STATEMENT BY AUTHOR - arizona.openrepository.comarizona.openrepository.com/arizona/bitstream/10150/192307/1/azu... · incidence and variety of injuries. ... The ankle joint (talocrural
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
INJURY PREVENTION FOR DANCERS: EVALUATINGTHE IMPORTANCE OF EDUCATION ON
This interdisciplinary project could not have been completed without the generous help of
many individuals. First and foremost, I must thank my best friend and mom, Marcia Wong, whose unconditional love and support throughout the past 22 years has not only made this thesis possible, but also has shaped my character in every way. Huge thanks go out to my dad, Ken Wong, as well, whose love and humor has always challenged and inspired me to achieve more than I ever anticipated. This project could not have been completed without the dedicated guidance and support of Dr. Cindy Rankin. I thank you immensely for helping brainstorm, issue surveys, tabulate surveys, and edit countless drafts; but more importantly, thank you for your wisdom in all matters of academia and life. My gratitude also extends to Amy Ernst for insightful dance consults and Jon Davison for sharing his dynamic knowledge of excellence in physical therapy. A special thanks also goes out to Deborah Kenner and Tucson Regional Ballet as well as Cheryl Carnes and Basis Charter School for opening up your doors and minds to this project.
4
Table of Contents
I. ABSTRACT…………………………………………………………………………..6 II. INTRODUCTION……………………………………………………...……………7
III. BACKGROUND
a. Skeleto-Articular System Overview………………………………………………9 b. Female Dance-Specific Health Considerations………………………………….13 c. Common Dance Foot and Ankle Injuries
i. Inversion Ankle Sprain…………………………………………………..15 ii. Fifth Metatarsal Stress Fracture…………………………………………20
iii. Plantar Fasciitis…………………………………………………………..23 iv. Achilles Tendonitis………………………………………………………26
IV. METHODS
a. Populations……………………………………………………………………….28 b. Surveys
i. Pre-Survey………………………………………………………………..29 ii. Post-Survey………………………………………………………………31
c. Analysis of Survey Response.……………………………………………………31 d. Statistical Analysis……………………………………………………………….31 e. Instruction………………………………………………………………………..32
i. Lesson I: Warm-up and Stretching………………………………………33 ii. Lesson II: Core Strength, Turnout, and Alignment……………………...35
iii. Lesson III: Common Dance Injuries and their Prevention………………39
V. RESULTS a. Tucson Regional Ballet Dancers
i. Attitudes……………………………………………………………….…44 ii. Knowledge…………………………………………………….…………47
b. Basis Charter School Students (Control Group 1 ) i. Attitudes……………………………………………………….…………51
ii. Knowledge…………………………………………………….…………52 c. University of Arizona Dancers
i. Attitudes……………………………………………………………….…55 ii. Knowledge…………………………………………………………….…59
d. University of Arizona PSIO 380 Students (Control Group 2) i. Attitudes……………………………………………………………….…64
ii. Knowledge…………………………………………………….…………68
VI. DISCUSSION a. Tucson Regional Ballet Dancers…………………………………………………70 b. Basis Charter School Students vs. TRB Pre-Instruction Dancers………………..74 c. University of Arizona Dancers…………………………………………………..76 d. University of Arizona PSIO 380 Students……………………………………….79
5
VII. LIMITATIONS……………………………………….……………………….……80 VIII. FINAL THOUGHTS…………………………………………….…………………81
IX. REFERENCES AND FIGURE CREDITS…………………….………………….82
X. APPENDICES
I. Ballet Terminology Index…………………………………………………..86
II. Exercise Protocols…………………………………………………………..88 a. Resisted Dorsiflexion, Plantar Flexion, Inversion, and Eversion b. Foot pick-up exercises
c. Towel Scrunches d. Single-Leg Balance e. Gastrocnemius and Soleus Stretches
III. Biomechanics Course Syllabus…………………………………………….90
IV. Pre- and Post-Surveys a. TRB Dancers…………………………………………………………95 b. Basis Students………………………………………………………..99
V. Pre- and Post-Surveys
a. UA Dancers…………………………………………………………101 b. UA Students…………...……………………………………………105
VI. Teaching Tools
a. Flashcards………………………………………………..................109 b. Selected Illustrations………………………………………………..116
6
I. ABSTRACT
Despite the effortless grace of ballet dancers in movement, this population sustains high
rates of injury. It is hypothesized that the prevalence of injury could be attenuated by providing
relevant injury prevention education to pre-professional dancers in training. This project
evaluates the importance of teaching biomechanics and exercise physiology, with emphasis on
orthopedic injury prevention. Three educational modules were taught to 28 female dancers, ages
11-17, who dance ≥4 days/week. Pre- and Post-instruction surveys analyzed changes in attitude
and understanding about anatomy and injury prevention. A second population, University of
Arizona dance majors, was also surveyed before and after a UofA course in Dance
Biomechanics.
Survey data revealed both the dancers’ strong interest in the lessons and their improved
ability to articulate prevention mechanisms post-instruction. For example, dancers’ answers
improved in accuracy by 90% regarding the impact of wearing unsupportive footwear.
