Journal of Dance Medicine & Science最新文献

{"title":"Dancers Show More Accurate Trunk-Pelvic Joint Angle Reproduction While Wearing a Jacket Augmented With Elastic Bands.","authors":"James Hackney, Sarah Wilcoxon, Jon Tallerico, Matthew Palmer, Ashleigh Waltz, Kyle Stringer, Andrew Hall","doi":"10.1177/1089313X241232446","DOIUrl":"10.1177/1089313X241232446","url":null,"abstract":"<p><p><b>Purpose:</b> The Backalast^® compression jacket is intended to improve posture and proprioception of the trunk and shoulder girdle for dancers and dance students during dance training by way of elastic bands in the rear of the garment (which include bands enclosing the inferior thorax). This study was intended to investigate whether there is evidence to support those objectives. <b>Materials and Methods:</b> Fifteen dance students participated (4 male, mean age 19.9 ± 1.4 years old). The dependent variables of trunk-pelvis angle and proximity of trunk axis to global vertical for each participant were measured using optical motion capture before and after the completion of a series of trunk movements. The Helen Hayes model, which we used to represent the trunk, includes the shoulder girdles as part of the trunk. We compared the effect of the type of garment (Backalast^® or control compression shirt) worn upon the 2 dependent variables, within-subject with paired <i>t</i>-tests. The order of whether Backalast^® or control compression shirt was worn first was alternated between participants. <b>Results:</b> The pre/posttest difference in trunk proprioception as represented by the construct of ability to reproduce trunk-pelvis angle wearing the Backalast^® was 0.8° ± 0.8°, but for the control shirt, the difference was 1.8° ± 1.4°, <i>P</i> = .03. The difference between garments in vertical trunk alignment, measured after the series of trunk movements, was not significant. <b>Conclusion:</b> Our findings suggest that the Backalast^® can help enhance trunk proprioception when compared to the control compression shirt, although it did not change the angle at which the participants' held their trunks while standing erect (proximity to global vertical).</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"125-131"},"PeriodicalIF":0.9,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139933545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Blood Lactate and Heart Rate Responses Between Active and Passive Recovery Modes Over a 15-Minute Recovery Period in Female Dancers After Kathak Dance.","authors":"Seema Chopra, Sarah Needham-Beck, Jatin P Ambegaonkar","doi":"10.1177/1089313X231213119","DOIUrl":"10.1177/1089313X231213119","url":null,"abstract":"<p><p><b>Introduction:</b> Dance is physically demanding and results in blood lactate (BL) accumulation and elevated Heart Rate (HR). Researchers recommend using either Active Recovery (AR; eg, low-to-moderate intensity-exercise) or Passive Recovery (PR; eg, complete rest) modes after activity. We compared BL and HR responses between AR or PR over a 15-minute recovery period following a Kathak dance. <b>Methods:</b> Twelve female dancers (31.0 ± 6.0 years; 161.5 ± 4.9 cm; 55.5 ± 5.8 kg) performed 2 dance testing sessions (Day 1 = AR, Day 2 = PR) 48 hours apart. Each session started with a 10-minute warm up followed by dancers performing four 2-minute stages of Kathak dance, with three 1-minute periods between stages where we recorded HR and their Rate of Perceived Exertion (RPE:scale = 6-20) to match the intensity of both sessions. Post-dance, we recorded dancers' BL and HR at 1, 3, 5, 10, and 15 minutes while they recovered via AR or PR. Separate 2(mode) × (time) Repeated-Measures-ANOVA followed by simple-main-effects testing and adjusted Bonferroni-pairwise-comparisons examined differences in BL and HR responses across modes and time(α = .05). <b>Results:</b> Dancers' HR and RPE were similar across sessions. No mode × time interaction existed in BL (<i>F</i>_4,8 = 3.6, <i>P</i> = .06). BL levels were similar across modes (<i>F</i>_1,2 = 0.5, <i>P</i> = .5). BL levels reduced over time (<i>F</i>_4,8 = 6.0, <i>P</i> = .02), but Bonferroni-comparisons did not reveal any pairwise differences. In HR a significant mode*time interaction (<i>F</i>_4,36 = 11.0, <i>P</i> = .01, η² = .55) was observed. Both Active and Passive recovery modes achieved absolute HR levels by 15 minutes, with PR mode stabilizing within 5 minutes. <b>Conclusions:</b> Over a 15-minute recovery period after Kathak dance, dancers' BL and HR responses were similar across time in both AR and PR, with HR being higher in AR. Dancers' HR remained similar from 1 to 3 minute post dance recovery and then dropped over time. Thus, dancers can rest up to 3 minutes and still maintain the same elevated HR. Overall, dancers can choose either AR or PR as their recovery mode based on their individual preferences.