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Thank you for reading!

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SOURCE 22.                         PERFECTIONISM AND ITS LINK TO SUBSTANCE USE AND MISUSE

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SOURCE 22.                         PERFECTIONISM AND ITS LINK TO SUBSTANCE USE AND MISUSE

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Please engage with the article below that, discusses how drugs or alcohol can seem like a way to escape from overwhelming self-imposed feelings of inadequacy caused by perfectionism.

Addiction Intervention. (2017). Perfectionism Linked to Drug Addiction - Addiction Intervention. [online] Available at: https://www.addiction-intervention.com/addiction/addiction-research/perfectionism-linked-to-drug-addiction/ [Accessed 12 Dec. 2017].

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The person with never a strand of hair out of place, whose car is forever immaculate and whose home looks like a model showcase may seem like the furthest thing from a candidate for addiction, but a perfectionistic drive can actually be at the root of addiction.

Addiction has more to do with how a person thinks than anything else, and the "it must be perfect or it's a total failure" mindset can actually lead a person to seek solace in substance abuse. The all-or-nothing, black-or-white thought pattern can easily lead a person into depression or anxiety when they keep bumping against the less than perfect realities of life.

The person who sets unrealistically lofty goals for themselves can easily feel like a complete failure when they fail to wonderfully over-achieve. This person may assume that others view them as worthless because when they are less than perfect, that is how they see themselves. Drugs or alcohol can seem like a way to escape from overwhelming self-imposed feelings of inadequacy. On the other hand, even when it seems they are meeting every person's goal, the perfectionist usually manages to see some fault or shortcoming somewhere. The paradox of perfectionism is the thing sought after but forever eludes the seeker.

This actually fuels addiction since the person who realizes they will not be able to perfectly adhere to any recovery program decides not to even try. Or, their exceptional self-expectations may lead them to demand that they overcome their problem on their own with no outside help. Either way, the perfectionistic attitude is what keeps the person trapped in their addiction.

The perfectionistic person rarely only sets high standards for him/herself. This person frequently has high expectations for others around them as well. Of course, this leads to confrontations and not surprisingly, people around the perfectionist quickly scatter in order to avoid constant criticism. Unfortunately, this leaves the perfectionist isolated and without anyone to challenge their unrealistic and unhealthy way of thinking.

The perfectionist often is able to achieve certain levels of success, but their successes feel hollow even to them. The all-or-nothing personality needs help learning to appreciate minute accomplishments, because life is more about day by day, step by step moments on a journey than anything else. The perfectionist misses these small achievements because they are overlooked in favor of a big picture. But, if the person can learn how to take note of the small victories, they will actually begin to develop a healthier self-esteem. After all, people have value apart from what they accomplish.

Celebrating things like courage and persistence can completely re-vamp the way the perfectionist is used to thinking. In the same way, when they realize that mistakes and failures can be opportunities for learning and growth, radical changes in thinking take place. Life is full of imperfections - accepting them and using them for good is much more realistic and is the only way to escape the negative thinking of perfectionism.

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Perfectionism Linked to Drug Addiction - Addiction Intervention

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The person with never a strand of hair out of place, whose car is forever immaculate and whose home looks like a model showcase may seem like the furthest thing from a candidate for addiction, but a perfectionistic drive can actually be at the root of addiction.

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SOURCE 23.                         MOTIVATIONAL CLIMATE, PERFORMANCE ORIENTED CLIMATE AND THE CAUSING OF PERFECTIONIST                    

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SOURCE 23.                         MOTIVATIONAL CLIMATE, PERFORMANCE ORIENTED CLIMATE AND THE CAUSING OF PERFECTIONIST                    

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Please engage with the journal below that shows how research has linked goal orientation, trait anxiety, and perfectionism to the quality of psychological responses in dance education contexts. In class competitiveness and the perception of unacceptability of making mistakes during teaching, learning and performing, may well be fuelling dancer's tendencies to experience concentration disruption due to constant worry. Specifically, how a consistent emphasis on a performance-oriented climate within the studio, seems to be linked to the development of potentially maladaptive dispositions such as neurotic perfectionism and a dispositional tendency to  define achievement in socially comparative terms.

Carr. S, and Wyon. M. 2014, "The Impact of Motivational Climate on Dance Students' Achievement Goals, Trait Anxiety and Perfectionism." Journal of Dance Medicine and Science, vol. 7, no. 4, p. 106-114

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SOURCE 21.                           PERFECTIONISM AND ITS TYPES

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SOURCE 21.                           PERFECTIONISM AND ITS TYPES

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Please engage with the image below with explains perfectionism and its subcategories.

Thehealthydancer.blogspot.co.uk. (2017). The Perfectionist Adolescent Dancer and a Happy New Year Giveaway!. [online] Available at: http://thehealthydancer.blogspot.co.uk/2016/01/the-perfectionist-adolescent-dancer-and.html [Accessed 12 Dec. 2017].

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SOURCE 6.                                               THE BALANCHINE BODY - WHERE IT ALL STARTED

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SOURCE 6.                                               THE BALANCHINE BODY - WHERE IT ALL STARTED

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Please engage with the journal below that discusses the archetypal 'Balanchine Body' and how this discrimination of body image that still exists today, could restrict the discipline's creativity and future if there is a right and wrong body for it.

