Journal of Dance Medicine & Science最新文献

Introduction: Ballet landings produce accelerations that are transmitted proximally up the kinetic chain. If overly excessive/repetitive, these "shocks" to the lower body may contribute to overuse injury. The shocks imposed by different ballet maneuvers are largely unknown at this time, making it difficult to appreciate the physical stresses associated with different maneuvers. Therefore, the purpose of this study was to compare the impact accelerations associated with different common ballet maneuvers.

Methods: As part of this study, 11 adolescent ballet dancers performed 9 different common ballet maneuvers: (1) glissade, (2) pas de chat, (3) petit jeté, (4) petit assemblé, (5) grand assemblé, (6) grand jeté, (7) saut de chat, (8) changement, and (9) entrechat quatre. An inertial sensor secured to the pelvis was used to record the peak resultant acceleration during landings ("impact acceleration"). A Friedman test was conducted to compare impact accelerations across the maneuvers and Wilcoxon signed-rank tests were conducted as pairwise comparisons.

Results: The omnibus test indicated that there were differences in impact accelerations among the maneuvers (P < .001). In general, the glissade (2.08 ± 0.47g), pes de chat (2.33 ± 0.23g), petit jeté (2.42 ± 0.29g), and petite assemblé (2.54 ± 0.47g) tended to be the lower impact maneuvers; the grand assemblé (2.90 ± 0.41g), grand jeté (2.99 ± 0.33g), and saut de chat (3.13 ± 0.54g) tended to be the more moderate impact maneuvers; and the changement (4.10 ± 0.48g) and entrechat quatre (4.32 ± 0.52g) tended to be higher impact maneuvers.

Conclusion: These findings may provide clinicians and dance instructors with greater insight regarding the physical stresses imposed by different ballet maneuvers.

Introduction: Strenuous preprofessional ballet training places young students at an increased risk of injury. This represents a major concern for aspiring dancers since a link has been described between injury and dropping out. It is therefore important to identify physical and psychological factors related to injuries in dance for prevention purposes.

Methods: In this cross-sectional study, we explored the frequency and characteristics of injuries, as well as their physical and psychological determinants in preprofessional ballet dancers. Seventy-three participants (women = 75.6%; mean age = 13.7; SD = 1.8) were evaluated with the Beighton criteria for joint hypermobility and self-questionnaires assessing injuries in the last 18 months, fatigue, fear of injury, and motivation.

Results: Most of participants (61.6%) experienced injuries in the last 18 months, mainly in the lower limbs, and due to overuse. Multivariate analyses showed that joint hypermobility and fatigue predict injury status in this sample.

Conclusion: These results confirm previous reports suggesting that physical factors such as fatigue and joint hypermobility, that are frequent in ballet dancers, should be taken into account in order to prevent injuries.

Introduction: The growing field of dance medicine and science provides dance educators the opportunity to incorporate evidence-based approaches into teaching practices. Incorporating knowledge produced by dance science research into evidence-based practice can improve learning and health outcomes for dance students. Guided by the Knowledge to Action (KTA) Framework, the purpose of this study was to examine the preferences and research priorities of dance educators for receiving, accessing, and implementing dance science knowledge.

Methods: Ninety-seven dance educators representing a range of styles, experience, and educational settings completed an online survey. Dance educators responded to questions about the dance science topics they felt were important to their teaching practices, their preferences for receiving dance science information, and areas of dance science that need more research.

Results:Responses indicated that dance science was important to participants' teaching practices although there was variability in which dance science topics were seen as "Absolutely Essential." Participants reported a preference for receiving dance science information through in-person methods and observations. Variability was also shown in participant responses to statements about the accessibility, format, and applicability of dance science information to teaching practices. Dance educators indicated that the easiest dance science topics to find information about were anatomy, flexibility, biomechanics, and injury prevention; dance educators also identified that more research was needed in mental health and psychology.

Conclusion: The findings of this survey provide key considerations for factors such as accessibility, specificity, and resources that are user-friendly to inform future knowledge translation efforts tailored to dance educators.

Introduction: Sleep is essential for athletes and dancers to optimize recovery. Poor sleep negatively affects cognitive function and injury risk in athletes. Increased athletic participation (hours) is associated with decreased total sleep and quality in athletes. Still, information about how sleep is related with exposure hours and injury in collegiate dancers remains unclear. We examined the relationships among the Athlete Sleep Behavior Questionnaire (ASBQ), dance exposure hours (DEHr), and injuries in collegiate dancers over a 7 -month period (August 2019-February 2020).

Methods: Seventy-two dancers (58 female, 14 male; 19.7 ± 1.4 years) completed the 18 question ASBQ at the start of each month (Scale:1 = Never, 5 = Always; Global Scores ≤36 = "good sleep behavior" and ≥42 = "poor sleep behavior"). A DEHr was recorded as 1 hour of dance participation in class, rehearsal, or performance. Injuries were defined as any condition where the dancer sought medical attention, and we calculated an injury rate for total injuries (IR/1000 DEHr). Pearson correlations examined relationships among ASBQ, DEHr, and injuries (P ≤ .05).