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"75-82"},"PeriodicalIF":0.9,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138478923","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sudden Cardiac Death in Dancers and Athletes: Time for Increased Cardiac Screening?","authors":"Lola Evans, Kim Hutt","doi":"10.1177/1089313X231203052","DOIUrl":"10.1177/1089313X231203052","url":null,"abstract":"<p><p><b>Background:</b> Young athletes are thought to be models of peak physical condition, capable of exceptional physical accomplishments. However approximately 64 UK athletes aged 12 to 35 will die each year from a phenomenon known as Sudden Cardiac Death (SCD). SCD can be defined as an unexpected death as a result of abrupt loss of cardiac function within an hour of symptom onset. Undiagnosed heart conditions such as arrhythmias are often found to be the cause of SCD. Advantageous physical attributes found in athletes' hearts can complicate diagnoses as hearts with inherited conditions can appear physiologically similar to hearts adapted to strenuous exercise. Growing research surrounding SCD within sporting populations aims to decrease mortality rates however there is an absence of study specifically into SCD in dance. Within sport, the topic of cardiac screening has generated widespread controversy which is fueled by a lack of empirical evidence. There is currently no international consensus of pre participation cardiac screening methods within dance or sport, potentially leaving many dancers and athletes at risk. <b>Methods:</b> As part of this study, existing material surrounding the topics of SCD and cardiac screening in athletes and dancers was gathered. All existing studies at the time of writing in relation to cardiac screening in athletes and dancers were collected and analysed in order to compare results and evaluate the methodological limitations.This process aimed to identify gaps in current knowledge and research to inform future study. <b>Results:</b> This article aimed to analyze the epidemiology of SCD within sport and dance and to make recommendations for pre-participation screening within dance institutions. The study highlights the need to increase awareness of SCD within the dance community and determine appropriate screening approaches depending on context and setting.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"132-138"},"PeriodicalIF":0.9,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49683480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial.","authors":"Jatin P Ambegaonkar","doi":"10.1177/1089313X231220748","DOIUrl":"10.1177/1089313X231220748","url":null,"abstract":"","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"3"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138812167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Collegiate Dancers With Chronic Ankle Instability Possess Altered Strength and <i>saut de chat</i> Leap Landing Mechanics.","authors":"Paige E Rice, Ryan D Hill, Stephen P Messier","doi":"10.1177/1089313X231195249","DOIUrl":"10.1177/1089313X231195249","url":null,"abstract":"<p><strong>Introduction: </strong>Ankle sprains are among the most common injuries in dancers. Following one or more severe sprains, some individuals will experience residual mechanical and functional deficits, otherwise known as chronic ankle instability (CAI). Dancers who suffer from CAI may have weaker musculature surrounding the ankle and altered landing mechanics. The purpose of this study was to compare ankle strength and <i>saut de chat</i> landing mechanics between dancers with and without CAI.</p><p><strong>Methods: </strong>Dancers with and without CAI, defined by the Identification of Functional Ankle Instability (IdFAI), participated in the study (CAI n = 8; IdFAI = 18.75 ± 5.50 points; age = 20 ± 1.5 years; training = 15.5 ± 3.5 years) (Control n = 8; IdFAI = 7.13 ± 3.40 points; age = 19 ± 0.6 years; training = 15.9 ± 2.5 years). Strength and leap landing mechanics were measured on the affected ankle for the CAI group and on the preferred landing leg of a leap for the control group. Concentric and eccentric ankle plantar flexion, and subtalar inversion and eversion strength were determined with dynamometry set at an angular velocity of 60°•s^-1. Force plates and motion capture cameras were used to calculate lower extremity kinematic and kinetic data as participants performed 3 <i>saut de chat leaps</i>. Independent <i>t</i>-tests were calculated to determine differences between groups.