Towards a new training methodology

Elite dance and sport attract highly motivated, perfectionistic individuals to environments that are highly competitive and physically demanding[1, 2]. At an elite level both sport and dance performances can speak directly to the emotions of the observer through their physical movement and highly trained bodies. While dancers have been referred to as the embodiment of artist and athlete[3], dance is not generally considered a sport and as such, the sharing of knowledge between dance and sport is rarely exploited to the mutual benefit of sport and dance participants. While philosophical debate may continue regarding the artistic side of dance that may not be present in sport, or the lack of competition in dance that is traditionally seen in sports but not in dance, in the context of physical activity and resultant impact on health, dance should be considered an equal and afforded the same attention to its effect on the body as seen in sporting discipline

Challenging habit: planning and preparation, the art of periodisation and optimising performance.

A question to start - what is the goal, raison d’etre of a dance company? Hopefully you will agree that it is the performance, but a lot of current practice within the dance world is actually having the opposite effect. For example, rehearsing long hours right up to the start of a tour or performance; whilst on tour rehearsing all afternoon prior to an evening performance; the training focus being one-dimensional with too much emphasis on the technical aspects of dance and only paying lip service to the other components of performance. The concept of periodisation is to help optimise the preparation for performance for the dancers so they reach opening night mentally, physically and technically ready to perform. Needs analysis and planning is the key to good periodisation. And for that, co-operation between the different parties involved is vital, in addition to – of course – the basic will to challenge one’s own habits and to check out other knowledge can be useful for dance. Needs analysis refers to the examination of the possible demands that the performance is going to place on the dancer. Depending on how the piece is developed (experimentation, previously set etcetera) will determine the amount of prior knowledge of its demands is available to the planner. Hopefully the choreographer will have a broad concept of the piece and this will form the basis of initial plans, but the planner will need to be flexible. Some other questions that need to be answered are the extent of lifting, jumping, partner work within the piece, the length of time that the choreographer has to produce the work, the present physical, mental and technical condition of the dancers, the group dynamics of the company, the length of the performance period, the amount of travel that needs to be done. The planning component is the difficult part. The planner needs to decide on the importance of all the different components of the `whole’ that makes up performance preparation and then decide how to organise and prioritise them; within this need to be included rest and travel days. The main thing to remember is to work backwards from the start of the performance period and this is where some controversies begin

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

Self-reported symptoms of eating disorders amongst university dance students

Eating disturbances are common amongst female athletes, especially those participating in dance. We investigated the prevalence and correlates of eating disorder risk symptoms amongst female student dancers. Fifty-eight female university dancers completed a self-report measure of eating disorders and eating disorder correlates, along with factors hypothesised to be associated with the concept, including perfectionism and anxiety. Height and body mass were measured to calculate body mass index (BMI). Results indicated that psychological variables correlated positively with eating disorder risk, and that BMI and ineffectiveness were correlates best associated with eating disorder risk for these dancers. Results indicated that the screening of dancers using a self-report measure can help to identify dancers suffering from poor psychological health of which one characteristic is disordered eating. Given the implications of well-being and performance, we suggest that future research should investigate factors associated with eating disorders and that course administrators and health practitioners consider these factors when facilitating and optimising the mental health and performance of dancers

Six-week combined vibration and wobble board training on balance and stability in footballers with functional ankle instability.

Objective: To compare the effectiveness of a combination of vibration and wobble board training against wobble board training alone in footballers suffering from functional ankle instability (FAI). Design: A 2 · 3 prefactorial–postfactorial design. Setting: University research laboratory. Participants: Thirty-three male semiprofessional footballers with self-reported unilateral FAI were randomly assigned in 3 groups: vibration and wobble board (mean age 22.2 years), wobble board (mean age 22.7 years), and control (mean age 23.1 years). Interventions: Participants in each intervention group performed a 6-week progressive rehabilitation program using a wobble board, either with or without the addition of vibration stimulus. Main Outcome Measures: Absolute center of mass (COM) distribution during single-leg stance, modified star excursion balance test (SEBT) reach distances, and single-leg triple hop for distance (SLTHD) were measured before and after 6-week intervention. Results: Combined vibration and wobble board training resulted in AU3 reduced COM distribution [P # 0.001, effect size (ES) = 0.66], increased SEBT reach distances (P # 0.01 and P # 0.002, ES = 0.19 and 0.29, respectively), and increased SLTHD (P # 0.001, ES = 0.33) compared with wobble board training alone during the course of the 6-week training intervention. Conclusions: Combined vibration and wobble board training improves COM distribution, modified SEBT scores and SLTHD among footballers suffering FAI, compared with wobble board training alone

Measuring training load in dance: the construct validity of session-RPE

The session rating of perceived exertion (session-RPE) is a practical and non-invasive method that allows a quantification of internal training load (ITL) in individual and team sports. As yet, no study has investigated its construct validity in dance. This study examines the convergent validity between the session-RPE method and an objective heart rate (HR)-based method of quantifying the similar ITL in vocational dance students during professional dance training. METHODS: Ten dance students (4 male, 20±1.16 yrs; 6 female, 20±0.52 yrs) participated in this study. During a normal week of training, session-RPE and HR data were recorded in 96 individual sessions. HR data were analysed using Edwards-TL method. Correlation analysis was used to evaluate the convergent validity between the session-RPE and Edwards-TL methods for assessing ITL in a variety of training modes (contemporary, ballet, and rehearsal). RESULTS: The overall correlation between individual session-RPE and Edwards-TL was r=0.72, p<0.0001, suggesting there was a statistically significantly strong positive relationship between session-RPE and Edwards-TL. This trend was observed across all the training modes: rehearsal sessions (r=0.74, p=0.001), contemporary (r=0.60, p=0.001), and ballet (r=0.46, p=0.018) sessions. CONCLUSIONS: This study shows that session-RPE can be considered as a valid method to assess ITL for vocational dance students, and that notably there is some variation between session-RPE and HR-based TL in different dance activities. Med Probl Perform Art 2019;34(1):1–5

