Young Dancers Research Articles

Effects of a specific injury prevention neuromuscular training program for young female dancers. A randomized-controlled trial

ABSTRACT To assess the effects of a specific injury prevention neuromuscular training programme (IPP) on balance and lower-limb asymmetry in female competitive dancers (age 12–20 years; height 1.57 ± 0.06 m; weight 24.27 ± 2.79 kg) were randomly allocated to an active general control (GIPP, n = 7) and specific (SIPP n = 7) group. Both programmes were conducted for 6 weeks, with a frequency of three sessions per week. Dynamic balance and lower-limb asymmetry were assessed before and after the intervention. A greater improvement in right-leg total balance (86.6[84.0–90.5] vs 93.8[86.7–99.4];p = 0.035), left-leg total balance(87.8[81.0–89.1] vs 93.6[90.6–100.0];p = 0.013), left-leg anterior balance (71.9[69.1–72.2] vs 74.6[72.0–77.3];p = 0.041), left-leg posteromedial balance (80.5[72.9–83.3] vs 85.9[83.0–94.0];p = 0.048), and left-leg posterolateral balance (79.5[70.4–84.5] vs 85.0[80.0–88.5];p = 0.048) was observed in the SIPP group compared to the GIPP group. No other significant intra-group changes nor inter-group differences were noted. Therefore, compared to a GIPP, a SIPP induced greater improvements in lower-limb dynamic balance in female dancers, potentially leading to greater reduction in lower-limb injury risk.

Dance in the Christian Traditions

Although dance is a common religious expression, its place in the Christian tradition has been contested. In modern Protestant Norway, dance has mostly been considered irrelevant to church life, or even sinful. In recent decades, however, dance has become increasingly common in Norwegian churches. This empirical analysis of dance in Christian settings in contemporary Norway is based on participant observation and interviews. While younger dancers (born after 1990) consider it natural to dance in church, and are usually welcome to, older participants have met significant resistance. In dancing, dancers find personal meaning (wellbeing, positive emotions, processing life), social meaning (communication, belonging) and religious meaning (contact with God, prayer, growth). Dance emerges as a part of lived religion that clearly highlights how bodies matter, as well as how spiritualities are gendered, in this contribution to understanding the embodied dimensions of religion. Keywords: dance; embodied faith; lived religion; Christianity; religious experience; gendered spiritualities

Perfectionism Among Young Female Competitive Irish Dancers - Prevalence and Relationship with Injury Responses.

This study investigated the prevalence of perfectionism among young female competitive Irish dancers and examined the relationships between perfectionistic tendencies and coping strategies used when experiencing injury. Sixty-eight female dancers (Mean age: 14 ± 2.3 years) completed the Child-Adolescent Perfectionism Scale and the Ways of Coping Questionnaire and provided a record of injuries incurred during their championship careers. Participants reported 189 injuries, mostly involving the lower extremities. Seventy-nine percent of dancers reported perfectionistic tendencies (mixed perfectionism 40%, pure self-oriented perfectionism 29%, pure socially prescribed perfectionism 10%), and most frequently adopted "planful problem-solving," "seeking social support," "distancing," and "self-controlling" strategies to cope with injury. Perfectionism and two coping strategies were found to be significantly related (p = 0.03); "planful problem-solving" was typically used "quite a bit or a great deal" by the mixed perfectionism group, but only "somewhat" by the non-perfectionism group, whereas "confrontive coping" was typically not used by the non-perfectionism group but was used "somewhat" by the mixed perfectionism group. Given the presence of such a large degree of perfectionism and the simultaneous employment of problem- and emotion-focused strategies when coping with injuries, it is suggested that medical practitioners acknowledge such tendencies when supporting their dancers in order to reduce the likelihood of negative psychological impact.

Do Single-Leg Balance Control and Lower Extremity Muscle Strength Correlate with Ankle Instability and Leg Injuries in Young Ballet Dancers?

