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Journal articles on the topic 'Dancers - Training'

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Published: 4 June 2021
Last updated: 31 January 2023

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1

Wang, Ziqiao. "Analysis of the Importance of Demeanor Training to the Study of Chinese Folk Dance—Taking Uighur Dance as an Example." Journal of Educational Theory and Management 2, no. 3 (2018): 84. http://dx.doi.org/10.26549/jetm.v2i3.992.

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Chinese folk dance has a long history and is quite abundant. It is an indispensable source of Chinese classical dance, court dance and professional dance creation. Chinese folk dances are characterized by unpretentiousness, diverse forms, rich content, and vivid images. But these require professional dancers to express through professional training. Even amateur dances need to be completed through well-trained and emotionally full actors.[1] In the process of training, in addition to the necessary basic skills and other physical training, we also need to train the demeanor. We often say that t
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2

Rosenthal, Miriam, Alyssa M. McPherson, Carrie L. Docherty, and Joanne Klossner. "Perceptions and Utilization of Strength Training and Conditioning in Collegiate Contemporary and Ballet Dancers: A Qualitative Approach." Medical Problems of Performing Artists 36, no. 2 (2021): 78–87. http://dx.doi.org/10.21091/mppa.2021.2012.

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AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perce
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Soronovych, Igor, Chenguang Mu, Di Huang, and Andrii Diachenko. "SYSTEMATIC APPROACH TO THE IMPLEMENTATION OF MODELING AS A FEATURE OF MANAGING THE FUNCTIONAL CAPABILITIES AMONG QUALIFIED DANCE ATHLETES." Sport Science and Human Health 5, no. 1 (2021): 149–68. http://dx.doi.org/10.28925/2664-2069.2021.111.

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Introduction. Current trends in the development of sports dance indicate the impact of modern knowledge of sports science on the system of improving the functional support of special performance of dancers. The lack of a systematic approach to the management of training loads significantly affects the formation of specific methodological approaches to improving the special performance of dancers, taking into account the specific characteristics of training inherent in sports that combine sports and art. The aim is to develop a systematic approach aimed at modeling the special functional traini
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Kish, Robin L., Janice Gudde Plastino, and Bethany Martyn-Stevens. "A Young Dancer Survey." Medical Problems of Performing Artists 18, no. 4 (2003): 161–65. http://dx.doi.org/10.21091/mppa.2003.4029.

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The purpose of this study was to determine, through self-reporting techniques, the training and injury rates among students studying dance in the private sector. The private studio provides the major venue for students to study dance. This is especially true for young students (ages 8–18) who study ballet, jazz, and tap and who participate in dance competitions. A private dance studio is defined as a studio open to the community with no audition requirements for entry that teaches various technique styles. Private studio dancers are not training specifically to be professional dancers in major
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Ji, Hualin. "Application of Functional Training in Sports Dance Training." Journal of Environmental and Public Health 2022 (August 28, 2022): 1–14. http://dx.doi.org/10.1155/2022/8695535.

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With the rapid development of the economy, people’s various needs for daily life are also increasing. Because this sport combines sports and dance, which makes the sport have the effect of physical fitness, as well as the emotional edification and visual beauty that dance brings to dancers and audiences. With the increase in people’s needs, at the same time, corresponding to the relatively insufficient functional training of the project, this problem makes sports dance, the international standard ballroom dance, always at a low level of development, and at the same time, makes it lack of compe
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6

Attwell, Caitlin, Cory Dugan, Alannah K. A. McKay, Joanna Nicholas, Luke Hopper, and Peter Peeling. "Dietary Iron and the Elite Dancer." Nutrients 14, no. 9 (2022): 1936. http://dx.doi.org/10.3390/nu14091936.

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Dancers are an athlete population at high risk of developing iron deficiency (ID). The aesthetic nature of the discipline means dancers potentially utilise dietary restriction to meet physique goals. In combination with high training demands, this means dancers are susceptible to problems related to low energy availability (LEA), which impacts nutrient intake. In the presence of LEA, ID is common because of a reduced mineral content within the low energy diet. Left untreated, ID becomes an issue that results in fatigue, reduced aerobic work capacity, and ultimately, iron deficient anaemia (IDA
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Todorova, Valentyna, Valentina Sosina, Valentyna Vartovnyk, Natalia Pugach, and Olena Pogorelova. "DEVELOPMENT OF STRENGTH ABILITIES IN DANCERS BY MEANS OF CHOREOGRAPHIC TRAINING." Science and Education 2020, no. 4 (2020): 9–17. http://dx.doi.org/10.24195/2414-4665-2020-4-2.

