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Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Psicología del Deporte is the property of Cuadernos de Psicologia del Deporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dancers experience daily pain that impacts their health, but the pain is mediated by coping with pain. We elaborated the Scale of Coping with Pain for Dancers (COPAIN-Dancer) based on the Motivational Theory of Coping with 12 categories of coping. This study presents the validity of the COPAIN-Dancer. The content analysis conducted judges reduced 118 items to 35, that were then administered to 386 Brazilian dancers between 10 and 19 years old (M=15.35; SD=3.36). Applying the Exploratory Factor Analysis, a low correlation resulted among the items that represent the 12 coping categories. However, after conducting Item Response Theory and Network Analysis, we obtained two factors: Adaptive Coping and Maladaptive Coping. The COPAIN-DANCER shows reliability and can be used in adolescent dancers. [ABSTRACT FROM AUTHOR]

Copyright of Avances en PsicologÍa Latinoamericana is the property of Colegio Mayor de Nuestra Senora del Rosario and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El campo del ballet es un sistema social conflictivo donde se manifiesta gran competitividad -reflejada en continuas selecciones sociales y naturales- para cumplimentar la fantasía de todos los bailarines: bailar públicamente. El objetivo de esta investigación es demostrar la pertinencia del supuesto teórico darwinista de selección natural en la discriminación de belleza escénica de la figura del bailarín en el sistema piramidal de selección, formación y desempeño profesional del campo cubano del ballet. El campo del ballet se registra fácticamente en instituciones culturales pobladas por individuos que persiguen cotidianamente crear bailarines profesionales aptos -primera condición es ser revolucionario- que representen internacionalmente a la Revolución Cubana. El campo se estructura en un sistema piramidal de selección, formación y desempeño de bailarines profesionales que rige sus prácticas principales de exclusión/inclusión -puntos de corte- por el principio darwinista de selección natural. Los exámenes de capacidades físicas de ingreso y pase de nivel a la enseñanza de nivel medio y la aceptación a la compañía profesional Ballet Nacional de Cuba conforman los puntos de corte del sistema piramidal. Estos contienen prácticas sociales que valoran -empírica, pero sistemáticamente- las características morfo-funcionales de los participantes interesados respecto al deber ser del canon artístico de figura, para seleccionar siempre a los más bellos, los más aptos, bailarines de ballet.

Introduction: Prevalence of eating disorders (ED) and discrepancies between actual weight and weight perception seem much higher in dancers. The aims analysed in 77 dancers were: risk for ED; relationship between eating attitudes and psychological variables; dieting and self-weighing, and body image distortion.Method: Weight- and body image-related variables, dieting, self-reported physical fitness, specific ED-related variables and other psychological variables were assessed. The robust Huber's model was applied in order to test the inflluence of the variables analysed on the Eating Attitudes Test (EAT-40) scores. In case of categorical variables, the Chi-square (χ2-test) or the Fisher's exact test were applied.Results: Higher risk of ED was not obtained. Despite the relationship between EAT-40 and BMI, body appreciation and drive for thinness, scores on EAT-40 and BMI do not suggest higher risk in dancers. Dancers had a similar weight perception than other populations and body dissatisfaction seems not to be worse than the reported in other types of participants.Conclusions: Despite some limitations, our study adds some data in this field of study bearing in mind the use of a cluster of variables previously not taken into account as a whole. [ABSTRACT FROM AUTHOR]

El propósito de esta investigación fue conocer las características antropométricas y de composición corporal de bailarines costarricenses. En Costa Rica no existen normas de composición corporal que permitan una selección objetiva de los bailarines que desean integrarse a las diferentes compañías de danza. En este estudio participaron voluntariamente 91 bailarines masculinos (n = 17) y femeninos (n = 73), con edades entre los 17 y 35 años de edad, los cuales fueron agrupados en categorías profesional (P), semiprofesional (SP) y aficionado (A). Por medio de un análisis de varianza de una vía se encontró que las bailarinas P presentaban % GC significativamente menores (p < 0.05) que las bailarinas SP y A. También se encontró que las bailarinas de 17-21 años presentaban % GC mayores que las bailarinas de 22-26, 27-31 y 32-35 años. Se presentan normas de composición corporal para bailarinas y bailarines costarricenses

Self-efficacy refers to judgments that people make about their own abilities. It is a concept used in Sport Psychology, but lacking instruments to dance. This study developed and verified the evidence of validity of the Self-Efficacy Scale for Dancers (SESD). We evaluated 410 dancers (10-19 years old) in national and international festivals of dance. The items were selected based on literature and practical experience with dance by the first author, and evaluated by six trained judges, obtaining 88.87% agreement (Kappa). Exploratory factor analysis revealed two factors for the 15-item instrument: Physical Self-Efficacy, with 7 items (α=0.82) and Psychological Self-Efficacy, with eight items (α=0.81), presenting good psychometric properties. We discuss the results in light of Psychometrics and importance for Psychology applied to the dance. [ABSTRACT FROM AUTHOR]

En el trabajo en cuestión se trata de indicar que el libro de danzas que escribiera Juan Ignacio de Iztieta trasciende el hecho coreográfico y se dirige, fundamentalmente, a ser una exposición, como lengua, la historia y otras, alineada en la defensa de los Fueros. Prueba de ello son algunas contradicciones coreográficas y la crítica general que mantiene en su libro ante la actitud de abandono para con la personalidad vasca de la provincia de Guipúzcoa.

Copyright of Cuadernos de Psicología del Deporte is the property of Cuadernos de Psicologia del Deporte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ballet is a conflictive social system in which competition among the dancers takes place. By using social and natural criteria, there is a set of practices that makes the selection of the best performers to dance in public. Public dancing is the most important practice in this field. The purpose of this research is to demonstrate the pertinence of Darwinism theoretical principle of natural selection for discriminating the beauty of the dancer figure at the pyramidal system of selection, formation and professional performance in the Cuban ballet field. The ballet field can be considered as a set of cultural institutions where many people contribute to the creation of professional dancers. The main artistic merit for a ballet dancer is not just to represent his country, but also to be considered as a revolutionary. A pyramidal system of selection, formation and professional performance of dancers structures the ballet field. The Darwinist principle of natural selection rules the essential social practices of exclusion/inclusion into the pyramidal system. The qualifying test of physical capacity, the middle level test during the studies and the final audition to be accepted by the Cuban National Ballet Company, are the social practices that determine the level of success of a dancer inside. All the levels are composed of different actions which compare the morpho-functional characteristics of aspirants, students and future professionals with the ones considered the ideal by the artistic canon of ballet. [ABSTRACT FROM AUTHOR]

The article examines the body of the adolescent dancer including the morphological, physiological and behavioral adaptations due to specific physical training. The purpose of this study is to describe the changes in the body composition of dancers at the Cuban National School of Ballet between two points in their training process. The main results demonstrate significant increases in both weight and height for age in both sexes and it was observed that height growth velocity decreased with age.

Hasta hace poco las investigaciones antropológicas e históricas en el Perú recogían el punto de vista del vencedor, del conquistado español o del mestizo de la época republicana. En estos últimos años la perspectiva cambió radicalmente y se dio énfasis a la llamada visión de los vencidos, punto de vista del conquistado o de los campesinados.