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

Evaluation of physical fitness in relation to performance and injury severity in contemporary dance

A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor of PhilosophyDance has attracted little scientific interest on the effects of physical fitness improvements on performance and injury severity, particularly with respect to contemporary dance. The main aims of the current work were: a) to observe the physical demands of dance performance; b) to develop a reliable dance-specific performance tool; c) to assess the association between selected physical fitness parameters and performance in contemporary dance by using a new reliable method (AC test); d) to assess selected physical fitness parameters in relation to injury severity in contemporary dance; e) to study the effects of increased fitness parameters on performance through a randomized controlled trial. A total of 50 performances, performed by 20 dancers, were monitored by using a portable accelerometers (SWA armbands) and heart rate monitors while 45 performances in DVDs were video analysed. Six dancers and two dance teachers were recruited to test a newly developed performance tool. A sample made of 41 dancers were recruited and assessed for aerobic fitness (DAFT), lower body muscular power (jump height test), upper body muscular endurance (press-ups test), flexibility (active and passive hip ROM), body composition (skinfolds), performance (n=17) and injury severity (n=16). In order to investigate the effects of the supplementary fitness training on performance, 24 of the total 41 dancers, were randomly assigned to either an intervention (n=12) or control (n=12) group. The intervention group undertook a specifically designed exercise-training programme (circuit and WBV training) lasting six weeks. Both groups were re-tested for physical fitness levels and performance at the end of the intervention period. Results revealed that performance intensities varied from light to moderate while these were observed with the use of pliés and jumps as well as lifting other dancers. Based on the seven most frequently used criteria by selected pre-professional contemporary dance institutions and companies, a novel performance tool (AC tool) was developed with an inter-rater reliability of r=0.96. There was a significant correlation between aesthetic competence (AC) scores and jump ability (r=0.55) and press-ups (r=0.55), respectively. Stepwise backward multiple regression analysis revealed that the best predictor of AC was press-ups (R2=0.30, p=0.03, 95% confidence intervals=0.11–1.34). Univariate analyses also revealed that the interaction of press-ups and jump ability improved the prediction power of AC (R2=0.44, p=0.004, 95% confidence intervals=0.009–0.04). Pearson’s correlation coefficients detected significant negative correlations between the mean score recorded for injury severity (expressed as TDO) and lower body muscular power (r=-0.66; p=0.014); backward regression analysis also revealed that, from all studied parameters, the strongest predictor of TDO was lower body muscular power (p=0.014). For the intervention group repeated measures ANOVA revealed significant increases (pre vs. post) in aerobic fitness (p<0.05), lower body muscular power (p<0.05), upper body muscular endurance (p<0.05) and performance (p<0.05). Linear regression analyses indicated that the only significant predictor of AC was aerobic capacity (F=7.641; p=0.03); the interaction of press-ups and aerobic capacity (F=6.297; p=0.036), and lower body muscular power with aerobic capacity (F=5.543; p=0.05) demonstrated an improved prediction power. These results show that the observed contemporary dance performance is an intermittent type of activity of moderate intensity. Given the reliability of the AC tool, it is concluded that upper body muscular endurance and jump ability best predict AC of contemporary dancers. Reduced lower body muscular power is associated with increased severity of injuries. Finally, supplementary exercise training significantly increases lower body muscular power, upper body muscular endurance and aerobic fitness, which in turn are beneficial to improve AC of contemporary dancers

Association between selected physical fitness parameters and aesthetic competence in contemporary dancers.

The physical demands imposed on contemporary dancers by choreographers and performance schedules make their physical fitness just as important to them as skill development. Nevertheless, it remains to be confirmed which physical fitness components are associated with aesthetic competence. The aim of this study was to: 1. replicate and test a novel aesthetic competence tool for reliability, and 2. investigate the association between selected physical fitness components and aesthetic competence by using this new tool. Seventeen volunteers underwent a series of physical fitness tests (body composition, flexibility, muscular power and endurance, and aerobic capacity) and aesthetic competence assessments (seven individual criteria commonly used by selected dance companies). Inter-rater reliability of the aesthetic competence tool was very high (r = 0.96). There were significant correlations between the aesthetic competence score and jump ability and push-ups (r = 0.55 and r = 0.55, respectively). Stepwise backward multiple regression analysis revealed that the best predictor of aesthetic competence was push-ups (R(2) = 0.30, p = 0.03). Univariate analyses also revealed that the interaction of push-ups and jump ability improved the prediction power of aesthetic competence (R(2) = 0.44, p = 0.004). It is concluded that upper body muscular endurance and jump ability best predict aesthetic competence of the present sample of contemporary dancers. Further research is required to investigate the contribution of other components of aesthetic competence, including upper body strength, lower body muscular endurance, general coordination, and static and dynamic balance

Video analysis of classical ballet performance.