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The article presents the results of studying the peculiarities of the development of various strength abilities of dancers who are the representatives of folk-stage dance. The purpose of the work is to develop a program for the development of strength abilities using the choreography in folk dancers. A group of theoretical and empirical methods was used in the study. The pedagogical observations at training sessions with 12-15 year-old dancers and surveys of teachers and coaches on the peculiarities of the development of strength abilities were conducted; testing of indicators of different str
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8

Christensen, Sarah Klopp, Aaron Wayne Johnson, Natalie Van Wagoner, Taryn E. Corey, Matthew S. McClung, and Iain Hunter. "Characteristics of Eight Irish Dance LandingsConsiderations for Training and Overuse Injury Prevention." Journal of Dance Medicine & Science 25, no. 1 (2021): 30–37. http://dx.doi.org/10.12678/1089-313x.031521e.

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Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different gr
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9

Okdan, Bora, Gulbin Rudarli Nalcakan, Ece Onur, Arzu Oran, and Mesut Nalcakan. "Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins." Polish Journal of Sport and Tourism 23, no. 3 (2016): 133–39. http://dx.doi.org/10.1515/pjst-2016-0017.

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Abstract Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years havin
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10

Solomon, Ruth. "Training Dancers." Journal of Physical Education, Recreation & Dance 58, no. 5 (1987): 51–56. http://dx.doi.org/10.1080/07303084.1987.10603891.

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11

Aalten, Anna. "In the Presence of the Body: Theorizing Training, Injuries and Pain in Ballet." Dance Research Journal 37, no. 2 (2005): 55–72. http://dx.doi.org/10.1017/s0149767700008561.

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After an injury; a dancer learns, at least for a short time, to heed his [sic] body if only because pain speaks a language almost anyone can understand. This heightened awareness should not disappear once the dancer returns to form; rather it should help him continue to learn about the ways his body moves and reacts (Ashley 1984, 217–218).In this statement the American dancer Merrill Ashley, who had a memorable 30-year career with the New York City Ballet, expresses a view on injuries that goes against the grain of dominant thinking within the world of ballet. According to Ashley, who suffered
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12

Taranda, G. L. "Development of Acting Abilities for Creating Choreographic Images As a Pedagogical Problem." Uchenye Zapiski RGSU 19, no. 4 (2020): 203–11. http://dx.doi.org/10.17922/2071-5323-2020-19-4-203-211.

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the article considers the process of developing acting abilities among dancers (ballet dancers and modern dance performers) from the point of view of pedagogy (educational methods) and psychology (ways to eliminate stage excitement). Features of choreographic art and creation of choreographic images are revealed. The specifics of the dancer’s creative activity and the role of acting abilities in the embodiment of artistic images on stage are determined. The effectiveness of the process under consideration is due: to the predominance of role and thematic improvisations, trainings, as well as ar
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Sen-Podstawska, Sabina Sweta. "Moving towards aṇgasuddhi and saustabham with a conscious bodymind: Embodied imagery, metaphor and sensory awareness in Odissi dance training". Journal of Dance & Somatic Practices 14, № 1 (2022): 35–56. http://dx.doi.org/10.1386/jdsp_00068_1.

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This article investigates the usage of embodied imagery, metaphor and sensory awareness in the teaching and learning process of Odissi dance, an Indian classical dance from the eastern state of Odisha. It analyses examples of Odissi dance training used by chosen dance institutes and dancers in India. The discussion is undertaken in correlation with the psychophysical performers’, dance scholars’, somatic movement practitioners’, dance anthropologists’ and philosophers’ study of bodymind and embodiment. It proposes a shift from the objectified to a subjective approach to the dancer’s body that
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Hiraga, Cynthia, Camila Siriani, Paulo Ricardo Higassiaraguti Rocha, Débora Alves Souza, and José Angelo Barela. "Pirouette Vertical Ground Reaction Force of Ballet Dancers and Non-Dancers." Brazilian Journal of Motor Behavior 14, no. 2 (2020): 53–61. http://dx.doi.org/10.20338/bjmb.v14i2.159.

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BACKGROUND: Different amounts of force are needed to produce an effective turn for the pirouette, especially vertical force.
 AIM: To examine the vertical force produced by the supporting leg during the execution of a pirouette en dehors of ballet dancer and non-dancer participants.
 METHOD: The participants included five ballet dancers who composed the ballet dancer group and eight girls without previous experience of dance training who composed the non-dancer group. The participants were invited to execute the pirouette en dehors on a force platform with each leg as the supporting
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Vassallo, Amy Jo, Evangelos Pappas, Emmanuel Stamatakis, and Claire E. Hiller. "Differences in the occurrence and characteristics of injuries between full-time and part-time dancers." BMJ Open Sport & Exercise Medicine 4, no. 1 (2018): e000324. http://dx.doi.org/10.1136/bmjsem-2017-000324.

