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The Effect of an Eyes-closed Dance-specific Training Program on Dynamic Balance in Elite Pre-professional Ballet Dancers: A Randomized Controlled Pilot Study
Abstract
Visual conditions for a dancer vary greatly between theatrical performance environments and dance studios, and this variability may be detrimental to their dynamic balance performance, particularly under stage lighting. In order to maintain balance control, dancers reportedly rely heavily on visual input, yet those who rely more on proprioceptive strategies for balancing have been found to be more stable. The purpose of this study was to assess the capability of an eyes-closed, dance-specific training program to nurture in dancers proprioceptive mechanisms that may facilitate their dynamic balance control. Eighteen elite pre-professional ballet dancers were randomly assigned to either a control (eyes open) or experimental (eyes closed) group for the intervention. The balance abilities of all subjects were tested using five dance-specific variations of the Star Excursion Balance Test before and after a 4 week balance intervention. Reach distance and time to complete the tests were recorded separately as indirect measurements of dynamic balance. The intervention consisted of dance-specific, eyes-closed exercises integrated into the dancers' daily ballet class and designed progressively to challenge the dancers' balance. During the intervention period, the control group undertook the same exercise program with their eyes open. Results revealed significant improvements in time to complete the three "timed" balance tests, and distances reached significantly improved in one of the two "reach" balance tests. No significant improvements were observed in the control group for any variation of the tests. These results indicate that dancers can be trained to adopt proprioceptive strategies to maintain dynamic balance, which consequently improves their balance performance. Such findings could encourage use of eyes-closed training in daily dance classes due to its potential to improve dancers' balance control.
... This constant need for adaptation stimulates the central nervous system to refine its ability to process and integrate sensory information from sources such as vision, proprioception, and the vestibular system [55,56]. One key aspect of this adaptation is the enhancement of proprioceptive awareness [57]. The diverse choreography and weight-shifting movements inherent in aerobic dance prompt participants to develop a heightened sense of the relative positions of their body parts [57]. ...
... One key aspect of this adaptation is the enhancement of proprioceptive awareness [57]. The diverse choreography and weight-shifting movements inherent in aerobic dance prompt participants to develop a heightened sense of the relative positions of their body parts [57]. This heightened proprioception allows for more accurate adjustments in weight distribution and limb positioning, contributing to improved postural adjustments, particularly in scenarios in which visual cues are limited [57]. ...
... The diverse choreography and weight-shifting movements inherent in aerobic dance prompt participants to develop a heightened sense of the relative positions of their body parts [57]. This heightened proprioception allows for more accurate adjustments in weight distribution and limb positioning, contributing to improved postural adjustments, particularly in scenarios in which visual cues are limited [57]. In addition, aerobic dance often involves movements that stimulate the vestibular system [58], which is responsible for detecting head movements and spatial orientation. ...
This study aimed to investigate the impact of an 8-week aerobic dance intervention on postural balance in children. Forty-one children, aged 9 to 11, were randomly assigned to either an aerobic dance group (ADG) or a control group (CG) from a primary school. Postural balance was assessed using center of pressure (CoP) excursions before and after the 8-week intervention period. Evaluations were conducted on both firm and foam surfaces in bipedal and unipedal stances under open-eyes (OE) and closed-eyes (CE) conditions, as well as on both medial–lateral (ML) and anterior–posterior (AP) surfaces in a bipedal stance under OE conditions. The ADG exhibited significantly decreased CoPVm values during firm bipedal CE, unipedal OE, foam bipedal OE and CE, and foam unipedal OE (p < 0.005). This study suggests that aerobic dance intervention improved postural balance in children, showcasing adaptability and improved stability under various conditions.
... Mental visualization can be beneficial in improving bodily movements (Lanners, 2015). On the other hand, despite the fact that eyes closed training, in which physical training and mental visualization techniques are used synchronously, has been widely used in individual sports for decades in terms of both skill development and performance development (Smirnov et al., 2019;Hutt, & Redding, 2014), it has not been used much in team sports. ...
... Through eyes closed training, the visual sense is ignored and the total amount of sensory input is reduced (Rusin, 2017). This situation teaches athletes to focus more on their senses and adjust their kinesthetic senses so as to control their movements by enabling them to direct their attention to body movements (Hutt & Redding, 2014). Kinesthesia or proprioception is the sensation of the individual's own bodily perception. ...
... Reducing the total amount of sensory input by ignoring the visual senses helps to improve mental sharpness and focus the attention (Rusin, 2017). Seeing the exercises from the eye of the mind positively affects skill development (Rosenbaum, 2020) and allows athletes to focus more on their senses and adjust their kinesthetic senses in order to control their movements (Hutt, & Redding, 2014). The kinesthetic sense plays an important role in movement practice. ...
The study aimed to examine the effect of service trainings performed with eyes closed on the target service success percentage in volleyball players. The study was carried out with 22 volunteer male volleyball players. The volleyball half court was divided into six zones, each zone with a distance of 3 meters. In the trainings, the athletes were asked to serve 10 to each predetermined target zone with their eyes tied with a black eye patch. In the pre-test and post-test application, following the appropriate warm-up process, the athletes were asked to serve 20 to each zone with their eyes open. For the statistical analysis of the data obtained, SPSS 21.0 package program was used. In the evaluation of the data; descriptive statistics, non-parametric Wilcoxon signed-rank test and Friedman test were used. P<0.05 was accepted for statistical significance. As a result of the applications performed, it was found that the difference between the pre-test and post-test service success percentages in the zones 1, 2, 3, 4 and 6 was significant. In the post-test values, the percentages of the total serve into the zones were higher than the pre-test serve percentages. In the applications, the percentage distribution of the serve with eyes closed was found to be higher according to the days. The service percentage values in the first and last training sessions increased significantly. As a result, it was determined that the service trainings performed with eyes closed affected the success percentage in the service.
... Research has shown that the training effect becomes superior when exercised on the unstable floor (i.e., foam pad, BOSU) [8][9][10], and gait and balance performance improved 15% and 11%, respectively, in older adults with exercises administered on the BOSU and Swiss ball [9]. Kang improved with visual deprivation during tasks, and the time to complete the Star Excursion Balance Test, a clinical measurement tool for balance performance, was reduced 16% with the eyes-closed exercise training, but only 4% with the eyes-open training [12]. ...
... We also found that balance performance was largely affected by vision and floor condition, and individuals swayed more with eyes closed, and on the unstable floor. These findings also agree well with previous findings, where impaired visual input decreases postural stability and unstable floor affects somatosensory inputs, resulting in poor balance [10,12,[23][24][25][26][27][28][29]. ...
... Interestingly, however, our data suggest that the three environmental conditions affect balance independently and not influence each other, indicating no combined effects among conditions. In balance training, one may want to change the level of difficulty depending on individuals' status (i.e., patients in early rehab stage or elite athletes) by combining several environmental conditions, and balance training with visual deprivation and/or on unstable floor condition have often been used[8][9][10][11][12]. However, our results suggest that such strategy provides no additional benefits in the outcome of training (i.e., balancing on the unstable floor while wearing a weight belt above waist, or training with eyes closed while wearing a weight belt above waist). ...
... Bruyneel et al. [18] indicated the importance of vision for maintaining balance in ballet dancers. Hutt and Redding [19] suggested that dancers may use visual input as the dominant mechanism to maintain balance when their eyes are open, yet acutely shift to more proprioceptive strategies when their eyes are closed. ...
... Due to its specificity, dance is a unique form of training that contains balance training, endurance training, strength training, and flexibility training in varying amounts. Numerous studies have demonstrated that dancing helps develop coordination skills that affect improved balance [19,26,27]. In our research, we assessed whether practicing dance a minimum of three times a week for several years improves static balance compared to people with low physical activity. ...
... In our research, we assessed whether practicing dance a minimum of three times a week for several years improves static balance compared to people with low physical activity. Many investigations in the literature describe the impact of ballet on balance [17,19,28]. Contrary to the above statement, dancers qualified for our research had modern and/or classical dance experience. ...
The aim of the study was to compare the static balance of dancers and non-dancers in a bipedal and unipedal stance. Twenty-three female dancers (mean age: 21.3 ± 1.7) and 24 age and sex-matched subjects (mean age 22.3 ± 1.0) participated in this study. A force platform was used to assess balance. The tests on the balance platform were performed in several positions with different foot placement, such as normal standing (NS) eyes open and eyes closed positions, semi-tandem position (ST), tandem position (TP), and one-leg standing (1L) eyes open and eyes closed position. Significant differences in balance between the dancers and the control group, especially in the tandem position and one-leg standing position with eyes closed were found. We observed higher results for the velocity of the COP in the frontal plane in the TP with a dominant limb in front (p = 0.04) and higher results for the velocity of the COP in the frontal plane (p = 0.01) and in the sagittal plane (p < 0.01) in the TP with a dominant limb in front in the control group. We also observed significant differences between groups in the mean velocity of COP sway in the sagittal plane in the 1 L position with eyes closed (p = 0.04). We concluded that dancing regularly for several years improves static balance.
... Professional dancers rely more on proprioception and less on visual input to maintain balance than non-dancers, which is associated with advanced balance abilities (20,29). The ability to rely more on proprioception than visual input is a trainable skill; pre-professional classical ballet dancers who participated in a balance training program that targeted proprioception by removing visual input showed improved balance (29). ...
