Motor neuron degeneration, denervation, neuromuscular junction (NMJ) fragmentation and loss of motor units (MUs), play a key-role in the development of sarcopenia. The aim of the present study was to investigate the beneficial effects of regular practice of dancing in physically active elders on concentration of C-terminal Agrin fragment (CAF), a marker of NMJ instability, muscle mass, strength, and physical performance in a group of 16 recreationally active older dancers (AOD; 70.1 ± 3.4 yr) compared to 15 age-matched sedentary peers (OS; 70.9 ± 6.2 yr). Circulating concentration of CAF was measured in serum, while morphology of the vastus lateralis and multifidus muscles was assessed by ultrasound imaging. In addition, the participants underwent two functional performance tests, the Timed Up and Go (TUG) and the 10-meter walk test (10-MWT), a lower and upper limb isometric strength test, a static and a dynamic balance test. Although no statistically significant differences were detected for both muscle morphology and isometric strength, higher CAF concentration (20%, p < 0.01) was found in OS. AOD showed a better performance in TUG (22%, p < 0.001), 10-MWT (17%, p < 0.001) and dynamic balance (25%, p < 0.01) than OS. Notably, CAF concentration correlated with dynamic balance performance (r = 0.3711, p < 0.05). Our results provide evidence that the regular practice of dancing in older age, together with non-structured light aerobic physical activities, is associated to lower CAF concentration and improved walking and balance performance. Our findings also suggest that NMJ instability, as indicated by elevated CAF serum concentration, seems to precede the loss of muscle size and alterations in muscle architecture normally associated with sarcopenia.
Finding the correct pair of dance shoes isimportant for dancers of any age. I find that recommending the correct pair ofballet shoes for my Silver Swans® can be more difficult than for other agegroups.
Leather shoes are supportive, non-slippy and long lasting. They are also available in a wide range of colours. Most of the older dancers that I teach prefer pink or black leather shoes. Black is particularly popular because it matches with black tights or leggings (none of my Silver Swans® wear pink ballet tights in classes).
Having not danced since they were a child, manyreturning dancers will find a big difference in the soles of ballet shoes.Their memory is of hard-soled leather shoes. Ballet shoes are not made likethis any more and they instead have a soft, flexible sole that allows the footto fully articulate. Ballet shoes are now available in two styles: full soleand split sole.
As with young students, most beginner maturedancers start with full-sole shoes. For dancers of all ages, they provide morestability, which, in turn, helps with balance. I have many dancers who lovetheir full-sole ballet shoes because they are comfortable and supportive. Somefelt that, as they progressed on to more advanced work in the class, theywanted more from their shoes and this is when they purchased split-sole balletshoes.
Generally, I advise my beginner mature dancers to buy full-sole ballet shoes first while they get used to the ballet class. As the weeks progress, they get a feel for their preferences in a ballet shoe.
I have had numerous dancers who have found aheel on their dance shoes to be beneficial. Some have found it particularlyuseful after ankle surgery where, for example, metal implants in the feet maybe restricting the range of motion in the ankle joint.
One of the most difficult problems that Ifrequently come across when teaching my mature dancers is bunions. Bunionsaffect the fit of the ballet shoe and can also be extremely painful. The firstthing to check with bunions is whether the ballet shoe is correctly fitted. Ifthe shoe is too tight then this can pull the big toe across and in to the othertoes. Dancing and moving with your toe at an inward angle can make it painful.
To my mature dancers, I have recommended wearing Toe Spreaders and Bunion Supports inside their ballet shoes, and they have found relief in wearing these. Toe spreaders and bunion supports are designed primarily for dancers in pointe shoes. Even in flat ballet shoes, however, they fill in the gaps between the toes, preventing them from crushing into each other. A bunion support will also keep the big toe in alignment while filling in the gap between the big and second toe. Please note that I always assess this on a case-by-case basis, and so if you are having problems with bunions, I suggest speaking with your dance teacher and/or medical professional.
