• Changes in Energy Demand of Dance Activity and Cardiorespiratory Fitness During One Year of Vocational Contemporary Dance Training

      Beck, Sarah; Wyon, Matthew A; Redding, Emma (Wolters Kluwer, 2017-11)
      Previous literature has demonstrated that the intensity of dance class, as well as its discontinuous nature, is not sufficient to elicit an aerobic training response and that the aerobic capacity of dancers is relatively low. These findings have raised questions of the suitability of training, through class and rehearsal, as adequate preparation for the physical demands of performance and a sustained, successful career in dance. The aim of this study was to describe changes in aerobic fitness and energy cost of dance movement occurring throughout one year of training. Subjects were thirteen female dance students; seven first year undergraduate students (UG), and six postgraduate students (PG). At three time-points (TP1, TP2, TP3) during one academic year each subject completed a treadmill test, to determine VO2peak (ml.kg-1.min-1) and lactate threshold (LT) (ml.kg-1.min-1 and %VO2peak), and a standardised four-minute dance sequence, where mean demand was expressed as VO2 (ml.kg-1.min-1), heart rate (b.min-1), %VO2peak, and %LT. Both groups displayed an overall decrease in mean VO2peak throughout the year, despite a peak in fitness at TP2 in the PG students. No significant changes in LT were noted over time for either group. A significant reduction in the relative intensity of the dance sequence, particularly in relation to mean VO2 (ml.kg-1.min-1) and %LT data, was observed over time in both groups although the degree of change was less in the UG group than the PG group. Apparent adaptations during a rehearsal period in the PG group are presented in contrast to previous research findings. Recommendations for future research include further investigation into the energy demand of rehearsal and cardiorespiratory adaptation during rehearsal periods as well as further reporting of measures related to LT and movement economy.
    • Evaluation of physical fitness in relation to performance and injury severity in contemporary dance

      Wyon, Matthew A.; Koutedakis, Yiannis; Metsios, Giorgos S.; Angioi, Manuela (University of Wolverhampton, 2010)
      Dance has attracted little scientific interest on the effects of physical fitness improvements on performance and injury severity, particularly with respect to contemporary dance. The main aims of the current work were: a) to observe the physical demands of dance performance; b) to develop a reliable dance-specific performance tool; c) to assess the association between selected physical fitness parameters and performance in contemporary dance by using a new reliable method (AC test); d) to assess selected physical fitness parameters in relation to injury severity in contemporary dance; e) to study the effects of increased fitness parameters on performance through a randomized controlled trial. A total of 50 performances, performed by 20 dancers, were monitored by using a portable accelerometers (SWA armbands) and heart rate monitors while 45 performances in DVDs were video analysed. Six dancers and two dance teachers were recruited to test a newly developed performance tool. A sample made of 41 dancers were recruited and assessed for aerobic fitness (DAFT), lower body muscular power (jump height test), upper body muscular endurance (press-ups test), flexibility (active and passive hip ROM), body composition (skinfolds), performance (n=17) and injury severity (n=16). In order to investigate the effects of the supplementary fitness training on performance, 24 of the total 41 dancers, were randomly assigned to either an intervention (n=12) or control (n=12) group. The intervention group undertook a specifically designed exercise-training programme (circuit and WBV training) lasting six weeks. Both groups were re-tested for physical fitness levels and performance at the end of the intervention period. Results revealed that performance intensities varied from light to moderate while these were observed with the use of pliés and jumps as well as lifting other dancers. Based on the seven most frequently used criteria by selected pre-professional contemporary dance institutions and companies, a novel performance tool (AC tool) was developed with an inter-rater reliability of r=0.96. There was a significant correlation between aesthetic competence (AC) scores and jump ability (r=0.55) and press-ups (r=0.55), respectively. Stepwise backward multiple regression analysis revealed that the best predictor of AC was press-ups (R2=0.30, p=0.03, 95% confidence intervals=0.11–1.34). Univariate analyses also revealed that the interaction of press-ups and jump ability improved the prediction power of AC (R2=0.44, p=0.004, 95% confidence intervals=0.009–0.04). Pearson’s correlation coefficients detected significant negative correlations between the mean score recorded for injury severity (expressed as TDO) and lower body muscular power (r=-0.66; p=0.014); backward regression analysis also revealed that, from all studied parameters, the strongest predictor of TDO was lower body muscular power (p=0.014). For the intervention group repeated measures ANOVA revealed significant increases (pre vs. post) in aerobic fitness (p<0.05), lower body muscular power (p<0.05), upper body muscular endurance (p<0.05) and performance (p<0.05). Linear regression analyses indicated that the only significant predictor of AC was aerobic capacity (F=7.641; p=0.03); the interaction of press-ups and aerobic capacity (F=6.297; p=0.036), and lower body muscular power with aerobic capacity (F=5.543; p=0.05) demonstrated an improved prediction power. These results show that the observed contemporary dance performance is an intermittent type of activity of moderate intensity. Given the reliability of the AC tool, it is concluded that upper body muscular endurance and jump ability best predict AC of contemporary dancers. Reduced lower body muscular power is associated with increased severity of injuries. Finally, supplementary exercise training significantly increases lower body muscular power, upper body muscular endurance and aerobic fitness, which in turn are beneficial to improve AC of contemporary dancers.
    • Fit to Dance Survey: elements of lifestyle and injury incidence in Chinese dancers

