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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 the eyes are the windows of the soul, and the folk dance is more about expressing a feeling to the audience. If the dancer don’t have a good performance and face expression, he or she can’t express the dance work at all. Therefore, this article takes the training of national folk dance as the starting point, combining technical training, stage performance, professional dancers and amateur dancers, taking the Uygur as an example.
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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' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.
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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 training of dancers, taking into account the specific requirements of training in sport dances. Material and methods: analysis of special scientific and methodical literature. Theoretical research methods: analysis, synthesis, comparison, generalization, concretization, systematization. Results. The structure and algorithm of realization of modeling of special functional preparation in sports dance are developed: 1) Structural organization of the analysis directed on formation of the system approach to modeling of sports training. 2) Specific principles of forming a systematic approach to modeling the training of dancers. 3) Structural and logical scheme of modeling the functional readiness of dancers. 4) Characteristics of models of training of athletes-dancers. 5) Aids for modeling the readiness of athletes in sport dances. Conclusions. The system approach is developed on the basis of the model-target approach of realization of modeling as functions of management of special functional preparation of athlete-dancers. The formation of the structural components of the model-target approach requires taking into account the specific components of training and preparedness inherent in sports that combine sport and art. The structural and logical scheme of realization of the model-target approach provides the algorithm which purpose consists in formation of the software of special functional preparation in sports dance.
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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 ballet companies. Few data exist regarding the training or injury rates of these students in part because of difficulties with access and compliance. To date, 3,700 surveys have been distributed (January 2001-present) to students training in private studios throughout California. Information was requested concerning current and past injuries, dance training history, and competition schedules. This ongoing investigation currently has examined 173 (male = 6 and female = 167) completed surveys. The mean age of dancers who responded to the survey was 15.2 years. Of the dancers surveyed, 93% study at private dance studios, and 67% have studied in high school dance programs. The number of injuries reported (n = 226) included fractures, strains, sprains, and tendinitis. The ankle, knee, and back were found to be the most frequent injury sites. Correlations between the number of different techniques studied and the total hours danced, the number of different techniques studied and number of injuries for each individual, and the number of injuries for each individual and total hours danced all were significant at 0.01. Initial results support that dancers in the private dance studio are susceptible to injuries similar to those experienced by dancers in elite training centers.
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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 competitiveness. Also, the nature of dance is now more of a viewing experience. In view of the lack of functional training in international standard ballroom dancing, this article will study the role of functional training in this. By adopting the technology of human body feature recognition and functional action screening, it implements the steps of human action recognition detection technology, human action tracking technology, human body posture shape recognition method, and functional action screening. And the final experimental results show that functional training can screen out 57.3% of female dancers, with ligament damage, and 52.1% of male dancers. The screen outs were more than half of the total numbers, which shows that functional training effectively improves international standard ballroom dance that can provide good assistance for dancers’ training.
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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). Such progression can be detrimental to a dancer’s capacity given the physically demanding nature of training, rehearsal, and performances. Previous literature has focused on the manifestation and treatment of ID primarily in the context of endurance athletes; however, a dance-specific context addressing the interplay between dance training and performance, LEA and ID is essential for practitioners working in this space. By consolidating findings from identified studies of dancers and other relevant athlete groups, this review explores causal factors of ID and potential treatment strategies for dancers to optimise absorption from an oral iron supplementation regime to adequately support health and performance.
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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 strength abilities in 12-15 year-old adolescents engaged in folk-stage dance in the Honored Dance Ensemble of Ukraine «Youth» and in the school of folk dance, folk dance ensemble «Serpanok» (Lviv) was also held. This made it possible to develop a program for the development of strength abilities, taking into account their varieties, which are necessary in folk-stage dances. The main means of developing strength abilities in the program were folk-stage dance exercises, the selection of which took into account their predominant influence on the development of a particular strength ability, the possibility of local, regional or general impact on the musculoskeletal system and the need for accurate dosing. The positive influence of the developed program on the development of various strength abilities of dancers is revealed. The obtained results can be used in the practice of teachers of choreographic groups of folk-stage dance.
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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 ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p < 0.01; F(15, 15) = 65.0, p < 0.01; and F(15, 15) = 67.4, p < 0.01, respectively]. The variable years of experience was not correlated with peak force, rise rate, or impulse (p > 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.
