Search PubMed⌕ Search

SEARCH · Search PubMed

Results for “Dancing”

Search indexed PubMed citations on genomics, clinical trials, systematic reviews and public health. Explore titles, authors and supplied subject terms, then open the PubMed record.

Quote a phrase for an exact phrase match. Source license links do not imply unrestricted reuse.

At least 829 records · Page 46Linked to original sources
PubMed1994

[The "language" of bees and its utilization in agriculture. 1946].

If honey-bees find a feeding place, after return they report the discovery by dancing. The species of flowers from which they are coming is indicated by means of the flower-scent adhering to their bodies, and also by the scent of nectar brought into the hive within the honey-stomach. By a long flight the scent adhering to the outer surface is diminished. But the scent within the honey-stomach is still the same. Therefore the scent of nectar (that is the specific flower-scent absorbed by nectar) is especially important if the feeding place is far away from the hive. Bees dance only in case there is plenty of food. Then the informed bees fly out and look for the flowers having the scent indicated by the dancing bees. In this way the number of visiting bees increases, and the nectar becomes scarce. Then honey collecting is still continued, but there is no more dancing in the bee-hive and the number of bees does not increase, so that there always is the correct relation between the amount of nectar and the number of collecting bees. If the feeding place is at a distance of some hundred meters there are many bees seeking for food at that distance but only a few seeking near the hive. By using an observation-hive the matter could be cleared up. Bees collecting at a feeding place nearer than 50 to 100 m make round-dances (Fig. 4, p. 400). Bees coming from a feeding place more distant make tail-wagging dances (Fig. 5, p. 400).(ABSTRACT TRUNCATED AT 250 WORDS)

Agriculture↗
PubMed1980

Socio-cultural factors in the development of anorexia nervosa.

A population of professional dance (N = 183) and modelling (N = 56) students, who by career choice must focus increased attention and control over their body shapes, was studied. Height and weight data were obtained on all subjects. In addition, a questionnaire that is useful in assessing the symptoms of anorexia nervosa, the Eating Attitudes Test (EAT), was administered. Results of these tests were compared with those of normal female university students (N = 59), patients with anorexia nervosa (N = 68), and music students (N = 35). Anorexia nervosa and excessive dieting concerns were overrepresented in the dance and modelling students. Twelve cases (6.5%) of primary anorexia nervosa were detected in the dance group. All but one case developed the disorder while studying dance. Within the dance group those from the most competitive environments had the greatest frequency of anorexia nervosa. These data suggest that both pressures to be slim and achievement expectations are risk factors in the development of anorexia nervosa. The influence of socio-cultural determinants are discussed within the context of anorexia nervosa as a multidetermined disorder.

Anorexia Nervosa↗
PubMed1989

Physiological profiles of young boys training in ballet.

In order to evaluate physiological characteristics in young male ballet dancers, 27 boys (aged 9 to 16 years) who participated in a boys' dance course during the Kuopio Dance and Music Festival in June 1988 were studied. In general, the boys had started dancing at the age of 8.6 years and had been training for 4.1 years. They had, on average, three dancing sessions per week and the mean time spent on dancing was four hours per week. In the study, some anthropometric measurements were taken, the maximal oxygen uptake (VO2 max) was measured by a cycle ergometer test and the explosive strength and the mechanical power of lower extremities were evaluated by a jumping test. The results indicate that boys who train in ballet are in general moderately lean, have relatively small body size and a high degree of flexibility. The younger boys especially have only moderate aerobic power, but both explosive strength and mechanical power in leg muscles are good in ballet trained boys.

Adolescent↗
PubMed1997

Sacroiliac dysfunction in dancers with low back pain.

