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See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/282129240 Extreme Kinematics in Selected Hip Hop Dance Sequences Article in Medical Problems of Performing Artists · September 2015 DOI: 10.21091/mppa.2015.3026 CITATIONS READS 10 1,126 3 authors, including: Shaw Bronner Sheyi Ojofeitimi The Ailey School Synthesis Physical Therapy 106 PUBLICATIONS 1,728 CITATIONS 30 PUBLICATIONS 586 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Injuries in modern dancers View project DFOS an dance-specific outcomes instrument View project All content following this page was uploaded by Shaw Bronner on 23 September 2020. The user has requested enhancement of the downloaded file. AbstractsArticles Extreme Kinematics in Selected Hip Hop Dance Sequences Shaw Bronner, PT, PhD, Sheyi Ojofeitimi, PT, DPT, and Helen Woo, MSc Hip hop dance has many styles including breakdance (break- national dance phenomenon, has been relatively unrecog- ing), house, popping and locking, funk, streetdance, krump- nized by dance medicine researchers. [Note: Hip hop dance ing, Memphis jookin’, and voguing. These movements com- includes breaking (breakdance), popping, locking, house, bine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite and other styles (Appendix 1).] Injury information on hip high injury rates in hip hop dance, particularly in breakdance, hop dance has been sparse, limited primarily to case stud- to date there are no published biomechanical studies in this ies that suggest injury risks may be much greater than population. The purpose of this study was to compare repre- those found in traditional dance.3–7 Recently, a retrospec- sentative hip hop steps found in breakdance (toprock and tive survey of 312 male and female hip hop dancers breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six reported an annual injury rate of 237%, similar to that of expert female hip hop dancers performed three choreo- gymnasts and greater than other dance populations.8 graphed dance sequences, top rock, breaking, and house, to Lower extremity injuries accounted for 55% of total standardized music-based tempos. Hip, knee, and ankle kine- injuries.8 Breakers had higher incidences of injuries com- matics were collected during sequences that were 18 to 30 sec pared to non-breakers (e.g., house, poppers/lockers). The long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with analysis revealed multiple injuries per dancer (e.g., for post hoc tests where appropriate (p<0.01). Peak angles of the breakers, there were a mean of 3.5 non-time-loss injuries/ breaking sequence, which included floorwork, exceeded the injured dancer and 2.8 time-loss injuries/injured dancer). other two sequences in the majority of planes and joints. Hip In the United States, sprains and strains account for hop maximal joint angles exceeded reported activities of daily 44% of reported musculoskeletal disorders (MSD).9 In 63% living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where mus- of cases, the source of injury was attributed to worker posi- cles are at a functional disadvantage. These results may tion or motion, to events or exposures involving bending, explain why lower extremity injury rates are high in this pop- climbing, crawling, reaching, or twisting, and to overexer- ulation. Med Probl Perform Art 2015; 30(3):126–134. tion.10 Studies suggest that specific occupational exposures are associated with lower extremity musculoskeletal ncreasingly, dancers are recognized as elite athletes.1,2 pathology. Occupational groups at high risk of knee and Dance medicine epidemiology has ascertained injury hip complaints include carpenters, carpet and floor layers, I patterns unique to theatrical-concert dance forms farmers, miners, military conscripts, and elite athletes, such as ballet and modern dance. Hip hop dance, an inter- including dancers.11–17 Ergonomic analysis of work injury has cited repetitive motion, forceful exertion, and non- neutral or awkward body postures as critical risk factors Dr. Bronner is Director, Physical Therapy Services Alvin Ailey, and for MSD.18,19 Causation is very difficult to attribute due to ADAM Center, New York, NY; Dr. Ojofeitimi is Senior Therapist, Alvin Ailey, and ADAM Center, New York, NY; and Ms. Woo is the large number of variables that contribute to MSD. Manager of Performance Engineering, Reebok Int. Ltd., Canton, MA. However, in order to begin to determine risk factors in a given occupation, it is necessary to quantify and describe This study was supported in part by Nike, Inc. At the time of the study, what those motions and postures are. Ms. Woo was employed by Nike Inc, and she currently works for Reebok Int., Ltd. No individual directly benefited from the work conducted for Modern and ballet dancers i) exhibit increased physio- this research. logical flexibility compared to the general population, ii) are required to work at motion extremes, and iii) hypermo- Appendix 1, a glossary of hip hop dance styles and including video, bile dancers are at increased risk for injury.20–22 This sug- appears in the online version of this paper, available at: www.sciandmed.com/mppa (see Sept 2015 issue, vol 30, no 3). gests a possible link between dance movements and injury in ballet and modern dancers. The postures, range of Address correspondence to: Dr. Shaw Bronner, Physical Therapy Serv- motion (ROM), and velocity incurred during hip hop ices Alvin Ailey, 405 W. 55 St., New York, NY 10019, USA. Tel 347- dance are currently unmeasured. 