SOCIETY JOURNAL - Weebly588265374878873329.weebly.com/uploads/1/8/7/2/18727252/v... · 2019. 10. 26. · Introduction President’s Message ... By Christine S Bergeron, MFA, Carisa

Summer 2016

www.nationaldancesociety.org

Volume 1, No. 1

SOCIE T Y JOURNAL

NATIONAL DANCE SOCIETY JOURNALVolume 1, No. 1, Summer 2016ISSN 2473-0297 (print)ISSN 2473-0300 (online)

Editor-in-ChiefJudy Patterson Wright, PhD

Associate EditorSandy Weeks, PhD

Introduction

President’s Message By Mary Ann Laverty, PhD 1

Editor’s Message By Judy Patterson Wright, PhD 2

Articles

Implementing Middle School Dance Programs by Lynn C Reynolds 3

Incorporating Dance Training in Hip Fracture Recovery: A Case Study By Beverly Duane, MA 11

Effectiveness of Rotator Discs on Functional Turnout of College Ballet Dancers By Christine S Bergeron, MFA, Carisa L Armstrong, MFA, Tony M Boucher, PhD, PT, Kathleen B Hanik, MFA, and Mike Greenwood, PhD 18

Utilizing the Concept of Fear in Choreography: Inspiration through Exploration By Mary Ann Laverty, PhD 25

Encouraging Dancers to Cross-Train By Michelle R B Strong, MFA 34

Features

2016 NDS Award Recipients 41

Delta Eta Pi: An Honor Society 48

2016 NDS Inaugural Conference 49

NDS News 50

Author Guidelines for NDSJ Submissions 52

Credits 55

Copyright © 2016 National Dance Society www nationaldancesociety org

Summer 2016, Volume 1, No 1 1

I am thoroughly honored to present to you the first journal published by the National Dance Society (NDS) Establishing the journal was a specific goal

of mine as the first NDS president The board of directors and other members of the leadership team also were supportive of creating a journal to share scholarly work, tell professional stories, as well as serving as a forum for documenting strategic progress in the dance field

Our organization has grown significantly and accomplished many goals since our first organizational meeting in the spring of 2014 Many excep-tional people have donated their time and energy to bring the initial idea of a new organization to fruition Our belief that “Dance is for All” has been a driving force to propel the organization forward You will find that this journal embodies the philosophy and spirit of “Dance for All ”

As I end my term as president, I thank all of those who served on the board of directors, as council officers, committee members, and in a variety of other leadership roles NDS is clearly an organization of leaders Your professionalism and knowledge continues to impress me daily You have all helped me tremendously, not only as President, but to expand my own professional knowledge You helped me to grow as a leader We truly have a strong membership of remarkable individuals Together, with everyone’s strengths and unique qualities, we have begun an organization that will have a long legacy I want to encourage all of the young professionals within our field to take a few moments to think about the big picture of dance and what it can be for society Do not be afraid to step forward and assume a small role in NDS so that you can begin your own path of leadership in dance It will be a great journey that you will not want to miss or take lightly

Where a dancer stands ready, that is holy ground.Martha Graham

Dr Mary Ann Laverty

President’s MessageBy Mary Ann Laverty, PhD, NDS President

2 National Dance Society Journal

The mission of the National Dance Society Journal (NDSJ) is to provide leadership in promoting quality dance experiences for students at all levels,

across all ages, and for multiple personal dance interests ranging from social, cultural, community, and fitness/wellness reasons to challenging students to create, perform, and respond to artistic works for the stage

The NDSJ features peer-reviewed dance research and theory-into-practice applications that contribute to the goal of “Teachers Promoting Quality Dance for All ” Instructional strategies and curriculum design for all forms of dance require modifications when teaching students of different ages, skill/ability levels, and individual interests and goals in order to enhance instruction and promote student success

In this first issue of the NDSJ, I am pleased to feature the following five articles If you are considering whether to add a dance program for middle school-aged students, then Lynn

C Reynolds’ article will help you answer the why, when, where, what, and how questions for reaching this audience Middle school dance students will gain many benefits ranging from health and fitness to cognitive and improved social skills Dance teachers can experience both the pleasure of sharing their love of dance and the challenge of teaching dance to these creative and imaginative students who may be experiencing dance for the first time It is an opportunity to present a positive learning experience and to encourage future dancers, ideally for a lifetime of fun

In her article, Beverly Duane presents some of the challenges facing women over 80 years of age with hip fractures via a case study involving her own mother She shares the dance strategies that she employed in the recovery process that may be especially helpful for others with hip fractures or for those who work with rehabilitating injuries and elderly clients Her story is impelling, realistic, and insightful

The importance of proper turnout is highlighted in the research study by Christine S Bergeron and colleagues who investigated the effectiveness of rotator discs on functional turnout Their subjects were college ballet dancers who were trained on a series of eleven rotation disc exercises for over 12 weeks Their results provide insights into how to help dancers maintain external hip rotation while executing ballet combinations safely

If you are intrigued by the challenge of utilizing a classic piece of choreography to create a mean-ingful and unique learning experience for middle school dance students, then the article by Mary Ann Laverty is for you Her creative process is an excellent example for other teachers to follow when plan-ning similar learning experiences She selected the theme of confronting fear that was also Martha Graham’s theme in her classic and historic choreography piece titled Errand into the Maze Students were guided to discuss and explore their fears, problem solve to prepare short movement phrases, and reflect on how their movement experiences affected their perceptions and feelings of empowerment and over-coming fears Helpful assessment rubrics and dance standards are included too

What does the research say about cross-training? In the final article of this issue, Michelle Strong relates to dancers and dance teachers of all ages who are concerned with being in the best possible shape not only for optimal performance outcome, but also for injury prevention and overall health and fitness She encourages dancers to strongly consider the benefits of cross-training, including being aware of the components of fitness, the importance of including a balance of these components within any one dancer’s workout program, and the need to find activities that are enjoyable The author iden-tifies pros and cons for a variety of current fitness trends that may offer alternative ways that dancers may add cross-training to their exercise programs

Great dancers are not great because of their technique, they are great because of their passion. Martha Graham

Dr Judy Patterson Wright

Editor’s MessageBy Judy Patterson Wright, PhD, NDSJ Editor


AbstractMiddle school students are constantly exposed to dance Now is an ideal time to implement as many middle school dance programs as possible Several levels of state and local authorities can be approached to support and make possible the implementation of any new dance program State boards of education approve, adopt, and publish new middle school dance standards Boards of trustees and the superintendents of school districts allocate money to hire new dance teachers and approve new dance curriculum Principals determine whether dance will be on their campuses and what kinds of program they will be Parent organizations fund-raise, chaperone performance trips, and buy dance classroom supplies Dance educators decide what will be taught in the middle school classroom by writing the curriculum for it Adding middle school dance programs to existing high school dance programs can create a school feeder pattern that benefits both the dance faculty and dance students In middle school dance classes, students will gain health benefits, stamina, critical thinking skills, mental focus, and the ability to collaborate They will understand that dance is a part of their future to be studied or enjoyed or supported

Introduction

Dance has never been more visible to young people in the United States than it is today Most 12- to 14-year-olds can see dance in programs and commercials on television They can see it in movies They can see it in ethnic festivals, weddings, quinceañeras, and flash mobs Dance is in Facebook posts, YouTube, and Vimeo It has become part of the middle school students’ world Now is the time to implement more middle school dance programs in American public schools

Why

When pioneers such as Margaret H’Doubler and Martha Hill insisted that modern dance be taught at the college level, dance came into the academic grid in the 1930s and ’40s (Hawkins, 1954) From 1950 to 1990 college dance programs grew and changed, adding dance courses for credit and expanding them from only modern dance to ballet, jazz, and musical theater (Hagood, 2000) Folk and social dance were added later As the fine arts gained popularity with the American public, state and federal grants for the arts were created to support dance at the university level as well as in public high schools and parks and community centers In the 1990s many states adopted some form of dance instruction at the elementary level in physical education class, in music class, or

Implementing Middle School Dance ProgramsBy Lynn C. Reynolds, BFA, Houston, Texas

Up rock quickly turning into down rock

Breakdance in the Dance Room


by a visiting dance specialist Secondary schools added full-time dance specialists certified by their states to teach in grades 8 to 12 As a result, the term K-12 dance is now very common in public, charter, and private schools According to the National Center for Education Statistics (NCES, 2008), 6,000 K-12 schools in the United States offered dance as part of their curriculum in 2006-2007 Dance specialists taught 3 5 million children during that time However, most of this education occurred at the high school level

Teaching dance classes in middle school will certainly produce the physical benefits of health, stamina, and balance Also, practicing dance technique and creating choreography use critical think-ing and creativity at an ideal time in 12- to 14-year-old cognitive development During these years the brain evolves from concrete thinking to abstract thinking Metacognition develops as well as problem solving and deductive reasoning (Smith, 2016)

Brains of middle school children are able to store five to seven bits of information at a time And, depending on how complicated or fascinating the information is, some short-term memory is immedi-ately relegated to long-term memory in order to process the new information Or, the information may be discarded altogether This and the other growth mentioned previously produce one of the stereotypical behaviors seen in middle school students: demonstrating active learning rather than passive learning (Lorain, 2011) Dance is perfect for fulfilling the need for active learning Middle school students relish the opportunity to think of one thing at a time while physically moving Choreography projects are welcome tasks because they allow kids to move, create, and socialize simultaneously

Daily dance classes at the middle school level develop students for classes at the high school level All of the fun provided by dance classes in middle school can be enjoyed again in high school Serious dance students who performed in middle school can continue performing in high school while investigating their choices of a college or university dance program When middle school students are exposed to dance it becomes a part of their future It can be a fun activity to continue into adulthood It can be something to patronize in their community Or, dance can be a professional calling

When

A standard joke about starting any new dance program is that there is no good time, so you might

Girls rehearsing their part for a 1940’s character dance

Boogie Woogie


as well just get started! That said, if certain conditions are in place, starting a middle school dance program can become a reality with minimal difficulty The strongest programs begin with a supportive state board of education that sets policy for school districts, principals, and communities

The State

The Texas State Board of Education adopted middle school dance standards in 2014 This resulted from the extensive work of several politicians, college and university professors, school district fine arts managers, public school dance educators, and parents When I began teaching dance in a Houston ISD fine arts magnet elementary school, only high school dance standards were available That was 20 years ago! The following writings reflect personal experiences of the many efforts to secure middle school dance programming in Texas

New dance programs can be launched in several ways School districts can make their own poli-cies School communities can raise money to fund desired programming for their children However, when a state board of education throws its political weight behind the idea of a new program, a strong base is created for that program to build curriculum, hire teachers, and benefit all students in the state

Before adopting a new level of study, a state board of education generally recruits professionals in that field of study for advice and support University, college, and high school dance faculties in the state are solicited to write both the standards and the curriculum for a new middle school dance program This is understandable because university, college, and high school dance departments have a lot to gain by creating middle school dance programs that inspire young students to continue their dance education after middle school When the Texas State Board of Education reviewed, adopted, and published the new dance standards, it then directed and paid for the creation of a state-certified exam that university and college dance program graduates must pass in order to teach dance in the public schools of that state Likewise, the universities and colleges added middle school dance pedagogy to their courses

According to the National Association of State Boards of Education (NASBE, 2016, About Us, opening para ), “State boards, acting as a lay body over state education, are intended to serve as an unbiased broker for education decision making, focusing on the big picture, articulating the long-term

Boys working on a B boy routine

B Boys


vision and needs of public education, and making policy based on the best interests of the public and the young people of America ” Approaching a state board of trustees with a prepared budget, the number of students who will be served by the new dance program, which communities will benefit the most from it, and positive statements from administrators and parents in the state will help the cause Getting positive statements from state senators and representatives helps as well because state boards of education are also elected to serve state communities

School Districts

A local school district board of trustees must give its stamp of approval for the importance of fine arts in its public school system These officials are concerned with budgets, grades, graduation rates, and the reputation of the school district It is a good idea to show them statistics on how fine arts in public schools can enhance the overall learning, improve standardized test scores, and increase graduation rates Many studies have been done on these subjects and can provide this information One such study, Doing Well and Doing Good by Doing Art (Catterall, 2009, Fwd), states that “intensive involvement in the arts during middle and high school associates with higher levels of achievement and college attainment, and also with many indications of pro-social behavior such as voluntarism and political participation” Johns Hopkins researchers Hardiman, Magsamen, McKhann, and Eilber (2009, pg 4) conducted a study showing that arts education rewires the brain in positive ways so that “students motivated to practice a specific art form and spent time with focused attention increased the efficiency of their attention network as a whole, even when working on other areas of study ” Smith (2016, Arts Integration, 2nd para ) explains, “Involvement in the arts is associated with gains in math, reading, cognitive ability, critical thinking, and verbal skill Arts learning can also improve motivation, concentration, confidence and teamwork”

The superintendent of a school district is also concerned with budgets, grades, graduation rates, and the reputation of the school district This official also must be concerned with the taxpayers of the district and the parents of students Although he or she is hired by the school board of trustees, the individual can influence the board of trustees if passionate about the importance of fine arts in public

Girls practicing a dig walk in the 1940’s character dance

Dig Walk


schools Aforementioned studies on the benefits of fine arts in the public schools and the support of local parents toward this issue are important to show the superintendent, especially when looking at the extra costs that certified dance specialists will bring to the district

Parents can address the school board of trustees at their monthly meetings or contact the individual trustee who serves their regions of the school district They can address the school superintendent at board of trustees meetings or they may write, call, e-mail, or fax messages to the superintendent’s office

School Principal

The school principal is the key figure in the success of implementing a middle school dance program If this person’s school district is a campus-based, decision-making organization, then he or she will make any and all decisions about whether or not fine arts will be on the campus and, if so, which ones Persuasive points to make to the principal might be that performing arts classes help overall grade performance and are also a way to help students hone presentation, leadership, and social skills

Again, the wishes of the parents can go a long way Helping the parent–teacher organization (PTO) make its case to the principal puts the dance educator in a position to provide facts and figures, present ideas about the program, and be passionate about the need for dance at the school Another tactic is to gain the support of the feeder high school principal and dance staff to persuade the middle school principal to support a dance program

School Communities

As mentioned, school parents are a huge part of the support for a new middle school dance program Many parents want their children to have varied school experiences and academic choices Some

Partnering for the 1940’s character dance

Swinging!


parents want their communities to be thought of as supporting a cultural view of their children’s educa-tion Parents serve on the PTO, raise money, purchase school equipment and supplies, chaperone field trips, organize parties, and attend school board of trustees meetings They are the strongest support for improving a school’s programs and environment Businesses around the school can also help It is in their best interest to support parents who frequent their spas, gyms, stores, and restaurants Busi-nesses can provide meeting and party space and sometimes an area for a small dance performance

Where

Assuming that all, or even two-thirds, of the previously mentioned factions have endorsed implemen-tation of a new middle school dance program, the most ideal areas in which to start are around high schools where dance programs already exist This creates a feeder pattern where the middle school dance programs produce students for the high school dance programs In strong school community feeder patterns elementary and secondary administrators, teachers, and parents plan together for students’ success (Davidson, 2014) Middle school students graduate knowing the next school they will attend and the classes they will take And, in the case of fine arts, they have probably auditioned for the next school’s dance program All fine arts programs benefit from this structure

What

Determining the kind of dance program to implement in local middle schools is most exciting, but it can be the most complicated part of the whole process As mentioned, university and high school dance instructors will come together to produce dance standards and curriculum Everyone will have his or her own passion and expectation for the new program Yet a consensus must eventually evolve about what will be taught, how it will be taught, and where it will be taught This will take hours of meetings, pages and pages of writing, and much compromise

Whether the new program will be in physical education or in fine arts, the first objective is to look at the state standards already in place for high schools The middle school dance program cannot be created in a vacuum that ignores what the students are expected to know when they get to high school Having standards makes it easier to begin discussion The next objective is to look at stan-dards created by national associations such as SHAPE America, the National Dance Society, and the National Dance Education Organization Notice the strands of instruction and the student objectives What did the writing committees of these organizations think was important for the content of a national high school dance program? The third objective is to collect standards from states and districts around the country that already have gone through this process Is there a heavy emphasis on kinesthetic awareness in one district? Does one state have more emphasis on folk and social dance than ballet and modern dance (Reynolds, 2015)?

After a perusal of all the material, the main question must be asked, the one that will start months of meetings: “What do we want our students to learn?” In this one question lies how the entire program will look Here are some possible points of discussion:

• Do we want our students to learn dance because it is in their world?

• Do we want our students to learn dance for a healthy lifestyle?

