Search Results (3)

The aim of this study was to verify how dancers’ flexibility work has developed during confinement through four assessment moments: before, during (two times), and after the lockdown period. The sample was formed by 18 dancers from the Porto Dance Conservatory (Portugal) with an average age of 11.4 ± 1.4 years and 1.4 ± 0.7 years of experience. To assess the passive and active flexibility level, we used seven of the International Gymnastics Federation’s recommended tests using main joints (i.e., hips and spine). The first evaluation was performed before the pandemic situation began in a training environment, and the second and third evaluation were performed during the lockdown, in home environment, and in virtual trainings. Finally, the last evaluation was carried out in a training environment after returning to face-to-face activities and with several rules such a social distancing and mask use. The results showed that significant improvements were verified in the flexibility level of the dancers from the first to the fourth moment of evaluation. In the current study, no statistical significance was noted for the decreased values of functional asymmetry between the preferred and non-preferred lower limbs. These differences may have substantial relevance for dancers’ harmonious body development. Full article

Dance teachers have to be in long hours dancing. That entails repetitive movements, loud live music, and as well as forcing their voices. These demands can implicate severe health problems and other kind of illness as discomfort, stress, etc. However, the Spanish Ministry of Health only recognize as professional disease for this line of work, the vocal nodules. For this reason, this research studies the health problems in dance teachers in Andalusia, correlating the results of a survey carried out in different conservatories from Andalusia with measurement of noise emissions levels, assessment of noise exposure, and assessment of thermal environment in the classes measuring the thermal environment variables. To the authors’ knowledge, this is the first study where the influence of several sounds, such as tapping, castanets, and live music, on the health of dance teachers, musicians, and singers during flamenco classes has been researched. Results showed a correlation between some diseases, such as stress and the high level of sound in the classes. The sound levels were well above those established by European regulations reaching values higher than 85 dB(A) as equivalent continuous sound levels during the class time. This European regulation is stablished for an 8 h/day period, five days per week. The thermal environments are no adequate for this activity, mainly for high temperatures in Cordoba during summer. To improve the current working conditions, some recommendations were given to reduce the number of class hours and establish rest shifts, provide more information on health risks, or renovate the floor of some classrooms. Full article

The main purpose of this study was to identify a dancer’s body alignment while performing flamenco footwork to provide a detailed description that could be used by flamenco practitioners: teachers, instructors and students of different levels of advancement. The zapateado technique performed by a professional flamenco dancer was analyzed. The biomechanical analysis was based on 30 cycles composed of six repeating sequences of strikes. Kinematic recordings were performed using a Vicon system, while the measurement of the ground reaction forces (GRF) was accomplished with a Kistler force plate. The following parameters were analyzed: the time of each foot strike, the maximal value of the vertical component of GRF normalized to body weight (BW) for subsequent footwork steps, the impulse of the GRF and the kinematics of pelvis and lower limb joints, and an exemplary waveform view of the sound of footwork strikes was shown. The average values of the vertical component of GRF ranged between 0.6 and 2.7 BW. The maximal anterior pelvic tilt was 29°, with a 6° range of motion (RoM). This mobility was accompanied by 20° hip RoM and by ~40° knee RoM throughout flexion. The conclusions provide practical information that a teacher and flamenco student should receive. Full article