Dance, art and top performance sport with specific injuries

Professional theatre dance has high and specific physical demands, comparable to top sport. Dance injuries are often caused by faulty technique due to compensation for physical limitations. Knowledge of these limitations and professional teaching can prevent many problems. Dance injuries mostly involve the lower limbs, especially the ankles and knees. Dance injuries require that the medical professional has knowledge of dance technique and respects the passion of the dancer. The advice to stop dancing has hardly ever to be given. Scientific, prospective dance medical research is recommended.     

运动处方对减少体育舞蹈运动损伤的效果分析

目的了解运动处方在减少体育舞蹈运动损伤中的作用，指导体育舞蹈的教学训练中合理应用运动处方。方法分为实验组和对照组，一学期后进行问卷调查，对其结果进行统计分析。结果桑巴受伤率高于其他项目，但在实验组受伤率明显低于对照组，差异有统计学意义（P〈0．01）；实验组肌肉受伤率、韧带和关节受伤率均低于对照组，差异有统计学意义（P〈0．01）；实验组腰背受伤率和踝关节受伤率均低于对照组，差异有统计学意义（P〈0．01）。结论运动处方能有效地降低体育舞蹈教学中运动损伤的发生率，在体育舞蹈的教学中应重视运动处方的应用，减少损伤发生，提高健身效果。     

Fractured identities: injury and the balletic body

Social worlds shape human bodies and so it is inevitable that there are strong relationships between the body, professional dance and identity. In this article we draw on Bourdieu's notions of habitus, and various forms of capital, as the main theoretical framework for our discussion. Our ethnography of the balletic body elicited dancers and ex-dancers' perceptions of their bodies and sought to reveal some of the facets of their embodied habitus. The sheer physicality of their working lives - of feeling exhausted, sweaty and out of breath - is something dancers (like all athletes) become 'addicted to'. Ageing and injury can reveal this compulsion to dance and so dancers invariably find it very difficult to, for example, give up class once they retire from the stage; or miss a performance if they have a 'slight injury'. In other words, the vocational calling to dance is so overwhelming that their balletic body is their identity. In addition, there is an unremitting loop between individual habitus and institutional habitus (the ballet company), which affects both the meaning and management of injury. All our informants at the Royal Ballet (London: n = 20) had suffered dance injuries. The injured, dancing body is perceived as an inevitable part of a career in ballet. Everyone spoke of the improved athleticism of dancers, and of the expansion in facilities to maintain healthy dancers. However, most dancers can expect several major injuries during their careers. Such epiphanies force dancers to confront their embodiment, and their thoughts invariably turn to their body, career and self. Critical injuries threaten to terminate a dancer's career and so endanger their embodied sense of self. On a more everyday level, dancing and performing with painful, niggling injuries is the norm.     

运动处方对减少体育舞蹈运动损伤的效果分析

目的了解运动处方在减少体育舞蹈运动损伤中的作用,指导体育舞蹈的教学训练中合理应用运动处方。方法分为实验组和对照组,一学期后进行问卷调查,对其结果进行统计分析。结果桑巴受伤率高于其他项目,但在实验组受伤率明显低于对照组,差异有统计学意义(P<0.01);实验组肌肉受伤率、韧带和关节受伤率均低于对照组,差异有统计学意义(P<0.01);实验组腰背受伤率和踝关节受伤率均低于对照组,差异有统计学意义(P<0.01)。结论运动处方能有效地降低体育舞蹈教学中运动损伤的发生率,在体育舞蹈的教学中应重视运动处方的应用,减少损伤发生,提高健身效果。     

Health condition of female aerobic dance instructors. Subjective symptoms and related factors]

Aerobic dance has recently become popular in all age groups, but the injuries among full-time and part-time aerobic dance instructors have rarely been pointed out in Japan. In this study the subjective symptoms of 63 female instructors in Gifu area were evaluated through health questionnaire. As a control group, 94 female students of the same age group were also included to compare the prevalence of subjective symptoms. Multiple logistic regression analysis was applied to observe the relation between instructors' symptoms and working conditions. The following results were obtained: 1) Complaints of leg and foot pain and laryngeal discomfort were significantly greater in instructors than in students even after adjusting for age and participation in other sports. 2) A significant positive relation was found in instructors between the frequency of dance lessons (times/wk) and various symptoms (calf pain, foot pain, sore throat, and hoarse voice) after adjusting for age and participation in other sports. These results suggest that leg and foot pain and laryngeal discomfort are characteristic symptoms of aerobic dance instructors. Consideration should be made to adjust the frequency of dance lessons in order to reduce these symptoms.     

