Abstract
The aim of this study was to investigate the convergent validity of session rating of perceived exertion (s-RPE) with objective measures of internal training load (TL) in professional classical ballet dancers. Heart rate and s-RPE data were collected in 22 professional classical ballet dancers across a total of 218 ballet class or rehearsal sessions. Eleven participants completed at least 9 sessions, and were therefore included in analyses of individual relationships between s-RPE and objective measures. To calculate s-RPE, the session duration was multiplied by the RPE, measured using the modified Borg CR-10 scale. The Edwards summated heart rate zones (Edwards TRIMP) and Banister training impulse (Banister TRIMP) methods were used as criterion measures of internal TL. Pearson product-moment correlation coefficients were used to determine intra-individual relationships between s-RPE and objective measures. Repeated measures correlations were used to identify intra-individual relationships common across the cohort. Positive linear relationships were seen between s-RPE and objective measures across all session types [Edwards TRIMP: rrm (195) = 0.81, p < 0.001; Banister TRIMP: rrm (195) = 0.79, p < 0.001], in ballet class [Edwards TRIMP: rrm (58) = 0.64, p < 0.001; Banister TRIMP: rrm (58) = 0.59, p < 0.001], and in rehearsals [Edwards TRIMP: rrm (119) = 0.82, p < 0.001; Banister TRIMP: rrm (119) = 0.80, p < 0.001], as well as across both males [Edwards TRIMP: rrm (136) = 0.82, p < 0.001; Banister TRIMP: rrm (136) = 0.80, p < 0.001], and females [Edwards TRIMP: rrm (57) = 0.80, p < 0.001; Banister TRIMP: rrm (57) = 0.78, p < 0.001]. Intra-individual correlation coefficients ranged from 0.46–0.96 [Edwards TRIMP: mean r = 0.81 ± 0.11, p = 0.051 – < 0.001; Banister TRIMP: mean r = 0.78 ± 0.14, p = 0.13– < 0.001]. These results demonstrate that s-RPE is a valid and practical method for measuring internal TL in professional classical ballet dancers.
Highlights
Classical ballet is an intermittent activity, consisting of high intensity explosive actions interspersed with periods of lower intensity technical movements or inactivity (Wyon et al, 2011)
The validity of session rating of perceived exertion (s-RPE) has been demonstrated in populations of contemporary (Jeffries et al, 2016; Surgenor and Wyon, 2019) and step dancers (Ozkan and Kin-Isler, 2007), to our knowledge it has not been investigated within ballet dancers
Large [Edwards TRIMP: rrm (58) = 0.64, p < 0.001, and 95% CI (0.45–0.77); Banister TRIMP: rrm (58) = 0.59, p < 0.001, and 95% CI (0.39–0.74)] and very large [Edwards TRIMP: rrm (119) = 0.82, p < 0.001, and 95% CI (0.75–0.87); Banister TRIMP: rrm (119) = 0.80, p < 0.001, and 95% CI (0.72–0.85)] rmcorr were seen between s-RPE and Edwards training load (TL) in ballet class and rehearsals, respectively
Summary
Classical ballet is an intermittent activity, consisting of high intensity explosive actions interspersed with periods of lower intensity technical movements or inactivity (Wyon et al, 2011). A valid measure of internal TL is essential for the effective periodization of a rehearsal schedule within a professional ballet company. The session rating of perceived exertion (s-RPE) method, derived from the product of session duration, and RPE, has been used as a time-sensitive and cost-effective method of quantifying internal TL in dance populations (Da Silva et al, 2015). Simple derivatives such as monotony and strain may subsequently provide practitioners with insights into maladaptive responses to training such as overtraining and illness. The validity of s-RPE has been demonstrated in populations of contemporary (Jeffries et al, 2016; Surgenor and Wyon, 2019) and step dancers (Ozkan and Kin-Isler, 2007), to our knowledge it has not been investigated within ballet dancers
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