{"id":149,"date":"2008-02-22T11:23:58","date_gmt":"2008-02-22T17:23:58","guid":{"rendered":""},"modified":"2017-08-07T11:50:44","modified_gmt":"2017-08-07T16:50:44","slug":"plyometrics-or-jump-training-for-dancers","status":"publish","type":"post","link":"https:\/\/thesportjournal.org\/article\/plyometrics-or-jump-training-for-dancers\/","title":{"rendered":"Plyometrics, or Jump Training for Dancers"},"content":{"rendered":"<div class=\"submitted\">Submitted by: Brenda G. Griner, Douglas Boatwright, and Dan Howell<\/div>\n<div class=\"submitted\"><\/div>\n<div class=\"submitted\">One question that many dancers ask is, \u201cHow can I get my jumps higher?\u201d The repetitive execution of demi-plie is used to improve timing, alignment, strength, torso stability, and coordination of joint movement; it is also a first component of other movements, such as pirouette, releve, and all aerial movements (Trepman, Gellman, Micheli, &amp; De Luca, 1998). Four principles must be applied when executing jumps of any kind. First, any jump must begin in demi-plie. Second, in order to take the jump into the air, the dancer must press off the floor by fully pointing the foot. Third, the dancer must land on the balls of the feet, rolling through to the heels. Fourth,\u00a0the jump must end in demi-plie (Kraines &amp; Pryor, 2001).<\/div>\n<p><!--Break--><\/p>\n<p>Little information is found analyzing how dancers use their muscles to perform highly trained movements such as leaps and jumps. Instead, most studies focus on the treatment of injuries sustained by dancers (Trepman et al., 1998). Some injuries, according to Hobby\u00a0and\u00a0Hoffmaster (1986), involve &#8220;muscle imbalances&#8221; resulting from dance training that \u201cplaces specific demands on . . . bodies\u201d (p. 39). Incorrect training can, in other words,\u00a0produce underdeveloped or overdeveloped muscle groups. A study by Simpson and Kanter (1997) indicated that injury to lower extremities is common among dancers pursuing various forms of dance, for instance modern dance, jazz dance, and ballet. It linked chronic dance injuries to improper landing when jumping.<\/p>\n<p>Many of the skills required in dance are also used in sports like figure skating and gymnastics (McQueen, 1986). Certain sport training techniques, therefore,\u00a0can be useful to dancers (McQueen, 1986). Fahey (2000) noted that,\u00a0\u201cJumping exercises and plyometrics enhance performance in strength-speed sports because they increase leg power and train the nervous system to activate large muscle groups when you move\u201d (p. 76). Hutchinson and colleagues&#8217; study of elite gymnasts suggested that leap training utilizing a swimming pool as well as Pilates safely enhanced leaping ability (Hutchinson, Tremain, Christiansen, &amp; Beitzel, 1998). In the study, after one month of training, gymnasts improved their explosive power by 220%, their ground reaction time by 50%, and the height of their leaps by 16.2%.<\/p>\n<p>The objective of plyometrics is to generate the greatest amount of force in the shortest amount of time (Seabourne, 2000). Plyometrics trains the nervous system and metabolic pathways to increase explosiveness, giving the athlete an extra push to move higher and faster. Plyometrics requires acceleration through a complete range of motion, followed by relaxation into a full stretch. The quick stretch applied to the muscle by the athlete during initial push-off is thought to increase muscle contraction, in turn increasing power. The Cincinnati SportsMedicine and Orthopaedic Center has developed\u00a0a plyometrics-based program\u00a0called <em>Sportsmetrics,\u00a0<\/em>which has been shown to increase jump height and decrease harmful landings (Hewett &amp; Noyes, 1998). Hewett, Stroupe,\u00a0and Riccobene (1999) analyzed the effects of 6 weeks of\u00a0Sportsmetrics training in female athletes, finding that, after completing the program,\u00a0the athletes&#8217; peak landing forces decreased by 22%, lateral and medial forces at the knee dropped by 50%, and the height of jumps increased 10%. Furthermore,\u00a0\u00a0hamstring-to-quadriceps strength ratio rose from 50% to 66%, creating &#8220;a more favorable condition for the ACL [anterior cruciate ligament]\u201d (Boden, Griffin, &amp; Garrett, 2000, p. 57). Plyometrics training has been shown to generate greater strength output with fewer injuries, and the present study&#8217;s purpose was to assess the effects of a 7-week plyometrics program on the vertical jumps and leaps executed by collegiate dancers.