Lights out, let's dance! An investigation into participation in No Lights, No Lycra and its association with health and wellbeing

Conscious dance: Perceived benefits and psychological well-being of participants

BACKGROUND

Meta-analyses suggest that dance has potential to decrease psychological distress, increase trait mindfulness, and enhance quality of life. Conscious dance can be defined as unchoreographed, intentionally nonevaluative mindful movement commonly practiced in a group setting for purposes of authentic self-expression, self-discovery, interpersonal connectedness, and personal healing or growth.

OBJECTIVE

To assess perceived effects of conscious dance practice (e.g., Ecstatic Dance, 5Rhythms) and examine associations between frequency/duration of practice and psychological well-being among participants.

METHODS

Self-identifying adult conscious dancers completed a survey (N = 1003; mean age = 47 years; 52% from the U.S; 78% White; 73% female).

RESULTS

Conscious dancers with ≥5 years of practice had significantly higher trait mindfulness and life satisfaction compared to newer practitioners. More frequent practice (≥once per week) was associated with higher trait mindfulness. A strong majority of participants endorsed experiences consistent with mindfulness (i.e., feeling "more present in my body"; 99% of the sample) and psychological flow ("I felt like I was 'in the zone' or 'in the flow' of things"; 93% of the sample) during conscious dance. Among participants endorsing any of five stress-related health conditions, the majority reported therapeutic effects (i.e., that conscious dance "helped them cope" with the condition). Therapeutic effects were most consistently reported by individuals with depression or anxiety (96% endorsement), followed by those with a trauma history (95%), chronic pain (89%), and history of substance abuse or addiction (88%). For all conditions except addiction, therapeutic effects were associated with greater experiences of psychological flow during dance, and the magnitude of these effects was large (Cohen's d range: 1.0-2.3).

CONCLUSION

Individuals who engage in conscious dance report that these practices help them to cope with stress-related health conditions. Participants reporting longer duration or greater frequency of practice scored higher on measures of psychological well-being. The feasibility and efficacy of conscious dance for improving well-being among individuals naïve to these approaches will be important to determine in future research.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.