Journal of Dance Medicine & Science最新文献

Objective: The aim of this study was to propose reference values for the Dynamic Evaluation Method of Lower Limb Joint Alignment (MADAAMI II). Methods: During the 2023 Joinville Dance Festival, 346 dancers (315 females and 31 males), aged between 15 and 58 years, with a minimum of 5 years of ballet experience, were randomly evaluated. The dancers were filmed performing the three-step sequence (demi plié, grand plié, and fondu) of the MADAAMI II, in the first foot position, with self-selected turnout and at 120 degrees. A single trained evaluator analyzed the videos using the method's scoring sheet, and the scores (foot, knee, pelvis, and general) were calculated. To verify if there was a difference between the scores of young and adult dancers, the Mann-Whitney U test was used, and to determine the reference values, the 10th, 15th, 25th, 50th, 75th, 85th, and 90th percentiles were calculated considering the total sample. Results: There was no significant difference between young and adult dancers regarding lower limb joint alignment, thus the reference values for the MADAAMI II scores can be used for all dancers aged 15 years and older. The reference values, based on the 15th and 85th percentiles, respectively, are: Foot Score (31-52); Knee Score (34-56); Pelvis Score (40-55); and General Score (115-156). Conclusion: The determined reference values can be used as a screening tool to determine the lower limb stability of dancers. This study can help in verifying the effectiveness of a specific training program and in detecting dancers at risk of injury.

Background: Low back pain is a common disorder with high severity among dancers. Since Arabesque used in dance is more likely to cause lower back pain, it is important to prevent the onset of lower back pain during arabesque. Previous studies are investigating motion of the lumbar vertebrae during various tasks in targeting dancers. However, since the thoracic and lumbar vertebrae are connected, it is necessary to assess including motion of the thoracic spine. The purpose of this study was to clarify the relationship between the upper, middle, and lower thoracic vertebrae and the upper and lower lumbar vertebrae in dancers during arabesque. Methods: The participants were 13 university students with dance experience, and they performed double-standing and arabesque tasks. During the tasks, the positions of reflective markers attached to the spine (upper, middle, and lower thoracic vertebrae, and upper and lower lumbar vertebrae) were measured using a three-dimensional motion analysis system. The amount of change in the spinal angle of during standing and arabesque were calculated based on positions of spinal markers, and the relationship between the amount of change each spinal region (6 pairs) were analyzed by using Pearson's correlation test. Results: A significant negative correlation was observed between the amount of change in the angle of the middle thoracic vertebrae and the amount of change in the upper lumbar vertebrae (r = -.66, P = .013), which means that as the movement of the middle thoracic vertebrae increases, the movement of the upper lumbar vertebrae decreases. No significant correlation was observed between other spinal angles (P > .05). Conclusion: The results of this study suggest that increasing mobility in the middle thoracic vertebrae may be able to prevent hyperextension of the upper lumbar vertebrae, leading to the prevention of upper back pain in dancers.

Introduction: There is an ongoing search for evidence based on unconventional modalities that can treat the physical and psychological symptoms resulting from menopause. The main objective of this study was to analyze the effects of Jazz Dance, compared to the control group, on stress, urinary incontinence, and sexual function in menopausal women in the short and long term, as well as to investigate stress as a predictor of sexual function and urinary incontinence. Methods: Two-arm randomized clinical trial (Jazz Dance Intervention Group (JDIG) (n = 23) and Control Group (CG) (n = 24)) with 47 women (53.41 ± 2.8 years). Data collection was carried out at four timepoints: baseline, post-intervention, and 6-month and 12-month follow-ups. The instruments used were the Female Sexual Function Index (FSFI); Perceived Stress Scale (PSS), and International Consultation on Incontinence Questionnaire-Short Form (ICIQ-SF). Results: Positive results over time were found in the JDIG for stress (P = .030) and sexual function in the domains of satisfaction (P = .041), desire (P = .018), and orgasm (P = .033) in the long term. Stress was a predictor of sexual dysfunction and urinary incontinence. Discussion: Jazz Dance is a effective, and low-cost modality for managing stress. For sexual function, the benefits need to be looked at in the long term, and this modality does not seem to be an effective management alternative for urinary incontinence.

