• 한국운동역학회지
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• 제34권2호
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• pp.93-103
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• 2024

Objective: The purpose of this study was to investigate whether dancers with chronic ankle instability (CAI) exhibit different characteristics in dynamic postural control ability and ankle joint laxity compared to dancers without CAI and non-dancers with CAI. Method: Twelve dancers with CAI, 14 dancers without CAI, and 12 non-dancers with CAI participated in the study. Dynamic balance was evaluated using the Star Excursion Balance Test (SEBT) and the single-leg hop balance. The laxity of the ankle joint was evaluated through the anterior drawer test and the talar tilt test. SEBT measured maximum reach distances in anterior, posteromedial, and posterolateral directions. Single-leg hop assessed center of pressure (COP) and time-to-boundary (TTB) outcomes. One-way ANOVA and Chi-square tests were performed to compare the outcome variables among the three groups. Results: Dancers with CAI demonstrated greater reach distance in the posterolateral direction compared to non-dancers with CAI during SEBT (p=.014). Secondly, dancers without CAI showed greater reach distance in the posterolateral (p<.001) and posteromedial (p=.001) directions during SEBT compared to non-dancers with CAI. Additionally, dancers without CAI exhibited better postural control with higher TTB AP mean of minima (p=.003) and TTB AP standard deviation of minima (p=.012) during single-leg hop compared to nondancers with CAI. Thirdly, dancers with CAI showed a lower positive rate during the anterior drawer test compared to non-dancers with CAI (p=.019). Conclusion: Dancers with CAI demonstrated better ankle function and reduced mechanical instability compared to non-dancers with CAI. Therefore, to elucidate the underlying mechanisms of lateral ankle sprain and CAI development exacerbation in dancers, additional factors that can affect ankle sprain, such as visual dependence during postural control and evaluation in dance movements, should be explored.

• 한국운동역학회지
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• 제24권4호
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• pp.349-357
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• 2014

The purpose of this study was to examine the differences in the performance of dancing motions depending on the level of skill by investigating pulmonary functions, ground reaction force, and jerk cost. The subjects of this study were 12 professional dancers (career: 16 yrs) and 12 amateur dancers (career: 9 yrs) who had similar physical conditions. We selected four motion phases which included the diagonal line motion, the deep flexion motion, the breath motion, and the turn motion with one leg after a small step walking motion, with Goodguri Jangdan. In the experiment, 6 infrared cameras were installed in order to analyze the value of the jerk costs and the force plate form. Finally, we measured the pulmonary functions of the subjects. For data analysis, independent t-tests according to each event, were carried out in the data processing. According to the results of FVC % Predicted, the professional dancers showed greater lung capacities than the amateur dancers, indicating that the level of dancing skill influences lung capacity. Based on the result of the balance test, the professional dancers used more vertical power than did the amateur dancers when performing maximal flexion motion. The professional dancers used a propulsive force of pushing their body forward by keeping the center of body higher while the amateur dancers used a braking power by keeping their bodies backward. When performing medial-lateral movements, the amateur dancers were less stable than the professional dancers. There were no differences in values of jerk costs between the amateur dancers and the professional dancers.

• The Korean Journal of Pain
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• 제21권2호
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• pp.131-135
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• 2008

Background: There has recently been a rapid increase in the number of pain clinics and significant advancement in the treatment of pain in Korea. Therefore, this study was conducted to identify possible problems associated with pain clinics and to use this information to help design future pain clinics. This assessment was conducted from the perspective of professional ballet dancers, who are at high risk for pain like other athletes. Methods: One-hundred professional ballet dancers responded to questionnaires designed to ascertain their preference for different types of clinics, the extent of the pain they experience, and their overall opinion of pain clinics. Results: All of the respondents complained of pain in one or more sites and reported that they had visited some type of clinic for treatment at least once. Overall, the respondents preferred using the following methods to treat pain: orthopedic surgery (76 dancers), oriental medicine (49 dancers), and therapy at pain clinic (48 dancers). Fifty-three percent of the 48 dancers who had received treatment at pain clinics were satisfied with their treatment. Forty-four percent of the 52 dancers who had not been treated at a pain clinic had no knowledge of the existence of such facilities. Conclusions: This survey revealed that, although professional ballet dancers have a high prevalence of pain, many have no knowledge of pain clinics. Therefore, efforts should be made by pain clinics to make information regarding their facilities widely available to professional ballet dancers so they can serve the widest range of clientele.

