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PubMed2001

Thermoregulation of dancing bees: thoracic temperature of pollen and nectar foragers in relation to profitability of foraging and colony need.

The thorax surface temperature of dancing honeybees (Apis mellifera carnica) recruiting nestmates to natural sources of nectar and pollen around Graz (Austria) was measured by real-time infrared thermography without touching them or disturbing social interactions. Thorax temperature during dancing was quite variable (31.4-43 degrees C). In the course of a foraging season it varied considerably and was always lower than in bees foraging from a highly profitable food source (2 molar sucrose 120 m from the hive). It averaged 38.0 degrees C (SD=2.24, n=224 dances) in the nectar foragers and 37.4 degrees C (SD=1.64, n=171) in the pollen foragers, resembling that of dancers foraging 0.5 molar sucrose from feeders with unlimited flow. Hive air temperature accounted only for about 3-8% of total variation. Foraging distance modulated dancing temperature in a way that, according to the decrease of the profitability of foraging with distance, maximum temperatures decreased and, in accordance with the increase of the dancing threshold with distance, minumum temperatures increased with distance, this way providing new support for the hypothesis that the dancing temperature is modulated by the profitability of foraging and the dancing and foraging motivation of the bees. Dancing temperature of both nectar and pollen dancers correlated with several parameters of the hive status, increasing with the amount of brood and decreasing with the amount of honey and pollen. These correlations are discussed with respect to literature reports on a colony's need for pollen and nectar, in particular the effect of brood and the amount of pollen on pollen foraging, and the effect of honey stores and demand for nectar on nectar foraging.

Journal Article↗
PubMed1992

A comparison between two forms of aerobic dance and treadmill running.

Aerobic dance has been reported to result in a disproportionately higher heart rate than running at a similar percent of VO2max. It has been suggested that the extensive use of the arms overhead during aerobic dance results in an increase in sympathetic outflow thereby disproportionately increasing the heart rate. To compare the hemodynamic and sympathetic nervous system activity responses during aerobic dance and treadmill running, nine healthy females exercised at approximately 50% of their VO2max during each of the following three exercise trials: aerobic dance where the arms were used extensively overhead (ABOVE), aerobic dance where the arms were kept below the shoulders (BELOW), and treadmill running (TR). Mean heart rate values during the ABOVE, BELOW, and TR trials were 136 beats.min-1 for all three trials. Mean VO2 values during the ABOVE, BELOW, and TR trials were 1.48, 1.51, and 1.47 l.min-1, respectively, and were not significantly different. Mean cardiac output for the ABOVE, BELOW, and TR trials were 13.5, 14.0, and 13.0 1. min-1, respectively, and were not significantly different. Postexercise blood lactate and norepinephrine values were not significantly different among the three trials. These results suggest a similar relationship between heart rate and VO2 during low intensity aerobic dance and running and do not support the contention that the use of the arms overhead during aerobic dance exercise elicits a disproportionately greater increase in heart rate as compared with running. Additionally these results demonstrate similar cardiovascular and sympathetic nervous system responses between aerobic dance exercise and running.

Adult↗
PubMed1995

Relationship of body image and creative dance movement.

Findings supporting the proposition that dance movement improves a person's body image have been contradictory. Previous work focussed on styles such as ballet, jazz, and modern dance but it is arguable that creative dance movement, with its less structured approach and absence of predetermined performance standards, will have a positive influence on body image. This study examine scores on the Multidimensional Body-Self Relations Questionnaire of 112 women between 18 and 69 years who had been actively participating in creative dance movement courses for periods ranging from two weeks to 16.5 years. Subjects experienced in creative dance movement were more satisfied with their appearance, fitness, and body parts than subjects with less than five years of experience. Differences in evaluation of health were not clearly established. Given this analysis and the potential for wide-spread clinical use of creative dance movement with people having body-image disturbances, empirical research on the relationship between creative dance movement and body image is warranted.

Adolescent↗
PubMed1980

Physical demands during folk dancing.

