• A comparison of two stretching modalities on lower-limb range of motion measurements in recreational dancers.

      Wyon, Matthew A.; Felton, Lee; Galloway, Shaun (National Strength and Conditioning Association, 2009-10)
      Most stretching techniques are designed to place a "stress" on the musculoskeletal unit that will increase its resting length and range of motion (ROM). Twenty-four adolescent dancers participated in a 6-week intervention program that compared low-intensity stretching (Microstretching) with moderate-intensity static stretching on active and passive ranges of motion. Microstretching is a new modality that reduces the possibility of the parasympathetic system being activated. Repeated measures analysis indicated changes in ROM over the intervention period (p < 0.05), with the Microstretching group demonstrating greater increases in passive and active ROM than the static stretch group (p < 0.01); there was no noted bilateral differences in ROM. The results from this study agree with past studies that have found that stretching increases the compliance of any given muscle and therefore increases the range of motion. One main finding of the present study was that throughout a 6-week training program very-low-intensity stretching had a greater positive effect on lower-limb ROM than moderate-intensity static stretching. The most interesting aspect of the study was the greater increase in active ROM compared to passive ROM by the Microstretching group. This suggests that adaptation has occurred within the muscle itself to a greater extent than in structures of the hip joint. Practical application for this technique suggests it is beneficial as a postexercise modality that potentially has a restorative component.
    • An international study on dietary supplementation use in dancers

      Brown, Derrick; Wyon, Matthew (Science & Medicine, 2014-12)
      Little is known of the prevalence and motives of dietary supplement use amongst dancers from different cultures. Investigating supplement use, presumed effects, and other factors may be crucial for improving educational and nutritional advice provided for this cohort. Therefore, this study investigated the use of dietary supplements in 334 dancers from 53 countries, who completed a digitally based 35-question survey detailing demographic information and the use of dietary supplementation. Supplement use was prevalent amongst this international cohort, with 48% reporting regular supplement use. Major motives for supplement use were to improve health, boost immunity, and reduce fatigue. Forty-five percent believed that dancing increased the need for supplementation, whilst 30% recognized that there were risks associated with nutritional supplementation. The most frequently consumed supplements were vitamin C (60%), multivitamins (67%), and caffeine (72%). A smaller group of participants declared the use of whey protein (21%) or creatine (14%). Supplements were mainly obtained from pharmacies, supermarkets, and health-food stores. Dancers recognized their lack of knowledge in dietary supplement use and relied on peer recommendations instead of sound evidence-based advice from acknowledged nutrition or health care professionals. This study demonstrates that dietary supplement use is internationally prevalent amongst dancers. Continued efforts are warranted with regard to information dissemination.
    • Ankle and foot contributions to extreme plantar- and dorsiflexion in female ballet dancers.

      Russell, Jeffrey A.; Shave, Ruth M; Kruse, David W.; Koutedakis, Yiannis; Wyon, Matthew A. (American Orthopaedic Foot and Ankle Society, Inc., 2011)
      Background: Female ballet dancers require extreme ankle motion. The objective of this study was to quantify the relative contributions of the ankle and various foot joints to extreme plantarflexion (PF) and dorsiflexion (DF) in female ballet dancers using an X-ray superimposition technique and digital graphics software. Materials and Methods: One asymptomatic ankle was studied in each of seven experienced female ballet dancers. Three lateral weightbearing X-rays were taken of each ballet dancer's ankle: en pointe (maximum PF), in neutral position, and in demi-plié (maximum DF). Using graphics software, a subject's three X-ray images were superimposed and the tali were aligned. On each image the tibia, navicular, intermediate cuneiform, and first metatarsal were marked. Positional differences of a bone's line among the three images demonstrated angular movement of the bone in degrees. The neutral position was the reference from which both PF and DF of the bones were calculated. Results: The talocrural joint contributed the most motion of any pair of bones evaluated for both PF and DF, with mean movements of 57.6 ± 5.2 degrees en pointe and 24.6 ± 9.6 degrees in demi-plié. Approximately 70% of total PF and DF were attributable to the talocrural joint, with the remaining 30% coming from motion between adjacent pairs of the studied foot bones. Conclusion: Superimposed X-rays for assessing ankle and foot contributions to the extreme positions required of female ballet dancers offer insight into how these positions are attained that is not available via goniometry. Clinical Relevance: Functional information gained from this study may assist clinicians in assessessing ankle and foot pain in these individuals.
    • Anthropometry, somatotypes, and aerobic power in ballet, contemporary dance, and dancesport

