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PubMed1984

Leisure-dance instruction for severely and profoundly retarded persons: teaching an intermediate community-living skill.

We evaluated an approach for teaching an intermediate community living skill via a leisure-dance activity to institutionalized severely and profoundly retarded persons. The targeted skill was considered as intermediate in contrast to a community living skill per se because it was based on successful performances of higher functioning, noninstitutionalized retarded persons as opposed to nonhandicapped individuals. Definitions for appropriate dancing were established and then validated through observations of the performance of retarded persons living in the local community. The dance skills were then taught to four participants through serial training in leg movements, arm movements, and coordinated leg and arm movements, plus follow-up trainer supervision. Generalization was also programmed by way of multiple trainers and training settings. Results during structured assessments showed that all four residents acquired the dance skills and that both serial training and follow-up supervision were necessary for skill acquisition. Generalized increases in appropriate dancing at dances attended by the participants and retarded persons from the community were also demonstrated. However, in most cases some active supervision by caregivers was needed to enhance the generalized improvements. Results are discussed in terms of the applicability of this approach for validating goals when training other community-related skills to low-functioning populations.

Adolescent↗
PubMed2000

Differentiated ratings of perceived exertion and physiological responses during aerobic dance steps by impact/type of arm movement.

Overall ratings of perceived exertion, i.e., undifferentiated RPE, are often used as indicators of exercise intensity during walking, jogging, and cycling; however, conflicting results concerning RPE during aerobic dance exercise have been reported, and the use of differentiated RPE, i.e., local RPE and central RPE, has not been investigated. The purposes of this study were to assess local, central, and over-all RPE, and physiological responses [heart rate (HR); % HRmax; absolute and relative VO2;% VO2 max, ventilation (VE), ventilatory equivalent (VE.VO2(-1); and oxygen pulse] during aerobic dance exercise varied by Arm Movement (Static Arm vs Dynamic Arm) and Impact (High vs Low). Trained women (N = 25; max VO2 = 50.4 +/- 7.5 ml.kg-1.min.-1) completed four aerobic dance steps. No RPE were significantly correlated with heart rate or VO2; however, for all steps all RPE were significantly (r = .40-.62) correlated with VE.VO2(-1) or VE. No interactions were present for RPE or physiological variables, and main effects were noted for Impact and Arm Movement. All RPE were greater for High Impact and for Static Arm Movement. Because VE and VE.VO2(-1) were correlated with Overall RPE for all steps, this may suggest that participants "attended to" perceived changes in respiratory phenomena during aerobic dance exercise. It appears that during combined arm-and-leg aerobic dance exercise the use of Overall RPE is sufficient to assess perceptual sensations associated with the intensity of the exercise. Changes in Overall RPE were proportionate to objective measures of exercise intensity, i.e., HR and VO2; however, it is recommended that both HR and Overall RPE be used to assess fully a participant's objective and subjective responses during aerobic dance exercise.

Adult↗
PubMed1989

Failure of target heart rate to accurately monitor intensity during aerobic dance.

Fourteen untrained females (age 19 +/- 1, range 18-21) were studied to examine the heart rate-VO2 relationship during a single aerobic dance training session. These findings were used to help explain the changes in VO2max resulting from an aerobic dance training program. VO2max and body composition were determined before and after an 8 wk training period. In addition, the heart rate-VO2 responses to an aerobic dance training session were monitored and compared to the heart rate responses of treadmill jogging performed at the same VO2. The aerobic dance session elicited a significantly lower oxygen pulse than did treadmill exercise (7.2 +/- 0.3 vs 8.1 +/- 0.8 ml.beat-1; P less than 0.01). There were no significant changes in percent body fat, whereas VO2max increased by 11% (34.4 +/- 0.9 vs 38.1 +/- 0.8 ml.kg-1.min-1; P less than 0.05). No significant changes in any of the parameters tested were observed in 10 untrained controls. These findings indicate that the heart rate elicited from aerobic dance represents a lower relative exercise intensity (VO2) than that of running. Therefore, the assumption that aerobic dance training produces the same cardiovascular adaptations as running training when performed at the same target rate may be unwarranted.