This investigation was undertaken to evaluate the aerobic demands during one of the most popular and demanding Swedish folk dances the "hambo". Six men and six women, ranging in age from 22 to 32, participated. Their physical work capacity was investigated on a bicycle ergometer and a treadmill, using two to three submaximal and one maximal loads. All subjects were moderately well-trained and their average maximal oxygen uptake on the treadmill were 2.5 and 3.7 l/min (42.8 and 53.2 ml/kg . min-1) for women and men, respectively. When dancing the "hambo" the heart rate was telemetered, and the Douglas bag technique was used for measurements of pulmonary ventilation and oxygen uptake. The physical demand during "hambo" dancing was high in all subjects. Oxygen uptake was 38.5 and 37.3 ml/kg . min-1 and heart rate 179 and 172 in women and men, respectively. Women used 90% and men 70% of their maximal aerobic power obtained on the treadmill. The pulmonary ventilation and respiratory quotient of the female subjects were lower when dancing as compared to running, possibly because of voluntary restriction of the movements of the thoracic cage. Some popular Scandinavian folk dances are performed at a speed and with an activity pattern resembling the "hambo", while others are performed at a slower pace. The exercise intensity used in "hambo" is more than sufficient to induce training effects in the average individual provided that the dancing is performed at the frequency and for length of time usually recommended for physical training. For older or less fit people dances with a slow pace can be used for training purposes.

Adult↗
PubMed1998

Social dancing: a way to support intellectual, emotional and motor functions in persons with dementia.

Dementia causes serious impairments and the inability to perform those activities which give meaning to a person's life. Therefore, these persons are in need of professional nursing care interventions as well as a special supporting environment. In this study, social dancing has been regarded as a nursing intervention that supports persons with dementia in nursing home settings. The aim was to find out how persons with dementia functioned in social dance sessions, in order to understand the reasons behind the use of social dancing as a nursing intervention in a nursing home setting. Six persons with dementia were videotaped during four dance sessions in one nursing home. The qualitative content analyses were carried out deductively, using a guide developed from the variables in the Gottfries, Bråne and Steen rating scale (GBS scale). The findings show that, for persons with dementia, retained abilities were prominent in dancing. It was obvious that social dancing was supportive and seemed to have meaning to both patients and their carers. Social dancing seems to be a nursing intervention that supports patients' positive feelings, communication and behaviour. The carers' preunderstanding of the patients' levels of dementia and the wholeness of the situation was of importance.

Aged↗
PubMed1991

Validity and generalizability of social dance performance ratings.

The purpose of three related studies was to develop a social dance instrument that had logical validity and generalizable performance ratings. Three social dance experts critiqued the instrument and concluded the items described the characteristics of good social dance performance. Twelve couples from a social dance class were videotaped for 5 min while performing the fox trot. Their performances were evaluated by a different set of coders in each of the three generalizability (G-) studies conducted (Subjects x Coders x Days ANOVA design). Dance performances were held constant across coding occasions so the day facet represents degree of consistency in coding, not stability of subjects' performances. Decision (D-) studies were also conducted for various measurement conditions. Results of the G-studies indicated that coders with several years of experience teaching and evaluating dance had less systematic coder bias and less systematic coder bias for a subset of dancers than coders who had little or no experience evaluating movement of any form. The performance ratings given by novice coders could be generalized for any randomly selected coder evaluating on any given day (G = .79). It was concluded the social dance test was valid and coders could be trained to obtain generalizable performance ratings.

Adult↗
PubMedDate not supplied

The influence of dance training on growth and maturation of young females: a mixed longitudinal study.

BACKGROUND: The effects of systematic sports training during childhood and adolescence on subsequent growth and sexual maturation remains in dispute. AIM: The study aimed to determine whether moderate-high volumes of dance training adversely influence linear growth and sexual maturation of young girls progressing through puberty. SUBJECTS AND METHODS: This 3-year mixed longitudinal study comprised 82 novice dancers and 61 controls, aged 8-11 years at baseline, who were assessed bi-annually for 3 consecutive years. A biological maturational age was determined by estimating attainment of age at peak height velocity (PHV). Body dimensions were measured by anthropometry, and exercise levels, nutritional intake and age at menarche by questionnaires. RESULTS: Controls had significantly greater unadjusted height velocity than dancers 1 year before PHV, however there was no difference between groups in age of attainment of PHV. When controlling for maturation, lean mass, fat mass and extracurricular sport (excluding dancing), there were no group differences in absolute growth or velocity of growth in height, sitting height or leg length. Within the dancers there were no effects of years of dancing (>6.5 years) or weekly dance hours (>7 h per week) on growth velocities. No association was found between age at menarche and years or hours of dance training. CONCLUSION: Results suggest that moderate-high levels of dance training do not affect linear growth and maturation. Thus, girls should not be discouraged from dance participation on the basis of potential growth delays.

