Telemetering of Eye and Head Movements in Ballet Rotation

Tokita, Takashi; Aoki, Sigeru; Watanabe, Toshiro; Miyata, Hideo

doi:10.3757/jser.28.suppl-1_49

Cited by 7 publications

(4 citation statements)

References 5 publications

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“…Surprisingly, the dancers did not perform better in completion, although they preferred this strategy. On the one hand, the peak velocity in this test (60 deg/s) was much lower than what these subjects use and experience in ballet rotations, while on the other hand, dancers are used to suppressing VOR during self‐rotations,22 unlike the other subjects. All subjects had to suppress VOR with the head‐fixed LED in the present experiment.…”

Section: Discussionmentioning

confidence: 80%

Vestibular Memory‐Contingent Whole‐Body Return: Brave Exocentered Dancers

Israël

Lecoq

Capelli

et al. 2005

Annals of the New York Academy of Sciences

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A whole-body, self-driven return from passive rotation (90 degrees to 270 degrees ) test was executed by male and female subjects, and by professional female ballet dancers. To accomplish the return task, subjects were free to use the egocentered reference frame (inversion) or the exocentered one (completion). The results show that with inversion all kinetic parameters were reproduced, whereas the completion performance was highly variable. Although inversion was the default strategy, female subjects used more completions than male subjects, and female dancers still more, although not more accurately. The high variability noted in completion shows a deficiency in integrating vestibular signals for updating the egocentric representation of an external target during passive body rotations, even in dancers. Furthermore, with completions after 180 degrees stimuli, the results suggest that both ego- and exocentered reference frames cannot be used simultaneously.

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Section: Discussionmentioning

confidence: 80%

Vestibular Memory‐Contingent Whole‐Body Return: Brave Exocentered Dancers

Israël

Lecoq

Capelli

et al. 2005

Annals of the New York Academy of Sciences

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“…This asymmetry would induce a functional postural dominance that would ensure greater stability during the early part of complex dynamic equilibrium gestures, such as one-footed whole-body rotations. At that point, but only when the movement was habitual, the perception of gravity would be the dominant reference for all the participants because they would have to coordinate the intentional movement with vestibuloocular reflexes, as has been described in dancers (Tokita, Fukuda, & Watanabe, 1972). The CCW direction is the spontaneously preferred direction regardless of laterality, gender, age, and other intrinsic and extrinsic factors in sedentary participants (Gospe, Mora, & Glick, 1990;Lenoir, Van Overschelde, De Rycke, & Musch, 2006;Mohr, Brugger, Bracha, Landis, & Viaud-Delmon, 2004).…”

Section: Discussionmentioning

confidence: 88%

Effects of Mental Imagery Styles on Shoulder and Hip Rotations During Preparation of Pirouettes

Golomer

Bouillette

Mertz

et al. 2008

Journal of Motor Behavior

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To analyze individual behavior in spatial navigation especially for pirouette preparations (complete whole-body rotations), the authors studied horizontal shoulder-hip interactions under 2 constraints: postural (right and left supporting legs [SL]) and spatial (clockwise [CW] and counterclockwise [CCW]). They performed kinematic analysis at the start and end of the shoulder-hip horizontal rotations (run-up) with regard to imagery of motor actions. On the basis of the Vividness of Movement Imagery Questionnaire, they classified 8 female expert ballet dancers and 7 untrained female participants according to their movement imagery style (kinesthetic and visual). At the run-up's end, the shoulders initiated the turn independently of SL but differently depending on training: CW for dancers and CCW for untrained participants (their commonly used direction). Kinesthetic and mixed imagery styles prevailed in dancers, whereas simply a mixed style appeared among untrained participants. Thus, dance training enhances the imagery of kinesthetic sensation and influences the choice of spatial direction, facilitating the body-space interaction.

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“…Instructions were given to look at a target in order to start and to end the pirouette at the same place rather than to fix the gaze as certain dancers could do it or other dancers could not do it according to their individual spatial frame of reference: visual or kinesthetic frame. Indeed, the spot technique could be used only by expert dancers to stop the nystagmus vestibular reflex source of vertigo when they had to perform several turns (Tokita et al, 1972). These instructions did not modify the shoulder-hip interaction regardless the mental imagery styles because, unlike head turns, pelvic self-paced velocities were not significantly different with or without a visual target as described for a 90°step turn (Solomon et al, 2006).…”

Section: Protocolmentioning

confidence: 95%