Disclaimer UWE has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material. UWE makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited.UWE makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights. UWE accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. PLEASE SCROLL DOWN FOR TEXT.This is NOT the published version 1 'Making sense' of dementia: Exploring the use of the Markers of Assimilation of Problematic experiences of Dementia scale to understand how couples process a diagnosis of dementia. Katie SnowFaculty of Health and Human Sciences, Plymouth University, UK. Richard ChestonProfessor of Dementia Research, Department of Health and Social Sciences, University of the West of England, UK. Cordet SmartLecturer in Clinical Psychology, Faculty of Health and Human Sciences, Plymouth University, UK. Keywords:Alzheimer's disease, assimilation, coping, couples, dementia. This is NOT the published version 2 AbstractThis qualitative study aimed to see whether the Markers of Assimilation in Problematic Experiences in Dementia (MAPED) coding could be applied to couples. It aimed to explore the interactions between couples and how this affected levels of assimilation. Semi-structured interviews were conducted with four heterosexual couples. The results suggested that the MAPED coding frame can be usefully applied to couples. It highlighted the oscillating process which couples undergo as they process a dementia diagnosis. This supports the notion that making sense of a dementia is not static, but a fluctuating, ever changing process. The strategies couples employed either facilitated or prevented the expression and integration of the Problematic Voice. Couple's previous coping style may have also influenced how they responded to the dementia. The study highlights the importance of supporting couples together during a dementia diagnosis.

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The opening decades of the twentieth century saw a passing fashion for “Aztec” dancing in the vaudeville theaters of the United States. Russian classical dancers Kosloff and Fokine tapped the orientalist currents of the Ballets Russes, adopting the Aztec as superficial signs of the American. Conversely, works by Shawn and film director Cecil B. DeMille, which served as points of reference for the Russians, represented a continuation of equally orientalist attitudes toward Mexico's past, forged during the realization of the United States’ policy of Manifest Destiny. The emergence of a cadre of trained dancers from Mexico, trained by students of Kosloff and Shawn, would bring a distinctively different perspective on the presentation of their heritage to the dance stage, one that was no longer based in the imagination of an expansionist America.

To help him shape the dance component of the new Instituto Nacional de Bellas Artes (INBA), Carlos Chávez invited the leading exponents of Mexico’s opposing camps of modern dancers to assist him, along with an array of painters, composers, and writers. As part of INBA’s charge to create a universal culture attractive to international audiences, and at a time the U.S. was promoting modern dance as part of its WWII propaganda efforts in the Americas, Chávez’s team created a modern-dance focused Academy of Mexican Dance. Chávez would soon appoint polymath artist Miguel Covarrubias to lead INBA’s dance department, ushering in a “golden age” for Mexican modern dance. INBA underwrote lavish productions by internationally recognized choreographer José Limón, it also extended similar support to its novice choreographers who mounted productions with scores by its leading composers and scenic designs by its most famous artists.

The production of socially conscious dance associated with the Lázaro Cárdenas administration suffered a decline when his successor pointed Mexico in a more conservative direction in terms of economic and cultural policy. Ballet temporarily re-emerged as the favored form. Foreign ballet companies figured prominently in the programming decisions of the government’s Palacio de Bellas Arte and the Ballet Theatre’s production of a Mexican-themed ballet, Léonide Massine’s Don Domingo de Don Blas revived Mexican aspirations for increased international exposure through ballet. On a bet, the government even extended its support to the creation of the Ballet de la Ciudad de Mexico, led by Nellie and Gloria Campobello. While initially well-received, the company soon fell into disfavor; the critics could applaud the scenery, created by the likes of the company’s spokesman José Clemente Orozco, but not the dance for which it had been designed.