Adolescent↗
PubMed2005

Increase in dance imprecision with decreasing foraging distance in the honey bee Apis mellifera L. is partly explained by physical constraints.

Honey bee foragers communicate the direction and distance of both food sources and new nest sites to nest mates by means of a symbolic dance language. Interestingly, the precision by which dancers transfer directional information is negatively correlated with the distance to the advertised food source. The 'tuned-error' hypothesis suggests that colonies benefit from this imprecision as it spreads recruits out over a patch of constant size irrespective of the distance to the advertised site. An alternative to the tuned-error hypothesis is that dancers are physically incapable of dancing with great precision for nearby sources. Here we revisit the tuned-error hypothesis by studying the change in dance precision with increasing foraging distance over relatively short distances while controlling for environmental influences. We show that bees indeed increase their dance precision with the increase in foraging distance. However, we also show that dance performed by swarm-scouts for a nearby (30 m) nest site, where there could be no benefit to imprecision, are either without or with only limited directional information. This result suggests that imprecision in dance communication is caused primarily by physical constraints in the ability of dancers to turn around quickly enough when the advertised site is nearby.

Animal Communication↗
PubMed2005

Does an increase in reward affect the precision of the encoding of directional information in the honeybee waggle dance?

Apis mellifera foragers perform waggle dances to communicate the presence of highly desirable nectar sources to their forager-mates. Each waggle dance consists of several waggle-runs (straight movements of the dancer closely aligned on the comb surface) that carry spatial information that the dance followers can use to locate the food source being advertised. To address how this complex motor display responds to unpredictable fluctuations in its main triggering stimulus, i.e., sucrose stimulation, we analyzed the effects of an increase in reward on the direction of consecutive waggle-runs as well as other components of the waggle dance. Results show that a sudden increase in reward may increase the directional scatter among consecutive waggle-runs, especially those performed at the beginning of the dance. However, a simultaneous and rapid increase in the duration of the signal--together with a more regular alignment of the later waggle-runs within the signal--seems to compensate the initial increase in directional scatter so that the transfer of directional information remains effective. These results point out that the regulation of dance maneuvers depends on the dancer's motivation to forage.

Animals↗
PubMed2000

Speed freaks? A literature review detailing the nature and prevalence of dance drugs and driving.

Considerable interest has lately been expressed in motor car driving whilst under the influence of drugs. Unlike depressant drugs (e.g. alcohol) dance drugs are often perceived to enhance driving skills. The physical effects and the current lack of police roadside testing are possible contributing reasons for dance drug driving. This paper aims to show through a literature review on the subject, the demographics of those involved in dance drug driving and the extent to which certain dance drugs are implicated in drug driving incidents. Drug driving is found to be highest amongst the 18-35 year age group and more prevalent amongst adult males. Prevalence figures for driving under the influence of individual drugs are also given. The numbers of people involved in accidents/fatalities and testing positive for amphetamine, cocaine and other dance drugs is small. Although self-reporting especially of illegal activities is difficult to accurately evaluate, most of the reported studies use actual blood/urine samples and so can be considered accurate. The literature does not highlight any real concerns regarding dance drug driving in terms of prevalence although it does highlight the paucity of research in this area, in particular 'Culture E and driving'.

Journal Article↗
PubMed2002

The biology of the dance language.

Honey bee foragers dance to communicate the spatial location of food and other resources to their nestmates. This remarkable communication system has long served as an important model system for studying mechanisms and evolution of complex behavior. I provide a broad synthesis of recent research on dance communication, concentrating on the areas that are currently the focus of active research. Specific issues considered are as follows: (a) the sensory and integrative mechanisms underlying the processing of spatial information in dance communication, (b) the role of dance communication in regulating the recruitment of workers to resources in the environment, (c) the evolution of the dance language, and (d) the adaptive fine-tuning of the dance for efficient spatial communication.

