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1.
Nili Steinberg Shay Tenenbaum Gordon Waddington Roger Adams Gal Zakin Aviva Zeev 《Journal of sports sciences》2020,38(7):719-730
ABSTRACTAiming to evaluate the prevalence of unilateral/bilateral patellofemoral pain (PFP) among young dancers, and to investigate whether different factors are associated with PFP in young dancers, 132 dancers aged 12–14 years were assessed for PFP. Anthropometric parameters, proprioception ability, dynamic postural balance (DPB), and muscle strength were measured. PFP was found in 64.1% of the dancers. No significant differences in the prevalence of dancers with no, unilateral, or bilateral PFP at different ages were found. Significant age effects were found for anthropometric and developmental measurements, and for intensity of training. PFP effect was found for DPB asymmetry, ankle proprioception, and leg-length %height. A higher hip abductor/adductor ratio was associated with PFP in 14-year-old dancers. Binomial logistic regression showed that increased number of hours per day (h/day) and decreased number of hours per week (h/week), low proprioception scores, greater leg length as %height, and more anterior DPB asymmetry were significant predictors of PFP. In conclusion: unilateral/bilateral PFP is common among young dancers. Body morphology, reduced ankle proprioception ability, DPB asymmetry, and increased h/day of practice are associated with PFP. Dance teachers should start monitoring the impact of training and implement injury modification/prevention strategies when their students are at a young age. 相似文献
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Steinberg N Siev-Ner I Peleg S Dar G Masharawi Y Zeev A Hershkovitz I 《Journal of sports sciences》2012,30(5):485-495
In the present study, we tried to determine the association between joint ranges of motion, anatomical anomalies, body structure, dance discipline, and injuries in young female recreational dancers. A group of 1336 non-professional female dancers (age 8-16 years), were screened. The risk factors considered for injuries were: range of motion, body structure, anatomical anomalies, dance technique, and dance discipline. Sixty-one different types of injuries and symptoms were identified and later classified into four major categories: knee injuries, foot or ankle tendinopathy, back injuries, and non-categorized injuries. We found that 569 (42.6%) out of the 1336 screened dancers, were injured.The following factors were found to be associated with injuries (P < 0.05): (a) range of motion (e.g. dancers with hyper hip abduction are more prone to foot or ankle tendinopathies than dancers with hypo range of motion; (b) anatomical anomalies (scoliotic dancers manifested a higher rate of injuries than non-scoliotic dancers); (c) dance technique (dancers with incorrect technique of rolling-in were found to have more injuries than dancers with correct technique); (d) dance discipline (an association between time of practice en pointe and injury was observed); and (e) early age of onset of menarche decreased risk for an injury. No association between body structure and injury was found. Injuries among recreational dancers should not be overlooked, and therefore precautionary steps should be taken to reduce the risk of injury, such as screening for joint range of motion and anatomical anomalies. Certain dance positions (e.g. en pointe) should be practised only when the dancer has already acquired certain physical skills, and these practices should be time controlled. 相似文献
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Pipsa Nieminen 《Sport, Education and Society》2013,18(2):221-234
Abstract The study was designed to determine how individuals become socialised into folk, competitive ballroom, ballet and modern dance through an investigation of background variables, the influence of significant others and the participation profiles of dancers, and the identification of those socialization and involvement variables that best discriminate among different groups of dancers. The subjects were 308 adolescent and adult dancers of at least 16 years of age who had pursued their main dance form for a minimum of three years. The data were collected by questionnaire, supplemented with some additional data gathered through personal interviews. Differences between the four dance groups were analysed using t‐test, Chi Square analyses, analyses of variance, Scheffe's multiple‐range test and discriminant analysis. Most subjects were from the middle or upper socio‐economic classes. Most art dancers were women while social dancers displayed a more even distribution of sexes. Ballet dancers were youngest and ballroom dancers oldest when they started dancing. Mother's influence was significant among those who had started dancing at a young age while a friend of the same sex was influential among all respondents regardless of the age at which they had taken up dancing. Among men the influence of a friend of the opposite sex was also significant. The involvement of other family members in dance correlated most strongly with folk dancing, least strongly with modern dance. The dance teacher or coach was perceived as the most encouraging person in every dance form. The most wide‐ranging past and present dance activities were found among modern dancers. The variables which best discriminated between dance forms were starting age, the variety of present dance activities and the intensity of practising one's main dance form. Such differences in socialisation into different dance forms should be taken into account when developing dance and dance teacher education curricula, teaching dance and planning recreational dance activities. 相似文献
