, and to increase public understanding.

Wellcome Collection is a free visitor destination exploring the connections between medicine, life and art in the past, present and future. Wellcome Collection is part of the Wellcome Trust, a global charitable foundation dedicated to achieving improvements in human and animal health.

The exhibition finished on 27 October 2013, but the film exhibits are still available to view online.