Christian Keinki1, Ivonne Rudolph2, Tobias Wozniak3, Ronny Pietsch3, Mascha Margolina3, Isabel Garcia3, Katharina Mayr-Welschlau3, Thorsten Schmidt4, Jutta Hübner5. 1. Medizinische Klinik II, Hämatologie und Internistische Onkologie, Universitätsklinikum Jena, Am Klinikum 1, 07747, Jena, Germany. christian.keinki@gmx.de. 2. Waldburg- Zeil Kliniken, Rehabilitationsklinik Bad Salzelmen, Badepark 5, 39218, Schönebeck, Germany. 3. Working Group Prevention and Integrative Oncology, German Cancer Society, 14057, Berlin, Germany. 4. Cancer Center North, University Hospital Schleswig-Holstein; Campus Kiel, Arnold-Heller-Straße 3, 24105, Kiel, Germany. 5. Medizinische Klinik II, Hämatologie und Internistische Onkologie, Universitätsklinikum Jena, Am Klinikum 1, 07747, Jena, Germany.
Abstract
PURPOSE: Due to the corona, pandemic classes with physical activity for cancer patients were postponed. For an ongoing program with ballroom dancing classes for patients and their partners, the training was switched to a digital format. METHODS: We evaluated the training by structured written interviews of the trainers including an open report part concerning the development and realization of the project, the teaching and training concept and their experiences as trainers. RESULTS: 5 trainers reported data from 6 different classes including 65 participants. All in all, digital dance training is feasible and a substantial part of the participants of former face-to-face training took part. Yet, digital training imposes some restrictions to the movements taught and the interactions with and between the participants. Trainers have to invest time in a new conception of the training and additional time in guiding participants with lower experience in technical issues. CONCLUSION: Participants in virtual training rooms need more support and social interactions in digital training are less and different from ballroom lessons and trainers which puts more strain on trainers to motivate cancer patients.
PURPOSE: Due to the corona, pandemic classes with physical activity for cancer patients were postponed. For an ongoing program with ballroom dancing classes for patients and their partners, the training was switched to a digital format. METHODS: We evaluated the training by structured written interviews of the trainers including an open report part concerning the development and realization of the project, the teaching and training concept and their experiences as trainers. RESULTS: 5 trainers reported data from 6 different classes including 65 participants. All in all, digital dance training is feasible and a substantial part of the participants of former face-to-face training took part. Yet, digital training imposes some restrictions to the movements taught and the interactions with and between the participants. Trainers have to invest time in a new conception of the training and additional time in guiding participants with lower experience in technical issues. CONCLUSION: Participants in virtual training rooms need more support and social interactions in digital training are less and different from ballroom lessons and trainers which puts more strain on trainers to motivate cancer patients.
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