... Professional dancers rely more on proprioception and less on visual input to maintain balance than non-dancers, which is associated with advanced balance abilities (20,29). The ability to rely more on proprioception than visual input is a trainable skill; pre-professional classical ballet dancers who participated in a balance training program that targeted proprioception by removing visual input showed improved balance (29). Proprioceptive input from the legs is the primary and most sensitive form of input in detecting postural sway during normal standing and is therefore desirable in all populations (19). ...
... While professional and pre-professional ballet dancers do show better balance skills than non-dancers, they also train extensively without holding onto the barre both in technique classes and in performing repertoire (9,10,27). Additionally, pre-professional ballet dancers have been shown to rely heavily on visual cues to maintain postural stability, which may be due to the presence of mirrors in ballet studios (29). The ballet classes in this intervention took place in a dance theater without mirrors, which may have influenced visual input for the participants. ...
Older adults show an increased risk of falling as they age, but dance interventions of various genres have been shown to improve postural stability in this population. The purpose of this study was to investigate the effects of a ten-week beginning ballet intervention on postural stability for older adults. Eleven participants enrolled in the Dance Group (DG; 73.3 ± 10.6 years) while six enrolled in the Control Group (CG; 69.5 ± 11.9 years) via convenience sample. Following the intervention, no significant differences were seen within the DG from pre-to post-testing or when comparing delta values (post minus pre) between groups in the center of pressure area, displacement, or speed (p > 0.05). While no differences were seen with this intervention, the ballet barre was used for approximately half of each dance class; future ballet interventions for older adults may benefit from training without a barre to enhance potential effects on postural stability.
... 12,17 Identifying different factors that may affect the performance of the dancers is vital for protecting their health and improving the technical level of dancers. Some scientific studies have analyzed the effect of proprioception 5,18 and balance exercises 19 for ballet dancers; however, little is known about the effects of KT application 4 or proprioception and balance training in modern dancers. Evidence on KT use in dancers is conflicting, with Vinken et al. 20 finding that the application of elastic tape for healthy, active dancers may enhance parameters of postural control but also hamper other performance-related aspects. ...
... 27 The single-leg stance test is often used to determine static balance in dancers with passé balance position. 19,24 This test is preferred because it is one of the balance elements technically used by dancers. The actual form of this test is 90º flexion of hip and knee of the lifted leg. ...
... 34 Balance especially is skill specific, and training should use the same technical skills that are required during dance performance. 19 Thus, some balance exercises (e.g., passé, attitude, arabesque, a la seconde, demi-plié lateral flexions, airplane, airplane with trunk rotation, modified star excursion-ronde) used in dance were chosen and performed in different directions (e.g., forward, side, backward) and degrees (e.g., 45°, 90°, 135°). ...
Kinesio tape and proprioceptive exercises are both used for increasing balance in dancers. The purposes of this study were to: a) determine the acute effect of kinesio tape (KT) application on the ankle joint on balance performance, b) investigate the effects of an 8-week proprioceptive-neuromuscular (PN) training program on balance performance, and c) compare their effects vs modern dance technique classes alone. Thirty-three trained, university-level modern dance students (9 male, 24 female) were divided randomly into three groups: kinesio tape (KT, n=11), proprioceptive-neuromuscular (PN, n=11), or control (n=11). Static (turn-out passé-opened eyes/relevé and turn-out passé-closed eyes/flat foot), semi-dynamic (airplane), and dynamic balance (monopodalic-straight and -transverse in a turn-out passé-eyes opened/flat foot) tests were performed before and after the intervention. One day after pre-tests, KT mechanical correction technique was applied to the left ankle joint (supporting leg) in the KT group, and tests were repeated to determine the acute effect of KT. The PN group participated in an 8-week balance training program (2 days/wk, 60 min/day) involving exercises using stable and unstable surfaces. Significant improvements were observed for all static and dynamic balance tests in the PN group; semi-dynamic airplane and dynamic monopodalic-straight and transverse tests improved in the KT group; and only semi-dynamic airplane test scores changed significantly for the control group (p<0.05). Our findings suggest that with the exception of the semi-dynamic airplane test, both PN training and KT application were more effective at improving balance performance for modern dancers than modern dance technique classes alone.
... Ballet dancers maintain postural stability during challenging tasks more easily than non-dancers [1,2]. However, their postural capacity is affected by external factors such as sloped floors [3], lighting [4], footwear and costumes [5] and internal factors such as degree of expertise [6], errors during training [7], fatigue [6,8] and injury [9]. These factors can reduce stability, particularly in technical dance movements, increasing the risk of injury. ...
... The annual incidence of injuries in professional dancers is between 67% and 95% [10]. It is thus essential to develop specific exercises to improve postural control and prevent injuries [7]. The postural control system continuously manages the body's state of equilibrium through the interaction of sensory-motor processes [11]. ...
... In dynamic balance, this visual dominance has been shown to be related to age [4] and moreover, appears to be reinforced when the training involves visual feedback from mirrors [18]. Interestingly, it has been shown that practicing specific dance exercises with the eyes closed (EC) improves balance after only 4 weeks [7]. Few studies have investigated the effect of vision on balance training, despite the fact that visual conditions vary greatly between dance studios and theatre productions [7] and that postural control depends on the availability of visual information [2]. ...
Purpose:
To analyse dynamic postural strategies during the "grand plié" in two different foot positions (parallel or turned out), with and without vision, and as a function of age in ballet dancers.
Method:
Twenty young dancers (YD) aged from 8 to 16 years, and 20 adult dancers (AD) aged from 17 to 30 years were recruited. Center of pressure (CoP) and ground reaction forces (GRF) were recorded (500 Hz) during the grand plié (lowering, squatting and rising). This movement was tested with the feet parallel and with both lower limbs turned out (foot angle >140°), with eyes open (EO) and eyes closed (EC). Groups were compared using Student t-tests. Repeated analysis of variance was used to examine the effects of eyes and foot conditions, with a significance level of p < 0.05.
Results:
The results of this study showed that dynamic postural strategies during the "grand plié" ballet movement are influenced by age, foot position and visual condition. CoP displacement length (p < 0.003) and CoP speed (p < 0.003) were higher in YD compared with AD. CoP surface (p < 0.05), mediolateral CoP speed (p < 0.048) and GRF parameters, particularly the mediolateral (p < 0.049), were higher than in the parallel than the turned out position. In both groups all CoP (p < 0.042) and GRF parameters (p < 0.049), except the vertical component, were higher with EC than EO.
Conclusion:
The effect of foot position was greatest with EO. The parallel position was less stable. The YD were more unstable in the parallel position, particularly with EC. For both groups, the lack of vision increased instability. These results show the importance of integrating balance training in a variety of foot positions and visual conditions, particularly during the initial stages of training to prevent injury.
... In this study, the dancers group did not obtain significant results; they were comparable with the control group. Some research shows the impact of ballet on balance [46,47,49,55]. Hutt and Redding's studies have shown that dancing helps develop coordination skills that affect improved dynamic balance [55]. ...
... Some research shows the impact of ballet on balance [46,47,49,55]. Hutt and Redding's studies have shown that dancing helps develop coordination skills that affect improved dynamic balance [55]. However, the researchers proved the positive impact of various forms of dance on balance and attributed the effect of better results to the effect of eyesight on maintaining balance [47,49]. ...
Sports training can significantly influence specific motor skills. The aim of this study was to investigate the influence of gender and the specificity of sports activities on body balance, symmetry of lower extremity loads (SI) as well as body mass index (BMI) in young athletes aged 14 to 17. There were 240 participants (145 boys and 95 girls) divided into five groups: swimmers, dancers, soccer players, archery and control group. The average age was 16. Participants had 3 years of training experience (training three times a week or training that lasted between 4.5 and 6 h weekly). To assess balance, the stabilized Zebris platform was used in the study. The SI was calculated based on the percentage load on the lower extremities, dividing the greater value by the lower. Body mass index was calculated on the basis of height and weight. Women had a significantly lower BMI and balance in some analyzed parameters, while men had better SI. Archers obtained the best results of the balance parameters and the worst results of SI. Only swimmers and soccer players had a normal SI. Sports specialization generates significant differences in the manifestation of balance compared to the gender variable and sport discipline.
... In recent years, there is a different approach to the study of proprioception in dance field such as joint position sense and injury occurrence (Esen et al., 2013) and muscle activation and coordination between two joints in relation to specific dance movements (Bronner, 2012;Golomer et al., 2008). Very popular researches are about balance improvement and balance efficiency (Hackney & Earhart, 2010;Ambegaonkar et al., 2013;daSilva Borgers et al., 2014), or effect of vision compared to non-vision on balance maintenance (Bruyneel et al., 2010;Hutt & Redding, 2014). Researches were comparing either two levels of dancers (Rein et al., 2011) or dancers' and non-dancers' (Ambegaonkar et al., 2013;Jola et al., 2011). ...
... Unfortunately, there are very few studies on, particular, Latin and standard sport dancers (Han et al., 2014, Ljubojević et al., 2012Ljubojevic et al., 2017). Some studies show a positive effect of proprioceptive training on improving motor skills such as static and dynamic balance skills (Hutt et al, 2014;Ljubojević et al., 2012;Myer et al., 2006, Tekin et al., 2018. Identifying different factors that may affect the performance of the dancers is vital for protecting their health and improving the technical level of dancers. ...
