Intra-task variability of trunk coordination during a rate-controlled bipedal dance jump

The Effect of Foot Position and Lean Mass on Jumping and Landing Mechanics in Collegiate Dancers

The purpose of this study was to investigate the effects of foot positioning and lean mass on jumping and landing mechanics in collegiate dancers. Thirteen dancers performed 3 unilateral and bilateral vertical jumps with feet in neutral and turnout positions. Dual-energy x-ray absorptiometry scans, jump height, vertical stiffness, and joint stiffness were assessed for relationships between foot positions. Jump heights were greater in right compared with left limb (P = .029) and neutral compared with turnout (P = .020) during unilateral jumping. In unilateral landing, knee stiffness was greater in turnout compared with neutral (P = .004) during the loading phase. Jump height (P < .001) was significantly increased, and vertical stiffness (P = .003) was significantly decreased during bilateral jumping in neutral compared with turnout. Significantly increased hip stiffness during the attenuation phase was observed in neutral compared with turnout (P = .006). Left-limb lean mass was significantly less than the right limb (P < .05). Adjustments for bilateral jumping were focused on hip stiffness, whereas there was a slight shift to knee strategy for unilateral jump.

The effects of acute physical fatigue on sauté jump biomechanics in dancers

Dancers spend large amounts of time practicing and performing, where fatigue may occur, resulting in adverse movement patterns. The purpose of this study was to compare sauté landings before and after acute physical fatigue in experienced female dancers. Twenty-one dancers completed 10 sauté jumps before and after a dance-specific fatigue protocol. A 12-camera motion capture system and a force plate were utilized to collect three-dimensional kinematic and kinetic data. After fatigue, dancers demonstrated an increase in mediolateral centre of mass displacement, pelvis excursion, peak knee abduction, peak ankle eversion and external rotation, as well as decreased peak metatarsophalangeal (MTP) joint extension, indicating less desirable movement patterns. Peak vertical ground reaction force was decreased after fatigue due to a softer landing strategy, demonstrated by increased peak hip flexion, knee flexion, and ankle dorsiflexion. There was some indication of shifting demands demonstrated by an increased peak knee extensor moment and decreased peak MTP flexor moment after fatigue. With jump landing kinematics and kinetics affected after only an average of 5 minutes of dancing, dancers may benefit from developing greater endurance and more eccentric strength to allow them to slow down properly while landing and to sustain the aesthetic demands throughout performance.

Interlimb Force Coordination in Bipedal Dance Jumps: Comparison Between Experts and Novices

Bipedal tasks require interlimb coordination that improves with practice and acquisition of skills. The purpose of this study was to compare interlimb force coordination during dance-specific rate-controlled consecutive bipedal jumps (sautés) between expert dancers and nondancers. To analyze coordination of vertical ground reaction forces recorded under each leg, the vector coding approach was used. Although there were no differences in the patterns of interlimb force coordination between groups, the dancers exhibited less variability of interlimb force coordination during the transition phase from weight acceptance to propulsion as well as during the propulsion phase itself. The interlimb force coordination variability was associated with task performance only during the transition phase, which highlights the potential importance of control during this phase. In conclusion, expert dancers were better at reducing interlimb force coordination variability during the task-relevant transition phase, which was related to better performance at maintaining jump rate and jump height consistency.

Force coordination strategies in on-water single sculling: Are asymmetries related to better rowing performance?

Asymmetries of the rowing stroke cycle have been assessed with reference to kinematics and foot-force measures in laboratory testing environments. It remains unclear how asymmetries in propulsive kinetic measures are related to on-water rowing performance. A new approach for the evaluation of both global and local asymmetries across the entire movement was used to assess the continuous role of asymmetries and whether these change according to the level of competitive representation. Twenty-seven highly skilled female rowers (national and international competition level), rowing at 32 strokes per minute in a single scull boat, were evaluated. A symmetry index (SI) and functional data analysis (FDA) techniques were applied to a continuous difference time-series, which described fluctuating asymmetry in propulsive pin forces for each rower. Univariate ANOVAs revealed that differences in asymmetries were present as a factor of competition level for the SI and results of FDA. International athletes were more likely to utilize an asymmetry strategy with increased stroke-side (port-side) force early in the drive phase and increased bow-side (starboard) force through the second half of the drive. This was likely the result of international performers customizing their movement strategies relative to known boat mechanical offsets. The first half of the drive phase was also found to be an adaptive part of the rowing stroke cycle, suggesting asymmetries may have a functional role in successful execution of movements during the rowing stroke.

Is There a Correlation Between Static and Dynamic Postural Balance Among Young Male and Female Dancers?

Aimed to investigate whether young male and female dancers have different patterns of association between static and dynamic postural balance (PB), 60 dancers from the Australian Ballet School (14-19 years old) were tested for static and dynamic PB with head and lumbar accelerometers. Monotonic relationships between static and dynamic PB were found in head movements among young female dancers in all three directions, but were found for young male dancers in the mediolateral (ML) and anteroposterior (AP) directions only. In lumbar movements, monotonic relationships were found for young female dancers in the AP direction only. Comparing head with lumbar movements in static PB, young male dancers demonstrated monotonic relationships between head and lumbar movements in all 3 directions; however, young female dancers demonstrated monotonic relationships in the AP direction only. In the dynamic measurements, both male and female dancers demonstrated monotonic relationships between head and lumbar movements for all parameters measured in the ML and vertical directions (p < .05). In conclusions, among female dancers static PB ability is correlated with their dynamic ability, whereas among male dancers, no relationship between the static and dynamic PB in the AP direction exists. Male dancers showed head and lumbar coordination in the static PB movement, but both genders manifested no head and lumbar coordination in the AP direction measured for dynamic PB.