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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 having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon). The training was done 2 hours per day (a total of 10 hours a week), during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012), peak oxygen consumption (VO2peak; p = 0.000), muscle damage markers (creatine kinase, Δ% = −19.6), and total antioxidant capacity (p ≤ 0.002). Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.
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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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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 from several injuries in her first two years with the company, an injury can be a positive experience for a dancer, because it heightens her awareness of her body and teaches her about its possibilities and limitations. This is a rather exceptional view in a world where the vast majority of professionals commonly see injuries as a disaster (Wulff 1998; Wainwright, Williams and Turner 2005). The dominant realization that a dancer's career is short makes dancers fear an injury, because it will prevent them from dancing and cause them to lose roles. Because “there is a rule in the ballet world against casting or promoting dancers who are injured” (Wulff 1998, 106), dancers who suffer from an injury will wait as long as possible before letting others know, because they are afraid it will stop them dancing (Mainwaring, Krasnow and Kerr 2001).
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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 artistic and creative activities in general from music classes to regular choreographic practice in the training of dancers; creating an inspiring artistic and aesthetic environment in the educational institution, an atmosphere of emotional well-being and success; filling classes with content significant for young dancers and ideas close to them in spirit; and the application of a variety of methods and techniques individualized according to the age and personality characteristics of each student.
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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 empowers students/dancers to reclaim the ownership of their bodies and movements. Altogether, it highlights a missing block in the training process that enables dance students to move towards the socioculturally imagined level of ‘perfection’, however, with a healthy, thinking, feeling, moving and agentive bodymind.
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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 leg. Two-way analyses of variance were used to test vertical reaction forces between the two groups over the preferred and non-preferred leg.
RESULTS: Among the three vertical forces measured in the present study, the maximum vertical peak for the initial impulse was significantly higher for the ballet dancers compared to the non-dancer girls. The minimum vertical force and maximum vertical peak for the final impulse were similar between both groups.
CONCLUSION: The results suggest that the initial vertical force may be critical to the pirouette en dehors, determining proficient execution of this movement in ballet dancers.
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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 demographics, dance training, injury prevalence and characteristics were made using χ2, two-tailed Fisher’s exact tests, independent t-tests and Mann-Whitney U tests.ResultsA total of 89 full-time and 57 part-time dancers were included for analysis. A higher proportion of full-time dancers (79.8%) than part-time dancers (63.2%) experienced an injury that impacted on their ability to dance in the past 12 months (p=0.035). Injuries characteristics were similar between groups with fatigue being the most cited contributing factor. Part-time dancers took longer to seek treatment while a higher proportion of full-time dancers were unable to dance in any capacity following their injury.ConclusionMore full-time dancers sustained an injury in the past 12 months, and were unable to dance in any capacity following their injury. However injuries still commonly occurred in part-time dancers without necessarily a large volume of dance activity. Part-time dancers often access general community clinicians for treatment, who may need additional education to practically advise on appropriate return to dance.
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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 completed the survey. 10.8% of dancers reported musculoskeletal injuries because of participation in dance. They sustained 0.65 injuries/1,000 hours of dancing. The most frequently injured areas were ankle (27.2%) and knee (27.2%) followed by lower back (13.6%) and hip (9%). Despite being injured, 36.4% of the dancers continued to dance. 54.5% of the injured dancers sought the help of a medical professional for their dance-related injuries. The most common surface for dance was concrete followed by other hard surfaces such as marble and tile. CONCLUSION: Female Bharatanatyam dancers are prone to injuries of the lower extremity and back. Most dancers in our study practice the Pandanalluru style on hard surfaces. There is a need to investigate the impact of training factors on the injury occurrence.
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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 group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration (WBV) All dancers’ performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group’s overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer’s regime, and minimal intervention time is required to have observable effects.
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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 complex in reducing low back pain among ballroom dancers. Material/Methods: 30 professional dancers (mean age of 19 years) both males and females participated in the research. Subjects were randomised into two groups. Dancers from the first group continued normal dance training with extra stability training (the experimental group). Participants from the second group continued normal dance training only, without any modifications (the control group). The pain rate was measured by the Numerical Pain Rating Scale. The stability muscles activity was estimated with the biofeedback pressure unit in supine and prone position. Results: After 6 weeks of stability trainings in dancers from experimental group low back pain significantly decreased and the stability muscles activity improved (p < 0.05). Conclusions: Results of the study show that stability exercises can be effective in reducing low back pain in ballroom dancers. However, prolonged observations and research comparing different training regimens (e.g. general exercises or Pilates) are needed.
