Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style

Wyon, Matthew; Harris, Julie M.; Adams, Faye; Cloak, Ross; Clarke, Francis A; Bryant, Janine

doi:10.21091/mppa.2018.3028

Cited by 20 publications

(47 citation statements)

References 20 publications

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“…Through a cross-sectional design the current study has provided the first physiological data on musical theatre performers. The cardiorespiratory profiles of musical theatre performers indicated aerobic fitness levels higher than that previous reported for other dance theatre genres [4,5,7,26,27] and similar to hip hop dancers [15] . The anaerobic threshold (AT) for MT dancers was similar to that reported for classical ballet principal and artist dancers [27].…”

Section: Discussioncontrasting

confidence: 57%

“…Cardiorespiratory data (oxygen consumption and heart rate) on dance performance indicated that dancers are exercising close to their maximal cardiorespiratory capacities with a greater stress on the lactate system compared to class and rehearsal [3,7,12,15]. Time motion analysis indicates that this is due to differences in the work to rest ratio; performance was generally characterised as having fewer and/or shorter rest periods accompanied by higher work intensities [2].…”

Section: Introductionmentioning

confidence: 99%

“…Dance is a generic term that covers a wide diversity of genres that have distinct choreographic movements [1] and performance demands [2]. There has been limited research on the cardiorespiratory demands of dance with the majority focusing on classical ballet [3][4][5][6][7][8] and modern dance [9][10][11][12] with a few studies covering other genres such as jazz [13,14] and street dance [15]. These studies suggested that the studied dance genres were all intermittent in nature though the work to rest ratio and intensity ratios differed between the different genres.…”

Section: Introductionmentioning

confidence: 99%

“…These studies suggested that the studied dance genres were all intermittent in nature though the work to rest ratio and intensity ratios differed between the different genres. Reported data have mainly focused on class [6,8,10,14,[16][17][18] and rehearsals [6,8,13,17] with only a few studies reporting simulated performance [7,[15][16][17] and one reporting heart rate during stage performance [3]. Early studies were hampered by equipment limitations and often relied on heart rate to extrapolate oxygen demand which later was shown to misrepresent work done [19].…”

Section: Introductionmentioning

confidence: 99%

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Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing

Stephens¹,

Wyon²

2020

Medical Problems of Performing Artists

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AIMS: Musical theatre (MT) combines acting, singing, and dancing within a performance. The purpose of the current study was two-fold: 1) to report on the cardiorespiratory fitness of pre-professional MT dancers, and 2) to examine the cardiorespiratory demand of singing whilst dancing. METHODS: Twenty-one participants (16 females, 5 males; age 20±1.23 yrs; height 169.1±9.24 cm; weight 62.7±10.56) in their final year of pre-professional training volunteered for the study. All participants performed a maximal aerobic capacity test on a treadmill using a portable breath-by-breath gas analyser. Nine participants completed a 4-minute section from Chorus Line twice, singing and dancing and just dancing, in a randomised order whilst wearing the same portable gas analyser. Blood lactate was measured at the end of each trial. RESULTS: Male participants had significantly greater peak oxygen consumption (M vs F, 67.6±2.30 vs 55.6±4.42 mL/kg/min, p<0.001) and anaerobic threshold (% of peak VO2) (54.6±4.04% vs 43.1±3.68%, p<0.001), whilst maximum heart rate and heart rate at anaerobic threshold were similar. The physiological demands of dancing vs singing + dancing were similar, with the exception of the singing + dancing trial having significantly reduced mean breathing frequency and increased lactate (p<0.01). CONCLUSIONS: MT dancers’ aerobic capacity is greater than that observed in other theatre-based dance genres. The observed breathing frequency and lactate differences in the Chorus Line trails could be due to singing reducing breathing frequency, thereby influencing cardiorespiratory recovery mechanics and subsequently blood lactate levels.

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Section: Discussioncontrasting

confidence: 57%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing

Stephens¹,

Wyon²

2020

Medical Problems of Performing Artists

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“…Even though there has been a start in investigating Breaking from a physiological 16,17 , psychological 18,19 and biomechanical 7,20 perspective, injury epidemiological data are still sparse 15 . The aim of this study was to collect self-report breaking-specific injury data using a 12-month recall methodology that also includes information on participants', lifestyles and training experiences.…”

mentioning

confidence: 99%

Injury Occurrence in Break DanceAn Online Cross-Sectional Cohort Study of Breakers

Tsiouti

Wyon

2021

j dance med sci

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Breaking is the most physical of the hip- hop dance styles, but little research has examined the health and well-being of its participants. Using a cross-sectional recall design, a self-reported online health and well-being survey was open for a 5-month period (April 2017 to August 2017). Three hundred and twenty adult break dancers (16% professional, 65% student-recreational) with a minimum of 6-months experience completed the survey. The main outcome measures were injury incidence and etiology and training hours. Fifty-two percent of respondents trained between 4 and 9 hours per week over 3 days, which is significantly less than theatrical dancers. More than 71% reported a dance-related injury in the previous 12 months, and 44.5% were injured at time of the survey. Self-reported types of injury were significantly different from other dance genres. The most frequently injured body parts were arm-hand (40.6%), shoulder (35.9%), knee (32.2%), neck (22.8%), and ankle (15.6%). When injured, 29% of respondents either took their own preventative steps or continued to dance carefully, while 20% sought medical help. "Yourself" was the most cited influence on returning to dance after injury (47%). The current survey highlights breaking's differences from other dance genres, particularly with regard to injury incidence and etiology.

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Analysis and systematization of the training structure of professional breakers

Lindner,

Nonnenmann,

Schott

et al. 2024

Ger J Exerc Sport Res

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Including breaking in the Paris 2024 Olympic Games entails numerous structural changes, such as developing a scientifically based training system for national squad athletes. So far, breaking has been chiefly practiced without access to trained coaches with a sports science background, and no research has addressed its training structure. This study aims to identify breakers’ existing training strategies by analyzing their training through video observation and interviews. Demographic data were collected via online questionnaires from 12 professional breakers (29.8 ± 3.5 years) worldwide. On average, participants had 15.1 ± 3.6 years of breaking experience, dedicating 24 ± 10.2 hours per week to training. All participants stated that they organized their breaking training independently, without supervision from a national coach. Training strategies were identified and grouped into three training phases: warm-up, breaking training, and cool-down. Warm-up routines were incorporated by all participants, with emphasis placed on knee and shoulder joints. However, only 7 participants performed a cool-down. Specific warm-up routines involved toprock, footwork, and freeze positions. Breakers often trained individually or in small groups, engaging in full-out dance rounds and simulated battles. Incorporating new steps required trial and error, with breakers utilizing various learning techniques including movement dissection and speed reduction. Overall, the obtained data revealed a diverse and multifaceted category structure regarding the training strategies of professional breakers. This study shows that the training structure is often decided by the dancers themselves, who tend to be autodidacts. Subsequently, recommendations were made from a sports science perspective for effective breaking training.

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Cardiorespiratory Profile and Performance Demands of Elite Hip-Hop Dancers: Breaking and New Style

Cited by 20 publications

References 20 publications

Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing

Physiological Characteristics of Musical Theatre Performers and the Effect on Cardiorespiratory Demand Whilst Singing and Dancing

Injury Occurrence in Break DanceAn Online Cross-Sectional Cohort Study of Breakers

Analysis and systematization of the training structure of professional breakers

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