Body Composition↗
PubMed1989

The physiological effects of aerobic dance. A review.

Aerobic dance exercise is currently one of the most commonly practised adult fitness activities. The majority of the research pertaining to this form of exercise supports its application as a valid cardiovascular training alternative, especially for adult females if performed according to the American College of Sports Medicine (ACSM) guidelines. If, however, the participant is interested in modifying body composition, training frequency, duration, or efforts toward caloric restriction may need to be increased or altered beyond those employed in the aerobic dance training investigations. The amount of energy expended during a bout of aerobic dance can vary dramatically according to the intensity of the exercise. 'Low intensity' dance exercise is usually characterised by less large muscle activity and/or less lower extremity impact, and music of slower tempo. Dance exercise representative of this variety requires a cost of approximately 4 to 5 kcal/minute. Several trials, however, have shown that vigorous 'high intensity' aerobic dance which entails using the large muscle groups can require 10 to 11 kcal/minute. The associated training outcomes could be affected by such differences in dance exercise intensity and style.

Adult↗
PubMed1999

The effects of long-term aerobic dance on agility and flexibility.

BACKGROUND: The benefits of aerobic dance toward the contribution to overall wellness have been studied in a skewed manner. Numerous studies in the past have examined the cardiorespiratory benefits of aerobic dance. Fewer studies have reported the effects on agility, flexibility and coordination. Moreover even fewer studies have used aerobic dance instructors as subjects. METHODS: To examine the effects of long-term aerobic dance on agility and selected measures of flexibility, fifty-four experienced and non-experienced aerobic dance teachers were tested on these parameters. RESULTS: No significant differences were identified in any parameter. CONCLUSIONS: On the basis of the present data we conclude that extended participation in aerobic dance does not contribute to better sit and reach flexibility, trunk flexibility, dynamic rotational flexibility or agility and that aerobic dance teachers should participate in general flexibility stretching activities and secondary activities to improve and/or maintain agility and general coordination.

Adult↗
PubMed1999

Elder-caregiver care negotiations as dances of dependency.

Well-developed metaphors function as heuristic devices for the communication of scientific ideas. When applied to common, typical situations, metaphorical conceptualization enables a richer and deeper understanding. In this article, the routinized and taken-for-granted situation of elder-caregiver care negotiations is examined through the use of a dance metaphor, the dance of dependency. Metaphorical models of theory are intended to be elaborated and developed in ways that good poetic metaphors are not. Therefore, we systematically describe the general aspects of the dance (rules, facilitators, performances, aesthetics) and relate the specific elements of a dance to the dance of dependency. The picture that emerges is one of elder-caregiver care negotiations as performances, with elders as agents who actively and creatively engage caregivers in their dances of dependency. Participants in these dances sustain a complex organization of behavior to meet the situational demands and maintain themselves as fully integrated participants, based on standards set forth by the jointly negotiated working consensus of the dyad. The resulting description extends what is currently understood about everyday care negotiations, allowing an appreciation of the processes and dynamics by which care negotiations and elder-caregiver relational cultures in multiple contexts unfold, change, and are challenged.

Aged↗
PubMed1993

Ground reaction forces in high impact and low impact aerobic dance.