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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 classified by diagnosis, tissue category, body region, and incident event (action and dance environment). Negative binomial log-linear analyses evaluated injury rates by sex and training year. Multinomial regression compared injury characteristics and incident events, p < 0.05. Sex characteristics differed in height, mass, years of dance training, and previous injury (p ≤ 0.037). Total, traumatic, and overuse injuries per 1,000 hours decreased across training years for both injury definitions, p < 0.001, with no sex differences. In year 1, dancers were more likely to sustain muscle, tendon, and bone injuries (p ≤ 0.008) and to injure leg, ankle, foot, and hip, thigh, and knee regions (p ≤ 0.001). Jumping and running was the most commonly cited action mechanism in MAI and TLI in both sexes. Females were more likely to report alignment in MAI and TLI and jumping and running in TLI. Males were 1.4 times more likely to sustain muscle or tendon MAI (p = 0.006), while reporting partnering in MAI. Ballet class and rehearsals accounted for the majority of attributed dance environment mechanisms in MAI and TLI. Injury rates in pre-professional modern dancers decreased with training. Understanding sex, training, and external causal mechanisms will allow teachers to tailor programs to reduce injuries during training.
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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 dancers, which leads to easier control over performed movements. </em></p><p><em>The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance. </em></p><p> </p>
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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 distributed to female dancers between the ages of 16 and 21 years who were training in classical ballet at the pre-professional level in Australia. The questionnaire gathered information regarding laterality, perceived turnout asymmetry, and self-reported 12-month injury profile. Descriptive and correlation analyses were employed to describe dancer profiles and determine relationships between the three variables. Thirty-two dancers participated. The majority of participants (67%) had right-side dominance and most indicated the right leg as their preferred supporting leg (86.7%) and working leg (60%). A total of 17 participants (53.1%) reported at least one injury in the preceding 12-month period and the side injured was significantly correlated with leg dominance (rS = 0.595, p = 0.012), with the majority of injuries also affecting the preferred supporting and working leg. Dancer perceptions regarding turnout range were correlated with their perceptions of leg dominance (rS = 0.556, p = 0.001), but no statistically significant associations were found between perceptions of turnout range and injury side. In pre-professional dancers, the dominant and the preferred supporting or working leg tend to be the same leg, and the results suggest that the dominant and preferred supporting and working leg of dancers are at greatest risk of injury.
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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 calculated; for hours and impact of training; for Tanner pubertal maturation; and for pain in their Achilles tendon (VAS scale). In addition, age and age at onset of menarche were documented. Tendon structure was found to differ between pre- and post-menarche dancers. Post-menarche dancers had a significantly lower percentage of echo type I fibers and a significantly higher percentage of echo type II, III, and IV fibers, with a greater CSA compared to pre-menarche dancers. The tendon structure was found to be correlated with BMI percentile, but no correlations were found with chronologic age or the impact of dance training. Furthermore, ANCOVA showed that BMI had a statistically significant effect on fiber types II and III (p < 0.005) and that the effect of menarche was significant, meaning that pre-menarche dancers had a lower BMI compared with those who were post-menarche. It is concluded that pre- and post-menarche dancers had developed different patterns of Achilles tendon fiber structure. Body mass index was found to be the most significant factor influencing the different tendon structures in young pubertal dancers.
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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 ballet shoes and foot performance. There were 9 articles included in this review. Among these articles, two focused on the peak force of the foot using two types of pointe shoes, three focused on overuse injuries of the ballet dancer’s foot, one article focused on the loading of the foot of a dancer, and three articles focused on the function and biomechanics of the foot in dancers. This review also found that the pointe shoe condition was the most important factor contributing to a foot injury; overuse injury related to high-intensity training and affected both the ankle and the foot; and metatarsophalangeal joint injury related to the function and structure of the foot. Finally, strengthening the lower extremity muscle is also a recommendation to improve muscle coordination and reduce injuries.
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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 interpreting. The cultural value of Kethek Ogleng Dance can be seen in the dance moves, the performing techniques, dancers, time, drama, and technique. The cultural values that are seen from the knowledge obtained is from learning in the Studio and formal schools. Skillis the process of training artists to the dancer of Kethek Ogleng in the studio. Attitude, the artist teaches the attitude of dancer Kethek Ogleng that the talent possessed must be delivered.