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《European Journal of Sport Science》2013,13(7):640-646
AbstractIn the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood. 相似文献
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赛后恢复,决定着运动员在新一轮竞赛周期的训练和竞赛水平的发挥,同样决定着运动员在赛场的运动成绩。研究中等水平体育舞蹈标准舞运动员赛后恢复现状,针对现状制定恢复方法,为指导中等水平标准舞运动员在赛后恢复中提供科学的恢复方法。该文以北京体育大学艺术学院体育舞蹈专业标准舞运动员为研究对象,得出主要结论:(1)赛后恢复影响着体育舞蹈标准舞运动员在赛后训练的技术与质量。(2)赛后恢复影响着体育舞蹈标准舞运动员在下一场竞赛的水平发挥。建议:(1)中等水平体育舞蹈标准舞运动员在竞赛过后重视赛后恢复。(2)中等水平体育舞蹈标准舞运动员在竞赛过后要双管齐下,进行心理和生理的恢复。 相似文献
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Due to the significant amount of time dancers spend on the forefoot, loads on the metatarsophalangeal joints are likely high, yet vary between dance movements. The purpose of this study was to compare joint motion and net joint moments at the metatarsophalangeal joints during three different dance movements ranging in demands at the foot and ankle joints. Ten healthy, female dancers (27.6 ± 3.2 years; 56.3 ± 6.9 kg; 1.6 ± 0.1 m) with an average 21.7 ± 4.9 years of dance training performed relevés (rising up onto the toes), sautés (vertical bipedal jumps), and saut de chat leaps (split jumps involving both vertical and horizontal components). Metatarsophalangeal joint kinematics and kinetics in the sagittal plane were calculated. Total excursion and peak net joint moments during rising or push-off were compared between the three dance movements. Greater extension of the metatarsophalangeal joints was seen during relevés compared to sautés or saut de chat leaps, and the largest metatarsophalangeal net joint moments were seen during saut de chat leaps. The metatarsophalangeal joints frequently and repetitively manage external loads and substantial metatarsophalangeal extension during these three dance movements, which may contribute to the high rate of foot and ankle injuries in dancers. 相似文献
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Amy Jo Vassallo Bronwyn L Trevor Liana Mota Evangelos Pappas Claire E Hiller 《Journal of sports sciences》2019,37(10):1113-1122
The purpose of this study was to systematically review the literature and synthesise the evidence on injury rates and characteristics in recreational, elite student, and professional dancers. Five online databases were searched from inception to January 2018 and screened by two independent reviewers. Primary research studies were eligible for inclusion if they reported injury rates in recreational, elite student, and/or professional dancers of any genre and measured individual dance exposure at the hour, event, or day level. Sixteen studies were included, with only three studies incorporating recreational dancers. Reported injury incidence rates were less than 5 injuries per 1,000 dance hours, however substantially different definitions and methods for measuring injury and dance exposure were used. Based on the current evidence there is not an identifiable difference in injury rate or characteristics between recreational, elite student, and professional dancers. However, there remains a lack of high quality comprehensive data available across levels and genres of dance participation, and greater focus on consistency and completeness of reporting in dance injury research is still required. 相似文献
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《European Journal of Sport Science》2013,13(5):335-340
Abstract The aim of this study was to compare the bone mineral density (BMD) of young dancers suspected of suffering from the female athlete triad syndrome and eumenorrhoeic/normal weight dancers with eumenorrhoeic non-exercising controls. Full-time dance students from a collegiate academy of performing arts were recruited. The female athlete triad syndrome was suspected when oligo/amenorrhoea was present together with underweight (body mass index below 18.5 kg · m?2). The non-exercising group consisted of eumenorrhoeic age-matched patients presenting to an adolescent gynaecology clinic. All participants had a full hormonal profile, pelvic ultrasound, bio-impedance estimation of body fat, together with dual energy X-ray absorptiometry (DXA) and quantitative peripheral computed tomography scans (pQCT) to determine bone mineral density. A total of 47 dancers aged 17–20 years were recruited, of whom 14 (29.7%) fell within the criteria for suspected female athlete triad syndrome. Comparing the dancers with suspected female athlete triad with 36 non-exercising controls showed no significant differences in BMD at most sites between the two groups. Comparing the normal dancers (n=33) with the same control group showed the dancers had significantly higher BMD at the hip sites (P<0.005), as well as higher core tibial volumetric BMD (P=0.04) than the controls. Young dancers with oligo/amenorrhoea and apparent under-nutrition that fitted the clinical diagnosis of female athlete triad syndrome did not have lower BMD than non-exercising eumenorrhoeic controls, while eumenorrhoeic dancers actually had higher BMD. In addition, no significant differences were seen between eumenorrhoeic dancers and those with suspected female athlete triad. The risk of osteoporosis was apparently offset by the benefits of regular intensive weight-bearing exercises in those participants with suspected female athlete triad. 相似文献
