Journal of Dance Medicine & Science最新文献

Background: Ballet, epitomized by iconic seasonal performances such as "The Nutcracker," combines artistic expression with considerable physical demands. This study investigated the physiological and psychological responses of ballet dancers to the demands of intensive training and performance, with a specific focus on "The Nutcracker." Methods: Thirty- eight dancers volunteered for the study, including 6 youths (10.5 + 1.8 years, n = 6 female), 7 adolescents (15.4 + 1.1 years, n = 5 female), and 25 adults (21.1 + 2.1 years, n = 20 female). Employing an uncontrolled observational design, this pilot study tracked key biomarkers such as CK-MM for muscle damage and B-ALP for bone health, alongside psychological measures via PANAS-C/PANAS and DASS-21. Results: Significant findings included a post-performance reduction in cortisol and depression levels. Conclusion: These insights advocate for tailored strategies that address the multifaceted needs of dancers, acknowledging the intricate balance required to maintain peak performance and overall health within the demanding realm of professional ballet.

Introduction: The demipointe dance position puts the ankle at high risk of overuse injury and posteromedial ankle pain due to increased ankle valgus forces. Previous work has shown that creating lower limb external rotation intrinsic to demipointe with hip external rotation reduces foot pronation that causes ankle valgus stress. Therefore, the purpose of this work was to examine long axis rotation kinematics of the hip, knee, and ankle as well as the ankle joint contact forces in demipointe to better understand the biomechanical impact(s) of the specific cue to increase hip external rotation in this position. Methods: Three-dimensional motion capture and force plate data were collected from 23 contemporary or ballet pre-professional dancers (age: 19.94 ± 1.34 years) who each performed 3 dancer-selected (DS) demipointe positions and 3 demipointes with the cue to "externally rotate from the hips." Results: The cue to increase hip external rotation resulted in significantly increased hip external rotation angle [DS: 37.5; 9.42° (median; interquartile range), Cued: 39.9; 10.8°, P < .0001)] and significantly reduced ankle eversion angle (DS: 8.13; 11.4°, Cued: 7.77; 10.3°, P = .023). However, total turnout angle was also significantly decreased (DS: 75.8; 7.91°, Cued: 75.4; 7.73°, P < .0001), which is undesirable for proper esthetic performance of demipointe. Total ankle joint force remained unchanged, but ankle eversion force was significantly reduced (DS: 15.3; 4.18 %bodyweight (BW), Cued: 14.7; 4.99 %BW, P < .0001) with use of the cue. Discussion/Conclusion: Utilization of a cue to increase hip external rotation was successful in increasing hip contribution to turnout angle and reducing injurious ankle eversion force. Further coaching using this cue may allow dancers to produce these advantageous mechanics while maintaining turnout angle.

Aim: This study aimed to compare the effects of Ballroom Dancing (BD) versus Walking Training (WT) on the physical fitness performance in physically independent older women with adequate or inadequate levels of vitamins B12 and D.

Methods: Forty-three sedentary women aged 68.5 ± 6.5 years, were allocated to the BD (n = 23) or WT (n = 20) groups. They took part in a 12-week intervention, performed 3 times a week, for about 50 minutes with moderate effort intensity. Data were collected through Short Physical Performance Battery (SPPB), 6 minutes Walk Test (6MWT), Hand Grip Test (HGT), Isokinetic tests for lower limbs and blood tests to detect serum levels of vitamins B12 and D.

Results: The BD group performed better after the intervention in relation to the WT in the Sit and Stand Test (SST) (BD pre = 3.1 score vs post = 3.8 score; WT pre = 2.8 score vs post = 3.4 score; P = .02) and in the Peak Torque 180° extension (PKTOQ 180° extension) (BD pre = 56.7 Nm vs post = 61.2 Nm, WT pre = 56.7 Nm vs post = 56.1; P < .01).

Conclusion: A time effect was observed in all other variables, with the exception of HGT. Both interventions improved physical fitness performance, regardless of the adequacy of vitamins B12 and D, but the older women from BD obtained significant improvements in more variables than the WT.

Background: The research paper provides valuable insights into the perspectives of adolescent ballet dancers regarding dance-related injuries. The authors' work is commendable, but several methodological improvements could enhance the study's accuracy and reliability. As a researcher with similar interests, I offer suggestions to strengthen the data collection and analysis process. Methods: Original Approach: The study utilized an online survey for data collection, suitable for close-ended questions but less ideal for qualitative research. Suggested Improvements: Data Collection Method: One-on-one interviews, either structured or semi-structured, are recommended to obtain more accurate and in-depth responses.Sample Size: The original sample size of 15-30 participants is appropriate for direct interactions. However, for online surveys, a larger sample size of approximately 246 participants is recommended. This calculation is based on recent findings showing a prevalence rate of 79.8% in full-time and 63.2% in part-time ballet dancers in Australia, using a 95% confidence interval. Questionnaire Design: The original questionnaire was constructed from a literature review. To improve its quality, input from a focus group of experts should be incorporated. A shorter, clearer, and well-structured questionnaire is suggested to minimize bias. Results: By adopting these methodological enhancements, the study could achieve more reliable and comprehensive data. The inclusion of open-ended questions would provide deeper insights into the dancers' experiences and improve the impact and relevance of the research findings. Conclusions: The research paper offers valuable perspectives on dance-related injuries among adolescent ballet dancers. With the proposed methodological improvements, the study can yield more robust and insightful data, contributing significantly to the understanding of injury experiences in this population.

