Cognitive, emotional, and somatosensory behavior in professional dancers with acute and chronic pain.

BACKGROUND: Dance has been linked in a complex manner to pain and the physical and psychological peculiarities of this discipline could influence pain perception and chronicity of pain. OBJECTIVE: To determine the differences in cognitive, emotional, and somatosensory symptoms between dancers with acute versus chronic pain. DESIGN: A cross-sectional study of professional dancers with pain. SETTING: Higher conservatory of dance. PARTICIPANTS: Thirty-four professional dancers experiencing pain were included. The cohort was divided into two subgroups: those with acute pain (<3 months duration) and those with chronic pain (>3 months duration). INTERVENTIONS: Not applicable. MAIN OUTCOME MEASURES: Pain intensity (as measured by the visual analogue scale or VAS), pressure pain threshold (PPT), Pain Catastrophizing Scale (PCS), pain-related fear of movement (Tampa Scale of Kinesiophobia [TSK-11]), fear avoidance beliefs (Fear-Avoidance Beliefs Questionnaire [FABQ]), self-efficacy (Chronic Pain Self-Efficacy Scale [CPSS]). and chronic pain severity (Chronic Pain Graded Scale [CPGS]). RESULTS: Dancers with chronic pain reported higher levels of pain intensity in daily activities (p < .01; t = 3.42; d = 1.17) and during exercise/dance (p = .02; t = 2.82; d = 0.82), as well as lower PPT in lumbar (p = .03; t = 3.22; d = 1.1) and tibialis regions (p = .01; t = 2.51; d = 0.86). Dancers with acute pain experienced worse psychological symptoms indicated by the fear of harm subscale of TSK-11 (p = .04; t = -2.08; d = 0.72), physical activity subscale of FABQ (p = .03; t = -2.27; d = 0.78), and pain management subscale of CPSS (p = .01; t = -2.76; d = 0.94) and lower scores for CPGS scale (p = .01; t = 2.99; d = 0.7 to 1.26). CONCLUSIONS: The results showed differences in pain intensity and PPT revealing higher values in dancers with chronic pain. It is possible that the physical and psychological characteristics of dancers, as well as the sociocultural aspects of this discipline, could influence the way in which this population interprets pain.

Visual motor imagery predominance in professional Spanish dancers.

Purpose: The main objectives of the study were to analyse the predominant motor imagery modality used by professional Spanish dancers and to compare Spanish dancers' ability to perform mental motor imagery with that of non-dancers, and to analyse differences between male and female dancers. As a secondary aim, to compare the motor imagery ability between two styles of Spanish dance: classical Spanish dancers and Flamenco dancers. Methods: A total of 74 participants were classified into two groups: professional Spanish dancers (n = 37) and sedentary participants (n = 37). The professional Spanish dancer group was composed of two dance disciplines: flamenco dancers (n = 17), and classical dancers (n = 20). Results: Professional Spanish dancers used predominantly visual imagery modalities over kinesthetics to generate motor imagery, with a moderate effect size (p < .01, d = 0.68). Regarding the ability to generate motor imagery, significant intergroup differences between professional Spanish dancers and sedentary participants were observed in all variables, with a large effect size (p < .05, d > 0.80). Differences were obtained between men and women among non-dancers group (t = -3.34; p = .03; d = 0.5). No differences between Flamenco and classical dancers were observed. Conclusion: Visual motor imagery modality was easier than the kinaesthetic modality in the generation of motor imagery for professional Spanish dancers regardless of the dance style. Spanish dancers had a greater ability to perform motor imagery compared with non-dancer individuals, needing less time to perform these mental tasks. Men non-dancers had a greater ability to generate motor imagery than women. Reinforcing the training of kinaesthetic motor imagery might be useful for professional Spanish dancers.

Familiarity and complexity of a movement influences motor imagery in dancers: A cross-sectional study.

The present study aimed to analyze the differences between ballet, contemporary, and flamenco dancers when generating mental motor kinesthetic and visual images of simple and complex movements. A cross-sectional study, including 45 professional dancers (15 flamenco dancers, 15 ballet dancers, and 15 contemporary dancers), was planned. We analyzed the ability to generate mental motor visual and kinesthetic images with the revised movement imagery questionnaire (MIQ-R) and mental chronometry (MC); the real movement execution (RME) chronometry was also measured, using arm and jump movement assessments. ANOVA revealed significant differences between groups regarding the jump movement assessments for the kinesthetic MIQ-R item (F = 5.29, P = 0.009), for the RME chronometry (F = 13.19, P = <0.001), and for the kinesthetic MC (F = 9.28, P < 0.001). The post-hoc analysis revealed significant differences between flamenco dancers compared with contemporary and ballet dancers for all the variables regarding the jump movement. Flamenco dancers used significantly greater visual than kinesthetic imagery modalities to generate mental motor imagery in the jump movement (P = 0.024, d = 0.63). No differences were found in the arm movement assessment between groups. Results reveal differences in the ability to generate motor images, specifically the kinesthetic ones, between flamenco dancers and ballet and contemporary dancers. When performing a non-familiar complex movement, dancers predominantly use a visual motor imagery modality, which leads to a longer execution time as well as a longer time for kinesthetic mental motor imagery.

Comparison of lumbopelvic and dynamic stability between dancers and non-dancers.

OBJECTIVE: To compare lumbopelvic stability between dancers and non-dancers by assessing lumbopelvic motor control, abdominal muscles automatic-activation, lumbar range of motion and dynamic stability. DESIGN: Cross-sectional. SETTING: University/superior-dance-conservatory. PARTICIPANTS: Twenty-two dancers and 22 non-dancers. MAIN OUTCOME MEASUREMENTS: The active straight leg raise test (ASLR) was used to test lumbopelvic motor control with pressure feedback (mmHg). Transversus, rectus anterior and internal oblique muscles thicknesses were measured at rest and ASLR. For dynamic stability, the modified Star Excursion Balance Test (mSEBT) was employed. RESULTS: Significant differences were revealed in lumbopelvic motor control between groups (p < 0.001). Abdominal muscles automatic-activation showed no differences between the groups. There were significant differences in the mSEBT for most of the test's directions, with dancers performing better than the non-dancers (p < 0.05). For the dancers, there were positive associations between motor control and dynamic stability, and between abdominal muscle thickness and mSEBT. For non-dancers, the rectus anterior activation correlated with the mSEBT. CONCLUSIONS: The dancers had better lumbopelvic motor control, dynamic stability and lumbar movements except in terms of extension, as compared with non-dancers. Therefore, this novel study could stimulate a new line of research to determine the influence of these outcomes on sports performance, prevention and injury rehabilitation.