The effect of supplemental training on dance aesthetics

The Effect of Supplemental Training
on Dance Aesthetic Competence
A Meta-Analysis
Ilka Felsen
DPTc
PT 209-910
Background
Aesthetics:
“It takes an athlete to dance,
but a dancer to be an artist.”
-Shanna LaFleur
Aesthetics
Goal of dancers
Mackrell 2014
Defining Aesthetics
Aesthetic Competence Tool
Angioi et al. 2009
Criterion
Description
Mark 1-10
1. Control of movements
Controlled landing from
jump/turn, controlled
lifting/lowering of limbs,
controlled shifting of body
weight. Core strength,
alignment, posture.
1-3: Some evidence of coordination, movement control, and body awareness, but limited and
inconsistent.
4-6: Some elements were stronger than others.
7-8: Secure general coordination and body alignment; generally well controlled movements.
9-10: Well coordinated movement and controlled work all of the time, with accurate alignment.
2. Spatial skills
Spatial awareness, accuracy and
intent.
1-3: Little or no use of peripheral space; poor use of performance space.
4-6: Some good use of space, but inconsistent. Some elements stronger than others.
7-8: Good use of space about 80% of the time, with general accuracy and intent.
9-10: Secure and confident use of space, with accuracy and intent.
3. Accuracy of movements
Arm placement, feet positions,
fully stretched leg extensions (if
required).
1-3: Little or no precision throughout sequence. Unclear leg/arm lines.
4-6: Some precision, but inconsistent. Some elements stronger than others.
7-8: Correct positioning about 80% of the time.
9-10: Precise placing with well articulated gestures of limbs.
4. Technique
Elevation, turning and falling
techniques, height of extensions,
balance, posture, placement,
articulation.
1-3: Little or no evidence of high technical skills in any element.
4-6: Some skill in some elements, general virtuosity achieved.
7-8: Good virtuosity shown about 80% of the time.
9-10: A stunning performance showing virtuosity and skill throughout.
5. Dynamics, timing, and
rhythmical accuracy
Dancing with correct timing and
ability to perceive movement
and rhythmic patterns. Showing
awareness for changes in musical
dynamics and phrasing.
1-3: Little or no ability to perform and respond in time to the music. Little or no dynamic
qualities.
4-6: Performed in time for over half of the sequence, with some ability to respond to different
rhythms and dynamics of movement.
7-8: Timing was accurate for most of the sequence, and response to varying rhythms was
shown. General good use of dynamics. Good sense of musicality.
9-10: Timing was accurate throughout, with very good response to various rhythms, dynamics,
and phrases.
6. Performance qualities
Ability to execute the work for
an audience. Presence,
expressiveness, memory recall.
1-3: Few or no performance qualities were shown. Poor memory recall.
4-6: Some performance qualities were shown. Generally good memory recall.
7-8: Strong expressive qualities and memory recall about 80% of the time.
9-10: Excellent and well developed projection of a range of expressions, feelings and emotions.
Mature approach, with understanding of motivation for the movement.
7. Overall performance
Does the performance overall
impress markers?
1-3: Dancer made little impression on the audience.
4-6: Dancer not at full potential yet, OR strong work but lacking ability to impress overall.
7-8: Dancer has the ability to shine, but was hindered by minor aspects of performance.
9-10: Impressive!
Significance
Input
Result
Clinical Problem
Theoretical Construct
• Dancers are limited in their aesthetic competence by
inadequate physical fitness.
• Supplemental training has been shown to improve physical
fitness parameters in dancers.
• Supplemental training should improve aesthetic competence.
Gap
• Variety of interventions and
disciplines
• Addressing this gap:
• Grand effect size across studies
• Only 2 studies
• Addressing this gap:
• Several newly published studies
• Examine multiple disciplines
Purpose
Understand the effect of supplemental
training on dance aesthetic competence.
Elucidate what training protocols will produce
desired training effects to achieve aesthetic
competence.
Relevance
Physical therapists may:
• With dance educators on
curriculum
• Optimal supplemental
training protocols
• And develop supplemental
training program
Definitions
Primary Question
• What is the effect of supplemental training
on dance aesthetic competence?
Population, Intervention,
Comparison, Outcome
P
I
C
O
Hypothesis
Expected Findings
• 3 studies to address primary question
• All level 2b or higher
• Result: supplemental training improves dance
aesthetics
Methods
Search Procedures
• Experimental studies published in English
• Ballet, contemporary, or modern dance students or
professionals
• Intervention consisting of strength, circuit, aerobic,
or WBV training
• Outcomes of aesthetic competence
• Ages 16-30
• Intervention consisting of specific dance movement,
stretch, or exercise
• Dancers already partaking in supplemental training
• Pubmed
• PEDro
• Web of Science
Cochrane
CINAHL
• Fitness and dance
• Supplemental and dance
• Supplementary and dance
performance
• Exercise and dance performance
Training and dance aesthetic
Exercise and dance quality
Training and dance
Statistics
• Within and between group effect sizes calculated
• 95% confidence interval
• Grand effect sizes calculated
• 95% confidence interval
• Q statistic to determine random or fixed effects
model for grand effect size
• P<0.05 indicates use of random effects model
Results
PRISMA
Database Search
N=1081
Recursive
Search
N=24
Duplicates
Excluded
N=83
Title and Abstract Screened
N=1022
Excluded
N=1013
Full Text Reviewed
N=9
Excluded:
•
•
•
Studies Included in
Analysis
N=5
Unable to obtain
full text (N=2)
No intervention
(N=1)
Not ballet,
contemporary, or
modern dancers
(N=1)
Results
• Grand effect size:
• Within group: 0.81, CI 0.02 to 1.61
• Between group: 0.58, CI -0.16 to 1.32
• Random effects model used
• Within group p = 0.0069
• Between group p=0.02
• Clinical Units
• 10.47
Statistical Analysis of Study Outcomes
CI=confidence interval, SE=standard error
Within Group Comparison:
Aesthetic Competence
Improvement

