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Electromyographic Comparison of the Développé Devant at Barre and Centre

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Electromyographic Comparison of the Développé Devant at Barre and Centre Original Article Electromyographic Comparison of the Développé Devant at Barre and Centre M. Virginia Wilmerding, Ph.D., Vivian H. Heyward, Ph.D., Molly King, M.D., Kurt J. Fiedler, M.D., Christine A. Stidley, Ph.D., Stuart B. Pett, M.D., and Bill Evans, M.F.A. Abstract viding by their respective maximum raditionally, classical dance This investigation compared the elec- voluntary contraction (MVC). A four- masters formulated ballet tromyographic (EMG) activity of selected way ANOVA was used to assess the ef- T techniques at a time when muscle groups of skilled dancers execut- fects and interactions of subjects, tri- kinesiological and biomechanical ing the développé devant at barre and in als, phases, and “treatment” (barre concepts were at best primitive, and centre. A four-channel Nicolet-Viking versus centre). Results indicated no sig- often erroneous. As a result, Biomedical electrograph system was used nificant difference (p < 0.05) between misconceptions became part of the to assess muscular activity. Surface elec- barre and centre for either the quadri- tradition of didactic ballet training trodes were placed over four muscles: ceps femoris or hamstring muscle of the and tended to be passed down as quadriceps femoris, hamstrings, tibialis gesture leg. The main effect of phase critical aspects of the master’s artistic anterior, and abductor hallucis. The par- was significant (p < 0.05). There was a ticipants performed five trials of the significant difference in EMG activity insights. A problem associated with développé devant at barre and centre in (p < 0.05) between barre and centre for these inchoate scientific principles randomized order. The dancers per- the tibialis anterior and abductor may be the potential for increased formed the six phases of the développé hallucis of the standing leg across susceptibility to injury and decreased devant (coupé, passé, attitude, full exten- phases. Post-hoc analysis indicated that aesthetic performance.1 sion, tendu, closure to fifth position) in EMG activity of the tibialis anterior Electromyography has been used time with a metronome set in three-quar- and abductor hallucis muscles was sig- to examine the traditional theoretical ter time at 144 beats per minute. EMG nificantly greater at centre compared to models and movement metaphors amplitude was recorded at each of the six barre during all phases of the développé promoted universally by ballet in- time phases (1200, 2400, 3600, 4800, devant. It was concluded that the train- structors. The specific aspects of bal- 6000, and 7200 msec, respectively). The ing at barre is an acceptable way of pre- let movements that have been stud- EMG values (mV) of the raw amplitude paring the muscles of the gesture leg, ied using EMG include the grand of each phase of the développé devant for but not the standing leg, for the de- 2 each subject were “standardized” by di- mands of centre. battement or high kick, the demi- plié,3,4 and the grand-plié,5,6 as well as complex dance sequencing.7 Kine- M. Virginia Wilmerding, Ph.D., and Vivian H. Heyward, Ph.D., are at the siological studies such as these are Center for Exercise & Applied Human Physiology, University of New Mexico, deemed imperative to the safe and Albuquerque, New Mexico. effective teaching of ballet.1,8-11 Fur- Molly King, M.D., Kurt J. Fiedler, M.D., and Stuart B. Pett, M.D., are at the ther, empirical measurement aimed at Veterans Administration Medical Center, Albuquerque, New Mexico. determining the effectiveness of tra- Christine A. Stidley, Ph.D., is in the Department of Family & Community ditional training techniques has been Medicine, University of New Mexico, School of Medicine, Albuquerque, New identified as an important component Mexico. of the field of dance science.11 An essential aspect of the warm- Bill Evans, M.F.A., Department of Theatre & Dance, University of New Mexico, up period of a ballet class is the sup- Albuquerque, New Mexico. port device known as the barre. The Correspondence and reprint requests: M. Virginia Wilmerding, Ph.D., Center for techniques of ballet that are executed Exercise & Applied Human Physiology, University of New Mexico, Albuquerque, at the barre are broken down into New Mexico 87131. small, accessible, and repeatable 69 70 Journal of Dance Medicine & Science Volume 5, Number 3 2001 movements. By placing one or both ments practiced in a ballet class is the which can take 25% to 50% of class hands on the barre, the dancer is pro- développé devant. This requires time, actually prepares the artist to vided in effect with a “partner.” After standing on one leg while pulling the dance in centre. The purpose of this the techniques are practiced there, the gesture leg into the extreme ranges of study was to compare the electromyo- dancer proceeds