      Liiv, Helena; Wyon, Matthew A; Jürimäe, Toivo; Saar, Meeli; Mäestu, Jarek; Jürimäe, Jaak (Science & Medicine, 2013-12)
      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 (F2,221 = 8.773, p<0.001) and mesomorphy (F2,221 = 21.458, p<0.001) scores. Dancesport dancers had significantly greater VO2max values (p<0.01). It was concluded that female contemporary dancers are generally more muscular than their ballet counterparts, while dancesport dancers are taller and heavier, less muscular, with slightly greater adioposity compared to the classical ballet dancers. Ballet dancers had the lowest body fat percentage, weight, and BMI values. Dancesport dancers had greater aerobic capacity than the ballet dancers. Based on this study, we conclude that dancers in these three styles differ in some aspects of anthropometric variables, somatotypes, and aerobic capacity, but we cannot say is it because of the training or selection or both.
    • Association between selected physical fitness parameters and aesthetic competence in contemporary dancers.

      Angioi, Manuela; Metsios, Giorgos S.; Twitchett, Emily; Koutedakis, Yiannis; Wyon, Matthew A. (J. Michael Ryan, 2009)
      The physical demands imposed on contemporary dancers by choreographers and performance schedules make their physical fitness just as important to them as skill development. Nevertheless, it remains to be confirmed which physical fitness components are associated with aesthetic competence. The aim of this study was to: 1. replicate and test a novel aesthetic competence tool for reliability, and 2. investigate the association between selected physical fitness components and aesthetic competence by using this new tool. Seventeen volunteers underwent a series of physical fitness tests (body composition, flexibility, muscular power and endurance, and aerobic capacity) and aesthetic competence assessments (seven individual criteria commonly used by selected dance companies). Inter-rater reliability of the aesthetic competence tool was very high (r = 0.96). There were significant correlations between the aesthetic competence score and jump ability and push-ups (r = 0.55 and r = 0.55, respectively). Stepwise backward multiple regression analysis revealed that the best predictor of aesthetic competence was push-ups (R(2) = 0.30, p = 0.03). Univariate analyses also revealed that the interaction of push-ups and jump ability improved the prediction power of aesthetic competence (R(2) = 0.44, p = 0.004). It is concluded that upper body muscular endurance and jump ability best predict aesthetic competence of the present sample of contemporary dancers. Further research is required to investigate the contribution of other components of aesthetic competence, including upper body strength, lower body muscular endurance, general coordination, and static and dynamic balance.
    • Associations between static and dynamic field balance tests in assessing postural stability of female undergraduate dancers

      Clarke, Frances; Koutedakis, Yiannis; Wilson, Margaret; Wyon, Matthew; Faculty of Dance, Trinity Laban Conservatoire of Music and Dance, London, and National Institute of Dance Medicine and Science, United Kingdom;, Email: f.clarke@trinitylaban.ac.uk. (J. Michael Ryan Publishing, 2021-06-03)
      Balance testing on dancers has used a wide variety of assessment tools. However, as most field balance tests have been developed for either sport or elderly populations, the evidence of associations between tests and their functional relevance to dance is inconclusive. We assessed possible associations between five such field balance tests . A total of 83 female undergraduate dance students (20 ± 1.5 years; 163 ± 6.6 cm; 61 ± 10.8 kg) volunteered for the tests. They executed the Star Excursion Balance Test (SEBT), the modified Romberg test, the Airplane test, the BioSway Balance System (Biodex, Shirley, New York, USA), and a dance-specific pirouette test. Spearman's correlation coefficients examined relationships between the measures of the balance tests. Results showed strongest relationships between some SEBT reach directions (p < 0.01) and very weak to moderate relationships between some balance tests, including some SEBT directions, Romberg, Airplane, Biosway, and pirouette (p < 0.01 and p < 0.05). Our findings suggest that current tests used to assess dancers' postural stability need further investigation to ensure functionality and relevance.
    • Ballet injuries: injury incidence and severity over 1 year.