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BackgroundProfessional dancers are at significant risk of injury due to the physical demands of their career. Despite their high numbers, the experience of injury in freelance or part-time dancers is not well understood. Therefore, the aim of this study was to examine the occurrence and characteristics of injury in part-time compared with full-time Australian professional dancers.MethodsData were collected using a cross-sectional survey distributed to employees of small and large dance companies and freelance dancers in Australia. Statistical comparisons between full-time and part-time dancer
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Kumar, Lavanya P., and Shruti J. Shenoy. "Survey of Musculoskeletal Injuries among Female Bharatanatyam Dancers in the Udupi District of India." Medical Problems of Performing Artists 36, no. 3 (2021): 199–206. http://dx.doi.org/10.21091/mppa.2021.3022.

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BACKGROUND: Bharatanatyam is an Indian classical dance form that is practiced globally. There is limited information about the prevalence of injuries in Bharatanatyam dancers. OBJECTIVES: To investigate the prevalence of musculoskeletal injuries and specifics of dance training in female Bharatanatyam dancers in the Udupi district of India. METHODS: We developed and tested a survey for Bharatanatyam dancers regarding injury history in the prior year, including location, time loss, cause, and need for medical help. We also obtained demographic and training information. RESULTS: 101 dancers compl
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Twitchett, Emily A., Manuela Angioi, Yiannis Koutedakis, and Matthew Wyon. "Do Increases in Selected Fitness Parameters Affect the Aesthetic Aspects of Classical Ballet Performance?" Medical Problems of Performing Artists 26, no. 1 (2011): 35–38. http://dx.doi.org/10.21091/mppa.2011.1005.

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Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention
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18

Małecki, Jacek, Mirosław Kokosz, Edward Saulicz, and Izabela Świat-Borowczyk. "The effectiveness of stability training of the lumbo-pelvic-hip complex in ballroom dancers with low back pain." Physiotherapy and Health Activity 23, no. 1 (2015): 17–22. http://dx.doi.org/10.1515/pha-2015-0010.

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Abstract Background: Low back pain is a common problem in ballroom dancers. In the United States of America about 23% of all injuries in dancers is low back pain. Low back pain in dancers can be related to the extended position of the spine during dancing. The activity of the abdominal muscles, such as transverse abdominis and multifidus muscles can play significant role in the pathomechanics of the problem. These muscles are important for stability of the pelvis and the lumbar spine. The purpose of the study was to estimate the effectiveness of stability exercises of the lumbo-pelvic-hip comp
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19

Bronner, Shaw. "Injury Characteristics in Pre-Professional Modern Dancers - Prospective Study of Differences Due to Sex, Training Year, and External Causal Mechanisms." Journal of Dance Medicine & Science 25, no. 2 (2021): 117–30. http://dx.doi.org/10.12678/1089-313x.061521g.

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As efforts to improve surveillance and decrease injury rates in pre-professional dancer's progress, it is important to identify injury patterns and contexts. The aim of this study was to examine sex, training-based injury characteristics, and external causal mechanisms of injury among pre-professional modern dancers. Using a prospective cohort study design, 180 dancers (females = 140, males = 40, age 18.15 ± 0.68 years) were screened at freshman enrollment and followed for the 4 years of their college training. Injury, defined as medical attention injury (MAI) or time-loss injury (TLI), was cl
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Vītola, Sandra. "Promoting Awareness of the Body's Centre in Classical and Modern Dance Training." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 17, 2015): 453. http://dx.doi.org/10.17770/sie2015vol2.420.

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<p><em>Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among da
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McMahon, Elise, Rod Pope, and Kate Freire. "Relationships Between Lateral Limb Bias, Turnout, and Lower Limb Injury in a Female Pre-Professional Ballet Dancer Population." Journal of Dance Medicine & Science 25, no. 2 (2021): 139–46. http://dx.doi.org/10.12678/1089-313x.061521i.

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Dancers are known to have specific limb preferences when they dance and commonly experience lower limb injury, especially early in their training. The primary aim of this study was to determine and examine the relationships between lateral limb bias, perceived turnout profile, and lower limb injury history in female pre-professional ballet dancers using current definitions of lateral bias, leg dominance, and the concept of "working" and "supporting" legs in dance. A cross-sectional survey design with retrospective recall of 12-month injury history was employed. An online questionnaire was dist
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Steinberg, Nili, Michal Pantanowitz, Aviva Zeev, Myriam Stern, and Gali Dar. "Ultrasound Tissue Characterization (UTC) of the Achilles Tendon in Pre- and Post-Pubertal Dancers." Journal of Dance Medicine & Science 24, no. 2 (2020): 51–58. http://dx.doi.org/10.12678/1089-313x.24.2.51.