• Do we want our students to learn dance for fun and recreation?

• Do we want our students to learn dance technique? If so, which genres do we want them to learn?

• Do we want our students to create dance? If so, do we want them to create dance by themselves or with each other?

• Do we want our students to perform dance? If so, when and where?

• Do we want our students to study dances from around the world?


• Do we want our students to study music as well as dance?

• Do we want our students to research kinesiology and movement science?

• Do we want our students to research dance itself?

Many more questions need to be considered, discussed, and debated with colleagues All beliefs, ideas, and concerns are valid because it is the students who will benefit from the dance program It is all being done for the children who are, after all, the reason that dance education exists

How

The appearance of public school dance classrooms can vary immensely I have seen dance classrooms in taped-off sections of gymnasiums, weight rooms and health rooms, cafeterias and commons, tem-porary buildings, multipurpose rooms, dedicated classrooms, and auditorium stages A dance room for 30 students should be at least 20 by 40 feet (6 1 by 12 2 meters) Anything smaller is not safe and will require fewer than 20 participants As a point of reference, the National Association of Schools of Dance (2015) recommends providing a minimum of 2,400 square feet (223 square meters) of dance space (approximately 100 square feet, or 9 3 square meters, per student)

No matter what or where the dance classroom is located, student success will be quicker and safer if mirrors and smooth floors are present Middle school students will try new things, but if they cannot see the dance teacher or themselves in a mirror, this author has seen them become confused, bored, and uncooperative Still in a concrete thinking mode, middle school students do not understand why they are in a classroom where they cannot see the material they are required to learn

Although mirrors are usually glued to walls, they can be mounted on rolling casters in wooden frames and stored while not in use This is particularly helpful when teaching in the commons area or gymnasium If using mirrors is not a possibility, teaching platforms might be used instead

Depending on where the dance classroom is on campus, the floor may be vinyl, tile, concrete slab, or wood Middle school students are very resilient If they are taught proper movement technique, possibilities of injury will be minimal However, difficulty may occur if the floor contains breakfast or lunch crumbs, sticky varnish, gauges, or loose nails Middle school students call attention to all of these conditions as well as blood, spit, ink, mud, dead insects, and live insects (at which point all dancing stops) Routine meetings with school administrators and custodians will go a long way toward keeping the dance floor smooth and clean

Summary

Now is a good time to implement middle school dance programs Dance is very popular, and young people can see it in all forms of media The place to begin the process is with the state board of edu-cation (SBOE) who will gather dance professionals to discuss and write the new dance standards The SBOE will then adopt and publish the new standards and prepare a path to certification so that dance educators can teach them School district boards of trustees and their superintendents give their approval for middle school dance by allocating money for dance space and teachers School principals and parents have a large say in whether or not they want middle school dance on their cam-pus They also can influence the kind of program that will be offered and where it will be performed Finally, the existing dance teachers in each community gather to write the dance curriculum they wish to implement in their new middle school dance classrooms

Middle school dance programs provide job opportunities for university and college graduates They create a feeder pattern for high school dance programs Dance faculties are able to plan with each other, establishing a strong base from which vibrant dance programs can be developed and friend-ships can be forged

Middle school students will benefit from participating in dance classes They will gain health benefits, stamina, and focus They will learn presentational, collaborative, and critical thinking skills They will


become more aware of what is in their world and make choices about how dance fits into it Finally, it can be interesting, entertaining, and downright fun to teach dance in middle school These students love to create and imagine They can be challenging, unpredictable, goofy, and loyal Once excited by new possibilities, they feel empowered and connected to their teachers and one another The best way to serve these unique human beings is to teach them middle school dance

ReferencesCatterall, J (2009) Doing well and doing good by doing art: The effects of education in the visual & performing arts on the achieve-ment and values of young adults. Los Angeles/London: Imagination Group Books

Davidson, D (2014) Communities and strong school feeder patterns Parents for Public Schools of Houston http://ppshouston org/?s=communities+and+strong+school+feeder

Hagood, T K (2000) A history of dance in American higher education Lewiston, NY: Edwin Mellen

Hardiman, M , Magsamen, S , McKhann, G , & Eilber, J (2009) Neuroeducation: Learning, arts, and the brain John Hopkins University Summit New York/Washington, DC: Dana Press

Hawkins, A (1954) Modern dance in higher education New York: Teachers College, Columbia University Bureau of Publications

Lorain, P (2011) Brain development in young adolescents: Good news for middle school teachers. National Education Association www nea org/tools/16653 htm

National Association of Schools of Dance (September, 2015) National association of schools of dance handbook 2015-16 Reston, VA: Author

National Association of State Boards of Education (2016) Governance models chart (August 2015) State Education Governance, 2016: State-by-state matrix www nasbe org

National Center for Education Statistics (NCES) (2008) Arts education in public elementary and secondary schools: Publication No. NCES 95-082 Washington, DC: U S Department of Education

Reynolds, L (2015) HISD dance planning guides grades 6-8 Houston: Houston Independent School District

Smith, F (2016) Why arts education is crucial, and who’s doing it best Edutopia www edutopia org/arts-music-curriculum-child-development


Abstract

Researchers have found that women over the age of 80 who suffer hip fractures, even if they are otherwise in excellent health, are almost three times more likely to die than their counterparts who

did not suffer such injuries “This finding suggests that it is the hip fracture itself that ultimately leads to death in these women Even though they start out in excellent health the hip fracture is so devastating that many of them don’t recover” (Kaiser Permanente, 2011, para 7)

A summer visit with my mother included an accident that changed both of our lives in an instant She fell and badly fractured her hip and femur The devastating prognosis facing typical women in that situation forced me to draw on my background in holistic therapeutic dance to assist and complement conventional rehabilitation strategies The remarkable and improbable results she experienced furnish solid grounds for believing that the dance strategies employed in her recovery may help others with hip fractures or who work with elderly clients in rehabilitating such injuries

Introduction

During my summer break a few years ago, my dance training and experience were tested and expanded in dramatic and unexpected ways I had just begun a long-awaited summer break from an intense teaching load and was looking forward to completing some academic research and writing My 83-year-old mother was visiting from New York, and we would finally have the chance to enjoy a bit of hard-earned rest Or at least that was how it seemed

Our plans were drastically upended one day, however, when my mother suffered the worst injury of her life We had been cleaning the patio when she tried to kill a large spider In her attempt to go after the spider, she twisted and let out a scream Before I could react, she fell to the slate floor, writhing and crying in intense pain

We rushed to the emergency room, where the x-ray technician said it was the worst break he had seen in his career Later that evening, we met with a surgeon who explained that her leg had broken in four places; the worst fracture was at the head of the femur, just below the socket My mother would need an open reduction and internal fixation (ORIF) An 18-inch incision would be made on the side of her thigh to insert a rod down the middle of her femur to support the acetabulum bone The broken pieces would be held together by hardware, such as screws, pins, rods, or a metal plate It amazed me to contemplate that anyone could recover from such profound physical compromise, even under the best of circumstances; the very fact of such a possibility is a testimony to the powerful healing capacity of the human body

But in light of her advanced age and marginal health and the severity of her injuries, it was far from certain that she would even make it through surgery We were braced for the worst Researchers have found that women over the age of 80 who suffer hip fracture, even if they are otherwise in excellent health, are almost three times as likely to die compared to their counterparts who did not have hip fractures Dr Teresa Hiller, senior investigator at the Kaiser Permanente Center for Health Research, concludes, “This finding suggests that it is the hip fracture itself that ultimately leads to death in these women Even though they start out in excellent health the hip fracture is so devastating that many of them don’t recover” (Kaiser Permanente, 2011, para 7) The problems facing my mother constitute a major public health concern The Centers for Disease Control and Prevention (2016) report that more

Incorporating Dance Training in Hip Fracture Recovery: A Case StudyBeverly Duane, MA, Hampton University, Hampton, Virginia


than 95% of hip fractures are caused by falling, usually by falling sideways, and that each year at least 250,000 people age 65 and older are hospitalized for hip fractures

My mother had poor experiences with excess bleeding in previous surgeries The anticipation of the surgery itself was horrible, and she was the last of the doctor’s many surgical patients for the night I feared that she was the last of his patients because perhaps he had saved his worst case for last It seemed like a ghost town in the hospital when the surgery finally began in the late evening

I waited with trepidation for the outcome of the surgery as I began to take stock of the situation It dawned on me that some of my training in dance could be beneficial in her recovery My body is some-thing I manipulate and control every day as a dancer, dance educator, and athlete to gain technical skills and enhance kinesthetic sensation I asked myself, “Is there any way that I could use my dance background to help my mother return to health more quickly and successfully?”

Early Stages of Recovery: Focus on Diet, Hydration, and Breathing

After the surgery, my mother’s early progress was achingly slow Large doses of medication were being pumped into her body, and she was unable to move for three days Thinking back to my dance training, I remembered the importance of cleansing the body when healing it and restoring blood flow The body must be purified and renourished I also remembered the importance of probiotics, when the body is inundated with antibiotics, in order to stabilize the flora in the gut

My mother needed plenty of rest I had all my meals with her and never left her side I was disap-pointed with much of the food that was being served to people in recovery at the hospital and later at her rehabilitation center, and I wanted to ensure my mother got healthy whole food Until I objected, she was served meals that included the sweetener aspartame in her yogurt, white bread, and diet sodas We requested omelets and high-protein foods as well as Romaine lettuce No sweets were allowed because of the inflammation they cause

I began to apply what I had learned through years of dance study about the critical importance of hydration and good nutrition I spoke with the hospital nutritionist and put her on the customary dietary protocol for athletes and dancers: protein, fresh vegetables, fresh fruit, healthy grains, and plenty of water We had large mugs of fresh water for her to sip all day, and I requested that she stay hydrated by drinking around the clock On my recommendation, she was also placed on a probiotic We also made every effort to decrease her pain medication and any other medication that was not critical to her successful recovery At my insistence, the doctors ordered the use of enemas to enable her to resume regular bowel movements The combined impact of these steps on her health was immediate and dramatic

My next priority was to gently encourage my mother to take deep breaths to avoid pneumonia For the successful treatment of hip fractures, it is recommended to ensure proper fluid balance and that the patient is mobilized and breathing deeply (Pollack, 2013, Introductory section, para 8) In my effort to get her to take deep breaths, I worked hard because she couldn’t I made a routine out of breathing with her and leading her by example

Rehabilitation and Movement Therapy: The Brain Dance

It seemed as though the tiniest amount of progress propelled us into the next stage of healing My mother had a bruised body, pale complexion, and weak demeanor, but we were pressing on Her doctor emphasized the importance of getting my mother into physical therapy as soon as possible after surgery Pollack (2013, “Get Them Moving” section, para 2) notes, “It’s extremely important to get the physical therapist on board the next day The patients will complain: they’re hurting, they’re tired, they don’t want to get out of bed If nothing else, at least get them out of bed and into a chair”

The physical therapy was a painful process, and the day she was supposed to start she could not get out of the chair My mother might not have even had the will to get started on that process but for some preliminary work we first went through together in the chair I taught her what I had learned


about the pioneering work of Anne Green Gilbert (2006), author of a technique called the brain dance This technique allows the participants to work through eight rudimentary movement patterns in the first year of life Babies do these movements on the floor on their bellies, sides, and backs However, cycling through these patterns at any age, daily or weekly, while sitting or standing has been found to be beneficial in reorganizing the central nervous system Repeating these patterns over time may help fill in any missing gaps in the neurological system due to birth trauma, illness, environment, head injury, or lack of floor time as a baby

Even while she was confined to a wheelchair, my mother and I worked together on the brain dance during the weekend while waiting for her therapy to begin on Monday morning My mother’s frail body barely followed along, trying to mirror mine, as she and I worked slowly Our hope was that the stimula-tion of her brain neurons would eventually enable her body to follow its marching orders

I was encouraged by my mother’s small steps while executing our first movements Of course we started with breathing exercises, which took her quite a while to achieve with minimal competency I urged her: “Inhale, breathe deeply, take a big breath, and now exhale Imagine your whole torso filling up with air Breathe in deeper Send energy and breathe into the areas of pain Lift your chest, breathe into your back ”

She followed the mirror image of my tapping, brushing, and squeezing, which I demonstrated while standing, and she followed my movements as she danced them in her wheelchair I was reminded of how I had used my Laban analysis study to help my infants learn to crawl But this was so different; would it work? Would she ever walk again? I had only one thing to do in the present: keep hoping and put my hope into action

The emotional challenge of her recovery caused me to struggle a bit as I recalled the order of the brain dance technique I led her movements: “Core, distal Squeeze yourself, like you’re hugging everything in Now stretch and reach your arms up and out Ball shape, great now, now distal reach away in a new direction ” I skipped the head–tail action for the most part Her lower body was too compromised to articulate the head–lower spine contraction involved in this step We would try that in later sessions We moved her head up and down and side to side

Next we focused on her upper body (see figure 1), as I instructed her: “Keep your feet steady and just move from your waist Go side to side and forward and back ” Her feeble arms barely reached a few inches and she ran out of breath I began to wonder whether I was kidding myself and whether we would ever see any significant progress This seemed so different than teaching these same exercises to 18- to 25-year-olds Now lower body; at first, she could move only the leg that hadn’t had surgery Would she ever have mobility in the leg? Only time would tell “Okay, move the good leg as best as you can,” I encouraged her “Keep your upper body motionless ”

Our next focus was on body sides She struggled a bit as she asked, “You mean just move one side, not the other?”

“Yes, just the right side,” I replied “And now the left! Now hold the right steady ” Figure 2 shows an

Figure 1 Ground the lower half of the body with feet on the floor while exploring with upper body reaches


example of keeping one side still (the right side) while dancing with the other side (the left side) Then we tried the hard one: cross-lateral movement I had her try to bring her right shoulder toward her left hip joint When that was not possible, I asked her instead to bring her right elbow to her left knee “That’s better Even if they don’t touch Now your left side to your right ” It was not easy to get results Her mind and muscles wanted to make the movements I was explaining, but her body struggled to comply She was hardly moving at first I reminded myself that this is how we begin movement; it starts in the brain with the thought that is then actualized in the muscles, when the muscles are ready to take action

Next came vestibular stimulation: “Can you swing your arms, Mom?” I didn’t expect much here “Okay, just sway your arms and upper body from side to side as if you were praising God!” I walked her wheelchair around in large circles, taking great care not to move her too quickly or abruptly

We did this a few days in a row and continued this process even after she began her physical therapy I stayed with her and watched the process; it was painful for her The therapist demanded movement that caused her pain at times but said that was part of the process, just as an athlete experiences in training At this point the only thing I could do was be her coach I gave her encouragement with this reminder: “When the going gets tough, the tough get going The God behind you is bigger than the problem before you I can do all things through Christ Jesus who strengthens me ” We sang and talked to distract her from the discomfort and to motivate her to make the effort she needed

My mother’s back and spine were compromised from the fall, and she exhibited signs of mild scoliosis At one point I got her on a large physical therapy mat and worked on crawling with her Who would ever think I would be teaching my own mother how to crawl again? We started out with simple core stabilization exercises on our hands and knees We carefully lifted the right arm with the left leg and vice versa

We started to see real progress, gradually at first, with her recovery But it was wonderful because this process gave us a great opportunity to talk and get to know each other She asked for comforts from home I left my home most mornings at 7 a m and got to the rehabilitation center, stayed there for all my meals, and then returned home between 11 p m and midnight I made sure to bring her comforts from home like her own pajamas, toiletries, and pillow

Like good soldiers, we pressed on We were now entering another transition period My mother’s progress was assisted by my knowledge and background with healing of dance injuries The power of ice became evident I used large ice packs The hospital gave me some professional-level ice pack that the rehabilitation center, to my great surprise, did not carry We did a practice that I had been taught by a European physical therapist when she helped my injured dancers recover from sprains and even small fractures

Although unconventional, the protocol was around the clock to ice her hip 15 to 20 minutes at a time This is very different from conventional American physical therapy protocol, where ice and heat

Figure 2 Right side of Body remains still to permit dancing with the left side of the body


are alternated, as my mother’s physical therapist had proposed The theory behind the physical therapy practiced in Europe is to pull the lactic acid out of the muscle through ice therapy so new blood will flow into and regenerate the injured area I always saw this work for dancers, although I wondered whether it would work as effectively with my mom We were amazed at the result

Moving on to the Wall: Joseph Pilates

My mother’s progress became more apparent little by little At this point I introduced her to the Joseph Pilates wall exercise I guided her with my hands as I instructed her: “Conform your back to the wall ”

