Stress fractures of the base of the metatarsal bones in young trainee ballet dancers

PubMed Central

Albisetti, Walter; De Bartolomeo, Omar; Tagliabue, Lorenzo; Camerucci, Emanuela; Calori, Giorgio Maria

2009-01-01

Classical ballet is an art form requiring extraordinary physical activity, characterised by rigorous training. These can lead to many overuse injuries arising from repetitive minor trauma. The purpose of this paper is to report our experience in the diagnosis and treatment of stress fractures at the base of the second and third metatarsal bones in young ballet dancers. We considered 150 trainee ballet dancers from the Ballet Schools of "Teatro Alla Scala" of Milan from 2005 to 2007. Nineteen of them presented with stress fractures of the base of the metatarsal bones. We treated 18 dancers with external shockwave therapy (ESWT) and one with pulsed electromagnetic fields (EMF) and low-intensity ultrasound (US); all patients were recommended rest. In all cases good results were obtained. The best approach to metatarsal stress fractures is to diagnose them early through clinical examination and then through X-ray and MRI. ESWT gave good results, with a relatively short time of rest from the patients’ activities and a return to dancing without pain. PMID:19415273

Life history and point prevalence of low back pain in pre-professional and professional dancers.

PubMed

Swain, Christopher T V; Bradshaw, Elizabeth J; Whyte, Douglas G; Ekegren, Christina L

2017-05-01

To investigate lifetime history and point prevalence of low back pain (LBP) in pre-professional and professional dancers and to identify any demographic or physical factors associated with LBP in dancers. Cross-sectional study. One pre-professional ballet school, two pre-professional university dance programs, and a professional nationally touring ballet company. Male and female classical ballet and contemporary dancers aged 12 years old and above. Lifetime history and point prevalence of LBP. A total of 110 (n = 19 male) dancers (mean (SD) 17.8 (2.9) years old) participated in the study, which represented 50% of the population invited to participate. A 74% lifetime prevalence of LBP was reported by dancers. Point and 12 month prevalence were 24 and 64%, respectively. No significant association was observed between LBP and any demographic or physical variables. Pre-professional and professional dancers have an increased vulnerability to LBP. The development of LBP within this population is complex and may not be associated with individual factors measured in this study. Copyright © 2017 Elsevier Ltd. All rights reserved.

Three-dimensional analysis of a ballet dancer with ischial tuberosity apophysitis. A case study.

PubMed

Pohjola, Hanna; Sayers, Mark; Mellifont, Rebecca; Mellifont, Daniel; Venojärvi, Mika

2014-12-01

The purpose of this case study was to describe the three-dimensional biomechanics of common ballet exercises in a ballet dancer with ischial tuberosity apophysitis. This was achieved by comparing kinematics between the symptomatic (i.e. ischial apophyseal symptoms) and contralateral lower limbs, as well as via reported pain. Results suggest consistent differences in movement patterns in this dancer. These differences included: 1) decreased external rotation of contralateral hip, hence a decreased hip contribution to 'turn out'; 2) increased contralateral knee adduction and internal rotation; 3) an apparent synchronicity in the contralateral lower limb of the decreased hip external rotation and increased knee adduction; and 4) minimal use of ankle plantar/dorsiflexion movement for symptomatic side. Pain related to the left ischial apophysitis was associated with reduced amplitudes especially in fast ballet movements that required large range of motion in flexion and adduction in the left hip joint. These findings suggest that ischial apophysitis may limit dancer's ballet technique and performance. Key PointsThe pain related to the left ischial apophysitis was associated with reduced amplitudes especially in fast ballet movements that require large range of motion. This may affect to the lower limbs kinematics, and limit dancer's technique and performance.Compensatory strategies in the kinetic chain, differences in the joint angles between the lower limbs, traction forces, velocity and amplitude demands should be taken in consideration while training and rehabilitation of the ischial apophyseal injury within classical ballet.

Inter- and intra-lower limb joint coordination of non-expert classical ballet dancers during tiptoe standing.

PubMed

Tanabe, Hiroko; Fujii, Keisuke; Kouzaki, Motoki

2014-04-01

The main objective of this study was to compare ballet dancers' and non-dancers' joint coordination during tiptoe standing. Nine female non-expert ballet dancers and nine female non-dancers were asked to perform heel-toe and tiptoe standing for approximately 30s, during which the center of pressure (COP) and kinematic data from the metatarsophalangeal, ankle, knee, and hip joints were measured. Principal component analysis was performed on the angular displacements to determine joint coordination. The weighting vectors suggested that dancers' ankle and knee joints fluctuated in-phase in the anteroposterior direction, whereas all combinations of adjacent joints had anti-phase coordination for non-dancers. In addition, there was a significant difference in the intra-joint coordination pattern between groups. In particular, dancers' metatarsophalangeal (MP) and ankle joints tended to sway to the left-front or right-rear. However, there were no differences between the groups in the path length or rectangular COP. These results suggest that dancers maintained quiet postures via a decrease in the mechanical degree of freedom and that postural expertise may not be determined from a traditional COP analysis, even during unstable tiptoe standing. This in-phase coordination, which has an arch-like configuration, could be characteristic of dancers' lithe legs. Copyright © 2014 Elsevier B.V. All rights reserved.

Ballet Body Belief: Perceptions of an Ideal Ballet Body from Young Ballet Dancers

ERIC Educational Resources Information Center

Pickard, Angela

2013-01-01

This paper explores what is perceived and believed to be an ideal ballet body by young ballet dancers. Such bodily belief becomes, in Pierre Bourdieu's terms, a core part of a ballet dancer's habitus. A four year longitudinal, ethnographic, empirical study of the experiences of 12 young ballet dancers, six boys and six girls, aged between 10 and…

Schooling the Dancer: The Evolution of an Identity as a Ballet Dancer

ERIC Educational Resources Information Center

Pickard, Angela

2012-01-01

This paper explores how young ballet dancers' bodies are constructed and narrated through their desire to become performing ballet dancers. The schooling of the balletic body engages the young dancer in embodying the discipline of ballet and in developing a particular belief in a performing body. The embodied set of acquired dispositions that are…

Comparison of lower limb kinetics during vertical jumps in turnout and neutral foot positions by classical ballet dancers.

PubMed

Imura, Akiko; Iino, Yoichi

2017-03-01

The purpose of this study was to investigate the effect of hip external rotation (turnout) on lower limb kinetics during vertical jumps by classical ballet dancers. Vertical jumps in a turnout (TJ) and a neutral hip position (NJ) performed by 12 classical female ballet dancers were analysed through motion capture, recording of the ground reaction forces, and inverse dynamics analysis. At push-off, the lower trunk leaned forward 18.2° and 20.1° in the TJ and NJ, respectively. The dancers jumped lower in the TJ than in the NJ. The knee extensor and hip abductor torques were smaller, whereas the hip external rotator torque was larger in the TJ than in the NJ. The work done by the hip joint moments in the sagittal plane was 0.28 J/(Body mass*Height) and 0.33 J/(Body mass*Height) in the TJ and NJ, respectively. The joint work done by the lower limbs were not different between the two jumps. These differences resulted from different planes in which the lower limb flexion-extension occurred, i.e. in the sagittal or frontal plane. This would prevent the forward lean of the trunk by decreasing the hip joint work in the sagittal plane and reduce the knee extensor torque in the jump.

Morphological characteristics of professional ballet dancers of the Bolshoi theater company.

PubMed

Ferrari, Elisa Pinheiro; Silva, Diego Augusto Santos; Martins, Cilene Rebolho; Fidelix, Yara Lucy; Petroski, Edio Luiz

2013-05-01

The objective of this study was to describe the morphological profile ofprofessional dancers compared with university physical education students. Thirty-five subjects were evaluated as follows: 13 professional ballet dancers of the Bolshoi Theater Company, six males and seven females, and 22 university physical education students, 11 males and 11 females. Body mass, height, skinfold (triceps, biceps, subscapular, chest, axilla, supraspinale, Iliac crest, abdominal, Front thigh, medial calf) girth (Arm flexed and tensed, forearm, waist, gluteal girth, Mid-thigh girth and calf) and breadth (wrist, ankle, Biepicondylar humerus and femur) were evaluated and somatotype, body fat percentage (BF%) body mass index (BMI), Sigma7 Skinfolds lean body mass, bone, residual and muscle mass were calculated. Dancers showed lower values for BMI, sum of seven skinfolds, BF%, body fat percentage, fat mass, residual mass (p<0.05). For females, lean body mass was also lower in the group of dancers. Body muscle values were lower for university physical education students of both sexes (p<0.05). When assessing differences between male and female dancers and male and female university physical education students, dancers appeared to be more homogeneous than students. As for somatotype, male dancers showed predominance of mesomorphy over the other components and female dancers showed predominance of ectomorphy. The intense training in classical ballet interfered in body composition components, changing them significantly.

A Physiologic Profile Comparing Levels and Styles of Female Dancers.

ERIC Educational Resources Information Center

Chmelar, Robin D.; And Others

1988-01-01

Comparison of 39 adult female dancers indicated that professional ballet dancers had significantly lower maximal oxygen uptake and lower peak blood lactate levels than other dancers (professional modern, university ballet or modern). Professional ballet dancers also had a significantly higher isokinetic hamstring-quadriceps ratio than modern…

Dance training intensity at 11-14 years is associated with femoral torsion in classical ballet dancers.

PubMed

Hamilton, D; Aronsen, P; Løken, J H; Berg, I M; Skotheim, R; Hopper, D; Clarke, A; Briffa, N K

2006-04-01

To examine in a cross sectional study the influence of femoral torsion (FT) and passive hip external rotation (PER) on turnout (TO). Starting age, years of classical ballet training, and current and past dance training intensity were assessed to determine their influence on FT, PER, and TO in pre-professional female dancers. Sixty four dancers (mean (SD) age 18.16 (1.80) years) were recruited from four different dance training programmes. They completed a dance history questionnaire. FT was measured using a clinical method. PER was measured with the subjects prone, and TO was measured with the subjects standing. Mean TO was 136 degrees, mean unilateral PER was 49.4 degrees, and mean FT was 18.4 degrees. A positive correlation was observed between PER combined (PERC) and TO (r = 0.443, p < 0.001). A negative association was found between FT combined (FTC) and PERC (r = -0.402, p = 0.001). No association was found between starting age or years of classical ballet training and FTC, PERC, or TO. Dancers who trained for six hours a week or more during the 11-14 year age range had less FT than those who trained less (mean difference 6 degrees, 95% confidence interval 1.4 to 10.3). Students currently training for longer had higher levels of TO (p < 0.001) but comparable PERC and FTC. FT is significantly associated with PERC. Dancers who trained for six hours a week or more at 11-14 years of age had significantly less FT. FTC had a significant influence on PERC, but no influence on the execution of TO.

Dance training intensity at 11–14 years is associated with femoral torsion in classical ballet dancers

PubMed Central

Hamilton, D; Aronsen, P; Løken, J H; Berg, I M; Skotheim, R; Hopper, D; Clarke, A; Briffa, N K

2006-01-01

Objective To examine in a cross sectional study the influence of femoral torsion (FT) and passive hip external rotation (PER) on turnout (TO). Starting age, years of classical ballet training, and current and past dance training intensity were assessed to determine their influence on FT, PER, and TO in pre‐professional female dancers. Methods Sixty four dancers (mean (SD) age 18.16 (1.80) years) were recruited from four different dance training programmes. They completed a dance history questionnaire. FT was measured using a clinical method. PER was measured with the subjects prone, and TO was measured with the subjects standing. Results Mean TO was 136°, mean unilateral PER was 49.4°, and mean FT was 18.4°. A positive correlation was observed between PER combined (PERC) and TO (r  =  0.443, p<0.001). A negative association was found between FT combined (FTC) and PERC (r  =  −0.402, p  =  0.001). No association was found between starting age or years of classical ballet training and FTC, PERC, or TO. Dancers who trained for six hours a week or more during the 11–14 year age range had less FT than those who trained less (mean difference 6°, 95% confidence interval 1.4 to 10.3). Students currently training for longer had higher levels of TO (p<0.001) but comparable PERC and FTC. Conclusion FT is significantly associated with PERC. Dancers who trained for six hours a week or more at 11–14 years of age had significantly less FT. FTC had a significant influence on PERC, but no influence on the execution of TO. PMID:16556782

Comparison of postural stability between injured and uninjured ballet dancers.

PubMed

Lin, Cheng-Feng; Lee, I-Jung; Liao, Jung-Hsien; Wu, Hong-Wen; Su, Fong-Chin

2011-06-01

Ballet movements require a limited base of support; thus, ballet dancers require a high level of postural control. However, postural stability in ballet dancers is still unclear and needs to be understood. To evaluate ballet dancers' postural stability in performing single-leg standing, the en pointe task, and the first and fifth positions and to determine differences in task performance among healthy nondancers, healthy dancers, and dancers with ankle sprains. Controlled laboratory study. Injured dancers, uninjured dancers, and nondancers were recruited for this study (N = 33 age-matched participants; n= 11 per group). The tasks tested were single-leg standing with eyes open and closed, first position, fifth position, and en pointe. Center of pressure parameters were calculated from the ground-reaction force collected with 1 force plate. Analysis of variance was used to assess the differences of center of pressure parameters among 3 groups in single-leg standing; independent t test was used to examine the differences of center of pressure parameters between injured and uninjured dancers. During single-leg standing, injured dancers had significantly greater maximum displacement in the medial-lateral direction and total trajectory of center of pressure, compared with the uninjured dancers and nondancers. During the first and fifth positions, the injured dancers demonstrated significantly greater standard deviation of center of pressure position in the medial-lateral and anterior-posterior directions, compared with the uninjured dancers. During en pointe, the injured dancers had significantly greater maximum displacement in the medial-lateral direction and the anterior-posterior direction, compared with the uninjured dancers. The injured and uninjured dancers demonstrated differences in postural stability in the medial-lateral direction during single-leg standing and the ballet postures. Although the injured dancers received ballet training, their postural stability may still be inferior to that of the nondancers. This study is a first step in understanding that injured ballet dancers do not have the same postural stability as uninjured dancers and that it is even inferior to that of nondancers, which is important to understand for further study on rehabilitation. The future development of effective balance training programs for ballet dancers with ankle injuries should emphasize improvements in medial-lateral directional balance.

Gender role, eating disorder symptoms, and body image concern in ballet dancers.

PubMed

Ravaldi, Claudia; Vannacci, Alfredo; Bolognesi, Enrica; Mancini, Stefania; Faravelli, Carlo; Ricca, Valdo

2006-10-01

Our objective was to evaluate the relationships between gender role, eating behavior, and body image in nonprofessional female ballet dancers. One hundred ten female ballet dancers and 59 controls were administered the Bem Sex Role Inventory, the Eating Disorder Examination (EDE), the Body Uneasiness Test (BUT), and the Beck Depression Inventory. Ballet dancers scored higher than controls in most of the items evaluating body image and eating behaviors; a high number of ballet dancers with undifferentiated gender role were also observed. In the dancers group, male-typified subjects showed higher median scores of EDE and BUT scales, while in the control group, the highest median scores of EDE and BUT scales were found in undifferentiated subjects. Ballet schools' cultural pressure towards an ideal of leanness could interfere with the process of gender role acquisition. Ballet dancers appear to be overconcerned with performance; this could reinforce the internalization of several constructs that are generally considered as typically male.

National survey to evaluate musuloskeletal health in retired professional ballet dancers in the United Kingdom.

PubMed

Smith, T O; de Medici, A; Oduoza, U; Hakim, A; Paton, B; Retter, G; Haddad, F S; Macgregor, A

2017-01-01

To explore the musculoskeletal health of retired professional ballet dancers in the United Kingdom (UK). Online national survey. Retired professional ballet dancers living in the UK. The survey explored: what musculoskeletal injuries or diseases are experienced by retired professional ballet dancers; which anatomical regions were affected by musculoskeletal injuries or diseases in retired professional ballet dancers; whether ballet dancers were forced to retire from professional ballet due to musculoskeletal injuries or disease. Forty-six retired ballet dancers responded. Thirty-six percent (n = 17) of respondents reported retiring from ballet due to musculoskeletal injury. The median age when respondents retired from professional ballet was 29 years. The most common issues that caused people to retire were hip and back pain (25%; n = 9 respectively), followed by hamstring injuries, ankle injuries, cervical spine injuries, and anterior knee pain (13% respectively; n = 5). Ninety-one percent (n = 42) reported experiencing muscle and joint pain post-retirement. Musculoskeletal pain and disease was a problem for respondents in this study. Further investigation is needed to define the problem, so management can be examined. Comparing performance and training regimes to injury rates in professional dancers, and then following these cohorts into retirement, would increase knowledge on this population. Copyright © 2016 Elsevier Ltd. All rights reserved.

Joint Coordination and Muscle Activities of Ballet Dancers During Tiptoe Standing.

PubMed

Tanabe, Hiroko; Fujii, Keisuke; Kouzaki, Motoki

2017-01-01

We aimed to investigate joint coordination of lower limbs in dancers during tiptoe standing and the relationship between joint coordination and muscle coactivation. Seven female ballet dancers performed tiptoe standing with six leg positions (fi e classical dance positions and one modern dance position) for 10 s. The kinematic data of the metatarsophalangeal (MP), ankle, knee, and hip joints was collected, and surface electromyography (EMG) of over 13 lower limb muscles was conducted. Principal component analysis was performed to determine joint coordination. MP-ankle and ankle-knee had in-phase coordination, whereas knee-hip showed anti-phase coordination in the sagittal plane. In addition, most EMG-EMG coherence around the MP and ankle joints was significant up to 50 Hz when these two joints swayed with in-phase. This suggests that different joint coordination patterns are associated with neural processing related to different muscle coactivation patterns. In conclusion, ballet dancers showed in-phase coordination from the MP to knee joints, which was associated with muscle coactivation to a higher frequency domain (up to 50 Hz) in comparison with anti-phase coordination.

Assessing Readiness for En Pointe in Young Ballet Dancers.

PubMed

Lai, Jeffrey C; Kruse, David W

2016-01-01

Children begin ballet lessons as young as age 2 years. The graceful movements of classical ballet require a combination of artistry, flexibility, and strength to perform. During the training and development of a young ballerina, the transition to dancing en pointe ("on the toes") represents a significant milestone and traditionally begins around age 11 or 12 years, assuming the proper training background and dance aspirations. However, current dance medicine literature describes factors such as maturity, proper technique, strength, and postural control as the more significant factors in determining pointe readiness. An in-office evaluation of these factors can be performed by the clinician to assist dancers, their family, and their dance instructor(s) determine pointe readiness. Copyright 2016, SLACK Incorporated.

Energetic efficiency, menstrual irregularity, and bone mineral density in elite professional female ballet dancers.

