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The positive effects of dance on health indices in youth are widely recognized, but participation in dance is accompanied with a certain risk of injury. This prospective study aimed to investigate injury occurrence and to evaluate the possible influences of specific predictors on the occurrence of musculoskeletal problems and injuries in adolescent dancers. Participants were 126 dancers (21 males 11–18 years), who were competitors in the urban dance, rock and roll, and standard/Latin dance genres. Predictors included sociodemographic factors, anthropometric/body build indices, sport (dance) factors, and dynamic balance. The outcome variable was injury status, and this was evaluated by the Oslo Sports Trauma Research Centre Overuse Injury Questionnaire (OSTRC). Predictors were evaluated at baseline, and outcomes were continuously monitored during the study period of 3 months. During the study course, 53% of dancers reported the occurrence of a musculoskeletal problem/injury, and dancers suffered from an average of 0.72 injuries over the study period (95% CI: 0.28–1.41), giving a yearly injury rate of 280%. Gender and dance styles were not significantly related to the occurrence of injury. Higher risk for injury was evidenced in older and more experienced dancers. Dynamic balance, as measured by the Star Excursion Balance Test (SEBT), was a significant protective factor of injury occurrence, irrespective of age/experience in dance. Knowing the simplicity and applicability of the SEBT, continuous monitoring of dynamic balance in adolescent dancers is encouraged. In order to prevent the occurrence of musculoskeletal problems/injuries in youth dancers, we suggest the incorporation of specific interventions aimed at improving dynamic balance.

Professional ballet is a highly challenging art, but studies have rarely examined factors associated with injury status in ballet professionals. This study aimed to prospectively examine gender-specific correlates of injury occurrence and time-off from injury in professional ballet dancers over a one-year period. The participants were 99 professional ballet dancers (41 males and 58 females). Variables included: (i) predictors: sociodemographic data (age, educational status), ballet-related factors (i.e., experience in ballet, ballet status), cigarette smoking, alcohol drinking, and consumption of illicit drugs and (ii) outcomes: injury occurrence and time-off from injury. Participants were questioned on predictors at the beginning of the season, while data on outcomes were collected continuously once per month over the study period. Dancers reported total of 196 injuries (1.9 injuries (95% CI: 1.6–2.3) per dancer in average), corresponding to 1.4 injuries per 1000 dance-hours (95% CI: 1.1–1.7). In females, cigarette smoking was a predictor of injury occurrence in females (OR: 4.33, 95% CI: 1.05–17.85). Alcohol drinking was a risk factor for absence from dance in females (OR: 1.29, 95% CI: 1.01–4.21) and males (OR: 1.21, 95% CI: 1.05–3.41). Less experienced dancers were more absent from dance as a result of injury than their more experienced peers (Mann-Whitney Z: 2.02, p < 0.04). Ballet dancers and their managers should be aware of the findings of this study to make informed decisions on their behavior (dancers) or to initiate specific programs aimed at the prevention of substance use and misuse in this profession (managers).

Ples je eno izmed najstarejših sredstev za izražanje, ki do danes ni izgubilo svoje priljubljenosti. Prav obratno, njegova množičnost še vedno narašča, tudi kot tekmovalni šport. Večina plesalcev prične s tekmovanji že v zgodnji starosti. Temu sledi večje število treningov, kar posledično pripelje do povečanega obsega obremenitve in tveganja za poškodbe. Namen magistrskega dela je bil analizirati in primerjati poškodbe med plesalci oziroma plesalkami iz štirih različnih plesni zvrsti, ki sodijo med trenutno najpopularnejše plese: hip hop, latinskoameriški in standardni plesi, akrobatski rokenrol ter breakdance. Cilji našega magistrskega dela so bili: a) ugotoviti, katere so najznačilnejše poškodbe pri omenjenih plesnih zvrsteh, b) ugotoviti pogostost poškodb oziroma težav in c) ugotoviti, kakšna je kumulativna incidenca resnosti teh poškodb. Zanimalo nas je, koliko ur v tednu se plesalci ukvarjajo s plesom, v katerem tekmovalnem rangu se gibljejo in kako je poškodba vplivala na njihov trenažni proces. Vzorec je sestavljalo 251 plesalk in plesalcev iz različnih plesnih klubov v Sloveniji, starih 15–30 let. Anketiranci so odgovarjali na vprašalnik o poškodbah, imenovan OSTRC, in splošni anketni vprašalnik. Pridobljene podatke smo obdelali s programom Excel Microsoft 2010. Uporabili smo opisno statistiko in frekvenčno analizo. Podatke smo predstavili ločeno, glede na posamezno plesno zvrst. Ugotovitve so pokazale statistično značilne razlike