Complementary Training for Dancers: Specificity, Individuality, and Training Methods

Introduction

The influence of complementary training on dancers' performance, especially for professional or professionalising levels, independent of the dance style, is well stated in the literature: just the dance practice is insufficient to develop the required physical capacities and prepare dancers to dance (Angioi, Metsios, Koutedakis, & Wyon, 2009; Angioi, Metsios, Twitchett, Koutedakis, & Wyon, 2012; Liederbach, Schanfein, & Kremenic, 2013; Medeiros, Lapas, & Tomaz, 2018; Redding et al., 2009; E. A. Twitchett, Kouterdakis, & Wyon, 2009; Wyon, 2005; Wyon, Redding, Abt, Head, & Sharp, 2003). Studies evaluating dancers' physical capacity found low levels of strength, cardiorespiratory conditioning, high injury rates, and lower performance of their technical and aesthetic potential in dance (Rafferty, 2010), especially compared to athletes (Koutedakis & Jamurtas, 2004). Research in the area of ​​training for dancers has shown that complementary training has positive results in several aspects, including greater efficiency of movement, decreased injury rate, excellence in performance, greater longevity for the practice of dance, and faster recovery (Koutedakis, Hukam, Metsios, & Nevill, 2007; Koutedakis, Stavropoulos-Kalinoglou, & Metsios, 2005). In a case study, after seven months of progressive Pilates training emphasising the hip, knee and ankle joints, proprioceptive mechanisms, and joint stabilisation, Mcconneell & Oceanside (2013) found a reduction in pain with increased strength, joint stability and confidence. A nine-week core stabilization program improved pirouette ability, balance (static and dynamic), and muscle performance in competitive collegiate dancers (Watson et al., 2017). The application of the core prevention exercise program and its integration into training programmes helped mitigate back pain complaints in ballet and hip-hop dancers, reducing injuries (Viktória et al., 2016). The hip active external rotation in ballet dancers improved after resistance training, suggesting that the external hip rotation is muscle strength dependent (Medeiros et al., 2018).

During training, the critical components of an appropriate load of physical training involve weight, volume, intensity, density and frequency of training sessions, alongside adequate recovery for any modality (Chagas & Lima, 2008; Hawley, 2008). The correct configuration of the training loads will determine the difference between the development of physical capacities or “overtraining” (Hawley, 2008). However, more than a suitable configuration of the training load, the specificity of the movement required in the practised modality must be considered. The adaptations to training that occur in the muscle fibres required in exercises depend on the specific range of motion and speed of execution of the tasks, whether static or dynamic, the predominant muscle action, and the exercise's functionality, among other factors (E. Twitchett, Nevill, Angioi, Koutedakis, & Wyon, 2011). The closer to the modality's specific movement, the more efficient the training results will be (Hawley, 2008).

Although the training's specificity is an essential aspect of achieving the best performance, the prescription of such training is challenged by how dance is conducted nowadays. Dance companies are increasingly appealing dancers to perform different styles and varied movement repertoire (Redding & Wyon, 2003; E. A. Twitchett et al., 2009; Wyon et al., 2011). The different capacities required concomitantly (Angioi, Metsios, Twitchett, Koutedakis, & Wyon, 2009; Koutedakis et al., 2007; D. Miletic, 2007) increase the competition between the concurrent physical capacities, which can challenge overall good performance.