The the Parliamentary Inquiry into Australia’s Creative and Cultural Industries and Institutions recently called for submissions to address five Terms of Reference (TOR).
Ausdance National responded by directly addressing the TOR from a dance perspective, adding extensive references by Dr Anja Ali-Haapala to support the submission.
Terms of Reference
The direct and indirect economic benefits and employment opportunities of creative and cultural industries and how to recognise, measure and grow them.
Employment and economic benefits of the creative and cultural industries have already been comprehensively measured by the Cultural Ministers’ Council via the Australian Bureau of Statistics, the Australia Council and in A New Approach Insight Reports 1, 2, 3, 4 and 5, although studies have still been limited by the current level of recognition of roles and employment models in the arts.
Australia is without a Federal Government arts policy. Endorsement and meaningful support of First Nations arts and cultural activity must be central to a new arts policy to preserve their cultural knowledge and storytelling, and ensure the safety of First Nations Peoples. Without them we have no cultural, creative or innovative future, or any clearly-articulated Australian cultural identity. Policy at a federal level needs to provide clear vision to achieve recognised goals of national importance.
Creating further opportunities in a growth industry and reaping the benefits of the resulting economic growth must rely on inclusive government policies that:
- Acknowledge the arts and cultural industries as significant contributors to Australia’s health and wellbeing;
- Acknowledge all sectors of the arts – and particularly First Nations artists – as being significant contributors, and include the unique cultural diversity of industry ecosystems in a multicultural society;
- Acknowledge the arts and cultural industries as being worthy of significant investment as drivers of the economy (both directly and indirectly).
- Eliminate the regressive efficiency dividend on cultural institutions;
- Acknowledge the arts and cultural industries as requiring significant and inclusive vision in policy and long-term strategic planning across all levels of government and across departmental divides;
- Acknowledge the interconnectedness of the education and training sectors – from local dance studio businesses, to arts in schools, communities and professional arts training institutions – when considering the arts policy ecosystem.
- Acknowledge artists as legitimate workers and contributors rather than as hobbyists by recognising the Australian Taxation Office’s definition of a professional artist through the following business indicators in TR2005/01, i.e.
34. This business indicator may be demonstrated in a number of ways, for example:
- industry and peer recognition as an artist;
- qualifications (or equivalent experience as apparent from an artist's portfolio or body of work) typical of those in the relevant industry sector. (In some sectors of the arts industry formal qualifications are the norm. In others, especially in new and emerging types of art, it would be less usual for an artist to have any formal qualifications);
- public recognition as an artist (for example, is the taxpayer described as such in the media? Is their opinion as an artist sought by the public? Is their art work used by others as examples for teaching purposes?);
- meeting the eligibility and selection criteria for grants, awards and professional opportunities (for example, residencies) open to artists in the relevant industry sector (for example, individual applicants for grants from the Australia Council must be able to demonstrate that they are identified and recognised by their peers as a practising artist; in addition, the selection criteria for all grants from the Australia Council requires applicants to provide evidence of detailed planning and ability to execute the proposed project);
- appointment to a position being contingent on the person's status as an artist (for example, being offered a position as a resident artist; where a teaching position is based on the employee's status as a professional writer; being appointed as a member of relevant boards or committees);
- memberships of professional associations, including unions (that is, does the taxpayer's industry sector have any organisations that are dedicated to serving the professional needs and interests of artists? If so, is the taxpayer a member?);
- reputation building in a manner consistent with others in the relevant industry sector;
- methods of application and time commitment to activity consistent with others in the relevant industry sector; and
- obtaining the advice or services of an agent, manager, legal or financial adviser, if it is common in the taxpayer's industry sector.
The non-economic benefits that enhance community, social wellbeing and promoting Australia's national identity, and how to recognise, measure and grow them
As noted in our response to Arts Minister, the Hon. Paul Fletcher, about the $250m arts funding package announced three months ago (and still to be distributed), ‘Unless outputs from the whole dance sector are maximised, many interacting or benefiting arts and non-arts business economies will be negatively affected. These include but are not limited to:
- First Nations independent artists
- Disability and regional sectors
- Mental health initiatives
- Multicultural organisations and projects
- Physical health management
- Creative capacity building
- Tourism and hospitality sectors.’