The purpose of this study was to compare ground reaction forces (vertical and lateral) produced during commonly used high and low impact aerobic dance maneuvers. Eight experienced aerobic dance instructors were the volunteer subjects. During the first session, three subjects were videotaped performing 10 high and 10 low impact maneuvers that they commonly used in their own class routines. Seven of the high and nine of the low impact maneuvers were then selected and used in sessions 2 and 3. During the second session, all subjects became proficient in performing the chosen maneuvers to music while striking an AMTI force platform with the right foot. During the third session, ground reaction force data generated during footstrike were recorded for each movement. Of the maneuvers examined, 5 high and four low impact maneuvers were used in the data analysis. It was found that maximum vertical active peak and vertical impact peak forces were lower for the low impact maneuvers. Maximum lateral active peak and lateral impact peak forces were similar and highly variable in magnitude for the 2 types of dance. The lower vertical loads produced in low impact dancing may make this type of dance better for minimizing lower extremity overuse injuries in aerobic dance. However, there does not seem to be any advantage in emphasizing the use of low impact dance for minimizing lower extremity injuries that evolve from lateral shear forces.

Adult↗
PubMed2000

Dancing bees tune both duration and rate of waggle-run production in relation to nectar-source profitability.

For more than 50 years, investigators of the honey bee's waggle dance have reported that richer food sources seem to elicit longer-lasting and livelier dances than do poorer sources. However, no one had measured both dance duration and liveliness as a function of food-source profitability. Using video analysis, we found that nectar foragers adjust both the duration (D) and the rate (R) of waggle-run production, thereby tuning the number of waggle runs produced per foraging trip (W, where W= DR) as a function of food-source profitability. Both duration and rate of waggle-run production increase with rising food-source profitability. Moreover, we found that a dancing bee adjusts the rate of waggle-run production (R) in relation to food-source profitability by adjusting the mean duration of the return-phase portion of her dance circuits. This finding raises the possibility that bees can use return-phase duration as an index of food-source profitability. Finally, dances having different levels of liveliness have different mean durations of the return phase, indicating that dance liveliness can be quantified in terms of the time interval between consecutive waggle runs.

Adaptation, Physiological↗
PubMed2001

Phase reversal of vibratory signals in honeycomb may assist dancing honeybees to attract their audience.

Forager honeybees dancing on the comb are able to attract dance-followers from distances across the comb that are too remote for tactile or visual signals to play a role. An alternative signal could be the vibrations of the comb at 200-300 Hz generated by dancing bees but which, without amplification, may not be large enough to alert remote dance-followers. We describe here, however, an unexpected property of honeycomb when it is subjected to vibration at around 200 Hz that would represent an effective amplification of the vibratory signals for remote dance-followers. We find that, at a specific distance from the origin of an imposed vibration, the walls across a single comb cell abruptly reverse the phase of their displacement and move in opposite directions to one another. Behavioural measurements show that the distance from which the majority of remote dance-followers are recruited coincides with the location of this phase-reversal phenomenon relative to the signal source. We propose that effective signal amplification by the phase-reversal phenomenon occurs when bees straddle a cell across which the phase reversal is expressed. Such a bee would be subjected to a situation in which the legs were moving towards and away from one another instead of in the same direction. In this manner, remote dance-followers could be alerted to a dancer performing in their vicinity.

Animal Communication↗
PubMed2001

The dance: essence of embodiment.

An analysis of movement, and particularly of dance, helps us to see in an extraordinarily effective way the meaning of embodiment. This paper then looks through the eyes of dance theorists and at philosophers who consider dance and movement and their meaning of embodiment. A study of movement and dance encompasses the fullest meaning of embodiment: that the embodied way of being-in-the-world is also an embedded way of being in a world of others. Dance has critically important social ramifications. In our own and other cultures, dance plays an important role in healing and in health enhancement.

Dance Therapy↗
PubMed2006

Plasma drug concentrations and physiological measures in 'dance party' participants.

