Search Results (41)

Dance encompasses physical, emotional, and social elements, creating a dynamic platform for the exploration of well-being. As a therapeutic approach, dance movement further applies these dimensions to enhance emotional resilience, foster mindfulness, and improve overall mental health. This study examined the relationship between self-compassion and life satisfaction among 912 recreational dancers (80% female and 20% male) in Greece. Participants completed the Self-Compassion Scale and Satisfaction with Life Scale. Confirmatory Factor Analysis validated the five-factor self-compassion model, and regression analysis identified predictors of life satisfaction. Self-kindness emerged as a strong positive predictor (β = 0.258, p < 0.001), while isolation (β = −0.307, p < 0.001) and self-judgment (β = −0.083, p = 0.029) negatively predicted life satisfaction. Common humanity (β = 0.064, p = 0.066) and mindfulness (β = 0.004, p = 0.907) showed no significant predictive effect. The model explained 21.7% of the variance in life satisfaction (R² = 0.217). Small but statistically significant differences in self-compassion dimensions were observed across dance styles. Partner-oriented dancers such as those practicing tango reported slightly higher self-kindness and mindfulness, while ballet dancers showed a small increase in self-judgment and isolation. Life satisfaction remained consistent across styles, highlighting dance’s overall contribution to well-being. These findings suggest that integrating self-compassion training into dance education and psychotherapy, particularly within a Therapeutic-Based Art Pedagogy framework, may contribute to emotional resilience, foster social connection, and promote mental health, positioning dance as a potentially transformative tool for holistic development. Full article

Balance control in pirouettes has previously been characterized by constraint of the topple angle. However, there is a paucity of research using the margin of stability (MoS) as a dynamic measure of balance related to pirouettes. Therefore, this study aimed primarily to examine the MoS as a metric of balance during a single-turn en dehors pirouette in healthy female amateur ballet dancers. Four participants performed pirouettes until five successful pirouettes were achieved without hopping or loss of balance. Three-dimensional motion capture was used to record the motion trajectories of anatomical markers based on the Plug-in-Gait and Oxford Foot models. Motion synchronized with ground reaction forces was used to calculate the center of pressure (CoP), base of support (BoS), center of the pivot foot, center of mass (CoM), and extrapolated center of mass (XCoM) throughout the turn phase, using laboratory (LCS) and virtual left foot (LFT) coordinate systems. In the LCS and LFT coordinate system, the excursions and patterns of motion of both the CoM and XCoM relative to the CoP were similar, suggesting a neurological relationship. Two different measures of the margin of stability (MoS) in the LFT coordinate system were tabulated: the distance between the (1) XCoM and CoP and (2) XCoM and BoS center. The magnitude of both versions of the MoS was greatest at turn initiation and toe-touch, which was associated with two foot contacts. The MoS values were at a minimum approximately 50% of the stance during the turn phase: close to zero along the anteroposterior (A/P) axis and approximately 50 mm along the mediolateral (M/L) axis. On average, MoS magnitudes were reduced (mean across participants: approximately 20 mm) along the A/P axis, and larger MoS magnitudes (mean across participants: approximately 50 mm) along the M/L axis throughout the turn phase. Although all turns analyzed were completed successfully, the larger MoS values along the M/L axis suggest a fall potential. The variability between trials within a dancer and across participants and trials was documented and showed moderate inter-trial (16% to 51%) and across-participant CV% (range: 10% to 28%), with generally larger variations along the A/P axis. Although our results are preliminary, they suggest that the MoS may be useful for detecting faults in the control of dynamic balance in dehors pirouette performance, as a part of training and rehabilitation following injury. Full article