SUMMARY. Low back pain is a common occurrence in dancers. Studies have shown its prevalence to be around 12% of all dance type of injuries. It is commonly thought by health professionals who specialize in dance medicine that sacroiliac (SI) dysfunction is one of the more common causes of low back pain in dancers. The aetiology of SI dysfunction in dancers is related to both the biomechanics of the SI joint and the physiological demands placed on the SI joint from the dynamics of dance. Injury to the SI joint can be due to a combination of a single traumatic incident, from overuse factors involving repetitive microtrauma or from emotional stress. Clinical manifestations could be pain in the back, buttock, hip and leg, and limitation of movement specific to dance. Diagnosis is based upon the deviation from normal of both the static and kinetic functions of the low back and pelvis in its relationship to the biomechanics of dance. Treatment is aimed at relieving pain, restoring the function of the SI joint and returning the dancer to full function. Copyright 1997 Harcourt Publishers Ltd.

Journal Article↗
PubMed1997

Polydrug use at raves by a Western Australian sample.

This study aimed to quantify the patterns of drug use among a group of participants in the rave scene in Perth, Western Australia. Interviews were conducted with 83 people who had recently been to a 'rave'. The study incorporated a semi-structured qualitative interview and a structured quantitative questionnaire. This paper reports on the quantitative data collected concerning patterns of drug use in association with the last rave attended. Use of 'dance drugs' (ecstasy, amphetamines or LSD) was reported by 86.8% of the 76 respondents who had used at least one drug in association with their last rave. Nearly 80% of these had also used at least one other drug on this occasion (mean number used = 2.4). Cannabis and inhalants were the drugs most commonly combined with the 'dance drugs', several respondents used more than one 'dance drug' concurrently and 16.7% had used alcohol. It seems that a significant proportion of those using 'dance drugs' in association with raves and dance parties are mixing these drugs with other substances despite harm reduction advice to the contrary. The need for more research in this area is discussed.

Journal Article↗
PubMed1998

Integrating hearing loss into one's life.

Hearing loss is the single most prevalent chronic physical disability in the United States. Little is known about the experience of integrating hearing loss as a part of one's life, particularly from the perspective of the hearing-impaired person. This phenomenological inquiry explored how adults with onset of hearing loss after acquisition of language integrate the hearing loss into their lives. The author interviewed 32 deafened adults. Using a modification of P. F. Colaizzi's method of data analysis, four distinct themes, each with subthemes, emerged around a core variable labeled as dancing with. These themes were dancing with loss and fear, dancing with fluctuating feelings, dancing with courage amidst change, and dancing with an altered life perspective. This study provides a beginning understanding of how people integrate a hearing loss into their lives and is the first step in developing and implementing appropriate strategies to provide assistance to others experiencing hearing loss.

Activities of Daily Living↗
PubMedDate not supplied

Analogy between training for dancers and problems of adjustment to microgravity: an evaluation of the subjective vertical in dancers.

"Moderne dance" (as opposed to a more academic or classical dance form) uses techniques from kinesiology, anatomy and improvization which are adapted to a cultural, technological and political environment. The function of a choreographic system is to take and give a measure of the world. This includes, with the present tendency of the evolution of culture, a new "naturalism" which seeks the secrets of the body. Dance movements express in terms of space the dimension fo the infinite. It gives somehow the measure of a world within which everything is relative. Except for the speed of light, time and space are bound together by the same principle. The qualities of body awareness and specific motricity in dancers imply--besides a strict discipline--balance, coordination, muscular performance and perfect orientation, problems that astronauts also encounter in microgravity. Could chosen exercises used in modern dance technique be applied to the training of astronauts? Dancer-choreographer Kitsou Dubois has been working in this direction since 1988. She was granted a "Villa Medicis Hors Les Murs" by the French Ministry of Foreign Affairs, to carry on with her research at NASA, Houston, Tex. in April 1989. It allowed her to investigate the reality of this analogy. She intends to evaluate the dancers' subjective vertical refering to Mittelstaedt's observations on the proportional relationship between "space sickness" and some astronauts poor evaluation of the subjective vertical. This study should create a relationship between a choreographer's empirical intuition and a scientific reality.

Adaptation, Physiological↗
PubMed2005

The rise of club drugs in a heroin society: the case of Hong Kong.