Effect size does not cross zero:
Significant
Between Group Comparison:
Aesthetic Competence
Improvement

Effect size crosses zero:
Not significant
Subanalysis
Physiological Aesthetic
Competence
Subanalysis: Strength
Subanalysis: Anaerobic Endurance
Not significant
Subanalysis: Power
Not significant
Subanalysis: Aerobic Capacity
Harm and Cost
• No studies reported any
adverse events.
• Monetary cost was not
discussed.
• WBV training: 10 min per
session.
• Many studios have resources
for supplemental training.
• Supplemental training may be
associated with savings.
Discussion
Interpretation
Aesthetic Competence
Within • Significantly
Groups improved

Between • Did not significantly

Groups improve
Effects of training
Dance requirements
Supplemental Training Improves
Aesthetic Competence
Physiological Improvements
Normanstrength.com
Dalethoughts.com
Sfslilly.blogspot.com
Cargocollective.com
Characteristics of Training
Programs
Effect Size
Discipline
Program
Total time
Modern (s)
Men and women
Aerobic
Resistance (UE & LE)
18hr-54hr
Koutedakis 2007
0.83
Ballet (s)
Aerobic
Circuit (UE & LE)
10hr
Contemporary (m)
Circuit (UE & LE)
WBV
12hr
Ballet (s)
Resistance (LE)
Not stated
Ballet or modern (s)
Resistance (LE)
6hr
Author
2.18
Twitchett 2011
0.39
Angioi 2012
0.26
Stalder 1990
0.21
Brown 2007
(s) = students; (m) = mix of students and professionals
Defining Aesthetics
Supplemental Training Does Not
Improve Aesthetic Competence
Intensity insufficient to satisfy ACSM
guidelines for exercise training.
Dancers achieved improvements in
physiological AC parameters, but:
•Prevents emergence of adequate differences in
physiological aesthetic competence.
•Improvement was insufficient to affect visual AC.
•Dancers need practice to incorporate new physical
capabilities into technique.
AC tools were mostly created
individually for studies, but have no
validity determined, consequently they:
•May not sense visual aesthetic elements affected
by physiological parameters.
Dancers may have unique aesthetic
competence deficiencies, that need to be
trained individually.
Limitations
Heterogeneous supplemental program, AC tools, and subjects
Small number of subjects
Low level of evidence, 4-6 on PEDro Scale
Studies
Did not clarify which areas of AC tool were improved
Some physiological requirements not directly addressed
Performed by 1 researcher
Search performed on 5 databases
Research
Process
Directions for further research
Investigate effect of individualized supplemental training
programs based on dancer-specific physiological deficits.
Use standardized AC tool agreed upon by dance
community.
Link physiological improvements to specific AC tool
criteria.
Link modality of exercise to visual aesthetic improvement.
Determine ideal parameters: intensity, duration, intensity.
Implications for practice
Conclusion
Primary References
•
Angioi M, Metsios G, Twitchett E, Koutedakis Y, Wyon M. Effects of supplemental training on
fitness and aesthetic competence parameters in contemporary dance. Med Prob Perf Art. 2012;
27(1): 3-8.
•
Brown A, Wells T, Schade M, Smith D, Fehling P. Effects of plyometric training versus traditional
weight training on strength, power, and aesthetic jumping ability in female collegiate dancers. J
Dance Med and Sci. 2007; 11(2): 38-44.
•
Koutedakis, Y, Hukam H, Metsios G, Nevill A, Giakas G, Jamurtas A, Myszkewycz. The effects
of three months of aerobic and strength training on selected performance and fitness-related
parameters in modern dance students. J Strength Cond Res. 2007; 21(3): 808-812.
•
Stalder M, Noble B, Wilkinson J. The effects of supplemental weight training for ballet dancers. J