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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 strength necessary for movement performance.
This article aims to analyse the meaning of correct breathing and to justify its use among dancers acquiring classical and modern dance.
The article makes use of the theoretical research method – characterising differences between classical and modern dance acquisition, analysing breathing and its correct usage during a dance performance.
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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 group was trained in the method of dynamic meditation. For this, the static meditation was performed first, after this the test persons opened their eyes and without leaving the achieved result with help of the static state of meditation, practiced in dynamic meditation. At the III stage training in sports ballroom dances with introduction new steps changing the composition program sequence to composition was held. The coach evaluated response of the test persons in the state of the dynamic meditation. Results: at the II stage of the research on training in dynamic meditation the dancers of the experimental group needed 3-7 repetitions. At the III stage of the research 8 test persons had trained to response adequately to changes in the compositions within 10-15 repetitions. In the control group if a partner changed steps during performance of the composition it led to stop of the dancing couple. For 8 test persons in the experimental group steps replacement didn’t affect adversely the quality of the dance. The senior group of dancers studied new steps with great difficulty, their motion stereotype was formed badly, they preferred to dance compositions trained earlier. The seniors having insufficient technical background (2 persons) showed low abilities, they had bad memory, they spent 3 months for mastering new compositions. Conclusions: The methods elaborated by us providing for inclusion in the training process stand-alone dance steps in place of compensation steps, provided development of the dancers’ ability to respond quickly to assumed mistakes during dance performance. Mastering dynamic meditation depended on typological features of the nervous system: the higher hypnosis ability degree the better mastering. Women-partners of the experimental group who had high hypnosis ability degree and mastered dynamic meditation could quickly adequately response to the rapid changes in the composition performed by dance partner during dance. Consideration of possible errors trains a woman-partner’s ability to switch timely from one step to another. Using this method, improvement of professional skills of dancers accelerates greatly.
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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: 1) dancers’ ages were between 14–22 years, 2) dancers’ training experience was documented and its duration was at least 5 years, and 3) information regarding career transition including available resources, athletic identity, or psychological impact was stated. All statements, documentation, and information related to dancer career transition and choice, including psychological impact, athletic identity, and available resources, were extracted. Quality assessment and level of evidence plans were set a priori. RESULTS: Four publications were found as a result of the systematic review; however, no study met all three of our inclusion criteria. CONCLUSIONS: No formal research exists that focuses on career transition for young dancers. More studies are needed that focus on the psychological and physical implications of career decisions for dancers in order to guide healthy decisions when transitioning out of high school into a career path.
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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 variables included age, training load, BAI, pain level, and WHODAS 2.0 score, adjusted for body mass index. RESULTS: The sample included 61 dancers (ballet, jazz, contemporary, tap, and urban dance), and they were mainly women (72.1%) with a mean age of 25.6 (± 5.79) years. Thirty-three percent presented dance-related musculoskeletal injuries in the last 12 months. The CART analysis showed that training load was the main associated factor, explaining 52.4% of injuries in dancers with a workload > 11.5 hrs/wk (p=0.05). When NPRS > 6.5 is added to the high load of training, these two variables explain 100% of the cases of injury (p=0.02). Training load < 11.5 hrs/wk and WHODAS 2.0 score < 68.0 were associated factors for no injury in dancers (80%; p=0.03). CONCLUSIONS: Our results demonstrated that training load, functioning, and pain intensity were factors associated with injury in dancers, and we established cutoff points. The inclusion of functioning in the algorithm suggests the influence of structure, function, activity, and social participation on injury in dancers and strengthens the patient-centered care.
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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 depend on the dance forms concerned but as a general rule, it improves physical health by developing strength, suppleness, coordination and balance in varying amounts. This literature study showed differences in fitness levels exist between in different dance forms but also in levels of dancers. As in most sports, dancing is a demanding exercise form for all styles dancers, taxing both aerobic and anaerobic processes and develops high levels of muscle tension. Joint mobility and body composition are also important parts of dance fitness. Dance training consists of technique and style training with an aim to increase the skill level of dancers. Furthermore, it needs more investigation whether improved physical fitness has positive effect on dance performance.
