Changes in Energy Demand of Dance Activity and Cardiorespiratory Fitness During One Year of Vocational Contemporary Dance Training

Previous literature has demonstrated that the intensity of dance class, as well as its discontinuous nature, is not sufficient to elicit an aerobic training response and that the aerobic capacity of dancers is relatively low. These findings have raised questions of the suitability of training, through class and rehearsal, as adequate preparation for the physical demands of performance and a sustained, successful career in dance. The aim of this study was to describe changes in aerobic fitness and energy cost of dance movement occurring throughout one year of training. Subjects were thirteen female dance students; seven first year undergraduate students (UG), and six postgraduate students (PG). At three time-points (TP1, TP2, TP3) during one academic year each subject completed a treadmill test, to determine VO2peak (ml.kg-1.min-1) and lactate threshold (LT) (ml.kg-1.min-1 and %VO2peak), and a standardised four-minute dance sequence, where mean demand was expressed as VO2 (ml.kg-1.min-1), heart rate (b.min-1), %VO2peak, and %LT. Both groups displayed an overall decrease in mean VO2peak throughout the year, despite a peak in fitness at TP2 in the PG students. No significant changes in LT were noted over time for either group. A significant reduction in the relative intensity of the dance sequence, particularly in relation to mean VO2 (ml.kg-1.min-1) and %LT data, was observed over time in both groups although the degree of change was less in the UG group than the PG group. Apparent adaptations during a rehearsal period in the PG group are presented in contrast to previous research findings. Recommendations for future research include further investigation into the energy demand of rehearsal and cardiorespiratory adaptation during rehearsal periods as well as further reporting of measures related to LT and movement economy

Energy intake and energy expenditure of pre-professional female contemporary dancers

Many athletes in aesthetic and weight dependent sports are at risk of energy imbalance. However little is known about the exercise and eating behaviours of highly trained dance populations. This investigation sought to determine the energy intake and energy expenditure of pre-professional female contemporary dancers. Twenty-five female contemporary dance students completed the study. Over a 7-day period, including five week days (with scheduled dance training at a conservatoire) and two weekend days (with no scheduled dance training at the conservatoire), energy intake (self-reported weighed food diary and 24 h dietary recall) and expenditure (tri-axial accelerometry) were recorded. Mean daily energy intake and expenditure were different over the 7-day period (P = 0.014) equating to an energy deficit of -356 ± 668 kcal·day-1 (or -1.5 ± 2.8 MJ·day-1). Energy expenditure was not different when comparing week and weekend days (P = 0.297). However daily energy intake (P = 0.002), energy availability (P = 0.003), and energy balance (P = 0.004) were lower during the week compared to the weekend, where energy balance became positive. The percentage contribution of macronutrients to total energy intake also differed; with higher fat (P = 0.022) and alcohol (P = 0.020), and lower carbohydrate (P = 0.001) and a trend for lower protein (P = 0.051) at the weekend. Energy balance and appropriate macronutrient intake are essential for maintaining the demands of training, performance and recovery. Whilst aesthetics are important, female contemporary dancers may be at risk of the numerous health and performance impairments associated with negative energy balance, particularly during periods of scheduled training

Changes in Energy Demand of Dance Activity and Cardiorespiratory Fitness During One Year of Vocational Contemporary Dance Training

Previous literature has demonstrated that the intensity of dance class, as well as its discontinuous nature, is not sufficient to elicit an aerobic training response and that the aerobic capacity of dancers is relatively low. These findings have raised questions of the suitability of training, through class and rehearsal, as adequate preparation for the physical demands of performance and a sustained, successful career in dance. The aim of this study was to describe changes in aerobic fitness and energy cost of dance movement occurring throughout one year of training. Subjects were thirteen female dance students; seven first year undergraduate students (UG), and six postgraduate students (PG). At three time-points (TP1, TP2, TP3) during one academic year each subject completed a treadmill test, to determine VO2peak (ml.kg-1.min-1) and lactate threshold (LT) (ml.kg-1.min-1 and %VO2peak), and a standardised four-minute dance sequence, where mean demand was expressed as VO2 (ml.kg-1.min-1), heart rate (b.min-1), %VO2peak, and %LT. Both groups displayed an overall decrease in mean VO2peak throughout the year, despite a peak in fitness at TP2 in the PG students. No significant changes in LT were noted over time for either group. A significant reduction in the relative intensity of the dance sequence, particularly in relation to mean VO2 (ml.kg-1.min-1) and %LT data, was observed over time in both groups although the degree of change was less in the UG group than the PG group. Apparent adaptations during a rehearsal period in the PG group are presented in contrast to previous research findings. Recommendations for future research include further investigation into the energy demand of rehearsal and cardiorespiratory adaptation during rehearsal periods as well as further reporting of measures related to LT and movement economy

