Use of the visual suppression test using post-rotatory nystagmus to determine skill in ballet dancers

Teramoto, Kazuhiro; Sakata, Eiji; Ohtsu, Kyoko

doi:10.1007/bf00628427

Cited by 12 publications

(12 citation statements)

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“…One might speculate that this volume loss is functionally associated with a reduction of potentially disadvantageous input from the vestibular system in order to retain accurate spatial orientation in the horizontal plane via visual input. In accordance with this theory, postrotatory nystagmus has been found to be more readily suppressible in experienced ballet dancers, and this ability was found to correlate with the dancing experience (Teramoto et al, 1994).…”

Section: Differences In Insular Cortex Volumesmentioning

confidence: 66%

Structural and functional plasticity of the hippocampal formation in professional dancers and slackliners

et al. 2011

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The acquisition of special skills can induce plastic changes in the human hippocampus, a finding demonstrated in expert navigators (Maguire et al. (2000) Proc Natl Acad Sci USA 97:4,398-403). Conversely, patients with acquired chronic bilateral vestibular loss develop atrophy of the hippocampus, which is associated with impaired spatial memory (Brandt et al. (2005) Brain 128:2,732-741). This suggests that spatial memory relies on vestibular input. In this study 21 professional dancers and slackliners were examined to assess whether balance training with extensive vestibulo-visual stimulation is associated with altered hippocampal formation volumes or spatial memory. Gray matter voxel-based morphometry showed smaller volumes in the anterior hippocampal formation and in parts of the parieto-insular vestibular cortex of the trained subjects but larger volumes in the posterior hippocampal formation and the lingual and fusiform gyri bilaterally. The local volumes in the right anterior hippocampal formation correlated negatively and those in the right posterior hippocampal formation positively with the amount of time spent training ballet/ice dancing or slacklining at the time of the study. There were no differences in general memory or in spatial memory as assessed by the virtual Morris water task. Trained subjects performed significantly better on a hippocampal formation-dependent task of nonspatial memory (transverse patterning). The smaller anterior hippocampal formation volumes of the trained subjects may be the result of a long-term suppression of destabilizing vestibular input. This is supported by the associated volume loss in the parieto-insular vestibular cortex. The larger volumes in the posterior hippocampal formation of the trained subjects might result from their increased utilization of visual cues for balance. This is supported by the concomitant larger volumes in visual areas like the lingual and fusiform gyri. Our findings indicate that there is a spatial separation of vestibular and visual processes in the human hippocampus.

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Section: Differences In Insular Cortex Volumesmentioning

confidence: 66%

Structural and functional plasticity of the hippocampal formation in professional dancers and slackliners

et al. 2011

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“…In contrast to this finding, several authors have concluded that dancers are less reliant on visual input to maintain postural equilibrium than non-dancers (Golomer et al 1999a, Golomer andDupui 2000). It has even been proposed that rather than vision being used to maintain balance in classical ballet, it is used for; artistic expression (Hugel et al 1999); gaze fixation/'spotting' during spinning to prevent post-rotatory nystagmus (Teramoto et al 1994); and taking landmarks to avoid collisions with other dancers and scenery (Perrin et al 2002). Comparing the effect of visual suppression between dancers and non-dancers using linear measures of CoP motion reveals conflicting data.…”

Section: Standing With Eyes Closedmentioning

confidence: 99%

“…An example of this adaptation is the evidence that professional dancers habituate to, or suppress vestibular input (Hopper et al 2014, Hüfner et al 2011, Teramoto et al 1994. It is possible that the greater movement before active correction in dancers without LBP is secondary to changes in sensory integration (e.g.…”

Section: Findings Related To Trunk Muscle Morphology and Behaviourmentioning

confidence: 99%

“…Judoists also perform better than dancers with eyes closed, with lower values for the parameters of CoP path length, area and lateral oscillation (Perrin et al 2002). In addition, CoP motion of professional dancers is unaffected by vestibular stimulation (pirouettes) compared with less experienced dancers (Hopper et al 2014) which suggests that dancers habituate to specific vestibular input (Teramoto et al 1994). Moreover brain imaging suggests that vestibular input may be suppressed in favour of visual input in professional dancers (Hüfner et al 2011).…”