Background: Adherence to nutritional recommendations in groups of adolescents practicing various sports, including esthetic disciplines, is insufficient. Hence, the authors of this study attempted to design, implement and evaluate a nutritional education program for girls aged 10–12 attending a ballet school and artistic gymnastics classes. Methods: The study was conducted with 60 female students at the state ballet school and artistic gymnastics classes (professionally practicing ballet and artistic gymnastics). The nutritional education program was implemented by all students for a period of 4 weeks. The program consisted of three parts: group sharing and discussing the educational brochure, group nutritional workshops, and providing and discussing individual nutritional recommendations. Information provided to students during the nutritional education program concerned the principles of proper nutrition contained in the Pyramid of Healthy Nutrition and Physical Activity for Children and Youth, the most important sources of nutrients in the diet and their role, and the principles of nutrition of people practicing sports/training. Before starting the nutritional education program and 3 months after its completion, the level of nutritional knowledge was assessed in the group of ballerinas and artistic gymnasts to evaluate the program. Results: The proposed nutritional education program had a significant impact on the level of nutritional knowledge of students aged 10–12 attending the ballet school and artistic gymnastics classes. Conclusions: The presented nutritional education program may be used as a source of information for specialists for the preparation of educational and repair programs in the group of ballet dancers or artistic gymnasts aged 10–12. Full article

Objectives: The jumping ability and strength of the lower limbs in dancers are fundamental to their artistic performance. Similarly, the correct placement of the various leg positions, such as parallel and dehors, are essential aspects of dance technique. We aimed to analyze the effectiveness of a modified strength program on jumping capacity in parallel and dehors, and to assess whether this type of training improves the isometric strength of dancers. Methods: An experimental research study was conducted with pre- and post-intervention assessments on a group of nine semi-professional dancers (seven women and two men) (X = 20 years and DT = 6.67), with an average weight of 62.12 ± 7.38 kg and a height of 1.67 ± 0.05 m. Body composition, isometric strength in the lower limbs, and vertical jump capacity with feet in parallel and in the dehors position were analyzed. The “Simple and Sinister” kettlebell training protocol was implemented, reducing the number of sessions and the duration of the program while incorporating a progression in load. Results: Significant changes were observed in both the parallel jump and the dehors position; however, body composition and isometric strength, although showing higher values at the end of the intervention for all variables, did not demonstrate significant improvements. Thus, while in the pre-intervention phase, jump capacity was associated with multiple variables, in the post-intervention phase, an inverse association was found only with the percentage of body fat. Conclusions: A 12-week training program with two sessions per week is sufficient to achieve significant changes in the jumping ability of dancers, but not in the isometric strength of the lower limbs. Full article

Background: The impact of dance training on brainstem-mediated vestibular reflexes remains unclear. This study examined the vestibulo-ocular reflex (VOR) and its suppression during high-speed head movements, which may closely resemble the head-turning speeds used in dancers’ spotting techniques, using the video head impulse test. Methods: Eighteen female college students (mean age: 21 years) were divided into two groups—nine trained dancers (≥six years of dance training) and nine age-matched non-dancers—all without a history of hearing, vestibular, or neurological disorders. VOR function was assessed using the head impulse paradigm (HIMP) and the suppression head impulse paradigm (SHIMP) for right and left lateral stimulation, with minimum head velocities of 150°/s. Results: All participants exhibited VOR measures within normal limits and the VOR gain of dancers did not significantly differ from that of non-dancers. However, most dancers reported a preference for right-sided pirouettes and the right-side SHIMP gain negatively correlated with years of training, suggesting a link between preferred turning direction and VOR suppression ability. Furthermore, dancers with over 15 years of training exhibited earlier anti-compensatory saccade latencies (~75 ms) during SHIMP. Conclusions: Trained dancers maintain a healthy VOR and may develop enhanced voluntary control, enabling more effective VOR suppression. The earlier onset of anti-compensatory saccades suggests neural adaptations in eye–head coordination for high-velocity movements. Given the study’s small sample size and the inclusion of non-fulltime dancers, future research with larger samples of professional dancers is needed for enhanced generalizability. These findings provide preliminary evidence of dance-related neuroplasticity in brainstem-mediated vestibular reflexes and open new research avenues. Full article