Cynthia Roses-Thema, D.W. 2001, In regard to the Balanchine body The concept of the 'ideal' dancer's proportions originated with one man - and has remained, Sarasota, Fla.

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SOURCE 18.                                                                     THE POSSIBILITY FOR PROGRESSION THROUGH SUPPLEMENTARY FITNESS TRAINING PROGRAMMES

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SOURCE 18.                                                                     THE POSSIBILITY FOR PROGRESSION THROUGH SUPPLEMENTARY FITNESS TRAINING PROGRAMMES

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Please engage with the review below, which posits the theory that despite dancing being an artistic expression, if sports science principles were to be applied to the training, there is a real opportunity to improve a dancer's career and its longevity.

Twitchett, E., Koutedakis, Y. and Wyon, M. (2017). Physiological Fitness and Professional Classical Ballet Performance: A Brief Review.

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SOURCE 15.                                                                                    A COMPLETE GUIDE TO RISK ASSESSMENT AND SAFE PRACTICE 

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SOURCE 15.                                                                                    A COMPLETE GUIDE TO RISK ASSESSMENT AND SAFE PRACTICE 

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Communitydance.org.uk. (2017). Cite a Website - Cite This For Me. [online] Available at: https://www.communitydance.org.uk/public/31286/Introduction%20to%20risk%20assessment.pdf [Accessed 12 Dec. 2017].

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SOURCE 4.                                 REMOVING THE MIRRORS AND LEARNING TO TRUST THE BODY

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SOURCE 4.                                 REMOVING THE MIRRORS AND LEARNING TO TRUST THE BODY

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Please engage with this resource paper that discusses whether using mirrors is a help or hindrance in dancers progressing from technique to artistry.

Iadms.org. (2017). Resource Paper: Mirrors in the Dance Class: Help or Hindrance? - International Association for Dance Medicine & Science. [online] Available at: https://www.iadms.org/page/400 [Accessed 13 Dec. 2017].

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Introduction
At first it was known as "the flattering glass," "the see-face," or "that which is in eternity," ¹ and for thousands of years people have gazed into mirrors' reflecting surfaces to ask questions about themselves and their world. The history of the mirror is a long one. The earliest known manufactured mirrors date from 8000 years ago in Anatolia, now south central Turkey. Yet even before that time the very first mirrors were pools of water in natural bodies of water or vessel containers. Men as well as women stared at themselves either to admire their appearance or to see how to correct it. Because a mirror seemed to show how one looked from the outside, it has often been connected with the human experience of self-consciousness and also the desire for self-improvement: Who is the person I see looking back at me? What do I look like? How can I make that person look younger or smarter, more graceful, more confident, more beautiful?

Dancers too use mirrors for the same reasons, although historically the genesis of mirror use in dance training is not clearly documented. Their use likely began with ballet training sometime in the eighteenth century ² where the mirror was used to compare one's reflected image with the perceived ideal image of the performance of a given step or phrase, and today they are present in most westernized dance studios to support the learning environment.

Mirror Use and Performance: Positive and Negative Aspects
Picture a group of dancers during rehearsal for a performance. At one end of the studio is positioned a large mirror that takes up nearly the entire wall. This mirror, as Helena Wulff writes in Ballet Across Borders, ³ will normally be located so as to approximate where the audience will be seated during a performance. In the mirror, in other words, dancers see themselves as the audience will see them; thus, for many the mirror serves to show how dancers are viewed by others. Many dancers tend to feel that the mirror is crucial for their success and serves as an important tool for technique training.

There are many positive reasons to use a mirror in dance training. For dancers the mirror provides immediate visual feedback; it allows them to evaluate the height and shape of their movement, to correct their placement, and to assess the line of their bodies. For teachers, the benefits of using mirrors as instructional tools also includes the opportunity to easily situate themselves to view many students at one time, although very little research has been conducted in this area.

Conversely, dance instructors frequently have reservations about the use of the mirror in the dance studio. ⁴⁻¹¹ Wendy Oliver ¹² describes the mirror as a tool which provides constant feedback about a dancer's body and performance. However, Oliver also addresses the negative aspects of having a mirror in the classroom, where a dancer pays too much attention to the image she sees of herself in the mirror, this self-consciousness may overpower her own internalized sense of her body as it moves through space. Only a small amount of research looks at the overall impact that classroom mirrors have on dancers' performance and body image. This type of research is interdisciplinary and generally involves teams of professionals with a broad range of expertise in statistics, dance pedagogy, health education and dance science (not to mention psychology), making the collection of useful information complex and costly. Here, dance science can draw from other disciplines, such as motor learning and psychology to better understand the importance of how we set up environments for learning.

Learning How to Trust the Body
How a movement looks may be less important than how it feels. The felt understanding of exactly where one's body is and what it is doing is called "proprioception," and it is a critical ingredient to being a technically skilled, aware, and expressive dancer. Glenna Batson ¹³ and Barbara Montero stress the importance of proprioception (sometimes called "the sixth sense") in dance instruction. As Montero writes,

[L]ooking at oneself in the mirror is often not the best guide to self-correction (to say nothing of the futility of looking at one's body directly). Not only can turning one's head to look in the mirror destroy the desired effect of the movement, but a trained dancer often trusts proprioception more than vision when it comes to evaluating aesthetic qualities of his or her movements and positions. ¹⁴

If dancers practice dancing with a mirror for too much of their training, without developing other sensory systems, they may see detriments to their skill development when they are then required to work without the mirror. The mirror can become a "crutch" which inhibits dancers from fully developing their kinesthetic sensibilities and thus inhibits their full potential as performers. ¹⁵ In this case, the removal of the mirror during training, argues Wulff, ³ allows dancers to focus more on their internal kinesthetic feedback, which in turn may elevate their performance level. They progress from technique to artistry because they have a feeling for the movement, rather than being dependent on "seeing," and perhaps being distracted by their image in the mirror. As their movements become less self-conscious, they become more fully expressive.

