Journal of Dance Medicine & Science最新文献

Introduction: Research investigating the physiological demands of dance performance has documented exercise intensity and time spent in work and rest; however, available data are across limited dance genres and often use rehearsal or simulated conditions. Real-time data recorded during live performance with an audience are limited. The aim of the study is to provide a detailed description of the physiological demands of live professional Irish dance performance. Method: The entire Irish dance cast of Riverdance participated in the study (n = 24). Approval was granted by the Institutional Research Ethics Committee. Matinee and evening performances on the first day of a tour were examined in a descriptive, cross-sectional design. Heart rate (HR) monitors worn discretely under costumes recorded data every 5-seconds. Video analysis allowed calculation of time spent in work and rest. All descriptive analyses were split by role (troupe/lead) and sex (male/female). Results: Dancers worked at hard/very hard intensities (mean > 72%, peak > 91% HR_max) for ~3 minutes at a time for 3-9 individual dance numbers. There was a high variation in overall demand experienced by individual dancers due to variation in both duration and intensity of on-stage time, dependent upon their role. Mean total on-stage time was 18.18 ± 5.82 minutes, 19.43 ± 5.80 minutes, 29.71 ± 0.62 minutes, 20.00 ± 0.00 minutes for male troupe, female troupe, male lead, and female lead dancers, respectively. Recovery periods were varied in terms of duration, activity undertaken, and HR response. Conclusion: Individual dance numbers within a professional Irish dance show were high intensity for a short duration when considered in isolation, but overall physiological demand experienced by any one dancer across the entire show varied dependent upon their role and off-stage/recovery practices. Future research investigating the physiological demands of dance performance should ensure analysis accounts for the individual dancer's role and should capture the entire show duration in repeated exposures.

Introduction: Contemporary concussion literature has yet to establish appropriate clinical management guidelines to address the unique needs of performing arts populations, especially at the collegiate level. Therefore, the purpose of this investigation was to collate current evidence regarding post-concussion return to performance management among university-aged performing artists to generate broad clinical implications.

Methods: The research team was comprised of two faculty members in the performing arts, one concussion researcher, and athletic trainer, two university librarians, and one physical therapy graduate student with expertise in post-concussion management among performing arts patients. Two librarians searched the literature using PubMed, Cochrane, SPORTdiscus, and Education Research Complete. Studies were eligible for preliminary inclusion if they were written in English, conducted in the United States, as well as published in a peer-reviewed journal. There were no restrictions on publication date due to the limited literature on this topic. The most recent search was conducted in July 2023.

Results: Of the 18 studies identified during the search process, only 2 met the inclusion criteria. Broadly, this investigation identified common mechanisms of injury among stage crew/technicians and dancers who are of university-age. Furthermore, both studies identified several patients who opted to return to performing arts on their own volition. However, there were no studies that solely focused on the collegiate performing arts population and their return to performance procedures.

Conclusions: Overall, these findings highlight a momentous gap in concussion literature regarding how to guide clinicians and academic teams when returning collegiate performing artists back to their performance environment(s). Thus, additional research is strongly warranted to understand the lived experiences of performing artists with concussion, as well as how to address specific coursework-related demands to support their recovery.

Introduction: Sesamoid bones absorb and disperse weight from the metatarsal bones. Sesamoid injuries occur primarily in dancers and runners, with nonoperative management as the first line of treatment. Due to the lack of secondary blood supply, the sesamoids are at risk for osteonecrosis and nonunion fractures. The literature supporting orthobiologics for the treatment of sesamoid injuries is limited. Methods: In this case, a 28-year-old female dancer with sesamoid osteonecrosis underwent a leukocyte-rich platelet-rich plasma (LR-PRP) injection to the fibular sesamoid. Results: The patient reported significant improvement in pain at the 2-month follow-up and returned to regular auditions at the 3-month follow-up. At 2-year follow-up, the patient's symptoms returned to baseline. Conclusion: This is the first known case of sesamoid osteonecrosis treated with LR-PRP. LR-PRP should be considered in the treatment of sesamoid osteonecrosis in those who show limited improvement with standard conservative measures.