Results: Dancers participated in 467.8 ± 45.7 DEHr over 7 months, with 14 dancers suffering 18 injuries (IR = 0.5/1000-DEHr; 95% CI:0.3-0.8). Overall, dancers reported poor sleep behaviors (42.6 ± 6.4). ASBQ scores, DEHr, and injuries in August-October, and December-February were not related, except for a weak positive relationship between ASBQ scores and DEHr in November (r = .28, P = .04).

Conclusions: Sleep, DEHr, and injuries were inconsistently related in collegiate dancers. Sleep and DEHr were only correlated during the month where dancers had 2 performance weeks. While we did not observe this relationship every month, performance weeks may have negatively affected sleep in November. Despite consistent poor sleep, sleep did not seem to negatively affect injury risk during the 7 -month study period. Future researchers should validate the ASBQ in dancers.

Background: While the content of health-related dance interventions is still relatively undocumented in the literature, the processes of adapting dance to specific situations are even less so, and rarely seem to be based on theoretical or practical guidelines. Yet the description of these processes could guide the adaptation of other interventions.

Purpose: This study aimed to document the process of adapting a dance intervention in a complex clinical setting, in order to propose a methodology that could inspire the development of other interventions in specific clinical contexts.

Methods: The adaptation methodology described in this article is part of an embedded single-case study, where the case unit was the adaptation process of a dance group intervention and the subunits of analysis were the intervention's clinical and theoretical premises, content, and pedagogy. Participants were rehabilitation therapists (n=21), patients (n=6), relatives (n=4), and rehabilitation assistants (n=4). Data were collected through various techniques (focus groups, situational observation, pilot dance sessions, interviews, critical incidents, research journals, template for intervention description and replication/TIDieR checklist, and video recordings) to allow an iterative adaptation process. Data were analyzed using inductive qualitative analysis.

Results: Adaptations were made prior to and throughout the intervention, taking into account relevant scientific and disciplinary knowledge, as well as the different actors' implicit and explicit experiences. The intervention pedagogy focused on adapting the dance content to meet the participants' needs while inviting them to self-adapt this content. The resulting methodology model includes four stages: preliminary design, validation with rehabilitation therapists, specific tailoring, and ongoing tailoring. Conclusion: Optimizing the adaptation of dance and ensuring its complementarity within a complex clinical context requires collaboration with the different disciplinary clinicians in order to offer synergistic coherence and ensure dance's contribution to therapeutic objectives.

Background: Previous injury survey recall methods often use one-off questionnaires with varying periods of recall. These methods have proven to show injury incidence inaccuracies and limited information on injury etiology.

Purpose: The present study aimed to examine the efficacy of a remote weekly self-report injury incidence and etiology tool.

Methods: Two online questionnaires were developed based on the "Fit to Dance 2" survey and sent to volunteers. The first questionnaire was sent once and asked for complete injury history information. The second questionnaire was sent to each respondent on a weekly basis and it focused on new injuries and their causes and whether injuries that occurred in previous weeks were still affecting their dancing. The online survey was opened for full-time dance students from September 2020 to July 2021. All weekly data for each respondent were combined with a unique reference code using their account names, students' numbers, and schools' names. The proportion of participants who drop out is defined as the measurement of outcome.

Results: A total of 756 respondents engaged in the survey from 16 different Chinese dance schools; the drop-out rate was 70.1%, with student respondents under 18 years old having a slightly lower drop-out rate than adult respondents (69%vs 71%). 33 respondents (4.4%) who completed all 30 weeks survey. These data allow other researchers to examine respondent compliance rates from a weekly survey.

Conclusion: A reminder system and teacher engagement could potentially increase the response rate. For frequent completion questionnaires the design needs to be streamlined to increase compliance. It is concluded that the researchers would need to weigh reduced completion rates (<100%) against data efficacy to achieve generalizability.

Background: Research on improving dancer fitness to enhance performance capacity and prevent injury continues to grow. Fitness research for the adolescent dance team population, however, presents an evidence void.

Purpose: Utilizing studio-based assessments, this descriptive quantitative study reveals an initial set of fitness normative values for the female adolescent competitive dance team dancer population.

Methods: 115 female dance team dancers ages 12 to 17 participated in a 90-minute field test assessment battery for cardiorespiratory fitness, muscle endurance of the upper body, lower body, and core, and lower extremity power. Descriptive statistics (mean, standard deviation, and interquartile range) created an initial set of quantitative fitness normative values for this population.

Results: Dancers' results revealed 29.5mL/O2×min ± 5.7 estimated VO2max, 35 ± 16 push ups, 62 ± 14 half sit ups, 51 ± 13 squats in 1 minute, 190 ± 23 cm broad jump, 445 ± 65 cm right lower extremity triple hop, and 450 ± 69 cm/left lower extremity triple hop.

