Trepman E, Gellman R E, Micheli L J, De Luca C J
NeuroMuscular Research Center, Boston University, MA, USA.
Med Sci Sports Exerc. 1998 Dec;30(12):1708-20. doi: 10.1097/00005768-199812000-00009.
The purpose of this report is to describe lower extremity muscle activity in grand-plié, as determined by EMG analysis; to compare and contrast muscle function in grand-plié and demi-plié to support the hypothesis that grand-plié is not simply a deeper demi-plié, but rather a fundamentally different movement in terms of muscle use; and to present further evidence in support of the hypothesis that ballet dancers use muscles differently than modern dancers in dance movement.
Surface electromyography was used to analyze lower extremity muscle activity during grand-plié in first position with lower extremities turned out in five ballet and seven modern female professional dancers.
Electromyographic (EMG) activity of tibialis anterior included continuous activity from heel-off during the lowering phase, through midcycle, and ending at heel-on during the rising phase in all grand-pliés; the majority of tibialis anterior EMG tracings in ballet dancers had additional activity at the end of the rising phase. All EMG tracings for vastus lateralis and medialis included a peak of activity during the lowering phase, a decrease (valley) at midcycle, followed by another peak during the rising phase; increased activity at the end of the rising phase was observed in most grand-plié in ballet, and not modern, dancers. Adductor EMG activity was also observed in all tracings with a peak during the lowering phase from heel-off to midcycle, a valley at midcycle, followed by a peak of activity in early rising phase; the midcycle valley was of lower, and the rising phase peak of higher, activity in ballet compared with modern dancers. Variation of EMG patterns was observed for lateral and medial gastrocnemius, gluteus maximus, and hamstrings.
The data support the concept that lower extremity muscle activity in dance movement is comprised of three major types: (a) unique, characteristic activity required for the execution of the movement; (b) varied activity which is characteristic of dancers of different dance idioms; and (c) varied activity which may depend on factors such as balance, personal habit, and individual training background. Furthermore, EMG activity of vastus lateralis and medialis at the midcycle valley in grand-plié was significantly less in ballet dancers than in modern dancers despite similar degree of knee flexion, suggesting that ballet dancers may have lower patellofemoral joint reaction force at midcycle than modern dancers.
本报告旨在描述通过肌电图分析确定的大蹲时下肢肌肉活动情况；比较和对比大蹲与半蹲时的肌肉功能，以支持以下假设，即大蹲并非简单的更深幅度的半蹲，而是在肌肉使用方面存在根本差异的动作；并提供进一步证据支持芭蕾舞舞者在舞蹈动作中使用肌肉的方式与现代舞舞者不同这一假设。
使用表面肌电图分析5名芭蕾舞和7名现代舞女性职业舞者在一位大蹲时下肢的肌肉活动，下肢外开。
在所有大蹲动作中，胫骨前肌的肌电图活动包括从下降阶段足跟离地开始，持续至动作中期，并在上升阶段足跟落地时结束的连续活动；芭蕾舞舞者的大多数胫骨前肌肌电图记录在上升阶段结束时还有额外活动。股外侧肌和股内侧肌的所有肌电图记录都包括下降阶段的活动峰值、动作中期的下降（低谷），随后是上升阶段的另一个峰值；在大多数芭蕾舞（而非现代舞）舞者的大蹲动作中，观察到上升阶段结束时活动增加。在所有记录中也观察到内收肌的肌电图活动，在从足跟离地到动作中期的下降阶段有一个峰值，动作中期有一个低谷，随后在上升阶段早期有一个活动峰值；与现代舞舞者相比，芭蕾舞舞者动作中期的低谷活动较低，上升阶段的峰值活动较高。观察到腓肠肌外侧头和内侧头、臀大肌和腘绳肌的肌电图模式存在差异。
数据支持以下概念，即舞蹈动作中下肢肌肉活动由三种主要类型组成：(a) 执行动作所需的独特、特征性活动；(b) 不同舞蹈风格舞者特有的多样活动；(c) 可能取决于平衡、个人习惯和个人训练背景等因素的多样活动。此外，尽管屈膝程度相似，但芭蕾舞舞者在大蹲动作中期低谷时股外侧肌和股内侧肌的肌电图活动明显低于现代舞舞者，这表明芭蕾舞舞者在动作中期时髌股关节反应力可能低于现代舞舞者。