The aim of this research is to determine the effects of proprioceptive training on the improvement of agility skills in dance sport fitness conditioning. Proprioceptive training is realized throughout tasks that include the establishing and maintaining various positions on balance boards of different dimensions, working surfaces and platforms. 38 male and female competitive dancers divided into an experimental and control groups. The experimental group took part in a proprioceptive training program over a period of 12 weeks (3 x 30 minutes per week). The control group (at the same time as the experimental) had regular sport dance training. At the beginning and at the end of the experiment, agility skills were measured by means of three different agility tests: Side steps, Figure '8' with bending and Agility in the air. Statistically significant differences among the groups in the final measurement (p= .00) generally show a positive effect of the proprioceptive training program on the improvement of agility skills with the experimental group, especially in tests Figure '8' with bending and Side steps. Such findings could encourage the use of proprioceptive training model in daily dance classes due to its potential to improve dancers' agility skills. Therefore, the use of a proprioceptive training model, as an innovative approach in individual and group dance fitness conditioning is recommended.
... Generally, training with eyes closed and remembering to do speci c exercises with several stations are simple mental activities. In this regard, Hutt and Redding (2014) showed that an eyes-closed dance training increased the dynamic balance of ballet dancers (19), as closing the eyes led to a shift from visual to proprioceptive dependence for balance control. Moreover, researchers have found that closing the eyes activates different areas of the brain, especially the amygdala, which is involved in memory and learning (20,21). ...
... Generally, training with eyes closed and remembering to do speci c exercises with several stations are simple mental activities. In this regard, Hutt and Redding (2014) showed that an eyes-closed dance training increased the dynamic balance of ballet dancers (19), as closing the eyes led to a shift from visual to proprioceptive dependence for balance control. Moreover, researchers have found that closing the eyes activates different areas of the brain, especially the amygdala, which is involved in memory and learning (20,21). ...
Background: This study aimed to investigate the effect of a 12-week period dual-task training on cognitive status, physical performance and brain waves of patients with Alzheimer's disease (AD).
Methods: Twenty-six AD patients were randomly assigned to two groups, training group (TG) and control group (CG). TG executed progressive combined exercises with visual stimulation twice a week for 12 weeks. Training included muscle endurance, balance, flexibility and aerobic exercises with eyes closed and opened. Brain waves on EEG and a series of physical, cognitive and mental tests were taken prior and post intervention.
Results: There was a significant improvement after training protocol in cognitive function, particularly in short-term memory, attention, working memory and executive function (p<0.01). In addition, there were substantial improvements in depression status (GDS scale), aerobic fitness (6 min walking), flexibility (chair sit and reach) functional ability (chair stand, timed up and go test), strength (knee extensions, preacher biceps curl, handgrip) in TG compare to CG. These progresses was associated with significantly increase (p<0.05) in the frequency of brain waves and decreased in the theta/alpha ratio.
Conclusions: In addition to physical performance, the regular combined training with visual stimulation improve brain health as indicated by improving cognitive function and reducing the theta/alpha ratio.
Trial registration: Iranian Registry of Clinical Trials, IRCT20190504043468N1.
... In static balance, young dancers' postural control is less efficient than that of adults, and they are more dependent on vision 8 . Classical ballet dancers must have sophisticated balance mechanisms to effectively position themselves during the complex choreographic sequences of their performances, with multidirectional activities at different amplitudes and angles of rotation 9 . ...
... There is a general consensus in the literature that dancers use proprioceptive and visual stimuli as their fundamental sensory inputs 2 . Their balancing abilities are superior to those of non-dancers when their eyes are open, but not with eyes closed, suggesting that the ability to change acutely from one balancing mechanism to another is not sophisticated 2,5,8,9,28 . This fact may explain the greater changes observed in the stabilometry of the dancers group when compared to the open and closed eyes conditions. ...
Introduction: The growth and development of children is a product of the interaction of biological andenvironmental factors. Dance practice can optimize various aspects of motor control, coordination andbalance in childhood and adolescence. Objective: The objective of the present study was to verify how the practice of classical ballet, at a professional level, can influence the plantar pressures and balance of children and adolescents, as well as to verify if subjects’ vision and posture of the upper limbs can interfere in this result. Methods: Cross-sectional study performed with 111 girls aged 10 to 15 years who practice classical ballet (n = 56) and non-dancers (n = 55). Anthropometry (BMI), plantar pressures and postural stability (baropodometry platform) were assessed. Three different conditions: eyes open (EO), eyes closed (EC) and arms outstretched (AO) were observed. Data analysis performed by using group comparison and correlation tests. Results: Those who practiced classical ballet placed less weight onto the left forefoot, presented lower values of maximum pressure and plantar surface area in all the evaluated conditions and moved less in the stabilometry analysis. It also observed that ballet dancers were more influenced by vision and positioning of the upper limbs than the group of non-dancers. Length of time as a dancer influenced the results found. Conclusions: Girls who practice classical ballet have specific characteristics of plantar pressure and develop different postural control strategies when compared to typical girls of similar age, especially in the arms outstretch position.
... Based on the result, we can assume that the EG group relied more on proprioception, and less on visual input to maintain balance, than the CG, which was associated with increased ability to maintain balance. Research has shown that this type of ability can be successfully developed [52]. It is likely that the EG group acquired such skills during proprioceptive training on a balance platform using VR. ...
... It is likely that the EG group acquired such skills during proprioceptive training on a balance platform using VR. Hutt and Redding [52] studied the impact of specific training on balance control among ballet dancers. They stated that a program based on reducing visual stimuli increased the level of balance. ...
The aim of the study was to assess the impact of proprioceptive training with the use of virtual reality (VR) on the level of postural stability of high–altitude workers. Twenty-one men working at height were randomly assigned to the experimental group (EG) with training (n = 10) and control group (CG) without training (n = 11). Path length of the displacement of the center of pressure (COP) signal and its components in the anteroposterior and medial–lateral directions were measured with use of an AccuGaitTM force plate before and after intervention (6 weeks, 2 sessions × 30 min a week). Tests were performed at two different platform heights, with or without eyes open and with or without a dual task. Two–way ANOVA revealed statistically significant interaction effects for low–high threat, eyes open-eyes closed, and single task-dual task. Post-training values of average COP length were significantly lower in the EG than before training for all analyzed parameters. Based on these results, it can be concluded that the use of proprioceptive training with use of VR can support, or even replace, traditional methods of balance training.
... A tape measure was affixed to the floor in a straight line with 2 pieces of tape angled at 135 degrees to create a "Y" shape on the floor (12). Hutt and Redding measured the effects of an intervention with ballet dancers as subjects and used a similar taped version of the SEBT, with 8 spokes (15). ...
... These were part of the 8-spoke grid used for the timed test ( Figure 1). The timed test used the original 8-spoke grid of the SEBT (15). This test was performed as quickly and safely as possible. ...
Wearing barefoot-style (minimalist) shoes is suggested as a transition between wearing shoes and barefoot running. Some sources equate wearing Vibram FiveFingers™(VFFs), a brand of barefoot shoes, with running/walking barefoot. Static and dynamic balance exercises are recommended. Little information is available on the effects barefoot shoes may have on dynamic balance. This study's purpose was to examine dynamic balance when participants wore VFFs, athletic shoes, or went barefoot (BF). To test dynamic balance, participants used a modified version of the Star Excursion Balance Test (SEBT), in which the reaching leg followed only three spokes of the test: the anterior, posteromedial and posterolateral. For the timed test, participants touched down as quickly as possible in both directions using all 8 spokes. Thirty participants (ages 24.1+/-3.71 years) without lower extremity injury or experience wearing minimalist shoes were tested using the modified SEBT and a timed test wearing VFFs™, athletic shoes, or BF. Three trials for each footwear were completed for three reaching positions: anterior, posterolateral, posteromedial. The timed test measured (seconds) one counterclockwise and one clockwise direction of the 8-spoke figure. A repeated measures analysis of variance determined if any differences existed between footwear type and studied variables. Anterior reach was significantly greater when wearing shoes than with VFF or BF. Posteromedial reach was greater with shoes than BF. Time trials were not significantly different. Because no difference was found in any measured variables between VFF and BF, the results suggest wearing VFFS™ provided similar dynamic balance as going barefoot.
... If the ideal body image or performance quality is not attained, negative self-evaluations can occur, such as body dissatisfaction and a sense of failure, respectively (Dearborn et al. 2006;Ehrenberg 2010;Radell et al. 2014). To make an analogy to the effects of mirror-viewing dependence, elite preprofessional ballet dancers who were trained with eyes closed exhibited better proprioception and dynamic balance than the control group, who was trained with eyes open (Hutt and Redding 2014). ...
... Other students preferred watching videos of their performance to looking in the mirror in order to concentrate on their bodies during practice without distractions. Although the use of mirrors is encouraged in dancing and physical theater to enhance performance, emphasizing internal bodily awareness, such as practicing with eyes closed, can better enhance proprioception and dynamic balance among ballet dancers than emphasizing mirror viewing like practicing with eyes open (Hutt and Redding 2014). Dancers and performers who over rely on mirrors can also feel disembodied, disheartened, and unmotivated if they do not attain ideal body shapes and performance qualities (Dearborn et al. 2006;Ehrenberg 2010;Radell et al. 2014). ...