Professionals disagree as to how the mirror is effective at different levels of a dancers' technical training. Much of the information on the use of the mirror in teaching dance comes from either motor learning specialists or dance instructors who have extensive experience teaching in the dance studio. Kimmerle and Côté-Laurence in Teaching Dance Skills ¹⁶ report that the mirror can offer valuable assistance early in a dancer's training, but they caution that it should not be used to the point where it interferes with dancers' developing an awareness of their kinesthetic sensibilities. Gretchen Ward Warren in Classical Ballet Technique ¹⁷ recommends no mirror use in a beginning level class. She reports that without the use of a mirror, students commit the new movements and positions of the body to "muscle memory" much faster and learn them by "feel" more quickly and not by "visual imitation." However, Ward acknowledges that the mirror is an important tool in an upper-level dance class because the dancers use it constantly to assess their positions and line in the mirror. Rory Foster in Ballet Pedagogy ¹¹ describes the importance of having dance classes taught with either a side or rear placement of the mirror towards the dancer's body. This way the mirror would only be able to be periodically used to apply a teacher's correction to a movement. He comments that only when dancers reach an advanced level is it appropriate to allow them to face the mirror in class. At this point, he says, the dancers have developed the experience to use a mirror as a tool, and they are not likely to become mesmerized and thus overpowered by their physical image to the point of distraction. In general, mirrors tend to be used more often in codified and traditional forms of dance that place high value on line and positions, as in ballet. The mirror seems to be used less in contemporary dance forms or in improvisations that tend to focus on sensations of one's body and how movement is affected by them.

There have been a handful of scientific research studies with university dance students which explore how mirrors affect dancers' performance in the dance studio. One study ¹⁸ reported that university dance students who learned a dance phrase with the use of the mirror had better movement retention over a two-week period than students who learned the phrase in a non-mirrored dance classroom. It was also found that the use of the mirror for dancers with less than ten years of dance training may be distracting and delay the learning process. ¹⁹ Other researchers ⁹⁻¹⁰ found that beginning ballet students who learned and practiced an adagio phrase without the mirror developed stronger technical skills in their performance of the phrase than a comparable group of students who learned and practiced the same adagio phrase using a mirror. Perhaps this was because there was more opportunity for students to be distracted by watching themselves in the mirror while performing the slower adagio phrase. The researchers also saw no difference in technical growth between the mirror and non-mirror class in their classroom performance of the quicker allegro phrase. These researchers ultimately concluded that the use of a mirror tended to retard technical improvement in the classroom performance of an adagio phrase.

Mirror Use and Body Image
Every time we look in a mirror we are confronted with an image of our body, and what we see may or may not be the image we have --or would like to have -- of ourselves. Hence the concept "body image," (a term from psychology) which refers to the perception, thoughts, and feelings we have about our bodies. ²⁰ A dancer's personal vision of her body is an important part of her psychological health and well-being, and it can help or hinder her dance performance in the studio. Heightened self-consciousness can sometimes cause a dancer to become overly critical of the way she looks. As a result, dance students frequently develop negative feelings about their bodies. This is a reality that many dance teachers understand from experience and witness on a daily basis. For instance, it is not uncommon for a dance teacher to observe a student standing in front of the mirror in a leotard with shrugged shoulders, looking down at the ground, seemingly feeling bad about herself.

Mirrors entice individuals to see themselves externally as objects and to imagine how others view them in comparison with others. Jill Green ⁷ interviewed university dance students and found that the use of mirrors heightened their self-consciousness; the more they looked at their images in a mirror, the more they increased both their tendency and their capacity to see themselves as objects. In a dance class, students regularly stare at their external image in the mirror; they attempt to achieve a precise "look" while being corrected. Depending upon factors such as the technical difficulty of the dance phrase, the experience level of the dancer, and the degree of stress experienced when learning a phrase, this heightened self-consciousness may have positive or negative psychological effects. The dancer's perceived "ominous" presence in the mirror results in physical self-evaluation, behavior regulation, body objectification, and competition. Repeated often enough, the experience can be dehumanizing. In the scientific literature this concept involving the mirror, objectifying oneself, comparing oneself to others and potential negative self-evaluation is called the Theory of Objective Self-Awareness. ²¹

Research 4,8,10 shows that dancers taught without mirrors, especially higher skilled dancers, felt better about their bodies. Dancers taught with mirrors, on the other hand, felt worse about the appearance of their bodies. Dancing without the mirror, for the higher-skilled students, may encourage them to be less self-critical, less distracted and thus feel more satisfied with their bodies. When using the mirror dancers can be self-conscious and compare themselves to others and ultimately feel bad about their bodies. In addition research ⁴ suggests that higher skilled dancers, who have a more developed ability to access their technical progress, can be more critical of their bodies than less experienced dancers who may not yet have developed skills to accurately evaluate their progress in technique training.