Relationship between nutrient intake, body mass index, menstrual function, and ballet injury

The effects of inadequate nutrition, menstrual dysfunction, and low body weight on the injury rate of ballerinas were studied. Forty-nine female ballet dancers, mean age 18.7 years, completed food frequency and injury questionnaires. Subjects were placed in one of two groups: those with an intake less than 70% of the Recommended Dietary Allowances (RDA) for key nutrients and those with an intake greater than 70% of the RDA for key nutrients. Sixty-nine percent of the dancers had intakes less than 70% of the RDA and were randomly assigned to either a vitamin/mineral supplement or to placebo for 6 months. The remaining dancers with diets adequate (greater than 70% RDA) in key nutrients received no treatment. All groups were questioned monthly about the incidence, severity, and nature of ballet injuries. Information regarding menses and height and weight was obtained. There were no significant differences in the severity or type of injuries among the dancers in the supplement, placebo, or no treatment groups. Dancers with abnormal menses had more bone injuries (mean = 15.00) than normally menstruating dancers (mean = 4.97) (p less than .05). Dancers with a Body Mass Index less than 19.0 spent more days with a low-grade injury (mean = 24.05) than dancers with a greater BMI (mean = 11.63) (p less than .05). There appears to be a relationship between dance injuries and both BMI and menstrual function.     

Medical needs of performing arts students

A questionnaire was administered to 71 college students enrolled in dance, drama, and musical theater programs to assess health care problems, injuries, risk-taking behaviors, and sources of care. Many desired help with depression, fatigue, and chronic bone or joint pain, although 37% identified no regular physician. Thirty-nine students reported 87 injuries involving the back, foot, ankle, and knee; 12% sustained injuries at least monthly; and 72% of injuries occurred in class. The incidence of eating disorders appears to be low, as assessed by indirect measures such as body weight, oligomenorrhea, diet pill or laxative use, and scores on a body image index. The 30-day prevalence of tobacco use was 26%; marijuana, 11%; and alcohol, 71%. This survey suggests that performing arts students have important unmet health care needs.     

Injury Prevention for Modern Dancers: A Pilot Study of an Educational Intervention

Modern dancers suffer a high rate of musculoskeletal injuries. Preventing injury prolongs dance careers and eases financial burden on both individual dancers and dance companies alike. A medical student partnered with Garth Fagan Dance to develop a curriculum to teach principles of injury prevention specific to preprofessional and professional modern dancers. Quantitative assessments showed a significant increase in participant injury prevention knowledge after completion of the course (P < 0.0001). Participants’ concern that injury may end their careers showed no significant change after the course (P = 0.35). Injury prevention and dance-related injuries were reported the most often as useful topics while weight management was reported the least often as a useful topic. Qualitative evaluations showed that participants’ found a course on injury prevention valuable and desired a course of longer duration that includes a greater number of topics. These findings show that modern dancers perceive an educational course on injury prevention as valuable and retain information presented in the course in the short-term. Further study is warranted to assess changes in injury rates after the course and to continue to improve curriculum content and implementation.     

Dance as a risk factor for injuries and development of occupational diseases

Injuries and diseases can significantly affect the creativity and artistic performance. The link between working conditions and artistic performance had been recognised as early as the medieval age. Physically demanding performance arts such as dance can sometimes result in injuries, illnesses, inability to perform, and even end artist's career. Dancers are exposed to specific risks and in need of specific medical care. Many dancers often stretch their physical capabilities and endurance and neglect their physical limitations. Their health problems include a number of work-related illnesses that range from stress and stage fright to metabolic and nutritional disorders. They also include musculoskeletal injuries due to overload training that are often the beginning of chronic health problems.     