      Allen, Nick; Nevill, Alan; Brooks, John; Koutedakis, Yiannis; Wyon, Matthew (Lippincott, Williams & Wilkin, 2012-09)
      STUDY DESIGN: Prospective, descriptive single-cohort study. OBJECTIVE: To assess the incidence and severity of injuries to a professional ballet company over 1 year. METHODS: Data for an elite-level ballet company of 52 professional dancers were collected by an in-house medical team using a time-loss injury definition. RESULTS: A total of 355 injuries were recorded, with an overall injury incidence of 4.4 injuries per 1000 hours (female, 4.1; male, 4.8; P>.05) and a mean of 6.8 injuries per dancer (female, 6.3; male, 7.3; P>.05). Mean injury severity was 7 days (female, 4; male, 9; P<.05). Most injuries were classified as overuse (64%; female, 68%; male, 60%; P>.05); mean severity of injury was 3 days for females and 9 days for males (P<.05). The percentage of traumatic injuries was 32% for females and 40% for males (P<.05); the corresponding severity was 6 and 10 days, respectively (P<.05). CONCLUSION: The relatively high number of injuries reported and the resulting loss of dance time support the need to introduce interventions to reduce the risk of injury in professional dancers.
    • A bibliographic review of medicine and science research in dancesport.

      McCabe, Teri R; Wyon, Matthew; Ambegaonkar, Jatin; Redding, Emma (Science and Medicine, 2013-06)
      DanceSport is the competitive form of ballroom dancing, and even though it has more participants worldwide than ballet and modern dance, there is less peer-reviewed research. A review was conducted to identify all relevant literature to help researchers and clinicians gain an enhanced understanding of dancesport. Eight databases were searched, with 34 articles found in topics including participation motives, psychology, exercise physiology, fitness training, injuries and injury prevention, biomechanics, menstrual dysfunction, and substance use. Our results indicate that researchers have been inconsistently recording and reporting anthropometric and dancesport data; for example, 31 studies separated participants by gender, 21 included the competition classification of dancers, 19 reported which style of dancesport participants competed in, and 13 described the participants as a dance couple. Common injuries affected the neck, shoulder, spine, knee, lower leg, and foot. Dancesport is in the very heavy to extremely heavy category in energy expenditure (mean heart rate: male 175.2 ± 10.7, female 178.6 ± 8.6 bpm) and utilizes both aerobic and anaerobic energy systems. Alpha-beta and heart rate variability intervention techniques are reported to successfully enhance performance in dancers. Dancesport participants also appear less likely to smoke cigarettes, but have little knowledge about anti-doping rules. During events, professionals danced farther (30 m) and faster (0.3 m/sec) than junior dancers. Female competitors were more likely to be eumenorrheic. Dancesport is a physically and mentally demanding competitive sport, but there is a need to standardize measurements in future studies to allow comparison.
    • Bilateral differences in peak force, power, and maximum plié depth during multiple grande jetés.

      Wyon, Matthew; Harris, Julie; Brown, Derrick; Clark, Frances (Science & Medicine, 2013-03)
      A lateral bias has been previously reported in dance training. The aim of this study was to investigate whether there are any bilateral differences in peak forces, power, and maximum knee flexion during a sequence of three grand jetés and how they relate to leg dominance. A randomised observational design was selected for the study. Volunteers consisted of 20 female dancers in the last year of pre-professional training. All volunteers completed three different tests to determine leg dominance prior to completing a three grande jeté sequence. The lead leg for the jump sequence was randomised. Peak take-off power, relative landing force (BW), and maximum knee flexion angles were measured using a Myotest accelerometer and integrated goniometer. Results indicated that 90% of dancers reported right leg dominance. A significant difference was noted in peak take-off power among the jumps (p<0.01); post hoc test indicated jump 3 was significantly greater than jump 1. Mean maximum take-off knee angles increased over the three-jump sequence with the left leg having a significantly deeper plié than the right (p<0.01). Landing data showed an increase in peak force and a decrease in maximum knee angles across the jump sequence. The present data indicate different bilateral strategies during take-off and landing during grand jetés in female dancers resulting in increased forces during the jumps on the non-dominant side. These differences need to be addressed by incorporating appropriate modifications in training methodology that eliminates the observed bilateral differences.
    • Biomechanical research in dance: a literature review.