Introduction: The Oslo Sports Trauma Research Centre Questionnaire on Health Problems (OSTRC-H) is a valid and reliable registration method for self-reported injuries and is regularly used among dancer populations. Monthly questionnaire administration is acceptable in athlete populations but has not been evaluated in dancers. The aim of this exploratory study was to assess the influence of weekly versus monthly administration of the OSTRC-H on estimated injury outcomes among elite adolescent ballet dancers.

Methods: Participants (n = 103) were prospectively followed for 6 months and completed the OSTRC-H online, evaluating perceived consequences of self-reported health problems during the previous week and the previous 4 weeks, respectively. Four definitions of dance-related injury were utilized: (1) all complaints, (2) substantial, (3) medical attention, and (4) time-loss injuries. Descriptive statistics estimated: (1) the number of injuries reported (count), (2) average injury prevalence [proportion, 95% confidence intervals (CI)], (3) average severity score (0-100), and (4) days of time loss (count) for each injury definition. The 4 outcome measures were then compared between weekly and monthly registration with paired sample t-tests (P < .05) and overlapping 95% CI.

Results: A significant difference between the number of all complaints injuries (weekly: 133; monthly: 94; P < .001) and substantial injuries (weekly: 64; monthly: 45; P = .012) was found. Regardless of injury definition, there were no significant differences between injury prevalence, severity scores, and days of time loss when reported weekly versus monthly.

Conclusion: Monthly administration of the OSTRC-H is an acceptable method to estimate injury prevalence, severity scores, and days of time loss amongst elite adolescent ballet dancers.

Introduction: Dance Medicine is a growing discipline, and healthcare for dancers requires appreciating particularities of their artistic craft. Manual therapists (MTs) are often dancers' first choice when seeking care. Whilst dancers' experiences of injury and healthcare have been extensively researched, little is known of MTs' perspectives of caring for them.

Aim: This study aimed to gain an understanding of MTs' perspectives of caring for dancers. Communication, treatment strategies and obstacles to a successful therapeutic alliance were examined to broaden knowledge and improve care.

Methods: This was a qualitative study using Grounded Theory as a framework for data collection and analysis. A purposive sample of 8 participants was recruited-physiotherapists, chiropractors, and osteopaths with 2+ years' experience of treating dancers. Data collection was conducted via semi-structured interviews, which were transcribed verbatim, anonymized, member checked, and later analyzed.

Results: Data analysis constructed 3 categories which described the range of participants' experiences. Two categories were identified-(i) A Strangled Industry and (ii) Be-all End-all Patients-and found to culminate in a core category: (iii) Beyond Hands-on, which exemplified MTs' attempts to address clinical challenges.

Conclusions: MTs experience several challenges when providing healthcare to dancers. These encompass psychosocial aspects relating to dancers' internal world and the dance industry environment. It suggests that caring for dancers demands comprehensive, collaborative, and psychologically informed approaches. Emphasis should also be given to developing and implementing dance-specific pain science for all stakeholders.

Introduction: Physical literacy (PL) is a multidimensional concept that includes the domains of movement competence, positive affect, social participation, and the confidence, motivation, and knowledge and understanding necessary for regular engagement in physical activity. The Sharing Dance Public School Program was created by Canada's National Ballet School specifically designed to promote PL through dance. The objective of this study was to evaluate the effectiveness of the program to improve PL in grade 4 to 6 children over the course of a school year. Methods: Children were initially recruited from two schools including an intervention and a control school. However, due to the COVID-19 pandemic, data collection was prematurely terminated which resulted in baseline and mid-point data from the intervention group only. As such, participants included 57 children (n = 28 females, M_age = 10.34 ± 0.85 years) that engaged in the dance program once per week for 50 minutes. Assessments of PL included a direct measure of movement competence (PLAYfun) and a self-report measure (survey) to assess the other domains of PL. Results: Significant improvements were found in movement competence. However, significant decreases were found for fun and enjoyment, confidence, and social participation. No changes were observed for knowledge and understanding or overall PL. Conclusions: Findings from the present study are encouraging as they provide initial evidence for the support of community-based PL programs, such as the Sharing Dance Public School Program, to help children develop their movement competence. Future research is needed to further evaluate the effectiveness of the Sharing Dance Public School Program over a school year, and when compared to a control group, as was initially intended.