Time-of-day and individual circadian variability influence cognitive performance, with later chronotypes being most compromised earlier in the day. On the other hand, moderate-intensity exercise has been shown to enhance cognitive function. We sought to evaluate the interplay among circadian rhythms, exercise, and cognitive performance in 22 students from the Uruguayan National Dance School, a population previously characterized as late chronotypes, attending a demanding morning schedule. We assessed sleep habits and physical activity patterns using self-report questionnaires and actigraphy. Before and after morning training, participants completed a psychomotor vigilance task (PVT) and a visual Stroop task (congruent and incongruent). The reaction speeds were lower early in the morning than at noon for all these tasks. We also found (1) a positive correlation between weekend sleep duration and PVT performance before training but not after; (2) a negative correlation between individual circadian phase and Stroop performance for both congruent and incongruent conditions after training but not before; and (3) a better Stroop performance after training for both congruent and incongruent conditions in dancers who engaged longer moderate-intensity exercise during training. Our findings suggest that regular morning training might help mitigate cognitive impairments experienced by dancers with later chronotypes in challenging morning scenarios. Full article

Drawing from the philosophies of pragmatism and somaesthetics, as developed by Richard Shusterman, this inquiry argues that performance holds a unique ontological status, one that emphasizes participation, shared meaning making, and the aesthetic qualities of ordinary, lived experience. As a philosopher trained as a dancer, I share some insights from my own experience as a performer offering a first-person aesthetic experience as a tool for conceptual inquiry. This experience allows the inquiry to explore the distinction between “scene” and “spectacle”, positioning the scene as a space of co-creation, in contrast to the distant, objectifying gaze encouraged by spectacle. By examining participatory projects and firsthand artistic experiences, I try to illustrate how performance can dissolve the boundaries between art and life, proposing a model of art that is shared, embodied, deeply connected to the rhythms of the everyday and gives foundation to a political transformation. Full article

Professional dancers are susceptible to lower limb pathologies, particularly in the hip joint, due to biomechanical stress. Multiple factors contribute to this, requiring a particular therapeutic approach to address them. This review aims to document these injuries, identify the contributing causes, and propose appropriate treatment modalities. This research was conducted by searching the PubMed, ScienceDirect, and Google Scholar databases using relevant keywords and phrases, and in accordance with the PRISMA guidelines. The major findings suggest that the most prevalent conditions include snapping hip syndrome, femoroacetabular impingement syndrome, acetabular labral tears, bursitis, and fatigue fractures. The main factors contributing to these results include excessive joint range of motion, increased training loads, hyperactivity, gender, and BMI. Dancers are susceptible to injuries; nevertheless, studies on this topic are limited, necessitating further research to strengthen their methodological level and establish their results. Full article

While moderate exercise supports regular menstrual cycle (MC) function, many female athletes experience MC symptoms that negatively influence their training and performance. Hereby, knowledge and communication about this topic are important to promote an athlete’s health and wellbeing. Hence, this study aimed to assess the knowledge and communication surrounding the MC among Norwegian rhythmic gymnasts, ballerinas, and dancers. In total, 116 rhythmic gymnasts, ballerinas, and dancers aged ≥ 16 years training ≥ 3 days per week completed an electronic questionnaire. Of these, 63% (n = 73) reported a lack of knowledge about the MC’s influence on physical fitness and performance, and 39% (n = 45) rated their coaches’ or pedagogues’ knowledge as low. With only 32% of participants discussing the MC with their coaches/pedagogues, communication was found to be limited. Seventy-three percent felt uncomfortable during training or competition due to their attire and recommended darker colors and more options in size and layering. The study highlights a significant gap in knowledge and communication about the MC among female athletes and coaches/pedagogues in aesthetic sports. It also recommends improving athletes’ choice of attire for greater comfort and confidence. Full article