      Krasnow, Donna; Wilmerding, M Virginia; Stecyk, Shane; Wyon, Matthew A.; Koutedakis, Yiannis (Science & Medicine, Inc., 2011-03)
      The authors reviewed the literature, published from 1970 through December 2009, on biomechanical research in dance. To identify articles, the authors used search engines, including PubMed and Web of Science, five previous review articles, the Dance Medicine and Science Bibliography, and reference lists of theses, dissertations, and articles being reviewed. Any dance research articles (English language) involving the use of electromyography, forceplates, motion analysis using photography, cinematography or videography, and/or physics analysis were included. A total of 89 papers, theses/dissertations, and abstracts were identified and reviewed, grouped by the movement concept or specialized movements being studied: alignment (n = 8), plié (8), relevé (8), passé (3), degagé (3), développé (7), rond de jambe (3), grand battement (4), arm movements (1), forward stepping (3), turns (6), elevation work (28), falls (1), and dance-specific motor strategies (6). Several recurring themes emerged from these studies: that elite dancers demonstrate different and superior motor strategies than novices or nondancers; that dancers perform differently when using a barre as opposed to without a barre, both in terms of muscle activation patterns and weight shift strategies; that while skilled dancers tend to be more consistent across multiple trials of a task, considerable variability is seen among participants, even when matched for background, years of training, body type, and other variables; and that dance teachers recommend methods of achieving movement skills that are inconsistent with optimal biomechanical function, as well as inconsistent with strategies employed by elite dancers. Measurement tools and the efficacy of study methodologies are also discussed.
    • Body mass index, nutritional knowledge, and eating behaviors in elite student and professional ballet dancers.

      Wyon, Matthew; Hutchings, Kate M; Wells, Abigail; Nevill, Alan M (Wolters Kluwer Health, 2014-09)
      Objective: It is recognized that there is a high esthetic demand in ballet, and this has implications on dancers' body mass index (BMI) and eating behaviors. The objective of this study was to examine the association between BMI, eating attitudes, and nutritional knowledge of elite student and professional ballet dancers. Design: Observational design. Setting: Institutional. Participants: One hundred eighty-nine participants from an elite full-time dance school (M = 53, F = 86) and from an elite ballet company (M = 16, F = 25) volunteered for the study. There were no exclusion criteria. Interventions: Anthropometric data (height and mass), General Nutrition Knowledge Questionnaire (GNKQ), and the Eating Attitude Test—26 (EAT-26) were collected from each participant. Main Outcome Measures: Univariate analysis of variance was used to examine differences in gender and group for BMI, GNKQ, and EAT-26. Regression analyses were applied to examine interactions between BMI, GNKQ, and EAT-26. Results: Professional dancers had significantly greater BMI than student dancers (P < 0.001), and males had significantly higher BMI scores than females (P < 0.05). Food knowledge increased with age (P < 0.001) with no gender difference. Student dancers had a significant interaction between year group and gender because of significantly higher EAT-26 scores for females in years 10 and 12. Regression analysis of the subcategories (gender and group) reported a number of significant relationships between BMI, GNKQ, and EAT-26. Conclusions: The findings suggest that dancers with disordered eating also display lower levels of nutritional knowledge, and this may have an impact on BMI. Female students' eating attitudes and BMI should especially be monitored during periods of adolescent development.
    • Clinical anatomy and biomechanics of the ankle in dance.

      Russell, Jeffrey A.; McEwan, Islay M.; Koutedakis, Yiannis; Wyon, Matthew A.; University of Wolverhampton School of Sport, Performing Arts and Leisure, Walsall, United Kingdom. jrussell@kardia.org (J. Michael Ryan, 2008)
      The ankle is an important joint to understand in the context of dance because it is the connection between the leg and the foot that establishes lower extremity stability. Its function coordinates with the leg and foot and, thus, it is crucial to the dancer's ability to perform. Furthermore, the ankle is one of the most commonly injured body regions in dance. An understanding of ankle anatomy and biomechanics is not only important for healthcare providers working with dancers, but for dance scientists, dance instructors, and dancers themselves. The bony architecture, the soft tissue restraints, and the locomotive structures all integrate to allow the athletic artistry of dance. Yet, there is still much research to be carried out in order to more completely understand the ankle of the dancer.
    • Dance as an eccentric form of exercise: practical implications.

