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Le contrôle postural en danse classique : une utilisation de l'afférence visuelle à visée artistique

Abstract : Dance is a specific expression of human motor behaviour in which the dancer attempts to produce an emotional effect on his audience. This physical artistic activity depends upon a morphocinetical motor skill by which the dancer builds and uses an internal model to produce a motor bahaviour according to a defined form. Classical ballet necessitates an effective technical training with specific postural components. Balance control requires central integration of different types of neurosensorial informations (visual, vestibular, proprioceptive and exteroceptive), proprioception and vision being two fundamental sensory modalities in classical ballet. The purpose of this study is two-fold : first to determine the importance of the visual input on balance control in this discipline, second to study balance transfer modes specific of classical ballet. Balance control of 18 professionnal dancers and 46 non-dancers is compared on a force platform yielding different tests : (1) static bipodal tests, flat footed, and on demi-pointe in open (EO) and closed eyes (EC) conditions, (2) dynamic tests with a single and fast upward tilt in EO condition and with slow sinusoidal oscillations in EO and EC conditions. Dancers executed an unipodal test on demi-pointe in EO condition. Alll female dancers performed a bipodal test on pointe in EO and EC conditions, then unipodal test on pointe in EO condition. Displacements of center of foot pressure and electromyography recording allowed to assess the sensorimotor strategies used. In static tests, in EO condition, balance control in dancers is better than in non-dancers. In static test in EC condition and in dynamic tests in EO and EC conditions, postural control of ballet dancers is not different that in non-dancers. Bipodal balance on pointe by female dancers shows no significant difference between EO and EC conditions. There is no correlation between these three balance postures. For the unipodal test on demi-pointe and on pointe, area covered by the centre of foot pressure is significantly different between right and left foot. These data indicate that visual afference is a major input used by ballet dancers. Moreover, different foot positions in ballet technique appear to involve specific balance control strategies. This equilibrium skill derived from classical ballet techniques cannot be transferred to everyday life tasks.
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Submitted on : Thursday, March 29, 2018 - 10:43:24 AM
Last modification on : Monday, October 5, 2020 - 3:16:01 PM

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  • HAL Id : tel-01746722, version 1



Francine Hugel. Le contrôle postural en danse classique : une utilisation de l'afférence visuelle à visée artistique. Sciences agricoles. Université Henri Poincaré - Nancy 1, 2002. Français. ⟨NNT : 2002NAN10227⟩. ⟨tel-01746722⟩



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