ududDancers invest a great deal of time and effort into their training in order to attain elite levels of performance. However, quantity of practice alone is not enough to achieve elite performance, the quality of practice also plays an important role[1]. Professional dancers, and vocational dance students training to become professionals, undertake large training loads with practice time increasing prior to performances and assessments[2, 3]. Dancers must balance the stress of intense training loads along with non-training related stress (e.g., academic workloads, managing financial concerns, living away from family and friends) in order to achieve performance gains. If the appropriate balance between training and non-training stress and recovery is not met, the resulting maladaptation to training manifests in symptoms of underrecovery, overtraining, and burnout.ududOvertraining and recovery has garnered attention in sports science research, however little is known about how dancers balance training and non-training stress with recovery in order to prevent negative training outcomes. Dancers are susceptible to overtraining[4] and one of the most commonly perceived reasons for injury, as reported by dancers, is fatigue due to overload[5]. Fatigue, stress, injury, and psychosocial antecedents to burnout[6-8], and workload and rest (from a physiological perspective)[9], have been examined in dance specific populations. However, no research has examined recovery in dance specifically, and how enhancing recovery may improve dancers’ management of fatigue and stress needs investigation.ududThis study examined professional dancers’ experiences of stress and recovery during their vocational dance training as a basis for identifying potential risk factors for overtraining in dance. The Overtraining Risks and Outcomes Model (OROM)[10], conceptualises four stages of stress, recovery and overtraining in athletic populations. Stage one outlines risk factors that increase stress experienced by athletes. Stage two concerns stress-recovery imbalance and early signs of overtraining. The third stage concerns individuals’ behavioural responses to overtraining, where adaptive responses lead to a return to a state of balance, and an improvement in performance, and maladaptive behavioural responses lead to the negative outcomes addressed in stage 4, such as psychological or physical illness or injury, and ongoing fatigue. The aim of this research was to use the OROM[10] to develop an understanding of dancers’ experiences of overtraining and recovery, and how the stress-recovery balance is managed in professional and vocational dance contexts.ududududParticipants & Procedure: Following university ethics approval, interviews were conducted with professional ballet (n = 4) and contemporary (n = 8) dancers (9 female, 3 male) who had previously undertaken vocational dance training. Participants ranged in age from 23 to 46 years (M = 34.06, SD 7.34) with professional dance experience ranging from 1 to 25 years (M = 9.96, SD = 7.69). The majority of the participants trained in Australia and three participants trained at international institutions. The participants included Freelance, Independent, Young, and Principal Artists, with five of the participants currently teaching contemporary and/or ballet. ududThe interviews were held at a time and location of convenience, lasting between 51:17 minutes and 1:36:45 hours. Interviews were conducted in three groups of three to four participants or individually (n = 3) to accommodate participant availability. All participants provided informed consent prior to data collection. Semi-structured interview questions were developed from the OROM[10], and interviews were transcribed verbatim by the first author.udAnalysis: Thematic analysis was conducted utilising a template analysis approach to assess how participants’ experiences fit within the OROM[10]. Following transcription, initial codes were generated and collated into themes which were then reviewed to assist in defining and refining the specifics of each theme[11]. The second author independently coded a random selection of the interviews to enhance reliability and trustworthiness. Differences in the coding and themes generated were discussed and debated until agreement was reached. ududududAnalyses revealed dancers’ experiences of stress and recovery during vocational training could be described within the OROM[10] (see Table 1). Three key themes were identified as central risk factors in vocational dance training: Identity (“There’s quite a lot of bravado…’good dancers work