“It’s painful,” she groaned I pretended not to notice her complaints and

reminded myself with a smile that I always hated that one We hate the ones that are good for us and the ones we need the most We continued as I told her: “Breathe, and now try again Scoop out your abdominals; pull them into your spine Feel the skin on your back press against the wall Imagine your front body pressing into your back body Scoop deep and breathe into the sides of your rib cage and upper back Now, keep your back on the wall and slide down the wall as you bend your knees ”

Later, I had my mom place her back against the wall with her feet positioned about a shoe length away from the wall I told her to begin bending her knees to slide up and down the wall while pressing her abdomen in and keeping her back against the wall She struggled to get the stiff parts of her back against the wall but gradually found the physical connections of her back molding to the wall This was important because her posture had been compromised over time from aging and from her fall She used the wall to find her alignment while standing and to give her support while squatting She regained her alignment and core stability from the wall exercises I was surprised at how difficult this exercise was for her but equally impressed with its benefits Her back started straightening out, her neck came back into alignment, and her breathing improved Figure 3 shows an advanced modifica-tion of the wall sit exercise

Trager Massage Therapy

My mother’s hips were greatly compromised, causing one leg to be longer than the other, as one of her physical therapists pointed out To help correct this imbalance, I used a massage therapy technique I learned in dance graduate school known as the Trager approach, developed by Milton Trager, MD The basis of this approach is that discomfort, pain, and reduced function are physical symptoms of tension resulting from accidents, weak posture, fear, emotional problems, and daily stress The focus of the Trager approach is on reducing these unnatural patterns of movement and eliminating neuromuscular tension by using gentle, rhythmic rocking motions that can create a state of deep relaxation, which can allow the body and mind to achieve a state of balance and integration (Weil, 2016, “What is Trager Approach?” section, para 2) When I observed her walking, I gave her feedback and tried to help her walk without

Figure 3 Standing wall sit exercise for improved align-ment, core stability, and posture


favoring her strong leg Her tendency was to avoid putting weight on the injured leg Finally she took a few steps across the bathroom without using any device I thought I would never see the day It felt miraculous, and I literally danced for joy

Positive Results of Dance Therapy

At the rehab center my mother and I met many people with varying degrees of injury and incapacity I was not encouraged when I learned how long some of them had been there yet were still dependent on walking devices or wheelchairs As her health and recovery progressed, my mother became more upbeat Movement endorphins were raising her spirits She was a role model to so many because of her commitment to her recovery and the speedy progress she was making Meanwhile, the long-term patients appeared to remain physically stuck Both residents and staff members at the rehabilitation center began to comment on how quickly my mother was making progress in her physical therapy Soon others began to copy the things that I had been doing for her; the stock of ice packs, which the center had begun using on my mother’s wounds at my insistence, became depleted because others started using them as well

Early in her long recovery, I asked the physi-cal therapist at the rehabilitation clinic whether my mother would ever walk again and perhaps even be able to return to cooking for her extended family as she had always loved to do Her therapist cautioned that my mother might be able to cook for herself, perhaps if others did the shopping for her, but probably not for the family because she would likely remain partially handicapped But her therapist saw some grounds for optimism and told me, “Your mom will do well because she was raised during the Great Depression, so she has learned persever-ance in overcoming obstacles and adversity ” Functional skills like walking up and down stairs can benefit from practice (see figure 4)

Today my mother lives in her own home in New York, where she shops, cleans her home, cooks for the entire family on holidays, and even continues to walk on the treadmill and do Pilates, swim aerobics, and Zumba at the gym She even cares for her elderly sister who has dementia and has since moved in with her My mother is completely independent physically, emotionally, and mentally She eats three meals a day and remembers to drink water throughout the day She has overcome the tremendous obstacles that she faced It may be impossible to determine how much of a role my dance background and experience played in her overall recovery, but it seems safe to conclude that the impact was significant and likely accounted for the fact that she made a dramatic recovery that was the envy of the many other elderly patients at the same rehabilitation center, almost all of whom were facing an uncertain future when my mother returned to a normal lifestyle

The time I had with my mother was an opportunity for us to bond in a way I never thought possible This challenge forced us into intimacy We were filled with love, hate, fear, sadness, pain, worry, and desperation Our ability to emote saved us I played inspirational music around the clock for my mother We talked and we prayed We agreed that using the most natural and holistic approach offered the best hope for recovery

Figure 4 Step-up and step-down exercise for improv-ing leg strength and stamina


References

Centers for Disease Control and Prevention (2016) Important facts about falls www cdc gov/homeandrecreational-safety/falls/adultfalls html

Gilbert, A G (2006) Brain-compatible dance education Champaign, IL: Human Kinetics

Kaiser Permanente Center for Health Research (2011) Elderly women who break a hip at increased risk of dying within a year https://share kaiserpermanente org/article/elderly-women-who-break-a-hip-at-increased-risk-of-dying-within-a-year

Pollack, P (2013) Don’t let hip fractures kill American Academy of Orthopedic Surgeons www aaos org/AAOS-Now/2013/Jan/clinical/clinical9

Weil, A (2016) Trager work, Trager approach www drweil com/drw/u/ART00473/Trager-Approach-Dr-Weils-Wellness-Therapies html


Effectiveness of Rotator Discs on Functional Turnout of College Ballet Dancers By Christine S. Bergeron, MFA, Carisa L. Armstrong, MFA, Tony M. Boucher, PhD, PT, Kathleen B. Hanik, MFA, and Mike Greenwood, PhD Texas A&M University

Author NoteFunding Source The authors have no financial contributions to disclose

Correspondence concerning this article should be addressed to Christine S Bergeron, Department of Health and Kinesiology, PEAP 247, 632 Penberthy College Station, Texas 77845 E-mail: cbergeron@tamu edu

Abstract

Maintenance of turnout, or external rotation at the hip joint, is essential in ballet technique and secur-ing a dancer’s safety while executing dance movement phrases Nontraumatic and overuse injuries due to reduced functional use of turnout has been reported by dancers (Negus, Hopper, & Briffa, 2005) Turnout in dancers varies considerably, and dancers have a tendency to use less turnout while standing than when measured passively lying supine on a table (Welsh, Rodriguez, Beare, Barton, & Judge, 2008) This study investigates the effectiveness of rotation discs to determine whether participants would gain more strength, range of motion, and consistency of their functional turnout during complicated dance phrases (n = 16) Dancers were formally trained on a series of 11 rota-tion disc exercises performed three times a week for 2 weeks in dance technique classes Dancers then performed the exercises three times a week for another 12 weeks Significant (p < 0 001) mean improvement existed between baseline and subsequent trials for the movement phrases (adagio, petit allegro, and grand allegro) Comparisons revealed significant increased scores in adagio, petit allegro, and grand allegro across all testing Left external rotation (ER) active range of motion (AROM), left ER passive range of motion (PROM), right ER AROM, right ER PROM, and right internal rotation (IR) PROM showed significant changes over 12 weeks Left ER and right ER manual muscle test also showed significant changes over 12 weeks No significant changes were shown for left IR AROM, left IR PROM, or right IR AROM or for AROM differences using the protractor test with and without the rotator discs Results show this Pilates regimen on rotator discs was effective in increasing functional external rotation in university-level dancers

Introduction

Joseph H Pilates developed an exercise regimen with the objective to increase muscular strength, endurance, and flexibility while maintaining spine stabilization (Shedden & Kravitz, 2006) His six main principles—breathing, concentration, control, centering, precision, and flowing movement or rhythm (Page, 2011)—are similar to principles and ideas dancers focus on in their training and performance of ballet technique Even in 1926 when Pilates immigrated to the United States and opened his own studio, he worked with dancers such as Martha Graham, Hanya Holm, and George Balanchine They endorsed his work not only for rehabilitation but also for increasing muscular strength and balance Dancers were drawn to the Pilates method because of the objectives of flexibility, muscular strength, control, and body awareness Modern Pilates embraces current ideas on movement principles by modifying the original exercises and uses newer pieces of equipment such as rotator discs

Many dancers feel achieving the ideal turnout, 180 degrees, will determine their overall success in ballet training and performance However, the day-to-day forcing of turnout in an attempt to gain ideal


rotation may cause undue stress on the low back and lower extremities, putting dancers at risk for injury (Coplan, 2002) Khan and colleagues (1995) state, “Turnout is the single most fundamental physical attribute in classical ballet and ‘forcing turnout’ frequently contributes to overuse injuries” (p 342) Few dancers are able to achieve ideal turnout without compensations in the pelvis and lumbar spine, knee, ankle, and foot (Gilbert, Gross, & Klug, 1998) It has been shown that external strengthening exercises can be effective in decreasing pain in knee injuries (Khayambashi, Mohammadkhani, Ghaznavi, Lyle, & Powers, 2012; Lawrence, Kernozek, Miller, Torry, & Reuteman, 2008) Therefore, the objective of this study was to determine if the use of rotator discs would increase overall strength in hip external rotation and functional turnout in dancers during ballet sequences

Methods

Sixteen female participants (age = 17-21, height = 157-177 cm, mass = 51 ± 74 kg) volunteered for the study Two participants withdrew due to scheduling conflicts; therefore, 14 participants completed the study The participants were dance majors in a university dance program and were enrolled in a ballet and modern class three times a week Participants were free from hip, low back, and lower-extremity injuries for the past 6 months and were instructed not to participate in any other external rotation training during the length of the study The university’s IRB committee approved the study, and all participants signed consent forms Each participant was tested to obtain baseline measurements for hip external and internal rotation These measurements included a standard AROM (active range of motion) and PROM (passive range of motion) testing in prone position, a standing first position with and without the rotator discs using a flat protractor scale using the sec-ond metatarsal as a reference, and three functional movement phrases Bilateral hip ER (external rotation) and IR (internal rotation) isometric strength were also assessed in sit-ting by standardized manual muscle testing procedures All of the AROM PROM, and manual muscle testing were performed by the same prac-titioner The first position protractor on the floor measurement looked at the dancers’ perceived rotation, that place the dancer goes to when asked to stand in first position The protrac-tor with the rotator disc measured the dancers’ ability to contract the deep external rotators of the hip to produce the first position, eliminat-ing the force of the floor on the foot The AROM and PROM tests were included as a standardized testing method for external rotation The three functional movement phrases were used to determine whether the training is implemented into the physical work of the dancer These movement phrases included ada-gio, grand allegro, and petit allegro Outcome measures were assessed

Table 1. Dance Training Exercises

Exercise Repetitions

Parallel to external rotation in 1st position 4X

Plié series in 1st position 4X

Elevé in 1st position 8X

Relevé in 1st position 8X

Parallel to external rotation in 5th position 4X

Plié series in 5th position 4X

Elevé in 5th position 8X

Relevé in 5th position 8X

Pirouette sequence from 4th (Cecchetti technique) – preparation, ½ turn, full turn

4X

Fondu developpe with demi rond de jambe (en croix

2X

Developpe en croix 1X

Cross 4 stretch laying down 45 seconds

Seated cross four stretch 45 seconds


at baseline, 4 weeks, 8 weeks, and 12 weeks while participating in the dance movement training Participants were formally trained on a series of rotation disc exercises for 30 minutes three times a

week over 2 weeks by Pilates instructors with more than 15 years of teaching experience During the 2-week training period participants were instructed on the mechanics of the 11 exercises, alignment, muscular engagement, and breathing The exercises were performed using a metronome set to 116 in 3/4 meter Participants then performed external rotation exercises using the rotator discs three times a week for 12 weeks as a warm-up in their modern dance technique class The modern instructors for the course were also the same experienced Pilates instructors and continued to give corrective cues throughout the 12-week program Table 1 provides an abbreviated list of the exercises performed throughout the study These exercises were selected because they seem to be the most relevant to ballet technique Additionally, the exercises progressed similarly to a ballet class, beginning with simple to more complex exercises A control group was not used in this study because every student in the dance program was enrolled in the modern classes and was using the rotator discs in class

Testing Protocol

Each participant was evaluated at baseline, 4 weeks, and 8 weeks, and posttesting at 12 weeks for external and internal rotation using a goniometer in the prone position Bilateral hip ER and IR AROM, PROM, and isometric strength were assessed in the seated position by standardized manual muscle testing procedures by the same licensed physical therapist The manual muscle test was based on a 5-point scale with 0 being the weakest and 5 being the strongest Three measurements for each test were taken, and the average was calculated Measurements were also recorded for hip ER in stand-ing first position with and without the rotator discs utilizing a flat protractor scale using the second metatarsal as a reference After a ballet barre warm-up conducted by a qualified dance instructor, a functional dance hip ER movement was assessed in three movement phases: adagio, grand allegro, and petit allegro Three dance instructors, all who received master’s of fine arts degrees in dance from accredited universities, assessed movement phrases independently They used a basic rubric in assessing the maintenance of ER during the movement phrases: 0 = no external rotation present, 1 = external rotation present but not considered the dancers’ full ROM, and 2 = full external rotation maintained This simple rubric allowed for ease of grading, and the dance instructors were able to pause the videos of the movement phrases in various landing and preparation moments to evaluate the dancers’ maintenance of external rotation The assessors were instructed to evaluate specific steps in the dance phrases that are common places where dancers lose ER The scores of all three assessors were combined for an average score for each participant

Descriptive statistics were calculated for all variables The data were analyzed using IBM SPSS software (version 23; IBM Corp , Armonk, NY) A repeated-measures analysis of variance (ANOVA), with an alpha level of p < 0 05, was used for each dependent variable over the four test sessions The Greenhouse-Geisser correction factor was used in assessing within-participant effects If significance was found, pairwise comparisons with Bonferroni correction procedures were examined to determine the significance

Results

Figure 1 shows the mean prone goniometric measures for hip external/internal rotation range of motion by the four test sessions (n = 14) Left ER AROM, left ER PROM, right ER AROM, and right ER PROM showed significant changes over 12 weeks (table 2) Pairwise comparisons revealed significantly greater left ER AROM at week 12 (41 1° ± 7 9) compared to week 4 (34 5° ± 9 7; p = 0 016) and week 8 (36 4° ± 7 9; p = 0 004) Left ER PROM exhibited significantly greater range at week 12 (48 4° ± 10 9) compared to baseline (41 2° ± 10 4; p = 0 023) and week 4 (41 7° ± 9 0; p = 0 02) Right ER AROM exhibited significantly greater range at week 12 (45 4° ± 6 7) compared to week 4 (41 0° ± 7 9; p = 0 03) Right PROM exhibited significantly greater range at week 12 (52 2° ± 7 4) compared to week 4 (46 6° ± 7 1; p = 0 011)


Figure 1 displays the mean prone goniometric measurements for hip internal rotation range of motion by the four test sessions (n = 14) Right IR PROM showed significant changes over 12 weeks (table 2), and pairwise comparisons revealed significantly greater motion at week 8 (49 4° ± 10 7; p = 0 016) and week 12 (49 9° ± 10 8; p = 0 016) compared to baseline (45 9°±10 8) No significant changes were shown for left IR AROM, left IR PROM, or right IR AROM (table 2)

Figure 2 illustrates the mean difference (without rotator disc minus with rotator disc) of standing protractor test for hip external rotation active range of motion by the four test sessions (n = 14) No significant changes were shown for AROM differ-ences using the protractor test with and without the rotator discs (table 2)

Figure 3 demonstrates the mean manual muscle test score by test session (n = 14) Left ER (p < 0 001) and right ER (p < 0 001) manual muscle test showed significant changes over 12 weeks Pairwise comparisons revealed significantly greater left ER strength at week 12 (4 75 ± 0 4) compared to baseline (4 19 ± 0 4; p = 0 003) and significantly greater right ER strength at week 12 (4 75 ± 0 4) compared to baseline (4 13 ± 0 34; p = 0 001)

Figure 4 shows the mean dance functional movement score for the four test sessions (n = 14) Dance functional movement displayed significant changes over time for adagio (p < 0 001), grand allegro (p < 0 001), and petit allegro (p < 0 001) movement phases Pairwise comparisons revealed significantly increasing adagio scores across all testing: baseline (6 33 ± 4 8) to week 4 (8 7 ± 4 9; p = 0 007), week 8 (12 4 ± 6 3; p < 0 001), week 12 (61 ± 4 4; p < 0 001); week 4 (8 7 ± 4 9) to week 8 (12 4 ± 6 3; p = 0 001), and week 12 (61 ± 4 4; p < 0 001); and week 8 (12 4 ± 6 3) to week 12 (61 ± 4 4; p = 0 002) Grand allegro showed significant greater scores from baseline (1 5 ± 1 9) to week 12 (6 6 ± 3 0; p < 0 001), week 4 (1 9 ± 2 8) to week 12 (6 6 ± 3 0; p < 0 001), and week 8 (2 4 ± 2 6) to week 12 (6 6 ± 3 0; p < 0 001) Petit allegro showed significant greater scores from baseline (13 8 ± 5 4) to week 12 (24 2 ± 6 7; p < 0 001), week 4 (9 1 ± 7 8) to week 8 (14 1 ± 9 0; p < 0 001), week 4 (9 1 ± 7 8)

