The Assessment of the Sense of Balance of Students Performing National Dances

Transcription

1 ORIGINAL ARTICLE RESEARCH YEARBOOK MEDSPORTPRESS, Volume 13, Nr 2, 2007, The Assessment of the Sense of Balance of Students Performing National Dances Author s Conrtibution A Study Design B Data Collection C Statistical Analysis D Data Interpretation E Manuscript Preparation F Literature Search G Funds Collection Agnieszka Kêdra (A,B,C,D,E,F,G), Wiktor Bo³oban (A,B,C,D,E,F,G) Josef Pilsudski University of Physical Education in Warsaw, Poland Key words: sense of balance, students, national dance Background: Material and methods: Results: Conclusions: Abstract Most dance steps are connected with the body movement in time and space. Dancing requires an efficient function of certain senses and organs, most of all the sense of balance. The dynamic balance plays an important role in dancing because it affects all the body movements to keep the body stability. It is the ability on which all correct dancer's activities and steps depend. The aim of the present study was to enhance the sense of balance of the national dance students. The study was carried out on the students of the Song and Dance Ensemble called "Podlasie" who train at the Biala Podlaska Physical Education Division. There were two groups of dancers: the advanced and the beginner group of students. 24 advanced students were tested. The test was also carried out on 25 students from the beginners' group. For the purpose of the experiment the beginner group was divided into the experimental group (n = 12) and the control group (n = 13). Before the experiment and shortly after it the assessment of the sense of balance was carried out by means of the following tests: the Rosette Marching test, the Vestibulum test, the Jump with a Full Turn test. The assessment tests of the sense of balance such as the Rosette Marching test, the Jump with a Full Turn test and the Vestibulum test showed an inadequate level of the sense of balance of the dancers from the Song and Dance "Podlasie" Ensemble's. Implementing a special programme into the experimental group was to improve its level of the sense of balance. Finally, the results were successful. This programme allowed the dancers to enhance their steps and dance figures (P < 0.05). 1. The sense of balance plays a crucial role in dancing. 2. The assessment tests of the sense of balance such as the Rosette Marching test, the Jump with a Full Turn test and the Vestibulum test showed an inadequate level of the sense of balance of the dancers. 3. Implementing a special programme into the experimental group was to improve its level of the sense of balance. 4. The programme made to improve the sense of balance can be used by dance teachers and choreographers. Word count: 2388 Tables: 3 Figures: 0 References: 7 Received: May 2006 Accepted: June 2006 Published: December 2007 Address for correspondence Mgr Agnieszka Kêdra Bia³a Podlaska, Akademicka 2, tel.: (0-83) , agnieszka.kedra@poczta.fm 239

2 Background Any dancer, both professional and amateur, creates a piece of art called dancing by means of his body movement. As a pianist practises his hands by playing a variety pieces of music on the piano before a concert, or an actor works over his elocution, pronunciation, gestures and mimicry before acting on stage, in a similar way a dancer has to exercise his muscles and train all his joints and tendons to perfection [1,2]. A dancer during his workout has to work his body up to such a range of movement habits that let him freely express the meaning of any dance. Most dance steps are connected with the body movement in time and space. Dancing requires an efficient function of certain senses and organs, including the sense of balance most of all [1,3,4]. The body balance is an ability to keep the stability of the body that is needed to do the necessary physical activity in time that is the body movement in space. Thus the ability of keeping the body balance can be defined as the possibility of a quick body adaptation in relation to the changes of the location of the centre of gravity of the body. The dynamic balance plays an important role in dancing because it affects all the body movements to keep the body stability. It is the ability on which all correct dancer's activities and steps depend. The natural way of transmitting the meaning of dancing is only through performing the correct steps and figures technique. The aim of the present study was to enhance the sense of balance of the national dance students. Material and methods The study was carried out on the students of the Song and Dance Ensemble called "Podlasie" who train at the Biala Podlaska Physical Education Division. There were two groups of dancers: the advanced and the beginner group of students. 24 advanced students were tested. Their average work in the ensemble did not exceed 3.42 years. The whole test was supervised by a special committee consisting of 3 choreographers who were assessing the technique of the performed dance steps and figures using the points from 0 to 10. The average arithmetic mean of the points was 6.4. The average dancers' age of the advanced group was 20.25, the average height cm, the average weight kg. The test was also carried out on 25 students from the beginners' group. These dancers had just started training in the Song and Dance Ensemble "Podlasie." The group was assessed by a committee in the same point range from 0 to 10. The average arithmetic mean was 3.7, the average group age was 19.32, the average height cm, the average weight 60,88 kg. For the purpose of the experiment the beginner group was divided into the experimental group (n = 12) and the control group (n = 13). During the homogeneous assessment of the two groups the basic criteria were an approximate level of development of the elementary fitness ability (the speed and strength rate and the body flexibility) and coordination (the ability of adjusting movements, tests on the dynamic and the static balance), an approximate level of motion abilities, similar sporting level of the (comprehensive) training stage. Testing the advanced group was necessary to get an objective assessment of the experimental and the control group. The basic test methods were: a diagnostic probe to analyse the training programme content of the beginner group. The pedagogical experiment was conducted by the technique called the parallel group technique. Its aim was to improve the sense of balance of the experimental dance group. Due to it the Intentional Programme has been introduced during the warm-up stage for min, and also during the final stage for 5-10 min. The control group's training was conducted according to the methodology standards for 6 months from 20th January 2002 to 20th July 2002 for 50 lessons. Before the experiment and shortly after it the assessment of the sense of balance was carried out thanks to using the following tests: The Rosette Marching test [5] Description of the test: a dancer puts one of his feet on one of the sides of a rosette, he touches his hips and starts marching around the rosette stepping accordingly to the sides of the rosette. The test can be interrupted if a dancer puts his foot outside of the rosette or takes his hand off his hips. The test is conducted without any shoes. The Vestibulum test [6] Description of the test: the enter position a dancer bows forwards, his arms loosely hang down, his legs are slightly bent. In this position he does 5 rotations in any direction for 5 seconds. Then he returns to the enter position and marches forwards on a marked line on the floor. The test evaluates the deflection of the dancer's walking from the line in centimeters. 240