Furthermore, 96% of dancers indicated that they believe this knowledge can be directly
incorporated into their own dance technique. Altogether, this study suggests that given the
demanding nature of dance, instructors should provide education about both technique and
relevant biomechanics to minimize the potential for injury for dancers in training of all ages.
7
II. INTRODUCTION Classical ballet, while maintaining its defining characteristics of upper body lift, the
turnout, and the creation of seamless lines with the body that stem from historical tradition, is
taught using methodologies which have reflected the modernization of the art. Rather than being
seen purely as entertainment, the athletic nature of dance has grown to merit innovative
approaches, combining its timeless beauty with meticulous scientific investigation.
Figure 1: Lorena Feijoo - San Francisco Ballet
The rise in popularity of dance today has unfortunately set the stage for an increased
incidence and variety of injuries. While elite professional dancers are subject to constant
rigorous strain on their bodies, it is important to realize the vulnerability of younger pre-
professional dancers as well. Unfortunately, many of the smaller studios are unable to hire fully
qualified instructors, i.e., those who are wary of potential injuries and knowledgeable about their
prevention. In order to address some of these troublesome current trends, a shift in pedagogy
8
must be made in which the ballet instructor is aware of and willing to implement injury
prevention strategies to prolong the potential dance career of his or her students.
In ballet classes, it is common that each dancer receive individual feedback on his/ her
execution of movement. For example, an instructor may caution the student to keep the knees
aligned with the toes in plié*; however, the importance of this from an injury prevention
perspective is never directly addressed (note: all italicized ballet terms are defined in Appendix I:
the Ballet Terminology Index). The majority of dance students, therefore, fail to realize that the
importance of pulling up and using the ‘center’ serves as a method by which to engage the
abdominal muscles to support the lower back. Using the bend of the plié to land from jumps is
more than a way to prevent an audible thud; it minimizes the impact on joints and their
associated tissues.
A key method to shift the thinking of dancers and their instructors is through education
about the anatomy and physiology of injury prevention technique. A very effective way to
approach the anatomical and biomechanical background information is by setting it in a context
that interests the audience, namely, the dancers in training who are interested in dance science to
improve their technique. Presented in this way, the dancer is empowered not only to understand
on an intellectual level the reasoning behind certain techniques, but also is given the tools to take
better care of his or her body in the dance studio and beyond.
This project aims to evaluate the importance of teaching biomechanics and exercise
physiology, with a focus on orthopedic articular injury prevention for dancers in training. A
series of 3 educational modules will be taught, and Pre- and Post-instruction surveys will assess
changes in attitude and understanding. Lesson I of the instruction will introduce the basic
anatomy and physiology of the musculoskeletal system, including histological and gross
9
structure, mechanisms of function, and relationship to other tissues and systems. Dance class
format will be explored looking particularly at the reasons behind a progressive warm-up and the
benefits thereof. Mechanisms of efficient stretching will also be a crucial component of this
section. Lesson II will focus on the characteristic ballet turnout and proper lower extremity
alignment. The contributors to and benefits of core strength will also be examined in detail. The
third and final Lesson III will cover musculo-skeletal injuries of the lower extremity, including
the ankle inversion sprain, dancer’s (5th metatarsal) fracture, dancer’s heel (plantar fasciitis), and
Achilles tendonitis. In closing, injury prevention via injury-specific exercises and stretches will
be taught.
III. BACKGROUND
a. Skeleto-Articular System Overview
Among their numerous individual functions, the skeletal and muscular systems and
associated connective tissue collectively serve to facilitate the extreme mobility and rigorous
stabilization required by dancers. Long bones (see Figure 2) consist of epiphyses, or the knobby
ends filled with spongy bone, metaphyses (where an epiphyseal plate in growing bones is
located), and a central diaphysis, or shaft comprised primarily of compact bone surrounded by
the periosteum. Articular (hyaline) cartilage covers the epiphyses to decrease friction at the joint,
where bone articulates with another bone (Tortora 2006). Bone attributes its hardness to
calcification following the deposition of mineral salts, while its tensile strength and flexibility are
due to its matrix of collagen fibers. Bone lengthening occurs at the epiphyseal plate until the
approximate age of 18 and 21 for females and males, respectively. However, bone retains the
ability to remodel throughout the lifetime (Tortora 2006). Although multiple bone components
10
are supplied by both sensory and sympathetic neural input, the periosteum is the most densely
innervated and provides much of the sensory or pain perception (Mach 2002).
Figure 2: Long bone anatomy
In order to perform exquisite dance movements, a variety of joints must work in concert.
There exist three main types of joints: synovial joints, fibrous joints (united by fibrous tissue),
and cartilaginous joint (united by hyaline cartilage or fibrocartilage). For the purposes of this
review, primary emphasis will be on synovial joints (Figure 3), the most common and mobile
type of joint in the human body. They are characterized by a joint cavity surrounded by a
relatively loose joint capsule (e.g. the knee joint), which allows for a wide degree of range of
motion and requires accessory ligaments to provide stability (Moore and Dalley 1999). The
11
capsule also contains synovial fluid to assist in lubrication of the articulation surfaces. Synovial
joints are functionally classified according to the nature of the articulating surfaces and the
degree of movement allowed (see Appendix VI: Teaching Tools). For example, the ball and
socket joint of the hip (acetabulum of the hip bone articulated with the head of the femur) allows
for flexion, extention, ab- and adduction, which combine to enable circumduction of the hip, as
in a rond de jambe.
