Jump height can be affected by various factors such as muscle
mass, flexibility, isometric muscle strength, age, height, weight and level of
expertise (Koutedakis and Jamurtas, 2004 and Rafferty, 2010). Indeed, even the
muscular requirements vary between dance genres. This is seen in a systematic
review by Angioi et al. (2009) who found contemporary dancers to have greater
muscle endurance than their ballet counterparts. Additionally, recent
literature found on-going regular dance classes for ballet dancers to be
insufficient in increasing fitness or the levels of strength required in elite
dance (Brown et al., 2007, Koutedakis et al., 2007 Koutedakis and Jamurtas,
2004) as well as being unspecific to jumping, despite the large occurrence
within dance choreography (Wynon et al., 2006).
Strength, defined as the ‘ability to overcome external resistance
or counter external forces using muscle’ (Koutedakis, 2005) is essential for
slow controlled movements in dance such as a développé and grand rond de jambs.
Additionally, power, the ability to perform movement using force and speed is
all vital for jumps such as a pas de chat or batterie. Dancers remain subject
to the same physical stresses as sporting athletes. However, although strength
training has been part of a ballet dancers training for a great number of years,
it has yet to be seen as an integral part of fitness training (Koutedakis et
al., 2005). Views of this have been due to the caution of upsetting the
aesthetics of dancer’s bodies by fears that hypertrophy may occur. This is due
to the requirement for a lean, small body size (Koutedakis et al., 2005 and
Twitchett, 2009). A cause for concern is illustrated in a study by Angioi et
al. (2009) who found there to be an association between a reduced power in
lower limbs and an increase in injury severity within contemporary dancers. In
support of this Russell (2013) reported professional ballet dancers saw a
decrease in injury incidence following physical training. And previous research
has shown that power development such as used for achieving jump height becomes
impaired if an athlete incorporates a moderate to high amount of sustained
aerobic exercise within a training programme (Hennessy and Watson, 1994 and
Kraemer et al., 1995) which may occur via neuromuscular and endocrine adaptions
(Elliot et al., 2007).
Supplementary training in the forms of Pilates,
Alexander technique, upper body weight lifting and yoga have been popular with
dancers over the recent years (Koutedakis and Jamurtas, 2004 and Weiss et al.,
2008). However the exercise Pilates has been found to be insignificant in
improving strength and alignment within dancers (Bernado and Nagle, 2006). Yet,
Russell (2013) believes that this physical exercise which is already popular
should be encouraged with greater intensity and training volume in a wider fitness
programme.
Plyometric exercises are often included in
rehabilitation & regular training programmes to prepare athletes for the
demands of their sport (Shiner et al., 2005) by training the muscle to reach
maximal strength in a short period of time (Brewer, 2005), however it is
uncommon to use within the dancing population. Recent literature, however has
shown there to be a possibly beneficial effect of using plyometric and
vibration training to develop the neuromuscular aspects of power training
within dance, with no increase in muscle bulk (Wynon et al., 2006,. Brown et
al., 2007 and Grossman and Wilmerding, 2000).
Extreme neuromuscular control is also required for
aesthetically pleasing jumps and as such supplementary training should be
pushed towards improving strength and power of the musculature required of
jumping for improving the aesthetics (Brown et al., 2007 and Grossman and
Wilmerding, 2000). Short term neuromuscular adaption via plyometric training
has seen a positive increase in lower extremity strength, power and
stretch-shortening cycle (SSC) muscle function within healthy individuals
(Markovic and Mikulic,2010), thus suggesting an appropriateness to use as
prehabilitation tool.
Repetitive jumping may lead to injury from the
continuous trauma of landing (Ortega et al., 2010). Despite, bone mineral
density being high within female ballet dancers due to high levels of weight
bearing activity (Van Marken Lichtenbelt et al., 1995), fatigue has shown to be
detrimental to performance within sport (Twittchett et al., 2011) and it is
logical to apply this to dance. Due to the concerns that dancers do not have
the same strength levels of athletes, it may be suggested that dancers are left
at even greater risk of injury during times of fatigue (Twittchett et al., 2011
and Koutedakis et al., 1997). Indeed research by Koutedakis et al. (1997) has
seen that low levels of thigh strength is associated with a higher severity of
injury within dancers at the pelvis, leg and foot (Laws, 2005 and Turner et
al., 2003). And many dancers have viewed fatigue as one of the leading causes
in a decrease of performance ability in balance, poise, coordination and
alignment, consequently leading to injury (Wyon, 2010). However, dynamic
neuromuscular training has been found to reduce gender differences in force
absorption, active joint stability, muscle imbalances and functional
biomechanics causes of injury within the dancing population when weak (Bronner
et al., 2003), whilst increasing structural tissue strength (Myer et al., 2005).
As such plyometric training could be used to enhance
performance, prevent injury and rehabilitate injured dancing athletes as part
of a multi-component physical conditioning programme (Markovic and Mikulic,
2010). Indeed, Allen et al., (2012) and Twittchett et al. (2010) calls for the
need to introduce interventions to reduce injuries within classical and
contemporary ballet to reduce hours lost from dancing. However, Wyon et al.
(2006) and Brittenham (1992) advise that the use of plyometric training should
be taken with care due to the high intensity nature of exercises that could
cause injury in a fatigued participant. Thus, the effectiveness of a plyometric
exercise should not be measured by the exhaustion of the athlete as this may
lead to over training and possible overuse injuries (Shiner et al., 2005).
Thank you for reading. In my next blog post I shall be
examining which Plyometric exercises to use with dancers. Please comment on
this post with any of your own experiences in regards to plyometric training
within dance or if you have any questions.
Start Strong, Finish Stronger.
