Original Article

Effects of Plyometric Training Versus Traditional

Weight Training on Strength, Power, and Aesthetic
Jumping Ability in Female Collegiate Dancers
Andrea G. Brown, B.S., Tobin J. Wells, B.S., Margaret L. Schade, B.S.,
Denise L. Smith, Ph.D., and Patricia G. Fehling, Ph.D.

Abstract with a Wingate anaerobic power test and While dance training is focused on
While the benefits of traditional strength vertical jump height tests. Aesthetic jump- the development of technique, its ex-
training for dancers has been examined, no ing ability was assessed via an evaluation plicit objective is rarely to imptove the
such investigation has been performed for by dance faculty at Skidmore College on athletic components of dance. Various
plyometric training. Therefore, the purpose ballon, jump height, ability to point the
studies have examined the normative
of this study was to compare the effects of feet in the air, and overall jumping ability.
abilities of dancers and compared them
plyometric training and traditional weight There were no differences in the descrip-
tive measures of jumping ability, strength to those of other athletes,'"^ and have
training on aesthetic jumping ability, concluded that dancers are not as fit
lower-hody strength, and power in col- or power among the groups at the start of
the study. The plyometric group signifi- as tbey ought to be given the demands
legiate dancers. Eighteen female dancers
cantly increased leg press strength (37%), placed upon them. It has been sug-
who were enrolled in a minimum of one
standing vertical jump height (8.3%), and gested that this may render dancers
intermediate or advanced hallet or modern
class at Skidmore College volunteered to aesthetic jump height (14%). The weight more prone to injury,^'' and it may
participate in the study. Twelve subjects training group significantly increased leg hinder their ability to perform to maxi-
were randomly assigned to a plyometric press strength (32%), leg curl strength mum potential. For these reasons, it is
(n = 6) or traditional weight training (n (23%), mean anaerobic power (6%), aes- necessary to gain better understanding
= 6) group. The remaining six subjects thetic jump height (22%), and aesthetic
of tbe effect of supplemental training
served as a self-selected control group. ability to point the feet in the air (20%).
for dancers.
The plyometric group performed 3 sets No significant changes were seen in the
control group. The results of this study Strength, defined as the ability to
of 8 repetitions of 4 difFerent lower-body
indicate that either plyometric training or exert maximal force,'' is essential for the
plyometric exercises twice a week. The
traditional lower-body weight training can slow, controlled movements in dance
weight training group performed 3 sets of
6 to 8 repetitions of 4 lower-body isotonic be useful in improving variables applicable such as developpe and grand rond de
exercises twice a week. The control group to dance. This study also supports the no- jambs. Power, described as the ability to
refrained from all forms of strength train- tion that short-term dance training alone exert force quickly, is vital for effective
ing. Each subject maintained her normal may not be sufficient to elicit imptove- jumps in dance. Supplementary train-
dance classes throughout the six week ments in these variables. ing metbods sucb as traditional weigbt
intervention. All subjects were tested prior training and plyometric training can be

D
to and following the six-week training ance is an artistic discipline, used to improve sttength and power,
period. Testing consisted of assessments yet one that tequites extreme respectively. Both these methods ate
of jumping skill and lower-hody strength physical fitness of its par- well-documented in the exercise physi-
and power. Strength was assessed via 3 one- ticipants. Along with the technical ology and sports medicine literattire re-
repetition maximum tests: leg press, leg demands of the art, dancers must be garding their effectiveness in improving
curl, and leg extension. Power was assessed flexible, strong, lean, and powerful. strength and power-related variables
in general and atbletic populations.'^""'
Andrea C. Brown, B.S., Tobin J. Wells, B.S., Margaret L. Schade, B.S., Denise However, little research has been done
L. Smith, Ph.D., and Patricia C. Fehling, Ph.D., are in the Human Performance on the response of dancers to tradi-
Laboratory, Department of Exercise Science, Skidmore College, Saratoga Springs,
tional strength training programs."''''
New York.
Grossman and Wilmerding'^ reported
Gorrespondence: Patticia C. Fehling, Ph.D., Depattment of Exercise Science, 815 that a low intensity program designed
N. Broadway, Saratoga Sptings, New York 12866; [email protected]. to train the hip fiexors elicited a mean