Ausdance is not resourced to measure these outputs, but many large government-funded organisations such as the ABS, the Australia Council and the Department of Communications & the Arts are available to take on this work if properly resourced. The work of Dr Jackie Bailey and the BYP group is also relevant here.
Accumulating research provides evidence that dance improves quality of life (see appendix for a list of recent academic, empirical studies). This is important work performed by the academic dance sector that is vital for maintaining high standards and relevant applications of process, engagement and delivery of dance to improve quality of life. This work is currently under threat from decreased university funding and fee increases.
The best mechanism for ensuring cooperation and delivery of policy between layers of government
The following questions are not easily answered without cooperation between layers of government:
- What do the Covid-affected dance studio sector and the tertiary dance training sectors have in common?
- Where do they fit into the Australian dance ecology?
- Why are they not included in arts policy and funding strategies?
- And why are they not recognised as integral to the wider dance industry by politicians and policy makers?
Ausdance Victoria’s Covid-19 Business Impact Survey (focusing on dance studios), and the Federal Government’s increase in tertiary fees in the Creative Arts illustrate the lack of understanding of the centrality of dance education and training to the Australian dance ecology, i.e. the training sector and the performance/creative sectors contribute to employment for both. Training is about making students ‘job ready’, providing the skills for them to forge new ground. Education and training do not happen in isolation but through the integration of the sectors.
Arts ministers, advisors, bureaucrats and other arts spokespersons must start to recognise that studio, school and tertiary dance education sectors are integral to the success of the wider dance ecology. The success of these sectors fuels the success of other, but our current world-class dance companies, performers, teachers and dance makers will continue to lose ground as they struggle to survive in a growing policy and funding deficit environment, increasingly seen as irrelevant by governments whose leaders see no votes in the sector.
Graduates are indeed job ready for careers in dance but there is room for expanding dance training to contribute to broader ‘job readiness’ in the future. The skills learned through dance are transferable and sought after in many careers outside the dance industry, as evidenced by the Australian Institute of Sport and Ausdance’s SCOPE for Dancers project, proving that dance skills have so many applications in other industries. As already evidenced in this project, recognising this and increasing funding to take advantage of dance artists’ training, would prove more effective for future employment of dance artists.
Our submission to the Senate Inquiry into the Government’s Higher Education Support Amendment Bill 2020 notes that –
Australia's arts industry is already in a precarious situation as a result of severely reduced government investment in artistic practice (as opposed to the ‘billions’ it invests in galleries, libraries and museums). There is also a complete lack of industry-based public policy.
Immediate consideration must also be given to:
- Enhanced tax incentives to motivate private giving and investment in artworks and industry development.
- Removal of the efficiency dividend on small-agency cultural institutions.
- Prioritising artistic, creative and cultural outputs (including processes as well as products).
- Relief for lease-holders in both government-owned and private tenancies well into 2021 to enable continued creativity and innovation whilst minimising unnecessary risk.
- Investment in a public campaign to rebuild confidence in the dance and arts sectors, all of which are heading into a very uncertain year in 2021.
- Expanding JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term contracts who have worked consistently in the 12 months prior to COVID-19, but who have had multiple employers.
- Providing employers in the dance sector the flexibility to determine levels of JobKeeper pay equal to the casual employment contract suitable for project work.
- Extend JobKeeper beyond March to support dance businesses (including sole traders) who face ongoing disruption and impact on sustainability due to COVID-19.
- Adding direct financial investment to the current package to include support for restarting business activities (including generating live performance outcomes) for micro and small dance businesses. This means prioritising further continued support to rebuild the dance sector, so severely impacted by COVID-19.
- Continuing to engage with dance sector representatives across the dance industry, including peak organisations such as Ausdance and BlakDance, to inform equitable and relevant policies of support and assistance for the whole dance sector.
The impact of COVID-19 on the creative and cultural industries
The Australia Council for the Arts
We are particularly concerned about the Australia Council’s reduced capacity to respond adequately to recovery of the arts sector into 2021, leaving many small companies, independent artists and organisations’ activities unsupported in an already-diminished funding environment.