Although the contemporary dance drug scene is a global phenomenon, with many countries and cultures reporting similar developments with ecstasy and other club drug use, the scene, in many respects, is a reflection and expression of local culture. This article examines the rise of the dance drug scene in a society long associated with opiate use. After briefly describing Hong Kong's drug history, this article describes the diversification of its drug market to include ecstasy and ketamine in the context of a distinctive dance setting. The paper examines the trends in club drug use, particularly with the emergence of the dance scene, motivations to use, types of users, and the problems they experience with club drugs. The paper discusses the reasons for the rise and popularity of club drugs in the context of other locally available drugs, in particular, heroin. This discussion draws from three studies that tracked drug use trends from 1995 to 2002 through a variety of data sources, including official statistics, field observations, individual interviews with 20 law enforcement officials, 16 focus groups with outreach and drug treatment workers, teachers, and representatives from different communities, and in-depth interviews with 27 club drug users.

Adult↗
PubMed1996

Lower extremity musculoskeletal problems in dancers.

Ankle and foot problems are extremely common in the high-performance dance population. To adequately evaluate and treat these problems, the physician must possess knowledge of how the physical demands of dance affect the performer's body. A routine evaluation of the dancer, involving a team of orthopedists, dance instructors, and physical therapists familiar with dance mechanics, has been developed to facilitate recognition of the abnormal mechanics responsible for injury. This technique can be useful in prevention and early diagnosis of injury, thus minimizing lost performance time.

Back↗
PubMed1993

Head banger's whiplash.

OBJECTIVE: The current trend in dancing includes "head banging" with extreme flexion, extension, and rotation of the head and cervical spine. We suggest that dance-related severe pain in the cervical area may result from head banging. DESIGN: A cohort of 37 eighth graders ages 13 or 14 participated in a dance marathon for charity lasting 7 h. There were 26 girls and 11 boys. SETTING: During the dance marathon, three "heavy metal" songs were played during which head banging could be done. PATIENTS: The painful syndromes that relate to head banging were evaluated by a convenience sample of the 37 marathon dancers in the eighth grade. INTERVENTIONS: None. MAIN OUTCOME MEASURES: A self-selected age-matched control group is included since 17 adolescents participated in head banging and 20 did not. RESULTS: Of the head bangers, 81.82% of the girls and 16.6% of the boys had resultant cervical spine pain that lasted 1-3 days. Only 26.2% of non-head-banging girls and 0% of non-head-banging boys had cervical spine pain lasting 1-3 days. Of all the 8th-grade participants, 62.16% had pain somewhere. Other types of pain included leg pain, back pain, and headache. Only three adolescents took any medication for their pain. CONCLUSIONS: The head-banger's whiplash is a self-limiting painful disorder. The easy resolution of the pain problem in adolescents is a tribute to the resilience of youth.

Adolescent↗
PubMed1970

Communication of direction by the honey bee.

In the presence of controls for site- and path-specific odors, observer and food-source scents, Nasanov gland and alarm odors, visual cues, wind, and general site taxis, recruited bees were able to locate the food source indicated by the dances of returning foragers in preference to a food source located at an equal distance in the opposite direction. This was true even when foragers were simultaneously dancing to indicate two different stations. Recruitment in the absence of dancing was very low, while in the absence of foraging it was virtually zero. Thus, under the experimental conditions used, the directional information contained in the dance appears to have been communicated from forager to recruit and subsequently used by the recruit.

Animal Communication↗
PubMed1989

The nature and incidence of injuries in morris dancers.

Morris dancing includes several distinct forms of vigorous traditional dance with about 5000 amateur participants in the UK and Ireland. Questionnaires were sent to over 500 registered morris sides. The response rate was 29 per cent with 129 acute injuries and 47 chronic injuries including one fatality. The commonest acute injuries were to ankle (33 per cent) and calf (22 per cent). The back was the commonest site of chronic injury, with a high contribution from occupational and other sources. Morris dancing is a relatively low-risk activity, but injuries could be prevented by improving the fitness of dancers and selecting safer surfaces to dance on. The severity of injuries could probably be reduced by seeking more and better treatment.

Adolescent↗
PubMed1989

Injuries to dancers: prevalence, treatment, and perceptions of causes.

