Oxygen Consumption and Heart Rate Responses to Isolated Ballet Exercise Sets

Abstract

Ballet stage performances are associated with higher cardiorespiratory demand than rehearsals and classes. Hence, new interest is emerging to create periodized training that enhances dancers' fitness while minimizing delayed exercise-induced fatigue and possible injuries. Finding out in what zones of intensity dancers work during different ballet movements may support the use of supplemental training adjusted to the needs of the individual dancer. Therefore, the main purpose of this study was to describe dancers' oxygen consumption (VO2) and heart rate (HR) responses during the performance of nine isolated ballet exercise sets, as correlated with their first and second ventilatory thresholds (VT1 and VT2). Twelve female ballet dancers volunteered for the study. Their maximum oxygen consumption (VO2max), VT1, and VT2 were determined by use of an incremental treadmill test. Nine sets of ballet movements were assessed: pliés, tendus, jetés, rond de jambes, fondus, grand adage (adage), grand battements, temps levés, and sautés. The sets were randomly executed and separated by 5 minute rest periods. ANOVA for repeated measurements followed by the Bonferroni Post-hoc test were applied (p < 0.05). VO2 responses were as follows: pliés (17.6 ± 1.6 ml·kg(-1)·min(-1)); tendus and adage were not significantly greater than VT1; rond de jambes (21.8 ± 3.1 ml·kg(-1) ·min(-1)); fondus and jetés were higher than VT1 and the previous exercises; grand battements (25.8 ± 2.9 ml·kg(-1)·min(-1)) was greater than all the other exercises and VT1; and VT2 was significantly higher than all ballet sets. This stratification followed closely, but not exactly, the variation in HR. For example, rond de jambes (156.8 ± 19 b·min(-1)) did not show any significant difference from all the other ballet sets, nor VT1 or VT2. It is concluded that the workloads of isolated ballet sets, based on VO2 responses, vary between low and moderate aerobic intensity in relation to dancers' VT1 and VT2. However, ballet set workloads may be higher when based on HR responses, due to the intermittent and isometric components of dance.

Assessment of Maximum Aerobic Capacity and Anaerobic Threshold of Elite Ballet Dancers

“…The onset of portable gas analysers has allowed greater insight into the physiological demands of ballet [12,13,33], but these are restricted to controlled environments and not performance. The video data, that also includes jump and lift frequency, changes in direction, work to rest ratio as well as the previously mentioned dance intensity [18], do provide an insight into the physiological stresses of dance performance.…”

“…Very few studies have examined whether classical ballet places enough stress on dancers cardiorespiratory systems to have a similar effect. Rodrigues-Krause et al [12] monitored isolated ballet exercises in relation to the dancers' first and secondary ventilatory thresholds. They reported that the chosen exercises (tendús, adage, rond de jambes, fondus and jetés)…”

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“…The criteria used to verify maximal effort included a respiratory gas exchange ratio ≥ 1.15, a final peak heart rate at ≥95% of the age-predicted maximum (220-age) and/or a VO 2 plateau through systematic increases in the workload [ 21 ]. Anaerobic threshold was determined by the second ventilatory threshold (VT2) [ 22 ].…”

Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style

“…3 There has been little scientific research on whether there are physiological, biomechanical, or psychological differences between the dance genres. The majority of studies have examined individual genres usually focusing on the different dance formats (class, rehearsal, or performance) [4][5][6][7][8][9][10][11][12] or physical fitness characteristics of its dancers, 9,[13][14][15][16][17][18] though a few studies have directly compared different genres. [19][20][21][22] Often dancers are trained in the main genres (ballet, contemporary, and jazz) during their vocational training, and being able to isolate the effect of one genre compared to another is only possible in elite adult dancers.…”