Lower-limb Proprioceptive Awareness in Professional Ballet Dancers

Kiefer, Adam W.; Riley, Michael A.; Shockley, Kevin; Sitton, Candace A.; Hewett, Timothy E.; Cummins-Sebree, Sarah; Haas, Jacqui G.

doi:10.12678/1089-313x.17.3.126

Cited by 37 publications

(27 citation statements)

References 44 publications

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“…Results for the Inexperienced group closely resemble the rapid habituation observed in continuous low acceleration perturbing environments and high acceleration transient perturbations that show significant improvements and adaptations after the first trial [6, 7, 18]. The slightly faster adaptations of the dancers when compared to the Inexperienced group may be due to the fact that dancers have learned to rely on vision and enhanced somatosensory abilities and increased proprioceptive feedback that may strengthen synergist muscle activity and limb coordination in response development [33, 14]. …”

Section: Discussionmentioning

confidence: 66%

Population Differences in Postural Response Strategy Associated with Exposure to a Novel Continuous Perturbation Stimuli: Would Dancers Have Better Balance on a Boat?

et al. 2016

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Central or postural set theory suggests that the central nervous system uses short term, trial to trial adaptation associated with repeated exposure to a perturbation in order to improve postural responses and stability. It is not known if longer-term prior experiences requiring challenging balance control carryover as long-term adaptations that influence ability to react in response to novel stimuli. The purpose of this study was to determine if individuals who had long-term exposure to balance instability, such as those who train on specific skills that demand balance control, will have improved ability to adapt to complex continuous multidirectional perturbations. Healthy adults from three groups: 1) experienced maritime workers (n = 14), 2) novice individuals with no experience working in maritime environments (n = 12) and 3) individuals with training in dance (n = 13) participated in the study. All participants performed a stationary standing task while being exposed to five 6 degree of freedom motions designed to mimic the motions of a ship at sea. The balance reactions (change-in-support (CS) event occurrences and characteristics) were compared between groups. Results indicate dancers demonstrated significantly fewer CS events than novices during the first trial, but did not perform as well as those with offshore experience. Linear trend analyses revealed that short-term adaptation across all five trials was dependent on the nature of participant experience, with dancers achieving postural stability earlier than novices, but later than those with offshore experience. These results suggest that long term previous experiences also have a significant influence on the neural control of posture and balance in the development of compensatory responses.

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Section: Discussionmentioning

confidence: 66%

Population Differences in Postural Response Strategy Associated with Exposure to a Novel Continuous Perturbation Stimuli: Would Dancers Have Better Balance on a Boat?

et al. 2016

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“…slower reflex times and diminished proprioception (Collins et al 1995). This appears inconsistent with our data collected from professional ballet dancers who are considered balance experts with highly trained sensorimotor control (Golomer et al 1999a, Golomer andDupui 2000); faster response times (Simmons 2005a) and superior lower limb proprioception than non-dancers (Kiefer et al 2013). Sensory information in standing comes from multiple sources; somatosensory, vestibular and visual systems .…”

Section: Balance Characteristics In Dancers Without Lbp Compared Withcontrasting

confidence: 92%

“…Comparing the effect of visual suppression between dancers and non-dancers using linear measures of CoP motion reveals conflicting data. Several studies report no difference between dancers and non-dancers (Kiefer et al 2013, Schmit et al 2005, Simmons 2005b) across a range of standing tasks without vision. Other work has shown less increase in CoP motion with eye closure (Golomer et al 1999a, Golomer and Dupui 2000, Stins et al 2009) and greater CoP motion with eye closure in dancers compared with untrained participants (Hugel et al 1999, Perrin et al 2002.…”

Section: Standing With Eyes Closedmentioning

confidence: 99%

“…Ballet dancers perform better on balance tests than non-dancers (Ambegaonkar et al 2013, Crotts et al 1996 and are reported to have faster and more consistent postural muscle responses (Simmons 2005a), superior sensorimotor control (Golomer et al 1999a, Golomer andDupui 2000), and more accurate lower limb proprioception (Kiefer et al 2013). Dancers without LBP also demonstrated a pattern of reaching 'saturation point' (i.e.…”

Section: Findings Related To Balance Control Of the Trunkmentioning

confidence: 99%

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Physiology and pathophysiology of low back pain in ballet dancers

