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1.
Steinberg N Siev-Ner I Peleg S Dar G Masharawi Y Zeev A Hershkovitz I 《Journal of sports sciences》2012,30(5):485-495
In the present study, we tried to determine the association between joint ranges of motion, anatomical anomalies, body structure, dance discipline, and injuries in young female recreational dancers. A group of 1336 non-professional female dancers (age 8-16 years), were screened. The risk factors considered for injuries were: range of motion, body structure, anatomical anomalies, dance technique, and dance discipline. Sixty-one different types of injuries and symptoms were identified and later classified into four major categories: knee injuries, foot or ankle tendinopathy, back injuries, and non-categorized injuries. We found that 569 (42.6%) out of the 1336 screened dancers, were injured.The following factors were found to be associated with injuries (P < 0.05): (a) range of motion (e.g. dancers with hyper hip abduction are more prone to foot or ankle tendinopathies than dancers with hypo range of motion; (b) anatomical anomalies (scoliotic dancers manifested a higher rate of injuries than non-scoliotic dancers); (c) dance technique (dancers with incorrect technique of rolling-in were found to have more injuries than dancers with correct technique); (d) dance discipline (an association between time of practice en pointe and injury was observed); and (e) early age of onset of menarche decreased risk for an injury. No association between body structure and injury was found. Injuries among recreational dancers should not be overlooked, and therefore precautionary steps should be taken to reduce the risk of injury, such as screening for joint range of motion and anatomical anomalies. Certain dance positions (e.g. en pointe) should be practised only when the dancer has already acquired certain physical skills, and these practices should be time controlled. 相似文献
2.
文章采用文献资料法、调查法、数据统计法等研究方法,通过对我国职业组标准舞和拉丁舞选手进行比较分析,得出标准舞与拉丁舞虽同属于体育舞蹈项目下的两大分支,但因其舞蹈风格和技术特点的不同,所以在标准舞与拉丁舞选手体型、身高、性格等方面都存在差异。文章旨在为我国体育舞蹈后备人才力量的选拔以及体育舞蹈参与者结合自身特点选择发展方向提供参考和理论依据。 相似文献
3.
There is ongoing debate about how to define injury in dance: the most encompassing one or a time-loss definition. We examined the relationship between touring, performance schedule and injury definition on injury rates in a professional modern dance company over one-year. In-house healthcare management tracked 35 dancers for work-related musculoskeletal injuries (WMSI), time-loss injuries (TLinj), complaints, and exposure. The year was divided into 6 segments to allow comparison of effects of performance, rehearsal, and touring. Injuries/segment were converted into injuries/1000-h dance exposure. We conducted negative binomial regression analysis to determine differences between segments, P ≤ 0.05. Twenty WMSI, 0.44 injuries/1000-h, were sustained over one-year. WMSI were 6 times more likely to occur in Segment-6, compared with other segments (incident rate ratio = 6.055, P = 0.031). The highest rate of TLinj and traumatic injuries also occurred in Segment-6, reflecting concentrated rehearsal, New York season and performances abroad. More overuse injuries occurred in Segment-2, an international tour, attributed to raked stages. Lack of methods to quantify performance other than injury may mask effects of touring on dancer’s well-being. Tracking complaints permits understanding of stressors to specific body regions and healthcare utilisation; however, TLinj remain the most important injuries to track because they impact other dancers and organisational costs. 相似文献
4.
林磊 《体育科技文献通报》2013,21(4):115-116,118
体育舞蹈运动作为舶来品,虽然在我国的发展迅速,不少舞者在英国和德国的专业比赛上崭露头角,取得了不错的成绩,可是笔者访谈得知,作为舶来品的体育舞蹈,我国的专业选手在舞蹈风格的把握上仍然与国外选手有较大的差距,而相应的理论研究较为缺少,本文尝试针对体育舞蹈风格谈谈自己的看法。 相似文献
5.
《European Journal of Sport Science》2013,13(7):640-646
AbstractIn the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood. 相似文献
6.
7.
