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.

The purpose of this study was to examine grand battement devant at the barre, in the center, and traveling through space. The primary focus was to consider weight transfer in three conditions: from two feet to one foot for the barre and center conditions, and from one foot to the other foot in traveling. Forty female dancers volunteered (mean age 30.0 ± 13.0 yrs) and were placed in three groups: beginner (n = 12), intermediate (n = 14), and advanced (n = 14). Data were collected with a 7-camera Vicon motion capture system using a Plug-in Gait Full Body Marker set and with two Kistler force plates. Dancers executed five grand battement devant in each of three conditions in randomized order: at the barre in 1st position, in the center in 1st position, and traveling through space. Four variables were investigated: center of gravity of the full trunk, center of gravity of the pelvis, center of gravity of the upper trunk, and center of mass. Data were analyzed in three intervals-stance to battement initiation (STN to GBI), initiation to battement peak (GBI to GBP), and peak to end (GBP to END)-and in the x-axis and y-axis. The main effect condition was significant for all four variables in both x-axis and y-axis (p<0.001). There were no significant differences for training and no significant condition X training interactions. Condition was significant for all three intervals (STN to GBI, GBI to GBP, and GBP to END) for all four variables in both axes (p<0.01). Dance educators might consider the importance of allocating sufficient time in dance practice to each of the three conditions-barre, center, and traveling-to ensure development of a variety of motor strategies for weight transfer.

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.

This study examined utilization of the trunk and lower extremity muscles during grand battement devant in three conditions: at the barre (supported stationary condition in 1st position), in the center (unsupported stationary condition in 1st position), and traveling through space. Forty dancers (age 30.0 ± 13.0 yrs, height 1.63 ± 0.06 m, weight 59.0 ± 7.4 kg, and 13.9 ± 13.3 yrs of training in ballet and/or modern dance) volunteered and were placed in three skill level groups: beginner (n = 12), intermediate (n = 14), and advanced (n = 14). Dancers executed five grand battement devant in each of the three conditions in randomized order. We examined muscle activation bilaterally in eight muscles (abdominals, abductor hallucis, erector spinae, gastrocnemius, gluteus maximus, hamstrings, quadriceps, and tibialis anterior) using surface electromyography, a three-dimensional video biomechanical tracking system to identify events, and force plates. All data were analyzed in four events: stance, initiation, peak, and end. Analysis was done using a linear mixed effects regression model with condition, event, muscle, level, and side as the fixed effects, and subject as the random effect. There were significant effects for muscle x event x condition (p<0.01) and for level x side x muscle (p<0.01). Muscle use varied according to the combination of event and condition that was executed, and these differences were also influenced by the level of training of the dancer and the side of the body used. It is recommended that dance educators consider the importance of allocating sufficient time to each of the three conditions (barre, center, and traveling) to ensure development of a variety of motor strategies and muscle activation levels for dance practice.

Within aesthetic sports such as figure skating and rhythmic gymnastics, physical fitness has been shown to have positive benefits on performance outcomes. Presently the link between physical fitness and aesthetic contemporary dance performance has not been demonstrated within an intervention study. In this study, 24 females engaged in contemporary dance (age 27 ± 5.9 yrs; height 165.3 ± 4.8 cm; weight 59.2 ± 7.6 kg) were recruited and randomly assigned to either an exercise (n = 12) or a control group (n = 12). Three dancers withdrew during the study. The intervention group completed a 6-week conditioning programme comprising two 1-hr sessions of circuit and vibration training per week. The circuit training focused on local muscular endurance and aerobic conditioning and vibration training protocol concentrated on power. Repeated measures ANOVA revealed significant increases for the conditioning group in lower body muscular power (11%), upper body muscular endurance (22%), aerobic fitness (11%), and aesthetic competence (12%) (p < 0.05). The control group reported decreases in all the fitness parameters with the exception of aerobic fitness as well as a decrease in aesthetic competence (7%). A 6-week circuit and vibration training programme, which supplemented normal dance commitments, revealed significant increases in selected fitness components and a concomitant increase in aesthetic competence in contemporary professional and student dancers.

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.

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.