The purpose of this qualitative study was to examine the embodied qualities of aerial practice among 13 US undergraduate students (Mage = 20.46 years old). Drawing on the philosophy of embodiment, interview questions addressed bodily sensations, cognition, and the role of music and mirror viewing. The first emerging theme from the analysis was bodily sensations and cognition, including integrating cognitive and sensory bodily awareness (thinking and sensing the movements), bodily awareness and visual cues (e.g., emphasizing bodily sensations), and pain and the body. The second theme was music, mind, body, and emotion, including the embodiment of music and performance without music. In movement programs, cognitive and sensory bodily awareness are keys to all stages of skill acquisition. Overreliance on mirror viewing may diminish proprioception. Given that pain does not entirely disappear with continuous practice, it can affect movement execution. Bodily expressions with or without music can be embodied and artistic.
... Even if all the above challenges are solved, classification performance in MI BCIs is often limited [6], in part due to fluctuations in concentration or mental strategy in real world conditions outside the laboratory, restricting robustness and speed. However, a variety of other EEG-based approaches, such as P300 potentials, Steady State Visually Evoked Potentials (SSVEPs) or alpha band oscillations can be used to generate relevant command signals for FES rehabilitation applications [7], especially when they are coupled with appropriate strategies that promote physical and cognitive engagement of the patient in the motor task, such as augmented proprioceptive feedback [8], action observation [9], or eyes-closed training [10]. Action observation is a strategy that can elicit similar brain activity as motor practice and MI [11], while being easier to implement. ...
... Action observation is a strategy that can elicit similar brain activity as motor practice and MI [11], while being easier to implement. In the other hand, eyes-closed training is a technique used in sports practice to augment specific proprioceptive feedback [10] while learning complex technical movements. Both are suitable options to be integrated in FESbased rehabilitation applications commanded by non-MI EEG signals. ...
An approach is presented to generate command signals for FES, based on the increase of the occipital alpha rhythm generated by closing the eyes, using only one EEG recording channel and minimal signal processing based on filtering and the RMS value. Based on this approach, an EEG-FES application for upper limb rehabilitation is developed, that incorporates action observation, EEG-FES triggering and augmented proprioceptive feedback with closed eyes, to practice five different hand and forearm movements.
The EEG-FES application was tested by two healthy participants who successfully selected and triggered twice each of the five movements by closing the eyes when visual and audible cues are presented (85.5% accuracy). This approach and application can be easily adapted to other BCI signals and FES applications.
... CoP values to measure balance ability in the standing position (Gerbino, Griffin & Zurakowski, 2007), by comparing CoP values of dancers with those of non-dancers to test one-footed balancing in a demi-pointe position of ballet dancers (Da Costa, Nora, Vieira, Bosch & Rosenbaum, 2013), and investigated proprioceptive strategy for the maintenance of dynamic balance in dancers by using the star excursion balance test (Hutt & Redding, 2014), and the effect of visual information on balance ability (Kiefer et al., 2011). Most of these studies either used CoP analysis or balancing function tests to examine balance ability in dancers. ...
... Among the studies that analyzed the dynamic stability of dancers, a study by Gerbino et al. (2007) indicated that when a balance test was performed to test the dynamic balance abilities of dancers, the results showed that dancers had excellent ability to maintain their balance even when landing quickly after moving the CoM and standing on an uneven surface. Moreover, Hutt and Redding (2014) indicated that dancers had superior dynamic stability than non-dancers, which was proven through testing of balance ability based on the presence or absence of visual cues that are most closely associated with the practice environment of dancers. However, when the dynamic stability of dancers was exposed to the general environment, identifying the type of bodily strategies used should provide the basic data for finding the method that can maintain dynamic stability under sudden changes in external environment. ...
Objective: The goal of this study was to systematically investigate the postural stability of dancers by providing unexpected perturbations. Method: Six female dancers and college students participated in this study. Unpredictable wait-pull balance perturbations in the anterior direction were provided to the participants during standing. Three different perturbation intensities (low, moderate, and high intensity) were used by increasing perturbation forces. Spatial and temporal stability of postural control were measured by using margin of stability (MoS) and time to contact (TtC), respectively. Results: Both MoS and TtC at moderate intensity were significantly greater in the dancer group than in the control group, but no significant differences were found at low and high intensities between the groups. Conclusion: The present study showed spatial and temporal stability of dynamic postural control in dancers. We found that the dancers were more spatially and temporally stable than the ordinary participants in response to unexpected external perturbation when the perturbation intensity was moderate at two extreme intensity levels (low and high).
... The dancer's sophisticated static and dynamic balancing skills are highlighted in the world of sport in general: dance itself is used in different protocols to improve the balance of "non-dancer" athletes [5]. From this, dancers could be expected to possess a high sense of awareness in terms of the positioning and movement of their bodies in space and consequently, superior overall balancing abilities, compared to categories of non-dancing subjects [6]. ...
... The dancer's sophisticated static and dynamic balancing skills are highlighted in the world of sport in general: dance itself is used in different protocols to improve the balance of "non-dancer" athletes [5]. From this, dancers could be expected to possess a high sense of awareness in terms of the positioning and movement of their bodies in space and consequently, superior overall balancing abilities, compared to categories of non-dancing subjects [6]. ...
Objective: Training allows athletes to acquire different balance control skills based on the discipline practiced. In particular, dance, in the motor field, allows dancers to optimise the coordination skills that can improve balance and postural stability. The present study compared the postural tonic system control abilities of a semi-professional dancer (SD), a competitive judoka (CJ) and a control case (CC), under static equilibrium conditions. The subjects, selected according to homogeneity criteria, were subjected to tests in a bipodal position on a stabilometric platform and evaluated after different stimulations. Results: The data relating to the quantity of body oscillations and the displacement surface of the centre of pressure (CoP) calculated in cm2 were compared. It emerged that the SD was not able to use vestibular afferents in a static position like the other two subjects; only after the test in which the proprioceptive receptor was differentiated, the SD reported a number of oscillations amount to 11.6 times less than the CJ and 4.5 times less than the CC. Conclusions: According to the results obtained, the dancer implements different strategies compared to non-dancers for maintaining static balance; preferably she uses visual and proprioceptive afferents, minimising the inputs from the vestibular system.
... In addition, the improvement of balance with eyes closed is bene cial for aerials athletes to adapt to the outdoor environment (wind and light) as well as landing stability after di cult aerials ips. Hutt (Hutt & Redding, 2014) pointed out that the closed-eye dancing exercises led to the improvement of ballet dancers' scores on the star balance test, which were bene cial for ballet dancers to ght against the interference of stage lighting and perfect their performances, and encouraged ballet dancers to try closed-eye training in their daily dance classes. Mcnitt (McNitt-Gray et al., 2001) found in their study of gymnasts' ips that the angular velocity of the thighs was faster than the hips during forward ips and slower than the hips during back ips, re ecting the limiting difference in visualization by the direction of the ip. ...
Core stability can improve athletic performance and reduce the risk of injury, and is one of the most important elements of athletic training. However, the effect of core stability on the Landing kinetics is still unclear. Therefore, the analysis and discussion of the effects of core stability on landing is an urgent problem to be solved at present. In order to improve the core stability training method and landing performance of aerials athletes, this paper proposes a correlation analysis method to study the effect of core stability on Landing kinetics. Previous studies on aerials have neglected landings and lacked correlation analysis, resulting in unsatisfactory analysis results. The correlation analysis method can be combined with core stability training indices to analyze the effect on vertical and 360°jumping landing. Therefore, the correlation analysis method constructed in this paper can provide guidance for core stability training and athletic performance of aerials.
... This effect has not been fully explored in synchronized ice skaters (Keller et al., 2014). On the other hand, several studies have investigated the balancing abilities of ballet dancers and figure skaters (Crotts et al., 1996;Hugel et al., 1999;Hutt & Redding, 2014;Perrin et al., 2002;Simmons, 2005;Sirois-Leclerc et al., 2017). These sports are related to each other in artistic performance and the exceptional balance training that is required. ...
Background : Balancing performance can be affected by regular and high-level athletic training, which has not been fully explored in synchronized ice skaters. This study aimed to analyze the dynamic balancing performance by assessing the principal and compensatory movements performed during the sudden provocation tests and evaluating the parameters that characterize the platform’s motion. Method : Twelve young female synchronized ice skaters and 12 female age-matched controls participated. Sudden provocation tests were completed three times in bipedal stance and in single-leg stances, and sport-specific fatigue session was inserted between the repetitions. Results : Significantly more time was necessary to recover balance for both groups after the fatiguing sessions ( p < .05). Interestingly, skaters performed less effectively in the simplest condition (bipedal stance) than the control group ( p < .05). The principal component analysis showed that the first principal movement was the same for both groups. The skater group used the upper body and arms more often to compensate, while the control group’s recovery strategy consisted mainly of abduction of the elevated leg. The damping ratio and the relative variance of the first principal movement showed a negative correlation ( p < .05), suggesting that those with superior balancing effectiveness recruited more compensatory movements.
... The single-leg balance with eyes closed showed that TG was better than CG. Hutt and Redding, (2014) pointed out that the closed-eye dance exercises led to the improvement of ballet dancers' star balance test scores, which was beneficial for ballet dancers to fight against the interference of stage lighting and perfect their performances, and encouraged ballet dancers to try closed-eye training in their daily dance classes. McNitt-Gray et al. (2001) found in their study of gymnasts' aerials flip movements that the angular velocity of the thighs was faster than the hips during the front flip and slower than the hips during the backflip, reflecting the limiting difference in the direction of the flip on vision, higher difficulty movements are more visually intrusive than simple difficulties. ...