<\/p>\n<p>]Method[<\/p>\n<p>With approval of the appropriate human subjects review board, a sample of 12 female members of a Division I college dance team participated in a plyometrics training program. The specific program used was the Cincinnati SportsMedicine and Orthopaedic Center&#8217;s Sportsmetrics program, in which the dancers participated for 7 weeks. Vertical jumps were measured using a Vertec vertical height measuring device. Strength measurements were made using a CYBEX II isokinetic testing and rehabilitation system and HUMAC software for\u00a0CYBEX by CSMI.<\/p>\n<p>Initially, a meeting was convened during which the Sportsmetrics program was explained in detail to the 12 participants. They were told that the program would be used 3 times a week for 7 weeks. The program featured approximately 40 min of various jumping exercises. Every week, the amount of time devoted to each exercise increased. The participants kept records of how many repetitions of each they completed. After completing the session, the participants continued with a rehearsal lasting\u00a01\u20132 hr. Every two weeks, the participants were taught a new program of increased difficulty. The plyometrics program carried the dancers into the beginning of their regular season workouts and game performances.<\/p>\n<p>The 12 participants completed a pretest consisting of a 5-min warm-up and 5-min stretch. Height and weight of each participant were recorded.\u00a0For each participant a\u00a0standing reach measurement was also obtained, as the participant stood with feet hip-width apart, eyes forward, and reached vertically, the dominant hand on top of the other hand, using the Vertec vertical height measuring device. Using the Vertec vertical height measuring device, each participant executed a standing two-leg jump; the best of three efforts was recorded.<\/p>\n<p>Using the same device, a two-step leap off of the right leg and a two-step leap off of the left leg were evaluated. Participants stood behind the Vertec and attempted a run, run, leap off of the right leg, with the left leg flexed at the knee and the right hand\u00a0reaching up. The foot was plantar flexed and placed against the medial side of the knee in <em>passe <\/em>position. The same leap was executed off of the left leg, with the right leg flexed at the knee.<\/p>\n<p>To obtain strength measurements, the participants were evaluated in a sports medicine laboratory. Each dancer was first of all familiarized with the CYBEX II equipment. Standard protocols for measuring thigh strength with the CYBEX II were used. All posttest measurements were taken after the participants had completed 7 weeks of training. Pre- and posttest data were analyzed using a paired <em>t <\/em>test, with alpha set at 0.05.<\/p>\n<p>]Results and Discussion[<\/p>\n<p>There were five freshmen, one sophomore, four juniors, and two seniors on the dance team from which the study participants were drawn. The participants&#8217;\u00a0biometric data\u00a0were as follows: age in years, 19.7 <span style=\"text-decoration-line: underline;\">+<\/span> 1.5; height in meters, 1.65 <span style=\"text-decoration-line: underline;\">+<\/span> 0.06; and weight\u00a0in kilograms,\u00a057.4 <span style=\"text-decoration-line: underline;\">+<\/span> 6.38. In posttests after 7 weeks of plyometrics training, the right quadriceps peak torque at 180 deg\/s (<em>M<\/em> = 57.9 ft lb) was significantly higher than that from the pretest (<em>M<\/em> = 54.3 ft lb), <em>t <\/em>(11) = -2.435, <em>p<\/em> &lt; .05. Furthermore, although the difference was not statistically significant,\u00a0 the change between pretest means for the left quadriceps peak torque at\u00a0180 deg\/s (<em>M<\/em> = 54.2 ft lb) and posttest\u00a0\u00a0means\u00a0(<em>M<\/em> = 57.8 ft lb) did indicate improvement, <em>t <\/em>(11) = \u00a0-1.904, <em>p<\/em> &gt; .05. Vertical jump measures taken after 7 weeks of plyometrics training indicated a significant difference, <em>t<\/em> (11) =\u00a0-4.59, <em>p<\/em> &lt; .05. Also noted was significant improvement in the two-step jump off the right foot, <em>t <\/em>(11) = -2.5, <em>p<\/em> &lt; .05. No such improvement was noted for the\u00a0two-step jump off\u00a0 the left foot, <em>t <\/em>(11) = -1.05, <em>p<\/em> &gt; .05.