Journal of Dance Medicine & Science最新文献

Introduction: This systematic review aimed to analyze the literature on the effects of dance program as a strategy to improve fundamental motor skills in preschool children. Methods: Randomized clinical trials and comparative studies were searched in three electronic databases (Web of Science, PubMed, and Scopus) until March 2025. The methodological quality of included studies was assessed using the Physiotherapy Evidence Database and Methodological Index for Non-Randomized Studies scales. Results: A total of five randomized clinical trials and six comparative studies were included. The results obtained indicated that dancing programs led to improvements in motor skills. In addition to overall motor skills improvement, dance programs were found to be effective in enhancing body coordination and balance in preschool children. The performed meta-analysis with data from 149 participants, indicated a significant difference on static balance in dance groups compared to control (Hedges' g 0.43; 95% CI -0.47; 1.32, P = .021). Conclusions: The evidence from this systematic review strongly advocates for the integration of dance programs into the preschool curriculum. Dancing practices stimulates the development of fundamental motor skills, leading to improvements in body coordination and balance.

Foot injury is one of the major problems that afflict ballet dancers. Measuring the force applied to the foot in pointe shoes can be a way to identify factors causing injuries that are associated with pointe shoes. However, a suitable sensor for measuring pressure in pointe shoes has not yet been developed. In this article, we propose using a pressure-sensitive film in which the magnitude of pressure correlates with the intensity of color, which has not been used for pressure measurement in pointe shoes. The advantage of this method is two-fold: first, it can measure pressure at many locations on the toes with high spatial resolution and without electricity; second, the film is thin and therefore does not interfere with actual movement. The foot pressures in a pointe shoe were measured with pressure-sensitive film for 4 ballet dancers, and each dancer was measured twice. As a result, an individual-specific pressure distribution pattern was observed, and it was consistent across the 2 measurements, confirming the repeatability. How this methodology can be used complementary to other methods was discussed.

Introduction: Dance has been studied as a beneficial intervention that enhances the physical and socioemotional well-being of individuals with Parkinson's disease (PD). This study explores how regular dance practice can enhance the quality of life for individuals with PD, focusing on their perceptions and socioemotional experiences. Methods: Adopting a phenomenological approach, the research employed qualitative methods, specifically semi-structured interviews. The collected data were transcribed, categorized, and analyzed using IRAMUTEQ^® software. Results: Over 11 months, 20 interviews were conducted, yielding 7 subcategories. Participants were selected based on their involvement in a dance program tailored to individuals with PD, irrespective of gender, and if they maintained preserved cognitive function. The participants' narratives revealed a strong perceived relationship between dance and an enhanced quality of life. Participants described dance as a therapeutic activity that fosters improved self-esteem, joy, and social interaction. Conclusion: The qualitative analysis indicated that regular dance practice positively impacts the physical, social, and emotional dimensions of life for individuals with PD.

Introduction: Evaluating and training strength qualities is crucial for the physical development of ballet dancers. Whilst data is available as to the sensitivity of strength tests for detecting changes in athlete populations, between-session reliability for adolescent ballet dancers is yet to be determined. This study aimed to determine the between-session reliability of physical performance tests in elite adolescent ballet dancers. Methods: Depending on the test, a cohort of 25 to 54 pre-professional ballet dancers (9 -30 males, 14-29 females) participated in a series of 6 physical tests across 12 sessions. Each testing session involved performing 1 strength test, with retesting administered 7 days later. The testing protocol included single-leg isometric squat, single-leg isometric plantarflexion, countermovement jump, standing single-leg countermovement jump, drop jump from 30 cm, and for males, seated overhead press to voluntary failure using 30 kg. Data was analyzed using a pairs sample t-test, interclass correlation coefficients and measures of absolute reliability including values of minimal detectable change. Results: Pairs sample t-tests revealed no systematic bias was present between trial 1 and 2 for each test. Across all tests, interclass correlation coefficients ranged from good to excellent (.89-.98), and coefficients of variation were 2.6% to 6.5%. Conclusion: These results indicate strength testing can reliably be integrated into a comprehensive physical performance testing battery to identify changes associated with improved physical performance across the academic year for adolescent ballet dancers. Based on the minimum detectable change values, changes in jump performance across the range of tests employed in this study can likely be detected after relatively short training periods. However, maximal isometric strength tests such as the single-leg squat may require longer than 6 weeks to detect performance changes. The current study expands the testing options for ballet training centers and high-performance settings, ensuring confidence in accurately measuring physical changes.