Figure 1. Mean prone goniometric measures for hip rotation range of motion change scores over 12 week dance training intervention (n = 14) Abbreviations: ER, External Rotation; IR, Internal Rotation; AROM, ac-tive range of motion; PROM, passive range of motion (*P< 0 05)

Table 2. Mean ± SD (°) and Significance for Mean Prone Hip Range of Motion and Rotator Disc Range of Motion over 12 weeks Dance Training (n=14)

External Rotation Left Right Left RightBaseline 37.0 ± 10.8 44.4 ± 8.7 41.2 ± 10.4 48.0 ± 8.64 wks. 34.6 ± 9.7 41.0 ± 7.9 41.7 ± 9.0 46.6 ± 7.18 wks. 36.4 ± 7.9 41.6 ± 7.1 45.0 ± 8.0 47.9 ± 8.212 wks. 41.1 ± 7.9 45.4 ± 6.7 48.4 ± 10.9 52.2 ± 7.4Significance p=0.017* p=0.02* p=0.002* p=0.022*

Internal Rotation Left Right Left RightBaseline 49.8 ± 7.1 42.3 ± 11.4 53.2 ± 7.6 45.9 ± 10.84 wks. 48.0 ± 7.4 42.9 ± 12.7 53.8 ± 7.5 47.9 ± 11.98 wks. 47.5 ± 7.8 43.5 ± 11.9 52.2 ± 7.1 49.4 ± 10.712 wks. 48.6 ± 7.5 45.5 ± 11.2 52.6± 7.8 49.9 ± 10.8Significance p=0.38 p=0.21 p=0.61 p=0.022*

Rotator Disc ER Left Right Left RightBaseline 55.5 ± 7.1 55.8 ± 5.5 52.5 ± 10.4 52.1 ± 8.24 wks. 53.5 ± 5.9 54.6 ± 5.9 49.8 ± 6.9 49.0 ± 6.58 wks. 53.3 ± 5.6 53.5 ± 6.6 49.5 ± 9.8 49.5 ± 9.612 wks. 54.9 ± 6.9 54.9 ± 6.3 48.8 ± 9.0 52.4 ± 7.0Significance

Abbreviation: AROM, Active Range of Motion; PROM, Passive Range of Motion; ER, External Rotation. *Significance of p < 0.05.

AROM PROM

Difference score: Left: p=0.48, Right: p=0.6.

AROM PROM

AROM w/o Disc AROM w/ Disc


to week 12 (24 2 ± 6 7; p<0 001), and week 8 (14 1 ± 9 0) to week 12 (24 2 ± 6 7; p = 0 001)

Discussion

Turnout is used in many forms of dance, particularly ballet, and is a consistent issue when address-ing training According to Gilbert and colleagues (1998), “If the ideal anatomical resources are not available because of anatomical limitations and/or lack of training, compensation may develop that may predispose the dancer to acute or overuse injuries Information gained about the nature of turnout can be added to present knowledge regard-ing ballet dancers” (p 340) The use of the rotator discs eliminates the force of the foot on the floor, which is often used to maintain external rotation The rotator disc requires the dancer to use the hip external rotators to maintain the proper placement needed during training Rotator discs are sold by numerous companies and can be used during many traditional dance warm-up or training exercises including pliés, relevés, and fondus Increased stability in the hip joint in the standing leg allows for greater freedom of movement in the working leg, thus improving a dancer’s skills

Maintenance of external rotation at the hip joint is essential in securing a dancer’s safety The lack of this maintenance can be the cause of misalignments of the knees and ankles providing an oppor-tunity for serious injury to occur It has been reported that overuse injuries seen in dance are related to improper turnout (Clippinger-Robertson, 1987) Other studies on strengthening hip external rotation showed a decrease in injury and pain (Khayambashi et al , 2012; Lawrence et al , 2008) Training on rotator discs could be a training tool to not only increase the aesthetics of dance but also to decrease overall low back and lower extremity injuries in dancers This study indicated that a regimen of exer-cises on rotator discs could affect maintenance of external rotation (turnout), so it can be assumed that this might have an impact on injury rates A future study should include the injury rate of dancers who implement this type of training into their daily regimens

Figure 2. Mean difference (without rotator disc minus with rotator disc) of standing protractor test for hip ex-ternal rotation active range of motion by test session (n = 14) Abbreviations: ER, External Rotation

Figure 3. Mean manual muscle test score by test ses-sion (n = 14) Abbreviations: ER, External Rotation; IR, internal rotation (*P< 0 05)

Figure 4. Mean dance functional movement score by test session (n = 14) (*P< 0 05)


Although significant improvements were seen in external rotation in the muscle manual testing, no significant changes in the protractor test with or without the rotator discs were indicated in this study This could be related to a dancers’ strong muscle memory and their ability to replicate positions consis-tently Dancers often have a strong sense of where their external rotation falls in first position, which could have affected their performance in the protractor and rotator disc tests

In week 4 there was a decrease in ROM A possible explanation for this could be due to the increase in the muscular strength relative to exercise training intervention during the semester As the muscles continued to develop strength, they shortened; although a stretching protocol was implemented, the imbalance of strengthening and stretching could have contributed to this decreased ROM For future studies, there could be an even number of exercises focusing on internal rotation and external rota-tion to determine whether the balance of exercise allows for a balance in range of motion as well In the functional movement test, petit allegro showed the least improvement from baseline through week 8 with a decline in ER from baseline to week 4 As observed by dance instructors, petit allegro often shows the greatest loss of control in ER in comparison to adagio and grand allegro This variance in petit allegro from baseline to week 8 could perhaps support this theory A more focused study, explor-ing ER and petit allegro specifically, needs to be conducted

Researchers measured internal rotation both passively and actively in order to observe whether a decrease in IR would occur if ER increased throughout the study The results show that there was little or no improvement in internal rotation throughout the study Since IR was not the focus of the study, this was to be expected A future study that balances internal and external rotation should be conducted, and a comparison of the two should be examined

This study should be replicated with the use of a control group to validate the findings A control group was not possible for this first study due to a shortage of dance students and the need to imple-ment the training sessions into the technique courses Regarding the video analysis by the dance instructors, a stronger assessment tool, such as a Dartfish program, should be used This would allow for less subjective analysis of the dancer’s functional use of external rotation

Conclusion

As determined by results of the manual muscle testing, it appears that dance technique training over a 3-month period augmented with rotator discs increases ER strength Measurements using a goniom-eter in prone position indicates an increase in external AROM and PROM by the 12th week The video analysis and rubric analyzed by three independent dance instructors showed an overall improvement in dance functional movement However, no difference was found for standing ER using the protractor test assessment Training on rotator discs appears to help dancers maintain external rotation while executing ballet combinations such as adagio, grand allegro, and petit allegro


References

Clippinger-Robertson, K (1987) A unique challenge: Biomechanical considerations in turnout Journal of Physical Education, Recreation & Dance, 58(5), 37-40

Coplan, J A (2002) Ballet dancer’s turnout and its relationship to self-reported injury Journal of Orthopaedic & Sports Physical Therapy, 32(11), 579-584

Gilbert, C B , Gross, M T , & Klug, K B (1998) Relationship between hip external rotation and turnout angle for the five classical ballet positions Journal of Orthopaedic & Sports Physical Therapy, 27(5), 339-347

Khan, K , Brown, J , Way, S , Vass, N , Crichton, K , Alexander, R , & Wark, J (1995) Overuse injuries in classical bal-let Sports Medicine, 19(5), 341-357

Khayambashi, K , Mohammadkhani, Z , Ghaznavi, K , Lyle, M , & Powers, C (2012) The effects of isolated hip abductor and external rotator muscle strengthening on pain, health status, and hip strength in females with patellofemoral pain: A randomized controlled trail Journal of Orthopaedic and Sports Physical Therapy, 42(1), 22-29

Lawrence, R , Kernozek, T , Miller, E , Torry, M , & Reuteman (2008) Influences of hip external rotation strength on knee mechanics during single-leg drop landings in females Clinical Biomechanics, 23(6), 806-813

Negus, V , Hopper, D , & Briffa, N K (2005) Associations between turnout and lower extremity injuries in classical ballet dancers Journal of Orthopaedic & Sports Physical Therapy, 35(5), 307-318

Page P (2011) Pilates illustrated Champaign, IL: Human Kinetics

Shedden, M , & Kravitz, L (2006) Pilates exercise: A research-based review Journal of Dance Medicine & Science, 10(3-4), 111-116

Welsh, T M , Rodriguez, M , Beare, L W , Barton, B , & Judge, T (2008) Assessing turnout in university dancers Journal of Dance Medicine & Science, 12(4), 136-141


Utilizing the Concept of Fear in Choreography: Inspiration through ExplorationBy Mary Ann Laverty, PhD, Virginia Beach City Public Schools, Gifted Dance Education Program

Abstract

Martha Graham’s choreography Errand into the Maze is an iconic and classic piece of choreogra-phy that deals directly with the theme of confronting fear In this article the author uses Graham’s

theme of confronting fear as the basis of a two-phased learning experience for a group of her middle school students The article begins with a historical overview of Graham’s choreography Errand into the Maze, a piece based on Ben Belitt’s poem “Dance Piece ” Next, the article explores the use of fear in choreography to overcome our fears and how our fears are depicted in our choreography It culminates with a learning experience based on how Martha Graham’s choreography can be used as an analyti-cal tool to decipher these questions The learning experience steers the students towards authentic movement and choreography It proved to be valuable in introducing Martha Graham’s choreography Errand into the Maze; relating the choreography back to the familiar Greek mythology; generating new movement ideas for the students; and providing a platform for rich, intellectual discussion

Introduction

Martha Graham’s choreography Errand into the Maze is an iconic and classic piece of choreography that deals directly with the theme of confronting fear It was and still is considered one of her master-pieces and endures timeless overriding implications for all humanity This article explores the ques-tions of how we use the creative process of developing choreography to overcome our fears; how our fears are depicted in our choreography; and how Martha Graham’s choreography can be used as an analytical tool to decipher these questions I will begin with a brief historical look at the development of Graham’s Errand into the Maze, its personal significance to Graham, and the universal fears that plague human society in general and Graham in particular Errand into the Maze; relating the chore-ography back to the familiar Greek mythology; generating new movement ideas for the students; and providing a platform for rich, intellectual discussion

Inspiration: Martha Graham’s Errand into the Maze

Ben Belitt’s poem “Dance Piece,” first published in 1938, stirred Martha Graham deeply The poem, dedicated to Martha Graham, became the impetus for her choreography Errand into the Maze. Errand, created in 1947, deals with the need to conquer fear (Freedman, 1998, p 112) The choreography is loosely centered after the Greek legend of Theseus, who journeys to the island of Crete to kill the Minotaur, half-man, half-bull, who lives deep within a labyrinth where he devours maidens sent to him as sacrifices Although the Greek myth of Theseus takes place in a labyrinth, it is unclear why Graham selected the title Errand into the Maze for her choreography A maze is a complex branching (mul-ticursal) puzzle that includes choices of path and direction and may have multiple entrances, exits, and dead ends (see figure 1), whereas a labyrinth is unicursal and has only a single, nonbranching path, which leads to the center then back out the same way, with only one entry/exit point as shown in figure 2 (The difference between a labyrinth and a maze, para 4)

Graham reversed the role of Theseus to a female, portrayed by herself The theme of the choreogra-phy is derived from the fear one feels when approaching the unknown, or venturing into one’s inner self to conquer deep-seated fears and self-doubts Of the choreography itself, Graham stated that “ this


dance has a special significance for me because it expresses the conquering of fear in my life, fear of the unknown, fear of something not quite recognizable” (Freedman, 1998, p 114) Notable dance writer, ballet choreographer, and close friend of Martha Graham, Agnes de Mille spoke about the clear picture the choreography portrayed of “ facing the unknowable, the most feared, the horror of the dark places of the soul and the emergence into understanding and power (de Mille, 1991, p 365)

Overview of the Use of Fear

What were Martha’s fears? According to Agnes de Mille, Martha stated numerous times that she never wanted to choreograph but that the type of dancing she wanted to do, didn’t exist, so she had to make it up (de Mille, 1991, p x) Did Martha experience the fear that many of us feel when confronted with the desire to create, the need to create, yet are fearful to begin, based on our ultimate fears of failure? According to Bayles and Orland, “Making art can feel dangerous and revealing Making art is dangerous and revealing Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be ” (Bayles & Orland, 1993, p 13)

The time frame that Graham was working, during the Great Depression and World War II, was gener-ally an unstable era in American history Coupled with Graham blazing out in completely new terri-tory in terms of technique and choreography, and continually pressed for financial support, she was confronted with daily challenges De Mille described Graham’s working environment as “ a world of glass where every step was pain and danger was the medium It was cold there, with no indulgence and no pretense, and it was merciless” (de Mille, 1991, p 277)

Whatever it was, internal or intrinsic, that drove Martha to produce her art, she attained in one lifetime a body of work and a vocabulary of a complete new language of dance technique that has never been surpassed Ballet took over four-hundred years to develop what Martha attained in one lifetime However, the compulsion to achieve this new art form must have felt like a terrible burden to Martha with her fears of not succeeding As many artists, she was not necessarily pleased with her work She stated that she once heard that after El Greco’s death, a canvas was found in his studio with only “Nothing pleases me ” written on it Martha stated: “This I can understand” (Graham, 1991, p 14) She further

Figure 1: A maze is a complex branching (multicursal) puzzle that includes choices of path and direction, may have multiple entrances and exits, and dead ends (The difference between a labyrinth and a maze, para 4)

Figure 2: A labyrinth is unicursal and has only a sin-gle, non-branching path, which leads to the center then back out the same way, with only one entry/exit point (The difference between a labyrinth and a maze, para 4)


pressed that: “The pauses between rehearsals in a theatre are the most agonizing All you can think of is where you failed” (Graham, 1991, p 275)

Martha’s greatest fear was that of old age and the inability to continue performing Martha said when she stopped dancing, she lost the will to live Drinking heavily at the age of seventy-nine, she was hospitalized for diverticulitis, and in a coma However, while wavering in and out of a comatose state, she began to visualize her choreography of Errand into the Maze “ one morning, I felt something welling up in me I knew that I would bloom again That feeling, an errand into the maze, repeated over and over in my mind, sustained me to go on It was my only way to escape the constant fear of what might come” (Graham, 1991, p 237) She used this visualization of the maze many times in her life to sustain her through fearful times (An evening of Dance & Conversation with Martha Graham, 1984) The powerful suggestion of encountering ones fears, and Graham’s visual manifestation of it in her choreography remains a timeless and universal telling of man’s needs to confront one’s own fears in order to live freely Anna Kisselgoff, dance critique of the New York Times, wrote of Errand forty years after its initial performance that “ it is this chord of recognition of universal desires and repressions that Miss Graham hits with unsurpassed truth in her work and brings to the surface” (as cited in de Mille, 1991, p 281)

Errand into the Maze remains a steadfast piece of choreography in the Graham Company As Kissel-goff stated (as cited in de Mille, 1991, p 281), there is a universal and timeless truth to her work It is this powerful impact on both audiences who experience it, and the impact of the thematic material on Graham herself, that inspired the application of utilizing the underlying theme of Graham’s work into a learning experience or movement exploration session for my students

From Exploration to Development of a Learning Experience

The exploration of combining movement and fear developed into a middle school learning experience was conducted with students in the six, seventh, and eighth grade It explored how dancers could both utilize fear and overcome fear in their choreography, and how fears in their own lives might be overcome through the choreographic process The learning experience was divided into two phases: the first phase introduced the students to Graham’s choreography, Errand into the Maze, by viewing the video tape of the choreography (Martha Graham-Errand into the Maze, 2010; Martha Graham: The Dancer Revealed, 1994; Wall Street Journal Video, 2015); discussing its historical context and significance of the Ancient Greek myth of Theseus, Ariadne, and the Minotaur; and then engaging in a general discussion on fear The choice of utilizing Greek mythology and Graham’s choreography is rooted in the overall semester unit of studying the early modern dance pioneers and innovating on choreography in the style of specific Modern Dance pioneers, one of them being Martha Graham Not only had the students studied about her history and contributions to the art of modern dance in our perspectives class (history and theory of dance viewed through various lenses), they have also studied her modern technique in technique class The second phase was the development of move-ment sequences, both through an improvised movement exploration and later, to develop specific choreography

During phase 1, or walking the labyrinth, the students spoke about fears in general: the threat of terrorism; the fear of taking a dance class and looking foolish by not being able to catch the technical movement sequences; the fear of performing; the fear of choreographing; the fear of being teased or bullied; and ultimately, fear of illness and death, both of their own or loved ones

Wrath, fright, passion, love, hate, joy and sadness, originate in the limbic system (Amaral & Oliveira, n d ), the part of our brain that houses emotions and feelings Jeffers (2010, How is fear directing your life?, para 4-14) identified four fears we face as dancers:

1 Fear of loss – the fear of losing dance from one’s life due to different life circumstances, financ-es, or aging

2 Fear of failure – the fear of forgetting the choreography during performance or making a mistake


3 Fear of rejection – the fear of being judged or compared to other dancers

4 Fear of the unknown – not knowing what lies ahead in terms of employment; the unpredictability of the job market for a dancer; and as one ages, will they still be employable; how does one transition from a performer to an alternate career?

