Pub Date : 2022-09-01DOI: 10.12678/1089-313X.091522g
G. Berardi
{"title":"Book Review: Science and Development of Muscle Hypertrophy, Second Edition Brad Schoenfeld","authors":"G. Berardi","doi":"10.12678/1089-313X.091522g","DOIUrl":"https://doi.org/10.12678/1089-313X.091522g","url":null,"abstract":"","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"3 1","pages":"202 - 203"},"PeriodicalIF":0.9,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87562090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522f
Abigail Skallerud, Aaron D. Brumbaugh, Stephanie Fudalla, Tiffany N. Parker, Kristen Robertson, M. Pépin
Limited research has explored the relationship between lumbar lordosis and incidence of low back pain in dancers. The purpose of this study was to investigate the relationship between lumbar lordosis in functional dance positions and low back pain (LBP). Thirty full-time undergraduate ballet and modern collegiate dancers (28 female, 2 male) from three university dance programs participated in this study. Functional lumbar lordosis, hip passive range of motion, and core endurance were measured in a single session. Dancers participated in weekly follow-up surveys over a 4-month period to track the presence and severity of LBP. Primary analysis was performed using independent t-tests between groups who did and did not develop pain. Secondary analyses were performed using Pearsons r correlation. Eleven dancers reported no pain during the follow-up period, 16 reported pain, and three did not respond to follow-up surveys. Lumbar lordosis in right developpé á la seconde and right retiré was significantly greater (p < 0.05) in the group who reported pain compared to the group who reported no pain. Increased hold times in the supine bridge position was shown to be fairly correlated (p < 0.05) to reduced lumbar lordosis in first position (Pearsons r = 0.381), left retiré (Pearsons r = 0.396), and right developpé á la seconde (Pearsons r = 0.365). The results of this study suggest a relationship between increased lumbar lordosis in the retiré and developpé á la seconde dance positions and development of LBP. Increased endurance of posterior core musculature and gluteal muscles was inversely related to the magnitude of lumbar lordosis in some dance-specific positions. The measurement of lumbar lordosis during functional dance positions, particularly those requiring single leg stances, may help identify collegiate dancers with increased risk of developing low back pain.
有限的研究探讨了腰椎前凸和舞者腰痛发生率之间的关系。本研究的目的是探讨功能性舞蹈姿势腰椎前凸与腰痛(LBP)的关系。本研究对象为来自3个高校舞蹈专业的30名全日制本科芭蕾和现代学院舞蹈演员(女28人，男2人)。功能性腰椎前凸、髋关节被动活动范围和核心耐力在一次训练中被测量。舞者参加了为期4个月的每周随访调查，以跟踪腰痛的存在和严重程度。初步分析采用独立t检验对有和没有出现疼痛的两组进行。采用pearson r相关进行二次分析。11名舞者在随访期间报告没有疼痛，16名报告疼痛，3名对随访调查没有反应。报告疼痛组右侧发育、 la second和右侧退休的腰椎前凸明显大于报告无疼痛组(p < 0.05)。仰卧桥位保持时间的增加与第一位腰椎前凸减少(pearson r = 0.381)、左侧退位(pearson r = 0.396)、右侧发展位 (pearson r = 0.365)相关(p < 0.05)。这项研究的结果表明，在退休和发展的第二舞蹈姿势腰椎前凸增加与腰痛的发展之间存在关系。在某些舞蹈特定姿势中，后核心肌群和臀肌耐力的增加与腰椎前凸程度呈负相关。在功能性舞蹈姿势中腰椎前凸度的测量，特别是那些需要单腿站立的姿势，可能有助于识别患腰痛风险增加的大学生舞者。
{"title":"Comparing Lumbar Lordosis in Functional Dance Positions in Collegiate Dancers with and without Low Back Pain","authors":"Abigail Skallerud, Aaron D. Brumbaugh, Stephanie Fudalla, Tiffany N. Parker, Kristen Robertson, M. Pépin","doi":"10.12678/1089-313X.091522f","DOIUrl":"https://doi.org/10.12678/1089-313X.091522f","url":null,"abstract":"Limited research has explored the relationship between lumbar lordosis and incidence of low back pain in dancers. The purpose of this study was to investigate the relationship between lumbar lordosis in functional dance positions and low back pain (LBP). Thirty full-time undergraduate ballet and modern collegiate dancers (28 female, 2 male) from three university dance programs participated in this study. Functional lumbar lordosis, hip passive range of motion, and core endurance were measured in a single session. Dancers participated in weekly follow-up surveys over a 4-month period to track the presence and severity of LBP. Primary analysis was performed using independent t-tests between groups who did and did not develop pain. Secondary analyses were performed using Pearsons r correlation. Eleven dancers reported no pain during the follow-up period, 16 reported pain, and three did not respond to follow-up surveys. Lumbar lordosis in right developpé á la seconde and right retiré was significantly greater (p < 0.05) in the group who reported pain compared to the group who reported no pain. Increased hold times in the supine bridge position was shown to be fairly correlated (p < 0.05) to reduced lumbar lordosis in first position (Pearsons r = 0.381), left retiré (Pearsons r = 0.396), and right developpé á la seconde (Pearsons r = 0.365). The results of this study suggest a relationship between increased lumbar lordosis in the retiré and developpé á la seconde dance positions and development of LBP. Increased endurance of posterior core musculature and gluteal muscles was inversely related to the magnitude of lumbar lordosis in some dance-specific positions. The measurement of lumbar lordosis during functional dance positions, particularly those requiring single leg stances, may help identify collegiate dancers with increased risk of developing low back pain.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"25 1","pages":"191 - 201"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85511037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522d
