Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science (J Dance Med Sci)

Publisher: International Association for Dance Medicine & Science

Journal description

Each issue focuses on bringing you the current results of clinical and experimental research. The aim of the Journal of Dance Medicine & Science is to provide you with one source for up-to-date information. Featured articles are drawn from the fields of:

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Website Journal of Dance Medicine and Science website
Other titles Journal of dance medicine & science (Online), Dance medicine & science, Journal of dance medicine and science
ISSN 1089-313X
OCLC 61314134
Material type Document, Periodical, Internet resource
Document type Internet Resource, Computer File, Journal / Magazine / Newspaper

Publications in this journal

  • Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 01/2015; 19(1):44-5. DOI:10.12678/1089-313X.19.1.44
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    ABSTRACT: Research undertaken with athletes has shown that lower-evaluated feedback is related to low self-efficacy levels. However, the relationship between teacher feedback and self-efficacy has not been studied in the dance setting. In sports or dance contexts, very few studies have manipulated feedback content to examine its impact on performers' self-efficacy in relation to the execution of a specific movement. Therefore, the aim of this investigation was to explore the effect of manipulated upper, lower, and accurate grade feedback on changes in dancers' self-efficacy levels for the execution of the "Zapateado" (a flamenco foot movement). Sixty-one students (56 female, 5 male, ages 13 to 22 ± 3.25 years) from a Spanish dance conservatory participated in this experimental study. They were randomly divided into four feedback groups: 1. upper-evaluated, 2. objective and informational, 3. lower-evaluated, and 4. no feedback-control. Participants performed three trials during a 1-hour session and completed questionnaires tapping self-efficacy pre-feedback and post-feedback. After each trial, teachers (who were confederates in the study) were first asked to rate their perception of each dancer's competence level at performing the movement according to conventional criteria (scores from 0 to 10). The results were then manipulated, and students accurate, lower-evaluated, or upper-evaluated scores were given. Those in the accurate feedback group reported positive change in self-efficacy, whereas those in the lower-evaluated group showed no significant change in self-efficacy during the course of the trial. Findings call into question the common perception among teachers that it can be motivating to provide students with inaccurate feedback that indicates that the students' performance level is much better or much worse than they actually perceive it to be. Self-efficacy appears most likely to increase in students when feedback is accurate.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 01/2015; 19(1):22-30. DOI:10.12678/1089-313X.19.1.22
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    ABSTRACT: Atrophy of the stabilizing muscles of the hip, such as quadratus femoris (QF), may predispose the hip joint to dysfunction. Ultrasound imaging (USI) has been shown to be a valid and reliable method of measuring the size of several hip muscles, but QF size has not been investigated. The objectives of this study were to establish the criterion validity of USI against the "gold standard" magnetic resonance imaging (MRI) for measuring the QF cross-sectional area (CSA) and to investigate intra-rater reliability of USI. Eleven current or retired professional ballet dancers (six women, five men) volunteered for USI of their QF within 1 week of MRI. The mean CSAs of QF were compared between the two imaging modalities, and the mean USI CSAs from two different trials were compared. Mean CSA with MRI (4.8 cm(2), ± 1.54) was significantly larger than mean CSA with USI (4.29 cm(2) ± 1.56; t = 5.82; p < 0.001), and the mean difference was 0.41 cm² (9%). However, the measures were highly correlated for intra-class reliability (r = 0.96, p < 0.001), and intra-class correlation coefficients (ICC) demonstrated excellent agreement (ICC = 0.90; 95% confidence interval [CI]: 0.20 -0.97) and consistency of measures (ICC = 0.96; 95% CI: 0.90- 0.98). Intra-rater reliability of measuring QF with USI was excellent between two trials (ICC = 0.98; 95% CI: 0.96- 0.99). The minimal detectable change at a 95% CI (MDC95) was 0.38 cm(2) (9.5%). It is concluded that USI is a valid and reliable measure of QF muscle size and can be used to measure QF CSA in a research or clinical setting.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 01/2015; 19(1):3-10. DOI:10.12678/1089-313X.19.1.3