Introduction: In 2012, the Standard Measures Consensus Initiative (SMCI) of the International Association for Dance Medicine and Science (IADMS) presented 6 recommendations regarding dance injury surveillance, definitions of injury and exposure, dance-specific screening, risk reduction strategies, and collaborative data management. The aim was to standardize risk factor measurement and injury reporting by researchers in dance medicine and science. Since then, numerous reports on the recording and reporting of injury data in sport and performing arts have been published.

Methods: IADMS commissioned SMCI to update the 2012 recommendations, a process that involved 3 stages: (1) current field experts were invited to join SMCI, (2) SMCI members reviewed recent and relevant sport and performing arts literature, then drafted, discussed, and revised section updates, (3) IADMS invited individuals representing diverse backgrounds in the IADMS community to critically review drafted updates. The final update serves as a bridge from the 6 recommendations in the 2012 report to the current state of evidence.

Results: We continue to encourage use of dance injury surveillance systems and support that surveillance protocols be fit-for-purpose, and that failure to use clear and consistent injury definitions perpetuates a lack of rigor in dance injury research. Based on new evidence, we recommend that some aspects of injury surveillance be self-reported, that the choice of dance exposure measures be dependent on the research question, contextual factors, and type of injury/health problem(s) of interest, and that studies using dance-specific screening articulate specific objectives, validity, and reliability of each protocol.

Conclusions: Future studies should focus on the development, implementation, and evaluation of strategies to minimize injury risk to improve consistency and rigor in data collection and research reporting on the health and wellness of dancer populations, thus facilitating a future dance injury consensus statement similar to recent statements published for sports and circus arts.

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

Introduction: Lower-extremity external rotation, commonly known as turnout, is a fundamental skill in dance. Limited data exist regarding joint range of motion and strength in pre-professional young dancers and non-dancers. This study aimed to evaluate the differences in hip range of motion and hip strength between pre-professional ballet dancers and non-dancers. Additionally, the study assessed the variations between the left and right sides within each group. Methods: This observational study assessed 60 pre-professional ballet dancers and 31 non-dancers with an average age of 11.91 ± 1.49. Evaluation included passive hip rotation, tibial torsion, total passive turnout measured with digital goniometers, and total active turnout (both static and dynamic) through standing on paper and rotational discs. Hip rotation strength was measured using a force sensor device. Statistical analyses encompassed student t-tests, Pearson's correlations, and ANCOVA with age and body weight as covariates, applying the Bonferroni correction for multiple comparisons. Results: Ballet dancers exhibited greater passive hip external rotation and lower passive hip internal rotation compared to non-dancers. They also demonstrated superior total active turnout (static and dynamic). After adjusting for age and weight, dancers demonstrated significantly higher hip external rotation strength than non-dancers. Hip internal rotation strength did not differ significantly between the groups. Ballet dancers displayed inherent asymmetry, with the left side showing greater tibial torsion and standing active turnout, while the right side exhibited greater hip external rotation during dynamic active turnout. Non-dancers did not show significant side differences. Conclusions: Young pre-professional ballet dancers exhibited significant hip rotation differences compared to non-dancers, including notable right-left asymmetry. These findings should be considered when planning training, aiming to optimize musculoskeletal attributes and promote balanced hip rotation. Recognizing these asymmetries and addressing muscular imbalances is vital for injury prevention and performance enhancement.

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

Introduction: Ballroom dance participation is growing due to its competitive, social, and health benefits. Despite its popularity, there is limited information regarding the biomechanics of ballroom dance. This study aimed to quantify the vertical ground reaction force and its loading rate during two common rhythm ballroom dance steps, and to determine the variance of these variables across three levels of ballroom dancers. Methods: Fifty-six participants (20 inexperienced, 18 recreational, and 18 professional) performed nine common American rhythm ballroom dance elements from the American Rumba box step and the foundational step of the Cha Cha Cha on a vinyl dance floor over two embedded force plates. The Kruskal-Wallis test with experience level as the independent variable was used to compare variables among dance levels. Levene's test for equal variances was used to determine if the variance among the dance levels differed. Results: Results indicated that both the vertical ground reaction force and the rate of loading are associated with the dancing experience level for eight of the nine dance elements (P-values ranging between <0.001 and 0.040 for the ground reaction force and between <0.001 and 0.001 for the rate of loading). Forces were highest in the inexperienced level and lowest in the professional level. This finding was pronounced when stepping backward and leftward. Additionally, the variance in the force-related measurements was smaller among more experienced groups than their less-experienced counterparts. Conclusion: These findings provide an initial understanding of the kinetics underlying the movement patterns of foundational rhythm ballroom dance. This study is a starting point for future research to better understand other ballroom dance patterns and explore the mechanisms of ballroom dance-related musculoskeletal injuries.