v pojavnosti poškodb med plesnimi zvrstmi. Pri zvrsteh hip hop in breakdance je najpogostejše območje poškodb predel kolena, medtem ko so pri akrobatskem rokenrolu poškodbam izpostavljeni predvsem gležnji in hrbet. Pri standardnih in latinskoameriških plesih so pogoste poškodbe hrbta. Dance in one of the oldest ways to express your feelings and till now still hasn't lost his popularity. In fact, it has become even more popular even like competitive sport. Most dancers begin with competitions in early age. This leads to more trainings, which is reflected in more injuries and the amount of strain. The purpose of the master’s thesis was to analyze and compare injuries between dancers from four different dance genres. These are currently one of the most well-liked dance genres: hip hop, Latin American and standard dance, acrobatic rock’n’roll and breakdance. Goals of master’s thesis were: a) to determine which are the most common injuries in mentioned dance genres, b) to determine the frequency of injuries and c) to determine the cumulative incidence of the severity of injuries. We were interested in how many hours per week dancers have trainings, in which competitive range they participate and how did the injury affect on their training process. The pattern included 251 dancers from different dancing clubs in Slovenia, aged between 15-30 years. Respondents answered the questionnaire about injuries, called OSTRC and general survey questionnaire. We processed the given information with Excel Microsoft 2010. We used descriptive statistics and frequency analyze. We separated the given information according to individual dance genre. The findings have shown statistically significant differences in frequency of injuries between different dance genres. In hip hop and breakdance the most common injury is the area around the knee, while at acrobatic rock’n’roll the ankle and the back are the most exposed. At Latin American and standard dance the most common are back injuries.

Namen raziskovalne naloge je bil analizirati telesno sestavo plesalcev in plesalk standardnih in latinsko ameriških plesov, hkrati pa pri tem tudi ugotoviti kakšno je njihovo zadovoljstvo s svojim telesom. Prav tako so nas v povezavi s telesno sestavo zanimale najpogostejše poškodbe, ki se pojavljajo pri plesalkah in plesalcih športnega plesa. V raziskavo smo vključili 17 plesalcev in 18 plesalk standardnih in latinsko ameriških plesov, starih od 16 do 34 let. Raziskava je bila narejena na plesnih pripravah v plesni šoli UTSC Choice Styria v Grazu. Raziskovalno delo je potekalo v dveh sklopih. V prvem sklopu so bile zajete telesne značilnosti plesalcev in plesalk, katere smo ugotavljali s pomočjo tehtnice TANITA (Innerscan body composition monitor, model BC-545), ki temelji na šest točkovnem merjenju z magnetno impendanco. V drugem sklopu smo merjence anketirali z anonimno anketo, ki je spraševala po osnovnih podatkih, zadovoljstvu z lastnim telesom, menstrualnem ciklusu ter poškodbah. Rezultati raziskave so pokazali, da se plesalci in plesalke med seboj razlikujejo po telesnih značilnostih ter zadovoljstvom s svojim telesom. Ugotovljeno je bilo, da imajo plesalci več puste telesne mase in manjši delež telesne maščobe, vendar več visceralne maščobe kot plesalke. Zadovoljstvo s svojim telesom je pri plesalcih visoko. Nekoliko nižje je pri plesalkah, ki še vedno strmijo k telesnim idealom in se pogosteje poslužujejo hujšanja. Tako pri plesalcih kot tudi pri plesalkah se v času trenažnega procesa najpogosteje pojavljajo bolečine v kolenih, spodnjem delu hrbta ter stopalih. The purpose of this study was to analyze body composition among male and female ballroom and Latin American dancers, to find out their body image and which body part injuries are the most common in sport dancing. 17 male and 18 female dancers were included in the research, aged between 16 and 34 years. The research took place during dance training camp at the UTSC Choice Styria in Graz. The research was made in two parts. The first part included data about the physical characteristics of male and female dancers, acquired with TANITA scale (inner scan body composition monitor, model BC-545), based on 6 point measurement system with magnetic impedance. In the second part we interviewed the participants with an anonymous questionnaire asking for basic information about body image, menstrual cycle and injuries. The results of the research have shown that male and female dancers differ in their physical characteristics and their level of physical self-image. Our research showed that female dancers have less lean body mass and higher percentage of body fat than male dancers. Both, male and female dancers have very good physical body image, but they still tend to look at body ideals and are more often losing body weight. Both, male and female dancers, report the most pain during their training in the knees, lower back and feet.