Erica D. Henn, Tina Smith, J. Ambegaonkar, M. Wyon
Introduction Low back pain (LBP) lifetime prevalence in dancers reportedly ranges from 17% to 88%. Low back pain can have negative secondary consequences on dancers’ lives and careers. Still how LBP impacts dancer function and medical care-seeking behaviors and whether these issues differ across dance genres, is understudied. Materials and Methods Two hundred and eight-nine ballet, modern, and hip-hop dancers and teachers (median age: 20.3 years; range: 18 to 69 years) in the United States completed an online 24-question survey assessing LBP related self-reported injury history, impact on their lives, and management strategies. We defined LBP as occurrence of acute or chronic pain in the lumbar or sacral regions of the back. Results Two hundred and fifty-seven participants (88.9% of 289 total) reported at least one instance of LBP during their lifetime and 220 participants reported LBP in the prior 4 weeks. Of these 220, 72 (32.7%) had LBP severe enough to limit their activities of daily living. Of the 213 who had LBP and danced during that time, 89 (41.8%) reported that LBP limited their dancing. Pain intensity (median: 4 on a O to 10 scale, IQR: 3.0) and LBP prevalence were similar across dance genres. Dancers sought multiple medical professionals, most often chiropractors (n = 94, 33.8%), medical doctors (n = 77, 27.7%), and physiotherapists (n = 60, 21.6%). Ninety dancers (35.0% of those with LBP) never sought medical care. Dancers who did seek care reported higher pain intensities (median: 4, IQR: 3.8) than those who did not (median: 3, IQR: 3.0). Conclusion Overall, most participants did suffer from LBP. Low back pain negatively impacts dancers’ everyday activities and dancing. Pain intensity and loss of function may impact care-seeking. Our findings highlight the need for all dance stakeholders to educate dancers about their health, provide resources for dancer health care, and proactively create an environment that supports injury reporting behaviors in dancers.
{"title":"Perceived Severity and Management of Low Back Pain in Adult Dancers in the United States","authors":"Erica D. Henn, Tina Smith, J. Ambegaonkar, M. Wyon","doi":"10.12678/1089-313X.091522d","DOIUrl":"https://doi.org/10.12678/1089-313X.091522d","url":null,"abstract":"Introduction Low back pain (LBP) lifetime prevalence in dancers reportedly ranges from 17% to 88%. Low back pain can have negative secondary consequences on dancers’ lives and careers. Still how LBP impacts dancer function and medical care-seeking behaviors and whether these issues differ across dance genres, is understudied. Materials and Methods Two hundred and eight-nine ballet, modern, and hip-hop dancers and teachers (median age: 20.3 years; range: 18 to 69 years) in the United States completed an online 24-question survey assessing LBP related self-reported injury history, impact on their lives, and management strategies. We defined LBP as occurrence of acute or chronic pain in the lumbar or sacral regions of the back. Results Two hundred and fifty-seven participants (88.9% of 289 total) reported at least one instance of LBP during their lifetime and 220 participants reported LBP in the prior 4 weeks. Of these 220, 72 (32.7%) had LBP severe enough to limit their activities of daily living. Of the 213 who had LBP and danced during that time, 89 (41.8%) reported that LBP limited their dancing. Pain intensity (median: 4 on a O to 10 scale, IQR: 3.0) and LBP prevalence were similar across dance genres. Dancers sought multiple medical professionals, most often chiropractors (n = 94, 33.8%), medical doctors (n = 77, 27.7%), and physiotherapists (n = 60, 21.6%). Ninety dancers (35.0% of those with LBP) never sought medical care. Dancers who did seek care reported higher pain intensities (median: 4, IQR: 3.8) than those who did not (median: 3, IQR: 3.0). Conclusion Overall, most participants did suffer from LBP. Low back pain negatively impacts dancers’ everyday activities and dancing. Pain intensity and loss of function may impact care-seeking. Our findings highlight the need for all dance stakeholders to educate dancers about their health, provide resources for dancer health care, and proactively create an environment that supports injury reporting behaviors in dancers.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"16 1","pages":"173 - 180"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81469802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522b
Nico Kolokythas, G. Metsios, S. Galloway, Nick Allen, M. Wyon