The ‘parental voice’: how the infant-toddler (zero to three years) education system should deal with parents

ABSTRACT

The purpose of this study was to investigate the effects of creative dance on proprioception, rhythm and static balance in preschool children. The treatment group consisted of 32 preschool children which took part in a creative dance programme that lasted 2 months (twice a week), while the control group (30 preschool children) participated in an unstructured free-play setting. Prior to and after the intervention, children were assessed for proprioception (Active-Reproduction Test), rhythm (K-Rhythm Test) and balancing on one foot. The results showed that the treatment group performed significantly better on the proprioception and rhythm post-test measures compared to the control group. No significant differences were found for static balance. It may be concluded that creative dance can positively affect proprioception and rhythmic synchronization in preschool children. Considering the importance of these factors for children’s motor development, it is suggested that creative dance should be included in early childhood curricula.     

A Survey of Musculoskeletal Injuries Associated with Zumba

Zumba is a highly popular Latin-inspired dance fitness program with ∼14 million participants in 150 countries. However, there is little published data on the rates or types of injuries among participants. We surveyed a convenience sample of 49 adults (100% participation) in 5 Zumba classes in Hawai‘i. Participants described any prior Zumba-related injuries. We used t-tests and logistic regression to determine if participant demographics or intensity of Zumba classes were associated with injuries. Participants were mostly female (82%), averaged 43.9 years of age (range 19 to 69 years), and took an average of 3 classes/week (1–2 hours/class) for an average of 11 months. Fourteen participants (29%) reported 21 prior Zumba-related injuries. Half of the 14 injured sought care from medical providers for their injuries. Of the 21 injuries, the most frequently injured sites were knees (42%), ankles (14%), and shoulders (14%). Participants with Zumba-related injuries did not differ significantly in age, months of Zumba, or hours/class compared to those who did not experience injuries. However, participants who reported injuries took significantly more classes/week (3.8 versus 2.7 classes, P = .006) than non-injured participants. In logistic regression, taking more classes/week remained significantly associated with injuries (odds ratio 3.6 [95% confidence interval 1.5 – 8.9, P = .006]) after controlling for age, gender, months of Zumba, and hours/class. Given Zumba''s health benefits, our finding that 1 in 4 Zumba participants have experienced injuries indicates the need to improve Zumba routines, instructor training, and health provider counseling to reduce injury risk.     

幼儿舞蹈“成人化”教育之弊端及对策

出于多重考虑，越来越多的家长让子女提早接受舞蹈教育，这并不意味着家长艺术鉴赏能力与审美情趣已得到整体提高。相反，由于家长对舞蹈的不合理认知．滋生了教育培训机构对利益的最失化追求，导致幼儿舞蹈教育过早“成人化”，即幼儿舞蹈教学中出现超强负荷的基本功训练，严重违反幼儿身心发展规律，既对幼儿身心健康发展形成负面影响，又使幼儿对舞蹈存在认识偏差，影响幼儿对舞蹈的审美兴趣与学习热情。本文概述了舞蹈“成人化”训练的内涵，分析了幼儿舞蹈教育“成人化”的成因及幼儿舞蹈过早“成人化”的弊端，提出了幼儿舞蹈基本功训练的建议，并对幼儿舞蹈教育的未来发展进行了阐述。     

Corps de ballet: the case of the injured ballet dancer

This paper contributes to debate on social constructionism in the sociology of health and illness through a study of injury among ballet dancers. In this empirical study of classical ballet dancers, we outline a phenomenology of the injured and ageing body in terms of a critical commentary on constructionism. We explore dancers' experiences of embodiment to illustrate our critique of recent interpretations of dance as a textual practice. Those forms of social constructionism that define the body as a text provide a forceful attack on discourses of authority and legitimation, but we argue that they are problematic as epistemologies and ontologies of embodiment. Through a phenomenological understanding of the experiences of embodiment, we observe how injury and ageing disrupt the practical accomplishments that underpin the ballet habitus and the dancer's identity. Although ballet injuries can terminate a dancing career, they are accepted as an inevitable part of the vocation of ballet. Our aim is to understand the interaction between injuries, dancers' experiences of discomfort and the social support that emerges from the ballet dancers as a social group. We draw on the concepts of social solidarity and collective consciousness in Emile Durkheim to show that injury is mediated through the social bonding of dancers into a professional ballet company, where injury is accepted as a sign of vocational commitment, and suggest that this 'collective effervescence' gives a novel meaning to the idea of a corps de ballet.     

舞蹈作为学校体育课程教学新内容的可行性研究

采用问卷调查法,进行学生对舞蹈喜欢程度,舞蹈和体育两者之间关系的认同,舞蹈在锻炼身体所起作用等方面的 调查.通过 x2检验进行多组差异显著性检验,发现了舞蹈作为体育教学内容的可行性,提出了自己的想法和建议.     