Pipsa Nieminen 《Sport, Education and Society》2013,18(2):221-234
Abstract The study was designed to determine how individuals become socialised into folk, competitive ballroom, ballet and modern dance through an investigation of background variables, the influence of significant others and the participation profiles of dancers, and the identification of those socialization and involvement variables that best discriminate among different groups of dancers. The subjects were 308 adolescent and adult dancers of at least 16 years of age who had pursued their main dance form for a minimum of three years. The data were collected by questionnaire, supplemented with some additional data gathered through personal interviews. Differences between the four dance groups were analysed using t‐test, Chi Square analyses, analyses of variance, Scheffe's multiple‐range test and discriminant analysis. Most subjects were from the middle or upper socio‐economic classes. Most art dancers were women while social dancers displayed a more even distribution of sexes. Ballet dancers were youngest and ballroom dancers oldest when they started dancing. Mother's influence was significant among those who had started dancing at a young age while a friend of the same sex was influential among all respondents regardless of the age at which they had taken up dancing. Among men the influence of a friend of the opposite sex was also significant. The involvement of other family members in dance correlated most strongly with folk dancing, least strongly with modern dance. The dance teacher or coach was perceived as the most encouraging person in every dance form. The most wide‐ranging past and present dance activities were found among modern dancers. The variables which best discriminated between dance forms were starting age, the variety of present dance activities and the intensity of practising one's main dance form. Such differences in socialisation into different dance forms should be taken into account when developing dance and dance teacher education curricula, teaching dance and planning recreational dance activities. 相似文献
8.
We analysed work-related musculoskeletal injuries (WMSI) in two modern dance companies to determine whether injury rates decreased and patterns altered compared to previous 3-yr and 6-yr audits (0.48 and 0.25/1000-hrs exposure respectively). In this prospectively designed 15-yr cohort study, data were collected in 30-dancer Company-1 and 12-dancer Company-2. In-house physical therapists tracked WMSI and time-loss-injuries for 159 dancers (42 dancers/yr). 15-yrs were grouped into five 3-yr blocks for comparison with prior audits. Negative binomial logistic regression analyses were conducted with exposure-hrs converted to the natural log and used as the offset variable. Block and company were categorical predictors for dependent variables: WMSI, time-loss-injuries, trauma-injuries and overuse-injuries (p < 0.05). 69% of dancers reported WMSI; 45% sustained at least one time-loss-injury. Company-1, with greater annual exposure, was 1.6-times more likely to sustain time-loss-injuries (p = 0.016, CI = 1.095–2.422) and 5.6-times more likely to sustain time-loss overuse-injuries (p = 0.003, CI = 1.812–17.327). Compared to Block-1, WMSI and time-loss-injuries decreased in Blocks-2, 3, and 5 (p ≤ 0.027). The ratio of time-loss overuse to trauma-injuries was reversed, with trauma-injuries accounting for over 80% of injuries by Block 5. Time-loss-injuries averaged 0.16 injuries/1000-hrs, lower than rates in ballet and sports. Decreased injury rates and changed injury patterns demonstrate efficacious injury management and prevention programming. 相似文献
9.
赛后恢复,决定着运动员在新一轮竞赛周期的训练和竞赛水平的发挥,同样决定着运动员在赛场的运动成绩。研究中等水平体育舞蹈标准舞运动员赛后恢复现状,针对现状制定恢复方法,为指导中等水平标准舞运动员在赛后恢复中提供科学的恢复方法。该文以北京体育大学艺术学院体育舞蹈专业标准舞运动员为研究对象,得出主要结论:(1)赛后恢复影响着体育舞蹈标准舞运动员在赛后训练的技术与质量。(2)赛后恢复影响着体育舞蹈标准舞运动员在下一场竞赛的水平发挥。建议:(1)中等水平体育舞蹈标准舞运动员在竞赛过后重视赛后恢复。(2)中等水平体育舞蹈标准舞运动员在竞赛过后要双管齐下,进行心理和生理的恢复。 相似文献
10.
‘Being in your body’ and ‘being in the moment’: the dancing body-subject and inhabited transcendence
Aimie C. E. Purser 《体育哲学杂志》2018,45(1):37-52
Sports studies is currently dominated by the intellectualist approach to understanding skill and expertise, meaning that questions about the phenomenological nature of skilled performance in sport have generally been overshadowed by the emphasis on the cognitive. By contrast, this article responds to calls for a phenomenology of sporting embodiment by opening up a philosophical exploration of the nature of athletic being-in-the-world. In particular, the paper explores the conceptualisation of immanence and transcendence in relation to the embodied practice of dance, engaging with Merleau-Ponty’s important insight that the body can be a source of transcendence. I also draw on data from in-depth qualitative interviews with professional contemporary dancers to explore dancers’ concepts of ‘being in your body’ and ‘being in the moment’, and to suggest that during the actual embodied practice of dance, dancers do not experience transcendence and immanence as they are conceptualised in philosophy. Rather, I argue, dancers experience a third mode of being that is somehow in-between these two binary terms. I have called this ‘inhabited transcendence’. 相似文献
11.
