• Tracing HIV/AIDS representation through science in 120 BPM

      Pheasant-Kelly, Frances (Routledge, 2021-12-31)
    • Beatrice Warde, May Lamberton Becker and Books Across the Sea

      Glaser, Jessica; Roberto, Rose; Alexiou, Artemis (Peter Lang, 2021-12-31)
    • Prevalence and risk factors of dance injury during COVID-19: a cross-sectional study from university students in China

      Dang, Yanan; Koutedakis, Yiannis; Chen, Rouling; Wyon, Matthew (Frontiers Media, 2021-12-31)
      Objectives: Although COVID-19 has transformed dancers’ training environment worldwide, little is known on how this has affected injury prevalence, causes and risk factors. Methods: An online investigation was conducted (September to November 2020) involving Chinese full-time dance students, which covered two 6-month periods just before and during the first COVID-19 lockdown. Results: 2086 students (19 ±2.4yrs) responded. Injury prevalence before lockdown dropped from 39.6% to 16.5% during lockdown (p<0.01). A significant increase in injury severity during lockdown was noted with a 4.1% increase in moderate to severe injuries (p<0.05). During the lockdown, injuries of the lower back, feet and shoulders decreased significantly (p<0.01), but the knees, ankles and groin/hip-joint injuries remained the same. Recurrence of old injury and fatigue remained as the top 2 perceived causes of injury between the two periods with unsuitable floor (p<0.01), cold environment (p<0.05) and set/props (p<0.05) increasing. Students’ fatigue degree decreased (p<0.01) and sleep hours increased (p<0.01) during lockdown. Binary logistic regression analysis indicated that dance injury was associated with fatigue, hours of sleep, and action taken if they suspected an injury during lockdown (p<0.05), but was only related to time set aside for cool-down and age before lockdown (p<0.05). Conclusion: Although the injury prevalence dropped significantly during the first COVID-19 lockdown in Chinese dance students, the main dance injury characteristics remained the same. Decreased fatigue and longer sleep hours could explain the aforementioned drop in injury prevalence during the lockdown.
    • 11+ dance: a neuromuscular injury prevention exercise program for dancers

      Kolokythas, Nico; Metsios, George; Galloway, Shaun; Allen, Nick; Wyon, Matthew (Lippincott, Williams & Wilkins, 2021-12-31)
      Epidemiological studies over the past decade indicate high Injury prevalence in pre-professional ballet (76%), and professional contemporary and ballet dancers (60-69%). Injuries can have detrimental effects both for the dancers and the dance company. Most injuries are in the lower limb and reported as the gradual onset of overuse. Professional dance companies have reduced injury incidence and severity through the implementation of comprehensive injury audit programs and proactive exercise prescription. Injury prevention research in dance is scarce and there has been no intervention targeting dance injuries. This article describes the development of 11+Dance, an injury prevention training program designed for dancers based on current evidence and best practice on injury prevention in sports. It is a 25–30-minute neuromuscular based training program focused on strength, balance and jumping/landing technique, with special attention on ankle, knee, and hip alignment. The high prevalence of injuries reported in the different styles of dance, suggests that implementation of an injury prevention program is both the plausible and ethical action to take for all levels of performance.
    • Introduction

      Satne, Paula; Scheiter, Krisanna; Satne, Paula; Scheiter, Krisanna (Springer, 2021-11-19)
    • Kantian guilt

      Satne, Paula (De Gruyter, 2021-10-25)
    • Multitude void: the regal mode of imperial legitimation

      Halligan, Benjamin; Penzin, Alexei; Halligan, Benjamin; Pippa, Stefano; Carson, Rebecca (Bloomsbury Academic, 2021-10-07)
    • Associations between nutrition, energy expenditure and energy availability with bone mass acquisition in dance students: A 3-year longitudinal study