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This study examined whether maturation status, body physique, and the impact of training are related to the development of Achilles tendon structure in young dancers. Seventy-one pre- and post-menarche dancers (12 to 15 years of age) were recruited. The Achilles tendon of each dancer was examined via ultrasonography tissue characterization (UTC) imaging. The cross-sectional area (CSA) and the fibrillar structure (echo types I to IV) were measured. The participants were screened for anthropometric parameters (weight, height, and leg length) with body mass index (BMI) and BMI percentile calculat
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Li, Fengfeng, Ntwali Adrien, and Yuhuan He. "Biomechanical Risks Associated with Foot and Ankle Injuries in Ballet Dancers: A Systematic Review." International Journal of Environmental Research and Public Health 19, no. 8 (2022): 4916. http://dx.doi.org/10.3390/ijerph19084916.

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Professional ballet dancers can be classified as dance artists and sports performers. This systematic review aims to consider the biomechanical risk factors for foot and ankle injuries in ballet dancers, as this could potentially reduce the impact that ‘cost of injury’ may have on ballet companies. An additional outcome was to examine the effects of injury on the career of ballet dancers. This study searched articles in four electronic databases for information in peer-reviewed journals. The included articles examined the relationships between biomechanical factors and the relationship between
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Zakiyati, Nur Muaffah, Agus Cahyono, and Syakir Syakir. "Inheritance of Cultural Values of Kethek Ogleng Dance at Darma Giri Budaya Dance Studio in Wonogiri." Catharsis 9, no. 1 (2020): 28–37. http://dx.doi.org/10.15294/catharsis.v9i1.39033.

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The Kethek Ogleng dance performance is one of the traditional dances that is inherited and there are cultural values at Darma Giri Budaya Dance Studio in Wonogiri Regency. The purpose of this study is to analyze the inheritance of cultural values in the performances of the Kethek Ogleng Dance at the Darma Giri Budaya Dance Studio in Wonogiri Regency. The method used is qualitative with ethnochoreological approaches. The data collection techniques through observation, interviews and document study. The analysis process began from collecting data, reducing dataand clarifying, concluding and inte
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Vītola, Sandra. "PROPER BREATHING IMPORTANCE IN CLASSICAL AND MODERN DANCE TRAINING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 158. http://dx.doi.org/10.17770/sie2017vol4.2353.

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Based on the theoretical ideas of scholars in the field of dance, the article analyses the significance of correct breathing and its usage in movement performance in classical and modern dance acquisition.
 
 The most important condition for dancers is the daily workout, which develops an understanding of basic components of movements, one of the most significant being correct breathing. Application of correct breathing facilitates a comprehension among dancers of the possibilities of the body – the amplitude and quality of performed movements, as well as the ability to control the s
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Omelyanenko, V. I. "Complex integrated method of improvement of sports ballroom dance performance." Physical education of students 18, no. 6 (2014): 49–53. http://dx.doi.org/10.15561/20755279.2014.0610.

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Purpose: to elaborate complex integrated method of psychological influence upon sport ballroom dancers for their quick response to assumed mistakes by executing other steps in training mode in place of given compositions. Material: 20 senior sport ballroom dancers: 10 - experimental group, 10 - control group. At the I stage dancers for participation in the experimental group with regard to their hypnosis ability for facilitation teaching dynamic meditation were selected. Sportsmen with the 2 nd -3 rd stage of hypnosis were enrolled to the experimental group. At the II stage the experimental gr
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Griffin, Kelsey L., Marina G. Gearhart, Dai Sugimoto, Ellen T. Geminiani, and Andrea Stracciolini. "Career Transitions for the Young Dancer: Considering Psychological Implications, Challenges with Athletic Identity, and Need for Available Resources." Medical Problems of Performing Artists 34, no. 1 (2019): 47–52. http://dx.doi.org/10.21091/mppa.2019.1005.