38
 Journal of Dance Medicine ef Science • Volume 11, Number 2, 2007 39

increase of six inches in the height lege Human Subjects Review Board ators kept the beat throughout the
of a leg extension a la seconde (the and all subjects completed informed combination and attempted to keep
combined hip actions of flexion, ab- consent and medical and physical the tempo constant for each subject.
duction, and external rotation). This activity background forms. Subjects The evaluators were blind to the train-
study demonstrates that supplemental were excluded from the study if they ing group designation of each subject
strength training can positively affect had orthopaedic problems relating to and to the content of the training
technical dance ability. However, while the lower extremities or back or if they programs. The scores for each subject
plyometric training programs have had a known eating disorder, each as by each evaluator were averaged for
been shown co be particularly effective determined by responses to the medi- each aspect of jumping.
for improving vertical jump height cal background questionnaire.
and leg strength in female athletes,*'" Anthropometric Measurements
no research known to the authors has Testing In order to assess possible changes in
investigated plyometric training for Testing was completed in three ses- body composition with the imposed
dancers. sions in the following order: 1. subjec- interventions, anthropometric mea-
While the benefits of strength train- tive dance evaluation, 2. anthropome- surements were obtained. Height was
ing on objective measures of strength try and lower body power assessment, measured to the nearest tenth ofa cen-
have been investigated to some extent, and 3. maximal lower body strength timeter using a standard stadiometer,
very little research" has examined the assessment. A minimum of two days and body weight was measured to the
effects of strength training on jumping separated each testing sessions. Pre- nearest tenth ofa kilogram using an
ability in dancers, specifically subjec- and post-testing sessions occurred electronic scale (Befour, Inc.) Body
tive values such as the aesthetics of within one week before and after the density and percent body fat were de-
jumping ability. Given that extreme six-week intervention period. termined using the skinfold method.
neuromuscular control is required to Body density was calculated using a
create aesthetically pleasing jumps, it is Subjective Dance Evaluation four-site (triceps, anterior suprailiac,
plausible that supplementary training A subjective dance evaluation was de- abdomen, thigh) equation.'^ The val-
geared toward improving the strength veloped and used to examine the effects ues were then converted from body
and power ofthe musculature required of the training programs on aesthetic density to percent body fat."
for jumping may improve aesthetics. jumping ability. As this was an original
Therefore, the purpose of this study was measure, its reliability is unknown. Three Vertical Jump
to examine the effects ofa traditional experienced dance faculty members Standing and moving vertical jump
dynamic resistance training program assessed four aspects of petit allegro height were measured using a jump
versus the effects ofa plyometric train- technique: ballon (defined as the dancers meter (Vertec). The intraclass cor-
ing program on the strength, power, ability to hang suspended in the air relation coefficient for the Vertical
and aesthetic jumping ability of col- during a jump), height of the jumps, Jump test has been reported at 0.87.""
legiate female dancers. the ability to point the feet in the air, Subjects were barefoot and began by
and the dancer's overall jumping ability standing flat-footed at the base ofthe
Materials and Methods (defined as the dancer's ability to create apparatus and reaching the highest
Subjects an aesthetically pleasing jump). For each flag possible without letting the heels
This study used an experimental, aspect, the factilty evaluated the subjects leave the ground. This was recorded as
non-random, repeated measures de- on a 5-point scale: 1 = Poor, 2 = Fair, 3 the standing reach. The subjects then
sign. The participants (n =18) were = Average, 4 = Good, 5 = Excellent. The performed a standing jump. Subjects
female collegiate dancers between the dance combination that was evaluated were instructed to perform a coun-
ages of 18 and 23 years. All subjects in each case was 16 measures long and termovement (i.e., squat down) and
volunteered and were concurrently consisted ofthe following steps: echappe immediately jump as high as possible
enrolled in at least one intermedi- close fifiJi, echappe close fifih, echappe off both feet. At the peak of the jump,
ate-advanced or advanced dance close right leg coupe derriere, coupe subjects tapped the highest flag they
technique class. The experimental assemble dessous, glissade jete dessus, could reach. The use of arms during
subjects were randomly assigned into temps leve, temps leve, jete dessus, as- takeoff was permitted, but a step into
a plyometric training group (n = 6) semble dessus, entrechat quatre. the jump was not. For the moving
or a weight training group (n = 6). Subjects were instructed to wear vertical jump, subjects were allowed
The control group (n = 6) consisted dance clothing with the feet clearly a running start and instructed to take
of dancers who were willing to be visible. After a self-directed warm off from one foot. Subjects attempted
tested, but due to time conflicts could up, the subjects were taught the jump to time the jump so the highest point
not commit to the training. Due to combination and were given time to was at the apparatus, and tapped the
limited subject availability, only fe- practice it. Each subject entered the highest flag they could reach. For each
male dancers participated. This study studio individually and performed the jump condition, subjects were given
was approved by the Skidmore Col- combination once. One ofthe evalu- six attempts with at least a 60 second
40 Volume 11, Number 2, 2007 • Journal of Dance Medicine & Science