Adaptation, Physiological↗
PubMed2006

How bees tune their dancing according to their colony's nectar influx: re-examining the role of the food-receivers' 'eagerness'.

Apis mellifera bees perform dances to communicate the presence of desirable nectar sources. The regulation of these dances does not depend exclusively on properties of the nectar sources, but also upon certain stimuli derived from the foraging status of the colony as a whole; i.e. bees exploiting a source of constant profitability are more likely to dance when the colony's nectar intake rate is low. Based on these stimuli, individual bees tune their dances according to their colony's nectar influx without visiting alternative nectar sources. Division of labour, in addition, is a common feature in honeybees. Upon returning to the nest, successful foragers transfer the content of their crops to food-receivers by means of a common behaviour in social insects called trophallaxis, i.e. the transfer of liquid food by mouth. Martin Lindauer stated that a returned forager may sense the foraging status of its colony on the basis of the food transfer process by computing how quickly and eagerly the food-receivers unload its crop. This study focuses on the forager's experience during the food transfer process, its variability based on the colony's nectar influx, and the separate effects that the 'ease' and the 'eagerness' of the food-unloading have on the tuning of recruitment dances. Results indicate that foragers can rapidly sense variations in the colony's nectar influx, even when they experience no variation in the time interval between their return to the hive and the beginning of the food transfer. To accomplish this task they appear to use stimuli derived from the number of food-receivers, which enable them, in turn, to set their dance thresholds in relation to the nectar influx of their colony. The relevance of these findings is discussed in the context of communication and successful foraging.

Animal Communication↗
PubMed1984

Effects of dance on anxiety.

The study investigated the effects of modern dance on anxiety. State anxiety was assessed before and after a 3-mo. education programme, using the Spielberger State-Trait Anxiety Inventory. The target group followed a class in modern dance. Control groups were (1) a physical education group to control for the effects of exercise, (2) a music group to control for aesthetic sensitivity training, and (3) a mathematics group. Several concomitant variables were measured: age, sex, attitude towards dance, and previous experience in sport, dance, and relaxation. Dance training significantly reduced anxiety, but no control activities did so. Examination of the concomitant variables showed that the result could not be accounted for by any obvious artifacts.

Adult↗
PubMed1996

Weight perception of adolescent dancing school students.

OBJECTIVE: To study the hypothesis that underweight may be more prevalent among dancing school students than among nondancing school girls, and that their teachers and peers may play a role in developing this tendency. DESIGN: A case-control study on a convenience sample. SETTING: Two local dancing schools and one neighboring regular school. PARTICIPANTS: Forty ballet students, aged 13 to 17 years, from four classes and 29 age-matched girls in four regular classes. INTERVENTION: None. MEASUREMENTS/MAIN RESULTS: Each pupil was asked to classify herself and her peers as underweight, normal, or overweight; teachers were asked to classify their pupils by the same categories. Results were compared with an objective score, weight as a percentage of ideal weight for height, in which less than 85% indicates underweight; 85% to 115%, normal; and more than 115%, overweight. A higher prevalence of underweight as well as a significant tendency to overestimate self-evaluation was found among dancing students. Dancing teachers' evaluation tended to be inaccurate, especially regarding their underweight students. CONCLUSIONS: The atmosphere in dancing classes may encourage striving for thinness beyond normal limits. Ballet teachers may play a significant role in this process. We suggest that physicians and nutritionists be involved in ballet schools.

Adolescent↗
PubMed2006

Dancing hot on Ecstasy: physical activity and thermal comfort ratings are associated with the memory and other psychobiological problems reported by recreational MDMA users.

