Journal of Dance Medicine & Science最新文献

Introduction: Dance is a widely popular physical art form, with over 500,000 dancers spanning six continents. While dance demands various physical capabilities, there is currently no comprehensive data on the relationship between physical fitness and aesthetic competence in the Chinese dance style. This pilot study aimed to investigate the relationship between physical fitness parameters and aesthetic competence in Chinese dance among pre-professional dancers, addressing a gap in genre-specific research. Methods: Twenty-four dance students (21 female, 3 male) from a vocational dance conservatoire participated. Physical fitness was assessed through tests of flexibility, lower body power, upper and lower body strength, balance, endurance, and aerobic capacity. Aesthetic competence was evaluated by two experienced judges using a standardized tool with seven criteria. Results: Male dancers were taller, heavier, and outperformed female dancers in plank hold time, jump height, 6RM bench press, 6RM squat, and aerobic capacity, but had a smaller hip abduction angle. No significant sex differences were found in the Y-balance test or total aesthetic scores. For female dancers (n = 21), backward stepwise regression identified anterior plank hold time, 6RM bench press load, and right posteromedial Y-balance reach as significant predictors of aesthetic competence, explaining 50% of the variance (F(3,17) = 4.12, P < .05, R² = .50). ANOVA showed no significant differences in aesthetic scores across three randomized video presentations (F(2,46) = 0.82, P = .44), with moderate inter-rater reliability (r = 0.54-0.68). Conclusion: The findings highlight the importance of specific physical fitness parameters, including core endurance, upper body strength, and dynamic balance, as key contributors to aesthetic competence in pre-professional Chinese dancers. These insights provide valuable direction for training strategies aimed at enhancing performance for male and female dancers.

Introduction: Screening tests are used in the dance population to assess musculoskeletal status, neuromotor function, psychological wellness, performance capacity, nutrition, and medical history. Several screening tests have been developed over the past 20 years. To date, no review of screening tests for Irish dancers has been conducted. The purpose of this systematic review was to identify the screening tests utilized in the Irish dance population. Methods: PubMed, Cochrane, Medline, CINAHL, ERIC, and SPORTDiscus medical databases were independently searched by three researchers for articles using the keywords "Irish AND Danc*" AND "Test* OR assess* OR screen* OR evaluat*" Inclusion criteria was full text articles and published in English. Two independent reviewers conducted the data extraction and appraised each article using the National Institute of Health's quality assessment tests. Results: Of the 75 articles found prior to deduplication, twenty-nine articles met inclusion criteria. After full-text review, 22 articles were accepted for our review. Most of the articles (59%) achieved good-quality methodological scores, seven articles (32%) achieved fair-quality scores, and two articles (9%) achieved poor-quality scores. During the data extraction process, over 50 screening tests were identified and categorized as either a subjective or objective test or measure. Subjective screening tests were placed in one of the following categories: descriptive data, general health, eating habits, sleep habits, psychological well-being, or injury surveillance. Objective screening tests were placed in one of the following categories: anthropometric tests, strength/power tests, cardiovascular tests, functional/movement tests, flexibility/mobility tests, balance/coordination tests, or other. No screening test was found to be validated for Irish dancers. Conclusion: The content of screening tests among the Irish dance population is varied, without standardization of norms to specific age and level of Irish dancer. Future studies should focus on validating screening tests in the Irish dance population.

Introduction: Traditional dance training is designed to develop a well-balanced dancer, yet laterality has the ability to impair bilateral strength and functional symmetry. The aim of this study was to investigate the effects of lateral preference on elite level dancers by conducting a bilateral comparison of lower limb strength and pirouette performance. A pirouette is an essential turning skill in dance technique, wherein multiple revolutions are completed on a single supporting leg along the longitudinal axis. Methods: Eight highly trained female dancers performed three maximal effort single leg countermovement jumps (SCMJ) on each lower limb, as well as ten single pirouette en dehors in both the preferred and non-preferred directions. Results: A lateral preference questionnaire indicated a rightward bias was prevalent amongst this group of dancers for both footedness and preferred turning direction. Significantly more successful pirouettes were performed in the preferred (73%) compared to the non-preferred condition (50%). The SCMJ data demonstrated no significant differences in jump height and vertical ground reaction force (vGRF) at take-off, suggesting no bilateral strength asymmetry between the lower limbs. There were also no significant differences in any of the discrete biomechanical pirouette performance variables: displacement of the center of mass over center of pressure (COM-COP), trunk angle, knee flexion and external hip rotation of the gesture leg in retiré position, as well as GRF production and peak pelvic rotational angular velocity at push-off. However, non-significant trends toward greater COM-COP displacement at retiré (0.08 m ± 0.03 vs 0.06 m ± 0.04) and peak pelvic angular velocity at push-off (1.04 revs/s ± 0.20 vs 0.99 revs/s ± 0.22) were observed in the non-preferred compared to the preferred direction, respectively. Conclusion: Therefore, the lower success rate of non-preferred pirouettes may be a result of postural instability or the use of a less efficient weight transfer strategy.

Introduction: Jumping is a fundamental element of classical ballet, often performed with the feet turned out, in a position known as en dehors, achieved through hip external rotation. Experience level and impact attenuation strategies may play a crucial role in reducing injury risk during jump landings. This study aimed to investigate the impact during drop jump landings in en dehors versus parallel foot orientation in experienced ballet dancers. Method: Seventeen experienced ballet dancers (aged 18-31 years, with an average of 13 years of experience) and 15 controls (aged 20-32 years old) who were not dancers and did not engage in regular physical activity, participated in the study. Participants performed drop jumps from a 30 cm high block, landed on two force platforms, and immediately executed a maximum vertical jump with feet in en dehors position or parallel. Maximum vertical ground reaction force, time to reach this maximum, maximum rate of force development during drop landing, and maximum height of the jump performed immediately after drop landing were calculated and compared between groups and foot orientations. Results: Time to reach the maximum vertical ground reaction force was shorter in the en dehors compared to parallel foot orientation, with no significant group differences. Ballet dancers achieved higher vertical jumps after the drop landing compared to controls. Conclusions: Long-term classical ballet practice does not lead to lower impact landings in en dehors compared to parallel foot orientation. Ballet dancers may take more advantage of the impact and rebounding for performing the subsequent vertical jump.

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.