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This paper was stimulated by the authors' attempt to understand the process of skill learning in dance. Its stimulus was a period of fieldwork based at the Royal Ballet School in London, and subsequent discussions with the school's teachers and with academic colleagues about how it was that the young dancers developed their characteristic set of skills. The paper's focus and method is philosophical, although it draws on empirical data (albeit sparingly) where it is relevant to the discussion. Many accounts of skill learning are premised on the presumption that learners come to know about their environment by representing it in the mind and that such representation is a result of a computational process involving information received through the senses. This is the dominant position of researchers in the field. In this paper, we discuss weaknesses in this information processing theory, and explore the elements of a more satisfactory approach. The account offered here locates dance skills within the context of development, in which skills are incorporated in learners through practice and training in dance environments. Dreyfus' theory of expertise and Bourdieu's theory of practice offer insights into the practical mastery young dancers carry in their bodies, which cannot be accurately formulated in terms of a system of representations. Dancers, from this perspective, do not passively follow instructions, but actively engage in tasks involving characteristic ways of moving that are situated in the nexus of relations between people and the distinctive contexts of dance. The paper suggests that skill learning in dance (or indeed any domain) is not a matter of processing information, but is imminent in the active, perceptual engagement of learner and context. 相似文献
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在2007～2008赛季“中国杯”花样滑冰大奖赛中,我国冰上舞蹈选手成绩较差,为了找出我国冰上舞蹈选手与世界高水平选手的差距,结合专家裁判组打分情况,采用现场观察、技术统计和录像分析等方法对我国冰上舞蹈选手与国外高水平选手的技术和得分情况进行比较与分析发现：我国选手在规定舞、自由舞、创编舞的比赛中,技术水平与节目内容水平均与国外高水平选手之间存在较大差距。 相似文献
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林磊 《体育科技文献通报》2013,21(4):115-116,118
体育舞蹈运动作为舶来品,虽然在我国的发展迅速,不少舞者在英国和德国的专业比赛上崭露头角,取得了不错的成绩,可是笔者访谈得知,作为舶来品的体育舞蹈,我国的专业选手在舞蹈风格的把握上仍然与国外选手有较大的差距,而相应的理论研究较为缺少,本文尝试针对体育舞蹈风格谈谈自己的看法。 相似文献
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Nahoko Sato Hiroyuki Nunome Yasuo Ikegami 《Sports biomechanics / International Society of Biomechanics in Sports》2016,15(2):116-127
In hip-hop dance, the elements of motion that discriminate the skill levels of dancers and that influence the evaluations by judges have not been clearly identified. This study set out to extract these motion characteristics from the side-step movements of hip-hop dancing. Eight expert and eight non-expert dancers performed side-step movements, which were recorded using a motion capture system. Nine experienced judges evaluated the dancers’ performances. Several parameters, including the range of motion (ROM) of the joint angles (neck, trunk, hip, knee, and face inclination) and phase delays between these angular motions were calculated. A quarter-cycle phase delay between the neck motion and other body parts, seen only in the expert dancers, is highlighted as an element that can distinguish dancers’ skill levels. This feature of the expert dancers resulted in a larger ROM during the face inclination than that for the non-expert dancers. In addition, the experts exhibited a bottom-to-top segmental sequence in the horizontal direction while the non-experts did not demonstrate any such sequential motion. Of these kinematic parameters, only the ROM of the face inclination was highly correlated to the judging score and is regarded as being the most appealing element of the side-step movement. 相似文献
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Aesthetic constraints allow dancers fewer technique modifications than other athletes to negotiate the demands of leaping. We examined vertical ground reaction force and knee mechanics during a saut de chat performed by healthy dancers. It was hypothesized that vertical ground reaction force during landing would exceed that of take-off, resulting in greater knee extensor moments and greater knee angular stiffness. Twelve dancers (six males, six females; age 18.9 ± 1.2 years, mass 59.2 ± 9.5 kg, height 1.68 ± 0.08 m, dance training 8.9 ± 5.1 years) with no history of low back pain or lower extremity pathology participated in the study. Saut de chat data were captured using an eight-camera Vicon system and AMTI force platforms. Peak ground reaction force was 26% greater during the landing phase, but did not result in increased peak knee extensor moments. Taking into account the 67% greater knee angular displacement during landing, this resulted in less knee angular stiffness during landing. In conclusion, landing was accomplished with less knee angular stiffness despite the greater peak ground reaction force. A link between decreased joint angular stiffness and increased soft tissue injury risk has been proposed elsewhere; therefore, landing from a saut de chat may be more injurious to the knee soft tissue than take-off. 相似文献