A survey of injuries to dancers was commissioned by the National Organisation of Dance and Mime. Questionnaires asking about chronic and recent injuries were sent to 188 dancers and completed by 141 dancers from seven professional ballet and modern dance companies in the United Kingdom (75% response rate). It was found that of the 141 dancers, 67 (47%) had experienced a chronic injury and 59 (42%) an injury in the previous six months that had affected their dancing. A high proportion of injuries to the soft tissues had not responded to treatment. With correct treatment such injuries should usually heal completely. Dancers are aware of the high rate of injuries and also of procedures that might help to prevent injury--for example, dancing on floors that are sprung and in warmer studios; teachers' and choreographers' awareness of a dancer's limitations and the need for rest and adequate treatment when an injury occurs.

Adolescent↗
PubMed2004

Americo Negrette (1924 to 2003): diagnosing Huntington disease in Venezuela.

OBJECTIVE: To elucidate the role of Dr. Americo Negrette in diagnosing and reclassifying the dancing mania in Maracaibo, Venezuela as Huntington disease (HD). METHODS: All of the medical and nonmedical books and articles by Negrette were collected and reviewed. Personal interviews with Negrette were performed to confirm the details of his life and original work. His childhood, medical education, and contribution to HD, as well as contributions to medicine, art, and poetry, were covered in interview sessions. Excerpts from his autobiography, Ciudad de Fuego, were translated into English for publication. A complete bibliography of 70 books and research articles authored by Negrette was assembled. Negrette himself reviewed the compilation of this manuscript just days before his sudden death on September 14, 2003. RESULTS: Americo Negrette, a Venezuelan physician, biochemist, artist, and poet, observed a dancing epidemic in 1952. He acquired, through interviews with locals, the knowledge that there were two other small towns along Lake Maracaibo devastated by a syndrome called el mal (the bad). Negrette changed the diagnosis of these patients from a dancing mania to what he believed was Huntington chorea, later termed HD. He presented his findings at the Venezuelan Sixth Congress of Medical Science in 1955. He was met with reluctance in the local scientific community and a passive ear from government authorities. His description, written in Spanish, was not widely distributed beyond Venezuela, and its importance would have to wait until one of his students shared his observations (more than a decade later) with the HD research community and the rest of the world. CONCLUSION: The "dancing mania" of Maracaibo, because of the work of Americo Negrette, has been reclassified as Huntington disease.

Attitude to Health↗
PubMed2006

Calcaneal quantitative ultrasound measurements in young male and female professional dancers.

The aim of this study was to assess the bone status of dancers using calcaneal quantitative ultrasound (QUS). Twenty-four male and 26 female dancers (aged 19-36 years) and 100 age- and sex-matched nonathletic controls were included in this study. QUS parameters (broadband ultrasound attenuation [BUA], speed of sound [SOS], quantitative ultrasound index [QUI], and estimated heel bone mineral density [eBMD]) were obtained for both heels in all subjects using a gel-coupled QUS device. Two-way analysis of variance, including the factors of dancing status and gender, revealed significant differences in all QUS parameters between the dancers and the controls (p < 0.001 for all), without a significant interaction with gender status. For each heel (right versus left), the mean QUI, BUA, SOS, and eBMD values of the male and female dancers were 22.0% vs. 20.9% and 16.6% vs. 16.0%; 21.6% vs. 24.1% and 13.2% vs. 14.3%; 2.3% vs. 2.0% and 1.7% vs. 1.7%; and 25.0% vs. 23.9% and 19.0% vs. 18.6% higher than those of the male and female controls, respectively. Analysis of covariance still revealed significant differences between the dancers and the controls after controlling for the influence of body mass index (p < 0.001). Furthermore, the finding that significant bilateral differences in BUA did exist in the controls but not in the dancers demonstrated site-specific effects of exercise on bone, indicating that it is the dance that improved bone properties. Calcaneal QUS, with a strong discriminative ability between those involved in professional dance and normally active individuals, emerges as an attractive technology for exploring the benefits of exercise on bone, which might be a challenge for those in the conditioning field, who need to identify those who need intervention in terms of bone status and promote participation in high-impact physical activity, such as dance, to enhance bone quality.

