This page offers a selection of academic articles that are relevant for dancers and coaches. Access to these articles is for free. We wish you a pleasant reading !
2021 |
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Yoshida, Yasuyuki; Bizokas, Arunas; Demidova, Katusha; Nakai, Shinichi; Nakai, Rie; Nishimura, Takuichi Determining Partnering Effects in the ‘Rise and Fall’ Motion of Competitive Waltz by the Use of Statistical Parametric Mapping Journal Article Baltic Journal of Sport and Health Sciences, 1 (120), pp. 4-12, 2021. Abstract | BibTeX | Tags: Standard | Links: @article{Yoshida-etal2021, title = {Determining Partnering Effects in the ‘Rise and Fall’ Motion of Competitive Waltz by the Use of Statistical Parametric Mapping}, author = { Yasuyuki Yoshida and Arunas Bizokas and Katusha Demidova and Shinichi Nakai and Rie Nakai and Takuichi Nishimura}, url = {https://journals.lsu.lt/baltic-journal-of-sport-health/article/view/1047/891}, year = {2021}, date = {2021-04-15}, journal = {Baltic Journal of Sport and Health Sciences}, volume = {1}, number = {120}, pages = {4-12}, abstract = {Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. | |
Liébana, Encarnación; Monleón, Cristina; Moratal, Consuelo; Garcia-Ramos, Amador Heart Rate Response and Subjective Rating of Perceived Exertion to a Simulated Latin DanceSport Competition in Experienced Latin Dancers Journal Article Medical problems of performing artists, 36 , pp. 39-44, 2021. Abstract | BibTeX | Tags: Latin @article{Liebana-etal2021, title = {Heart Rate Response and Subjective Rating of Perceived Exertion to a Simulated Latin DanceSport Competition in Experienced Latin Dancers}, author = { Encarnación Liébana and Cristina Monleón and Consuelo Moratal and Amador Garcia-Ramos}, year = {2021}, date = {2021-03-01}, journal = {Medical problems of performing artists}, volume = {36}, pages = {39-44}, abstract = {This study aimed to describe the response of heart rate (HR) and the subjective rating of perceived exertion (RPE) during a simulated DanceSport competition. The mean and maximum HR of 18 dancers of the highest level were evaluated during a simulated DanceSport competition consisting of 5 Latin dances. RPE values were recorded immediately after each dance. The dances were ranked as follows according to the mean HR (samba [165.3 ± 16.3 bpm] < rumba bolero [176.9 ± 9.9 bpm] < cha-cha-chá [179.1 ± 11.4 bpm] = paso doble [182.5 ± 12.5 bpm] = jive [184.3 ± 11.4 bpm]); maximum HR (samba [185.6 ± 8.9 bpm] = rumba bolero [187.0 ± 9.1 bpm] < cha-cha-chá [190.1 ± 8.0 bpm] = paso doble [191.4 ± 9.0 bpm] < jive [194.2 ± 8.1 bpm]); and RPE (rumba bolero [5.22 ± 1.40] < samba [6.42 ± 2.06] = cha-cha-chá [6.78 ± 1.31] = paso doble [7.39 ± 1.04] < jive [8.33 ± 0.91]). The only significant correlation between RPE and HR values was observed for the maximum HR during the first dance of the competition (samba) (r = 0.485). A simulated DanceSport competition causes high physiological stress being influenced by the type of dance.}, keywords = {Latin}, pubstate = {published}, tppubtype = {article} } This study aimed to describe the response of heart rate (HR) and the subjective rating of perceived exertion (RPE) during a simulated DanceSport competition. The mean and maximum HR of 18 dancers of the highest level were evaluated during a simulated DanceSport competition consisting of 5 Latin dances. RPE values were recorded immediately after each dance. The dances were ranked as follows according to the mean HR (samba [165.3 ± 16.3 bpm] < rumba bolero [176.9 ± 9.9 bpm] < cha-cha-chá [179.1 ± 11.4 bpm] = paso doble [182.5 ± 12.5 bpm] = jive [184.3 ± 11.4 bpm]); maximum HR (samba [185.6 ± 8.9 bpm] = rumba bolero [187.0 ± 9.1 bpm] < cha-cha-chá [190.1 ± 8.0 bpm] = paso doble [191.4 ± 9.0 bpm] < jive [194.2 ± 8.1 bpm]); and RPE (rumba bolero [5.22 ± 1.40] < samba [6.42 ± 2.06] = cha-cha-chá [6.78 ± 1.31] = paso doble [7.39 ± 1.04] < jive [8.33 ± 0.91]). The only significant correlation between RPE and HR values was observed for the maximum HR during the first dance of the competition (samba) (r = 0.485). A simulated DanceSport competition causes high physiological stress being influenced by the type of dance. | |
2020 |
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Yoshida, Yasuyuki; Bizokas, Arunas; Demidova, Katusha; Nakai, Shinichi; Nakai, Rie; Nishimura, Takuichi Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers Journal Article Journal of Dance Medicine and Science, 24 (4), pp. 168-174, 2020. Abstract | BibTeX | Tags: Standard | Links: @article{Yasuyuki-etal2020, title = {Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers}, author = { Yasuyuki Yoshida and Arunas Bizokas and Katusha Demidova and Shinichi Nakai and Rie Nakai and Takuichi Nishimura}, url = {https://www.thefreelibrary.com/Partnering+Effects+on+Joint+Motion+Range+and+Step+Length+in+the...-a0648245762}, year = {2020}, date = {2020-11-15}, journal = {Journal of Dance Medicine and Science}, volume = {24}, number = {4}, pages = {168-174}, abstract = {Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer. | |
2019 |
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Byczkowska-Owczarek, Dominika Performing on the Boundary of Art and Sport: The Case of Competitive Ballroom Dancers Journal Article Czech Sociological Review, 55 (3), pp. 369-392, 2019. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Byczkowska-Owczarek2019, title = {Performing on the Boundary of Art and Sport: The Case of Competitive Ballroom Dancers}, author = { Dominika Byczkowska-Owczarek}, url = {https://sreview.soc.cas.cz/pdfs/csr/2019/03/04.pdf}, year = {2019}, date = {2019-06-01}, journal = {Czech Sociological Review}, volume = {55}, number = {3}, pages = {369-392}, abstract = {In this article the author sheds light on how dancers act towards their bodies in the exceptionally competitive environment of competitive ballroom dancing. I also show how constantly performing on the boundary between two worlds, art and sport, and reconciling conflicting requirements influences perspectives on the body, how it is used, and how it physically changes. Drawing on specific examples from the field, the author argues that competition, the use of objects, appearance, emotions, and charisma during a ballroom performance are all socially created, actively reconstructed through social interaction, and shaped by institutional rules. The social context of those actions, which is formed by institutionalisation, high competition, and the aesthetics of the upper social classes, produces a specific approach to the body: treating it as an efficient tool to obtain social status. This tool requires both sharpening (strategies for constructing its effectiveness) and polishing (strategies concerned with aesthetics and transforming one's appearance). The conclusions of the research include the finding that ballroom dancing involves the direct embodiment of cultural norms and the subordination of the human body to the ideas of the bourgeois classes. The above insights are based on data collected during a six-year ethnographic study in the social subworld of competitive ballroom dancing.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } In this article the author sheds light on how dancers act towards their bodies in the exceptionally competitive environment of competitive ballroom dancing. I also show how constantly performing on the boundary between two worlds, art and sport, and reconciling conflicting requirements influences perspectives on the body, how it is used, and how it physically changes. Drawing on specific examples from the field, the author argues that competition, the use of objects, appearance, emotions, and charisma during a ballroom performance are all socially created, actively reconstructed through social interaction, and shaped by institutional rules. The social context of those actions, which is formed by institutionalisation, high competition, and the aesthetics of the upper social classes, produces a specific approach to the body: treating it as an efficient tool to obtain social status. This tool requires both sharpening (strategies for constructing its effectiveness) and polishing (strategies concerned with aesthetics and transforming one's appearance). The conclusions of the research include the finding that ballroom dancing involves the direct embodiment of cultural norms and the subordination of the human body to the ideas of the bourgeois classes. The above insights are based on data collected during a six-year ethnographic study in the social subworld of competitive ballroom dancing. | |
Premelč, Jerneja; Vučković, Goran; James, Nic; Leskošek, Bojan Reliability of Judging in DanceSport Journal Article Frontiers in Psychology, 10 , pp. 1-8, 2019. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Premelčetal2019b, title = {Reliability of Judging in DanceSport}, author = { Jerneja Premelč and Goran Vučković and Nic James and Bojan Leskošek}, url = {https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6524706/pdf/fpsyg-10-01001.pdf}, year = {2019}, date = {2019-05-07}, journal = {Frontiers in Psychology}, volume = {10}, pages = {1-8}, abstract = {The aim of this study was to assess the reliability and validity of the new judging system in DanceSport. Eighteen judges rated the 12 best placed adult dancing couples competing at an international competition. They marked each couple on all judging criteria on a 10 level scale. Absolute agreement and consistency of judging were calculated for all main judging criteria and sub-criteria. A mean correlation of overall judging marks was 0.48. Kendall’s coefficient of concordance for overall marks (W = 0.58) suggesting relatively low agreement among judges. Slightly lower coefficients were found for the artistic part [Partnering skills (W = 0.45) and Choreography and performance (W = 0.49)] compared to the technical part [Technical qualities (W = 0.56) and Movement to music (W = 0.54)]. ICC for overall criteria was low for absolute agreement [ICC(2,3) = 0.62] but higher for consistency [ICC(3,3) = 0.80]. The relatively large differences between judges’ marks suggest that judges either disagreed to some extent on the quality of the dancing or used the judging scale in different ways. The biggest concern was standard error of measurement (SEM) which was often larger than the difference between dancers scores suggesting that this judging system lacks validity. This was the first research to assess judging in DanceSport and offers suggestions to potentially improve both its objectivity and validity in the future.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The aim of this study was to assess the reliability and validity of the new judging system in DanceSport. Eighteen judges rated the 12 best placed adult dancing couples competing at an international competition. They marked each couple on all judging criteria on a 10 level scale. Absolute agreement and consistency of judging were calculated for all main judging criteria and sub-criteria. A mean correlation of overall judging marks was 0.48. Kendall’s coefficient of concordance for overall marks (W = 0.58) suggesting relatively low agreement among judges. Slightly lower coefficients were found for the artistic part [Partnering skills (W = 0.45) and Choreography and performance (W = 0.49)] compared to the technical part [Technical qualities (W = 0.56) and Movement to music (W = 0.54)]. ICC for overall criteria was low for absolute agreement [ICC(2,3) = 0.62] but higher for consistency [ICC(3,3) = 0.80]. The relatively large differences between judges’ marks suggest that judges either disagreed to some extent on the quality of the dancing or used the judging scale in different ways. The biggest concern was standard error of measurement (SEM) which was often larger than the difference between dancers scores suggesting that this judging system lacks validity. This was the first research to assess judging in DanceSport and offers suggestions to potentially improve both its objectivity and validity in the future. | |
Ušpurienė, Aistė; Malinauskas, Romualdas; Šniras, Šarūnas Effects of Education Programs on Dance Sport Performance in Youth Dancers Journal Article European Journal of Contemporary Education, 8 (1), pp. 136-143, 2019. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Uspuriene-etal2019, title = {Effects of Education Programs on Dance Sport Performance in Youth Dancers}, author = { Aistė Ušpurienė and Romualdas Malinauskas and Šarūnas Šniras}, url = {http://www.ejournal1.com/journals_n/1553686897.pdf}, year = {2019}, date = {2019-03-01}, journal = {European Journal of Contemporary Education}, volume = {8}, number = {1}, pages = {136-143}, abstract = {The aim of this study was to investigate the effects of education programs on dance performance in youth sports dancers. Fifty-four subjects (aged 9-11 years) volunteered to participate in a 12 wk education program and were randomly assigned to three groups. The experimental group one (EG-1) trained in Dance sport 2 d.wk ⁻¹ and performed physical training (i.e. track and field athletics, games, relays, and rhythmic gymnastics) 1 d.wk ⁻¹ . Experimental group two (EG-2) trained in Dance sport 2 d.wk ⁻¹ and performed aerobics and aerobic gymnastics exercises 1 d.wk ⁻¹ . The control group (CG) dancers developed their Dance sport-specific technical and tactical skills 3 d.wk ⁻¹ . Training occurred 3 d.wk ⁻¹ for a total of 54 hours. The dancers' anthropometric and physical fitness characteristics, as well as Dance sport performances were measured pre and post-intervention. No significant differences were observed at baseline between the three groups, except stature in EG-2 (p > .005). At post-intervention, the supplemental education sessions improved Dance sport performance scores of EG-1 (p = .004, η ² = .673}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The aim of this study was to investigate the effects of education programs on dance performance in youth sports dancers. Fifty-four subjects (aged 9-11 years) volunteered to participate in a 12 wk education program and were randomly assigned to three groups. The experimental group one (EG-1) trained in Dance sport 2 d.wk ⁻¹ and performed physical training (i.e. track and field athletics, games, relays, and rhythmic gymnastics) 1 d.wk ⁻¹ . Experimental group two (EG-2) trained in Dance sport 2 d.wk ⁻¹ and performed aerobics and aerobic gymnastics exercises 1 d.wk ⁻¹ . The control group (CG) dancers developed their Dance sport-specific technical and tactical skills 3 d.wk ⁻¹ . Training occurred 3 d.wk ⁻¹ for a total of 54 hours. The dancers' anthropometric and physical fitness characteristics, as well as Dance sport performances were measured pre and post-intervention. No significant differences were observed at baseline between the three groups, except stature in EG-2 (p > .005). At post-intervention, the supplemental education sessions improved Dance sport performance scores of EG-1 (p = .004, η ² = .673 | |
