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Validity and reliability of a commercially available inertial sensor for measuring barbell mechanics during weightlifting
Get PDFThis study aimed to assess the validity and reliability of a commercially available inertial measurement unit (Enode) for measuring barbell kinematics and kinetics during a snatch. In order to assess validity and within- and between-session reliability, thirteen competitive weightlifters conducted two snatches on two separate occasions at 85% of their one-repetition maximum. The Enode sensor was attached to the barbell, with each lift recorded via the device’s native application concurrently with an 11-camera motion capture system. Passing–Bablok regression indicated fixed and proportional bias in some horizontal measures of barbell mechanics but showed no bias in all but one vertical variable. Collectively, this suggests that the Enode is a valid tool in the measurement of vertically derived, but not horizontally derived, variables from barbell kinematics. Within- and between-session reliability showed moderate to excellent ICCs, with trivial to small differences between repetitions and between sessions. However, between-session reliability showed lower levels of variability and, thus, may help coaches identify changes in technique over time (between sessions) with good accuracy. Overall the Enode offers a practical and affordable option for coaches seeking to monitor weightlifting technique in training environments
Relationship between kinetic and kinematic measures of the countermovement jump and national weightlifting performance
Get PDFPurpose: The association between vertical jump and weightlifting performance have been well established often using discrete performance measures such as jump height or peak power which provides little insight into temporal strategies. The purpose of this investigation was to identify currently unassessed temporal countermovement jump metrics and their reliability and relationship to national weightlifting performance. Methods: A total of 42 national weightlifting athletes (n = 30 female and 12 male), were recruited for this study. Countermovement jump was measured using a force plate following a national and international competition. Vertical ground reaction force and time data were analyzed using a custom script where temporal metrics relating to specific phases of the jump were extracted. Snatch, Clean and Jerk and Total weightlifting performance was obtained following each competition. Reliability of jump metrics were determined using coefficient of variation and interclass correlation coefficient. A Spearman’s Rho, non-parametric bivariate correlation was used to determine the relationship between the jump metrics and weightlifting performance. Results: From a total of 15 metrics, were deemed reliable, with propulsive impulse showing the greatest level of reliability. Correlational analysis showed strong to very strong (r = 0.676 – 0.817) relationships between all absolute measures of weightlifting performance and propulsive impulse for both women and men. Conclusion: This novel finding suggests that practitioners may wish to use propulsive impulse as it may provide more insight into changes of force capabilities following training. Additionally, it may also be used as a talent identification tool given its strong relationship to performance
“I think most people feel like healthcare professionals tell them to take their treatments and judge them for not taking them”: Reflexive thematic analysis of the views of adults with cystic fibrosis on how treatment adherence is discussed in healthcare
Get PDFObjective
Previous research exploring patient-practitioner communication in relation to adherence in cystic fibrosis (CF) is limited. This UK study explored the views of adults with CF on how treatment adherence (related to all CF treatments) is discussed in routine CF care.
Methods
12 White British adults (ten females; aged 20-37 years; mean 30.1 years) with CF participated in semi-structured interviews.
Results
Three overarching themes were developed through reflexive thematic analysis: 1) ‘The power of language’; 2) ‘Health professionals do not recognise the importance of context’; and 3) ‘‘Admitting’ non-adherence is difficult’.
The way in which adherence is discussed in adult CF care is viewed as paternalistic and infantilising. Participants reported that healthcare professionals do not always consider the desire to balance treatment-taking with living a normal life. Unwelcome responses from healthcare professionals, and the inability to accurately self-report the amount of treatment taken made it difficult to ‘admit’ non-adherence.
Conclusions
A culture change is needed in CF care such that people who struggle to take their treatments are not labelled as disobedient, wilfully disobeying orders from healthcare professionals in positions of authority. Instead, an open, honest, non-judgemental approach, as recommended by healthcare agencies for over a decade, should be adopted
Language, self-esteem, and academic achievement: mature students’ emotionally incited stories
Get PDFThrough empirical evidence we have found that female students reflect their emotions through the language they use. This paper examines responses of 24 adult female students in higher education on Early Childhood Studies (ECS) programmes. It draws on qualitative interview data from a recent research project and interactions in meetings. The aim of the research was to determine the views of students on perceived benefits of higher education to their early childhood, education, and care (ECEC) practice in a sector that is notoriously low paid and carries low status. The research was undertaken in a further education (FE) college on the Isle of Wight in England to establish the impact of HE in childhood studies. What started as research into early years policy morphed into a very unexpected and emotional response. The language used also revealed the insecurities and lack of confidence of this student group as they embarked on, and during their time as students in HE. Our experience as professionals working in higher education, is that adult female students can express their levels ambition (or lack of) through their language, especially where they feel they do not really belong in higher education, and where their prospects of success are tempered by their view of themselves and their perceived ability
How does learning space shape students’ experience of a bespoke Higher Education bridging module for those affected by homelessness?