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Dancers are exposed to the effects of repetitive jumping and leaping as are other athletes that tend to develop patellar tendinopathy. Greater vertical ground reaction forces occur during landing from a dance leap than during takeoff and during other common athletic activities. The purposes of this study were: (1) to compare the landing ground reaction force profiles of participants with and without clinically diagnosed patellar tendinopathy, and (2) to determine the strength of the relationship between landing angle, and braking impulse. Eighteen elite pre-professional dancers (12 healthy, 6 with patellar tendinopathy; both groups 50% male) performed sauts de chat for kinetic and kinematic analysis. Dancers with patellar tendinopathy demonstrated greater peak vertical ground reaction force and impulse (36% and 15% greater, respectively). Dancers with patellar tendinopathy demonstrated greater peak braking ground reaction force and impulse (82% and 126% greater, respectively). Landing angle explained 67% of the braking impulse. Dancers with patellar tendinopathy exhibited greater vertical and braking impulses than healthy dancers. Braking impulse was strongly correlated with landing angle. While there was no difference between groups in landing angle, dancers with patellar tendinopathy exhibited greater braking impulse than their non-tendinopathic counterparts, even at similar landing angles. 相似文献
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王维肖 《体育科技文献通报》2020,(6):143-146
牛仔舞,属于拉丁舞的项目,在我国发展非常迅速,是亚运会比赛的项目之一。其要求“快、轻、弹”,是速度与爆发力的集中体现。现如今,牛仔舞舞蹈演员的竞技水平不断提高,在世界体育舞蹈比赛高度越发趋同状态下,要求参赛者除了必须有过硬牛仔舞的技术基础以及优良的表现力,好的身体素质是非常重要的,纯粹的追求表现力、基本功、只强调这些方面的训练,是无法满足比赛的需要的,在训练发展中,必须将体育与舞蹈结合起来,用“力量”去支撑舞蹈动作的质量,基于此,关于体能训练对牛仔舞动作质量的影响研究是很有价值意义的。本文通过文献资料法和实验研究法分析牛仔舞舞蹈学员体能需求和体能训练特点,进而探析体能训练对牛仔舞动作的重要性。 相似文献
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Sourabh Singh 《Sport, Education and Society》2013,18(4):451-465
A large number of sociologists have adopted the notion of the embodied subject to escape the trappings of the rational choice theory in sociological analysis. From a phenomenological perspective, the notion of an embodied subject refers to a subject who is in unity with the world. In this paper, I will present my ethnographic study of a group of trainee dancers preparing to embody the world of modern dance. I will present my study of their training experiences as a case of subjects striving to embody a world other than the one they already embody. I observed that pain formed the core part of trainee dancers’ daily experiences. Following Leder's theory of the ‘absent body’ and Bourdieu's conception of the ‘modern social world’, I interpreted trainee dancers’ experiences of pain with respect to the historically shaped collective expectations of the world of modern dance. I argue that their experiences of pain indicate how far along they are in the process of their embodiment of the world of modern dance. As they experience a decrease in the intensity of pain during their training, trainees become closer to embodying the world of modern dance. 相似文献
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通过对2007～2008赛季国际滑联花样滑冰大奖赛中国站比赛我国选手的表现进行分析,认为我国冰舞运动员的动作与音乐节奏配合能力较差,表演能力和音乐表达能力与国外选手相差甚远,并提出加强运动员音乐、舞蹈和表演能力培养的建议。 相似文献
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‘Being in your body’ and ‘being in the moment’: the dancing body-subject and inhabited transcendence
Aimie C. E. Purser 《体育哲学杂志》2018,45(1):37-52
Sports studies is currently dominated by the intellectualist approach to understanding skill and expertise, meaning that questions about the phenomenological nature of skilled performance in sport have generally been overshadowed by the emphasis on the cognitive. By contrast, this article responds to calls for a phenomenology of sporting embodiment by opening up a philosophical exploration of the nature of athletic being-in-the-world. In particular, the paper explores the conceptualisation of immanence and transcendence in relation to the embodied practice of dance, engaging with Merleau-Ponty’s important insight that the body can be a source of transcendence. I also draw on data from in-depth qualitative interviews with professional contemporary dancers to explore dancers’ concepts of ‘being in your body’ and ‘being in the moment’, and to suggest that during the actual embodied practice of dance, dancers do not experience transcendence and immanence as they are conceptualised in philosophy. Rather, I argue, dancers experience a third mode of being that is somehow in-between these two binary terms. I have called this ‘inhabited transcendence’. 相似文献