Muscular Strength: Applications for Dancers

Abstract

Muscle fibers can generally be divided into slow and fast twitch according to their contraction speed. Even though an individual normally has the same ratio of slow/fast muscle fibers throughout his or her body, the lower-limb muscles are predominantly designed to provide the maximum dynamic output in rapid movements (e.g., jumping). The limited data on dancers' muscle profiles have shown that (ballet) dancers have predominately slow fibers. Muscular strength, together with aerobic and anaerobic capacity, joint mobility and muscle flexibility, and body composition form the continuum of physical fitness. Strength is defined as the maximum force that a muscle group can generate at a specified velocity; its levels can be affected by several factors. which include age, gender, type of muscle fiber, nutrition, and body temperature. There is no scientific evidence suggesting that different strength training regimens should be employed for the different styles of dance. However, reduced muscular strength has been associated with greater severity of injury in dancers. Poor aerobic capabilities, high ectomorphy ratings with low percent body fat values, and the biomechanics of different dance techniques have also been identified as underlying sources of injury in dancers. The most common location for injury in ballet dancers is the foot and the ankle, while in contemporary dancers it is the low back and knee. Little information is available with respect to other dance styles.

Muscular Fatigue: Considerations for Dance

“…71,72 However, supplemental fitness training may have a significant effect in combating dance injury, as the detrimental effects of fatigue would be less pronounced. [73][74][75][76] It should also be noted that fatigue is task dependent, with eccentric and shock-absorbing movements having lasting effects after the cessation of exercise. Long duration low level impact exercise has been shown to cause muscular fatigue that can be explained by muscle damage.…”

“…16 Evidence suggests that within the hierarchy of ballet companies certain positions require specific physical abilities to accomplish the roles assign them, and this is manifested in the physical fitness characteristics of these dancers; corps and principal dancers tend to have a more fully developed aerobic system compared to soloists, who in turn have greater anaerobic capacities. 79 The importance of supplemental fitness training for dancers has been demonstrated by a number of studies 31,32,80,81 and reviews 16,33,74,75,82,83 and therefore need not be re-examined here. Finally, by combating fatigue the current injury patterns may be changed in favor of dancers.…”

Measuring Training Load in Dance: The Construct Validity of Session-RPE

“…3,4 The reverse is also true, as without sufficient overload on the system, no adaptation will occur and no fitness gains will be made. 5,6 For this reason, establishing an effective way to record and monitor training load is important when balancing improvement of performance with avoidance of injury, overtraining, and burnout. 4 Applying a periodization model to vocational dance training has been proposed as a means to help prevent overtraining and its link to injury, whilst optimizing the dancer's performance.…”

The effect of a rhythmic movement intervention on selected bio-motor skills of academy rugby players in the Western Cape, South Africa

“…It requires performing movement tasks to auditory rhythmic patterns and is dependent on a large number of elements with direct and indirect effects on the physiology and physical attributes of an individual 11,12 . Rhythmic movement requires an athlete to demonstrate a proficient level of muscle co-ordination, muscle stamina, strength and aerobic endurance, which makes it a good non-rugby-based alternative to training bio-motor skills 16,17 .…”