Movement concepts approach in studies on flamenco dancing: A systematic review

Abstract

The evidence from this review shows that flamenco dancing demands high levels of effort. Further research is required to understand how the dancer's body works in order to improve fitness levels and reduce injuries. Most of the results presented here are consistent among studies. However, there is a great scarcity of research addressing flamenco movement in a more comprehensive perspective.

Hamstring extensibility differences among elite adolescent and young dancers of different dance styles and non-dancers

“…These static or dynamic steps are characterized by the leg raise or by maximal trunk flexion with knee extension (Grant, 2012). Although some of these are also used in the other dance styles, their foundation lies in ballet, where they are most practiced (Forczek, Baena-Chicón & Vargas-Macías, 2017;Grant, 2012;Villanueva, 1995). Thus, ballet dancers need significant hamstring extensibility to execute these steps correctly (Grant, 2012).…”

“…Flamenco dancers have shown muscle imbalance between dorsiflexors and plantar flexors, with the first group being stronger than the second one (Pedersen et al, 1999). This muscular imbalance results in that during rhythmic stomping footwork, there are whole-body vibrations that are absorbed by hip joint and flexor and extensor joint muscles, so reductions in these muscles can be induced (Bejjani et al, 1988;Forczek, Baena-Chicón & Vargas-Macías, 2017). In fact, flamenco dancers have been found to have lower articular ranges in the iliopsoas muscle, the rectus femoris muscle and the soleus muscle for the same reason (González et al, 2011).…”

“…The importance of the hamstring muscles' extensibility in dance lies in the effect they have on the lumbo-pelvic dynamics and the sagittal position of the spine (López-Miñarro, Muyor & Alacid, 2014;McGill, 2002). A high hamstring extensibility allows reaching a maximal trunk flexion position with extended knees (López-Miñarro, Muyor & Alacid, 2014;McGill, 2002), positions that are repeated frequently during dance training, especially in ballet and modern dance (Forczek, Baena-Chicón & Vargas-Macías, 2017;Grant, 2012;Villanueva, 1995).…”

“…Few studies have analyzed hamstring extensibility in dancers (Agopyan, 2018;Chatfield et al, 1990;Claessens et al, 1987;Gómez-Lozano et al, 2012;Koutedakis et al, 2007;Martínez et al, 2014;Oreb et al, 2006;Steinberg et al, 2006). Furthermore, they have usually included a small sample size (with only one study including more than 35 participants in the dance group) (Steinberg et al, 2006); an absence of a control group (Agopyan, 2018;Claessens et al, 1987;Koutedakis et al, 2007;Oreb et al, 2006), or separated groups according to each dance style (Steinberg et al, 2006), although the different dance styles have different techniques which can influence hamstring extensibility (Forczek, Baena-Chicón & Vargas-Macías, 2017;Grant, 2012;Villanueva, 1995); and an absence of homogeneity in the age and the level of the dancers, although these factors can affect hamstring extensibility (Conesa-Ros, Martínez-Gallego & Santonja, 2016).…”

Biomechanical Description of Zapateado Technique in Flamenco

“…Biomechanics is a tool which provides information on human movement, but it also helps to understand forces acting on the body and interactions that take place within the body segments [11]. However, bearing in mind the results of Forczek et al [12], the instrumentation involved in biomechanical investigations of flamenco is very simple; thus, some technical issues still need to be solved.…”