General Joint Hypermobility (GJH) is a common condition found in 2–57% of the population. Of thos... more General Joint Hypermobility (GJH) is a common condition found in 2–57% of the population. Of those with GJH, 10% suffer from accompanying physical and/or psychological symptoms. While the understanding of GJH in the general population is unfolding, its implication in a cohort of children, adolescents and young adults are not yet understood. This systematic review explored GJH’s prevalence, tools to measure it, its physical and psychosocial symptoms, with a special interest in aesthetic sports. The CINHAL, MEDLINE, PsycINFO, SPORTDiscus and Scopus databases were searched for relevant studies. Inclusion criteria were (1) Age range of 5–24; (2) Participants had GJH; (3) A measurement for GJH; (4) Studies written in English language. Study screening for title, abstract and full text (when needed) and quality assessment were performed by two independent individuals. 107 studies were included in this review and were thematically grouped into six clusters expressing different foci: (1) GJH...
Generalised Joint Hypermobility (GJH) is a heritable disorder of the connective tissue that can m... more Generalised Joint Hypermobility (GJH) is a heritable disorder of the connective tissue that can manifest as extreme range of motion in the joints and is associated with tissue fragility and injury. GJH is prevalent within classical ballet and is considered both an asset and health risk to the dancer. More recently within the general population links have also been made between GJH, anxiety disorders and poor body awareness. This research brings together three discreet yet interweaved studies that explore GJH within both vocational and professional dance environments. A mixed-methods design and a pragmatist approach was applied to this research which is situated within a biopsychosocial framework. Study one established reliable and stable measures between the researcher and an experienced clinician for the standardised Beighton categorisation of GJH. A sample of young dancers (n=10), randomly recruited from a larger group of young dancers (n=70) during their annual dance screen, were...
Lawyers are wordsmiths. We articulate rules and arguments, and although we tell generations of st... more Lawyers are wordsmiths. We articulate rules and arguments, and although we tell generations of students that contracts do not need to be in writing, we all know that the written version provides much sounder evidence of the terms if we wish to rely on them. Does this recognition, however, require us to rely so exclusively on text for our learning of the law? The etymological roots of “text” are concerned with weaving, from the Latin texere. To go beyond text may provide perspective, but it may also involve unravelling, and this deconstructive goal informs the writing of several of the authors in this volume. It challenges our reliance on text and provides both a theoretical foundation for the authors’ recommendations and examples of how art might be incorporated into legal learning to enrich it. It is a product of an Arts and Humanities Research Council (AHRC)-funded project (Beyond Text) which permitted a series of workshops in which the authors explored their ideas and understanding with others not necessarily involved in legal education. It is the first of two volumes, the second of which, due to follow shortly, is designed to be more theoretical. The book is divided into three parts. The first provides a theoretical basis for much of what is to come. Clark’s focus is on moral cognition where contexts are shifting. Specific insights are drawn by Pirrie and Brown and Lycouris and Timmons from experiments in architectural education and dance education, with arguments that applying these techniques will improve the ability of law students to deal with contingent and uncertain factual situations. The architecture examples, involving attempts to introduce a “wayfaring” rather than fixed approach to learning are presented as ultimately failing in their stated goals. Although one can always learn from failures, it seems to suggest more the difficulty of moving beyond text than providing guidance as to how it might be achieved. The dance examples seem to have been more successful in their own context but we are given no concrete methods of applying the insights
The challenges of providing a quality certificated dance education within secondary schoolsfindin... more The challenges of providing a quality certificated dance education within secondary schoolsfindings from a comparative study exploring the experiences of eight English and Scottish dance teachers. Whilst the fight for the inclusion of dance in schools has been an ongoing struggle, current government directives and educational policies present an even greater threat to the future of quality dance education in schools and this needs to be addressed. This paper begins to explore the certificated dance education currently on offer in the United Kingdom (UK) through teachers' experiences of delivering the newly adapted GCSE (England) and National 5 (Scotland) dance curricula. Eight semi-structured interviews with dance teachers in England (n-4) and Scotland (n-4) were undertaken alongside documentary analysis in order to provide an initial understanding of the challenges and motivations for delivering these curricula. Smith-Autard's Midway Model (2002) is often considered to be the exemplar of quality dance education and therefore the content, structure, and assessment approaches used in these teachers' delivery of the curricula were compared with those advocated in this model. The findings suggest the challenges faced by teachers may differ between the two contexts and revolve around level of prescription. Regarding structure specifically, this research recommends that policy-makers might consider increasing course length for certificated dance courses and establish better dialogue with practitioners prior to introducing new course designs and during inception.