A gait analysis serves as a critical tool for examining the biomechanical differences in movement patterns between trained and untrained individuals. This study investigates the nuanced differences in gait patterns between professional ballet dancers and non-dancers, with a focus on angular velocities and accelerations across key body joints. By analyzing the positions and movements of the head, neck, shoulder, spine, hip, knee, and ankle in both the sagittal (SP) and frontal (FP) planes, the study aims to identify key distinctions in joint dynamics that arise from differing levels of physical training. The study involved ten participants in total, comprising four professional female ballet dancers and six non-dancer students (three males and three females). In the first experiment, participants performed walking trials at five different speeds, while in the second experiment, the ballet dancers performed six distinct dance routines. Data were captured using a Kinetics motion capture camera system, which recorded the maximum and minimum angular velocities and accelerations during both walking and dancing. Key findings reveal significant differences in joint dynamics. For example, non-dancers’ right shoulder exhibited a maximum angular velocity of −0.47 rad/s and a minimum of 0.71 rad/s, while dancers showed a maximum of −0.09 rad/s and a minimum of 0.07 rad/s. The right knee also displayed notable differences, with angular velocities ranging from −3.88 rad/s to 2.61 rad/s for non-dancers, compared to −0.35 rad/s to 0.54 rad/s for dancers. In terms of acceleration, dancers’ left shoulder reached a maximum of 3.952 mm/s², while their right shoulder had a minimum of −0.1 mm/s². For non-dancers, the left elbow showed a maximum acceleration of 2.997 mm/s², while the right elbow had a minimum of 0.05 mm/s². These variations in angular velocity and acceleration underscore the distinct roles and movements of various joints, highlighting differences in muscle coordination and joint control. Understanding these patterns is crucial for assessing joint function, optimizing training, and developing intervention strategies for injury prevention and rehabilitation. The findings hold significant implications for the dance community and other physically active populations, offering valuable insights into performance enhancement and movement health. Full article

Background: This study’s purpose was to evaluate the relationship between dance training volume, body composition, and habitual diet in female collegiate dancers. Methods: Thirty-three female collegiate dancers from three dance programs (20.4 ± 1.05 yrs.; 165.4 ± 11.3 cm, BMI 21.3 ± 3.4 kg/m²) participated in “The Intercollegiate Artistic Athlete Research Assessment (TIAARA)” study. We assessed dance training volume, body composition, and habitual diet. Data were analyzed using descriptive statistics (means ± SD). Two-sample t-tests were conducted to compare reported intake values versus sports nutrition recommendations. Two-tailed Pearson correlations (r) were computed for body composition and dietary intake (p < 0.05). Results: Collegiate dancers were enrolled in 16 ± 2.09 semester credits, with 7.7 ± 3.8 credits as dance movement courses and an additional 3.0 ± 1.5 h/week of rehearsal time. Body composition assessments included fat mass (24.4 ± 6.8%), lean mass (LM) (42.4 ± 10.1 kg), and total body water (32.6 ± 4.6 L). Habitual diets reflected a low-calorie diet (1399 ± 648 kcal/d), with ~20% of dancers consuming a very low-calorie diet (≤1000 kcal/d). Dancers reported under-consuming dietary protein (54.3 ± 26.2 g) and carbohydrate (171.8 ± 77.8 g). LM was positively correlated with daily total energy (r = 0.333), fat (r = 0.37), protein (r = 0.349), and leucine intake (r = 0.352). Conclusions: Our findings emphasize the positive effect of adequate nutritional quantity and quality on body composition in female collegiate dancers. Full article

Background/Objectives: During the COVID-19 pandemic, children in Japan were restricted from sports and outdoor activities. Regular physical activity is essential for healthy growth and development in children, with recommendations advocating for activities such as strength training. However, the long-term effects of the restrictions have not been fully investigated. This study aimed to evaluate the effectiveness of an “exercise class”, specifically a dance program, designed to improve motor function in elementary school children affected by the coronavirus disease 2019 (COVID-19) pandemic, which may have compromised their motor function. Methods: The dance program was developed by a sports science teacher, a professional dancer, and a physical therapist, and it was evaluated in a community-based participatory study. Trained dance instructors conducted one-hour dance sessions in a medical center, held once a week for two months from June to August 2023. A physical therapist and dance instructors led the elementary school children. Outcome measures included grip strength, lower extremity muscle strength, back muscle strength, dynamic balance function during movement, physical activity time, and body fat percentages. Descriptive statistics were used for analysis. Results: Twenty-four children aged 6–9 years participated in the exercise class over a two-month period. Improvement was observed in grip strength, lower extremity muscle strength, and dynamic balance function during movement. However, physical activity time, body fat percentages, and back muscle strength did not change. Conclusions: The results indicated a significant improvement in motor skills. Dance is an inexpensive program that elementary school children can enjoy while improving their motor skills. Full article