Ankle injuries are common among young ballet dancers. These injuries may be attributed to ankle instability, insufficient lower extremity strength, and poor balance control. The purpose of this study was to explore whether these dancers exhibit functional ankle instability and if their single-leg balance control and lower extremity muscle strength correlate with functional ankle instability and leg injuries. Twenty-one ballet dancers (aged 10 to 17 years) participated in the study. The Cumberland Ankle Instability Tool (CAIT) questionnaire was used to examine functional ankle stability. Isometric muscle strength of the major lower extremity muscles was measured with a digital hand-held dynamometer. Single-leg balance was evaluated with the Y-Balance Test (YBT) and three Athletic Single-leg Stability Test (ASLST) protocols. Lower extremity injuries (self-reported) within 6 months after testing were recorded for correlation analyses. Both dominant and non-dominant ankles of the subjects exhibited functional ankle instability (26.71 and 25.71, respectively). Raising the center of mass (passé and first arm position) during the ASLST did not significantly affect balance performance (p = 0.104). However, removing extrinsic visual feedback significantly decreased single-leg balance (p < 0.001). In general, there was low correlation (r ≤ 0.49) between muscle strength, CAIT, YBT, and ASLST scores with lower extremity injuries. It is concluded that for young ballet dancers lower extremity muscle strength and single-leg balance control may not be strong contributing factors to leg injuries. This study also suggests that functional ankle stability may not have a direct impact on single-leg balance, and ballet dancers rely heavily on extrinsic visual feedback for single-leg balance control. Teachers might consider minimizing extrinsic feedback to challenge ballet dancers when implementing training protocols for single-leg balance control.

Static and dynamic postural stability of children girls engaged in modern dance

ABSTRACT Background : Postural stability (PS) has an important role in many athletic activities. However, modern dance demands a heightened PS because of the required aesthetic quality and speed of movement. The aim of the present study was to compare the static and dynamic PS of young dancers and participants of other sporting activities. Method : A total of 101 girls (age: 7.91 ± 0.7 year) were divided into a Dance group (N = 53) and a physically active Control group (N = 48). Static PS was assessed with a two-leg standing test on a Force plate, and dynamic PS was assessed with a Körperkoordinationstest für Kinder (KTK) – a walking backwards test on a balance beam. Results : Multivariate analysis of variance showed a general difference between the groups (F = 21.95; p ≤ 0.0001). In static PS, the Dance group was better in Total distance of center of pressure (COP) (p ≤ 0.0001; ES = −1.70), Anterior-posterior oscillation (p ≤ 0.0001; ES = −1.40), Medial-lateral oscillation (p ≤ 0.0001; ES = 1.75) and Length in function of surface (p ≤ 0.0001; ES = −0.98). Both parameters of dynamic stability, the KTK test (p ≤ 0.0001; ES = 1.28) and Motor quotients KTK test (p ≤ 0.0001; ES = 1.45), were significantly better in the Dance group. Conclusion : The results from the present study indicate that children girls who participate mostly in dance develop better static and dynamic PS than children girls who participate in other sport activities. These findings underline the importance of training modification toward the improvement of PS in dance.

Dance and Immigration: Eliciting Empathy

ABSTRACT Wax, taffy, immigration. Removal, alien, roots, belonging. Screendance. These apparently unrelated words were the inspiration for Uprooted, a screendance project that addresses issues of immigration through movement and metaphor. Developed with a cast and crew of college students, Uprooted became the nucleus for community workshops for young dancers (ages 11–17) in Mid-Michigan. We describe our points of departure, theoretical and pedagogical underpinnings, the creative process for the screendance, the process and outcomes for our community workshops, and some parting thoughts and future directions. We found that with a six-minute film and a two-hour workshop, we could impact participants regarding immigration. Participants were able to feel-with and feel-through kinesthetic empathy. We offer this reflection as a potential model for engaging dance and immigration, but also other social justice-related topics.

Trait Perfectionism and Dance Goals Among Young Female Dancers: An Application of the 2 × 2 Model of Perfectionism.