Figure 3. The Most Ubiquitous Human Joint
As stated above, connective tissue is required for stabilization of the synovial joint.
Ligaments are parallel bundles of dense regular connective tissue (mostly collagen and elastin)
that connect bone to bone (Tortora 2006) (Figure 4). Dancers strive to achieve a certain degree
of hyperlaxity of their ligaments for overall flexibility, which can be achieved through stretching
due to the elastic nature of the tissue. At the same time, however, this malleability can lead to
pathological hyperlaxity, which can lead to recurring injury (e.g. chronic dislocations, sprains,
12
etc.) (Moore and Dalley 1999). Surrounding intrinsic and extrinsic muscles and their associated
tendons also play a large role in joint stabilization.
Figure 4: Histology of a ligament: dense, regularly arranged connective tissue
The ankle joint (talocrural articulation) (Figure 5) will examined in detail in order to
more thoroughly understand the functional anatomy of a synovial joint and its associated
structures. The ankle joint is formed by the distal ends of the tibia and fibula, which create a
mortise, or a deep socket, into which the trochlea (the superior portion) of the talus articulates
(Moore and Dalley 1999). It is a hinge-type synovial joint, which allows for much greater range
of motion in flexion and extension versus other motions. In fact, the joint is more stable in
dorsiflexion due to the tensile strength of the grip of the malleoli on the trochlea as the wider part
of the trochlea slides posteriorly. This causes a slight spreading of the tibia and fibula, which are
held together tightly by the interosseous, transverse, anterior, and posterior talofibular ligaments
(Moore and Dalley 1999) (Figure 6a/b). In contrast, ankle instability in plantar flexion will be
discussed in “Common Dance Foot and Ankle Injuries.”
13
Figure 5: Slightly oblique frontal x-ray of the ankle joint
Figure 6a: Anterior view of ankle ligaments
Figure 6b: Posterior view of ankle ligaments
14
b. Female Dance-Specific Health Considerations
With the growing popularity of hip-hop, jazz and modern, dance is becoming
increasingly more popular among males; however, it remains a predominantly female activity
(i.e. in any given high-school age dance class of 25 students, there may be 1-2 men). Thus, due
to the number of female participants and the highly athletic nature of dance, a myriad of female
dancers sustain injuries, which will be the predominant focus of this research. It is important to
realize that one factor that explains the prevalence of injuries in dancers in training is the Female
Athlete Triad. The three components of this disorder are: disordered eating, amenorrhea, and
premature osteoporosis (Hobart and Smucker 2000).
Traditionally, dance (ballet especially) has always emphasized the importance of
achieving and maintaining an ideal slender and toned physique. Dancers often aim to achieve
this body type too rapidly and without the guidance of a medical professional. Extreme means
are often employed, leading to anorexia nervosa, bulimia nervosa, or other eating disorders.
While many individuals who experience the Female Athlete Triad do not meet the strict criteria
for any of these specific disorders, they still have inappropriate eating habits and are labeled with
the more general term of having disordered eating. Amenorrhea is defined as a complete lack of
menstrual bleeding by the age of 14-16, or at least a 6-month absence of a period which had
otherwise been regular (once monthly). Lastly, osteoporosis is the loss of bone mineral density,
which is often irreplaceable. The resulting fragile bones are more susceptible to injury,
including, but not limited to, stress fractures, a prevalent injury in the dance population (see
Davison, Jon. Personal Interview. 16 Mar. 2009. Differential Diagnosis and Manual Therapy of the Foot and Ankle. IAOM-US 2008 Donatelli, Robert A. The Biomechanics of the Foot and Ankle. 2nd ed. Philadelphia: F. A.
Davis Company 1996. Elias, Ilan et al. “Bone stress injury of the ankle in professional ballet dancers seen on
MRI.” BCM Musculoskeletal Disorders 2008; 9:39-45. Gravetter, Frederick J. et al. Measurement and Statistics: Introduction for Social and
Behavioral Sciences. Mason, OH: Cengage Learning, 2006. Grieg, Valerie. Inside Ballet Technique: Separating Anatomical Fact From Fiction in the
Ballet Class. Hightstown, NJ: Princeton Book Company, 1994. Hillier, J. C. et al. “MRI features of foot and ankle injuries in ballet dancers.” The British
Journal of Radiology. 2004;77:532-537. Hobart, Julie A. and Smucker, Douglas R. “The Female Athlete Triad.” American Family Physician. 2000; 61:3357-64,3367. Howse, Justin. Dance Technique and Injury Prevention. 3rd ed. London: A&C Black,
2000. Lindstedt, S. L., LaStayo, P. C., and Reich, T.E. “When active muscles lengthen:
properties and consequences of eccentric contractions.” News Physiol. Sci. 2001;16:256-262.