Overall, research to date indicates that the effect of mirrors on dancers' body image may be dependent on varying factors such as performance skill level, comparing oneself to others, and level of material taught. The relationship between these individual factors is complex and unique for each student.

The Dancer in the Mirror
Most students, especially those at the beginning levels, welcome the opportunity to view themselves in the mirror during dance class. In fact many feel the mirror is an essential tool in a serious dance class; this is especially true in ballet. However, research ⁴ shows that in dance classes where a mirror is not present only about half of the students miss it, and some actually feel relieved not to have to address the potent and complex relationship between their self-perception and the reflection of themself they see in the mirror.

This conflict between what a dancer sees in the mirror and their bodily felt sensations while moving is acknowledged in the dance literature. Both Kimmerle and Côté-Laurence ¹⁶ and Gay Cheney ⁵ make reference to the scenario in the dance classroom where students become overly concerned with looking at the image of themselves dancing in the mirror rather than focusing on the internal kinetic sensations necessary to perform a movement correctly. Shantel Ehrenberg conducted a study which explored students' conflicting and contradictory relationships with the mirror. ²² Ehrenberg observed two variables in communication with each other when dancers discussed using a mirror: the kinesthetic experience of the movement and the visual image in the mirror. She labels the interaction of these variables the "dancer-mirror feedback loop." This "dancer-mirror feedback loop" can become dysfunctional when a dancer corrects herself in the mirror, is able to feel the correction kinesthetically, but then quickly loses the kinesthetic sensation and is unable to retain the corrected movement.

Frequently, especially with beginning dancers, the visual image is more powerful than felt, proprioceptive experience. As a result, a dancer cannot refine and learn to trust her proprioceptive self and her growth in technical performance can be impeded. Another way to look at this relationship is to compare the two-dimensional image in the mirror with the three-dimensional body in motion. When using a mirror, dancers struggle to learn to negotiate between these dual perspectives and this conflict can easily detract from their ability to focus in class. In Ehrenberg's study, for instance, some of the students commented that the mirror caused them to lose "flow" or associated the mirror with a "demand for perfection." Others were intimidated by the mirror, and it provoked negative thoughts about their bodies or their performance. Dance counselor Julia Buckroyd ²³ discusses a teenage dance student's emotional level of development. According to Buckroyd, a student who looks in a mirror cannot see an accurate image of herself, or even detach herself from the image to the point that she can use the information constructively.

Promoting Optimal Use of the Mirror
Dance educators should recognize the instructional benefits mirrors provide in the classroom, just as they must understand their less desirable consequences; teachers must use them knowledgably and selectively. Students develop individual relationships with the mirror, and these relationships directly influence how they feel about themselves in the classroom and how they perform. It seems clear that mirrors are useful for some aspects of dance training but detrimental to others. The mirror can be effective in a dance classroom where it allows students to evaluate their technical growth and to fully see all aspects of classroom material. It also can be an advantage for teachers by giving them greater visibility of their students. In other situations, however, the mirror can bring about undesirable levels of self-consciousness or self-criticism.

The mirror remains a potent tool in dance classrooms. Awareness of how mirrors can both help and hinder dance instruction should improve both the teaching environment and students' overall well-being. The following guidelines and references provide some additional material for teachers to consider when instructing students in dance technique classrooms.
Considerations for Mirror Use in Teaching Dance

Present the mirror as one of many teaching tools that can be used, but note it is not always necessary for training. Most students want to use the mirror in class, and they view it as a critical tool for the study of dance.

Emphasize the long-term value of kinesthetic feedback (proprioception). Overuse of the mirror can delay students' development in learning to utilize kinesthetic feedback. Integrate other methods of movement information into classes; include verbal imagery and other somatic approaches so the mirror is not framed as the primary mode of information-gathering for a student.

Be specific in instructing students how to use the mirror constructively. Give them limited time frames to avoid gazing at their bodies, a habit that can lead to negative self-evaluation. The mirror has a powerful effect on students' experiences in the dance studio. The image students see of themselves in the mirror and the feedback it provides can frequently overpower the kinesthetic feedback students feel in their bodies and must learn to interpret.

Use the mirror sparingly, either by closing curtains over the mirror or having students face away from the mirror. As a teacher, be sensitive to negative body image issues provoked by mirrors in some students.

As dance teachers, we need to understand the backgrounds, goals, and needs of our student population; be clear about the goals of our classes; deepen our understanding of the benefits and disadvantages of the mirror as a learning tool; and finally, use the mirror selectively and strategically to support our teaching.

References

1. Pendergrast M. Mirror/Mirror: A History of the Human Love Affair with Reflection. New York: Basic Books, 2003.

2. Foster SL. Dancing Bodies. In: Desmond JC (ed.) Meaning in Motion. Durham, NC: Duke University Press, 1997, pp. 235-257.

3. Wulff H. Ballet Across Borders. New York: Oxford International Publishers, 2001.

4. Radell SA, Adame DD, Cole SP, Blumenkehl NJ. The impact of mirrors on body image and performance in high and low performing female ballet students. J Dance Med Sci. 2011;15(3):108-115.