Anne Bogart, a choreographer, believes that “we are born in terror and trembling As humans learn to suppress those feelings, the artist’s responsibility is to bring the potential, the mystery and terror, the trembling back” (as cited in Mufson, 2016, p 55) So rather than suppressing our fears, by bringing them out of that deep place we hide them, we can confront and release them

After discussing general fears and the fears that we face as dancers and performers, the students first wrote their own personal fears on an index card and placed them face down in a pile The first phase continued with the improvisational path through the labyrinth and was followed by a debriefing The group of students had previously discussed that ancient Greek labyrinths usually followed a specific pattern (Walking Edgar Caye’s A R E labyrinth-youtube), but ours was constructed haphazardly (I attempted to place the rope with zig-zag and looping patterns) by the will of the rope itself only wanting to lay certain ways Graham’s idea of the rope representing the pathway into the center of the labyrinth, where she confronted her fear, was duplicated in this exploration It is also representational of the thread Ariadne carries into the labyrinth to find her way back out in the original Greek myth I used a long length of rope that zigged-zagged and spiraled for students to create both locomotor and nonlocomotor paths After reviewing the distinction and qualities between locomotor and nonlocomotor movements, including level changes, the students were given the task of utilizing both locomotor and nonlocomotor movement, guided somewhat by the rope itself, and the pathways it created The students were given the direction to think about the fears written on the card, and let that guide their movement exploration The students ventured the path one at a time, feeding in gradually when the previous students was approximately at the midway point There was soft, instrumental music without a strong beat playing in the background The students were not timed, but allowed to set their own pace through the labyrinth Observing the students (see figures 3 through 6), they did not fall into the stereotypical category of mimicking fear, but developed their own unique passages through, within, and out of the labyrinth (rope)

The work created by the students was hauntingly beautiful The use of the labyrinth (rope) on the floor allowed them to progress through the labyrinth using both locomotor and nonlocomotor movements They moved in a manner that I had never seen them use before It was halting, tentative, and powerful;

Figure 3: “Walking the Labyrinth” – nonlocomoter movement The dancer chose to dive into the laby-rinth (Virginia Beach City Gifted Dance Education Program – photo taken by author)

Figure 4: “Walking the Labyrinth” – locomoter move-ment The dancer moved tentatively through the laby-rinth (Virginia Beach City Gifted Dance Education Program – photo taken by author)


yet did progress After the movement exploration we returned to the cards and discussed the fears that each student felt, and if any of those fears felt alleviated after the movement exploration session We talked about what fears they were experienc-ing and what were their emotions as they passed through the labyrinth Some of the emotions were described as follows:

“ I felt like the giant labyrinth was the world I felt like a ruler who conquered the world If a city would not comply with my rules, I stepped on them [the rope itself] ”

“ I felt like I was tunneling deep within the earth, like an ant tunneling down into the earth I dug deep within the earth because I was afraid of being so tiny, people could step on me and destroy me ”

“ as I progressed through the labyrinth I felt like I was surrounded by a bunch of people who could take advantage of me, either by taking my time or my money ”

“ I felt a great sense of the fear of kidnapping ”

During phase 2, the students were given their own ten foot length of rope and asked to construct their own labyrinth and focus now on one specific fear, again utilizing both locomotor and nonlocomo-tor movements The movement in their own labyrinth would be more confined and shaped more like moving within their own personal silo It would symboli-cally be an inward, cyclical journey to their inner being and generally more nonlocomotor As a class, we first observed each student’s movement performed with the labyrinth or rope and then performed

Figure 5: “Walking the Labyrinth” – nonlocomoter movement The dancer expressed feeling “tight” or “confined” by the labyrinth (Virginia Beach City Gifted Dance Education Program – photo taken by author)

Figure 6: “Walking the Labyrinth” – locomoter move-ment The dance spoke of a general sense of fear of the unknown or of what was coming next She oscil-lated back and forth between the two corners of the labyrinth (Virginia Beach City Gifted Dance Education Program – photo taken by author)

Figure 7: Body Socks – nonlocomoter movement One dancer felt a sense of comfort within the sock; an-other felt confined by the body sock and that it limited her choice of movement to nonlocomoter movement; the last felt that she had a new perspective or outlook upon her surroundings when coming out of the sock (Virginia Beach City Gifted Dance Education Program – photo taken by author)


again without it The movement phrase without the use of the labyrinth (rope) was then developed into a choreographic phrase that could be repeated This phrase could be, but not necessarily be, linked to their original fears written on the index card or to their experience of walking the labyrinth Once they generated a short phrase, approximately sixteen counts, they were given the option of going inside a dance body sock to repeat the movement I felt that the body sock might represent a cocoon or a more nurturing environment in which to express their fear or experience in confronting it The body sock also represented the clichéd transformation that occurs with the emerging butterfly (see figure 7) A theater-in-the-round allowed for each participant to present their phrase The look of the choreographic phrase altered dramatically when performed in the body sock, due to lack of definition of face and body parts, and the new lines created by the body sock itself

Reflection

The group then entered into the final debriefing phase in which each participant was invited to share what had been their fears written on the card; how did it feel to dance the fear through an improvised movement phrase in the large labyrinth; in their own smaller labyrinth; and finally in the body sock Did they feel any emotional or physical shifting during the process and had the movement exercise been beneficial? Did they actually feel fear or did they feel empowered during the process and a sense of over-coming fear? How did their thoughts and feelings effect the overall movement quality? The general response to the movement experience was very powerful and the participants felt that the vocal cues and guidelines to see, meet and confront their fear gave them much more latitude for exploration If not completely ridding them of their initial fear, it gave them more introspection on fear and the tools to better identify what those fears might be The group, at the end of the session, symbolically stomped, pushed, squished, and condensed the fears, by joining into a circle around the cards and physically enacting the above gestures, condensing the cards into a smaller pile until the fears no longer existed

Their peers were asked to comment on the phrases and give constructive thoughts The performers were not required to voice their fears, as they might be very personal, but discuss how their movement related back to the original Greek myth of Theseus, Ariadne, and the Minotaur The students were assessed both on their choreographic process, historical understanding of mythology and their partici-pation in providing feedback to other students (see appendix A for the rubric) I used both Virginia state (2013) and national dance education standards (Meyer, 2010) when developing this unique learning experience (see appendix B)

Summary

Walking the labyrinth is an ancient practice dating back over 4,000 years (2500-2000 BCE) and is still practiced worldwide today as a means of self-alignment and refocusing our perspective to self-assess our lives It is a transformational tool to aid one through troubling times, help in releasing grief, aid in decision making, or for celebration and thankfulness (www sacredwalk com)

I was at first hesitant to try this learning experience on middle school students because I did not know if the subject matter was too deep, but found the students were already familiar with the Greek myth Both female and male students were very open about discussing their fears and emotions they were feeling while performing The environment stayed lighthearted without any emotional break-downs, which was another of my concerns

What guided me toward this movement exploration was the deep impact that the use of fear had on Martha Graham in the creation of choreography itself, but also the cathartic affect that it evoked as she choreographed and danced the piece Furthermore, as Kisselgoff (as cited in de Mille, 1991, p 281) hit upon the impact and universality of the choreographic work, and coupled with the timelessness and the uses of “Walking the Labyrinth,” I felt that this movement exploration had rich implications to fuel improvisational and choreographic productivity Whereas we do not want our students merely duplicating


Graham’s choreographic efforts, we do want them to utilize it as fodder for their own choreographic pursuits This movement session also allowed for personal growth for my students and the opportunity to create an intellectual group dialogue steeped in historical and mythological references

I found this to be a very powerful movement exploration and wish to explore and develop it further This experience utilizes the students own sense of self-discovery and can empower them as young adults to make informed decisions of what they are capable of accomplishing in their lives

References

An Evening of Dance & Conversation with Martha Graham. (1984) Great Performances: Dance in America PBS

Amaral, J & Oliveira, J (n d ) Limbic System: The center of emotions. The healing center on-line. www healing-arts org/n-r-limbic htm

Assessment rubric. (n d ) Retrieved from http://artsedge kennedy-center org/educators/lessons/grade-6-8/Interpret-ing_Mythology_Through_Dance

Bayles, D & Orland, T (1993) Art & fear: Observations on the perils (and rewards) of artmaking. Santa Cruz: Image Continuum Press

Board of Education Commonwealth of Virginia (2013) Dance Arts Standards for Virginia Public Schools. www doe virginia gov/testing/sol/standards_docs/fine_arts/

De Mille, A (1991) Martha: The life and work of Martha Graham. New York: Random House

Freedman, R (1998) Martha Graham: A dancer’s life (pp 111-113) New York: Clarion Books

Graham, M (1991) Blood memory. New York: Doubleday

Jeffers, S (2010) How is fear directing your life? http://balletshoesandbobbypins com/the-woman-who-creates

Martha Graham: The Dancer Revealed, VHS, Kultur, 1994

Martha Graham - Errand into the Maze (2010) www youtube com/watch?v=ieMO1Z0UhGQ

Meyer, F A (Ed ) (2010) Implementing the national dance education standards (pp 4-7) Champaign, IL: Human Kinetics

Mufson, D (2016) Cool medium: Anne bogart and the choreography of fear. Theater, Vol 25, No 3, pp 55-59 https://danielmufson com/essays/cool-medium-anne-bogart-and-the-choreography-of-fear

Sacred walk: Illuminating the inner path. www sacredwalk com

The difference between a labyrinth and a maze (n d ) Retrieved from English stackexchange com/ /difference-between-labyrinth-and-maze

Walking Edgar Caye’s A R E labyrinth-youtube (n d ) www edgarcayce org/are/visitARE aspx?id=562

Wall Street Journal Video (2015) Martha Graham’s ‘Errand’ Returns, Restored. February 10, 2015 www youtube com/watch?v=xNUyQEFFkYA


Appendix A

Rubric

3 2 1 Points

Choreography There was at least all of the fol-

lowing included: one locomotor

movement, one nonlocomotor

movement, and one movement

quality in the dance expressing

the fear that was written on index

card; and each was executed

correctly

One of the movement categories

was missing or one of the three

was done incorrectly

The dance study included only

one of the three movement cat-

egories necessary or many of the

movements were not executed

correctly

Knowledge of Dance

content

Student could identify all of the

locomotor movements, nonloco-

motor movements, and move-

ment qualities in their peers’

dance study

Student could identify at least

50% of the locomotor movements,

nonlocomotor movements, and

movement qualities in their peers’

dance study

Student could identify no more

than 25% or none of the locomo-

tor movements, nonlocomotor

movements, and movement

qualities in their peers’ dance

study

Knowledge of history

content

Student demonstrated at least

a 90% understanding of the

themes and events related to

the Ancient Greek mythology

about Theseus, Ariadne, and

the Minotaur

Student demonstrated at least

80% understanding of the themes

and events related to the Ancient

Greek mythology about Theseus,

Ariadne, and the Minotaur

Student demonstrated 70%

or less understanding of the

themes and events related to

the Ancient Greek mythology

about Theseus, Ariadne, and

the Minotaur

Attitude and partici-

pation

Student listened with a positive

attitude to the ideas and sugges-

tions of others and contributed

ideas and reflective thoughts to

their peers’ dance study

Student listened with a positive

attitude to the ideas and sugges-

tions of others and but contributed

no ideas and reflective thoughts

to their peers’ dance study

Student did not listen with a

positive attitude to the ideas

and suggestions of others

and contributed no ideas and

reflective thoughts to their peers’

dance study

Total points

Suggested grading

scale: 12-11 (A), 10-9

(B), 8-7 (C), 6-4 (D)

(http://artsedge kennedy-center org/educators/lessons/grade-6-8/Interpreting_Mythology_Through_Dance)


Appendix B

Virginia Department of Education and National Dance Education Standards

Virginia Department of Education Dance Standards National Dance Education Standards

Content Standard 1Develop the technical and artistic skills necessary for

expressive dance performance and for the safe training

and care of the body as an instrument

Identifies and demonstrates movement elements

and skills in performing dance

Content Standard 2Solve choreographic problems creatively through use

of the principles, processes, and structures of dance

composition

Understands choreographic principles, pro-

cesses, and structures

Content Standard 3Demonstrate knowledge of the elements of dance

production and the safe use of materials, methods,

and technologies

Understands dance as a way to create and

communicate meaning

Content Standard 4

Demonstrate understanding of dance within the contexts

of history, culture, and other art forms and of the role of

dance as a vehicle for human expression

Demonstrates and understands dance in vari-

ous cultures and historical periods (Content

Standard 5 in NDA content standards)

Content Standard 5

Develop observation and critical-thinking skills for the

evaluation of dance works, including their impact on

society

Applies and demonstrates critical and creative

thinking skills in dance (Content Standard 4 in

NDA content standards)

Content Standard 6

Make connections between dance arts and other fields

of knowledge, including awareness of the impact of con-

temporary media on dance creativity and performance

Makes connections between dance and other

disciplines (Content Standard 7 in NDA content

standards)

Content Standard 7

Demonstrate understanding of the variables of culture

and experience that shape the aesthetics of individuals

and societies

Content Standard 8

Articulate personal aesthetic preferences and apply

aesthetic criteria to the creation and evaluation of dance

works

Content Standard 9

Develop awareness of copyright and royalty require-

ments when rehearsing, performing, or otherwise using

the works of others

Content Standard 10Nurture a lifelong appreciation for dance as an integral

component of an educated, cultured society

Makes connections between dance and health-

ful living (Content Standard 6 in NDA content

standards)

(http://www doe virginia gov/testing/sol/standards_docs/fine_arts/; Meyer, 2010)


Encouraging Dancers to Cross-TrainBy Michelle R. B. Strong, MFA, Texas A&M University

Abstract

As the world of dance continues to expand and evolve, new and innovative choreography demands

more of our dancers than it ever has before To stay healthy and perform at their peak, dancers should strongly consider the benefits of adding cross-training to their overall training program Many dance educa-tors are already talking to students about, this but some may need more information This article reviews some of the research regarding cross-training and why it is important for dancers It introduces a few basics to consider when talking to dancers about various training components and what one can expect from some trendy workout programs Some terminology relevant to cross-training is touched on, and some current fitness trends that are not necessarily methods dancers normally gravitate toward are discussed The aim of this article is to encourage dancers to find enjoyable methods of cross-training for optimal performance as well as for overall health

Introduction

Are dancers artists or athletes? They have actually been described as a hybrid (Hutt, 2010) This can present a conundrum with regard to training The dancer’s body requires muscular strength, muscular and cardiorespiratory endurance, power, and flex-ibility, as well as balance, poise, and a dynamic qualitative performance facility

Today dancers face increasingly rigorous demands on their bodies as choreography becomes more challenging Additionally, the stress of life and competition is fierce and can take a toll on the body and mind if not managed in a healthy way With the onset of research indicating the importance of cardiorespiratory and muscular conditioning for dancers outside of technique class, it is imperative that instructors learn how to incorporate cross-training into an overall program

Traditionally, choreographers, teachers, and directors believed the dance class was tantamount to holistically training a dancer in the best possible way With the advent of dance science and the extensive research surrounding the physiological needs of class, rehearsal, and performance, new and more effective methods of training dancers exist inside and outside of the studio Additionally, research regarding injury prevention and overall wellness supports the use of cross-training to keep dancers healthy physically and mentally and performing at their peak This article explores some of the basic information about cross-training and how instructors can help dancers help themselves


Convincing Dancers to Cross-Train: What Does the Research Say?