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AIMS: Young dancers are likely to revolve their entire identity around dance, and there is the potential risk for disruption to their identity and psychological upset upon change of status or loss of dance following high school. The objective of our study was to systematically review the current literature examining psychological implications, athletic identity, and career transitions for young dancers. METHODS: A systematic review was performed covering the last 30 years of dance-related literature (1987–2017) through PubMed and EBSCOhost. To be included, the following criteria had to be met:
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Nunes, Ana Carla Lima, Luanna Andrade Mendes, Lívia de Araújo Mota, Pedro Olavo de Paula Lima, and Gabriel Peixoto Leão Almeida. "Training Load, Pain Intensity, and Functioning Can Explain Injuries in Dancers: A Classification and Regression Tree (CART) Analysis." Medical Problems of Performing Artists 37, no. 2 (2022): 73–77. http://dx.doi.org/10.21091/mppa.2022.2012.

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OBJECTIVE: To identify the biopsychosocial factors that explain injuries in dancers through use of a Classification and Regression Tree (CART) analysis. METHODS: Cross-sectional study performed with dancers over 18 years of age from dance schools in Brazil. Sociodemographic factors, pain intensity (numerical pain rating scale, NPRS), anxiety (Beck anxiety inventory, BAI), and functioning (WHO Disability Assessment Schedule 2.0, WHODAS) were assessed. We used a classification and regression tree (CART) analysis considering the occurrence of injury as a dependent variable, and the independent va
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Malkogeorgos, Alexandros, Eleni Zaggelidou, Georgios Zaggelidis, and Galazoulas Christos. "Physiological Elements Required by Dancers." Sport Science Review 22, no. 5-6 (2013): 343–68. http://dx.doi.org/10.2478/ssr-2013-0017.

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Abstract Dancing is an excellent alternative exercise for improving health related physical fitness elements. Dance performance requires support from enhanced physiological requirements necessary for dancers including cardiovascular fitness, muscle flexibility, muscular strength/power. A reduction in muscular strength associate with injury risk and many dancers succumb to problems such as the overtraining syndrome. Improvement in lower body muscular strength appears to have positive effects on aspects of dance performance and injury prevention. The qualities and benefits offered by dancing dep
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Padfield, James A., Patricia A. Eisenman, Maurie J. Luetkemeier, and Sally S. Fitt. "Physiological Profiles of Performing and Recreational Early Adolescent Female Dancers." Pediatric Exercise Science 5, no. 1 (1993): 51–59. http://dx.doi.org/10.1123/pes.5.1.51.

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A physiological profile of 40 early adolescent female dancers was completed to investigate the characteristics of dancers this age and the possible physical fitness benefits of high levels of dance training. Of those physical fitness variables studied, the only significant difference between performing (high level) and recreational (low level) dancers was the degree of hip flexibility (p<.01). Both groups exhibited lean body density (combined mean of 1.069 g ml−1) as well as moderate aerobic (combined mean of 45.8 ml kg−1 min−1) and anaerobic power (combined mean of 6.5 Watt kg−1). These da
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Gusak, Y. A., and V. V. Vorona. "Features of the use of sports dances in the field of physical culture and sports." Scientific Journal of National Pedagogical Dragomanov University Series 15 Scientific and pedagogical problems of physical culture (physical culture and sports), no. 1(129) (January 27, 2021): 27–31. http://dx.doi.org/10.31392/npu-nc.series15.2021.1(129).06.

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The popularity of sports dances continues to grow every year. It was found that today sports dances and their elements are actively used in physical education of preschoolers, schoolchildren and students. The adult population of the country is also involved in this sport. Popular are various dance clubs and hobby classes, which are open to people of all ages. The article identifies the main directions and features of the use of sports dances and their elements in the field of physical culture and sports. The programs and methods of application of elements of dance preparation in physical educa
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Clarke, Frances, Yiannis Koutedakis, Margaret Wilson, and Matthew Wyon. "Bilateral Differences in Dancers' Dynamic Postural Stability During Jump Landings." Journal of Dance Medicine & Science 24, no. 4 (2020): 183–89. http://dx.doi.org/10.12678/1089-313x.24.4.183.

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Although traditional dance training aims to train dancers' legs equally, the recognized practice of predominately starting and repeating exercises on one side more than the other has led to suggestions that technique classes may cause lateral bias. Such an imbalance could lead to a greater risk of injury; however, despite this potential risk, little is known about the effects of bilateral differences on dancers' postural stability during jump landings, a key dynamic action in dance. Therefore, the aim of this study was to examine the effects of possible bilateral differences on dynamic postura
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Mullerpatan, Rajani P., and Juhi K. Bharnuke. "Differences in Foot Characteristics Between Bharatanatyam Dancers and Age-Matched Non-Dancers." Medical Problems of Performing Artists 37, no. 1 (2022): 53–57. http://dx.doi.org/10.21091/mppa.2022.1009.