to centre and repeats hip flexion while maintaining exter- graphic (EMG) activity of selected these techniques in increasingly com- nal rotation (Fig. 1). This is referred muscle groups of skilled dancers ex- plex fashions without hand support. to as “extension.” Dancers are highly ecuting the développé devant at barre There is a presumed positive transfer regarded if, in their “extension,” they and in centre. The quadriceps femo- of training when moving the dancer are capable of lifting their leg abnor- ris and hamstrings on the gesture leg from the barre to centre. The exer- mally high. Traditionally, lifting one’s were chosen because of the pervasive cises practiced with hand support leg from underneath provides the use in classroom settings of the afore- during warm-up are meant to facili- dancer with an metaphorical image of mentioned metaphor that is possibly tate the execution of the same move- lightness and a weightlessness of the incorrect. In addition, the muscles of ments without physical support. The gesturing leg.12 Scientific models, us- the lower leg and foot showed the transfer of training from barre to cen- ing mathematical concepts to assess greatest variance in EMG measure- tre is undocumented. It is unknown the direction of muscle pull, point of ments in pilot work on balance man- if the muscular movements at barre application, and co-contraction com- agement, and thus were chosen as the are similar enough to be appropriately ponents, might disprove this idea.13 muscles to be measured formally on assigned as positive transfer, or dis- It is possible that the développé devant the standing leg to shed light on the similar enough to cause a negative causes the greatest confusion among differences between barre training and transfer. If the latter is the case, the dancers faced with what they are told centre dancing. warm-up at barre may be eroding, or to do by their teacher and what they, at least interfering with, dancing abil- in fact, feel occurring within their own Materials and Methods ity. bodies. Further, it is unknown Subjects and Electromyographic One of the more complex move- whether the warm-up period of barre, Arrangement Eighteen professional and advanced pre-professional female dancers (aged 18 to 45 years) were invited to par- ticipate as a convenience sample on a volunteer basis. Potential participants were screened to ensure that they had been in training a minimum of 10 years, were currently taking class regu- larly, and were actively performing. Further, each subject had to be free of injury or orthopaedic disorders that could potentially compromise their performance. The research was ap- proved by the Human Subjects Re- view Board of the Veterans Adminis- tration Medical Center. Prior to testing, each participant received a complete explanation of all proce- dures and written informed consent was obtained. The participants were tested in the Electromyography Labo- ratory at the Veteran’s Administration Medical Center in Albuquerque, New Mexico. Measurements were taken in an enclosed room in which the tem- perature and humidity were con- trolled at a comfortable level. The participants wore a leotard with no tights. Ballet shoes were not worn. Figure 1 Développé devant (left to right): A, Phase 1 – Coupé; B, Phase 2 – Passé; A four-channel Nicolet-Viking C, Phase 3 – Attitude; D, Phase 4 – Full Extension; E, Phase 5 – Tendu; F, Phase 6 – Biomedical (Madison, Wisconsin) Fifth Position. electrograph system was used to as- Journal of Dance Medicine & Science Volume 5, Number 3 2001 71 sess muscular activity. Surface elec- in EMG activity for the six phases of all subjects. However, most dancers trodes were placed on the gesture leg the movement. Based on this data, a were also skilled in other dance forms over the quadriceps femoris at the cen- sample size of 15 dancers was needed such as modern dance, tap, jazz, and tral aspect of the vastus lateralis, and to achieve a power of 0.80 for effect flamenco. Five of the 18 dancers in- over the hamstring muscles. Surface sizes of interest and a significance level dicated no dance training other than electrodes were also placed over the of 0.05. Ultimately, 18 dancers con- ballet. abductor hallucis and tibialis anterior sented to participate in this study. In addition, 78% of the dancers muscles of the standing leg. Electrodes These dancers represented nearly all engaged in other forms of exercise were placed as close as possible to the of the eligible dancers in the city, and such as cycling, stair-stepping, spin- centers of the fully contracted muscle thus, were not a random sample of a ning, aerobic dancing, simulated belly to obtain maximal EMG poten- large population. cross-country skiing, running, and tials.14 The skin surface was cleaned A mixed effects four-factor analy- lifting weights. On average, the sub- with alcohol and gently abraded to sis of variance (ANOVA) was used for jects spent 2.75 hours per week in maximize electrical conductance.
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