through things’, and I think we expect that of each other” [C7]), Pushing Through (“I’d push through and [my injuries would] get worse” [B4]), and Health (“When I got injured…they wanted me back as quick as possible…and that was a big problem” [B1]). Dancers’ behavioural responses to stress were identified as either Adaptive (“When you get injured…you have to learn to treat your body right” [B1]), or Maladaptive (“I remember taking laxatives, I started smoking”[B3]) (see Table 2). ududududDancers face a unique set of specific risk factors for overtraining which may compromise recovery in light of the demands of vocational dance training. Health and Identity emerging as a key risk factors, particularly in relation to injury and body issues, corresponds with previous research suggesting that dancers experience stress related to physical factors such as physical appearance, physical fatigue and injury[12]. Whilst the demand for a specific body type and risk of injury may always be present in professional dance, understanding individual differences in responses to these risk factors may assist dancers to find adaptive ways of coping with increased stress related to these issues. ududThe theme of Pushing Through is unique to this study and warrants further investigation as to how the sociocultural norm of ‘pushing through’ in dance puts dancers at risk of overtraining. Several dancers in this study self-identified as people who “push through” and these dancers also reported experiencing outcomes indicative of overtraining (e.g., serious injury, debilitating psychological illness, prolonged fatigue and extended time off from dance). Examination of how and why dancers push beyond their capabilities will add to the current knowledge regarding links between fatigue and injury in dance[5].udWhilst some participants reported less healthy ways of dealing with stress (e.g., smoking, drinking, ignoring stressors) it was encouraging to note that several dancers reported adaptive behaviours when dealing with stress, such as taking time off, remedial massage for aches and pains, and drawing on social support from friends and family. Helping dancers identify adaptive strategies for coping with stress and minimising maladaptive behavioural responses will enable dancers to regulate their individual stress-recovery balance[12].ududududThis study is a first step in understanding how risk factors for overtraining and behavioural responses related to recovery in vocational dance training may impact dancers’ health and performance. The findings suggest that assisting dancers identify how stress impacts their response to training, and improving recovery behaviours, is essential for intervention programs aimed at enhancing recovery and reducing the risk of overtraining in vocational dance training.udud1.Kellmann, M., Enhancing recovery: Preventing underperformance in athletes. 2002: Human Kinetics.udud2.Wyon, M., Preparing to Perform: Periodization and Dance. Journal of Dance Medicine & Science, 2010. 14(2): p. 67-72.udud3.Grove, J.R., L.C. Main, and L. Sharp, Stressors, recovery processes, and manifestations of training distress in dance. Journal of Dance Medicine & Science, 2013. 17(2): p. 70-78.udud4.Koutedakis, Y., Burnout in dance. Journal of Dance Medicine & Science, 2000. 4(4): p. 123.udud5.Liederbach, M., L. Schanfein, and I.J. Kremenic, What is known about the effect of fatigue on injury occurrence among dancers? Journal of Dance Medicine & Science, 2013. 17(3): p. 101-108.udud6.Liederbach, M. and J.M. Compagno, Psychological aspects of fatigue-related injuries in dancers. Journal of Dance Medicine & Science, 2001. 5(4): p. 116-120.udud7.Noh, Y.E., T. Morris, and M.B. Andersen, Psychosocial stress and injury in dance. Journal of Physical Education, Recreation & Dance, 2003. 74(4): p. 36-40.udud8.Quested, E. and J.L. Duda, Antecedents of burnout among elite dancers: A longitudinal test of basic needs theory. Psychology of sport and exercise, 2011. 12(2): p. 159-167.udud9.Twitchett, E., et al., The demands of a working day among female professional ballet dancers. Journal of Dance Medicine & Science, 2010. 14(4): p. 127-132.udud10.Richardson, S.O., M.B. Andersen, and T. Morris, Overtraining athletes: Personal journeys in sport. 2008: Human Kinetics.udud11.Braun, V. and V. Clarke, Using thematic analysis in psychology. Qualitative Research in Psychology, 2006. 3(2): p. 77-101.udud12.Noh, Y.-E., T. Morris, and M.B. Andersen, Occupational stress and coping strategies of professional ballet dancers in Korea. Medical Problems of Performing Artists, 2009. 24(3): p. 124.