5. Cheney G. Basic Concepts in Modern Dance. Princeton, NJ: Princeton Book Company, 1989.

6. Nagrin D. Dance and the Specific Image. Pittsburgh, PA: University of Pittsburgh Press, 1994.

7. Green J. Somatic authority and the myth of the ideal body in dance education. Dance Res J. 1999;31(2):80-100.

8. Radell SA, Adame DD, Cole SP. Effect of teaching with mirrors on body image and locus of control in women college ballet dancers. Percept Mot Skills. 2002;95:1239-47.

9. Radell SA, Adame DD, Cole SP. The effect of teaching with mirrors on ballet dance performance. Percept Mot Skills. 2003;97:960-4.

10. Radell SA, Adame DD, Cole SP. The impact of mirrors on body image and classroom performance in female college ballet dancers. J Dance Med Sci. 2004;8(2):47-52.

11. Foster R. Ballet Pedagogy. Gainesville, FL: University Press of Florida, 2010.

12. Oliver W. Body Image in the Dance Class. JOPERD. 2008;79, (5):18-41.

13. Batson G. Proprioception. Resource Paper. International Association for Dance Medicine and Science, 2008.

14. Montero B. Proprioception as an aesthetic sense. J Aesthet Art Critic. 2006;64(2): 231-242.

15. Noll-Hammond, S. Ballet Basics. New York: McGraw-Hill, 2004.

16. Kimmerle M, Côté-Laurence P. Teaching Dance Skills. Andover, New Jersey: J. Michael Ryan Publishing, 2003.

17. Warren G. Classical Ballet Technique. Tampa: University Press of Florida, 1989.

18. Dearborn K, Ross R. Dance learning and the mirror: Comparison study of dance phrase learning with and without the mirror. J Dance Educ. 2006;6(4):109-115.

19. Dearborn K, Harring K, Young C, O'Rourke E. Mirror and phrase difficulty influence dancer attention and body satisfaction. J Dance Educ. 2006;6(4):116-23.

20. Grogan S. Body Image: Understanding Body Dissatisfaction in Men, Women and Children. New York: Routledge, 2007.

21. Duval S, Wicklund RA. A Theory of Objective Self-Awareness. New York: Academic Press, 1972.

22. Ehrenberg S. Reflections on reflections: mirror use in a university dance training environment. Theatre, Dance and Performance Training. 2010;1(2):172-184.

23. Buckroyd J. The Student Dancer. London: Dance Books Ltd., 2000.

Written by Sally A. Radell, MFA, MA, under the auspices of the Education Committee of IADMS.
This paper may be reproduced in its entirety for educational purposes, provided acknowledgement is given to the "International Association for Dance Medicine and Science."
©2013 International Association for Dance Medicine and Science (IADMS), IADMS and Sally A. Radell, MFA, MA.

About the author:
Sally Radell is at Emory University in Atlanta, Georgia, USA.

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Resource Paper: Mirrors in the Dance Class: Help or Hindrance? - International Association for Dance Medicine & Science

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Introduction At first it was known as "the flattering glass," "the see-face," or "that which is in eternity," 1 and for thousands of years people have gazed into mirrors' reflecting surfaces to ask questions about themselves and their world. The history of the mirror is a long one.

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SOURCE 5.                                                             'COMBINATION CURRICULUM' - COMBINING BOTH THE PROCESS AND THE PRODUCT

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SOURCE 5.                                                             'COMBINATION CURRICULUM' - COMBINING BOTH THE PROCESS AND THE PRODUCT

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Please engage with the book below that delivers an insight to two types of curriculum:
1) The 'process model'
and the:
2) The 'product model'

When the best of both models is combined this creates the 'combined model of curriculum', which delivers a complementary synergy of the artistic, aesthetic, and cultural aspects within dance.

Mary Jay, D, and Kassing, G. (2013) Dance Teaching Methods and Curriculum Design, Human Kinetics, Pudsey.

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Dance Teaching Methods and Curriculum Design

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Explains, with sample unit plans, how to teach the basics of 10 popular dance forms for K-12 settings - Explains how to apply educational theories to dance - Presents dance education in context of the national standards for dance - Helps readers build portfolios that demonstrate their ability to create lesson plans, a unit plan, and a dance curriculum There''s a lot more to dance education than steps and dances.

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SOURCE 3.                                            THE SOMATIC BASED APPROACH

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SOURCE 3.                                            THE SOMATIC BASED APPROACH

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Please engage with the journal below that outlines a somatic based class, allowing students to personally further an understanding of their body and justifying why incorporating this information is apt and beneficial for dancers.

Kirk, J. 2017, "Moving from the Membranes: Exploring the Integumentary System Through Experiential Anatomy and Dance", Journal of Dance Education, vol. 17, no. 1, pp. 8-15.

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Moving from the Membranes Exploring the Integumentary System Through Experiential Anatomy and Dance

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SOURCE 2.                               SUPPLEMENTAL TRAINING METHODS TO CONDITION AND RECRUIT THE PRIMARY AND SUPPORTING MUSCLES INVOLVED IN TURN OUT

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SOURCE 2.                               SUPPLEMENTAL TRAINING METHODS TO CONDITION AND RECRUIT THE PRIMARY AND SUPPORTING MUSCLES INVOLVED IN TURN OUT

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Please engage with the resource paper below, as a follow on from the part 1 which discussed the 5 main factors affecting turnout. Part two provides an overview of useful conditioning exercises and imagery work for improving turnout.