rest between attempts. Vertical jump subjects were not warm from a dance The subject fully extended the right
was recorded to the nearest half-inch class prior to the training session, leg and jumped to a maximal height
as the standing reach subtracted from they either jogged or cycled at a and landed with the same leg. One
the highest attempt. low intensity for flve minutes. Each set was considered 8 repetitions on
training session lasted from 30 to 45 the right leg followed immediately
Wingate Anaerobic Power Test minutes and there was a minimum of by 8 repetitions on the left leg. Box
The test Wingate Anaerobic Power one recovery day between sessions. All jumps consisted of a two-footed
test was performed using a cycle er- training sessions were supervised by an countermovement hop from the
gometer (Monark 814 E Ergomedic). investigator. The control group was floor to the top of a box. The sub-
Test-retest reliability for the Wingate asked to participate in no additional jects would step off of the box and
Anaerobic Power test has been re- training beyond their regular dance repeat. "Froggies" were a two-footed
ported to be within the range of 0.89 regimens. maximal horizontal hop similar to a
to 0.99.'^ Seat height was determined standing long jump. The jumps were
for each subject so during the lowest Weight Training sequential and commenced with a
point in the pedaling cycle the knee The weight training protocol con- countermovement.
had a flexion of approximately 10°. sisted of four lower-body exercises. Intensity and height increased
Subjects were given three seconds to During the first training session, every three sessions. Intensity was
reach maximal sprint speed against no subjects began with 80% of their defined as how explosively the
resistance. After the 3 seconds, 7.5% one repetition maximum obtained jumps were executed. The investi-
ofthe subject's body weight was added from pre-testing. The exercises were gators visually monitored changes
to resist the flywheel. Subjects then completed in the following order: in intensity and gave the subjects
pedaled at a maximum rate for 30 decline leg press, calf raise, leg curl, encouragement and feedback to
seconds against the resistance. They and leg extension. For each exercise ensure proper effort. The first week
were asked not to pace themselves the subjects completed 3 sets of 6 to 8 focused on keeping a low intensity
and to remain seated during the test. repetitions until momentary muscle to familiarize the subjects with plyo-
The technicians verbally encouraged failure. There was a one minute rest metrics and reinforce proper form.
the subjects throughout the test. period between sets. When a subject For depth jumps, step-ups, and box
Absolute peak and mean power were completed 8 repetitions for 2 or 3 jumps the box height started at 6
recorded. continuous sets of an exercise, the inches. At the fourth and seventh
weight was increased by 5% during training sessions, the box height
Maximal Strength the next training session. was increased 3 inches. For the
One-repetition maximum testing final three sessions, intensity was
was used to determine maximal Plyometric Training progressed by making the jumps
strength on the leg press, leg curl, The plyometric training protocol more explosive. When the box
and leg extension. Subjects warmed involved 3 sets of 8 repetitions of 4 height increased the subjects were
up and accustomed themselves to exercises for a total of 96 "touches" instructed to reduce the intensity
the movements by performing 8 to per session. A touch is deflned as for at least one training session. As
10 repetitions at a submaximal load. a jump or a foot contact with the the subjects acclimated to the new
After a 30 to 60 second period of rest, ground. All subjects were treated as height, intensity would be resumed
weight was progressively added in 5% novices to plyometric training, and by making the jumps more explo-
to 10% increments. For the first set were therefore prescribed four exer- sive. Froggies were progressed solely
following the warm up, subjects were cises of low to medium intensity with by increasing the explosiveness of
asked to perform three repetitions. For a low volume of total touches. The the jumps. Froggies were performed
all sets thereafter, two repetitions were plyometric exercises were performed at a low intensity for the first week,
performed. There was a 30 to 60 sec- in the following order: depth jumps, a medium intensity for the second
ond rest period between sets, during step-ups, box jumps, and "froggies." and third weeks, and were done at
which subjects stood up and walked There was a one-minute active recov- a high intensity for the last three
around. One repetition maximum ery period between sets during which weeks.
was determined when the second the subjects walked around casually.
repetition could not be performed During depth jumps, subjects Statistical Analysis
without compromising proper lifting stepped off a box, landed into a squat A one-way ANOVA was used to deter-
technique. with thighs parallel to the ground, mine if significant differences existed
and then jumped as quickly as pos- among the three groups for descrip-
Training sible to a maximum vertical height. tive variables and dependent variables
Dancers in both experimental groups During step-ups, the subjects stood prior to training. There were no
participated in supplementary train- with the left foot on the ground and significant differences among groups
ing protocols twice a week. If the the right foot on the top ofthe box. for any of the variables; therefore, a
 Journal of Dance Medicine ef'Science • Volume 11, Number 2, 2007 41