As a significant form of physical expression, dance demands ongoing training for skill enhancement, particularly in expressiveness. However, such training often faces restrictions related to location and time. Moreover, the evaluation of dance performance tends to be subjective, which necessitates the development of effective training methods and objective evaluation techniques. In this research, we introduce a self-training system for dance that employs VR technology to create an immersive training environment that facilitates a comprehensive understanding of three-dimensional dance movements. Furthermore, the system incorporates markerless motion capture technology to accurately record dancers’ movements in real time and translate them into the VR avatar. Additionally, the use of deep learning enables multi-perspective dance performance assessment, providing feedback to users to aid their repetitive practice. To enable deep learning-based dance evaluations, we established a dataset that incorporates data from beginner-level dances along with expert evaluations of those dances. This dataset was specifically curated for practitioners in a dance studio setting by using a total of four cameras to record dances. Expert annotations were obtained from various perspectives to provide a comprehensive evaluation. This study also proposes three unique automatic evaluation models. A comparative analysis of the models, particularly contrastive learning (and autoencoder)-based expression learning and a reference-guided model (where a model dancer’s performance serves as a reference), revealed that the reference-guided model achieved superior accuracy. The proposed method was able to predict dance performance ratings with an accuracy of approximately ±1 point on a 10-point scale, compared to ratings by professional coaches. Our findings open up novel possibilities for future dance training and evaluation systems. Full article

This study examined the risk of low energy availability (LEA) and eating disorders among elite adolescent female athletes from a mixed-sport cohort and ballet dancers in Singapore, where the accelerated biological needs of adolescent growth and maturation overlap with the pursuit of sport/ballet excellence and high-stakes academic testing. All of these are competing demands for adequate fuelling and seeking timely treatment, which consequently affect the risk of LEA. Eighty-nine participants (41 athletes, 48 dancers; age 16.00 [3.00] years old) were screened for the risk of LEA and eating disorders using the Low Energy Availability in Females Questionnaire (LEAF-Q) and Brief Eating Disorder in Athletes Questionnaire (BEDA-Q), respectively. The main effects of athlete/ballet status and age (≤15 years old versus 15.1 years–18 years old) on LEAF-Q and BEDA-Q scores was be determined via Spearman’s correlation coefficient and linear regression analyses. The Mann–Whitney U test and Fisher’s exact test were used to compare the groups for the risk of LEA and ED. We observed that adolescent athletes and ballet dancers had a similar prevalence of being at risk of LEA (61.98% versus 54.17%, respectively, p = 0.529), with the risk of eating disorders absent in most of them. It appeared that the risk of LEA is likely of an unintentional nature in this study as the risk of ED was absent in 90.2% of the adolescent athletes/ballet dancers that were at risk of LEA. The age of the participants was significantly correlated with the risk of LEA, while the number of training hours was negatively correlated with the same factor. Age was also found to be negatively correlated with the number of training hours. The findings suggest that the risk of LEA in Singapore youth athletes and dancers are multifaceted, involving factors such as type of activity, age, and training hours. Targeted and tailored interventions and programmes are thus needed to promote adequate energy availability for optimal physical and psychological growth in sport and dance. Full article

Playful approaches are recommended to enhance wheelchair skills training with young people. Inclusive dance allows participants to discover motor skills and improve social participation. Integrating wheelchair skills training into dance has not been evaluated. This study aimed to explore participants’ experiences in dance while integrating wheelchair skills, and the influence of dance on wheelchair skills and wheelchair use confidence in young people. A convergent mixed-methods design was used during a one-week dance camp. Data collection combined observations, two focus groups (with young dancers who used manual wheelchairs and with professional dancers without disabilities), and evaluation of wheelchair skills and confidence. Data analyses included deductive thematic analysis guided by the Quality Parasport Participation Framework, merged with pre–post comparisons in wheelchair skills and confidence. Three young female dancers were 11, 12 and 15 years of age and three professional female dancers were 22, 27 and 27 years of age. Emergent themes included skill mastery, belongingness, and supportive environments. There were improvements in wheelchair skills and confidence (16.7%, 19.4%, 16.7%; 0.8%, 11.4%, 4.5%, respectively). Participants described overall positive experiences with the dance camp and perceived enhanced skills and confidence. This study advances knowledge about innovative approaches to integrate wheelchair skills training for young people. Future larger-scale controlled studies are needed to determine efficacy. Full article