      Amorim, Tânia; Freitas, Laura; Metsios, George S.; Gomes, Thayse; Wyon, Matthew; Flouris, Andreas D.; Maia, José; Marques, Franklim; Nogueira, Luísa; Adubeiro, Nuno; et al. (Springer, 2021-09-24)
      Purpose To determine whether risk factors normally associated with low bone mass in athletic populations (i.e. nutrition intake, energy expenditure and energy availability) are significant predictors of bone mass changes in vocational dance students. Methods The total of 101 vocational dancers (63 females, 12.8±2.2yrs; 38 males, 12.7±2.2yrs) and 118 age-matched controls (50 females, 13.0±2.1yrs; 68 males, 13.0±1.8yrs) were monitored for three consecutive years. Bone mass parameters were measured annually at impact sites (femoral neck – FN; lumber spine – LS) and non-impact site (forearm) using DXA. Nutrition (3-day record), energy expenditure (accelerometer), energy availability and IGF-1 serum concentration (immunoradiometric assays) were also assessed. Results Female and male vocational dancers had consistently reduced bone mass at all anatomical sites (p<0.001) than controls. IGF-1 did not differ between male vocational dancers and controls, but female dancers showed it higher than controls. At baseline, calcium intake was significantly greater in female vocational dancers than controls (p<0.05). Male vocational dancers’ fat and carbohydrate intakes were significantly lower than matched controls (p<0.001 and p<0.05, respectively). Energy availability of both female and male vocational dancers was within the normal range. A significant group effect was found at the FN regarding energy intake (p<0.05) in female dancers. No significant predictors were found to explain bone mass differences in males. Conclusion Our 3-years study revealed that both female and male vocational dancers displayed lower bone mass compared to controls, at both impact and non-impact sites. The aetiology of these findings may be grounded on factors different than those usually considered in athletic populations.
    • Innovating the frame: Kathryn Bigelow in close-up

      Pheasant-Kelly, Frances (Routledge, 2021-09-02)
    • Kathryn Bigelow: new action realist

      Gaine, Vincent M. (Routledge, 2021-09-02)
      This article argues that Kathryn Bigelow is an auteur of new action realism, a distinct sub-genre within contemporary action cinema. As a new action realist, Bigelow and her collaborators create films that feature unresolved narratives and an aesthetic characterised by claustrophobic immediacy and obscuration. Through discussion of theory, genre, narrative and style in The Hurt Locker (2008) and Zero Dark Thirty (2012), I argue that, as a new action realist, Bigelow problematises notions of film realism. Bigelow’s work brings the viewer into intimate and sometimes uncomfortable proximity with the violent action depicted onscreen, this proximity being a key feature of new action realism. The presentation is explicit and sudden, the graphic presentation creating a discomforting nearness which is partially created through immediacy. Such imagery, particularly evident in The Hurt Locker and Zero Dark Thirty, echoes footage captured by military personnel, news reporters and civilians on portable cameras and smart phones, recalling news reports of 9/11 and similar reports of crisis. With this aesthetic of intimacy and immediacy, Bigelow’s new action realism hints at as much as it explicitly presents. This incomplete visual display imbues her films with a sense of confusion and hopelessness and consequently presents a world of fear and paranoia that is simultaneously familiar and unfamiliar, captured by and yet obscured by its medium.
    • Sway of the sea: Kathryn Bigelow's imperial eco-eschatology

      Halligan, Benjamin (Taylor & Francis, 2021-09-02)
      In a 2013 public letter to Bigelow, which concerned Zero Dark Thirty, Naomi Wolf wrote: ‘Like Riefenstahl, you are a great artist. But now you will be remembered forever as torture’s handmaiden’. This essay will expand on this condemnatory Riefenstahl/Bigelow association - but not through a straight likening of Riefenstahl’s exaltation of the Nazi Party in Triumph of the Will to Bigelow’s apologetics for torture in the ‘War on Terror’. Rather, the concern will be that of aesthetics in relation to landscapes and ecology, that is, the parallel is to Riefenstahl of her earlier ‘Mountain Films’ period. Bigelow, at times, reaches for a feminised, New Age mysticism through which her characters are momentarily lifted out of their mundane earthly concerns to commune with the wider universe. And it is this wider universe which seems the ultimate arbitrator of their actions, rather than any (Geneva-based) concerns around human rights. Thus different paths to psychic fulfilment seem to determine Point Break, or the idea of the restless spirit against the failings of the Repressive State Apparatus in Zero Dark Thirty, or soul against the system in Detroit. And thus, and most tellingly, in Last Days of Ivory, Bigelow advocates for military action against African tribal people in the name of conservation, on the grounds (soon revealed to be highly questionable) that the illegal ivory trade funds the terrorist group, Al-Shabaab. The crudity of Bigelow’s propaganda in Last Days of Ivory, which chimed with Hillary Clinton's position on the same (a greenwashed liberal interventionism) is lent the approval of elephants, and of the wider ecology, in Bigelow's film. In the same way that Riefenstahl once repurposed German Romanticism for a sequence of Hitler descending from the clouds as the saviour of Germany from its enemies, Bigelow reworks such Romanticism in the name of the ‘white woman’s burden’: the Western imperial feminist speaks out on the part of the oppressed, and summons the ecosphere as her witness.
    • Rapport