      Dang, Yanan; Koutedakis, Yiannis; Wyon, Matthew (Science & Medicine, Inc., 2020-03-31)
      The Fit to Dance survey has been conducted a number of times using primarily Western participants and has provided foundation data for other studies. The purpose of the current study was to replicate the Fit to Dance 2 survey focusing on features of health and injuries in pre-professional and professional Chinese dancers of different genres. Results revealed that respondents (n=1040) were from Chinese Folk dance (44.4%), Chinese Classical Dance (25.6%), ballet (10.2%) and contemporary dance (9.8%). Compared to the Fit to Dance 2 survey, alcohol consumption (29% vs 82%; p<0.01) and smoking (13% vs 21%; p<0.05) were significantly less in Chinese dancers, but a higher percentage reported using weight reducing eating plans (57% vs 23%; p<0.01) or having psychological issues with food (27% vs 24%; p<0.05). Reported injuries in a 12-month period prior to data collection were significantly lower in the current survey (49% vs 80%; p<0.01). The type of injury (muscle and joint/ligament) and perceived cause of injury (fatigue, overwork and reoccurrence of an old injury) were the same in both the current and previous survey. Mean injury rate for the studied 12-month period ranged from 4.9 injuries per dancer (contemporary) to 3.4 injuries per dancer (Chinese Folk dance) which is comparable to previously reported data on western dance populations. This survey has provided the first comprehensive data on the health and injury incidence of Chinese dancers.
    • Time motion and video analysis of classical ballet and contemporary dance performance

      Wyon, Matthew A.; Twitchett, E; Angioi, Manuela; Clarke, F.; Metsios, G; Koutedakis, Yiannis (Thieme, Stuttgart, 2011-11-12)
      Video analysis has become a useful tool in the preparation for sport performance and its use has highlighted the diff erent physiological demands of seemingly similar sports and playing positions. The aim of the current study was to examine the performance diff erences between classical ballet and contemporary dance. In total 93 dance performances (48 ballet and 45 contemporary) were analysed for exercise intensity, changes in direction and specifi c discrete skills (e. g., jumps, lifts). Results revealed signifi - cant diff erences between the 2 dance forms for exercise intensity (p < 0.001), changes in direction (p < 0.001) and discrete skills (p < 0.05) with gender diff erences noted in the latter (p < 0.05). Ballet was characterised by longer periods at rest (38 s.min − 1 ) andhightoveryhighexerciseintensities (9 s.min − 1 ), whilst contemporary dance featured more continuous moderate exercise intensities (27 s.min − 1 ). These diff erences have implications on the energy systems utilised during performance with ballet potentially stressing the anaerobic system more than contemporary dance. The observed high rates in the discrete skills in ballet (5 jumps.min − 1 ; 2 lifts.min − 1 ) can cause local muscular damage, particularly in relatively weaker individuals. In conclusion, classical ballet and contemporary dance performances are as signifi cantly different in the underlying physical demands placed on their performers as the artistic aspects of the choreography.