2018 |
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Liébana, Encarna; Monleón, Cristina; Morales, Raquel; Pablos, Carlos; Moratal, Consuelo; Herraiz, Esther Blasco Muscle Activation in the Main Muscle Groups of the Lower Limbs in High-Level Dancesport Athletes Journal Article Medical problems of performing artists, 33 , pp. 231, 2018. Abstract | BibTeX | Tags: Latin, Standard @article{Liebana-etal2018, title = {Muscle Activation in the Main Muscle Groups of the Lower Limbs in High-Level Dancesport Athletes}, author = { Encarna Liébana and Cristina Monleón and Raquel Morales and Carlos Pablos and Consuelo Moratal and Esther Blasco Herraiz}, year = {2018}, date = {2018-12-02}, journal = {Medical problems of performing artists}, volume = {33}, pages = {231}, abstract = {Dancers are subjected to high-intensity workouts when they practice dancesport, and according to the literature, they are prone to injury, primarily of the lower limbs. The purpose of this study was to determine whether differences exist in relative activation amplitudes for dancers involved in dancesport due to muscle, gender, and type of dance. Measurements were carried out using surface electromyography equipment during the choreography of a performance in the following leg muscles: rectus femoris, biceps femoris, tibialis anterior, and gastrocnemius medialis. Eight couples of active dancesport athletes (aged 20.50±2.75 yrs) were analyzed. Significant gender differences were found in rumba in the tibialis anterior (p<0.05) and gastrocnemius medialis (p<0.05). Based on the different activations, it is possible to establish possible mechanisms of injury, as well as tools for preventing injuries and improving sports performance.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Dancers are subjected to high-intensity workouts when they practice dancesport, and according to the literature, they are prone to injury, primarily of the lower limbs. The purpose of this study was to determine whether differences exist in relative activation amplitudes for dancers involved in dancesport due to muscle, gender, and type of dance. Measurements were carried out using surface electromyography equipment during the choreography of a performance in the following leg muscles: rectus femoris, biceps femoris, tibialis anterior, and gastrocnemius medialis. Eight couples of active dancesport athletes (aged 20.50±2.75 yrs) were analyzed. Significant gender differences were found in rumba in the tibialis anterior (p<0.05) and gastrocnemius medialis (p<0.05). Based on the different activations, it is possible to establish possible mechanisms of injury, as well as tools for preventing injuries and improving sports performance. | |
 | Outevsky, David ; Cancio, Justin An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps Journal Article Jacobs Journal of Sports Medicine, 5 (1), pp. 1-6, 2018. Abstract | BibTeX | Tags: Latin | Links: @article{Outevsky2003, title = {An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps}, author = {Outevsky, David and Cancio, Justin}, url = {https://www.academia.edu/37756026/An_Analysis_of_the_Centre_of_Balance_Trajectory_in_Basic_Rumba_Steps}, year = {2018}, date = {2018-10-01}, journal = {Jacobs Journal of Sports Medicine}, volume = {5}, number = {1}, pages = {1-6}, abstract = {Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance: Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot positions and directions, and there is a lack of information regarding technical aspects of the dance, such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal skill development and progression. This study examined the centre of balance trajectory in the basic walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight placement and movement patterns in one professional and three novice ballroom dancers. The professional dancer performed the steps on the Foots can, while novices were given two 30 minute sessions to learn the steps. Results showed that novice dancers made various compensations in balance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as it was traditionally taught, though still had more deviations in balance, and used more foot volume than the literal technique described. The findings of this study provide an improved understanding of the biomechanics in Latin dancing, and is a starting point for developing improved teaching techniques for performance enhancement and injury prevention for Ballroom dance.}, keywords = {Latin}, pubstate = {published}, tppubtype = {article} } Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance: Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot positions and directions, and there is a lack of information regarding technical aspects of the dance, such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal skill development and progression. This study examined the centre of balance trajectory in the basic walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight placement and movement patterns in one professional and three novice ballroom dancers. The professional dancer performed the steps on the Foots can, while novices were given two 30 minute sessions to learn the steps. Results showed that novice dancers made various compensations in balance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as it was traditionally taught, though still had more deviations in balance, and used more foot volume than the literal technique described. The findings of this study provide an improved understanding of the biomechanics in Latin dancing, and is a starting point for developing improved teaching techniques for performance enhancement and injury prevention for Ballroom dance. |
2017 |
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Prala, Sonia Gabriela; Tiuca, Ioana Codruța Dancesport as a means of education Journal Article Science, Movement and Health, 7 (2), pp. 459-464, 2017. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Prala2017, title = {Dancesport as a means of education}, author = { Sonia Gabriela Prala and Ioana Codruța Tiuca}, url = {https://www.analefefs.ro/anale-fefs/2017/i2s/pe-autori/PRALA%20Sonia%20Gabriela.pdf}, year = {2017}, date = {2017-09-17}, journal = {Science, Movement and Health}, volume = {7}, number = {2}, pages = {459-464}, abstract = {Problem statement. Dance Sport started in Romania with the first competition in 1984, organized by Viorel Năstase, one of the founders of the Romanian Dance Sport Federation (R.D.S.F.) founded in 1991. However, since its establishment to the present time, no state structure, or more specifically, a structure belonging to the Ministry of National Education, was set up to organize the debut of young people in their career as performing sport dancers. They often get into a dance hall by pure chance. If dance sport was available to everyone, future champions would probably be highlighted and the selection would be more appropriate. Moreover, young sport dancers have the chance to go through the stages of learning only at private dance clubs, which further reduces the number of talented dancers who make a career in dance sport because they cannot afford the costs. The aim of the research. A structure within the Ministry of National Education that can represent the stage of initiation in a sport dancer career is primary, secondary and upper secondary education. Within this structure, students can be involved in dance sport at Physical Education classes. In addition to general physical training and the development of basic motor skills, classes can be organized for students to learn about dance sport. Those interested may be further directed to integrated sports education or to state-owned schools specializing in extracurricular activities where they may reach the next learning stage. Conclusions. I believe that introducing dance sport in the school curriculum for the Physical Education classes is a first step for young talents on their way to becoming performance dancers and results in the discovery of more talents in this field but also brings many general benefits : physical and mental health, socializing of the individual, motric, psychological and socio-cultural education, aesthetic education, physical development and development of the effort capacity, competition and communication with others and with oneself, fulfilment of the performance aspirations. This is how dance sport is one of the most educative activities in which students learn to understand music, to know their body and express their feelings through movement.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Problem statement. Dance Sport started in Romania with the first competition in 1984, organized by Viorel Năstase, one of the founders of the Romanian Dance Sport Federation (R.D.S.F.) founded in 1991. However, since its establishment to the present time, no state structure, or more specifically, a structure belonging to the Ministry of National Education, was set up to organize the debut of young people in their career as performing sport dancers. They often get into a dance hall by pure chance. If dance sport was available to everyone, future champions would probably be highlighted and the selection would be more appropriate. Moreover, young sport dancers have the chance to go through the stages of learning only at private dance clubs, which further reduces the number of talented dancers who make a career in dance sport because they cannot afford the costs. The aim of the research. A structure within the Ministry of National Education that can represent the stage of initiation in a sport dancer career is primary, secondary and upper secondary education. Within this structure, students can be involved in dance sport at Physical Education classes. In addition to general physical training and the development of basic motor skills, classes can be organized for students to learn about dance sport. Those interested may be further directed to integrated sports education or to state-owned schools specializing in extracurricular activities where they may reach the next learning stage. Conclusions. I believe that introducing dance sport in the school curriculum for the Physical Education classes is a first step for young talents on their way to becoming performance dancers and results in the discovery of more talents in this field but also brings many general benefits : physical and mental health, socializing of the individual, motric, psychological and socio-cultural education, aesthetic education, physical development and development of the effort capacity, competition and communication with others and with oneself, fulfilment of the performance aspirations. This is how dance sport is one of the most educative activities in which students learn to understand music, to know their body and express their feelings through movement. | |