      Hamilton, Judith (Oxford University Press, 2021-08-07)
    • Resisting a “digital green revolution”: agri-logistics, India’s new farm laws and the regional politics of protest

      Singh, Tanya; Singh, Pritam; Dhanda, Meena (Taylor & Francis, 2021-07-27)
      Recent laws introduced by the Bharatiya Janata Party (BJP)-led government aim to centralise India’s federal structure, for the goal of a unified (Hindu) national market, and to corporatise its agro-food system at the expense of smallholder farming and small-scale trade. These laws are being challenged by mass mobilisations led by farmers’ unions from northwestern states—once-booming agricultural regions where, in recent decades and in the aftershocks of the Green Revolution, agrarian suicides have become endemic. The roots of this catastrophe are rapid marketisation in the 1960s (installing monocropping dependent on petrochemical inputs, destroying local agroecology) followed by post-1980s neoliberalism (with highly inequitable contract farming, alongside defunding of public infrastructure). Farmers and labourers now face interwoven crises of social reproduction—ecological depletion, precarisation, and chronic indebtedness, with no post-agricultural future in sight. The new laws claim to redress this by employing populist rhetoric against “exploitative middlemen”; in reality, markets are re-regulated in favour of large export-oriented agribusiness, thereby endangering food security, livelihoods and climate. The laws also herald digitalisation in agriculture and retail—further subsuming smallholders into productivist, financialised and outsourced logics. Their promulgation has triggered substantial FDI from global Big Tech, including Facebook and Google, aided by Indian conglomerates with close ties to the BJP built during PM Narendra Modi’s prior tenure as Chief Minister of Gujarat. This paper details the above and concludes by contextualising the ongoing protest movement. We focus on southern Punjab, a region that has suffered acute crises of health and ecology, as well as violent political conflict and state repression. Decades of left-wing rural union activity in this region, fighting debt and dispossession as well as in support of anticaste land struggles, have laid the organisational groundwork for hopeful new political trajectories, including potentials for grassroots red-green coalitions centring women and landless labourers.
    • La ética de la memoria: una perspectiva Kantiana

      Satne, Paula; Sanchez Madrid, Nuria; Villacañas, José Luis; Muñoz, Julia (Peter Lang, 2021-07-05)
      In this article, I address the issue of whether we have an obligation to remember past immoral actions. My central question is: are we oblige to remember past moral transgressions? I address this central question through three more specific questions. In the first section, I enquiry whether we have an obligation to remember our own past transgressions. In the second section, I ask whether we have an obligation to remember the wrongful actions that others have committed against ourselves. In the last section, I investigate whether we have a duty to remember the suffering of victims of crimes that have a political aspect, crimes such as state violence, oppression and racial discrimination, for example.
    • Injury incidence and severity in pre-professional musical theatre dancers: a 5-year prospective study

      Stephens, Nicola; Nevill, Alan; Wyon, Matthew (Thieme, 2021-06-07)
      Dance injury research has mainly focused on ballet and modern dance with little data on musical theatre dancers. The purpose was to assess the incidence and severity of injuries in a musical theatre dance college over a 5-year period; 198 pre-professional musical theatre dancers (3 cohorts on a 3-year training course) volunteered for the study; 21 students left the course over the study period. Injury aetiology data were collected by an in-house physiotherapy team. Differences between academic year and sex were analysed using a Poisson distribution model; significant difference was set at p≤0.05. In total 913 injuries were recorded, more injuries occurred in academic year 1 than year 2 and 3. Overall injury incidence was 1.46 injuries per 1000 hours (95%CI 1.34, 1.56); incidence significantly decreased between year 1, 2 and 3 (p<0.05). There was no significant sex difference for incidence or severity. Most injuries were classified as overuse (71% female, 67% male). Pre-professional musical theatre dancers report a high proportion of lower limb and overuse injuries that is comparable to other dance genres. Unlike other studies on pre-professional dancers; injury incidence and severity decreased with academic year, even though workload increased across the course.
    • World’s end: punk films from London and New York, 1977-1984

