DOCSLIB.ORG

Injury Profile of Hip-Hop Dancers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Injury Profile of Hip-Hop Dancers Injury Profile of Hip-Hop Dancers Olga Tjukov, MA, Tobias Engeroff, PhD, Lutz Vogt, PhD, Winfried Banzer, PhD, MD, and Daniel Niederer, PhD Abstract dancers only involved the lower extremi- Hip-hop is characterized by moves This study assessed the injury incidence, ties. In house, the lower extremities were such as bouncing the body, bending mechanisms, and associated potential risk affected most frequently, followed by the the knees, jumping, turning, twisting, factors for hip-hop, popping, locking, trunk. A total of 65.3% of the dancers isolated extremity movements, and an house, and breaking dance styles. Data experienced time loss, with a duration of extreme involvement of the torso. The were collected from June to November 12.7 ± 21.3 weeks. Breakers experience significantly more injuries than dancers of characteristics of popping are short 2015. The retrospective cohort study and fast muscle contractions, which included 146 dancers (female: N = 67; the other styles. Injury risk among dancers of all the styles studied can be considered are performed with different body age = 20 ± 4.2 years; males: N = 79; age parts to the rhythms of the music. The = 22.9 ± 5.8 years) who completed a low compared to soccer players, swim- mers, and long-distance runners. dancer looks robotic and can incorpo- questionnaire that collected data concern- 6 ing training hours, injuries, self-reported rate wave and illusion techniques. In the dance style locking, many basic injury causes, treatment, and recovery ompetitive dancing has been movements are executed with the time over the last 5 years. For the last 5 associated with a high risk arms and wrists, which are “locked” years, 52% (N = 76) of the dancers re- of injury.1 While injuries in ported 159 injuries and, in the year prior or paused to point. Furthermore, Cballet, breaking (breakdance), and to the survey, 31.5% (N = 46) reported a dancers go into the squat position, modern and contemporary dance total of 75 injuries. Overall, 0.61 injuries pull up their knees, perform artistic have already been investigated quite (5 years) and 1.156 injuries (1 year) per jumps into half splits, and drop with thoroughly,2 there are popular con- 1,000 hours exposure time occurred. For their knees on the ground (“knee temporary dance styles that are largely breaking, 1.286 injuries (5 years) and drops”). House has its focus on the 2.456 injuries (1 year) per 1,000 hours neglected in this context, such as feet, which are almost constantly mov- exposure time were calculated, while the hip-hop. The term “hip-hop” is used ing to a rhythm of 120 to 130 beats other dance styles accumulatively reached both to differentiate a specific dance per minute,6 while the arms are usu- 0.151 injuries (5 years) and 0.318 injuries style and as an umbrella term for a ally just taken along. Finally, breaking (1 year) per 1,000 hours of exposure time. subculture that includes such styles as consists of fast footwork and acrobatic Breakers reported most injuries at the popping, locking, house, and hip-hop upper extremities, followed by the lower movements. The dancers spend most itself. Thus, although all dance styles extremities, trunk, and head and neck re- of the dancing time on the ground that are investigated in this study be- gion. Most injuries in hip-hop occurred at in positions where the hands have long to the hip-hop subculture, they the lower extremities, mainly affecting the contact with the floor and carry part differ significantly in their movement knees, followed by groin and ankle. Inju- of the body’s weight. patterns and physical demands.3-5 ries experienced by popping and locking Currently there is only one study that reports overall injury incidence for a compilation of hip-hop dance Olga Tjukov, MA, Tobias Engeroff, PhD, Lutz Vogt, PhD, Winfried Banzer, PhD, 5 MD, and Daniel Niederer, PhD, Goethe University Frankfurt, Department of styles. Ojofeitimi et al. performed Sports Medicine, Frankfurt am Main, Germany. research on injuries in popping and locking and a category that the au- Correspondence: Olga Tjukov, MA, Department of Sports Medicine, Goethe- thors refer to as “new school” (includ- University Frankfurt, Ginnheimer Landstraße 39, 60487 Frankfurt am Main, ing house, street jazz, krumping, and Germany; [email protected]. Harlem shake). From the 312 dancers Copyright © 2020 J. Michael Ryan Publishing, Inc. 66 https://doi.org/10.12678/1089-313X.24.2.66 Journal of Dance Medicine & Science • Volume 24, Number 2, 2020 67 included in that study, 232 reported good clinical practice in the conduct residence. The second part consisted a total of 738 injuries. The most and reporting of survey research.7 All of dance-related questions. The par- frequently reported injures for pop- participants gave written informed ticipants were asked what dance ping and locking affected the lower consent