Dissertation by

17.1)

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26.03.2020
Interview with Becki Caines. Part 1

17.2)

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Interview with Becki Caines. Part 2

17.3)

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Interview with Becki Caines. Part 3

17) Consent form (Becki Caines)

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26.03.2020

15) Consent form (Tom Crawford)

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01.04.2020

13) Video footage of recovery facilities/ rehabilitation available to a professional footballer (Tom Crawford)

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01.04.2020

15.2) Tom Crawford's completed emailed interview responses

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01.04.2020

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Due to the unfortunate climate of Covid 19; my primary research was conducted through email response (PDF), voice note, Zoom (video call) and Survey Monkey.

15.1) Tom Crawford's interview questions

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18) Consent form (Jasmyne Taylor)

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06.04.2020

18.1) Jasmyne Taylor interview questions

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18.2) Jasmyne Taylor's completed emailed interview responses

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06.04.2020

16) Consent form (Danielle Burgess)

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03.04.2020

21) Consent form (Georgia Ganly)

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22) Molly Patterson (consent form)

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19.1) Sue Luke's completed emailed interview responses

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19) Consent form (Sue Luke)

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16.1) Interview with Danielle Burgess

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9) Psychological recovery: Progressive muscle relaxation (PMR), anxiety, and sleep in dancers

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McCloughan, L., Hanrahan, S., Anderson, R. and Halson, S., 2016. Psychological recovery: Progressive muscle relaxation (PMR), anxiety, and sleep in dancers. Performance Enhancement & Health, [online] 4(1-2), pp.12-17. Available at: [Accessed 14 May 2020].

14) One Dance UK- Healthier Dancer Programme

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One Dance UK. 2020. Healthier Dancer Programme - One Dance UK. [online] Available at: [Accessed 15 May 2020].

1) Additional source from Literature Review

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Murgia, C., 2013. Overuse, Fatigue, and Injury: Neurological, Psychological, Physiological, and Clinical Aspects. Journal of Dance Medicine & Science, [online] 17(2), pp.51-52. Available at: [Accessed 8 April 2020].

2) Survey response

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3) Survey response

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4) Survey Response

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5) Survey Response

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6) Survey Response

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7) Survey Response

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8) Survey Response

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10) Survey Response

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10.1)

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10.2)

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11)

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12) Survey Response

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Contents-

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Source 1: Additional source from Literature Review (1-1.9)
1.2 Continuation of Literature Review (1.2-1.9)
Source 2: Survey response (graph)
Source 3: Survey response (graph)
Source 4: Ganly, (2020) Survey response
Source 5: Patterson, (2020) Survey response
Source 6: Ganly, (2020) Survey Response
Source 7: Ganly, (2020) Survey response
Source 8: Patterson, (2020) Survey response
Source 9: Interesting article
Source 10: Survey response (ratio)
Source 11: Holland, (2020) Survey response
Source 12: Williams, (2020) Survey response
Source 13: Video footage of Crawford, (2020)'s rehabilitation centre
Source 14: Article on the Healthier Dance Programme
15-22 - Cover letters, consent forms, interview evidence

20) Consent form signature (Kyah Lomax)

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20.2) Kyah Lomax's completed interview responses

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Original cover letter and consent form

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20.1) Kyah Lomax's interview questions

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20.3) Continuation of responses

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20.4) Continuation of responses

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20.5) Continuation of responses

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By pressing Ok all respondents confirmed consent (Survey Monkey)

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1.2) Continuation of Literature Review

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First Source:
Koutedakis, Y. and Jamurtas, A. (2004). The Dancer as a Performing Athlete. Sports Medicine, [online] 34(10), pp.651-661. Available at: https://www.ncbi.nlm.nih.gov/pubmed/?term=The+dancer+as+a+performing+athlete%3A+physiological+considerations [Accessed 03 April. 2020].

Literature Review PCD6010

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‘Overuse, Fatigue, and Injury: Neurological, Psychological, Physiological, and Clinical Aspects’ (2013).

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1.3 Written by Carla Murgia, a Professor in the Department of Public and Allied Health Sciences at Delaware State University, this source proves to be both reliable and enlightening. Moreover, through the author’s own qualitative research findings, the journal strengthens the idea surrounding my dissertation thesis.

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1.2) Provides a rationale for integrating requisite periods of rest into training regimes and critically depicts the multi-factorial components of fatigue, in relation to injury.