通过逻辑分析法和文献资料法,结合体育舞蹈的专项特点以及生理特点,研究分析体育舞蹈技术特征及专项力量训练方法。从体育舞蹈的控制技术、旋转技术、律动技术、扭摆技术、弹动技术和摆荡技术等方面及专项力量训练的静力性力量训练、速度力量训练、力量耐力训练和相对力量训练进行分析研究。研究目的是使舞者认识到专项力量的训练对于专项技术与专项体能的重要性,在日常的学习和训练中可以将体育舞蹈运动技术特点与专项力量训练相结合并制定出符合舞者的专项力量训练方法,从而更好地掌握体育舞蹈不同舞种的技术特点,提高专项技能与运动成绩。 相似文献
12.
在2007～2008赛季“中国杯”花样滑冰大奖赛中,我国冰上舞蹈选手成绩较差,为了找出我国冰上舞蹈选手与世界高水平选手的差距,结合专家裁判组打分情况,采用现场观察、技术统计和录像分析等方法对我国冰上舞蹈选手与国外高水平选手的技术和得分情况进行比较与分析发现：我国选手在规定舞、自由舞、创编舞的比赛中,技术水平与节目内容水平均与国外高水平选手之间存在较大差距。 相似文献
13.
Ryan J. Sleik Lesley A. Brown Ilsa E. Wong Jochen Bocksnick 《Research quarterly for exercise and sport》2013,84(2):219-224
Abstract The purpose of this study was to initiate systematic research on dance as a creative and expressive art form. Although the process of expression through movement has concerned dancers and dance teachers for some time, there have been few attempts at a systematic analysis of either the process or the product of dance expression. Dance has generally been considered immeasurable because of its peculiarities as an art form. While there is little apparent value in quantitative measurement of dance, qualitative measurement appears to have considerable value. It can sharpen the focus on principles of dance composition, contribute toward increased teaching effectiveness, enlarge dance's expressive range, and increase its ability to communicate. Specifically, this study attempted to determine how effectively modern dance communicates by using a systematic analysis of individual dance compositions. Samples of dance studies with specific intentions were choreographed and filmed. The dances were then viewed and evaluated by a selected and trained jury on (a) their ability to communicate emotional and physical qualities, (b) the type and structure of their composition, and (c) their choreographic and artistic effectiveness. Results of this study showed that least agreement was reached by the jurors in rating the dances according to structural strength and in identifying their composition type. Realistic vehicles of expression were more easily recognized than were abstract ones. There was substantial agreement on the emotion communicated by each composition. Presence of all the traditional dance elements appears unnecessary for effective communication. 相似文献
14.
王维肖 《体育科技文献通报》2020,(6):143-146
牛仔舞,属于拉丁舞的项目,在我国发展非常迅速,是亚运会比赛的项目之一。其要求“快、轻、弹”,是速度与爆发力的集中体现。现如今,牛仔舞舞蹈演员的竞技水平不断提高,在世界体育舞蹈比赛高度越发趋同状态下,要求参赛者除了必须有过硬牛仔舞的技术基础以及优良的表现力,好的身体素质是非常重要的,纯粹的追求表现力、基本功、只强调这些方面的训练,是无法满足比赛的需要的,在训练发展中,必须将体育与舞蹈结合起来,用“力量”去支撑舞蹈动作的质量,基于此,关于体能训练对牛仔舞动作质量的影响研究是很有价值意义的。本文通过文献资料法和实验研究法分析牛仔舞舞蹈学员体能需求和体能训练特点,进而探析体能训练对牛仔舞动作的重要性。 相似文献
15.
The purpose of three related studies was to develop a social dance instrument that had logical validity and generalizable performance ratings. Three social dance experts critiqued the instrument and concluded the items described the characteristics of good social dance performance. Twelve couples from a social dance class were videotaped for 5 min while performing the fox trot. Their performances were evaluated by a different set of coders in each of the three generalizability (G-) studies conducted (Subjects x Coders x Days ANOVA design). Dance performances were held constant across coding occasions so the day facet represents degree of consistency in coding, not stability of subjects' performances. Decision (D-) studies were also conducted for various measurement conditions. Results of the G-studies indicated that coders with several years of experience teaching and evaluating dance had less systematic coder bias and less systematic coder bias for a subset of dancers than coders who had little or no experience evaluating movement of any form. The performance ratings given by novice coders could be generalized for any randomly selected coder evaluating on any given day (G = .79). It was concluded the social dance test was valid and coders could be trained to obtain generalizable performance ratings. 相似文献
16.
