Journal of Dance Medicine & Science最新文献

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: There is currently little research relating specifically to the muscular strength and endurance requirements of the upper body such as lifts at varying heights, ground floor contact with the hands and inversions such as handstands. Enhanced understanding of muscular demands can inform training program design to build physical tolerance to meet the demand of the activity. The aim of this study was to ascertain the frequency of upper body muscular skills in contemporary and ballet dance performance. Methods: Analysis of 46 individual ballet performers (F = 23, M = 23) from 12 performances (duration 63.5 ± 44.5 minutes) and 44 individual contemporary performers (F = 21, M = 23) from 12 performances (duration 35.7 ± 4.3 minutes) was carried out. Frequency of upper body skills was recorded using Dartfish Easytag-Note and converted to mean frequency per minute of total performance and per performance by genre and by sex. Differences in frequency between genre were analyzed via Mann-Whitney U. Phase two analyzed differences between sex via Mann-Whitney U. Finally, analysis of differences between sex within dance genre was carried out via Wilcoxon signed rank test. Significance was accepted at P < .05. Results: A significant difference was apparent between ballet and contemporary dance for holding own weight (P < .05) with a greater total mean frequency within contemporary performances of 8.50 ± 9.03 compared to a total mean frequency of 1.51 ± 3.13 within ballet performances. Additionally, there was a significant difference for above shoulder assisted lift (P < .05) when comparing male dancers, with male contemporary dancers carrying out significantly more (9.82 ± 8.56) per performance than male ballet dancers (2.33 ± 4.66). A higher mean frequency of below shoulder lifts than above shoulder lifts was also noted, with the majority of above shoulder lifts remaining at eye level. Conclusion: Training programs must prepare dancers for upper body movements that consider differing biomechanical demands of a variety of lifts and inversions.

Introduction: Elite ballet is one of the most demanding physical activities for the skeleton, making dancers susceptible to bone stress injuries. This pilot study compared bone remodeling in professional female ballet dancers from the Royal Ballet Company with controls from Imperial College London. Methods: The study included dancers (n = 5, median age 29 ± 16 years) and controls (n = 6, median age 24 ± 8.5 years). The main outcome measure was bone turnover, assessed by measuring the ratio of resorption (NTX) and formation (P1NP) markers in urine and serum. Estrogen metabolism was evaluated through 2OH/16OH metabolite ratios. Both markers were measured using ELISA kits. Diet was tracked using 72-hour diaries, and weekly exercise hours were recorded through 2-week diaries and cross referenced with training logs. Results: Results showed significantly higher bone resorption to formation ratio (NTX/P1NP) in dancers versus controls (P < .050), and elevated estrogen metabolite ratios (2OH/16OH) (P < .010). These findings occurred despite similar dietary profiles between groups including fat (P = .874) carbohydrate (P = .501) and protein (P = .099). Dancers showed significantly higher weekly exercise hours (46.50 ± 38.75 vs 14.75 ± 11.75 hours/week, P < .001) and lower BMI (18.36 ± 1.35 vs 20.77 ± 3.66, P = .020). Conclusions: The pilot data suggest elite ballet dancers may exhibit an imbalance in bone remodeling with high resorption and low formation relative to controls. This imbalance in bone turnover markers could serve as a screening tool for identifying dancers at increased risk of bone stress injuries. The NTX/P1NP ratio could potentially offer a low-cost, non-invasive approach to identify at-risk dancers early and implement preventative measures. Further research and longitudinal trials are needed to test whether these markers can predict bone stress injury risk.