83
Mach, D.B. et al. “Origins of skeletal pain: sensory and sympathetic innervation of the mouse femur.” Neuroscience. Vol. 113, No. 1, pp. 155-166, 2002.
Marski, Lynn Marie. “Musculoskeletal Concerns in the Dancer” Lecture. Sports
Medicine Conference: Orthopedic Surgery Conference. University Medical Center, University of Arizona, Tucson, AZ. 13 April 2009.
Mellion et al. Team Physician’s Handbook. 2nd ed. Philadelphia: Hanley and Belfus Inc.,
1997. Moore, Keith L. and Dalley, Arthur F. Clinically Oriented Anatomy. 4th Ed. Philadelphia:
Lippincott Williams & Wilkins, 1999. Morrison, Katherine E. and Kaminski, Thomas W. “Foot characteristics in association
with inversion ankle injury.” Journal of Athletic Training 2007:42(1):135-142. Ryan, Allan J. and Stephens, Robert E., eds. Dance Medicine: A Comprehensive Guide.
Clinical Review.” British Medical Journal. 19 July 1997: 315: 172-175. Strayer, Scott M., Reece, Steven G., and Petrizzi, Michael J. “Fractures of the proximal
fifth metatarsal.” Am Fam Physician 1999;59(9):2516-22. Tortora, Gerard and Derrickson, Bryan. Principles of Anatomy and Physiology. 11th Ed.
Hoboken, NJ: John Wiley & Sons, 2006. Wexler, R. K. “The injured ankle.” Am Fam Physician 1998;57(3):474-80.
84
Figure Credits Cover: X-ray: <http://www.chanhongoh.com/images/diamond_xray.jpg> Pointe shoe: <http://artelier.org.uk/atelier/images/dance-1416.jpg> Figure 1: Basic Medical Anatomy. Alexander Spence. 1990. <http://homepage.mac.com/myers/misc/bonefiles/bonestruct.html> Figure 2: <http://www.web-books.com/eLibrary/Medicine/Physiology/Skeletal/Joint.htm> Figure 3: Moore and Dalley, Anatomy, 24. Figure 4: “Histology Atlas” Pearson Education 2003. <http://cwx.prenhall.com/bookbind/pubbooks/martini10/chapter3/medialib/Fig03015.html.> Figure 5: Moore and Dalley, Anatomy, 634. Figures 6a/b: “Syndesmosis ankle sprains” Massage Today. <http://www.massagetoday.com/mpacms/mt/article.php?id=13163.> Figure 7: <http://media.photobucket.com/image/ankle%20ligaments/Timewalker/anklesprain.jpg> Figure 8: Ankle Sprains. CitiSport Physiotherapy and Sports Injury Clinic. 16 March 2009 < http://www.citisport.co.uk/city_in_paint/pages/newsletter3/news_a.html>. Figure 9: <http://z.about.com/d/foothealth/1/0/k/0/-/-/mtpjlabelxray.jpg> Figure 10 : < http://www.jfootankleres.com/content/2/1/2/figure/F2> Figure 11 : <http://dsp.imageg.net/graphics/product_images/p1001843p275w.jpg> Figure 12 : <http://www.med.umich.edu/1libr/sma/sma_meta5tar_art.htm> Figure 13 : Strayer et al. “Fractures,” 2518. Figure 14 : “Essential Insights on Treating 5th Metatarsal Fractures.” 1 April 2006. Podiatry Today. 20 March 2009. < http://www.podiatrytoday.com/article/5382>. Figure 15: Singh et al. “Plantar Fasciitis,” 173. Figure 16: University of Wisconsin. “Health Information: Plantar Fasciitis.” 2009. <http://apps.uwhealth.org/health/hie/2/19568.htm>. Figures 17a/b: <http://www.ballerinagallery.com/margot-shoes.htm> Figure 18 : <http://footcarexpress.com/foot-orthotics/achilles-tendonitis/> Figure 19 : <http://danceadvantage.net/2008/06/24/sickling-and-rolling-in/> Figure 29 : <http://danceadvantage.net/2008/06/24/sickling-and-rolling-in/>
85
Appendices
I. Ballet Terminology Index II. Exercise Protocols
a. Resisted dorsiflexion, plantar flexion, eversion, and inversion b. Pickup exercises c. Toe curling/ Towel scrunches d. One-Foot balance e. Soleus/ Gastroc. Stretches
III. Biomechanics Course Syllabus IV. Surveys
a. Tucson Regional Ballet: Pre- and Post-Surveys b. Basis Charter School Survey
V. Surveys a. University of Arizona Dancers: Pre- and Post-Surveys b. University of Arizona Students: Pre- and Post-Surveys