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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 data suggest that early adolescent dance training encourages a certain level of physical fitness, but higher levels or duration of dance training do not result in or demand exceptional aerobic or anaerobic power.
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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 education of preschool children and schoolboys are considered. A significant number of techniques are aimed at developing physical abilities and improving the health of children. The use of the programs developed by the authors promotes harmonious physical development, attention development, improvement and optimization of the educational process of physical culture in secondary schools, the formation of motivation for physical education, the development of diverse harmonious personality, improving the physical condition of school children. The ways of improving the educational and training process and various aspects of the training of dancers are outlined both through the development of leading specific physical qualities and technical training. An important task in planning the process of physical training is the rational determination of priority areas at each stage of sports improvement. The importance of choreographic training in complex coordination sports, such as acrobatics, rhythmic gymnastics, synchronized swimming, sports aerobics, figure skating, diving, trampoline exercises is substantiated. It was found that choreographic training in sport dances includes a system of exercises and methods of influence aimed at educating the motor culture of dancers, to expand the arsenal of means of expression.
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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 postural stability during single-leg landing using a time-to-stabilization protocol. Thirty-two injury-free female university undergraduate dancers (19 ± 1.9 years; 164.8 ± 6.7 cm; 62.6 ± 13.6 kg) volunteered for the study. They completed a two-foot to one-foot jump over a bar onto a force platform while stabilizing as quickly as possible. The landing leg was randomly assigned, and participants completed three trials for each leg. No significant differences in dynamic postural stability between right and left legs were revealed, and poor effect size was noted (p > 0.05): MLSI: t = -.04, df = 190, p = 0.940 (CI = -.04, .04, r2 = 0); APSI: t = .65, df = 190, p = 0.519 (CI = -.06-, .12, r2 = .09); VSI: t = 1.85, df = 190, p = 0.066 (CI = -.02, .68, r2 = .27); DPSI: t = 1.88, df = 190, p = 0.061 (CI = -.02, .70, r2 = .27). The results of this study do not support the notion that dance training may cause lateral bias with its associated risk of injury. Furthermore, dancers' self-perceptions of leg dominance did not correlate with their ability to balance in single-leg landings or to absorb the ground reaction forces often associated with injury. Even when biased training exists, it may not have detrimental effects on the dancer's postural stability.
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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 minimum of 8 years of performance experience after completing formal dance training, and 21 control non-dancers participated in this study. Physical foot examination included navicular drop test and Feiss line. Foot geometry and pedobarography were recorded as participants walked barefoot at self-selected walking pace over a pressure-platform. An average of five gait cycles was computed to analyse maximum peak pressure (MPP), pressure time integral, contact time, and foot geometry of the midfoot, forefoot, great toe, and second to fifth toes. Analysis of covariance was performed for intergroup comparison of all variables with gait speed as a covariate. RESULTS: During walking, dancers presented a higher medial-longitudinal-arch, wider midfoot, and wider forefoot (cm) (p<0.001), indicating an over-pronated foot due to lower medial longitudinal arch height. Total plantar peak pressure (kPa) was 37% higher among dancers, whereas MPP was 24% higher on midfoot and 13% higher on forefoot, indicating greater plantar loading during walking. CONCLUSION: Greater plantar loading and an over-pronated foot during the most commonly performed weight-bearing activity of daily living (e.g., walking) explain the common prevalence of ankle and foot pain among dancers. These findings will inform clinicians and Bharatanatyam dancers on dancer’s foot function and guide strategies for prevention and management of foot pain.
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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 mechanical variables of the force-velocity profile could be beneficial for dancers as a guide to specific training regimens that can result in improvement of either maximal force or velocity capabilities. The aim of this study was to compare the mechanical variables of the force-velocity profile during jumping in different company ranks of ballet dancers. Eighty-seven female professional ballet dancers (age: 18.94 ± 1.32 years; height: 164.41 ± 8.20 cm; weight: 56.3 ± 5.86 kg) showed high force deficits (> 40%) or low force deficits (10% to 40%) regardless of their company rank. Our results suggest that dance training mainly develops velocity capabilities, and due to the high number of dramatic elevations that dance performance requires, supplemental individualized force training may be beneficial for dancers. The individualization of training programs addressed to the direction of each individual's imbalance (high force or low force) could help dancers and their teachers to improve jump height and therefore dance performance.
