Journal of Dance Medicine & Science最新文献

Introduction: The aim of this study was to analyze perceptions of strength training in vocational circus and dance students. It was hypothesized that due to the higher relative strength demands and associated risks of working at height in some aerial and acrobatic disciplines that circus students would be more open to strength training than dancers. Methods: Eighty students completed the Training Information Survey (TIS) (Mean age = 20.74 ± 2.71); 39 circus students and 41 dance students. 97% of circus students and 69% of dance participants reported that strength training was a required part of their training with students participating in strength training 4.24 ± 0.98 and 3.05 ± 1.42 day per week respectively. Results: Perceptions of strength training amongst vocational circus and dance students appear to be favorable, with both sets of students strongly agreeing with the statements "Strength training is essential to my overall development as a dancer/circus artist" (5.00 (IQR 1.00) and 5.00 (IQR 1.00) respectively). Following Bonferonni correction only one statement returned statistically significant results with dance students agreeing more strongly with the statement "Strength training increases muscle size," U = 473.00, P = .001. Students also agreed that strength training helped them to feel better mentally and physically, that strength training is beneficial for both men and women and that it should not be designated as specific to either sex. Conclusion: Results support earlier studies that suggest a cultural shift in perceptions of strength training and ideal esthetic in dance, particularly amongst students and that they are keen to incorporate strength training into their practice. Educational establishments should note students' interest in participating in strength training, reviewing how to embed effective strength training education, more coaching and time allowance for these activities within their timetable. Further research with a greater sample size is recommended to further substantiate these indications of a shift in perceptions.

Introduction: Dancing en pointe requires ballet dancers to stand on the tips of their toes while wearing a structured pointe shoe. Understanding the effect of pointe shoes on ballet dancers' biomechanics, function, symptoms and skin health is essential to guide shoe development and ultimately improve dancer performance. Therefore, the purpose of this scoping review was to map the evidence and identify knowledge gaps related to the effect of wearing pointe shoes on professional and recreational ballet dancers. Method: A scoping review was conducted by searching 6 electronic databases and the International Association for Dance Medicine and Science Bibliography. Results: Thirty-five studies were grouped into 5 categories: pointe shoe factors (eg, toe box and shank, pointe shoe status; 9 studies), shoe types (eg, flat shoes vs demi pointe vs pointe; 10 studies), ballet movements (11 studies), symptoms (5 studies), and intrinsic dancer factors (eg, foot type/toe length; 7 studies). Studies were published between 1979 and 2023, with 72% (n = 23) published between 2006 and 2020. Most (86%) of the studies were cross-sectional. Most studies explored biomechanical outcomes and the most common data collection device was force plates (19 studies). Overall, there was an insufficient volume of evidence for specific research aims. Significant gaps in knowledge exist regarding functional and performance-based outcomes, injury outcomes including exploration of factors such as shoe age/usage, and pointe shoe treatment factors. Conclusions: Currently the field of research suffers from threats to ecological validity, with many study methods not reflecting ballet-specific demands or environments. The impact of pointe shoes on ballet dancers is a developing research area, and this scoping review can help guide future research decisions. Studies need to target the knowledge gaps and employ rigorous ecologically valid study designs and ensure that findings inform shoe design and dancer education to minimize injury and maximize comfort and performance.

