Community arts engagement supports perceptions of personal growth in older adults.

PURPOSE: The effects of arts engagement on older adults have been well-documented. However, the ways older adults overcome common situational and dispositional barriers to enhance personal growth and well-being are less known. METHODS: Fifty-six community dwelling older adults (71.3 ± 4.6 years) took part in dance, music, or a control workshop two times/week for ten weeks. Participants' personal growth was examined through focus groups and surveys in this mixed-methods study. RESULTS: Focus group and survey results revealed participants experienced personal growth through engaging in the dance and music arms of the experiment. Participants, especially those in arts workshops, described personal growth experiences aligning with four themes: increased social connections, developed new skills, utilized a growth mindset, and used creativity to overcome situational and dispositional barriers to participation. The barriers included musculoskeletal challenges, hearing impairments, and difficulty retaining new information. CONCLUSIONS: The study yielded high adherence and retention rates, and participants reported increased engagement within their communities. Our observations provide avenues for future practitioners and facilitators to create programming that empowers older adults and utilizes participants' ongoing feedback to support access, inclusion, and sense of community.

Dance, Music, and Social Conversation Program Participation Positively Affects Physical and Mental Health in Community-Dwelling Older Adults: A Randomized Controlled Trial.

INTRODUCTION: As the world population ages, practitioners use community-engaged interventions to help older adults stay healthy. Engaging in arts programs (e.g., dance or music) reportedly improves physical and mental health, but little research exists examining these effects in community-dwelling older adults. Our purposes were to examine how taking part in 10-week, twice per week community arts programs (dance and music) and control (social conversation) affected physical and mental health in community-dwelling older adults and their perceptions after program participation.
Methods: In this randomized controlled trial, 64 older adults over 65 years of age (71.3 ± 4.6 years, 166.9 ± 8.3 cm, 78.1 ± 18.1 kg) took part in community-engaged arts programs: ballroom dance (n = 23), music (ukulele-playing, n = 17), or control (social conversation n = 24), two times per week for 10 weeks. Participants' physical health using the Short Physical Performance Battery (SPPB; score 0 = worst to 12 = best) and mental health using the Montreal Cognitive Assessment (MoCA; score = 0 to 30, where less than 26 = normal) were tested three times: 1. before (pre), 2. at the end of 10 weeks (post-1), and 3. 1 month after intervention (post-2). Separate 3 (group) x 3 (time) ANOVAs and adjusted Bonferroni pairwise comparisons as appropriate examined changes across groups and time. Focus group interviews and surveys were audio recorded, transcribed, and analyzed using inductive thematic analyses to examine participants' perceptions.
Results: Across all groups, participants had an 87.8% attendance and an 87.5% retention rate. Participants' SPPB performance improved over time (pre = 10.5 ± 1.4, post-1 = 10.7 ± 1.3, post-2 = 11.3 ± 1.0; p < 0.001), but similarly across groups (p = 0.40). Post-hoc analyses revealed that performance improved from pre to post-1 (p = 0.002) and pre to post-2 (p < 0.001). Participants' cognition improved over time (pre = 26.3 ± 2.8, post-1 = 27.3 ± 2.6, post-2 = 27.5 ± 2.5, p < 0.001), and similarly across groups (p = 0.60). Post-hoc analyses revealed that cognition improved from pre- to post-1 (p = 0.002), and pre- to post-2 (p = 0.001). Participants consistently mentioned increased social engagement as the major reason for participation.
Conclusions: Overall, taking part in community-engaged arts (dance and music) and social conversation programs positively influenced physical and mental health in older adults. Still, as all groups improved equally, the results may partly be due to participants having normal physical and mental function pre-participation and due to them learning the test over time. These study findings imply that providing fun and free community-engaged programs that empower participants to be more engaged can positively influence physical and mental health and promote successful aging in older adults.

Upper-Body Strength Endurance and Power Norms in Healthy Collegiate Dancers: A 10-year Prospective Study.