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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 developed and nurtured in training and working in the style of contemporary dance. An overarching aim of this work is to contribute to greater understanding and valuing of the nuances and particularities of kinesthetic intelligence in dance practices and to address the cognitive aspects of dancing.
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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 occasions, the psychomotor performance (assessed as multiple choice reaction time) and number of correct responses to audio-visual stimuli was assessed at rest and immediately after cessation of maximal intensity exercise. The supplementary low-intensity exercise training increased VO2maxand markedly shifted AT toward higher absolute workload. Immediately after completion of the graded exercise to volitional exhaustion, the ballerinas' psychomotor performance remained at the pre-exercise (resting) level. Neither the resting nor the maximal multiple choice reaction time and accuracy of responses were affected by the supplementary aerobic training. The results of this study indicate that addition of low-intensity aerobic training to regular dance practice increases aerobic capacity of ballerinas with no loss of speed and accuracy of their psychomotor reaction.
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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 a significant predictor of temporal resolution thresholds. The association between dance experience and improved auditory skills has implications for current theories of experience-dependent auditory plasticity and the design of sound-based educational and rehabilitation activities.
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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 controls using resting-state functional connectivity (FC) analysis. Whole brain voxel-based analysis was performed using seeds from the posterior insula (PI), the ventral anterior insula (vAI), and the dorsal anterior insula (dAI). The training effects of dance and music on insular subnetworks were then evaluated using one-way analysis of variance ANOVA. Increased insular FC with those seeds was found in dancers/musicians, including PI and anterior cingulated cortex (ACC), vAI and middle temporal gyrus (MTG) and middle cingulated cortex (MCC), and dAI and ACC and MTG. In addition, significant associations were found between discrepant insular FC patterns and empathy scores in dancers and musicians. These results indicated that dance/music training might enhance insular subnetwork function, which would facilitate integration of intero/exteroceptive information and result in better affective sensitivity. Those changes might finally facilitate the subjects’ empathic ability.
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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 number of hip and/or groin injuries, (2) study population consisting of dancers whose training included some level of ballet, and (3) studies of levels 1 through 3 evidence. Study Design: Systematic review. Level of Evidence: Level 3. Data Extraction: A single reviewer identified studies that met the inclusion criteria. The number of overall injuries, hip/groin injuries, study participants, injured participants, training hours per week, mean age of study group, injury definition, injury reporting method, and study time frame were extracted. Results: Thirteen unique studies were included in the descriptive analysis. Of the 2001 dancers included in this study, 3527 musculoskeletal injuries were seen in 1553 dancers. Of these, 345 injuries were localized to the hip and groin region (overall rate, 17.2%). An incidence rate of 0.09 hip and groin injuries per 1000 dance-hours was seen in the selected cohort studies. Of 462 professional dancers, 128 hip/groin injuries were recorded, for an injury rate of 27.7%. Of the 1539 student dancers, 217 hip/groin injuries were recorded, for an injury rate of 14.1% ( P < 0.01). Conclusion: Data on hip and groin injuries have many limitations. However, these injuries represent an important health issue for dancers of all skill levels, encompassing 17.2% of musculoskeletal injuries seen in dancers. An increasing rate of hip/groin injuries is seen in professional dancers compared with students.
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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 Indian. The descriptive analysis described the level of the dancers’ FMS, as follows: Malay (M = 16.18, SD = 2.062), Chinese (M = 18.50, SD = 1.102), Indian (M = 18.23, SD = 1.445). The ANOVA analysis found a significant difference in the FMS scores among all three groups of dancers, F (2,63) = 14.026, p >.000. The deep squat, hurdle step, shoulder mobility, active straight leg raise and trunk stability tests for push-up indicated a significant difference, whereas the inline lunges test and rotational stability tests showed no significance difference. However, the Post Hoc analysis showed no significant difference between the Chinese and Indian dancers. It can be concluded that there is a difference in FMS scores between Malay, Chinese and Indian dancers. FMS may be a useful tool to help identify dancers about the risk of injury and improve their movement quality.
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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 results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dancers. It is obvious that the most qualified male and female dancers show a higher level of physical fitness due to, for example, training. This however does not mean that there are no significant differences between them. Nevertheless, it is impossible to measure them using this test. Therefore, the conducted research led to considerations on the principles of construction of a motor skills test. Conclusions: The presented results constitute a proof that the tool proposed by Rokita is not reliable for all competitive ballroom dances. This test does not fully meet the criteria for the construction of a motor skills test.