This study provided the first test of the 2 × 2 model of perfectionism with respect to dancers' goals for dancing in competitive dance. Four hundred twenty-five young female North American competitive dancers (M = 11.33years; SD = 2.14) completed questionnaires assessing multidimensional perfectionism and goals for participation in dance. The latent moderated structural equations approach along with procedures outlined by Gaudreau indicated partial support for the 2 × 2 model of perfectionism. Pure Evaluative Concerns Perfectionism was associated with fewer intrinsic goals for dance and greater extrinsic goals for dance relative to nonperfectionism. Pure Personal Standards Perfectionism was related to less endorsement of extrinsic goals relative to nonperfectionism. Findings were complex with respect to mixed perfectionism, with this form of perfectionism being related to greater endorsement of both intrinsic and extrinsic goals for dance. Results provide partial support for the 2 × 2 model in youth dance.

Eating behaviours, the frequency of consumption of selected food products, and selected elements of lifestyle among young dancers.

Proper nutrition and balanced physical activity have a beneficial effect on the growth and development of young athletes, supporting their endurance and health, which is particularly important in the period of adolescence. Aim of this study was to assess eating behaviours, frequency of consumption of some food products and selected elements of lifestyle among young dancers, as well as to compare the age of the dancers and the assessed behavior. The study included 198 dancers aged 10-15 years. An originally developed questionnaire was used as a research tool. The largest group of dancers (43%) spent on training up to 2 hours per week. The recommended 4-5 meals/day were consumed by 61.1% of dancers, with 87.4% of respondents having breakfast on a daily basis. The recommendations on the daily intake of several portions of fruit and vegetables were followed by 49% and 36.9% of dancers, respectively. It is observed, that the consumption rates of sweets increased, while the consumption rates of fruit decreased with dancers'age. The consumption rates of packed lunch and afternoon snack increased, whereas the consumption rates of dinner decreased with an increasing number of hours spent training. Eating behaviours and the frequency of consumption of food products by young dancers can be described as varied. Their diet is characterised by regular consumption of meals and a correct frequency of consumption of most food products, including high intake of fruit and vegetables, yoghurt and kefir, as well as low consumption of fast food products. The selected elements of dancers' lifestyle, such as sleep time and physical activity, are mostly correct.

Opening pathways to training for young disabled dancers: an action research approach

There are numerous barriers to dance for disabled people but one which has received increasing attention in recent years is the lack of systematic training available. The aim of this project was to explore how private dance studio syllabi could be made more accessible for young disabled people, in order to open pathways to dance. Three private studio teachers were matched with three specialists in inclusive dance to translate particular syllabi for their groups of disabled learners. Various actions and strategies were designed by the teachers and specialists, which were reviewed and revised over the course of the project. Data collection included class observations, interviews with the teachers, specialists, young dancers, and their parents, and online diary entries by the teachers and specialists after each class. Analyses revealed that while each group was unique, common strategies included determining the key principles of each exercise, differentiation, setting high expectations, and a flexible class structure. Multiple forms of improvement among the participants were noted, including increased teacher confidence, and improvements in students’ technical abilities, confidence, and social skills. Overall, the findings of this study attest to both the viability and value of providing progression opportunities for young disabled dancers.

Generalized joint hypermobility, scoliosis, patellofemoral pain, and physical abilities in young dancers

