Spring Dance Concert 2018 Playbill

Providence College Dance Company Spring Dance Concert 2018 Student Choreography Showcase Friday, April 27, 7:30PM Saturday, April 28, 2:00PM DIRECTOR: Dr. Wendy Oliver LIGHTING DESIGNERS Tim Brown ’20 Thomas Edwards ’20 We’ll Be Okay Choreographer: Abby Raser Music: “All At Once” by The Airborne Toxic Event featuring The Calder Quartet Dancers: Alanna Daley, Caroline Mallon, Erin McDonald. Deirdre McMahon, Samantha Oakley, & Abigail Raser What Kind of Man Choreographer: Maria Fonts Music: “What Kind Of Man” by Florence + the Machine Dancers: Maria Fonts, Meghan Frazier, Emma Lederer, Kaitlin McGovern, Jaime Podracky, & Anna Sabo Care About Us Choreographer: Samantha Oakley Music: “They Don’t Care About Us” by Michael Jackson Dancers: Lela Biggus, Devon Guanci, Kathrine Pineo, Samantha Oakley, Gabriella Ricciardone, & Claudia Seguin Running Choreographer: Gillian Klein Music: “Running” by Beyoncé Knowles Dancers: Gillian Klein, Erin McDonald, Kaitlin McGovern, & Maya Young Our Corner of the Universe Choreographer: Meghan Frazier Music: “Our Corner of the Universe” by K.S. Rhodes Dancers: Stephanie Cameron, Emma Flanagan, Maria Fonts, Erin McDonald, Jaime Prodracky, & Claudia Seguin Time Choreographer: Devon Guanci Music: “Time” by Hans Zimmer Dancers: Alanna Daley, Gillian Klein, Deirdre McMahon, Sam Oakley, Katherine Pineo, Gabriella Ricciardone, & Maya Young Forgive Me Choreographer: Steph Cameron & Deirdre McMahon Music: “Happiness” by NEEDTOBREATHE Dancers: Stephanie Cameron, Emma Flanagan, Deirdre McMahon, Caroline Mallon, Abby Raser, & Anna Sabo Sound Argument Choreographer: Lela Biggus Music: “Sound” by Sylvan Esso Dancers: Maria Fonts, Caroline Mallon, Jaime Podracky, Gabby Ricciardone, Claudia Seguin, & Maya Young If I Ain’t Got You Choreographer: Emma Flanagan Music: “If I Ain’t Got You” by Alicia Keys performed by James Bay Dancers: Stephanie Cameron, Meghan Frazier, Devon Guanci, Gillian Klein, Emma Lederer, Samantha Oakley, & Anna Sabo Wave World Choreographer: Alanna Daley Music: “Wave” by Beck Hansen Dancers: Lela Biggus, Alanna Daley, & Abby Raser Hold On Choreographer: Caroline Mallon Music: “Hold On” by Chord Overstreet Dancers: Caroline Mallon, Emma Lederer, Kaitlin McGovern, & Katherine Pineo United Choreographer: Devon Guanci Music: “American Honey” by Lady Antebellum Dancers: Alanna Daley, Devon Guanci, Gillian Klein, Deirdre McMahon, Sam Oakley, Katherine Pineo, Gabriella Ricciardone, & Maya Young What Would I Do Without You? Choreographers & Dancers: Lela Biggus, Emma Flanagan, Meghan Frazier, Emma Lederer, Abby Raser, Claudia Seguin Music: “What Would I Do Without You” by Drew Holcomb and the Neighborshttps://digitalcommons.providence.edu/sdc_2018_pubs/1000/thumbnail.jp

A Qualitative Investigation of Young Female Dancers\u27 Use of Imagery

Although dancers have noted using imagery to mentally rehearse a routine, understand and reinforce movement, inspire strong emotions and lower arousal levels (Pavlik & Nordin-Bates, 2016), this finding is specific to adult dancers, overlooking imagery use with young dancers. The present study qualitatively examined the 4 W\u27s of imagery use (Where, When, What and Why young dancers are imaging) with young female dancers 7-14 years of age. Furthermore, age differences between the four cohorts (7-8, 9-10, 11-12, 13-14) were also examined. Twenty-three female dancers (Mage = 10.43, SD = 2.19) from various dance styles participated in one of four focus groups discussions. Thematic analysis revealed findings similar to those identified in both the adult dance and children’s sport domains. There were findings, however, emerging from the current study specific to young female dancers. These findings, in addition to practical implications for both dance instructors and physical education teachers are provided