展开▼
机译：ud ud跳舞者会花费大量的时间和精力进行培训，以达到卓越的演奏水平。然而，仅练习的数量不足以达到精英水平，练习的质量也起着重要的作用[1]。职业舞者和接受职业培训的职业舞蹈学生要承担大量的培训工作，而在表演和评估之前，练习时间会增加[2，3]。舞者必须在紧张的训练压力与与非训练相关的压力（例如学术工作量，管理财务问题，与家人和朋友住在一起）之间取得平衡，以取得绩效。如果不能在训练压力与非训练压力和恢复之间达到适当的平衡，则对训练的适应不良会表现为恢复不足，过度训练和倦怠的症状。 ud ud过度训练和恢复在体育科学研究中引起了人们的注意，但很少有知道舞者如何平衡训练和非训练压力与恢复，以防止负面的训练结果。舞者容易受到过度训练[4]，而据舞者报道，受伤最常见的原因之一是由于超负荷导致的疲劳[5]。在特定舞蹈人群中，研究了疲劳，压力，伤害和职业倦怠的社会心理先决条件[6-8]，以及工作量和休息（从生理角度出发）[9]。但是，没有研究专门研究舞蹈的恢复情况，提高恢复能力如何改善舞者对疲劳和压力的管理需要进行调查。 ud ud本研究以职业舞者在职业舞蹈训练过程中的压力和恢复经验作为研究基础。找出舞蹈训练过度的潜在危险因素。过度训练的风险和结果模型（OROM）[10]将运动人群的压力，恢复和过度训练的四个阶段概念化。第一阶段概述了增加运动员承受压力的风险因素。第二阶段关注压力恢复不平衡和过度训练的早期迹象。第三阶段涉及个人对过度训练的行为反应，其中适应性反应导致恢复到平衡状态，并改善表现，而适应不良的行为反应导致在第四阶段解决负面结果，例如心理或身体疾病或受伤，并持续疲劳。这项研究的目的是使用OROM [10]来了解舞者的过度训练和恢复经验，以及如何在职业和职业舞蹈环境中管理压力恢复平衡。 ud ud ud ud与程序：在获得大学伦理学批准后，采访了以前接受过职业舞蹈培训的专业芭蕾舞者（n = 4）和当代舞者（n = 8）舞者（9名女性，3名男性）。参加者的年龄范围为23至46岁（M = 34.06，SD 7.34），专业舞蹈经验为1至25岁（M = 9.96，SD = 7.69）。大多数参加者在澳大利亚接受培训，三名参加者在国际机构接受培训。参与者包括自由职业者，独立艺术家，年轻艺术家和首席艺术家，其中五名参与者目前正在教授当代和/或芭蕾舞。采访是在方便的时间和地点进行的，持续时间为51:17分钟至1:36:45小时。访谈分为三组，每组三到四名参与者，或单独（n = 3）以适应参与者的可用性。所有参与者在收集数据之前均已获得知情同意。从OROM [10]开发出半结构化的访谈问题，并由第一作者逐字记录访谈。 ud分析：主题分析是使用模板分析方法进行的，以评估参与者的体验如何适合OROM [10]。转录后，生成初始代码并将其整理为主题，然后对其进行审查，以帮助定义和完善每个主题的细节[11]。第二位作者对采访的随机选择进行了独立编码，以提高可靠性和可信赖性。讨论并辩论了编码和主题产生方面的差异，直到达成一致。 ud ud ud ud分析表明，舞蹈演员在职业培训期间的压力和恢复经历可以在OROM [10]中进行描述（见表1）。在职业舞蹈培训中，三个关键主题被确定为中心风险因素：身份认同（“好多虚张声势……'好舞者在做事”，[我想我们彼此期望” [C7]）， “我会坚持下去，[我的伤势会变得更糟” [B4]）以及健康（“当我受伤时……他们希望我尽快回来……这是一个大问题” [B1]）。舞者对压力的行为反应被识别为适应性（“受伤时……您必须学会正确对待自己的身体” [B1]）或适应性不良（“我记得服用泻药，我开始吸烟” [B3]） （请参阅表2）。 