PubMed

Doyle-Lucas, Ashley F; Akers, Jeremy D; Davy, Brenda M

2010-01-01

Sports that emphasize low body weight for optimal performance, such as ballet, are associated with an increased prevalence of the female athlete triad (FT). Previous research in this area that involves dancers has been limited; the majority of studies have been performed on adolescents training in classical ballet, and not professional adult dancers. The purpose of this study is to compare the physical and behavioral characteristics of female elite ballet dancers to sedentary, recreationally active non-dancing controls, with regard to characteristics of the FT and energetic efficiency. Women aged 18 to 35 years were recruited as participants. The dancers (N = 15) and non-dancing controls (N = 15) were pair-matched via age (dancers: 24.3 ± 1.3 years; controls: 23.7 ± 0.9 years), body mass index (dancers: 18.9 ± 0.2; controls: 19.4 ± 0.2 kg/m 2 ), and fat-free mass (dancers: 44.3 ± 0.8; controls: 44.1 ± 0.9 kg). Assessments included habitual dietary intake using 4-day food records, self-reported physical activity, psychometric measures of eating behaviors, health and menstrual history, body composition and bone density (dual energy x-ray absorptiometry), and resting metabolic rate (RMR) assessed by indirect calorimetry. Characteristics of the FT, specifically menstrual irregularities (6 of 15 dancers reported irregular or no menses; 1 of 15 controls reported irregular menses) and low energy availability, were more prevalent in dancers than in pair-matched controls. Despite having a similar fat-free mass (FFM), dancers had a significantly lower absolute RMR (dancers: 1367 ± 27; controls: 1454 ± 34 kcal/d; p ≤ 0.05) and significantly lower RMR relative to FFM (dancers: 30.9 ± 0.6; controls: 33.1 ± 0.8 kcal/kg fat-free mass/d; p ≤ 0.05). Energy intake between dancers (1577 ± 89 kcal/d) and pair-matched controls (2075 ± 163 kcal/d) also differed significantly (p ≤ 0.01). Six of the 15 dancers met the criteria for the FT (including low bone mineral density, menstrual irregularities, and eating pathology accompanied by low energy availability) and, therefore, represent a population of individuals afflicted with this disorder. These findings provide insight as to the metabolic impact of chronic energy restriction, and suggest that alterations in RMR (i.e., energetic efficiency) may be an indicator of low energy availability. Future larger-scale studies are warranted to address this possibility. Interventions aimed at increasing energy availability in elite female ballet dancers may be needed to promote optimal health status.

Differences of Ballet Turns ("Pirouette") Performance between Experienced and Novice Ballet Dancers

ERIC Educational Resources Information Center

Lin, Chia-Wei; Chen, Shing-Jye; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

2014-01-01

Purpose: This study investigated the different postural control strategies exhibited by experienced and novice dancers in ballet turns ("pirouettes"). Method: Thirteen novice and 13 experienced dancers performed ballet turns with dominant-leg support. The peak push force was measured in the double-leg support phase. The inclination…

Physical fitness, menstrual cycle disorders and smoking habit in Croatian National Ballet and National Folk Dance Ensembles.

PubMed

Oreb, Goran; Ruzić, Lana; Matković, Branka; Misigoj-Duraković, Marjeta; Vlasić, Jadranka; Ciliga, Dubravka

2006-06-01

The study investigated differences in morphological, motor and functional abilities between folk and ballet dancers. The sample comprised 51 female subjects: Croatian National Ballet (N=30) and Croatian National Folk Ensemble "LADO" (N=21). The data regarding menstrual cycle, menarche, number of births and smoking habit were collected and the morphological, motor and functional abilities measured. Significant correlations between the amount of fat tissue and number of births were found in both groups. Folk dancers were as tall as ballet dancers but weighted more and had a larger body frame (p<0.001). Ballet dancers were more flexible but there were no differences in absolute maximal oxygen uptake (2.65 vs. 2.35 L/min, p=0.101). Still, as the ballet dancers weighted less, their relative maximal oxygen uptake was significantly higher (37.62 vs. 50.22 mL/kg/min, p<0.001). Also, a high number of 45% of smokers among professional ballet and professional folk dancers was found.

Footwear in classical ballet: a study of pressure distribution and related foot injury in the adolescent dancer.

PubMed

Pearson, Stephen J; Whitaker, Alison F

2012-01-01

This study explores the relationship between dance shoe type and foot pressure characteristics. During adolescence, while the foot is still developing, limiting focal pressure on the feet may help reduce the risk of injury. In order to "condition" the feet for advanced dance, where pointe shoes are worn, it may be advisable to first utilize demi-pointe shoes. Eight female dancers were each tested in four footwear conditions (barefoot, soft, demi-pointe, and pointe shoes), and patterns of foot pressure were compared. A questionnaire was also distributed among sixty-five adolescent females currently training at vocational dance schools to examine shoe use and injury rate before and after the onset of pointe work. During ballet-specific dynamic movement, soft shoes and pointe shoes significantly vary in the plantar pressures they impose on the foot. Demi-pointe shoes provide an intermediate pressure condition, which may help the dancer adapt more gradually to the pressure demands of pointe shoes. Dancers who wore demi-pointe shoes prior to starting pointe were found to be less likely to sustain a ballet-related injury or a lower leg, ankle, or foot injury (22% compared to 30% in those who had not worn demi-pointe shoes). The dancers in this group were also older when they first reported an injury.

The influence of winter vitamin D supplementation on muscle function and injury occurrence in elite ballet dancers: a controlled study.

PubMed

Wyon, Matthew A; Koutedakis, Yiannis; Wolman, Roger; Nevill, Alan M; Allen, Nick

2014-01-01

Athletes who train indoors during the winter months exhibit low serum 25-hydroxyvitamin D [25(OH)D] concentrations due to a lack of sunlight exposure. This has been linked to impaired exercise performance. The purpose of this study was to assess the effects of oral vitamin D₃ supplementation on selected physical fitness and injury parameters in elite ballet dancers. Controlled prospective study. 24 elite classical ballet dancers (intervention n=17; control n=7) participated in a controlled 4-month oral supplementation of vitamin D₃ (2000 IU per day). Isometric muscular strength and vertical jump height were measured pre and post intervention. Injury occurrence during the intervention period was also recorded by the in-house medical team. Repeated measures ANOVA and Mann-Whitney-U statistical tests were used and significance was set at p ≤ 0.05. Significant increases were noted for the intervention group for isometric strength (18.7%, p<0.01) and vertical jump (7.1%, p<0.01). The intervention group also sustained significantly less injuries than the controls during the study period (p<0.01). Oral supplementation of vitamin D₃ during the winter months has beneficial effects on muscular performance and injury occurrence in elite ballet dancers. Copyright © 2013 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

Self-Described Differences Between Legs in Ballet Dancers: Do They Relate to Postural Stability and Ground Reaction Force Measures?

PubMed

Mertz, Laura; Docherty, Carrie

2012-12-01

Ballet technique classes are designed to train dancers symmetrically, but they may actually create a lateral bias. It is unknown whether dancers in general are functionally asymmetrical, or how an individual dancer's perceived imbalance between legs might manifest itself. The purpose of this study was to examine ballet dancers' lateral preference by analyzing their postural stability and ground reaction forces in fifth position when landing from dance-specific jumps. Thirty university ballet majors volunteered to participate in this study. The subjects wore their own ballet technique shoes and performed fundamental ballet jumps out of fifth position on a force plate. The force plate recorded center of pressure (COP) and ground reaction force (GRF) data. Each subject completed a laterality questionnaire that determined his or her preferred landing leg for ballet jumps, self-identified stronger leg, and self-identified leg with better balance. All statistical comparisons were made between the leg indicated on the laterality questionnaire and the other leg (i.e., if the dancer's response to a question was "left," the comparison was made with the left leg as the "preferred" leg and the right leg as the "non-preferred leg"). No significant differences were identified between the limbs in any of the analyses conducted (all statistical comparisons produced p values > 0.05). The results of this study indicate that a dancer's preferential use of one limb over the other has no bearing on GRFs or balance ability after landing jumps in ballet. Similarly, dancers' opinions of their leg characteristics (such as one leg being stronger than the other) seem not to correlate with the dancers' actual ability to absorb GRFs or to balance when landing from ballet jumps.

Central common drive to antagonistic ankle muscles in relation to short-term cocontraction training in nondancers and professional ballet dancers.

PubMed

Geertsen, S S; Kjær, M; Pedersen, K K; Petersen, T H; Perez, M A; Nielsen, J B

2013-10-01

Optimization of cocontraction of antagonistic muscles around the ankle joint has been shown to involve plastic changes in spinal and cortical neural circuitries. Such changes may explain the ability of elite ballet dancers to maintain a steady balance during various ballet postures. Here we investigated whether short-term cocontraction training in ballet dancers and nondancers leads to changes in the coupling between antagonistic ankle motor units. Eleven ballet dancers and 10 nondancers were recruited for the study. Prior to training, ballet dancers and nondancers showed an equal amount of coherence in the 15- to 35-Hz frequency band and short-term synchronization between antagonistic tibialis anterior and soleus motor units. The ballet dancers tended to be better at maintaining a stable cocontraction of the antagonistic muscles, but this difference was not significant (P = 0.09). Following 27 min of cocontraction training, the nondancers improved their performance significantly, whereas no significant improvement was observed for the ballet dancers. The nondancers showed a significant increase in 15- to 35-Hz coherence following the training, whereas the ballet dancers did not show a significant change. A group of control subjects (n = 4), who performed cocontraction of the antagonistic muscles for an equal amount of time, but without any requirement to improve their performance, showed no change in coherence. We suggest that improved ability to maintain a stable cocontraction around the ankle joint is accompanied by short-term plastic changes in the neural drive to the involved muscles, but that such changes are not necessary for maintained high-level performance.

Use of a Textured Insole to Improve the Association Between Postural Balance and Ankle Discrimination in Young Male and Female Dancers.

PubMed

Steinberg, Nili; Waddington, Gordon; Adams, Roger; Karin, Janet; Tirosh, Oren

2015-12-01

Ballet dancers require a high level of postural balance (PB) and proprioception ability during performance. As textured insoles inserted into ballet shoes were found to improve proprioception ability, and better proprioceptive acuity was associated with better PB, the aim of the present study was to investigate whether the association between ankle inversion movement discrimination (AIMD) and PB changed following wearing textured insoles in young male and female dancers. Forty-four dancers from the Australian Ballet School, ages 14-19 yrs, were tested for static and dynamic PB and AIMD under two conditions: in ballet shoes, and in ballet shoes with textured insoles inserted. Female dancers demonstrated a significant inverse relationship between AIMD and static PB in the medio-lateral direction when wearing ballet shoes, but not when wearing textured insoles. Male dancers showed a non-monotonic relationship when tested with ballet shoes only, but a significant inverse relationship between AIMD and dynamic PB in the vertical direction and with the waist/head cross-correlation acceleration in the three movement directions when they were tested with textured insoles. Male dancers demonstrated an improved association between dynamic PB and proprioception ability when using textured insoles, suggesting that the increased afferent information from the plantar surface had a beneficial effect on proprioception feedback about their PB. Conversely, for female dancers, that association was present when wearing ballet shoes, but not when using textured insoles, suggesting that the increased afferent information for female dancers who already had high proprioception ability was "overloaded" by wearing the textured insoles.

Prevalence and profile of musculoskeletal injuries in ballet dancers: A systematic review and meta-analysis.

PubMed

Smith, Toby O; Davies, Leigh; de Medici, Akbar; Hakim, Allan; Haddad, Fares; Macgregor, Alex

2016-05-01

To determine the prevalence of musculoskeletal disorders and anatomical regions which are most frequently injured in ballet dancers. Published (AMED, CiNAHL, EMBASE, SPORTDiscus, psycINFO, MEDLINE, the Cochrane Library) and grey literature databases (OpenGrey, the WHO International Clinical Trials Registry Platform, Current Controlled Trials and the UK National Research Register Archive) were searched from their inception to 25th May 2015 for papers presenting data on injury prevalence in ballet dancers. Two reviewers independently identified all eligible papers, data extracted and critically appraised studies. Study appraisal was conducted using the CASP appraisal tool. Pooled prevalence data with 95% confidence intervals were estimated to determine period prevalence of musculoskeletal disorders and anatomical regions affected. Nineteen studies were eligible, reporting 7332 injuries in 2617 ballet dancers. The evidence was moderate in quality. Period prevalence of musculoskeletal injury was 280% (95% CI: 217-343%). The most prevalent musculoskeletal disorders included: hamstring strain (51%), ankle tendinopathy (19%) and generalized low back pain (14%). No papers explored musculoskeletal disorders in retired ballet dancers. Whilst we have identified which regions and what musculoskeletal disorders are commonly seen ballet dancers. The long-term injury impact of musculoskeletal disorders in retired ballet dancers remains unknown. Copyright © 2016 Elsevier Ltd. All rights reserved.

Attentional Focus in Classical Ballet: A Survey Of Professional Dancers.

PubMed

Guss-West, Clare; Wulf, Gabriele

2016-03-01

Focus of attention and its effects on skilled motor performance has become an important line of research in the motor learning domain. Numerous studies have demonstrated that an external focus of attention (i.e., on the movement effect) enhances motor performance and learning relative to an internal focus (i.e., on body movements). Thus, small differences in the wording of instructions or feedback given by teachers can have a significant impact on the effectiveness and efficiency of motor skill performance. In this paper, we review some of the attentional focus studies that are relevant to ballet performance. In addition, we report the findings of a survey among professional ballet dancers (N = 53) that we conducted to determine their typical attentional focus while performing certain movements. The results showed that the majority adopted internal foci, or combinations of internal and external foci, most of the time. This suggests that there is room for improvement for performance and teaching. We provide examples of how external foci can be promoted in ballet practice.

Differences of ballet turns (pirouette) performance between experienced and novice ballet dancers.

PubMed

Lin, Chia-Wei; Chen, Shing-Jye; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

2014-09-01

This study investigated the different postural control strategies exhibited by experienced and novice dancers in ballet turns (pirouettes). Thirteen novice and 13 experienced dancers performed ballet turns with dominant-leg support. The peak push force was measured in the double-leg support phase. The inclination angles of rotation axis with respect to vertical axis were calculated in the early single-leg support phase as well as the initiation sequence of ankle, knee, and hip joints on the supporting leg. Moreover, the anchoring index of the head was computed in the transverse plane during turning. The novice dancers applied a greater push force, an increased inclination angle of rotation axis, and an insufficient proximal-to-distal extension sequence pattern. The novice dancers also had a smaller head-anchoring index compared with experienced dancers, which meant novice dancers were not using a space target as a stability reference. A poorer performance in novice dancers could result from higher push force in propulsion, lack of a "proximal-to-distal extension sequence" pattern, and lack of visual spotting for postural stability. Training on sequential initiation of lower-extremity joints and rehearsal of visual spotting are essential for novice dancers to obtain better performance on ballet turns.

A comparison of ballet dancers with different level of experience in performing single-leg stance on retiré position.

PubMed

Lin, Chia-Wei; Lin, Cheng-Feng; Hsue, Bih-Jen; Su, Fong-Chin

2014-04-01

The purpose of the current study was to evaluate the postural stability of single-leg standing on the retiré position in ballet dancers having three different levels of skill. Nine superior experienced female ballet dancers, 9 experienced, and 12 novice dancers performed single-leg standing in the retiré position. The parameters of center of pressure (COP) in the anterior-posterior and medial-lateral directions and the maximum distance between COP and the center of mass (COM) were measured. The inclination angles of body segments (head, torso, and supporting leg) in the frontal plane were also calculated. The findings showed that the novice dancers had a trend of greater torso inclination angles than the experienced dancers but that the superior experienced dancers had greater maximum COM-COP distance in the anterior-posterior direction. Furthermore, both experienced and novice dancers had better balance when standing on the nondominant leg, whereas the superior experienced dancers had similar postural stability between legs. Based on the findings, ballet training should put equal focus on both legs and frontal plane control (medial-lateral direction) should be integrated to ballet training program.

Ethnicity and Classicism: A Beautiful Connection.

ERIC Educational Resources Information Center

Mitchell, Arthur

1984-01-01

The founder of the Dance Theater of Harlem describes his own professional development and discusses how Martin Luther King's assassination led him to make a commitment to the people of Harlem, to the untapped talents of Black artists, and to breaking the traditional barrier against Black dancers in classical ballet. (CMG)

Musculoskeletal Injury in Professional Dancers: Prevalence and Associated Factors: An International Cross-Sectional Study.

PubMed

Jacobs, Craig L; Cassidy, J David; Côté, Pierre; Boyle, Eleanor; Ramel, Eva; Ammendolia, Carlo; Hartvigsen, Jan; Schwartz, Isabella

2017-03-01

The purpose of the study was to determine the prevalence and factors associated with injury in professional ballet and modern dancers, and assess if dancers are reporting their injuries and explore reasons for not reporting injuries. Cross-sectional study. Participants were recruited from nine professional ballet and modern dance companies in Canada, Denmark, Israel, and Sweden. Professional ballet and modern dancers. Sociodemographic variables included age, sex, height, weight, and before-tax yearly or monthly income. Dance specific characteristics included number of years in present dance company, number of years dancing professionally, number of years dancing total, and rank in the company. Self-reported injury and Self-Estimated Functional Inability because of Pain. A total of 260 dancers participated in the study with an overall response rate of 81%. The point prevalence of self-reported injury in professional ballet and modern dancers was 54.8% (95% CI, 47.7-62.1) and 46.3% (95% CI, 35.5-57.1), respectively. Number of years dancing professionally (OR = 4.4, 95% CI, 1.6-12.3) and rank (OR = 2.4, 95% CI, 1.2-4.8) were associated with injury in ballet dancers. More than 15% of all injured dancers had not reported their injury and their reasons for not reporting injury varied. The prevalence of injury is high in professional dancers with a significant percentage not reporting their injuries for a variety of reasons. Number of years dancing and rank are associated with injury in professional ballet dancers.

Seeing Futures in Ballet: The Storylines of Four Student Ballet Dancers

ERIC Educational Resources Information Center

Loch, Sarah

2015-01-01

This paper explores the storylines of four student ballet dancers who attend a specialist performing arts secondary school and who, in differing ways, envisage futures which "look straight at ballet". When decisions about schooling intermingle with long-held imaginings of futures in ballet, thought is provoked about ways the young…

Corticospinal excitability of the ankle extensor muscles is enhanced in ballet dancers.

PubMed

Saito, Sakiko; Obata, Hiroki; Endoh, Takashi; Kuno-Mizumura, Mayumi; Nakazawa, Kimitaka

2014-09-01

We tested the corticospinal excitability of the soleus muscle in ballet dancers to clarify whether the presumed long-term repetition of the specific plantarflexion results in changes of excitability in this neural pathway. We compared motor evoked potentials of the soleus muscle at rest and during isometric contraction of the plantar flexors in dancers and non-dancers. The amplitudes of motor evoked potentials elicited by transcranial magnetic stimulation during contraction were examined against the background electromyographic activity. A regression line was calculated for each subject. Results showed that the slope of the regression line is significantly greater in the dancer group than in the control group, suggesting that the corticospinal tract of ballet dancers has adapted to long-term repetition of plantarflexion in daily ballet training.