VI. Teaching Tools a. Flashcards, Color Photos, etc.
86
APPENDIX I:
Ballet Terminology Index (Courtesy of American Ballet Theater’s Online Ballet Dictionary)
À la seconde: To the second. A term to imply that the foot is to be placed in the second position, or that a movement is to be made to the second position en l'air. Barre: The horizontal wooden bar fastened to the walls of the ballet classroom or rehearsal hall which the dancer holds for support. Every ballet class begins with exercises at the bar, which are performed by the dancer while clasping the bar with one hand. Bar exercises are the foundation of classical ballet. Center: Implies unsupported exercises done in the center of the room following barre work. Demi-plié: Half-bending of the knees. Demi-Pointe: On the half-point. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. First Position: Position in which the heels touch and the toes face opposite directions, ideally making a 180 degree angle between the feet. Grand battement : An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. Jeté: Throwing step. A jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown. There is a wide variety of pas jetés (usually called merely jetés) and they may be performed in all directions. Parallel: Alignment in which the legs are turned in from the hip sockets, with the knees and feet pointed forward. Plié: Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. There are two principal pliés: grand plié, or full bending of the knees, (the knees should be bent until the thighs are horizontal) and demi-plié. Pointe: On the point (of the toes). Today the toes of pointe shoes are reinforced with a box constructed of several layers of strong glue in between layers of material. Rond de jambe: Round of the leg, that is, a circular movement of the leg, done clockwise (en dehors) and counterclockwise (en dedans). Second Position: An extension of first position, in which the feet are spread apart by about 2 feet’s distance.
87
Sickling: This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg. Supporting Leg: A term used by dancers and teachers for the leg which supports the body so that the working leg is free to execute a given movement. Tutu: Short classical ballet skirt made of many layers of tarlatan or net. The romantic tutu is the long skirt reaching below the calf. Turnout: This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90-degree position. This turn-out, or en dehors, is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction. Working Leg: A term used by dancers and teachers to denote the leg that is executing a given movement while the weight of the body is on the supporting leg
Turned out supporting
leg
Classical tutu
Turned out working leg
Dancing in the center
On pointe
88
APPENDIX II: EXERCISE PROTOCOLS
89
90
APPENDIX III Biomechanics Syllabus
DNC 455/455H/555/591-003 Biomechanics for Dance (3 credits) Spring 2009 Class Meetings Wednesday and Friday - 2:00-3:20pm Optical Sciences Room 408 & Gittings Studio 124 Instructor Amy Ernst, MFA; Associate Professor 121E Gittings Building; 621-2923; [email protected] Office Hours: By appointment Teaching Assistant Brooke Melton - [email protected] Graduate Preceptor Kristin Chew - [email protected] Course Description and Objectives
Dance is an art form whose purpose is to communicate ideas and feelings; but because it is a type of body movement, that movement can be studied in the same way as any body movement, using the principles and techniques of Biomechanics. This biomechanical analysis is often misunderstood by some who think that it somehow reduces the art of dancing to a mechanical act. This is not so. The biomechanical analysis looks at only one aspect of dance, in the same way that an X ray of a broken leg gives information only about the bones and not about the leg as a whole. As we all know, there is far more to dance than just the physical movement.
In this course we also concentrate a good deal on Kinesiology, or the study of movement.
However, this definition is too general to be of much use. Kinesiology brings together the fields of anatomy, physiology, physics, and geometry, and relates them to human movement. Thus, Kinesiology utilizes principles of mechanics, musculoskeletal anatomy, and neuromuscular physiology. The term Biomechanics is frequently used interchangeably with Kinesiology. The differences between the two terms are based on research focus.
The human body, in many respects, can be referred to as a living machine. It is important, when
learning about how the body moves (Kinesiology), to also learn about the forces that are placed on the body causing movement. Mechanics is the branch of physics dealing with the study of forces and the motion produced by their actions. Biomechanics involves taking the principles and methods of mechanics and applying them to the structure and function of the human body.
My goal for you is to increase your knowledge and sophisticated information about the human
body so that you will continue to grow as intelligent dancers, ensuring that you will move even more efficiently, powerfully, and expressively than you do now. Principles of dance injury prevention will also
91
be incorporated into the course material, to further safeguard your artistry and longevity as a dancer. I expect each of you to work hard in this class to learn and apply this material. If you do, your dancing skill and body knowledge will improve, and your incidence of injury will hopefully decrease!
Required Texts and Readings
Inside Ballet Technique Separating anatomical fact from fiction in the ballet class By Valerie Grieg Anatomy of Movement (Revised Edition) By Blandine Calais-Germain Handouts provided by instructor.
Course Requirements General:
1. Note: this course is open to dance majors and minors only. Students taking this course are enrolled under one of the following categories, depending on their status and qualifications (*Preceptorships have already been determined and are not available for enrollment).
DNC 455: Undergraduate dance majors and minors
DNC 455H: Honors dance majors and minors DNC 555: Graduate students DNC 491: Undergraduate Preceptorship DNC 591-002/-003: Graduate Preceptorship
2. This course is not available for audit.
3. Grades in each of the categories above are awarded according to the number of points earned. The maximum number of points possible to earn if you are registered under DNC 455 is 1000 points. The maximum number of points possible to earn under DNC 455H and DNC 555 is 1400 points.