Enhancing creativity by training metacognitive skills in mental imagery

In a three year longitudinal study, 240 undergraduate dance students were recruited to assess the effectiveness of a series of workshops designed to develop metacognitive skills in use of mental imagery to support choreographic creativity. The workshops were based upon a theoretical model of mental representations and cognition. The students also completed a creativity test before the workshops, and a newly designed test of flexible thinking before and after the workshops, and a year later. Five forms of the flexible thinking test were created to allow for repeated administration over time, and the forms were shown to be equivalent and to correlate with the creativity test. Students who had taken part in the imagery workshops showed a greater improvement in flexible thinking a year after the training, compared to the scores of students who had not received the training. Evaluations of choreographic assessments by the students’ teachers were rated for positive and negative mentions of imagery and creativity, and the imagery group scored worse than the control group on use of imagery immediately after the training, but better than the control group on creativity and use of imagery four months after the workshop. The findings show that domain specific creativity can be enhanced through developing skills in the use of mental imagery to produce novel ideas, and that this also improves domain general flexible thinking

Fit to Perform: A Profile of Higher Education Music Students’ Physical Fitness

The physical demands of music making are well acknowledged, but understanding of musicians’ physical and fitness profiles is nonetheless limited, especially those of advanced music students who are training to enter music’s competitive professional landscape. To gain insight into how physical fitness is associated with music making, this study investigated music students’ fitness levels on several standardized indicators. Four hundred and eighty three students took part in a fitness screening protocol that included measurements of lung function, flexibility (hypermobility, shoulder range of motion, sit and reach), strength and endurance (hand grip, plank, press-up), and sub-maximal cardiovascular fitness (3-min step test), as well as self-reported physical activity (IPAQ-SF). Participants scored within age-appropriate ranges on lung function, shoulder range of motion, grip strength, and cardiovascular fitness. Their results for the plank, press-up, and sit and reach were poor by comparison. Reported difficulty (22%) and pain (17%) in internal rotation of the right shoulder were also found. Differences between instrument groups and levels of study were observed on some measures. In particular, brass players showed greater lung function and grip strength compared with other groups, and postgraduate students on the whole were able to maintain the plank for longer but also demonstrated higher hypermobility and lower lung function and cardiovascular fitness than undergraduate students. Seventy-nine percent of participants exceeded the minimum recommended weekly amount of physical activity, but this was mostly based on walking activities. Singers were the most physically active group, and keyboard players, composers, and conductors were the least active. IPAQ-SF scores correlated positively with lung function, sit and reach, press-up and cardiovascular fitness suggesting that, in the absence of time and resources to carry out comprehensive physical assessments, this one measure alone can provide useful insight into musicians’ fitness. The findings show moderate levels of general health-related fitness, and we discuss whether moderate fitness is enough for people undertaking physically and mentally demanding music making. We argue that musicians could benefit from strengthening their supportive musculature and enhancing their awareness of strength imbalances

Influence of Movement Quality on Heart Rate While Performing the Dance-Specific Aerobic Fitness Test (DAFT) in Preprofessional Contemporary Dancers.