As the Federal Government’s own peak arts funding and advisory body, the Australia Council’s funding must be substantially increased – many in the arts community are calling for its funding to be doubled (a proposal we support). Its present funding levels deprive it of being able to deliver on its charter to ‘support Australia’s arts through funding, strengthening and developing the arts sector’ and is leaving a huge pool of ‘unfunded excellence’ without support, well documented already by the Council.
The dance ecosystem is inter-dependent, and the Council must be adequately funded to strengthen and develop it. Policy settings should recognise that different dance sectors serve different purposes, from the major dance companies to youth dance companies, First Nations performers, independent artists, community dance practitioners across regional Australia, school and studio teachers, choreographers and producers.
The results of the Australia Council’s four-year funding for small to medium dance companies earlier this year highlighted the ongoing losses sustained by this sector of the dance profession. Only eight small dance companies and organisations in Australia are left with the ability to employ staff, plan for the future and create new work, while four other highly-regarded companies are left hanging by a thread, with one-year ‘transitional funding’.
The demise of companies such as Restless Dance and Tracks Dance will remove visibility and support for disability, remote and regional First Nations communities, and loss of employment, mental health and education opportunities in their communities.
Recognition that increased Australia Council funding is an investment in our future, and will be part of the recovery solutions, is vital. It is self evident that 2021 will require more than a thinly-spread Council funding strategy for the arts and cultural sectors to re-emerge as viable creative industries and important drivers of innovation and new thinking.
The dance industry’s loss of all self-generated income, and its inability to survive long months of shut-down and the road to recovery, is of major concern. Months of shut-down and an indefinite and unclear road to recovery place the dance industry’s future in limbo. It’s difficult to plan forward and restrictions to business operations are limiting self-generated income streams.
There needs to be much more recognition of creative and cultural outputs to include processes and services as well as products. As a very big service industry, dance contributes significantly through the services provided directly and indirectly to communities. The positive degree to which this contribution impacts the daily lives of Australians and the subsequent savings made due to improved quality of life need further investigation to realise the value provided.
Employment of dance practitioners
Dance practice has largely been ignored during the Covid crisis, or confused with gyms, boot camps, fitness studios etc., leaving artists, companies and studio teachers without clear direction about the future of their arts businesses or even about their Covid-safe plans (acknowledged here as often jurisdiction-based regulations).
While JobKeeper supports individual jobs, resources are also needed to support the business costs involved in carrying out the multifarious projects those workers undertake to maintain a living wage. Freelance dance professionals, without any safety net, are therefore struggling to remain in an industry in which they are an essential element.
The business activities carried out by casual freelance professionals and micro and small dance businesses fulfil integral roles that support the business activities of the currently identified ‘sector significant organisations’. These are activities the ‘sector significant organisations’ are not positioned to undertake, but which are necessary to ensure effective, productive functioning of the dance ecology.
Dance performance companies report extremely limited activities in 2020, with most in the small to medium dance sector unable to function at all as viable businesses. While some small businesses have been able to pivot their offerings (e.g. shifting dance classes online via Zoom), others have found it either unprofitable or an unsatisfactory way of teaching and learning in dance, an intensely physical artform requiring close supervision in order to comply with Safe Dance regulations.
Larger companies are reporting significant inroads into their reserves, unable to take risks without adequate guarantee against loss insurance, and the cancellation of almost all public classes which usually help to generate income, apart from the relatively few Zoom classes possible. Box office returns are almost nil because of social distancing requirements, and there have been significant losses with pre-paid bookings having to be returned to audiences. Philanthropic support has also almost dried up this year. However, companies have all reported that JobKeeper has kept them afloat, at least for now.
Supporting other sectors to carry out their roles will improve the outputs made by the industry at large. The rest of the industry isn't inferior to the major companies – practitioners in the small to medium and community arts sectors are not aiming to do the same things, but if they are, they do so for different purposes or for different populations.
Private dance businesses, schools and tertiary institutions
Dance studio businesses number in their thousands in Australia, and the Ausdance Victoria impact survey found that millions of dollars had been lost in Victoria alone with forced closures, and yet most were not eligible for government assistance. As the report notes:
Most commonly, studios have only been able to access JobKeeper for the owner, part-time and full-time staff, leaving 80% of workers in the sector unsupported.
