KIN 603 was one of my favorite courses, the exercise science course titled, Strength and Conditioning Programming gave me the opportunity to design a screening with a strength and plyometric training program for an incoming freshman dance major.

KIN 603 Jacqui G. Haas

In my determination to design a performing arts medicine program at the university level, one important component of such a program is to offer screenings or testing to gather subjective and valuable objective physical information of the performing arts students. The findings are used to educate the performer on injury risks and provide beneficial information on their strengths and/or weaknesses. Upon completion of individual screenings/testing, a strength training or conditioning program is designed for the performer correlating with the findings to improve health, fitness, and well-being. Inadequate physical training is one of the contributing factors in dancers’ injuries (Russell, 2013). Screening data is used to educate the performer on injury risks, benefits of strength training, and the benefits of aerobic conditioning. As the student continues their collegiate career the strength and conditioning program can be adjusted depending on the physical demands of their classes, rehearsals, and performance schedules.

The College of Health and Human Services offered KIN 603, Strength and Conditioning Programming which was a course devised to implement strength training programs to meet athlete’s performance goals based on medical evidence and human performance research. KIN 603 aligned with my concentration in performing arts medicine and the commitment to create a screening and conditioning protocol for university performers. The required text for the course was Essentials of Strength Training and Conditioning, written by G.G. Haff and N.T. Triplett, a Human Kinetics publication. The text is an in-depth look at strength and conditioning guidelines created by the National Strength and Conditioning Association.

The final assignment requirements for KIN 603 incorporated the construction of a program for an athlete using current methods in strength training and conditioning programming. The protocol included the athlete’s profile, choice of testing, testing procedure rationale, and the details of the program. I chose to create testing procedures for an incoming female freshman dancer and design a conditioning program that included strength training, plyometric exercises, and balance training along with warm-up and cool-down exercises. The various exercises, repetitions, sets, and recovery times are included in the four-week protocol which aims to increase strength, improve core stability, and improve balance skills for motor control and proprioception. Decreased core stability is a risk factor for lower extremity injuries (Rickman, 2012). Poor core strength has been associated with injuries in the lumbar spine and lower extremities, addressing core strength as an incoming freshman can help reduce injury risks. A similar program can be designed for any performing artist, not just dancers, to address their specific needs. Screenings or physical testing procedures are also designed to identify weaknesses that can be corrected to improve function and dance technique (Potter, 2011). Faulty technique is another precursor to injuries, the screening data allows for technique and dance function education to improve alignment and skill.

KIN 603 provided the opportunity to establish an outline of a screening and fitness protocol that can be used for any performing artist and is included in my capstone research work. The creation of the entire project was an in-depth learning experience for me that was challenging and demanding due to the details of the exercises and the need to utilize both phosphocreatine and glycolytic systems since dance requirements are a combination of low and high-intensity movements. Dance might be an artistic discipline utilizing a specific skill set but it is also an athletic endeavor met with injury risks. Screenings have an educational component as well as a fitness component to address and minimize the likelihood of injury. Details of the screening, testing, and conditioning plan are listed below.

References

Potter, K., Galbraith, G., (2011). Screening for Improved Dance Function. International Association of Dance Medicine and Science Bulletin. Vol 3(1).

Rickman, A., Ambegaonkar, J., & Cortes, N. (2012). Core Stability: Implications for dance injuries. Medical Problems of Performing Artists, 27(3). 159-164.

Russell, JA., (2013). Preventing dance injuries: current perspectives. Open Access Journal of Sports Medicine. 4: 199-210.

Jacqui G. Haas

Program Design KIN 603

Athlete Profile

Sport: Dance

Sport Position: Freshman Dance Major

Periodization Structure Type: Linear Periodization

Skill Level: Intermediate to Advanced Dance Skill/Talent

Chronological Age: 18

Training Age: approximately 1 month

Height: 5 5

Weight: 125

Fitness Level: Novice

Performance Tests Utilized (In order of testing)

1. Subjective information, anatomical and structural observation and documentation, functional dance assessment

2. Flexibility testing: standing wall soleus, sit and reach, hamstrings 90/90, Thomas test

3. Vertical Jump, Star Excursion, Agility T Test

4. Unilateral calf raise, 1RM squat test

5. Partial Curl-up, Push-up

6. Anaerobic Wingate

Athlete’s strength training or energy system development goals

1. Gain core and lower extremity strength

2. Improve anaerobic capacity

TESTING Rationale: Haas, J

All testing was done after a 15-20 minute, general and dance specific warm-up (see below *).