Freestyle skiing aerials are characterized by technical elements including strength, flexibility and balance. Core stability in aerials can improve sporting performance. Objective: This study aimed to analyze the effect of 8 weeks of core stability training on core stability performance in aerials. Methods: Participants were randomly assigned to a control group (CG; n = 4male + 5female; age 15.89 ± 1.54 years; height 163.11 ± 6.19 cm; weight 55.33 ± 5.07 Kg) and a training group (TG; n = 4male+5female; age 16.11 ± 2.47 years; height 161.56 ± 5.25 cm; weight 57.56 ± 8.11 Kg). Body shape, the performance of core stability, and landing kinetics were measured after 8 weeks of core stability training. Independent sample t-tests were used to compare baseline values between groups. A two-way repeated-measures analysis of variance (ANOVA) (time × group) was used. Results: The TG improved body shape, and waist circumference (t = −2.333, p = 0.020). Performance of core stability, squat (t = −4.082, p = 0.004), trunk flexion isometric test (t = −4.150, p = 0.003), trunk lateral bending isometric test (t = −2.668, p = 0.008), trunk rotation isometric test (t = −2.666, p = 0.008), side bridge (t = −2.666, p = 0.008), back hyperextension (t = −4.116, p = 0.003), single foot triple jump (t = −4.184, p = 0.003), and single-leg balance with eyes closed (t = 4.167, p = 0.003). Performance in landing kinetics, End/Phase (t = −4.015, p = 0.004), sagittal axes (t = −4.598, p = 0.002), frontal axis (t = 3.116, p = 0.014), peak power hip changing range (t = 2.666, p = 0.017), peak power knee changing range (t = 2.256, p = 0.049). Conclusion: Core stability training leads to improvements in body shape, the performance of core stability, and landing kinetics. Therefore, these improvements can improve the sporting performance in aerials competitions.
... Consequently, effective training programs are essential to prevent injuries to the ankle joint (particularly strains) and improve the balance ability accordingly. Previous studies have shown that plyometric exercise, proprioception training and core stability strengthening are effective techniques for minimizing the risk of injury and improving performance in many different types of sports [26][27][28]. The present study speculates that such training programs may also benefit ballet dancers. ...
Objective:
To investigate the effects of a 6-week integrated training program on the ankle joint reposition sense and postural stability in ballet dancers.
Methods:
Sixteen female ballet dancers participated in the study and underwent a 6-week integrated training program consisting of plyometric, proprioception and core stability exercises along with a home program involving additional ankle muscle strengthening and stretching. The ankle joint reposition tests and the parameters of the center of pressure (COP) while performing grand-plie (deep squatting) and releve en demi-pointe (standing on balls of foot) movements were measured before and after training.
Results:
After 6 weeks, participants showed significantly smaller absolute ankle joint reposition errors in dorsiflexion (p = 0.031), plantarflexion (p = 0.003) and eversion (p = 0.019) compared to the pre-training measurement. Furthermore, after training, a significantly slower average COP speed at pre-equilibrium during grand-plie movement (p = 0.003) and pre-equilibrium phase of releve en demi-pointe (p = 0.023) were observed. In addition, the maximum COP displacement in the medial-lateral direction was significantly smaller at pre-equilibrium phase during grand-plie (p = 0.044) and releve en demi-pointe movements (p = 0.004) after training.
Conclusions:
The 6-week integrated training program improved the ankle joint reposition sense and postural control in the medial-lateral direction during grand-plie and releve en demi-pointe movements.
... 18 Balance ability and balance impairments screenings are even more useful for dancers who naturally need adequate dynamic balance strategies to maintain good postural control that, in turn, can improve dancers' performances. 19 Unfortunately, most of the balance screening tests for dancers are adapted from sports other than dance. 20 A well-designed screening test that is specific to the dance population with the ability to measure dynamic balance capability and balance impairments among dancers could yield powerful empirical data for the dance community (dance instructors, dancers, researchers) and the clinicians who assess, treat, and rehabilitate injured dancers 21 and perhaps even dance companies. ...
Aims: This review sought to determine the extent to which balance screening tests
in dance medicine are representative of dance movements and to determine if
such tests can be used to empirically track the effectiveness of balance-related injury
rehabilitations in dancers.
Methods: A five-step scoping review method was used. Multiple databases
and reference lists of identified studies were searched to obtain original research
published between 2000 and 2020 that described the balance screening tests used
for data collection. Articles were excluded if they were: qualitative studies, reviews,
opinion papers, consensus statements, conference proceedings, or used questionnaires
to collect balance performance data.
Results: Fifteen of the 31 studies included in this review used different
models of force platforms in their balance screenings. The Star Excursion Balance
Tests (SEBT) and its variants were used by 12 studies, single-leg stance with eyes
opened or eyes closed on stable versus unstable surfaces was used by six studies,
Airplane test (n = 6 studies), Pirouette Test (n = 3 studies), Romberg and variants ofmodified Romberg Tests (n = 3 studies) were also used for balance screening.
Conclusion: Currently, there is no specific screening test that can be used empirically
to screen balance performances among dancers. None of the currently
available balance screening tests are specific enough for tracking the effectiveness
of balance-related injury rehabilitation or for making a return to dance decision after
balance-related injury rehabilitation.
... Flexibility improvement in this research could be in contrast with the observation of ballet dance training, which improves the dancer's flexibility. 37,38 The psychosocial factor that affects participation in this study needs further research in the future. Studies show that psychosocial factors play a role in determining the level of participation in a recommended PA. 39,40 In this research, we only focused on the physical effects of regular dance training. ...
Background:
Légong dance is a famous Balinese dance with a dynamic movement. It potentially becomes an exercise of choice to improve young girls' physical fitness. This study aimed to evaluate légong dance training's effect on physical fitness compared with aerobic training.
Methods:
Forty young girls were randomly assigned to the aerobic training (AG) and lègong dance (DG) group and trained with jogging and lègong dancing at moderate-intensity aerobic training. Each was carried out for 30 minutes, 3 times a week, for 6 weeks.
Result:
Aerobic capacity (estimated maximal oxygen consumption) improved significantly in AG and DG, with a mean difference and Cohen d effect size of 0.36 mL/kg/min and 0.68. The back- and leg-muscle strength increased significantly in DG and AG, with a mean difference of 5.55 kg and 6.67 kg, and an effect size of 0.69 and 0.77. Balance improved significantly in DG and AG, with a mean difference of 21.26 seconds and an effect size of 1.05. All significant values are reported at P < .05. There were no significant improvements in arm muscle strength, body fat percentage, and flexibility in either group (P > .05).
Conclusion:
Lègong dance training results in significant physical fitness improvement and better results than aerobic training.
... Generally, training with eyes closed and remembering to do specific exercises with several stations are simple mental activities. In this regard, Hutt and Redding (2014) showed that an eyes-closed dance training increased the dynamic balance of ballet dancers, as closing the eyes led to a shift from visual to proprioceptive dependence for balance control. Moreover, researchers have found that closing the eyes activates different areas of the brain, especially the amygdala, which is involved in memory and learning (Marx et al., 2004;Lerner et al., 2009). ...
This study aimed to investigate the effect of 12 weeks of dual-task training on cognitive status, physical performance, and brain oscillation of patients with Alzheimer’s disease (AD). Twenty-six AD patients were randomly assigned to two groups, the training group (TG) and control group (CG). TG executed progressive combined exercises with visual stimulation twice a week for 12 weeks. Training included muscle endurance, balance, flexibility, and aerobic exercises with eyes closed and opened. Brain oscillation on electroencephalography (EEG) and a series of physical, cognitive, and mental tests were taken before and post-intervention. There was a significant improvement after training protocol in cognitive function, particularly in short-term and working memory, attention, and executive function ( p < 0.01). Besides, there were substantial improvements in depression status (GDS scale), aerobic fitness (6 min walking), flexibility (chair sit and reach) functional ability (chair stand, timed up and go test), strength (knee extensions, preacher biceps curl, handgrip) in TG compared to CG. These signs of progress were associated with a significant increase ( p < 0.05) in the frequency of brain oscillation and a decrease in the theta/alpha ratio. In addition to physical performance, the regular combined training with visual stimulation improves brain health as indicated by improving cognitive function and reducing the theta/alpha ratio.
Clinical Trial Registration: Iranian Registry of Clinical Trials (IRCT) https://www.irct.ir/ , identifier IRCT20190504043468N1—August 5, 2020.
... En neuropédiatrie, on note également quatre études pilotes suggérant des effets bénéfiques de la danse sur les capacités motrices d'enfants souffrant de paralysie cérébrale [61,62,71,96] . Plus généralement, la danse a des effets positifs sur des fonctions cognitives, motrices et émotionnelles [8] souvent affectées dans les pathologies développementales, dont l'équilibre et l'intégration proprioceptive [41,49] , la flexibilité mentale [19] , les habiletés mathématiques et de rotation mentale [46] et la pensée créative [69] . Enfin, elle peut agir positivement sur les troubles psychoaffectifs comme la dépression ou l'anxiété [47] tout en augmentant la socialisation [78,99] et l'expressivité [54] . ...