688-9351, fax 718-841-7116. [email protected]. Basic research remains to be conducted to determine © 2015 Science & Medicine. www.sciandmed.com/mppa. the key determinants of difficulty and stress in critical hip 126 Medical Problems of Performing Artists DOWNLOADED FOR PERSONAL USE; NOT FOR DISTRIBUTION hop steps. Hip hop dance movements combine the com- TABLE 1. Hip Hop Sequences and Steps plexity of dance choreography, rhythms, syncopation, pos- Sequence Steps Length (s) tures, and forces which entail frequent changes in direc- tions and levels (e.g., jumps, twirls, spins, upside-down, Toprock Cross-step 30 right-side-up) with the challenges of gymnastics and acro- Kickstep out batic movements. In breakdance, downrock is more acro- Kickstep twist Turn and kneejerk batic and similar to gymnastics. It encompasses moves per- formed with hands, arms, or a part of the torso involving Breaking Kickstep cross 18 contact with the floor. Breakdance generally begins with a Kickstep twist toprock sequence, steps performed from a standing posi- Topswipe 6-step tion, relying upon a mixture of coordination, flexibility, Babyswipe rhythm, and style. House dance also involves steps per- Tornado formed in a standing position. It combines many dance elements such as the Lindy and bebop, African, Latin House Heel-toe kick 27 (+ sidestep, salsa trot, instep) salsa, Brazilian capoeira, jazz, tap, and modern. Both Sweepstep back toprock and house can involve jumping, stomping, and Skating squatting movements. Selection of common breakdance Hook (e.g., downrock, toprock) and house steps allowed us to Farmer focus on two styles of dance (breakdance and house) that Heel-toe were represented in a previous report on patterns of injury in hip hop dance.8 The three sequences included steps that required the dancer to perform “repetitive motion, forceful • Breaking began with several toprock steps, transitioned exertion, and non-neutral body postures,” all critical risk with a topswipe (Appendix Fig. A4), and then included factors for MSD. A better understanding of the biome- downrock steps such as the classic 6-step (Appendix Fig. chanical requirements of critical hip hop steps may assist A3): www.sciandmed.com/mppa/video/30.3.126 (panel B) clinicians involved in prevention, training, and rehabilita- or http://youtu.be/X5kUEjQBxhk. tion of hip hop dancers. • House included upright complex stepping patterns charac- The purpose of this study was to compare three dimen- teristic of the style (Appendix Fig. A6): sional (3D) angular displacements that occur in representa- www.sciandmed.com/mppa/video/30.3.126 (panel C) tive hip hop dance sequences. We hypothesized that the or http://youtu.be/4tf5LjlsXyI.* breakdance downrock sequence (breaking) would demon- strate greater angular displacements than the other Each dance sequence included multiple steps that were sequences. divided into groupings for analysis. Dancers rehearsed the METHODS sequences (each 18 to 30 sec in length) as a group on two occasions prior to data collection. Subjects conducted their Participants and Experimental Protocol own warm up and rehearsed each movement sequence with the choreographed DVD prior to data collection. Six expert female hip hop dancers, experienced in break- ing and house dancing (mean age 31.0 ± 4.3 yrs, range 25- Instrumentation 35; height 1.63 ± 0.05 m; mass 63.07 ± 4.70 kg; 22.0 ± 6.0 yrs of dance experience; 12.5 ± 6.6 yrs hip hop experience), Reflective markers were placed according to the Cleveland participated in this study. Subjects had no musculoskeletal Clinic full-body marker set (Vicon BodyLanguage, injuries in the previous 3 months that required them to Cumnor-Cleveland Model, Vicon, Oxford, UK, 1998) stop dancing. All subjects gave informed written consent with thigh and shank arrays.23,24 Each subject was instru- in correspondence to the guidelines of the Long Island mented in a Velcro suit to minimize marker loss during University Internal Review Board. data collection and wore their preferred dancing sneakers. In order to study dance steps that were as close as pos- A static standing neutral trial of each subject was collected sible to how they are usually performed, we asked these to define the anatomical coordinate system and for knee experts to choreograph sequences that contained common and ankle joint center calculation.
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