Introduction Pre-professional ballet training involves long training hours from an early age that could influence young dancers’ physical performance and injury incidence. This cross-sectional analysis investigated the relationship of year group and sex with countermovement jump and injury incidence (primary outcome) in adolescent ballet dancers at a pre-professional dance school. Method Countermovement jump (CM]) height was recorded at the start of the academic year for 179 participants (M = 68, F = 111) spread across eight year-groups. Injury etiology and incidence was prospectively recorded over a 6-month period (September through February) by the medical team using a time-loss definition. Results Between-subject statistically significant differences were reported for sex [F(1, 153) = 101.46; p < 0.001], year group [F(7, 153) = 12.57; p < 0.001], and sex*year group [F(7, 153) = 9.22; p < 0.001]. Mean CM] across the year groups ranged between 24.7 to 41.3 cm for males and 23.5 to 25.1 cm for females. Injury incidence per dancer was 0.84 (CI: 0.13, 1.56) and injury incidence per 1,000 hours of dance was 1.94 (CI: 1.63, 2.25). No statistically significant differences between sexes or year groups were reported for injury incidence per 1,000 dance hours and time-loss. Hours dancing was statistically significantly positively associated with CM](r = .481,p < 0.05) and negatively associated with injury incidence (r = -.253, p < 0.05) for males; for females it was positively associated with time-loss (r = .254, p < 0.05). Conclusion Even though CM] was cross-sectionally monitored, the expected increased physical abilities in males as they grew older and progressed through their training was observed. Females did not indicate a similar increase in their physical ability, but they seemed to become more susceptible to injuries as they grow older. The lack of this speculative physiological development for the females may be associated with the ballet-only approach in their training. The use of CM] as an injury screening tool may be limited however, it could still be used as a tool to monitor physiological and fundamental motor skill development of adolescent dancers, as jumping is an integral part of ballet.
{"title":"The Relationship of Year Group and Sex on Injury Incidence and Countermovement Jump in Adolescent Ballet Dancers: A Cross-Sectional Analysis","authors":"Nico Kolokythas, G. Metsios, S. Galloway, Nick Allen, M. Wyon","doi":"10.12678/1089-313X.091522b","DOIUrl":"https://doi.org/10.12678/1089-313X.091522b","url":null,"abstract":"Introduction Pre-professional ballet training involves long training hours from an early age that could influence young dancers’ physical performance and injury incidence. This cross-sectional analysis investigated the relationship of year group and sex with countermovement jump and injury incidence (primary outcome) in adolescent ballet dancers at a pre-professional dance school. Method Countermovement jump (CM]) height was recorded at the start of the academic year for 179 participants (M = 68, F = 111) spread across eight year-groups. Injury etiology and incidence was prospectively recorded over a 6-month period (September through February) by the medical team using a time-loss definition. Results Between-subject statistically significant differences were reported for sex [F(1, 153) = 101.46; p < 0.001], year group [F(7, 153) = 12.57; p < 0.001], and sex*year group [F(7, 153) = 9.22; p < 0.001]. Mean CM] across the year groups ranged between 24.7 to 41.3 cm for males and 23.5 to 25.1 cm for females. Injury incidence per dancer was 0.84 (CI: 0.13, 1.56) and injury incidence per 1,000 hours of dance was 1.94 (CI: 1.63, 2.25). No statistically significant differences between sexes or year groups were reported for injury incidence per 1,000 dance hours and time-loss. Hours dancing was statistically significantly positively associated with CM](r = .481,p < 0.05) and negatively associated with injury incidence (r = -.253, p < 0.05) for males; for females it was positively associated with time-loss (r = .254, p < 0.05). Conclusion Even though CM] was cross-sectionally monitored, the expected increased physical abilities in males as they grew older and progressed through their training was observed. Females did not indicate a similar increase in their physical ability, but they seemed to become more susceptible to injuries as they grow older. The lack of this speculative physiological development for the females may be associated with the ballet-only approach in their training. The use of CM] as an injury screening tool may be limited however, it could still be used as a tool to monitor physiological and fundamental motor skill development of adolescent dancers, as jumping is an integral part of ballet.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"65 1","pages":"155 - 164"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85899499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522e
Nico Kolokythas, G. Metsios, S. Galloway, Nick Allen, Matthew A. Wyon