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    ABSTRACT: Despite its growing popularity, scant research exists concerning musculoskeletal pain and injury in Irish dancing (ID). This study aimed to record the biopsychosocial characteristics of elite adult Irish dancers and to investigate potential relationships between these characteristics and musculoskeletal pain and injury. One hundred and four professional Irish dancers, elite competitive Irish dancers, and dancers in full time education studying ID completed a questionnaire providing data on dance and activity levels, physical and psychological health, and pain and injury history. Of these subjects, 84 underwent 1. a physical screening of lower limb flexibility, which involved balance and endurance; 2. a number of functional tests; and 3. anthropometric, biomechanical, and anatomical assessments. Subjects were divided into "significantly injured (SI)" and "not significantly injured (NSI)" categories based on the severity and impact of self-reported pain and injury. Thirty-three (31.7%) subjects were classified as SI and 71 (68.3%) as NSI. The factors significantly associated with being SI were female sex (p = 0.036), higher number of subjective general health (p = 0.001) and psychological (p = 0.036) complaints, low mood (p = 0.01), heightened catastrophizing (p = 0.047), and failure always to complete a warm-up (p = 0.006). A self-reported injury rate of 76.9% over the previous 5 years was reported. The mean number of injuries sustained to all body parts over the previous 5 years was 1.49, with a mean of 126.1 days lost annually to injury. Foot and ankle injuries were most prevalent. It was concluded that there is a significant level of musculoskeletal pain and injury in elite adult ID. A complex combination of biopsychosocial factors appears to be associated with pain and injury.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 01/2015; 19(1):31-43. DOI:10.12678/1089-313X.19.1.31
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    ABSTRACT: While dancers and dance educators express great interest in motor control as it relates to rhythmic dance, the subject remains largely uninvestigated. In order to advance our understanding of motor control, a theoretical framework called the dynamical systems approach (DSA) has been used. The DSA was originally developed to describe mathematically the principle of synchronization patterns in nature and their change over time. In recent decades, researchers studying human motor control have attempted to describe the synchronization of rhythmic movement using a DSA. More recently, this approach has been applied specifically to rhythmic dance movements. A series of studies that used the DSA revealed that when people synchronize rhythmic movement of a body part 1. with a different body part, 2. with other people's movement, or 3. with an auditory beat with some phase differences, unintentional and autonomous entrainment to a specific synchronization pattern occurs. However, through practice dancers are able to overcome such entrainment and dance freely. These findings provide practical suggestions for effective ways of training in dance education. The DSA can potentially be an effective tool for furthering our understanding of the motor control utilized in rhythmic dance.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 01/2015; 19(1):11-21. DOI:10.12678/1089-313X.19.1.11
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    ABSTRACT: The aim of this study was to evaluate the influence of upper-leg muscle fatigue on knee joint proprioception in 13 ballet dancers and 13 non-dancer controls. Proprioception acuity, expressed as position and motion sense, was measured with an isokinetic dynamometer. The position and motion sense assessments were prior to and immediately after an isokinetic upper-leg muscle fatigue protocol. Participants wore blindfolds for both tasks to eliminate vision, an inflated air splint on their lower leg to neutralize cutaneous sensation, and headphones with white noise during the motion sense task to eliminate auditory cues. Results showed no significant differences in position and motion sense between dancers and controls in the non-fatigued state. In the fatigued state no significant differences were found in position sense between dancers and controls, while controls increased significantly in motion sense error (p = 0.030) and ballet dancers showed no change in motion sense. It is concluded that position sense and motion sense acuity are not affected by muscle fatigue in dancers, but motion sense is affected by muscle fatigue in non-dancers.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 12/2014; 18(4):143-8. DOI:10.12678/1089-313X.18.4.143
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    ABSTRACT: Dancers are exposed to many landings from jumps during class and performance, and repetitive loading has been linked with an increased risk of injury. Little is known about the effect of different dance shoe types on jump landings, and with so many dance shoe designs available to choose from, a thorough exploration is warranted. Dance technique dictates that jump landings be "rolled through the foot," with a toe strike followed by controlled lowering of the ball of the foot and heel. For this study, 3D motion analysis was used to capture the movement of 16 female dancers performing sautés in second position. Lower limb joint kinematics were examined during the landings, both barefoot and in different jazz shoe designs. The results showed that all dancers executed the technique of "rolling through the foot." All jazz shoe designs increased knee and ankle sagittal ROM (p < 0.05) but reduced ankle frontal plane ROM and midfoot ROM in all three planes (p < 0.05). Chorus shoes increased maximum knee flexion by more than 5° during the plié. Jazz shoes restricted midfoot sagittal and transverse plane motion and MPJ sagittal motion compared to barefoot throughout stance phase (p < 0.05). These changes may translate to a reduced capacity to absorb impact or decreased propulsion. Dance jump landings in the jazz shoe designs tested may appear to be heavier due to the greater reliance on knee flexion to absorb impact and less push-off for subsequent jumps.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 12/2014; 18(4):149-58. DOI:10.12678/1089-313X.18.4.149
