OBJECTIVE: The aim of this cross-sectional study was to investigate the level of mental and physical workloads in professional dance teachers depending on the trained students’ age, technique level, or dance style. METHODS: A total number of 133 professional dance pedagogues responded to an online cross-sectional questionnaire survey on self-assessment of physical and mental workloads occurring during dance units. RESULTS: The majority of dance teachers estimated their level of physical and mental workload to be almost as high as that of their students, with differences in physical and mental workloads observed depending on dance style, age of students, and technical level. More than 60% of the teachers were convinced that their occupation implies positive effects on their own health in terms of self-realization (78.2%), musculoskeletal system (66.9%), and social relationships (61.7%). Of all respondents, 58.6% stated that their musculoskeletal system was jeopardized by the physically demanding activity. This is followed by the fear of financial insecurity (50.4%). The majority of all dance teachers (males 65.4%, females 63.9%) would like to obtain further education on prevention against or dealing with physical workload. CONCLUSION: Physical and mental workloads play an important role in dance teaching. Coping with or preventing these loads could be keys to a lifelong, healthy career as a professional dance teacher. Future trials should look at clinical parameters of physical and mental load.
OBJECTIVE: The physical requirement profile for professional dancers has changed significantly during the past decades. The aim of this first comparative study is to present a differentiated analysis of work-related traumatic injuries sustained by professional ballet dancers at the end of the 20th century (1994/95) and now (2011/12). METHODS: The data for evaluation were obtained from work accident reports (n=241; 1994/95, n=155; 2011/12, n=86) from three Berlin theatres. RESULTS: An increase in incidence of injuries could be observed only in male dancers (0.3 injuries/yr in 1994/95 vs 0.4/yr in 2011/12). Numerous significant differences were found between injuries in the earlier time span and in the present. Movement contents resulting in traumatic injuries have changed. Furthermore, differences as to injury types, injured body region, nature of causes, dance activities prior to injury, and attitude after sustaining an occupational accident were observed. The lower extremity remained the most common injury site (66.7% in 1994/95 vs 57.0% in 2011/12, p=0.697). The frequency rate of traumatic injuries to the spine has increased significantly (13.5% in 1994/95 vs 24.1% in 2011/12, p=0.026), with injuries to the lumbar spine region more than tripled (5.8% vs 20.3% respectively). Few deviations were observed as to injury locations and organizational and time aspects (e.g., time of year of injury). CONCLUSION: Dance is progressing as evidenced by the numerous aspects resulting in traumatic injuries. It is not organizational or time changes but rather work- and content-related factors that result in significant differences between past and present injuries.
BackgroundAn adequate dance floor is said to prevent injuries. On the basis of scientific research, numerous recommendations regarding an adequate dance floor have been developed. Up to the present, however, studies have still been lacking into how far these recommendations have already been implemented in theatres with regular dance productions and/or in-house dance ensembles. The aim of this study is to analyze a nationwide survey on dance floors of theatres and education establishments in Germany.MethodsA questionnaire-based survey on existence and type of floors in the various dance-related working areas was carried out at theatres and education establishments institutions (n = 86 institutions (n = 76 theatres, n = 10 education establishments). References as to region, size of dance ensembles and dance styles performed were created.ResultsOf all education establishments, 75.3% were equipped with a sprung sub-floor in the ballet studios. In contrast, sprung sub-floors were only found in 29.7% of the working areas, the stage AND ballet studios in theatres. The percentage of theatres providing sprung sub-floors in all rooms used by dancers is even lower. Considering all dance-related work areas, larger ensembles (>30 dancers) were offered better conditions regarding floors than smaller ensembles (p > 0.001). No significant tendencies were found regarding regions or dance styles.ConclusionRecommendations concerning an appropriate dance floor have only partly been realized. Besides secured finances for reinstallation, further education of responsible officials and artists is essential. However, accrediting dance as own genre in theatres is the indispensable prerequisite.
The specific requirements profile of Latin American formation dance seems to produce affects in the form of muscular imbalance on both sides of the body. These differences of muscular status were mainly observed between dance sport competitors and non-dancers rather than between performance levels. Future investigations with higher numbers of participants would be necessary here.
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