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1.7 Murgia, (2013) discloses that “what the dancing population may not adequately understand is that fatigue and lack of rest for repair create optimal conditions for injury occurrence and recurrence”.

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1.5 Vigorous training frameworks and practices “tends to provide little or no time for periods of rest and recovery, which are much needed for tissue repair and avoidance of injury” (Murgia, 2013).
By extension, greater research has indicated that current elite-vocational practices may not adequately understand the correct balance between a prolonged, athletic approach and requisite periods of rest; which may hinder one’s health and wellbeing.

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1.6 “Rarely will you find differences among off-season, pre-season, and in-season dance training schedules, as opposed to those of most other athletes, who subscribe to periodized training” (Murgia, 2013), yet the fitness principles shared by both professions remain almost identical and paramount to one’s career.

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1.4 Within the literature, the author acknowledges that “dancers at the pre- elite and elite levels operate with the knowledge that an injury may result in the loss of a role or position” (Murgia, 2013); consequently, “they all too commonly condition, train, practice, and rehearse through injuries” (Murgia, 2013).

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1.8 Murgia, (2013) insinuates “the importance of rest, which permits tissues the time needed for recovery, should not be minimized”, as “overtraining and over- use occur when the body's structural breakdown outpaces its ability to repair and recover” (Murgia, 2013).

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1.9 The purpose of this journal was a review directed to those who oversee elite health care needs and the consequences of fatigue.

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Murgia, (2013) concludes “prolonged or high intensity exercise related to long hours of physical training, rehearsal, and performance may lead to persistent fatigue, psychological distress, performance decrements, and injury”, which distinguishes that the development of Dance Medicine and Science research is yet to enlighten the dance population, regarding mechanisms of injury and rationales for integrating requisite rest within athletic training regimes.

1.2) Continuation of Literature Review

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Second Source:
Yau, R., Golightly, Y., Richardson, D., Runfola, C., Waller, A. and Marshall, S. (2017). Potential Predictors of Injury Among Pre-Professional Ballet and Contemporary Dancers. Journal of Dance Medicine & Science, [online] 21(2), pp.53-63. Available at: http://web.b.ebscohost.com.ezproxy.bolton.ac.uk/ehost/pdfviewer/pdfviewer?vid=1&sid=56a985f5-5bfc-421d-95cb-cad1e8430ae6%40pdc-v-sessmgr06 [Accessed 30 Feb. 2020].

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Evolving research within Dance Technique Education and Dance Medicine and Science scrutinizes the consideration that limiting the amount of repetitive, extrinsic movements within elite-vocational practice will reduce microtrauma to the musculoskeletal system overtime.

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1.3) Epidemiological approach, reviewing the incidence of musculoskeletal injuries, within undergraduate vocational dance training regimes.
“excelling in dance requires intensive practice, and overuse injuries, which can be defined as injuries due to repetitive microtrauma to the musculoskeletal system over time” (Yau and Golightly et.al, 2017), are established from the art form specialising in creative, athletic activity.

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1.4) The seminal essence of this journal is pertinent to my research question: discussing necessary alternatives for minimising acute and chronic injuries.
The key authors are researchers within the Department of Epidemiology and Injury Prevention Research Centre, University of North Carolina, Chapel Hill, and School of Public Health, University of California.

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1.5) Study suggests that limited literature exists, encompassing the injuries of pre-professional dancers; the key focus is to identify regression models to predict injury incidence

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1.6) Data related to potential predictors of injury was gathered through anthropometric assessments, self-administered health history forms and injury history.
-School of Dance at the University of North Carolina School of the Arts within a diverse group of dance students, both male and female.

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1.7) “Most injuries (67.9%) were due to overuse”; additionally, they insinuate that their analyses surrounding the term ‘injury’ is specifically limited to only dance-related injuries

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1.9) Specific limitations did occur within this study, such as the research being implemented in one institution and the minimal ratio of male participants, thus further research may be required to create generalised results.

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1.8) “studies in other populations are needed to determine whether strategies to reduce overuse injuries potentially can be applied to all groups of ballet and contemporary dancers and do not need to be targeted by subgroup” (Yau and Golightly et.al, 2017)

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1.9) Differences in traumatic injury rates were established by factors such as sex and dance style, thus the journal suggests “that injury prevention strategies for traumatic injuries do need to be targeted by subgroup” (Yau and Golightly et.al, 2017).