Cross-training is defined as “an exercise regimen that uses several modes of training to develop a specific component of fitness” (Matthews, 2009) For quite some time, people in the dance commu-nity believed that cross-training, or engaging in nonspecific training programs, would detract from the strict aesthetic that the dance art form demands For example, there has been the concern that gains in muscular strength and hypertrophy would lead to a loss in flexibility However, Angioi, Metsios, Twichett, Koutedakis, & Wyon (2012) found that 6 weeks of training,specifically whole-body vibrations and circuit training twice a week, had positive effects on both fitness and aesthetic competency in contemporary dancers Additionally, “there is no scientific evidence to support the view that strength and strength training would negatively affect muscle flexibility” (Koutedakis, Stravropoulos-Kalinoglou, & Metsios, 2005, p 32)

With regard to dancers, fitness can incorporate cardiorespiratory fitness, anaerobic fitness, muscular strength, muscular endurance, power, and flexibility To discuss these components further, a review of definitions is in order:

• Muscular strength refers to the force or tension a muscle or muscle group can exert against a resistance in one maximal effort (Irving, Redding, & Rafferty, 2011, p 1)

• Anaerobic fitness is associated with high-intensity activities lasting seconds to a couple minutes (Irving, Redding, & Rafferty, 2011, p 1)

• Muscular endurance is the ability or capacity of a muscle group to perform repeated contrac-tions against a load, or to sustain a contraction for an extended time (Brekken Shea, Darnell, Agnor, & Netherland, 2014, p 122)

• Cardiorespiratory endurance refers to the ability of the heart, lungs, and blood vessels to deliver oxygen to your body tissues during sustained physical activity (Brekken Shea, Darnell, Agnor, & Netherland, 2014, p 110)

• Power is the time rate of doing work, that is, the ability to exert force at a higher or explosive speed(Irving, Redding, & Rafferty, 2011, p 1)

• Flexibility is the range of motion of the joints or the ability of the joints to move freely (Irving, Redding, & Rafferty, 2011, p 1)

• Neuromuscular coordination “is associated with balance, agility, coordination and skill” (Irving, Redding, & Rafferty, 2011, p 1)

Research has shown that dance classes and rehearsals inadequately stress the energy production systems necessary for establishing better cardiorespiratory fitness (Wyon, 2005) Cardiorespiratory fitness is important for overall heart health, optimal metabolic function, and energy production Having a high level of cardiorespiratory fitness increases the total energy available during anaerobic activities and aids in faster recovery periods between bouts of high-intensity ”The ability to recover quickly is critical in dance performance, which may require repeated episodes of high intensity dancing (Bronner, Codman, Hash-Campbell, & Ojofeitimi, 2016, p 17) Bronner and colleagues also suggest in regard to supplementary aerobic fitness training that “a combination of high volume low to moderate intensity aerobic exercise combined with short-term high intensity interval training (HIIT) may provide optimal training” (p 18) This means that if a dancer is not actively engaging in cardiorespiratory training outside of class, there is a high likelihood that maximum performance potential is not being attained

To meet the demands of today’s choreography, muscular strength and power are certainly prerequi-sites “Many forms of dance demand sufficient muscle strength and endurance for prolonged periods of high intensity dance, power generation during leaps and jumps, as well as stabilization of the lower extremity” (Stracciolini, Hanson, Kiefer, Myer, & Faigenbaum, 2016, p 64) According to Koutedakis and colleagues (2005), “in dancers, skeletal muscle accounts for 38%-45% of body weight, contains


about half the body’s water, and during exercise can raise their metabolic rate more than 20 times” (p 30) It has also been reported that in comparison to other comparable athletes, dancers are lacking in fitness, particularly strength (Koutedakis et al , 2005)

Additionally, “reduced aerobic capacity, lower muscle strength and altered motor control have been suggested as contributing factors for musculoskeletal injuries in dancers” (Roussel et al , 2014) Appar-ently, in addition to reduced potential, injuries become more prevalent in the absence of supplementary training Luckily, there is now a call to action for teachers and educators focusing on injury prevention as opposed to reliance on postinjury treatment (Stracciolini et al 2016) Malkogeorges and colleagues (2011) reported the most frequent injury sites are the back (22%), knee (29%), ankle (25%), foot (20%), hip (12%), neck (12%), and calf (6%) Some of the contributing factors for injury that can largely be avoided with supplemental training are biomechanical imbalance, poor core strength, weak eccentric strength of leg muscles, pelvic muscle imbalance, and tight Achilles tendons Also important to note is the relationship between bone health and strength training: “Muscular strength and strength exercise have been recommended as a means of increasing bone health and preventing osteoporosis in both female athletes, and dancers” (Koutedakis et al , 2005, p 31) It appears that while the exact injury rates at particular sites may vary based on age, years of training, and dance genre, multiple studies conclude that supplementary training can absolutely decrease various types of injury occurrence

Talking to Dancers About Cross-Training: Things to Consider

All dancers, regardless of level, age, or genre, can benefit from cross-training; it is especially important for preprofessional, professional, and competitive dancers Additionally, dance educators who are still quite physical in their teaching should consider cross-training in an effort to maintain overall health and wellness as well as prevent injury As a bonus, teachers modeling good self-care will positively influence their students in this aspect

Professional dancers and students are often involved in several daily classes and hours of rehears-als, leaving dancers little time for conditioning In some cases, cross-training and conditioning may become unrealistic and frivolous given the other demands on time and energy Dance educators are in a position to encourage cross-training and incorporate conditioning into their dancers’ training regimens

Dancers are typically very active people They enjoy physical activity, and while some like to work out, others do not enjoy training outside of the dance class Encouraging students or professionals to take on more activity in addition to the hours of classes and rehearsals is asking a lot Teachers or directors should encourage their dancers to explore various methods of cross-training while reminding them to start small and establish realistic goals Above all, emphasis should be placed on the importance of enjoying the cross-training activity Again, educators can lead by example by maintaining their own enjoyable cross-training programs for health, wellness, and fitness

Educators should talk to their dancers and remind students that not everyone teaching or coaching a cross-training method will understand dancers’ bodies and what they do on a daily basis They should be empowered to work within their limits and encouraged to be comfortable reaching their goals on their terms Educators need to present the positive aspects of various cross-training methods while teaching students to be mindful of the current demands on their bodies Instructors also need to impress upon dancers the need for rest because it regenerates muscle, decreases fatigue, and decreases the risk of injury (International Association for Dance Medicine & Science, 2011)

Guidelines for when to cross-train will vary depending on the level, age, and goals of the dancer Generally speaking, the best time to start or experiment with a new conditioning plan is during the off-season For professional dancers, there is usually a set time of year when the company is not touring or performing frequently As a competitive dancer, member of a school dance team or company, or recreational dancer in a studio setting, this is typically the summer Aside from intensives, camps, and national competitions, the summer usually involves a reduced rehearsal and class schedule

A good idea is to experiment with types of cross-training during the off-season in order to find something that interests dancers and is enjoyable As with any new activity, it is important to begin with


less, as in intensity as well as frequency, and build up gradually over time General guidelines are to begin with 20- or 30-minute sessions two or three times a week and gradually increase duration and frequency of exercise sessions if desired Depending on the specific type of exercise chosen, duration and frequency will vary Also important to note is the need for rest Dancers need to take time off and allow the body to recuperate between workout sessions

Current Fitness Trends and How They Relate to Dancers

There are many fun and exciting ways to exercise and become more physically fit The fitness industry is booming, and innovative programs are debuting all the time This is good news for two reasons: First, if a dancer loses interest and motivation easily, there is always something new to try Second, this ensures that regardless of exercise preference, there is a high likelihood that a dancer will be able to find something that works for him or her

The following are some popular exercise programs with brief descriptions and some things to consider regarding each program

CrossFit

CrossFit is an exercise program that incorporates functional movements that are constantly varied and performed at high intensities A typical class layout includes a warm-up, skill development, and strength acquisition section, followed by a WOD, or workout of the day; each session ends with a light stretch Some of the pros of CrossFit are a consistent session structure, or class macrostructure, simi-lar to that used in a dance class; the use of a full range of motion when performing exercises, which usually includes an element of high-intensity interval training in the WOD; and full-body movement in every session CrossFit calls on muscular power, muscular strength, anaerobic fitness, and some level of cardiorespiratory fitness

The biggest drawback with CrossFit is with who is teaching and how the person coaches In some instances, even if a coach has been through a CrossFit certification, that person may not be knowl-edgeable about alignment and able to adequately spot incorrect execution of movements, particularly in people capable of extreme ranges of motion This presents a problem because most coaches see their job as pushing participants to lift more weight at faster speeds

The CrossFit community is very encouraging and motivating which is amazing, but sometimes good form is sacrificed in the heat of the moment The bottom line is that if a dancer decides to try Cross-Fit, that person needs to be comfortable establishing boundaries and knowing his or her limits Most likely, everyone in that class will use his or her body uniquely, and it is likely that no one in the class will depend on mobility to the extent that a dancer does

TRX

This training method was developed with the Navy SEALs and involves suspension training using straps and one’s own body weight to develop strength, balance, flexibility, and core stability It can be practiced with a personal trainer certified in TRX or in a class setting as offered by some gyms and wellness centers At-home versions are available for purchase, making this a more accessible exercise format for those who travel often As with CrossFit, being responsible for alignment and working within one’s own limits is tantamount to success with this training method

Zumba

Zumba is an aerobic dance class that incorporates upbeat world music in a fun, party-like environment The brand stresses the enjoyment of moving and has a constant, carefree flow to class Every Zumba teacher has a certain style and favor certain movements, songs, and overall class design It is of inter-est to note that an 8-week study of Zumba on female college students did report significant increases in cardiorespiratory fitness and neuromuscular performance (Donath, Foth, Hohn, Zahner, & Faude, 2014)


Numerous types of Zumba classes are available depending on overall goals These include tradi-tional (basic) Zumba, Zumba Step, Zumba Toning, Aqua Zumba, Zumba Sentao, and Zumba in the Circuit Zumba Basic and Aqua Zumba have relatively low chances of injury because Zumba Basic uses basic dance moves and leaves room for scaling or modifying to each participant’s fitness level, and Aqua Zumba is conducted in the water so there is less pressure on the joints Some great things about Zumba are a focus on full-body movement and a cardiorespiratory component

Pilates

Pilates is an exercise program that elongates and strengthens the body through a focus on balance, alignment, breathing, and core stability and strength (Page, 2011) Joseph Pilates began creating this work around the 1920s and called it contrology Today there are several certifying bodies and methods of Pilates taught throughout the United States Most gyms offer Pilates classes, and numerous written sources as well as online sources, including classes, are available There are also studios that specifically offer Pilates classes in a variety of ways: one on one, mat classes, reformer work, or other apparatus and props work depending on location and need Pilates is great supplemental training for dancers mainly because of the simultaneous focus on stability and mobility Dancers typically are quite flexible and need to strengthen their muscles in order to move in wider ranges of motion safely However, while strengthening, the method still emphasizes mobility and effective use of the muscu-lature This method also incorporates a strong relationship between breathing and movement, thus further enforcing efficient breathing patterns and alleviating stress Additionally, Pilates can be done in a variety of ways, making it easily accessible at home, on the road, or in a studio The main drawback to Pilates work with regard to overall fitness goals is the lack of a cardiorespiratory training component

Yoga

There are many types of yoga including hatha, bikram (hot), vinyasa, kundalini, anusara, restorative, and power All forms of yoga are intended to balance and positively influence the health of the body, mind, and spirit Specifically, yoga improves symptoms associated with chronic health conditions, decreases inflammation, and improves immune system function while favorably affecting mental health (Ross, Friedmann, Bevans, & Thomas, 2013) While most styles of yoga will not incorporate cardiorespiratory training, some such as astanga and power yoga might Yoga may also significantly help with stress management and aid in connecting to the breath, which is strongly correlated with dance practice

Barre Fitness

Barre fitness classes are definitely becoming more and more popular These classes can incorporate concepts and movements from ballet, Pilates, yoga, and functional training, as well as using props like a ballet barre, foam rollers, Pilates balls, and hand weights There are many methods and styles of barre fitness, so the class structure and design will vary significantly Most of these classes are accompanied by fun, upbeat, motivational music and have a whole-body approach to the workout It is important to maintain correct alignment to avoid injury in these classes Much like Zumba, these classes should be relatively safe because participants can scale the workout to their fitness levels and they don’t involve heavy weights or extreme movements Additionally, some methods of barre fitness also incorporate a cardiorespiratory component that aids in building dancers’ endurance One thing to consider is that the vocabulary of these classes may be quite similar to what is done in dance classes and therefore further taxes already-overworked muscle groups rather than balancing out the body


Resistance Training

Entire books are devoted to the theories and methods of weight training. For those interested in weight training, seeking out a knowledgeable and trained professional is the best way to go. The National Strength and Conditioning Association (NSCA) website (https://www nsca com/) is a great resource for finding trainers in specific regions Koutedakis and colleagues (2005) remind dancers that overload is the most important strength training principle And, to increase or maintain flexibility while strength training, participants need to take movements through a full range of motion

Additionally, there are many ways to incorporate conditioning into a warm-up for a dance technique class Bands and body weight add resistance and strengthen the body during exercises characteristic of dance training such as pliés, tendus, and spinal articulation exercises Some great resources for incorporating this type of work are Conditioning for Dance by Eric Franklin (2004) and Conditioning for Dancers by Tom Welsh (2009) Experimenting with these ideas can be fun and innovative for educa-tors as well as students

Cardiorespiratory Activities (Running, Cycling, Swimming)

Running, cycling, and swimming are valid options for cardiorespiratory training if they are enjoyable and not painful or bothersome to the body There are some things to be cautious of when choosing a cardiorespiratory activity For example, running can be very taxing on the lower-extremity kinetic chain, which is already taxed heavily by dancing Additionally, in her book The Dancer’s Way, Hamil-ton (2008) cautions dancers about the following: “Riding the stationary bike with high resistance, 10 mph or more, can create bulk and back strain while no resistance can strain the kneecaps; jogging and jump roping can strain the lower body, power walking can stress the hips and climbing stairs can exacerbate bad backs” (p 75)

Swimming is a fabulous cross-training method because it incorporates resistance training and cardiorespiratory training simultaneously Working against the water offers resistance; however, it is not as taxing on the joints as resistance training done out of the water It works many muscle groups, making it a whole-body workout, and specific muscle groups can be worked based on the strokes performed The downfall to swimming is that it requires access to a pool and a certain skill level Water aerobics may be another alternative for working in the water for those looking for a low-impact option

Conclusion

Research points to supplementary training as a means of creating better performers and healthier dancers Many myths exist about cross-training and the negative impact on dancers, particularly their aesthetic capabilities; however, these are largely unfounded Research strongly suggests the dance class alone is not sufficient in producing sufficient gains in various fitness components such as cardiorespiratory endurance and muscular strength

While various components of fitness are necessary for optimal performance, a variety of methods may be used in obtaining positive results Adding in cross-training in one or two components is certainly better than nothing at all The current fitness trends may be easily accessible and enjoyable ways of cross-training for dancers Talking to dancers about fitness and what to expect with cross-training, introducing students to supplemental activities during class, and modeling healthy self-care are great ways to encourage dancers to incorporate conditioning into their overall training regimens


References

Angioi, M , Metsios, G , Twichett, E A , Koutedakis, Y , & Wyon, M (2012) Effects of supplemental training on fitness and aesthetic competence parameters in contemporary dance Medical Problems of Performing Artists, 3-8

Brekken Shea, K , Darnell, G , Agnor, D , & Netherland, B (2014) Introduction to the Science of Health & Fitness Dubuque, IA: Kendall Hunt

Bronner, S , Codman, E , Hash-Campbell, D , & Ojofeitimi, S (2016) Differences in preseason aerobic fitness screening in professional and pre-professional modern dancers Journal of Dance Medicine and Science, 20(1), 11-22

Donath, L , Roth, R , Hohn, Y , Zahner, L , & Faude, O (2014) The effects of Zumba training on cardiovascular and neuromuscular function in female college students European Journal of Sport Science, 14(6), 569-577

Franklin, Eric (2004) Conditioning for Dance Champaign, IL: Human Kinetics

Hamilton, L (2008) The dancer’s way. New York: St Martin’s Press

Hutt, K (2010) Corrective alignment and injury prevention strategies: Science, somatics or both? Journal of Dance & Somatic Practices, 2(2), 251-263

International Association for Dance Medicine & Science (2011) IADMS Resource Papers www iadms org/?page=186

Irvine, S , Redding, E , & Rafferty, S (2011, August 27) IADMS Resource Papers: Dance Fitness Retrieved from IADMS: https://www iadms org/?303

Koutedakis, Y , Stavropoulos-Kalinoglou, A , & Metsios, G (2005) The Significance of Muscular Strength in Dance Journal of Dance Medicine & Science, Volume 9, Number 1, 29-34

Malkogorgos, A , Mavrovouniotis, F , Zaggelidis, G , & Ciucurel, C (2011) Common dance related musculoskeletal injuries Journal of Physical Education and Sport, 11 (3), 259-266

Matthews, Jessica (2009) What is cross training and why is it important? Retrieved from ACE website: http://www acefitness org/acefit/healthy-living-article/59/36/what-is-cross-training-and-why-is-it/

Page, P (2011) Pilates illustrated. Champaign, IL: Human Kinetics

Ross, A , Friedmann, E , Bevans, M , & Thomas, S (2013) National survey of yoga practitioners: Mental and physical health benefits Complementary Therapies in Medicine, 21, 313-323

Roussel, N A , Vissers, D , Kuppens, K , Fransen, E , Truijen, S , Nijs, J , & De Backer, W (2014) Effect of a physical conditioning versus health promotion intervention in dancers: A randomized controlled trial Manual Therapy, 19, 562-568

Stracciolini, A , Hanson, E , Kiefer, A W , Myer, G D , & Faigenbaum, A D (2016) Resistance training for pediatric female dancers Journal of Dance Medicine and Science, 20(2), 64-71

Welsh, Tom (2009) Conditioning for Dancers. Gainesville, FL: University Press of Florida

Wyon, M (2005) Cardiorespiratory training for dancers Journal of Dance Medicine and Science, 9, 7-12

Wyon, M (2010) Preparing to perform: Periodization and dance Journal of Dance Medicine and Science, 14, 67-72


2016 National Dance Society Award Recipients

Congratulations to all our NDS 2016 Award Recipients! In recognition of their dedication and con-tributions across many different fields of dance, we will celebrate these recipients at the Inaugural

2016 Conference in College Station, TX, on Friday, August 5th, 2016 at 5:15 p m From pedagogy, advocacy, or promotion of dance, each awardee has had a positive impact on the field of dance Both our Dance Legacy Awardee and Honor Awardee have given freely of their time and talents to the dance world for over 40 years each And many have shared their knowledge with students and colleagues far and wide Each has spent many hours and years studying and practicing their craft We are proud to honor each of them for their services and contributions to promoting dance!

