Journal of Dance Medicine & Science最新文献

Purpose: This study examined risk and protective factors in dancers with/without posttraumatic stress disorder (PTSD) and with/without trauma exposure.

Literature review: Exposure to traumatic events and developing PTSD can compromise daily functioning and performance ability. Despite exposure many dancers adapt, whereas others suffer psychopathology such as depression, anxiety, PTSD, and difficulties regulating emotions.

Methods: Two hundred ninety two pre-professional/professional dancers provided informed consent (IRB approved) and completed 8 self-report measures. A subsample (66%) exposed to a significant traumatic event was evaluated for PTSD. Multivariate analyses of covariance (MANCOVA) were conducted to compare dancers with/without PTSD and with/without trauma exposure. A logistic regression analysis determined predictors of PTSD.

Results: The MANCOVAs indicated that dancers exposed to trauma (66%) and who had PTSD (32%) had significantly more difficulty regulating emotions, engaged more emotion-oriented coping under stress, and had increased depression, trait anxiety, and cumulative trauma. In these group comparison analyses there were non-significant differences regarding flow experiences and task- and avoidance-oriented coping strategies. In the logistic regression analysis childhood physical and sexual abuse, childhood emotional neglect, mental illness within the family, and difficulty disclosing abuse experiences were predictors of PTSD. In the total sample 21% had PTSD.

Discussion and conclusions: This study identified types of abuse/trauma, emotion regulation/coping, and psychopathology associated with PTSD in dancers exposed to trauma (66%) and with PTSD (32%). In the total sample 21% had PTSD. Regardless of exposure to trauma or PTSD, the non-significant findings indicated similarities for dancers for global and autotelic flow experiences and task- and avoidance-oriented coping strategies. These positive factors may mitigate trauma-related symptoms. It is recommended that dancers, educators, and clinicians understand the effects of trauma exposure and promote the development of effective coping strategies, emotion regulation, and flow states which may diminish the negative effects of PTSD.

Background: Mindfulness and acceptance-based approaches have been trialled in professional sport. The present pilot study was a randomized controlled trial with professional ballet dancers investigating the effectiveness of the Mindfulness-Acceptance-Commitment (MAC) approach, developed for athletes, compared to an education program which included topics relevant to ballet and performance. Methods: Participants included 16 professional ballet dancers (2 men and 14 women) who were randomly assigned into either the MAC or education group for 1 session per week, for 6 weeks. Participants were assessed pre-and post-intervention using the Mindfulness Inventory for Sport (MIS) and the Acceptance Action Questionnaire (AAQ-II). Within 2 weeks of the final mindfulness session, all participants completed a semi-structured interview. Results: No differences were found when comparing the questionnaire responses between pre- and post- intervention, nor between the MAC group and the control group at post intervention for all subscales. Although dancers reported in the interviews that the sessions were valuable, they advised their ability to dedicate time to mindfulness ongoing would be challenging. Conclusions: Mindfulness interventions, as explored in this study, show promise to promote the well-being of professional ballet dancers. For consistent and ongoing mindfulness practice, future designs should seek to embed mindfulness practice into dancer and company schedules.

Aim: To investigate quality of life (QoL) measures in a cohort of young female dancers. Methods: Cross-sectional survey study design was utilized to study dancers 8 to 17 years enrolled in two elite dance schools in the Boston area. The main outcome measure was the Pediatric Quality of Life (PedsQL 4.0) questionnaire, a validated QoL survey for children, with established normative values for comparison. Demographics and questions pertaining to training regimens and injury/illness history were also included. Sub-groups (8-11 years, 12-14 years, and 15-17 years) were created to analyze outcomes by age. Results: One hundred and forty emails were delivered, 72 were completed and included in the final data analysis (51.4%). The median scores for physical, psychosocial, emotional, social, and school PedsQL sub-scales were 87.5, 90.0, 80.0, 100.0, and 92.5, respectively. The median score of the total PedsQL scores was 88.8. No difference in QoL outcomes by age group was found (physical: P = .328; psychosocial: P = .918; emotional: P = .673; social: P = .573; school: P = 0.962; total: P = 0.766). 52.5% of the participants responded that they regularly perform in shows. Median hours/week of dance rehearsal was 10 hours (mean ± standard deviation: 10.3 ± 4.9; 95% CI: 9.0, 11.6; IQR: 7.0, 13.5; range: 2.0, 20.0) and 68.9% reported they practice and rehearse throughout the entire calendar year as opposed to solely during the school year; most dancers reported participating in dance 11 months (median value) per year (mean ± standard deviation: 10.7 ± 0.8; 95% CI: 10.5, 11.0; IQR: 10.0, 11.0; range: 9.0, 12.0). Conclusion: QoL measures for young female dancers were higher relative to existing data for the general population and lower compared to other sports participation. These results will support the social, emotional, and physical health of young dancers.