BackgroundMany young girls with generalized joint hypermobility (GJH) choose to participate in dance because their bodies are suited for this activity. Scoliosis tends to occur often in thin girls, who also are more likely to choose dance. Both anomalies (GJH and scoliosis) may be related to reduced abilities such as diminished strength and insufficient postural balance, with increased risk for musculoskeletal conditions. The main objectives of the present study were to determine the prevalence of dancers with GJH, the prevalence of dancers with scoliosis, and the prevalence of dancers with these two anomalies; and, to determine differences in physical abilities and the presence of patellofemoral pain (PFP) between young female dancers with and without such anomalies.MethodsOne hundred thirty-two female dancers, aged 12–14 years, were assessed for anthropometric parameters, GJH, scoliosis, knee muscle strength, postural balance, proprioception ability, and PFP.ResultsGJH was identified in 54 dancers (40.9%) and scoliosis in 38 dancers (28.8%). Significant differences were found in the proportion of dancers with no anomalies (74 dancers, 56.1%) and dancers with both anomalies (34 dancers, 25.8%) (p < .001). Dancers with both anomalies had reduced dynamic postural balance in the anterior direction (p = .023), reduced proprioception ability (p < .001), and weaker knee extensors (p = .036) and flexors (p = .040) compared with dancers with no anomalies. Among dancers with both anomalies, 73.5% suffered bilateral PFP, 17.6% suffered unilateral PFP, and 8.8% had no PFP (p < .001).ConclusionsA high prevalence of young girls participating in dance classes had GJH, as the increased joint flexibility probably provides them with some esthetic advantages. The high prevalence of scoliosis found in these young dancers might be attributed to their relatively low body mass, their delayed maturation, and the selection process of dancers. Dancers with both GJH and scoliosis had decreased muscle strength, reduced postural balance, reduced proprioception, with higher risk of PFP. The main clinical implications are the need to reduce the risk of PFP among dancers by developing appropriate strength and stabilizing exercises combined with proprioceptive and postural balance training, to improve the correct alignment of the hyperextended and hypermobile joints, and to improve their supporting muscle strength.

Навчання дітей та молоді українських народних танців у Галичині (1919–1939 рр.)

The article is devoted to the peculiarities of teaching Ukrainian folk dances to children and youth in Galicia (1919-1939), when it was important to preserve national identity, and the study of folk choreography was one of the means of national-patriotic education and cultural development. The authors argue that the interest in folk dance was revived under the influence of a choreographer Vasyl Avramenko’s performing skills and pedagogical activity. Vasyl Avramenko ystematized the theory and practice of folk dances teaching and opened the first school of Ukrainian national dances. The school functioned in various cities of Galicia. It is emphasized the role of cultural, educational and sports societies and organizations in popularizing the art of folk dance among children and youth. Thus, folk dances were taught at various courses, clubs and societies such as «Prosvita», «Ukrainska Zakhoronka», “Ridna shkola”, gymnastics societies «Sokil», «Luh» etc. It is discovered that at concerts on various holidays children and youth performed Ukrainian folk dances and music performances based on folk motifs interpreted by Vasyl Avramenko, Oksana Sukhoverska, Volodymyr Terletskyi, Yaroslav Bulka, Petro Lazoryshchak and other choreographers. The most popular folk dances were: «Kolomyika», «Arkan», «Kateryna», «Chumak», «Kozachok», «Hopak», «Zhuravel». Dancers performed them solo, in pairs or in groups. Although the methodolody of dance teaching was not systematized and well-developed, students developed a sense of rhythm and harmony, grace, plasticity, artistry. This was confirmed by numerous positive reviews on the performances of young Ukrainian dancers in the press of the time. Keywords: folk dance, folk dance courses, cultural and educational organizations, youth societies.

Стрессовое недержание мочи у юных гимнасток и танцовщиц как нарушение функции от перегрузки (пилотное исследование)

Stress urinary incontinence (SUI) is common among young, nearly healthy female athletes and ballet dancers (up to 80 and 50%, respectively). Patients and methods. A pilot study included 46 adolescent girls aged 10 to 14 years (rhythmic gymnastics and choreography students); SUI was identified in 14 subjects. Using analysis of variance (ANOVA), it was revealed that inspite of the small sample, pelvic and hip muscle hypertension (p = 0.005) and lumbar hyperlordosis (p = 0.028) could be considered as risk factors for the SUI development . Discomfort and/or uncertain pain in pelvis and hip joints that increased during specific movements were considered as “non-specific pain syndrome; overuse injury” in all subjects. Results. After a standard rehabilitation therapy used in such cases, all the 14 SUI patients noted a decrease in urinary leak episodes (p = 0.033). Conclusion. The results suggest that a larger randomized controlled trial of risk factors, treatment and rehabilitation of SUIsyndrome in young female athletes and dancers should be carry out. Keywords: ballet, hypertension, urinary incontinence, rehabilitation, female athletes