Blackfriars Dance Concert 2017 Playbill

Blackfriars Dance Concert 2017 DIRECTED BY Wendy Oliver CHOREOGRAPHERS Ali Kenner Brodsky Cayley Christoforou Bill Evans Sara Lustig Wendy Oliver (with the dancers) Eva Marie Pacheco Kathleen Nasti COSTUME COORDINATOR Maxine Wheelock LIGHTING DESIGNER Daniel Caplin Angell DANCERS Kirsten Coffey, Stephanie Cameron, Daniela Diaz, Deirdre McMahon, Samantha Oakley, Katherine Pineo, Jamie Podracky, Gabriella Ricciardone, Maya Young. Gillian Klein, Maria Fonts, Natalie Phelps, Abbey Raser, Alanna Daley, Devon Guanci, Emma Lederer, Kaitlin McGovern, Lela Biggus, Emma Flanagan, Meg Frazier, Anna Sabo, Claudia Seguin, Ali Kenner Brodsky, Caroline Mallon Angell Blackfriars Theatre November 17, 7:30PM November 18, 2PMhttps://digitalcommons.providence.edu/bdc_2017_pubs/1000/thumbnail.jp

ARE DANCERS SYMMETRICAL DURING SINGLE LEG AND DOUBLE LEGGED LANDINGS?

The effect of limb preference on lower extremity function and performance was examined in young healthy dancers. Fifteen elite adolescent dancers performed 15 consecutive single leg hops on each leg and 3 rebound jumps onto two triaxial force platforms. To identify limb preference the Waterloo Footedness Questionnaire was administered. Functional symmetry indices (SI) were calculated for the peak landing forces, and limb dominance was identified as the limb producing the greatest take-off power during the rebound jumps. Significant asymmetry was identified in the landing performance of the dancers. However no relationship was found between limb preference and limb dominance of the dancers. In conclusion, dance teachers should aim to achieve safer landing strategies by developing ambidextrous movement in young dancers

Developing potential amongst disabled young people: exploring dance artists’ qualities as educators in the context of inclusive dance talent development

The aim of this research project was to better understand the values, attributes and practices of dance artists who develop the potential of disabled young dancers. Stopgap Dance Company commissioned researchers at the University of Bedfordshire to explore the range of qualities that highly experienced dance artists demonstrate in their practice, particularly in the context of dance talent development. In order to meet these aims, observations and interviews were conducted with six established contemporary dance artists who work in inclusive settings. Analysis revealed common characteristics in how and why artists go about their work with disabled people

Subjective wellbeing among young dancers with disabilities

Little is known about the subjective wellbeing (SWB) of young dancers with disabilities and whether it changes over time. The aim of this study was to assess the SWB of young dancers with disabilities enrolled on an extracurricular inclusive talent development programme in the UK at two time points. Twenty-two young dancers completed the Personal Wellbeing Index for people with intellectual disability at the beginning of the academic year. Thirteen dancers completed the questionnaire a second time towards the end of the academic year. Scores were compared with normative values, and a Wilcoxon Signed Rank test was conducted to assess change over time. The participants reported high levels of SWB at both time points in comparison with normative values. There was no significant change in wellbeing scores over time. The study contributes to a growing body of literature suggesting that people with disabilities have high levels of SWB. Although causality cannot be assumed, inclusive dance programmes may contribute to SWB and allow young people with disabilities to overcome the barriers associated with physical activity