Vlašić, Jadranka; Oreb, Goran; Horvatin-Fuckar, Maja Motor abilities necessary to be successful at dancing Journal Article Baltic Journal of Health and Physical Activity, 9 , pp. 7-16, 2017. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Vlasic-etal2017, title = {Motor abilities necessary to be successful at dancing}, author = { Jadranka Vlašić and Goran Oreb and Maja Horvatin-Fuckar}, url = {https://www.researchgate.net/publication/350218687_Motor_abilities_necessary_to_be_successful_at_dancing}, year = {2017}, date = {2017-03-31}, journal = {Baltic Journal of Health and Physical Activity}, volume = {9}, pages = {7-16}, abstract = {The aim of the study was to determine the relation between motor abilities and the rate of success in dancing of 85 students of the Faculty of Kinesiology. Efficiency in dancing was represented by the marks given to the subjects by five experts after performing each dance on the basis of a video recording. The variables’ sample to determine motor abilities consisted of the results achieved by measuring motor abilities of coordination, realization of rhythmical structures, balance, movement frequency, flexibility and explosive strength. By means of regression analysis a statistically significant relationship was established between a predictor set of the students’ motor abilities and the overall dancing efficiency criterion (R = 0.67), the predictor set and the folk dances efficiency criterion (R = 0.67) and the predictor set and the social dances’ efficiency criterion (R = 0.62) (p < 0.01). Predictors with the highest rate of the relationship of the predictor set with the overall dancing efficiency criterion and folk dancing efficiency are drumming without the rhythm and side-steps with a 360° turn. The students with a higher level of rhythmic abilities and coordination will be more successful in performing dancing structures.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The aim of the study was to determine the relation between motor abilities and the rate of success in dancing of 85 students of the Faculty of Kinesiology. Efficiency in dancing was represented by the marks given to the subjects by five experts after performing each dance on the basis of a video recording. The variables’ sample to determine motor abilities consisted of the results achieved by measuring motor abilities of coordination, realization of rhythmical structures, balance, movement frequency, flexibility and explosive strength. By means of regression analysis a statistically significant relationship was established between a predictor set of the students’ motor abilities and the overall dancing efficiency criterion (R = 0.67), the predictor set and the folk dances efficiency criterion (R = 0.67) and the predictor set and the social dances’ efficiency criterion (R = 0.62) (p < 0.01). Predictors with the highest rate of the relationship of the predictor set with the overall dancing efficiency criterion and folk dancing efficiency are drumming without the rhythm and side-steps with a 360° turn. The students with a higher level of rhythmic abilities and coordination will be more successful in performing dancing structures. | |
Reijonen, Olli Lost Batucada : The Art of Deixa Falar, Portela and Mestre Oscar Bigode PhD Thesis 2017. Abstract | BibTeX | Tags: Latin | Links: @phdthesis{Reijonen2017, title = {Lost Batucada : The Art of Deixa Falar, Portela and Mestre Oscar Bigode}, author = {Reijonen, Olli}, url = {https://helda.helsinki.fi/handle/10138/174614}, year = {2017}, date = {2017-02-24}, abstract = {This doctoral dissertation covers the batucada and it focuses on Os 27 Amigos bateria and Oscar Pereira de Souza's, its director's, perceptions of the batucada. He was the last active master of Rio de Janeiro's oldest Deixa Falar Portela tradition. The central questions are: How did batucada develop and how are the baterias organized? What are the instruments, rhythms, and functions of batucada? What are the elements of batucada? How is the quality of batucada estimated, and what are the criteria? How can the rhythm of batucada be analyzed? What is the harmony of batucada and how it is created? The first section covers the history of the batucada and the organization of baterias, as well as the instruments rhythmic functions and the bateria's structural elements. The qualitative criteria of the batucada are examined at the end of this section. The early batucada rhythm is reconstructed based on Silva's Bum bum vocalization. The rhythmic is analyzed based on the theory of a basic rhythm diminuted rhythm music level. Os 27 Amigos and their contemporary batucadas rhythmic characteristics are compared. In the last section, we examine the harmony of the baterias from the 2002-2003 period. After that, we examine de Souza's perceptions of harmony as a driving factor in the way a bateria plays. In the end is a study on the harmonic structure of Os 27 Amigos bateria and what it is based on. The central methods of this work are the teacher - student method, field work, the paradigmatic method, electronic methods, notations, deduction, experimental work and the three-tiered rhythm analysis. Based on the results, it can be said that the batucada has a very developed musical grammar and terminology. The batucada's development is heavily based on the development of the surdos, which is grounded, in turn, on a much older concept of music, based on the African cuicas. Two different rhythmic paradigms, an older harmonic on and a newer, anharmonic one, have developed from this. The batucada is based on multiple clave and marker rhythms. This structure and the divisive form of the batucada can be shown clearly. This work is the first one to delve deep into the musical structure of the batucada and the concepts and terms related to it. It documents the oldest batucada tradition and forms a starting point for further study on the batucada and a wider study of the samba. Its results also shed light on the central structures of Afro-Brazilian, African, and other similar styles of music and thus enables a deeper than previously possible analysis of them, as long as all the relevant musico-cultural conventions are observed.}, keywords = {Latin}, pubstate = {published}, tppubtype = {phdthesis} } This doctoral dissertation covers the batucada and it focuses on Os 27 Amigos bateria and Oscar Pereira de Souza's, its director's, perceptions of the batucada. He was the last active master of Rio de Janeiro's oldest Deixa Falar Portela tradition. The central questions are: How did batucada develop and how are the baterias organized? What are the instruments, rhythms, and functions of batucada? What are the elements of batucada? How is the quality of batucada estimated, and what are the criteria? How can the rhythm of batucada be analyzed? What is the harmony of batucada and how it is created? The first section covers the history of the batucada and the organization of baterias, as well as the instruments rhythmic functions and the bateria's structural elements. The qualitative criteria of the batucada are examined at the end of this section. The early batucada rhythm is reconstructed based on Silva's Bum bum vocalization. The rhythmic is analyzed based on the theory of a basic rhythm diminuted rhythm music level. Os 27 Amigos and their contemporary batucadas rhythmic characteristics are compared. In the last section, we examine the harmony of the baterias from the 2002-2003 period. After that, we examine de Souza's perceptions of harmony as a driving factor in the way a bateria plays. In the end is a study on the harmonic structure of Os 27 Amigos bateria and what it is based on. The central methods of this work are the teacher - student method, field work, the paradigmatic method, electronic methods, notations, deduction, experimental work and the three-tiered rhythm analysis. Based on the results, it can be said that the batucada has a very developed musical grammar and terminology. The batucada's development is heavily based on the development of the surdos, which is grounded, in turn, on a much older concept of music, based on the African cuicas. Two different rhythmic paradigms, an older harmonic on and a newer, anharmonic one, have developed from this. The batucada is based on multiple clave and marker rhythms. This structure and the divisive form of the batucada can be shown clearly. This work is the first one to delve deep into the musical structure of the batucada and the concepts and terms related to it. It documents the oldest batucada tradition and forms a starting point for further study on the batucada and a wider study of the samba. Its results also shed light on the central structures of Afro-Brazilian, African, and other similar styles of music and thus enables a deeper than previously possible analysis of them, as long as all the relevant musico-cultural conventions are observed. | |
2016 |
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Heil, Daniel P; Boehming, Katie; Juergens, Cheryl; Ludlow, Sarah; Tambasco, Anna; Lankford, Eli Predicting Energy Expenditure for Ballroom Dancing With Accelerometry-Based Activity Monitors in Experienced Dancers Journal Article Medicine and science in sports and exercise, 48 (5), pp. 845, 2016. BibTeX | Tags: Latin, Standard @article{Heil2016, title = {Predicting Energy Expenditure for Ballroom Dancing With Accelerometry-Based Activity Monitors in Experienced Dancers}, author = { Daniel P. Heil and Katie Boehming and Cheryl Juergens and Sarah Ludlow and Anna Tambasco and Eli Lankford}, year = {2016}, date = {2016-06-30}, journal = {Medicine and science in sports and exercise}, volume = {48}, number = {5}, pages = {845}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } | |
Han, Sang-Ho A Historical Review of the Growth and Development of Dancesport in Korea Journal Article Journal of Digital Convergence, 14 , pp. 45-54, 2016. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Han2016, title = {A Historical Review of the Growth and Development of Dancesport in Korea}, author = { Sang-Ho Han}, url = {https://www.koreascience.or.kr/article/JAKO201611962056359.pdf}, year = {2016}, date = {2016-03-28}, journal = {Journal of Digital Convergence}, volume = {14}, pages = {45-54}, abstract = {The purpose of this article was to not only review historically the growth and development of dancesport, to but also seek to inform the value and prospect of dancesport in Korea. To achieve the purpose of the paper, the result of this article was framed into four time periods for a historical review of Korean dancesport growth and development: the late 1880s - the mid 1940s, the late 1940s - the late 1980s, 1990s and 2000s onwards. First, the first period was from the late 1880s to the mid 1940s when the nation accepted a social dance and western dance and tradition especially in upper-class Korean society. Second, the second period was from the late 1940s to the late 1980s when social dances (or ballroom dance) were suppressed under the military-based regime. The most likely explanation for this was a tradition that Korea society consider distinction between the sexes as a virtue. Third, third period was the 1990s when the social dance (ballroom dance) was developed officially into dancesport. Actually, the 1990s saw the sport built up a positive image while a negative image was portrayed by the military-based government. Fourth, the fourth period was the 2000s onwards when the sport has been developed as a sport and culture in a sound and systematic manner. Indeed, the sport has come to meet the public tastes.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The purpose of this article was to not only review historically the growth and development of dancesport, to but also seek to inform the value and prospect of dancesport in Korea. To achieve the purpose of the paper, the result of this article was framed into four time periods for a historical review of Korean dancesport growth and development: the late 1880s - the mid 1940s, the late 1940s - the late 1980s, 1990s and 2000s onwards. First, the first period was from the late 1880s to the mid 1940s when the nation accepted a social dance and western dance and tradition especially in upper-class Korean society. Second, the second period was from the late 1940s to the late 1980s when social dances (or ballroom dance) were suppressed under the military-based regime. The most likely explanation for this was a tradition that Korea society consider distinction between the sexes as a virtue. Third, third period was the 1990s when the social dance (ballroom dance) was developed officially into dancesport. Actually, the 1990s saw the sport built up a positive image while a negative image was portrayed by the military-based government. Fourth, the fourth period was the 2000s onwards when the sport has been developed as a sport and culture in a sound and systematic manner. Indeed, the sport has come to meet the public tastes. | |
Lakes, Kimberley; Marvin, Shesha; Rowley, Jessica; Nicolas, Malia; Arastoo, Sara; Viray, Leo; Orozco, Amanda; Jurnak, Fran Dancer perceptions of the cognitive, social, emotional, and physical benefits of modern styles of partnered dancing Journal Article Complementary Therapies in Medicine, 26 , pp. 117–122, 2016. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Lakes2016, title = {Dancer perceptions of the cognitive, social, emotional, and physical benefits of modern styles of partnered dancing}, author = { Kimberley Lakes and Shesha Marvin and Jessica Rowley and Malia Nicolas and Sara Arastoo and Leo Viray and Amanda Orozco and Fran Jurnak}, url = {https://escholarship.org/content/qt53w3d0f4/qt53w3d0f4.pdf?t=oc0099}, year = {2016}, date = {2016-03-01}, journal = {Complementary Therapies in Medicine}, volume = {26}, pages = {117–122}, abstract = {Objective: To study dancers' perceptions of the physical, cognitive, affective, and social benefits of partnered dancing. Method: 225 dancers (71% female) were recruited through a community ballroom dance center and completed an online survey designed to measure their perceptions of the physical, cognitive, affective, and social benefits of modern, partnered dance styles (swing, Lindy Hop, and ballroom dancing). Subgroups were formed for analyses. For one set of analyses, groups based on length of dance participation were formed: experienced (dancing for more than 2 years) or novice (dancing for less than a year) dancers. For another set of analyses, groups based on frequency of dance practice were formed: committed (dancing at least one or more times per week) or occasional (dancing two or fewer times per month). Results: The majority of participants reported perceived benefits in physical fitness, cognition, affect, and social functioning. Experienced dancers reported significantly greater self-perceived physical, social, and cognitive benefits than novice dancers. Committed dancers were more likely than occasional dancers to report improvements in physical fitness}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Objective: To study dancers' perceptions of the physical, cognitive, affective, and social benefits of partnered dancing. Method: 225 dancers (71% female) were recruited through a community ballroom dance center and completed an online survey designed to measure their perceptions of the physical, cognitive, affective, and social benefits of modern, partnered dance styles (swing, Lindy Hop, and ballroom dancing). Subgroups were formed for analyses. For one set of analyses, groups based on length of dance participation were formed: experienced (dancing for more than 2 years) or novice (dancing for less than a year) dancers. For another set of analyses, groups based on frequency of dance practice were formed: committed (dancing at least one or more times per week) or occasional (dancing two or fewer times per month). Results: The majority of participants reported perceived benefits in physical fitness, cognition, affect, and social functioning. Experienced dancers reported significantly greater self-perceived physical, social, and cognitive benefits than novice dancers. Committed dancers were more likely than occasional dancers to report improvements in physical fitness | |