Section: Other Sensory Inputmentioning

confidence: 99%

“…Dancers are considered to use sensory information differently for balance control (Crotts et al 1996, Golomer and Dupui 2000, Simmons 2005b), including a shift in sensory weighting from visual to somatosensory information Dupui 2000, Simmons 2005b). Professional dancers are also thought to habituate to, or suppress vestibular input (Hopper et al 2014, Teramoto et al 1994. It is possible that the greater movement before active correction in LBP-free dancers is secondary to changes in sensory integration (e.g.…”

Section: Balance Characteristics In Dancers Without Lbp Compared Withmentioning

confidence: 99%

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Physiology and pathophysiology of low back pain in ballet dancers

Gildea¹

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Classical ballet dancers combine artistry and physical skills to perform graceful and exciting movements. Lengthy, exacting dance training potentially promotes unique adaptation of motor control to; execute these movements; maintain optimal physiological function, and provide stability to avoid injury and pain. Yet low back pain (LBP) is common in dancers. Differences in motor control are frequently observed between non-dancers with and without LBP. This often involves reduced and delayed activity of deep trunk muscles and augmented activity of superficial muscles. These changes are proposed to affect the control of movement and stiffness of the trunk. LBP is also associated with deficits in postural control, an aspect of motor control, which depends on control of the trunk. Some features of adaptation in motor control are relatively common; but there are some features that are specific to individuals or different populations. It is essential to understand how motor control is adapted in elite classical ballet dancers with LBP as less optimal motor control has potential to impair performance and limit the capacity to dance. The overall objective of this thesis was to investigate aspects of motor control in dancers with and without LBP, with specific attention to trunk muscle morphology and to postural stability.Studies I and II investigated trunk muscle size, symmetry and function, in dancers with and without LBP, at rest and during simple manoeuvres, with magnetic resonance imaging (MRI). Reduced size of the multifidus muscle was observed in dancers with LBP and dancers with both back and hip/pelvic region pain. This finding is similar to that for nondancers. Study II provided preliminary evidence of a behavioural change in transversus abdominis (the deepest abdominal muscle); expressed as reduced length change of this muscle measured with MRI, in dancers with LBP. Thickness of transversus abdominis, obliquus internus abdominis and multifidus muscles were asymmetrical in dancers but this was not related to LBP. This may be related to repetitive performance of asymmetrical movements. Studies III and IV investigated postural control. In Study III, the trunk was perturbed in order to measure the dynamic properties of stiffness, damping and mass as an indication of control of the trunk. Dancers with LBP had less damping (control of velocity) than dancers without LBP, but this could be changed with motor imagery in the dancers with LBP. Study IV used linear and non-linear measures of centre of pressure trajectories to investigate standing balance in dancers with and without LBP and nondancers. Balance was measured with the feet in parallel and the dance-specific turned out 'first' position; which increases the dependence on trunk motion for balance in the anteroposterior direction. Dancers without LBP used more movement to control balance iii than non-dancers. These findings suggest that "less" movement does not define optimal balance in dancers. Dancers with a history of LBP used strategies that were more s...

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Enhanced vestibulo-ocular reflex suppression in dancers during passive high-velocity head impulses

et al. 2018

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Use of the visual suppression test using post-rotatory nystagmus to determine skill in ballet dancers

Cited by 12 publications

References 11 publications

Structural and functional plasticity of the hippocampal formation in professional dancers and slackliners

Structural and functional plasticity of the hippocampal formation in professional dancers and slackliners

Physiology and pathophysiology of low back pain in ballet dancers

Enhanced vestibulo-ocular reflex suppression in dancers during passive high-velocity head impulses

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