Introduction: It has been recognized that practicing ballet could strengthen the leg muscles, improve balance, and reduce fall risk. However, few studies have investigated how ballet practice alters a person's gait pattern, and this knowledge gap could present a barrier to designing ballet-based training programs. This study examined dynamic gait stability and spatiotemporal gait parameters among professional ballet dancers during normal level overground walking. Methods: Twenty young adults were recruited: 10 ballet dancers (24.5 ± 4.9 years) and 10 age- and sex-matched non-dancers (22.6 ± 3.4 years). Participants walked on a 10 m linear walkway at their self-selected speed. Dynamic gait stability and common gait parameters (step length, step width, gait speed, and cadence) were determined from the collected kinematic data and compared between groups with a significance level of .05. Results: The results showed that both groups displayed comparable dynamic gait stability at touchdown (P = .140) and liftoff (P = .638). However, ballet dancers walked with a longer (P = .054), narrower (P = .009), and faster step (P = .014) at a marginally quicker speed (P = .063) than non-dancers. Conclusion: Our study suggests that young professional ballet dancers have different gait patterns, but similar dynamic gait stability compared to non-dancers. These findings not only provide insight into the mechanisms of dynamic stability control among young ballet dancers during gait but expand our understanding of the control of dynamic gait balance of human locomotion across a wide variety of populations and walking conditions.

Introduction: The importance and potential benefits of muscular strength in the adolescent's development for health and fitness has been demonstrated in the literature. Maximal muscular strength and its assessment, however, is not a primary assessment criterium in the selection of young talented dancers.

Methods: The present study evaluated the within- and between session reliability, variability, and minimal detectable change (MDC) of the isometric mid-thigh pull (IMTP). Thirty-five participants (female n = 17) participated in 2 identical assessments on the same day with 4-hour break in between. Three 3-second IMTP were performed, and the mean peak force value was used for the analyses.

Results: Within-session the ICC indicated excellent reliability (ICC = .99, 95% CI: 0.98-0.99). Between-session reliability was excellent (ICC = .98, 95% CI: 0.95-0.99). The standard error of measurement was 4% (48 N), the minimum detectable change was 12% (134 N) and the CV was 3%. There were no within-session statistically significant differences, but statistically significant differences between-session were observed (P < .001). Limits of agreement ranged from -121 N (95% CI -186 to -56 N) to 307 N (95% CI 243-372 N).

Conclusion: The observed results demonstrated excellent within- and between sessions reliability, low variability, and an MDC of 12%. The consistency of the within-session scores suggest that peak force data may be obtained with single try efforts. The statistically significant difference in the means of the retest session, however, suggests that the time of the day or the time since entrained awakening may be affecting performance in adolescent dancers. The results of the current study indicate that the IMTP is a reliable assessment tool for maximal muscular strength in adolescent dancers.

Background: DanceSport is a variant of Ballroom dancing, a style that is performed as a couple dancing together. Although there are many participants worldwide, the amount of research on injuries done in this style of dancing is limited.

Objective: The aim of this study was obtaining information about the DanceSport Athletes in the Netherlands including anthropometrics, level, frequency and duration of dance training per week. Our second objective was to investigate injury prevalence and type of injuries.

Study design: Retrospective questionnaire study.

Methods: All 816 registered active dancers within the Dutch DanceSport Association received an online questionnaire with questions on anthropometrics, level of dancing, frequency and duration of dance training, and questions on injuries. The Chi-Square test was used to calculate differences between categorical variables.

Results: A total of 218 dancers (33.7%) completed the questionnaire, 107 males (49.1%), and 111 females (50.9%). The mean age for men was 42 ± 15.9 and 36 ± 15.1 for women. 176 dancers (80.7%) reported 1 or more injuries. Foot, ankle, and lower leg injuries were reported most frequently, 49 males (45.8%), and 60 females (54.1%). No significant difference was found in the total number of injuries for the variables sex (P = .761) and discipline (P = .225). Significantly more head and neck injuries were identified in female Standard dancers (P < .001) compared to male dancers. Also, Standard dancers have more back injuries compared to dancers in both disciplines (P < .009).

Conclusion: With the described anthropometrics and an 80% lifetime prevalence of injuries, this group can be compared to other dance forms. Significant differences in injuries of the head and neck for female Standard dancers compared to male dancers and significantly more back injuries in Standard dancers compared to dancers in both disciplines were found. Future studies need to translate and validate existing questionnaires in Dutch for use in this population.