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, 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.

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: 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: 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: The menstrual cycle is an important indicator of health in female athletes. Female elite adolescent dancers are expected to control their weight while also training intensely, which can lead to menstrual disorders. This study aimed to investigate the relationship between body composition and menstrual status in female elite adolescent dancers. Methods: In total, 131 female elite adolescent dancers (age: 15.9 ± 1.5 years) were enrolled in this study. We measured the height, weight, and body fat percentage (BFP) for each participant and calculated their body mass index (BMI). We gathered information on individual menstruation patterns and the participants' menstrual cycles over the previous year using recall methods. We then compared the differences between dancers with menstrual cycle disorders and those without. Primary amenorrhea was defined as menarche occurring after the age of 15, while secondary amenorrhe was defined as experiencing fewer than 5 or no menstrual periods for at least 3 of the previous 12 months. We conducted a reliability test using the same questionnaire 2 weeks later. Statistical significance was defined as P < .05, and we calculated the effect sizes (d) and 95% confidence intervals (95% CI). Results: The average BMI and BFP were 22.6 ± 3.0% and 19.4 ± 2.2 kg/m², respectively. Low BFP and low BMI were observed in 51 (38.6%) and 47 (35.6%) participants, respectively. Primary amenorrhea in 3 participants (2.3%) and 29 (22.1%) reported experiencing secondary amenorrhea; they had lower BFP than the dancers who did not experience amenorrhea (P = .041, 95% CI, -2.51 to -0.05). Conclusion: Female elite adolescent dancers in China may have lower BFP and menstrual problems. Given that lower BFP may contribute to the occurrence of menstruation disorders, it is essential to pay an attention to both BFP and the menstruation status in female elite adolescent dancers.

Introduction: The grand jeté requires grace and proper biomechanics to produce the iconic glide through the air. Understanding how the preceding choreographed movements affect take-off and flight may influence teaching and training. We sought to examine the effects of 5 common preparatory approaches on grand jeté biomechanics. Methods: One male and 19 female dancers (19.3 ± 1.4 years; 1.61 ± 0.05 m; 58.1 ± 7.3 kg) with 12.5 ± 4.8 years of formal ballet experience performed grand jetés from run, chaine, chasse, assemble, and step-step approaches. Plié angle (deg), vGRF (BW), leap height (m), and leap distance (m) were measured with a motion analysis system and a force plate. One-way repeated measures ANOVAs were conducted to compare variables between approaches and Bonferroni tests were used for pairwise comparisons. Results: Plié depth, vGRF, leap height, and leap distance were all significantly different (P < .001). Plié angles (43.6-68.2 deg) were deepest for the assemble and shallowest for the run. vGRF (2.46-3.81 BW) were greatest for the assemble versus all but the run, and smallest for the chaine. Leap height (0.33-0.41 m) was highest for the run versus the chaine and step-step, but not versus assemble. Height was lowest for the chaine. Leap distance (0.24-1.03 m) was longest for the run and shortest for the assemble. Conclusions: The run approach optimizes the float through the air illusion (high leap height and distance) through applying high vGRF but moderate plié angles. The chasse approach is the next most optimal. The 2-legged assemble requires deeper plié angles to achieve height but produces shorter horizontal distances. Single leg plié training may enhance grand jeté performance and reduce injury risk from approaches such as the run, chaine, chasse, and step-step.Level of Evidence: Level 2.