And –
92% of respondents expressed concern about their business surviving until the end of March 2021. … If these businesses collapse, thousands of independent dance artists and associated workers will lose their primary sources of income, and the cumulative effect on local economies, such as performance venues, dance suppliers, and related retailers, will be exponentially catastrophic.
As well as the financial impact, the role of dance studios in communities, the value of their work with young people (including artistic, physical, social and educational), and the impact of Zoom teaching as an unsatisfactory substitute for face-to-face teaching are important factors in considering the impact of Covid-19 on this sector.
Avenues for increasing access and opportunities for Australia's creative and cultural industries through innovation and the digital environment.
Dance is a highly-intensive physical activity that requires face-to-face creation, rehearsal, community participation and performance. While the digital environment is an important builder of audiences, its implementation is usually available to better-resourced companies.
There is a strong imperative to build incentives and funding for businesses (micro to major) to enable greater access to to their operations and business models. Digitisation of creative and cultural operations will require such incentives.
Live operations also need training and support to digitise their assets to improve access, e.g. language translations, closed captioning, physical infrastructure, support for workers with expertise, training for staff awareness and practical implementation, and opportunities to engage differently with sensory design elements etc. This design knowledge will be useful and valuable beyond the arts industry.
Change language around ‘support’ to acknowledge the full value of contributions being made by all parties. Activities facilitated by the artist are ‘supported’ rather than ‘supporting’ artists themselves. Benefits extend both ways, but this reciprocal value is rarely acknowledged.
Change trickle-down models of support, recognising the unique functions of different levels and parts of the industry and the different processes that will aid their functioning effectively, then design new support models that enable these processes to occur.
Decentralise of infrastructure: The majority is metropolitan centric, but investment in local infrastructure, including new regional hubs to attract business, making places desirable.
Create venues that allow smaller scale productions and activities to support innovation in delivery, including digital formats, significantly improving visibility of the small to medium dance sector, including the large cohort of professional community dance practitioners.
Overhaul industry awards to acknowledge new roles, working across all industries to improve conditions specifically for casual workers and contractors who have been least supported during the pandemic.
Restore ABS collection methods to reflect professional artists, teachers and other arts workers whose 'primary job' is an arts occupation, not always their primary source of income.
Further recommendations:
- Develop a federal Arts policy that endorses meaningful support to First Nations artists, and acknowledge the unique cultural diversity of industry ecosystems in a multicultural society as being significant contributors.
- Incorporate First Nations knowledge to develop business protocols and plan creative activities that recognise and grow visibility of First Nations people and culture.
- Substantially increase the Australia Council’s funding, as the Federal Government’s own peak arts funding and advisory body, so that it can deliver on its charter to ‘support Australia’s arts through funding, strengthening and developing the arts sector’.
- Diversify funding options and integrate arts incentives across government portfolios to provide more opportunities for creative and cultural partnerships that also aid government priorities.
- Improve the scope of business-related support to include micro businesses and improve stability and sustainability for workers in the dance industry. Acknowledge the arts and cultural industries as being worthy of significant investment beyond mere sustenance.
- Acknowledge the interconnectedness of the education and training sectors – from local dance studio businesses, to arts in schools, communities and professional arts training institutions – when considering the arts policy ecosystem.
- Eliminate the regressive efficiency dividend on cultural institutions following significant job losses and redundancies in these small agencies.
- Recognise the ATO’s definition of a professional artist through the business indicators in TR2005/01, i.e. acknowledge artists as legitimate workers and contributors rather than as hobbyists.
- Provide enhanced tax incentives to motivate private giving and investment in artworks and industry development.
- Provide specific support for creativity and innovation of arts in digital spaces.
- Invest in a public campaign to rebuild confidence in the dance and arts sectors, all of which are heading into an uncertain year in 2021.
- Expand JobKeeper eligibility criteria to include casual freelance dance professionals employed on short-term contracts who have worked consistently in the 12 months prior to COVID-19, but who have had multiple employers.
- Extend JobKeeper beyond March to support dance businesses (including sole traders) who face ongoing disruption and impact on sustainability due to COVID-19.
