Hostname: page-component-76fb5796d-qxdb6 Total loading time: 0 Render date: 2024-04-26T22:08:23.160Z Has data issue: false hasContentIssue false
  • English
  • Français

Imagery and Conditioning Practices for Dancers

Published online by Cambridge University Press:  22 July 2014

Donna H. Krasnow ,
Steven J. Chatfield ,
Sherrie Barr ,
Jody L. Jensen  and
Janet S. Dufek
Rights & Permissions [Opens in a new window]

Extract

Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.

As western theatrical dance has developed through the centuries, dance educators, artists, and researchers have sought methods to improve dance skills and to refine the quality of dance performance. In the pursuit of ever-increasing technical skills, improved alignment, freedom from injury, and enhanced artistic capabilities such as expanded dynamic and expressive range, dancers have explored numerous training systems developed for these purposes. These systems are often used in conjunction with dance technique classes, and they explore a range of approaches addressing different aspects of the neural and motor mechanisms underlying dance skills. In general, the systems can be seen as operating within two large concerns. The first includes systems using imagery and/or mental practice designed to affect alignment and dance performance on the subcortical or neurological level, with minimal or no physical action (Bartenieff 1980; Dowd 1990; Sweigard 1974; Todd 1937). The second emphasizes consistent and specialized exercise programs designed to encourage muscular strength and endurance, flexibility, and/or cardio-respiratory endurance, with the claim that these physical changes will enhance alignment, dance technique, and performance (Clippinger-Robertson 1990; Fitt 1988; Kravitz 1990; Lauffenburger 1990; Pilates 1945; Russell 1992; Solomon 1990; Stephens 1990; Trepman, Walaszek, & Micheli 1990). While there is often overlap in these two categories, the first group emphasizes neuromuscular repatterning to alter alignment or movement habits, while the second addresses muscular/structural alterations to affect change. For example, the body therapies, including the work of Bartenieff, Alexander, Feldenkrais, and Sweigard, attempt to alter the way muscles pattern themselves, stressing whole body activity, connections, and awareness, not exercises for specific muscles (Myers 1980). Conditioning programs, on the other hand, do engage particular muscles, in order to make gains in muscular strength and range of motion.

Type
Articles
Information
Dance Research Journal , Volume 29 , Issue 1 , Spring 1997 , pp. 43 - 64
Copyright
Copyright © Congress on Research in Dance 1997