Get PDFThis paper draws on findings from the From Adversity to University project, a unique widening participation initiative developed by one university to support a diverse range of people into Higher Education through engagement with a 12-week bridging module. This small-scale case study presents an in-depth exploration of how learning space shaped students’ experience of a bridging module during the COVID-19 pandemic. Space is conceptualised through a theory of embodied cognition which recognises the complexity of social, cultural, and cognitive inter-relations between space and students’ learning experience. An interpretative narrative methodological approach was taken, drawing on the Listening Guide [LG]. Semi-structured interviews were carried out with five students who completed the bridging module during the start of the COVID-19 pandemic. All had been affected by homelessness and most were in recovery from alcohol and/or drug addiction. For all participants, there was a complex and dynamic interconnectivity between learning spaces and their experience of the bridging module. The findings demonstrate for the five students how learning spaces (including the flexibility of the space) contributed to participants’ sense of belonging, recovery from drugs and alcohol addiction, mental health and well-being. Implications of the study point towards the need for further research into the connection between learning space and the creation of a sense of belonging particularly for students from marginalised group
Acting our age
No full textActing Our Age
An Israeli-UK co-production choreographed by Yael Flexer and Galit Liss with an intergenerational cast of performers between the ages of 24-77, the work toured to various venues in Israel and the UK including SouthEast Dance, Hull Dance and The University of Chichester’s ‘What Dance Can Do’ conference, May 2023.
Acting Our Age is interested in performers’ relationship to dance and the stage at different points in their lives. Through the lens of the world of dance in which Liss and Flexer operate, they examine the way in which age and ageing is experienced by the dancing body subjectively, phenomenologically and socio-politically (Amans 2013, Early 2013, Farmer et al 2022, Houston 2013, Houstoun 2012).
The research process delved into performers’ ongoing experiences as well as specific dances that formed their professional and personal identity. The work re-visits and references performers’ past works drawing on the body as a living archive at once personal and collective (Vionnet 2018, Carlson 2006). On-stage performers play with notions of age and identity and at times refuse to ‘act their age’. Moving between personal narrative, movement improvisation, and play the work brings to the fore questions such as: what memories are retained in the body? What is ‘danceable’? (Laermans 2015, French 2022) What is the dancers’ relationship to their changing body? What is our relation to dance and the stage in the present moment? And what is the role of the choreographer in establishing an ethics of care?
The research brings to the fore an inclusive choreographic methodology that priorities somatic and ethical values in teaching and creative practice (Barbour 2016) developing specific and detailed improvisational tasks and scores that establish an individuated and collective movement vocabulary alongside a recognisable choreographic aesthetic that is attuned to the ageing body in performance (Liss 2023, Maliphant 2020, Falmer et al 2022).
Impact and research environment
Acting Our Age activity also included work with over 3000 community and 60+ participants including online and in-studio ‘Acting Our Age’ classes conducted by Flexer & Sandiland’s artistic director Dr. Yael Flexer, and company dancers and teachers Luke Birch, Fiona Millward, Julie Ann-Minaai, Aya Kobayashi, Dr. Karen Da Silva and Hannah Martin and classes taught in Israel including Teachers’ Insets run by Bikurei Haitim, Tel-Aviv Dance Centre and, 60+ members of Galit Liss’s School for mature women. In addition, Yael Flexer curated ‘What Dance Can Do’ a one day symposium at The University of Chichester on intergenerational dance and work with 60+. The day included talks, workshops and performances of Acting Our Age as well as a community platform for intergenerational and 60+ community groups. Inviting guest speakers and workshop leaders included Dr. Sara Houston, Helen Laws & Stella Eldon (Russel Maliphant company & Encore East), Louisa Petts, David Farr (Bright Shadow-Dementia), Galit Liss, Luke Birch (Damn Fine Dance) as well as University of Chichester lecturers Virginia Farman and Jason Keenan-Smith (Three Score Dance). In addition Flexer & Sandiland have released Youtube tutorials based on Acting Our Age funded by Arts Council England and free to the general public targeting 50+ community participants.