Kruusamäe, Helena; Maasalu, Katre; Jürimäe, Jaak Bone Mineral Density in Elite DanceSport Athletes Journal Article Medical problems of performing artists, 31 , pp. 25-28, 2016. Abstract | BibTeX | Tags: Latin, Standard @article{Kruusamae-etal2016, title = {Bone Mineral Density in Elite DanceSport Athletes}, author = { Helena Kruusamäe and Katre Maasalu and Jaak Jürimäe}, year = {2016}, date = {2016-03-01}, journal = {Medical problems of performing artists}, volume = {31}, pages = {25-28}, abstract = {This study compared bone mineral density (BMD) variables of female and male elite dancesport athletes with untrained control subjects of the same gender. Sixty-six elite dancesport athletes (M 33, F 33) and 64 untrained controls (M 34, F 31) participated in this study. Elite dancesport athletes were dancing couples competing at the international level. Whole-body bone mineral content and whole-body, forearm, lumbar-spine, and femoral-neck BMD, as well as whole-body fat mass and fat free mass, were measured by dual-energy X-ray absorptiometry. There were no differences (p>0.05) in height and body mass between dancers and controls of the same gender, but percent body fat was lower (p<0.05) in dancers of both genders than in untrained controls. Elite dancesport athletes had significantly higher femoral-neck BMD, and male dancers also higher whole-body BMD values when compared with controls of the same gender. All other measured bone mineral values did not differ between the groups of the same gender. In addition, training experience was positively correlated with whole-body BMD (r=0.27; p<0.05) in dancesport athletes. Based on this study, it can be concluded that elite dancesport athletes have higher BMD values at the weight-bearing site (femoral-neck BMD), while other measured areas and whole-body bone mineral values do not differ from the corresponding values of healthy sedentary controls of the same gender. According to our results, low BMD is not an issue for elite female dancesport athletes, despite their lower percent body fat values.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } This study compared bone mineral density (BMD) variables of female and male elite dancesport athletes with untrained control subjects of the same gender. Sixty-six elite dancesport athletes (M 33, F 33) and 64 untrained controls (M 34, F 31) participated in this study. Elite dancesport athletes were dancing couples competing at the international level. Whole-body bone mineral content and whole-body, forearm, lumbar-spine, and femoral-neck BMD, as well as whole-body fat mass and fat free mass, were measured by dual-energy X-ray absorptiometry. There were no differences (p>0.05) in height and body mass between dancers and controls of the same gender, but percent body fat was lower (p<0.05) in dancers of both genders than in untrained controls. Elite dancesport athletes had significantly higher femoral-neck BMD, and male dancers also higher whole-body BMD values when compared with controls of the same gender. All other measured bone mineral values did not differ between the groups of the same gender. In addition, training experience was positively correlated with whole-body BMD (r=0.27; p<0.05) in dancesport athletes. Based on this study, it can be concluded that elite dancesport athletes have higher BMD values at the weight-bearing site (femoral-neck BMD), while other measured areas and whole-body bone mineral values do not differ from the corresponding values of healthy sedentary controls of the same gender. According to our results, low BMD is not an issue for elite female dancesport athletes, despite their lower percent body fat values. | |
2015 |
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Outevsky, David ; Martin, Blake Cameron Wesley Conditioning Methodologies for DanceSport: Lessons from Gymnastics, Figure Skating, and Concert Dance Research Journal Article Medical Problems of Performing Artists, 30 (4), pp. 238-250, 2015. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Outevsky2003b, title = {Conditioning Methodologies for DanceSport: Lessons from Gymnastics, Figure Skating, and Concert Dance Research}, author = {Outevsky, David and Martin, Blake Cameron Wesley}, url = {https://outevsky.com/}, year = {2015}, date = {2015-12-01}, journal = {Medical Problems of Performing Artists}, volume = {30}, number = {4}, pages = {238-250}, abstract = {Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper. | |
Soraka, Alvydas; Sapezinskiene, Laima Research Methodology for Education Through Partner Dancesport Journal Article Procedia - Social and Behavioral Sciences, 191 , pp. 1976-1982, 2015. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Soraka2015, title = {Research Methodology for Education Through Partner Dancesport}, author = { Alvydas Soraka and Laima Sapezinskiene}, url = {https://www.researchgate.net/publication/282536213_Research_Methodology_for_Education_Through_Partner_Dancesport}, year = {2015}, date = {2015-06-01}, journal = {Procedia - Social and Behavioral Sciences}, volume = {191}, pages = {1976-1982}, abstract = {The application of dance, as a branch of art and social practice within the education sphere has received limited attention by research specialists in the field of educology and psychology. DanceSport as a modern cultural phenomenon is one of the most popular ways to educate a person. A new area of research opens up when choosing education through dance art as a research object. The scientific problem is the lack of evidence-based methodology available to investigate the education of students through partner DanceSport. Further, it is unclear how to reduce a contraposition between dance, as a result of sport performance, and art when traditionally only the methodology of dance technique training is used within Lithuania. The aim of the article is to create a methodology for the education of students through partner DanceSport when preparing them for high-performance competition.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The application of dance, as a branch of art and social practice within the education sphere has received limited attention by research specialists in the field of educology and psychology. DanceSport as a modern cultural phenomenon is one of the most popular ways to educate a person. A new area of research opens up when choosing education through dance art as a research object. The scientific problem is the lack of evidence-based methodology available to investigate the education of students through partner DanceSport. Further, it is unclear how to reduce a contraposition between dance, as a result of sport performance, and art when traditionally only the methodology of dance technique training is used within Lithuania. The aim of the article is to create a methodology for the education of students through partner DanceSport when preparing them for high-performance competition. | |
Ermolaeva, Y S Level of anxiety as one of the criteria of efficiency of emotional stability in sport dancing Journal Article Pedagogics, psychology, medical-biological problems of physical training and sports, 19 , pp. 22-25, 2015. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Ermolaeva2015, title = {Level of anxiety as one of the criteria of efficiency of emotional stability in sport dancing}, author = { Y.S. Ermolaeva}, url = {https://www.researchgate.net/publication/273339093_Level_of_anxiety_as_one_of_the_criteria_of_efficiency_of_emotional_stability_in_sport_dancing}, year = {2015}, date = {2015-02-15}, journal = {Pedagogics, psychology, medical-biological problems of physical training and sports}, volume = {19}, pages = {22-25}, abstract = {Purpose: improve the efficiency of performance of competitive sports dance in pairs due to the formation and improvement of indicators of emotional stability. The objectives of the study was to examine the personality characteristics of athletes in the dance couple, affecting their emotional stability. Also determine the conditions for the formation of emotional stability dancing. Material : the study involved 32 dancers aged 12-14 years old. Spielberger questionnaire was used. Results : it was found that the level of trait anxiety was 40.2 points. Athletes also met with high and low trait anxiety. The average level of situational anxiety at rest the dancers stood at 38.8 points. Before the tournament, this index increased significantly (54.5 points). Conclusions : for dancers with a high level of anxiety should generate a sense of confidence and success in their abilities. For dancers with low levels of anxiety requires waking activity, arousal of interest, a sense of responsibility in the task of training activity.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Purpose: improve the efficiency of performance of competitive sports dance in pairs due to the formation and improvement of indicators of emotional stability. The objectives of the study was to examine the personality characteristics of athletes in the dance couple, affecting their emotional stability. Also determine the conditions for the formation of emotional stability dancing. Material : the study involved 32 dancers aged 12-14 years old. Spielberger questionnaire was used. Results : it was found that the level of trait anxiety was 40.2 points. Athletes also met with high and low trait anxiety. The average level of situational anxiety at rest the dancers stood at 38.8 points. Before the tournament, this index increased significantly (54.5 points). Conclusions : for dancers with a high level of anxiety should generate a sense of confidence and success in their abilities. For dancers with low levels of anxiety requires waking activity, arousal of interest, a sense of responsibility in the task of training activity. | |
2014 |
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Kļonova, Alina Partners' physiological engagement and body contact improvement in standard sport dances PhD Thesis Latvian Academy of Sport Education, 2014. BibTeX | Tags: Standard | Links: @phdthesis{Klonova2014, title = {Partners' physiological engagement and body contact improvement in standard sport dances}, author = { Alina Kļonova}, url = {https://www.lspa.lv/files/students/Promotion/Alina_Klonova_Promocijas_darbs.pdf}, year = {2014}, date = {2014-12-13}, journal = {Latvian Academy of Sport Education}, school = {Latvian Academy of Sport Education}, keywords = {Standard}, pubstate = {published}, tppubtype = {phdthesis} } | |
Malaguti, Marco; Zanchini, Andrea Energy requirements in top-level DanceSport Athletes Journal Article Journal of Human Sport and Exercise, 9 (1), pp. 148-156, 2014. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Malaguti2014, title = {Energy requirements in top-level DanceSport Athletes}, author = { Marco Malaguti and Andrea Zanchini}, url = {https://core.ac.uk/reader/32319957}, year = {2014}, date = {2014-07-27}, journal = {Journal of Human Sport and Exercise}, volume = {9}, number = {1}, pages = {148-156}, abstract = {Dancesport is a sport of recent history: recognition by the IOC as Olympic discipline came in 1997. Scientific literature on this new sport is almost nonexistent. The purpose of this study is to define the energy expenditure and the intensity of the two main dancesport disciplines (latin-american and standard dances) in top-level athletes and verify characteristics and differences of these two dance genres. Twenty dancers, 10 male and 10 female (10 couples), aged between 19 and 31 years, have been enrolled in this study. 5 couples were latin-american dancers while 5 couples standard dancers. Athletes were asked to wear a metabolic holter (Sensewear Armband) for 25 hours and to perform a training session and a simulated competition to record BMR (Basal Metabolic Rate), DEE (Daily Energy Expenditure), TEE (Training Energy Expenditure), MET (Metabolic Equivalent) and PAL (Physical Activity Level). Statistical analysis reveals no differences between the two dance disciplines, our results suggest that dancesport is a moderate/heavy activity that requires a strong energy expenditure. Athletes involved in continuous training programs show a vigorous Physical Activity Level.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Dancesport is a sport of recent history: recognition by the IOC as Olympic discipline came in 1997. Scientific literature on this new sport is almost nonexistent. The purpose of this study is to define the energy expenditure and the intensity of the two main dancesport disciplines (latin-american and standard dances) in top-level athletes and verify characteristics and differences of these two dance genres. Twenty dancers, 10 male and 10 female (10 couples), aged between 19 and 31 years, have been enrolled in this study. 5 couples were latin-american dancers while 5 couples standard dancers. Athletes were asked to wear a metabolic holter (Sensewear Armband) for 25 hours and to perform a training session and a simulated competition to record BMR (Basal Metabolic Rate), DEE (Daily Energy Expenditure), TEE (Training Energy Expenditure), MET (Metabolic Equivalent) and PAL (Physical Activity Level). Statistical analysis reveals no differences between the two dance disciplines, our results suggest that dancesport is a moderate/heavy activity that requires a strong energy expenditure. Athletes involved in continuous training programs show a vigorous Physical Activity Level. | |