Introduction: Dance, as a performance activity, is associated with various problems. Among these challenges, sleep disturbances are notably prevalent. Aims: This study aimed to explore the potential relationship between sleep characteristics-specifically chronotype and subjective sleep quality- and psychological inflexibility in dance students. Methods: This research adopted a cross-sectional design using non-probabilistic sampling. The data were collected in paper format by visiting public conservatories and private academies, and online. One hundred fourteen dance students, with a mean age of 23.87 years, participated in the study. Assessment tools included the Acceptance and Action Questionnaire-II, Pittsburgh Sleep Quality Index, and the Composite Scale of Morningness. Results: The results revealed that 80.7% of all students reported poor sleep quality, compared to 19.3% who reported good sleep quality. Differences emerged in both subjective sleep quality (F_{(2, 113)} = 4.825, P = .010) and chronotype (F_{(2, 113)} = 6.172, P = .003) when students were grouped according to low, medium, or high levels of psychological inflexibility. Those with low inflexibility, as opposed to those with high inflexibility, report better sleep quality, with no differences observed between medium and high inflexibility groups. Students with high-medium levels of psychological inflexibility showed a higher risk (OR = 6.373 times higher) of experiencing poor sleep quality compared to those with low psychological inflexibility. In terms of chronotype, the low inflexibility group is inclined to be more of a morning type than the medium and high inflexibility groups, with no differences between the latter 2 groups. Students categorized as having low inflexibility tend to have a longer history of dancing under the guidance of a teacher and dedicate more hours and days per week to rehearsal. Conclusion: Conservatories can become "healthy spaces." In this regard, sleep hygiene programs and Acceptance and Commitment Therapy interventions can provide guidance to professionals working with dancers in professional companies and conservatories.

Background: While the previous research has made crucial developments in a dance-specific version of the SEBT, current modifications to the SEBT have not conclusively produced a valid dance-specific dynamic balance test. Purpose: The aim of this paper was to utilize the most practical dance-specific variations from previous research and incorporate them into a reliable test to be considered for future screenings for dancers. Methods: Twenty-one female dancers voluntarily took part in the research (age: 20.86 ± 3.68 years). This protocol consists of 3 stages, each increasing in difficulty; stage one: dsSEBT Average Tempo, stage two: dsSEBT Block, and stage three: a combination of stage 1 and stage 2, the dsSEBT Average Tempo on Block. Reach distance (% of limb length), error scores, and average time to complete each stage were recorded. A stage completion criteria was developed to move from one stage to the next wherein certain reach distance and error score standards needed to be met. Results: Between previous research using the same participants and the current study, each reach direction exhibits a statistically significant correlation (P < .05) with good to excellent ICC values ranging from .750 to .918, suggesting that test-retest reliability is high. Overall, 90.48% of participants succeeded in passing stage one, 19.05% of total participants passed stage two, and only 4.76% of the 21 participants passed all 3 stages with statistically significant differences detected for reach distance and incomplete trials between stages (P < .05). Conclusion: This data suggests that the test is challenging enough to show dancers weaknesses and push the limits of their balance capabilities. With a clear increase in difficulty from stage to stage, the test adds layers of demanding tasks designed to test the dancer proprioceptively.

Introduction: Dance is a physically demanding art form that often results in musculoskeletal injuries. To effectively treat these injuries, standardized and reliable assessment tools designed to the dancer's needs are required. Thus, the aim of this review is to identify studies that have employed validated tools to assess musculoskeletal injuries in ballet, modern, and contemporary dancers, focusing on describing the content and psychometric quality of the tools used. Methods: This systematic review is registered at PROSPERO (CRD42022306755). PubMed, Cochrane, LILACS, Web of Science and SPORTDiscus databases were searched by two independent reviewers. Articles assessing musculoskeletal injuries with validated tools in ballet, modern and/or contemporary dancers and written in English, Portuguese, or Spanish were included. Non-peer reviewed articles, books, conference abstracts, thesis/review articles, or case design studies were excluded. The original validation studies were compiled when necessary. Two independent reviewers conducted a standardized data extraction and evaluated the methodological quality using an adapted Downs and Black checklist. Results: From the 3933 studies screened, 172 were read to verify if they met the inclusion criteria, resulting in 37 studies included accounting for 16 unique validated tools. Two were imaging exams, one was an injury classification system, and 13 were self-reported injury questionnaires. Only four injury assessment tools were validated for dancers, emphasizing the need for further validation studies for the dance population. Most of the articles (57%) achieved high-quality methodological scores and the remaining (43%) reported medium-quality scores. Conclusions: Valid, reliable, and specific tools to assess dance injuries are lacking in general. For enhanced methodological rigor in future studies, the incorporation of validated tools is recommended to improve methodological quality and facilitate cross-study comparisons. Researchers may consider conducting validation studies, involving processes such as translation into another language, validation of modifications to the original tool, or reporting reliability within the article itself.