BACKGROUND: Non-drug factors such as ambient temperature can heighten the adverse effects of MDMA (3,4-methylendioxymethamphetamine) in animals. We assessed whether dancing and feeling hot on Ecstasy would be associated with more psychobiological problems in recreational users. METHODS: In an internet study, 206 unpaid participants (modal age 16-24) reported that they had used recreational Ecstasy/MDMA. They completed a drug use questionnaire, the Prospective Memory Questionnaire (PMQ), questions about dancing and feeling hot when on Ecstasy, and psychobiological problems afterwards. RESULTS: Those who danced 'all the time' when on Ecstasy, reported significantly more PMQ memory problems than the less intensive dancers. Prolonged dancing was also associated with more complaints of depression, memory problems, concentration and organizational difficulties afterwards. Feeling hot when on Ecstasy was associated with poor concentration in the comedown period, and with mood fluctuation and impulsivity off-drug. PMQ long-term problems demonstrated a significant curvilinear relationship with thermal self-ratings; more memory problems were noted by those who felt very hot, and by those who did not feel hot when on Ecstasy. CONCLUSIONS: Non-drug factors such as dancing and feeling hot are associated with the incidence of psychobiological problems reported by recreational Ecstasy/MDMA users.

Adolescent↗
PubMed1999

[Health related value of dancing in the elderly].

In field research, training intensity was tested during three different dances by recording the exercise heart rates. The subjects (twelve women from 59 to 77 years old) were tested once a week three times, over three minutes with a break of three minutes, three weeks in all. The sequence of the dances changed every week. 108 values of the maximum heart rates measured were considered for statistical calculation. 77 percent of these values were above the threshold to reach health related relevance. There was no significant difference between the separate dances. The results suggest that dancing even of slow dances will have positive effects for a preventive heart-circulatory training, when the exercise program takes into account, within the context of a particular group, the needs of the individual, especially training duration and training frequency.

Aged↗
PubMed2003

The effect of dance training on joint mobility, muscle flexibility, speed and agility in young cross-country skiers--a prospective controlled intervention study.

We evaluated a short-term (3 months) and a long-term (8 months) effect of dance training on joint mobility and muscle flexibility of the spine, hip and ankle and on speed and agility in young cross-country skiers. Twenty elite cross-country skiers - aged 12-15 years - participated in the study. Five males and five females received dance training (intervention group) and five males and five females did not dance (reference group). Joint mobility and muscle flexibility of the spine, hip and ankle joints were measured using a goniometer, a kyphometer, a measuring tape and a ruler. Two sports-related functional tests - the slalom-test and the hurdle-test - were also performed. These measurements/tests were performed before the start of the dancing period and after 3 and 8 months. The subjects from the intervention group increased their speed with 0.3 s after 3 (P = 0.05) and 8 months (P = 0.02), respectively, when measured with the slalom-test. They also improved their speed and agility according to the hurdle-test after 3 months with 0.8 s (P = 0.000) and 8 months with 0.6 s (P = 0.01). Furthermore, they increased flexion-extension of the thoracic spine with 7.5 degrees after 3 months (P = 0.05) and with 9 degrees degrees after 8 months (P = 0.03) and lateral flexion of the spine with 0.04 m (P = 0.005) and 0.03 m (P = 0.02) after 3 and 8 months, respectively. The reference group was impaired or unchanged in the studied parameters after both 3 and 8 months. We conclude that dance training has a positive effect on speed and agility and on joint mobility and muscle flexibility in flexion-extension and lateral flexion of the spine in young cross-country skiers.

Adolescent↗
PubMed1996

Places and patterns of drug use in the Scottish dance scene.

Interviews were conducted with 135 participants in the Glasgow dance (rave) scene. Drug use in this group was varied and not merely restricted to drugs associated with dance events, such as MDMA (Ecstasy). The setting in which each drug was used varied greatly. Amphetamine, nitrites and Ecstasy were the drugs most commonly used at dance events. Pharmaceuticals were least likely to be used in such settings. However, some drugs, such as Temazepam, were sometimes used prior to or after attending rave events. It is suggested that dance drug users are polydrug users who use drugs in a setting specific fashion. As such it would be wrong to classify such users solely on the grounds of their very visible behaviour in the public arena (at dance events). Other forms of substance use engaged in by this group may have a greater potential for harm than that seen at raves. The implications of these findings are discussed.