APPENDIX
Dance improves quality of life: Evidence
There is vast amount of research that indicates dance and dance therapy contribute to quality of life, across mental, cognitive, physical, social and identity domains. The research to date has reported these positive findings for specific populations, including people living with:
- Chronic heart failure
- Chronic back pain
- Dementia
- Depression
- Fibromyalgia
- Hypertension
- Intellectual disability
- Macular degeneration
- Multiple sclerosis
- Parkinson’s disease
- Visual impairment
People experiencing/going through:
- Cancer treatment, cancer survivors and partners
- Cochlea implant rehabilitation
- Obesity and being overweight
- Stroke recovery
People who identify as:
- Elderly
- Ethnic minority groups
- Independent older adults
- Middle-aged people, women in particular
- Primary and secondary-aged school children
Therefore, dance and dance therapy can increase quality of life for people in diverse life circumstances. Additionally, a recent systematic review and meta-analysis reported that “undertaking structured dance of any genre is equally and occasionally more effective than other types of structured exercise for improving a range of health outcome measures. Health practitioners can recommend structured dance as a safe and effective exercise alternative” (Fong Yan et al., 2018).
References
This is a selection of recent academic publications. There are many more studies on dance’s impact on quality of life. Australian studies are highlighted.
Adam, Dina, Ayiesah Ramli, & Suzana Shahar. (2016). Effectiveness of a Combined Dance and Relaxation Intervention on Reducing Anxiety and Depression and Improving Quality of Life among the Cognitively Impaired Elderly. Sultan Qaboos University Medical Journal, 16(1), 47–53. https://doi.org/10.18295/squmj.2016.16.01.009
Allet, L., Müller-Pinget, S., Punt, I., Edelsten, C., Ballif, A., Golay, A., & Pataky, Z. (2017). Dance therapy combined with patient education improves quality of life of persons with obesity: A pilot feasibility study for a randomised controlled trial. Obesity Research & Clinical Practice, 11(1), 79–87. https://doi.org/10.1016/j.orcp.2016.03.005
Aguiar, L., Da Rocha, P., & Morris, M. (2016). Therapeutic Dancing for Parkinson’s Disease. International Journal of Gerontology, 10(2), 64–70. https://doi.org/10.1016/j.ijge.2016.02.002
Anttila E., Svendler Nielsen C. (2019) Dance and the Quality of Life at Schools: A Nordic Affiliation. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_19
Azevedo, L., Watson, D., Haighton, C., & Adams, J. (2014). The effect of dance mat exergaming systems on physical activity and health - related outcomes in secondary schools: results from a natural experiment. Bmc Public Health, 14(1), 951. https://doi.org/10.1186/1471-2458-14-951
Barnet-Lopez, S., Pérez-Testor, S., Cabedo-Sanromà, J., Oviedo, G., & Guerra-Balic, M. (2016). Dance/Movement Therapy and emotional well-being for adults with Intellectual Disabilities. The Arts in Psychotherapy, 51, 10–16. https://doi.org/10.1016/j.aip.2016.08.002
Bearss, K., McDonald, K., Bar, R., & DeSouza, J. (2017). Improvements in balance and gait speed after a 12 week dance intervention for Parkinson’s disease. Advances in Integrative Medicine, 4(1), 10–13. https://doi.org/10.1016/j.aimed.2017.02.002
Blandy, L., Beevers, W., Fitzmaurice, K., & Morris, M. (2015). Therapeutic Argentine Tango Dancing for People with Mild Parkinson’s Disease: A Feasibility Study. Frontiers in Neurology, 6(MAY), 122. https://doi.org/10.3389/fneur.2015.00122
Bognar, S., Defaria, A., O’Dwyer, C., Pankiw, E., Simic Bogler, J., Teixeira, S., Nyhof-Young, J., & Evans, C. (2017). More than just dancing: experiences of people with Parkinson’s disease in a therapeutic dance program. Disability and Rehabilitation, 39(11), 1073–1078. https://doi.org/10.1080/09638288.2016.1175037
