Exploring Common Ground: Comparing the Imagery of Dancers and Aesthetic Sport Performers

Nordin, Sanna M; Cumming, Jennifer

doi:10.1080/10413200802210795

Cited by 30 publications

(35 citation statements)

References 19 publications

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“…These results are consistent with previous imagery studies which have found MG-M and CS imagery to be used most often by athletes (Cumming & Hall, 2002b;Hall et al, 1998;Moritz et al, 1996) and MS imagery the least (Munroe et al, 1998;Nordin & Cumming, 2008). Furthermore, consistent with findings in the current study, Arvinen-Barrow, Weigand, Thomas, Hemmings, and Walley (2007) found that MG-M imagery was used significantly more by athletes in open skill sports when compared to those athletes in closed skill sports and that elite athletes engaged in CS imagery more than their less elite counterparts.…”

Section: Discussionsupporting

confidence: 95%

An Examination of Ice Hockey Players' Imagery Use and Movement Imagery Ability

Hallman¹,

Munroe‐Chandler²

2009

Journal of Imagery Research in Sport and Physical Activity

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Imagery is an effective performance enhancing technique for athletes (Driskell, Copper, & Moran, 1994), and therefore has been the topic of extensive investigation in the sport psychology domain. To date, the few studies that have examined imagery across position of play have neglected to examine goaltenders as a distinct position from defense. As such, comparisons can only be made between forwards and defense. The purpose of the present study was to examine influence of playing position on imagery use and movement imagery ability in elite male ice hockey players. Participants included 258 competitive male ice hockey players (n = 122 forwards, n = 68 defense, n = 68 goaltenders), between the ages of 16 and 29 years (19.12 ±1.96). Two separate MANOVAs revealed significant overall effects for both imagery frequency and imagery ability across playing position. Univariate follow-up ANOVAs found that goaltenders use significantly more MG-M and CS imagery than forwards and defense. Furthermore, it was found that goaltenders indicated clearer and more vivid images from an internal and external perspective than forwards. Findings from the present study provide sport psychologists with research that can guide the development of more individually tailored imagery interventions for ice hockey athletes.

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Section: Discussionsupporting

confidence: 95%

An Examination of Ice Hockey Players' Imagery Use and Movement Imagery Ability

Hallman¹,

Munroe‐Chandler²

2009

Journal of Imagery Research in Sport and Physical Activity

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“…(2) Dance Imagery Questionnaire (DIQ) (Nordin and Cumming, 2006a) – a 16-item questionnaire for assessing the frequency with which dancers engage in 4 imagery types (i.e., the content of the image): Technique (i.e., skill and movement sequences), Goals (e.g., working toward and reaching dance-related goals), Role and Movement Quality (e.g., images of an artistic nature), and Mastery (e.g., staying focused, dealing with difficulty, planning, and control of anxiety) (Nordin and Cumming, 2008). Answers are on a Likert scale ranging from 1 (“never”) to 7 (“very often”), with higher values representing greater frequency.…”

Section: Methodsmentioning

confidence: 99%

Dynamic Neuro-Cognitive Imagery (DNITM) Improves Developpé Performance, Kinematics, and Mental Imagery Ability in University-Level Dance Students

et al. 2019

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Dance requires optimal range-of-motion and cognitive abilities. Mental imagery is a recommended, yet under-researched, training method for enhancing both of these. This study investigated the effect of Dynamic Neuro-Cognitive Imagery (DNI TM ) training on developpé performance (measured by gesturing ankle height and self-reported observations) and kinematics (measured by hip and pelvic range-of-motion), as well as on dance imagery abilities. Thirty-four university-level dance students ( M age = 19.70 ± 1.57) were measured performing three developpé tasks (i.e., 4 repetitions, 8 consecutive seconds hold, and single repetition) at three time-points (2 × pre-, 1 × post-intervention). Data were collected using three-dimensional motion capture, mental imagery questionnaires, and subjective reports. Following the DNI TM intervention, significant increases ( p < 0.01) were detected in gesturing ankle height, as well as in hip flexion and abduction range-of-motion, without significant changes in pelvic alignment. These gains were accompanied by self-reported decrease ( p < 0.05) in level of difficulty experienced and significant improvements in kinesthetic ( p < 0.05) and dance ( p < 0.01) imagery abilities. This study provides evidence for the motor and non-motor benefits of DNI TM training in university-level dance students.

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“…Dancers use imagery in their practice, and preliminary evidence suggests that nondancers also experience imagery episodes from watching a dance and that these episodes are related to affective experiences …”

Section: Six Functions Of Dance?mentioning

confidence: 99%

“…10,[163][164][165][166][167][168][169][170][171] The story of a dance can make us live situations "as if" 129,130,134,[172][173][174] and the music that accompanies dance might enhance this effect by triggering autobiographical memories (through its acoustic features; major/minor key). 129,130,[174][175][176][177][178][179][180] Dancers use imagery in their practice, 181 and preliminary evidence suggests that nondancers also experience imagery episodes from watching a dance and that these episodes are related to affective experiences. 89…”

Section: Function 3: Imagerymentioning

confidence: 99%

Not all about sex: neural and biobehavioral functions of human dance

Christensen

Cela‐Conde

Gomila

2017

Annals of the New York Academy of Sciences

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This paper provides an integrative review of neuroscientific and biobehavioral evidence about the effects of dance on the individual across cultural differences. Dance moves us, and many derive aesthetic pleasure from it. However, in addition-and beyond aesthetics-we propose that dance has noteworthy, deeper neurobiological effects. We first summarize evidence that illustrates the centrality of dance to human life indirectly from archaeology, comparative psychology, developmental psychology, and cross-cultural psychology. Second, we review empirical evidence for six neural and biobehavioral functions of dance: (1) attentional focus/flow, (2) basic emotional experiences, (3) imagery, (4) communication, (5) self-intimation, and (6) social cohesion. We discuss the reviewed evidence in relation to current debates in the field of empirical enquiry into the functions of human dance, questioning the positions that dance is (1) just for pleasure, (2) all about sex, (3) just for mood management and well-being, and (4) for experts only. Being a young field, evidence is still piecemeal and inconclusive. This review aims to take a step toward a systematization of an emerging avenue of research: a neuro- and biobehavioral science of dance.

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Exploring Common Ground: Comparing the Imagery of Dancers and Aesthetic Sport Performers

Cited by 30 publications

References 19 publications

An Examination of Ice Hockey Players' Imagery Use and Movement Imagery Ability

An Examination of Ice Hockey Players' Imagery Use and Movement Imagery Ability

Dynamic Neuro-Cognitive Imagery (DNITM) Improves Developpé Performance, Kinematics, and Mental Imagery Ability in University-Level Dance Students

Not all about sex: neural and biobehavioral functions of human dance

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