Visual contribution to self-induced body sway frequencies and visual perception of male professional dancers

Golomer, Eveline; Crémieux, J.; Dupui, Philippe; Isableu, Brice; Ohlmann, Théophile

doi:10.1016/s0304-3940(99)00356-0

Cited by 163 publications

(164 citation statements)

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“…For example, classically-trained dancers exhibit better postural control (Rein, Fabian, Zwipp, Rammelt, & Weindel, 2011), can maintain given postures for longer durations (Crotts, Thompson, Nahom, Ryan, & Newton, 1996), and show more vertical alignment during stepping than non-dancers (Chatfield, Krasnow, Herman, & Blessing, 2007). Several studies revealed better balance skills in dancers compared to non-dancers (Golomer, Dupui, & Monod, 1997a,b;Golomer, Cremieux, Dupui, Isableu, & Ohlmann 1999a), in adult dancers compared to younger and less experienced dancers (Bruyneel, Mesure, Paré, & Bertrand, 2010), and in female compared to male dancers in equilibrium reactions (Golomer et al, 1997b). Even short episodes of breakdance training have been found to increase balance skills in young amateurs (Ricotti & Ravaschio, 2011).…”

Section: Control Of Equilibrium and Posturementioning

confidence: 99%

“…For example, enhanced proprioceptive skills associated with dancers' heightened posture control have been suggested to interfere with other sensory processes such as vision (Golomer et al, 1999a;Jola, Davis, & Haggard, 2011). Dance training has been claimed to increase the relative influence of somatosensation and to shift sensorimotor dominance from vision to proprioception (e.g., Golomer & Dupui, 2000).…”

Section: Control Of Equilibrium and Posturementioning

confidence: 99%

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Neurocognitive control in dance perception and performance

et al. 2012

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Dance is a rich source of material for researchers interested in the integration of movement and cognition. The multiple aspects of embodied cognition involved in performing and perceiving dance have inspired scientists to use dance as a means for studying motor control, expertise, and action-perception links. The aim of this review is to present basic research on cognitive and neural processes implicated in the execution, expression, and observation of dance, and to bring into relief contemporary issues and open research questions. The review addresses six topics: 1) dancers' exemplary motor control, in terms of postural control, equilibrium maintenance, and stabilization; 2) how dancers' timing and on-line synchronization are influenced by attention demands and motor experience; 3) the critical roles played by sequence learning and memory; 4) how dancers make strategic use of visual and motor imagery; 5) the insights into the neural coupling between action and perception yielded through exploration of the brain architecture mediating dance observation; and 6) a neuroesthetics perspective that sheds new light on the way audiences perceive and evaluate dance expression. Current and emerging issues are presented regarding future directions that will facilitate the ongoing dialog between science and dance

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Section: Control Of Equilibrium and Posturementioning

confidence: 99%

Section: Control Of Equilibrium and Posturementioning

confidence: 99%

Neurocognitive control in dance perception and performance

et al. 2012

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“…Researchers have also explored the question from a developmental perspective (Lejeune et al, 2006) and by the investigation of the intense motor experience created, for example, by sports practice. Indeed, postural control is widely acknowledged to be influenced by sports experience, particularly the practice of sports requiring fine postural control (Asseman, Caron, & Cremieux, 2004;Bringoux, Marin, Nougier, Barraud, & Raphel, 2000;Era, Konttinen, Mehto, Saarela, & Lyytinen, 1996;Golomer, Cremieux, Dupui, Isableu, & Ohlmann, 1999;Mesure et al;Perrin, Deviterne, Hugel, & Perrot, 2002;Vuillerme, Danion, et al, 2001;Vuillerme & Nougier, 2004;Vuillerme, Teasdale, & Nougier, 2001). Most studies on this topic have focused on the effect of expertise in gymnastics because it clearly requires fine postural control, but the conclusions still diverge.…”

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Influence of Experience on Postural Control: Effect of Expertise in Gymnastics

Gautier

Thouvarecq

Larue

2008

Journal of Motor Behavior

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ABSTRACT. The authors investigated how expertise in motor skills that require fine postural control, such as gymnastics, influences postural regulation. Gymnasts and nongymnasts performed a postural stabilization task after anterior-posterior destabilization while looking at a target in front of them. The authors recorded and analyzed the center of pressure and the ankle, knee, and hip displacements. Gymnasts were able to react rapidly after destabilization to decrease their center of pressure and the angular movements. Moreover, they used their knees to stabilize posture, whereas the nongymnasts used their hips. These findings suggest that specific postural experience modifies the ability to coordinate and regulate posture. The authors discuss these results from an ecological perspective.

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“…This hip strategy, the second distinct strategy, produces minimal ankle torque and a compensatory horizontal shear force against the support surface (Horak and Nashner 1986, Winter 1995). Dancers have been reported to demonstrate greater use of the hip strategy than non-dancers particularly when maintaining balance in challenging conditions (Golomer et al 1999a, Simmons 2005b. This is discussed further in section (Section 2.6.2.4).…”

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confidence: 97%

“…It has been demonstrated that when somatosensory information is made unreliable and even when visual information is available, dancers increase CoP motion more than non-dancers (Simmons 2005b). There is also evidence that professional dancers compared with untrained individuals, are less dependent on vision for maintaining equilibrium on a moving platform (Golomer et al 1999a, Golomer and Dupui 2000, Golomer et al 1997). These 61 data support the idea proposed by Golomer and co-workers (2000) …”

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confidence: 99%

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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Visual contribution to self-induced body sway frequencies and visual perception of male professional dancers

Cited by 163 publications

References 10 publications

Neurocognitive control in dance perception and performance

Neurocognitive control in dance perception and performance

Influence of Experience on Postural Control: Effect of Expertise in Gymnastics

Physiology and pathophysiology of low back pain in ballet dancers

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