<\/p>\n<p>Thus after 7 weeks of plyometrics training, there were increases in strength in the right leg at 180 deg\/s. Strength in the left leg also showed improvement in peak torque performance at 180 deg\/s, although not at the level of significance. Significant improvement was seen for the vertical jump and the two-step jump off the right foot.<\/p>\n<p>Most dance teachers teach leaps off of both feet, off the left foot, and off the right foot. However, because many dancers jump off the left foot when executing leaps in classroom combinations at center or in performance, many if not most dancers may exhibit an imbalance in lower limb strength. The 7-week plyometrics program employed in this study may have diminished any imbalance of strength in these dancers.<\/p>\n<p>Further investigation with other dancers is warranted on this topic. It may prove useful to test dancers in middle school, high school, and college. In addition, it may be beneficial not only to take isokinetic strength measures, but a measure of isometric strength as well. The possibility that dance training may develop lower-limb muscle imbalances in dancers should be investigated, as should the usefulness of\u00a0plyometrics training for younger dancers to prevent any such imbalances.<\/p>\n<p>]References[<\/p>\n<p>Boden, B. P., Griffin, L. Y., &amp; Garrett, W. E. (2000). Etiology and prevention of noncontact ACL injury. <em>The Physician and Sportsmedicine<\/em>, <em>28<\/em>(4), 53\u201350.<\/p>\n<p>Fahey, T. D. (2000). <em>Super fitness for sports, conditioning, and health<\/em>. Needham Heights, MA: Allyn\u00a0and Bacon.<\/p>\n<p>Hewett, T. E., &amp; Noyes, F. (1998). Cincinnati Sportsmetrics: A jump training program proven to prevent knee injury [Motion picture]. United States: Cincinnati (Ohio) SportsMedicine Research\u00a0and Education Foundation.<\/p>\n<p>Hewett, T. E., Stroupe, A. L., &amp; Nance, T. A. (1996). Plyometric training in female athletes: A prospective study. <em>American Journal of Sports Medicine, 24<\/em>(6), 765\u2013773.<\/p>\n<p>Hobby, K., &amp; Hoffmaster, L. (1986). In D. Paterson, G. Lapenskie, &amp; A. W. Taylor (eds.), <em>The medical aspects of dance<\/em>. London, Ontario, Canada: Sports Dynamics.<\/p>\n<p>Hutchinson, M. R., Tremain, L., Christiansen, J., &amp; Beitzel, J. (1998). Improving leaping ability in elite rhythmic gymnasts. <em>Medicine and Science in Sports and Exercise, 30, <\/em>1543\u20131547.<\/p>\n<p>Kraines, M. G., &amp; Pryor, E. (2001). Jump into jazz: <em>The basics and beyond for the jazz student<\/em> (4th ed). Mountain View, CA: Mayfield.<\/p>\n<p>McQueen, C. (1986). In D. Paterson, G. Lapenskie, &amp; A. W. Taylor (eds.), <em>The medical aspects of dance<\/em>. London, Ontario, Canada: Sports Dynamics.<\/p>\n<p>Seabourne, T. (2000). The power of plyometrics. <em>American Fitness, 18,<\/em> 64\u201366.<\/p>\n<p>Simpson, K. J., &amp; Kanter, L. (1997). Jump distance of dance landings influencing internal joint forces: I. axial forces. <em>Medicine and Science in Sports and Exercise, 29, <\/em>916\u2013927.<\/p>\n<p>Trepman, E., Gellman, R. E., Micheli, L. J., &amp; De Luca, C. J. (1998). Electromyographic analysis of grand plie in ballet and modern dancers. <em>Medicine and Science in Sports and Exercise, 30<\/em>(12), 1708\u20131720.<\/p>\n<p>Author Note<\/p>\n<p>Brenda G. Griner, Department of Health and Kinesiology and Department of Music, Theater, and Dance, Lamar University; Douglas Boatwright, Department of Health and Kinesiology, Lamar University;\u00a0Dan Howell, Department of Health and Kinesiology, Lamar University, and Beaumont (Texas) Bone and Joint.<\/p>\n","protected":false},"excerpt":{"rendered":"<div class=\"submitted\">Submitted by: Brenda G. Griner, B.S., Douglas Boatwright, Ph.D. and Douglas Boatwright, Ph.D.<\/div>\n<p><strong>Introduction<\/strong><\/p>\n<p>\n                    One question that many dancers ask is, &#8220;How can I get<br \/>\n                    my jumps higher?&#8221; The repetitive execution of demi-plie<br \/>\n                    is used to improve timing, alignment, strength, torso stability,<br \/>\n                    coordination of joint movement, and finally, as a first component<br \/>\n                    of other movements such as pirouette, releve&#8217;, and all<br \/>\n                    aerial movements (Trepman, et al., 1998). There are four principles<br \/>\n                    that must be applied when executing jumps of any kind (Kraines<br \/>\n                    &amp; Pryor, 2001): (1) all jumps must begin in demi-plie,<br \/>\n                    (2) in order to get the jump into the air, dancers must press<br \/>\n                    off the floor by fully pointing the foot, (3) the dancer must<br \/>\n                    land on the balls of the feet and roll through to the heels,<br \/>\n                    and (4) the jump must end in demi-plie.