Introduction: Dance is physically demanding and often involves unilateral movements performed within a small base of support. Prior authors have reported that dancers use one leg preferentially over the other (ie, lower extremity asymmetry). Increased leg asymmetry-quantified using the Limb Symmetry Index (LSI), is associated with increased injury risk. Clinicians often use LSI to make return-to-performance decisions (eg, >85% performance on injured vs non-injured limb). However, limited research has examined leg symmetry in collegiate dancers. Purpose: To examine LSI in collegiate dancers using the modified star excursion balance test (mSEBT) and single-leg hop test (SLH). Methods: 120 healthy collegiate dancers (105 females, 15 males; 18.31 ± 0.80 years; 164.18 ± 7.12 cm; 61.18 ± 8.46 kg) performed the mSEBT (normalized to % leg-length: LL) in the anterior, posteromedial, and posterolateral directions and the SLH test (normalized to % body height: BH) across both legs using previously published guidelines. mSEBT scores were averaged for all three directions per leg. SLH scores were averaged per leg. LSI was calculated as (lower value/higher value) × 100 to obtain a percentage. Results: Mean mSEBT scores were 95.7 ± 14.2%LL (lower score) and 96.6 ± 14.3%LL (higher score). Dancers LSI for mSEBT was 99.1 ± 0.9%. Mean SLH scores were 82.8 ± 13.3%BH (lower score) and 86.4 ± 13.5%BH (higher score). Dancers LSI for SLH was 95.9 ± 3.5%. Conclusions: Dancers' LSI% was greater than 90% for mSEBT and SLH, concurrent with the normal values of LSI > 90% in healthy, physically active adults. Dancers displayed lower leg symmetry. Practitioners can thus use the contralateral leg as a reference for return-to-performance decisions following injury in dancers. LSI should be integrated into a comprehensive screening process to identify large (>85%) asymmetries and guide training programs post-injury to assist educators and practitioners' evidence-based return-to-performance decisions. Future researchers should examine LSI in other dance genres and across levels.Level of Evidence: 2C.

Introduction: As demanding as dancing en pointe is, no universal standard exists to determine when a ballet dancer is ready to advance to this next level. The goal of this study was to provide preliminarily tested and reliable guidelines for a screening tool that can be used to determine (1) if a dancer is ready for pointe, (2) reasons why a dancer may not be ready, and (3) areas for improvement to guide training and preparation. Methods: Participants: Seventeen dancers aged 9 to 17 years with a minimum 4 years of ballet and who were either possibly ready for pointe or had been in pointe class less than 3 months participated in this study. Study Design: Dancers were prospectively assessed by two physicians using the Pointe Assessment Screening Shah Edison (PASSÉ) tool for assessing pointe readiness. Interrater reliability and the relationship of individual tests to overall pointe readiness were evaluated using descriptive statistics, kappa, diagnostic metrics, and logistic regression. Setting: Private practice office; ballet studios. Results: There was 94% agreement among raters in determining overall pointe readiness, and individual tests all had significant interrater agreement ranging from 62% to 97% (P ≤ .04). Ankle plantarflexion >90° (100%), stability in grand plié (100%), and holding relevé (96%) had the highest sensitivity for overall readiness, indicating their necessity to advance to pointe. The tests with greatest specificity for identifying lack of readiness were relevé passé (72%), sauté (72%), and airplane (69%). Conclusions: This study provides preliminary testing of a reliable screening tool, the PASSÉ screen, which can be utilized to determine pointe readiness with excellent interrater agreement for the overall pass/fail and significant agreement for tests that contribute to readiness. At minimum, dancers must be able to pass the grand plié, ankle plantar flexion, and relevé tests. Also passing the sauté, relevé passé, and airplane tests indicates high likelihood of readiness.

Background: As dance medicine and science research paradigms expand, researchers are adopting interdisciplinary approaches which widen the research questions that are asked, how such research might be done, and the relevance that findings have for those working and participating in dance. There is growing momentum for critical discourse on the philosophical foundations of dance science, particularly in reflecting the embodied nature of dance practice in research methodologies. Purpose: In this paper, discussions on methodological rigour from dance for health research are extended to the broader field of dance science. By (re)centring research participants' bodies as sites of knowledge production in dance science research, prevailing notions of knowledge creation, ownership and applicability in dance science are challenged. Drawing on an interpretivist, feminist, ethnographic study of periodisation in tertiary vocational dance education, the largely positivist construction of knowledge about periodisation, and more broadly dance science, is disrupted. Conclusions: The discussion in this paper exemplifies how dance science research can embrace socially constructed, subjectivist research approaches whilst maintaining philosophical and methodological rigour. Tensions between positivist and non-positivist research paradigms are highlighted, using examples from periodisation research. Drawing on reflexive examples of researcher decision-making, this paper contributes to the paradigmatic critiques evident in recent dance science literature. The aim is to aid researchers' practical thinking in critically examining their assumptions and design choices when developing research projects. The paper advocates for coherent methodologies in qualitative dance science research which derive from thoroughly considered philosophical underpinnings.

