How spotting technique affects dizziness and postural stability after full-body rotations in dancers.

Consecutive longitudinal axis rotations are very common in dance, ranging from head spins in break dance to pirouettes in ballet. They pose a rather formidable perceptuomotor challenge - and hence form an interesting window into human motor behaviour - yet they have been scarcely studied. In the present study, we investigated dancers' dizziness and postural stability after consecutive rotations. Rotations were performed actively or undergone passively, either with or without the use of a spotting technique in such an order that all 24 ordering options were offered at least once and not more than twice. Thirty-four dancers trained in ballet and/or contemporary dance (aged 27.2 ± 5.1 years) with a mean dance experience of 14.2 ± 7.1 years actively performed 14 revolutions in passé or coupé positions with a short gesture leg "foot down" after each revolution. In addition, they were passively turned through 14 revolutions on a motor-driven rotating chair. Participants' centre-of-pressure (COP) displacement was measured on a force-plate before and after the rotations. Moreover, the dancers indicated their subjective feeling of dizziness on a scale from 0 to 20 directly after the rotations. Both the active and passive conditions were completed with and without the dancers spotting. As expected, dizziness was worse after rotations without the adoption of the spotting technique, both in active and passive rotations. However, the pre-post difference in COP area after active rotations was unaffected by spotting, whereas in the passive condition, spotting diminished this difference. Our results thus suggest that adopting the spotting technique is a useful tool for dizziness reduction in dancers who have to perform multiple rotations. Moreover, spotting appears most beneficial for postural stability when it involves less postural control challenges, such as when seated on a chair and occurs in situations with limited somatosensory feedback (e.g., from the cutaneous receptors in the feet). However, the unexpected finding that spotting did not help postural stability after active rotations needs to be investigated further in future studies, for example with a detailed analysis of whole-body kinematics and eye-tracking.

The Single Leg Heel Rise Test-A Helpful Tool for Dance Science?: A Systematic Review.

BACKGROUND: Foot and ankle injuries are the most prevalent injuries in dance. The single leg heel-rise (SLHR) test is a simple tool to assess muscular endurance of the plantar flexors of the foot and is an increasingly popular manual muscle test in various areas of dance. Although the SLHR test has shown high reliability and validity in the medical field, no uniform description of this test exists in dance. OBJECTIVE: This systematic review aimed to identify parameters, outcome measures, purposes, and existing normative values of the SLHR test in the dance field. METHODS: Following the PRISMA guidelines, the electronic databases Scopus, PubMed, SPORTDiscus, EMBASE, CINAHL, and Cochrane were searched using a predefined search strategy up to June 2022. Studies were included if they reported screening, testing, or evaluation of either muscular endurance or strength of the calf muscle-tendon unit (MUT) in dancers using the SLHR test. The methodological quality of the studies was evaluated using a modified version of the Downs and Black Quality Index. RESULTS: A total of 180 studies were identified. Twelve studies comprising a total of 427 dancers met the inclusion criteria. Key testing parameters of the SLHR test varied widely or were not reported. The average quality rating of the reviewed studies was 12.9 (range 8 to 17) out of a possible 20 points. DISCUSSION: Although commonly used in test batteries, there are no standardized parameters of the SLHR test used in the dance field. Therefore, no generally applicable normative values could be established. CONCLUSION: Key parameters such as the precise execution of the heel rises should be reported in testing protocols. For the SLHR test to be a useful tool in dance, further research on the influence of dance style, age, and injuries to the calf MTU on this test is needed.

Does a visual reference help ballet dancers turn more successfully?

In dance, performing multiple rotations around the longitudinal axis is a complex task that can only be accomplished proficiently by highly skilled dancers. However, this extraordinary skill has been investigated sparsely. The few studies to date have focused on the biomechanical analysis of ballet rotations. However, none have investigated the influence of visual information on continuous rotations, such as Fouettés or à la Seconde turns. Therefore, the present study aims to examine the role of a visual reference on balance control and the dance-specific head coordination - spotting - during turning performance of highly skilled ballet dancers. To this end, 12 participants performed 12 Fouettés (females) or à la Seconde turns (males) with and without a visual reference. As dependent measures, we analysed balance control (i.e., supporting foot path length), spotting duration, head isolation, and orientation (i.e., deviation of pelvis from the front). A linear mixed model was performed to analyse the influence of the visual conditions overall and over the continued performance of 12 consecutive rotations. The results revealed that overall, path length was significantly smaller in the condition without a visual reference. Spotting duration and head isolation did not differ significantly between conditions. Moreover, dancers oriented themselves better towards the front in the condition with a visual reference. When looking closer into the progression of performance over each consecutive rotation, highly skilled ballet dancers significantly decreased the supporting foot path length, and improved orientation when turning with a visual reference. On the other hand, without a visual reference, the dancers increased the spotting duration over time. Additionally, dancers increased head isolation towards the end of the turns in both conditions. These findings suggest that a visual reference helps ballet dancers sustain performance of consecutive rotations, mainly in optimising balance control and orientation. Thus, the more rotations a ballet dancer must turn, the more relevant a visual reference becomes for sustaining successful performance.

Learn to Turn: Does Spotting Foster Skill Acquisition in Pirouettes?