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_options":[]},"categories":[295,292],"tags":[8,23,47,53],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4btio-2p","jetpack-related-posts":[{"id":6314,"url":"https:\/\/thesportjournal.org\/article\/biomechanical-comparison-of-dead-and-new-pointe-shoes-in-female-professional-ballet-dancers\/","url_meta":{"origin":149,"position":0},"title":"Biomechanical Comparison of \u201cDead\u201d and \u201cNew\u201d Pointe Shoes in Female Professional Ballet Dancers","date":"February 14, 2019","format":false,"excerpt":"Authors: Jessica Aquino, MS and Tal Amasay, PhD Corresponding Author: Tal Amasay, PhD, CSCS, EPC11300 NE 2nd AveMiami Shores, FL 33161tamasay@barry.edu305-899-4893 Jessica Aquino has a master degree in movement sciences, is a certified athletic trainer, and work with professional Ballet dancers. 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This study\u2026","rel":"","context":"In &quot;Sports Coaching&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":54,"url":"https:\/\/thesportjournal.org\/article\/analysis-of-selected-physical-and-performance-attributes-of-the-united-states-olympic-team-handball-players-preliminary-study\/","url_meta":{"origin":149,"position":2},"title":"Analysis of Selected Physical and Performance Attributes of the United States Olympic Team Handball Players: Preliminary Study","date":"February 11, 2008","format":false,"excerpt":"Submitted by: Brian Bergemann, Ph.D. During the Spring of 1995, prior to the Olympic Games in Atlanta, the United States Team Handball team and coaches came to the United States Sports Academy in Daphne, AL for testing. Dr. Thomas P. Rosandich, president of the U.S. Team Handball Federation, and the\u2026","rel":"","context":"In &quot;Sports Coaching&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":75,"url":"https:\/\/thesportjournal.org\/article\/ioc-culture-and-olympic-education-forum-introduction\/","url_meta":{"origin":149,"position":3},"title":"IOC Culture and Olympic Education Forum : Introduction","date":"February 13, 2008","format":false,"excerpt":"Submitted by: Juan Antonia Samaranch Since its origins, the Olympic Movement has always wished to associate the movements of sport with the thought processes linked to cultural activity, be it sculpture, paintings, literature, music or architecture. At the start of the third millennium, this desire clearly remains as relevant as\u2026","rel":"","context":"In &quot;Sports History&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7348,"url":"https:\/\/thesportjournal.org\/article\/an-evaluation-of-professional-regional-soccer-goalkeepers-using-three-different-choice-reaction-times-and-vertical-jumps\/","url_meta":{"origin":149,"position":4},"title":"An evaluation of professional regional soccer goalkeepers using three different choice reaction times and vertical jumps","date":"August 28, 2020","format":false,"excerpt":"Authors:\u00a0 R\u0131dvan \u00c7olak1, Eda A\u011fa\u015fc\u0131o\u011flu2 1 Department of Physical Education and Sports, Ardahan University, Ardahan, Turkey.2Department of Sports Training, Galata University, \u0130stanbul, Turkey. Corresponding Author:R\u0131dvan \u00c7olak, Ph. D., Assistant ProfessorE-mail: colak.ridvan@gmail.comGSM: +905556229421, Fax: +904782117514Orcid ID: https:\/\/orcid.org\/0000-0002 -7998-5847 R\u0131dvan \u00c7olak, Ph. D., is an Assistant Professor of Physical Education and Sports\u2026","rel":"","context":"In &quot;Research&quot;","img":{"alt_text":"Figure 1. NumRT-\u00c7olak","src":"https:\/\/i0.wp.com\/thesportjournal.org\/wp-content\/uploads\/2020\/08\/Figure-1.-NumRT-\u00c7olak.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":71,"url":"https:\/\/thesportjournal.org\/article\/ioc-culture-and-olympic-education-forum-thesis-on-culture\/","url_meta":{"origin":149,"position":5},"title":"IOC Culture and Olympic Education Forum : Thesis on Culture and Olympism","date":"February 13, 2008","format":false,"excerpt":"Submitted by: Dr. Ren Hai In the human species individuals are born cultureless. Ancient Greeks successfully used sport in building up their brilliant civilizations. Impacts of culture and education on sport are undeniable. 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