... Some authors have suggested that dancers' extensive training in mirrored environments may result in increased visual dependence, resulting in proposals to remove mirrors from dance training environments (Hutt & Redding, 2014;Notarnicola et al., 2014;Perrin, Deviterne, Hugel, & Perrot, 2002). Our findings Figure 5 -Dynamic dance task mean and SE for mean COPv (in millimeters per second). ...
The purpose of this study was to investigate the effects of visual condition (low light, full light, and full light with mirror) on balance control and technical form during two technical dance movements in a group of elite collegiate dance students. Dancers demonstrated higher center of pressure velocity indicating lower control while performing a static dance task (parallel relevé retiré ) and a dynamic dance task ( fondu relevé en croix) under low light conditions than either lighted condition. Measures of Western ballet technique (pelvic obliquity, knee extension, and ankle plantar flexion) showed no decrement under low light conditions. No effect of concurrent mirror feedback was found on either center of pressure velocity or technical requirements of the dance tasks.
... 51 Furthermore, pre-professional dancers showed improvement in some timed balance tests, measured in time and distance, following an eyes-closed balance intervention programme. 52 A study on brain structure and function revealed that dancers' balance performance was not related to their dance training compared to nondancers, 53 and that dancers may have reached a ceiling for their balance performance. In contrast, when visual information is removed, dancers may face more challenging tasks to maintain postural stability. ...
Aims:
Although balance is a key element of dance, it remains to be confirmed which balance components are associated with dance performance. The aim of this study was to assess the associations between different field balance tests and dance performance in an in-house measure in ballet, contemporary, and jazz genres.
Methods:
83 female undergraduate dance students (20±1.5 yrs, 163.04±6.59 cm, 60.97±10.76 kg) completed the Star Excursion Balance Test (SEBT), the airplane test, a dance-specific pirouette test, the modified Romberg test, and the BioSway™ Balance System. Results from these balance tests were compared to the participants' technique and repertoire performance scores in ballet, contemporary, and jazz genres.
Results:
Ballet scores were best predicted by SEBT 90° and Romberg for technique (r=0.4, p=0.001, SEE ±2.49) and Romberg, SEBT 90°, and SEBT 225° for repertoire (r=0.51, p=0.001, SEE±1.99). Contemporary data indicated SEBT 90° and Romberg for technique (r=0.37, p=0.001, SEE±2.67) and SEBT 225° for repertoire (r=0.27, p=0.015, SEE±2.29). Jazz indicated SEBT 90°, Romberg, SEBT 315°, and SEBT 225° for technique (r=0.51, p=0.001, SEE±2.28) and SEBT 225° and Romberg for repertoire (r=0.41, p=0.001, SEE±2.29).
Conclusion:
The present study suggests that balance ability has a limited influence on dance performance, with existing field balance tests demonstrating low to moderate associations with dance technique and repertoire.
... Este fenómeno se reafirmó en el estudio de Hutt et al. (2014) en el que al final del entrenamiento con ejercicios que implican una mayor demanda, la puntuación de equilibrio fue mejor aún en el grupo que a mayores trabajó con los ojos cerrados. ...
Los bailarines necesitan un buen control postural para la correcta ejecución de posiciones y para la consecución de giros y otros gestos técnicos sin riesgo de sufrir lesión. El objetivo de la presente revisión sistemática fue el conocer las estrategias que se aplican desde la terapia física para influir en el control postural de los bailarines. Para ello se realizó una búsqueda en las bases de datos Medline, Pubmed y Scopus utilizando los descriptores "Dancing" y "Dancer", "Postural Balance", "Physical Therapy Modalities". Se analizaron 13 estudios que cumplían los criterios de selección. Existen estudios que comparan el control postural de los bailarines frente a una muestra de, o bien no bailarines, o bien, bailarines con un nivel de formación distinto. Otros estudios investigan el cómo afectan una serie de factores (fatiga, complejidad, uso espejo, etc.) al control postural de los bailarines. Se concluye que los bailarines presentan mayor control postural que sujetos desentrenados y este depende de la integración de la técnica, la experiencia previa, la capacidad de
... Recent research has focussed on the potential effects of fatigue on screening performance and potential implications for injury [12,13] and the influence of fatigue may require greater consideration in screening practices. In addition to injury prevention, screening has previously been used to monitor performance deficits with the Star Excursion Balance Test reported to be a predictor of functional turnout angle [14] and used to assess proprioceptive training [15]. The implementation of effective injury screening tools could have positive physical and psychological impact for dancers by allowing participation with reduced injury risk. ...
Background: Dance performance requires the combination of both athletic and artistic demands. The health and well-being of dancers is of paramount importance, and one intervention that has been used to manage their health and performance is screening. There is a need to determine current screening practices to aid the management of dancers. Methods: The Bristol online survey was used to determine screening practices in dance companies/schools and university dance programmes. The survey was available online between April 2018 and September 2018 and consisted of 39 questions which were divided into the following sections: (1) screening details, (2) physical fitness and joint screening, (3) injury screening, (4) dance specific movement screening, (5) health screening. Respondents included those individuals involved in dance screening. Results: A total of 32 individuals participated in the study with physiotherapists and dance teachers most prevalent. Injury prevention (62.5%) and self-management (62.5%) were the most common aims of screening. Dancer screening occurred in a non-fatigued state in 90.63% of dancers. Flexibility (95.75%) was the most commonly assessed physical fitness component and the feet the most assessed joint (87.5%). Passive turnout (62.5%) and demi-plié (62.5%) were the most commonly assessed dance specific movements. Previous injury (87.5%) had the highest prevalence of general health questioning. Cardiovascular screening was performed by 21.88% of respondents and the Star Excursion Balance Test (34.38%) was the most commonly used movement screening tool. Hypermobility was screened by 75% of respondents and 28.13% of respondents used psychometric tests. Conclusion: Physiotherapists and dance teachers were most frequently involved in screening, and the main aims were to improve the dancers health and well-being. There may be a need to consider the potential influence of acute fatigue on screening and a greater assessment of the strength, aerobic fitness and speed is required. Passive and active turnout were frequently screened and may be important in identifying potential injury risk. Cardiac and psychometric screening was limited and may require greater consideration. Keywords: Dance screening, Injury prevention, Career longevity, Flexibility, Passive turnout, Cardiovascular screening, Star Excursion Balance Test, Hypermobility.
... Recent research has focussed on the potential effects of fatigue on screening performance and potential implications for injury [12,13] and the influence of fatigue may require greater consideration in screening practices. In addition to injury prevention, screening has previously been used to monitor performance deficits with the Star Excursion Balance Test reported to be a predictor of functional turnout angle [14] and used to assess proprioceptive training [15]. The implementation of effective injury screening tools could have positive physical and psychological impact for dancers by allowing participation with reduced injury risk. ...
Background: Dance performance requires the combination of both athletic and artistic demands. The health and well-being of dancers is of paramount importance, and one intervention that has been used to manage their health and performance is screening. There is a need to determine current screening practices to aid the management of dancers. Methods: The Bristol online survey was used to determine screening practices in dance companies/schools and university dance programmes. The survey was available online between April 2018 and September 2018 and consisted of 39 questions which were divided into the following sections: (1) screening details, (2) physical fitness and joint screening, (3) injury screening, (4) dance specific movement screening, (5) health screening. Respondents included those individuals involved in dance screening. Results: A total of 32 individuals participated in the study with physiotherapists and dance teachers most prevalent. Injury prevention (62.5%) and self-management (62.5%) were the most common aims of screening. Dancer screening occurred in a non-fatigued state in 90.63% of dancers. Flexibility (95.75%) was the most commonly assessed physical fitness component and the feet the most assessed joint (87.5%). Passive turnout (62.5%) and demi-plié (62.5%) were the most commonly assessed dance specific movements. Previous injury (87.5%) had the highest prevalence of general health questioning. Cardiovascular screening was performed by 21.88% of respondents and the Star Excursion Balance Test (34.38%) was the most commonly used movement screening tool. Hypermobility was screened by 75% of respondents and 28.13% of respondents used psychometric tests. Conclusion: Physiotherapists and dance teachers were most frequently involved in screening, and the main aims were to improve the dancers health and well-being. There may be a need to consider the potential influence of acute fatigue on screening and a greater assessment of the strength, aerobic fitness and speed is required. Passive and active turnout were frequently screened and may be important in identifying potential injury risk. Cardiac and psychometric screening was limited and may require greater consideration. Keywords: Dance screening, Injury prevention, Career longevity, Flexibility, Passive turnout, Cardiovascular screening, Star Excursion Balance Test, Hypermobility
... It may suggest an enhancement of the weight accorded to visual cues, which could be related to specificity of dance training. In support of this hypothesis, Hutt et al. [33] studied the influence of an eyes-closed dance program on dynamic balance. They found a significant improvement in balance tests for the group that practice eyes-closed training program. ...
Background:
Previous studies have shown that dance training affects postural control, particularly during challenging tasks. However, it is still unknown whether dance training also affects the ability to use vestibular, somatosensory, and visual cues, thus leading to postural control differences.
Objective:
The main goal of the present study was to evaluate the influence of dance training on sensory weighting during static postural control.
Method:
The center of pressure of 24 participants was recorded (12 dancers and 12 control non-dancers) using a force platform as well as the modified Clinical Test of Sensory Organization in Balance (mCTISB).