Introduction: Scientific peer-reviewed journals are crucial for disseminating scholarly information. Bibliometrics, the application of statistical methods to analyze academic literature, offers a quantitative approach to evaluate research output, assess quality, and examine patterns in publication, authorship, and thematic trends. This study employed bibliometric analysis to comprehensively examine the landscape of Dance Medicine and Science (DMS) research, including its quality, demographic characteristics, and thematic evolution. This study aimed to fill this gap by analyzing the dissemination of DMS research output between 2007 and 2024 using bibliometric indicators. We sought to answer key questions about the field's annual scientific production, publication venues, journal comparisons, geographical distribution of authors, cross-institutional and international collaborations, gender parity in authorship, and thematic trends in current DMS research. Methods: Using the Core Collection of Clarivate Analytics' Web of Science©, we filtered articles using dance-related search terms: "dance," "science," "medicine," and "education." From this search, we extracted 2750 peer-reviewed articles to construct our analyses. We utilized visualization of similarity (VOS) software as well as descriptive statistics to tabularize, visualize, and explore bibliometric maps of science and medical articles related to dance. Results: The Journal of Dance Medicine & Science (JDMS) led in quantity of publications with over 304 articles in the seventeen-year period. Most DMS research is produced by authors in North America, Europe, and Australia, primarily examining Western dance styles. We observed a higher proportion of feminine names among first authors in DMS research, though further analysis is needed to understand overall gender distribution across all author positions. The field showed an annual growth rate average of 11.04% in publications. Our network analysis revealed distinct clusters of research themes, highlighting the multidisciplinary nature of DMS. Conclusions: Our analysis revealed significant growth in DMS research over the studied period. The Journal of Dance Medicine & Science emerged as the leading publication venue. Geographically, we found a concentration of research output from North America, Europe, and Australia, highlighting potential areas for expanding international collaboration. Gender distribution among authors was nearly balanced, with a slight majority of female first authors. Thematic analysis identified three primary research clusters: injury prevention, performance enhancement, and dance education, providing insight into the field's current focus areas. These findings offer a comprehensive overview of the DMS field, illustrating its evolution, key contributors, and emerging research themes, while also identifying areas for future development and collaboration.

Introduction: Amongst dance programs, mitigating the risk of injury using comprehensive screening tests is essential. Currently, the lack of standardization for tests/measurements in screening methodology poses as the main barrier to building more effective, future screening programs for dancers. Our objective is to fill critical gaps in the existing literature on dancer screening by producing normative data, describing screening outcome changes amongst a dancer's college career, and providing guidance to building similar screening programs. Methods: This original quantitative study establishes normative data found in six tests (the Functional Movement Screen (FMS), Beighton Scale, Harvard Step Test, Y-Balance Test, Sagittal & Frontal Plane Core Stability (Plank Testing), and Turnout Test) within the DanceFIT Injury Prevention Screen collected from Dance Performance and Choreography-major students at a university over the course of ten years. Exploratory data analysis, including Cronbach's alpha, principal components analysis (PCA), and parallel analysis, and correlation calculations were completed. Results: For all main outcomes of the screening tests, except Plank Testing, the percent change of means increased the most between 1st and 2nd year students (ie, students demonstrated the greatest improvement during this period). The overall screen test's alpha value, .87 (95% CI, 0.86-0.89), fell in the acceptable alpha values range. PCA, parallel analysis, and eigenvalues demonstrated how four to seven components explained the variance of the screening tests. The Turnout components are highly correlated, the Plank Testing components moderately correlated, and the Harvard Step Test and FMS components were lowly correlated. Conclusion: The screening test data indicate replicability for future dancing injury prevention screening programs. Findings from this study suggest increasing the current literature's 14-point cutoff of FMS testing in dancers, adjusting components of screening tests, and adapting courses based on screening test performance to reduce injury risk for dancers. Next steps include prospective studies to track injuries, validate screening methods, and establish appropriate cut off scores for dancers.