Vitamin D has been shown to benefit a diverse range of health functions including muscle function. The aim of the present study was to identify serum 25(OH)D3 levels in a sample of adolescent dancers and compare them to muscle function and injury incidence. We incorporated a cross-sectional design to study 49 pre-professional male and female dancers (17±4.44 yrs, 52.1±6.72 kg, 1.63±0.07 m) in full-time training in Bazil. Serum 25[OH]D3 was analyzed by Enzyme-linked Immunosorbent Assay; quadriceps and hamstring peak torque and muscle fatigue were measured by isokinetic dynamometer at 60 and 300° s−1. Injury type and location in the previous 6-months were determined by self-report questionnaire. Participants were categorized into 2 groups: normal or insufficient/deficient (>or<30 ng/ml 25[OH]D3). Results indicated the normal serum 25[OH]D3 group had significantly lower fatigue rates than the insufficient/deficient group (p<0.05) but not for the other muscle function parameters. Fifty-seven percent of participants reported at least 1 injury. The most common were sprains (33%) and tendinopathies (19%). Injured dancers had significantly lower peak torque at 60°/s. The link between serum 25[OH]D3 and reduced muscle fatigue resistance has not been shown before, though the underlying mechanisms aren’t apparent and the link between muscular strength and injury has been previously evidenced.
This study compared lower limb external rotation kinematic patterns during sautés in first position in beginners and experienced ballet dancers with various training backgrounds. The ability to attain a perfect turnout is traditionally thought to be a fundamental aspect of classical ballet, and turnout is identified in the literature as one of the leading causes of dance-related injuries and technical limitations among dancers. Twenty-eight ballet dancers of different technical levels and methods (three groups) were assessed. Coefficients of variation (CV), range of motion (ROM), and mean external rotation angles of hip, knee, and ankle in first position sauté were calculated. Differences among groups were tested with ANOVAs (Tukey's post hoc; p < 0.05). The hip mean external rotation values found during the jump were different between both experienced groups from different training backgrounds (p = 0.02). The inexperienced group presented a significantly greater hip external rotation CV compared to the experienced groups (p < 0.001). There were no differences between groups for values of external rotation at the knee and ankle. It is concluded that higher technical level dancers produce lower variability of hip external rotation while performing sauté in first position. Ballet training background also seems to influence the hip external rotation pattern. Moreover, the knee contributes decisively to turnout composition, not only the hip, as expected.
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.
Este estudo tem o objetivo analisar a percepção da imagem corporal e características biossocioeconômicas em bailarinos e sua correlação com a distorção da imagem corporal. Os resultados mostram uma prevalência de mulheres, magras, jovens e de classes econômicas privilegiadas. Neste estudo a maioria dos bailarinos apresentam distorção da imagem corporal de leve a grave. Apesar da maioria da amostra ter relatado não estar preocupada com a sua imagem corporal, há uma relação forte entre a distorção da imagem e a preocupação com a imagem, sendo esta a maior correlação observada neste estudo.
A Medicina e Ciência da Dança (MCD) é uma área que se desenvolve há mais de 20 anos através da colaboração entre profissionais da dança, medicina, educação, psicologia, nutrição, dentre outros. O objetivo é promover o bem-estar e saúde dos dançarinos através do desenvolvimento de pesquisas e serviços nas diversas vertentes, desde a saúde, treinamento, performance, bem-estar, educação e a cena artística. No Reino Unido, a UNIVERSITY OF WOLVERHAMPTON, líder na área da MCD, em parceria com o NATIONAL INSTITUTE OF DANCE MEDICINE AND SCIENCE – NIDMS, formado por esta instituição e o BIRMINGHAM ROYAL BALLET, ONE DANCE UK, TRINITY LABAN E UNIVERSITY OF BIRMINGHAM, iniciou em 2016, amplo diálogo com a UEG, UFG, IFG, USP, UNICAMP, UNIVERSO e UFRGS, além de outros interessados da iniciativa privada e pessoas físicas, no sentido de estruturar uma cooperação internacional, constituindo assim, a REDE BRASIL-REINO UNIDO EM MCD. O objetivo central é desenvolver pesquisas e serviços colaborativos durante o período de 15 anos, estabelecendo caminhos transdisciplinares para o sucesso da parceria Dança, Ciência e Saúde. ABSTRACT Dance Medicine & Science (DMS) is a field of study that has developed globally over the last 20 years through the collaboration of different professionals, from dance, medicine, education, psychology, nutrition, among others. The goal is to promote the well-being and health of dancers through the development of research and services in various aspects, from health, training, performance, well-being and education. In the United Kingdom, the UNIVERSITY OF WOLVERHAMPTON, a leader in the DMS field, in partnership with the NATIONAL INSTITUTE OF DANCE MEDICINE AND SCIENCE - NIDMS, formed by this university and BIRMINGHAM ROYAL BALLET, ONE DANCE UK, TRINITY LABAN AND UNIVERSITY OF BIRMINGHAM, started, in 2016, a broad dialogue with UEG, UFG, IFG, USP, UNICAMP, UNIVERSO and UFRGS, as well as with other stakeholders from the private sector and individuals, in order to create an international cooperation, through the BRAZIL-UNITED KINGDOM DMS NETWORK. The main objective is to develop research and collaborative services during a 15-year period, establishing transdisciplinary ways for the advancement of the partnership Dance, Science and Health. KEY WORDS: Network, dance, medicine, science.