Results:
The results suggest that dancers perform significantly better than controls in conditions where somatosensory cues are disturbed. Moreover, a significant negative correlation between vestibular frequency band and training intensity was observed, along with, a significant positive correlation between visual frequency band and training intensity.
Significance:
This research outlines dancers' increased ability to modulate sensory weighting differently than non-dancers during postural task where somatosensory cues are reduced.
... Researchers need to include detailed methodologies of the interventions in RCTs so that replication is possible. To our knowledge, only one other study has designed a balance intervention 83 ; however, given that it used volunteers of a younger age group, this study was not included in the review. ...
Aim:
Due to movement complexity and the use of interdisciplinary styles, all theatrical dance genres require dancers to have excellent balance skills to meet choreographic demands. The aim of this systematic review was to evaluate the experimental evidence for the relationship between balance and dance performance, including balance testing, balance training, and balance performance. The key focus was on balance and theatrical styles of dance, involving adult participants who were either in full-time dance training or professional dancers.
Methods:
The databases MEDLINE, PubMed, Cumulative Index to Nursing & Allied Health (CINAHL), SPORTDiscus, Cochrane, ScienceDirect, and Google Scholar were searched using MeSH terms "postural balance," "balance, postural," "musculoskeletal equilibrium," and "postural equilibrium," and used in combination with "dance," between 1980 and 2016. PRISMA recommendations were applied in modifications to the search terms.
Results:
The initial search revealed 1,140 published articles. After applying inclusion and exclusion criteria, 47 articles were judged to be relevant for further assessment using the GRADE system. Results revealed only 1 randomized controlled trial (RCT); the remaining articles were experimental without randomisation or pre-experimental, thus achieving low scores. A total of 39 articles focused on balance ability, including postural sway and control; 5 were related to multi-joint coordination; and 3 investigated laterality and balance. Female ballet dancers were the most studied population, while a wide range of measurement tools and balance tasks were employed.
Conclusion:
The available material on balance and dance performance is of rather low quality. There is a need for more RCTs and intervention balance studies.
... These studies suggest that because dance prac tice alone mostly relies on visual stimuli in stable environments and does not sufficiently enhance proprioceptive stimuli, any additional proprioception-specific daily training should improve dancers' bal ance control. 20 Perrin et al38 found that judokas (experts in judo) rely more heavily on proprioceptive input compared with classical ballet dancers and suggested the need for research to investigate the effects of balance training favoring proprioception as the dominant balance mechanism among dancers.38 Further support regarding the need for intervention programs was provided from a previous study on similarly elite dance students.21 ...
Context:
Ankle sprains are common amongst adolescent ballet dancers and may be attributed to inadequate ankle proprioception. Thus, a short period of training utilizing proprioceptive activities requires evaluation.
Objective:
To assess training conducted for 3 or 6 weeks on a textured-surface balance board using ankle proprioception scores for ballet dancers with and without chronic ankle instability (CAI), and with and without previous ankle sprain (PAS).
Design:
Intervention study.
Setting:
The Australian Ballet School.
Participants:
Forty-two ballet dancers, aged 14-18.
Interventions:
Dancers randomized into two groups: Group 1 (GRP1) undertook 1 minute of balance board training daily for 3-weeks; Group 2 (GRP2) undertook the same training for 6-weeks.
Main outcome measures:
Pre-intervention, CAIT questionnaire data was collected and PAS during the last two years was reported. Active ankle inversion movement discrimination ability was tested immediately pre and post-intervention and at three and four weeks.
Results:
Ankle discrimination acuity scores improved over time for both groups, with a performance decline associated with the early cessation of training for GRP1 (p=0.04). While dancers with PAS had significantly worse scores at the first test, before balance board training began (p <0.01), no significant differences in scores at any test occasion were found between dancers with and without CAI. A significantly faster rate of improvement in ankle discrimination ability score over the four test occasions was found for dancers with PAS (p=.002).
Conclusions:
Three weeks of textured balance board training improved the ankle discrimination ability of ballet dancers regardless of their reported level of CAI, and at a faster rate for dancers with PAS. PAS was associated with a lower level of ankle discrimination ability; however, following 3-weeks of balance board training, previously injured dancers had significantly improved their ankle discrimination acuity scores.
Background: While the previous research has made crucial developments in a dance-specific version of the SEBT, current modifications to the SEBT have not conclusively produced a valid dance-specific dynamic balance test. Purpose: The aim of this paper was to utilize the most practical dance-specific variations from previous research and incorporate them into a reliable test to be considered for future screenings for dancers. Methods: Twenty-one female dancers voluntarily took part in the research (age: 20.86 ± 3.68 years). This protocol consists of 3 stages, each increasing in difficulty; stage one: dsSEBT Average Tempo, stage two: dsSEBT Block, and stage three: a combination of stage 1 and stage 2, the dsSEBT Average Tempo on Block. Reach distance (% of limb length), error scores, and average time to complete each stage were recorded. A stage completion criteria was developed to move from one stage to the next wherein certain reach distance and error score standards needed to be met. Results: Between previous research using the same participants and the current study, each reach direction exhibits a statistically significant correlation ( P < .05) with good to excellent ICC values ranging from .750 to .918, suggesting that test-retest reliability is high. Overall, 90.48% of participants succeeded in passing stage one, 19.05% of total participants passed stage two, and only 4.76% of the 21 participants passed all 3 stages with statistically significant differences detected for reach distance and incomplete trials between stages ( P < .05). Conclusion: This data suggests that the test is challenging enough to show dancers weaknesses and push the limits of their balance capabilities. With a clear increase in difficulty from stage to stage, the test adds layers of demanding tasks designed to test the dancer proprioceptively.
Background: Balance is an essential skill for dancers, it helps reduce the risk of injury, and is related to quality of
performance. This systematic review aims to investigate the effects of training protocols on the balance of
dancers when compared to control groups.
Methods: Interventional studies, published until January 2023, assessing balance in all levels of ballet, modern,
and contemporary dancers were identified in the PubMed, Cochrane, Lilacs, Scielo, Embase, and SPORTDiscus
databases. Publications in English, Spanish and Portuguese were considered. In two selection phases, using a
standard protocol, two reviewers independently selected and extracted the data. The Downs & Black checklist
was used to assess risk of bias.
Results: Of the nine intervention studies included, most were classified as either “fair” or “poor” quality. Three-hundred and seventy-two dancers aged 9.6 ± 0.5 to 25.7 ± 3.7 years were analysed. The majority was female
(94%), with the years of experience of ballet (35%) or ballet and modern (49%) training ranging from 4.6 ± 1.4
to 12.0 ± 7.5 years. Numerous training protocols of varying durations were found. However, neuromuscular
training proved the most effective at improving balance.
Conclusion: Most of the studies are classified poor quality. Future studies should consider interventions lasting at
least four weeks, two to three times a week, sessions between 30 and 60 min. More high-quality studies, randomized control trials using validated balance tests, as well as new validation studies for dance-specific balance
tests are needed.
Introduction: In the sports field, the use of proprioceptive training is an effective method in optimizing athletes' performances. For this reason, we thought also to try this method also in the field of physical education, namely in the physical education lesson in a public school. Our intention was to organize an intervention through a physical exercise program that would stimulate the proprioceptors in order to improve the sensory-motor function of children. We wanted to observe and highlight whether students can express what they feel when they do exercise. Before starting to practice, the students were instructed by the physical education teacher to focus on the signals received from the external and internal environment of the body, e.g., proprioceptive, or tactile information in the absence of visual information. Purpose: The purpose of this study was to highlight the level of awareness in children during physical exercise in order to evaluate and compare it with other children. Methods: bibliographic study; observation method; the Likert scale tool; the method of comparing the results; data collection; graphing and data analysis and interpretation. Results: The subjects of this research were a total of 74 students, of which 48 children from the 4th grade and 26 children from the 7th grade, enrolled in a public school in Bucharest. We created a chart, which we have distributed to the students, and measured their level of awareness immediately after they finished their exercise. Conclusions: There are large differences between the 4th grade and the 7th grade students in terms of the results obtained. Thus, the 4th grade children aged 10 were much more aware of what they were feeling than the 7th grade children aged 13.
Core stability is critical for improving athletic performance, reducing injury risks and is one of the most important elements of athletic training. However, the effect of core stability on landing kinetics during aerial skiing remains unclear, making relevant analysis and discussion an urgent issue to address. To enhance core stability training and landing performance aerial athletes, this study proposed a correlation analysis to investigate the effect of core stability on landing kinetics. Previous studies on aerial athletes have overlooked landing kinetics and lacked correlation analyses, leading to unsatisfactory analysis outcomes. The correlation analysis can be integrated with core stability training indices to analyze the effect of core stability on vertical and 360° jump landings. Therefore, this study can provide guidance for core stability training and athletic performance in aerial athletes.
Introduction:
Ankle sprains are the most common acute injury among dancers and may result in the development of chronic ankle instability (CAI). Chronic ankle instability is characterized by recurrent ankle sprains, incidents of the ankle "giving way," and sensations of instability and has been reported to negatively impact functioning and psychosocial status. The large number of ankle sprains in addition to contextual factors relating to professional dancing, suggests that CAI may be a significant problem in professional ballet dancers. This study aimed to determine the prevalence of CAI and describe the ankle injury history and level of self-reported function in South African ballet dancers.