Biomechanical metrics of aesthetic perception in dance

The brain may be tuned to evaluate aesthetic perception through perceptual chunking when we observe the grace of the dancer. We modelled biomechanical metrics to explain biological determinants of aesthetic perception in dance. Eighteen expert (EXP) and intermediate (INT) dancers performed développé arabesque in three conditions: (1) slow tempo, (2) slow tempo with relevé, and (3) fast tempo. To compare biomechanical metrics of kinematic data, we calculated intra-excursion variability, principal component analysis (PCA), and dimensionless jerk for the gesture limb. Observers, all trained dancers, viewed motion capture stick figures of the trials and ranked each for aesthetic (1) proficiency and (2) movement smoothness. Statistical analyses included group by condition repeated-measures ANOVA for metric data; Mann-Whitney U rank and Friedman's rank tests for nonparametric rank data; Spearman's rho correlations to compare aesthetic rankings and metrics; and linear regression to examine which metric best quantified observers' aesthetic rankings, p < 0.05. The goodness of fit of the proposed models was determined using Akaike information criteria. Aesthetic proficiency and smoothness rankings of the dance movements revealed differences between groups and condition, p < 0.0001. EXP dancers were rated more aesthetically proficient than INT dancers. The slow and fast conditions were judged more aesthetically proficient than slow with relevé (p < 0.0001). Of the metrics, PCA best captured the differences due to group and condition. PCA also provided the most parsimonious model to explain aesthetic proficiency and smoothness rankings. By permitting organization of large data sets into simpler groupings, PCA may mirror the phenomenon of chunking in which the brain combines sensory motor elements into integrated units of behaviour. In this representation, the chunk of information which is remembered, and to which the observer reacts, is the elemental mode shape of the motion rather than physical displacements. This suggests that reduction in redundant information to a simplistic dimensionality is related to the experienced observer's aesthetic perception.

The influence of hip strength on lower-limb, pelvis, and trunk kinematics and coordination patterns during walking and hopping in healthy women

STUDY DESIGN

Cross-sectional laboratory study.

OBJECTIVES

To compare peak lower-limb, pelvis, and trunk kinematics and interjoint and intersegmental coordination in women with strong and weak hip muscle performance.

BACKGROUND

Persons with lower extremity musculoskeletal disorders often demonstrate a combination of weak hip musculature and altered kinematics during weight-bearing dynamic tasks. However, the association between hip strength and kinematics independent of pathology or pain is unclear.

METHODS

Peak hip extensor and abductor torques were measured in 150 healthy young women. Of these, 10 fit the criteria for the strong group and 9 for the weak group, representing those with the strongest and weakest hip musculature, respectively, of the 150 screened individuals. Kinematics of the hip, knee, pelvis, and trunk were measured during the stance phases of walking and rate-controlled hopping. Hip/knee and pelvis/trunk coordination were calculated using the vector coding technique.

RESULTS

There were no group differences in peak hip, knee, or pelvis kinematics. Participants in the weak group demonstrated greater trunk lateral bend toward the stance limb during hopping (P = .002, effect size [d] = 1.88). In the transverse plane, those in the weak group utilized less inphase coordination between the hip and the knee during walking (P = .036, d = 1.45) and more antiphase coordination between the hip and knee during hopping (P = .03, d = 1.47).

CONCLUSION

In the absence of pain or pathology, poor hip muscle performance does not affect peak hip or knee joint kinematics in young women, but is associated with significantly different lower-limb and trunk/pelvis coordination during weight-bearing dynamic tasks. J Orthop Sports Phys Ther 2014;44(7):525-531. Epub 10 May 2014. doi:10.2519/jospt.2014.5028.

Trunk coordination in dancers and nondancers

Variability, or how a task changes across trials, may reveal differences between athletes of differing skill levels. The purpose of this study was to examine trunk and lower extremity (LE) single joint kinematic variability and intersegmental coordination variability in dancers and nondancers during bipedal vertical dance jumps (sautés). Twenty healthy females, 10 with no formal dance training and 10 professional dancers, performed 20 consecutive sautés. Single joint kinematic variability was assessed using mean standard deviation of angular displacement, and intersegmental coordination variability was assessed using angular deviation of the coupling angle between segments. Within the context of the standard error of measure, there was no difference in single joint kinematic variability between dancers and nondancers. Intersegmental coordination variability in the trunk was higher than variability in LE couplings for both groups. Dancers had lower intersegmental coordination variability than nondancers for LE sagittal, frontal, and transverse plane couplings, and sagittal plane trunk couplings. Trunk adjustments may be important for successful performance, but lower intersegmental coordination variability in expert dancers indicates a higher level of control. Trunk coordination and postural control may be important factors to investigate in skilled athletes.