Adolescent↗
PubMed2002

Aerobic demands of the dance simulation game.

The purpose of this study was to assess the intensity and energy cost of dance simulation in relation to the American College of Sports Medicine (ACSM) recommendations on the quantity and quality of exercise for developing and maintaining cardiorespiratory fitness, and to assess its safety. Forty subjects (21 males and 19 females, age 17.5 +/- 0.7 years) had their heart rate (HR) and oxygen consumption (.VO(2)) measured during maximal treadmill exercise and during a dance simulation game at a self-selected level of difficulty. They were monitored for injuries during and after the study. The results showed a mean HR of 137 beats x min(-1) (139 beats x min(-1) for males and 136 beats x min(-1) for females) and a mean .VO(2) of 24.6 ml x kg(-1) x min(-1) (25.3 ml x kg(-1) x min(-1) for males and 23.8 ml x kg(-1) x min(-1) for females) during the dance simulation game test, with an estimated energy expenditure of 480 W (550 W for males and 410 W for females). The dance intensity only just meets the minimum ACSM guidelines, so dancer-players will need to play for extended periods to improve or maintain cardiorespiratory fitness or to lose weight. No injuries occurred during 201 hours of dance time.

Adolescent↗
PubMed2006

Evaluation of the energy cost of playing a dance simulation video game in overweight and non-overweight children and adolescents.

The purpose of this study was to determine if there were any differences in the submaximal energy cost of movement between overweight (OW) and non-overweight (NO) children while playing a dance simulation video game, Dance Dance Revolution (DDR) and to determine if the cardiorespiratory measures obtained while playing the game met the American College of Sports Medicine (ACSM) recommendations for developing and maintaining cardiorespiratory fitness. Twenty-two children and adolescents (10 OW vs. 12 NO) participated in the study. Cardiorespiratory measurements were taken both during a maximal treadmill walking test and during a 12-minute Dance Dance Revolution protocol. The average absolute VO2 (OW: 917.1 +/- 257.1 vs. 590.6 +/- 147.9 mL . min (-1)) sustained over the DDR protocol was significantly higher in the OW group compared to the NO group. There was no significant difference in the average energy cost of movement when VO2 was normalized to fat-free mass (OW: 17.7 +/- 5.1 vs. NO: 17.3 +/- 3.9 mL . kgFFM (-1) . min (-1)). Both groups were above the minimal ACSM recommended heart rate intensity for developing and maintaining cardiorespiratory fitness when participating in the DDR protocol (OW: 64.83 % +/- 7.14 vs. NO: 64.51 % +/- 7.71), VO2 reserve, however, did not meet ACSM standards for developing and maintaining cardiorespiratory fitness.

Adolescent↗
PubMed2006

Dance in mental health nursing: a hybrid concept analysis.

The aim of this concept analysis is to describe the defining attributes and consequences of the concept of dance and to define it in a mental health nursing context using hybrid concept analysis. Dance is a human resource learned from culture. Dance implies body movements, steps, expression, and interaction. The outcomes of dance are mostly functional, including a client's physical and emotional health, well-being, ability to cooperate with other people in activities of daily life, and meeting role expectations within family and community. Based on the findings of this concept analysis, dance can be used as a nursing intervention.

Dance Therapy↗
PubMed1995

The power of dance: health and healing.

Dance involves the culturally mediated body, emotion, and mind. So do illness and pain. Dance may promote wellness by strengthening the immune system through muscular action and physiological processes. Dance conditions an individual to moderate, eliminate, or avoid tension, chronic fatigue, and other disabling conditions that result from the effects of stress. Dance may help the healing process as a person gains a sense of control through (1) possession by the spiritual in dance, (2) mastery of movement, (3) escape or diversion from stress and pain through a change in emotion, states of consciousness, and/or physical capability, and (4) confronting stressors to work through ways of handling their effects.

Anthropology, Cultural↗