General Joint Hypermobility (GJH) is a common condition found in 2–57% of the population. Of thos... more General Joint Hypermobility (GJH) is a common condition found in 2–57% of the population. Of those with GJH, 10% suffer from accompanying physical and/or psychological symptoms. While the understanding of GJH in the general population is unfolding, its implication in a cohort of children, adolescents and young adults are not yet understood. This systematic review explored GJH’s prevalence, tools to measure it, its physical and psychosocial symptoms, with a special interest in aesthetic sports. The CINHAL, MEDLINE, PsycINFO, SPORTDiscus and Scopus databases were searched for relevant studies. Inclusion criteria were (1) Age range of 5–24; (2) Participants had GJH; (3) A measurement for GJH; (4) Studies written in English language. Study screening for title, abstract and full text (when needed) and quality assessment were performed by two independent individuals. 107 studies were included in this review and were thematically grouped into six clusters expressing different foci: (1) GJH...
Generalised Joint Hypermobility (GJH) is a heritable disorder of the connective tissue that can m... more Generalised Joint Hypermobility (GJH) is a heritable disorder of the connective tissue that can manifest as extreme range of motion in the joints and is associated with tissue fragility and injury. GJH is prevalent within classical ballet and is considered both an asset and health risk to the dancer. More recently within the general population links have also been made between GJH, anxiety disorders and poor body awareness. This research brings together three discreet yet interweaved studies that explore GJH within both vocational and professional dance environments. A mixed-methods design and a pragmatist approach was applied to this research which is situated within a biopsychosocial framework. Study one established reliable and stable measures between the researcher and an experienced clinician for the standardised Beighton categorisation of GJH. A sample of young dancers (n=10), randomly recruited from a larger group of young dancers (n=70) during their annual dance screen, were...
Lawyers are wordsmiths. We articulate rules and arguments, and although we tell generations of st... more Lawyers are wordsmiths. We articulate rules and arguments, and although we tell generations of students that contracts do not need to be in writing, we all know that the written version provides much sounder evidence of the terms if we wish to rely on them. Does this recognition, however, require us to rely so exclusively on text for our learning of the law? The etymological roots of “text” are concerned with weaving, from the Latin texere. To go beyond text may provide perspective, but it may also involve unravelling, and this deconstructive goal informs the writing of several of the authors in this volume. It challenges our reliance on text and provides both a theoretical foundation for the authors’ recommendations and examples of how art might be incorporated into legal learning to enrich it. It is a product of an Arts and Humanities Research Council (AHRC)-funded project (Beyond Text) which permitted a series of workshops in which the authors explored their ideas and understanding with others not necessarily involved in legal education. It is the first of two volumes, the second of which, due to follow shortly, is designed to be more theoretical. The book is divided into three parts. The first provides a theoretical basis for much of what is to come. Clark’s focus is on moral cognition where contexts are shifting. Specific insights are drawn by Pirrie and Brown and Lycouris and Timmons from experiments in architectural education and dance education, with arguments that applying these techniques will improve the ability of law students to deal with contingent and uncertain factual situations. The architecture examples, involving attempts to introduce a “wayfaring” rather than fixed approach to learning are presented as ultimately failing in their stated goals. Although one can always learn from failures, it seems to suggest more the difficulty of moving beyond text than providing guidance as to how it might be achieved. The dance examples seem to have been more successful in their own context but we are given no concrete methods of applying the insights
The challenges of providing a quality certificated dance education within secondary schoolsfindin... more The challenges of providing a quality certificated dance education within secondary schoolsfindings from a comparative study exploring the experiences of eight English and Scottish dance teachers. Whilst the fight for the inclusion of dance in schools has been an ongoing struggle, current government directives and educational policies present an even greater threat to the future of quality dance education in schools and this needs to be addressed. This paper begins to explore the certificated dance education currently on offer in the United Kingdom (UK) through teachers' experiences of delivering the newly adapted GCSE (England) and National 5 (Scotland) dance curricula. Eight semi-structured interviews with dance teachers in England (n-4) and Scotland (n-4) were undertaken alongside documentary analysis in order to provide an initial understanding of the challenges and motivations for delivering these curricula. Smith-Autard's Midway Model (2002) is often considered to be the exemplar of quality dance education and therefore the content, structure, and assessment approaches used in these teachers' delivery of the curricula were compared with those advocated in this model. The findings suggest the challenges faced by teachers may differ between the two contexts and revolve around level of prescription. Regarding structure specifically, this research recommends that policy-makers might consider increasing course length for certificated dance courses and establish better dialogue with practitioners prior to introducing new course designs and during inception.
Uploads
Papers by WENDY TIMMONS