Emma Redding

Oxygen uptake during modern dance class, rehearsal, and performance.

&NA; Wyon, M.A., A. Grant, E. Redding, A. Head, and N.C.C. Sharp. Oxygen uptake during modern dance class, rehearsal, and performance. J. Strength Cond. Res. 18(3):646–649. 2004.—The aim of the present study was to examine whether the workload, expressed in oxygen uptake and heart rate, during dance class and rehearsal prepared the dancer for performance. Previous research on the demands of class and performance has been affected by equipment limitations and could only provide limited insight into the physiological demands placed on the dancer. The present study noted that dance performance had significantly greater mean oxygen uptake and heart rate than noted in both class and rehearsal (p < 0.05). Further analysis noted that, during class and rehearsal, heart rates were rarely within the aerobic training zone (60–90%HRmax, where HRmax is the maximum heart rate). Dance performance placed a greater demand on the aerobic and anaerobic glycolytic energy systems than seen during class and rehearsal, which placed a greater emphasis on the adenosine triphosphate‐creatine phosphate system. Practical implications suggest the need to supplement training within dance companies to overcome this deficit in training demand.

Application of alpha/theta neurofeedback and heart rate variability training to young contemporary dancers: State anxiety and creativity

As one in a series on the impact of EEG-neurofeedback in the performing arts, we set out to replicate a previous dance study in which alpha/theta (A/T) neurofeedback and heart rate variability (HRV) biofeedback enhanced performance in competitive ballroom dancers compared with controls. First year contemporary dance conservatoire students were randomised to the same two psychophysiological interventions or a choreology instruction comparison group or a no-training control group. While there was demonstrable neurofeedback learning, there was no impact of the three interventions on dance performance as assessed by four experts. However, HRV training reduced anxiety and the reduction correlated with improved technique and artistry in performance; the anxiety scale items focussed on autonomic functions, especially cardiovascular activity. In line with the putative impact of hypnogogic training on creativity A/T training increased cognitive creativity with the test of unusual uses, but not insight problems. Methodological and theoretical implications are considered.

Correlates of disordered eating attitudes among male and female young talented dancers: findings from the UK Centres for Advanced Training.

Correlates of disordered eating attitudes were examined with a mixed-sex sample of 347 young talented dancers aged 10–18 years from all UK Centres for Advanced Training. Equal proportions of females (7.3%) and males (7.6%) were symptomatic for disordered eating but correlates differed: for females, self-evaluative perfectionism, waking up > twice/night and hours of non-dance physical activity were predictive while for males, only the combination of self-evaluative and conscientious perfectionism was significant. Differences between menstrual status groups were evident, with young dancers (pre-menarcheal/within first year of menarche) reporting the least disordered eating attitudes and those with dysfunctional menses reporting the most.

Injuries among talented young dancers: findings from the UK Centres for Advanced Training

The aim of the present study was to characterize the injuries of young dancers attending Centres for Advanced Training. 806 dancers, ages 10-18 years responded to surveys regarding their biological profile, dance experience and injury history, and were examined for their anthropometric profile. Of the 806 dancers, 347 reported an injury. Based on 4 age groups, the total hours of practice per week increased significantly with increasing age. Incidence of injuries per 1000 h of dance practice for dancers ages 11-12 were found to be significantly higher compared to the incidence for dancers ages 13-18 (p<0.05). Foot and ankle and other lower extremities were the most common injury location, and muscle injuries were the most common type of injury. Total months in CAT training (OR=1.044, 95% CI=1.014-1.075) and hours per week in creative style practice (OR=1.282, 95% CI=1.068-1.539) were found to be significantly associated with injuries. In conclusion, both young and mature dancers are exposed to extensive risk of injury. The intensity of training (such as number of months and number of hours of training per week) is important factor that should be taken into account in order to decrease future injuries among young dancers.

Talent identification and development in dance : A review of the literature

Talent identification and development processes are important components of many dance programmes, yet talent is notoriously difficult to define and its identification may rely on intuitive judgements. Taking a systematic approach to the study of dance talent could enable researchers and educators to better determine what talent actually is, the multi‐faceted components that exist within talent and subsequently how best it can be optimised. The aim of this paper is to review existing literature relating to aspects of dance talent. While not attempting to define talent nor provide a guide for identification, the review reports on existing relevant literature that describes the characteristics associated with talent in the hope that it will be valuable to educators and researchers. Further research into the characteristics of talented dancers may enable teachers to prepare their students optimally for the exciting opportunities that dance can offer.

Dance 4 Your Life: Exploring the Health and Well-Being Implications of a Contemporary Dance Intervention for Female Adolescents.