post-hoc test was not needed. leg press strength (+ 32%, p < 0.01) in the control group for any variable
To determine the effects of training, and leg curl strength (+ 2 3 % , p < from pre- to post-testing.
a 2 (time) x 3 (group) ANOVA with 0.05). While both training groups
repeated measures for the time factor increased leg press strength, there was Discussion
(pre-test vs. post-rest) was employed. no significant difference between these Dance is both artistic and athletic; it is
If a significant difference existed, a two groups in the magnitude of their the integration of these two seemingly
Tukey post-hoc analysis was used. respective increase (Table 2). unrelated elements that distinguishes
Significance was accepted at the p The weight training group sig- it from other sports and art forms.
< 0.05 level. All results are reported as nificantly increased absolute mean These two components of dance
means and standard deviations. anaerobic power from pre- to post- present a challenge to the researcher
testing (+ 6%, p < 0.05; Table 2). The wishing to examine its pertinent
Results plyometric training group exhibited aspects. Ultimately, the goal of this
Results of the one-way ANOVA a significant increase in vertical jump type of research is to determine how
showed that there were no significant height from pre- to post-testing (1.0 changes in physical fitness affect the
differences among the groups prior ± 0.8 in = 8.3%, p < 0.05; Table 2). aesthetic component of dance. In or-
to training. There were no significant As reported in Table 2, the plyo- der to jump effectively dancers must
differences among the descriptive or metric group significantly improved have a high degree of strength and
anthropometric characteristics pre- to subjective jump height (+ 14%, p < power. Therefore, the purpose of this
post-intervention for any ofthe groups 0.05), while the weight training group investigation was to examine the ef-
(Table 1). Additionally, there were no significantly increased both subjective fects of two distinct training programs
differences among the groups in any of jump height (+ 22%, p < 0.01) and on lower-body strength, power, and
the outcome variables (strength test- ability to point the feet while jump- aesthetic jumping ability in female
ing, power testing, subjective dance ing (+ 20%, p < 0.05). There was no collegiate dancers. The results show
evaluation) before training. difference between the two training that both types of training programs
There was a time (pre vs. post) groups for the changes observed from elicited gains beneficial for jumping
main effect for the plyometric group's pre- to post-testing in subjective jump ability in this population.
leg press strength (+37%, p < 0.01), height. Strength may be defined as the
and for the weight training group's No significant changes were seen ability to exert force through a given

Table 1 Descriptive Characteristics*

Age Height Weight (kg) % Body Fat
Group (years) (cm) Pre-test Post-test Pre-test Post-test
Plyometrics 20.3 ± 1.5 166.0 ±2.1 59.0 ± 4.5 58.9 ±4.4 18.7 ±3.7 17.7 ±2.0
Weight training 19.3 ± 1.2 160.0 ±7.7 59.8 ± 5.0 61.0 ±4.8 20.6 ± 3.4 19.9 ±4.5
Control 19.5 ± 1.0 169.0 ±9.0 61.7 ±7.0 61.6 ±7.1 21.1 ±4.5 20.9 ± 4.2
*No significant differences between groups.