Introduction: Research postulates that dance has the potential to encourage individual expression, develop interpersonal skills and reduce avoidance behaviours in autistic children. This study aimed to investigate the impact of South Asian Dance on engagement, independent movement and social skills in this population.

Methods: Fifteen autistic children (8.14 ± 1.14 years) from a special educational needs and disabilities school in London, UK, their parents and teachers participated in this collaborative, mixed methods study. Children participated in weekly dance classes throughout spring and summer terms. Data was collected via the Strengths and Difficulties Questionnaire for parents and teachers and observational notes from dance artists.

Findings: Content analysis of observational notes suggested an improvement in focus and engagement for most learners alongside improvements in range of motion, independent movement and reduction of avoidance behaviours. SDQ results were similar to previous studies in autistic children and higher than general population normative data, particularly in hyperactivity and peer problems.

Conclusions: Due to the heterogeneity of results and children's experiences within the dance activity, broad assumptions about impact are difficult. Individual improvements were noted for many learners in engagement, independent movement, range of motion and co-ordination as well as a reduction in avoidance behaviours. This study adds to developing research into dance for autistic children, providing a unique focus on South Asian Dance forms which may provide a wealth of new creative movement vocabulary for teachers and parents.

Background: Fibromyalgia impacts physical and mental health, affecting movement and body awareness. Non-pharmacological treatments like physiotherapy-based dance exercise intervention (PBDEI) may improve symptoms. The aim of this study was to assess the impact of PBDEI as a non-pharmacological intervention for chronic pain, focusing on improving body awareness and reducing pain perception in patients with chronic conditions.

Methods: The study involved five women with fibromyalgia aged between 20 and 40 years, all with chronic pain in different body areas (e.g., back, head, right hemibody). Participants underwent a 4-week dance intervention, with 60-minute sessions focused on flexibility, body awareness, strength, and aerobic capacity. Pre- and post-intervention assessments included the Multidimensional Assessment of Interoceptive Awareness (MAIA) questionnaire for body awareness, the TSK scale for kinesophobia, and the Numerical Rating Scale (NRS) for pain perception.

Results: Post-intervention results showed improvements in body awareness, with most participants demonstrating increased MAIA scores. Pain perception decreased by 40% to 60% across participants. However, no significant changes were observed in the TSK scores, indicating no reduction in kinesophobia.

Conclusions: PBDEI was found to be effective in improving body awareness and reducing pain perception in chronic pain patients. While it had a positive effect on pain, it did not significantly reduce kinesophobia. These findings suggest that dance may be a promising strategy in chronic pain management, offering benefits not only for pain relief but also for enhancing body awareness. Further research with larger sample sizes and extended intervention periods is recommended to confirm these results.

Introduction: This study applies bibliometric methods to analyse 853 papers on Latin dance in the field of sports, covering publications in the Web of Science database from 1989 to 2024. The aim was to identify development trends, research focuses, and collaboration patterns within this domain. Methods: A bibliometric analysis was conducted using quantitative indicators such as publication trends, country and institutional distributions, thematic clusters, and co-authorship networks. Data were extracted from the Web of Science Core Collection, and analyses were performed using Bibliometrix. Results: The results indicate steady growth in this field, with the United States and the United Kingdom maintaining leading positions, while countries such as China and South Korea have shown rapid development in recent years. Research has mainly focused on 2 themes: dance therapy for psychological intervention and sports rehabilitation for elderly health, with recent extensions to topics such as Down syndrome intervention and cultural identity. Collaboration networks reveal a core-periphery structure centred on leading scholars, with limited participation from developing countries. Conclusions: Overall, Latin dance research has established a preliminary framework in health promotion and psychological healing, with growing global participation.Further work is required to strengthen cross-cultural perspectives, refine intervention mechanisms, and enhance international cooperation.