The study aimed to identify the effects of ground reaction forces (GRF) recorded during landing in typical elements of three dance styles, including classical, modern, and folk dance, on injuries` ...topography.
The research involved a survey and measurements of GRF generated during landing after the jump. The survey involved a group of 90 professional dancers. In the questionnaire, the dancers marked areas of the human body that were affected at least once by injuries. Biomechanical tests of the GRF recording were conducted on a group of 15 professional dancers. The analysis focused on the following parameters: a maximum value of the vertical variable of the GRF relative to body weight (maxGRF
), the time between the moment from first foot contact with the ground to the moment of reaching the maxGRF
(
), and the loading rate of the GRF relative to body weight (LR
).
Regardless of dance style and sex, the lower spine, knee joints, ankle joints and feet were the areas most affected by injuries among professional dancers. The level of maxGRF
, t
and LR
during typical jumps in classical, modern, and folk dance was statistically significantly different (P<0.01*). The highest mean maxGRFz values were recorded for jumps performed by classical dancers. Furthermore, the sum of injury-affected areas differed significantly across various dance styles and was connected with the impact forces transferred by the dancer's musculoskeletal system.
The level of GRF is one of the decisive factors affecting the topography of professional dance injuries.
The fourteen chapters of this e-book examine Roman dance by looking at its role in Roman religion, by following it into the theatre and the banquet hall, and by tracing its (metaphorical) presence in ...a variety of literary contexts, including rhetorical treatises, biography, and lyric poetry. These different approaches, which draw on literary texts, inscriptions, documentary papyri, the visual record, and modern reperformances, converge in illustrating a rich and vibrant dance culture which prided itself on indigenous dances no less than on its capacity to absorb, transform, or revive the dance traditions of their Etruscan or Greek neighbours. Dance was a cultural practice which was able to affirm Romanness, for instance in the case of the Salian priests, but also to raise the question of what was Roman in the first place, for instance when the originally Greek pantomime was embraced by Augustus and came to be known as "Italian style of dancing". Together the fourteen case studies offer fresh perspectives on an underexplored topic, shedding light on the manifold contexts, functions, practitioners, and appreciations of Roman dance.
FROM THE PRESIDENT Inaugural Address Winter-Vann, Ann
American Medical Writers Association AMWA journal,
12/2019, Letnik:
34, Številka:
4
Journal Article
BY THE WAY
Professional safety,
09/2021, Letnik:
66, Številka:
9
Journal Article
Recenzirano
Never a Cloudy Day "Do you remember the 21st night of September?" The 1978 Earth, Wind and Fire hit "September" combines soul, R&B, jazz and funk to create a dance-pop masterpiece. According to ...Richards, he discovered the album after he was knocked unconscious when searching for his lost dog, and upon waking up he found he had been rescued by Jonas, a man who was visiting from a parallel dimension where The Beatles never broke up. If you have a cartoon, anecdote, joke or interesting safety item you'd like to submit for publication on this page, send your contribution to professionalsafety@assp.org.
Examining a century of dance criticism in the United States and its influence on aesthetics and inclusion
 
Dance criticism has long been integral to dance as ...an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously.
 
Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects—On the Boards TV, thINKingDANCE , Black Dance Stories, and amara tabor-smith’s House/Full of BlackWomen —that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.
Meke, a traditional rhythmic dance accompanied by singing, signifies an important piece of identity for Fijians. Despite its complicated history of colonialism, racism, censorship, and religious ...conflict, meke remained a vital part of artistic expression and culture. Evadne Kelly performs close readings of the dance in relation to an evolving landscape, following the postcolonial reclamation that provided dancers with political agency and a strong sense of community that connected and fractured Fijians worldwide. Through extensive archival and ethnographic fieldwork in both Fiji and Canada, Kelly offers key insights into an underrepresented dance form, region, and culture. Her perceptive analysis of meke will be of interest in dance studies, postcolonial and Indigenous studies, anthropology and performance ethnography, and Pacific Island studies.
The article addresses the issue of the evolution of the dance style and technique, based on different concepts and approaches. In this sense, the following theories are analyzed: the biological, ...psychological, social and communicational, as well as the cultural, philosophical and artistic factors. It should be mentioned that all the types of choreographic art through its interconnection, the interpretative art of great performers, different currents of choreographic art have contributed to the formation and development of the stylistics and technique of the dance, which, even at the current stage, evolves under the influence, first of all, of postmodernism.
A groundbreaking book that seeks to understand dance as labor,Sweating Sarisexamines dancers not just as aesthetic bodies but as transnational migrant workers and wage earners who negotiate ...citizenship and gender issues.Srinivasan merges ethnography, history, critical race theory, performance and post-colonial studies among other disciplines to investigate the embodied experience of Indian dance. The dancers' sweat stained and soaked saris, the aching limbs are emblematic of global circulations of labor, bodies, capital, and industrial goods. Thus the sweating sari of the dancer stands in for her unrecognized labor.Srinivasan shifts away from the usual emphasis on Indian women dancers as culture bearers of the Indian nation. She asks us to reframe the movements of late nineteenth century transnational Nautch Indian dancers to the foremother of modern dance Ruth St. Denis in the early twentieth century to contemporary teenage dancers in Southern California, proposing a transformative theory of dance, gendered-labor, and citizenship that is far-reaching.