The effect of Estonian folk dance practice on static balance performance in young females

The aim of the present study was to establish the changes that occur in dancers’ static body balance indicators during rest, in case of interfering factors and in stress condition. The sample consisted of 14 advanced female folk dancers at the age of 16–20 years. The participants’ static body balance was measured at the beginning (in the autumn) and at the end (in the spring) of the eight-month dancing period. Static body balance indicators were registered on a dynamographic platform within 30 seconds, standing on bipedal on stable and unstable support surface in eyes-open (EO) and eyes-closed (EC) conditions. The Flamingo test balance control, the balance control after spinning around and jumping tests were conducted only in EO condition. The following parameters were registered: the movements of the centre of pressure (CoP) in the anterior-posterior (AP) and medio-lateral (ML) dimensions; the length, speed and area of the trajectory. According to the study, folk dancers’ CoP movements in the AP and ML dimensions, measured in different conditions (EO, EC), on stable and unstable support surface, did not change significantly after the eight-month dancing practice. The young folk dancers’ static body balance, assessed by CoP movement trajectory, speed and area, improved considerably over the eight-month training period. Flamingo test results indicate that practising folk dance develops the young female folk dancers’ right and left side static stability equally. In the context of Estonian folk dance practice, including preparation for performing at dance festival, the young female folk dancers’ balance performance improved both in vestibular instability (spins, standing on unstable support surface and in EO condition) and fatigue (jumping test) conditions.

Communication, class and the commodified self: exploring the divergent pathways to celebrity in the electro dance subculture

ABSTRACT Young dancers who participate in urban music subcultures have found new social media outlets that help them attain social recognition outside of their group, sometimes bypassing mainstream media circuits and cultural intermediaries, and other times interacting with them. This novel scenario has modified the dialectics between the cultural spheres of youth and celebrity, expanding the ways in which celebrity is manifested and achieved. Drawing empirically on fieldwork conducted within the electro dance scene – a dance-based phenomenon born in France in the past decade that has spread worldwide – I compare the structural and subjective dimensions around which, in different periods, distinctive pathways to celebrity emerge. In particular, two dancers’ pathways to celebrity, one corporate and the other self-made, are examined using an extended approach based on Bourdieu’s field theory. Each pathway leads to a celebrity type, whose relation to media platforms, following, geography, cultural corporations and agents is shaped in different ways by commodified behaviours, class-imbued authenticities and revenue opportunities. While such diversity features novel elements, it ultimately preserves the economic and socio-cultural logic of celebrity, as it (re)produces our now-familiar and increasingly accelerated consumption cycles, ‘normalising’ middle-class values and the commodification of the self.

Развитие актерских способностей для создания хореографических образов как педагогическая проблема

the article considers the process of developing acting abilities among dancers (ballet dancers and modern dance performers) from the point of view of pedagogy (educational methods) and psychology (ways to eliminate stage excitement). Features of choreographic art and creation of choreographic images are revealed. The specifics of the dancer’s creative activity and the role of acting abilities in the embodiment of artistic images on stage are determined. The effectiveness of the process under consideration is due: to the predominance of role and thematic improvisations, trainings, as well as artistic and creative activities in general from music classes to regular choreographic practice in the training of dancers; creating an inspiring artistic and aesthetic environment in the educational institution, an atmosphere of emotional well-being and success; filling classes with content significant for young dancers and ideas close to them in spirit; and the application of a variety of methods and techniques individualized according to the age and personality characteristics of each student.