Musculoskeletal injuries and generalized joint laxity in ballet dancers

Aims: To examine the incidence and type of musculoskeletal injuries in classical ballet dancers, to analyse these injuries in relation to absence from performance, and to identify dancers at risk of frequent injuries in a Swedish professional ballet company (study I). To analyse spinal sagittal mobility and joint laxity in young Swedish ballet dancers in comparison with controls (study II). To assess the incidence of musculoskeletal injuries, the site and type of injury, and the most common injury diagnoses in young ballet dancers at the Royal Swedish Ballet School in Stockholm, Sweden (study III). To investigate age- and gender-specific associations between joint hypermobility, generalized joint laxity and musculoskeletal injuries in young Swedish ballet dancers (study IV). Methods: In study I, 98 professional ballet dancers (48 men, 50 women, average age 28.3, range 17– 47) at the Royal Swedish Ballet in Stockholm were studied in a combined retro-prospective way. All injuries for which the dancers sought medical care during Aug 1988–Jun 1993 at the in-house outpatient clinic were registered. Injury incidence rates per 1,000 activity hours were calculated and 2 test and unpaired t-test were used for statistical analyses. In study II, 23 dance students (11 boys, 12 girls) in 4th grade at the Royal Swedish Ballet School in Stockholm, and 36 controls at a public Swedish school were examined regarding spinal configuration in standing. The spinal sagittal mobil- ity was measured by use of De Brunner’s kyphometer and Myrin’s inclinometer. Joint mobility was measured and registered by employing a modified form of the Contompasis method. For compari- son between dancers and the controls, the student’s t-test was used. In Study III, 476 students (297 girls and 179 boys) aged 10–21 at the Royal Swedish Ballet School in Stockholm made up the study group. A 7 year (August 1988 to June 1995) retrospective analysis of medical records in the school orthopaedic outpatient clinic was undertaken. Data on diagnosis, site of injury and type of injury were collected, and the injuries were classified as traumatic or due to overuse. Injury incidence rates per 1,000 activity hours were calculated. Statistical differences for the total injury incidence rates between genders, age groups, and for type of injury were calculated and t-test was used to test statistically significant differences between proportions. In study IV, 216 (130 girls, 86 boys) ballet students in 4th grade were examined while entering the Royal Swedish Ballet School between Aug 1988 and Jun 1995. Joint mobility was measured applying the modified Contompasis method and the results were subdivided into three groups based on the score obtained. Medical records were analysed and all injuries for the period were registered. Injury incidence rates per 1,000 activity hours were calculated. For statistics a conditional risk set model using Cox regression was employed. Results: In study I, 95% of the 98 dancers suffered an injury when employed for one year or more. The dancers incurred 390 injuries over the 5-year study period i.e., 0.6 inj/1,000 activity hours. Most injuries were due to overuse and located in the foot and ankle region. The injury profile differed significantly between the genders and between younger and older dancers. Female dancers more fre- quently suffered overuse injuries while male dancers more frequently suffered knee injuries. Ankle sprain was the most common diagnosis, mostly occurring among dancers 10 years with manifest GJL. Conclusions: Musculoskeletal injuries are common in both young and adult ballet dancers. The association between GJL and injury risk in young ballet dancers implies that there is a need for screening programmes regarding GJL and appliance of primary prevention in order to prevent musculoskeletal injuries in young ballet dancers

Ballet body belief: perceptions of an ideal ballet body from young ballet dancers

This paper explores what is perceived and believed to be an ideal ballet body by young ballet dancers. Such bodily belief becomes, in Pierre Bourdieu’s terms, a core part of a ballet dancer’s habitus. A four year longitudinal, ethnographic, empirical study of the experiences of 12 young ballet dancers, six boys and six girls, aged between 10 and 15 years at the start of the study, examined processes of bodily construction and ‘becoming’ a ballet dancer in non-residential ballet schooling. Data was generated via a multi-method approach although only individual and focus group interview data are used here. Findings suggest that the 12 young ballet dancers’ attempted to replicate and position themselves within what is perceived and believed to be an ideal ballet body shape and size. Ballet is a social practice which shapes the activity of the young dancer but is also shaped by that young dancer through a process of incorporation of the social into the body. The ballet dancer’s body and habitus is produced and maintained as the young ballet dancers’ accepted their bodies as an aesthetic project. It is argued that there is a strong connection between the size, shape and aesthetic of the ballet body and identity

Janger Kreasi

Janger dance is one of the most Balinese popular dance. Invented in the 1930s, a young social Janger dance is muda- mudi Bali. This dance is performed by 10 dancers are paired, a group of women (Janger) and man(Kecak). They dance, singing songs by turns Janger. Janger movements simple but cheerful and enthusiastic. The music background this dance is Gamelan Batel or Tetamburan and gender wayang

The Effects of Cross Training on Ballet Dance

The dictionary defines cross training as, “the action or practice of engaging in two or more sports or types of exercise in order to improve fitness or performance in one’s main sport” (“cross-train”). While ballet dancers may look physically fit and slim, ballet dancers do not always give their bodies proper care. This thesis will explain the elements of ballet training that are crucial for development as an artist and a dancer. It will also discuss the benefits of cross training for ballet dancers and how this should be incorporated into the ballet curriculum. Finally, this thesis will discuss the relevancy of the current research regarding the dance program here at the University of South Carolina. This thesis discusses various cross training exercises that can be incorporated into the three distinct levels of dancers: young dancers, pre-professional dancers, and professional dancers. While the entirety of the effects of cross training on ballet dancers are still being discussed within the field of dance medicine, it has been proven that cross training is indeed beneficial and necessary for dancers at all levels of training