[Principles of diagnosis, treatment and prevention of occupational injuries in ballet dancers].

PubMed

Volkov, M V; Mironova, Z S; Badnin, I A

1975-05-01

In the paper, a 20-year experience with practice of the sport and ballet-trauma department at Central Institute of Traumatology and Orthopedy, named after N. N. Priorov, and 7-year activities of the medical-ballet dispensary at Bolshoi Theatre of the USSR on diagnosis, treatment and prophylaxis of occupational traumas in ballet-dancers are summarized. Some basic principles of diagnosis, treatment and prophylaxis in occupational injuries in ballet-dancers are described. As a result of the employed prophylactic measures the incidence of trauma has fallen thrice as low.

Changes in biomechanics and muscle activation in injured ballet dancers during a jump-land task with turnout (Sissonne Fermée).

PubMed

Lee, Hsing-Hsan; Lin, Chia-Wei; Wu, Hong-Wen; Wu, Tzu-Chuan; Lin, Cheng-Feng

2012-01-01

Large impact loading with abnormal muscle activity and motion patterns may contribute to lower extremity injuries in ballet dancers. Yet, few studies investigated the influence of injury on the ballet movement. The purpose of this study was to find the neuromuscular and biomechanical characteristics in dancers with and without ankle injury during a jump-landing Sissonne Fermée task. Twenty-two ballet dancers were recruited and divided into the injured group (n = 11) and the uninjured group (n = 11). They performed a ballet movement called "Sissonne Fermée" with reflective markers and electrodes attached to their lower extremities. Ground reaction force, joint kinematics, and muscle activity were measured. The injured dancers had greater peak ankle eversion but smaller hindfoot-to-tibial eversion angles. Also, the injured dancers had greater activity of the hamstring of the dominant leg and tibialis anterior of the non-dominant leg during the pre-landing phase. The injured dancers had greater tibialis anterior activity of the dominant leg but less muscle activity in the medial gastrocnemius of the non-dominant leg during the post-landing phase. The injured dancers had a greater co-contraction index in the non-dominant ankle and a lower loading rate. The higher co-contraction indices showed that the injured dancers required more muscle effort to control ankle stability. Furthermore, the injured dancers used a "load avoidance strategy" to protect themselves from re-injury. Neuromuscular control training of the ankle joint for ballet dancers to prevent injury is necessary.

Single-leg squats can predict leg alignment in dancers performing ballet movements in "turnout".

PubMed

Hopper, Luke S; Sato, Nahoko; Weidemann, Andries L

2016-01-01

The physical assessments used in dance injury surveillance programs are often adapted from the sports and exercise domain. Bespoke physical assessments may be required for dance, particularly when ballet movements involve "turning out" or external rotation of the legs beyond that typically used in sports. This study evaluated the ability of the traditional single-leg squat to predict the leg alignment of dancers performing ballet movements with turnout. Three-dimensional kinematic data of dancers performing the single-leg squat and five ballet movements were recorded and analyzed. Reduction of the three-dimensional data into a one-dimensional variable incorporating the ankle, knee, and hip joint center positions provided the strongest predictive model between the single-leg squat and the ballet movements. The single-leg squat can predict leg alignment in dancers performing ballet movements, even in "turned out" postures. Clinicians should pay careful attention to observational positioning and rating criteria when assessing dancers performing the single-leg squat.

Single-leg squats can predict leg alignment in dancers performing ballet movements in “turnout”

PubMed Central

Hopper, Luke S; Sato, Nahoko; Weidemann, Andries L

2016-01-01

The physical assessments used in dance injury surveillance programs are often adapted from the sports and exercise domain. Bespoke physical assessments may be required for dance, particularly when ballet movements involve “turning out” or external rotation of the legs beyond that typically used in sports. This study evaluated the ability of the traditional single-leg squat to predict the leg alignment of dancers performing ballet movements with turnout. Three-dimensional kinematic data of dancers performing the single-leg squat and five ballet movements were recorded and analyzed. Reduction of the three-dimensional data into a one-dimensional variable incorporating the ankle, knee, and hip joint center positions provided the strongest predictive model between the single-leg squat and the ballet movements. The single-leg squat can predict leg alignment in dancers performing ballet movements, even in “turned out” postures. Clinicians should pay careful attention to observational positioning and rating criteria when assessing dancers performing the single-leg squat. PMID:27895518

Body dissatisfaction and the wish for different silhouette is associated with higher adiposity and fat intake in female ballet dancers than male.

PubMed

Da Silva, Camila Lacerda; De Oliveira, Erick Prado; De Sousa, Maysa Vieira; Pimentel, Gustavo D

2016-01-01

It is known that behavioral disorders and altered food intake are linked to ballet dancers. Thus, the aim of the present study was to investigate the body composition, dietetic profile, self-perceived body image and social desirability in professional ballet dancers. This study was conducted from April to October 2010 in athletes screened for nutritional evaluation. Anthropometric, dietary, social desirability and self-perceived body image evaluation were performed to attend the aim of study. We found that ballet dancers are highly trained and eutrophic, although female dancers had higher adiposity and fat intake than male dancers. In addition, it was observed low consumption of calcium, dietary fiber, potassium, magnesium and vitamin A. Moreover, 30% of male ballet dancers have a strong desire for social acceptance. When the body image was evaluated by Body Shape Questionnaire (BSQ), was reported that 40% of the ballet female dancers have of moderate to severe alteration in body image and 20% of male dancers had slight alteration. Furthermore, the Drawings and Silhouettes Scale showed that 80% of male dancers wish to have a smaller or larger silhouette than the current self-perceived and 60% of the female dancers would like to have a silhouette lower than the self-perceive as current. Collectively, our results shown that most of the dancers were eutrophic, but female athletes have higher adiposity and present strong desire for a different shape of current. Furthermore, was found increased fat intake in female group; however, deficiencies in consumption of dietary fiber, calcium, potassium, magnesium and vitamin A were found in both gender.

Electromyographic analysis of standing posture and demi-plié in ballet and modern dancers.

PubMed

Trepman, E; Gellman, R E; Solomon, R; Murthy, K R; Micheli, L J; De Luca, C J

1994-06-01

Surface electromyography was used to analyze lower extremity muscle activity during standing posture and demi-plié in first position with lower extremities turned out, in five ballet and seven modern female professional dancers. In standing posture, increased electromyographic (EMG) activity above baseline was detected most frequently at the medial gastrocnemius (54% standing repetitions) and tibialis anterior (29%) electrodes (all dancers); in ballet dancers, increased EMG activity during standing was significantly less frequent at the medial gastrocnemius, but more frequent at the tibialis anterior, than in modern dancers. In demi-plié, the tibialis anterior had a discrete peak of EMG activity at midcycle in all dancers (97% demi-pliés). All dancers also had midcycle EMG activity in both vastus lateralis and medialis (100% demi-pliés). At the end of rising phase of demi-plié, ballet dancers had greater EMG activity than at midcycle in vastus lateralis (100% demi-pliés) and medialis (92%); in modern dancers, end-rising phase voltage was lower than at midcycle for vastus lateralis (71% demi-pliés) and medialis (83%). Genu recurvatum > or = 10 degrees was observed at the beginning and end of demi-plié in all ballet dancers, but not in modern dancers. There was marked variation of EMG activity during demi-plié in the lateral gastrocnemius, medial gastrocnemius, gluteus maximus, hamstrings, and adductors. The results support the hypothesis that ballet and modern dancers have different patterns of muscle use in standing posture and demi-plié, which in part may be a result of differences in genu recurvatum and turnout between the two groups.

Frozen Landscapes: A Foucauldian Genealogy of the Ideal Ballet Dancer's Body

ERIC Educational Resources Information Center

Ritenburg, Heather Margaret

2010-01-01

This paper explores the social construction of the "ideal" body of the female ballet dancer in North America. Specifically, the author constructs a Foucauldian genealogy tracing a body shape that came to dominate the principal female dancers of the New York City Ballet, and how this body shape continues to be normalized through…

Magnetic resonance imaging of the ankle in female ballet dancers en pointe.

PubMed

Russell, Jeffrey A; Shave, Ruth M; Yoshioka, Hiroshi; Kruse, David W; Koutedakis, Yiannis; Wyon, Matthew A

2010-07-01

Ballet dancers require extreme range of motion of the ankle, especially weight-bearing maximum plantar flexion (en pointe). In spite of a high prevalence of foot and ankle injuries in ballet dancers, the anatomy and pathoanatomy of this position have not been sufficiently studied in weight-bearing. Magnetic resonance imaging (MRI) is a beneficial method for such study. To develop an MRI method of evaluating the ankles of female ballet dancers standing en pointe and to assess whether pathological findings from the MR images were associated with ankle pain reported by the subjects. Nine female ballet dancers (age, 21+/-2.9 years; dance experience, 16+/-4.1 years; en pointe dance experience, 7+/-4.9 years) completed an ankle pain visual analog scale questionnaire and underwent T1- and T2-weighted scans using a 0.25 T open MRI device. The ankle was scanned in three positions: supine with full plantar flexion, standing with the ankle in anatomical position, and standing en pointe. Obtaining MR images of the ballet dancers en pointe was successful in spite of limitations imposed by the difficulty of remaining motionless in the en pointe position during scanning. MRI signs of ankle pathology and anatomical variants were observed. Convergence of the posterior edge of the tibial plafond, posterior talus, and superior calcaneus was noted in 100% of cases. Widened anterior joint congruity and synovitis/joint effusion were present in 71% and 67%, respectively. Anterior tibial and/or talar spurs and Stieda's process were each seen in 44%. However, clinical signs did not always correlate with pain reported by the subjects. This study successfully established an ankle imaging technique for ballet dancers en pointe that can be used in the future to assess the relationship between en pointe positioning and ankle pathoanatomy in ballet dancers.

Multi-segmental postural coordination in professional ballet dancers.

PubMed

Kiefer, Adam W; Riley, Michael A; Shockley, Kevin; Sitton, Candace A; Hewett, Timothy E; Cummins-Sebree, Sarah; Haas, Jacqui G

2011-05-01

Ballet dancers have heightened balance skills, but previous studies that compared dancers to non-dancers have not quantified patterns of multi-joint postural coordination. This study utilized a visual tracking task that required professional ballet dancers and untrained control participants to sway with the fore-aft motion of a target while standing on one leg, at target frequencies of 0.2 and 0.6Hz. The mean and variability of relative phase between the ankle and hip, and measures from cross-recurrence quantification analysis (i.e., percent cross-recurrence, percent cross-determinism, and cross-maxline), indexed the coordination patterns and their stability. Dancers exhibited less variable ankle-hip coordination and a less deterministic ankle-hip coupling, compared to controls. The results indicate that ballet dancers have increased coordination stability, potentially achieved through enhanced neuromuscular control and/or perceptual sensitivity, and indicate proficiency at optimizing the constraints that enable dancers to perform complex balance tasks. Copyright © 2011 Elsevier B.V. All rights reserved.

"Nutcracker Fracture" in a Ballet Dancer Performing in The Nutcracker.

PubMed

Carsen, Sasha; Quinn, Bridget J; Beck, Elizabeth; Southwick, Heather; Micheli, Lyle J

2015-09-01

A 26-year-old female professional dancer sustained an acute injury to her mid-foot during a performance of The Nutcracker. An intra-articular, comminuted, minimally displaced fracture of the cuboid was found. The patient was treated non-operatively with cast and boot immobilization, modified weightbearing, and progressive rehabilitation. She was able to return to professional dance at 6 months post-injury and continues to dance professionally over 1 year out from injury without issue. The unique demands of classical ballet, especially dancing en pointe, increase the risk for mid-foot fractures, and clinicians should have a high-index of suspicion in dancers suffering an acute injury to the foot and ankle with greater than expected pain or swelling. Multiple imaging modalities can be used to make the diagnosis, to include plain film radiographs, MRI, and CT scan. Fracture characteristics and patient-specific factors should be taken into account when deciding on a treatment plan.

Male Ballet Dancers and Their Performances of Heteromasculinity

ERIC Educational Resources Information Center

Haltom, Trenton M.; Worthen, Meredith G. F.

2014-01-01

Although previous research has investigated men in feminized sports, we took a different approach in this study and examined men in ballet. Because ballet is one of the most highly gendercodified sports, male ballet dancers must negotiate their identities as men while performing a dance form that is highly stigmatized as effeminate. We…

Measurement of the extreme ankle range of motion required by female ballet dancers.

PubMed

Russell, Jeffrey A; Kruse, David W; Nevill, Alan M; Koutedakis, Yiannis; Wyon, Matthew A

2010-12-01

Female ballet dancers require extreme ankle motion, especially plantar flexion, but research about measuring such motion is lacking. The purposes of this study were to determine in a sample of ballet dancers whether non-weight-bearing ankle range of motion is significantly different from the weight-bearing equivalent and whether inclinometric plantar flexion measurement is a suitable substitute for standard plantar flexion goniometry. Fifteen female ballet dancers (5 university, 5 vocational, and 5 professional dancers; age 21 ± 3.0 years) volunteered. Subjects received 5 assessments on 1 ankle: non-weight-bearing goniometry dorsiflexion (NDF) and plantar flexion (NPF), weight-bearing goniometry in the ballet positions demi-plié (WDF) and en pointe (WPF), and non-weight-bearing plantar flexion inclinometry (IPF). Mean NDF was significantly lower than WDF (17° ± 1.3° vs 30° ± 1.8°, P < .001). NPF (77° ± 2.5°) was significantly lower than both WPF (83° ± 2.2°, P = .01) and IPF (89° ± 1.6°, P < .001), and WPF was significantly lower than IPF (P = .013). Dorsiflexion tended to decrease and plantar flexion tended to increase with increasing ballet proficiency. The authors conclude that assessment of extreme ankle motion in female ballet dancers is challenging, and goniometry and inclinometry appear to measure plantar flexion differently.

Is goniometry suitable for measuring ankle range of motion in female ballet dancers? An initial comparison with radiographic measurement.

PubMed

Russell, Jeffrey A; Shave, Ruth M; Kruse, David W; Nevill, Alan M; Koutedakis, Yiannis; Wyon, Matthew A

2011-06-01

Female ballet dancers require extreme ankle motion to attain the demi-plié (weight-bearing full dorsiflexion [DF]) and en pointe (weight-bearing full plantar flexion [PF]) positions of ballet. However, techniques for assessing this amount of motion have not yet received sufficient scientific scrutiny. Therefore, the purpose of this study was to examine possible differences between weight-bearing goniometric and radiographic ankle range of motion measurements in female ballet dancers. Ankle range of motion in 8 experienced female ballet dancers was assessed by goniometry and 2 radiographic measurement methods. The latter were performed on 3 mediolateral x-rays, in demi-plié, neutral, and en pointe positions; one of them used the same landmarks as goniometry. DF values were not significantly different among the methods, but PF values were (P < .05). Not only was PF of the talocrural joint significantly less than the other 2 measurements (P < .001), PF from the goniometric method applied to the x-rays was significantly less than PF obtained from clinical goniometry (P < .05). These data provide insight into the extreme ankle and foot motion, particularly PF, required in female ballet dancers and suggest that goniometry may not be ideal for assessing ankle range of motion in these individuals. Therefore, further research is needed to standardize how DF and PF are measured in ballet dancers. Diagnostic, Level I.

Assessment of Maximum Aerobic Capacity and Anaerobic Threshold of Elite Ballet Dancers.

PubMed

Wyon, Matthew A; Allen, Nick; Cloak, Ross; Beck, Sarah; Davies, Paul; Clarke, Frances

2016-09-01

An athlete's cardiorespiratory profile, maximal aerobic capacity, and anaerobic threshold is affected by training regimen and competition demands. The present study aimed to ascertain whether there are company rank differences in maximal aerobic capacity and anaerobic threshold in elite classical ballet dancers. Seventy-four volunteers (M 34, F 40) were recruited from two full-time professional classical ballet companies. All participants completed a continuous incremental treadmill protocol with a 1-km/hr speed increase at the end of each 1-min stage until termination criteria had been achieved (e.g., voluntary cessation, respiratory exchange ratio <1.15, HR ±5 bpm of estimated HRmax). Peak VO2 (5-breathe smooth) was recorded and anaerobic threshold calculated using ventilatory curve and ventilatory equivalents methods. Statistical analysis reported between-subject effects for gender (F1,67=35.18, p<0.001) and rank (F1,67=8.67, p<0.001); post hoc tests reported soloists (39.5±5.15 mL/kg/min) as having significantly lower VO2 peak than artists (45.9±5.75 mL/kg/min, p<0.001) and principal dancers (48.07±3.24 mL/kg/min, p<0.001). Significant differences in anaerobic threshold were reported for age (F1,67=7.68, p=0.008) and rank (F1,67=3.56, p=0.034); post hoc tests reported artists (75.8±5.45%) having significantly lower anaerobic threshold than soloists (80.9±5.71, p<0.01) and principals (84.1±4.84%, p<0.001). The observed differences in VO2 peak and anaerobic threshold between the ranks in ballet companies are probably due to the different rehearsal and performance demands.

The effect of textured ballet shoe insoles on ankle proprioception in dancers.

PubMed

Steinberg, Nili; Waddington, Gordon; Adams, Roger; Karin, Janet; Tirosh, Oren

2016-01-01

Impaired ankle inversion movement discrimination (AIMD) can lead to ankle sprain injuries. The aim of this study was to explore whether wearing textured insoles improved AIMD compared with barefoot, ballet shoes and smooth insoles, among dancers. Forty-four adolescent male and female dancers, aged 13-19, from The Australian Ballet School were tested for AIMD while barefoot, wearing ballet shoes, smooth insoles, and textured insoles. No interaction was found between the four different footwear conditions, the two genders, or the two levels of dancers in AIMD (p > .05). An interaction was found between the four different footwear conditions and the three tertiles when tested in ballet shoes (p = .006). Although significant differences were found between the upper tertiles and the lower tertiles when tested with ballet shoes, barefoot and with smooth insoles (p < .001; p < .001; p = .047, respectively), when testing with textured insoles dancers in the lower tertile obtained similar scores to those obtained by dancers in the upper tertile (p = .911). Textured insoles improved the discrimination scores of dancers with low AIMD, suggesting that textured insoles may trigger the cutaneous receptors in the plantar surface, increasing the awareness of ankle positioning, which in turn might decrease the chance of ankle injury. Copyright © 2015 Elsevier Ltd. All rights reserved.

The relation of eating problems and amenorrhea in ballet dancers.