and all data were treated styles they practiced, for how long extremities (62%), upper extremities anonymously. they had been practicing each style, (25%), and trunk (8%). “New school- and how many hours per week they ers” were most frequently affected at Study Population were currently practicing each style. the lower extremities (69%), upper Participants (21.6 ± 5.2 years of age) Participants were also asked whether extremities (12%), and trunk (8%).5 in the survey were German residents, they participate in dance competitions The grouping of the dance styles, how- females (N = 67) and males (N = 79), and performances and, if so, how ever, does not allow for differentiating who practice at least one of the dance often per year, whether they worked injury locations and mechanisms for styles considered in this study for a as dance teachers, choreographers, or any one dance style in particular. minimum of 1 year and for at least both, and whether dance was their Therefore, despite the high-quality re- 1.5 hours per week. Potential subjects main source of income. Then there search design of this study, the subsets were identified at dance practices, were questions about their warm up lack detailed information such as 1. dance battles, and dance jam sessions habits, use of protective equipment, overall hip-hop injury rates, 2. simi- and came from 46 different cities in and participation in other types of larities and differences in movement Germany. All dancers who met the sport. The last question asked whether patterns, and 3. hip-hop as a unique inclusion criteria could participate in the dancer had experienced acute inju- dance style in its own right. the survey. ries or overuse damage from dancing. Accurately categorized informa- Those who answered affirmatively to tion concerning injury risk in the Data Collection this last question completed a third dance styles that constitute hip-hop Data were collected from June to part of the questionnaire. This third is of interest to dancers, coaches, and November 2015 by means of a ret- part asked for detailed information health care professionals. Based on rospective questionnaire with a recall regarding their dance-related injury or an increasingly profound knowledge period of 5 years. After a thorough multiple injuries: when did the injury of injury types and causes, effective literature review and in accordance occur (date); where did the injury prevention strategies for dance-related with the authors’ practical experience, take place (training, battle, jam, per- injuries may be developed. Moreover, an initial version of the questionnaire formance) and at what point in time insight into recovery times after inju- was generated. The pilot version of the during the dance activity (beginning, ries could be used to optimize current questionnaire was tested on 10 danc- middle, end); where was the injury rehabilitation programs. Therefore, ers involved in hip-hop dance styles. located, descriptive and indicated on this study systematically analyzes in- In accordance with the responses, all a diagram of a human body ventral, jury incidences, types, and causes, as unclear questions were rephrased. The dorsal, and lateral (left, right); did the well as injury recovery times, therapy revised questionnaire was then tested dancer seek medical help; what was regimens, and prevention for the on 10 different dancers and the fol- the diagnosis and therapy that the different hip-hop dance styles (hip- low-up procedure was repeated. The dancer received; in cases of overuse in- hop, popping, locking, house, and final questionnaire was distributed jury, how did the injury develop; and breaking), all as influenced by such to dancers who participated at dance what, in the dancer’s opinion, were potential contributors as age, sex, and practices, dance battles, and dance jam the causes of the injury. Subsequently, financial considerations. sessions in different cities in Germany. the dance style being practiced when Participants self-administered the the incident happened, the type of Materials and Methods questionnaire and handed it back to floor being used, and whether other Study Design and Ethical the investigator (OT). The investi- hobbies or activities could have led Standards gator was always close by to clarify to the overuse injury were assessed. This research project was designed as a potential questions and immediately The last questions concentrated on retrospective cohort study. A six-page checked each questionnaire after it consequences and time loss following questionnaire (available from the au- was returned for missing and unclear the injury. Injuries could be attributed thors on request) was used to survey data. In cases of missing information to a specific dance style in cases of dancers of the five different hip-hop or unclear descriptions, the researcher acute injury or when participants only styles about their dance habits and asked for the missing details to prevent practiced one dance style.
