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.

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.