Introduction: Dancers have self-reported a link between spinal extension movements and low back pain (LBP). Researchers have not reported the total number or frequency that spinal movements occur in ballet, modern, or hip-hop dance classes or performances. The purpose of this study was to report the number of spinal movements dancers are exposed to in different dance environments.

Materials and methods: We analyzed 65 dance videos on YouTube.com for dance movements within 7 dance environments: ballet class and performance, modern class and performance, and hip-hop breaking, ciphers (large groups), and battles ("1v1s"). Two reviewers recorded counts of spinal (spinal flexion, extension, lateral flexion, and rotation), impact (jumps, leaps, and falls), and partnering movements (lifts, catches, and leans). Data analyses were processed in Jamovi (the jamovi project, Sydney, Australia). We reported movement totals, percentages, frequency, ranges, means with standard deviations (SD), and medians with interquartile range (IQR). We calculated significant differences using Mann-Whitney U tests.

Results: Video length ranged from 3 to 141 minutes (mean ± SD: 38.4 ± 38.3, range: 138). the average spinal extension movements ranged from 2 ± 0.8 to 7 ± 9.6 movements per minute across genres. Modern dance class had the most spinal flexion (89 ± 53.6), rotation (60 ± 40.8), and lateral flexion (74 ± 20.7) movements. Ballet performance had the most spinal extension movements (77 ± 69.8), jumps (74 ± 48), and leaps (19 ± 18.2). Hip-hop breaking had the highest number of falling movements (2 ± 2.3). Partnering movements were only present in ballet performance, modern dance performance, and hip-hop breaking environments.

Conclusions: Movements that increase LBP occur often in all 3 dance genres. Dancers can expect frequent exposure to spinal extension movements; therefore, we recommend strengthening back and core musculature for all dancers. We recommend that ballet dancers also strengthen their lower extremity muscles. For modern dancers, we recommend strengthening their obliques. For hip-hop dancers, we recommend increasing muscular power and muscular endurance.

Introduction: Dancers generally begin training in a variety of styles at a young age. Across ages and levels of participation, dancers are at high risk for injury. Most available injury surveillance tools, however, have been developed for adult populations. Valid, reliable tools that monitor injury and exposure of pre-adolescent dance populations are limited. Therefore, the purpose of this study was to determine the validity and reliability of a dance injury and participation questionnaire specifically for pre-adolescent private studio dancers.

Methods: Four stages of validity and reliability testing assessed a novel questionnaire: initial design based on previous literature, expert panel review, cognitive interviews, and test-retest reliability. The target population was 8 to 12-year-olds who participate in at least 1 class/week at a private studio. Feedback from a panel review and cognitive interviews was incorporated. Test-retest analyses included Cohen's kappa coefficients and percent agreement for categorical variables, and intraclass correlation coefficients [ICCs (3,1)], absolute mean difference (md) and Pearson's correlation coefficients (r) for numerical data.

Results: The final questionnaire was comprised of 4 sections: demographics, dance training history, current dance participation (previous 1-year and 4-months), and dance-related injury history (previous 1-year and 4-months). Items with categorical responses estimated kappa coefficients from 0.32 to 1.00, and percent agreement between 81% and 100%. For items with numeric responses, ICC estimates ranged between .14 and 1.00, r values between .14 and 1.00, and the largest absolute md was 0.46. The 4-month recall sections revealed higher agreement than the 1-year sections.

Conclusion: This valid pre-adolescent dance injury and participation questionnaire demonstrates good to excellent reliability across all items. To support participant completions, assistance from a parent/guardian is suggested. To move dance epidemiology research forward among private studio dancers aged 8 to 12 years, employment of this questionnaire is therefore recommended.

Background: Previous studies have made crucial steps toward developing a dance-specific balance test to challenge dancer's balance capabilities wherein positional characteristics, timing, as well as reach order were altered. However, the authentic performance nature of the protocols could be questioned.

