title: Trunk Muscle Activation and Estimating Spinal Compressive Force in Rope and Harness Vertical Dance.
abstract: Rope and harness vertical dance takes place off the floor with the dancer suspended from his or her center of mass in a harness attached to a rope from a point overhead. Vertical dance represents a novel environment for training and performing in which expected stresses on the dancer's body are different from those that take place during dance on the floor. Two male and eleven female dancers with training in vertical dance performed six typical vertical dance movements with electromyography (EMG) electrodes placed bilaterally on rectus abdominus, external oblique, erector spinae, and latissimus dorsi. EMG data were expressed as a percentage of maximum voluntary isometric contraction (MVIC). A simplified musculoskeletal model based on muscle activation for these four muscle groups was used to estimate the compressive force on the spine. The greatest muscle activation for erector spinae and latissimus dorsi and the greatest trunk compressive forces were seen in vertical axis positions where the dancer was moving the trunk into a hyper-extended position. The greatest muscle activation for rectus abdominus and external oblique and the second highest compressive force were seen in a supine position with the arms and legs extended away from the center of mass (COM). The least muscle activation occurred in positions where the limbs were hanging below the torso. These movements also showed relatively low muscle activation compression forces. Post-test survey results revealed that dancers felt comfortable in these positions; however, observation of some positions indicated insufficient muscular control. Computing the relative contribution of muscles, expressed as muscle activation and estimated spinal compression, provided a measure of how much the muscle groups were working to support the spine and the rest of the dancer's body in the different movements tested. Additionally, identifying typical muscle recruitment patterns in each movement will help identify key exercises for training that should promote injury prevention.
authors.affiliation: Department of Theatre & Dance, University of Wyoming, Laramie, Wyoming, USA.
authors.forename: Margaret
authors.initials: M
authors.lastname: Wilson
authors.affiliation: Department of Kinesiology and Health, University of Wyoming, Laramie, Wyoming, USA.
authors.forename: Boyi
authors.initials: B
authors.lastname: Dai
authors.affiliation: Department of Kinesiology and Health, University of Wyoming, Laramie, Wyoming, USA.
authors.forename: Qin
authors.initials: Q
authors.lastname: Zhu
authors.affiliation: Department of Geology and Geophysics, University of Wyoming, Laramie, Wyoming, USA; Department of Theatre & Dance, University of Wyoming, 1000 East University Avenue, Dept. 3951, Laramie, Wyoming 82071, USA. mawilson@uwyo.edu.
authors.forename: Neil
authors.initials: N
authors.lastname: Humphrey
mesh_terms: D003615:Dancing / Q000502:physiology*; D004576:Electromyography; D005260:Female; D006801:Humans; D007537:Isometric Contraction / Q000502:physiology*; D017770:Lifting; D008161:Lumbosacral Region / Q000502:physiology*; D008297:Male; D018482:Muscle, Skeletal / Q000502:physiology*; D005082:Physical Exertion / Q000502:physiology*; D064171:Superficial Back Muscles / Q000502:physiology; D019415:Torque; D055815:Young Adult