References

REFERENCES

Barlow, D. H., & Hersen, M. 1984. Single case experimental designs (2nd ed.). New York: Pergamon Press.Google Scholar
Bartenieff, I., with Lewis, D. 1980. Body movement: Coping with the environment. New York: Gordon and Breach, Science Publishers.Google Scholar
Bates, B. T., Dufek, J. S., & Davis, H. P. 1992. The effect of trial size on statistical power. Medicine and Science in Sports and Exercise, 24/9: 1059–1065.CrossRefGoogle ScholarPubMed
Chatfield, S. J., & Byrnes, W. C. 1990. Correlational analysis of aesthetic competency, skill acquisition and physiologic capabilities of modern dancers. In 5th Hong Kong International Dance Conference Papers, 79–100. Hong Kong: The Secretariat of the Hong Kong Academy for the Performing Arts.Google Scholar
Clippinger-Robertson, K. 1990. Biomechanical considerations in turnout. In Preventing dance injuries: An interdisciplinary perspective, edited by Solomon, R., Minton, S., & Solomon, J., 75–102. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Denis, M. 1985. Visual imagery and the use of mental practice in the development of motor skills. Canadian Journal of Applied Sport Sciences, 10/4: 4S–15S.Google ScholarPubMed
Dowd, I. 1990. Taking root to fly (2nd ed.). North Hampton, Massachusetts: Contact Collaborations.Google Scholar
Eddy, M. 1992. Body-mind dancing. In The body mind connection in Human Movement Analysis, edited by Loman, S. & Brandt, R., 203–227. Keene, New Hampshire: Antioch New England Graduate School.Google Scholar
Fairweather, M. M. & Sidaway, B. 1993. Ideokinetic imagery as a postural development technique. Research Quarterly for Exercise and Sport, 64/4: 385–392.CrossRefGoogle ScholarPubMed
Feltz, D. L., & Landers, D. M. 1983. The effects of mental practice on motor skill learning and performance: A meta-analysis. Journal of Sport Psychology, 5: 25–27.Google Scholar
Fitt, S. S. 1988. Dance kinesiology. New York: Schirmer Books.Google Scholar
Fortin, S. 1993. When dance science and somatics enter the dance technique class. Kinesiology and Medicine for Dance, 15/2: 88–107.Google Scholar
Friedman, P., & Eisen, G. 1980. The Pilates method of physical and mental conditioning. Garden City, New York: Doublcday and Company.Google Scholar
Hall, C., Buckolz, E., & Fishburne, C. 1989. Searching for a relationship between imagery ability and memory of movements. Journal of Human Movement Studies, 17: 89–100.Google Scholar
Hall, C., Buckolz, E., & Fishburne, C. 1992. Imagery and the acquisition of motor skills. Canadian Journal of Applied Sport Sciences, 17/1: 19–27.Google Scholar
Hanrahan, C., & Salmela, J. H. 1986. Mental imagery as a facilitator in dance movement skills. In Contemporary Sport Psychology: Proceedings from the VI World Congress in Sport Psychology, edited by Unestaehl, L. E., 131–141. Orebro, Sweden: VEJE Publishing.Google Scholar
Hanrahan, C., & Salmela, J. H. 1990. Dance images—do they really work or are we just imagining things? Journal of Physical Education, Recreation and Dance, 61/2: 18–21.CrossRefGoogle Scholar
Hellebrandt, F. A. 1940. Physiology and the physical educator. The Research Quarterly of the American Association for Health, Physical Education, and Recreation, XI/3: 12–29.CrossRefGoogle Scholar
Keppel, G. 1991. Design and analysis: A researcher's handbook (3rd ed.). Englewood Cliffs, New Jersey: Prentice Hall.Google Scholar
Kerr, G., Krasnow, D., & Mainwaring, L. 1992. The nature of dance injuries. Medical Problems of Performing Artists, 7: 25–29.Google Scholar
Kravitz, S. R. 1990. Pronation as a predisposing factor in overuse injuries. In Preventing dance injuries: An interdisciplinary perspective, edited by Solomon, R., Minton, S., & Solomon, J., 15–20. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Lauffenburger, S. K. 1990. Bartenieff Fundamentals: Early detection of potential dance injuries. In Preventing dance injuries: An interdisciplinary perspective, edited by Solomon, R., Minton, S., & Solomon, J., 177–190. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Luttgens, K., Deutsch, H., & Hamilton, N. 1992. The standing posture. Kinesiology: Scientific basis of human motion, 466–481. Dubuque, Iowa: Brown & Benchmark.Google Scholar
Martens, R. 1984. Imagery in sport. In Proceedings of the VII Commonwealth and International Conference on Sport, Physical Education, Recreation and Dance, edited by Howell, M. L. & Parker, A. W., 213–230. St. Lucia, Brisbane, Australia: Department of Human Movement Studies, University of Queensland.Google Scholar
Matt, P. H. 1991/1992. Ideokinesis: Integrating the science and somatics of dance. Kinesiology and Medicine for Dance, 14/1: 68–77.Google Scholar
Minton, S. 1990. Enhancement of alignment through imagery. Journal of Physical Education, Recreation and Dance, 61/2: 28–29.Google Scholar
Minton, S. 1991/1992. Exploring the mind/body connection with imagery. Kinesiology and Medicine for Dance, 14/1: 29–32.Google Scholar
Myers, M. 1980, February-July. Body therapies and the modern dancer: The “new science” in dance training (Alexander, Bartenieff, Feldenkrais, Sweigard). Dance Magazine. [Six articles]Google Scholar
Overby, L. Y. 1990. The use of imagery by dance teachers—development and implementation of two research instruments. Journal of Physical Education, Recreation and Dance, 61/2: 24–27.CrossRefGoogle Scholar
Overby, L. Y. 1991/1992. Principles of motor learning applied to the teaching of dance technique. Kinesiology and Medicine for Dance, 14/1: 113–118.Google Scholar
Parrott, A. A. 1993. The effects of Pilates technique and aerobic conditioning on dancers' technique and aesthetic. Kinesiology and Medicine for Dance, 15/2: 45–64.Google Scholar
Payton, O. D. 1988. Research: The validation of clinical practice (2nd ed.). Philadelphia: F. A. Davis.Google Scholar
Pilates, J. H. 1945. Return to life through controlology. Boston: The Christopher Publishing House.Google Scholar
Pokora, S. L. 1988. An investigation of imaging as a facilitator for the development of the dancer. Masters Abstracts International, 27/03, 318. University Microfilms International No. 13–35842.Google Scholar
Rommett, Z. 1981–1983. Personal communication and classroom instruction from Ernest Pagano, dancer and teacher, in the Rommett floor barre work, New York City.Google Scholar
Russell, B. 1992. Proprioceptive rehabilitation in dancers' injuries. Kinesiology and Medicine for Dance, 14/2: 27–38.Google Scholar
Safrit, M. J. 1986. Introduction to measurement in physical education and exercise science. St. Louis: Mosby College Publishing.Google Scholar
Schenkman, M. 1989. Interrelationship of neurological and mechanical factors in balance control. In Balance: Proceedings of the APTA Forum, edited by Duncan, P. W., 29–41. Nashville, Tennessee: American Physical Therapy Association.Google Scholar
Smith, K. L. 1990. Dance and imagery—the link between movement and imagination. Journal of Physical Education, Recreation and Dance, 61/2: 17.Google Scholar
Solomon, R. 1988. Anatomy as a master image in training dancers. Santa Cruz, California: Ruth Solomon. Video-recording.Google Scholar
Solomon, R. 1990. In search of more efficient dance training. In Preventing dance injuries: An interdisciplinary perspective edited by Solomon, R., Minton, S., & Solomon, J., 191–222. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Stephens, R. E. 1990. The neuroanatomical and biomechanical basis of flexibility exercises in dance. In Preventing dance injuries: An interdisciplinary perspective, edited by Solomon, R., Minton, S., & Solomon, J., 271–292. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Studd, K. A. 1983. Ideokinesis, mental rehearsal and relaxation applied to dance technique. Master's thesis, University of Oregon, 1983. Microform Publications: University of Oregon No. UO-85 61–UO-85 62.Google Scholar
Sweigard, L. E. 1974. Human movement potential: Its ideokinetic facilitation. Lanham, Maryland: University Press of America.Google Scholar
Todd, M. E. 1937. The thinking body: A study of balancing forces of dynamic man. New York: Paul B. Hoeber, Medical Book Department of Harper & Brothers.Google Scholar
Trepman, E., Walaszek, A., & Micheli, L. J. 1990. Spinal problems in the dancer. In Preventing dance injuries: An interdisciplinary perspective, edited by Solomon, R., Minton, S., & Solomon, J., 103–131. Reston, Virginia: American Alliance for Health, Physical Education, Recreation, and Dance.Google Scholar
Woollacott, M. H., & Shumway-Cook, A. 1990. Changes in posture control across the life span—a systems approach. Physical Therapy: Journal of the American Physical Therapy Association, 70/12: 799–807.CrossRefGoogle ScholarPubMed