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IADMS Bulletin for Dancers and Teachers Volume 5, Number 1, 2014

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IADMS Bulletin for Dancers and Teachers Volume 5, Number 1, 2014 The IADMS Bulletin for Dancers and Teachers Volume 5, Number 1, 2014 Editors-in-Chief Gayanne Grossman, P.T., Ed.M., and Matthew Wyon, Ph.D. Introduction Encouraging Dancers to Train for Upper Body Fitness From the Editors Jatin P. Ambegaonkar, Ph.D., A.T.C., O.T., Gayanne Grossman, P.T., Ed.M., and Matthew C.S.C.S. Wyon, Ph.D. Letter from the IADMS Education Committee Departments Chair Abstracts from the Current Literature Margaret Wilson, Ph.D. Marliese Kimmerle, Ph.D. Articles Fitter Dancers Dance Better: The Effects of Supplementary Fitness Training in Contemporary Dance Manuela Angioi, Ph.D. Pilates Technique for Improving Dancers’ Performance Tania Amorim, M.Sc., Matthew Wyon, Ph.D. The IADMS Bulletin for Dancers and Teachers Volume 5, Number 1, 2014 Editors-in-Chief Gayanne Grossman, P.T., Ed.M. and Matthew Wyon, Ph.D. Introduction 3 From the Editors Gayanne Grossman, P.T., Ed.M., and Matthew Wyon, Ph.D. 4 Letter from the IADMS Education Committee Chair Margaret Wilson, Ph.D. Articles 7 Fitter Dancers Dance Better: The Effects of Supplementary Fitness Training in Contemporary Dance Manuela Angioi, Ph.D. 9 Pilates Technique for Improving Dancers’ Performance Tania Amorim, M.Sc., Matthew Wyon, Ph.D. 11 Encouraging Dancers to Train for Upper Body Fitness Jatin P. Ambegaonkar, Ph.D., A.T.C., O.T., C.S.C.S. Departments 13 Abstracts from the Current Literature — edited by Marliese Kimmerle, Ph.D. Copyright © 2014 International Association for Dance Medicine & Science www.iadms.org Increased performance. Balanced Body® and Pilates keep your dancers moving. Decreased injuries. Find out more at pilates.com. YOUR PRACTICE. OUR FULL SUPPORT. Let’s talk! pilates.com 1-877-PILATES (745-2837) Letters Letter from the Editors preciation to Balanced Body and AFX for their generous support of the IADMS Bulletin for Dancers and Teachers. Dear Dancers and Teachers, We are very pleased to offer articles in this issue on the relationship between fitness and improved dancing: “Pilates We are pleased that so many of you find the information technique for improving dance performance,” and “Encour- in the Bulletin useful. Our team is constantly updating the aging Dancers to train for upper body fitness.” The abstract journal to continue sharing advances in dance science in portion offers research that examines the initial learning the hope you can glean useful performance enhancement processes of new skills, an exploration of training stressors information for your studio and stage work. Along those in dance and how to assess them, and studies demonstrat- lines you may have noticed that we have expanded our title ing the benefits of dance activities for adolescents as well to the IADMS Bulletin for Dancers and Teachers because as older adults. our intent is that these articles are useful for everyone. We hope you will share this publication with other This issue is dedicated to Marliese Kimmerle, Ph.D., dancers and dance organizations. The ulletinB will remain who is stepping down as Co-Editor. Her tireless work and free as an IADMS gift and public service to the dance com- expert knowledge have been instrumental in the prepara- munity. If you have suggestions for additional topics or a tion of the Bulletin. We are thankful she will continue to question to be answered in the Bulletin from an IADMS serve as editor for the section Abstracts from the Current expert please contact us at [email protected]. Literature. Our 2014 IADMS Annual Meeting will be on October I wish to offer my personal welcome andcongratulations 16th-18th and A Day for Teachers on October 19th in Basel to Matt Wyon, Ph.D. who has joined the Bulletin team as Switzerland. Please join us. Co-Editor and on his election as IADMS Vice President/ President-Elect. Editors: The editors, Education Committee, and the IADMS Gayanne Grossman, P.T., Ed.M. and Matt Wyon, Ph.D. Board of Directors wish to extend a warm word of ap- Copyright © 2014 International Association for Dance Medicine & Science • www.iadms.org 3 Education Committee Activities Education Committee Report list from the Studio Teacher’s Network. Our goal with the Dance Education Network is to increase outreach to The IADMS Education Committee is comprised of indi- teachers working in the field. If you know of anyone who viduals who research, mentor, study and teach dance all would like to receive the bulletin, please have them contact around the world at all levels. This committee is one of the education committee at [email protected]. the most active in the IADMS organization. As chair of Two new papers are on the IADMS Resource Paper tab this ambitious committee, I have the honor of relating the of the IADMS website: Mirrors in the classroom, Help good work it has undertaken. Our efforts are primarily or Hindrance, written by Sally Radell and Perfectionism, designed to enhance