Load more

Recommended publications
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • Table of Contents General Information Locking and Unlocking Seat And
    Div: Out put date: April 3, 2001 Table of contents General information Locking and unlocking Seat and seat belts Instruments and controls Starting and driving For pleasant driving Vehicle care For emergencies Maintenance Specifications Div: Out put date: Overview - Instruments and Controls EB21AOHc 1- Front fog lamp switch* → P.4-22 Rear fog lamp switch → P.4-22 2- Electric remote-controlled outside rear-view mirror switch* → P.5-51 LHD 3- Combination headlamps, dipper and turn signal switch → P.4-14 Headlamp washer switch* → P.4-19 4- Supplemental restraint system-air bag (for driver’s seat) → P.3-42 Horn switch → P.4-24 5- Ignition switch → P.5-11 6- Auto-speed (cruise) control lever* → P.5-53 7- Meter and gauges → P.4-2 8- Windscreen wiper and washer switch → P.4-17 Rear window wiper and washer switch → P.4-19 9- Headlamp levelling switch → P.4-16 10- Rheostat (meter illumination control) → P.4-23 11- Fuse box lid → P.8-28 12- Bonnet release lever → P.2-9 13- Fuel tank filler door release lever → P.5-4 B21A600T Div: Out put date: Instruments and Controls 14- Parking brake lever → P.5-42 15- Audio* → P.6-2, 6-17 16- Hazard warning flasher switch → P.4-20 LHD 17- Multi centre display* → P.4-27 18- RV meter* → P.4-40 19- Rear window demister switch → P.4-21 20- Front heater/Manual air conditioning* → P.6-36 Front automatic air conditioning* → P.6-43 21- Ventilators → P.6-35 22- Supplemental restraint system-air bag* (for front passenger’s seat) → P.3-42 23- Ashtray (for front seats) → P.6-60 24- Cigarette lighter → P.6-59 25- Heated seat
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • 2018/19 Hip Hop Rules & Regulations
    2018/19 Hip Hop Rules for the New Zealand Schools Hip Hop Competition Presented by the New Zealand Competitive Aerobics Federation 2018/19 Hip Hop Rules, for the New Zealand Schools Hip Hop Championships © New Zealand Competitive Aerobic Federation Page 1 PART 1 – CATEGORIES ........................................................................................................................................................ 3 1.1 NSHHC Categories .............................................................................................................................................. 3 1.2 Hip Hop Unite Categories .................................................................................................................................. 3 1.3 NSHHC Section, Division, Year Group, & Grade Overview ................................................................................ 3 1.3.1 Adult Age Division ........................................................................................................................................ 3 1.3.2 Allowances to Age Divisions (Year Group) for NSHHC ................................................................................ 4 1.4 Participation Limit .............................................................................................................................................. 4 Part 2 – COMPETITION REQUIREMENTS ........................................................................................................................... 5 2.1 Performance Area .............................................................................................................................................
    [Show full text]
  • Synthesizing Dance and Conducting Pedagogy for Heightened Creativity
    Inspiring Sound: Synthesizing Dance and Conducting Pedagogy for Heightened Creativity on the Podium By Matthew Dean Schlomer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Wind Conducting) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 2/7/12 The dissertation is approved by the following members of the Final Oral Committee: Scott D. Teeple, Associate Professor, School of Music James Smith, Professor, School of Music Dr. Teryl Dobbs, Assistant Professor, School of Music/Department of Curriculum & Instruction Kate Corby, Assistant Professor, Department of Dance Mary A. Brennan, Professor Emerita, Department of Dance i To my wife, Katie, and children, Claudia, Roy, and Evelyn. You have not only made this endeavor possible, but a wonderful journey we have shared together. Thank you for your tremendous support. ii ACKNOWLEDGMENTS I wish to thank: my mentor, advisor, and colleague, Scott Teeple, for his profound artistry and unwavering encouragement to seek out new information and opportunities; Dr. Mary “Buff” Brennan for her insights, sense of adventure, and the most delightful conversations in Lathrop Hall; Professor Kate Corby and Mary Hayne for your creative and patient instruction in moving the body expressively; Dr. Teryl Dobbs for your high standards and warm encouragement; and Professor James Smith for your mentorship and generosity of time and insight. I would also like to acknowledge my family and friends that helped and encouraged me in so many ways during the writing process: Gabriel and Christine Reilly, David and Michelle Schlomer, Paul Schlomer and Erin Grunze, David and Sarah Melander, David (Billy) Hagedorn and Marjolein Eweg, my parents Duane and Barbara Schlomer, Harold and Kathleen Hagedorn, and my colleagues and friends, Erik Jester and Paul Bhasin.