Earned points-to-grades for DNC 455 are as follows:
92
900 – 1000 points = A 800 – 899 points = B 700 – 799 points = C 600 – 699 points = D
599 points & below = E Earned points-to-grades for DNC 455H and DNC 555 are as follows: 1300 – 1400 points = A 1200 – 1299 points = B 1100 – 1199 points = C 1000 – 1099 points = D 999 points & below = E DNC 455 Requirements Students are required to attend all lecture and studio lab days and complete all Quizzes and Exams for a maximum of 600 points toward the final grade. Including these requirements, you have a choice among the following three options for your remaining 400 points: a Poster Presentation (handled in pairs or trios), a Research Paper (handled alone), or the Final Exam. You may choose only one of the three options. Opportunities to earn points are as follows: Attendance = 150 points (5 points per class) 2 Quizzes @ 50 points each = 100 points 2 Exams: Exam I @ 150 points = 350 points Exam II @ 200 points Poster Presentation = 400 points or Research Paper = 400 points or Final Exam = 400 points Total Maximum Points = 1,000 points DNC 455H, 555 Requirements Students are required to attend all lecture and studio lab days and complete all Quizzes and Exams for a maximum of 600 points toward the final grade. Including these requirements, for your remaining 800 points you will be completing the Research Paper. You will also complete either the Poster Presentation (handled in pairs or trios) or the Final Exam. Opportunities to earn points are as follows: Attendance = 150 points (5 points per class) 2 Quizzes @ 50 points each = 100 points 2 Exams: Exam I @ 150 points = 350 points Exam II @ 200 points Research Paper = 400 points Poster Presentation OR Final Exam = 400 points Total Maximum Points = 1400 points
93
Classroom Behavior The aim of education is the intellectual, personal, social, and ethical development of the individual. The educational process is ideally conducted in an environment that encourages reasoned discourse, intellectual honesty, openness to constructive change and respect for the rights of all individuals. Self-discipline and a respect for the rights of others in the university community are necessary for the fulfillment of such goals. The Student Code of Conduct Integrity is expected of every student in all academic work. The guiding principle of academic integrity is that a student’s submitted work must be the student’s own. This principle is furthered by the student Code of Conduct and disciplinary procedures established by ABOR Policies 5-308 - 5-403, all provisions of which apply to all University of Arizona students.
Code of Academic Integrity Introduction to the Poster Presentations and Research Papers It is recognized that individuals will have particular or specialized interests related to Biomechanics and Kinesiology. If you and a partner(s) decide to conduct a Poster Presentation, the research and oral presentation must be handled equally between you. The Research Papers will be handled alone. The Poster Presentations will be presented in Studios 124 and 130 at the end of the semester (days and times TBA), and your Research Papers will be due to my office on or before Friday, May 15, 3PM. If you are completing either a Presentation or a Paper, you will need to consult with me within the first few weeks of the semester regarding your chosen topic. I am always available to work on your research projects with you. Above all, these special research projects should focus on applications and implications for dancers. For either the Poster Presentation or the Research Paper, a list of possible topics/ideas is listed below: -In-depth analysis of a particular joint in the body -Investigation of an injury potential or syndrome -Analysis of a movement pattern used in technique class -Analysis of a somatic system or body therapy -Development of a focused conditioning program -Research into a particular musculoskeletal disorder -Case Study of a dancer here in our department
-A Biomechanics/Kinesiology course syllabus with rationale and lecture outline, practical assignments, grading methods, etc.
-An analysis of anatomical and biomechanical illustration styles There are many, many more research topics from which to choose! Please note that both the Poster Presentation and the Research Paper are to be analyses, not just reiterations of existing syllabi, systems, methods, injury facts, etc.
94
The Poster Presentations will last 10 minutes and will be both a visual (via a large, triple-folded cardboard poster) and oral representation of your project. You may use handouts and any additional tools to help illustrate your analysis. The oral presentation, as well as the written component, must be shared 50% x 50% between the team. The written component will include a summarized analysis of your topic, plus an extensive bibliography (minimum of 10 sources). For this type of course, the Research Paper must be 10-15 pages with illustrations (if critical to your topic), have appropriate appendices attached, and include an even more extensive bibliography (15-20 sources). Again, I am available for assistance.
95
APPENDIX IVa: Pre- Survey Dancers from TRB
My age: 5-7 8-10 11-13 14-16 17+ Gender: Male Female Please mark how you feel about these
statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
I would like to more about how my body works……………………………
1 2 3 4 5
I wish I knew more about stretching and strengthening so I can become a better dancer…………………………………….
1 2 3 4 5
I love to dance! ...........................................
1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
1 It is important to warm-up before dancing
True False Why or why not?
2 The reason I get sore is because of lactic acid buildup in my
muscles
True False Why or why not?
3 Wearing flip-flops could hurt my feet
True False Why or why not?
4 It’s important to have strong abdominal muscles for dance
True False Why or why not?
5 The main reason I don’t want to drop my arches and roll in when I stand is because it looks bad
True
False
Why or
why not?
96
6 The main reason for keeping my knees in line with my toes when I plié is so I can jump higher from that position
True False Why or why not?
7 It’s enough to drink water when I’m thirsty, since my body knows how much it needs
True False Why or why not?
8 In order to get a good stretch, I need to hold it for at least 30-60 seconds
True False Why or why not?
