Publication details

The effect of classical ballet, Slovakian folklore dance and sport dance on static postural control in female and male dancers

Authors

GIMUNOVÁ Marta VODIČKA Tomáš JÁNSKY Kristián KALICHOVÁ Miriam ZDERČÍK Antonín SKOTÁKOVÁ Alena HEDBÁVNÝ Petr KOLÁŘOVÁ Kateřina

Type Conference abstract
MU Faculty or unit

Faculty of Sports Studies

Citation
Description Purpose: Classical ballet, Slovakian folklore dance, and sport dance training differ in their way how to master the art of dance; however, postural control is essential for the correct execution of complex movements used in all types of dance. The aim of this study was to analyze the differences in static postural control between classical ballet dancers, Slovakian folklore dancers and sport dancers and to analyze the effect of body mass, body height and toe grip strength on postural control. Methods: 68 dancers, between 17 to 28 years of age, participated in this study: 21 dancers from Slovakian folklore dance group VSLPT Poľana Brno (12 females, 9 males), 22 dancers from Brno Dance conservatory (16 females, 6 males) and 25 sport dancers competing at Brno Dance Open 2019 (12 females, 13 males). All participants were asked to stand upright, barefooted, arms along the body, both feet on the Emed-at platform (Novel GmbH, Germany) for 10 seconds with their eyes open to obtain the length of COP line (cm), average velocity of COP (cm/s), the elliptic area (mm2) and numerical eccentricity of the ellipse. The toe grip strength was measured for each foot when sitting using toe grip dynamometer (Takei Scientific Instruments, Niigata, Japan). To analyze the effect of dance style, to grip strength, body mass, body height, and gender on postural control variables, Kruskal Wallis test, and Spearman Rank Order Correlation were used. Results: A better postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. Sport dancers are used to a greater load on the forefoot and to a special foot roll-of pattern when dancing, which may lead together with a constantly changing environment during competitions to their enhanced postural stability. Despite the differences in dance training and dance footwear of female and male dancers (high-heel shoes in sport and Slovakian folklore female dancers, pointe shoes in female ballet dancers), no statistically significant difference in postural variables between genders was observed. Similarly, in analyzed dancers, no effect of age, body mass, and body weight on postural control were observed. The toe grip strength was not observed to affect the postural variables in this study. The greatest toe grip strength was observed in female ballet dancers, despite their younger age. Ballet dance training includes repetitive exercises focused on foot and toes such as battement tendu or demi-pointe and en pointe positions probably resulting in the greater strength of the toes. Conclusion: In this study, better postural stability measured by the length and average velocity of COP was observed in sport dancers, compared to classical ballet and Slovakian folklore dancers. In analyzed dancers, no effect of body mass, body weight, gender, and toe grip strength on postural control variables was observed. Future studies focused on postural stability changes in non-dancers after a sport dance, classical ballet and Slovakian folklore dance training program would provide additional knowledge about the process how each type of dance enhance the balance and other coordinative skills.
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