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Analysis of the Centre of Balance Trajectory in Basic Rumba Steps

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 Jacobs Journal of Sports Medicine
Research Article

An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps

Outevsky David1* and Cancio Justin2
1
Department of Dance, University of Calgary, University of Calgary, Canada
2
Department of Dance Science, Trinity Laban Conservatoire of Music and Dance, UK
*Corresponding author: Dr. Outevsky David, Department of Dance, University of Calgary, 2500 University Drive NW, Cal-
gary, AB T2N 1N4, Canada. Tel: +1.403.220.3580; Email: david.outevsky@ucalgary.ca

Received Date: 10-08-2018

Accepted Date: 10-31-2018
Published Date: XX-XX-XXXX
Copyright: © 2018 Outevsky David

Abstract
Dance sport is the competitive aspect of social dancing, and encompasses 5 genres of Latin dance:
Cha Cha, Samba, Rumba, Paso Doble, and Jive. Education of technique focuses predominantly on foot
positions and directions, and there is a lack of information regarding technical aspects of the dance,
such as timing, position in space, and rhythm. This knowledge gap limits the potential for optimal
skill development and progression. This study examined the centre of balance trajectory in the basic
walks and cucaracha steps of Rumba dance using foot scan, gaining preliminary insight on weight
placement and movement patterns in one professional and three novice ballroom dancers. The pro-
fessional dancer performed the steps on the Foots can, while novices were given two 30 minute
sessions to learn the steps. Results showed that novice dancers made various compensations in bal-
ance trajectory and weight distribution on their feet, in response to teaching cues for the Walks and
Cucarachas. The professional dancer was in greater accordance of the described foot trajectory as
it was traditionally taught, though still had more deviations in balance, and used more foot volume
than the literal technique described. The findings of this study provide an improved understanding
of the biomechanics in Latin dancing, and is a starting point for developing improved teaching tech-
niques for performance enhancement and injury prevention for Ballroom dance.

