OBJECTIVE: The session rating of perceived exertion (session-RPE) is a practical and non-invasive method that allows a quantification of internal training load (ITL) in individual and team sports. As yet, no study has investigated its construct validity in dance. This study examines the convergent validity between the session-RPE method and an objective heart rate (HR)-based method of quantifying the similar ITL in vocational dance students during professional dance training. METHODS: Ten dance students (4 male, 20±1.16 yrs; 6 female, 20±0.52 yrs) participated in this study. During a normal week of training, session-RPE and HR data were recorded in 96 individual sessions. HR data were analysed using Edwards-TL method. Correlation analysis was used to evaluate the convergent validity between the session-RPE and Edwards-TL methods for assessing ITL in a variety of training modes (contemporary, ballet, and rehearsal). RESULTS: The overall correlation between individual session-RPE and Edwards-TL was r=0.72, p<0.0001, suggesting there was a statistically significantly strong positive relationship between session-RPE and Edwards-TL. This trend was observed across all the training modes: rehearsal sessions (r=0.74, p=0.001), contemporary (r=0.60, p=0.001), and ballet (r=0.46, p=0.018) sessions. CONCLUSIONS: This study shows that session-RPE can be considered as a valid method to assess ITL for vocational dance students, and that notably there is some variation between session-RPE and HR-based TL in different dance activities.
Some studies suggested that adolescent scoliotic dancers were more likely to sustain dance injuries than non-scoliotic dancers. This study aimed to investigate the association between scoliosis and dance injury among children and adolescent recreational dancers. Identical web-based and paper-based questionnaires were distributed to children and adolescent recreational dancers to collect demographic information, dance experiences, history and location of dance injuries, as well as the frequency of dance injury in the last 12 months. The prevalence rates of the top three dance injury sites (lower back, knee, and ankles) were estimated. Associations between the presence of scoliosis and various dance injuries in the last 12 months were evaluated by multivariate logistic regression. Data from 704 respondents (644 females, 13.3 ± 2.4 years) was analyzed. Ninety-one respondents (12.9%) reported scoliosis and 11 respondents (1.6%) were wearing scoliosis braces. The 12-month prevalence rates of lumbar, knee, and ankle injuries in scoliotic dancers (24.2%, 22.2%, and 28.5%, respectively) were significantly higher than those of non-scoliotic dancers (10.4%, 14.9%, and 14.8%, respectively). Scoliosis was an independent risk factor for lumbar spine injury (Odds ratio, OR = 2.7), knee injury (OR = 2.6), and multi-site dance-related injury (OR = 1.9). Given the observed strong associations between scoliosis and lumbar or knee dance injuries in the current study, future studies are warranted to investigate the underlying causes.
Background: Foot and ankle injuries have been noted as the most common in dancers. However, the variability of injury epidemiology across different dance genres has not been clearly evaluated. Herein, this study aimed to evaluate the prevalence and incidence of foot and ankle problems in pre-professional ballet, contemporary, and Chinese dancers. Methods: Participants (N = 54) were recruited from a local dance institution that offered a formal undergraduate dance program. Demographic characteristics and specifics of foot and ankle pain during dancing were collected through an online self-reporting survey from September 2018 to June 2019. Descriptive statistical analyses, including injury incidence and risk rates, were conducted. Results: The overall response rate was 69.3%, with a total of 88 subjects eligible for analysis of which the results from 54 subjects were ultimately analyzed. The incidence of foot and ankle pain during the academic year of 2018 to 2019 was highest in contemporary dancers (0.38 per 1,000 dance hours) when compared to that of ballet (0.32 per 1,000 dance hours) and Chinese dancers (0.22 per 1,000 dance hours). Prevalence of foot and ankle pain within the same year was 84% in ballet dancers, 79% in Chinese dancers, and 70% in contemporary dancers. Ballet dancers were six times more likely to suffer from pain in the Achilles region than Chinese and contemporary dancers (p < 0.01). Chinese dancers were found to experience more forefoot and midfoot problems compared to ballet and contemporary dancers (p < 0.05).Conclusion: This study illustrated that foot and ankle pain is highly prevalent among pre-professional dancers. Ballet was associated with the highest prevalence of foot-ankle pain while contemporary dance was associated with the highest incidence. There were significant differences of foot and ankle pain among dance genres and anatomical subregions, which suggests a need for targeted genre-specific injury prevention programs in hopes of preventing potentially career-ending injuries in dancers.
International Somatic Movement Education Symposium, Taitung, Taiwan, 15–18 April 2016 Somatic journeys in Taiwan: Sharing and learning at the International Somatic Movement Education Symposium Practicing Dance: A Somatic Orientation, Jenny COOGAN (ed.) (2016) Logos Verlag Berlin, ISBN-13: 9783832542139, 215 pp., p/bk, 19.90€ When I Open My Eyes – Dance, Health, Imagination, Miranda Tufnell (2017) Binstead, Hampshire: Dance Books Ltd, ISBN: 9781852731779, 226 pp., p/bk, £20
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