Transient body sway characteristics during single-leg quiet stance in ballet dancers and young adults

This study explored transient characteristics of body sway during single-leg quiet stance in young ballet dancers (n = 41) and young healthy adults (n = 58). We compared the groups in terms of center of pressure (CoP) parameters (CoP velocity and amplitude, averaged across the duration of the 30-s trial), and the transient characteristics of the corresponding parameters, which were expressed as relative differences between the 1st and 2nd, and the 1st and 3rd 10-second interval within the trial (DIF_21 and DIF_31, respectively). Ballet dancers exhibited superior quiet stance postural control (2/5 parameters), as well as different transient behavior (3/5 parameters for DIF_21, and none for DIF_31). Specifically, the ballet dancers reduced body sway more during the 2nd interval, resulting in lower DIF_21 for CoP velocity (total and anterior-posterior) and CoP amplitude (medial–lateral) (effect size = 0.42–0.54). The correlations between individual CoP parameters and the corresponding DIF_21 and DIF_31 were very small or trivial (r < 0.15), suggesting that the outcomes pertaining to transient characteristic of body sway within the trial (specifically DIF_21) could represent additional information regarding the postural control during quiet stance. Future studies or even re-analyses of existing data are desired to reveal whether the measures of transient characteristics of body sway have any additional clinical utility compared to traditional whole-trial analyses.

ПОНЯТТЯ САМООРГАНІЗАЦІЇ НАВЧАННЯ У КОНТЕКСТІ ПРОФЕСІЙНОЇ ПІДГОТОВКИ МАЙБУТНІХ ВИКЛАДАЧІВ ХОРЕОГРАФІЧНИХ ДИСЦИПЛІН

The article deals with the general scientific content of the concept of the self-organization of the individual and highlights its particular characteristics in the context of complex professional training of Bachelors in choreography at teacher’s training higher educational establishments. The universality and procedural nature of the phenomenon are reflected by intrinsic features of self-organization. The article traces the interaction of processes of self-organization which results in qualitative changes and transformations, appearance of new properties and features.These phenomena reflect the role of the individual as a participant or an organizer of certain processes that take place, in particular, in the learning environment. These phenomena are studied in the field of social sciences, pedagogy and psychology. The teacher’s training field dwells on the importance of the qualities necessary for a future teacher such as the ability of self-development and self-organization, search creativity and self-improvement. The self-organization in the individual’s education in the process of special training can be the basis of an individually directed program of formation and development of students by forming an individual educational space. Self-organization of student’s educational work is considered to be a complex, motivated and independent activity, aimed at maximizing the effective assimilation and creative application of relevant professional knowledge, skills and competence.The educational process of future teachers of choreographic courses requires mastering the content of the core subjects, the subjects included in the curriculum of art training of the specialists as well as the subjects of the elective part in the system of educational and vocational training. In addition, the training given in the article, involves the constant and purposeful development and improvement of the professionally necessary physical features of the young dancers acquired through regular trainings and rehearsals included in the artistic part of the curriculum.The successful training of the students in choreography in the teacher’s training higher educational establishments based on self-organization is determined by the ability to provide personal self-regulation, sustainable and purposeful learning performance, physical and mental activities. The skills of self-organization in the educational activity allow students of choreography to organize and carry out planning, draw up the curriculum, monitor and control of the educational activity on their own, as well as to determine the prospects of further development in professional and personal ways. The educational self-organization in the context of professional training of the teachers of choreography has got important functions, namely didactic, educational and managerial functions.

Ultrasound Tissue Characterization (UTC) of the Achilles Tendon in Pre- and Post-Pubertal Dancers.

This study examined whether maturation status, body physique, and the impact of training are related to the development of Achilles tendon structure in young dancers. Seventy-one pre- and post-menarche dancers (12 to 15 years of age) were recruited. The Achilles tendon of each dancer was examined via ultrasonography tissue characterization (UTC) imaging. The cross-sectional area (CSA) and the fibrillar structure (echo types I to IV) were measured. The participants were screened for anthropometric parameters (weight, height, and leg length) with body mass index (BMI) and BMI percentile calculated; for hours and impact of training; for Tanner pubertal maturation; and for pain in their Achilles tendon (VAS scale). In addition, age and age at onset of menarche were documented. Tendon structure was found to differ between pre- and post-menarche dancers. Post-menarche dancers had a significantly lower percentage of echo type I fibers and a significantly higher percentage of echo type II, III, and IV fibers, with a greater CSA compared to pre-menarche dancers. The tendon structure was found to be correlated with BMI percentile, but no correlations were found with chronologic age or the impact of dance training. Furthermore, ANCOVA showed that BMI had a statistically significant effect on fiber types II and III (p < 0.005) and that the effect of menarche was significant, meaning that pre-menarche dancers had a lower BMI compared with those who were post-menarche. It is concluded that pre- and post-menarche dancers had developed different patterns of Achilles tendon fiber structure. Body mass index was found to be the most significant factor influencing the different tendon structures in young pubertal dancers.