Familiarization with the chosen tests were conducted two days before testing, all tests were chosen to emulate the energy requirements of the dance major’s movement classes (ballet, modern dance, Jazz, African, tap). The dancer was educated on hydration, and proper attire even though testing was administered inside a studio in the dance department. Testing was performed by two licensed athletic trainers who specialize in performing arts medicine, one for timing and documentation and one for technique assessments. Each of the tests were administered not to affect the performance of the following test after a detailed testing warm-up.

1. Subjective information was taken first, paying close attention to medical and musculoskeletal history.

2. Anatomical and structural observation was conducted to document any physical abnormalities that could affect performance and conditioning.

3. Low level functional dance assessment was performed to evaluate technique and dynamic alignment to identify areas which would benefit most from strength training programming.

4. Flexibility testing was performed to assess soleus, hamstrings, low back, hip flexors and quadriceps to help identify possible deficiencies.

5. Vertical Jump Test was performed to assess high speed strength which is needed for various short duration and high-powered choreography.

6. Star Excursion Test was chosen to assess balance skills and the ability to maintain center of mass over the point of support, which relates to the motor control needed for all dance movement.

7. The Agility T Test was performed to assess directional changes needed for fast foot work in ballet, and various modern dance sequencing.

8. The Unilateral Calf Raise and 1RM Squat tests were administered to assess overall leg strength needed for pointe work, as well as the ability to produce a high degree of force in jazz dance classes. Documenting any malalignment associated with both tests were also included.

9. Partial curl-up and female push-up tests were administered for local muscle endurance.

10. Anaerobic exercise testing (Wingate) was performed on a stationary bike for power and anaerobic capacity. All dance genre consists of movement patterns that consistently stop and start requiring anaerobic power.

All tests were performed on the same day with anaerobic testing at the end. Once the testing was completed the dancer was instructed in a low intensity and light static stretching sequence for cooling down *.

Testing was repeated after two weeks of strength training to reassess performance gains.

Pre-Testing Warm-Up

Dynamic Warm-up- approximately 12-15 min

1. Biking 5 minutes- to prepare for Wingate

2. Bilateral Calf raises 20 sec. emphasize eccentric control and pelvic stability

3. Squats 30 sec. emphasize technique: neutral spine, knee alignment

4. Walking knee lifts 15-30 sec, hip warm-up

5. Lunges with trunk rotation 10-15X, cue for knee alignment, pelvic stability, thoracic mobility

6. Dance specific hop variations including hip external rotation-3-5 min

7. Plank- 30 sec, warm-up transverse abdominis, multifidus, pecs

TESTING:

Athlete Subjective Information:

Name:__________________________________________________________________Date:_______________

School:________________________________________Dance Classes Per Week: _______________________ Age:_____Height________Weight________Body Comp__________Skinfold Caliper___________________

Medical History:_____________________________________________________________________________

Musculoskeletal Injury History:________________________________________________________________

Structural Observation:

Anterior:

Iliac Crest

High R High L

Knee

Valgus, Normal, Varus

Tibia Torsion

R L

Foot

Morton’s

R L

Foot/Ankle Pronation

R L

Foot

Hallux Valgus

R L

Lateral:

Forward Head

Yes No

Rounded Shoulders

Yes No

Kyphosis

Yes No

Lordosis

Yes No

Anterior Pelvic Tilt

Yes No

Knee Hyperextension

Yes No

Posterior

Level Shoulders-

Yes No

Winging Scapula-

Yes No

Forward Bend (Scoli) Yes No

Heel Alignment-

Pronate Supinate

Functional Dance Technique Analyses (low level/non-fatiguing):

1^st Port de bras

Scapula-Thoracic symmetry

Yes No

Comments:

Plie Parallel

Pronation-R L

Valgus Knee-R L

Stable Pelvis-Yes No

Plie 1^st Position

Pronation-R L

Valgus Knee-R L

Stable Pelvis-Yes No

Releve 1^st Position

Heel Height-R L

Supinate-R L

Battement Devant

90 Degrees-R L

Posterior Pelvic Tilt-R L

Flexibility:

Standing Soleus-

Sit/Reach- (Low back/Hamstrings)

90/90 (Hamstrings)

Thomas Test (Hip flexors)

Thomas Test (Quads)

Left

Right

Power: (2 minutes rest between attempts)

Vertical Jump, best of 3 attempts to nearest cm.

