The pandemic has illuminated health disparities experienced by Latinos in Washington state. 32% of confirmed COVID-19 cases have been Latino, while only 13% of the state population is Latino. A contributing factor is that only 3.1% of Washington state physicians are Latino, with less having the ability to fluently speak Spanish. This qualitative research project provides information on what healthcare workers and research centers, such as the Latino Center for Health, are doing to address Latino health inequities in order to advance the health of Latinos in Washington state. Interviews with leaders in Latino health advancement were conducted as well as an investigation into their previous research. To inform and improve healthcare and socioeconomic policy, effective programs and strategies that address Latino health disparities are highlighted. One example is the recent report by the UW’s Latino Center for Health on the shortage of Latino physicians in the state. LCH also provides policy recommendations to the Washington State Legislature to increase the number of Latinos entering state medical schools. While plenty of research in society highlights the health disparities Latinos face, this research project identifies the progress being made to improve Latino health by leaders. This is important because to improve the health and healthcare of Latinos means to improve the health of society as a whole, especially during this era of the COVID-19 pandemic.

Color guard is a youth performing arts activity usually associated with marching band or drill team. Although the specific context of color guard performances may vary, the central components require performers to manipulate equipment such as flags, wooden rifles, and dull metal sabres, while maintaining a performative, dance-based foundation in relationship to musical accompaniment. The purpose of this study is to determine the role of dance in the world of color guard, and to investigate ways of implementing dance training to enhance color guard educational programs. Interviews were conducted with four seasoned color guard instructors from various geographic locations. Interviews were recorded, transcribed, and analyzed to identify how these veteran teachers view the role of dance in color guard, how they determine success in their programs, and how they have been able to utilize dance to their program’s benefit. Preliminary results indicate that focusing on dance training and body awareness significantly contributes to performers’ success in competition, as well as assists with the social/emotional challenges facing this population. These findings suggest a need for further investigation into teaching practices utilized by instructors in order to illuminate how pedagogical training impacts students.

Disordered eating, poor body image, and eating disorders are common and ongoing issues in the world of dance. These issues are caused by a complex web of factors, including dance training, perfectionistic tendencies, comments made by friends and family, and social media. This study looks specifically at how the dance classroom environment contributes to the dancer’s relationship with food, eating, and diet. I collected data from three different sources: a survey sent to dance majors and minors at the University of Washington, a survey sent out to one randomly selected dance studio from each U.S. state, and case study interviews. Anticipated results may suggest that the environment created by dance studios and teachers can have long term effects on a dancer’s relationship with nutrition. Dance instruction that places emphasis on dancers’ bodies, as opposed to their movement, can contribute to a more turbulent relationship with nutrition. These findings shed light on the need to analyze and reconsider dance pedagogy, teacher training, and dance studio policies (whether implicit or explicit) surrounding nutrition.

At initial glance, Americans may envy the apparent androgynous nature of Korea’s fashion and dance world. However, what onlookers fail to understand is how the K-pop world’s creation of such genderless dancing and androgenous appearances may be a consequence of the gender binary enforced on Korean individuals by traditional Korean Confucian Values. In this research, I aim to explore how Americans who indulge in Korean pop culture may have interpretations which differ from Koreans who have personally experienced the gendered expectations in contemporary Korean society. I conducted a literature review that focused on the gender presentation of Bangtan Sonyeondan and how cultural values are still strongly weaved into modern Korean society. I also interviewed American and Korean American individuals to conduct a comparative analysis on how their perspectives on Korean gender roles differ. Preliminary results suggest how there may be a glass ceiling to how far an idol’s gender performance can expand beyond societal gender binary constraints. Through my analysis, I hope to bring an alternative perspective to Americans who enjoy Korean culture that highlights some of the unfortunate faults of the seemingly perfect industry.

The methods used by actors to learn an accent or a dialect often overlook the cultural and historical significance of a particular way of speaking. More often than not, the majority of the time spent learning a dialect is only spent memorizing the production of distinctive sounds. And what is learned is a “general” version of a dialect that is often stereotyped and not representative of a speaking community. This comes from a long history of reducing the innate complexity of dialects and the creation of foreignness through language prescriptivism and language prestige systems. These impose ideas such as a “proper” way to speak English on stage or the association of negative characteristics with a particular accent. Many productions will not use dialect coaches due to budget constraints or the choice of a director or producer. When productions run on a limited time schedule, dialect coaching is pushed to the side in favor of other elements of character building. This can lead to an actor not doing the proper research, performing a dialect poorly, or at certain cases the production deciding not to use a dialect that is an integral part of a character’s identity. There is also a frame of mind within society that thinks of accents as either authentic or passable, as opposed to accurate. What leads to poor representation on stage is when productions don’t take into consideration the effect a dialect or lack thereof will have on the production as a whole. This project brings a critical lens to the history of dialect coaching and proposes how as theater makers we can shift our thinking regarding accents and through dialect coaching create better representations on stage.

Specifically addressing proprioception’s relationship to balance control, recent studies have noted how ankle proprioception may be one of the most important components to balance control because of its direct contact relationship with the ground. Dance training has been shown to improve a dancer’s proprioceptive abilities and is one of the fundamental reasons why dancers are able to flawlessly execute complex balance movements on a very small base of support with lights shining in their eyes and while under constant pressure from a judgmental audience. In this research, I aim to explore how proprioception may be improved through dance. My methods are grounded in a literature review from around the world and anecdotal evidence through interviews and video footage of three individuals focusing on improving their static balance. Results from the literature review indicate that dance can be used to improve one's proprioception and balance control in both the youth and elderly population. Video footage analysis and interviews partially support my initial claim that balance can be improved in all individuals. Understanding the kinesiology of balance may contribute to future alternative movement therapies that use targeted dance movements to alleviate symptoms of specific conditions, such as ankle proprioception movements for individuals with Alzheimer's Disease or neck proprioception movements for individuals with chronic neck pain.

 Fascia is a broad term referring to the connective tissue of the body. Fascia has multiple functions: it maintains the shape of different anatomical components, allows cells to convert external mechanical signals into internal biochemical reactions, and distributes the stress of movement and gravity across multiple muscles and joints. The purpose of this study was to gain an in-depth understanding of the physiology of fascia, explore therapeutic practices involving fascial manipulation, apply this knowledge to dance movement and injury prevention, and educate dancers and teachers about the “why” behind these common therapy practices. More specifically, I wanted to understand the mechanistic science behind foam rolling and massage therapy in order to support the hypothesis that these therapies are fascial manipulation and enhance athletic ability by remodeling the fascia on a physiological level. To support this hypothesis, I reviewed literature and scientific studies relating to fascia and athletic ability, participated in an untreated cadaver dissection course that focused on connective tissue, and interviewed professionals in the field of therapeutics. My preliminary results indicate that foam rolling and massage temporarily enhance athletic ability and prevent injury; however, the mechanism behind these results is still unclear. There is some evidence to support that these therapeutic techniques involve fascia, but other mechanistic theories unrelated to fascia may also explain these results. More research on fascia and the “why” behind these therapies is needed to fully uncover the applications of fascia for dance movement and injury prevention. However, it can be concluded that the implementation of these therapies should be considered for dance warmup and cool down practices to help dancers reach their fullest movement potential, maintain their bodies, prevent injuries, and achieve longevity throughout their dancing careers.