      Halligan, Benjamin; McKay, George; Arnold, Gina (Oxford University Press, 2021-05-30)
      Saturday Night Fever (John Badham, 1977) concludes with the protagonist, seemingly weary of the company of his delinquent friends (given over to gang violence and gang rape, and in the wake of the needless death of the youngest and most disorientated), finding a moment of peace in the apartment of his previously unenthused girlfriend. They have reconciled, a future together has begun, and “How Deep is Your Love” by the Bee Gees – a major international chart hit of 1977 – plays over the closing credits. The couple’s connection was initially based on shared disco dancing abilities, and their get-togethers on the dance floor and in the dance studio have offered the opportunity of an escape for each. For Tony Manero (John Travolta), the escape is from his underpaid blue-collar job and suffocating family tensions – where his life at home, as a second-generation Italian immigrant, seems like stepping back into the old country for family meals, in sharp contrast to the grooming he devotes to his appearance, upstairs in his bedroom. Once outside, the very streets of New York seem to have been recast as a dance floor – via mobile shots of Travolta’s feet, pacing with a cocksure swagger to the beat of the Bee Gees soundtrack. For Stephanie Mangano (Karen Lynn Gorney), the escape is from more obscure forms of patriarchal exploitation, enacted via her aspirations to a glamourous and independent life, which can be read as calibrated to an imagining of the nightclub Studio 54 (which opened in 1977), not least in her celebrity name-dropping and initial distaste for her uncultured suitor. The final shot of Saturday Night Fever frames the couple in her apartment: polished wooden floors, exposed brick walls, a healthy rubber plant, an acoustic guitar resting against a sofa, and a window ledge looking out across Manhattan – a much more desirable locale than the film’s initial setting of Tony’s Brooklyn (see Figure 1). In short, to return to “How Deep is Your Love”, the couple have realised that they were “living in a world of fools / breaking us down when they all should let us be / [since] we belong to you and me”, and enshrine this shared sentiment in domestication. The New York of 1977 has tested them and their success in meeting this test has allowed them to take a synchronised step forward, and establish themselves on an upwardly mobile trajectory.
    • Does past experience effect balance in older women: a cross-sectional study comparing retired dancers and age-matched controls?

      Wyon, Matthew; Reeve, Eileen; Ambegaonkar, Jatin; Cloak, Ross; Clarke, Frances; Davies, Paul (Springer Nature, 2021-05-24)
      Background: Falls are increasing prevalent in the elderly but little data has been reported on the effect of previous life experience on balance ability. Aims: The aim of the present cross-sectional study was to determine whether participants with historically highly developed postural control (retired dancers) provided protection after activity had stopped by comparing their balance abilities with age-matched sedentary counterparts. Methods: Ten retired dancers [RD] 65 ±7.36yrs and 10 sedentary controls[C] 66 ±5.66yrs carried out a series of balance tests in a laboratory setting in a set order: Romberg, Functional Reach, Timed Up and Go, Berg and Tinetti. Results: The RD group performed significantly better solely in the static balance tests (Romberg and Berg Balance) (p<0.05). Therefore, past exercise history of the individual possibly needs to be considered when selecting a balance test battery with a need to use tests that have multiple constructs of balance. Conclusion: The RD group performed significantly better at static balance tests suggesting a possible skill retention from their dance careers
    • Anti-establishment language humour and creativity in the Czech-speaking lands, 1938 to 1989

      Dickins, Tom (Modern Humanities Research Association, 2021-04-23)
      This article addresses a phenomenon that has been downplayed (especially in publications aimed at non-Czech speakers) — anti-establishment language humour and creativity in the Czech-speaking lands from 1938 to 1989. The study begins with a discussion of the motivation behind the humour and wordplay, with particular reference to their linguistic and comedic functions. This is followed by an examination of the principal themes and targets of the humour, or its message(s). A distinction is drawn here between anti-German humour, which sought to defend Czech identity, and humour critical of Communism, which was aimed mainly at political reform. In the final and longest section, the focus switches to the medium of the humour, which is analysed in detail under two defining headings: metalinguistic playfulness, and intertextual and encoded referents. In conclusion, the article stresses, inter alia, the symbolic importance of the anti-regime humour as a means of subversion, and the pleasure and solace that people took from it, both as a form of escapism and as an aesthetic experience.
    • Between man and machine: the liminal superhero body

      Gaine, Vincent M. (Routledge, 2021-04-02)
      This article discusses the liminal bodies of superheroes in the Marvel Cinematic Universe, with a focus upon the blending of the biological and the technological. The article covers the commercial and aesthetic logic of contemporary Hollywood cinema, engaging with discourses around embodiment and digital effects as well as the relationship between visual text and viewer. Furthermore, the article identifies the Marvel franchise’s exploration of the politics of social identity and technology, an exploration that is played out over the superhero bodies.