Introduction It is well documented that there is high prevalence of injuries in pre-professional and professional ballet dancers. Current evidence from high in quality and quantity research on injury prevention in sport indicates that interventions can reduce injury risks by 30% to 50%. Injury prevention research in dance is limited. The aim of this study was to assess the feasibility (adherence, fidelity, and practicality) of a randomized controlled trial for the utilization of neuromuscular training in pre-professional ballet dancers. Methods A convenience sample of 22 pre-professional ballet dancers were randomized into an intervention and control group. The intervention group took part in a neuromuscular-based training workout, five times per week before the ballet class, for 10 weeks. The intervention was an adaptation of the FIFA 11+, an injury prevention intervention and is called 11+ Dance. The intervention consisted of low intensity bodyweight exercises that lasted 20 to 30 minutes performed daily. Results Intervention adherence was 38% ± 8%, with higher participation at the beginning of the study. Attendance for post-testing was low 45% and 36% for the intervention and control group, respectively, mainly due to injury. There were no adverse effects reported, however, the participants reported delayed onset muscle soreness at the beginning of the intervention, indicating that there may be a potential training effect. Fear of muscle hypertrophy and fatigue were also reported as reasons for attrition. The repeated measures ANOVA revealed statistically non-significant differences for the countermovement jump F(1, 9) = 0.36, p = 0.564, η2p = 0.04; reactive strength index F(1, 7) = 0.02, p = 0.885, η2p = 0.003; and the isometric mid-thigh pull F(1, 12) = 0.002, p = 0.967, η2p = 0.000. Conclusion The results of the study, together with the feedback from the participants, suggest that some protocol modifications are necessary for the feasibility of a randomized controlled trial in a pre-professional setting. The current trial has produced valuable information for the intervention fequency and load prescription.
有充分的证据表明，在专业前和专业芭蕾舞演员中，受伤的发生率很高。目前来自高质量和高数量的运动损伤预防研究的证据表明，干预措施可以将损伤风险降低30%至50%。舞蹈损伤预防的研究是有限的。本研究的目的是评估一项随机对照试验在专业前芭蕾舞演员中应用神经肌肉训练的可行性(依从性、保真性和实用性)。方法将22名职业前芭蕾舞演员随机分为干预组和对照组。干预组在上芭蕾课前每周进行五次以神经肌肉为基础的训练，持续10周。干预是对国际足联11+的改编，这是一种伤害预防干预，被称为11+舞蹈。干预包括每天持续20至30分钟的低强度体重运动。结果干预依从性为38%±8%，研究开始时参与率较高。干预组和对照组的后测试出勤率分别为45%和36%，主要原因是损伤。没有不良反应的报道，然而，参与者在干预开始时报告延迟性肌肉酸痛，表明可能有潜在的训练效果。对肌肉肥大和疲劳的恐惧也被报道为消耗的原因。重复测量方差分析显示，反动作跳F(1,9) = 0.36, p = 0.564， η2p = 0.04，差异无统计学意义;反应强度指标F(1,7) = 0.02, p = 0.885， η2p = 0.003;等距大腿中部牵拉F(1,12) = 0.002, p = 0.967， η2p = 0.000。结论本研究的结果以及参与者的反馈表明，为了在专业前环境中进行随机对照试验的可行性，有必要对方案进行一些修改。目前的试验为干预频率和负荷处方提供了有价值的信息。
{"title":"Neuromuscular Training in Pre-Professional Ballet Dancers: A Feasibility Randomized Controlled Trial","authors":"Nico Kolokythas, G. Metsios, S. Galloway, Nick Allen, Matthew A. Wyon","doi":"10.12678/1089-313X.091522e","DOIUrl":"https://doi.org/10.12678/1089-313X.091522e","url":null,"abstract":"Introduction It is well documented that there is high prevalence of injuries in pre-professional and professional ballet dancers. Current evidence from high in quality and quantity research on injury prevention in sport indicates that interventions can reduce injury risks by 30% to 50%. Injury prevention research in dance is limited. The aim of this study was to assess the feasibility (adherence, fidelity, and practicality) of a randomized controlled trial for the utilization of neuromuscular training in pre-professional ballet dancers. Methods A convenience sample of 22 pre-professional ballet dancers were randomized into an intervention and control group. The intervention group took part in a neuromuscular-based training workout, five times per week before the ballet class, for 10 weeks. The intervention was an adaptation of the FIFA 11+, an injury prevention intervention and is called 11+ Dance. The intervention consisted of low intensity bodyweight exercises that lasted 20 to 30 minutes performed daily. Results Intervention adherence was 38% ± 8%, with higher participation at the beginning of the study. Attendance for post-testing was low 45% and 36% for the intervention and control group, respectively, mainly due to injury. There were no adverse effects reported, however, the participants reported delayed onset muscle soreness at the beginning of the intervention, indicating that there may be a potential training effect. Fear of muscle hypertrophy and fatigue were also reported as reasons for attrition. The repeated measures ANOVA revealed statistically non-significant differences for the countermovement jump F(1, 9) = 0.36, p = 0.564, η2p = 0.04; reactive strength index F(1, 7) = 0.02, p = 0.885, η2p = 0.003; and the isometric mid-thigh pull F(1, 12) = 0.002, p = 0.967, η2p = 0.000. Conclusion The results of the study, together with the feedback from the participants, suggest that some protocol modifications are necessary for the feasibility of a randomized controlled trial in a pre-professional setting. The current trial has produced valuable information for the intervention fequency and load prescription.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"21 1","pages":"181 - 190"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78144138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522a
Warin Krityakiarana, N. Jongkamonwiwat
