Field dependence/independence and eye-hands-legs coordination

Traditional Lègong Dance Training Is Superior to Moderate Aerobic Training on Physical Fitness Improvement Among Young Girls

BACKGROUND

Légong dance is a famous Balinese dance with a dynamic movement. It potentially becomes an exercise of choice to improve young girls' physical fitness. This study aimed to evaluate légong dance training's effect on physical fitness compared with aerobic training.

METHODS

Forty young girls were randomly assigned to the aerobic training (AG) and lègong dance (DG) group and trained with jogging and lègong dancing at moderate-intensity aerobic training. Each was carried out for 30 minutes, 3 times a week, for 6 weeks.

RESULT

Aerobic capacity (estimated maximal oxygen consumption) improved significantly in AG and DG, with a mean difference and Cohen d effect size of 0.36 mL/kg/min and 0.68. The back- and leg-muscle strength increased significantly in DG and AG, with a mean difference of 5.55 kg and 6.67 kg, and an effect size of 0.69 and 0.77. Balance improved significantly in DG and AG, with a mean difference of 21.26 seconds and an effect size of 1.05. All significant values are reported at P < .05. There were no significant improvements in arm muscle strength, body fat percentage, and flexibility in either group (P > .05).

CONCLUSION

Lègong dance training results in significant physical fitness improvement and better results than aerobic training.

Balance abilities of professional dancers on select balance tests

Documentation that dancers have better balance abilities than nondancers is important because of the number of dancers who sustain injury and then are referred to physical therapists for treatment. The purpose of this study was to compare balance abilities of professional dancers with nondancers on selected balance conditions. Fifteen dancers and 15 age- and gender-matched nondancers maintained one-legged stance under six combinations of visual and support surface conditions (Foam and Dome Test modified from two feet to one foot). Each condition was maintained for 30 seconds. A composite balance score was obtained for each subject by summing the number of seconds the individual maintained balance for each test condition. There was a significant difference in the mean composite balance score (across the six balance conditions) for the dance group compared with the control group (731 seconds and 563 seconds, respectively). Under sensory challenged conditions, it appeared that dancers were better able to maintain their postures upright against gravity. The balance strategies and techniques learned by professional dancers should be carefully analyzed to determine if they could be incorporated into treatment programs for nondancers who have balance instability and dancers who are injured.