      Wyon, Matthew A.; Nikolaidis, Michalis G; Jamurtas, Athanasios Z; Owolabi, Emmanuel O; Kitas, George D; Paschalis, Vassilis; Koutedakis, Yiannis (2012-06)
      The eccentric action is an integral part of the stretch-shortening (or eccentric-concentric) cycle of muscle movement, especially when repositioning of the centre of gravity is required. Jumps and landing tasks are examples of this cycle and are incorporated in most dance activities. However, unaccustomed eccentric muscle action can cause muscle damage, which is characterised by the development of delayed-onset muscle soreness and swelling, decline of pain-free range of motion, as well as sustained loss of muscle force and range of motion. Furthermore, unaccustomed eccentric muscle action can induce disturbances in movement economy and energy expenditure, so dancers spend more energy during a routine than usual. Such negative effects are gradually reduced and eventually disappear due to physiological adaptations to this form of muscular activity. Given that eccentric exercises also appear to induce greater muscle performance improvements than other forms of muscle conditioning, it is advised that they should be integrated into dancers' weekly schedules. The purpose of the present review is to examine the possible effects of the eccentric component of dance on the performance and health status of dancers.
    • Dance biomechanics: a tool for controlling health, fitness, and training.

      Koutedakis, Yiannis; Owolabi, Emmanuel O.; Apostolos, Margo (J. Michael Ryan, 2008)
      The need for superior performance in dance has impelled teachers and choreographers to use increasingly effective and sophisticated methods of preparation. To that end, such modalities ofbiomechanics as advanced motion-capture, muscle-function and muscle-strength techniques are being used to provide useful information about which of the dancers' needs require special attention. This often involves improving aspects of dance technique, which, in turn, may help dancers to prevent disabling injuries, the most frequent cause of notoriously short dance careers. Biomechanics may also help dancers to assess fitness levels, to control overtraining or "burnout," and assist them and their teachers in the effective scheduling of practice and exercise sessions.
    • The development of a high intensity dance performance fitness test.

      Wyon, Matthew A.; Weller, Peter; Ehrenberg, Shantel; Irvine, Sarah; Quin, Edel; Rafferty, Sonia; Redding, Emma; Cox, Carol (2009)
      While there is currently a validated dance-specific exercise method of measuring aerobic fitness, no such test has been developed to measure high intensity capabilities in dance. The purpose of this study was to initiate an intermittent high intensity dance-specific fitness test. The test was designed to be able to observe changes in heart rate (HR), thereby allowing for a measurement of physical fitness at high intensities. Sixteen professional dancers (4 males and 12 females) volunteered to take part in this study. The fitness test protocol consists of movements that are representative of contemporary dance, and contains exercise and rest periods that mimic the intermittent nature of dance. The participants performed four trials. The physiological variables measured were HR (b.min(-1)) for each one minute bout of the four minute test for all trials, oxygen uptake (VO(2)) throughout the test, and end blood lactate (BLa mmol.L) for each trial. In addition, five of the participants undertook a maximal oxygen uptake treadmill test, and the scores obtained were compared with those from the dance test. Results show HR consistency across each one minute bout of the test and across each of the four trials of testing for all participants, indicating that the test is reliable. There was good reliability between bouts of each trial (typical error as % of CV = 1.5), intraclass "r" = 0.8, and good reliability between the four trials (typical error as % of CV = 2.1), intraclass "r" = 0.82. There were no significant differences between the maximal VO(2) and BLa scores established in the treadmill and dance tests, demonstrating validity. Thus, the results of this study indicate that the high intensity dance-specific test is a reliable and valid means of assessing and monitoring the cardiovascular fitness of dancers. The test allows dancers to be assessed within an environment that they are accustomed to (the studio), using a mode of exercise that is relevant (dance), and it is of adequate intensity to be representative of performance.
    • Development of a portable anchored dynamometer for collection of maximal voluntary isometric contractions in biomechanics research on dancers