Community engagement and research environment
Acting Our Age activity also included work with over 3000 community and 60+ participants including online and in-studio ‘Acting Our Age’ classes conducted by Flexer & Sandiland’s artistic director Dr. Yael Flexer, and company dancers and teachers Luke Birch, Fiona Millward, Julie Ann-Minaai, Aya Kobayashi, Dr. Karen Da Silva and Hannah Martin and classes taught in Israel including Teachers’ Insets run by Bikurei Haitim, Tel-Aviv Dance Centre and, 60+ members of Galit Liss’s School for mature women. In addition, Yael Flexer curated ‘What Dance Can Do’ a one day symposium at The University of Chichester on intergenerational dance and work with 60+. The day included talks, workshops and performances of Acting Our Age as well as a community platform for intergenerational and 60+ community groups. Inviting guest speakers and workshop leaders included Dr. Sara Houston, Helen Laws & Stella Eldon (Russel Maliphant company & Encore East), Louisa Petts, David Farr (Bright Shadow-Dementia), Galit Liss, Luke Birch (Damn Fine Dance) as well as University of Chichester lecturers Virginia Farman and Jason Keenan-Smith (Three Score Dance). In addition Flexer & Sandiland have released Youtube tutorials based on Acting Our Age funded by Arts Council England and free to the general public targeting 50+ community participants.
Credits:
Choreographers: Yael Flexer & Galit Liss
Composer: Karni Postel
Dramaturge: Nataly Zukerman
Performers: Luke Birch, Sarah Dagan, Yael Flexer, Corrie McKenzie, Fiona Millward (Orit Gross, & Tirtza Shpanauff-Many original cast)
Original Lighting: Rotem Alroy
Creative Producers: Lou Rogers & Alina Feldman
Photos: Eli Passi
Funding & in-kind support: Arts Council England, South East Dance, Hull Dance and The University of Chichester, The Association of Choreographers, Kelim Choreographic Centre, and Tzahalla Community Centre, Israel
‘Memories from the forgotten frontline.’ Social worker’s reflections on shifting practices of work, home and belonging during Covid-19
Get PDFThis article documents a creative and participatory research project with social workers that took place online during the Covid-19 pandemic. 33 social workers contributed images and captions to one or more of the four project themes: (1) Belonging and Connection; (2) Health and Wellbeing; (3) Home and Away; and (4) Loss and Change. The website became a digital archive of the contributions and a physical exhibition also took place to provide further opportunities for reflection. Contributions together demonstrate shifting subjectivities and everyday practices of social work professionals during this time: there were new possibilities for leisure, exercise, creativity, and self-care, held alongside challenging experiences of isolation, increased regulatory practices, and premature loss As such, the article is revealing of the human stories of everyday life in the pandemic, documenting changing social worker practices of work, home, and belonging
Imagining otherwise
No full textDevised by Digital Artist Nic Sandiland and choreographer Yael Flexer together with company dancers, Imagining Otherwise is an immersive interactive digital dance work for five dancers. It reflects on our experiences of parallel time zones, places and lives; exploring the idea of multiple stories and possibilities, inspired by Doreen Massey’s writing on space ‘space is the dimension of things being, existing at the same time: of simultaneity’ (Massey, 2013:1).
The research examined notions of sensuous or ‘felt’ geographies’ and ‘kinaesthetic encounter’ (Rubidge 2014:27) developing a somatically responsive improvisational choreographic methodology alongside work with interactive motion detection and projection. The research drew on contact improviser and dance theorist Nita Little notions of improvisation as ‘a bodymind environment [and] ecology in motion’ (Little 2014:251) as well as dance theorist and practitioner Vida Midgelow’s consideration of Bridotti’s nomadism in the context of improvisational dance which frequently employs images and terms referencing geography, terrains, journeys and connectivities embodying nomadic concepts (Midgelow 2012:1). In the work, immersive digital floor projections, shaped and changed by the dancers’ movement evoke shifting organic landscapes. The choreography employs an action/reaction aesthetic in which the dancers are continually responsive, mapping their inner somatic sensations and ‘calls’ (Little 2021) negotiating the changing spatial relations between them, in relation to the projection seen as ‘an integral performative agent’ (Rubidge 2014: 38) and in relation to the audience enveloping the performance space.
Digitally, interactive imagery akin to live charcoal drawing, flickering images of real and imagined islands alongside borderless inverted world maps, using height mapping systems, disrupt visual representations of space and highlight notions of migration, transience, mark-making and erasure. These are amplified by spoken text written by Wendy Houstoun emphasising a sense of dislocation and deterritorialized identities also echoing the lived experience of some of the professional dancers in the work.