2016 NDS award recipients include the following:

Kathleen Kinderfather – Dance Legacy Award

Sandra Weeks – Dance Honor Award

Gayle Kassing – Dance Scholar Award

Valerie A. Winborne – P-12 Master Dance Educator Award

Christine Bergeron – College/University master Dance Educator Award

Tarin T. Dumas Hampton – Global Dance Educator Award

Autumn Belk – Dance Promotion in the Community Award

Sharon Rae Snowden – Dance Promotion in the Community Award

Alexandra Pooley-Detwiler – Young Dance Professional Award

Human Kinetics Publishers, Inc. – Dance Advocate Award


Dance Legacy Award

Dr Kathleen (Kathy) McShane Kinderfather began her 65-year profes-sional career with BS and MS degrees from Illinois State University She

received her PhD from St Louis University, where she also did postdoctoral study Being a life-long learner with many interests, in 1991 Kathleen earned the certified health education specialist credential

During her 30-years of teaching, Kathleen taught at the preschool through higher education levels (most of her time was at Harris-Stowe State College in St Louis) At each level she was a role model for youth and professionals Her faith in God was a guiding force for her living, teaching, and mentoring Kathleen’s multiple interests, energy, experience, and overt caring helped her relate to people of many ages and cultures She is a socially concerned individual who has championed countless issues over the years, including

promoting women’s rights, appreciating diversity, valuing dance for all, encouraging men in dance, engaging more women in sport, and stimulating action to address social concerns related to youth

Kathleen is a leader of leaders in any field she works However, her greatest impact has been in dance and dance education at the state, central district, and national levels She served on nearly all committees of each association as well as president of each She was president of the National Dance Association twice (2003-2004; 1985-1986) For her passion and dedicated work, Kathleen has received much recognition, including the highest honor award that the state, central district, and national asso-ciations offer Her continual body of work demonstrates that Kathleen McShane Kinderfather is worthy to be named the first recipient of the National Dance Society’s Legacy Award

Dr Kathleen McShane Kinderfather

Dr Sandra (Sandy) Weeks holds degrees from Texas Woman’s University (PhD in dance and related arts) and the University of Mississippi (MEd and BSPE

in physical education) Her teaching career spans over 45 years After teaching three years in public school, she began a lengthy career in the department of health and physical education at East Texas State University (now Texas A&M University-Commerce) In addition to her teaching assignments, Dr Weeks was assistant to the vice president for academic affairs, assistant and associate dean of the College of Education and Human Services, and interim associate provost and associate vice president for academic affairs

Dr Weeks has been a member of various professional organizations Among these are the National Dance Society, American Alliance for Health, Physical

Education, Recreation and Dance (AAHPERD, now SHAPE); National Dance Association (NDA); Texas Association of Health, Physical Education, Recreation and Dance (TAHPERD); Delta Kappa Gamma Society International (DKG); and Delta Psi Kappa (no longer active) She held various elected offices and appointments, including president of TAHPERD; JOPERD editorial board member; NDA Dance Division vice president; associate director and director of the NDA Publications Unit; chair of the Applied Strategic Planning Committee (SDAAHPERD); and Honor Award Committee (SDAAHPERD)

Dr Weeks’ recognitions for contributions include the following: TAHPERD Presidential Distinguished Service Award, DKG State Achievement Award, Texas A&M System Chancellor’s Teaching Excellence Award, three Presidential Citations for Superior Work as director, and NDA Publications Unit

Dr Sandra Weeks

Dance Honor Award

2016 NDS DANCE AWARDS


Dance Honor Award

Dr Gayle Kassing performed professionally in ballet, modern dance, and musical theatre She has a BFA in ballet and theatre, an MA in modern

dance, a PhD in dance and related arts from Texas Woman’s University, and an MAT in K-12 integrated learning with educational technology She has taught in dance in universities, public schools, dance studios, community settings, and regional ballet companies Gayle is author of Interactive Beginning Ballet CD (1999), History of Dance: An Integrated Arts Approach (2007), Beginning Ballet (2012), and Discovering Dance (2014) Drs Kassing and Danielle Jay coauthored Teaching Beginning Ballet Technique (1998) and Dance Teaching Methods and Curriculum Design (2003); both books are considered standards in the field of dance education and have been translated into several lan-guages Gayle has published articles in Dance Research Journal, JOPERD,

and Dance Teacher magazine She has been a reviewer for JOPERD and dance proposals for NDA and was NDA publications director for two terms In 2010 Gayle earned the National Dance Associa-tion Dance Scholar/Artist Award Since 2001 she has been an acquisitions editor in the Division of Health, Physical Education, Recreation and Dance at Human Kinetics

Christine S Bergeron is the director of dance programs at Texas A&M Uni-versity She received a BA in dance from the University of Akron and MFA

in choreography and performance from Florida State University Currently she is seeking her PhD in dance science from the University of Wolverhampton Christine’s research interest lies in the effectiveness of Pilates on dance train-ing and performance Her research has been presented at state, national, and international organizations for dance medicine and science

As a collaborator, Christine has a long-standing collaboration with Jinsil Hwaryoung Seo, using interactive performance to create choreographic works using wearable technology and motion capture They completed a book chapter on educating through the arts and are working on a new project using visual

art and movement in learning anatomy Her choreographic work has been presented in Ohio, Florida, North Carolina, New York, California, Illinois, Texas, and Mexico

Christine has received the Honor Award and College/University Dance Educator of the Year Award from the Texas Association for Health, Physical Education, Recreation and Dance She has served on their board as vice president of dance and chair of dance performance, dance wellness, and dance aesthetics She is currently the dance pedagogy chair She has also served on the board of directors for the South-Central Region of the American College Dance Association (ACDA) and is currently serv-ing as Dance Wellness Council chair for the National Dance Society

Christine S Bergeron

Dr Gayle Kassing

Dance Scholar Award

College and University Master Dance Educator of the Year



After completing a BA in dance and psychology, Valerie A Winborne earned an MA in dance and movement therapy at New York University While in

New York, she performed with many choreographers including Ron Brown of ron Brown’s Evidence, David Rousseve, and Johanna Boyce and the calfwomen while creating her own choreographic work for main-stage performances She toured extensively with the internationally renowned Urban Bush Women and assisted in staging a major work of the company on the Alvin Ailey American Dance Ensemble She staged works for legendary theater director Robert Wilson and was a principal in the off-Broadway production of The Story of Josephine Baker. She has choreographed and presented works at Danspace Project’s first Food for Thought program, Henry Street Settlement Playhouse Theater’s Voices, Visions and Dance series and Performance Space 122’s

New Stuff She has performed with Broadway show Rent choreographer Marlies Yearby’s Movin’ Spirits Dance Theater, Tiye Giraud, and Carl Hancock-Rux

As a member of the American Dance Therapy Association and a registered dance and movement therapist, Winborne worked closely with Dance Umbrella in Boston on the Women’s Project These workshops focused on developing movement patterns toward healing for battered women, homeless women, teens at risk of suicide, incest survivors, and women living with cancer, among others The success of this work led to the development of a series of audio healing meditations that were once part of a weekly series on a website for women of color, NiaOnline com She will be presenting and teaching at the Black College Dance Exchange conference in Hampton Road

Winborne has worked as assistant choreographer and movement coach and rehearsal director for experimental theater artist Robert Wilson’s internationally acclaimed work, The Temptation of St. Anthony Winborne wrote, directed, and choreographed an urban version of the holiday classic The Nutcracker at the Attucks Theater in Norfolk in 2011 Additionally, Winborne choreographed a work for the Norfolk State University Dance Theater dancers commissioned by the Chrysler Museum, based on the retrospective of African American modern artists titled 30 Americans Winborne served as the summer program director for Robert Wilson’s Watermill Art Center and Institute in East Hampton, New York, hosting artists from more than 30 countries She was the programming and community outreach consultant to one of Harlem’s oldest arts presenting institutions, Harlem Stage/Aaron Davis Hall, Inc

Winborne’s greatest love in dance was forming V2W Experience Dance! Theater Company with preteens and teens She teaches in Virginia Beach and is the department chair of a city-wide gifted and talented dance education program serving more than 350 third- through eighth-graders She is a wife and blessed to be the mother of two daughters and a son and a godmother and auntie to many young people who keep her heart strong

P-12 Master Dance Educator of the Year Award

Valerie A Winbourne



Autumn Mist Belk

Dr Tarin T Dumas Hampton, affectionately called Dr T, teaches at Norfolk State University in Norfolk, Virginia, where she is proud to also be the

co-artistic director of the NSU Dance Theatre She earned her bachelor of science degree from DePaul University in Chicago, Illinois; MA degree from Butler University, Indianapolis, Indiana, and EdD degree from Clark Atlanta University in Atlanta, Georgia She also holds a certificate of completion from Faith Evangelical Seminary in Tacoma, Washington in expository preaching

As a young professional, she danced with Jimmy Payne and the Joseph Holmes Dance Theatre of Chicago, Illinois, Kaleidoscope Dance Company of Indianapolis, Indiana; , the Sabrettes, and Dance Odyssey, among others She primarily focused on choreography for multiple university dance compa-nies and taught during her summers at international universities in Budapest,

Hungry, Ghent Belgium, and Denmark, to name a few She is the international commissioner for dance in the International Council for Health, Physical

Education, Recreation, Sports and Dance She received the 2015 Ethnic Minority of the Year Award from SHAPE America Southern District and is the vice president for dance in VAHPERD She was the recipient of a Fulbright Hayes Scholarship to Morocco and Tunisia and a second Fulbright Hayes Scholarship to Ghana, West Africa

Tarin is the proud mother of two sons, Jamiel and Jatari; one daughter, Tajiana; and two grandchil-dren, Legend and Amori Joe She is currently studying to earn the Umfundalai teacher certification and working on a guidebook titled The Hidden messages in Ghanaian Dance Gestures

Autumn Mist Belk (MFA, University of Maryland; BA, University of Alabama) is the artistic director of Code f a d Company and an assistant professor at

North Carolina State University She also has completed levels 1 and 2 of the Horton Pedagogy Training at the Ailey School in New York Belk’s choreography has been presented throughout the United States, including performances in New York, Houston, Seattle, and Washington DC; her dance films have been screened locally and abroad Autumn was honored to be selected as a 2009 and 2013 Regional Artist Project Grant recipient from United Arts; the 2010 Choreography Fellowship winner from the NC Dance Alliance; recipi-ent of the Sue Stinson Education Grant in 2011; a choreographer for the NC Dance Festival Tour for the 2008-2009, 2010-2011, and 2012-2013 seasons; a teaching and performing artist in the Durham Arts Council’s 2010-2012 CAPS

directory for public school programs; and an inductee in 2015 into NCSU’s Academy of Outstanding Teachers In addition to her work in academia and with her own company, Autumn is proud to have served since 2008 as an organizer with SPARKcon, Raleigh’s largest festival of all things creative Autumn has also expanded her artistic reach overseas, participating in filmmaking workshops as part of the International Video Dance Festival of Burgundy (France) in 2014, teaching dance and yoga at the Blip Collective in Austria in the summer of 2015, and living and working as a resident dance film artist in Iceland during the summer of 2016

Global Dance Educator Award

Dance Promotion in the Community Award

Dr Tarin Hampton



Alexandra Pooley-Detwiler, ‘Alex,’ trained in classical ballet in Cornwall, UK, under instruction of Terrance Etheridge She spent the next five years in

London, where she received a BA with Honors in dance education and an MSc in dance science from Trinity-Laban Conservatoire Music and Dance Upon graduation, she taught in London through various performing arts col-leges such as Susi Ernshaw Theatre School

Alex knew she wanted to be formally qualified as a teacher To enrich these skills, she completed her postgraduate certificate in secondary education in dance from Exeter University, where she was graded outstanding in teacher education Alex proceeded to achieve outstanding status in her teaching observations while she was training at Exeter University After completing her certification she spent a year working in the community teaching dance and

fitness to educators, university students, schools, and special populations She has vast experience in community projects with diverse populations, including teaching dance to the elderly in church halls and women in mosques and working with adults with disabilities

Since teaching in Texas, Alex has strived to continue her professional development by undertaking certificates in Pilates while attending workshops in kettlebell training and good teacher practice Alex has continued to contribute to the community by teaching at schools and being an active member of organizations Alex currently works with TAPHERD as chair for wellness and NDS as chair-elect for wellness

Alexandra Pooley

Sharon Rae Snowden

Sharon Rae Snowden holds a BA in theatre, an MS in sport science, and an Ohio Teaching License from the University of Akron She has taught

for the University of Akron for over 25 years, Miller South School of Perform-ing Arts, and Mount Union College She owned her own Dance School for 35 years, which was voted the best in the area by the community Sharon is a member of many dance organizations, including the National Dance Society where she was a founding member and served as Recording Secretary She has worked with directors from New York City including Lyle Dye of As the World Turns, and Bob McGrath of Sesame Street Her award-winning cho-reography has been performed on the stages of Carnegie Hall in New York City as well as Magic Kingdom at Walt Disney World She is also listed in the Samuel French Library in New York City as original choreographer for Happy

Anniversary, Angel! Love, Gino Sharon coordinated the longest kick line down Main Street to break the Guinness World Record in the 1980s She was named 2004 Ohio Dance Educator of the Year and 2005 Midwest Dance Educator of the Year She has presented workshops for dance organizations throughout the United States Through her work in promoting dance, Sharon has taught more than 15,000 students the joy of dance

Sharon is a consultant and curriculum advisor, certified genealogy consultant, and docent for the National First Ladies Library She is a member of several social and genealogical groups in which she has held many offices

Dance Promotion in the Community Award

Young Dance Professional Award



Dance Advocate Award

Human Kinetics Publishers, Inc.