    [Show full text]
  • How Breakdancing Taught Me to Be a Technical Artist
    How breakdancing taught me to be a technical artist Robbert-Jan Brems Technical Artist Codemasters Hello ladies and gentlemen, my name is Robbert-Jan Brems. I'm currently technical artist at Codemasters and here to present you my talk : “How breakdancing taught me to be a technical artist” I only have been working as a professional technical artist in the video game industry for just over a year, but I have been breakdancing for almost nine years, and dancing for almost seventeen. The reason I am telling you this will become more apparent later on. Just out of curiosity, are there any breakdancers in this room? Well, the good news is that you do not need any breakdance related experiences to understand this talk. The main reason why I wanted to do this talk was because I have the feeling that as a person it is really easy to be looking through the same window as everybody else. What I mean with that is when we follow the same route to find knowledge as everybody else, we end up knowing the same things while missing out on other potentially important knowledge. By telling you my life story as a breakdancer and a game developer I want to illustrate how I reflect the knowledge that I obtained through breakdancing to my profession as a technical artist. So, the goal of my talk is to hopefully inspire people to start looking for knowledge by looking at learning from a different perspective. Once upon a time ... I started dancing when I was around 7 years old.
    [Show full text]
  • Urban Street Dance Department
    Urban Street Dance Department Divisions and Competition Rules Break Dance Division Urban Street Dance Division Implemented by the WADF Managing Committee January 2020 Artistic Dance Departments, Divisions and Competition Rules WADF Managing Committee Nils-Håkan Carlzon President Irina Shmalko Stuart Saunders Guido de Smet Senior Vice President Executive Secretary Vice President Marian Šulc Gordana Orescanin Roman Filus Vice President Vice President Vice President Page 2 Index Artistic Dance Departments, Divisions and Competition Rules Urban Street Dance Department Section G-2 Urban Street Dance Division Urban Street Dance Competitions Urban Street Urban Street Dance is a broad category that includes a variety of urban styles. The older dance styles that were created in the 1970s include up-rock, breaking, and the funk styles. At the same time breaking was developing in New York, other styles were being created in California. Several street dance styles created in California in the 1970s such as roboting, bopping, hitting, locking, bustin', popping, electric boogaloo, strutting, sac-ing, and dime-stopping. It is historically inaccurate to say that the funk styles were always considered hip-hop. "Hip-Hop Dance" became an umbrella term encompassing all of these styles. Tempo of the Music: Tempo: 27 - 28 bars per minute (108 - 112 beats per minute) Characteristics and Movement: Different new dance styles, such as Quick Popping Crew, Asian style, African style, Hype Dance, New-Jack-Swing, Popping & Locking, Jamming, etc., adding creative elements such as stops, jokes, flashes, swift movements, etc. Some Electric and Break movements can be performed but should not dominate. Floor figures are very popular but should not dominate the performance.
    [Show full text]
  • Hip Hop Dance: Performance, Style, and Competition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION by CHRISTOPHER COLE GORNEY A THESIS Presented to the Department ofDance and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofFine Arts June 2009 -------------_._.. _--------_...._- 11 "Hip Hop Dance: Performance, Style, and Competition," a thesis prepared by Christopher Cole Gorney in partial fulfillment ofthe requirements for the Master ofFine Arts degree in the Department ofDance. This thesis has been approved and accepted by: Jenife .ning Committee Date Committee in Charge: Jenifer Craig Ph.D., Chair Steven Chatfield Ph.D. Christian Cherry MM Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Christopher Cole Gorney for the degree of Master ofFine Arts in the Department ofDance to be taken June 2009 Title: HIP HOP DANCE: PERFORMANCE, STYLE, AND COMPETITION Approved: ----- r_---- The purpose ofthis study was to identify and define the essential characteristics ofhip hop dance. Hip hop dance has taken many forms throughout its four decades ofexistence. This research shows that regardless ofthe form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study ofeach ofthese characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations.