Impact and research environment
Imagining Otherwise activity also included work with over 1000 community and 60+ participants through online ‘Acting Our Age’ classes conducted by Flexer & Sandiland’s artistic director Dr. Yael Flexer, and company dancers and teachers drawing directly on the Imagining Otherwise research. In addition, Flexer & Sandiland company worked with over 300 youth (Centre of Advanced Training students), HE students in Stavanger, Chichester and at London Contemporary Dance School as well as professional dancers teaching workshops based on the research as well as ‘re-imagining’ creating new iterations of Imagining Otherwise at Stavanger University, Norway, The Place, London and Dance East (where the full company work was also performed-see below). Furthermore Flexer & Sandiland have released YouTube tutorials based on Imagining Otherwise funded by Arts Council England and free to the general public targeting youth, university students, dance teachers and professionals.
Credits
Concept: Nic Sandiland & Yael Flexer
Interactive and visual design: Nic Sandiland
Choreography: Yael Flexer & the performers including original cast (Julie-Ann Minaai & Cher Nicolette Ho)
Rehearsal Director: Julie-Ann Minaai
Performers: Luke Birch, Lorna Cross Clark, Gabrielle Macalister, Andrea Madore, Corrie McKenzie, Yael Flexer
Writing: Wendy Houstoun
Music: James Keane
Text direction: Pete Phillips
Lighting Design
Production management: Natalie Rowland
Costume Design: Rosalind Noctor
Producer: Lou Rogers
Funding & in-kind support: Arts Council England, South East Dance, research fund-University of Stavanger, Norway & The Universities of Chichester & Middlesex.
Performances: In-progress & complete
2021 Streaming Premiere, YouTube
2021 Varen, Randaberg, Norway
2022 Dance Theatre Space, University of Chichester
2022 The Place Theatre, London Contemporary Dance School, re-staging
2022 Dance East, C.A.T students re-staging
2023 Worthing Theatres
2023 Dance East
2024 Exeter Phoenix
2024 Motus Festival
2024 Black Miners Institute
2024 Dreamy Place Digital Festival, South East Dance
2024 JW3, Londo
From expert (?) to novice and back again...
Get PDFResponding to a call for articles on ‘…journeys of creativity from novice to expert…’ I reflected that my early workplace experience had this journey the other way around in that it might be argued I began with more expertise as a creative practitioner and then lost the opportunity to use my creativity before finding it again. This raised the question of what is important for creativity – our level of experience/expertise or the affordances we have to act creatively emphasising and how much the wider context of our work matters.
As an art student in the 1990s, where creativity was central to my practice, those years provided a formative experience. But after graduating, my ‘first career’ slowly eroded much of my creativity, despite being in the domain of theatre, film and television (ironically part of the creative industries), because commercial pressures overwhelmed my ability to practice creatively. The nadir was reached while working in a small engineering business undertaking diverse projects, each holding creative potential but the daily reality was ensuring the business was not loss-making.
This short personal narrative paper is in two parts. First, I briefly highlight three incidents that re-energised my creativity, before discussing in part 2, three simple activities I use in my current classroom practice to encourage students to use their imagination and creativity
Arthroscopic vs. Open-Ankle Arthrodesis on Fusion Rate in Ankle Osteoarthritis Patients: A Systematic Review and Meta-Analysis
Get PDFAlthough open surgery is the conventional option for ankle arthritis, there are some reports in the literature regarding the use of the arthroscopy procedure with outstanding results. The primary purpose of this systematic review and meta-analysis was to analyze the effect of the surgery technique (open-ankle arthrodesis vs. arthroscopy) in patients with ankle osteoarthritis. Three electronic databases (PubMed, Web of Science, and Scopus) were searched until 10 April 2023. The Cochrane Collaboration’s risk-of-bias tool was used to assess the risk of bias and grading of the recommendations assessment, development, and evaluation system for each outcome. The between-study variance was estimated using a random-effects model. A total of 13 studies (including n = 994 participants) met the inclusion criteria. The meta-analysis results revealed a nom-significant (p = 0.072) odds ratio (OR) of 0.54 (0.28–1.07) for the fusion rate. Regarding operation time, a non-significant difference (p = 0.573) among both surgical techniques was found (mean differences (MD) = 3.40 min [−11.08 to 17.88]). However, hospital length stay and overall complications revealed significant differences (MD = 2.29 days [0.63 to 3.95], p = 0.017 and OR = 0.47 [0.26 to 0.83], p = 0.016), respectively. Our findings showed a non-statistically significant fusion rate. On the other hand, operation time was similar among both surgical techniques, without significant differences. Nevertheless, lower hospital stay was found in patients that were operated on with arthroscopy. Finally, for the outcome of overall complications, the ankle arthroscopy technique was a protective factor in comparison with open surgery