Introduction: The use of neuromuscular interventions in sports induce meaningful motor performance in strength, sprint and power. The aim of this study was to investigate the effectiveness of the "11+ Dance" exercise program versus normal training (control) on possible adaptations in power, lower-body strength, and inter-limb asymmetry in adolescent ballet dancers. Study Design: Prospective randomized controlled trial. Methods: Dancers (n = 76) from a pre-professional ballet school volunteered for this study. Data from the two trials (pilot and main trials) were combined to protect the results from possible learning effect of the intervention. Participants were randomly assigned to either the 11+ Dance intervention (n = 38) or Control (n = 38). Participants completed at least 21 sessions over 7-9 weeks. The 11+ Dance intervention consisted of neuromuscular-based exercises, whereas the Control group carried out their normal routine. Baseline and post intervention outcome measures included countermovement jump (CMJ), reactive strength index (RSI), isometric mid-thigh pull (IMTP), and inter-limb asymmetry (ASYM). Results: Non-statistically significant improvements were noted for both 11+ Dance and control groups across outcome measures; CMJ F(1, 66) = 3.52, P = .065, ${\eta }_p^2$ = .051 (14% vs 8%), RSI F(1, 65) = 1.02, P = .316, ${\eta }_p^2$ = .015 (6% vs 13%), and IMTP F(1, 67) = 1.7, P = .197, ${\eta }_p^2$ = .025 (23% vs 18%). ASYM (F[1, 63] = .109, P = .743, ${\eta }_p^2$ = .002) (24% vs 15%). No statistically significant interaction for adherence was revealed for all the parameters. Conclusion: The 11+ Dance intervention elicited similar physiological adaptations as the Control group. Larger longitudinal studies are needed to investigate the efficacy of the 11+ Dance on injury incidence and severity as current evidence suggests prophylactic programs such as the 11+ Dance have an effect on injury prevention.

Introduction: The collegiate environment may exacerbate body image issues and eating disorders (EDs) among dancers. This study seeks to evaluate the complex relationships between body image perceptions, risk of EDs, and nutrition knowledge among collegiate dancers. Methods: A convenience sample of collegiate dancers was recruited via announcements, flyers, and email to complete the Body Image Assessment Scale-Body Dimensions (BIAS-BD), anthropometrics, and an electronic survey evaluating ED risk (Eating Attitudes Test; EAT-26), nutrition knowledge, and dietary habits. Body distortion (perceived vs actual size) and dissatisfaction (perceived vs ideal size) were measured. Data analysis included descriptive statistics and t-tests for group and gender-specific data. Results: Thirty-eight collegiate dancers (82% female, 79% with a healthy BMI) participated in the body image assessment. Females (n = 31) exhibited body distortion (P = .006) with a mean BMI = 22.05, mean perceived BMI = 23.27, and a mean ideal BMI = 21.78. Body dissatisfaction was identified but not statistically significant. Males' perceptions of females' ideal BMI = 25.16 were significantly higher than the females' own perceptions (BMI = 21.78, P = .033). No significant body distortion or dissatisfaction was observed among males (n = 7). Female perceptions of the ideal male BMI = 23.96 aligned closely with males' self-views. On the EAT-26, females (n = 28) average score was 11.82, indicating higher risk than males (n = 4), whose average score was 7.75. High ED risk was identified in 18.75% of participants (EAT-26 scores ≥ 20). Nutrition knowledge was limited, with <50% correct responses. The majority sought dietary advice from peers (65.7%) or friends (57.1%), with 37.1% following restrictive diets (eg, vegan, pescatarian, lactose-free). Conclusion: Collegiate female dancers demonstrated body distortion and ED risk despite maintaining a healthy BMI. The limited nutrition knowledge, reliance on non-expert nutrition advice, and tendency towards restrictive eating patterns observed with increased ED risk is worrisome. Thereby necessitating educational interventions focused on nutrition and body image to maintain the dancers' health.

Introduction: Transiting to dancing en pointe is an important milestone for young dancers who wish to progress in ballet training. Various criteria exist regarding pointe readiness, including age, range-of-motion, endurance, strength, balance, and technique. However, awareness and use of these criteria by dance instructors is currently unknown. The purpose of this pilot study was to assess the awareness and use of pointe readiness criteria by youth ballet instructors. Methods: A cross-sectional web-based survey study design was used, which included questions regarding dance instruction experience, dance studio characteristics, and criteria used to assess pointe readiness. Ballet instructors were recruited for participation. Data are presented as percentages and frequencies. Results: Thirty-one ballet instructors completed the survey from 15 states (1 international). Years of pointe ballet instruction ranged from 2 to 30+ years, with 35% indicating more than 30 years of experience. Instructors reported students begin pointe at age 11.8 years (range 9-15 years). A majority of instructors require 5 years of ballet experience prior to dancing en pointe (range 2-8 years). Reported pointe readiness criteria included strength (100%), dance technique (94%), age (87%), and years of ballet experience (71%). While all instructors reported evaluating a dancer's strength, assessments of flexibility and movement quality were not evaluated by 42% and 45% of instructors, respectively. Strength, dance technique, and age were rated as the greatest indicators of a dancer's readiness to begin pointe. Finally, instructors reported low knowledge of existing pointe readiness criteria. Conclusion: Ballet instructors initiated pointe work at age 12 and required 5 years of ballet experience before beginning to dance en pointe. While strength, dance technique, and age were the top considerations for evaluating readiness, approximately 40% of instructors did not evaluate flexibility or movement quality prior to progressing to pointe, and overall, knowledge of existing criteria was low.