Iadms.org. (2017). Resource Paper: Turnout for Dancers - Supplemental Training - International Association for Dance Medicine & Science. [online] Available at: http://www.iadms.org/?329 [Accessed 13 Dec. 2017].

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Resource Paper: Turnout for Dancers - Supplemental Training - International Association for Dance Medicine & Science

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This resource paper provides scientific information regarding turn-out in dance.

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SOURCE 1.                                          THE BASIC ANATOMY OF 'TURN OUT'

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SOURCE 1.                                          THE BASIC ANATOMY OF 'TURN OUT'

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Please engage with the resource paper below, that summarises how contributions from the hips, knees, tibia, and feet create a dancer's turnout. It puts to bed the idea of 'flat turnout' being a necessary quality and focuses on how to safely optimise a turnout catered to the individual, with an understanding of their underlying anatomical and biomechanics mechanisms.

Iadms.org. (2017). Resource Paper: Turnout for Dancers - Hip Anatomy and Factors Affecting Turnout - International Association for Dance Medicine & Science. [online] Available at: http://www.iadms.org/?323 [Accessed 12 Dec. 2017].

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Resource Paper: Turnout for Dancers - Hip Anatomy and Factors Affecting Turnout - International Association for Dance Medicine & Science

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This resource paper provides scientific information regarding turn-out in dance.

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SOURCE 14.                     TEMPERATURE AND ENVIRONMENTAL CONDITIONS

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SOURCE 14.                     TEMPERATURE AND ENVIRONMENTAL CONDITIONS

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A well ventilated studio is always a must, as without a source of fresh air, the studio becomes stuffy and the risk of accidents becomes greater. It is also necessary for the temperature of a studio never to drop below 18.3 degrees Celsius as recommended by Equity, this assists the dancer's body in warming up properly and therefore reduces the chance of injury.

In the image below, you can see the built-in unit that Shockout Arts has in every studio, it can be utilised as heating or air-conditioning and temperatures and settings can be perfectly altered to the classes needs, allowing easy maintenance of injury preventing conditions.

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SOURCE 13.                                                                              FIRE EXITS

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SOURCE 13.                                                                              FIRE EXITS

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In the image below, you can see one of many fire exits within Shockout Arts. When entering a studio, you should always make yourself of the fire exits (which should always be unlocked and lit) and the position of fire alarms. No exit should ever be obstructed in case an immediate exit is required in the event of a fire.

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SOURCE 12.                                     SPACE

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SOURCE 12.                                     SPACE

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This image represents correctly how a studio should appear when ready for use.
The flooring is sprung as "it has been found that dancing on suspended floors helps to reduce injury in dancers because it decreases the shock and pressure in the legs." (Mueller, 2013, p.34) There are no objects or equipment left openly on the floor and mirrors are securely fixed to the wall, to prevent anything that could lead to trips, falls or anything else jeopardising physical safety.

Mueller. A, 2013, "The Influence of Warm-Up on Ballet Dancers' Risk of Injury", Arts Biomechanics, vol. 2, no. 1, p.33-54

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SOURCE 11.                                                                      SUITABLE DRESS

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SOURCE 11.                                                                      SUITABLE DRESS

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Improper attire can be a cause of injury, for example, correct footwear is crucial, as dancing in bare feet can cause damage to the knees and shins if exposed to high impact movements without provided support.

In the image below, you can see the proper attire for a ballet class. This includes; a leotard, tights, soft ballet slippers and hair slicked back in a secure bun.

Ballerina, G. (2017). Girls Adult Ballet Leotard Black Women Dance Clothes Long Sleeve Cotton Ballet Dancewear Bodysuit For Ballerina-in Underwear from Mother & Kids on Aliexpress.com | Alibaba Group. [online] aliexpress.com. Available at: https://www.aliexpress.com/item/Girls-Adult-Ballet-Leotard-Women-Black-Dance-Clothes-Long-Sleeve-Cotton-Ballet-Dance-Wear-For-Ballerina/32803627188.html [Accessed 12 Dec. 2017].

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SOURCE 17.                                            DO INCREASES IN SELECTED FITNESS PARAMETERS AFFECT A DANCER'S AESTHETIC?

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SOURCE 17.                                            DO INCREASES IN SELECTED FITNESS PARAMETERS AFFECT A DANCER'S AESTHETIC?

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Please engage with the study below that examines how the effects of a specifically tailored fitness training programme for dancers can not only enhance the aesthetic quality of performance, but contribute to decreasing the frequency of injury.

Twitchett EA, e. (2017). Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance? - PubMed - NCBI. [online] Ncbi.nlm.nih.gov. Available at: https://www.ncbi.nlm.nih.gov/pubmed/21442135 [Accessed 12 Dec. 2017].

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Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance? - PubMed - NCBI

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Med Probl Perform Art. 2011 Mar;26(1):35-8. Randomized Controlled Trial

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Please scroll down to view all of this Padlet wall...

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Student ID: 1705121

Date of submission: 15/12/2017

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SOURCE 24.                                           THE HEALTHIER DANCER PROGRAMME

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SOURCE 24.                                           THE HEALTHIER DANCER PROGRAMME

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Please engage with the webpage below, which introduces an education programme that aim to improve the physical and psychological health and wellbeing of dancers through their work in advocacy and education.

One Dance UK. (2017). Healthier Dancer Programme - One Dance UK. [online] Available at: http://www.onedanceuk.org/programme/healthier-dancer-programme/ [Accessed 12 Dec. 2017].