9 Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
10 Those who train well, eat right, and drink plenty of water can prevent lots of injuries
True False Why or why not?
97
APPENDIX IVa: Post- Survey Dancers from TRB
My age: 5-7 8-10 11-13 14-16 17+ Gender: Male Female Please mark how you feel about these
statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
I have learned more about how my body works……………………………
1 2 3 4 5
I have learned more about stretching and strengthening, and I feel it could help me become a better dancer…………………………………….
1 2 3 4 5
Other comments?
Please read each statement carefully and circle True or False. Please explain your answer.
1 It is important to warm-up before dancing
True False Why or why not?
2 The reason I get sore is because of lactic acid buildup in my
muscles
True False Why or why not?
3 Wearing flip-flops could hurt my feet
True False Why or why not?
4 It’s important to have strong abdominal muscles for dance
True False Why or why not?
5 The main reason I don’t want to drop my arches and roll in when I stand is because it looks bad
True
False
Why or
why not?
98
6 The main reason for keeping my knees in line with my toes when I plié is so I can jump higher from that position
True False Why or why not?
7 It’s enough to drink water when I’m thirsty, since my body knows how much it needs
True False Why or why not?
8 In order to get a good stretch, I need to hold it for at least 30-60 seconds
True False Why or why not?
9 Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
10 Those who train well, eat right, and drink plenty of water can prevent lots of injuries
True False Why or why not?
11. The most interesting thing I learned was:
99
APPENDIX IVb: Pre- Survey Basis Students
My age: 5-7 8-10 11-13 14-16
17+
Gender: M F
Please mark how you feel about these statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
I wish I knew more about how my body works………………………..……
1 2 3 4 5
I wish I knew more about good posture and strengthening so I can become a better athlete…………
1 2 3 4 5
I love to play sports!................................
1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
1 It is important to warm-up before playing sports
True False Why or why not?
2 The reason I get sore is because of lactic acid buildup in
my muscles
True False Why or why not?
3 Wearing flip-flops could hurt my feet
True False Why or why not?
4 It’s important to have strong abdominal muscles for sports
True False Why or why not?
100
5 The main reason I don’t want to drop my arches and roll in when I stand is because it looks bad
True
False Why or why not?
6 The reason for keeping my knees in line with my toes when I squat is so I can jump higher from that position
True False Why or why not?
7 It’s enough to drink water when I’m thirsty, since my body knows how much it needs
True False Why or why not?
8 In order to get a good stretch, I need to hold it for at least 30-60 seconds
True False Why or why not?
9 Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
10 Those who train well, eat right, and drink plenty of water can prevent lots of injuries
True False Why or why not?
101
APPENDIX Vb: Pre- Survey University Dancers
My age (circle one): Under 18 18-20 21-23 Over
24
Gender (circle one): Male Female Please mark how you feel about these statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
I would like to know more about how my body works ……………………
1 2 3 4 5
I would like to more about stretching and strengthening so I could improve my dancing…………
1 2 3 4 5
Education is a crucial component of injury prevention and recovery………
1 2 3 4 5
I have an active lifestyle and enjoy dance...................................................
1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
A warm-up is important before participating in dance
True False Why or why not?
Eating a balanced breakfast is important
True False Why or why not?
Wearing flip-flops frequently could have detrimental effects on the feet
True False Why or why not?
It’s important to have strong abdominal core muscles for dance
True False Why or why not?
102
From superficial to deep, the primary abdominal muscles are: the rectus abdominis, external obliques, the transverse abdominis, and the internal obliques (deepest).
True
False Why or why not?
The reason for keeping my knees in line with my toes when in plié is to have greater force output and height
True False Why or why not?
Thirst is an adequate indicator of the body’s water requirements
True False Why or why not?
In order to get a good stretch, it should be held static for at least 30-60 seconds
True False Why or why not?
Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
Training well, eating right, and drinking plenty of water can prevent many major injuries
True False Why or why not?
103
APPENDIX Va: Post- Survey University Dancers
My age (circle one): Under
18 18-20 21-23 Over
24
Gender (circle one): Male Female Please mark how you feel about these
statements: (circle one)
Strongly Disagre
e
Disagree
No Opinio
n
Agree
Strongly Agree
1 I have learned more about how my body works ………………………………
1 2 3 4 5
2 I have learned more about stretching and strengthening and I feel it could improve my dancing…………
1 2 3 4 5
3 I feel more confident in communicating my injuries with doctors and/ or physical therapists……………………
1 2 3 4 5
4 I feel more confident as a dancer knowing the biomechanical explanations behind some of my technique limitations……….......................................
1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
1 A warm-up is important before participating in dance
True False Why or why not?
2 Eating a balanced breakfast is important
True False Why or why not?
3 Wearing flip-flops frequently could have detrimental effects on the feet
True False Why or why not?
104
4 It’s important to have strong abdominal core muscles for dance
True False Why or why not?
5 From superficial to deep, the primary abdominal muscles are: the rectus abdominis, external obliques, the transverse abdominis, and the internal obliques (deepest).
True
False Why or why not?
6 The reason for keeping my knees in line with my toes when in plié is to have greater force output and height
True False Why or why not?