Liiv, Helena; Jürimäe, Toivo; Jarek, Mäestu; Purge, Priit; Hannus, Aave; Jürimäe, Jaak Physiological characteristics of elite dancers of different dance styles Journal Article European journal of sport science, 14 , pp. 429-436, 2014. Abstract | BibTeX | Tags: Latin, Standard @article{Liiv-etal2014, title = {Physiological characteristics of elite dancers of different dance styles}, author = { Helena Liiv and Toivo Jürimäe and Mäestu Jarek and Priit Purge and Aave Hannus and Jaak Jürimäe}, year = {2014}, date = {2014-01-21}, journal = {European journal of sport science}, volume = {14}, pages = {429-436}, abstract = {The present investigation was aimed to study international level dancesport dancer's aerobic capacity during incremental test and competition simulation in relation to the gender, dance style and international ranking. A total of 30 couples (12 Standard, 7 Latin American and 11 Ten Dance; aged 22.8±6.6 years male and 22.0±6.4 years female) performed an incremental treadmill test and competition simulation. In this study for the first time we carried out longer than one round competition simulation and compared three different dancesport styles (Standard, Latin American and Ten Dance). The results showed that dancers of these three dance styles had similar aerobic capacity values. The average maximal oxygen consumption ([Vdot]O2max) values were 59.6±5.1 and 51.2±6.2 ml·min(-1)·kg(-1) for male and female dancers, respectively. Competition simulation showed that Latin American Dance discipline is physiologically more intensive compared to Standard and Ten Dance styles especially for the female dancers. It appeared that male and female Standard dancers tended to perform at lower intensity than anaerobic threshold (AT) during competition simulation (male 97.3±2.9%; female 97.9±3.6%), while Latin (male 101.4±2.9%; female 106.7±5.9%) and Ten Dance (male 100.7±6.4%; female 99.2±5.6%) competition intensity was higher compared to AT level of athletes. The highest heart rate during competition simulation was always found during the last dances (Paso Double, Jive or Quickstep) and in the last round of each dance style. No significant relationship between [Vdot]O2max values and international rankings was registered.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The present investigation was aimed to study international level dancesport dancer's aerobic capacity during incremental test and competition simulation in relation to the gender, dance style and international ranking. A total of 30 couples (12 Standard, 7 Latin American and 11 Ten Dance; aged 22.8±6.6 years male and 22.0±6.4 years female) performed an incremental treadmill test and competition simulation. In this study for the first time we carried out longer than one round competition simulation and compared three different dancesport styles (Standard, Latin American and Ten Dance). The results showed that dancers of these three dance styles had similar aerobic capacity values. The average maximal oxygen consumption ([Vdot]O2max) values were 59.6±5.1 and 51.2±6.2 ml·min(-1)·kg(-1) for male and female dancers, respectively. Competition simulation showed that Latin American Dance discipline is physiologically more intensive compared to Standard and Ten Dance styles especially for the female dancers. It appeared that male and female Standard dancers tended to perform at lower intensity than anaerobic threshold (AT) during competition simulation (male 97.3±2.9%; female 97.9±3.6%), while Latin (male 101.4±2.9%; female 106.7±5.9%) and Ten Dance (male 100.7±6.4%; female 99.2±5.6%) competition intensity was higher compared to AT level of athletes. The highest heart rate during competition simulation was always found during the last dances (Paso Double, Jive or Quickstep) and in the last round of each dance style. No significant relationship between [Vdot]O2max values and international rankings was registered. | |
2013 |
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Outevsky, David The Role of Touch as a Teaching and Learning Tool in Dance Journal Article Journal of Emerging Dance Scholarship, 2013. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Outevsky2013, title = {The Role of Touch as a Teaching and Learning Tool in Dance}, author = {Outevsky, David}, url = {https://www.jedsonline.net/wp-content/uploads/2013/07/THE-ROLE-OF-TOUCH-AS-A-TEACHING-AND.pdf}, year = {2013}, date = {2013-12-31}, journal = {Journal of Emerging Dance Scholarship}, abstract = {Touch overall and hands-on feedback in particular, have occupied an important position in dance education for a long time; however, its use has been questioned over the last few decades in western society. This paper explores the different research on touch within disciplines such as child development, dance therapy, somatics, and psychiatry and links the findings to possible uses in teaching and learning dance. Also, after reviewing the current use of touch and hands-on feedback in dance education, the paper outlines the positive and negative aspects of the application of touch through discussions of published works as well as author’s personal experience as a dancer and teacher.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Touch overall and hands-on feedback in particular, have occupied an important position in dance education for a long time; however, its use has been questioned over the last few decades in western society. This paper explores the different research on touch within disciplines such as child development, dance therapy, somatics, and psychiatry and links the findings to possible uses in teaching and learning dance. Also, after reviewing the current use of touch and hands-on feedback in dance education, the paper outlines the positive and negative aspects of the application of touch through discussions of published works as well as author’s personal experience as a dancer and teacher. | |
Zhao, Qian The Review and Motivation Analysis of Dancesport Development in China Journal Article Zhejiang Sport Science, 1 , pp. 58-60, 2013. Abstract | BibTeX | Tags: Latin, Standard @article{Zhao2013, title = {The Review and Motivation Analysis of Dancesport Development in China}, author = { Qian Zhao}, year = {2013}, date = {2013-12-31}, journal = {Zhejiang Sport Science}, volume = {1}, pages = {58-60}, abstract = {The paper takes the literature data, logic analysis and other methods to summarize and analyze the development of China's sports dance,special point and motivation.It is considered that the development of dancesport in china has experienced a period of free development,organization adjustment,international communication,competition reform and early stage brand.The motivation to promote the development of China's sports dance includes the broad mass base,establishment of many professional colleges,active organization and leadership of federation,system reform and innovation,market operation and innovation.The paper has also pointed out some development path so as to accelerate the sustainable development of dancesport in China.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } The paper takes the literature data, logic analysis and other methods to summarize and analyze the development of China's sports dance,special point and motivation.It is considered that the development of dancesport in china has experienced a period of free development,organization adjustment,international communication,competition reform and early stage brand.The motivation to promote the development of China's sports dance includes the broad mass base,establishment of many professional colleges,active organization and leadership of federation,system reform and innovation,market operation and innovation.The paper has also pointed out some development path so as to accelerate the sustainable development of dancesport in China. | |
Liiv, Helena; Wyon, Matthew; Jürimäe, Toivo; Saar, Meeli; Jarek, Mäestu; Jürimäe, Jaak Anthropometry, Somatotypes, and Aerobic Power in Ballet, Contemporary Dance, and DanceSport Journal Article Medical problems of performing artists, 28 , pp. 207-211, 2013. Abstract | BibTeX | Tags: Latin, Standard @article{Liiv-etal2013b, title = {Anthropometry, Somatotypes, and Aerobic Power in Ballet, Contemporary Dance, and DanceSport}, author = { Helena Liiv and Matthew Wyon and Toivo Jürimäe and Meeli Saar and Mäestu Jarek and Jaak Jürimäe}, year = {2013}, date = {2013-12-01}, journal = {Medical problems of performing artists}, volume = {28}, pages = {207-211}, abstract = {This study compared anthropometric variables, somatotypes, and aerobic capacity between three groups of dancers: classical ballet dancers (M 33, F 56), contemporary dancers (M 28, F 109), and dancesport dancers (M 30, F 30). The assumption was that different functional requirements should produce differences in the anthropometric and aerobic capacity variables among the three groups. Anthropometric data for body mass index (BMI) and somatotypes were measured. Body fat percentage was measured by dual-energy x-ray absorptiometry. Maximal oxygen consumption and aerobic power were measured during an incremental treadmill test until exhaustion. Dancesport athletes were taller compared with same gender contemporary dancers (p<0.05). Female ballet dancers had a lower body mass and BMI compared with their contemporary dance and dancesport equivalents (p<0.001). There was significant difference between dance styles in endomorphy (F2}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } This study compared anthropometric variables, somatotypes, and aerobic capacity between three groups of dancers: classical ballet dancers (M 33, F 56), contemporary dancers (M 28, F 109), and dancesport dancers (M 30, F 30). The assumption was that different functional requirements should produce differences in the anthropometric and aerobic capacity variables among the three groups. Anthropometric data for body mass index (BMI) and somatotypes were measured. Body fat percentage was measured by dual-energy x-ray absorptiometry. Maximal oxygen consumption and aerobic power were measured during an incremental treadmill test until exhaustion. Dancesport athletes were taller compared with same gender contemporary dancers (p<0.05). Female ballet dancers had a lower body mass and BMI compared with their contemporary dance and dancesport equivalents (p<0.001). There was significant difference between dance styles in endomorphy (F2 | |
Prosen, Jerneja; James, Nic; Dimitriou, Lygeri; Perš, Janez; Vučković, Goran A time-motion analysis of turns performed by highly ranked Viennese Waltz dancers Journal Article Journal of human kinetics, 37 , pp. 55-62, 2013. Abstract | BibTeX | Tags: Standard | Links: @article{Prosenetal2013, title = {A time-motion analysis of turns performed by highly ranked Viennese Waltz dancers}, author = { Jerneja Prosen and Nic James and Lygeri Dimitriou and Janez Perš and Goran Vučković}, url = {https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3796842/pdf/jhk-37-55.pdf}, year = {2013}, date = {2013-07-05}, journal = {Journal of human kinetics}, volume = {37}, pages = {55-62}, abstract = {Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were divided into two groups: the first twelve placed couples (top ranked) and the last twelve placed couples (lower ranked). Video recordings were processed automatically using computer vision tracking algorithms under operator supervision to calculate movement parameters. Time and speed of movement were analysed during single natural (right) and reverse (left) turns performed during the Viennese waltz. Both top and lower ranked dancers tended to perform similar proportionate frequencies of reverse (≈ 35%) and natural (≈ 65%) turns. Analysis of reverse turns showed that the top ranked dancers performed less turns on a curved trajectory (16%) than the lower ranked dancers (33%). The top ranked couples performed all turns at similar speeds (F = 1.31, df = 3, p = 0.27; mean = 2.09m/s) all of which were significantly quicker than the lower ranked couples (mean = 1.94m/s), the greatest differences found for reverse turns (12.43% faster for curved trajectories, 8.42% for straight trajectories). This suggests that the ability to maintain a high speed in the more difficult turns, particularly the reverse turns on a curved trajectory, results in the overall dance appearing more fluent as the speed of movement does not fluctuate as much. This aspect of performance needs to be improved by lower ranked dancers if they wish to improve rating of their performance. Future research should determine which factors relate to the speed of turns.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were divided into two groups: the first twelve placed couples (top ranked) and the last twelve placed couples (lower ranked). Video recordings were processed automatically using computer vision tracking algorithms under operator supervision to calculate movement parameters. Time and speed of movement were analysed during single natural (right) and reverse (left) turns performed during the Viennese waltz. Both top and lower ranked dancers tended to perform similar proportionate frequencies of reverse (≈ 35%) and natural (≈ 65%) turns. Analysis of reverse turns showed that the top ranked dancers performed less turns on a curved trajectory (16%) than the lower ranked dancers (33%). The top ranked couples performed all turns at similar speeds (F = 1.31, df = 3, p = 0.27; mean = 2.09m/s) all of which were significantly quicker than the lower ranked couples (mean = 1.94m/s), the greatest differences found for reverse turns (12.43% faster for curved trajectories, 8.42% for straight trajectories). This suggests that the ability to maintain a high speed in the more difficult turns, particularly the reverse turns on a curved trajectory, results in the overall dance appearing more fluent as the speed of movement does not fluctuate as much. This aspect of performance needs to be improved by lower ranked dancers if they wish to improve rating of their performance. Future research should determine which factors relate to the speed of turns. | |