• 한국운동역학회지
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• 제26권4호
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• pp.377-382
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• 2016

Objective: The purpose of this study was to provide data on gait characteristics of K-pop professional dancers. Method: Participants were divided into four groups: male dancers (n=10, age: $28.2{\pm}3.4years$, height: $175{\pm}6cm$, weight: $68.9{\pm}5.6kg$), female dancers (n=10, age: $26.7{\pm}3.1years$, height: $162{\pm}4cm$, weight: $52.1{\pm}3.7kg$), non-dancer males (n=10, age: $25.2{\pm}2.6years$, height: $171{\pm}6cm$, weight: $66.4{\pm}5.3kg$), or non-dancer females (n=10, age: $26.2{\pm}3.0years$, height: $161{\pm}5cm$, weight: $56.4{\pm}6.7kg$). Twelve infrared cameras (Qualisys, Oqus 500, Sweden, 150 Hz.) were used to capture three-dimensional motion data. Gait motion data of professional dancers and ordinary persons were obtained. Results: K-pop dancers' dynamic stability during the female toe off event and the male heel contact event was better compared with that of ordinary persons in the front-rear direction. In addition, the results showed a significant difference in the margin of stability (MoS). However, the medial-lateral direction of both female and male dancers during heel contact and the toe off event was more stable compared with ordinary person, who exhibited an increased MoS than did the dancers. Conclusion: This study aimed to investigate the gait characteristics of K-pop professional dancers in comparison with ordinary persons using gait parameters and MoS. The stability of K-pop professional dancers' dynamic gait in the front-rear direction was better than that in the medial-lateral direction. Therefore, further studies in which the dance movements of K-pop dancers are sub-divided and analyzed will be necessary to reduce related injury.

• 한국전문물리치료학회지
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• 제16권1호
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• pp.25-33
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• 2009

In dancers, intact muscular coordination is a well balanced antagonist, which could be a decisive factor in protection against injury as dancers often have hypermobile joints and their ankle joints often bear their full body weight in extreme positions. The purposes of this study were to identify the isokinetic strength to the knee and ankle and the isometric strength of the trunk in female collegiate dancers and controls. Furthermore, the study aimed to investigate the peak torque ratio of knee extension to flexion, ankle plantarflexion (PF) to dorsiflexion (DF), and dominant legs to nondominant. Twenty-one female collegiate dancers (20.0 years of age) and twenty-one female collegiate students (19.3 years of age) performed isokinetic maximum efforts of the knee extensors and flexors at $60^{\circ}/sec$ and $120^{\circ}/sec$, the ankle plantarflexors and dorsiflexors at $30^{\circ}/sec$ and $120^{\circ}/sec$ and isometric maximum efforts of the lumbar extensors at $0^{\circ}$, $12^{\circ}$, $24^{\circ}$, $36^{\circ}$, $48^{\circ}$, $60^{\circ}$, and $72^{\circ}$. The results were as follows: The isokinetic peak torque of the knee extensors and the ratio of knee extensors to flexors of dancers were significantly higher than those of controls (p<.01). However, the isometric peak torque of the back extensors (p<.01) and isokinetic peak torque of the ankle plantarflexors and dorsiflexors (p<.05) of dancers were significantly lower than those of controls. Further studies are needed to identify the difference in proprioception of the joints between dancers and controls.

• 대한안전경영과학회지
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• 제19권1호
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• pp.95-101
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• 2017

The purpose of this study was to investigate the biomechanical of K-Pop dance movement. The study was conducted on 15 male and 15 female subjects in 20-30 age groups. And they choose 150 K-Pop dance choreographies in the top 10 ranking of the main charts. We analyzed the RoM, joint moment and impulse force of the highlight movements. First, During the K-Pop dance motion, the usage of knee joints are more than the hip joints and the ankle joints, and female dancers has a larger range of motion than the male dancers. Second, male dancer uses more than female dancers when they compared the load of male dancers and female dancers. In particular, flexion and extension of the hip joints are mostly used in this study. Third, the impulse force of male dancers was greater than of female dancers, but it was statistically insignificant, this is equal to the impulse on walking. In conclusion, Female dancers use more range of motion than male dancers, but male dancer choreography requires greater torque, which can strain joints. Most choreographic exercises involve movements such as hip joint, knee joint, flexion of ankle joint, extension, rotation, and jumping.

