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IADMS Miami 2000 [back to the Category]
Heart Rate and Oxygen Kinetics in Contemporary Dance: Development of a Submaximal Aerobic Test of Da [read the french version]
Emma Redding, M.Sc., Matthew Wyon, M.Sc., M. H. Sellens, Ph.D. and J. P. Shearman, Ph.D.
Authors: Emma Redding, M.Sc., Laban Centre for Dance, London; Matthew Wyon, M.Sc., Department of Sports Science, Roehampton Institute, London; M. H. Sellens, Ph.D. and J. P. Shearman, Ph.D., Department of Biological Sciences, University of Essex, Colchester, England
The aim of this study was two fold: to assess the possibility of estimating oxygen consumption from heart rate during training for contemporary dance and to determine a submaximal protocol for evaluating aerobic fitness in contemporary dancers. Few studies have looked at the physiological nature of dance, possibly because of the difficulties of measuring physiological parameters during class, rehearsal, or performance. Dance can consist of fast jerky movements, off-balance turns, twists and falls to the floor. Previous studies have noted that these movements, and safety, could be compromised if the dancers wear the usual cumbersome oxygen consumption measuring equipment. Being able to establish that there is a relationship between physiological parameters (HR, oxygen consumption, RQ) measured during treadmill running and HR obtained during contemporary dancing would therefore be of benefit in determining the correct work output for dancers during training. Previous studies have either used restrictive oxygen measuring equipment or have predicted oxygen consumption from dance heart rates on the basis of the linear relationship between heart rate and oxygen consumption values established in laboratory tests (e.g., treadmill running). However no study has tested the validity of this method of work rate prediction.
In recent years sports science has shown the importance of fitness testing that is activity specific. To date, no valid dance-specific fitness tests for contemporary dance exist. Such information can be useful for rehabilitation purposes, for the return of injured dancer’s, and for class leveling.
Methods
Nineteen elite contemporary dancers from the Rambert Dance Company and Transitions Dance Company took part in both parts of the investigation. The oxygen consumption and heart rate of the dancers were determined during their daily 90-minute contemporary dance class using portable K4 b2 gas analyzers. The dancers were then monitored during a treadmill test using the same equipment.
Results
Results showed that the mean differences in average heart rate between class (146 min-1) and treadmill (149 min-1) was not significant at 3.2%. Furthermore there was a significant correlation between mean heart rates recorded during class and on the treadmill (r = 0.9, p < 0.01). However, when the data is analyzed relative to exercise intensity, the heart rate data in class is only a valid predictor of work output at intensities greater than 40 ml·kg·min-1. From these data it appears that it is only valid to use heart rate during class to predict the oxygen consumption of dancers, at higher intensities.
Discussion
The implications of this finding are that physiologists and dance educators can gain a greater and more reliable insight into the physiological aspects of dance and develop more effective training programs.
A submaximal protocol for evaluating aerobic fitness in contemporary dancers was devised. Movements similar to those carried out in a typical Limon style contemporary dance class; swings, lunges, plies and jumps in first and parallel position were set to a steady beat using a metronome. The movement phrase was carried out at five stages (4 minutes per stage). At each stage, intensity was gradually increased; either the movements were developed or the speed was increased. The reliability of this protocol is currently being examined on student and professional dancers in Britain. A fitness test of this kind will allow dance teachers and rehearsal directors to determine whether a dancer is fit enough to dance for 20 min without compromising the movement either artistically or technically. Such a test could be used for comparative analysis before and after training, for the return of injured dancer’s and for class leveling.
This is the abstract of a paper presented at the Tenth Annual Meeting of the International Association for Dance Medicine and Science, held 27-29 October 2000 in Miami, Florida, USA. All rights are reserved by the individual author(s).
The aim of this study was two fold: to assess the possibility of estimating oxygen consumption from heart rate during training for contemporary dance and to determine a submaximal protocol for evaluating aerobic fitness in contemporary dancers. Few studies have looked at the physiological nature of dance, possibly because of the difficulties of measuring physiological parameters during class, rehearsal, or performance. Dance can consist of fast jerky movements, off-balance turns, twists and falls to the floor. Previous studies have noted that these movements, and safety, could be compromised if the dancers wear the usual cumbersome oxygen consumption measuring equipment. Being able to establish that there is a relationship between physiological parameters (HR, oxygen consumption, RQ) measured during treadmill running and HR obtained during contemporary dancing would therefore be of benefit in determining the correct work output for dancers during training. Previous studies have either used restrictive oxygen measuring equipment or have predicted oxygen consumption from dance heart rates on the basis of the linear relationship between heart rate and oxygen consumption values established in laboratory tests (e.g., treadmill running). However no study has tested the validity of this method of work rate prediction.
In recent years sports science has shown the importance of fitness testing that is activity specific. To date, no valid dance-specific fitness tests for contemporary dance exist. Such information can be useful for rehabilitation purposes, for the return of injured dancer’s, and for class leveling.
Methods
Nineteen elite contemporary dancers from the Rambert Dance Company and Transitions Dance Company took part in both parts of the investigation. The oxygen consumption and heart rate of the dancers were determined during their daily 90-minute contemporary dance class using portable K4 b2 gas analyzers. The dancers were then monitored during a treadmill test using the same equipment.
Results
Results showed that the mean differences in average heart rate between class (146 min-1) and treadmill (149 min-1) was not significant at 3.2%. Furthermore there was a significant correlation between mean heart rates recorded during class and on the treadmill (r = 0.9, p < 0.01). However, when the data is analyzed relative to exercise intensity, the heart rate data in class is only a valid predictor of work output at intensities greater than 40 ml·kg·min-1. From these data it appears that it is only valid to use heart rate during class to predict the oxygen consumption of dancers, at higher intensities.
Discussion
The implications of this finding are that physiologists and dance educators can gain a greater and more reliable insight into the physiological aspects of dance and develop more effective training programs.
A submaximal protocol for evaluating aerobic fitness in contemporary dancers was devised. Movements similar to those carried out in a typical Limon style contemporary dance class; swings, lunges, plies and jumps in first and parallel position were set to a steady beat using a metronome. The movement phrase was carried out at five stages (4 minutes per stage). At each stage, intensity was gradually increased; either the movements were developed or the speed was increased. The reliability of this protocol is currently being examined on student and professional dancers in Britain. A fitness test of this kind will allow dance teachers and rehearsal directors to determine whether a dancer is fit enough to dance for 20 min without compromising the movement either artistically or technically. Such a test could be used for comparative analysis before and after training, for the return of injured dancer’s and for class leveling.
This is the abstract of a paper presented at the Tenth Annual Meeting of the International Association for Dance Medicine and Science, held 27-29 October 2000 in Miami, Florida, USA. All rights are reserved by the individual author(s).
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