Bräuninger, I. (2012). The efficacy of dance movement therapy group on improvement of quality of life: A randomized controlled trial. The Arts in Psychotherapy, 39(4), 296–303. https://doi.org/10.1016/j.aip.2012.03.008
Bräuninger, I. (2014). Dance movement therapy with the elderly: An international Internet-based survey undertaken with practitioners. Body, Movement and Dance in Psychotherapy: Special Research Issue, 9(3), 138–153. https://doi.org/10.1080/17432979.2014.914977
Bräuninger, I. (2014). Specific dance movement therapy interventions—Which are successful? An intervention and correlation study. The Arts in Psychotherapy, 41(5), 445–457. https://doi.org/10.1016/j.aip.2014.08.002
Brustio, P., Liubicich, M., Chiabrero, M., & Rabaglietti, E. (2018). Dancing in the golden age: a study on physical function, quality of life, and social engagement. Geriatric Nursing (New York), 39(6), 635–639. https://doi.org/10.1016/j.gerinurse.2018.04.013
Carapellotti, Anna M, Rebecca Stevenson, & Michail Doumas. (2020). The efficacy of dance for improving motor impairments, non-motor symptoms, and quality of life in Parkinson’s disease: A systematic review and meta-analysis. PloS One, 15(8), e0236820. https://doi.org/10.1371/journal.pone.0236820
Corrêa, J., F. A. Cunha, T. H. Pires, Giani T, M. A. Ferreira, & E. Dantas. (2010). Effects of distinct physical activity and meditation programs on quality of life and depression levels in active elderly women. European Journal of Human Movement, 23. https://doaj.org/article/f9f3ebb7e412492da372e011c944ffae
Crane-Okada, C., Kiger, L., Sugerman, R., Uman, R., Shapiro, R., Wyman-Mcginty, R., & Anderson, R. (2012). Mindful Movement Program for Older Breast Cancer Survivors: A Pilot Study. Cancer Nursing, 35(4), E1–E13. https://doi.org/10.1097/NCC.0b013e3182280f73
Cruz Banks O., Jackson J. (2019) West African Dance and Spiritual Well-Being for African Americans. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_6
Dos Santos Delabary, M., Komeroski, I., Monteiro, E., Costa, R., & Haas, A. (2018). Effects of dance practice on functional mobility, motor symptoms and quality of life in people with Parkinson’s disease: a systematic review with meta-analysis. Aging Clinical and Experimental Research, 30(7), 727–735. https://doi.org/10.1007/s40520-017-0836-2
Dunphy K., Ware VA. (2019) Dance and Quality of Life for Indigenous Communities in Australia. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_28
Fong Yan, A., Cobley, S., Chan, C., Pappas, E., Nicholson, L., Ward, R., Murdoch, R., Gu, Y., Trevor, B., Vassallo, A., Wewege, M., & Hiller, C. (2018). The Effectiveness of Dance Interventions on Physical Health Outcomes Compared to Other Forms of Physical Activity: A Systematic Review and Meta-Analysis. Sports Medicine (Auckland, N.Z.), 48(4), 933–951. https://doi.org/10.1007/s40279-017-0853-5
Foster, E., Golden, L., Duncan, R., & Earhart, G. (2013). Community-based Argentine tango dance program is associated with increased activity participation among individuals with Parkinson’s disease. Archives of Physical Medicine and Rehabilitation, 94(2), 240–249. https://doi.org/10.1016/j.apmr.2012.07.028
García, C. (2018). Intervention Program with Rhythmic and Choreographic Activities (PIAFARC) in Obese Adults According to Nutritional Monitoring. Apunts. Educació Física i Esports, 134, 156–156. http://search.proquest.com/docview/2136407590/
Goldstein-Levitas, N. (2016). Dance/Movement Therapy and Sensory Stimulation: A Holistic Approach to Dementia Care. American Journal of Dance Therapy, 38(2), 429–436. https://doi.org/10.1007/s10465-016-9221-5
Gomes Neto, M., Menezes, M., & Carvalho, V. (2014). Dance therapy in patients with chronic heart failure: a systematic review and a meta-analysis. Clinical Rehabilitation, 28(12), 1172–1179. https://doi.org/10.1177/0269215514534089