    [Show full text]
  • Into the Vibe of House Dance
    Into the Vibe of House Dance New social dances have always influenced stage dance—here’s one film that takes you into clubs where House style creates communities of creative individuals who “check their bodies at the door” by Waeli Wang Check Your Body at the Door is a documentary that serves a slice of the underground- club House dance scene in the 1990s, following New York City club dancers into “the vibe.” Dance scholar and producer Sally R. Sommer describes “the vibe” as “a communal force, a feeling, a rhythm that is created by the mix of dancers, the balance of loud music, the effects of darkness and light, the energy. Everything interlocks to produce a powerful sense of liberation.” Reflecting the principle of community built on diversity, this vibe is continually described by dancers in the film as a utopian escape from the nine-to-five grind of their everyday lives. Dance comes first for these beautiful creatures of the night, as the film explores a world where clubs are their sanctuaries. House dance is an electric style of dance formed in the underground scene by its community of dancers. These dancers didn’t train in traditional dance studios but rather at home, in the club, or in an elevator, Brahms “Bravo” LaFortune does in the film. Wherever there is a modicum of space, you dance. Serving as the central narrator, master House dancer Archie Burnett recounts how he practiced in the same spot in front the mirror of his family living room until he wore a hole into the rug.
    [Show full text]
  • Creating Authentic Movemeant Narratives for Community
    Media Kit Community Engagement C r e a t i n g A u t h e n t i c M o v e M E A N T N a r r a t i v e s f o r C o m m u n i t y A d v a n c e m e n t We are PASSIONATE about community- building! F r o m c l a s s e s a n d w o r k s h o p s , t o p a n e l d i s c u s s i o n s a n d p e r f o r m a n c e o p p o r t u n i t i e s , o u r p r o g r a m s a r e g e a r e d t o w a r d a u d i e n c e s o f a l l a g e s a n d s k i l l s e t s . R e p e r t o i r e p r o g r a m s a n d c h o r e o g r a p h y l a b s a r e a v a i l a b l e f o r i n t e r m e d i a t e / a d v a n c e d d a n c e s t u d e n t s .
    [Show full text]
  • Regulating the Rave Scene: Exploring the Policy Alternatives of Government
    October 10, 2003 15:40 LSC TJ819-02 Leisure Sciences, 25:307–325, 2003 Copyright C 2003 Taylor & Francis 0149-0400/03 $12.00 + .00 DOI: 10.1080/01490400390240446 Regulating the Rave Scene: Exploring the Policy Alternatives of Government TROY D. GLOVER Department of Recreation and Leisure Studies University of Waterloo Waterloo, Ontario, Canada Given the recent interest in raves by municipal officials across North America, the intent behind this manuscript is to explore the various policy alternatives that government might consider in response to rave culture and the “threat” of Ecstasy on youth. In particular, the paper focuses on three policy options: tolerance, prohibition, and harm reduction. A discussion of the alternatives and suggestions about the suitability of each one is outlined. Before doing so, however, a detailed discussion about rave culture, its dimensions, and its association with deviance is provided. Given the relative absence of analyses in the leisure literature of rave culture and the regulation of leisure behavior, it is hoped that the following manuscript will serve as a point of departure for further study on “deviant” leisure and the appropriateness of government intervention. Keywords rave culture, deviant leisure, youth, resistance, government regulation, lib- erty, policy alternatives Are the benefits of leisure truly endless? Most leisure researchers seemingly think so, pre- sumably because they trust that leisure has the potential to contribute positively to the quality of individuals’ lives. Not surprisingly, such sentiments have led many academicians to join forces with the National Recreation and Park Association (NRPA) in its campaign to pro- mote the benefits of leisure (NRPA, 2001).
    [Show full text]