PubMed

Brooks-Gunn, J; Warren, M P; Hamilton, L H

1987-02-01

Exercise-induced amenorrhea has received considerable attention in the medical literature. The combination of exercise and low body weight is thought to exert synergistic effects in the pathogenesis of amenorrhea, while the role of dieting and eating problems, another possible causative mechanism, has not been examined. A sample of 55 adult dancers in national and regional classical ballet companies was studied; their mean age was 24.7 yr. Fifty-six percent of the dancers had delayed menarche (age 14 or later) and 19% of the sample were currently amenorrheic (5 months or longer). One-third of the dancers reported having had an eating problem (self-reported anorexia nervosa or bulimia). Amenorrhea and reported eating problems were significantly related: 50% of amenorrheics reported anorexia nervosa while 13% of the normals did. In addition, prolonged amenorrhea was significantly related to dieting (as measured by EAT-26 scales, a measure of dieting behavior). As expected, leanness and absolute weight also were related to prolonged amenorrhea. Amenorrhea in this sample of adult dancers was not related to current activity level or age at which training began. Thus, eating problems may be one factor in the pathogenesis of prolonged amenorrhea in certain athletic groups.

Negotiating the Gay Male Stereotype in Ballet and Modern Dance

ERIC Educational Resources Information Center

Polasek, Katherine M.; Roper, Emily A.

2011-01-01

Dance, ballet and modern in particular, is culturally defined as a feminine activity in the United States. The purpose of the present study was to examine the experiences of professional male modern and ballet dancers in the United States. Semi-structured interviews were conducted with 12 current professional ballet and modern dancers. We examined…

Acute Effects of Static vs. Ballistic Stretching on Strength and Muscular Fatigue Between Ballet Dancers and Resistance-Trained Women.

PubMed

Lima, Camila D; Brown, Lee E; Wong, Megan A; Leyva, Whitney D; Pinto, Ronei S; Cadore, Eduardo L; Ruas, Cassio V

2016-11-01

Lima, CD, Brown, LE, Wong, MA, Leyva, WD, Pinto, RS, Cadore, EL, and Ruas, CV. Acute effects of static vs. ballistic stretching on strength and muscular fatigue between ballet dancers and resistance-trained women. J Strength Cond Res 30(11): 3220-3227, 2016-Stretching is used to increase joint range of motion, but the acute effects can decrease muscle strength. However, this may depend on the population or mode of stretching. The purpose of this study was to compare the acute effects of static vs. ballistic stretching on strength and muscular fatigue between ballet dancers and resistance-trained women. Fifteen resistance-trained women (age 23.8 ± 1.80 years, mass 67.47 ± 7.77 kg, height 168.30 ± 5.53 cm) and 12 ballet dancers (age 22.8 ± 3.04 years, mass 58.67 ± 5.65 kg, height 168.00 ± 7.69 cm) performed 5 days of testing. The first day was control (no stretching), whereas the other 4 days were static or ballistic stretching in a counterbalanced order. Range of motion, strength, and fatigue tests were also performed. Both groups demonstrated a significant decrease in hamstrings strength after static (102.71 ± 2.67 N·m) and ballistic stretching (99.49 ± 2.61 N·m) compared with control (113.059 ± 3.25 N·m), with no changes in quadriceps strength. For fatigue, only ballet dancers demonstrated a decrease from control (71.79 ± 4.88%) to ballistic (65.65 ± 8.19%), but no difference with static (65.01 ± 12.29%). These findings suggest that stretching decreases hamstrings strength similarly in ballet dancers and resistance-trained women, with no differences between modes of stretching. However, ballistic stretching only decreased muscular fatigue in ballet dancers, but not in resistance-trained women. Therefore, no stretching should be performed before strength performance. However, ballistic stretching may decrease acute muscular fatigue in ballet dancers.

Specificity of foot configuration during bipedal stance in ballet dancers.

PubMed

Casabona, Antonino; Leonardi, Giuseppa; Aimola, Ettore; La Grua, Giovanni; Polizzi, Cristina Maria; Cioni, Matteo; Valle, Maria Stella

2016-05-01

Learning highly specialized upright postures may be of benefit for more common as well as for novel stances. In this study, we asked whether this generalization occurs with foot configurations previously trained or depends on a generic increase in balance difficulty. We also explored the possibility that the benefit may concern not only the level of postural performance but also the structural organization of the upright standing. Ten elite professional ballet dancers were compared to ten untrained subjects, measuring the motion of the center of pressure (COP) across a set of five stances with different foot configurations. The balance stability was measured computing the area, the sway path, and the root mean square of the COP motion, whereas the structure of the postural control was assessed by compute approximate entropy, fractal dimension and the mean power frequency. The foot position included common and challenging stances, with the level of difficulty changed across the configurations. Among these conditions, only one foot configuration was familiar to the dancers. Statistically significant differences between the two groups, for all the parameters, were observed only for the stance with the foot position familiar to the dancers. Stability and structural parameters exhibited comparable differences. We concluded that the benefit from classical ballet is limited to a specific foot configuration, regardless of the level of stance difficulty or the component of postural control. Copyright © 2016 Elsevier B.V. All rights reserved.

Epidemiological Review of Injury in Pre-Professional Ballet Dancers.

PubMed

Caine, Dennis; Goodwin, Brett J; Caine, Caroline G; Bergeron, Glen

2015-12-01

The objective of this study was to provide an epidemiological review of the literature concerning ballet injuries affecting pre-professional ballet dancers. The literature search was limited to published peer-reviewed reports and involved an extensive examination of Scopus, SPORTDiscus, and CINAHL. The following search terms were used in various combinations: ballet, injury, epidemiology, risk factor, pre-professional, and intervention. Additional citations were located using the ancestry approach. Unlike some other athletic activities that have been the focus of recent intervention research, there is a paucity of intervention and translational research in pre-professional ballet, and sample sizes have often been small and have not accounted for the multivariate nature of ballet injury. Exposure-based injury rates in this population appear similar to those reported for professional ballet dancers and female gymnasts. A preponderance of injuries affect the lower extremity of these dancers, with sprains and strains being the most frequent type of injury reported. The majority of injuries appear to be overuse in nature. Injury risk factors have been tested in multiple studies and indicate a variety of potential injury predictors that may provide useful guidance for future research.

Prevalence of eating disorders amongst dancers: a systemic review and meta-analysis.

PubMed

Arcelus, Jon; Witcomb, Gemma L; Mitchell, Alex

2014-03-01

Eating disorders in dancers are thought to be common, but the exact rates remain to be clarified. The aim of this study is to systematically compile and analyse the rates of eating disorders in dancers. A literature search, appraisal and meta-analysis were conducted. Thirty-three relevant studies were published between 1966 and 2013 with sufficient data for extraction. Primary data were extracted as raw numbers or confidence intervals. Risk ratios and 95% confidence intervals were calculated for controlled studies. The overall prevalence of eating disorders was 12.0% (16.4% for ballet dancers), 2.0% (4% for ballet dancers) for anorexia, 4.4% (2% for ballet dancers) for bulimia and 9.5% (14.9% for ballet dancers) for eating disorders not otherwise specified (EDNOS). The dancer group had higher mean scores on the EAT-26 and the Eating Disorder Inventory subscales. Dancers, in general, had a higher risk of suffering from eating disorders in general, anorexia nervosa and EDNOS, but no higher risk of suffering from bulimia nervosa. The study concluded that as dancers had a three times higher risk of suffering from eating disorders, particularly anorexia nervosa and EDNOS, specifically designed services for this population should be considered. Copyright © 2013 John Wiley & Sons, Ltd and Eating Disorders Association.

Lower-limb proprioceptive awareness in professional ballet dancers.

PubMed

Kiefer, Adam W; Riley, Michael A; Shockley, Kevin; Sitton, Candace A; Hewett, Timothy E; Cummins-Sebree, Sarah; Haas, Jacqui G

2013-09-01

Enhanced proprioceptive feedback strengthens synergistic muscle groups and stabilizes the coordination of limbs, thus contributing to the movement efficiency of ballet dancers. The present study compared lower-limb proprioceptive awareness in professional ballet dancers to matched controls who had no dance training. Two assessment methods were used to test the hypothesis that ballet dancers would demonstrate increased proprioceptive awareness in the ankle, knee, and hip: 1. a joint-position matching task to assess static proprioceptive joint awareness, and 2. an eyes-closed, quiet standing task to assess both static and dynamic proprioceptive awareness through measures of center of pressure (COP) variability. Results of the matching task indicated that the dancers exhibited greater proprioceptive awareness than controls for all three joints (p < 0.001). Also, dancers were equally aware of the positioning of their ankle, knee, and hip joints (p > 0.05), whereas controls were less aware of their ankle position compared to their knee and hip joints (p < 0.001). Measures indexing COP variability during quiet standing did not differ between groups and thus failed to reflect increased proprioceptive awareness in dancers (all p > 0.05). This indicates that quiet stance may have limited value as a means for evaluating proprioception. These findings provide preliminary evidence that enhanced proprioceptive awareness of lower limb joints should be considered as an evaluative criterion for dancers' ability to learn complex ballet skills. They also indicate that quiet standing tasks may not provide sufficient challenge for dancers' enhanced proprioceptive awareness to manifest.

A review of the risk factors for lower extremity overuse injuries in young elite female ballet dancers.

PubMed

Bowerman, Erin Anne; Whatman, Chris; Harris, Nigel; Bradshaw, Elizabeth

2015-06-01

The objective of this study was to review the evidence for selected risk factors of lower extremity overuse injuries in young elite female ballet dancers. An electronic search of key databases from 1969 to July 2013 was conducted using the keywords dancers, ballet dancers, athletes, adolescent, adolescence, young, injury, injuries, risk, overuse, lower limb, lower extremity, lower extremities, growth, maturation, menarche, alignment, and biomechanics. Thirteen published studies were retained for review. Results indicated that there is a high incidence of lower extremity overuse injuries in the target population. Primary risk factors identified included maturation, growth, and poor lower extremity alignment. Strong evidence from well-designed studies indicates that young elite female ballet dancers suffer from delayed onset of growth, maturation, menarche, and menstrual irregularities. However, there is little evidence that this deficit increases the risk of overuse injury, with the exception of stress fractures. Similarly, there is minimal evidence linking poor lower extremity alignment to increased risk of overuse injury. It is concluded that further prospective, longitudinal studies are required to clarify the relationship between growth, maturation, menarche, and lower extremity alignment, and the risk of lower extremity overuse injury in young elite female ballet dancers.

Changes in bone density and bone markers in rhythmic gymnasts and ballet dancers: implications for puberty and leptin levels.

PubMed

Muñoz, María Teresa; de la Piedra, Concepción; Barrios, Vicente; Garrido, Guadalupe; Argente, Jesús

2004-10-01

Our aim was to compare physical activity and biochemical markers with bone mineral acquisition in rhythmic gymnasts and ballet dancers. Weight, height, body mass index, nutritional intake, bone age and menstrual histories were analyzed in nine rhythmic gymnasts, twelve ballet dancers and fourteen controls. Bone mineral density (BMD) was assessed by X-ray absorptiometry at the lumbar spine, hip and radius. Bone alkaline phosphatase (bAP) and amino-terminal propeptide of procollagen I (PNIP) in serum and urinary alpha-isomer of the carboxy-terminal telopeptide of collagen I (alpha-CTX) were measured. Bone age was delayed 2 years and mean age at menarche was 15+/-0.9 years in rhythmic gymnasts and 13.7+/-1 years in ballet dancers, compared with 12.5+/-1 years in controls. Trocanteric and femoral neck BMD was significantly higher in rhythmic gymnasts compared with ballet dancers and controls. Right forearm (non-loaded zone) BMD was significantly decreased in rhythmic gymnasts and ballet dancers compared with controls. All subjects had normal bAP and PNIP levels, but the alpha-CTX/creatinine (Cr) ratio was increased in rhythmic gymnasts (P<0.001) with an inverse correlation between right forearm BMD and the alpha-CTX/Cr ratio (r=-0.74, P<0.001). Serum leptin levels were decreased in rhythmic gymnasts and ballet dancers. Rhythmic gymnasts had a positive correlation between right forearm BMD and leptin levels (r=0.85, P<0.001). Decreased bone mass in rhythmic gymnasts could be partially explained by an increase in bone resorption. Serum leptin levels could be implicated in the pubertal delay and be a good marker of bone mass in these subjects.

Disordered eating, amenorrhea, and substance use and misuse among professional ballet dancers: Preliminary analysis.

PubMed

Peric, Mia; Zenic, Natasa; Sekulic, Damir; Kondric, Miran; Zaletel, Petra

2016-01-01

Substance use and misuse (SUM), eating disorders (ED) and consequent amenorrhea (AM) occur frequently in professional ballet dancing. The objective of this study has been to explore the prevalence and association between ED, AM and SUM in ballet. The sample comprised 21 ballet dancers, 23.1±4.5 years old, members of the professional National Ballet Ensemble from Croatia. Variables were collected by questionnaires examining SUM, occurrence of amenorrhea, and corresponding ballet-specific and socio-demographic factors (Questionnaire on Substance Use - QSU) and the level of ED (Brief Eating Disorder in Athletes Questionnaire - BEDA-Q). Smoking is prevalent in 40% of dancers (25% smoke on a daily basis), 36% often use analgesics, and 25% engage in binge drinking at least once a month. Smoking and binge drinking are less frequent in ballerinas with a higher academic level (r = 0.60 and r = 0.54 for binge drinking and smoking, respectively; p < 0.05). Alcohol drinking is higher among dancers who consume analgesics more often and those with a higher BEDA-Q score (r = 0.53 and r = 0.54 for analgesics and BEDA-Q, respectively; p < 0.05). Amenorrhea is more prevalent among those dancers with a higher BEDA-Q score. Women who consume nutritional supplements are less likely to use analgesics (Mann Whitney U test = 2.11; p < 0.05). Efforts seeking to prevent ED in ballet should target dancers who consume alcohol to a greater extent. Future studies should specifically explore the less frequent consumption of analgesics among dancers who consume nutritional supplements. This work is available in Open Access model and licensed under a CC BY-NC 3.0 PL license.

Motivating and Evaluating Growth in Ballet Technique

ERIC Educational Resources Information Center

White, Julie Hammond

2012-01-01

In teaching young dancers ballet, the utilization of effective assessments in partnership with supportive and creative teaching strategies can transform not only the learning experience, but the dancer as well. In this article, the author shares a "growth grade rubric" that specifically addresses three areas in ballet training: (1) skills and…

Should Ballet Dancers Vary Postures and Underfoot Surfaces When Practicing Postural Balance?

PubMed

Steinberg, Nili; Waddington, Gordon; Adams, Roger; Karin, Janet; Tirosh, Oren

2018-01-01

Postural balance (PB) is an important component skill for professional dancers. However, the effects of different types of postures and different underfoot surfaces on PB have not adequately been addressed. The main aim of this study was to investigate the effect of different conditions of footwear, surfaces, and standing positions on static and dynamic PB ability of young ballet dancers. A total of 36 male and female young professional ballet dancers (aged 14-19 years) completed static and dynamic balance testing, measured by head and lumbar accelerometers, while standing on one leg in the turnout position, under six different conditions: (1) "relaxed" posture; (2) "ballet" posture; (3) barefoot; (4) ballet shoes with textured insoles; (5) barefoot on a textured mat; and (6) barefoot on a spiky mat. A condition effect was found for static and dynamic PB. Static PB was reduced when dancers stood in the ballet posture compared with standing in the relaxed posture and when standing on a textured mat and on a spiky mat (p < .05), and static PB in the relaxed posture was significantly better than PB in all the other five conditions tested. Dynamic PB was significantly better while standing in ballet shoes with textured insoles and when standing on a spiky mat compared with all other conditions (p < .05). The practical implications derived from this study are that both male and female dancers should try to be relaxed in their postural muscles when practicing a ballet aligned position, including dance practice on different types of floors and on different types of textured/spiky materials may result in skill transfer to practice on normal floor surfaces, and both static and dynamic PB exercises should be assessed and generalized into practical dance routines.

Assessment of female ballet dancers' ankles in the en pointe position using high field strength magnetic resonance imaging.

PubMed

Russell, Jeffrey A; Yoshioka, Hiroshi

2016-08-01

The en pointe position of the ankle in ballet is extreme. Previously, magnetic resonance imaging (MRI) of ballet dancers' ankles en pointe was confined to a low field, open MR device. To develop a reproducible ankle MRI protocol for ballet dancers en pointe and to assess the positions of the key structures in the dancers ankles. Six female ballet dancers participated; each was randomly assigned to stand en pointe while one of her feet and ankles was splinted with wooden rods affixed with straps or to begin with the ankle in neutral position. She lay in an MR scanner with the ankle inside a knee coil for en pointe imaging and inside an ankle/foot coil for neutral position imaging. Proton density weighted images with and without fat suppression and 3D water excitation gradient recalled echo images were obtained en pointe and in neutral position in sagittal, axial, and coronal planes. We compared the bones, cartilage, and soft tissues within and between positions. No difficulties using the protocol were encountered. En pointe the posterior articular surface of the tibial plafond was incongruent with the talar dome and rested on the posterior talus. The posterior edge of the plafond impinged Kager's fat pad. All participants exhibited one or more small ganglion cysts about the ankle and proximal foot, as well as fluid accumulation in the flexor and fibularis tendon sheaths. Our MRI protocol allows assessment of female ballet dancers' ankles in the extreme plantar flexion position in which the dancers perform. We consistently noted incongruence of the talocrural joint and convergence of the tibia, talus, and calcaneus posteriorly. This protocol may be useful for clinicians who evaluate dancers. © The Foundation Acta Radiologica 2015.

Determining a young dancer's readiness for dancing on pointe.

PubMed

Shah, Selina

2009-01-01

Ballet is one of the most popular youth activities in the United States. Many ballet students eventually train to dance "en pointe," the French words for "on pointe," or "on the tips of their toes." No research exists to define criteria for determining when a young dancer can transition from dancing in ballet slippers to dancing in pointe shoes. However, dancers can be evaluated for this progression based on a number of factors, including adequate foot and ankle plantarflexion, technique, training, proprioception, alignment, and strength.

Premature Growth Plate Closure in a Ballet Dancer en Pointe.

PubMed

Shah, Selina

2017-09-01

A 13-year-old ballet dancer who had been dancing en pointe (on the tips of the toes) since 10 years presented to the clinic with a shortened right second toe. She had no previous history of pain or trauma. She was diagnosed with premature growth arrest of the second metatarsal head physes resulting in a shortened metatarsal. This is the first reported case of premature growth arrest in a ballet dancer as a result of dancing en pointe.