Purpose: The aim of the proposed randomized controlled study is to compare the effects and efficacy of a dance, a Tai Chi and a waiting list control group intervention over an 8-week period on physical functions and mental benefits among non-clinical adults aged between 18 and 60.

Method: A double-blind, randomized controlled trial will be adopted to evaluate the effects and efficacy of an 8-week dance intervention compared with Tai Chi and a control group on physical and mental benefits. Participants will be randomly assigned to 3 groups, dance, Tai Chi, and Control group, using stratified random sampling based on sex. Isometric Mid-thigh Pull (IMTP), Y-Balance test (YBT), Warwick-Edinburgh Mental Wellbeing Scale (WEMWBS), and The Brunel Mood Scale (BRUMS) are utilized for collecting physical and mental data. All measurements will be conducted by research assistants blinded to participants' group allocation and analysis will be carried out by statistician blinded to the group and test parameters.

Expected result: Mental wellbeing parameters are predicted to be increasing during the learning phase and the physical parameters are predicted to have an improvement in the practising phase.

Objective: To analyze the effects of 12 weeks of free dancing compared to the control group and the reference group without breast cancer, on depressive symptoms, anxiety and stress in women after breast cancer surgery and to verify the association between the variables. Methods: Randomized clinical trial, comprising women after breast cancer surgery (57.7 ± 9.0 years) and women without breast cancer (51.5 ± 10.8 years), divided into 3 groups; (a) received the free dance intervention (n = 11); (b) control group with breast cancer (n = 11) maintained their routine activities, and (c) control group without breast cancer (n = 12) who were matched by age and could not perform physical exercise during the study period. The dance intervention lasted 12 weeks, with 60-minute sessions, held twice a week. The evaluated outcomes were: depressive symptoms (Beck Depression Inventory), anxiety (Beck Anxiety Inventory), and stress (Perceived Stress Scale). Results: There was statistically significant improvement in the intragroup for free dance in depressive symptoms (P = .025), anxiety (P = .009) and stress (P = .050). No significant intragroup differences were found in the control group I and control group II, as well as intergroup differences. In the association of variables, the healthy reference group worsened in the simple analysis, for anxiety (P ≤ .001) and stress (P = .040), and worsened in the adjusted analysis, also for anxiety (P ≤ .001) and stress (P = .025). Conclusion: Free dancing had positive effects on depressive symptoms, anxiety and stress in women after breast cancer surgery. After verifying the association of the variables, it was noticed a worsening of the variables in the CGII. Clinical registry: Brazilian Registry of Clinical Trials (ReBEC) (no. 0RBR-772ktp).

Introduction: Dance has been suggested as an alternative therapeutic modality in cardiac rehabilitation programs (CRP). Therefore, evaluating the physiological responses of the body during dance is necessary to provide information that will allows it to be practiced a safe and effective way. In this context, the objective of the current study was to evaluate and compare the cardiac autonomic modulation (CAM) of women with cardiovascular risk factors (CRF) during and after a dance-based cardiac rehabilitation session and a conventional cardiac rehabilitation session. Methods: In total, 19 women, with at least 1 CRF, participated in this non-randomized crossover clinical trial, consisting of 4 steps: I. Familiarization with the dance protocol (DP); II. DP session; III. Familiarization with the conventional protocol (CP); IV. CP session. The CAM was evaluated using heart rate variability, considering nonlinear methods: recurrence plot, debugged trend fluctuations, and symbolic analysis. For data evaluation, 2-way analysis of variance for repeated measures was used, P < .05. Results: During exercise, an effect of protocol was observed for most of indices. In the DP, higher values were recorded for DET, Alpha-1, and 0 V% indices, and lower values for 1 V% and 2 ULV% indices and for entropy measurements. During recovery, no differences were observed between protocols. Effects of the exercises were observed in the comparisons between moments for all indices, however, a similar pattern of recovery was found between DP and CP. Conclusions: Comparisons of the dance and conventional protocols revealed that CAM was similar in both approaches, while greater alterations in nonlinear dynamics were observed during the DP exercise. However, these alterations were not able to modify the recovery of the volunteers. Clinical Trial Registration: The study was previously registered on the clinicaltrials.gov platform under registration number: NCT04967235. https://clinicaltrials.gov/study/NCT04967235?locStr=Brazil&country=Brazil&cond=Cardiovascular%20risk%20factors&term=Heart%20Rate%20Variability&intr=Dance%20therapy&rank=1.