Liiv, Helena; Jurimae, Toivo; Klonova, Alina; Cicchella, Antonio Performance and Recovery: Stress Profiles in Professional Ballroom Dancers Journal Article Medical problems of performing artists, 28 , pp. 65-69, 2013. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Liiv-etal2013, title = {Performance and Recovery: Stress Profiles in Professional Ballroom Dancers}, author = { Helena Liiv and Toivo Jurimae and Alina Klonova and Antonio Cicchella}, url = {https://www.researchgate.net/publication/237096827_Performance_and_Recovery_Stress_Profiles_in_Professional_Ballroom_Dancers}, year = {2013}, date = {2013-06-01}, journal = {Medical problems of performing artists}, volume = {28}, pages = {65-69}, abstract = {Like other athletes, ballroom dancers often compete in short time in different countries under condition of high stress, subjecting them to risk of injury and burnout. In the present study, we measured the aerobic and anaerobic capacities (both during dance and during a simulated ballroom competition), agility, hand and abdominal strength, jumping capacity, flexibility, and balance in 16 top-level couples of ballroom dancers (8 males, 8 females). The in-season level of perceived stress and recovery was assessed using the Rest Q 76 questionnaire, and the relationship with aerobic and anaerobic capacity and with the other tests was studied. Our results show a very high level of aerobic/anaerobic fitness in this population, as well as a high level of stress in males. Balance and experience (age of the subjects) appear to be key characteristics linked to the position in the IDSF World Ranking (world ranking points = 8.67 x age + 5.86 x balance + 1174.65; R2 = 0.740). Emotional stress (r = 0.83}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Like other athletes, ballroom dancers often compete in short time in different countries under condition of high stress, subjecting them to risk of injury and burnout. In the present study, we measured the aerobic and anaerobic capacities (both during dance and during a simulated ballroom competition), agility, hand and abdominal strength, jumping capacity, flexibility, and balance in 16 top-level couples of ballroom dancers (8 males, 8 females). The in-season level of perceived stress and recovery was assessed using the Rest Q 76 questionnaire, and the relationship with aerobic and anaerobic capacity and with the other tests was studied. Our results show a very high level of aerobic/anaerobic fitness in this population, as well as a high level of stress in males. Balance and experience (age of the subjects) appear to be key characteristics linked to the position in the IDSF World Ranking (world ranking points = 8.67 x age + 5.86 x balance + 1174.65; R2 = 0.740). Emotional stress (r = 0.83 | |
2012 |
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Čačković, L; Barić, R; Vlašić, J Psychological stress in dancesport Journal Article Acta Kinesiologica, 6 (2), pp. 71-74, 2012. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Cackovic-etal2012, title = {Psychological stress in dancesport}, author = { L. Čačković and R. Barić and J. Vlašić}, url = {http://actakin.com/PDFS/BR0602/SVEE/04%20CL%2013%20LC.pdf}, year = {2012}, date = {2012-12-20}, journal = {Acta Kinesiologica}, volume = {6}, number = {2}, pages = {71-74}, abstract = {Many factors of different stress levels influence the performance of dancesport couples in various ways. Some of them are invariable and the dancers cannot affect them (judges, other competitors, music, dance floor, dance partner, etc.). Others are variable, i.e., a dancer can affect them promptly (body condition, outfit, choreography, dance skills, etc.). In addition to the foregoing, the psychological stress of dancers depends on his personality traits and the immediate preparation for the competition.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Many factors of different stress levels influence the performance of dancesport couples in various ways. Some of them are invariable and the dancers cannot affect them (judges, other competitors, music, dance floor, dance partner, etc.). Others are variable, i.e., a dancer can affect them promptly (body condition, outfit, choreography, dance skills, etc.). In addition to the foregoing, the psychological stress of dancers depends on his personality traits and the immediate preparation for the competition. | |
Lukić, Adriana; Gerdijan, Nikolina; Bijelić, Snežana; Zagorc, Meta; Radisavljević, Lepa Motor skill efficiency as a quality predictor of technical performance in dance sport Journal Article Serbian Journal of Sports Sciences, 6 (2), pp. 77-82, 2012. Abstract | BibTeX | Tags: Latin @article{Lukic-etal2012, title = {Motor skill efficiency as a quality predictor of technical performance in dance sport}, author = { Adriana Lukić and Nikolina Gerdijan and Snežana Bijelić and Meta Zagorc and Lepa Radisavljević}, year = {2012}, date = {2012-07-01}, journal = {Serbian Journal of Sports Sciences}, volume = {6}, number = {2}, pages = {77-82}, abstract = {With respect to the importance of dance technique for the dance class and the fact that achieving a good result and winning, especially in younger dance classes, is based on good technical preparation, it can be concluded that the training process should be oriented towards the development of motor skills that enable the dancer to prepare better technically. Detection and diagnosis of those motor skills which are important for the quality of technique of Latin American dances will redirect the preparation of trained dancers significantly, adding to the extensity and intensity of development and improving the dominant abilities. This was the main aim of the present study, conducted on dance sport competitors aged 12 to 15. The results indicated a wide range of motor skills on which the quality of the technique in Latin American dances depend, and singled out coordination, explosive power, and the ability to express complex rhythmic structures as dominant.}, keywords = {Latin}, pubstate = {published}, tppubtype = {article} } With respect to the importance of dance technique for the dance class and the fact that achieving a good result and winning, especially in younger dance classes, is based on good technical preparation, it can be concluded that the training process should be oriented towards the development of motor skills that enable the dancer to prepare better technically. Detection and diagnosis of those motor skills which are important for the quality of technique of Latin American dances will redirect the preparation of trained dancers significantly, adding to the extensity and intensity of development and improving the dominant abilities. This was the main aim of the present study, conducted on dance sport competitors aged 12 to 15. The results indicated a wide range of motor skills on which the quality of the technique in Latin American dances depend, and singled out coordination, explosive power, and the ability to express complex rhythmic structures as dominant. | |
2011 |
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Špánik, Milan; Psalman, Vladimír; Zvonař, Martin Kinematic Structure of Selected Viennese Waltz Dance Figure Journal Article Studia Sportiva, 5 (3), pp. 63-72, 2011. Abstract | BibTeX | Tags: Standard | Links: @article{Spanik2011, title = {Kinematic Structure of Selected Viennese Waltz Dance Figure}, author = { Milan Špánik and Vladimír Psalman and Martin Zvonař}, url = {https://www.tskmm.sk/old/clanky/spanik,%20psalman,%20zvonar%20-%20kinematic%20structure%20of%20selected%20viennese%20waltz%20dance%20figure.pdf}, year = {2011}, date = {2011-12-31}, journal = {Studia Sportiva}, volume = {5}, number = {3}, pages = {63-72}, abstract = {The purpose of this article was to not only review historically the growth and development of dancesport, to but also seek to inform the value and prospect of dancesport in Korea. To achieve the purpose of the paper, the result of this article was framed into four time periods for a historical review of Korean dancesport growth and development: the late 1880s - the mid 1940s, the late 1940s - the late 1980s, 1990s and 2000s onwards. First, the first period was from the late 1880s to the mid 1940s when the nation accepted a social dance and western dance and tradition especially in upper-class Korean society. Second, the second period was from the late 1940s to the late 1980s when social dances (or ballroom dance) were suppressed under the military-based regime. The most likely explanation for this was a tradition that Korea society consider distinction between the sexes as a virtue. Third, third period was the 1990s when the social dance (ballroom dance) was developed officially into dancesport. Actually, the 1990s saw the sport built up a positive image while a negative image was portrayed by the military-based government. Fourth, the fourth period was the 2000s onwards when the sport has been developed as a sport and culture in a sound and systematic manner. Indeed, the sport has come to meet the public tastes.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } The purpose of this article was to not only review historically the growth and development of dancesport, to but also seek to inform the value and prospect of dancesport in Korea. To achieve the purpose of the paper, the result of this article was framed into four time periods for a historical review of Korean dancesport growth and development: the late 1880s - the mid 1940s, the late 1940s - the late 1980s, 1990s and 2000s onwards. First, the first period was from the late 1880s to the mid 1940s when the nation accepted a social dance and western dance and tradition especially in upper-class Korean society. Second, the second period was from the late 1940s to the late 1980s when social dances (or ballroom dance) were suppressed under the military-based regime. The most likely explanation for this was a tradition that Korea society consider distinction between the sexes as a virtue. Third, third period was the 1990s when the social dance (ballroom dance) was developed officially into dancesport. Actually, the 1990s saw the sport built up a positive image while a negative image was portrayed by the military-based government. Fourth, the fourth period was the 2000s onwards when the sport has been developed as a sport and culture in a sound and systematic manner. Indeed, the sport has come to meet the public tastes. | |
Kyselovičová, Olga; Špánik, Milan Kinematic structure of Slow Foxtrot Feather step Journal Article Exercise and Quality of Life Journal, 3 (2), 2011. Abstract | BibTeX | Tags: Standard | Links: @article{Kyselovicova2011, title = {Kinematic structure of Slow Foxtrot Feather step}, author = { Olga Kyselovičová and Milan Špánik}, url = {https://www.eqoljournal.com/wp-content/uploads/2017/06/EQOL_3_2_e.pdf}, year = {2011}, date = {2011-12-31}, journal = {Exercise and Quality of Life Journal}, volume = {3}, number = {2}, abstract = {In dance, biomechanical methodologies are used to improve aspects of dance technique. Therefore the aim of our study was to gain knowledge of the kinematic structure of the feather step in slow fox routine. Material and methods: Four top level dance couples were involved in the study. To examine the routine biomechanically we have filmed the particular dance figures by high speed camera with frequency of 50 frames per second. Subsequently, we processed and evaluated digitalized images by 2D analysis. The path of gravity and angular changes in knee joint in the particular dance figures phases were evaluated and compared between partners and pairs together. Results: Dancing couples in the same conditions reached different readings in angle of the knee joint as well as trajectory of the centre of gravity during motion.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } In dance, biomechanical methodologies are used to improve aspects of dance technique. Therefore the aim of our study was to gain knowledge of the kinematic structure of the feather step in slow fox routine. Material and methods: Four top level dance couples were involved in the study. To examine the routine biomechanically we have filmed the particular dance figures by high speed camera with frequency of 50 frames per second. Subsequently, we processed and evaluated digitalized images by 2D analysis. The path of gravity and angular changes in knee joint in the particular dance figures phases were evaluated and compared between partners and pairs together. Results: Dancing couples in the same conditions reached different readings in angle of the knee joint as well as trajectory of the centre of gravity during motion. | |