Hip Joint Effusion-Synovitis Is Associated With Hip Pain and Sports/Recreation Function in Female Professional Ballet Dancers.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Cook, Jill

2018-03-23

To compare hip joint effusion-synovitis prevalence in professional ballet dancers with nondancing athletes and to evaluate the relationship between effusion-synovitis and clinical measures and cartilage defects. Case-control study. Elite ballet and sport. Forty-nine professional ballet dancers and 49 age-matched and sex-matched athletes. Group (dancers/athletes), sex, age, years of training, Copenhagen Hip and Groin Outcome Scores (HAGOSs), hip rotation range of motion (ROM), generalized joint hypermobility (GJH), and hip cartilage defect scores. Hip joint effusion-synovitis (absent, grade 1 = 2-4 mm, grade 2 = >4 mm) scored with 3-Tesla magnetic resonance imaging. Hip joint effusion-synovitis was found in 22 (45%) dancers and 13 (26.5%) athletes (P = 0.06). Grade 2 effusion-synovitis was only found in dancers (n = 8, r = 0.31, P = 0.009). The prevalence of effusion-synovitis was similar in men (n = 11, 26%) and women (n = 24, 43%, P = 0.09). Female dancers with effusion-synovitis had lower HAGOS pain (r = 0.63, P = 0.001) and sports/recreation scores (r = 0.66, P = 0.001) compared with those without effusion-synovitis. The HAGOS scores were not related to effusion-synovitis in male dancers or female and male athletes (P > 0.01 for all). Effusion-synovitis was not related to hip ROM, GJH, or cartilage defect scores (P > 0.05 for all). Hip joint effusion-synovitis was related to higher levels of pain and lower sports/recreation function in female ballet dancers. Effusion-synovitis was not related to hip rotation ROM, GJH or cartilage defects. Larger sized joint effusion-synovitis was exclusively found in dancers.

Chronic Inflammation and Neutrophil Activation as Possible Causes of Joint Diseases in Ballet Dancers

PubMed Central

Borges, Leandro da Silva; Santos, Vinicius Coneglian; de Moura, Nivaldo Ribeiro; Dermargos, Alexandre; Cury-Boaventura, Maria Fernanda; Gorjão, Renata; Pithon-Curi, Tania Cristina; Hatanaka, Elaine

2014-01-01

Herein, we investigated the effects of a ballet class on the kinetic profiles of creatine kinase (CK) and lactate dehydrogenase (LDH) activities, cytokines, complement component 3 (C3), and the concentrations of immunoglobulin (Ig), IgA and IgM, in ballerinas. We also verified neutrophil death and ROS release. Blood samples were taken from 13 dancers before, immediately after, and 18 hours after a ballet class. The ballet class increased the plasma activities of CK-total (2.0-fold) immediately after class, while the activities of CK-cardiac muscle (1.0-fold) and LDH (3.0-fold) were observed to increase 18 hours after the class. Levels of the TNF-α, IL-1β, IgG, and IgA were not affected under the study conditions. The exercise was found to induce neutrophil apoptosis (6.0-fold) 18 hours after the ballet class. Additionally, immediately after the ballet class, the neutrophils from the ballerinas were found to be less responsive to PMA stimulus. Conclusion. Ballet class was found to result in inflammation in dancers. The inflammation caused by the ballet class remained for 18 hours after the exercise. These findings are important in preventing the development of chronic lesions that are commonly observed in dancers, such as those with arthritis and synovitis. PMID:24701035

Chronic inflammation and neutrophil activation as possible causes of joint diseases in ballet dancers.

PubMed

Borges, Leandro da Silva; Bortolon, José Ricardo; Santos, Vinicius Coneglian; de Moura, Nivaldo Ribeiro; Dermargos, Alexandre; Cury-Boaventura, Maria Fernanda; Gorjão, Renata; Pithon-Curi, Tania Cristina; Hatanaka, Elaine

2014-01-01

Herein, we investigated the effects of a ballet class on the kinetic profiles of creatine kinase (CK) and lactate dehydrogenase (LDH) activities, cytokines, complement component 3 (C3), and the concentrations of immunoglobulin (Ig), IgA and IgM, in ballerinas. We also verified neutrophil death and ROS release. Blood samples were taken from 13 dancers before, immediately after, and 18 hours after a ballet class. The ballet class increased the plasma activities of CK-total (2.0-fold) immediately after class, while the activities of CK-cardiac muscle (1.0-fold) and LDH (3.0-fold) were observed to increase 18 hours after the class. Levels of the TNF-α , IL-1β, IgG, and IgA were not affected under the study conditions. The exercise was found to induce neutrophil apoptosis (6.0-fold) 18 hours after the ballet class. Additionally, immediately after the ballet class, the neutrophils from the ballerinas were found to be less responsive to PMA stimulus. Ballet class was found to result in inflammation in dancers. The inflammation caused by the ballet class remained for 18 hours after the exercise. These findings are important in preventing the development of chronic lesions that are commonly observed in dancers, such as those with arthritis and synovitis.

Weighing in on Surveillance: Perception of the Impact of Surveillance on Female Ballet Dancers' Health

ERIC Educational Resources Information Center

Dryburgh, Anne; Fortin, Sylvie

2010-01-01

The aim of this qualitative study was to investigate professional ballet dancers' perceptions of the impact of surveillance on their psychological and physical health. The theoretical framework was inspired by Foucault's writing, particularly his concepts of surveillance, power, discipline and docile bodies. Fifteen professional ballet dancers…

Performance anxiety experiences of professional ballet dancers: the importance of control.

PubMed

Walker, Imogen J; Nordin-Bates, Sanna M

2010-01-01

Performance anxiety research abounds in sport psychology, yet has been relatively sparse in dance. The present study explores ballet dancers' experiences of performance anxiety in relation to: 1. symptom type, intensity, and directional interpretation; 2. experience level (including company rank); and 3. self-confidence and psychological skills. Fifteen elite ballet dancers representing all ranks in one company were interviewed, and qualitative content analysis was conducted. Results revealed that cognitive anxiety was more dominant than somatic anxiety, and was unanimously interpreted as debilitative to performance. Somatic anxiety was more likely to be interpreted as facilitative, with the majority of dancers recognizing that a certain amount of anxiety could be beneficial to performance. Principal dancers suffered from higher intensities of performance anxiety than corps de ballet members. Feeling out of control emerged as a major theme in both the experience of anxiety and its interpretation. As a result, prevention or handling of anxiety symptoms may be accomplished by helping dancers to feel in control. Dancers may benefit from education about anxiety symptoms and their interpretation, in addition to psychological skills training incorporating cognitive restructuring strategies and problem-focussed coping to help increase their feelings of being in control.

Questionnaire of Executive Function for Dancers: An Ecological Approach

ERIC Educational Resources Information Center

Wong, Alina; Rodriguez, Mabel; Quevedo, Liliana; de Cossio, Lourdes Fernandez; Borges, Ariel; Reyes, Alicia; Corral, Roberto; Blanco, Florentino; Alvarez, Miguel

2012-01-01

There is a current debate about the ecological validity of executive function (EF) tests. Consistent with the verisimilitude approach, this research proposes the Ballet Executive Scale (BES), a self-rating questionnaire that assimilates idiosyncratic executive behaviors of classical dance community. The BES was administrated to 149 adolescents,…

Analysis of foot load during ballet dancers' gait.

PubMed

Prochazkova, Marketa; Tepla, Lucie; Svoboda, Zdenek; Janura, Miroslav; Cieslarová, Miloslava

2014-01-01

Ballet is an art that puts extreme demands on the dancer's musculoskeletal system and therefore significantly affects motor behavior of the dancers. The aim of our research was to compare plantar pressure distribution during stance phase of gait between a group of professional ballet dancers and non-dancers. Thirteen professional dancers (5 men, 8 women; mean age of 24.1 ± 3.8 years) and 13 nondancers (5 men, 8 women; mean age of 26.1 ± 5.3 years) participated in this study. Foot pressure analysis during gait was collected using a 2 m pressure plate. The participants were instructed to walk across the platform at a self-selected pace barefoot. Three gait cycles were necessary for the data analysis. The results revealed higher (p < 0.05) pressure peaks in medial edge of forefoot during gait for dancers in comparison with nondancers. Furthermore, differences in total foot loading and foot loading duration of rearfoot was higher (p < 0.05) in dancers as well. We can attribute these differences to long-term and intensive dancing exercises that can change the dancer's gait stereotype.

A preseason cardiorespiratory profile of dancers in nine professional ballet and modern companies.

PubMed

Bronner, Shaw; Ojofeitimi, Sheyi; Lora, Jennifer Bailey; Southwick, Heather; Kulak, Michelina Cassella; Gamboa, Jennifer; Rooney, Megan; Gilman, Greg; Gibbs, Richard

2014-01-01

While studies have investigated the physical demands of dance in terms of cardiorespiratory fitness, there are no recent comparisons of cardiorespiratory response to exercise among professional dancers of different genres. Our purpose was to: 1. develop a cardiorespiratory profile of professional dancers; 2. investigate differences in peak and recovery heart rate (HR) between professional modern and ballet dancers using an accelerated 3-minute step test; 3. demonstrate the relationship between cardiorespiratory variables; and 4. investigate the effects of company and work variables on the dancers' cardiorespiratory profiles. We hypothesized greater cardiorespiratory fitness in modern dancers than in ballet dancers, due to the nature of their repertory. Furthermore, we hypothesized that company profiles would reflect differences in work variables. Two hundred and eleven dancers (mean age 24.6 ± 4.7) from nine companies (two modern and seven ballet) performed a 3-minute step test. Demographics, height, mass, blood pressure (BP), smoking history, and resting peak and recovery HR were recorded. Body mass index (BMI) and fitness category were calculated. Independent t-tests were used to compare differences in demographics and cardiorespiratory variables due to genre, MANOVA were conducted to compare differences due to company, and correlations were calculated to determine the relationships between cardiorespiratory variables (p < 0.05). Modern dancers demonstrated higher mass and BMI, lower BP, lower resting HR and HR recovery, and a higher percentage were categorized as "fit" compared to ballet dancers (p < 0.03). There were differences between companies in age, experience, BMI, BP, resting, peak, and recovery HR, and fitness category (p < 0.001). The differences in cardiorespiratory fitness levels that may be related to rigor of repertory, rehearsal and performance seasons, or off-season exercise training are discussed. Results support the need for comprehensive physical fitness screening to identify dancers who could benefit from aerobic conditioning to enhance overall performance preparedness and to minimize fatigue effects.

Professional ballet dancers have a similar prevalence of articular cartilage defects compared to age- and sex-matched non-dancing athletes.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Garnham, Andrew; Cook, Jill

2016-12-01

Ballet exposes the hip joint to repetitive loading in extreme ranges of movement and may predispose a dancer to pain and osteoarthritis (OA). The aims of this study were to compare the prevalence of cartilage defects in professional ballet dancers and athletes and to determine the relationship of clinical signs and symptoms. Forty-nine male and female, current and retired professional ballet dancers and 49 age- and sex-matched non-dancing athletes completed hip pain questionnaires, including the Copenhagen Hip and Groin Outcome Score (HAGOS), and underwent hip range of movement (ROM) testing and 3-Tesla magnetic resonance imaging to score cartilage defects (no defect, grade 1: focal partial defect and grade 2: diffuse or full thickness defect). Thirty (61 %) dancers and 27 (55 %) athletes had cartilage defects (p = 0.54). The frequency of grade 1 and 2 cartilage defects did not differ between dancers and athletes (p = 0.83). The frequency of cartilage defects was similar in male and female dancers (p = 0.34), and male and female athletes (p = 0.24). Cartilage defects were not related to history of hip pain (p = 0.34), HAGOS pain (p = 0.14), sports/rec (p = 0.15) scores or hip internal rotation ≤20° (p > 0.01). Cartilage defects were related to age in male dancers (p = 0.002). Ballet dancers do not appear to be at a greater risk of cartilage injury compared to non-dancing athletes. Male dancers develop cartilage defects at an earlier age than athletes and female dancers. Cartilage defects were not related to clinical signs and symptoms; thus, prospective studies are required to determine which cartilage defects progress to symptomatic hip OA.

Incidence and Prevalence of Musculoskeletal Injury in Ballet: A Systematic Review.

PubMed

Smith, Preston J; Gerrie, Brayden J; Varner, Kevin E; McCulloch, Patrick C; Lintner, David M; Harris, Joshua D

2015-07-01

Most published studies on injuries in the ballet dancer focus on the lower extremity. The rigors of this activity require special training and care. By understanding prevalence and injury pattern to the musculoskeletal system, targeted prevention and treatment for this population can be developed. To determine the incidence and prevalence of musculoskeletal injuries in ballet. Systematic review; Level of evidence, 4. A systematic review registered with PROSPERO was performed using PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidelines. Level 1 through 4 evidence studies reporting incidence of musculoskeletal injuries in male and female ballet dancers were included, with the numbers and types of injuries extracted from each. Injury rates were recorded and calculated based on professional status, sex, and nature of injury. Incidence was defined as number of injuries sustained over a specific time. Prevalence was defined as proportion of subjects with an injury at a given point in time. The studies analyzed reported injury incidence or prevalence in more than 1365 amateur and 900 professional dancers. The mean age was 16.2 years among amateur and 27.0 years among professional dancers. The incidence of injury among amateur dancers was 0.99 and 1.09 injuries per 1000 dance hours in males and females, respectively; 75% of injuries were overuse, with similar rates among males and females. In professional dancers, the incidence of injury was 1.06 and 1.46 injuries per 1000 dance hours in males and females, respectively, and 64% of female injuries were overuse, compared with 50% in males (P < .001). Only 3 studies provided prevalence data, including 62% prevalence of lumbosacral pain, 58% painful snapping hip, and 29% patellofemoral pain. Lower extremity injuries comprised 66% to 91% of all injuries, with the foot and ankle accounting for 14% to 57%. The overall incidence of injury among amateur and professional ballet dancers is 0.97 and 1.24 injuries per 1000 dance hours, respectively. The majority are overuse in both amateur and professional dancers, with amateur ballet dancers showing a higher proportion of overuse injuries than professionals (P < .001). Male professional dancers show a higher proportion of traumatic injuries, accounting for half of their injuries (P < .001).

Trunk Dynamics Are Impaired in Ballet Dancers with Back Pain but Improve with Imagery.

PubMed

Gildea, Jan E; VAN DEN Hoorn, Wolbert; Hides, Julie A; Hodges, Paul W

2015-08-01

Trunk control is essential in ballet and may be compromised in dancers with a history of low back pain (LBP) by associated changes in motor control. This study aimed to compare trunk mechanical properties between professional ballet dancers with and without a history of LBP. As a secondary aim, we assessed whether asking dancers to use motor imagery to respond in a "fluid" manner could change the mechanical properties of the trunk and whether this was possible for both groups. Trunk mechanical properties of stiffness and damping were estimated with a linear second-order system, from trunk movement in response to perturbations, in professional ballet dancers with (n = 22) and without (n = 8) a history of LBP. The second-order model adequately described trunk movement in response to the perturbations. Trials were performed with and without motor imagery to respond in a fluid manner to the perturbation. Dancers with a history of LBP had lower damping than dancers without LBP during the standard condition (P = 0.002) but had greater damping during the "fluid" condition (P < 0.001), with values similar to dancers without LBP (P = 0.226). Damping in the dancers without LBP was similar between the conditions (P > 0.99). Stiffness was not different between the dancers with and those without a history of LBP (P = 0.252) but was less during the fluid condition than the standard condition (P < 0.001). Although dancers with a history of LBP have less trunk damping than those without LBP, they have the capacity to modulate the trunk's mechanical properties to match that of pain-free dancers by increasing damping with motor imagery. These observations have potential relevance for LBP recurrence and rehabilitation.

Fatigue-Induced Changes in Movement Pattern and Muscle Activity During Ballet Releve on Demi-Pointe.

PubMed

Lin, Cheng-Feng; Lee, Wan-Chin; Chen, Yi-An; Hsue, Bih-Jen

2016-08-01

Fatigue in ballet dancers may lead to injury, particularly in the lower extremities. However, few studies have investigated the effects of fatigue on ballet dancers' performance and movement patterns. Thus, the current study examines the effect of fatigue on the balance, movement pattern, and muscle activities of the lower extremities in ballet dancers. Twenty healthy, female ballet dancers performed releve on demi-pointe before and after fatigue. The trajectory of the whole body movement and the muscle activities of the major lower extremity muscles were recorded continuously during task performance. The results show that fatigue increases the medial-lateral center of mass (COM) displacement and hip and trunk motion, but decreases the COM velocity and ankle motion. Moreover, fatigue reduces the activities of the hamstrings and tibialis anterior, but increases that of the soleus. Finally, greater proximal hip and trunk motions are applied to compensate for the effects of fatigue, leading to a greater COM movement. Overall, the present findings show that fatigue results in impaired movement control and may therefore increase the risk of dance injury.

Body dysmorphic disorder and eating disorders in elite professional female ballet dancers.

PubMed

Nascimento, Antonio Leandro; Luna, Juliano Victor; Fontenelle, Leonardo F

2012-08-01

Our objective is to report the prevalence and the clinical features associated with body dysmorphic disorder (BDD) and eating disorders (ED) in a group of elite Brazilian professional female ballet dancers. Thirty-five elite Brazilian professional female ballet dancers were invited to participate in the study and 19 agreed to be assessed. Individuals were evaluated with a series of instruments, including the Mini International Neuropsychiatric Interview supplemented by the somatoform and eating disorders modules of the Structured Clinical Interview for DSM-IV disorders, the Bulimic Investigatory Test, and the Beck Depression Inventory. Three dancers (15.78%) had a lifetime diagnosis of anorexia nervosa (restrictive subtype) and 2 others (10.52%) presented a current diagnosis of BDD. No individuals had current or lifetime bulimia nervosa. Results could not be ascribed to comorbid major depression or increased severity of depression. The lifetime prevalence of BDD and ED among elite professional female ballet dancers was higher than the general population. High standards of beauty, public body exposure, and repeated exposure to mirrors in the rehearsal rooms may contribute to the development of body image disorders in this sample.

Obturator externus was larger, while obturator internus size was similar in ballet dancers compared to nondancing athletes.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Cook, Jill

2018-06-02

To compare the cross-sectional area (CSA) of hip external rotators, obturator externus (OE) and obturator internus (OI), in ballet dancers and nondancing athletes, and evaluate the relationship between obturator muscle size and hip pain. Case-control study. Elite ballet and sport. 33 male and female professional ballet dancers and 33 age and sex-matched athletes. CSA's of OE and OI measured on magnetic resonance imaging (MRI) of one hip. Hip pain was scored with the Copenhagen Hip and Groin Outcome Score (HAGOS): HAGOS pain score of 100 was defined as no pain and a score less than 100 was defined as pain. Participants weight and height. Estimated marginal mean CSA of OE was 14% larger in dancers than athletes (p = 0.01, ηp2 = 0.1); the size of OI was similar (p > 0.05). Men and women in both groups had similar sized OI and OE. There was no interaction between the estimated marginal mean CSA of either obturator and hip pain. It appears that ballet selectively increases muscle size of OE, but not OI. Obturator size was not related to mild hip pain, as OE and OI size was similar in dancers and athletes with and without pain. Copyright © 2018. Published by Elsevier Ltd.

