Imogen J. Walker

Correlates of disordered eating attitudes among male and female young talented dancers: findings from the UK Centres for Advanced Training.

Correlates of disordered eating attitudes were examined with a mixed-sex sample of 347 young talented dancers aged 10–18 years from all UK Centres for Advanced Training. Equal proportions of females (7.3%) and males (7.6%) were symptomatic for disordered eating but correlates differed: for females, self-evaluative perfectionism, waking up > twice/night and hours of non-dance physical activity were predictive while for males, only the combination of self-evaluative and conscientious perfectionism was significant. Differences between menstrual status groups were evident, with young dancers (pre-menarcheal/within first year of menarche) reporting the least disordered eating attitudes and those with dysfunctional menses reporting the most.

Talent identification and development in dance : A review of the literature

Talent identification and development processes are important components of many dance programmes, yet talent is notoriously difficult to define and its identification may rely on intuitive judgements. Taking a systematic approach to the study of dance talent could enable researchers and educators to better determine what talent actually is, the multi‐faceted components that exist within talent and subsequently how best it can be optimised. The aim of this paper is to review existing literature relating to aspects of dance talent. While not attempting to define talent nor provide a guide for identification, the review reports on existing relevant literature that describes the characteristics associated with talent in the hope that it will be valuable to educators and researchers. Further research into the characteristics of talented dancers may enable teachers to prepare their students optimally for the exciting opportunities that dance can offer.

Characteristics of talented dancers and age group differences: findings from the UK Centres for Advanced Training

This study investigated differences in the characteristics of talented dancers in relation to age. Physical (handgrip muscular strength, leg muscular power, hamstring flexibility and external hip rotation), psychological (passion, self-esteem and anxiety) and social (the motivational climate) characteristics were assessed in 334 students enrolled on a talented scheme. The male late adolescence group (16 to 18 years) had greater jump height than the early (10 to 12 years) and mid-adolescence groups (13 to 15 years). For both sexes, the early adolescence group exhibited the lowest and the late adolescence group the greatest grip strength values. The late adolescence group reported lower self-esteem than the two younger groups, and the two older groups reported greater perceptions of ego-involving motivational climates than the early adolescence group. Results suggest that, as some characteristics of talented dancers differ across the adolescent years, talent identification and development criteria could be adapted according to age.

Understanding disability studies and performance studies

habits set in a groove, Alexander believes that with awareness, they may easily be redirected. There has been no misrepresentation of Dart procedures as Alexander techniques and the authors are to be commended for ensuring that this publication has provided a record of Dart’s contribution to the Alexander Technique. During their training as Alexander practitioners they engaged in both disciplines through their mentors and teachers, Joan and Alexander Murray. They have chosen to identify and acknowledge ownership of individual theories and practices. This is a valuable book for the dance industry. While the book contains a considerable wealth of information, the writing is clear and the exercises are easy to follow. It would be possible to use exercises directly from the book or DVD, unlike similar books on dance techniques where the teacher or dancer must create their own exercises based on the information therein. This publication linking dance and the Alexander technique should be well received by the dance community. Dancers will benefit from owning this book, but it will be most valuable in the hands of dance teachers, who can pass on the information through experiential workshop sessions to their students. When working in a class with the teacher or in pairs, it is possible that more discoveries will be made. As stated in the preface ‘You cannot learn the Alexander technique by reading about it, you have to experience it to truly understand it’ (p.xiv).