To explore whether movement quality has influence on heart rate (HR) frequency during the dance-specific aerobic fitness test (DAFT). Thirteen contemporary university dance students (age 19 ± 1.46 yrs) underwent two trials performing the DAFT while wearing a Polar HR monitor (Kempele, Finland). During the first trial, dancers were asked to perform the movements as if they were performing on stage, whereas during the second trial, standardized verbal instructions were given to reduce the quality of movement (e.g., no need to perform technically correct pliés). The variables measured at each trial were HR for all five stages of the DAFT and HR recovery (1 and 2 min after finishing the DAFT), movement quality (MQ) score, and rate of perceived exertion score (RPE). There were significant differences in HR between Trial 1 and Trial 2. For all stages and the resting period, HR was lower during Trial 2 (p<0.001). Also, the RPE score was significantly lower and the MQ score was significantly higher, indicating a poorer performance, during Trial 2 (both p<0.001). The results suggest that DAFT performance with lower movement quality elicits lower HR frequency and RPE during the DAFT. We recommend that specific instructions be given to participants about executing the movement sequence during the DAFT before testing commences. Also, movement quality must be taken into account when interpreting HR results from the DAFT in order to distinguish if a dancer's low HR results from good aerobic fitness or from poor performance of the movement sequence

Fit to Perform: An Investigation of Higher Education Music Students’ Perceptions, Attitudes, and Behaviors toward Health

Making music at the highest international standards can be rewarding, but it is also challenging, with research highlighting pernicious ways in which practicing and performing can affect performers’ health and wellbeing. Several studies indicate that music students’ perceptions, attitudes, and behaviors toward health and healthy living are less than optimal, especially considering the multiple physical and psychological demands of their day-to-day work. This article presents the results of a comprehensive screening protocol that investigated lifestyle and health-related attitudes and behaviors among 483 undergraduate and postgraduate students (mean age = 21.29 years ± 3.64; 59% women) from ten conservatoires. The protocol included questionnaires measuring wellbeing, general health, health-promoting behaviors, perfectionism, coping, sleep quality, and fatigue. On each measure, the data were compared with existing published data from similar age groups. The results indicate that music students have higher levels of wellbeing and lower fatigue than comparable samples outside of music. However, they also reveal potentially harmful perceptions, attitudes, and behaviors toward health. Specifically, engagement in health responsibility and stress management was low, which along with high perfectionistic strivings, limited use of coping strategies, poor sleep quality, and low self-rated health, paints a troubling picture both for the music students and for those who support their training. The findings point to the need for more (and more effective) health education and promotion initiatives within music education; in particular, musicians should be better equipped with mental skills to cope with constant pressure to excel and high stress levels. In part, this calls for musicians themselves to engage in healthier lifestyles, take greater responsibility for their own health, and be aware of and act upon health information in order to achieve and sustain successful practice and performance. For that to happen, however, music educators, administrators, and policy makers must play an active role in providing supportive environments where health and wellbeing is considered integral to expert music training

A multidisciplinary approach to severe bronchopulmonary dysplasia is associated with resolution of pulmonary hypertension

ObjectiveTo describe our multidisciplinary bronchopulmonary dysplasia (BPD) consult team's systematic approach to BPD associated pulmonary hypertension (PH), to report our center outcomes, and to evaluate clinical associations with outcomes.Study designRetrospective cohort of 60 patients with BPD-PH who were referred to the Seattle Children's Hospital BPD team from 2018 to 2020. Patients with critical congenital heart disease were excluded. Demographics, comorbidities, treatments, closure of hemodynamically relevant intracardiac shunts, and clinical outcomes including time to BPD-PH resolution were reviewed.ResultsMedian gestational age of the 60 patients was 25 weeks (IQR: 24–26). 20% were small for gestational age (SGA), 65% were male, and 25% received a tracheostomy. With aggressive cardiopulmonary management including respiratory support optimization, patent ductus arteriosus (PDA) and atrial septal defect (ASD) closure (40% PDA, 5% ASD, 3% both), and limited use of pulmonary vasodilators (8%), all infants demonstrated resolution of PH during the follow-up period, including three (5%) who later died from non-BPD-PH morbidities. Neither SGA status nor the timing of PH diagnosis (&lt;36 vs. ≥36 weeks PMA) impacted the time to BPD-PH resolution in our cohort [median 72 days (IQR 30.5–166.5)].ConclusionOur multidisciplinary, systematic approach to BPD-PH management was associated with complete resolution of PH with lower mortality despite less sildenafil use than reported in comparable cohorts. Unique features of our approach included aggressive PDA and ASD device closure and rare initiation of sildenafil only after lack of BPD-PH improvement with respiratory support optimization and diagnostic confirmation by cardiac catheterization