3 The Jump with a Full Turn test - [7] Description of the test: a dancer stands on a card paper in the middle of a circle in a frontal position to 0o. Then he slightly bends his knees (dancer's feet must be kept together) and he jumps into the air at the same time doing a rotation at 360o. His hands help him to do the rotation. The test checks the dancer's landing stability and the turn degree. The results were used for the statistics. The arithmetic mean was estimated as ( ), the standard deviation as (S), the ratio variability as (V), the error of the arithmetic mean (m). The differences between the averages were assessed by the t-student test (t). Results Table 1 shows the results of the experiment assessing the sense of balance of the national dance students from the advanced group (n = 24). Whilst doing the Rosette Marching test the advanced dancers' task was to walk as many steps as they could. On the basis of the arithmetic mean of the steps it was calculated that: ¾ 40.0 steps; S 9.4; m 1.9; V 23.0%. 6 dancers had no problem doing that task. They did the maximum number of all the steps. Those 6 dancers were characterized by a steady, confident walk, eyesight directed forwards and a steady head. On the other hand, 18 other dancers walked with uncertainty and swinging, they had the upright pose discoordination and after doing a few steps they disrupted the test as they could not continue it. During the Jump with a Full Turn Test dancers had some problems with the stable landing. 14 out of 24 dancers had their body deflected off the vertical position after the jump into the air. On the basis of these results, some calculations were made: 5.0 degrees of not proper body rotation or the body twist; S 2.2; m 0,4; V 44,0%. In the Vestibulum test a big number of dancers were not able to walk straight on a line after doing some rotations. 6 dancers could do it having only a slight deflection from the line. Those dancers walked steadily, keeping straight arms and having steady eyesight directed forwards. On the basis of the statistics there are some calculations concerning this test: 17.7 cm; S 7.2; m 1.5; V 46.0%. Conclusion: the assessment of the sense of balance of the advanced dancers with the average training time of 3.42 years is not very much satisfactory (the best result of this test was 40 steps practiced on 7th year of primary students [6]). However, there are some prospects for development and improvement of sensomotoric coordination. Table 2 shows the results of the experiment assessing the sense of balance of the national dance students in both groups: the experimental and the control ones before the test. Most students either in the experimental group or the control group made some mistakes whilst doing the Rosette Marching Test. The mistakes appeared in their body balance, there was also a big Tab. 1. The sense of balance of the national dance students form the advanced group Tab. 2. The sense of balance of the national dance students in both groups: the experimental and the control ones before the test 241