7 Thirst is an adequate indicator of the body’s water requirements
True False Why or why not?
8 In order to get a good stretch, it should be held static for at least 30-60 seconds
True False Why or why not?
9 Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
10
Training well, eating right, and drinking plenty of water can prevent many major injuries
True False Why or why not?
11
It is important to fight the natural anterior tilt of my pelvis as I dance
True False Why or why not?
105
APPENDIX Vb: Pre- Survey University Students
My age (circle one): Under 18 18-20 21-23 Over
24
Gender (circle one): Male Female Please mark how you feel about these statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
I would like to know more about how my body works ……………………
1 2 3 4 5
I would like to more about stretching and strengthening so I could lead an active lifestyle……………………………
1 2 3 4 5
Education is a crucial component of injury prevention and recovery………
1 2 3 4 5
I have an active lifestyle........................ 1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
A warm-up is important before participating in athletics
True False Why or why not?
Eating a balanced breakfast is important
True False Why or why not?
Wearing flip-flops frequently could have detrimental effects on the feet
True False Why or why not?
It’s important to have strong abdominal core muscles for athletics
True False Why or why not?
106
From superficial to deep, the primary abdominal muscles are: the rectus abdominis, external obliques, the transverse abdominis, and the internal obliques (deepest).
True
False Why or why not?
The reason for keeping my knees in line with my toes when squatting is to have greater force output and height
True False Why or why not?
Thirst is an adequate indicator of the body’s water requirements
True False Why or why not?
In order to get a good stretch, it should be held static for at least 30-60 seconds
True False Why or why not?
Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
Training well, eating right, and drinking plenty of water can prevent many major injuries
True False Why or why not?
107
APPENDIX Vb: Post- Survey University Students
My age (circle one): Under
18 18-20 21-23 Over
24
Gender (circle one): Male Female Please mark how you feel about these
statements: (circle one)
Strongly Disagree
Disagree No Opinion
Agree Strongly Agree
1 I have learned more about how my body works……………………………………
1 2 3 4 5
2 I have learned more about stretching and strengthening and I feel it could improve my athleticism..………………………...
1 2 3 4 5
3 I feel more confident in communicating my physical injuries with doctors and/ or physical therapists……………………….
1 2 3 4 5
4 I feel more confident as a knowing the biomechanical explanations behind some of my physical limitations........................
1 2 3 4 5
Please read each statement carefully and circle True or False. Please explain your answer.
1 A warm-up is important before participating in athletics
True False Why or why not?
2 Eating a balanced breakfast is important
True False Why or why not?
3 Wearing flip-flops frequently could have detrimental effects on the feet
True False Why or why not?
4 It’s important to have strong abdominal core muscles for athletics
True False Why or why not?
108
5 From superficial to deep, the primary abdominal muscles are: the rectus abdominis, external obliques, the transverse abdominis, and the internal obliques (deepest).
True
False Why or why not?
6 The reason for keeping my knees in line with my toes when squatting is to have greater force output and height
True False Why or why not?
7 Thirst is an adequate indicator of the body’s water requirements
True False Why or why not?
8 In order to get a good stretch, it should be held static for at least 30-60 seconds
True False Why or why not?
9 Titin is the primary molecule responsible for the spring-like action of the muscle
True False Why or why not?
10 Training well, eating right, and drinking plenty of water can prevent many major injuries
True False Why or why not?
109
APPENDIX VI: TEACHING TOOLS
A. Flashcards
Cardiovascular System!(Heart rate, stroke
volume, and vasodilation)
Muscular System! (Heat and increased
metabolism/02 delivery)
110
Skeletal System! (Synovial fluid in joints)
When to stretch? After Warming up!
111
How long to stretch? Static: 30-60 sec.
Why do I hold the stretch?Change elastic
properties of musculo-tendinous and collagen
complex!
112
Order of dance class? Barre, stretch, center
(adagio to grand allegro)
Why this order? Warm up your body
before stretching! Stretch body before
jumping!
113
Lactic acid and soreness:Fiction!
Lactic acid is flushed out within 30 mins!
Soreness is from small tears in your muscles!
Strong core muscles: Support your whole
body!
Abdominal and back muscles:
Prevent injury and support movement/
posture
114
Turnout origins: tradition and greater
range of motion
Alignment: Hip, Knee, and Ankle for Injury Prevention
and power output!
115
Pronating/ Rolling In/
Dropping Arches
Bunions: Painful and Unsightly!
116
B. Selected Illustrations: Layering of the abdominal muscles
Source: Tortora, Gerard and Derrickson, Bryan. Principles of Anatomy and Physiology. 11th Ed.
Hoboken, NJ: John Wiley & Sons, 2006.
117
Muscles of the back
Source: Tortora, Gerard and Derrickson, Bryan. Principles of Anatomy and Physiology. 11th Ed.
Hoboken, NJ: John Wiley & Sons, 2006.
118
Assorted Synovial Joints of the Body
Source: Moore, Keith L. and Dalley, Arthur F. Clinically Oriented Anatomy. 4th Ed.
Philadelphia: Lippincott Williams & Wilkins, 1999.