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    ABSTRACT: A high degree of turnout is desired by many dancers. Turnout enables the efficient transfer of weight, allows for greater extension and control, and reduces injury risk when used correctly. The purpose of this study was to determine whether participation in a targeted training program beyond technique classes would improve university dancers' ability to use a greater proportion of the turnout their bodies could accommodate without compensation. Six dancers' ability to produce turnout without distorting their alignment was assessed daily, and a multiple baseline experimental design was used to measure the effects of turnout training. Results showed an average increase of 14° in Total Active Turnout (TAT) for all six dancers. In addition, a dance teacher with special experience in the dance sciences rated all of the dancers as showing better control of turnout while performing an adagio phrase following training than before training. These findings suggest that targeted training may offer a useful approach to helping dancers improve skills that enhance performance and promote good health.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 12/2014; 18(4). DOI:10.12678/1089-313X.18.4.169
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    ABSTRACT: Staphylococcus aureus (S. aureus) is a bacterium associated with various infectious diseases. Not only has the bacterium been detected in sports environments, the reported incidences of S. aureus infections have steadily increased in athletic teams. However, in spite of similarities between sports and dance facilities, to our knowledge no previous study has examined the presence of this bacterium in the dance environment. We hypothesized that S. aureus would be present in a university's dance studios, and that it would be extant in higher concentrations inside versus outside the studios. Using common microbiological culturing methods, samples were gathered from floors and barres in three studios of a single university, as well as from outside floors and railings near the studios and a conference room used by dancers. Confirming our hypothesis, we detected S. aureus in every dance studio sample (0.03 to 0.38 cfu/cm 2 ). Supporting our second hypothesis, we found that average S. aureus concentrations from the three studios were significantly higher compared to both outside and conference room samples (P ≤ 0.001). The latter two locations did not yield any S. aureus concentrations. Control samples developed as expected. The results of this study suggest that S. aureus bacteria are common on the flooring and barres of university dance studios, with the bacterial concentrations possibly dependent on the hours of usage of these surfaces. Whether the presence of S. aureus in dance studios presents a health risk to dancers should be studied further.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 09/2014; 18(3). DOI:10.12678/1089-313X.18.3.115
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    ABSTRACT: Summer dance intensive programs are an integral part of many serious dancers' training. The risk and rate of injury in this setting have not been well studied. The goal of this data analysis is to detail the epidemiology of dance injuries reported during a summer dance intensive over a consecutive 3 year period. Data collection included information regarding the number of evaluation and treatment sessions conducted at the program's walk-in clinic, body regions injured, whether the injuries were recurrences of pre-existing conditions or newly sustained during the intensive, and at what point in the program they were recorded. Overall, more of the clinic's clientele presented with multiple injuries than with single discrete injuries. The anatomic distribution of injuries appears to be consistent with previously reported data, with the four most commonly injured body regions being ankle, pelvis and hip, knee, and lumbar spine. Injuries sustained during the intensive (IR) occurred at a 2:1 ratio to pre-intensive injuries (PR). Relative to those with PR injuries, dancers with IR injuries were far more likely to present during the first half of the program. This study is a first step toward filling a gap in the literature by describing injury incidence in a specific population within the dance community.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 09/2014; 18(3). DOI:10.12678/1089-313X.18.3.131