Namen raziskave je bil ugotoviti, ali tribal plesni stil vpliva na samopodobo plesalk. Prav tako smo želeli raziskati, ali obstajajo razlike v samopodobi med plesalkami tribal plesnega stila, ki so komaj začele z obiskovanjem tečajev in nadaljevalno skupino plesalk, ki plešejo tribal fusion plesni stil že nekaj let. V teoretičnem delu smo predstavili pojem samopodobe in teoretično opredelili american tribal style® in tribal fusion plesni stil. V raziskavo je bilo vključenih 30 plesalk starih od 18 do 40 let pod vodstvom Mance Pavli, ki je pionirka tribal plesnega stila pri nas. Plesalkam smo razdelili 60 vprašalnikov Tennesseejske lestvice samopodobe, ki zajema različne vidike samopodobe, saj temelji na predpostavki, da je samopodoba večdimenzionalni konstrukt. Na podlagi dobljenih rezultatov smo skupini med sabo primerjali s t-testom in ugotovili, da imajo plesalke nadaljevalne skupine statistično značilno višjo samopodobo od skupine začetnic v prvem merjenju. Plesalke začetnice imajo v merjenju po petih mesecih statistično značilno višjo samopodobo, kot na začetku in se močno približa nadaljevalni skupini plesalk. Rezultati kažejo, da tribal plesni stil dobro vpliva na razvoj pozitivne samopodobe plesalk. The purpose of the study was to determine whether the tribal dance style has any influence on the dancer's self-concept. We also wanted to explore whether there are differences in self-concept among dancers who have just begun with tribal dance courses and a group of dancers who dance the tribal dance style for several years. In the theoretical part, we introduced the notion of self-concept and theoretically defined the American tribal style® and the tribal fusion dance style. The study included 30 dancers aged 18-40 years under the leadership of Manca Pavli, who is a pioneer of tribal dance style in Slovenia. We distributed 60 questionnaires of the Tennessee self-concept scale, covering various aspects of self-concept, based on the assumption that self-concept is a multi-dimensional construct. We compared the groups with one another with the t-test and found out that the dancers of the group which dance tribal style for several years have a statistically significantly higher self-concept than the dance group of beginners in the first measurement. Dance group of beginners have a statistically significantly higher self-concept in the measurement after five months of dancing and are very close to the group of dancers that have been dancing tribal style for several years. The results show that tribal dance style has a good influence on the development of the positive self-concept of dancers.

Hip-hop je kulturno gibanje, ki se je razvilo do te mere, da ga je nemogoče definirati kot enotno plesno zvrst, saj zajema številne stile, razvite znotraj hip-hopa ali prevzete od drugih plesnih zvrsti. Kompleksnost koreografij je vedno večja, hkrati pa so večje tudi zahteve po telesni pripravljenosti, kar posledično pomeni večje število in večjo intenzivnost treningov. V želji po zniževanju tveganja poškodb mišic in sklepov, na račun izčrpanosti in utrujenosti, je bistveno, da plesalci in plesalke razumejo pomen prehrane in prehranskih dodatkov ter jih znajo pravilno umestiti v svoj vsakdan. Z magistrskim delom smo želeli ugotoviti, kako pogosto se prehranski dodatki pojavljajo v vsakodnevni prehrani plesalk in plesalcev hip-hopa ter kakšen pomen jim pripisujejo. Prav tako smo želeli izpostaviti problem o pomanjkljivosti znanja o prehrani in prehranskih dodatkih ter ugotoviti, če to vpliva na telesno sestavo plesalk in plesalcev. V raziskavo je bilo vključenih 114 plesalk in plesalcev hip-hopa iz sedmih vodilnih slovenskih klubov, starih povprečno 17,2 ± 2,2 let, ki plešejo v članskih kategorijah pod okriljem Plesne zveze Slovenije (PZS) ter Mednarodne plesne