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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. We selected articles published in the last decade in the databases BIREME, LILACS, MEDLINE EBSCO, WEB OF SCIENCE, SCOPUS (Elsevier), and PubMed, with cross-sectional, observational cohort and case control design published in Portuguese, English, or Spanish. Systematic reviews, case studies, dissertations, theses, book chapters, cross-referenced articles, and studies published outside of the last decade were not included. The search used combinations of the terms “dancing* and athletic injuries* and musculoskeletal* and pain*”. A principal investigator and two reviewers conducted the survey and analyzed all the potentially relevant articles, initially by the abstract and title. Twelve articles were included, with 1,149 participants (965 professional dancers of classical ballet, modern dance, contemporary dance, and breakdance, 104 amateur dancers, and 80 elite athletes). Nine studies found simultaneous lesions with emphasis on the foot and ankle (n=4), upper and lower limbs lesions (n=4) and lower and upper limb joints (n=1). Other studies have found lesions in the anterior cruciate ligament (n=3). There was no agreement regarding the instruments for detecting lesions in professional, pre-professional, and amateur dancers. There was a prevalence of studies aimed at classical ballet modality, evidencing a higher frequency of lower limb involvement in professional dancers.
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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. Subjects were divided into CAI and healthy groups to observe any correlations in demographics, training hours and foot function.ResultsCAI was seen in 28% of Chinese dancers, with most being unilateral instability. The number of training hours, level of expertise, occupation, gender and age showed no statistical significance with CAI. The FAOS showed that subjects with CAI had significantly greater pain and poorer quality of life.Discussion and conclusionCAI is a problem affecting 28% of performers of Chinese dance. Future research should investigate the ankle biomechanics in Chinese dance and specific risk factors for CAI to formulate strategies to prevent ankle injuries in Chinese dancers.
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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 overseas dancers can better examine and truly understand China's national culture and reshape their identities. Besides, the contradiction between dancers and the inevitability of multiple identities in the cross-cultural context contributed to the development of British multiculturalism to a certain extent.
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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 characteristics, past medical history, menstrual history, and dance experience, were assessed with a pre-participation history and orthopedic physical exam. The extrinsic risk factors, including training, fatigue, stress, shoes, and calcium intake, were assessed with surveys completed every two weeks by the dancers. Study outcomes were: 1) self-reported injuries (SRIs), 2) reported injuries (RIs) assessed by a physical therapist in the school clinic, 3) duration of injuries, and 4) severity of injuries. Descriptive statistics and univariate analyses were performed on each risk factor. Thirty-nine of 55 dancers participated in the study. The average age was 15.3 years, and 85% of the dancers were female. The return rate for the biweekly surveys was 90%. Over one school year, there were 112 self-reported injuries, averaging 2.8 SRIs per dancer, and 71 reported injuries assessed by the physical therapist, averaging 1.4 RIs per dancer. Consistent with other studies, the most common locations for injuries were ankles, lower leg/calf, and back, usually caused by overuse, muscle strains, and sprains. Although the female dancers reported dancing significantly more hours (3.3 hours per day) than the males (2.7 hours/day), the males had a higher injury rate of SRIs (8.4 injuries/1,000 exposure hours of dancing vs. 4.1 injuries/1,000 hours) as well as RIs (5.5 injuries/1,000 hours vs. 2.6 injuries/1,000 hours). Older age and male sex were risk factors associated with SRIs and RIs. Most risk factors were found not to be statistically associated with the number of SRIs or RIs. Self-reported injuries occur frequently in pre-professional student dancers, who seek medical care in more than half the cases. Health professionals involved with dancers should be familiar with posterior ankle and low back problems. The rates of injuries appear almost twice as high in male dancers than female dancers. The main limitations to this study were small sample size and misclassification, recall, and reporting biases. With the information and tools of this pilot study, a multi-center study can be carried out to better assess risk factors on a larger dance population. Further research should aim to standardize injury definitions and classifications.