Keywords: Ballroom; Dance sport; Rumba; foot scan; balance; center

Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
Jacobs Publishers
Objectives
Dance sport is the competitive aspect of ballroom
dancing. It is a very physically demanding dance form [1]
with many practitioners around the world [2]. It encom-
passes 5 genres of Latin dance: Cha Cha, Samba, Rumba,
Paso Doble, and Jive. While Dance sport is a highly devel-
oped, organized and popular, there is sparse research on it
in Dance Science. Technique books published by long stand-
ing organizations, such as the Imperial Society of Teachers
of Dancing [3,4] and the International Dance Teacher’s As-
sociation [5], focus mainly on foot positions and directions.
While helpful, the lack of explanation on other aspects of
movement, such as timing, position in space, and rhythm,
limits the potential for optimal skill development and pro-
gression.
Rumba is the slowest of the genres in Dance sport,
and emphasizes the movement of the body [6]; its basics
are often practiced in order to develop the fundamental
skillset for other Latin dances. Basic movement in place
and Walks are the basic techniques in Rumba, and were the
movements examined in this study. A basic in place (Figure
1) consists of a rhythmical (2-3-4,1 or quick-quick-slow
timing) shifting of the weight from leg to leg in a ‘feet to-
gether’ position complimented by a hip action. A Rumba
forward walk (Figure 2) consists of the body (torso) moving
ahead of the leg, followed by the leg quickly sliding out and
arriving underneath the body to catch it aided by the hip ro-
tation, creating a “body, foot, body, foot” movement pattern
as typically described by teachers [7,8]. This study exam-
ined the centre of balance trajectory in the basic movement
in place and Rumba walks, gaining preliminary insight on
weight placement and movement patterns in profession-
al and novice ballroom dancers. The findings of this study
provide an improved understanding of the biomechanics in
Latin dancing, and are a starting point for developing im-
proved teaching techniques for performance enhancement
and potential injury prevention for Latin ballroom dance
since they uncover discrepancies between teachers use of
correctional language and actual biomechanics of the tech-
nical steps required to be executed by the dancers.
Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
2
Figure 1: Basic Movement in Place
Figure 2. Rumba Forward Walk
Methods
In preparation for the research, a literature review
was conducted including the following areas: military gait
[9], gait related risk factors for exercise-related lower leg
pain [10], amputee movement [11], soccer shoe design [12],
backwards gait in elderly population (balance and coordi-
nation study) [13], equestrian gait and injuries [14], left-
right limb asymmetries during running [15] and daily gait
of dancers [16]. Some of the more relevant studies are fur-
ther discussed in the following sections to help ground this
investigation in existing research on gait using the Footscan
equipment.
4 dancers at a post secondary dance institution
were recruited for this study; 1 professional ballroom/latin
dancer (participant. 1), and 3 novice dancers (participants
2, 3, and 4) with experience in contemporary and ballet
were recruited for the experiment. Consent and medical
forms were signed prior to engagement in the study. Two
30-minute sessions were given to the novices to learn the
basic movements in place as well as forward walks in Rum-
ba. The dance steps were then performed on the Footscan
6.2, which recorded the trajectory of their balance centres,
as well as weight distribution on their feet.
Jacobs Publishers
Results
Movement volume and weight distribution in feet
for the basic Rumba movement in place
Participant 1 had a large movement volume, and kept the
centre of balance inside the feet. Participant 2 was balanced
on both sides of the feet and had no diagonal movements
throughout the steps. Participant 3 was centered and had
little movement volume. Participant 4 had most of the
weight on the left foot and performed a majority of the
steps towards the left side of the body (Figure 3).
Figure 3: Footscan balance screenshots of Rumba basic
movement in place, showing weight distribution and move-
ment volume from 4 participants.
Centre of Force travelled for the basic Rumba move-
ment in place
Participant 1 travelled 420 mm within the first 1.5 second
interval, and stayed between 300 mm to 500 mm from the
starting point for the remaining 7.5 seconds. Participant 2
travelled 60 mm within the first 1.5 seconds, travelled an
additional 330 mm after 3 seconds, and stayed between 390
mm to 430 mm for the remaining 6 seconds. Participant 3
travelled 270 mm in the first 1.5 second interval, and stayed
between 180 mm to 270 mm off the initial starting point for
the remaining 7.5 seconds. Participant 4 travelled 420 mm
in the first 1.5 seconds, and stayed between 370 mm to 470
mm for the remaining 7.5 seconds (Figure 4).
Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
3
Figure 4: Center of Force travelled way charts for the Rum-
ba basic step, showing the distance the center of balance
travelled in mm per 1.5 second intervals.
Area covered during basic Rumba basic step in
place
Participant 1 initially travelled beyond 80cm2
during the first 1.5 second interval, and obtained a final dis-
placement of 40cm2. Participant 2 had no initial displace-
ment, then travelled 62cm2 after 3 seconds, and obtained
a final displacement of 41cm2. Participant 3 had very mini-
mal displacement throughout the entirety of the sequence,
initially moving 6cm2 after 1.5 seconds, and having a final
displacement of 1cm2. Participant 4 had an initial displace-
ment of 36cm2, and obtained a final displacement of 19cm2
(Figure 5).
Figure 5: Area charts for Rumba basic step, showing the
amount of space covered, measured in cm2 per 1.5 seconds.
Areas covered during the trajectory of the Forward
Walks on the ‘push off’ leg (see figure 2)
Subjects 1, 3, and 4 covered more area on the right
foot than on the left. Subject 2 tended to stay on the front of
the feet. Subject 3 tended to go on the outside of big toe of
the left foot. Subject 4 had much less weight area covered on
the left foot than on the right (Figure 6).
Figure 6: foot scan balance screenshots of Rumba forward
walk.
Jacobs Publishers 4
Pressure distribution during the Forward Walks on to 1.5N/cm2) on the left leg and on the 1st toe (up to 4.5N/
the ‘push off’ leg (in N per cm2) cm2) and 1st metatarsal (up to 2.5N/cm2) on the right leg
Subject 1 had the most pressure exerted on the 1st toe (up (Figure 10).
to 7.7N/cm2) and 1st metatarsal (up to 5N/cm2) of the left
leg and on the 2nd metatarsal (up to 7N/cm2) and 1st toe
(up to 5.5N/cm2) on the right leg (Figure 7).
Pressure distribution charts (showing the locations on the foot, the area
covered, and pressure in newtons per cm squared) Sub. 1

Figure 10: Pressure distribution chart for participant 4.

Figure 7: Pressure distribution chart for participant 1. Discussion

Subject 2 had the most pressure exerted on the 2nd meta-
tarsal (up to 2.2N/cm2) and 4th metatarsal (up to 1.7N/ Comparison of observed and metaphorical trajec-
cm2) on the left leg and on the 3rd metatarsal (up to 3.1N/ tories of the centre of weight through the foot during basic
cm2) and 2nd metatarsal (up to 1.8N/cm2) on the right leg movement in place and forward walks Ballroom dancers
(Figure 8). are often told to create an 8-figure action, rotating their pel-
vis in a way that resembles the number 8, when they begin
training in the Latin dances. This seems to be helpful but
is a rather metaphorical expression of the actual trajecto-
ry especially considering the demand to stay ‘inside’ or to-
ward the medial side of the foot by the technique. It can be
seen from the screenshots that the actual trajectory is quite
far from an ideal 8 figure and perhaps relates more to the
Figure 8: Pressure distribution chart for participant 2 ‘front-back-front’6 (centre of weight towards toe then heel
then toe again) instruction which allows the pelvic rotation
Subject 3 had the most pressure exerted on the 2nd meta- and facilitates a forward projection of the next leg. How-
tarsal (up to 2.9N/cm2) and 1st metatarsal (up to 1.9N/ ever, the weight does not travel fully weight back towards
cm2) on the left leg and on the 1st toe (up to 8.4N/cm2) the heel but U-turns to the front midway, allowing only a
and toes 2-5 (up to 3.5N/cm2) on the right leg (Figure 9). minor involvement of the posterior parts of the foot in the
Pressure distribution charts (showing the locations on the foot, the area
projectile movement. Taking the difference of the two steps
covered, and pressure in newtons per cm squared) Sub. 3