Conclusion: Discussion includes comparison of findings relative to previously established adolescent fitness and dancer normative data. Discussion also suggests implications, study limitations, and future research directions.

Introduction: Breaking, often mislabeled as breakdancing in the media, is a dance style originating from the Bronx of New York in the early 1970s. A unique condition in this population is a form of alopecia known as "headspin hole," or "breakdancer overuse syndrome" of the scalp. This form of hair loss may show a variety of patterns based on the activities of the dancer. The purpose of this study was to investigate the relationship between alopecia and breaking, the level of concern dancers have regarding hair loss, barriers to medical treatment, and how it affects their dancing.

Methods: This was a cross-sectional study using an online survey. The survey addressed participants' demographics, hair, dancing styles, training, and health history. Questions about the effects of hair loss on the participants were also asked.

Results: This study found that there was a significant difference in hair loss among breakers compared to non-breakers. This was not seen after controlling for age and sex. However, the concern for hair loss was significant even after controlling for these variables. Similarly, hair loss was significantly associated with the frequency of headspins. Despite these concerns, breakers were less likely to seek medical attention.

Conclusions: This study showed that there are significant disparities in hair loss between breaking and other dance styles. Hair loss due to breaking has been shown to have significant effects on an individual's concerns, which may be compounded by the fact that this population is less likely to seek out medical care and have significantly greater substance use compared to the other dancers surveyed. Further research is necessary to investigate interventions to prevent and treat hair loss in this population and the means to decrease the gap in health care in the dance population.

Introduction: Urinary incontinence (UI) is a common issue in female athletes and is known to negatively impact quality of life and sport performance. However, the prevalence of UI in dancers has not been widely investigated. The purpose of this study was to assess the prevalence of UI as well as other symptoms of pelvic floor dysfunction in female professional dancers.

Methods: An anonymous online survey that included the International Consultation on Incontinence Questionnaire-Urinary Incontinence Short Form (ICIQ-UI SF) was developed and distributed via e-mail and social media. Two hundred and eight female professional dancers between the ages of 18 and 41 years (mean: 25.4 ± 5.2 years) who had a typical dance training and performance schedule of 25 hours or more per week completed the survey.

Results: A total of 34.6% of participants reported experiencing UI, with 31.9% of the dancers who reported UI reporting symptoms consistent with urge UI, 52.8% reporting UI with coughing or sneezing, and 54.2% reporting UI with physical activity or exercise. For those reporting UI, the mean ICIQ-UI SF score was 5.4 ± 2.5 points and the mean score for impact on everyday life was 2.9 ± 1.9. A report of pain with sexual activity and intercourse was significantly associated with presence of UI (p = 0.024), but the effect size was not notable (phi = 0.159).

Conclusion: The prevalence of UI in female professional dancers is similar to that found in other high-level female athletes. Based on the notable prevalence of UI, health care professionals working with professional dancers should consider regularly screening for UI and other symptoms of pelvic floor dysfunction.

Dancers need adequate cardiorespiratory fitness (CRF) levels in order to cope with the demands of dance classes and choreographies. Screening and monitoring of CRF is advised. The aim of this systematic review was to provide an overview of tests used to assess CRF in dancers and to examine the measurement properties of these tests. A literature search was performed in three online databases (PubMed, EMBASE, and SPORTDiscus) up until August 16, 2021. Study inclusion criteria were: 1. a CRF test was used; 2. participants were ballet, contemporary or modern, or jazz dancers; and 3. English full-text peer-reviewed article. General study information, participant information, CRF test used, and study outcome were extracted. If available, measurement property data were extracted (i.e., test reliability, validity, responsiveness, and interpretability). Of the 48 articles included in the review, most used a maximal treadmill test (n = 22) or the multistage Dance Specific Aerobic Fitness test (DAFT; n = 11). Out of the 48 included studies, only six examined the measurement properties of CRF tests: Aerobic Power Index (API), Ballet-specific Aerobic Fitness Test (B-DAFT), DAFT, High-Intensity Dance Performance Fitness Test (HIDT), Seifert Assessment of Functional Capactiy for Dancers (SAFD), and the 3-minute step test. Good test-retest reliability was found for the B-DAFT, DAFT, HIDT, and SAFD. Criterion validity was determined for the VO_2peak of the API, the 3-MST, HIDT, and SAFD. For HR_peak, criterion validity was studied for the 3-MST, HIDT, and SAFD. While different CRF tests are being used in descriptive and experimental research within dance populations, the body of research supporting the measurement properties of such tests is very small. As many studies have methodological flaws (e.g., small participant numbers or no statistical analysis for validity or reliability), additional good quality research is required to re-examine and complement current measurement property results of the API, B-DAFT, DAFT, HIDT, SAFD, and 3-MST.