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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 conducted among the registered active dancers from all over Poland. It was based on a survey questionnaire designed by the researchers. The obtained data was subjected to calculations using the Excel 2010 spreadsheet. Results. In the group surveyed, 53 individuals (83%) suffered injury to only one ankle joint. Ankle joint injuries recurred with a variable frequency, usually between 2 and 5 times, in 7 (53%) ballroom dancers, 10 (59%) jazz dancers, 4(16%) dancers in the group of jazz dance, and 7 dancers in the group of modern jazz. Ankle joint injuries usually occurred during the training – 49 (76,6%) of the respondents, 10 individuals (15,6%) suffered injury after the training, and 5 persons (7,8%) – during various recreational activities. Conclusions. Ankle joint injuries affect a wide group of dancers, and their frequency is associated with the lack of professional experience. The majority of injuries occur in the initial period of dancing. The dance style and the type of shoes used, such as ballet shoes or highheeled shoes, have no effect on the incidence of injuries.
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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=11), or control (n=11). Static (turn-out passé-opened eyes/relevé and turn-out passé-closed eyes/flat foot), semi-dynamic (airplane), and dynamic balance (monopodalic-straight and -transverse in a turn-out passé-eyes opened/flat foot) tests were performed before and after the intervention. One day after pre-tests, KT mechanical correction technique was applied to the left ankle joint (supporting leg) in the KT group, and tests were repeated to determine the acute effect of KT. The PN group participated in an 8-week balance training program (2 days/wk, 60 min/day) involving exercises using stable and unstable surfaces. Significant improvements were observed for all static and dynamic balance tests in the PN group; semi-dynamic airplane and dynamic monopodalic-straight and transverse tests improved in the KT group; and only semi-dynamic airplane test scores changed significantly for the control group (p<0.05). Our findings suggest that with the exception of the semi-dynamic airplane test, both PN training and KT application were more effective at improving balance performance for modern dancers than modern dance technique classes alone.
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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 measured at study entry and included body weight, height, body mass index (BMI), calf circumference, sum of two skinfolds, and percent body fat. We analyzed 1) the differences between experienced and nonexperienced dancers in all variables, 2) pre- and post-training differences in SEFIP, 3) pre- and post-training differences in pain sensation for each body region, and 4) the prediction of the SEFIP score from morphologic variables in the experienced and nonexperienced subjects. Statistical analysis using the t-test found no significant differences between the groups but identified significant pre- vs. post-training differences in SEFIP in the sample taken as a whole. The nonparametric sign test showed a significant pre- to post-training decrease in pain sensation in the calf region. Multiple regression analysis revealed BMI as a significant predictor of the SEFIP, but only for the nonexperienced dancers. In order to avoid pain occurrence in university dancers, previous training of the calf, thigh, and back muscles is suggested, especially in those subjects with BMI > 21 kg/m2.
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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 chat leaps. The timing of peak hip and knee joint angles and velocities for the takeoff and leading legs were extracted and compared to the time when COM reached peak height in the leap using a repeated measures ANOVA, with post-hoc comparisons made using paired t-tests. RESULTS: Dancers demonstrated significant differences in timing associated with achieving the split position (main effect p<0.001), with only peak leading leg hip flexion occurring at a similar time to the COM reaching peak height (paired t-test p=0.074). CONCLUSIONS: The results of this study provide insight into coordination patterns used by trained dancers. Trained dancers demonstrate patterns in timing that may be important for successful performance. The hip and knee coordination patterns during flight demonstrate how dancers work to achieve the desired aesthetics of a saut de chat leap. However, it appears that dancers do not reach the full split position at the height of the leap, as would be aesthetically desirable.
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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 their dance styles: cheerleading, dance show, disco dance, and standard and Latin dance. The first aim of the study was to identify differences between the various dance style groups in body mass index (BMI) and dance sport involvement. According to Wilks' test (oneway MANOVA), there was a significant multivariate effect (F = 13.8; p < 0.001) between the four dance groups. The dancers belonging to the disco group started systematic training earlier than the other dancers, the standard and Latin dancers practiced the most intensively, and the show dancers had considerably lower BMI than the disco dancers. The second aim of the study was to define the pain status in 14 body regions for dancers in the various dance styles by monitoring their pain status with the SEFIP questionnaire. The most common locations for pain were the calves (43.7%), knees (32.7%), and ankles (27.2%). According to the χ2 test, cheerleading dancers reported a significantly higher frequency of knee injuries, and standard and Latin dancers reported a significantly higher frequency of toe injuries. The specific way in which some dance disciplines are practiced and their dance techniques do induce characteristic injuries.