Gildea¹

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Classical ballet dancers combine artistry and physical skills to perform graceful and exciting movements. Lengthy, exacting dance training potentially promotes unique adaptation of motor control to; execute these movements; maintain optimal physiological function, and provide stability to avoid injury and pain. Yet low back pain (LBP) is common in dancers. Differences in motor control are frequently observed between non-dancers with and without LBP. This often involves reduced and delayed activity of deep trunk muscles and augmented activity of superficial muscles. These changes are proposed to affect the control of movement and stiffness of the trunk. LBP is also associated with deficits in postural control, an aspect of motor control, which depends on control of the trunk. Some features of adaptation in motor control are relatively common; but there are some features that are specific to individuals or different populations. It is essential to understand how motor control is adapted in elite classical ballet dancers with LBP as less optimal motor control has potential to impair performance and limit the capacity to dance. The overall objective of this thesis was to investigate aspects of motor control in dancers with and without LBP, with specific attention to trunk muscle morphology and to postural stability.Studies I and II investigated trunk muscle size, symmetry and function, in dancers with and without LBP, at rest and during simple manoeuvres, with magnetic resonance imaging (MRI). Reduced size of the multifidus muscle was observed in dancers with LBP and dancers with both back and hip/pelvic region pain. This finding is similar to that for nondancers. Study II provided preliminary evidence of a behavioural change in transversus abdominis (the deepest abdominal muscle); expressed as reduced length change of this muscle measured with MRI, in dancers with LBP. Thickness of transversus abdominis, obliquus internus abdominis and multifidus muscles were asymmetrical in dancers but this was not related to LBP. This may be related to repetitive performance of asymmetrical movements. Studies III and IV investigated postural control. In Study III, the trunk was perturbed in order to measure the dynamic properties of stiffness, damping and mass as an indication of control of the trunk. Dancers with LBP had less damping (control of velocity) than dancers without LBP, but this could be changed with motor imagery in the dancers with LBP. Study IV used linear and non-linear measures of centre of pressure trajectories to investigate standing balance in dancers with and without LBP and nondancers. Balance was measured with the feet in parallel and the dance-specific turned out 'first' position; which increases the dependence on trunk motion for balance in the anteroposterior direction. Dancers without LBP used more movement to control balance iii than non-dancers. These findings suggest that "less" movement does not define optimal balance in dancers. Dancers with a history of LBP used strategies that were more s...

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“…One common way to identify the individual characteristics is to compare novice with experts. The idea is to quantify and qualify what makes an expert, the one able to perform unique, optimized, efficient, and proficient movement patterns (Kiefer et al, 2011, 2013). To characterize individual movement expertise, researchers have targeted a specific population: expert dancers.…”

Section: Introductionmentioning

confidence: 99%

Understanding the Impact of Expertise in Joint and Solo-Improvisation

2017

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Joint-improvisation is not only an open-ended creative action that two or more people perform together in the context of an artistic performance (e.g., theatre, music or dance). Joint-improvisation also takes place in daily life activities when humans take part in collective performance such as toddlers at play or adults engaged in a conversation. In the context of this article, joint-improvisation has been looked at from a social motor coordination perspective. In the literature, the nature of the social motor coordination characteristics of joint-improvisation for either the creative aspect or daily life features of this motor performance remains unclear. Additionally, both solo-improvisation and joint-improvisation need to be studied conjointly to establish the influence of the social element of improvisation in the emergence of multi-agent motor coordination. In order to better understand those two types of improvisation, we compared three level of expertise – novice, intermediate and professional in dance improvisation to identify movement characteristics for each of the groups. Pairs of the same level were asked to improvise together. Each individual was also asked to perform an improvisation on his/her own. We found that each of the three groups present specific movement organization with movement complexity increasing with the level of expertise. Experts performed shorter movement duration in conjunction with an increase range of movement. The direct comparison of individual and paired Conditions highlighted that the joint-improvisation reduced the complexity of the movement organization and those for all three levels while maintaining the differences between the groups. This direct comparison amongst those three distinct groups provides an original insight onto the nature of movement patterns in joint-improvisation situation. Overall, it reveals the role of both individual and collective properties in the emergence of social coordination.

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Lower-limb Proprioceptive Awareness in Professional Ballet Dancers

Cited by 37 publications

References 44 publications

Population Differences in Postural Response Strategy Associated with Exposure to a Novel Continuous Perturbation Stimuli: Would Dancers Have Better Balance on a Boat?

Population Differences in Postural Response Strategy Associated with Exposure to a Novel Continuous Perturbation Stimuli: Would Dancers Have Better Balance on a Boat?

Physiology and pathophysiology of low back pain in ballet dancers

Understanding the Impact of Expertise in Joint and Solo-Improvisation

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