Methods:
This descriptive, cross-sectional study included all professional ballet dancers employed by three professional South African ballet companies (n = 65). The Identification of Functional Ankle Instability Questionnaire (IdFAI), Foot and Ankle Ability Measure (FAAM), Dance Functional Outcome Survey (DFOS), and a researcher-developed injury history questionnaire were completed by consenting participants. Descriptive statistics were calculated.
Results:
A CAI prevalence of 73.3% CI [55.6%, 85.8%] was calculated among 30 participants. Twenty-five (83.3%) participants reported sustaining at least one significant ankle sprain with 88% (n = 22) indicating dance related activities as the cause. Dancers with CAI demonstrated a tendency to have less control over their ankles giving way and tended to take longer to recover from their ankles giving way than those dancers not affected. Eight participants (36.4%) with CAI were identified as having a significant level of disability on the FAAM activities of daily living (ADL) subscale and six participants (27.3%) on the sport subscale. Participants with CAI had a median total score of 83.5; IQR [80 - 90] on the DFOS.
Conclusion:
The self-reported function of South African professional ballet dancers is not severely affected, however, the high prevalence of CAI and reported symptoms is concerning. Education on CAI symptoms, prevention, and evidence-based management is recommended.
Electrical stimulation modulates sensory feedback and improves motor performance, at least for individuals with compromised sensorimotor function. The purpose of this study was to determine the effectiveness of a 4-wk intervention with transcutaneous electrical nerve stimulation (TENS) at improving strength and balance in dancers. Nineteen dancers completed a timed, single-leg balance test, the Y-balance test, and contractions with the hip flexor and knee extensor muscles to assess maximal strength and force steadiness. They completed 4-wks of moderate-intensity bodyweight exercises (3x/wk) and were pseudo-randomized to either a Treatment or Sham group in a single-blind design. The Treatment group received constant TENS over the hamstring muscles during the exercises, whereas the Sham group was exposed to a brief TENS current. The data were pooled due to few significant between-group differences from before to after the intervention. Most outcome measures significantly improved: hip extensor muscles were stronger (P ≤ 0.01), time stood on a single-leg with eyes closed increased (P = 0.02), and the distance reached during the Y-balance test increased (P ≤ 0.001). The improvement in scores on the Y-balance test exceeded the minimal clinically significant change. Twelve sessions of moderate-intensity bodyweight exercises improved muscle strength and balance in experienced dancers. The addition of TENS, however, did not augment the gains in function.
In classical ballet, the execution of extreme movements on small bases of support causes the dancers constantly to seek balance. The objective of this systematic literature review was to evaluate the effects of classical ballet training on static and dynamic balance in order to emphasize the differences between dancers and non-dancers and between dancers with different levels of experience. Searches for scientific papers were conducted by two independent researchers in the PubMed, Science Direct, and LILACS databases. A secondary search was carried out by "snowballing" references in the selected studies. A modified Downs and Black checklist and the Grading of Recommendations Assessment, Development and Evaluation (GRADE) scale were used to evaluate the methodological quality and evidence strength of the included studies, respectively. From 364 initial studies, nine were found to be eligible (five did analyses in static situations, two in dyna- mic situations, and two in both). With a maximum potential of 10 points, the methodological quality ranged from 6 to 8 on the Downs and Black checklist. It was found that the level of experience in ballet makes for better balance. However, there are indications that classical ballet dancers become more dependent on vision to control balance compared to non-dancers.
Senses and Embodied Knowledge The professional ballet class consists of sequences of bodily movements taught by a ballet master/mistress to a group of dancers in a studio or theatre to enhance coordination, strength, flexibility and agility. It is divided into two parts of approximately fifty minutes each: first 'the barre' and later 'the centre'. The ballet class is absolutely central to a dancer's life and during their careers dancers need to keep up with intensive training regularly across the year, even when on holiday. Abstract Synopsis The daily ballet technique class is one of the central aspects of the professional dancer's practice and has a special place in their lives. This everyday practice has multiple functions: it helps the dancer prepare for rehearsals and performances and it also improves the physical and artistic proficiency of the body. Dancers engage in ballet class and rehearsal through their senses, for example: hearing the teacher's tasks and the music, seeing themselves in the mirror, sweating, feeling the body temperature, heartbeat, feeling the pressure of body weight against gravity and sensing the presence of other dancers in the studio. The professional ballet class transforms and reshapes the dancers' body through experience and affects their sensorial apparatus and the way knowledge is incorporated. This paper aims to understand how the dancer's senses are connected to the acquisition of embodied knowledge in the daily practices in a professional ballet institution (company/ private studio). The professional ballet class and rehearsal were thus investigated as a complex practice where embodied learning is socially, politically and culturally framed. The methodology included ethnographic descriptions, my active participation in ballet class and rehearsals, interviews with dancers, archives (video and photos) and performance analysis.
BACKGROUND: The identification of movement patterns that may aid dance performance may allow intervention to maximize performance and reduce injury. The aim of this study was to investigate the efficacy of the Star Excursion Balance Test in predicting mechanical loading during the Dance Aerobic Fitness Test. METHODS: Twenty-three university dancers performed the modified version of the Star Excursion Balance Test in anterior, posterolateral and posteromedial directions. Subjects then completed the DAFT with a GPS-mounted (MinimaXx SS: Catapult Innovations, Scoresby, Australia) with a triaxial accelerometer (Kionx KX 94, Kionx, Ithaca, New York, NY, USA) located at the cervico-thoracic junction and one at the mid-belly of the gastrocnemius. Accelerometry data was sampled at 100 Hz and used to calculate total accumulated PlayerLoad, PlayerLoad medial-lateral, PlayerLoad anterior posterior and PlayerLoad vertical over the duration of the Dance Aerobic Fitness Test. RESULTS: Linear regression analysis identified that anterior, posterolateral and posteromedial movements were poor predictors of all mechanical loading measures. The best predictor was the non-dominant leg in a posterolateral direction for PlayerLoad anterior posterior with measurement at the cervico-thoracic junction (r=0.35). CONCLUSIONS: The SEBT is not a good predictor of mechanical loading which may represent the lack of specificity between the movements performed during the Star Excursion Balance Test and Dance Aerobic Fitness Test. Dancers may demonstrate an adaptation of dance training in that the Star Excursion Balance Test does not provide dancers with a sufficient movement challenge.
Background
Visual, vestibular, and somatosensory systems contribute to postural control. Chronic ankle instability (CAI) patients have been observed to have a reduced ability to dynamically shift their reliance among sources of sensory information and rely more heavily on visual information during a single-limb stance relative to uninjured controls. Balance training is proven to improve postural control but there is a lack of evidence regarding the ability of balance training programs to alter the reliance on visual information in CAI patients. Objective
Our objective was to determine if balance training alters the reliance on visual information during static stance in CAI patients. Methods
The PubMed, CINAHL, and SPORTDiscus databases were searched from their earliest available date to October 2017 using a combination of keywords. Study inclusion criteria consisted of (1) using participants with CAI; (2) use of a balance training intervention; and (3) calculation of an objective measure of static postural control during single-limb stance with eyes open and eyes closed. Sample sizes, means, and standard deviations of single-leg balance measures for eyes-open and eyes-closed testing conditions before and after balance training were extracted from the included studies. Eyes-open to eyes-closed effect sizes [Hedges’ g and 95% confidence intervals (CI)] before and after balance training were calculated, and between-study variability for heterogeneity and potential risks of publication bias were examined. ResultsSix studies were identified. The overall eyes-open to eyes-closed effect size difference between pre- and post-intervention assessments was not significant (Hedges’ g effect size = 0.151, 95% CI = − 0.151 to 0.453, p = 0.26). This result indicates that the utilization of visual information in individuals with CAI during the single-leg balance is not altered after balance training. Low heterogeneity (Q(5) = 2.96, p = 0.71, I2 = 0%) of the included studies and no publication bias were found. Conclusion
On the basis of our systematic review with meta-analysis, it appears that traditional balance training protocols do not alter the reliance on visual information used by CAI patients during a single-leg stance.
Background:
Postural balance (PB) is a significant factor in dance performance and injury prevention. We aimed to determine whether the use of textured insoles inserted into casual walking shoes of dancers improved their dynamic PB and whether dancers with previous injury manifested different dynamic PB compared with non-injured dancers.
Methods:
In this crossover design study, 26 ballet dancers from the Australian Ballet School, aged 14-19 yrs, were divided into two groups matched by sex and class levels. Group 1 wore the textured insoles in their walking shoes for at least 2 hrs/day during weeks 1 to 4 of the study, and group 2 wore the textured insoles in their walking shoes during weeks 5 to 8. Reports from the school medical staff identified dancers who had previous injuries. All participants were tested pre-intervention and at 4 and 8 weeks by an accelerometer for dynamic PB (average acceleration magnitude, root mean square acceleration, range, and mean frequency) during single-leg fondu, flexing and extending of the knee.
Findings:
Interactions (group x time) were found in dynamic PB measured in the mediolateral direction, indicating significant differences between the groups at the three testing times. Furthermore, both previously injured and noninjured dancers manifested significant time effects from pre-intervention to 8 weeks, indicating a significant improvement in their PB after using the textured insoles.
Conclusion:
Textured insoles can improve the dynamic PB of ballet dancers and can also be useful as a routine intervention. PB was improved among both dancers with previous injury and non-injured dancers.
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