Purpose: The aim of this study was to examine the effects of different tempo and order variations on the previously developed Dance-Specific Star Excursion Balance Test (dsSEBT).

Methods: Twenty- two female dancers voluntarily took part in the research (162.68 ± 6.57 cm; 61.35 ± 11.25 kg). This research looked at 3 different temporal variations as well as an alternate reach order, to the traditional order, to examine the effect it may have on individual spoke scores. Reach distances (% of limb length), center of pressure (cm²), and error scores were measured.

Results: Overall, the varying tempos did not create a significant change in any of the variables measured (P = .067-1.00) which suggests that dancers have a unique ability to adapt to temporal changes due to the nature of ever-changing tempos in class and performance. Additionally, the new reach order did not affect the difficulty level of each individual spoke, which agrees with previous research suggesting that the crossed side and crossed front spokes are in fact the most challenging spokes for ballet and contemporary dancers to accomplish.

Conclusion: Results support the utilization of all 8 spokes of the dsSEBT in identifying balance deficits in this genre of dancers. The data collected in this study provides useful baseline measurements to further develop a reliable dance-specific dynamic balance test protocol to be used by ballet and contemporary dancers.

Introduction: Dancing is one way of maintaining an active lifestyle, and online dance interventions in group settings can be a solution when in-person classes are impossible. This study investigated the feasibility and potential clinical effects of an online dance program for older adults with and without Parkinson disease (PD). Methods: Participants attended 2 weekly dance classes in the same videoconference room for 2 months. The dance activities were mainly performed while seated (around 75%). Researchers monitored feasibility (ie, adherence, attendance, and technological barriers) and safety. Pre- and post-intervention assessments investigated self-perceptions, effects on emotional domains, quality of life, activity-specific balance confidence, lower-limb functional mobility, and PD non-motor symptoms. Individuals also reported their self-perceptions regarding technology usability, enjoyment, and social interaction. Results: Most of the participants with PD (n = 12) had moderate PD (Hoehn & Yahr score) and presented a greater risk of falls when compared to participants without PD (n = 14). Overall, we found a high rate of adherence (100%), attendance (87.5%-91.7%), and safety (100%) for both groups. No falls or near-falls occurred during the sessions. Only the PD group ameliorated emotional domains (anxiety and depression) and improved lower-limb functional mobility. All participants reported feeling safe and perceived benefits, although over a third of older adults with PD reported moderate difficulties in using technology and in socializing with the group. Conclusion: This online dance protocol is feasible, safe, and a potential strategy to improve clinical parameters in older adults and people with moderate PD.

Background: Recent research has shown that dancing takes effect directly in improving mental health, by reducing rates of depression, anxiety, and enhancing the mood aspects in people of any age.

Aim: This systematic review aimed to search for evidence of the effects of dance interventions on adults' mental health.

Methods: The eligibility criteria of the studies were defined by following the PICOS strategy, considering the population, intervention, comparison, result, and the study design. Only randomized clinical trials, conducted in adults of both sexes, with results related to mental health, including depression and/or anxiety and/or stress and/or mood disorder were considered eligible for this review. The search was conducted using 5 databases: PubMed, Cochrane Library, Web of Science, Scopus, and ScienceDirect from 2005 to 2020. The Cochrane Collaboration tool was used to assess the risk of bias in randomized clinical trials. The synthesis and presentation of results followed the guidelines of the PRISMA model.

Results: Of 425 selected studies, 10 randomized clinical trials were included in the review with a total of 933 participants between 18 and 62 years old. Studies included Dance Movement Therapy, Latin dance, tango, rumba, waltz, Nogma, quadrille, and Biodanza. The results indicate that regardless of style, adults who participated in dance interventions showed a reduction in symptoms of depression, anxiety, and stress compared to groups that did not participate in any type of intervention.

Discussion: In general, studies showed an unclear risk of bias in most items assessed. Based on these studies, it is possible to assume that the practice of dance contributes positively to the maintenance or improvement of mental health in adults.