Human Kinetics’ Health, Physical Education, Recreation and Dance (HPERD) division is one

of several divisions of the company HPERD’s mis-sion is to provide high-quality textbooks and print, media, and web-based resources for educators, physical educators, and classroom teachers in K-12 schools, universities, and community settings Human Kinetics, considered the premier publisher of dance books, has products that reach dance educators, specialists, and associated professionals worldwide through its home office in Champaign, Illinois, as well as subsidiary offices in Canada, Europe, and Australia The HK website offers a section dedicated to dance books

For many years, Human Kinetics has promoted high-quality dance education through products aimed at dance as an art form, a tool for enhancing wellness, and support for academic success The publications help students and faculty apply research results to classroom practices and leisure and recreation programs From 2006 to 2010 HK staff members were vital to the development and produc-tion of the National Dance Education Standards The company seeks dance scholars from a variety of venues and all levels of education—inside and outside of school—to share their knowledge, skills, and unique perspectives on dance Staff members attend many conferences, from the state level to the international level, to allow professionals to review publications cover to cover



Delta Eta Pi: An Honor Society

Start your National Dance Society Chapter Now

Delta Eta Pi was established to advance dance and dance education and to recognize high achievement in artistry, aca-demic excellence, and community service at the secondary school through college/university levels

Membership Goals and Benefits

• Recognize students who have shown outstanding ability in the field of dance

• Serve as an inspiration for students to strive for higher goals in their work

• Foster excellence and dedication in the pursuit of dance

• Encourage creative abilities and talents of individual students

• Provide opportunities to publish papers, poems, photos, and artwork in the NDS Journal

• Provide venues for choreography and performance

• Acknowledge leadership and scholarship

• Bring dance to the attention of school & community and increase the awareness of dance within the total school curriculum

• Certificates, chapter pins, graduation cords and stoles

For more information, contact

National Dance Society540 642 1041 info@nationaldancesociety orgksmith2@washcoll edu

For details and application forms, visitwww nationaldancesociety org

The National Dance Society Presents

the inaugural conference

August 5-8, 2016 Hosted by

Texas A & M University, College Station, TX Visit: nationaldancesociety.org

for more information and registration

Keynote Speaker: Gayanne Grossman/IADMS Guest Teacher/Performer: Jane Weiner/Hopestone Dance Inc. Sessions offered in: Hip-hop, multicultural dance Conditioning for modern technique Choreography games for PE and Dance, Motown Dance for the Brain and Heart, and Writer’s workshops


The National Dance Society (NDS) is a 501(c)3 non-‐profit organization that envisions a country where each individual is provided a wide range of quality dance education and performances throughout his/her lifespan. Our mission is to provide leadership in promoting research in, advocating for, and using best practices in the delivery of dance and dance education that furthers dance as an art form, as a support for academic success, and as a process for improving individuals’ health and wellness in a multicultural society.

Delta Eta Pi is the National Dance Society's honor society. It's purpose

is to provide an organization dedicated to the advancement of dance and dance education in

secondary schools, studios, colleges, universities, and other institutions of higher learning that offer

programs in dance instruction in one or more genres; and to

recognize and encourage academic excellence, dance technique, choreography, scholarship, and service to the school and

community. Check out our website to find out how you can start a

chapter in your area.

852 Lincoln Drive Fredericksburg, VA 22407


Contact Us!

Delta Eta Pi An Honor Society

Our Mission

Photos courtesy of Diane Cahill Bedford

1

Workshops

NDS offers a 3-day yearly conference as well as one-day workshops throughout the year. These professional development opportunities are offered throughout the nation at various times during the year.

Choreography Assessments

The National Dance Society’s Choreography Assessment Program (CAP) is a service to choreographers who need an independent, professional evaluation of their work. Dance faculty seeking tenure/promotion find these evaluations a useful addition to their dossier. Adjudicators are experienced choreographers, selected from diverse geographic regions and backgrounds.

Journal

The National Dance Society Journal (NDSJ) seeks to promote quality dance research with articles ranging from social, cultural,

2

community, pedagogy and fitness/wellness to performance, choreography, and critical response. The journal is available for NDS members online at www.nationaldancesociety.org.

Awards

Be it pedagogy, advocacy or promotion of dance, NDS members make important contributions to the discipline. NDS awards include Dance Legacy, Honor and Scholar awards as well as Dance Educator awards for P-12, College and Young Professionals. In order to recognize those members who support dance beyond the educator, NDS also offers student awards, advocacy and community involvement awards.

Leadership

There are many leadership roles with in NDS from our executive board to council chairs to editors for the NDS Journal. If you are interested in getting involved just let us know!

NDS Offerings

Annual Conference Each year NDS hosts a three-day conference offering a variety of movement sessions, lectures, research presentations, performances, round table and panel discussions and social events. This conference gives dance professionals, educators and researchers time to share what they are doing as well as experience what others around the nation are up to in the world of dance.

Check out our website for information on our current conference.

NDS NEWS


The National Dance Society (NDS) is a 501(c)3 non-‐profit organization that envisions a country where each individual is provided a wide range of quality dance education and performances throughout his/her lifespan. Our mission is to provide leadership in promoting research in, advocating for, and using best practices in the delivery of dance and dance education that furthers dance as an art form, as a support for academic success, and as a process for improving individuals’ health and wellness in a multicultural society.

Delta Eta Pi is the National Dance Society's honor society. It's purpose

is to provide an organization dedicated to the advancement of dance and dance education in

secondary schools, studios, colleges, universities, and other institutions of higher learning that offer

programs in dance instruction in one or more genres; and to

recognize and encourage academic excellence, dance technique, choreography, scholarship, and service to the school and

community. Check out our website to find out how you can start a

chapter in your area.

852 Lincoln Drive Fredericksburg, VA 22407


Contact Us!

Delta Eta Pi An Honor Society

Our Mission

Photos courtesy of Diane Cahill Bedford

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Workshops

NDS offers a 3-day yearly conference as well as one-day workshops throughout the year. These professional development opportunities are offered throughout the nation at various times during the year.

Choreography Assessments

The National Dance Society’s Choreography Assessment Program (CAP) is a service to choreographers who need an independent, professional evaluation of their work. Dance faculty seeking tenure/promotion find these evaluations a useful addition to their dossier. Adjudicators are experienced choreographers, selected from diverse geographic regions and backgrounds.

Journal

The National Dance Society Journal (NDSJ) seeks to promote quality dance research with articles ranging from social, cultural,

2

community, pedagogy and fitness/wellness to performance, choreography, and critical response. The journal is available for NDS members online at www.nationaldancesociety.org.

Awards

Be it pedagogy, advocacy or promotion of dance, NDS members make important contributions to the discipline. NDS awards include Dance Legacy, Honor and Scholar awards as well as Dance Educator awards for P-12, College and Young Professionals. In order to recognize those members who support dance beyond the educator, NDS also offers student awards, advocacy and community involvement awards.

Leadership

There are many leadership roles with in NDS from our executive board to council chairs to editors for the NDS Journal. If you are interested in getting involved just let us know!

NDS Offerings

Annual Conference Each year NDS hosts a three-day conference offering a variety of movement sessions, lectures, research presentations, performances, round table and panel discussions and social events. This conference gives dance professionals, educators and researchers time to share what they are doing as well as experience what others around the nation are up to in the world of dance.

Check out our website for information on our current conference.


National Dance Society JournalTeachers Promoting Quality Dance for All

Manuscript Type

The National Dance Society Journal (NDSJ) is a peer-reviewed journal that publishes original papers, reviews, applied research, and invited target articles Manuscripts are accepted from National Dance Society (NDS) members as well as partner organization members or co-authors provided that at least one co-author is an NDS member

Style

In preparing manuscripts for publication in NDSJ, authors must closely follow the Publication Manual of the American Psychological Association (6th ed , 2010) for formats of numbers and measurement units, and all other style matters, including capitalization, punctuation, references, and citations (also see www apastyle org) Writing should be concise and direct Communicate ideas using a “how-to” approach Avoid unnecessary jargon and abbreviations, but use an acronym or abbreviation if the spelled-out version of a term is cumbersome Avoid abbreviations in the title Generally manuscripts may be between 5 and 15 double-spaced pages

Submission

Authors should submit manuscripts electronically as a Microsoft Word or rich text (* rtf) format and/or send inquiries to Judy Wright: NDSJEditorinChief@aol com All submissions will be acknowledged and assigned a review number within 2 weeks

Do not submit a pdf file Graphics should be submitted in tif or jpg formats only Before submitting, authors should complete the Manuscript Submission Checklist (see below) Authors may be asked to provide photo-ready graphics and/or hard copy of the text Authors are responsible for confirming the accuracy of the final copy, particularly the accuracy of references, and to retain a duplicate copy to guard against loss Final review of the pre-published text is the responsibility of the authors

Manuscript Review

All manuscripts are evaluated via masked review and are peer reviewed by 1-2 editorial- board members based on initial editor-in-chief screening and review Each submission will be given feedback and, once accepted for publication, guided throughout the process Manuscripts may not be submitted to another journal at the same time Authors of manuscripts accepted for publication must confirm copyright

Cover Letter

Authors should include a separate cover letter that lists (1) the title of the manuscript, (2) the date of submission, (3) the full names of all the authors, their institutional or corporate affiliations, their e-mail addresses, telephone numbers and/or fax numbers of the corresponding authors, and (4) a statement that the manuscript has not been previously published (except in abstract form), is not presently under consideration by another journal, and will not be submitted to another journal before a final editorial decision from NDSJ is rendered, and (5) the preferred address for correspondence

Author Guidelines for NDSJ Submissions


Title Page

The manuscript must include a title page that provides the full title, a brief running head, three to five key words not used in the title of the manuscript, abstract word count, manuscript word count (inclu-sive of all pages except the abstract and the title page), and date of manuscript submission Do not include author names on the title page After the separate cover letter, the order of submission must be (1) title page, (2) Abstract, (3) Text, (4) Acknowledgments and/or Funding source, (5) References, (6) Tables, as appropriate, (7) Figure captions, and (8) Figures/Graphics/Photographs

Text

The entire manuscript must be double-spaced, including the abstract, heads, text, references, and tables Use a Times New Roman font and 12-point type with a minimum of one-inch margins In Word, select Layout view then click number lines to add line numbers in the left margin Align the text to the left margin, leaving a “ragged” right margin Indent the first line of every paragraph Center and boldface major heads with upper-lower case Place subheads flush left and boldface with upper-lower case If a third level head is needed, indent, boldface, initial cap first word then lower case as aparagraph heading ending with a period A brief running head is to be included on the upper right corner of each page, and page numbers must appear on the bottom right corner of each page

References

All material cited in text should be in the reference list For formatting reference lists, follow the guide-lines found in the Publication Manual of the American Psychological Association (6th ed , 2010), for example:

Journal and magazine articles Author, X , & Author, Y (Year) Title of article Journal Name, Volume, (Number), XXX-XXX Books Author, X , & Author, Y (Year) Title of Book City, State Abbreviation: Publisher Book chapters Author, Z (Year) Title of chapter In Title of book, ed X Author, XX-XX City: Publisher In text Cite the Author, publication date in parentheses, e g , (Jones, 2013)

Figures and Photos

If figures are included, each figure must be numbered in consecutive numerical order A figure should have a caption that is brief and self-explanatory, and that defines all nonstandard abbreviations used in the figure Captions must be listed separately, on a page by themselves; however, each figure must be clearly identified (numbered), preferably as part of its filename Artwork should be professional in appearance and have clean, crisp lines Hand drawing and hand lettering are not acceptable Figures may use color Shades of gray do not reproduce well and should not be used in charts and figures Instead, stripe patterns, stippling, or solids (black or white) are good choices for shading Line art should be saved at a resolution of 600 dots per inch (dpi) in JPEG or TIFF format Photographic images can be submitted if they are saved in JPEG or TIFF format at a resolution of 300 dpi Any figures or photos from a source not original to the author must be accompanied by a statement from the copyright holder giving the author permission to publish it, and the source and copyright holder must be credited in the manuscript


Tables

When tabular material is necessary, it should not duplicate the text Tables must be formatted using Microsoft Word’s table-building functions Do not use spaces or tabs in your tables as it creates problems when the table is typeset and may result in errors as shifting of columns may occur Tables should be single-spaced on separate pages and include their brief titles Explanatory notes are to be presented in footnotes, below the table The size and complexity of a table should be determined with consideration for its legibility and ability to fit the printed page

Manuscript Submission Checklist

Before submitting a first or revised manuscript, the following criteria must be met:

• All sections are double-spaced with Times New Roman font and 12-point type

• Line numbers appear in left margin

• Page numbers appear in bottom right corner

• Brief running head appears in upper right corner

• Title page does not include author names or affiliations

• Title page lists three to five key words not used in the title of the manuscript

• Title page lists the abstract’s total word count

• Abstract contains no more than 250 words

• Fewer than 5 tables/figures/photos, as appropriate

• References are formatted according to guidelines found in the Publication Manual of the Ameri-can Psychological Association (6th ed , 2010)


Credits

Editor-in-ChiefJudy Patterson Wright, PhD

Associate EditorSandy Weeks, PhD

Editorial Review Board

Autumn Mist BelkNorth Carolina State UniversityRaleigh, NC

Christa DavisLewis-Clark State CollegeLewiston, ID

Beverly DuaneHampton UniversityHampton, VA

Tarin HamptonNorfolk State UniversityNorfolk, VA

Gladys KeetonTexas Woman’s UniversityDenton, TX

Lisa LewisAustin Peay State UniversityClarksville, TN

Fran Anthony MeyerFredericksburg, VA

Karen Lynn SmithWashington CollegeChestertown, MD

Michelle StrongTexas A&M UniversityCollege Station, TX

NDS Executive Committee

PresidentMary Ann Laverty, PhDKemps Landing/Old Donation SchoolVirginia Beach Public Schools, VA

Past PresidentFreddie Thompson-Esters, MAHollywood High SchoolLos Angeles Unified School District, CA

President-Elect/Executive DirectorFran Anthony Meyer, PhD, CHESFredericksburg, VA

www.NationalDanceSociety.orgFran Meyer, Executive Directorinfo@nationaldancesociety org540 642 1041

The National Dance Society (NDS) is a 5 01(c)3 non-profit educational organization that envisions a country where each individual is provided wide range of quality dance education and performances-throughou this/her lifespan Our goals are the promotion and development of dance as a major art form We provide opportunities for education and communication for teachers, students, performers, choreographers, and audiences Membership is open to all individuals and organizations involved in or interested in dance

For information about National Dance Society, the 1st Annual NDS Conference, membership & services, or the dance honor society~Delta Eta Pi~please visit our website

Our motto is ”Dance For All” and we aim to promote these experiences through schools, studios, leisure and recreation programs, faith-based groups, and culturally-based settings


Join the National Dance Societyhttp://nationaldancesociety org/join html

Photos by Diane Bedford

Joining the National Dance Society is easy, with membership plans for professionals, associates, and students.

Professional Membership

Open to individuals involved in all aspects of dance as teachers, studio owners, performers, technical support, or artists

$85.00/annually $225.00/Long Term (3 Year)

Associate Membership

Open to individuals in professions supporting dance This includes publishers, costumers, and other vendors Please note: Associate members are unable to hold office or vote


Extra benefit: Visit the NDS website’s store to order featured dance publications!

Student Membership

Open to individuals enrolled in a college-level degree granting program or in grades K - 12


Lifetime Membership

Open to individuals otherwise eligible for professional membership

$2,500/once


ANCILLARIESComplete information available online at

www.HumanKinetics.com/BeginningTapDance.

Print: ISBN 978-1-4504-1198-1E-book: ISBN 978-1-4504-5091-1


www.HumanKinetics.com/BeginningBallet.



www.HumanKinetics.com/BeginningModernDance.



www.HumanKinetics.com/ BeginningJazzDance.



www.HumanKinetics.com/ BeginningMusicalTheatreDance.


Human Kinetics’ Interactive Dance Series includes Beginning Tap Dance, Beginning Ballet, Beginning Modern Dance, Beginning Jazz Dance and Beginning Musical Theatre Dance. These titles are the traditional dance courses taught through dance, physical education, and fine arts departments for general education students, dance majors, and minors. Each student-friendly text includes a web resource offering video clips of dance instruction, learning aides, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.

Contact your sales representative today for an exam copy! www.HumanKinetics.com/SalesRepresentatives

Find these titles and more at www.HumanKinetics.com/Dance

Perfect introductory guides for learning, performing, and viewing dance genres

SOCIE T Y JOURNAL

P O Box 5076 Champaign, IL USA 61825-5076www HumanKinetics com

National Dance Society Journal

Managing Editor: Amy Rose, Designer: Sean Roosevelt, Copy Editor: Jan Feeney

Copyright © 2016 National Dance Society www nationaldancesociety org

Documents

SOCIETY JOURNAL - Weebly588265374878873329.weebly.com/uploads/1/8/7/2/18727252/v... · 2019. 10. 26. · Introduction President’s Message ... By Christine S Bergeron, MFA, Carisa