Postural adjustments in young ballet dancers compared to age matched controls.

PubMed

Iunes, Denise H; Elias, Iara F; Carvalho, Leonardo C; Dionísio, Valdeci C

2016-01-01

The purpose of the study was to use photogrammetry to evaluate the posture of ballet practitioners compared to an age-matched control group. One hundred and eleven 7- to 24-year-old female volunteers were evaluated and were divided into two groups: the ballet practising group (n = 52) and the control group (n = 59), divided into three subgroups according to age and years of ballet experience. Dancers with 1-3 years experience compared to controls of the same age shows alterations in External Rotation Angle (P < 0.05). Dancers 4-9 years experience show alterations in Lumbar Lordosis, Pelvis Tilt Angle and Navicular Angle Right and Left (P < 0.05). Dancers with over 9 years experience show alterations in External Rotation and Navicular Angle Left (P < 0.05). Research shows there are differences between dancers and controls. In the groups 1-3 years and over 9 years of experience, the External Rotation Angle is greater. In the group 4-9 years of experience the Lumbar Lordosis Angle is greater and Pelvis Tilt, Navicular Angle Left and Right are smaller. In more than 9 years of ballet experience, the Navicular Angle Left is smaller. Copyright © 2015 Elsevier Ltd. All rights reserved.

Effect of Mulligan's and Kinesio knee taping on adolescent ballet dancers knee and hip biomechanics during landing.

PubMed

Hendry, D; Campbell, A; Ng, L; Grisbrook, T L; Hopper, D M

2015-12-01

Taping is often used to manage the high rate of knee injuries in ballet dancers; however, little is known about the effect of taping on lower-limb biomechanics during ballet landings in the turnout position. This study investigated the effects of Kinesiotape (KT), Mulligan's tape (MT) and no tape (NT) on knee and hip kinetics during landing in three turnout positions. The effect of taping on the esthetic execution of ballet jumps was also assessed. Eighteen pain-free 12-15-year-old female ballet dancers performed ballet jumps in three turnout positions, under the three knee taping conditions. A Vicon Motion Analysis system (Vicon Oxford, Oxford, UK) and Advanced Mechanical Technology, Inc. (Watertown, Massa chusetts, USA) force plate collected lower-limb mechanics. The results demonstrated that MT significantly reduced peak posterior knee shear forces (P = 0.025) and peak posterior (P = 0.005), medial (P = 0.022) and lateral (P = 0.014) hip shear forces compared with NT when landing in first position. KT had no effect on knee or hip forces. No significant differences existed between taping conditions in all landing positions for the esthetic measures. MT was able to reduce knee and the hip forces without affecting the esthetic performance of ballet jumps, which may have implications for preventing and managing knee injuries in ballet dancers. © 2015 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

Eating disorder symptomatology among ballet dancers.

PubMed

Ringham, Rebecca; Klump, Kelly; Kaye, Walter; Stone, David; Libman, Steven; Stowe, Susan; Marcus, Marsha

2006-09-01

The current study sought to compare eating disorder symptomatology among ballet dancers and individuals with restricting anorexia nervosa (RAN), bulimia nervosa (BN), and no eating pathology. Twenty-nine female ballet dancers completed assessments and were compared with an archival dataset of 26 women with RAN, 47 women with BN, and 44 women with no eating pathology. Eating disorder diagnoses and behaviors were assessed with a semi-structured clinical interview, the Eating Disorder Inventory (EDI), and a weight history interview. Eighty-three percent of dancers met lifetime criteria for AN (6.9%), BN (10.3%), AN+BN (10.3%), or EDNOS (55.0%). Moreover, dancers looked more similar to eating-disordered individuals than to control individuals on measures of eating pathology. Despite previous emphasis on the pathology AN, the current findings suggest that dancers frequently engage in binge eating and purging behaviors. Moreover, it appears that their pathology is as severe as that of non-dancing women with eating disorders. Copyright (c) 2006 by Wiley Periodicals, Inc.

Correlation of clinical and magnetic resonance imaging findings in hips of elite female ballet dancers.

PubMed

Duthon, Victoria B; Charbonnier, Caecilia; Kolo, Frank C; Magnenat-Thalmann, Nadia; Becker, Christophe D; Bouvet, Cindy; Coppens, Elia; Hoffmeyer, Pierre; Menetrey, Jacques

2013-03-01

To understand why professional female ballet dancers often complain of inguinal pain and experience early hip osteoarthritis (OA). Goals were to examine clinical and advanced imaging findings in the hips of dancers compared with those in a matched cohort of nondancers and to assess the femoral head translation in the forward split position using magnetic resonance imaging (MRI). Twenty professional female ballet dancers and 14 active healthy female individuals matched for age (control group) completed a questionnaire on hip pain and underwent hip examination with impingement tests and measurement of passive hip range of motion (ROM). All had a pelvic 1.5 T MRI in the back-lying position to assess femoroacetabular morphologic features and lesions. For the dancers, additional MR images were acquired in the split position to evaluate femoroacetabular congruency. Twelve of 20 dancers complained of groin pain only while dancing; controls were asymptomatic. Dancers' passive hip ROM was normal. No differences in α neck angle, acetabular depth, acetabular version, and femoral neck anteversion were found between dancers and controls. MRI of dancers while performing splits showed a mean femoral head subluxation of 2.05 mm. MRI of dancers' hips showed labral tears, cartilage thinning, and herniation pits, located in superior and posterosuperior positions. Lesions were the same for symptomatic and asymptomatic dancers. Controls had proportionally the same number of labral lesions but in an anterosuperior position. They also had 2 to 3 times fewer cartilage lesions and pits than did dancers. The results of our study are consistent with our hypothesis that repetitive extreme movements can cause femoral head subluxations and femoroacetabular abutments in female ballet dancers with normal hip morphologic features, which could result in early OA. Pathologic changes seen on MRI were symptomatic in less than two thirds of the dancers. Level IV, therapeutic case series. Copyright © 2013 Arthroscopy Association of North America. Published by Elsevier Inc. All rights reserved.

Recontextualizing Dance Skills: Overcoming Impediments to Motor Learning and Expressivity in Ballet Dancers.

PubMed

Karin, Janet

2016-01-01

The process of transmitting ballet's complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers' technique and expressivity is a core theme throughout the paper. A brief outline of the historical development of ballet's aesthetics and training methods leads into factors that influence dancers' performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualization theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives.

Raising the Bar: How a Teacher Built a Ballet-Centered Public School that Aces Standardized Tests

ERIC Educational Resources Information Center

Dalton, Aaron

2005-01-01

In this article, the author features Todd Eric Allen, an acclaimed ballet dancer, who returns home to Florida's so-called Redneck Riviera and opens a magnet school for dance. When asked the inevitable question of what an internationally known ballet dancer is doing teaching 3rd, 4th, and 5th graders in Fort Walton Beach, he simply replies in a way…

Oxygen consumption and heart rate responses to isolated ballet exercise sets.

PubMed

Rodrigues-Krause, Josianne; Dos Santos Cunha, Giovani; Alberton, Cristine Lima; Follmer, Bruno; Krause, Mauricio; Reischak-Oliveira, Alvaro

2014-01-01

Ballet stage performances are associated with higher cardiorespiratory demand than rehearsals and classes. Hence, new interest is emerging to create periodized training that enhances dancers' fitness while minimizing delayed exercise-induced fatigue and possible injuries. Finding out in what zones of intensity dancers work during different ballet movements may support the use of supplemental training adjusted to the needs of the individual dancer. Therefore, the main purpose of this study was to describe dancers' oxygen consumption (VO2) and heart rate (HR) responses during the performance of nine isolated ballet exercise sets, as correlated with their first and second ventilatory thresholds (VT1 and VT2). Twelve female ballet dancers volunteered for the study. Their maximum oxygen consumption (VO2max), VT1, and VT2 were determined by use of an incremental treadmill test. Nine sets of ballet movements were assessed: pliés, tendus, jetés, rond de jambes, fondus, grand adage (adage), grand battements, temps levés, and sautés. The sets were randomly executed and separated by 5 minute rest periods. ANOVA for repeated measurements followed by the Bonferroni Post-hoc test were applied (p < 0.05). VO2 responses were as follows: pliés (17.6 ± 1.6 ml·kg(-1)·min(-1)); tendus and adage were not significantly greater than VT1; rond de jambes (21.8 ± 3.1 ml·kg(-1) ·min(-1)); fondus and jetés were higher than VT1 and the previous exercises; grand battements (25.8 ± 2.9 ml·kg(-1)·min(-1)) was greater than all the other exercises and VT1; and VT2 was significantly higher than all ballet sets. This stratification followed closely, but not exactly, the variation in HR. For example, rond de jambes (156.8 ± 19 b·min(-1)) did not show any significant difference from all the other ballet sets, nor VT1 or VT2. It is concluded that the workloads of isolated ballet sets, based on VO2 responses, vary between low and moderate aerobic intensity in relation to dancers' VT1 and VT2. However, ballet set workloads may be higher when based on HR responses, due to the intermittent and isometric components of dance.

Incidence and Prevalence of Musculoskeletal Injury in Ballet

PubMed Central

Smith, Preston J.; Gerrie, Brayden J.; Varner, Kevin E.; McCulloch, Patrick C.; Lintner, David M.; Harris, Joshua D.

2015-01-01

Background Most published studies on injuries in the ballet dancer focus on the lower extremity. The rigors of this activity require special training and care. By understanding prevalence and injury pattern to the musculoskeletal system, targeted prevention and treatment for this population can be developed. Purpose To determine the incidence and prevalence of musculoskeletal injuries in ballet. Study Design Systematic review; Level of evidence, 4. Methods A systematic review registered with PROSPERO was performed using PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidelines. Level 1 through 4 evidence studies reporting incidence of musculoskeletal injuries in male and female ballet dancers were included, with the numbers and types of injuries extracted from each. Injury rates were recorded and calculated based on professional status, sex, and nature of injury. Incidence was defined as number of injuries sustained over a specific time. Prevalence was defined as proportion of subjects with an injury at a given point in time. Results The studies analyzed reported injury incidence or prevalence in more than 1365 amateur and 900 professional dancers. The mean age was 16.2 years among amateur and 27.0 years among professional dancers. The incidence of injury among amateur dancers was 0.99 and 1.09 injuries per 1000 dance hours in males and females, respectively; 75% of injuries were overuse, with similar rates among males and females. In professional dancers, the incidence of injury was 1.06 and 1.46 injuries per 1000 dance hours in males and females, respectively, and 64% of female injuries were overuse, compared with 50% in males (P < .001). Only 3 studies provided prevalence data, including 62% prevalence of lumbosacral pain, 58% painful snapping hip, and 29% patellofemoral pain. Lower extremity injuries comprised 66% to 91% of all injuries, with the foot and ankle accounting for 14% to 57%. Conclusion The overall incidence of injury among amateur and professional ballet dancers is 0.97 and 1.24 injuries per 1000 dance hours, respectively. The majority are overuse in both amateur and professional dancers, with amateur ballet dancers showing a higher proportion of overuse injuries than professionals (P < .001). Male professional dancers show a higher proportion of traumatic injuries, accounting for half of their injuries (P < .001). PMID:26673541

Occupational accidents in professional dancers with regard to different professional dance styles.

PubMed

Wanke, Eileen M; Mill, Helmgard; Arendt, Michael; Wanke, Alice; Koch, Franziska; Groneberg, David A

2014-01-01

The term "professional dance" comprises various dance styles. There are no studies which investigated work related traumatic injuries with regard to five different dance styles. To define dance-style related differences of traumatic injuries. The basis for the evaluation were the occupational injuries of professional dancers of six theaters (n=1339; f: n=658, m: n=681) and one State Ballet School (n=612; f:n=421, m: n=191). Independent of the dance style, the lower extremity (leg and hip) is the most frequently injured anatomical region (p< 0.001). The more dancers move away from the classical dance technique, the more traumatic head/neck injuries increase (p<0.001). Injury patterns and injured structures also show differences subject to dance styles (p< 0.001). In classical dance the most commonly sustained injuries are due to intrinsic factors with the significance of extrinsic factors increasing the more dancers diverge from defined classical dance techniques. The results shown in the study clarify the enormous dance-style related differences in traumatic injuries sustained by dancers. These differences support the development of dance-style related injury prevention measures and suggest further investigations with the focus being placed on the influence of organizational structures (e.g. number of performances) as well as on the working environments.

Similar Prevalence of Acetabular Labral Tear in Professional Ballet Dancers and Sporting Participants.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Garnham, Andrew; Cook, Jill

2016-07-01

To compare the prevalence of acetabular labral tear in male and female professional ballet dancers with age-matched and sex-matched sporting participants and to determine the relationship to clinical findings and cartilage defects. Case-control study. Clinical and radiology practices. Forty-nine (98 hips) male and female professional ballet dancers (current and retired) with median age 30 years (range: 19-64 years) and 49 (98 hips) age-matched and sex-matched sporting participants. Group (ballet or sports), sex, age, hip cartilage defects, history of hip pain, Hip and Groin Outcome Score, passive hip internal rotation (IR), and external rotation range of movement (ROM). Labral tear identified with 3T magnetic resonance imaging (MRI). Labral tears were identified in 51% of all 196 hips. The prevalence did not differ significantly between the ballet and sporting participants (P = 0.41) or between sexes (P = 0.34). Labral tear was not significantly associated with clinical measures, such as pain and function scores or rotation ROM (P > 0.01 for all). Pain provocation test using IR at 90° of hip flexion had excellent specificity [96%, 95% confidence intervals (CIs), 0.77%-0.998%] but poor sensitivity (50%, 95% CI, 0.26%-0.74%) for identifying labral tear in participants reporting hip pain. Older age and cartilage defect presence were independently associated with an increased risk of labral tear (both P < 0.001). The prevalence of labral tear in male and female professional ballet dancers was similar to a sporting population. Labral tears were not associated with clinical findings but were related to cartilage defects, independent of aging. Caution is required when interpreting MRI findings as labral tear may not be the source of the ballet dancer's symptoms.

Eyes-Closed Single-Limb Balance is Not Related to Hypermobility Status in Dancers.

PubMed

Marulli, Tiffany A; Harmon-Matthews, Lindsay E; Davis-Coen, J Hope; Willigenburg, Nienke W; Hewett, Timothy E

2017-06-15

Hypermobility may be associated with decreased lower extremity proprioception, which in turn may increase injury risk. The prevalence of hypermobility in dancers varies across studies, but joint hypermobility appears to be more common in dancers than in the general population. The purpose of this study was to determine how hypermobility affects eyes-closed single-limb balance as an indirect measure of proprioception in dancers. The secondary aim was to compare hypermobility and balance across dancer affiliation groups. Data were collected from 45 professional dancers, 11 collegiate modern dancers, 227 student dancers, and 15 pre-professional dancers during routine dance screens. Dancer hypermobility status was assessed via an eight-point Beighton-Horan Laxity test. Single-limb balance time, in seconds, was assessed in parallel position with the eyes closed. Hypermobile (HM) and non-hypermobile (NHM) dancers showed very similar balance times (HM median: 36.5 seconds; NHM median: 33.0 seconds; p = 0.982). Hypermobility was not significantly different between dancer affiliation groups (p = 0.154): 47% in ballet academy students, 27% in collegiate modern dancers, 62% in pre-professional dancers, and 36% in professional dancers. The student, pre-professional, and professional ballet dancers all demonstrated longer balance times than the collegiate modern dancers; however, this difference was only significant between the professional ballet dancers and collegiate modern dancers (p = 0.026). Dancers demonstrated a higher prevalence of hypermobility than what has been reported for the general population. Joint hypermobility did not affect eyes-closed single-limb balance time. Future studies are needed to determine if joint hypermobility affects more sensitive measures of proprioception and risk of injury.

Early signs of osteoarthritis in professional ballet dancers: a preliminary study.

PubMed

Angioi, Manuela; Maffulli, Gayle D; McCormack, Moira; Morrissey, Dylan; Chan, Otto; Maffulli, Nicola

2014-09-01

To investigate a cohort of professional ballet dancers for evidence of early signs of osteoarthritis (OA). One radiologist and 1 orthopedic surgeon specialized in musculoskeletal disorders analyzed magnetic resonance imaging scans independently. University Teaching Hospital. Fifteen professional ballet dancers (4 males and 11 females; age range, 19-36 years) experiencing chronic pain in the hip, knee, spine, ankle, or foot joints. Presence of osteophytes, subchondral sclerosis, joint space narrowing, cysts, and bone marrow changes; the Kellgren and Lawrence scale was used to quantify the knee OA. In the knee, there was thinning and irregularity of the articular cartilage over the medial femoral condyle and bone marrow changes within the lateral femoral condyle. In the hip, there was a loss of joint space and a frayed labrum with deep recess. The first metatarsophalangeal joint showed evidence of osteophytic development. Early signs of OA, in different joints, were present in a small but highly selected cohort of professional ballet dancers. In future, prospective studies among a number of ballet companies should control for medical and natural history alongside the visual analysis of images and plain radiographs to confirm these preliminary results.

Anorexia athletica in pre-professional ballet dancers.

PubMed

Herbrich, Laura; Pfeiffer, Ernst; Lehmkuhl, Ulrike; Schneider, Nora

2011-08-01

Competitive sport has been under increasing discussion as a possible favourable factor in the development of eating disorders among children and adolescents. The aim of this study was to determine the frequency of sport-specific eating disorders, in line with the concept of anorexia athletica. This prospective field study included one experimental group and two control groups (disease and healthy). Fifty-two pre-professional ballet dancers aged 13-20 years were tested for clinical eating disorders, anorexia athletica criteria, eating disorder related psychopathology and self-concept, and were compared with 52 patients with anorexia nervosa and 44 non-athletic controls of the same age. The study was conducted using semi-structured interviews as well as self-report questionnaires. A clinical eating disorder diagnosis was made in 1.9% of the ballet dancers versus 0% of the high school students; anorexia athletica was diagnosed in 5.8% of the dancers versus 2.3% of the students. Ballet dancers scored lower than patients with anorexia nervosa with regard to eating disorder related psychopathology and higher than the patients with regard to self-concept. We conclude that more sensitive tools to differentiate between sport-specific (eating) patterns, anorexia athletica and clinically relevant eating disorders are needed, especially for aesthetic sports such as ballet. It remains an important goal to identify athletes with symptoms of anorexia athletica irrespective of their physique and/or sport.