Kļonova, Alina; Kļonovs, Juris; Giovanardi, Andrea; Cicchella, Antonio Smart motion capture system measuring movements of professional standard sports dancers in promenade position Journal Article Lase Journal of Sport Science, 2 (2), pp. 27-32, 2011. Abstract | BibTeX | Tags: Standard | Links: @article{Klonova2011, title = {Smart motion capture system measuring movements of professional standard sports dancers in promenade position}, author = { Alina Kļonova and Juris Kļonovs and Andrea Giovanardi and Antonio Cicchella}, url = {https://www.academia.edu/1875256/SMART_MOTION_CAPTURE_SYSTEM_MEASURING_MOVEMENTS_OF_PROFESSIONAL_STANDARD_SPORTS_DANCERS_IN_PROMENADE_POSITION}, year = {2011}, date = {2011-12-13}, journal = {Lase Journal of Sport Science}, volume = {2}, number = {2}, pages = {27-32}, abstract = {The Smart motion capture has become the main method for measuring movements of the dancers. Motion capture provides „snapshots‟ of the complexity of movement patterning. Standard sport dancers keep partners‟ body contact and move complicatedly in a couple during competitive performance. In fact, partnering and posture are main factors for judging to achieve top results at competitions. We have explored how complexity can be mapped to specific variables for analysis such as joint angles, and what such analyses both reveal and mask in relation to the choreographic practices involved. We have used the highly accurate Smart Motion Capture System 2011 for measuring sport dancers‟ kinematic parameters. The main aim of our research was to determine the kinematic parameters of Professional Standard Sport dancers with Smart Motion Capture System in promenade position. Kinematics is described for Slow Waltz, Tango, Slow Foxtrot and Quickstep. For this purpose we have measured and analyzed data of hip and knee angles. Results show that the angles are different in each Standard dance. In tango both knees angles behave in a very similar way. It is clearly visible that they follow the tempo. Finally, profile of kinematic characteristics in promenade position was proposed as performance model in dance sport which is useful for developing sport dancing training techniques and methodologies.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } The Smart motion capture has become the main method for measuring movements of the dancers. Motion capture provides „snapshots‟ of the complexity of movement patterning. Standard sport dancers keep partners‟ body contact and move complicatedly in a couple during competitive performance. In fact, partnering and posture are main factors for judging to achieve top results at competitions. We have explored how complexity can be mapped to specific variables for analysis such as joint angles, and what such analyses both reveal and mask in relation to the choreographic practices involved. We have used the highly accurate Smart Motion Capture System 2011 for measuring sport dancers‟ kinematic parameters. The main aim of our research was to determine the kinematic parameters of Professional Standard Sport dancers with Smart Motion Capture System in promenade position. Kinematics is described for Slow Waltz, Tango, Slow Foxtrot and Quickstep. For this purpose we have measured and analyzed data of hip and knee angles. Results show that the angles are different in each Standard dance. In tango both knees angles behave in a very similar way. It is clearly visible that they follow the tempo. Finally, profile of kinematic characteristics in promenade position was proposed as performance model in dance sport which is useful for developing sport dancing training techniques and methodologies. | |
Kļonova, Alina; Kļonovs, Juris; Giovanardi, Andrea; Cicchella, Antonio Smart motion capture system measuring movements of professional standard sports dancers in promenade position Journal Article Lase Journal of Sport Science, 2 (2), pp. 27-32, 2011. Abstract | BibTeX | Tags: Standard | Links: @article{Klonova2011b, title = {Smart motion capture system measuring movements of professional standard sports dancers in promenade position}, author = { Alina Kļonova and Juris Kļonovs and Andrea Giovanardi and Antonio Cicchella}, url = {https://www.academia.edu/1875256/SMART_MOTION_CAPTURE_SYSTEM_MEASURING_MOVEMENTS_OF_PROFESSIONAL_STANDARD_SPORTS_DANCERS_IN_PROMENADE_POSITION}, year = {2011}, date = {2011-12-13}, journal = {Lase Journal of Sport Science}, volume = {2}, number = {2}, pages = {27-32}, abstract = {The Smart motion capture has become the main method for measuring movements of the dancers. Motion capture provides „snapshots‟ of the complexity of movement patterning. Standard sport dancers keep partners‟ body contact and move complicatedly in a couple during competitive performance. In fact, partnering and posture are main factors for judging to achieve top results at competitions. We have explored how complexity can be mapped to specific variables for analysis such as joint angles, and what such analyses both reveal and mask in relation to the choreographic practices involved. We have used the highly accurate Smart Motion Capture System 2011 for measuring sport dancers‟ kinematic parameters. The main aim of our research was to determine the kinematic parameters of Professional Standard Sport dancers with Smart Motion Capture System in promenade position. Kinematics is described for Slow Waltz, Tango, Slow Foxtrot and Quickstep. For this purpose we have measured and analyzed data of hip and knee angles. Results show that the angles are different in each Standard dance. In tango both knees angles behave in a very similar way. It is clearly visible that they follow the tempo. Finally, profile of kinematic characteristics in promenade position was proposed as performance model in dance sport which is useful for developing sport dancing training techniques and methodologies.}, keywords = {Standard}, pubstate = {published}, tppubtype = {article} } The Smart motion capture has become the main method for measuring movements of the dancers. Motion capture provides „snapshots‟ of the complexity of movement patterning. Standard sport dancers keep partners‟ body contact and move complicatedly in a couple during competitive performance. In fact, partnering and posture are main factors for judging to achieve top results at competitions. We have explored how complexity can be mapped to specific variables for analysis such as joint angles, and what such analyses both reveal and mask in relation to the choreographic practices involved. We have used the highly accurate Smart Motion Capture System 2011 for measuring sport dancers‟ kinematic parameters. The main aim of our research was to determine the kinematic parameters of Professional Standard Sport dancers with Smart Motion Capture System in promenade position. Kinematics is described for Slow Waltz, Tango, Slow Foxtrot and Quickstep. For this purpose we have measured and analyzed data of hip and knee angles. Results show that the angles are different in each Standard dance. In tango both knees angles behave in a very similar way. It is clearly visible that they follow the tempo. Finally, profile of kinematic characteristics in promenade position was proposed as performance model in dance sport which is useful for developing sport dancing training techniques and methodologies. | |
Outevsky, David How two become one: A qualitative review of the use and perceptions of weight bearing/giving, touch, and visual contact in dance partnering Masters Thesis 2011. Abstract | BibTeX | Tags: Latin | Links: @mastersthesis{Outevsky2012, title = {How two become one: A qualitative review of the use and perceptions of weight bearing/giving, touch, and visual contact in dance partnering}, author = {Outevsky, David}, url = {https://d1wqtxts1xzle7.cloudfront.net/8572273/thesislatest.pdf?1328955542=&response-content-disposition=inline%3B+filename%3DHow_two_become_one_A_qualitative_review.pdf&Expires=1623677414&Signature=ZKvWjfv2StinkgZ39Q47tyLMGdt7Ei7W6hxOvMN6Z51-w-gzApGkgiO0JxeL5yTqBUNucS2TaJlrUnBmqSkYuWvUaqY4CtkTiwx0-APReOKUJacBPpEZ13JMdUB3nh-SO5RtW~E9NiEBgXoNBn-gTcUGxOp1fz~NKsCXoqYP1Z-zZioVzIY0p~Fkxq64Tz3yPMuwDOtXm~U9sYq6o5Y5pgVe1jeXWcxjZcYcMDKzLDFMhtat0u9hE~uqW0k9QjFSDkcIUPrpz44yz~z6W5fyzpIKcLafvNihYlboc16JJlUVz8p6kqSNk69ND3GnfRxbG~m7o-a~-t3FmaPQZkTsIg__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA}, year = {2011}, date = {2011-09-01}, abstract = {Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements. The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation. The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom. The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork. Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods.}, keywords = {Latin}, pubstate = {published}, tppubtype = {mastersthesis} } Partnerwork is an essential part of most dance styles yet while the majority of dancers agree on its general importance and benefits, there is no clear consensus on the use and value of some of its key elements. The aim of this study was to analyze the role and importance of touch, visual contact, and weight bearing/giving, within dance partnerships and propose ideas and actions for the development of these elements in dance. The styles discussed consisted of classical ballet, ballroom dancing, Argentine Tango, contemporary, and contact improvisation. The data collection was conducted by means of an extensive literature review, class observations, questionnaire, and qualitative interviews with dancers and teachers. Thematic analysis was used to categorize and organize the answers to the questionnaire and interviews linking them to the observations made in the classroom. The results revealed many perceptions and methods in partnering suggesting that: dancers generally regard touch and weight bearing/giving as important factors in partnering and use them in various ways within their respective domains; the value of visual contact use differs greatly between dance styles. Either physical or psychological benefits of the discussed elements are emphasized depending on the style; and either separate exercises or specific focus during choreography are used as tools to improve the quality of these elements in partnerwork. Much of the information gathered goes beyond what the literature presents on the topic and points to the fact that a lot of practical knowledge exists in the dance world regarding partnering but is not organized or shared in a consistent and systematic manner. The dissemination of that knowledge in combination with further research into the physiological and psychological aspects of partnering skills should enhance the overall understanding of the topic across dance disciplines and enrich dance literature and training methods. | |
Ušpurienė, Aistė; Malinauskas, Romualdas; Šniras, Šarūnas The importance of strength in sport dance performance technique Journal Article Sportlogia, 7 , pp. 61-67, 2011. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Ljubojevic-etal2011, title = {The importance of strength in sport dance performance technique}, author = { Aistė Ušpurienė and Romualdas Malinauskas and Šarūnas Šniras}, url = {https://www.researchgate.net/publication/269845798_The_importance_of_strength_in_sport_dance_performance_technique}, year = {2011}, date = {2011-06-29}, journal = {Sportlogia}, volume = {7}, pages = {61-67}, abstract = {Strength is a motor ability that largely determines the features of a move. In the area of conven-tional sports, that is the very facet that serves as the basis for its importance, which is corroborated by several studies. In sport dance, it is usually demonstrated in the form of repetitive and explosive strength and in the function of introducing nuances in the dynamics of dance performance. How big the importance of some manifestations of strength for the quality of Latin-American and Ballroom dances performance as sport dance disciplines is, is the topic that this paper deals with. The research included 49 sport dancers of both genders, age 12-15. The results of the research point out to the fact that there are different approaches in validation of the contribution of strength for the quality and performance of Latin-American and Ballroom dance. Namely, strength as a motoric ability has statistically significant effects on the quality of Latin-American performance technique, while in Ball-room dances it does not appear to be statistically significant. The obtained differences in the significance of the contribution in the observed dance disciplines are, for sure, a confirmation of the necessity to have an individual approach in planning and programming of training process, particularly for Ball-room and Latin-American dances.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Strength is a motor ability that largely determines the features of a move. In the area of conven-tional sports, that is the very facet that serves as the basis for its importance, which is corroborated by several studies. In sport dance, it is usually demonstrated in the form of repetitive and explosive strength and in the function of introducing nuances in the dynamics of dance performance. How big the importance of some manifestations of strength for the quality of Latin-American and Ballroom dances performance as sport dance disciplines is, is the topic that this paper deals with. The research included 49 sport dancers of both genders, age 12-15. The results of the research point out to the fact that there are different approaches in validation of the contribution of strength for the quality and performance of Latin-American and Ballroom dance. Namely, strength as a motoric ability has statistically significant effects on the quality of Latin-American performance technique, while in Ball-room dances it does not appear to be statistically significant. The obtained differences in the significance of the contribution in the observed dance disciplines are, for sure, a confirmation of the necessity to have an individual approach in planning and programming of training process, particularly for Ball-room and Latin-American dances. | |