</p><p><strong>Results: </strong>Compared to dancers without CAI, dancers with CAI had lower eccentric plantar flexor strength, landed with higher vertical ground reaction forces, and absorbed greater power at the knee-joint during landing.</p><p><strong>Conclusion: </strong>Whether dancers who are weaker are more prone to injury or ankle-joint injury leads to muscular weakness is unknown. Dancers with CAI appear to lack control during leap landing while concomitantly shifting loads proximally away from the ankle-joint. We encourage dancers with and without CAI to engage in additional training that enhances ankle strength.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"4-13"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10278165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Acute Musculoskeletal Complaints Vary According to the Perceived Stress Among Hungarian Professional Dancers.","authors":"Kristóf Schwartz, Gabriella Vizin, Szilvia Boros","doi":"10.1177/1089313X231200471","DOIUrl":"10.1177/1089313X231200471","url":null,"abstract":"<p><p><b>Introduction:</b> Studies showed that professional dance is often associated with a high degree of acute musculoskeletal injuries. These injuries' etiology predominantly describes their biomechanical or other extrinsic factors, but there is a limited number of scientific reports dealing with the perceived stress or mental health status concerning the physical complaints especially, among Hungarian professional dancers. <b>Materials and Methods:</b> In this study, we used validated questionnaires (RESTQ, SEFIP, Mental Health Test) filled out by Hungarian professional female dancers (N = 168) via an online platform anonymously and analyzed statistically. <b>Results:</b> Our findings showed a significantly positive relationship between musculoskeletal complaints and perceived stress, an elevated level of general stress, and a higher level of resilience in this population compared to the general population. <b>Conclusion:</b> Dancers demonstrate a heightened perception of stress; however, they exhibit elevated scores on resilience assessments, indicative of heightened functionality in their daily lives. Stress, per se, may not be directly regarded as a causative factor for acute musculoskeletal conditions, but it could potentially influence the severity of pain sensations and subjective pain levels in the context of existing injuries. Additional investigations are warranted to elucidate the precise mechanisms by which stress exacerbates the pain experience among dancers.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"21-27"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41215768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Differences in the Rotation Axis Between Professional and Experienced Amateur Ballet Dancers During <i>pirouette en dehour</i> in Classical Ballet With Wearing Pointe Shoes: A Pilot Study.","authors":"Yurina Tsubaki, Yui Kawano, Cheng-Feng Lin, Mayumi Kuno-Mizumura","doi":"10.1177/1089313X231206432","DOIUrl":"10.1177/1089313X231206432","url":null,"abstract":"<p><p><b>Introduction:</b> <i>En pointe</i>, in which weight is placed on the tiptoes, is a fundamental practice for female ballet dancers with pointe shoes. The center of mass (COM) is maintained over the base of support and the relative position of COM to the center of pressure (COP) is especially important when conducting a pirouette in ballet. A pirouette is a fundamental turn in classical ballet with flat shoes and pointe shoes. The investigation of the turn with pointe shoes would be favorable for understanding the movement with limited base of support. Herein, we aimed to determine the differences in the ability to perform pirouettes with pointe shoes between professional and amateur ballet dancers. <b>Methods:</b> This study included 8 professional and 9 amateur ballet dancers. The dancers performed a single pirouette, and the movement was captured and analyzed in 3 phases: turning with double-leg support (TDS), turning with single-leg support in pre-swing (TSSp), and turning with single-leg support in mid-swing (TSSm). The analysis