Table 2 Strength, Power, and Subjective Evaluation

Plyometrics Weight Training Control
Pre Post Pre Post Pre Post
Strength (kg)
Leg Press 183.3 ±30.9 251.5 ±39.4t 214.4 ±61.0 282. 5 ± 48.0t 222. 7 ±65.0 229.0 ± 72.9
Knee Curl 37.5 ±4.0 40.9 ± 3.8 34.8 d:4.5 42.8 ±3.4* 40.0 ±5.7 40.9 ± 3.7
Knee Extension 62.5 ±9.1 57.5 ± 7.7 58.7 J:6.5 61.7 ±4.4 60.5 ± 10.1 56.5 ± 10.2
Anaerobic Power (watts)
Peak power 559.5 ± 105.0 570.0 ± 107.0 557.6 ±53.4 581. 8 ± 52.7 546. 5 ±72.1 563.5 ± 65.9
Mean power 336.5 ± 34.0 347.0 ± 49.3 340.8 ±53.5 361. 1 ± 62.6* 380. 7 ± 54.0 379.0 ± 56.6
Vertical Jump (in)
Standing 12.0 ± 1.2 13.0 ± 1.0* 13.3 J:3.3 13.8 ±3.1 12.8 ±2.3 13.5 ±2.0
Moving 14.0 ±2.1 14.0 ± 2.0 15.8 J:3.3 15.3 ±3.0 16.3 ±3.3 15.9 ±3.2
Subjective Evaluation
Ballon 3.2 ± 0.4 3.4 ± 0.4 2.7 ± 1.5 3.3 dtO.8 3.1 :t 1.0 3.6 ±0.6
Jump height 3.2 ± 0.4 3.6 ±0.5* 2.8 ± 1.0 3.5 dtO.8t 3.1 :t 1.2 3.6 ±0.6
Feet point 3.8 ± 0.6 3.8 ± 0.4 3.0 ± 1.2 3.6 dtO.7* 3.3:bO.l 3.9 ± 0.4
Overall ability 3.2 ±0.5 3.5 ±0.5 3.0 ± 1.4 3.3 dtO.9 3.1 :b 1.2 3.8 ± 0.7
tp < 0.01 (Significance within group, pre vs. post); *p < 0.05 (Significance within group, pre vs. post).
42 Volume 11, Number 2, 2007 • Journal of Dance Medicine d" Science