ABSTRACT: Coogan, SM, Hansen-Honeycutt, J, Fauntroy, V, and Ambegaonkar, JP. Upper-body strength endurance and power norms in healthy collegiate dancers: A 10-year prospective study. J Strength Cond Res 35(6): 1599-1603, 2021-Dance is physically demanding and requires dancers to have adequate upper body (UB), core, and lower-body fitness to perform successfully. 50-85% of dancers suffer injury during a performance season. Although a large number of dancer's injuries are to the lower body, several dance genres (e.g., modern, hip hop, and salsa) use UB motions such as partner lifts and holds, which may result in a higher risk for UB injury. Health care practitioners often use baseline physical performance normative values to determine their clients' fitness levels and when planning training programs to prevent or rehabilitate postinjury. Still, little information exists regarding UB fitness norms among collegiate dancers. Thus, our purpose was to determine UB strength endurance and power norms in healthy collegiate dancers. We recorded UB muscular fitness in 214 healthy collegiate dancers (males: n = 26, 174.0 ± 6.7 cm, 71.3 ± 9.2 kg and females: n = 188, 163.0 ± 6.1 cm, 59.3 ± 6.8 kg) prospectively over a 10-year period (2008-2018) in a dance program that emphasizes modern and ballet dance. For UB strength endurance, we recorded the number of push-ups a dancer was able to perform without forcibly straining or losing form for 2 consecutive repetitions. For UB power, dancers sat with legs outstretched, backs flat against a wall, and threw a 3-kg ball horizontally from their chest as far as possible (distance thrown normalized to body height, *BH). The best attempt of 3 trials was used for statistical analyses. We report descriptive statistics, interquartile ranges (IQRs), and percentiles for both outcome measures. Dancers performed 20.4 ± 10.6 (range: 2-70, IQR: 12-24; males: 32.5 ± 14.4; females: 18.4 ± 8.4) push-ups and threw the medicine ball 1.8 ± 0.5 *BH (range: 45-3.9, IQR: 1.4-2.1; females: 1.7 ± 0.5; males: 2.3 ± 0.7). Overall, in this long-term prospective study, we developed UB fitness norms for dancers. The push-up test and medicine ball throw test are simple, low-tech, and inexpensive to test dancers UB fitness. Although dancers' UB muscular fitness was lower than previous reports among traditional sport athletes, these values may not necessarily indicate problems, as subjects were all healthy collegiate-level dancers. Rather, our findings reinforce the need to develop dance-specific norms so that practitioners can use these values to assess dancers' UB fitness and devise interventions appropriately. These results provide baseline UB muscular fitness norms among collegiate modern and ballet dancers, and further support the notion that differing norms are needed for different sports and dance genres. Specifically, future researchers should similarly develop norms across different dance genres for preprofessional and professional dancers and also examine whether these norms can predict dancers' injury risk or performance.

FUNCTIONAL MOVEMENT SCREEN™ (FMS™) SCORES DO NOT PREDICT OVERALL OR LOWER EXTREMITY INJURY RISK IN COLLEGIATE DANCERS.

PURPOSE: Dance is a physically demanding activity, with 50-85% of dancers suffering injury during a single performance season. The majority of dancers' injuries are in the lower extremity (LE) and chronic in nature. These injuries often arise when causal factors are not identified early and addressed before they ultimately result in an injury. Practitioners often use movement screens such as the Functional Movement Screen™ (FMS™) to detect and quantify kinetic chain dysfunction. Prior researchers have suggested that these screens can stratify at-risk individuals and allow practitioners to devise targeted interventions to reduce their injury risk. However, whether the FMS™ can identify at-risk dancers remains unclear. Thus, the purpose of this study was to examine whether FMS™ scores predicted injury risk in collegiate dancers. METHODS: In this prospective study, 43 collegiate dance majors (34 female, 9 male; 18.3 ± 0.7yrs; 163.9 ± 7.3cm; 60.8 ± 8.1kg) in a program which emphasizes modern dance were scored on the seven FMS™ movements (scale 0-3, total maximum score=21) where 3=movement completed without compensation, 2=movement completed, but with compensation(s), 1=unable to complete movement, 0=pain during movement or during clearing tests as described in prior literature at the start of the academic year. An in-house certified athletic trainer documented dancer's overall and LE injuries over an academic year (40 weeks). Separate Receiver Operator Characteristic (ROC) curve analyses examined whether composite FMS™ score predicted (1) Overall or (2) LE injury status. RESULTS: The subjects FMS™ scores were 16.2 + 1.7 (range=11-19). Twenty dancers were injured, whereas 23 remained injury-free. Injured dancers had 55 overall (1.28 injuries/dancer) and 44 LE injuries (1.02 LE injuries/dancer). FMS™ score did not predict overall (AUC=.28, SE=.08, p=.02, 95%CI=.13-.43) or LE injury risk (AUC=.38, SE=.1, p=.21, 95% CI=.21-.56). DISCUSSION: While nearly half of the dancers in this group suffered from injury over the year, composite FMS™ scores did not predict overall or LE injury risk in collegiate dancers. Dancers face unique and challenging physical demands that distinguish them from traditional sport-athletes including greater ranges of movement during performance. Thus, the FMS™ may not be sensitive enough to distinguish 'appropriate' from 'excessive' mobility and adequately identify injury risk in dancers. Overall, it is suggested that practitioners should use caution before using the FMS™ as a primary screening mechanism to identify collegiate dancers at overall or LE injury risk. LEVEL OF EVIDENCE: 2.