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1.9) One possible method of reducing overuse injuries amongst young dancers is “to reduce the amount of repetition of extreme movements in which a dancer engages” (Yau and Golightly et.al, 2017).

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1.9) Implementing such a strategy to limit movements in dance may face more barriers than doing so in competitive sports; due to contrasting objective barometers for Dance Medicine and Science educators to draw on

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1.9) As the majority of injuries result from overuse, health care practitioners could educate dancers to the fact that adequate rest and recovery are necessary for optimizing artistic performance”, which is valuable to my research question.

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1.9) The study concludes that leaders in the Dance Medicine and Science sector are reliable for advocating the importance of an integrated holistic approach, including requisite periods of rest, in order to reduce and mitigate the consequences of overuse injuries.

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1.9) The authors were unable to build parsimonious predictive models for specific injuries, due to the study not observing a sufficient ratio of injuries. Although, “Coaching strategies for increasing awareness of the mechanisms involved in overuse injuries may have applicability for this problem” (Yau and Golightly et.al, 2017).

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1.9) Yau and Golightly summarise that “This is one of the largest studies to date of dance injury with 480 dancers enrolled” (Yau and Golightly et.al, 2017), as “Prior studies investigating injury incidence or prevalence among dancers have typically enrolled fewer than 200 dancers“ (Yau and Golightly et.al, 2017); thus valuable to my research.

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1.9) This journal provides direct correlation between the current consequences of extrinsic, athletic practice and what healthcare practitioners disclose as necessary alternatives for minimising injury.

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1.4) Examines the significance of key fitness-related parameters shared between dancers and athletes. The authors Koutedakis and Jamurtas, (2004) identify the athletic approach integrated within elite dance practice and training regimens, highlighting the significance of physiological fitness.

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1.3) Koutedakis is a Professor in Applied Physiology at Wolverhampton University (UK) and obtains previous published work which surrounds the idea of dance being as strenuous and physically demanding as most sporting activities; for example, in the book ‘The Fit and Healthy Dancer’ (1999). Jamurtas shares expertise in the Physical Education and Sport Science Department in the University of Thessaly in Greece; both pertinent to my research thesis.

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1.5) (In order to maintain a professional career in dance) “The physical demands placed on dancers from current choreography and performance schedules make their physiology and fitness just as important as skill development”.

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1.6) Elite dancers require athletic attributes, such as aerobic power, muscular balance and muscular strength in order to achieve a high skillset, yet it is insinuated this is a weakness of the dance training system.

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1.7) “Any exercise training that is not directly related to dance would diminish dancers' aesthetic appearances” (Koutedakis and Jamurtas, 2004). However, key fitness principles and methods are prominent within the elite vocational teaching practice.

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1.8) Recent study on male and female elite dancers revealed that “supplementary exercise training can lead to improvements of such fitness parameters and reduce incidents of dance injuries, without interfering with key artistic and aesthetic requirements” (Koutedakis and Jamurtas, 2004)

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1.9) Any adjustment to traditional training regimes must be approached ensuring that the aesthetic content of the performance is not affected by new training methods; in order to comply with the nature of the art form.

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1.9) Authors suggest,
a strict selection of fitness training regimens transformed dance to an activity which was utilised by individuals, enhancing their development of different flexibility characteristics, in comparison to an athlete.

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1.9) Contrasting to Yau and Golightly, this journal highlights the athletic approach utilised in current elite-vocational dance training programmes is detrimental to their skill development.

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1.9) “An awareness of these factors will assist dancers and their teachers to improve training techniques, to employ effective injury prevention strategies and to determine better physical conditioning” (Koutedakis and Jamurtas, 2004). (Qualitative based research) the authors recognised that supplementary exercise training can decrease injury rates within elite dance practice, without interfering with key artistic and physical performance requirements.

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1.9) “Physiological aspects of performing dance have been viewed primarily in the context of ballet” (Koutedakis and Jamurtas, 2004); therefore, further scientific research on greater forms of dance is required to minimise further acute and chronic injuries.

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1.9) “While aesthetic goals are of the utmost importance, dancers remain subject to the same unyielding physical laws as athletes” (Koutedakis and Jamurtas, 2004).
Even at the elite level, dancers muscular balance, aerobic power and bone and joint integrity are imperative to one’s skill development; research concludes that this may be the weakness of the training systems currently employed in elite-vocational practice.