Injury occurrence in hip hop dance: An online cross-sectional cohort study of breakers

This is an accepted manuscript of an article published by J. Michael Ryan Publishing Inc. in Journal of Dance Medicine & Science, available online at: https://doi.org/10.12678/1089-313X.031521a The accepted version of the publication may differ from the final published version.Breaking is the most physical of the hip hop dance styles, but little research has examined the health and well-being of its participants. Using a cross-sectional recall design a self-report online health and wellbeing survey was open for a 5-month period. 320 adult break dancers (16% professional, 65% student/recreational) with a minimum of 6-months experience completed the survey. The main outcome measures were self-report injury incidence and aetiology and training hours. Respondents (52%) trained between 4-9 hours per week over 3 days; significantly less than theatrical dancers. 71.1% reported a dance-related injury and 44.5% reporting being currently injured at time of survey. Self-reported types of injury were significantly different from other dance genres; the most frequently injured were arms/hands (40.6%), shoulders (35.9%), knees (32.2%), neck (22.8%) and ankles (15.6%). When injured, 29% respondents either took their own preventative steps or continued to dance carefully, 20% sought medical professional help; “yourself” was the most cited influence on returning to dance after injury (47%). The current survey highlighted the potential differences between different dance genres particularly regarding injury incidence and aetiology

Physiological characteristics of musical theatre performers and the effect on cardiorespiratory demand whilst singing and dancing

This is an accepted manuscript of an article published by Science & Medicine, Inc. in Medical Problems of Performing Artists on 01/03/2020, available online: https://www.ingentaconnect.com/content/scimed/mppa/2020/00000035/00000001/art00007 The accepted version of the publication may differ from the final published version.Musical Theatre (MT) combines acting, singing and dancing within a performance. The purpose of the current study was two-fold; firstly, to report on the cardiorespiratory fitness of pre-professional MT dancers and secondly, to examine the cardiorespiratory demand of singing whilst dancing. Twenty-one participants (F=16, M=5; 20 ±1.23 yrs; 169.1 ±9.24cm; 62.7 ±10.56kg) in their final year of pre-professional training volunteered for the study. All participants carried a maximal aerobic capacity test on a treadmill using a portable breath-by-breath gas analyser. Nine participants completed a 4-minute section from Chorus Line twice; singing and dancing, and just dancing, in a randomised order whilst wearing the same portable gas analyser. Blood lactate was measured at the end of each trial. Male participants had significantly greater peak oxygen consumption (M vs. F; 67.6 ±2.30 vs. 55.6 ±4.42 ml.kg-1 .min-1 , p<0.001) and anaerobic threshold (% of peak VO2) (M vs. F; 54.6 ±4.04% vs. 43.1 ±3.68% p<0.001) whilst maximum heart rate and heart rate at anaerobic threshold were similar. The physiological demands of dancing vs. singing+dancing were similar with the exception of the singing+dancing trial having significantly reduced mean breathing frequency and increased lactate (p<0.01). MT dancers’ aerobic capacity is greater than that observed in other theatre-based dance genres. The observed breathing frequency and lactate differences in the Chorus-line trails could be due to singing reducing breathing frequency thereby influencing cardiorespiratory recovery mechanics and subsequently blood lactate levels

Relative Age, Maturation, Anthropometry and Physical Performance Characteristics of Players Within an Elite Youth Football Academy

A professional English football club with Category 1 academy status was investigated to determine the magnitude of relative age effects (RAE) within the club and explore between quartile differences for somatic maturity, anthropometry and physical performances. Birth dates of 426 players from Under 9 to First Team were categorised into four birth quartiles (Q) and examined for RAEs. Additionally, data on 382 players (Under 11 to First Team) were obtained for somatic maturity, anthropometry, countermovement jump, sprint (10 and 30 m), agility T-Test, and Yo-Yo Intermittent Recovery Level 1 or 2 performance to determine between-quartile differences. Odds ratios revealed Q1 players were 6.0 times more likely to be represented than Q4 players. Multilevel modelling demonstrated similarities between-quartile for each variable across all age groups, though there was a tendency for Q4 players to outperform Q1 players between Under 11 and Under 18 groups. Strong RAEs exist within this club as well as a tendency to select players demonstrating advanced growth and/or maturity, with some indication that higher categorised academies in England may be at risk of amplified selection biases. Talent identification strategies in elite youth football should actively seek to adopt novel approaches to reduce selection biases and avoid wasted potential

Fitness in contemporary dance: a systematic review.

It has been suggested that dancers are less fit compared to other athletes. However, the majority of studies make their arguments based on data deriving mainly from ballet. Therefore, the aim of the current review was to investigate: a) aerobic and anaerobic fitness, muscular strength and body composition characteristics in contemporary dancers of different levels, and b) whether supplementary exercise interventions, in addition to normal dance training, further improves contemporary dance performance. Three databases (Medline, Cochrane and the Cumulative Index to Nursing & Allied Health research database) were searched to identify publications regarding the main fitness components of contemporary professional and student dancers. At a professional level, it appears that contemporary dancers demonstrate higher maximal oxygen uptake and higher scores in muscular endurance than ballet dancers. However, contemporary dance students are equally fit compared to their ballet counterparts and their body composition is also very similar. Only two studies have investigated the effects of supplementary exercise training on aspects of dance performance. Further research is needed in order to confirm preliminary data, which suggest that the implementation of additional fitness training is beneficial for contemporary dance students to achieve a better performance outcome