The subject of the article is a critical investigation of research concerning age and dance. Our objective is to investigate whether and how researchers express their ideas about dance and age in a selection of research papers. We are particularly interested in whether researchers are reproducing an instrumental understanding of age in the context of dance and whether discourses of dance define bodies as older or younger in ways that differ from the definitions used in other social contexts. What kind of assumptions about the abilities of dancers form the baseline expectations of researchers? We wonder if harming the body is an implicit part of dance practice that operates as a tacit premise in the understanding of age and dance. Through a document analysis of several research texts on dance and age, we try to identify what kinds of meanings, expectations, and bodies such documents convey and produce. One of our findings from the analysis of the literature is that young dancers from western European countries and the U.S. are concerned with age throughout their entire career, while in dance practices in Japan, being an older dancer is regarded as a as a value that gives flavor and energy to both to aging and dance in a shared interaffective and mutual space.
Some who made the team tried out because they had performed as professional dancers or cheerleaders years ago and wanted to do so again. Some were looking for a way to get more exercise or were talked into it by their grandchildren.
Northwestern University-led researchers have created the first highly mature neurons from human induced pluripotent stem cells (iPSCs), a feat that opens new opportunities for medical research and potential transplantation therapies for neurodegenerative diseases and traumatic injuries.
Not only were the enriched neurons more mature, they also demonstrated enhanced signaling capabilities and greater branching ability, which is required for neurons to make synaptic contact with one another. And, unlike typical stem cell-derived neurons which tend to clump together, these neurons did not aggregate, making them less challenging to maintain.
The mature neurons also present new opportunities for studying neurodegenerative diseases like ALS and other age-related illnesses in culture dish-based in vitro models. By advancing the age of neurons in cellular cultures, researchers could improve experiments to better understand late-onset diseases.
Stupp and Kiskinis believe their mature neurons will give insights into aging-related illnesses and become better candidates for testing various drug therapies in cellular cultures. Using the dancing molecules, the researchers were able to advance human neurons to much older ages than previously possible, enabling scientists to study the onset of neurodegenerative diseases.
The Mark Morris Dance Center offers high-quality instruction for people age 14 and up, with and without disabilities, ranging from recreational to professional dancers. With a focus on live music, we offer a variety of dance and fitness drop-in classes, 6-week introductory series, master classes, and intensives in a welcoming environment. Join us!
Adult dancers attend an open class for a variety of reasons. Nearly all come because there is something about the atmosphere and physical work accomplished during dance class that cannot be replaced by other workouts. Alongside the desire to experience the sensation of moving as an artist comes the fear of measuring up to either the memory of what beautiful dancers we used to be and/or the dancers we aspire to be. Teaching adults, at any level of accomplishment, can be tricky business. Dance Informa checked in with a panel of professionals known for their fantastic adult open-division classes in order to share their insightful tips for making adult classes beneficial and fun.
Remind dancers that they are caring for their own body and that sustained dancing requires constant self-evaluation. For many dancers in adult classes, the joy of dancing is the goal. Pushing too hard at the start and competing with the dancers who have been continuously training will only cut short the desired return and development of the student.
Dancers enjoy spending time and sharing life experiences with other dancers. Our experiences and outlooks are unique. Create opportunities for class members to visit and become acquainted. If allowed by the studio where you teach, consider creating a private social media or group page where students may interact.
In her research Schwaiger found two general approaches that dancers take in their maturity. In the first, more traditional path, the dancer gradually withdraws from performance, eventually adopting the role of a teacher or coach. In the second path, the chronological age of the dancer is less relevant because the older dancer is not defined through the loss of the attributes of youth.
We are proud to offer several styles of dance for adults. Adult classes accommodate beginner through advanced level dancers and focus on a satisfying and artistic experience. Classes are for dancers 16+ and were created to give adults a unique experience and the opportunity to share their passion for dance within a community of other adult dancers. Adult Classes are on a drop-in basis with the exception of series classes, giving adult dancers the option to pay per class or to purchase a punch card for a discounted rate. 781b155fdc