Adult↗
PubMed1996

Release of the flexor hallucis longus tendon in ballet dancers.

Thirteen female ballet dancers had an operative release of the flexor hallucis longus tendon because of isolated stenosing tenosynovitis, and the results were reviewed after a mean duration of follow-up of six years and six months (range, two to ten years). All of the patients danced at the advanced or professional level, and all had failed to respond to non-operative management. The mean age of the patients at the time of the operation was twenty years (range, thirteen to twenty-six years). Symptoms, which included pain and tenderness over the medial aspect of the subtalar joint, had been present for a mean of six months (range, two to twelve months) preoperatively and were exacerbated by jumping and by attempts to perform en pointe work. Crepitus was present in six patients, and triggering was present in three. No patient had evidence of a symptomatic os trigonum. Postoperatively, all patients participated in a formal physical-therapy program for a mean of nine weeks (range, four to thirteen weeks). All patients returned to dancing, within a mean of five months (range, two to nine months), and eleven reached a level of full participation in dancing without restriction. At the time of the most recent follow-up, all patients noted improvement compared with the pre-operative condition. Eight patients were professional ballet dancers, four were students at advanced ballet schools, and one had stopped performing ballet for reasons unrelated to the tenosynovitis of the flexor hallucis longus. In addition, two of the students had decided not to pursue careers in dancing because of persistent, but greatly diminished, symptoms. No complications were noted in this series. We concluded that an operative release of the flexor hallucis longus is effective for the treatment of isolated stenosing tenosynovitis in female ballet dancers who place high demands on the foot and ankle and for whom non-operative treatment has failed.

Adolescent↗
PubMed2002

Comparison of two exercise programs on general well-being of college students.

Responses to life stressors are associated with negative behaviors that may increase risk for illness and injury. The effect of high intensity exercise in reducing reactivity to psychological stress has been well documented among older people. The purpose of this study was to ascertain the effect of weight-training versus aerobic dance on psychological stress in college students. 45 students participated in a weight-training course, 35 students participated in aerobic dance classes, and 34 students served as a control group. The Survey of Recent Life Experiences was used to appraise stressfulness of current experiences before and after exercise intervention. On immediate retest after 8 wk. of weight-training perceived stress was significantly reduced when compared with an 8-wk. aerobic dance program, but there were no significant differences between the control group and the weight-training group or the aerobic dance group. These results suggest that a regular routine of low intensity exercise such as weight-training may reduce perceived stress on an immediate test.

Adaptation, Psychological↗
PubMed2003

Recruitment of honeybees to non-scented food sources.

Small groups of honeybees (five to nine individuals) were trained to forage at feeders 150 m, 300 m and 800 m from an observation hive. Their behaviour in the hive and at the feeder was recorded by observers that maintained continuous radio contact with one another. At low concentrations of sugar in the feeder (0.5 mol x l(-1)) foragers do not dance in the hives, their flights to the feeder are often undertaken alone, they land immediately after arrival at the site and no recruits from the hive landed on the feeder during 30 h of observation. Raising the concentration of sugar in the feeder to 2 mol x l(-1) leads to vigorous dancing by the foragers and the gradual (over 10-15 min) synchronisation of their flights so that they arrive in groups of up to five bees at the feeder and undertake circular "buzzing" flights before landing. Such behaviour of the foragers is associated with the appearance of recruits which were never seen to fly around the feeder and land alone or before the foragers. Recruits typically circle the feeder together with foragers and land with them or continue their circling flights to land about 10 s later. While circling the feeder recruits, but not foragers, will fly after a moving lure if the presentation of the lure is accompanied by the release of geraniol scent. We propose that recruits that have witnessed a waggle dance are unlikely to find a non-scented feeder unless the foragers continue their flights to that feeder and provide supplementary visual and/or olfactory cues, at least in the vicinity of the feeder. We propose that the synchronisation of the flights of foragers and their behaviour at the feeding site is a strategy designed to overcome a navigational gap in the recruiting process in which the dance can indicate the general area of a food source but not the precise position of a highly localised site.

Adaptation, Physiological↗