4 Tab. 3. The level of the sense of balance in the experimental and the control group (the end of the experiment) discoordination in the students' vertical position and a lot of swinging during the test. After doing a few steps on the rosette, dancers in both of the groups were losing their body balance, they looked downwards. The arithmetic mean in the experimental group was 21.8 ± 1.6 steps (in the control group 22.0 ± 1.8). It proves that both beginner groups made twice less steps than the advanced group. Most dancers in the beginner groups had problems with looking forwards; as they were looking downwards they were losing their body balance. In the Jump with a Full Turn test the experimental and the control group made the same elementary mistakes, such as they either failed to make a full rotation or had some problems with the stable landing on the floor immediately after a jump into the air and the simultaneous rotation. After the jump their bodies were deflected from the vertical position more backwards or sidewards. Their feet were apart during the flight in the air, too. Five dancers did the Vestibulum test very well. They had only a slight deflection from the line during the test. Those dancers walked firmly, with confidence and keeping their arms sidewards. Most tested dancers, however, had a great deflection from the line they were walking along. Their marching was not very much coordinated. Their arms were not straight on each side of their body. Only one person from the control group had no problems with walking along a straight line after the rotation at 360. The test results reliably showed a low level of the sense of balance in both beginner groups of dancers. Enhancing the dancers' sense of balance could improve their movement technique and the quality of dance steps. That means it could also help them to transmit the intentional content of the dance in a natural way. Because the results showed a very poor level of the dancers' sense of balance, the so-called Intentional Programme was formulated. It consisted of a few different programmes including: the pose programme, the coordination programme, the balance programme and the orientation programme. The programme structure was based on the following elements: the aim, exercises to achieve the aim, the dose elements, control and correction. The exercises were made to test the experimental group. After closing the pedagogical experiment and then introducing the Intentional Programme to the experimental group of dancers some of the tests used before were conducted again. They were to check the improvement the dancers' sense of balance. Table 3 shows the results of the experiment assessing the level of the sense of balance in the experimental and the control group (the end of the experiment). According to the results of the test some of the reliable changes appeared in the experimental and the control group (P < 0.05). The result of the Rosette Marching test equals 35.0 ± 2.0 steps, the ratio change 11% (in the control group 26.4 ± 2.0; V=26.0%). The results of the Jump with a Full Turn test as well as the Vestibulum test prove that the Intuitive Programme made to develop and enhance the sense of balance in the experimental group of dancers was successful. The choreographers' assessement also proves this fact: the average mark in the experimental group was 5,9 points, and of the control group 4,2 points. After ending the test with the experimental and the control group the next step in the experiment was to test the advanced students in order to make a comparison between both of the groups (the beginner and the advanced ones). The advanced group test shows that after testing the dancers for the Rosette Marching test the results are as follows: 41.7 steps; S 8.6; m 1.8; V 20%; after the Jump with a Full Turn test: 5.2 degrees; S 2,4; m 0,5; V 46%; after the Vestibulum test: 16.0 cm; S 8.0; m 1.6; V 50%. 242

5 Conclusion: In the advanced group of dancers some positive changes took place, and due to this fact the experimental group also improved and got closer to the advanced one as for the level of the sense of balance. The choreographers' assessment has also changed for the better with 6.7 points for the advanced group. Discussion Dances which we can see during dance shows or dance competitions at first sight seem not to be complicated to perform. In spite of its fluency, beauty and all the charm, dancing, in fact, requires a lot of effort and hard work of both dancers and choreographers. In order to present the dance steps and figures at a high sporting and artistic level, a dancer is required to be comprehensively prepared. That means he needs to be perfectly technically and tactically prepared, and also mentally ready to dance. Moreover, the dynamic balance, rhythm and orientation in space also have a remarkable place in dancing. Mastering all of this helps a dancer to be able to concentrate not only on the dance technique but also on the emotional side of dancing. There are plenty of appropriate books concerning the subject of dancing as for the types of dances, description of dance steps and exercises. There is, however, no proper number of teaching aids concerning the terms of the dynamic balance, especially the dynamic balance in dancing. Conclusions 1. Dancing is an amazing sport discipline and plays an important role in our lives. Through dancing a man is able to transmit all his feelings and emotions. To make it possible and to give dancers a chance to succeed it is very important to help them to develop and improve their skills through constant training. The sense of balance plays a crucial role in dancing. 2. The assessment tests of the sense of balance such as the Rosette Marching test, the Jump with a Full Turn test and the Vestibulum test showed an inadequate level of the sense of balance of the dancers of Song and Dance Ensemble "Podlasie". 3. Implementing a special programme into the experimental group was to improve its level of the sense of balance. Finally, the results were successful. This programme allowed the dancers to enhance their steps and dance figures (P < 0.05). 4. The programme made to improve the sense of balance can be used by dance teachers and choreographers. It is a kind of a new form of glamorizing and varying dance trainings. References 1. Bednarzowa B., M³odzikowska M., Tañce, rytm, muzyka (Dances, Rythm, Music), Gdañsk: WSWF D¹browska G., Tañcuj e dobrze (Dance Well), Warszawa: WSiP Brykowska A., The Assessment of the Sense of Balance the National Dance Students [In:] Directions of Development of Scientific Research in Sports Training (Abstract Book), Czêstochowa, Politechnika Czêstochowska: Hryniewiecka J., Piêæ tañców polskich (Five Polish Dances), Warszawa: Wyd COMUK Raczek J., Mynarski W., Ljach W., Teoretyczno-empiryczne podstawy kszta³towania i diagnozowania koordynacyjnych zdolnoœci motorycznych (Theoretical-Empirical Basis of Shaping and Diagnosing the Coordinative Motoric Skills), Katowice: AWF Bo³oban V.N., Sistema obuchenia dvizheniam v slozhonykh usloviakh paddierzhania statodinamicheskoj ustoychzivisti. Scientific papers by ped. doctor, Kijov Kochanowicz K., Kruczkowski D., Zaporozhanov V., Badanie zmys³u równowagi gimnastyków (Research on the Gymnasts' Sense of Balance), Trening, 1999 nr 2-3,