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SOURCE 20A.                                    HYPERMOBILITY - AN ASSET OR A LIABILITY? A SIGN OF TALENT OR VULNERABILITY?

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SOURCE 20A.                                    HYPERMOBILITY - AN ASSET OR A LIABILITY? A SIGN OF TALENT OR VULNERABILITY?

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Please engage with the journal below that refers to the attention hyper mobility syndrome has long attracted, and explores both the positive and negative accompaniments of it.

Howard A. Bird, Elaine C. Foley. 2013, Hypermobility in dancers, Rheumatology, vol. 52, no. 4, p. 585–586,

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SOURCE 16.                                                       CAN / SHOULD DANCERS BE CONSIDERED AS ATHLETES?

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SOURCE 16.                                                       CAN / SHOULD DANCERS BE CONSIDERED AS ATHLETES?

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Please engage with the article below that studies the similarities between dancers and athletes and discusses whether the term 'athlete' does justice for dancers and the art form, or whether it reduces their ability to physical skill alone.

Danceconsortium.com. (2017). Dancers as Athletes | Dance Consortium. [online] Available at: http://www.danceconsortium.com/features/article/dancers-as-athletes/ [Accessed 12 Dec. 2017].

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As knowledge about the body increases, dance training improves and the competition for excellence paired with innovation is greater, dancers bodies are pushed to the limits. The physical ability and disciplines expected of a dancer can be easily related to those of an athlete and increasingly, dance critics are describing dancers as athletic.

So, can we consider dancers as athletes? Why might some people in the dance profession and in sport be unwillingly to accept this concept?

Firstly, let us consider the definition of athlete; a person trained or gifted in exercises or contests involving physical agility, stamina, or strength; a participant in a sport, exercise, or game requiring physical skill. A dancer must certainly achieve physical agility, stamina and strength in their profession and physical skill must be mastered. Daily training involves repetition of exercises to achieve the physical attributes necessary to execute movements required of a dancer, however the focus is not on sport or games. Whilst many dancers will compete in contests and will audition against other dancers for a place in a company the real emphasis in dance is on the performance itself. There is an element of competition across the dance profession but the reward is a particular role in a company or a promotion from chorus to soloist rather than a gold medal.

Dance critics have described dancers of Rambert Dance Company as 'elegant and athletic', Alvin Ailey's dancers as having 'athletic beauty' and the moves of Company Kafig as 'athletic feats'. Each company mentioned is known for their very different styles however the common thread here is athleticism which in these instances is seen to refer to physical skill and fitness. The term athletic when associated with a company will always form an image alongside other adjectives used, as well as the company's past history. For example Rambert's Dancers as elegant and athletic reflects their classical ballet past but still indicates their extreme physical ability.

One might compare the life styles of athletes and dancers and the similarities may be surprising to some. Due to the physical demands placed on the body health, diet and self-discipline are all crucial to both dance and athletics.

The careers of both dancers and athletes are threatened by injury and therefore the conditioning and care for the body are similar. Exercise models such as Pilates are designed to complement the needs of athletes and dancers alike without making a distinction. A career in either profession is likely to begin at a young age and end by the time they are 40 due to the extreme physical nature.

The thrust of dance as fitness into mainstream media has made dance popular as a means of keeping in shape. When an audience member who has experienced dance goes to see a professional company they may appreciate better the skill and physical fitness required to achieve such feats. When dance critics describe companies as athletic readers may relate to the concept through experience of athleticism at the gym or on the football field. Dance companies who promote themselves as athletic such as Australian Dance Theatre may find that this connects then to their target market and they draw in new audiences.

With hip hop dance hitting the major theatres it becomes apparent that the 'athletic feats' referred to are what make this dance so popular. It could be argues that the moves that receive cheers from the audience are all about physical virtuoso and little to do with artistry. However, the hip hop culture demands a certain confidence and flair alongside the physical skill and it is these qualities that make the movements impressive.

Often dancers described as athletic such as Australian Dance Theatre have trained in many different genres giving them powerful muscular physiques and an element of attack in their movement. In the case of ADT the Artistic Director encourages his dancers to train in capoeira and martial arts alongside dance in order to increase their physical strength and breadth of movement to accomplish the daring physical feats prevalent in the choreography.

Whilst it is clear that the physical attributes of a dancer are similar to those of an athlete, dance is considered an art form and there is much more to the art than physical skill and virtuosity. Musicality, expression and creativity are often included in the criteria of what makes a good dancer. In auditions and competitions the technical skill of a dancer can be near to perfect but if they do not have the ability to evoke the viewers and dance with the music then they will not necessarily fulfil the criteria. Dancers may be feel that if they are described as athletic their ability is being reduced to their physical skill alone whereas it is the joy of dance that will drive a dancer to continue their training at such a pace for so many years.

In many respects dancers are athletes but they are also artists and it is this combination that makes for a stunning emotional and physical performance.

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Touring the best international dance around the UK

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SOURCE 19.                                       'LEGS ARE REQUIRED TO BE HIGH, SPINES MUST BEND IN EVERY DIRECTION.' (McCormack, 2010, p.5) 

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SOURCE 19.                                       'LEGS ARE REQUIRED TO BE HIGH, SPINES MUST BEND IN EVERY DIRECTION.' (McCormack, 2010, p.5) 

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Please engage with the image below that accurately represents the type of aesthetics that influence unrealistic expectations within dancers whose joints are not capable of performing the same range of motion that a dancer with hyper mobility syndrome can.