considered into account, the forward walks seem to have

a much narrower and long trajectory due to their dynamic
and mobile qualities while the basic movement in place be-
comes wider because of its lack of mobility therefore also
defying the ‘under the body in the same place’7 descrip-
tions to some extent.

Figure 9: Pressure distribution chart for participant 3. Differences between novice and professional and
compensations observed in movement The novices demon-
Subject 4 had the most pressure exerted on the 1st toe (up strate various compensation patterns described below,

Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
Jacobs Publishers
their variety is interesting as it shows the different inter-
pretations by dance students of the same instructions. The
professional seems to be more in accordance with the de-
scribed trajectory but still has right/left side deviations and
seems to use more volume of the feet than the literal tech-
nique prescribes.
Some of the movement compensations which the novices
used to adhere to the technical imagery included: right/
left foot imbalances, going on the outside of the foot (due to
pronation of the foot and/or ‘sinking in’ the hip or ankle),
not going through the whole foot (e.g. only putting weight
on the front of the foot during the forward walks), and lim-
iting the movement in volume and range in order to adhere
to instructions (e.g. sub. 3 during basic in place).
Implications for teaching methodology and dancer
health Willems et al. found that during gait, in subjects with
more medially directed centre of pressure at the forefoot
flat and a more laterally directed centre of pressure at last
foot contact were at greater risk of exercise related lower
leg pain10. This finding potentially puts ballroom dancers
at a risk of exercise related lower leg pain considering the
pressure on the medial part of the foot at the forefoot flat
and on the lateral part of the foot in the last foot contact
during the Rumba forward walk.
Further, Praet et al.15 state that from a clinical per-
spective it is well known that left-right asymmetries in the
human limbs may explain certain overuse injuries in sports
or ergonomic situations such as running. As we have seen
from the scans in this experiment, these right left asymme-
tries seem to be common in dancers regardless of their skill
level and therefore merit further research in order to avoid
overuse injuries potentially caused by neglecting them. In
a study of ballet dancers, Lung and Yang found that during
their regular gait the dancers are subjected to higher peak
plantar pressure at the first to second metatarsal head or
at the big toe, while excessive pronation angles were found
at the time of push off during their regular gait. These fac-
tors in turn could be responsible for the large Hallux Val-
gus angles developed by dancers16. Since the trajectories
of foot pressure in this experiment show similar patterns
Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
5
and can be seen in the scans, ballroom dancers might also
be susceptible to similar patterns and the resulting repeti-
tive strain injuries. These findings call for further research
of these topics in Dance sport.
Other factors, such as the common use of high heel
dance shoes in ballroom, merit further attention because
they may be causing further injury to the dancers. As Coyles
& Lake12 point out in their study of soccer boot studs us-
ing the Footscan: ‘localised high-pressure may lead to foot
damage’ (p.9). Since wearing high heeled shoes puts pres-
sure on the front of the dancer’s foot, combined with repeti-
tive movements they create potential for overuse injuries in
this area of the foot.
Limitations
This study was limited to 4 participants, 3 of whom
were novices. There was insufficient time to train par-
ticipants to allow their skill level to develop beyond a be-
ginner level. As such, the results of this study give insight
into training patterns for novices but may not necessarily
apply for more advanced ballroom dancers. The surface of
the floor which the study was done in was uneven, which
at times disturbed the movement flow of the participants.
Lastly, there was a lack of literature on the use of the foot
scan within the ballroom dance population, as well as with-
in dance in general.
Conclusion
The foot scan can be a useful tool in the enhance-
ment of dance teaching strategies where it can demonstrate
the scientific truthfulness of such statements as ‘the weight
always remains in the centre during a Rumba basic in place’
or ‘the of centre of weight travels from front to back to front
during a forward Rumba walk’. It can also be used to show
the compensations and interpretations that students might
defer to in order to execute the taught elements. These ben-
efits can improve the knowledge of the teachers and possi-
bly save the student future injuries due to unseen repetitive
compensations in their gait during various dance steps.
Jacobs Publishers
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Cite this article : David O, Justin C. An Analysis of the Centre of Balance Trajectory in Basic Rumba Steps.
JJ Sports Med 2018; 5(1): 033.
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