Hamstring extensibility differences among elite adolescent and young dancers of different dance styles and non-dancers.

BackgroundHamstrings have been analyzed extensively due to their tendency to shorten and their effect in the lumbo-pelvic dynamics and the sagittal position of the spine in trunk flexion with extended knees positions. It has been demonstrated that practicing a certain sport results in long-term changes in hamstring extensibility. Despite this, adequate extensibility of the hamstring musculature is essential for the dancer’s performance. Several studies have found differences in the extensibility of the hamstrings depending on the dance style, but none have compared ballet, Spanish dance and modern dance. The purpose of the present research was to analyze the differences in hamstring extensibility among professional dance students based on dance style practiced and non-dancers.MethodsThe sample was comprised of 210 students from the Professional Dance Conservatory (70 for ballet, 70 for Spanish dance and 70 for modern dance) and 70 non-dancers. For the assessment of hamstring extensibility, the angle in the passive and active straight leg raise (PSLR and ASLR, respectively) test, and the scores of the pelvic tilt in sit-and-reach (SR) test and the toe-touch (TT) test were randomly conducted.ResultsThe results showed significant differences for all the tests according to group (p < 0.001). In the PSLR and ASLR test, for both legs, and in the pelvic tilt in the SR test, the ballet dancers showed greater ranges of hamstring extensibility than the modern dancers and Spanish dancers (p ≤ 0.001). In the distance in the SR test and in the pelvic tilt in the TT test, the ballet dancers obtained higher values than the Spanish dancers (p = 0.004 and p = 0.003, respectively). The modern dancers showed higher ranges of hip flexion than the Spanish dancers in the ASLR test for both legs and in the pelvic tilt in the SR test (p from 0.007 to <0.001). Dancers showed significantly higher hamstring extensibility than non-dancers in all the tests (p < 0.001).ConclusionsThe systematic practice of dance, regardless of the style, seems to lead to high ranges of hamstring extensibility. Ballet dancers have the greatest hamstring extensibility.

Head orientation and gait stability in young adults, dancers and older adults

BackgroundControl of body orientation requires head motion detection by the vestibular system and small changes with respect to the gravitational acceleration vector could cause destabilization. Research questionWe aimed to compare the effects of different head orientations on gait stability in young adults, dancers and older adults. MethodsThree groups of 10 subjects were evaluated, the first composed of young adults (aged 18–30 years), the second composed of young healthy dancers under high performance dance training (aged 18–30 years), and the third group composed of community-dwelling older adults (aged 65–80 years). Participants walked on a treadmill at their preferred speed in four distinct head orientation conditions for four minutes each: control (neutral orientation); dynamic yaw (following a target over 45° bilaterally); up (15° neck extension), and down (40° neck flexion). Foot and trunk kinematic data were acquired using a 3D motion capture system and the gait pattern was assessed by basic gait parameters (step length, stride width and corresponding variability) and gait stability (local divergence exponents and margins of stability). Main effects of conditions and groups, as well as their interaction effects, were evaluated by repeated-measures analysis of variance. ResultsInteractions of group and head orientation were found for both step length and stride width variability; main effects of head orientation were found for all evaluated parameters and main effects of group were found for step length and its variability and local divergence exponents in all directions. SignificanceAs expected, the older adults group showed less stable gait (higher local divergence exponent), the shortest step length and greater step length variability. However, contrary to expectation, the dancers were not more stable. The yaw condition was the most challenging for all groups and the down condition seemed to be least challenging.