The Effect of a Resistance Training Program on Passive and Active En Dehors: A Multiple Case Study

The Effect of a Resistance Training Program on Passive and Active En Dehors: A Multiple Case Study

Fabiola Bertu Medeiros (Federal University of Minas Gerais, Belo Horizonte, Brazil), Luciana Celia Bruschi Lapas (Bastidores: Dance, Research and Training, Belo Horizonte, Brazil) and Cecilia Barroso Tomaz (Bastidores: Dance, Research and Training, Belo Horizonte, Brazil)
Copyright: © 2018 |Pages: 12
DOI: 10.4018/IJACDT.2018010104

Abstract

This article evaluates the effect of a supplementary resistance training program on passive and active hip external rotation on a ballet group. Fifteen Brazilian ballet dancers participated in the study. The passive hip external rotation was evaluated by a hip articular mobility test and the active hip external rotation in the first position en dehors in a self-selected angle. The resistance training protocol was based on The Best Performance Movement exercise method. Four 20-minute sessions per week were performed for three months. The paired t-test was performed to compare the passive and active hip external rotation pre- and post-training, with a significance level of 0.05. The paired t test showed that hip active external rotation improved after the resistance training, suggesting that the hip external rotation is muscle strength dependent.
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Background

Dance is an art, formed through body language, communication, and expression that becomes a possibility for the establishment and development of motor skills, with specialized aesthetic and artistic qualities, feelings, and ideas (Trevisan &Schwartz, 2012). Classical ballet is one of the most complex dancing styles, requiring specific skills which are dependent on the development of strength, flexibility, and resistance (Misigoj-Durakovic et al., 2001). The complexity is enlarged by the necessity of performing all movements in the en dehors position (Santos, 2017).

The en dehors, or hip external rotation (HER), is required in the majority of classical ballet movements (Aquino et al., 2010). The five basic initial positions in classical ballet are based on the en dehors (Sutton-Traina et al., 2015) (Figure 1), in addition, jumps, pirouettes or balance are also performed in the en dehors, despite the support of one or two feet (Bennel et al., 1999; Lin et al., 2011).

Figure 1.

En dehors and feet position Source: Bárbara Pessali-Marques personal arquive

The en dehors is a posture in which the dancer performs an external rotation of the hips, whilst positioning the feet 180º from each other (Aquino et al., 2010; Bennel et al., 1999; Bennel et al., 2001; Hamilton et al., 2006; Sutton-Traina et al., 2015). Due to this position, the degree of HER is considered an important physical demand for ballet dancers, and a requirement for dancers who aspires professionalization. The literature concerning the capacity of performing the en dehors, however, is scarce.

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