• 한국운동역학회지
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• 제12권1호
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• pp.31-46
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• 2002

The purpose of this research is to provide scientific training guides and the basis for preventing injuries in performing tango backward walk by comparing the effects the height and shape of a heel will have on leg muscles and determining the difference between skilled and unskilled dancers through EMG analysis according to different types of shoes Total eight female athletes were selected for this research. Four with six years of professional dancing experience and another four with one year of dance sports experience. Utilizing the EMG system, rectus femoris, biceps femoris, anterior tibialis, gastrocnemius were measured under different heights (0cm, 5cm, 7cm, 9cm) and shapes (flat, fine, wide) of a heel. Experiments were conducted calculating EMG peak value and muscle load ration under different types of shoes in order to analyze the EMG of leg muscles and Erector Spinae when performing tango backward walk. The result was as follows: 1. The EMG peak value of leg muscles showed significant difference under different heights of a heel in anterior tibialis(p<.001) and gastrocnemius(p.<01) in case of skilled dancers, and in biceps femoris(p.<01) in case of unskilled dancers. 2. The EMG peak value of leg muscles showed significant difference under different shapes of a heel in anterior tibialis(p<.001) and gastrocnemius(p<.001) in case of skilled dancers, and showed no significant difference in case of unskilled dancers. 3. The muscle load ration of leg muscles showed different degrees of muscle contribution between skilled and unskilled dancers. The muscle load ration was in the order of anterior tibialis, rectus femoris, biceps femoris, and gastrocnemius in case of skilled dancers and anterior tibialis, gastrocnemius, biceps femoris, and rectus femoris in case of unskilled dancers.

• 한국콘텐츠학회논문지
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• 제12권1호
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• pp.244-253
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• 2012

본 연구는 무용수의 성별, 연령, 경력, 소속에 따른 스트레스와 탈진의 노출 정도를 알아보고자 실시하였다. 이를 위해 무용에 종사하는 무용수를 대상으로 설문조사가 이루어졌다. 총 535부가 통계분석에 사용되었으며, 독립 t 검정과 일원변량분석을 실시하여 검정이 이루어졌다. 분석 결과, 무용전공자들의 성별과 전공, 경력, 소속에 따라 탈진 정도가 유의한 차이가 나타났고(p<.05), 성별, 경력, 소속에 따라 스트레스의 유의한 차이가 나타났다(p<.05). 스트레스 수준에 따라 탈진 하위변인인 정서적 고갈, 수행저하, 의욕상실에 유의한 차이가 나타났다(p<.01). 위의 결과를 바탕으로 무용수들의 심리적 안정감을 유지하고 무용수행력을 향상 시킬 수 있도록 제도적 장치가 마련되어야 한다.

• Safety and Health at Work
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• 제10권3호
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• pp.260-264
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• 2019

Background: Professional dance is a physically demanding career path with a high injury prevalence, yet an ingrained culture of hiding or pushing through injuries. Developing better knowledge surrounding the cultural beliefs and behaviors related to injury reporting is critical to understand their incidence and burden. Therefore, the aim of this study was to investigate injury fear and injury reporting behaviors in professional dancers in Australia. Methods: This study utilized data collected in a cross-sectional survey of professional dancers in Australia. Descriptive analysis of injury fear and reporting stigma are presented with comparisons between subgroups (full-time versus part-time dancers; men versus women) conducted using two-sided Fisher's exact tests. Results: A total of 146 professional dancers were included. Over half (63%) of the respondents reported that they fear sustaining a dance-related injury, that they believe there is still a stigma surrounding injuries in dance (62%), and that this stigma has led to a delay in reporting or seeking care for an injury (51%). A lower proportion of part-time than full-time dancers reported that they would usually tell someone within their dance employment about an injury (35.1% vs. 59.6%, p = 0.006). Conclusion: Professional dancers are at risk of losing contracts or roles if they are injured, and therefore, it is common to dance through their occurrence. Many dancers, particularly those dancing part-time, are unwilling to tell their employers about their injuries. Action is required to improve this culture regarding injury reporting and help seeking for more effective injury understanding, prevention, and management in dance.

• 한국운동역학회지
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• 제26권4호
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• pp.427-432
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• 2016

Objective: The goal of this study was to systematically investigate the postural stability of dancers by providing unexpected perturbations. Method: Six female dancers and college students participated in this study. Unpredictable wait-pull balance perturbations in the anterior direction were provided to the participants during standing. Three different perturbation intensities (low, moderate, and high intensity) were used by increasing perturbation forces. Spatial and temporal stability of postural control were measured by using margin of stability (MoS) and time to contact (TtC), respectively. Results: Both MoS and TtC at moderate intensity were significantly greater in the dancer group than in the control group, but no significant differences were found at low and high intensities between the groups. Conclusion: The present study showed spatial and temporal stability of dynamic postural control in dancers. We found that the dancers were more spatially and temporally stable than the ordinary participants in response to unexpected external perturbation when the perturbation intensity was moderate at two extreme intensity levels (low and high).