1 / 18

The Biomechanics of Dance Kicks

The Biomechanics of Dance Kicks. An Analysis of the Muscles Used During Three Different Dance Kicks. Warm-Up. Barre (Introduction) Centre-practice (The Background) Adage (Methods) Pirouettes (Results) Alleggro (Discussion) The Dance (Conclusion). Barre. Why was the topic chosen?

zena-boyd
Download Presentation

The Biomechanics of Dance Kicks

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. The Biomechanics of Dance Kicks An Analysis of the Muscles Used During Three Different Dance Kicks

  2. Warm-Up • Barre (Introduction) • Centre-practice (The Background) • Adage (Methods) • Pirouettes (Results) • Alleggro (Discussion) • The Dance (Conclusion)

  3. Barre • Why was the topic chosen? • Personal Interest in dance • Previous injury during dance • Study different muscles used with dancer and non-dancer • Why researchers study the mechanics of kicking • We wanted to compare the muscles used during different styles of kicking between an experienced dancer versus a non dancer • Would the muscle usage be the same performing the same kicks from a trained dancer to a non-dancer?

  4. Centre Practice • Dance Kicks vs. Soccer Kicks • Research (Barfield, 2002) has found that soccer kick main studies consist of ball velocity • Dance kicks study height of kick, line of the leg (drop of hip) • Soccer kick, hip rotates • Dance kick, there is no hip rotation, pelvis stays level

  5. Centre Practice • Dancer vs. Non-Dancer (Study) • Large difference is balance • Non-dancer used more lateral flexion of the trunk to maintain balance • Dancer compensates with less abduction of the hip joint (not lifting her leg as high keeps trunk more balanced) • Non-dancer sacrificed a steady trunk

  6. Adage • Subjects: • Dancer • Female aged 21 • 18 years dance experience • Non Dancer • Female aged 21 • No experience dancing, but experience in related activities

  7. Adage • Equipment Used: • Video Camera • Reflective Markers • Digitizing by use of APAS system • Analysis using the Biomech Motion Analysis System

  8. Adage • Styles of Kicks • Battements (Straight Leg Kick) • Battements with developpé (Flexed Knee Kick) • Renversé (Side Kick) • Pre-Stretch • Number of trials • Subject 1 (Dancer): 18 trials • Subject 2 (Non-Dancer): 9 trials

  9. 20. 20. 0. 0. -20. -20. 100. 100. 0. 0. -100. -100. 500. 500. Power (W) Moment (N.m) Angular vel. (/s) Power (W) Moment (N.m) Angular vel. (/s) 0. 0. -500. -500. -1000. -1000. 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 1.3 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 Time (s) Time (s) Pirouettes • Knee Angular Velocity (Flexed Knee Kick) Dancer Non-Dancer Knee angular velocity, moment and power Knee angular velocity, moment and power Extending Extending Trial: STEFFK Trial: HOLL002 Flexing Flexing Ang. vel. Ang. vel. Net moment Net moment Extensor Extensor Power Power Flexor Flexor Concentric Concentric Eccentric Eccentric TOP TOP

  10. Hip angular velocity, moment and power Hip angular velocity, moment and power 20. 20. 0. 0. -20. -20. Trial: HOLST002 Trial: HOLST002 Ang. vel. Ang. vel. Net moment 100. Net moment 100. 0. 0. -100. -100. 500. 500. Power (W) Moment (N.m) Angular vel. (/s) Power (W) Moment (N.m) Angular vel. (/s) 0. 0. -500. -500. -1000. -1000. 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 1.3 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 Time (s) Time (s) Pirouettes • Hip Angular Velocity (Straight Leg Kick) Dancer Non-Dancer Hip angular velocity, moment and power Flexing Flexing Flexing Trial: STEFST2 Extending Extending Ang. vel. Extending Net moment Flexor Power Flexor Power Flexor Power Extensor Extensor Extensor Concentric Concentric Concentric Eccentric Eccentric ITO TOP TOP IFS Eccentric TOP IFS

  11. 20. 20. 0. 0. -20. -20. 100. 100. 0. 0. -100. -100. 500. 500. Power (W) Moment (N.m) Angular vel. (/s) Power (W) Moment (N.m) Angular vel. (/s) 0. 0. -500. -500. -1000. -1000. 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 1.1 1.2 0.0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 Time (s) Time (s) Pirouettes • Hip Angular Velocity (Side Kick) DancerNon-Dancer Hip angular velocity, moment and power Hip angular velocity, moment and power Hip angular velocity, moment and power Adducting Adducting Adducting Trial: HOL19 Trial: STEFSIDE Abducting Abducting Trial: STEFSIDE Ang. vel. Ang. vel. Abducting Net moment Ang. vel. Net moment Adductor Power Adductor Net moment Power Adductor Power Abductor Abductor Abductor Concentric Concentric Concentric Eccentric Eccentric Eccentric ITO TOP ITO TOP ITO TOP

  12. Alleggro • Side Kicks: • Our results show more adduction at the top of non-dancers • Dancer shows more abduction from the toe-off to the top • Research by Bryzik et al. () contradicts this by saying the non-dancer will display more abducter motion in order to lift the leg higher

  13. Alleggro • Straight Leg Kicks • Top of extension, dancer’s leg displays more extension of the hip than non-dancer • Eccentric power of hip much larger just before reaching the top of dancer’s kick • Concentric power used to bring the leg back down, unseen in non-dancer • Non-dancer up on toes during kicks, not proper

  14. Alleggro • Flexed Knee Kick • Fluidity, lack in the non-dancer, very choppy when the leg is ascending • Dancer displays more concentric power just prior to reaching top of kick, non-dancer only displays a slight burst • Flexors display clean moment before, through and after the top of the kick (shorter in non-dancer) • Slight extensor moment at the beginning of non-dancer’s kick, dancer finished with an extensor moment

  15. Alleggro • Effective: • the dancers will do many more exercises, each designed with a specific purpose, to work on a certain movement or to strengthen a certain muscle • The legs can be moved more freely from the turned-out position than from a natural one

  16. Alleggro • Muscle Usage: • Between all three kicks, apparent of the different uses of the muscles by the dancer and non-dancer • The training for the dancer, teaches them to use their muscles in moe efficient ways • In research by Bryzik et al. () it was stated that the non-dancer and dancer had similar adduction angles, which was similar to our subjects, their adduction moments were very similar • Benefits – injury prevention

  17. The Dance • Comparing the dancer from the non-dancer, apparent to see the difference in muscles used during certain periods of the kicks • Also the fluidity of the motion of the dancer is much smoother • Answer to Question: • No, because of the dancer`s training and kinesthetic awareness

  18. QUESTIONS & COMMENTS

More Related