Bria, S; Bianco, Massimiliano; Galvani, Christel; Palmieri, V; Zeppilli, P; Faina, Marcello Physiological characteristics of elite sport-dancers Journal Article The Journal of sports medicine and physical fitness, 51 , pp. 194-203, 2011. Abstract | BibTeX | Tags: Latin, Standard @article{Bria2011, title = {Physiological characteristics of elite sport-dancers}, author = { S Bria and Massimiliano Bianco and Christel Galvani and V Palmieri and P Zeppilli and Marcello Faina}, year = {2011}, date = {2011-06-01}, journal = {The Journal of sports medicine and physical fitness}, volume = {51}, pages = {194-203}, abstract = {Dancesport is increasing its popularity and it becomes to be considered as a real sport. Few studies are available about the physiological strain of dancesport competitions: moreover, recent changes in the official rules make it mandatory to revise our knowledge about the specific physiologic demands during competition. The aim of our study was to evaluate physiological parameters in top-level dancers. Twelve competitive dancesport couples (12 Latin-American and 12 Standard dancers) composed the study population. The first testing session was aimed at determining physical and physiological characteristics of athletes in laboratory; the second, at establishing physiological responses during simulated competition on field, involving the measurement of O(2) uptake (VO(2)), heart rate and blood lactate (BL). Male dancers showed a peak-VO(2) of 60.9±6.0 and 59.2±7.0 mL/kg/min for Standard and Latin-American dancers, respectively. For females, peak-VO(2) was 53.7±5.0 mL/kg/min in Standard and 52.3±5.0 mL/kg/min in Latin-American dancers. During simulated competition, male dancers reached the 75.7±10.6 and 84.2±11.2% of peak-VO(2) (P<0.05) for Standard and Latin-American sequence, respectively. For females, no difference was observed (70.8±13.8% in Latin-American and 72.5±12.8% in Standard). Peak-BL during simulated Standard competition was 6.50±2.1 and 6.91±2.6 mM in males and females, respectively, and, for Latin-American sequence, 7.95±2.1 mM in males and 6.04±2.5 mM in females. Dancesport can be defined as a sport discipline with an alternate physical activity with medium lasting and high energy-demanding (both aerobic and anaerobic) consecutive phases, separated by short recovery periods. These data must be kept into account while planning specific training programs in sportdancers.}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } Dancesport is increasing its popularity and it becomes to be considered as a real sport. Few studies are available about the physiological strain of dancesport competitions: moreover, recent changes in the official rules make it mandatory to revise our knowledge about the specific physiologic demands during competition. The aim of our study was to evaluate physiological parameters in top-level dancers. Twelve competitive dancesport couples (12 Latin-American and 12 Standard dancers) composed the study population. The first testing session was aimed at determining physical and physiological characteristics of athletes in laboratory; the second, at establishing physiological responses during simulated competition on field, involving the measurement of O(2) uptake (VO(2)), heart rate and blood lactate (BL). Male dancers showed a peak-VO(2) of 60.9±6.0 and 59.2±7.0 mL/kg/min for Standard and Latin-American dancers, respectively. For females, peak-VO(2) was 53.7±5.0 mL/kg/min in Standard and 52.3±5.0 mL/kg/min in Latin-American dancers. During simulated competition, male dancers reached the 75.7±10.6 and 84.2±11.2% of peak-VO(2) (P<0.05) for Standard and Latin-American sequence, respectively. For females, no difference was observed (70.8±13.8% in Latin-American and 72.5±12.8% in Standard). Peak-BL during simulated Standard competition was 6.50±2.1 and 6.91±2.6 mM in males and females, respectively, and, for Latin-American sequence, 7.95±2.1 mM in males and 6.04±2.5 mM in females. Dancesport can be defined as a sport discipline with an alternate physical activity with medium lasting and high energy-demanding (both aerobic and anaerobic) consecutive phases, separated by short recovery periods. These data must be kept into account while planning specific training programs in sportdancers. | |
Chirivella, Enrique; Checa, Irene Psychological training in dancesport and competitive dancing Journal Article Revista de Psicologia del Deporte, 20 , pp. 479-490, 2011. Abstract | BibTeX | Tags: Latin, Standard | Links: @article{Chirivella2011, title = {Psychological training in dancesport and competitive dancing}, author = { Enrique Chirivella and Irene Checa}, url = {https://www.researchgate.net/publication/290560555_Psychological_training_in_dancesport_and_competitive_dancing}, year = {2011}, date = {2011-01-01}, journal = {Revista de Psicologia del Deporte}, volume = {20}, pages = {479-490}, abstract = {This article presents the assessment and intervention study conducted at the Club de Baile Depordvo Stylo's in Mislata (Valencia) by the team of specialists in sport psychology at the Centro de Psicologfa Teseo in collaboration with the University of Valencia. It describes the specific characteristics of this sport and explains the intervention programme in which aspects such as emotional control were worked on using such techniques as visualisation in the short, medium and long-term goal setting. Also shown are the data obtained from the assessment conducted earlier in the season, which provided information and guidance for the intervention. These data refer to scores on the factors of the Cuestionario de Habilidades Psicologcas Aplicadas al rendimiento deportivo (Questionnaire of Psycbobgical Skills Applied to Sport Performance) CPRD, (Gimeno et al., 2001), which ranged between the 50th and 60th percentile, with the highest score obtained in the "Motivation" factor (x = 66.63) and the lowest was obtained in the "Stress control" factor (x = 54.42).}, keywords = {Latin, Standard}, pubstate = {published}, tppubtype = {article} } This article presents the assessment and intervention study conducted at the Club de Baile Depordvo Stylo's in Mislata (Valencia) by the team of specialists in sport psychology at the Centro de Psicologfa Teseo in collaboration with the University of Valencia. It describes the specific characteristics of this sport and explains the intervention programme in which aspects such as emotional control were worked on using such techniques as visualisation in the short, medium and long-term goal setting. Also shown are the data obtained from the assessment conducted earlier in the season, which provided information and guidance for the intervention. These data refer to scores on the factors of the Cuestionario de Habilidades Psicologcas Aplicadas al rendimiento deportivo (Questionnaire of Psycbobgical Skills Applied to Sport Performance) CPRD, (Gimeno et al., 2001), which ranged between the 50th and 60th percentile, with the highest score obtained in the "Motivation" factor (x = 66.63) and the lowest was obtained in the "Stress control" factor (x = 54.42). | |
2006 |
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Riding, Teri Contributions of Muscle Fatigue to a Neuromuscular Neck Injury in Female Ballroom Dancers Masters Thesis 2006. Abstract | BibTeX | Tags: Standard | Links: @mastersthesis{McCabe2013, title = {Contributions of Muscle Fatigue to a Neuromuscular Neck Injury in Female Ballroom Dancers}, author = {Teri Riding}, url = {https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=1754&context=etd}, year = {2006}, date = {2006-08-01}, journal = {Medical problems of performing artists}, volume = {28}, pages = {84-90}, abstract = {Objective: To investigate the potential etiology of a loss of neck control injury in female standard ballroom dancers. The median frequency (MF) as measured by electromyography (EMG) of the left upper trapezius (UT), left splenius capitius (SPL), and right sternocleidomastoid (SCM) of injured dancers was compared to non-injured dancers. This comparison was performed to identify whether dancers with a history of loss of neck control have a greater amount of fatigue than those with no history of this particular injury. Design and Setting: A 2 x 6 factorial design was used for this investigation. The independent variables were group (injured vs. non-injured) and time (before and after the three rounds of dancing). The dependent variables were MF as measured by EMG, range of motion, and neck length. All testing was performed at the university biomechanics laboratory and ballroom dance studio. Subjects: Twenty female subjects (10 injured group {mean height 167.40 ± 4.12 cm and weight 59.30 ± 5.41 kg}, 10 non-injured group {mean height 166.76 ± 4.62 cm and weight 58.93 ± 5.30 kg}), with at least one year experience in competitive ballroom dancing, in the standard division participated in this study. All subjects competed at a Dancesport competition either in the novice, pre-championship, and/or amateur standard classifications. Inclusion criteria for the injured group included female ballroom dancers who had a loss of neck control episode. Measurements: Surface EMG activity was recorded from the left UT, left SPL, and right SCM muscles before and after dancing the five standard dances. Results: The decrease in EMG MF was not significant between groups. There was no difference in neck lengths from the external occipital protuberance to inferior angle of the scapula between groups. There were also no significant differences in range of motion of left and right lateral flexion and extension in either group from pre to post dancing. Conclusions: Based on the results of this study, subjects with a history of neuromuscular neck injury did not appear to have acute fatigue of the three muscles studied here following the routine used in this study.}, keywords = {Standard}, pubstate = {published}, tppubtype = {mastersthesis} } Objective: To investigate the potential etiology of a loss of neck control injury in female standard ballroom dancers. The median frequency (MF) as measured by electromyography (EMG) of the left upper trapezius (UT), left splenius capitius (SPL), and right sternocleidomastoid (SCM) of injured dancers was compared to non-injured dancers. This comparison was performed to identify whether dancers with a history of loss of neck control have a greater amount of fatigue than those with no history of this particular injury. Design and Setting: A 2 x 6 factorial design was used for this investigation. The independent variables were group (injured vs. non-injured) and time (before and after the three rounds of dancing). The dependent variables were MF as measured by EMG, range of motion, and neck length. All testing was performed at the university biomechanics laboratory and ballroom dance studio. Subjects: Twenty female subjects (10 injured group {mean height 167.40 ± 4.12 cm and weight 59.30 ± 5.41 kg}, 10 non-injured group {mean height 166.76 ± 4.62 cm and weight 58.93 ± 5.30 kg}), with at least one year experience in competitive ballroom dancing, in the standard division participated in this study. All subjects competed at a Dancesport competition either in the novice, pre-championship, and/or amateur standard classifications. Inclusion criteria for the injured group included female ballroom dancers who had a loss of neck control episode. Measurements: Surface EMG activity was recorded from the left UT, left SPL, and right SCM muscles before and after dancing the five standard dances. Results: The decrease in EMG MF was not significant between groups. There was no difference in neck lengths from the external occipital protuberance to inferior angle of the scapula between groups. There were also no significant differences in range of motion of left and right lateral flexion and extension in either group from pre to post dancing. Conclusions: Based on the results of this study, subjects with a history of neuromuscular neck injury did not appear to have acute fatigue of the three muscles studied here following the routine used in this study. | |