The purpose of this study was to assess the physiological and psychological impact of contemporary dance classes on adolescent females. Fifty‐five females, aged 14 were recruited from secondary schools in the UK. The intervention constituted a program of contemporary dance classes with an emphasis on building muscular strength. Full ethics approval was granted by a Higher Education institutional Research Ethics Committee. A series of physiological and psychological assessments were undertaken pre and post the dance intervention: upper body strength, flexibility, aerobic fitness, self‐esteem, intrinsic motivation, and attitudes toward dance and group physical activities were measured using standard procedures. A paired t‐test was used to analyse changes between pre‐ to post‐testing. There was a statistical increase in areas of physical fitness. Aerobic capacity and upper body strength increased significanlty (p=0.001 and 0.002 respectively). No significant change occurred in flexibility. Self Esteem statistically increased (p=0.01). No change occurred in Intrinsic Motivation, however motivation scores were higher than average at pre‐test stage. Attitudes towards dance were very positive both pre‐ and post‐intervention. This study showed that dance can statistically improve components of physical fitness, and psychological well‐being. Participants demonstrated positive attitudes towards dance.

Acute effects of warm-up stretch protocols on balance, vertical jump height, and range of motion in dancers.

The aim of this study was to examine the acute effects of static stretching (SS), dynamic stretching (DS), and a combined (static and dynamic) stretch protocol on vertical jump (VJ) height, balance, and range of motion (ROM) in dancers. A no-stretch (NS) intervention acted as the control condition. It was hypothesized that the DS and combination stretch protocols would have more positive effects on performance indicators than SS and NS, and SS would have negative effects as compared to the NS condition. Ten trained female dancers (27 ± 5 years of age) were tested on four occasions. Each session began with initial measurements of hamstring ROM on the dominant leg. The participants subsequently carried out a cardiovascular (CV) warm-up, which was followed by one of the four randomly selected stretch conditions. Immediately after the stretch intervention the participants were tested on VJ performance, hamstring ROM, and balance. The data showed that DS (p < 0.05) and the combination stretch (p < .05) produced significantly greater VJ height scores as compared to SS, and the combination stretch demonstrated significantly enhanced balance performance as compared to SS (p < 0.05). With regard to ROM, a one-way ANOVA indicated that SS and the combination stretch displayed significantly greater changes in ROM than DS (p < 0.05). From comparison of the stretch protocols used in the current study, it can be concluded that SS does not appear to be detrimental to a dancers performance, and DS has some benefits but not in all three key areas tested, namely lower body power (VJ height), balance, and range of motion. However, combination stretching showed significantly enhanced balance and vertical jump height scores and significantly improved pre-stretch and post-stretch ROM values. It is therefore suggested that a combined warm-up protocol consisting of SS and DS should be promoted as an effective warm-up for dancers.

Barriers to dance training for young people with disabilities

Dance is a viable and enjoyable activity – and potential career – for young people with disabilities, yet they face several barriers to participation and training. The aim of this article, by Imogen J. Aujla of the University of Bedfordshire and Emma Redding of Trinity Laban Conservatoire of Music and Dance, is to review the literature on barriers to dance training for young disabled people and to put forward practical recommendations for overcoming these challenges. The main barriers identified were aesthetic, attitudinal, training-related and logistical in nature, with further barriers related to physical access and a lack of knowledge or available information about opportunities. One of the key recommendations for overcoming these barriers is to build an effective network between special and mainstream schools, dance studios, youth dance groups and professional integrated dance companies in order to encourage dance participation at a range of levels and support young disabled people throughout their dance journeys.

Characteristics of talented dancers and age group differences: findings from the UK Centres for Advanced Training

This study investigated differences in the characteristics of talented dancers in relation to age. Physical (handgrip muscular strength, leg muscular power, hamstring flexibility and external hip rotation), psychological (passion, self-esteem and anxiety) and social (the motivational climate) characteristics were assessed in 334 students enrolled on a talented scheme. The male late adolescence group (16 to 18 years) had greater jump height than the early (10 to 12 years) and mid-adolescence groups (13 to 15 years). For both sexes, the early adolescence group exhibited the lowest and the late adolescence group the greatest grip strength values. The late adolescence group reported lower self-esteem than the two younger groups, and the two older groups reported greater perceptions of ego-involving motivational climates than the early adolescence group. Results suggest that, as some characteristics of talented dancers differ across the adolescent years, talent identification and development criteria could be adapted according to age.

A qualitative investigation of commitment to dance: findings from the UK Centres for Advanced Training

Commitment to an activity forms an essential part of the talent development process, yet little is known about the reasons why young people commit to dance training. The aim of this study was to investigate the factors that affect young dancers’ commitment to a selective dance talent scheme. Semi-structured interviews were conducted with 19 committed dancers and transcripts were content analysed. Enjoyment was the most important factor relating to commitment, and stemmed from several sources such as self-expression, movement sensations and feelings associated with performing. Relationships with dance peers and teachers, parental support and the opportunities available on the scheme also enhanced commitment. While some potential barriers to participation were identified, such as concerns about injury, these seemed insufficient to affect the participants’ commitment. The results of the study may help educators to develop young dancers’ talents optimally by enhancing their commitment to training.