Browsing Faculty of Education, Health and Wellbeing by Publisher "Wolters Kluwer/Lippincott Williams and Wilkins"
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Physiological Fitness and Professional Classical Ballet Performance: A Brief ReviewTwitchett, EA, Koutedakis, Y, and Wyon, MA. Physiologic fitness and professional classical ballet performance: a brief review. J Strength Cond Res 23(9): 2732-2740, 2009-Although classical ballet is an artistic expression through the use of the body, there is a real opportunity to improve and extend the dancer's career by simply applying sports science principles to dance training and performance. Dance training is a long process of physical, intellectual, and psychological preparation, through physical exercise, often beginning in childhood and continuing until retirement. Fitness programs, supplementary to traditional dance classes, have only recently been considered as a part of this process; it may be suggested that this cross-training has generally been avoided thus far because of tradition and a reluctance to follow principles associated with sport. Classical ballet training, rehearsal, and performance do not elicit significant stimulus to result in increased aerobic fitness levels. Therefore, dancers often demonstrate low levels of aerobic fitness even though a strong aerobic foundation is necessary to meet the required workload. Dancers have greater than average range of motion and strength at the hip joint but weaknesses in the upper body, torso, hamstrings, and quadriceps. In the past, dancers have been wary of strength training because they perceive this leads to aesthetically undesirable hypertrophy. Dancers also have low body weights and low percentage body fat. Given that training does not provide the opportunity to expend enough energy to maintain these aesthetic demands, this aesthetic demand may be met by caloric restriction, which may lead to subsequent increased injury risk. It has been hypothesized that a “fit for purpose” body can help improve performance, reduce the risk of injury, and ensure prolonged dance careers. This review aims to explore the extent to which physical fitness components relate to dance performance, in particular classical ballet.
Six-week combined vibration and wobble board training on balance and stability in footballers with functional ankle instability.Objective: To compare the effectiveness of a combination of vibration and wobble board training against wobble board training alone in footballers suffering from functional ankle instability (FAI). Design: A 2 · 3 prefactorial–postfactorial design. Setting: University research laboratory. Participants: Thirty-three male semiprofessional footballers with self-reported unilateral FAI were randomly assigned in 3 groups: vibration and wobble board (mean age 22.2 years), wobble board (mean age 22.7 years), and control (mean age 23.1 years). Interventions: Participants in each intervention group performed a 6-week progressive rehabilitation program using a wobble board, either with or without the addition of vibration stimulus. Main Outcome Measures: Absolute center of mass (COM) distribution during single-leg stance, modified star excursion balance test (SEBT) reach distances, and single-leg triple hop for distance (SLTHD) were measured before and after 6-week intervention. Results: Combined vibration and wobble board training resulted in AU3 reduced COM distribution [P # 0.001, effect size (ES) = 0.66], increased SEBT reach distances (P # 0.01 and P # 0.002, ES = 0.19 and 0.29, respectively), and increased SLTHD (P # 0.001, ES = 0.33) compared with wobble board training alone during the course of the 6-week training intervention. Conclusions: Combined vibration and wobble board training improves COM distribution, modified SEBT scores and SLTHD among footballers suffering FAI, compared with wobble board training alone.