The increasing use of (+/-) 3,4-methylenedioxymethamphetamine (MDMA) in the setting of large dance parties ('raves') and clubs has been the source of some concern, because of potential acute adverse events, and because animal studies suggest that MDMA has the potential to damage brain serotonin (5-HT) neurons. However, it is not yet known whether MDMA, as used in the setting of dance parties, leads to plasma levels of MDMA that are associated with toxicity to 5-HT neurons in animals. The present study sought to address this question. Plasma MDMA concentrations, vital signs, and a variety of blood and urine measures were obtained prior to, and hours after, individuals attended a dance party. After the dance party, subjects were without clinical complaints, had measurable amounts of residual MDMA in plasma, and nearly half of the subjects also tested positive for methamphetamine, another amphetamine analog that has been shown to have 5-HT neurotoxic potential in animals. Plasma concentrations of MDMA did not correlate with self-reported use of 'ecstasy' and, in some subjects, overlapped with those that have been associated with 5-HT neurotoxicity in non-human primates. Additional subjects were likely to have had similar concentrations while at the dance party, when one considers the reported time of drug ingestion and the plasma half-life of MDMA in humans. Hematological and biochemical analyses were generally unremarkable. Moderate increases in blood pressure, heart rate and body temperature were observed in the subjects with the highest MDMA plasma concentrations. These findings are consistent with epidemiological findings that most people who use MDMA at dance parties do not develop serious clinical complications, and suggest that some of these individuals may be at risk for developing MDMA-induced toxicity to brain serotonin neurons.

Adult↗
PubMed1989

[Changes in the skeleton of the middle foot caused by professional classical dancing].

UNLABELLED: On half and three-quarter points, the most frequent foot positions in dance, the metatarsals form an extension of the lower leg. In 54% of 56 professional male and female dancers whose feet were examined, this extraordinary stress leads to pronounced thickening of the cortex of the second metatarsal and in 6%, of the third metatarsal as well. There are no symptoms. Hypertrophy of the bone occurs in response to the additional stress imposed by dancing. Dancing on points is not the triggering factor, since male and female dancers are equally affected. COMPLICATIONS: Under intensive stress of dancing, pain can develop in the medial portion of Lisfrans joint and endanger the dancer's career. Skeletal scintigraphy in such cases reveals increased metabolism of the bone at the base of the second metatarsal as well as in the cuneiforme intermedium. The development of this overstress on the second ray is favored by the following factors: Primarily by the congenital pes cavus which makes correct stressing of the foot in dancing impossible; a relatively long second metatarsal, or possibly the third metatarsal as well; - by an excessively large antetorsion angle of the neck of the femur, which makes correct positioning of the foot in the five positions of classical dance impossible; - by overstressing the half-points position in teaching, or by unfavorable training conditions, especially floors that are too hard. No treatment of these painful complications is possible if they are caused by anatomical factors. In other cases, several month's rest, changing ballet technique, and improved conditions regarding the ballet floor can result in an improvement. Even then, relapses are not infrequent, however.

Adult↗
PubMed2005

The neural basis of human dance.

Human dance was investigated with positron emission tomography to identify its systems-level organization. Three core aspects of dance were examined: entrainment, meter and patterned movement. Amateur dancers performed small-scale, cyclically repeated tango steps on an inclined surface to the beat of tango music, without visual guidance. Entrainment of dance steps to music, compared to self-pacing of movement, was supported by anterior cerebellar vermis. Movement to a regular, metric rhythm, compared to movement to an irregular rhythm, implicated the right putamen in the voluntary control of metric motion. Spatial navigation of leg movement during dance, when controlling for muscle contraction, activated the medial superior parietal lobule, reflecting proprioceptive and somatosensory contributions to spatial cognition in dance. Finally, additional cortical, subcortical and cerebellar regions were active at the systems level. Consistent with recent work on simpler, rhythmic, motor-sensory behaviors, these data reveal the interacting network of brain areas active during spatially patterned, bipedal, rhythmic movements that are integrated in dance.

Adult↗
PubMed1995

Images of caring in nursing and dance.

This article explores the existence of common images in nursing and dance. Nurses can look to the performing arts and music to sustain their commitment to clinical practice. The dancer must bring the whole self to the dance: history, mind, body, and spirit. The dancer creates beauty and grace and interpretive images for the audience. Nursing involves "dancing on the edge" where one must balance Roach's five elements of caring with one's self to meet the needs of the patient. For both nursing and dance, excellence begins with a centering of the self in order to create and relate to the other. Through the dance, one comes to experience beauty and grace. Images from dance can nourish one's creative caring spirits.

Dance Therapy↗