Balance: (15 second rest between trials)

Star Excursion Test: Best of 3 trials

Right-Postural Sway, Alignment, Touch Down

Left-Postural Sway, Alignment, Touch Down

Agility: (30 sec rest between trials)

T-Test- best of 2 trials to nearest 0.1

Time:

Failure to touch base of cone, Crosses one foot over the other, Fails to face forward

Leg Strength Test: (5 min rest between tests)

U Calf Raise Test to Fatigue:

Left-Trunk Control, Pelvic Stability, Full Knee Extension, Heel Height

# to fatigue

Right-Trunk Control, Pelvic Stability, Full Knee Extension, Heel Height

# to fatigue

1RM Squat Test:

Left side Alignment

Trunk Control, Hip Alignment, Valgus Knee, Foot Pronation

Right side Alignment

Trunk Control, Hip Alignment, Valgus Knee, Foot pronation

Local Muscle Endurance: (5 minutes rest between tests)

Partial curl-up Test- abdominal endurance

# of curl-ups in 30 sec.

Female Push-up- proper low position

# push-ups in 2 min

Anaerobic Capacity:

30 Second Wingate Anaerobic Test

Score:

Post-Testing Cool Down-

1. Alternate light jogging/walking 3-5 minute

2. Standing stork quad stretch 30 sec

3. Standing gastroc/soleus stretch 30 sec each

4. Kneeling hip flexor stretch 30 sec

5. Sitting toe touch stretch 30 sec

6. Seated butterfly stretch 30 sec

7. Supine figure 4 stretch 30 sec

PROGRAM DESIGN: Warm-ups and Cool-Downs

Strength Training General Warm-Up-performed before each strength training session

1. Light jogging and skipping- 5 min to increase blood flow and heart rate

2. Functional/dynamic stretching-

a. squats, lunges, walking lunges 1 min each

b. standing leg raises starting slow and increasing tempo working through entire range of motion, 3 min

3. Dance specific dynamic drills warm-up-3-5 minutes

a. calf raises

b. slow and quick foot work sequences, alternating bilateral and unilateral variations

c. balance variations- tandem to unilateral, eyes open and closed, 30 sec each

Cool Down performed after each strength training and plyometric training session

1. Walking 3-5 min

2. Walking lunges 2 min

3. Static stretches standing stork 30 sec

4. Straight arms behind back 30 sec

5. Kneeling hip flexor with side bend 30 sec

6. Chicken Wing 30 sec

7. Gastroc/soleus wall stretch 30 sec each

8. Seated butterfly 30 sec

9. Straddle 30 sec

10. Sitting toe touch 30 sec

Plyometric Training Warm-up- (low intensity, dynamic)- performed before each plyometric session-approximately 20 minutes

1. Marching in place-2-3 min focus on posture and technique

2. Alternating toe jogging and straight leg jogging 2-3 min each

3. Dynamic stretching- walking knee lifts, standing leg lifts 30 sec each

4. Squats, lunges- 30 sec each

5. Skipping 3-5 min

6. Dance specific hops, bilateral to unilateral 3-5 min

7. Plank and side plank variations 30 sec each

Program Design: (Rest on Wednesday, Sunday)

