A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

Abstract

"Dance" has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute "dance" have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of "dancing" is enjoyed as a dancer within different dance domains (e.g., professional/"high-art" type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. "Watching dance" as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for "dancing": (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how "dancing" affects the human body.

Keywords: aesthetic emotion; brain; emotion; hobby dance; mindfulness; recreational dance; wellbeing.

FIGURE 1

Domains of dance practice and enjoyment. Professional dance, club dance, religious, and erotic dance, and Dance Movement Therapy (DMT) all also contain the 6 elements. However, they also possess additional variables that can be more complex to analyze in terms of their health effects, often related to the level of physical exertion required (and risk for injury), and/or the social context that can be hostile or otherwise complex (competitiveness, drugs, predatory, aggressive). Of course, it is possible that these different domains of dancing overlap or that they are part of a continuum (e.g., a professional dancer of ballet may go club dancing and their dance is then infused by ballet technique, however, here used in a completely different domain), depending on the choices of each dancer. Many dances can be sexualised, depending on the intention of the dancer and of the viewer (e.g., in belly dance that can be both a dance used for personal growth, but also is often misunderstood as a form of attraction). Some people perceive dance in a club as a religious experience, and within any of these domains one can chose to become a professional dancer (except maybe for club dancing). However, these domains should each be considered and analyzed each in their own right, depending on where the dance happens, their usage, intention, movement patterns, and psychosocial variables distinguish them. © Sina HN Yazdi, 3fish.co.

FIGURE 2

Illustration of non-exhaustive list of dance styles and usages. Dance can be (A) something you watch as a spectator, (B,C) an artform and sport that connects you with your culture (e.g., Persian, Indian dance), (D) a fight dance (e.g., Capoeira, Haka), (E) something you do as a group (e.g., folkdances, other group and traditional dances), (F) a type of fitness activity (e.g., Zumba), (G) something you do with a partner (e.g., Argentine Tango, Swing dance, Ball room and Latin dances, Salsa, Bachata, Kizomba, etc.), (H) something you do on your own, as self-intimation, a fitness enhancer, to come to terms with emotions or situations, mood management, (I) as a form of free expression of your feelings, (J) an activity that connects you with a specific sub-culture (e.g., Hip hop, lyrical, Cabaret, tap dance), etc., (K) a therapy with a dance movement therapist, (L) a performative art form that you do in front of an audience, (M) something to do free style in a club dancing context, (N) something you do for intimacy and seduction in a couple dance, (O) as an erotic dance forms (e.g., some types of pole dancing, Belly dancing—please note that these can be practiced both for professional purposes and for purposes of self-intimation with no seductive or erotic intentions of the dancer). © JF Christensen.

FIGURE 3

The components for any dance style are: (1) rhythm of the music of this style, (2) sociality, culture and history behind it, (3) technique and fitness effects that it involves, (4) connection and connectedness experienced while dancing (self-intimation), (5) flow and mindfulness during training, (6) imagery and aesthetic emotions triggered by the practice, and as part of it. We propose the “Wheel of Dance” as a cognitive tool to illustrate these six components, both to empirical researchers, as well as for dance practitioners and teachers: If each part of the wheel receives equal amounts of attention in class, the wheel will be round and fulfill its function as a wheel: roll, and transport us to a new place, for our mental and physical health and well-being. Knowing about these 6 healthy components of dance practice might help practitioners aim their dance activities more specifically toward achieving these goals, and thus, enhance the efficiency of their practice, and the well-being within the practice, and beyond. For a more practice-based approach about how to teach this, see the web pages of this Argentine tango teacher couple, Natalia and Agustin, based in La Plata, Argentina, and of Tango School Oh Lala in Luzern, Switzerland. Dance teachers of other styles may take from this analysis the importance to teach students equally in all components, and how to avoid aspects of dance practice and the dance community that are detrimental for their (and their students’) mental and physical health. Thinking of these six intertwined components as the six parts in-between the spokes of a wheel offers an excellent metaphor for illustrating the different elements and how they should be considered in equal terms, and explains why each of them has its own relevance and importance, both for practice and for empirical research.