Recreational folk dance: A multicultural exercise component in healthy ageing

Recreational international folk dance provides a gentle form of exercise for people of all age groups, and may be used by an occupational therapist to provide a different leisure option for older people. The older adult is often stereotypically perceived as being only capable of certain types of leisure activities, such as bowls, bingo and cards. In multicultural Australia, activities need to be more diverse. Recreational folk dance provides an activity that is socially engaging, physically challenging, creative, and culturally and mentally stimulating. Involvement in the activity has general exercise benefits, which contribute to a healthy lifestyle. The participants can be empowered by their increased participation in community life, due to the classes, but also because of the public performance aspect that is offered with this activity. Exposure to folk costumes, customs, and traditions, can increase awareness of other cultures. Recreational folk dance has a beneficial effect on interpersonal and intrapersonal aspects of self. The language of dance crosses many cultures. Gesture and movement can be conveyed without words, thus making folk dance a good 'non-language' based activity to be used in a multicultural population.     

The contribution of belly dance to body education, physical and mental health of women who go to the gym or dance

This qualitative study aimed to examine the benefits of belly dance for the health of women who go to a gym in the interior of S?o Paulo state, Brazil and was based on the researchers' experience and other literature on dancing. The references were the experience of the researcher and other literature on the dance area. The sample consisted of 12 women from 16 to 40 years of age who practiced belly dance for more than three months, who received a questionnaire with open questions. The analysis of their answers demonstrated that belly dance is beneficial for an integral education that values life, improving these women's health and quality of life.     

Dietary practices of ballet, jazz, and modern dancers.

Ballet dancers have been shown to have nutrition problems and poor dietary practices. We asked dance instructors and dance directors to distribute a questionnaire to dancers involved in three dance types. Of the 106 dancers who completed the questionnaire, 71% participated in ballet, 60% in jazz, and 74% in modern dance; 31% participated in all three types of dance. The body mass index was similar for all types of dancers. More than half (60%) of the dancers used vitamin and mineral supplements, and 18% of the females reported irregular menstruation. Wide ranges existed in intake of foods from each of four food groups, caffeine, and alcohol. Printed media (magazines and books) were the primary sources of nutrition information. Dietitians may encounter many types of dancers and should be aware that dancers involved in ballet and other types of dance may have dietary practices that could improve with nutrition education and counseling.     

多发伤初始简化手术的应用措施研究

多发伤是指在同一致伤因子作用下,引起身体两处或两处以上解剖部位或脏器的创伤,其中至少有一处损伤可危及生命。损伤控制外科(DCS)技术最早应用于腹部创伤出血,已有二十多年的临床应用,被广大外科医师接受,并逐步建立了DCS三阶段原则:初始简化手术、复苏、确定性手术。初始简化手术已成为治疗多发伤的必须技术,其应用可提高救治水平、降低并发症发生率、提高患者的生存率、改善患者预后,具有较高的临床应用价值。本文仅对多发伤治疗中初始简化手术的应用措施和效果进行综述,主要包括头颅外伤、胸部外伤以及常见的肝脾破裂、胰腺损伤、胃肠损伤等,以期为多发伤的临床治疗提供参考依据。     

Dance practice and well-being correlates in young women

Clinical research has shown the mental health benefits of dance practice. This has become a significant subject of inquiry in psychotherapeutic settings for the elderly and adolescents. However, the relationship between dance practice and correlates of psychological well-being, such as mindfulness and life satisfaction (LS)—two relevant indicators of mental health, has been explored relatively little in young women. The present study contrasted mindfulness and LS in young women (n = 81) who practiced dance regularly in three modern dance schools in the Province of Barcelona with a control group of non-practitioners (n = 120) studying at a university in Barcelona. The data were collected during the first semester of 2015, and the total sample had an average age of 20.88 ± 3.36 years. Analyses of covariance showed higher levels of both mindfulness and LS in the dance practitioners, while a multiple regression analysis showed that, after controlling for age, dance was the factor most strongly associated with LS, explaining 28% of the variance in LS. These results are discussed in terms of the embodiment theory, and conclusions suggest that dance may be an effective gender-focused practice to enhance well-being and promote mental health in young women.