Marilyn A. Looney Barbara M. Heimerdinger 《Research quarterly for exercise and sport》2013,84(4):399-405
Abstract The purpose of three related studies was to develop a social dance instrument that had logical validity and generalizable performance ratings. Three social dance experts critiqued the instrument and concluded the items described the characteristics of good social dance performance. Twelve couples from a social dance class were videotaped for 5 min while performing the fox trot. Their performances were evaluated by a different set of coders in each of the three generalizability (G-) studies conducted (Subjects × Coders × Days ANOVA design). Dance performances were held constant across coding occasions so the day facet represents degree of consistency in coding, not stability of subjects' performances. Decision (D-) studies were also conducted for various measurement conditions. Results of the G-studies indicated that coders with several years of experience teaching and evaluating dance had less systematic coder bias and less systematic coder bias for a subset of dancers than coders who had little or no experience evaluating movement of any form. The performance ratings given by novice coders could be generalized for any randomly selected coder evaluating on any given day (G = .79). It was concluded the social dance test was valid and coders could be trained to obtain generalizable performance ratings. 相似文献
17.
通过对2007～2008赛季国际滑联花样滑冰大奖赛中国站比赛我国选手的表现进行分析,认为我国冰舞运动员的动作与音乐节奏配合能力较差,表演能力和音乐表达能力与国外选手相差甚远,并提出加强运动员音乐、舞蹈和表演能力培养的建议。 相似文献
18.
为进一步发展民俗文化、弘扬民族精神,运用文献资料法、调查法和访谈法等研究方法,在追溯英歌舞起源和表演形式的同时,阐明了英歌舞的价值及其特性.结果表明:英歌舞是一种具有悠久历史传统,又充满活力的民俗体育:英歌舞展示舞者的英雄气概、宣扬正义、歌颂团结,是一种群体性的精神洗礼;英歌舞熔戏剧、舞蹈、武术于一炉,具有很强健身性的民俗体育活动;英歌舞的狂欢,是人们释放压力,实现自我的一种有效尝试;英歌舞具有明显的群体性,将闽南地区特有的粗犷与豪放淋漓尽致地表现出来. 相似文献
19.
This study examined the influence of the challenge level of to-be-learned stimulus on learning strategies in novice and advanced dancers. In Study 1, skill-level appropriate dance routines were developed for novice and advanced jazz dancers. In Study 2, 8 novice and 9 advanced female jazz dancers attempted to learn and remember the two routines in mixed model factorial design, with one between-participants factor: skill level (novice or advanced) and two within-participants factors: routine (easy or difficult) and performance (immediate or delayed). Participants were interviewed regarding the strategies used to learn and remember the routines. Results indicated that advanced performers used atypical learning strategies for insufficiently challenging stimuli, which may reflect characteristics of the stimuli rather than the performer. The qualitative data indicate a clear preference of novice and advanced performers for spatial compatibility of stimuli and response. 相似文献
20.
Elizabeth C. Pickering Rodriguez Mark L. Watsford Rob G. Bower Aron J. Murphy 《Sports biomechanics / International Society of Biomechanics in Sports》2017,16(3):361-373
The aim of this study was to provide contemporary information on injury rates in an elite and sub-elite netball population and to explore the relationship between lower body stiffness and lower body injuries. One elite and two sub-elite teams of female netballers (n = 29) performed the vertical hop test to assess active lower body stiffness (Kvert) and myometry to assess quasi-static stiffness. Lower body injuries were monitored via self-reporting and liaison with physiotherapists. Twelve lower body non-contact injuries were sustained by 10 players, equating to 11.29 lower body injuries per 1,000 exposure hours. The most commonly injured sites were the calf (33%) and ankle (25%). No significant differences between Kvert of injured and non-injured players were reported, however, injured elite players recorded significantly higher season mean quasi-static stiffness in the soleus (p = 0.037) and Achilles (p = 0.004) than non-injured elite players. Elite and sub-elite netball players recorded a higher injury incidence than previous reports of injuries in recreational netballers. Within the constraints of the study, relatively high stiffness of the soleus and Achilles appears to be related to lower body non-contact injury incidence in female netballers, particularly at the elite level. These results provide a basis for development of injury prevention strategies. 相似文献