ud ud ud ud舞蹈演员面临着一套特殊的过度训练风险因素，根据职业舞蹈训练的需求，这些因素可能会影响康复。健康和身份逐渐成为主要的危险因素，尤其是与伤害和身体问题有关的危险因素，这与先前的研究表明，舞者会承受与诸如身体外观，身体疲劳和伤害等身体因素相关的压力[12]。尽管在专业舞蹈中可能总是存在对特定体型和受伤风险的需求，但了解对这些风险因素的反应的个体差异可能会帮助舞者找到适应性方法来应对与这些问题相关的压力增加。 ud ud“推入”的主题是该研究的独有特征，需要进一步研究“推入”舞蹈的社会文化规范如何使舞者面临过度训练的风险。这项研究中的几位舞者自认是“推动”的人，这些舞者还表示经历了过度训练的结果（例如，严重的伤害，使人精神衰弱的疾病，长时间的疲劳和舞蹈时间的延长）。对舞者如何以及为什么超越自身能力的考验将增加有关舞蹈疲劳与伤害之间联系的当前知识[5]。 ud尽管一些参与者报告了处理压力（例如吸烟，饮酒，忽略压力源）的较不健康的方法令人鼓舞的是，一些舞者报告了在应对压力时的适应性行为，例如请假，对疼痛和痛苦进行补救性按摩以及利用朋友和家人的社会支持。帮助舞者确定适应策略以应对压力并最大程度地减少不良适应行为，这将使舞者能够调节自己的压力恢复平衡[12]。 ud ud ud ud这项研究是了解过度训练和运动的危险因素的第一步。与职业舞蹈训练中的恢复有关的行为反应可能会影响舞者的健康和表演。研究结果表明，协助舞者确定压力如何影响他们对训练的反应并改善恢复行为，对于旨在提高恢复能力并减少职业舞蹈训练中过度训练风险的干预计划至关重要。 ud ud1。 M. Kellmann，提高康复能力：防止运动员表现不佳。 2002：人类动力学。 ud ud2。 Wyon，M.，准备表演：分期和舞蹈。舞蹈医学与科学杂志，2010年。14（2）：p。 67-72。 ud ud3。格罗夫J.R.，L.C. Main和L. Sharp的压力源，恢复过程以及舞蹈中苦恼的表现。舞蹈医学与科学杂志，2013. 17（2）：p。 70-78。 ud ud4。 Y. Kouteakis，跳舞倦怠。舞蹈医学与科学杂志，2000年。4（4）：p。 123. ud ud5。 Liederbach，M.，L.Schanfein和I.J.克雷梅尼克（Kremenic），关于舞者中疲劳对伤害发生的影响了解多少？舞蹈医学与科学杂志，2013年。17（3）：p。 101-108。 ud ud6。 Liederbach，M.和J.M. Compagno，舞者疲劳相关伤害的心理方面。舞蹈医学与科学杂志，2001年。5（4）：p。 116-120。 ud ud7。 Noh，Y.E.，T。Morris和M.B.安徒生，舞蹈中的社会心理压力和伤害。体育，娱乐与舞蹈杂志，2003年。74（4）：p。 36-40。 ud ud8。 Quested，E。和J.L. Duda，精英舞者倦怠的前身：基本需求理论的纵向检验。运动与锻炼心理学，2011年。12（2）：p。 159-167。 ud ud9。 Twitchett，E.等，女性职业芭蕾舞演员对工作日的要求。舞蹈医学与科学杂志，2010年。14（4）：p。 127-132。 ud ud10。理查森（S.O.），工商管理硕士Andersen和T. Morris，训练过度的运动员：个人的运动历程。 2008年：《人类动力学》。 ud ud11。 Braun，V.和V. Clarke，在心理学中使用主题分析。心理学定性研究，2006。3（2）：p。 77-101。 ud ud12。 Noh，Y.-E.，T。Morris和M.B. Andersen，韩国专业芭蕾舞演员的职业压力和应对策略。表演艺术家的医学问题，2009年。24（3）：p。 124。
展开▼