Strength Training Mondays, Thursdays, Saturday

Balance Training Tuesdays and Fridays

Plyometric Training Tuesdays and Fridays

Strength Training Week 1, 3X week Monday, Thursday, Saturday

Exercise Sets/Reps % 1 RepMax Recovery

Squat 2 sets of 5 70% 3 min

Vertical Chest Press 2 sets of 5 70% 3 min

Seated knee flexion machine 2 sets of 5 65% 2 min

Seated knee extension machine 2 sets of 5 65% 2 min

Seated row machine 2 sets of 5 65% 2 min

Standing calf raise machine 2 sets of 5 70% 3 min

Standing hip abduction, TBand To fatigue Red Band 2 min

Bent Knee Sit-up 30 seconds

Balance Training following Plyometric Training, Week 1 (Tuesday, Friday)

Exercise Sets/Reps Time

Tandem arms by side-eyes open/closed 2X10 15 sec

Single Leg- arms crossed- eyes open/closed 2X10 15 sec

Airplane balance 1X10 15 sec

Lower Extremity Plyometric Training Protocol Week 1, 70 foot contacts

2X week Tuesday and Friday

Exercise Sets/Reps Intensity Recovery 1:5

2 foot ankle hops 2X10 Low 2 min

Squat jump 2X10 Low 3 min

Single leg hop Vertical 2X5 Medium 1 min

Jump and reach 2X10 Low 3 min

Strength Training Week 2, 2X week Monday, Thursday, Saturday

Exercise Sets/Reps % 1 RepMax Recovery

Leg press machine 2 sets of 5 75% 3 min

Vertical chest press 2 sets of 5 75% 3 min

Seated knee flexion 2 sets of 5 70% 3 min

Seated knee extension 2 sets of 5 70% 3 min

Seated Row 2 sets of 5 65% 2 min

Standing Calf Raise 2 sets of 5 75% 3 min

Standing abduction TBand To fatigue Blue Band

Plank To fatigue

Balance Training following Plyometric Training, Week 2 (Tuesday, Friday)

Exercise Sets/Reps Time

Airplane Balance 1X10 20 sec each

Single Leg- add leg swings 2X10 20 sec each

Single leg cross body punch 1X10 20 sec each

Lower Extremity Plyometric Training Protocol Week 2, 108 foot contacts

2X week Tuesday and Friday

Exercise Sets/Reps Intensity Recovery 1:5

Side to side ankle hops 2X10 Low 2 min

Single leg hop Vertical 2X10 Medium 2 min

Jump and reach 2X12 Low 3 min

Split squat jump 2X5 Medium 90 sec

Double leg vertical jump 2X10 Low 3 min

Vertical jump over barrier 2X5 Medium 2 min

Strength Training Week 3 2X week, Monday, Thursday, Saturday

Exercise Sets/Reps % 1 RepMax Recovery

Back Squat 2 sets of 5 75% 3 min

Vertical chest press 2 sets of 5 75% 3 min

Seated knee flexion 2 sets of 5 75% 3 min

Seated knee extension 2 sets of 5 75% 3 min

Seated Row 2 sets of 5 70% 3 min

Standing Calf Raise 2 sets of 5 75% 3 min

Standing abduction, TBand To fatigue Black Band 3 min

Side Plank To fatigue

Balance Training following Plyometric Training, Week 3 (Tuesday, Friday)