focused on the inclination between the vertical angle and the COP-COM line, the vertical maximum reaction force, and the jump-up time in each phase. <b>Results:</b> The results showed no significant differences between the TDS and TSSp. However, professional ballet dancers exhibited significantly lesser posterior inclinations (professional; 2.05° ± 0.90°, amateur; 3.88° ± 1.67°) and jump-up time (professional; 0%, amateur; 1.4% ± 1.3%) than amateur dancers during TSSm. <b>Conclusion:</b> Overall, the findings suggest that professional dancers exhibit superior control skills regarding the COP-COM line than amateur dancers during TSSm. These results may be attributed to the fact that professional dancers can maintain the COM as close to the upright as on the COP without jumping during TSSm. This enables professional dancers to conduct the movements esthetically and continue on to the other movements in the dance phase.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"43-50"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50163224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Recovery in Hip Range of Motion in Young Flexibility Athletes 1 Year After Periacetabular Osteotomy.","authors":"Tatiana Patsimas, David R Howell, Whitney Hovater, Katherine Drexelius, Courtney Selberg, Aubrey Armento, Stephanie Mayer","doi":"10.1177/1089313X231205101","DOIUrl":"10.1177/1089313X231205101","url":null,"abstract":"<p><p><b>Background:</b> Periacetabular Osteotomy (PAO) is a well-established surgical intervention for the treatment of hip dysplasia. <b>Purpose:</b> Our primary objective was to assess whether a group of young flexibility athletes who underwent PAO for hip dysplasia recovered their pre-operative hip range of motion (ROM) within 1 year of surgery. Our secondary objective was to compare hip ROM recovery between a group of young flexibility athletes and a group of non-flexibility athletes who underwent PAO for hip dysplasia. <b>Results:</b> In our study, 100% of flexibility athletes regained preoperative hip external rotation at 1-year post-operation. This was also the first plane of motion to return to preoperative motion in flexibility athletes. A significantly higher percentage of non-flexibility athletes regained their preoperative hip internal rotation compared to flexibility athletes (100% compared to 54%; <i>P</i> = .02), but not flexion or external rotation at 1-year post-operation. <b>Conclusion:</b> Our findings may help providers to set expectations regarding the recovery of hip ROM in flexibility athletes who undergo PAO for hip dysplasia.<b>Level of Evidence:</b> Level IV.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"51-56"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49683479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Strength Training Perceptions Amongst Vocational Circus and Dance Students.","authors":"Claire Farmer, Stephanie De'Ath, James Brouner","doi":"10.1177/1089313X231204164","DOIUrl":"10.1177/1089313X231204164","url":null,"abstract":"<p><p><b>Introduction:</b> 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. <b>Methods:</b> 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. <b>Results:</b> 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,\" <i>U</i> = 473.00, <i>P</i> = .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. <b>Conclusion:</b> 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.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"37-42"},"PeriodicalIF":0.9,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41215770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Effects of Pointe Shoes on Ballet Dancers' Biomechanics, Muscle Activity, Movement and Symptoms: A Scoping Review.","authors":"Kate Madden, Sue Mayes, Jill Cook, Katia Ferrar","doi":"10.1177/1089313X231218305","DOIUrl":"10.1177/1089313X231218305","url":null,"abstract":"<p><p><b>Introduction:</b> 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. <b>Method:</b> A scoping review was conducted by searching 6 electronic databases and the International Association for Dance Medicine and Science Bibliography. <b>Results:</b> 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. <b>Conclusions:</b> 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.</p>","PeriodicalId":46421,"journal":{"name":"Journal of Dance Medicine & Science","volume":" ","pages":"57-71"},"PeriodicalIF":1.1,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139089020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}