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INTRODUCTION: The ankle–foot complex is the third most common site of pain in Indian dancers. In Bharatanatyam dance, rhythmic stamping performed barefoot at varying speeds may influence the height of the medial longitudinal arch, causing structural alteration of the ankle-foot complex. As little information is available on the ankle-foot complex of Bharatanatyam dancers, the present study was conducted to test the hypothesis that foot characteristics of Bharatanatyam dancers differ from those of non-dancers. METHODS: Female professional Bharatanatyam dancers (n=21), aged 18–30 years, with a m
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Escobar Álvarez, Juan Antonio, Pedro Jiménez Reyes, Miguel Ángel Pérez Sousa, Filipe Conceição, and Juan Pedro Fuentes García. "Analysis of the Force-Velocity Profile in Female Ballet Dancers." Journal of Dance Medicine & Science 24, no. 2 (2020): 59–65. http://dx.doi.org/10.12678/1089-313x.24.2.59.

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Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mec
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Ehrenberg, Shantel. "A Kinesthetic Mode of Attention in Contemporary Dance Practice." Dance Research Journal 47, no. 2 (2015): 43–61. http://dx.doi.org/10.1017/s0149767715000212.

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In this article, original interview material, existing published accounts, and the author's own experience as a contemporary dancer are put in conversation to explicitly address a particular kinesthetic awareness, sensitivity, and curiosity valued and employed by a group of dancers in the practice of contemporary dance, which is referred to as a kinesthetic mode of attention. The research informing this article uses a phenomenological and sociological approach and discusses, in detail, what this mode of attending “is like,” how it is described in different ways by dancers, and how it might be
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Smol, Ewelina, and Artur Fredyk. "Supplementary Low-Intensity Aerobic Training Improves Aerobic Capacity and Does Not Affect Psychomotor Performance in Professional Female Ballet Dancers." Journal of Human Kinetics 31, no. 1 (2012): 79–87. http://dx.doi.org/10.2478/v10078-012-0008-6.

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Supplementary Low-Intensity Aerobic Training Improves Aerobic Capacity and Does Not Affect Psychomotor Performance in Professional Female Ballet DancersWe investigated whether 6-week low-intensity aerobic training program used as a supplement to regular dance practice might improve both the aerobic capacity and psychomotor performance in female ballet dancers. To assess their maximal oxygen uptake (VO2max) and anaerobic threshold (AT), the dancers performed a standard graded bicycle ergometer exercise test until volitional exhaustion prior to and after the supplementary training. At both these
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Skoe, Erika, Erica V. Scarpati, and Allison McVeety. "Auditory Temporal Processing in Dancers." Perceptual and Motor Skills 128, no. 4 (2021): 1337–53. http://dx.doi.org/10.1177/00315125211021210.

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While many studies have examined the auditory abilities of musicians, this study uniquely asks whether dance training, a similar yet understudied type of early-life training, also benefits auditory abilities. We focused this investigation on temporal resolution, given the importance of subtle temporal cues in synchronizing movement. We found that, compared to untrained controls, novice adult dancers who have trained continuously since childhood had enhanced temporal resolution, measured with a gap detection task. In an analysis involving current and former dancers, total years of training was
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Gujing, Li, He Hui, Li Xin, et al. "Increased Insular Connectivity and Enhanced Empathic Ability Associated with Dance/Music Training." Neural Plasticity 2019 (May 6, 2019): 1–13. http://dx.doi.org/10.1155/2019/9693109.

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Dance and music are expressive art forms. Previous behavioural studies have reported that dancers/musicians show a better sensorimotor ability and emotional representation of others. However, the neural mechanism behind this phenomenon is not completely understood. Recently, intensive researches have identified that the insula is highly enrolled in the empathic process. Thus, to expand the knowledge of insular function associated with empathy under the dance/music training background, we mapped the insular network and its associated brain regions in 21 dancers, 20 musicians, and 24 healthy con
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Trentacosta, Natasha, Dai Sugimoto, and Lyle J. Micheli. "Hip and Groin Injuries in Dancers: A Systematic Review." Sports Health: A Multidisciplinary Approach 9, no. 5 (2017): 422–27. http://dx.doi.org/10.1177/1941738117724159.

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Context: Injury data on hip and groin injuries vary, and these injuries are often misrepresented or overlooked for more commonly seen injuries, such as those to the foot and ankle. Objective: To provide a systematic review of the injury rates of hip and groin pathology in dancers and look to establish a better understanding of the occurrence of hip and groin injuries in the dancer population. Data Sources: A literature search was performed using PubMed and CINAHL databases for articles published between 2000 and 2016. Study Selection: Inclusion criteria consisted of (1) documentation of the nu
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Maniveloo, Segar A., Borhannudin Abdullah, and Shamsulariffin Samsudin. "The Level of the Functional Movement Screen Among Traditional Dancers." Asian Social Science 17, no. 11 (2021): 103. http://dx.doi.org/10.5539/ass.v17n11p103.