zveze (IDO). Uporabili smo anonimni vprašalnik, ki je vseboval osnovne podatke o plesalcu, katerim so sledila vprašanja o poznavanju prehranskih dopolnil, načinu uporabe le-teh ter znanju o prehrani in dopingu. Telesno sestavo smo izmerili s pomočjo bioelektrične impedančne analize InBody 720 tetrapolarnega 8-točkovnega elektrodnega sistema (Biospace Co., Ltd). Podatke smo statistično obdelali s pomočjo statističnega programa SPSS, 23.0.0 za Mac OS X. Ugotovili smo, da prehranske dodatke uživa manj kot polovica anketiranih plesalk in plesalcev, v večji meri pa se jih poslužujejo uspešnejši. Naše predpostavke o slabem znanju o prehrani in prehranskih dodatkih so se izkazale za pravilne, saj je znanje plesalk in plesalcev hip-hopa, ne glede na rang uspešnosti, še vedno nižje v primerjavi z ostalimi športnimi panogami. Prav tako smo ugotovili, da plesalci in plesalke precenjujejo svoje znanje. Primerjava analize telesnih značilnosti glede na uporabo in znanje o prehrani in prehranskih dodatkih pa na naše presenečenje ni pokazala statistično značilnih razlik. Predlagamo, da bi v želji po izboljšanju znanja plesalcev in plesalk o dovoljenih in nedovoljenih substanceh, bilo smiselno razmisliti o intervencijskih programih, s katerimi bi ozaveščali tako plesalce kot tudi trenerje in s tem omogočili športnikom še večje možnosti za napredek. Hip-hop is a cultural movement, that has evolved to such an extent that it is impossible to define it as a single genre, as it captures many styles, developed within hip-hop or taken from other dance genres. The complexity of choreographies is increasing and at the same time the requirements for physical condition are higher, which leads to a greater number and greater intensity of training. In order to reduce the risk of muscle and joint injuries, at the expense of exhaustion and fatigue, it is essential that dancers understand the importance of diet and dietary supplements and are able to use them appropriately in their everyday life. The purpose of this following study is to analyse the frequency of food supplements in the daily diet of hip-hop dancers and to figure out what significance they attach to them. We also wanted to highlight the problem in lack of nutritional knowledge and to determine if this affects the body composition of dancers. The sample consisted of 114 hip-hop dancers from seven leading Slovene dance schools, average age 17,2 ± 2,2 let, participating in adult categories under the auspices of the Plesna zveza Slovenije (PZS) and the International Dance Organization (IDO). In the study, we used an anonymous questionnaire containing basic information about the dancer, followed by questions about knowledge of food supplements, how they are used, and knowledge of nutrituion and doping. Body composition was analyzed by bioelectrical impendance InBody 720 based on tetrapolar 6 punctional measurement with magnetic impendance (Biospace Co., Ltd). The data was statistically processed using the SPSS statistical software, 23.0.0 for Mac OS X. We established that less than half of the surveyed dancers consume nutritional supplements. The use of food supplements is more common among more successful dancers. Our assumptions about poor knowledge of nutritional supplements have proven to be correct, as the knowledge of hip-hop dancers, regardless of performance ranking, is still lower compared to other sports disciplines. We also found out that dancers overestimate their knowledge. Comparison of physical characteristics with regardless of usage and knowledge of nutrition and dietary supplements did not show statistically significant differences. We think, that some interventional programs about substance use and misuse might help to educate dancers and choreographers and it might even increase the potential of dancers.