Bony morphology of the hip in professional ballet dancers compared to athletes.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Garnham, Andrew; Cook, Jill

2017-07-01

To compare hip bony morphology between ballet dancers and a sporting control group and to determine the relationship with hip pain. Thirty-three professional ballet dancers and 33 age- and sex-matched athletes completed questionnaires, including the Copenhagen Hip and Groin Outcome Score (HAGOS), and underwent clinical testing and 3.0-T magnetic resonance imaging to measure acetabular coverage with lateral centre edge angles, femoral head-neck junction concavity with alpha angles at anterior and superior positions, femoral neck-shaft angles, and acetabular version angles. Bony morphological measures fell within normal ranges. Dancers had higher neck-shaft angles (dancers 134.6 ± 4.6°/athletes130.8 ± 4.7°, p = 0.002), lower acetabular version angles (13.5 ± 4.7°/17.1 ± 4.7°, p = 0.003), lower superior alpha angles (38.9 ± 6.9°/46.7 ± 10.6°, p < 0.001), similar anterior alpha angles (43.6 ± 8.1/46 ± 7°, p = 0.2), and similar lateral centre edge angles (28.8 ± 4.6°/30.8 ± 4.5°, p = 0.07) compared to athletes. Abnormal morphology was detected in dancers: 3% acetabular dysplasia (athletes 0), 15% borderline dysplasia (6%), 24% cam morphology (33%), 24% coxa valga (6%), and 21% acetabular retroversion (18%). The HAGOS pain scores correlated moderately with acetabular version (r = -0.43, p = 0.02) in dancers, with no other correlation between pain and morphological parameters in either group. Professional ballet dancers have hip bony morphology that differentiates them from athletes. Hip pain correlated poorly with bony morphology. • Ballet dancers have hip bony morphology that may allow extreme hip motion. • Morphological parameter means fell within normal reference intervals in dancers. • Bony morphology correlates poorly with hip pain. • The risk of hip injury due to abnormal morphology requires prospective studies.

Extreme hip motion in professional ballet dancers: dynamic and morphological evaluation based on magnetic resonance imaging.

PubMed

Kolo, Frank C; Charbonnier, Caecilia; Pfirrmann, Christian W A; Duc, Sylvain R; Lubbeke, Anne; Duthon, Victoria B; Magnenat-Thalmann, Nadia; Hoffmeyer, Pierre; Menetrey, Jacques; Becker, Christoph D

2013-05-01

To determine the prevalence of femoroacetabular impingement (FAI) of the cam or pincer type based on magnetic resonance imaging (MRI) in a group of adult female professional ballet dancers, and to quantify, in vivo, the range of motion (ROM) and congruence of the hip joint in the splits position. Institutional review board approval and informed consent from each volunteer were obtained. Thirty symptomatic or asymptomatic adult female professional ballet dancers (59 hips) and 14 asymptomatic non-dancer adult women (28 hips, control group) were included in the present study. All subjects underwent MRI in the supine position, while, for the dancers, additional images were acquired in the splits position. Labral abnormalities, cartilage lesions, and osseous abnormalities of the acetabular rim were assessed at six positions around the acetabulum. A morphological analysis, consisting of the measurement of the α angle, acetabular depth, and acetabular version, was performed. For the dancers, ROM and congruency of the hip joint in the splits position were measured. Acetabular cartilage lesions greater than 5 mm were significantly more frequent in dancer's hips than in control hips (28.8 vs 7.1%, p = 0.026), and were mostly present at the superior position in dancers. Distribution of labral lesions between the dancers and the control group showed substantially more pronounced labral lesions at the superior, posterosuperior, and anterosuperior positions in dancers (54 lesions in 28 dancer's hips vs 10 lesions in 8 control hips). Herniation pits were found significantly more often (p = 0.002) in dancer's hips (n = 31, 52.5%), 25 of them being located in a superior position. A cam-type morphology was found for one dancer and a retroverted hip was noted for one control. Femoroacetabular subluxations were observed in the splits position (mean: 2.05 mm). The prevalence of typical FAI of the cam or pincer type was low in this selected population of professional ballet dancers. The lesions' distribution, mostly superior, could be explained by a "pincer-like" mechanism of impingement with subluxation in relation to extreme movements performed by the dancers during their daily activities.

Changes in hip and ankle range of motion and hip muscle strength in 8–11 year old novice female ballet dancers and controls: a 12 month follow up study

PubMed Central

Bennell, K; Khan, K; Matthews, B; Singleton, C

2001-01-01

Objectives—To evaluate in a 12 month longitudinal study changes in hip and ankle range of motion and hip muscle strength in young female novice ballet dancers. Methods—Fifty three of the original 77 (69%) female dancers aged 8–11 years and 40 of the original 49 (82%) controls returned for follow up measurements one year later. Supine right active hip external (ER) and internal (IR) rotation were measured using an inclinometer. A turnout protractor was used to assess standing active turnout range. Range of right weight bearing ankle dorsiflexion and calf muscle length were measured in a standing lunge position using an inclinometer. A manual muscle tester was used to assess right hip flexor, IR, ER, abductor and adductor strength. Results—The mean (SD) 12 month change in hip ER did not differ between dancers (11.7 (11.3)°) and controls (8.1 (17.6)°). Dancers gained 12.5 (13.5)° hip IR which was significantly greater than controls (0.5 (13.9)°). Greater IR change was associated with improved IR strength (r = 0.34, p<0.001). Dancers increased total turnout (12.0 (16.7)°) significantly more than controls (2.2 (20.0)°). There was no significant change in ankle dorsiflexion range in either group. Dancers and controls increased in all measures of hip muscle strength (p<0.001) and dancers achieved significantly greater gains in three out of five muscle groups (all, p<0.05). Conclusions—Total hip range of motion increased in both ballet students and controls at this young age. However, ankle dorsiflexion did not, which is probably due to this movement being blocked by bony apposition, rather than soft tissue stretch. This has implications for ballet teachers, as it has long been accepted that this movement could be improved with training. Dancers had greater increases in hip strength after 12 months compared with controls in muscles specific for ballet, suggesting that hip strength can be trained at this young age. Whether these gains are permanent requires further study. Key Words: dance; ballet; range of motion; muscle strength PMID:11157464

Examination and treatment of a professional ballet dancer with a suspected acetabular labral tear: A case report.

PubMed

Khoo-Summers, Lynnette; Bloom, Nancy J

2015-08-01

Dancers are at risk for developing groin pain that is due to acetabular labral tears. Although surgical management of labral tears has been reported extensively, conservative management has been poorly described. This case report describes the examination, diagnosis, and treatment of groin pain in a professional ballet dancer with a suspected acetabular labral tear. Treatment focused on decreasing anterior hip joint stresses and improving the precision of hip motion through correction of alignment and movement impairments noted during functional activities and dance. Successful outcomes included a reduction in pain and return to professional ballet dancing. Copyright © 2015 Elsevier Ltd. All rights reserved.

The role of puberty in the making and breaking of young ballet dancers: Perspectives of dance teachers.

PubMed

Mitchell, Siobhan B; Haase, Anne M; Malina, Robert M; Cumming, Sean P

2016-02-01

Physical changes associated with puberty may conflict with functional and aesthetic ideals for a career in ballet. The dance teacher is in a position to guide young dancers through the pubertal transition, although dancers rather than teachers are often the focus of research. This study explores the social stimulus value of the female body in ballet as perceived by the dance teacher and how value may change during puberty. Ten UK dance teachers were interviewed; interpretative phenomenological analysis was used. Four main themes perceived by dance teachers emerged as central to the social stimulus value of the body among adolescent dancers: the ideal body; teacher approaches to managing puberty in the dance environment; puberty as a 'make or break' stage in ballet; and teacher awareness of pubertal onset and the implications of timing. Dance teachers can play an important role in moderating external and individual expectations during the pubertal transition. Copyright © 2015 The Foundation for Professionals in Services for Adolescents. Published by Elsevier Ltd. All rights reserved.

Association Between Previous Injury and Risk Factors for Future Injury in Preprofessional Ballet and Contemporary Dancers.

PubMed

Kenny, Sarah J; Palacios-Derflingher, Luz; Shi, Qian; Whittaker, Jackie L; Emery, Carolyn A

2017-10-20

To determine the prevalence of self-reported 1-year injury history and examine its association with preparticipation evaluation components aimed at predicting future injury risk (PPE-IP) among preprofessional ballet and contemporary dancers. Cross-sectional study. Preprofessional ballet school, university contemporary dance program. Full-time preprofessional ballet and contemporary dancers. Preparticipation evaluation consisted of the Athletic Coping Skills Inventory-28, body mass index, total bone mineral density, ankle range of motion, active standing turnout, lumbopelvic control, unipedal dynamic balance, and Y-Balance test. Self-reported 1-year history of dance-related medical attention and/or time-loss injury. A total of 155 ballet [n = 90, 80 females, median age 15 years (range 11-19)] and contemporary [n = 65, 63 females, median age 20 years (range 17-30)] dancers participated. Forty-six percent (95% confidence interval (CI), 38.4-54.6) reported a 1-year injury history. Self-reported injury history was not associated with any PPE-IP, however, an influence of age and psychological coping skills on the relationship between 1-year injury history and PPE-IP was identified. Multivariable analyses revealed that prevalence of 1-year injury history did not differ by age [referent group <15 years; 15-18 years: odds ratio (OR) 0.80 (95% CI, 0.35-1.79); >18 years: OR 0.69 (95% CI, 0.30-1.56)], or level of psychological coping skills [OR 1.35 (95% CI, 0.61-2.94)]. The prevalence of self-reported 1-year injury history among preprofessional ballet and contemporary dancers is high. Although measures of PPE-IP did not differ based on injury history, it is important that age and psychological coping skills are considered in future dance injury prevention and prediction research. Level 3 evidence.

Ballet dancers cardiorespiratory, oxidative and muscle damage responses to classes and rehearsals.

PubMed

Rodrigues-Krause, Josianne; Krause, Mauricio; Cunha, Giovani Dos Santos; Perin, Diana; Martins, Jocelito B; Alberton, Cristine Lima; Schaun, Maximiliano I; De Bittencourt, Paulo Ivo Homem; Reischak-Oliveira, Alvaro

2014-01-01

This study aimed to describe and compare ballet dancers' cardiorespiratory responses, muscle damage and oxidative stress levels during a ballet class (practice of isolated ballet exercises performed with barre/hand-rail support and across-the-floor movements to improve technical skills) and rehearsal (practice of ballet choreography involving technical-artistic skills to improve dancers' performance for shows). The 12 advanced female ballet dancers undertook three exercise sessions: maximum effort test, class and rehearsal. Heart rate (HR) and oxygen consumption (VO2) were continuously measured. Lactate was determined before 15 min and after class and rehearsal. Blood was sampled pre, post and 48 h after class and rehearsal for creatine kinase (CK), lipid peroxides (LPO) and glutathione analysis (GSSG/GSH). Class was of lower intensity than rehearsal as shown by VO2, HR and lactate values: VO2 (mL.kg(-1).min(-1)): 14.5±2.1 vs. 19.1±1.7 (p < 0.001); HR (bpm.min(-1)): 145.7±17.9 vs. 174.5±13.8 (p < 0.001); lactate (mmol.L(-1)): 4.2±1.1 vs. 5.5±2.7 (p = 0.049). CK (IU) increased following class and rehearsal, remaining high 48 h after: class (pre = 109.3±48.5; post = 144±60; 48 h = 117.2±64.6); rehearsal (pre = 78.6±52.1; post = 122±70.7; 48 h = 104.9±89.5). LPO (µM) increased from pre-class (1.27±0.19) to post-class (1.41±0.19) and went down after 48 h (1.20±0.22). No LPO time-course changes followed the rehearsal. GSSG/GSH decreased 48 h after class and rehearsal. Greater increases in LPO post-class suggest it promotes CK release by an oxidative membrane-damage mechanism. Physiological increases of LPO and CK in class indicate it prepares the dancers for exercise-induced oxidative stress and muscle damage during rehearsals. Ballet dancers' muscle damage and oxidative stress responses seem not to be dependent on exercise intensity based on VO2 responses.

Musculoskeletal injuries in young ballet dancers.

PubMed

Leanderson, Charlotte; Leanderson, Johan; Wykman, Anders; Strender, Lars-Erik; Johansson, Sven-Erik; Sundquist, Kristina

2011-09-01

The aim of this study was to examine the incidence of musculoskeletal injuries, site and type of injury, and the most common injury diagnoses in young ballet dancers at the Royal Swedish Ballet School, a public school in Stockholm. This retrospective study of 476 students (297 girls and 179 boys) aged 10-21 years was based on medical records for the period August 1988 to June 1995. Data on diagnosis, site of injury and type of injury were collected, and the injuries were classified as traumatic or due to overuse. In total, 438 injuries were recorded. The injury incidence rate was 0.8 per 1,000 dance hours in both female and male dancers and tended to increase with increasing age. Most injuries occurred as the result of overuse. Seventy-six per cent of all injuries occurred in the lower extremities. Ankle sprain was the most common traumatic diagnosis, while the most common overuse-related diagnosis was tendinosis pedis. A few gender differences were noted. The findings of this study suggest that there is a need to apply primary injury prevention in young ballet dancers. Future studies could aim to identify (1) injury risk factors and (2) injury prevention programmes that are effective at reducing injury rates in young dancers.

Atraumatic tears of the ligamentum teres are more frequent in professional ballet dancers than a sporting population.

PubMed

Mayes, Susan; Ferris, April-Rose; Smith, Peter; Garnham, Andrew; Cook, Jill

2016-07-01

To compare the frequency of atraumatic ligamentum teres (LT) tear in professional ballet dancers with that of athletes, and to determine the relationship with clinical and imaging findings. Forty-nine male and female professional ballet dancers (98 hips) and 49 age and sex-matched non-dancing athletes (98 hips) completed questionnaires on hip symptoms and physical activity levels, underwent hip rotation range of movement (ROM) and hypermobility testing, and 3.0-Tesla magnetic resonance imaging (3 T MRI) on both hips to detect LT tears, acetabular labral tears, and articular cartilage defects, and to measure the lateral centre edge angles (LCE). A higher frequency of LT tear was found in dancers (55 %) compared with athletes (22 %, P = 0.001). The frequency and severity of LT tears in dancers increased with older age (P = 0.004, P = 0.006, respectively). The Hip and Groin Outcome Score (HAGOS) pain scores or hip rotation ROM did not differ significantly among participants with normal, partial, or complete tears of LT (P > 0.01 for all). Neither the frequency of generalised joint hypermobility (P = 0.09) nor the LCE angles (P = 0.32, P = 0.16, left and right hips respectively) differed between those with and those without LT tear. In most hips, LT tear co-existed with either a labral tear or a cartilage defect, or both. The higher frequency of atraumatic LT tears in professional ballet dancers suggests that the LT might be abnormally loaded in ballet, and caution is required when evaluating MRI, as LT tears may be asymptomatic. A longitudinal study of this cohort is required to determine if LT tear predisposes the hip joint to osteoarthritis.

Vitamin D status and musculoskeletal health in adolescent male ballet dancers a pilot study.

PubMed

Ducher, Gaele; Kukuljan, S; Hill, B; Garnham, A P; Nowson, C A; Kimlin, M G; Cook, J

2011-09-01

Adequate vitamin D levels during growth are critical to ensuring optimal bone development. Vitamin D synthesis requires sun exposure; thus, athletes engaged in indoor activities such as ballet dancing may be at relatively high risk of vitamin D insufficiency. The objective of this study was to investigate the prevalence of low vitamin D levels in young male ballet dancers and its impact on musculoskeletal health. Eighteen male ballet dancers, aged 10 to 19 years and training for at least 6 hours per week, were recruited from the Australian Ballet School, Melbourne, Australia. Serum 25(OH)D and intact PTH were measured in winter (July) from a non-fasting blood sample. Pubertal stage was determined using self-assessed Tanner criteria. Body composition and areal bone mineral density (aBMD) at the whole body and lumbar spine were measured using dual-energy x-ray absorptiometry (DXA). Injury history and physical activity levels were assessed by questionnaire. Blood samples were obtained from 16 participants. Serum 25(OH)D levels ranged from 20.8 to 94.3 nmol/L, with a group mean of 50.5 nmol/L. Two participants (12.5%) showed vitamin D deficiency [serum 25(OH)D level < 25 nmol/L], seven dancers (44%) had vitamin D insufficiency (25 to 50 nmol/L), and the remaining seven dancers (44%) had normal levels (> 50 nmol/L). No relationship was found between vitamin D status, PTH levels, body composition, and aBMD. The most commonly reported injuries were muscle tears and back pain. The average number of injuries reported by each dancer was 1.9 ± 0.4 (range: 0 to 5). There was no difference in the frequency of reported injuries between subjects with vitamin D deficiency or insufficiency (2.1 ± 0.6 injuries) and those with normal vitamin D levels (1.4 ± 0.6 injuries). This pilot study showed that more than half of highly-trained young male ballet dancers presented with low levels of vitamin D in winter. Further investigations in larger samples of adolescent athletes are needed to determine if this could negatively impact bone growth and place them at higher risk for musculoskeletal injuries.

Incidence of anterior cruciate ligament injuries among elite ballet and modern dancers: a 5-year prospective study.

PubMed

Liederbach, Marijeanne; Dilgen, Faye E; Rose, Donald J

2008-09-01

Ballet and modern dance are jump-intensive activities, but little is known about the incidence of anterior cruciate ligament (ACL) injuries among dancers. Rigorous jump and balance training has been shown in some prospective studies to significantly reduce ACL injury rates among athletes. Dancers advance to the professional level only after having achieved virtuosic jump and balance technique. Therefore, dancers on the elite level may be at relatively low risk for ACL injury. Descriptive epidemiology study. Dance exposure, injuries, and injury conditions were systematically recorded at 4 dance organizations over 5 years. Select neuromuscular and psychometric variables were compared between and within ACL-injured and noninjured dancers. Of 298 dancers, 12 experienced an ACL injury over the 5-year period. The incidence of ACL injury was 0.009 per 1000 exposures. Landing from a jump onto 1 leg was the mechanism of injury in 92% of cases. Incidence was not statistically different between gender or dance groups, although women modern dancers had a 3 to 5 times greater relative risk than women ballet dancers and men dancers. No difference between ACL-injured and noninjured dancers emerged with regard to race, oral contraceptive use, or select musculoskeletal measures. Dancers suffer considerably fewer ACL injuries than athletes participating in team ball sports. The training dancers undertake to perfect lower extremity alignment, jump, and balance skills may serve to protect them against ACL injury. Anterior cruciate ligament injuries happened most often late in the day and season, suggesting an effect of fatigue.

Body mass index, nutritional knowledge, and eating behaviors in elite student and professional ballet dancers.