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Movement assessments are commonly used to assess athlete’s risk of injury as well as basic and specific skill movement patterns; however, dance is identified to be differing from sports because the average dancer’s training load is higher than the athletes. This study aims to identify the difference in the Functional Movement Screen (FMS) level among traditional dancers in Malaysia. A quasi-experimental study design was adopted, which involved 66 dancers (M = 33; F = 33). The study comprised traditional dancers from three ethnic backgrounds, namely, Malay, Chinese and India
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Banio, Adrianna, and Jerzy Eider. "VERIFICATION OF SPECIAL AND TASK-ORIENTED MOTOR TEST AMONG COMPETITIVE BALLROOM DANCERS AT THE HIGHEST LEVEL OF ADVANCEMENT." Journal of Kinesiology and Exercise Sciences 28, no. 82 (2018): 29–34. http://dx.doi.org/10.5604/01.3001.0013.5123.

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Aim: Verification of special and task-oriented fitness test of competitive ballroom dancers carried out among the most qualified contestants by Rokita (2006).Basic procedures: The research material consisted of 76 dancers (38 European couples) of the highest international dance class S, who train ballroom dance in European countries, i.e.: Poland, Italy, the United Kingdom, Germany, and Ukraine. The research methodology included carrying out a test constructed by Rokita (2006), consisting of a total of 16 “chaines” turns in 2/4 metre and at a rate of 40 bars per minute. Results: The presented
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Cardoso, Allana Alexandre, Nycolle Martins Reis, Ana Paula Ramos Marinho, Melissa de Carvalho Souza Vieira, Leonessa Boing, and Adriana Coutinho de Azevedo Guimarães. "INJURIES IN PROFESSIONAL DANCERS: A SYSTEMATIC REVIEW." Revista Brasileira de Medicina do Esporte 23, no. 6 (2017): 504–9. http://dx.doi.org/10.1590/1517-869220172306170788.

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ABSTRACT Movement is a fundamental element of dance, and the dancer’s body is the raw material through which the art of dance is expressed; for this, it demands the utmost discipline in the pursuit of technical and artistic excellence. To meet the professional demands, dancers are subjected to strenuous training routines, which can lead to the development of injuries in this environment. The objective was to examine the etiology, main affected segments, prevalence, and instruments used to evaluate the lesions in studies with professional dancers and/or in comparison with similar populations. W
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Chui, Vivian Wai-Ting, Anson Hei-Ka Tong, Jasmine Yat-Ning Hui, Heidi Hiu-Tung Yu, Patrick Shu-Hang Yung, and Samuel Ka-Kin Ling. "Prevalence of ankle instability in performers of Chinese classical dance: a cross-sectional study of 105 Chinese dancers." BMJ Open Sport & Exercise Medicine 8, no. 3 (2022): e001413. http://dx.doi.org/10.1136/bmjsem-2022-001413.

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ObjectivesFoot and ankle injuries are commonly seen in dancers, yet limited studies exist on the injury prevalence of performers of Chinese classical dance. This study aims to determine and assess the prevalence of chronic ankle instability (CAI) in Chinese dancers and correlate the impact of CAI with foot function.MethodsThis is a cross-sectional study of 105 Chinese dancers. CAI was assessed using the Cumberland Ankle Instability Tool and foot function via the Foot and Ankle Outcome Score (FAOS). Both self-reported assessment tools were distributed online between January and February 2021. S
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Huang, Canling. "Moving Identities: An Investigation of Chinese Oversea Dancers in London Based on Double Consciousness Theory." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 205–9. http://dx.doi.org/10.54097/ehss.v5i.2903.

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It is not uncommon today that cross-border exchanges of dancers are getting closer and closer under globalization. For those cross-cultural dance training, dancers' thoughts and bodies have been changed. This paper explores the multiple consciousness and identity contradictions of Chinese oversea dancers in the context of London. Applying Double Consciousness Theory to dance research strives to help more individuals to sociological focus on dance research and comprehend the relationship between the body and society. The ethnography methodology is adopted in this study and found that Chinese ov
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Luke, Anthony C., Susan A. Kinney, Pierre A. D’Hemecourt, Jessica Baum, Michael Owen, and Lyle J. Micheli. "Determinants of Injuries in Young Dancers." Medical Problems of Performing Artists 17, no. 3 (2002): 105–12. http://dx.doi.org/10.21091/mppa.2002.3016.

