Using an adapted version of “PCEM” to test “Adage”

Abstract

Classical ballet is a high-intensity intermittent form of exercise [1], characterized by an aes- thetic component, which requires the dancers to show their grace, elegance and beauty. All these features are expressed by the ‘adage’, which workload, in terms of exposure and dura- tion, can vary considerably in relation to influence of training [2]. The aim of this study was to assess the workload’s effects on the aesthetic components of an ‘adage’ performed before and after a structured training. Nine female classical ballet dancers (age: 19.3±3.3 years; height: 165±4.6 cm; weight: 52.6±2 kg; years of dance training: 10.5±2.3), free from injury, were recruit- ed and submitted the following procedure: 1) ‘adage’ assessment (PRE); 2) specific training protocol; 3) ‘adage’ assessment (POST). Both the ‘adage’ (70-second) and training (60-minute) were expressly choreographed for this study. Moreover, the PRE and POST ‘adage’ were video recorded and observed by a very experienced ballet teacher through a modified version of the Performance Competence Evaluation Measure (PCEM) questionnaire [3] to assess: 1) Full Body Involvement (FBI); 2) Body Integration and Connectedness (BIC); 3) Articulation of Body Seg- ments (ABS); 4) Movement Skills( MS).

The Wilcoxon Signed Ranks Test showed no significant differences between pre- and post- rehearsal ‘adage’ performances [FBI, p=0.527; BIC, p=0.317; ABS, p=0.083; MS, p=0.059). Despite results were not significantly, FBI showed lower post-training mean values (performance decre-ment), which can be speculated as a consequence of fatigue. It is also interesting to note that all other parameters showed higher post-training mean values, which can be explained by the positive effects of classical ballet exercise on fluency, rhythm and quality of movements. In con- clusion, a ballet routine lesson (training) certainly affects the performance of the ‘adage.