This article presents the Brazil-United Kingdom (BR-UK) Dance Medicine and Science (DMS) Network as a potent place for poetic-creative research. Through the BR-UK DMS Network, institutions such as the University of Wolverhampton, a leader in the DMS field, the National Institute of Dance Medicine and Science, formed by this University and Birmingham Royal Ballet, One Dance UK, Trinity Laban and University of Birmingham, started, in 2016, a broad dialogue with the Brazilian State Universities of Goiás and Campinas, Federal Universities of Goiás, São Paulo and Rio Grande do Sul, Federal Institutes of Goiás and Brasília and Salgado de Oliveira University, as well as with other stakeholders from the private sector and individuals, in order to create an international cooperation. The main objective is to develop research and collaborative services during a 15-year period, establishing transdisciplinary ways for the advancement of the partnership between Dance, Science and Health.
Aos bailarinos e coreógrafos da dança contemporânea brasileira: sem vocês, existir seria muito menos interessante! AGRADECIMENTOSAgradeço à força maior que nos leva onde é necessário e à minha família: meu coração está sempre aberto a vocês! Em especial à minha avó, Helena Manzan Borges (em lembrança); a Jed Jabur Bittar (em lembrança); a Marilene Borges Bittar, minha amada mãe, sempre; e a Rodrigo Ferreira, com muito carinho e leveza! Depois, aos irmãos, primos e sobrinhos que estiveram presentes! Por fim, às tias Rosa, muito querida, que tantas vezes me ofereceu carinho e abrigo em Brasília; e Eneida, pelo estímulo ao meu crescimento! Grato sou aos professores do PPGArte da UnB, mestres queridos, pela capacidade do ensinar a aprender. A iniciadora de tudo foi Silvia Davini (em lembrança), que vibrava. Bia Medeiros, minha orientadora "acidental", merci beaucoup pelo carinho, pelos esclarecimentos e pela força: tudo em você é Fullgás... surpreendente! Um bem querer especial e minha gratidão aos doutores que compuseram a banca, já descritos na Ficha Catalográfica e na Folha de Aprovação: suas colocações foram fundamentais para a constituição mais precisa das ideias e do texto! Aos amigos de tantas trocas e gostosuras, em especial a Diego Pizarro, que me possibilitou conhecer Silvia Davini e me ensinou a navegar pelo Instituto de Artes da UnB; a Emyle Daltro, Luciana Barcelos, Alexandre Gontijo, Abadia Haick, Úrsulla Cabral, Mariana Lobato, Lúcia Lobato, Isabela Moody, Humberto Paixão, Duda Paiva e Ana de São José (direto de Portugal, oba!), que, com suas conversas, ajudaram-me a encontrar os caminhos para a construção deste texto.Aos parceiros e funcionários do Studio Adriano Bittar e do Fletcher Pilates ® , pela paciência durante toda a jornada em que tive de me ausentar, em especial à Raquel Ribeiro, por estar ao meu lado a maior parte do tempo, parceira incrível; à Rafaela Noleto, por se envolver cada vez mais, pela ajuda nos momentos de crise e pelo profissionalismo; e à Patrícia Servidoni, pela força gentil! À Escola Superior de Educação Física e Fisioterapia/ESEFFEGO da Universidade Estadual de Goiás/UEG, que me dispensou durante os quatro anos do doutorado e acreditou em meu potencial como futuro professor doutor. À Pontifícia Universidade Católica de Goiás/PUC-GO e ao CEAFI, por entenderem e darem suporte aos meus estudos, deixando que um coordenador de Pós-graduação flanasse principalmente nos dois últimos anos de doutoramento, época em que precisei me concentrar mais na escrita da tese. Agradeço por vocês terem possibilitado esta experiência enriquecedora, gratificante e muito importante para o meu crescimento pessoal e profissional. RESUMOEsta tese investiga outra maneira de preparar os intérpretes da dança contemporânea para atuar quando em cena. Para isto, são propostos três recursos poéticos, um derivado do uso do toque, o Toque Poético, e os outros dois derivados do estudo de imagens, as Células Corporais e os Rabiscos, aplicados a dois processos de composição. Acreditando no hibridismo natural das...
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