Introduction: The mechanism of foot injury in ballet dancers can be understood by measuring the forces exerted on the foot in pointe shoes. In this study, we aimed to reveal the vertical forces applied to the toes in a pointe shoe during ballet movements in a time series using a modified foot pressure sensor. Methods: Three dancers wore their pointe shoes equipped with sensors to replace their usual toe pads. They performed 2 tasks: (1) holding a pointe posture on the right leg for 5 seconds and (2) jumping 5 times on the right leg while on pointe, on a force platform. Their movements were captured using a 10-camera motion-capture system synchronized with the force platform and pressure sensor. Results: The force data for the bottom of the toe box, calculated by multiplying the pressure by the area, showed a correlation with the vertical ground reaction force measured using the force platform. Our results revealed that, during the jumping task, the highest forces were applied to the toe box, whereas in the standing task, the metatarsal area experienced greater forces than the toe box did. Significant individual variability was observed in other areas. Conclusion: This study demonstrates that the modified sensor effectively captures pressure variations with different movements, offering valuable insights for injury prevention and optimizing ballet techniques.

Background: It is already known that the prevalence of ankle sprain is high in dancers, leading to chronic ankle instability (CAI) and, consequently, affecting jump landing. Therefore, methods that allow the early identification of jump landing alterations related to CAI are necessary. Research Question: This study aimed to investigate if regional plantar force estimated from plantar pressure distribution is different between dancers with and without ankle instability during jump landing. Methods: Female dancers with (n = 12) and without (n = 14) CAI performed single-leg jumps on a force plate (FP), with the insole of a dynamic plantar pressure system inside the ballet shoe. Peak vertical ground reaction force (measured by FP) and peak plantar force of 8 different foot regions (estimated by plantar pressure distribution) were compared between the groups in the first 200 ms after landing, using the t-test and 2-way ANOVA, respectively. Results: No differences were found between the groups considering the peak vertical ground reaction force. There was a higher plantar force on the lateral hindfoot in the group with CAI. Significance: Considering that the higher plantar force on the lateral hindfoot is in accordance with the greater inversion found in people with ankle instability and during sprains, insole dynamic plantar pressure systems were able to identify differences in the jump landing of dancers with and without ankle instability and could be used to early identify risky landing patterns, as well as in real-time feedback during treatment or preventive exercise programs.

Background: Bhangra dance is vibrant and energy demanding art form involving dynamic footwork, jumps, kicks and rapid movements. Poor biomechanics and uneven plantar pressure is a crucial factor for injury among dancers thus, this study protocol aimed at evaluating the efficacy of comprehensive foot strengthening program in improving faulty foot biomechanics and plantar pressure distribution to reduce the risk of lower limb injuries among male Bhangra dancers.

Methods: A single-blinded randomized controlled trial (RCT) will be performed. One hundred forty professional dancers will be recruited for this study based on G* power calculations. Seventy participants will be randomly allocated to the experimental group, undergoing a structured intrinsic foot strengthening program (IFSP; 12 weeks, 5 days/week, 30-60 minutes, mild-severe intensity). Seventy participants will be allocated to the waitlist control group, which will follow their exercise regime and dance training (randomization 1:1 ratio). Outcome measures to assess biomechanical characteristics of the foot and plantar pressure distribution will be foot posture index, navicular drop test, feiss line, arch height index, foot print parameters (Clark's Angle, Chippaux-Smirak Index, Staheli Index), and baropodometer at baseline (0 week), and at the end of the exercise program (after 12th week). Injury incidence and type will also be recorded using a self-designed questionnaire.

Discussion: This study aims at evaluating the efficacy of comprehensive foot strengthening program in improving foot biomechanics and plantar pressure distribution to reduce the risk of lower limb injuries among male Bhangra dancers. The findings of this RCT will have implications for dance training protocols and injury prevention strategies.

Trial status: Recruitment has not yet started.

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: 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.