Exercise Sets/Reps Time

Tandem Balance on wobble board 1X5 20 sec each

Single leg balance on mini tramp 1X5 20 sec each

Single leg cross body punch on foam pad 1X5 20 sec

Lower Extremity Plyometric Training Protocol Week 3, 110 foot contacts

2X week Tuesday and Friday

Exercise Sets/Reps Intensity Recovery 1:5

Skip 2X10 Low 30 sec

Power skip 1X10 Low 30 sec

Split squat jump 2X10 Medium 1 min

Single leg hop horizontal 2X10 Medium 2 min

Double leg tuck jump 1X10 Medium 90 sec

Split squat jump 2X10 High 2 min

Single leg vertical jump 2X5 High 2 min 30 sec

Strength Training Week 4 2X week, Monday, Thursday, Saturday

Exercise Sets/Reps % 1 RepMax Recovery

Leg press 2 sets of 4 80% 3-4 min

Vertical chest press 2 sets of 4 80% 3-4 min

Seated knee flexion 2 sets of 4 80% 3-4 min

Seated knee extension 2 sets of 4 80% 3-4 min

Seated Row 2 sets of 4 80% 3-4 min

Standing Calf Raise 2 sets of 4 80% 3-4 min

Standing abduction, TBand To fatigue Silver Band 3 min

Bent knee sit-up 30 seconds

Lower Extremity Plyometric Training Protocol Week 4, 120 foot contacts

2X week Tuesday and Friday

Exercise Sets/Reps Intensity Recovery 1:5

Power Skip Horizontal 2X10 Low 30 sec

Side Skip 2X10 Medium 30 sec

Cycled Split Squat 1X10 High 1 min

Single Arm Leg Bounds 1X10 Medium 30 sec

Double leg tuck 2X10 Medium 3 min

Single leg tuck 2X5 High 1 min

Pike Jump 2X5 High 1 min

Single leg Vertical Jump 2X10 High 3 min

Balance Training following Plyometric Training, Week 4 (Tuesday, Friday)

Exercise Sets/Reps Time

Single leg on wobble board 1X10 10 sec

Single leg on mini tramp 1X10 10 sec

Single leg cross body punch, foam pad add 5lb 1X10 10 sec

Program Rationale:

A dancers’ physical performance demands include excellent technique with hip and trunk strength to move through space in various planes of motion. They also need to have flexibility skills that take the hip and lumbar spine into extreme ranges. Dancers also repeatedly perform jumping exercises at different speeds, height levels, both explosive and slow, some bilateral, some unilateral and multiple variations of those just listed. Dance is an artistic discipline with pre-professional dancers spending up to 20-25 hours a week working on skill. But, research shows that dancers’ fitness levels can be compared to that of sedentary individuals, while overuse injury rates are high at the foot, ankle, knee and lumbar spine. Strength is needed in the trunk, hips and legs for the repeated slow and controlled movements associated with ballet training, power is needed for jumping efforts in all dance movement and anaerobic fitness is needed for the dynamic and intense ‘stop and go’ movement patterns. Dance is really a combination of high to low levels of intensity, that utilize the phosphocreatine system as well as the glycolytic system. Therefore, supplemental training is important for dancers to be able to perform at their best and reducing the risk of injury. Goals are to increase basic strength of the muscles used in dance, improve core strength and improve balance skills for motor control and proprioception.

For a serious collegiate dancer interested in getting into a professional career as a performer or owning a dance training studio it would be advantageous to design a yearly program (macrocycle) with training blocks that coincide with each semester in preparation for the live performance, similar to athletes preparing for a competition. Each mesocycle would be broken down into 4-week blocks with a dance specific target for each of those blocks. The program I chose is a linear type model for a freshman dancer starting her first semester with only a month or so of supplementary training over the summer. I focused on the ‘basic strength phase’, but taking into consideration she is also taking 6 dance classes week, which would be considered ‘in-season’. She will be participating in a strength training program three times a week, a plyometric training program twice a week and a balance training program twice a week as well. I realize it might be a lot for the first four weeks into a new semester and would certainly take it down to two times a week for strength training, if I needed to manage fatigue. Since she is new to strength training, I started the load at 65-70% 1RM and slowly increased it to 80% 1RM. If I were to extend this block in preparation for a live performance, I would taper down the load a week or two prior to the performance.

My exercise choices centered around squat, leg press and back squats for increasing her leg and core strength, isolating quads and hamstrings with knee extensions and curls as well as utilizing bands for gluteus medius strengthening. Dance for women does not involve as much upper extremity strength but I still feel it is important for overall conditioning, so I included chest press and rows. Calf raises were chosen for the need to bring your body weight up onto pointe.

I enjoyed putting together a plyometric training program which all dancers need for the anaerobic benefits as well as the agility benefits while emphasizing the eccentric control upon landing. I worked with a dancer on the timing of the some of the plyometric drills and then used the 1:5 work rest ratio from the book to come up with rest rates. If I were to continue with the jump training adding more weeks to this block, I would add the various barriers and box training, while slowly increasing foot contacts.

Specific balance training was added on the plyometric days to help improve proprioception, I got so used to using it in every rehab session that I felt like it was important to include. I would continue to advance the balance training using ball variations.

Hopefully, this program will help develop strength, anaerobic capacity, as well as balance and technical abilities. J.G.Haas, ATC 2020