The aims of this study were to describe the sagittal integral morphotype (SIM) of classical ballet (CB) dancers, and to establish predictor factors and their cut off values for high risk of experiencing sciatica or low back pain (LBP). This retrospective cohort study was performed in 33 female professional CB dancers. Data related to anthropometric parameters, CB dance experience, sciatica or LBP history, and sagittal spine curvatures were collected. A binary logistic regression and receiver-operating characteristic analysis were performed. The main spine misalignments observed in the SIM of CB dancers were thoracic functional hyperkyphosis, hypomobile kyphosis, and hypokyphosis, and those for the lumbar curvature were hyperlordotic attitude and functional hyperkyphosis. The lumbar curvature in slump sitting and trunk forward bending positions, together with the stature, were significant predictor factors of sciatica history, while the years of dance experience was a significant predictor factor of LBP history. The cut off values analysis revealed that dancers with a stature of 161 cm or less, and those with 14 years of experience or more, have a greater probability of experiencing sciatica or LBP history, respectively.

Repatterning is a term that can be used in different fields, including genetics, molecular biology, neurology, psychology, or rehabilitation. Our aim is to identify the key concept of neuromuscular repatterning in somatic training programmes for dancers. A systematic search of eight databases was conducted using the PRISMA (Preferred Reporting Items for Systematic Review and Meta-Analysis) guidelines. The Quality Assessment Tool for Quantitative Studies and the Oxford Levels of Evidence scales were used. The search yielded 1218 results, of which 5 met the inclusion criteria. Five studies (n = 5) were related to psychosomatic health (n = 5), two studies highlighted integration and inter-articular connectivity in movement (n = 2), four studies investigated the neurological component of alignment and efficiency in dance practice (n = 4), and two studies investigated self-confidence (n = 2). Five studies (n = 5) used imagery based on the anatomical and physiological experience of body systems as the main analytical method. Four studies (n = 4) used developmental movement through Bartenieff fundamentals as the main technique for this methodology. Developmental movement and imagery are two methodologies strongly connected to the concept of neuromuscular repatterning in somatic training programmes for dancers. The acquisition of further quantitative experimental or quasi-experimental studies is warranted to better define the level of improvement or impact of neuromuscular repatterning in dancers.

El baile flamenco es una profesión con elevado riesgo de lesiones debido, entre otros factores, a las exigentes demandas de esfuerzo y a las vibraciones derivadas de los impactos del zapateado. El objetivo de este estudio fue determinar la prevalencia de antecedentes de algias y lesiones en estudiantes de baile flamenco en las enseñanzas artísticas profesionales para conocer el grado de relación del dolor como factor predisponente de lesión. La muestra analizada consta de 75 alumnas de Conservatorios Profesionales de Danza de Andalucía (17.4 ± 4.4 años). Se realizó una entrevista directa basada en preguntas dicotómicas sobre la aparición de antecedentes de algias y lesiones en 7 conjuntos articulares: pies, tobillos, rodillas, coxo-femorales, columna lumbar, columna cervical y hombros. A diferencia de otras danzas percutivas, las participantes mostraron una mayor incidencia de alteraciones funcionales y de lesiones tanto en rodillas como en columna lumbar y cervical. Posiblemente, esta diferencia sea debida a que la técnica del zapateado flamenco requiere de una semiflexión de rodillas y no integra saltos o basculaciones verticales que permitan disipar las vibraciones derivadas de los impactos.

The intense footwork required in flamenco dance may result in pain and injury. This study aimed to quantify the external load of the flamenco Zapateado-3 (Zap-3) footwork via triaxial accelerometry in the form of PlayerLoad (PL), comparing the difference in external loads at the fifth lumbar vertebra (L5), the seventh cervical vertebra (C7) and the dominant ankle (DA), and to explore whether the speed, position, axis and proficiency level of the flamenco dancer affected the external load. Twelve flamenco dancers, divided into professional and amateur groups, completed a 15-s Zap-3 footwork routine at different speeds. Triaxial accelerometry sensors were positioned at the DA, L5 and C7 and were utilized to calculate the total PlayerLoad (PLTOTAL), uniaxial PlayerLoad (PLUNI) and uniaxial contributions (PL%). For both PLTOTAL and PLUNI, this study identified significant effects of speed and position (p < 0.001), as well as the interaction between speed and position (p ≤ 0.001), and at the DA, values were significantly higher (p < 0.001) than those at C7 and L5. Significant single axis and group effects (p < 0.001) and effects of the interactions between the position and a single axis and the group and speed (p ≤ 0.001) were also identified for PLUNI. Medial-lateral PL% represented a larger contribution compared with anterior-posterior PL% and vertical PL% (p < 0.001). A significant interaction effect of position and PL% (p < 0.001) also existed. In conclusion, the Zap-3 footwork produced a significant external load at different positions, and it was affected by speed, axis and the proficiency level of the flamenco dancer. Although the ankle bears the most external load when dancing the flamenco, some external load caused by significant vibrations is also borne by the lumbar and cervical vertebrae.

Objectives: The present study analyzes the effects of a high-intensity interval training (HIIT) program based on the Tabata method on physiological and psychological variables in contemporary dancers (n = 10) and sedentary individuals (n = 8), who performed a 10-week protocol, with sessions of self-loading exercises structured in intervals of 20 s of effort and 10 s of rest three times a week. Methods: Parameters of body composition, muscle strength, aerobic and anaerobic capacity, heart rate variability, as well as perceptions of health, anxiety, stress, sleep quality, and levels of physical activity and sedentary lifestyle were evaluated. Results: The results showed that no significant changes occurred in most body composition variables, except for visceral fat, where group differences were observed (F = 5.66, p = 0.030, η²ₚ = 0.261). In the indicators of strength and power, the dancers improved the height and relative power of the jump (F = 5.996, p = 0.026, η²ₚ = 0.273), while the sedentary ones increased the strength of the handgrip (p = 0.023). In terms of functional performance, both groups significantly increased anaerobic endurance (F = 10.374, p = 0.005, η²ₚ = 0.393), although no changes were recorded in maximal oxygen consumption or heart rate variability (p > 0.05). On a psychological level, improvements in healthy lifestyle habits and a decrease in the trait anxiety variable were evidenced in dancers (p = 0.023), while in sedentary participants no relevant effects were found. Conclusions: In conclusion, the Tabata protocol may represent an efficient and complementary strategy to enhance strength, anaerobic power, and psychological well-being, particularly among dancers. The observed improvements suggest potential benefits related to movement quality, injury prevention, and general physical conditioning.