Spontaneous whole body rotations and classical dance expertise: How shoulder–hip coordination influences supporting leg displacements

Golomer, Eveline; Toussaint, Yann; Bouillette, Arnaud; Keller, Jean

doi:10.1016/j.jelekin.2007.08.004

Cited by 24 publications

(20 citation statements)

References 23 publications

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“…Skilled dancers, in contrast to controls, were capable of maintaining shoulders and hips en bloc during different kinds of turns, independent of turning direction and laterality of the supporting leg (Golomer, Toussaint, Bouillette, & Keller, 2009b). The ability to control unipedal turns also depends on the starting posture, and dancers have been found to optimize the relation of foot distance and weight distribution during the preparation of the turn (Sugano & Laws, 2002).…”

Section: Control Of Complex Movementsmentioning

confidence: 99%

Neurocognitive control in dance perception and performance

et al. 2012

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Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers' exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers' timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialog between science and dance

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Section: Control Of Complex Movementsmentioning

confidence: 99%

Neurocognitive control in dance perception and performance

et al. 2012

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“…However, the negative value shows the participants take local reference, instead of the space reference, as the stabilization reference. This is the so-called "en bloc" strategy, which means moving with adjacent segments together (Golomer, Toussaint, Bouillette, & Keller, 2009).…”

Section: Anchoring Indexmentioning

confidence: 99%

Differences of Ballet Turns (Pirouette) Performance Between Experienced and Novice Ballet Dancers

Lin

Chen

et al. 2014

Research Quarterly for Exercise and Sport

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“…Of the 47 papers, 27 articles included ballet dancers 13,14,16,17,19,20,33,[34][35][36][38][39][40][41][42]54,55,[59][60][61][62][63][64][65][66][67][68] , eight contemporary/modern dancers 30,40,44,[68][69][70][71][72] , one included Thai dancers , six included other expert athletes in an additional test group 17,18,35,38,40,41 , 17 involved untrained participants (controls), and 13 comprised of dancers whose genre expertise was unspecified. Of the selected papers, 39 examined female participants, 19 males while four papers did not specify the gender of participants.…”

Section: Participantsmentioning

confidence: 99%

“…Overall, the selected studies demonstrated a variety of testing procedures (Tables 1-3): 24 used force plates as the principal apparatus for testing balance 14,15,17,20,34-37,39,53-56,60,63-70,73,74 , 10 studies employed motion capture analysis 41,[52][53][54]59,61,62,[64][65][66] , seven studies used the stabilometer, sometimes referred to as a "seesaw" 16,18,19,33,38,75 , placed on a force plate 36 , five studies utilised a pressure mat 13,30,31,40,71 , four studies included the SEBT or modified versions: SEBT 31,44,76 , the modified SEBT 76 , the Y-balance (SEBT components) 72 . Other assessment tools included the Balance Error Scoring System (BESS) 44 , the modified Bass Test of Dynamic Balance (BASS) 44 , a goniometer and computer generated visual target 42 , a Rod and Frame Test (RFT) 16 , a Biodex System 77 , a Foam and Dome Test 45 , and an observed timed-measure 51 .…”

Section: Testing Proceduresmentioning

confidence: 99%

“…Whilst most studies employed quite basic balance tasks, a number of tests used dancespecific, complex balance tasks. Turns were regarded as a challenging balance activity 78 and seven studies tested balance using pirouettes 55,59,61,62,65,66,68 . These studies covered a range of research questions including control strategies on two types of turn 68 , leg stability and trunk strategies for ballet dancers and untrained participants 62 , and the relationship between visual information and postural control including gaze fixation in turns 61 .…”

Section: Testing Proceduresmentioning

confidence: 99%

See 1 more Smart Citation

Balance in Theatrical Dance Performance: A Systematic Review

Clarke¹,

Koutedakis²,

Wilson³

et al. 2018

Medical Problems of Performing Artists

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AIM: Due to movement complexity and the use of interdisciplinary styles, all theatrical dance genres require dancers to have excellent balance skills to meet choreographic demands. The aim of this systematic review was to evaluate the experimental evidence for the relationship between balance and dance performance, including balance testing, balance training, and balance performance. The key focus was on balance and theatrical styles of dance, involving adult participants who were either in full-time dance training or professional dancers. METHODS: The databases MEDLINE, PubMed, Cumulative Index to Nursing & Allied Health (CINAHL), SPORTDiscus, Cochrane, ScienceDirect, and Google Scholar were searched using MeSH terms “postural balance,” “balance, postural,” “musculoskeletal equilibrium,” and “postural equilibrium,” and used in combination with “dance,” between 1980 and 2016. PRISMA recommendations were applied in modifications to the search terms. RESULTS: The initial search revealed 1,140 published articles. After applying inclusion and exclusion criteria, 47 articles were judged to be relevant for further assessment using the GRADE system. Results revealed only 1 randomized controlled trial (RCT); the remaining articles were experimental without randomisation or pre-experimental, thus achieving low scores. A total of 39 articles focused on balance ability, including postural sway and control; 5 were related to multi-joint coordination; and 3 investigated laterality and balance. Female ballet dancers were the most studied population, while a wide range of measurement tools and balance tasks were employed. CONCLUSION: The available material on balance and dance performance is of rather low quality. There is a need for more RCTs and intervention balance studies.

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Spontaneous whole body rotations and classical dance expertise: How shoulder–hip coordination influences supporting leg displacements

Cited by 24 publications

References 23 publications

Neurocognitive control in dance perception and performance

Neurocognitive control in dance perception and performance

Differences of Ballet Turns (Pirouette) Performance Between Experienced and Novice Ballet Dancers

Balance in Theatrical Dance Performance: A Systematic Review

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