Acrobatic gymnastics injury: Occurrence, site and training risk factors

Purnell, Melinda; Shirley, Debra; Nicholson, Leslie L.; Adams, Roger

doi:10.1016/j.ptsp.2010.01.002

Cited by 46 publications

(69 citation statements)

References 25 publications

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“…The gymnasts are therefore required several hours of technical, strength, and flexibility training to obtain the best results 3 . Previous studies mostly analyzed the risk and the incidence of injuries during the execution of this closed-skill sport [4][5][6][7] , and investigated the biomechanical characteristics of several technical elements [8][9][10][11][12][13] . Also, the anthropometric and physical features of elite gymnasts have been studied 1,14 .…”

Section: Introductionmentioning

confidence: 99%

Cinemática de variáveis de técnica-chave nos flic flacs de ginastas de elite

Lovecchio

Grassi

Shirai

et al. 2013

Rev Bras Med Esporte

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Introduction: Gymnastic is the most ancient and spectacular closed skills sport. Nonetheless, often technical parameters of execution are taught only by trainer experience. Thus, a lack of objective data about gymnastic performance (kinematics references) is present. Objective: In the current study, we wanted to quantify linear and hyperextension back movements during the performance of backward handsprings. Methods: A non invasive detection of backward handsprings was made using a 3D optoelectronic instrument. Thirteen spherical retro-reflective markers (diameter 1 cm) were positioned on the body of 9 experienced gymnasts: right and left lateral malleolus, fibular head, greater trochanter, acromion, olecranon, styloid process of the ulna; vertex. In the same session and after a warming-up period, each participant performed 15 repetitions of backward handsprings. Ten repetitions were analyzed, and the 3D tracks of the 13 landmarks measured. Results: On average, men performed longer backward handsprings than women (men, 122% of height; women, 98%); women attained a larger vertical height (women, 62% of height; men, 58%). The lower limb arrangement was homogenous among the gymnasts: posterior knee angles ranged between 80° and 118°. No lower limb abduction was observed: knee width was 7 cm smaller than intertrochanter width; ankle width was 8 cm smaller than knee width. At take-off, the trunk-thigh angle showed an excellent body alignment, with values very close to 180°. Women performed the handstand phase with closer wrists than men (men, 134% of shoulder width; women, 121%). Conclusion: The results may offer data to improve learning, defining golden standard execution taken from high level gymnasts with few injuries.

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Section: Introductionmentioning

confidence: 99%

Cinemática de variáveis de técnica-chave nos flic flacs de ginastas de elite

Lovecchio

Grassi

Shirai

et al. 2013

Rev Bras Med Esporte

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“…hours/week at 14 years and over 10 hours/week at 15 years is a significant risk factor for the development of chronic injury including lumbar spine injury (Purnell et al 2003). Furthermore, dancing more than 5 hours a day is significantly correlated with the development of stress fractures, including spinal stress fractures which implies exposure to repetitive, high loads (Kadel et al 1992).…”

Section: The Influence Of Spinal Loadmentioning

confidence: 99%

“…nominating the site as the lumbar spine (Purnell et al 2003). Compared with age-matched controls, 2 young pre-professional dancers (aged 12-27 years) experience significantly more back pain (McMeeken et al 2002).…”

Section: Chapter 1 Introductionmentioning

confidence: 99%

“…By the age of 18 years, 36% of the chronic injuries have occurred and this figure increases to 87% by 25 years of age . In a survey of dance students aged between 16 and 19.5 years, 80.6% had sustained an injury with 18.4% nominating the site as the lumbar spine (Purnell et al 2003). Compared with age-matched controls, young pre-professional dancers (aged 12-27 years) experience significantly more back pain (McMeeken et al 2002).…”

Section: Chapter 1 Introductionmentioning

confidence: 99%

“…Physical screening is widely practiced in university and professional dance environments for risk management with the goal of preventing injury Siev-Ner, Barak et al 1997; Solomon 1997;Gamboa, Roberts et al 2008). As LBP in dancers often begins in adolescence (McMeeken et al 2002, Purnell et al 2003 imaging correlate well to those made by MRI and also relate to EMG activity at low contraction intensities , Hides et al 2006b, Hodges et al 2003c). This suggests that ultrasound imaging could be used to measure muscle morphology in dancers in a clinical situation as a screening tool.…”

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confidence: 99%

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Physiology and pathophysiology of low back pain in ballet dancers

Gildea¹

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Classical ballet dancers combine artistry and physical skills to perform graceful and exciting movements. Lengthy, exacting dance training potentially promotes unique adaptation of motor control to; execute these movements; maintain optimal physiological function, and provide stability to avoid injury and pain. Yet low back pain (LBP) is common in dancers. Differences in motor control are frequently observed between non-dancers with and without LBP. This often involves reduced and delayed activity of deep trunk muscles and augmented activity of superficial muscles. These changes are proposed to affect the control of movement and stiffness of the trunk. LBP is also associated with deficits in postural control, an aspect of motor control, which depends on control of the trunk. Some features of adaptation in motor control are relatively common; but there are some features that are specific to individuals or different populations. It is essential to understand how motor control is adapted in elite classical ballet dancers with LBP as less optimal motor control has potential to impair performance and limit the capacity to dance. The overall objective of this thesis was to investigate aspects of motor control in dancers with and without LBP, with specific attention to trunk muscle morphology and to postural stability.Studies I and II investigated trunk muscle size, symmetry and function, in dancers with and without LBP, at rest and during simple manoeuvres, with magnetic resonance imaging (MRI). Reduced size of the multifidus muscle was observed in dancers with LBP and dancers with both back and hip/pelvic region pain. This finding is similar to that for nondancers. Study II provided preliminary evidence of a behavioural change in transversus abdominis (the deepest abdominal muscle); expressed as reduced length change of this muscle measured with MRI, in dancers with LBP. Thickness of transversus abdominis, obliquus internus abdominis and multifidus muscles were asymmetrical in dancers but this was not related to LBP. This may be related to repetitive performance of asymmetrical movements. Studies III and IV investigated postural control. In Study III, the trunk was perturbed in order to measure the dynamic properties of stiffness, damping and mass as an indication of control of the trunk. Dancers with LBP had less damping (control of velocity) than dancers without LBP, but this could be changed with motor imagery in the dancers with LBP. Study IV used linear and non-linear measures of centre of pressure trajectories to investigate standing balance in dancers with and without LBP and nondancers. Balance was measured with the feet in parallel and the dance-specific turned out 'first' position; which increases the dependence on trunk motion for balance in the anteroposterior direction. Dancers without LBP used more movement to control balance iii than non-dancers. These findings suggest that "less" movement does not define optimal balance in dancers. Dancers with a history of LBP used strategies that were more s...

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