Love, W. (2017). Ulyana Trifomova - post by: rhythmicisourgrace - via Tumblr. [online] We Heart It. Available at: https://weheartit.com/entry/67804413 [Accessed 12 Dec. 2017].

McCormack, M. 2010, “Teaching the Hypermobile Dancer”, The IADMS Bulletin for Teachers, vol. 2, no. 1, p.5

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SOURCE 8.                                                  THE ESSENTIAL COMPONENTS FOR A HEALTHY DANCERS DIET

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SOURCE 8.                                                  THE ESSENTIAL COMPONENTS FOR A HEALTHY DANCERS DIET

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Please engage with the resource paper below, produced by the influential International Association for Dance Medicine & Science, which is a practical guide for dancers and dance educators focusing on the whole nutritional milieu.

Iadms.org. (2017). Resource Paper: Nutrition (2016) - International Association for Dance Medicine & Science. [online] Available at: http://www.iadms.org/?RPnutrition [Accessed 12 Dec. 2017].

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SOURCE 10.                                                 THE IMPORTANCE OF FLUIDS AND STAYING HYDRATED

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SOURCE 10.                                                 THE IMPORTANCE OF FLUIDS AND STAYING HYDRATED

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Please engage with the video below which highlights the importance hydration for dancers and  alternative ways to get your daily intake of fluids instead of just drinking water.

Milk Means More, 2016. Sports Nutrition with Leslie Bonci: Think Your Drink: What's in Your Glass. [online video] Available at: https://www.youtube.com/watch?v=zU0I7F_H9do
[Accessed 12 December 2017]

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0:00 / 3:10•Watch full video

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Sports Nutrition with Leslie Bonci: Think Your Drink: What's in Your Glass

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SOURCE 9.                                                     THE 3 CONDITIONS OF THE FEMALE ATHLETE TRIAD

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SOURCE 9.                                                     THE 3 CONDITIONS OF THE FEMALE ATHLETE TRIAD

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1) Osteoporosis - a weakening of the bones which can lead to stress fractures and other injuries.
2) Disordered eating – which can range from not consuming enough calories to serious eating disorders.
3) Amenorrhea – a decrease in the hormones, which regulate the menstrual cycle and can result in irregularity, or complete stopping of periods.

Please engage with the image below that demonstrates how the three components of the Triad recover at different rates with the appropriate treatment.

De Souza MJ, Nattiv A, Joy E. 2014. Female Athlete Triad Coalition Consensus Statement on Treatment and Return to Play of the Female Athlete Triad. Female Athlete Triad Consensus Statement, vol. 13, no. 4, p. 223.

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SOURCE 7.                                                 DANCE NUTRITION TIPS 

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SOURCE 7.                                                 DANCE NUTRITION TIPS 

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#1 'TIME IT'
- Eat one hour prior to rehearsals.
- Eat three meals per day plus one snack.

#2 'THINK YOUR DRINK'
- Drink 2-3 litres of water per day.

#3 'CREATE A GREAT PLATE'
- 1/3 carbohydrates
- 1/3 protein
- 1/3 fruit and vegetables
- and a little fat

#4 'SUPPORT YOUR BONES'
- with protein, low fat dairy, dried plums and soy foods

#5 'RESPECT YOUR BODY'
- Get adequate sleep.
- Maintain even calorie distribution.
- Positive body talk.

UPMC, 2014. Dance Nutrition with Leslie Bonci at Pittsburgh Ballet Theatre. [online video] Available at: https://www.youtube.com/watch?v=FUbTBYlYmic&t=5s [Accessed 12 December 2017]

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Dance Nutrition with Leslie Bonci at Pittsburgh Ballet Theatre

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Sports Medicine nutrition director Leslie Bonci speaks to Pittsburgh Ballet Theatre performing artists about proper diet and nutrition that befits their lifestyle, bringing sports-performance techniques and tips to the stage. For more, visit http://UPMC.com/SportsNutrition

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DOCUMENT 1i)                         Anatomical and physiological considerations for the dance forms and genres studied within Shockout Arts.

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DOCUMENT 1i)                         Anatomical and physiological considerations for the dance forms and genres studied within Shockout Arts.

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1 i) Anatomical and physiological considerations for the dance forms and genres studied within Shockout Arts.

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DOCUMENT 1ii)                           Nutrition and hydration in relation to training for the dance profession.

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DOCUMENT 1ii)                           Nutrition and hydration in relation to training for the dance profession.

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1 ii) Nutrition and hydration in relation to training for the dance profession.

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DOCUMENT 1iii)                                   Risk assessment and safe practice.

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DOCUMENT 1iii)                                   Risk assessment and safe practice.

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1 iii) Risk assessment and safe practice.

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DOCUMENT 1iv)                                      Injury impact and prevention.

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DOCUMENT 1iv)                                      Injury impact and prevention.

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DOCUMENT 2)                             Reflective commentary

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DOCUMENT 2)                             Reflective commentary

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DOCUMENT 1v)                                    The physical and psychological considerations of health and well being.

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DOCUMENT 1v)                                    The physical and psychological considerations of health and well being.

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1 v) The physical and psychological considerations of health and wellbeing.