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    ABSTRACT: Low back pain (LBP) is often cited as a common condition at all levels of dance. Evidence suggests that reduced endurance of the trunk muscles can predispose an individual to LBP. The purpose of this study was to examine differences in trunk muscle endurance in a sample of tertiary level dance students with and without LBP. Seventeen full-time female dance students were divided into two groups: dance students with LBP (N = 11), and without LBP (N = 6). All participants provided informed consent, and the study was approved by an institutional ethics review board. Participants performed four isometric tests that assess trunk muscle endurance: the right and left side plank, double straight leg raise (DSLR), and the Sorensen test. A modified version of the Osaka City University test was used to assess the presence of LBP. A significant difference (p Document Type: Research Article DOI: http://dx.doi.org/10.12678/1089-313X.18.2.62 Affiliations: 1: Trinity Laban Conservatoire of Music and Dance, London, UK. ctvswain@gmail.com 2: Trinity Laban Conservatoire of Music and Dance, London, UK Publication date: June 1, 2014 More about this publication? Editorial Board Information for Authors Membership Information ingentaconnect is not responsible for the content or availability of external websites $(document).ready(function() { var shortdescription = $(".originaldescription").text().replace(/\\&/g, '&').replace(/\\, '<').replace(/\\>/g, '>').replace(/\\t/g, ' ').replace(/\\n/g, ''); if (shortdescription.length > 350){ shortdescription = "" + shortdescription.substring(0,250) + "... more"; } $(".descriptionitem").prepend(shortdescription); $(".shortdescription a").click(function() { $(".shortdescription").hide(); $(".originaldescription").slideDown(); return false; }); }); Related content In this: publication By this: publisher In this Subject: Arts (General) , Medicine (General) , Therapeutics & Alternative Medicine By this author: Swain, Christopher ; Redding, Emma GA_googleFillSlot("Horizontal_banner_bottom");
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 06/2014; 18(2). DOI:10.12678/1089-313X.18.2.62
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    ABSTRACT: This study aimed to investigate the effects of ballet-specific vestibular stimulation and fatigue on static postural control in ballet dancers and to establish whether these effects differ across varying levels of ballet training. Dancers were divided into three groups: professional, pre-professional, and recreational. Static postural control of 23 dancers was measured on a force platform at baseline and then immediately, 30 seconds, and 60 seconds after vestibular stimulation (pirouettes) and induction of fatigue (repetitive jumps). The professional dancers' balance was unaffected by both the vestibular stimulation and the fatigue task. The pre-professional and recreational dancers' static sway increased following both perturbations. It is concluded that professional dancers are able to compensate for vestibular and fatiguing perturbations due to a higher level of skill-specific motor training.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 06/2014; 18(2). DOI:10.12678/1089-313X.18.2.67
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    ABSTRACT: Sport-related concussion is a topic of increasing public and media attention; the medical literature on this topic is growing rapidly. However, to our knowledge no published papers have described concussion specifically in the dancer. This case series involved a retrospective chart review at a large teaching hospital over a 5.5-year period. Eleven dancers (10 female, 1 male) were identified who experienced concussions while in dance class, rehearsal, or performance: 2 in classical ballet, 2 in modern dance, 2 in acro dance, 1 in hip hop, 1 in musical theater, and 3 were unspecified. Dancers were between 12 and 20 years old at the time of presentation. Three concussions occurred during stunting, diving, or flipping. Three resulted from unintentional drops while partnering. Two followed slips and falls. Two were due to direct blows to the head, and one dancer developed symptoms after repeatedly whipping her head and neck in a choreographed movement. Time to presentation in the sports medicine clinic ranged from the day of injury to 3 months. Duration of symptoms ranged from less than 3 weeks to greater than 2 years at last documented follow-up appointment. It is concluded that dancers do suffer dance-related concussions that can result in severe symptoms, limitations in dance participation, and difficulty with activities of daily living. Future studies are needed to evaluate dancers' recognition of concussion symptoms and care-seeking behaviors. Additional work is also necessary to tailor existing guidelines for gradual, progressive, safe return to dance.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 06/2014; 18(2). DOI:10.12678/1089-313X.18.2.53
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    ABSTRACT: Hallux valgus is a common deformity of the forefoot. There is no doubt that some dancers develop hallux valgus, but the question remains as to whether dancers are at greater risk than the general population for developing this deformity. Review of the literature reveals on-going debate regarding risk factors for hallux valgus, which may include increasing age, female gender, genetic predisposition, constrictive shoe wear, first ray hypermobility, foot architecture, tight Achilles tendon, and first metatarsal length. There is insufficient evidence to demonstrate conclusively that dancing, specifically pointe work, increases the prevalence or severity of hallux valgus; more research is needed. Treatment of hallux valgus in dancers should be conservative, with delay of surgical correction until retirement if possible.
    Journal of dance medicine & science: official publication of the International Association for Dance Medicine & Science 06/2014; 18(2). DOI:10.12678/1089-313X.18.2.86