The Khon masked dance drama is an authentic Thai classical performance that has been handed down for centuries. The performance has many unique choreographic patterns that are typical of the Southeast Asian performing arts. The Thai Khon masked dance consists of a combination of balance control and limb movement in different rhythms. The grace and beauty of Khon performances are dependent on the precision of the limb movement's curve, angle, and specific position. The connection between balance control and body movements during performance is crucial. The purpose of this study was to compare postural control between Thai Khon masked dancers and nondancers and explore bilateral asymmetry in postural control during single leg standing between the dominant and non-dominant legs using the Star Excursion Balance Test (SEBT). Thai Khon masked dancers (n = 25) and nondancers (n = 25) were asked to identify their dominant leg and perform the SEBT using both legs. The reaching distances in different directions from the SEBT were converted to a normalized distance for comparison. A mixed model ANOVA and t-test were applied to determine the differences between directions in both the dominant and non-dominant legs. The interaction between dancer and nondancer groups was also verified. The results showed that dancers performed better on SEBT than nondancers in all directions (p < 0.05). In conclusion, Thai Khon masked dancers demonstrated a superior ability to maintain dynamic postural control during the SEBT. When considering all directions together, the dominant side was not a factor that affected postural control during the SEBT. This study adds further supporting evidence that Khon masked dance training improves dynamic balance control and can possibly be applied as a recreational exercise to promote balance performance.
{"title":"Greater Star Excursion Balance Test Performance in Thai Khon Masked Dancers versus Nondancers","authors":"Warin Krityakiarana, N. Jongkamonwiwat","doi":"10.12678/1089-313X.091522a","DOIUrl":"https://doi.org/10.12678/1089-313X.091522a","url":null,"abstract":"The Khon masked dance drama is an authentic Thai classical performance that has been handed down for centuries. The performance has many unique choreographic patterns that are typical of the Southeast Asian performing arts. The Thai Khon masked dance consists of a combination of balance control and limb movement in different rhythms. The grace and beauty of Khon performances are dependent on the precision of the limb movement's curve, angle, and specific position. The connection between balance control and body movements during performance is crucial. The purpose of this study was to compare postural control between Thai Khon masked dancers and nondancers and explore bilateral asymmetry in postural control during single leg standing between the dominant and non-dominant legs using the Star Excursion Balance Test (SEBT). Thai Khon masked dancers (n = 25) and nondancers (n = 25) were asked to identify their dominant leg and perform the SEBT using both legs. The reaching distances in different directions from the SEBT were converted to a normalized distance for comparison. A mixed model ANOVA and t-test were applied to determine the differences between directions in both the dominant and non-dominant legs. The interaction between dancer and nondancer groups was also verified. The results showed that dancers performed better on SEBT than nondancers in all directions (p < 0.05). In conclusion, Thai Khon masked dancers demonstrated a superior ability to maintain dynamic postural control during the SEBT. When considering all directions together, the dominant side was not a factor that affected postural control during the SEBT. This study adds further supporting evidence that Khon masked dance training improves dynamic balance control and can possibly be applied as a recreational exercise to promote balance performance.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"103 1","pages":"146 - 154"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74873121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.12678/1089-313X.091522c
A. Ribeiro, Brett D Bruininks, G. Street, Amanda J Smock, L. Scibora
Introduction Weightbearing activities such as gymnastics, soccer, weightlifting, and running have often been used as benchmarks in skeletal research since they have been shown to promote densitometric and geometric benefits. In comparison with other sports, there is a paucity of information in relation to dance and its osteogenic potential. Objective This study aimed to compare tibial geometry, density, and strength in college-aged dancers versus gymnasts and runners. Methods A total of 60 trained eumenorrheic collegiate-aged female dancers (n = 11), gymnasts (n = 11), runners (n = 19), and sedentary controls (n = 19) were included in the study. Bone measurements, including total area (ToA), volumetric (total vBMD) and cortical density (CoD), compressive bone strength (BSI), and polar strength stress index (SSIp) of the dominant limb, were assessed using peripheral quantitative computed tomography (pQCT) at the distal and proximal tibia (4% and 66% of limb length). Results No significant differences in ToA, CoD, CoA, and total vBMD were found between dancers and the comparison athletes at the measured sites. In addition, strength indices (BSI and SSIp) at the distal and proximal sites were similar between the dancing and both athlete groups. Conclusion Results suggest dance elicits similar structural adaptations at the tibia compared to benchmark high-impact and repetitive impact sports; thus, indicating dance, in its various forms, can have apositive effect on important bone variables that influence density and strength. These adaptations may potentially delay or prevent bone fragility later in life. Future studies should compare individual styles of dance separately, longitudinally, and include other important lower (e.g., hip) and upper body (e.g., radius) sites to further identify which forms provide the greatest osteogenic benefits.
