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Biomechanics

Biomechanics - Poster Session C

Poster D7 - Haptic Feedback to Train Proper Développé Technique in Dancers

Friday, October 25, 2024
10:00 AM - 11:00 AM EST
Location: Exhibit Hall E, F & G

Introduction:  Dance is both an art and an activity that is physically demanding and requires motor skill learning by making repetitive movements, which makes dancers susceptible to overuse injuries. Dancers can also acquire injuries if improper technique is used when performing fundamental dance steps. Haptic devices are used constantly in society, whether it be a phone buzzing or an intercom system playing a jingle to get a crowd's attention at a train station. The use of haptic feedback in dance has been very limited. This pilot study explored the validity of using a haptic feedback device to substitute other forms of sensory feedback that are only available in a dance studio like an instructor or a wall of mirrors. The long-term goal for this work is for dancers to use the device while practicing at home with the assurance that they are performing the movements correctly and safely. Moreover, while still in the studio the instructor can use the device to correct a single student in a larger group of students that they otherwise wouldn’t be able to give individual attention to. The intervention described for this pilot study with collegiate dancers is the first step towards this long-term goal.

Materials and

Methods:  Three undergraduate dance students at Hope College participated in three separate sessions during this study. For the first session, the electromyography sensors (EMGs) were placed on the following bilateral muscles: External Oblique, Erector Spinae, Tensor Fascia Latae, Sartorius, Rectus Femoris, Vastus Lateralis, Biceps Femoris, and Semitendinosus. EMG data were collected at 1000 Hz. The participants performed three développés (Devant, A la Seconde, Derriere) at 45 degrees, 90 degrees, and the angle of maximum leg extension to a ballet song to obtain consistency across sessions. Neutral stances in 6th and 1st position were also obtained to normalize the collected EMG data.

During the second session, one Kinesthetic Awareness Trainer (KAT) sensor (Panthertec) was then attached onto the participant’s leg for the Devant and Derriere développés to record turnout, and on the hip for the A La Seconde développés to record posture. The KAT sensor provided auditory (beeping) and sensory(vibration) feedback to reinforce that proper ranges of motion were elicited during the dance sequence.

The third session consisted of the same movements and methods as the first session, except the KAT sensor was added onto the participant in the same positions per développé as in the second session. Participants provided subjective feedback about their experiences using the KAT sensor.

EMG data were rectified, filtered with a low-pass Butterworth filter with a cutoff frequency of 4 Hz, and normalized to neutral stance. The muscle activations from the first and third sessions were compared using a repeated measures ANOVA with covariates in SPSS.

Results, Conclusions, and Discussions: Across all participants, all stats failed sphericity for Muscles*Sessions (p < 0.001) (Tables 1, 2, and 3). Greenhouse-Geisser values determined for the interaction of muscles and session (Muscles*Sessions), all trials for all participants were significant (p < 0.05). Post hoc analysis of this interaction was significant for all participants across all three développés. Thus, the results indicate that there was a significant change in muscle activation for all participants while performing devant, a la seconde, and derriere développés while training with haptic feedback.

During the second and third sessions, participants reported that the KAT was most effective during the a la seconde développé (while attached to the back of the hip, measuring posture). This is probably due to the fact that this placement is much more stable compared to the thigh placement for the KAT. While attached to the thigh the KAT’s gyroscopic data was jumping around, giving the participants inconsistent feedback due to the large range of motion the KAT experienced. The opposite occurred when attached to the hips because of the smaller movements of the hip which caused the feedback to be continuous, consistent, and non-erratic. To limit this erratic behavior as much as possible the vibrational option of the KAT was disabled while on the thigh to reduce drift. Disabling the vibration did not make the feedback any more consistent for participants. Even with the vibration disabled, all three participants stated that they could tell the difference when the KAT was attached versus no KAT while on the thigh. They focused more on their posture and keeping a constant turnout of their leg (during Devant and Derriere).

Although these results are very encouraging, a longer term study with a larger cohort of participants should be conducted to further evaluate the effectiveness of haptic feedback on dancers throughout their training. Haptic feedback could also be investigated in relation to effectiveness of pilates training on dancers.

Acknowledgements (Optional):  The authors would like to acknowledge the Clare Booth Luce Foundation and Hope College Department of Engineering for sponsoring this work. The authors also thank Professors Kara Brems and Jasmine Mejia for their guidance with the project.