range of motion.^ Dancers need other way, stretching a muscle before explosive movement such as a grand
high levels of strength for a variety concentrically contracting results in jete, whereas mean power supports
of reasons; slow controlled move- a more forceful contraction than if an explosive combination drawn out
ments such as developpe require the no prestretch occurred. In addition, over several seconds. This increase in
dancer to support the weight of the elastic proteins in the muscle act in mean power may indicate improved
leg through their range of motion a similar manner as a rubber band glycolytic capacity for the dancers
for several seconds, but fast explosive to enhance the force of contraction. who participated in weight training.
movements such as jumps require the During the eccentric phase, these se- A similarfindingwas demonstrated by
dancer to exert force very quickly. This ries elastic components are stretched Stalder and associates" who found 9
study measured total thigh strength and store potential energy. The stored weeks of weight training significantly
on the inverted leg press, hamstring energy is released upon initiation of improved muscular endurance in
strength on the leg curl, and quad- the concentric phase, allowing a more collegiate dancers as measured with a
riceps strength on the leg extension forceful contraction.'' The first phase dance-specific saute changement test.
of the inverted leg press consists of It is therefore plausible that weight
exercises.
The weight training group im- eccentrically loading the musculature training can be a useful training tool
proved total thigh and hamstring of the hip and knee, as does the first for short-term explosive dance combi-
strength following the intervention. phase of a plyometric drop jump. nations. It may also be plausible that
This supports data obtained in previ- Likewise, the concentric phase of the the specific weight training program
ous studies on female dancers that leg press mimics the jumping phase of used in this study did not emphasize
demonstrate a link between strength the drop jump. The observed improve- a high enough intensity to increase
training and jumping endurance.^" ment in the plyometric group in this maximum power output.
Strength training has also been shown study suggests that plyometric train- The present study found no signifi-
to positively affect strength-related ing is effective in increasing inverted cant change in either peak or mean
dance movements such as height of ex- leg press strength. power output after plyometric train-
tension a la seconde and arabesque.'^''* Quadriceps strength as measured ing. Numerous studies have found
While it was beyond of the scope by the one-repetition maximum leg plyometric training to be effective in
of this study to examine changes in extension exhibited no change in the improving peak power output.'^•^^•^''
extension height, the applicability of weight training group. The absence This discrepancy may be explained
weight training to dance jump perfor- of change in this group is perplexing by the difference in testing protocols:
mance was demonstrated through the given that the exercise was included the majority of these studies used the
improvements in subjective rating of in the weight training regimen. It is Margaria stair-climbing test, whereas
jumping skills for the dancers in the possible that six weeks of training was the present investigation used the
weight training group. insufficient to elicit changes in quad- Wingate Anaerobic Power test. The
The plyometric group in our study riceps strength, owing to a training stair-climbing protocol may be more
improved total thigh strength by an effect that had already been conferred movement specific (i.e., more similar
equal absolute amount as the weight by dance training. to the plyometric movements) than
training group, which was interesting Power can be defined as force the cycling test, and this similarity
given that the plyometrics program did exerted over time. Actions requiring may increase testing sensitivity. An-
not specifically focus on the inverted high power output rely predominandy other possible explanation lies in the
leg press. Fatouros and colleagues'^ on the ATP-PC and glycolytic sys- plyometric program design. Given the
also found that plyometric training tems of energy.^" In dance, effective intense neuromuscular load associated
significantly increased strength mea- use of muscular power is essential with plyometrics, the dancers were
sured by the leg press. The increased for fast and repetitive movements treated as novices despite their exten-
leg press strength is likely due to such as a series of jumps. The results sive jump training in dance class. The
adaptations from the plyometric ex- of the Wingate Anaerobic Power more narrow design (lack of intensity)
ercises used in this study, specifically test showed improvement in mean of the plyometric training program
activation of the stretch reflex and anaerobic power with traditional as compared to other studies may ac-
the series elastic components of the weight training and no change with count for the lack of improvement.
involved musculature. The stretch plyometric training. The improve- Lower-body power, as assessed by
reflex is activated by muscle spindles ments in the weight training group are vertical jump height, improved with
in the agonist muscle. As the agonist consistent with the findings of other plyometric training but not with
is stretched during the eccentric studies."'*'^''^^ It is interesting to traditional weight training. Previous
phase of the movement, the muscle note that while mean power increased research has generally shown that
spindles activate a reflex arc culminat- in the weight training group, peak traditional weight training elicits gains
ing in stimulation ofthe alpha-motor power did not. Both mean and peak in vertical jump height,''"*-^''^^'^' but
neuron and enhanced concentric power are important for dance; peak most of these studies incorporated
contraction ofthe agonist." Put an- power translates to an instantaneous power exercises such as jump squats
 Journal of Dance Medicine {^Science • Volume 11, Number 2, 2007 43