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The epidemiology of dance injuries requires further study, in order to properly implement effective health interventions. This study aimed to pilot injury surveillance tools to assess the incidence of injuries in adolescent pre-professional dancers and identify the intrinsic and extrinsic risk factors associated with dance injuries. The study involved a prospective, cohort design. A population of adolescent dancers at a liberal arts high school dance program in Natick, Massachusetts, was studied over the nine-month school year in 2000/2001. Intrinsic risk factors, including anatomical characte
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RIDAN, Tomasz, Katarzyna OGRODZKA-CIECHANOWICZ, Magdalena MOLĘDA, and Ewelina KAMIŃSKA-GWÓŹDŹ. "Analysis of the incidence of ankle joint injuries among dancers representing different dance styles." Medycyna Manualna 1, no. 3 (2020): 39–46. http://dx.doi.org/10.5604/01.3001.0013.8444.

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Introduction. Injuries of the ankle joint are among the most common injuries of the locomotor system, occurring both among athletes and people involved in amateur sports and other recreational activities. The objective of the study was to assess the incidence of injuries to the ankle joint in a group of professional and amateur dancers representing different dance styles. Material and research method. The research initially covered a group of 98 dancers. Ultimately, 64 dancers qualified for the study, including 28 men (44%) and 36 women (56%) aged between 17 and 23 years. The study was conduct
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Tekin, Demet, Ani Agopyan, and Gul Baltaci. "Balance Training in Modern Dancers: Proprioceptive-Neuromuscular Training vs Kinesio Taping." Medical Problems of Performing Artists 33, no. 3 (2018): 156–65. http://dx.doi.org/10.21091/mppa.2018.3022.

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Kinesio tape and proprioceptive exercises are both used for increasing balance in dancers. The purposes of this study were to: a) determine the acute effect of kinesio tape (KT) application on the ankle joint on balance performance, b) investigate the effects of an 8-week proprioceptive-neuromuscular (PN) training program on balance performance, and c) compare their effects vs modern dance technique classes alone. Thirty-three trained, university-level modern dance students (9 male, 24 female) were divided randomly into three groups: kinesio tape (KT, n=11), proprioceptive-neuromuscular (PN, n
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Miletic, Durdica, Damir Sekulic, and Ljerka Ostojic. "Body Physique and Prior Training Experience as Determinants of SEFIP Score for University Dancers." Medical Problems of Performing Artists 22, no. 3 (2007): 110–15. http://dx.doi.org/10.21091/mppa.2007.3024.

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The Self-Estimated Functional Inability because of Pain (SEFIP) questionnaire is a simple tool used to define the pain status in different body regions of performers in aesthetic sports. In this study we revalidated the SEFIP in a sample of nonprofessional female university dancers (n = 45; mean age, 22.3 yrs). The dancers were divided into two groups according to their previous experience in dance and aesthetic-based sports: experienced (n = 24) and nonexperienced (n = 21). SEFIP was measured before and after the 6-week dance and aesthetic-based training program. Morphologic variables were me
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Jarvis, Danielle N., and Kornelia Kulig. "Achieving the Split Position in a Saut de Chat Leap." Medical Problems of Performing Artists 35, no. 2 (2020): 68–72. http://dx.doi.org/10.21091/mppa.2020.2011.

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OBJECTIVES: Dancers frequently perform complex jumping skills that involve achieving specific body positions while in the air. An examination of how skilled dancers achieve these aesthetic demands can provide information useful for dance training. The purpose of this study was to examine the temporal coordination of the hip and knee joints during the flight phase of a saut de chat leap, where dancers aim to achieve a split position in the air when the center of mass (COM) reaches peak height. METHODS: Thirty healthy, experienced dancers with 22.5±4.5 years of dance training performed 5 saut de
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Miletic, Alen, Radmila Kostic, Ana Bozanic, and Durdica Miletic. "Pain Status Monitoring in Adolescent Dancers." Medical Problems of Performing Artists 24, no. 3 (2009): 119–23. http://dx.doi.org/10.21091/mppa.2009.3026.

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Various dance techniques and performances have different effects on the biomechanics of the body and may lead to different injury profiles. Few studies have analyzed the risk of injury associated with particular types of dance, especially in adolescents when accelerated growth compounds the risk of injury. Ninety-six female dancers with international competitive dance experience from four Balkan European countries were selected from a population of 347 adolescent dancers for this study. Their average age was 13.8 yrs (range, 12 to 16). The subjects were divided into four groups according to th
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