{"title":"Comparison of Tibial Geometry, Density, and Strength in College-Aged Female Eumenorrheic Dancers, Gymnasts, and Runners: A Peripheral Quantitative Computed Tomography Study","authors":"A. Ribeiro, Brett D Bruininks, G. Street, Amanda J Smock, L. Scibora","doi":"10.12678/1089-313X.091522c","DOIUrl":"https://doi.org/10.12678/1089-313X.091522c","url":null,"abstract":"Introduction Weightbearing activities such as gymnastics, soccer, weightlifting, and running have often been used as benchmarks in skeletal research since they have been shown to promote densitometric and geometric benefits. In comparison with other sports, there is a paucity of information in relation to dance and its osteogenic potential. Objective This study aimed to compare tibial geometry, density, and strength in college-aged dancers versus gymnasts and runners. Methods A total of 60 trained eumenorrheic collegiate-aged female dancers (n = 11), gymnasts (n = 11), runners (n = 19), and sedentary controls (n = 19) were included in the study. Bone measurements, including total area (ToA), volumetric (total vBMD) and cortical density (CoD), compressive bone strength (BSI), and polar strength stress index (SSIp) of the dominant limb, were assessed using peripheral quantitative computed tomography (pQCT) at the distal and proximal tibia (4% and 66% of limb length). Results No significant differences in ToA, CoD, CoA, and total vBMD were found between dancers and the comparison athletes at the measured sites. In addition, strength indices (BSI and SSIp) at the distal and proximal sites were similar between the dancing and both athlete groups. Conclusion Results suggest dance elicits similar structural adaptations at the tibia compared to benchmark high-impact and repetitive impact sports; thus, indicating dance, in its various forms, can have apositive effect on important bone variables that influence density and strength. These adaptations may potentially delay or prevent bone fragility later in life. Future studies should compare individual styles of dance separately, longitudinally, and include other important lower (e.g., hip) and upper body (e.g., radius) sites to further identify which forms provide the greatest osteogenic benefits.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"11 1","pages":"165 - 172"},"PeriodicalIF":0.9,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88641193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.12678/1089-313X.061522g
G. Berardi
{"title":"Book Review: Art and Science of Mobility","authors":"G. Berardi","doi":"10.12678/1089-313X.061522g","DOIUrl":"https://doi.org/10.12678/1089-313X.061522g","url":null,"abstract":"","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"9 1","pages":"143 - 144"},"PeriodicalIF":0.9,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72713063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-15Epub Date: 2021-12-05DOI: 10.12678/1089-313X.031522h
Janine H Stubbe, Benjamin Soerel, Raôul Oudejans, Jolan Kegelaers, Rogier M van Rijn
Background: Monitoring heart rate is one of the most common methods used to quantify internal training load (ITL) in athletes. The aim of this study was to determine whether subjective measurements can be used as a simple, non-invasive, and inexpensive method for assessing ITL in pre-professional contemporary dancers. Method: A total of 16 first-year contemporary dance students participated in this study. Students wore heart rate monitors during 56 training sessions. After each session, students completed the rate of perceived exertion (RPE) scale and teachers completed the rate of observed exertion (ROE) scale. For each session, we calculated the session-RPEs (sRPE), session-ROEs (sROE), and heart-rate-derived ITLs [i. e., Banister TRaining IMPulse method (TRIMP) and Edwards TRIMP]. Pearson correlation coefficients were calculated to determine the association between sRPE, sROE, Banister TRIMP, and Edwards TRIMP. Results: Between-individual correlation between Banister TRIMP and subjective dancers' (sRPE) and teachers' perceptions (sROE) were moderate (r = .49, p < 0.01) to large (r = .57, p < 0.01). Between-individual correlations between Edwards TRIMP and the subjective perceptions (sRPE and sROE) were very large (r = .74, p < 0.01; and r = .79, p < 0.01). There was a statistically significant large (r = 0.52, p < 0.01) to almost perfect (r = 0.93, p < 0.01) within-individual correlation between the sRPE and the two measured TRIMP methods. There was a statistically significant small (r = .29, p < 0.01) to almost perfect (r = .92, p < 0.01) within-individual correlation between the sROE and the two measured TRIMP methods. Conclusion: The results of this study suggest that the sRPE is a simple, non-invasive, inexpensive, and valid method for quantifying ITL in pre-professional dancers.