or hang cleans, or used substantially the specific training of the gastroc- necessarily increase lean body mass
longer duration and higher volume nemius-soleus complex. While calf or thigh circumfrences.'" As dancers
training periods. A one-inch increase strength was not tested, the perceived have been historically wary of lifting
in vertical jump height was seen increase in ability to plantar flex the weights out of fear of gaining muscle
in the plyometric training group. feet may indicate the calf training in- bulk, it is important to educate danc-
Improvements in vertical jumping cluded in the weight ttaining protocol ers as to the types of strength training
ability after plyometric training have increased calf strength. that can offer benefits without causing
been well-documented in the litera- The plyometric training group also aesthetic detriments. The results of
ture.'*'^^'^''^^'^''Adams and coworkers^^ improved their score in perceived this study indicate that low-volume,
observed a 1.5 inch improvement in jump height. This corresponds with high-intensity weight training and
vertical jump height after six weeks of improvement in the objective vertical moderate intensity plyometric train-
plyometric training. Similarly, Hewett jump height. As mentioned previ- ing do not contribute to hypertrophy
and colleagues^'' found a 1.5 inch in- ously, the type of training performed but do provide muscular benefits.
crease in the vertical jump height of by the plyometric group was geared The control group exhibited no
female volleyball players after 6 weeks specifically toward improving the changes in any variables after the six
of plyometric training. The results of aspects of the leg musculature most week monitoring period. This suggests
the present study are consistent with relevant to jumping. Therefore, it that short-term dance training alone
these findings. is ptobable that improvements in is insufficient to improve strength,
Despite the increase in mean an- stretch-reflex activity and efficiency of power, or jumping ability in this
aerobic power in the weight training utilization ofthe series elastic compo- population. Similar results have been
group, no improvement was seen in nents were responsible for the increase repeatedly demonstrated in previous
this group's objective vertical jump. in aesthetic jump height. investigations.^"'^ This presents a
The discrepancy seen between the two Despite improvements in perceived powerful case for the use of supple-
measures of power is likely a function jump height and perceived ability to mental training to improve physi-
of specificity. Plyometric exercises train point the feet, there was no change ological variables related to dance.
the muscular functions specifically for in any group for ballon or overall Having superior physical fitness allows
jumping.^^ The quick eccentric loading jumping ability. This indicates that the dancer to focus on the artistry of
followed by a rapid concentric contrac- while the dancers who participated the movement instead of simply try-
tion trains the stretch reflex and allows in supplemental training were able to ing to complete the exercise without
the musculature to use the benefits of jump higher, their improvements did becoming exhausted or injured.
the energy stored in the series elastic not necessarily translate into a more Future research should investigate
components.''•' This directly translates aesthetically pleasing jump as mea- a larger subject pool over a longer
to vertical jump ability. The weight sured on a subjective Likert scale. It is intervention period. Previous studies
training intervention in this study may possible that ballon and overall jump- have shown training periods of seven
not have been specific enough to elicit ing ability are best mastered through weeks or greater to be more effective
gains in vertical jump height. focused technical dance training and at improving strength and power
The subjective evaluation used in are unaffected by supplemental con- production than periods of shorter
this investigation shed some light on ditioning such as weight training or duration.^^'^^ Additionally, it would
how weight training and plyometrics plyometrics. be useful to investigate the effects of
can affect aesthetic jumping ability. There were possible confounding different types of training in a danc-
Given the artistic nature of dance, aes- factors relating to the investigation of ing population. Previous investiga-
thetics are very important for interpret- subjective jump height in this study. tors have employed weight training
ing success. There has been very little The subjective scale was an original programs tising lower loads at higher
research incorporating a subjective design, and therefore has not been velocities'^ and combined weight
element of dance performance, particu- validated. Additionally, it cannot be training and plyometric programs'"'^^
larly in relation to jumping. Stalder and determined if the results were due to examine strength and power im-
colleagues" found 9 weeks of supple- to the training protocols or to an provements, but these protocols have
mental weight training to positively increased comfort level with the test not been applied to dancers. Finally,
affect subjective jumping variables in process during the post-test. a cross-sectional study comparing dif-
a ballet-trained population. There were no significant changes in ferent levels of dancers should be done
The weight training group im- any group for body fat or body weight. to validate the subjective evaluation
proved their score in two (jump height Although lean mass was not measured protocol used in this study.
and ability to point feet) of the four directly, it can be inferred that lean
parameters of the subjective evalua- mass did not change given the lack of Conclusion
tion. The improvements in perceived change in body fat and body weight. This study investigated how two
jump height and ability to point the This supports the notion that supple- different strength training programs
feet while jumping were likely due to mental muscular training does not affected strength, power, and aes-
44 Volume 11, Number 2, 2007 • Journal of Dance Medicine & Science

thetic jumping ability in collegiate 4. Harley YXR, Gibson A, Hadey EH, Strength and Gond Res, 1994;8:5-
female dancers. As dance is aesthetic et al: Quadriceps strength and jump- 11.
in nature, it is extremely difficult to ing efficiency in dancers. J Dance 17. Inbar O, Bar-Or O, Skinner J: The
quantify improvement. In an attempt Med Sci. 2002;6(3):87-94. Wingate Anaerobic Test. Ghampaign,
to place the results of this intervention 5. Koutedakis Y, Sharp NCC: Thigh- IL: Human Kinetics, 1996.
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