Applied Sport Sci Res. 1990; 4(3): 115-23.
•
Twitchett E, Angioi M, Koutedakis Y, Wyon M. Do increases in selected fitness parameters affect
the aesthetic aspects of classical ballet performance. Med Prob Perf Art. 2011: 35-38.
Secondary References
Allen N, Nevill AM, Brooks JH, Koutedakis Y, Wyon MA. The Effect of a Comprehensive Injury Audit Program on Injury Incidence in Ballet: A 3-Year
Prospective Study. Clin J Sport Med. 2013.
Allen N, Wyon M. Dance medicine: athlete or artist. SportEx Med 2008;35:6–9.
Angioi M, Metsios G, Koutedakis Y, Wyon M. Fitness in contemporary dance: A systematic review. Int J Sports Med. 2009; 30: 475-484.
Angioi M, Metsios G, Twitchett E, Koutedakis Y, Wyon M. Association between selected physical fitness parameters and aesthetic competence in contemporary
dancers. J Dance Med Sci. 2009; 13(4): 115-123.
Angioi M, Metsios G, Twitchett EA, Koutedakis Y, Wyon M. Effects of supplemental training on fitness and aesthetic competence parameters in contemporary
dance: a randomised controlled trial. Med Probl Perform Art. 2012;27(1):3–8.
Baldari C, Guidetti L. VO2max, ventilatory and anaerobic thresholds in rhythmic gymnasts and young female dancers. J Sports Med Phys Fitness 2001;41:177–
82.
Blanksby BA, Reidy PW. Heart rate and estimated energy expenditure during ballroom dancing. Br J Sports Med. 1988;22(2):57–60.
Bowling A. Injuries to dancers: prevalence, treatment, and perceptions of causes. BMJ. 1989;298(6675):731–734.
Koutedakis Y, Cross V, Sharp NCC. The e␣ects of strength training in male ballet dancers. Impulse 1996; 4: 210–219
Koutedakis Y, Sharp NC. Thigh-muscles strength training, dance exercise, dynamometry, and anthropometry in professional ballerinas. J Strength Cond Res.
2004;18(4):714–718.
Laws H. Fit to Dance 2 - Report of the second national inquiry into dancers’ health and injury in the UK. London: Newgate Press; 2005.
Luke AC, Kinney SA, D’Hemecourt PA, Baum J, Owen M, Micheli LJ. Determinants of injuries in young dancers. Med Probl Perform Art. 2002;17(3):105–112.
Ramel E, Moritz U. Self-reported musculoskeletal pain and discomfort in professional ballet dancers in Sweden. Scand J Rehabil Med. 1994;26(1):11–16.
Ramel E, Thorsson O, Wollmer P. Fitness training and its effect on musculoskeletal pain in professional ballet dancers. Scand J Med Sci Sports. 1997;7(5):293–
298.
Thomas H, Tarr J. Dancers’ perceptions of pain and injury: positive and negative effects. J Dance Med Sci. 2009;13(2):51–59.
Twitchett E, Brodrick A, Nevill AM, Koutedakis Y, Angioi M, Wyon M. Does physical fitness affect injury occurrence and time loss due to injury in elite
vocational ballet students? J Dance Med Sci. 2010;14(1):26–31.
Twitchett E, Koutedakis Y, Wyon M. Physiological fitness and professional classical ballet performance: a brief review. J Strength Cond Res. 2009; 23(9): 27322740.
Wainwright SP, Williams C, Turner BS. Fractured identities: injury and the balletic body. Health (London). 2005;9(1):49–66.
Washington EL. Musculoskeletal injuries in theatrical dancers: site frequency, and severity. Am J Sports Med. 1978;6(2):75–98.
Wyon M, Abt G, Redding E, Head A, Sharp NC. Oxygen uptake during modern dance class, rehearsal, and performance. J Strength Cond Res. 2004; 18(3): 6469.
Wyon M, Redding E. Physiological monitoring of cardiorespiratory adaptations during rehearsal and performance of contemporary dance. J Strength Cond Res.
2005; 19(3): 611-4.
Wyon MA. Cardiorespiratory training for dancers. J Dance Med Sci 2005; 9: 7–12.
Acknowledgements
• Tracey Bledsoe, DPTc
• Genevieve Feeley, DPTc
• Sarah Zerzan, DPTc
• Valerie Block, DPT, DPTsc
• CK Andrade, PT, PhD
• Diane Allen, PT, PhD
Questions