背景:监测心率是量化运动员内部训练负荷(ITL)最常用的方法之一。本研究的目的是确定主观测量是否可以作为一种简单、无创、廉价的方法来评估专业前现代舞演员的ITL。方法:共16名当代舞蹈一年级学生参与本研究。学生们在56次训练中佩戴心率监测器。每节课结束后，学生完成感知劳累率(RPE)量表，教师完成观察劳累率(ROE)量表。对于每个会话，我们计算会话rpe (sRPE)，会话roe (sROE)和心率衍生的itl[1]。例如，Banister TRaining IMPulse method (TRIMP)和Edwards TRIMP]。计算Pearson相关系数以确定sRPE、sROE、Banister TRIMP和Edwards TRIMP之间的相关性。结果:Banister TRIMP与主观舞者(sRPE)和教师知觉(sROE)的个体间相关性为中等(r = 0.49, p < 0.01)到较大(r = 0.57, p < 0.01)。Edwards TRIMP与主观知觉(sRPE和sROE)的个体间相关性非常大(r = 0.74, p < 0.01;r = 0.79, p < 0.01)。sRPE与两种测量的TRIMP方法之间的个体相关性具有统计学意义(r = 0.52, p < 0.01)至几乎完全(r = 0.93, p < 0.01)。sROE与两种TRIMP测量方法之间的个体相关性有统计学意义(r = 0.29, p < 0.01)至几乎完全(r = 0.92, p < 0.01)。结论:本研究结果表明sRPE是一种简单、无创、廉价、有效的量化专业前舞者ITL的方法。
{"title":"Quantifying Internal Load in Pre-Professional Contemporary Dancers: The Association Between Objective Heart-Rate Derived Outcome Measures and Subjective Dancers' and Teachers' Perceptions.","authors":"Janine H Stubbe, Benjamin Soerel, Raôul Oudejans, Jolan Kegelaers, Rogier M van Rijn","doi":"10.12678/1089-313X.031522h","DOIUrl":"https://doi.org/10.12678/1089-313X.031522h","url":null,"abstract":"<p><strong>Background: </strong>Monitoring heart rate is one of the most common methods used to quantify internal training load (ITL) in athletes. The aim of this study was to determine whether subjective measurements can be used as a simple, non-invasive, and inexpensive method for assessing ITL in pre-professional contemporary dancers. <br/>Method: A total of 16 first-year contemporary dance students participated in this study. Students wore heart rate monitors during 56 training sessions. After each session, students completed the rate of perceived exertion (RPE) scale and teachers completed the rate of observed exertion (ROE) scale. For each session, we calculated the session-RPEs (sRPE), session-ROEs (sROE), and heart-rate-derived ITLs [i. e., Banister TRaining IMPulse method (TRIMP) and Edwards TRIMP]. Pearson correlation coefficients were calculated to determine the association between sRPE, sROE, Banister TRIMP, and Edwards TRIMP. <br/>Results: Between-individual correlation between Banister TRIMP and subjective dancers' (sRPE) and teachers' perceptions (sROE) were moderate (r = .49, p < 0.01) to large (r = .57, p < 0.01). Between-individual correlations between Edwards TRIMP and the subjective perceptions (sRPE and sROE) were very large (r = .74, p < 0.01; and r = .79, p < 0.01). There was a statistically significant large (r = 0.52, p < 0.01) to almost perfect (r = 0.93, p < 0.01) within-individual correlation between the sRPE and the two measured TRIMP methods. There was a statistically significant small (r = .29, p < 0.01) to almost perfect (r = .92, p < 0.01) within-individual correlation between the sROE and the two measured TRIMP methods. <br/>Conclusion: The results of this study suggest that the sRPE is a simple, non-invasive, inexpensive, and valid method for quantifying ITL in pre-professional dancers.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"26 1","pages":"58-64"},"PeriodicalIF":0.9,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"39805343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-15DOI: 10.12678/1089-313X.061522e
N. Gorelik, B. Casagranda, P. Colucci, J. L. Green, J. Roedl, W. Morrison, A. Zoga