Hackney, M., & Bennett, C. (2014). Dance therapy for individuals with Parkinson’s disease: improving quality of life. Journal of Parkinsonism & Restless Legs Syndrome, 4, 17–25. https://doi.org/10.2147/JPRLS.S40042
Hackney, M., Byers, C., Butler, G., Sweeney, M., Rossbach, L., & Bozzorg, A. (2015). Adapted Tango Improves Mobility, Motor-Cognitive Function, and Gait but Not Cognition in Older Adults in Independent Living. Journal of the American Geriatrics Society, 63(10), 2105–2113. https://doi.org/10.1111/jgs.13650
Hackney, M., & Earhart, G. (2010). Effects of dance on balance and gait in severe Parkinson disease: A case study. Disability and Rehabilitation, 32(8), 679–684. https://doi.org/10.3109/09638280903247905
Hackney, E., Hall, D., Echt, V., & Wolf, L. (2012). Application of Adapted Tango as Therapeutic Intervention for Patients With Chronic Stroke. Journal of Geriatric Physical Therapy, 35(4), 206–217. https://doi.org/10.1519/JPT.0b013e31823ae6ea
Hackney, E., Hall, D., Echt, V., & Wolf, L. (2013). Dancing for Balance: Feasibility and Efficacy in Oldest-Old Adults With Visual Impairment. Nursing Research, 62(2), 138–143. https://doi.org/10.1097/NNR.0b013e318283f68e
Heiberger, L., Maurer, C., Amtage, F., Mendez-Balbuena, I., Schulte-Mönting, J., Hepp-Reymond, M., & Kristeva, R. (2011). Impact of a Weekly Dance Class on the Functional Mobility and on the Quality of Life of Individuals with Parkinson’s Disease. Frontiers in Aging Neuroscience. https://doi.org/10.3389/fnagi.2011.00014
Ho, R., Fong, T., Cheung, I., Yip, P., & Luk, M. (2016). Effects of a Short-Term Dance Movement Therapy Program on Symptoms and Stress in Patients With Breast Cancer Undergoing Radiotherapy: A Randomized, Controlled, Single-Blind Trial. Journal of Pain and Symptom Management, 51(5), 824–831. https://doi.org/10.1016/j.jpainsymman.2015.12.332
Houston S., McGill A. (2019) Understanding Quality of Life Through the Experiences of Dancers with Parkinson’s. In: Bond K. (eds) Dance and the Quality of Life. Social Indicators Research Series, vol 73. Springer, Cham. https://doi.org/10.1007/978-3-319-95699-2_16
José Alípio Garcia Gouvêa, Mateus Dias Antunes, Flavio Bortolozzi, Andrea Grano Marques, & Sônia Maria Marques Gomes Bertolini. (2017). Impact of Senior Dance on emotional and motor parameters and quality of life of the elderly. Rev. RENE, 18(1), 51–58. https://doi.org/10.15253/2175-6783.2017000100008
Kiepe, M., Stöckigt, B., & Keil, T. (2012). Effects of dance therapy and ballroom dances on physical and mental illnesses: A systematic review. The Arts in Psychotherapy, 39(5), 404–411. https://doi.org/10.1016/j.aip.2012.06.001
Klink, B., Praetorius, M., Roder, S., & Hintermair, M. (2014). Dance projects as an integral part of CI rehabilitation and their impact on mental health: a pilot study. HNO, 62(7), 530–535. https://doi.org/10.1007/s00106-014-2866-9
Koch, S., Kunz, T., Lykou, S., & Cruz, R. (2014). Effects of dance movement therapy and dance on health-related psychological outcomes: A meta-analysis. The Arts in Psychotherapy, 41(1), 46–64. https://doi.org/10.1016/j.aip.2013.10.004
Koch, S., Mergheim, K., Raeke, J., Machado, C., Riegner, E., Nolden, J., Diermayr, G., Von Moreau, D., & Hillecke, T. (2016). The Embodied Self in Parkinson’s Disease: Feasibility of a Single Tango Intervention for Assessing Changes in Psychological Health Outcomes and Aesthetic Experience. Frontiers in Neuroscience, 10, 287. https://doi.org/10.3389/fnins.2016.00287
Kontos, P., Miller, K., Colobong, R., Palma Lazgare, L., Binns, M., Low, L., Surr, C., & Naglie, G. (2016). Elder-Clowning in Long-Term Dementia Care: Results of a Pilot Study. Journal of the American Geriatrics Society, 64(2), 347–353. https://doi.org/10.1111/jgs.13941
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