Purpose: The spotting technique (i.e., independent head from torso movement) has been revealed as the single feature that differentiates highly skilled from less-skilled dancers. In the current intervention study, the potential of a specific spotting training in novice dancers for learning double pirouettes was tested. Method: Novice dancers trained pirouettes in an experimental group and an active control group over a period of eight weeks by receiving either specific spotting instructions or technical instructions only. Pirouette performance was examined in a pretest, and a one-week-delayed retention test. In a further control test, effects of explicitly instructing how to perform the pirouettes (i.e., either with or without spotting) were investigated. Results: Different than expected, in the retention test, only few participants from the experimental group showed the spotting technique. Moreover, the spotting group did not perform better than the control group. Rather, the balance measure revealed that, while the control group improved over learning, the experimental group remained at the baseline values and showed a slight advantage for orientation only. In the control test, all groups showed inferior performance as compared to the retention test. Conclusion: In sum, the current findings show that-at least for beginners-the spotting technique is not suitable to be implemented in applied training settings. Moreover, in line with the expert performance approach, this study suggests to investigate the implementation of expert skills in applied training routines experimentally.

Defining Spotting in Dance: A Delphi Method Study Evaluating Expert Opinions.

Spotting is a typical isolated head coordination used by many dancers during rotation. However, with sporadic and inconclusive explanations as to why dancers spot, the critical characteristics and functionalities of spotting have yet to be identified. Therefore, a Delphi method survey was used as a novel methodology for providing greater insights into this under-examined motor behavior, bringing together experts from various disciplines to generate ideas and identify the crucial elements of spotting. Following the selection of experts, three rounds of data collection and analysis were conducted to narrow down relevant topics and evaluate consensus. To gather opinions in Round 1, experts were asked to respond freely to three prompts regarding the reasoning, characteristics, and uses of successfully spotting; responses were then grouped into predominant items. To rate agreement in Round 2, experts rated their agreement on the relevance of the grouped items from Round 1 on a 5-point Likert scale; items rated 4 or 5 by at least 70% of the experts were taken as those consensually relevant to the group. To rank importance in Round 3, Best-Worst Scaling was used to determine individual rankings of the relevant items from Round 2. In a series of comparisons, experts were prompted to select the most and least important items in multiple sub-groupings. Group mean ranking of items as well as ranking concordance and differentiation were analyzed to determine the most important items and the strength of consensus, respectively. Overall, consensus and differentiation in experts' item rankings were low; however, novel insights were presented. As characteristics of successfully spotting, experts emphasized head isolation, timing, and gaze specificity alongside functional characteristics, substantiating spotting as purposeful action in rotation. Building on traditional notions of spotting for reduced dizziness and maintaining balance, successfully spotting was further deemed useful for multiple turns, orientation, and rhythm. The findings of this study thus provide informed guidelines for future analysis and training of this complex head coordination in rotations.

Kinematic Analysis of the Coupling Between Calcaneal Eversion and Ankle Dorsiflexion in a Contemporary Dancer's Demi-Plié.

BACKGROUND: Dancing requires a high range of motion in the foot as well as a good shock-absorbing system formed by the foot and ankle joints. Although there is a broad consensus in dance that excessive calcaneal eversion can cause injury and should be avoided, calcaneal eversion is discussed controversially in the dance literature. An increased research focus on the biomechanics of dance, particularly research pertaining to the foot and ankle joints, might help to resolve this controversy. OBJECTIVES: The study's main purpose was to generate hitherto lacking kinematic data of calcaneal eversion in a dancer's demi-plié. METHODS: Thirty-two contemporary dancers performed three trials in two different conditions: demi-plié in parallel and in turned-out positions. The motion capture system FASTRAK was used to measure calcaneal eversion and foot and lower leg alignment during demi-plié. RESULTS: Maximal calcaneal eversion in turned-out demi-pliés was 3.36°±4° and total range of motion (i.e., maximal minus minimal angle) of calcaneal eversion was 3.73°±1.42°, where the large standard deviations indicate substantial variability across participants. Calcaneal eversion was significantly different between turned-out (3.36°±4°) and parallel (1.17°±4.06°) demi-pliés, as was the alignment of the lower leg and foot, where the lower leg tracked more medially relative to the foot during turned-out pliés. Crucially, both the magnitude of calcaneal eversion and its temporal coupling with ankle dorsiflexion were highly variable across participants. CONCLUSIONS: Average calcaneal eversion is a poor indicator of the role calcaneal eversion plays in the demi-plié of contemporary dancers. Rather, the temporal coupling between calcaneal eversion and ankle dorsiflexion needs to be considered.

Balancing on a Slackline: 8-Year-Olds vs. Adults.

Children are less stable than adults during static upright stance. We investigated whether the same holds true for a task that was novel for both children and adults and highly dynamic: single-legged stance on a slackline. We compared 8-year-olds with young adults and assessed the following outcome measures: time on the slackline, stability on the slackline (calculated from slackline reaction force), gaze movement, head-in-space rotation and translation, trunk-in-space rotation, and head-on-trunk rotation. Eight-year-olds fell off the slackline quicker and were generally less stable on the slackline than adults. Eight-year-olds also showed more head-in-space rotation and translation, and more gaze variability around a visual anchor point they were instructed to fixate. Trunk-in-space and head-on-trunk rotations did not differ between groups. The results imply that the lower postural stability of 8-year-olds compared to adults - as found in simple upright stance - holds true for dynamic, novel tasks in which adults lack the advantage of more practice. They also suggest that the lack of head and gaze stability constitutes an important limiting factor in children's ability to master such tasks.