Video analysis of classical ballet to date has been largely limited to examining the artistic elements of choreography. The aim this study was to employ a method of video analysis to describe the physiological demands of classical ballet performance and to examine differences between artists, soloists, and principal dancers. Forty-eight performances [male = 24, female = 24; artists (corps de ballet) = 16, soloists = 16, principals = 16] were analyzed in four fields: work intensity, body movement, partner work, and number of transitory movements occurring per minute. Statistical analysis revealed significant differences between ranks in two intensity bands: time at rest (p < 0.05) and time performing at moderate intensity (p < 0.05), with soloists and principals resting for 75.2 +/- 15.1% and 53 +/- 24.1% of the total performance, respectively (p < 0.05). Principals also spent a significantly greater percentage of time at moderate intensity than both soloists and artists (p < 0.05). Significant differences between males and females (p < 0.05) were seen in the number of lifting and supporting movements performed. It was concluded that classical ballet is an intermittent form of exercise, utilizing both aerobic and anaerobic energy systems, a finding that supports previous studies. The demands of the performances analyzed varied according to role. Therefore, it was also concluded that video analysis can help provide a basis for rank-specific supplemental training

The demands of a working day among female professional ballet dancers

Professional classical ballet dancers typically face long working days, and many complain of fatigue, particularly as a possible cause of injury. However, little information exists regarding the true physiological demands on dancers. The aim of the present study was therefore to ascertain the daily workload of professional female ballet dancers in terms of work intensity and rest data. Information regarding a single “work day” was obtained from 51 female dancers in one company using a multiple accelerometer. Data were examined for the amount of time spent at work intensities measured in metabolic equivalents (METS)deemed sedentary, low, moderate, and high, and the length of each period at rest. Results indicated significant differences between dancer rankings (corps de ballet, first artist, soloist, and principal) for mean exercise intensity and the percentage of time spent at sedentary intensity (< 3 METS), moderate intensity (3-6 METS) (p < 0.005), and vigorous intensity (6-9 METS) (p < 0.05). The ratios of time spent below 1.5 METS versus time spent above 1.5 METS (“rest” vs. “work”) were also significantly different (p < 0.001) between rankings. When rest periods throughout the working day were analyzed, 90% of dancers were found to spend less than 60 consecutive minutes resting at any one time; for 33.3% of dancers this was less than 20 minutes. Results also revealed significant differences (p < 0.05) between dancer rankings for the greatest amount of rest at any one time during the day. It was concluded that female professional classical ballet dancers’ ranking in their companies should be considered in devising work-rest schedules to help them to avoid fatigue and resultant injuries

Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance?

Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration. All dancers' performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group's overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer's regime, and minimal intervention time is required to have observable effects

Passive smoking and the development of cardiovascular disease in children: a systematic review.

Passive smoking may be implicated in the development of cardiovascular disease (CVD) in children because of their partially developed physiological systems. The aim of the present systematic paper is to investigate whether passive smoking is associated with factors that influence the development of CVD in children. Data sources included Medline, Cochrane Library, Cumulative Index to Nursing & Allied Health (CINAHL) research database, Google Scholar, Excerpta Medica database (EMBASE), the 2006 Office of the Surgeon General's report, and the 2005 report from the California Environmental Protection Agency. We identified a total of 42 relevant articles (i.e., 30 reviews and 12 observational). Results revealed that passive smoking may be implicated in deteriorating cardiovascular status in children in terms of unfavorable high-density lipoprotein levels and deteriorated vascular function

Effects of supplemental training on fitness and aesthetic competence parameters in contemporary dance: a randomised controlled trial.

Within aesthetic sports such as figure skating and rhythmic gymnastics, physical fitness has been shown to have positive benefits on performance outcomes. Presently the link between physical fitness and aesthetic contemporary dance performance has not been demonstrated within an intervention study. In this study, 24 females engaged in contemporary dance (age 27 ± 5.9 yrs; height 165.3 ± 4.8 cm; weight 59.2 ± 7.6 kg) were recruited and randomly assigned to either an exercise (n = 12) or a control group (n = 12). Three dancers withdrew during the study. The intervention group completed a 6-week conditioning programme comprising two 1-hr sessions of circuit and vibration training per week. The circuit training focused on local muscular endurance and aerobic conditioning and vibration training protocol concentrated on power. Repeated measures ANOVA revealed significant increases for the conditioning group in lower body muscular power (11%), upper body muscular endurance (22%), aerobic fitness (11%), and aesthetic competence (12%) (p < 0.05). The control group reported decreases in all the fitness parameters with the exception of aerobic fitness as well as a decrease in aesthetic competence (7%). A 6-week circuit and vibration training programme, which supplemented normal dance commitments, revealed significant increases in selected fitness components and a concomitant increase in aesthetic competence in contemporary professional and student dancers