      Krasnow, Donna; Ambegaonkar, Jatin; Stecyk, Shane; Wilmerding, M Virginia; Wyon, Matthew A.; Koutedakis, Yiannis (Science & Medicine, Inc., 2011-12)
      Surface electromyography (sEMG) has been used in dance medicine research since the 1970s, but normalization procedures are not consistently employed in the field. The purpose of this project was to develop a portable anchored dynamometer (PAD) specifically for dance-related research. Due to the limited studies in the dance research literature using normalization procedures for sEMG data, a review of the procedures used in the exercise science literature was conducted. A portable anchored dynamometer was then developed and tested with dancers, using methods validated in previous literature. We collected sEMG maximum voluntary isometric contractions (MVIC, mV) from 10 female dancers (mean age 31.0 ± 15 yrs, mean height 163 ± 7.6 cm, mean weight 57.6 ± 6.9 kg, and 17.0 ± 13.9 yrs of training in ballet and/or modern dance) over three trials (5 sec each) for eight muscles bilaterally (quadriceps, tibialis anterior, abductor hallucis, gastrocnemius, hamstrings, gluteus maximus, erector spinae, and rectus abdominus). Consistency of data and feedback from dancers suggest that this dance-specific portable anchored dynamometer is effective for future sEMG studies in dance research.
    • Development, validity, and reliability of a ballet-specific aerobic fitness test.

      Twitchett, Emily; Nevill, Alan M.; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew A. (2011-09)
      The aim of this study was to develop and assess the reliability and validity of a multi-stage, ballet-specific aerobic fitness test to be used in a dance studio setting. The test consists of five stages, each four minutes long, that increase in intensity. It uses classical ballet movement of an intermediate-level of difficulty, thus emphasizing physiological demand rather than skill. The demand of each stage was determined by calculating the mean oxygen uptake during its final minute using a portable gas analyser. After an initial familiarization period, eight female subjects performed the test twice within seven days. The results showed significant differences in oxygen consumption between stages (p < 0.001), but not between trials. Pearson correlation co-efficients produced a very good linear relationship between trials (r = 0.998, p < 0.001). Bland-Altman reliability analysis revealed the 95% limits of agreement to be ± 6.2 ml·kg(-1)·min(-1), showing good agreement between trials. The oxygen uptake in our subjects equated positively to previous estimates for class and performance, confirming validity. It was concluded that the test is suitable for use among classical ballet dancers, with many possible applications.
    • Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance?

      Twitchett, Emily A; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew A. (2011-03)
      Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration. All dancers' performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group's overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer's regime, and minimal intervention time is required to have observable effects.
    • Does physical fitness affect injury occurrence and time loss due to injury in elite vocational ballet students?

      Twitchett, Emily; Brodrick, Anna; Nevill, Alan M.; Koutedakis, Yiannis; Angioi, Manuela; Wyon, Matthew A. (J Michael Ryan Publishing, 2010)
      Most ballet dancers will suffer at least one injury a year. There are numerous causes of injury in dance, and while many investigators have documented risk factors such as anatomical characteristics, past medical history, menstrual history, dance experience, length of dance training, fatigue, and stress, risk factors related to body characteristics and nutrient intake, levels of conditioning, or physical fitness parameters have only recently received the same amount of attention. The aim of the present study was, therefore, to investigate correlations between ballet injury and body fat percentage, active and passive flexibility, lower limb power, upper body and core endurance, and aerobic capacity. Low levels of aerobic fitness were significantly associated with many of the injuries sustained over a 15-week period (r=.590, p=0.034), and body fat percentage was significantly associated with the length of time a dancer was forced to modify activity due to injury (r=-.614, p=0.026). This information may be of benefit to dancers, teachers, physical therapists and physicians in dance schools and companies when formulating strategies to prevent injury.
    • Does physical fitness affect injury occurrence and time loss due to injury in elite vocational ballet students?

      Twitchett, Emily; Brodrick, Anna; Nevill, Alan M.; Koutedakis, Yiannis; Angioi, Manuela; Wyon, Matthew A. (J. Michael Ryan, 2010)
      Most ballet dancers will suffer at least one injury a year. There are numerous causes of injury in dance, and while many investigators have documented risk factors such as anatomical characteristics, past medical history, menstrual history, dance experience, length of dance training, fatigue, and stress, risk factors related to body characteristics and nutrient intake, levels of conditioning, or physical fitness parameters have only recently received the same amount of attention. The aim of the present study was, therefore, to investigate correlations between ballet injury and body fat percentage, active and passive flexibility, lower limb power, upper body and core endurance, and aerobic capacity. Low levels of aerobic fitness were significantly associated with many of the injuries sustained over a 15-week period (r=.590, p=0.034), and body fat percentage was significantly associated with the length of time a dancer was forced to modify activity due to injury (r=-.614, p=0.026). This information may be of benefit to dancers, teachers, physical therapists and physicians in dance schools and companies when formulating strategies to prevent injury.