Introduction: Bone marrow signal abnormalities on magnetic resonance imaging (MRI) are common in athletes. However, few studies evaluate the MRI appearance of bone marrow in the feet of ballet dancers. Our study aims to describe the “spotty bone marrow” (SBM) pattern in the tarsal bones of a cohort of ballet dancers, establishing its prevalence, distribution, potential associations, and evolution. Methods: Eighty-six MRIs of 68 ankles in 56 ballet dancers were retrospectively reviewed for marrow signal alterations, which were classified as focal or SBM (defined as patchy fluid-sensitive signal hyperintensity spanning more than one location or tarsal bone). When SBM involved the talus, its anatomic distribution in the bone and morphologic pattern were recorded. Additional osseous and soft tissue findings were documented. For subjects with more than one MRI of the same ankle, the SBM's evolution was monitored. Results: Spotty bone marrow was identified in 44 ankles (65%). Spotty bone marrow was isolated to the talus (44%), present in all tarsal bones (25%), or distributed between the talus and one to three other tarsal bones (31 %). In the talus, The SBM involved the entire bone (65%), the neck and body (31 %), or the head and neck (4%). The SBM most commonly showed a random morphologic pattern (87%) but occasionally showed a peripheral predominance (13%). There was no statistically significant difference in the prevalence of other pathologies in ankles with and without SBM. In eight ankles with a follow-up MRI, the SBM worsened in one, remained stable in two, and improved in five ankles. None progressed to a stress fracture. Conclusion: Spotty bone marrow is an MRI finding frequently encountered in ballet dancers. It is usually self-limiting and should not be misinterpreted as a more aggressive pathology.
{"title":"Spotty Bone Marrow: A Frequent MRI Finding in the Feet of Ballet Dancers","authors":"N. Gorelik, B. Casagranda, P. Colucci, J. L. Green, J. Roedl, W. Morrison, A. Zoga","doi":"10.12678/1089-313X.061522e","DOIUrl":"https://doi.org/10.12678/1089-313X.061522e","url":null,"abstract":"Introduction: Bone marrow signal abnormalities on magnetic resonance imaging (MRI) are common in athletes. However, few studies evaluate the MRI appearance of bone marrow in the feet of ballet dancers. Our study aims to describe the “spotty bone marrow” (SBM) pattern in the tarsal bones of a cohort of ballet dancers, establishing its prevalence, distribution, potential associations, and evolution. Methods: Eighty-six MRIs of 68 ankles in 56 ballet dancers were retrospectively reviewed for marrow signal alterations, which were classified as focal or SBM (defined as patchy fluid-sensitive signal hyperintensity spanning more than one location or tarsal bone). When SBM involved the talus, its anatomic distribution in the bone and morphologic pattern were recorded. Additional osseous and soft tissue findings were documented. For subjects with more than one MRI of the same ankle, the SBM's evolution was monitored. Results: Spotty bone marrow was identified in 44 ankles (65%). Spotty bone marrow was isolated to the talus (44%), present in all tarsal bones (25%), or distributed between the talus and one to three other tarsal bones (31 %). In the talus, The SBM involved the entire bone (65%), the neck and body (31 %), or the head and neck (4%). The SBM most commonly showed a random morphologic pattern (87%) but occasionally showed a peripheral predominance (13%). There was no statistically significant difference in the prevalence of other pathologies in ankles with and without SBM. In eight ankles with a follow-up MRI, the SBM worsened in one, remained stable in two, and improved in five ankles. None progressed to a stress fracture. Conclusion: Spotty bone marrow is an MRI finding frequently encountered in ballet dancers. It is usually self-limiting and should not be misinterpreted as a more aggressive pathology.","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":"56 1","pages":"125 - 133"},"PeriodicalIF":0.9,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76799434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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