teaching with an understanding and written by Sanna Nordin-Bates. Please visit the IADMS incorporation of dance science at all levels. We accomplish website to find out more about the resource papers and this in many ways , from “A Day for Teachers” during the other exciting initiatives from the Education Committee. IADMS Annual Meeting, to resource papers, IADMS post- Finally, if you have any questions about the IADMS Edu- ers, and The IADMS Bulletin for Dancers and Teachers. All cation Committee or would like to find out more about of these resources can be accessed on the IADMS website, working with us, please contact us at education@iadms. http://www.iadms.org. org. We have also replaced the Studio Teachers Network with the Dance Education Network (DEN), currently chaired Margaret Wilson, Ph.D. by Maggie Lorraine. One of the reasons you may be receiv- Education Committee Chair ing this bulletin is because we have you on a distribution Copyright © 2014 International Association for Dance Medicine & Science • www.iadms.org 4 Th e IADMS Bulletin for Dancers and Teachers • Volume 5, Number 1, 2014 5 “Dancing is like dreaming with your feet!” ~Constanze …but too often injuries turn dreams of dancing in to nightmares. Introducing AFX – Ankle Foot maXimizer. Plantar Fasciitis Flexible Foot Support: allows you to arch your foot & curl your toes, Shin Splints strengthening intrinsic muscles & ankle stabilizers. Ankle Sprains Innovative Resistance System: enables complete, balanced strengthening Achilles Tendonitis of the feet, toes and ankles. Anterior Compartment Syn. Multi-Directional Strengthening: strengthens through the entire range Medial Tibial Stress Syn. of motion, including extreme positions that dancers routinely access. Cuboid Syndrome Functional Strengthening: enables movements that are specific to dance. AFX also allows for eccentric loading, critical for Lisfranc strengthening tendons. ...and many others. Superior Stretching: A dancer’s feet must be strong and mobile. AFX is a safe & effective stretching tool. www.afx-online.com Fitter Dancers Dance Better The Effects of Supplementary Fitness Training in Contemporary Dance Manuela Angioi, M.Sc., Ph.D., Centre for Sports and Exercise Medicine, Queen Mary University of London, UK ithin the world of dance medicine and science In the intervention group (12 dancers), each dancer there is ever-increasing research interest in the undertook the combined circuit-vibration training in ad- benefits of increased physical fitness levels in dition to usual dance training for six weeks; the control Wrelation to both performance and injury status. Studies group simply carried on with their usual dance training. have observed associations between specific physical fitness The training was organized twice a week and each train- components, such as muscular power and endurance, and ing session lasted approximately one hour, comprising qualitative aspects of dance performance, such as control of circuit training (CT), 10 minutes rest, and whole-body movement, spatial skills, accuracy of movement, technique, vibration training (WBV). The CT training consisted of and dynamics.1 Nevertheless, these observed associations do lower and upper body exercises, organized in 10 stations. not imply causality, meaning that only carefully designed The 10 exercises included: jumps with feet in parallel intervention studies will ensure that the observed effect (i.e., position (using a jumping rope), press-ups, bicep curls, dancing better) is a consequence of the increased levels of triceps extension (with free weights of 0.5 kg each), single muscular fitness. The question is: When do we use muscular leg squat, squats-jumps, relevés in first position, grand-plié power and endurance in contemporary dance? Wyon and in second position, chest press exercises (with free weights colleagues reported that simple examples of upper body of 0.5 kg each), and plank. Dancers had to exercise for 30 muscular endurance are in evidence during partner work, seconds in each station, with 10 seconds of transition time when repeatedly lifting and supporting other dancers and/ between one station and the other, making the total time or in transitional movements from floor to stand and vice for each circuit of six minutes, 50 seconds (including the versa.2 Lower body muscular power, on the other hand, is rest between each station). Dancers had to complete four necessary to develop elevation during the take-off phase of circuits. The WBV training protocol used six dance-specific any type of jump. static positions on a vibration platform (frequency set at 35 In this study, we developed a combined circuit and vibra- Hz and amplitude at 2.5 mm) including: 1) plié with feet tion training designed to specifically stress the lower body’s in first position; 2) plank (elbow flexed on the floor and ability to produce power, and the upper body’s muscular feet on platform); 3) lunge (right and left leg on platform?); endurance as well as the general stamina (aerobic fitness).
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