Cilj in namen diplomskega dela je bil sestaviti vadbeni program za dvig telesne pripravljenosti plesalk in plesalcev hip hopa v prehodnem obdobju, ki je pogosto zanemarjen. V diplomski nalogi smo opravili pregled raziskav, ki obravnavajo poškodbe pri plesalcih hip hopa, porabo kisika, aerobno in anaerobno delo pri plesu in komponente, ki so potrebne za uspešnost hip hop plesalcev. Pri sestavi programa za prehodno obdobje smo dali poudarek predvsem na vzdržljivost in repetitivno moč vključili smo tudi treninge gibljivosti. Pri treningih vzdržljivosti smo poizkušali uporabiti načine treningov, ki so najbolj dostopni in realni za izvedbo. Uporabili smo trening aerobike – skupinske vadbe ob glasbi, ki zelo pozitivno vpliva na razvoj gibalnih in funkcionalnih sposobnosti. Aerobika je zelo podobna plesu, ker gre za razvoj gibalnih sposobnosti, ki so potrebne pri plesu, potrebno pa je tudi slediti ritmu, ki ga narekuje glasba. Uporaba fartleka je prav tako zelo primerna za razvoj vzdržljivosti, zato smo ga vključili v program, saj s to vrsto vadbe razvijamo druge gibalne sposobnosti, ne le tiste, ki so potrebne pri plesu. Za razvoj moči smo uporabili obhodno vadbo, saj gre pri tekmovalnem plesu hip hopa po navadi za večjo skupino, torej je ta vadba organizacijsko najbolj primerna. Gibljivosti smo namenili tudi posebne treninge s statičnim in balističnim raztezanjem, ki smo jih izvajali dvakrat tedensko kot samostojno vadbeno enoto in pa ob koncu treningov moči. The aim and purpose of the thesis was to draw up a training program for physical preparation of hip hop dancers during the transitional period, which is often neglected. In the thesis, a survey of research has been carried out, concerning the injuries of hip-hop dancers, oxygen consumption, aerobic and anaerobic work in dancing and the necessary components needed for successful hip-hop dancers. When drawing up the program for the transitional period, we focused mainly on endurance, strength endurance and we also included flexibility workouts. With endurance training we tried to use methods that are most accessible and realistic for implementation. We used aerobic training – music group aerobics, which has a very positive impact on the development of movement and functional abilities. Aerobics is very similar to dancing, because it is a combination of physical abilities required for dancing and it is also necessary to follow the rhythm dictated by the music. Fartlek is very suitable for the development of endurance as well, so we included it in the program, since this form of training develops versatile movement abilities and not only those which are necessary for dancing. For the development of strength, we used circuit workout since competitive hip-hop dancing is not usually an individual competition. An exception to this is, when competing in the solo discipline, but a larger group competition, therefore this exercise is organizationally the most suitable. For the development of strength, we used group circuit workouts since competitive hip-hop dancing is mostly group competition. Therefore this exercise is organizationally the most suitable and also appropriate for individuals, duos and small groups. We will also include flexibility trainings as a separate exercise unit and as an addition at the end of strength trainings.

Namen diplomskega dela je bilo obravnavati vprašanje kakšen vpliv ima plesna dejavnost na samopodobo mladostnikov z lažjimi motnjami v duševnem razvoju. Pri mladostnikih je pogosto govorimo o samopodobi, ki predstavlja eno osnovnih sestavin identitete in hkrati tudi enega najkompleksnejših pojavov, kar jih poznamo. Veliko je že napisanih člankov in knjig, ki opredeljujejo samopodobo posameznikov, plesalcev, brez motenj in drugih telesno-gibalnih omejitev. Zelo redko pa zasledimo prispevke, raziskave o tem kako z lastno samopodobo spopada populacija z najrazličnejšimi posebnimi potrebami in motnjami. Osebe s posebnimi potrebami so tiste, ki odstopajo od pričakovanih značilnosti in zmožnosti, definiranih v določenem okolju, ter potrebujejo dodatno pozornost in skrb. Osredotočili smo se le na otroke z motnjami v duševnem razvoju in sicer z najlažjo stopnjo prizadetosti. Takšni otroci imajo znižane sposobnosti za učenje. V okviru diplomskega dela smo se spraševali kakšen vpliv ima ples na samopodobo otrok z lažjimi motnjami v duševnem razvoju, ki se redno udeležujejo plesne aktivnosti in ali so opazne razlike v samopodobi tovrstne populacije med tistimi, ki plešejo in tistimi, ki ne. Rezultati raziskave so pokazali, da ples nima statistično pomembnejšega vpliva na samopodobo mladostnikov, kljub temu pa lahko opazimo pozitivne učinke plesa na samopodobo otrok z lažjimi motnjami v duševnem razvoju. The purpose of this thesis was to examine the question of the influence of dance activity on the self-image of adolescents with the mildest level of disability. One of the most talked about subjects regarding adolescents is self-image, which is one of the basic components of a person's identity and is simultaneously one of the most complex phenomenona known to the humankind. Many articles and books regarding the self-image of individuals, dancers without dysfunctions or various other restrictions of motor control have already been written. Nevertheless, we rarely stumble upon the information of how people with certain disorders and dysfunctions cope with this same problem. The persons with special needs are those who deviate from the expected qualities and abilities set in a certain environment, and who also need additional attention and care. We are going to focus on the children with disorders in their mental development, with the mildest level of disability. These children’s learning capability is lowered. However, despite their disability, the movement and dancing activity is said to affect the children with such needs the same as those without any limitations in development. In this thesis, we are discussing the question of how dancing influences the self-image of children with mild disorders in mental development, who regularly attend the dancing activities and whether the differences in self-image of those, of the same population, who dance and those who don’t, are discernible.