PubMed

Wyon, Matthew A; Hutchings, Kate M; Wells, Abigail; Nevill, Alan M

2014-09-01

It is recognized that there is a high esthetic demand in ballet, and this has implications on dancers' body mass index (BMI) and eating behaviors. The objective of this study was to examine the association between BMI, eating attitudes, and nutritional knowledge of elite student and professional ballet dancers. Observational design. Institutional. One hundred eighty-nine participants from an elite full-time dance school (M = 53, F = 86) and from an elite ballet company (M = 16, F = 25) volunteered for the study. There were no exclusion criteria. Anthropometric data (height and mass), General Nutrition Knowledge Questionnaire (GNKQ), and the Eating Attitude Test-26 (EAT-26) were collected from each participant. Univariate analysis of variance was used to examine differences in gender and group for BMI, GNKQ, and EAT-26. Regression analyses were applied to examine interactions between BMI, GNKQ, and EAT-26. Professional dancers had significantly greater BMI than student dancers (P < 0.001), and males had significantly higher BMI scores than females (P < 0.05). Food knowledge increased with age (P < 0.001) with no gender difference. Student dancers had a significant interaction between year group and gender because of significantly higher EAT-26 scores for females in years 10 and 12. Regression analysis of the subcategories (gender and group) reported a number of significant relationships between BMI, GNKQ, and EAT-26. The findings suggest that dancers with disordered eating also display lower levels of nutritional knowledge, and this may have an impact on BMI. Female students' eating attitudes and BMI should especially be monitored during periods of adolescent development.

Injuries in a Professional Ballet Dance Company: A 10-year Retrospective Study.

PubMed

Ramkumar, Prem N; Farber, Joseph; Arnouk, Johnny; Varner, Kevin E; Mcculloch, Patrick C

2016-03-01

Ballet dancers are high-performance athletes who are particularly susceptible to a wide variety of musculoskeletal injuries. However, they are relatively understudied, and data on their injury rates are lacking. This retrospective study features the largest aggregate data on professional ballet dancers to date and aims to identify the most common diagnoses and areas of injury in this unique population to better direct preventative and clinical practices. The study encompassed a 10-year period from January 2000 to December 2010 of dancers from a single company. Data regarding the dancers' age, gender, location of injury, and diagnosis were collected from workers' compensation claims, company records, and medical records maintained by the treating doctors. These were analyzed to determine metrics on injury incidence, frequency, and diagnosis. Over the 10-year span, 574 injuries occurred. There were approximately 52 dancers per year for a total of 153 who danced at least one complete season during the study period. The average age was 27, and 53% were female. Given turnover with retirement and replacements, the total number of dancer-years was 520, indicating an injury incidence per annum of 1.10 (574 injuries per 520 dancer-years). The most common locations of injury were foot and ankle and the lumbar spine, with the three most common diagnoses making up greater than a third (37%) of the total. As the current largest study in professional ballet, the findings set the benchmark metrics for musculoskeletal injury to the foot, ankle, and lumbar spine sites. Future studies should aim to identify injury risk factors and modalities for prevention of these injuries.

The Ballet Dancing Profession: A Career Transition Model

ERIC Educational Resources Information Center

Roncaglia, Irina

2008-01-01

What type of emotional transition is experienced by professional dancers who face the end of their career? What does this journey imply? This article discusses the transition experiences of two case studies out of a total sample of fourteen (N = 14) international professional ballet dancers who left their careers between the ages of 21 and 49…

Substance use and misuse among professional ballet dancers.

PubMed

Sekulic, Damir; Peric, Mia; Rodek, Jelena

2010-07-01

This study investigated substance use and misuse among 16 female and 9 male Croatian ballet professionals in 2008 using an original questionnaire. We analyzed social, personal, activity- and training-related, and educational factors, and criteria such as: binge alcohol drinking, cigarette smoking, appetite suppressant consumption, analgesic use, and actual and potential "doping" habits. Frequency tables and rank-order correlation were calculated. More than one third of the male dancers reported binge drinking, while 20% of the females smoked more than a box of cigarettes per day. Almost 25% of these dancers will use "doping" if it will ensure successful ballet performance, regardless of negative health consequences. In males, the risk of potential "doping" behavior increased with age. In females, education level was negatively related to cigarette smoking, but positively correlated to potential "doping" habits and behavior. In both genders, religiousness was the factor negatively related to the following: (1) potential "doping" behavior and (2) belief that "doping" exists in professional ballet. Results suggest that there is evident need for more specific medical and/or psychological services in professional ballet. The study's limitations are noted.

Development, validity, and reliability of a ballet-specific aerobic fitness test.

PubMed

Twitchett, Emily; Nevill, Alan; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew

2011-09-01

The aim of this study was to develop and assess the reliability and validity of a multi-stage, ballet-specific aerobic fitness test to be used in a dance studio setting. The test consists of five stages, each four minutes long, that increase in intensity. It uses classical ballet movement of an intermediate-level of difficulty, thus emphasizing physiological demand rather than skill. The demand of each stage was determined by calculating the mean oxygen uptake during its final minute using a portable gas analyser. After an initial familiarization period, eight female subjects performed the test twice within seven days. The results showed significant differences in oxygen consumption between stages (p < 0.001), but not between trials. Pearson correlation co-efficients produced a very good linear relationship between trials (r = 0.998, p < 0.001). Bland-Altman reliability analysis revealed the 95% limits of agreement to be ± 6.2 ml·kg(-1)·min(-1), showing good agreement between trials. The oxygen uptake in our subjects equated positively to previous estimates for class and performance, confirming validity. It was concluded that the test is suitable for use among classical ballet dancers, with many possible applications.

Lower Extremity Injury Patterns in Elite Ballet Dancers: Ultrasound/MRI Imaging Features and an Institutional Overview of Therapeutic Ultrasound Guided Percutaneous Interventions.

PubMed

Rehmani, Razia; Endo, Yoshimi; Bauman, Phillip; Hamilton, William; Potter, Hollis; Adler, Ronald

2015-10-01

Altered biomechanics from repetitive microtrauma, such as long practice hours in en pointe (tip of the toes) or demi pointe (balls of the feet) predispose ballet dancers to a multitude of musculoskeletal pathologies particularly in the lower extremities. Both ultrasound and magnetic resonance imaging (MRI) are radiation-sparing modalities which can be used to confidently evaluate these injuries, with ultrasound (US) offering the added utility of therapeutic intervention at the same time in experienced hands. The purposes of this paper were: (1) to illustrate the US and MRI features of lower extremity injury patterns in ballet dancers, focusing on pathologies commonly encountered at a single orthopedic hospital; (2) to present complementary roles of both ultrasound and MRI in the evaluation of these injuries whenever possible; (3) to review and present our institutional approach towards therapeutic ultrasound-guided interventions by presenting explicit cases. Online searches were performed using the search criteria of "ballet biomechanics" and "ballet injuries." The results were then further narrowed down by limiting articles published in the past 15 years, modality (US and MRI), anatomical region (foot and ankle, hip and knee) and to major radiology, orthopedics, and sports medicine journals. Performing ballet poses major stress to lower extremities and predisposes dancer to several musculoskeletal injuries. These can be adequately evaluated by both US and MRI. US is useful for evaluating superficial structures such as soft tissues, tendons, and ligaments, particularly in the foot and ankle. MRI provides superior resolution of deeper structures such as joints, bone marrow, and cartilage. In addition, US can be used as a therapeutic tool for providing quick symptomatic improvement in these athletes for who "time is money". Performing ballet may cause major stress to the lower extremities, predominantly affecting the foot and ankle, followed by the knee and hip. US and MRI play complementary roles in evaluating various orthopedic conditions in ballet dancers, with US allowing for dynamic evaluation and guidance for interventions.

A Survey of Injuries Affecting Pre-Professional Ballet Dancers.

PubMed

Caine, Dennis; Bergeron, Glen; Goodwin, Brett J; Thomas, Jessica; Caine, Caroline G; Steinfeld, Sam; Dyck, Kevin; André, Suzanne

2016-01-01

A cross-sectional design was employed retrospectively to evaluate injuries self-reported by 71 pre-professional ballet dancers over one season. Some of the descriptive findings of this survey were consistent with those of previous research and suggest particular demographic and injury trends in pre-professional ballet. These results include gender distribution, mean age and age range of participants, training hours, injury location, acute versus overuse injuries, as well as average number of physiotherapy treatments per dancer. Other results provide information that was heretofore unreported or inconsistent with previous investigations. These findings involved proportion of dancers injured, average number of injuries per dancer, overall injury incidence during an 8.5 month period, incidence rate by technique level, mean time loss per injury, proportion of recurrent injury, and activity practiced at time of injury. The results of univariate analyses revealed several significant findings, including a decrease in incidence rate of injury with increased months of experience in the pre-professional program, dancers having lower injury risk in rehearsal and performance than in class, and a reduced risk of injury for dancers at certain technique levels. However, only this latter finding remained significant in multivariate analysis. The results of this study underscore the importance of determining injury rates by gender, technique level, and activity setting in addition to overall injury rates. They also point to the necessity of looking at both overall and individual dancer-based injury risks.

Ballet as a Career

ERIC Educational Resources Information Center

Sutherland, David Earl

1976-01-01

A reorganization and reanalysis of data gathered by Ronald Charles Frederico--who interviewed 146 dancers belonging to 12 ballet companies in the U.S.--to investigate the structural features of ballet as a profession. Four possibilities exist for a more general interpretative scheme for understanding ballet: social structural, phenomenological,…

Social Physique Anxiety and Pressure to Be Thin in Adolescent Ballet Dancers, Rhythmic Gymnastics and Swimming Athletes

ERIC Educational Resources Information Center

Kosmidou, Evdoxia; Giannitsopoulou, Evgenia; Moysidou, Dimitra

2017-01-01

Participation in sports may influence negative body image and Social Physique Anxiety (SPA) as there is pressure by significant others to have a certain body image. The aim of the present study was to examine possible differences in SPA and perceived pressure to be thin between female preadolescent and adolescent ballet dancers, rhythmic…

Reflections on a Degree Initiative: The UK's Birmingham Royal Ballet Dancers Enter the University of Birmingham

ERIC Educational Resources Information Center

Benn, Tansin

2003-01-01

This paper provides an opportunity to share experiences and perceptions of the first 5 years of a degree programme for professional dancers. A partnership developed in the mid-1990s between the UK's Birmingham Royal Ballet and the University of Birmingham, Westhill (now School of Education), to provide a part-time, post-experience, flexible study…

Prevalence of eating disorders symptoms in nonelite ballet dancers and basketball players: An exploratory and controlled study among French adolescent girls.

PubMed

Monthuy-Blanc, J; Maïano, C; Therme, P

2010-12-01

Until recently, very few controlled studies have examined the prevalence of eating disorders (ED) symptoms among nonelite adolescent female athletes. Moreover, results are mixed and inconclusive. Therefore, the aim of this exploratory study was to examine the prevalence of ED symptoms (underweight, bulimia, drive for thinness, body dissatisfaction) among French nonelite adolescent female athletes (ballet dancers and basketball players) and nonathletes. The sample of adolescent girls (aged between 12 and 16 years), consisted of 43 basketball players, 52 ballet dancers and 49 nonathlete controls. The eating disorder inventory and a demographic-personal information questionnaire (date of birth, experience of ED, week training time, etc.) were filled out by the participants. Additionally, all participants were measured and weighed. The frequencies of ED symptoms were compared between the groups (athletes versus nonathletes, ballet dancers versus basketball players) using a series of χ² tests. The χ² tests did not show significant differences in frequencies of underweight and body dissatisfaction symptoms between nonelite athletes and nonathletes. However, results highlighted a nonsignificant trend toward higher frequency of: (i) drive for thinness (P=0.05) symptoms in nonelite athletes compared with nonathletes, and (ii) bulimia (P=0.06) symptoms in nonathletes compared with nonelite athletes. Additional analyses performed among the sport groups revealed that the prevalence of drive for thinness symptoms was significantly two-fold higher in ballet dancers than basketball players (34.6% versus 16.3%). Nevertheless, no significant differences were found in the frequencies of underweight, bulimia and body dissatisfaction symptoms among the sport groups. This study showed that the frequency of ED symptoms is equivalent in nonelite athletes and nonathletes. However, these nonsignificant results should be interpreted with caution regarding the weak statistical power of the analyses and the small sample size. Detailed analysis revealed a significantly higher prevalence of drive for thinness symptoms in ballet dancers in comparison with basketball players. Consequently, these results should be viewed as preliminary and further studies are needed before they can be generalized to French adolescent female athletes. Copyright © 2010 Elsevier Masson SAS. All rights reserved.

The Neuroanatomical Correlates of Training-Related Perceptuo-Reflex Uncoupling in Dancers

PubMed Central

Nigmatullina, Yuliya; Hellyer, Peter J.; Nachev, Parashkev; Sharp, David J.; Seemungal, Barry M.

2015-01-01

Sensory input evokes low-order reflexes and higher-order perceptual responses. Vestibular stimulation elicits vestibular-ocular reflex (VOR) and self-motion perception (e.g., vertigo) whose response durations are normally equal. Adaptation to repeated whole-body rotations, for example, ballet training, is known to reduce vestibular responses. We investigated the neuroanatomical correlates of vestibular perceptuo-reflex adaptation in ballet dancers and controls. Dancers' vestibular-reflex and perceptual responses to whole-body yaw-plane step rotations were: (1) Briefer and (2) uncorrelated (controls' reflex and perception were correlated). Voxel-based morphometry showed a selective gray matter (GM) reduction in dancers' vestibular cerebellum correlating with ballet experience. Dancers' vestibular cerebellar GM density reduction was related to shorter perceptual responses (i.e. positively correlated) but longer VOR duration (negatively correlated). Contrastingly, controls' vestibular cerebellar GM density negatively correlated with perception and VOR. Diffusion-tensor imaging showed that cerebral cortex white matter (WM) microstructure correlated with vestibular perception but only in controls. In summary, dancers display vestibular perceptuo-reflex dissociation with the neuronatomical correlate localized to the vestibular cerebellum. Controls' robust vestibular perception correlated with a cortical WM network conspicuously absent in dancers. Since primary vestibular afferents synapse in the vestibular cerebellum, we speculate that a cerebellar gating of perceptual signals to cortical regions mediates the training-related attenuation of vestibular perception and perceptuo-reflex uncoupling. PMID:24072889

Bone stress injury of the ankle in professional ballet dancers seen on MRI

PubMed Central

Elias, Ilan; Zoga, Adam C; Raikin, Steven M; Peterson, Judith R; Besser, Marcus P; Morrison, William B; Schweitzer, Mark E

2008-01-01

Background Ballet Dancers have been shown to have a relatively high incidence of stress fractures of the foot and ankle. It was our objective to examine MR imaging patterns of bone marrow edema (BME) in the ankles of high performance professional ballet dancers, to evaluate clinical relevance. Methods MR Imaging was performed on 12 ankles of 11 active professional ballet dancers (6 female, 5 male; mean age 24 years, range 19 to 32). Individuals were imaged on a 0.2 T or 1.5 T MRI units. Images were evaluated by two musculoskeletal radiologists and one orthopaedic surgeon in consensus for location and pattern of bone marrow edema. In order to control for recognized sources of bone marrow edema, images were also reviewed for presence of osseous, ligamentous, tendinous and cartilage injuries. Statistical analysis was performed to assess the strength of the correlation between bone marrow edema and ankle pain. Results Bone marrow edema was seen only in the talus, and was a common finding, observed in nine of the twelve ankles imaged (75%) and was associated with pain in all cases. On fluid-sensitive sequences, bone marrow edema was ill-defined and centered in the talar neck or body, although in three cases it extended to the talar dome. No apparent gender predilection was noted. No occult stress fracture could be diagnosed. A moderately strong correlation (phi = 0.77, p= 0.0054) was found between edema and pain in the study population. Conclusion Bone marrow edema seems to be a specific MRI finding in the talus of professional ballet dancers, likely related to biomechanical stress reactions, due to their frequently performed unique maneuvers. Clinically, this condition may indicate a sign of a bone stress injury of the ankle. PMID:18371230

Dietary Intake, Anthropometric Characteristics, and Iron and Vitamin D Status of Female Adolescent Ballet Dancers Living in New Zealand.

PubMed

Beck, Kathryn L; Mitchell, Sarah; Foskett, Andrew; Conlon, Cathryn A; von Hurst, Pamela R

2015-08-01

Ballet dancing is a multifaceted activity requiring muscular power, strength, endurance, flexibility, and agility; necessitating demanding training schedules. Furthermore dancers may be under aesthetic pressure to maintain a lean physique, and adolescent dancers require extra nutrients for growth and development. This cross-sectional study investigated the nutritional status of 47 female adolescent ballet dancers (13-18 years) living in Auckland, New Zealand. Participants who danced at least 1 hr per day 5 days per week completed a 4-day estimated food record, anthropometric measurements (Dual-energy X-ray Absorptiometry) and hematological analysis (iron and vitamin D). Mean BMI was 19.7 ± 2.4 kg/m2 and percentage body fat, 23.5 ± 4.1%. The majority (89.4%) of dancers had a healthy weight (5th-85th percentile) using BMI-for-age growth charts. Food records showed a mean energy intake of 8097.3 ± 2155.6 kJ/day (48.9% carbohydrate, 16.9% protein, 33.8% fat, 14.0% saturated fat). Mean carbohydrate and protein intakes were 4.8 ± 1.4 and 1.6 ± 0.5 g/kg/day respectively. Over half (54.8%) of dancers consumed less than 5 g carbohydrate/kg/day, and 10 (23.8%) less than 1.2 g protein/kg/day. Over 60% consumed less than the estimated average requirement for calcium, folate, magnesium and selenium. Thirteen (28.3%) dancers had suboptimal iron status (serum ferritin (SF) < 20 μg/L). Of these, four had iron deficiency (SF < 12 μg/L, hemoglobin (Hb) ≥ 120 g/L) and one iron deficiency anemia (SF < 12 μg/L, Hb < 120 g/L). Mean serum 25-hydroxy vitamin D was 75.1 ± 18.6 nmol/L, 41 (91.1%) had concentrations above 50 nmol/L. Female adolescent ballet dancers are at risk for iron deficiency, and possibly inadequate nutrient intakes.

Exercise intensities during a ballet lesson in female adolescents with different technical ability.

PubMed

Guidetti, L; Gallotta, M C; Emerenziani, G P; Baldari, C

2007-09-01

To investigate the exercise intensity during a typical grade five ballet lesson, thirty-nine dancers (13 - 16 yrs) were divided into three different technical proficiency groups: low level (n = 13), intermediate level (n = 14), and high level (n = 12). A progressively incremented treadmill test was administered to determine VO(2max), individual ventilatory threshold (IVT), and the individual anaerobic threshold (IAT). Oxygen uptake (VO(2)), heart rate (HR) and blood lactate (La) were then evaluated during a grade five ballet lesson. Oxygen uptake at IVT, IAT and maximal oxygen uptake were greater (p < 0.05) in the high-level dancers indicating a higher level of fitness. HR and %VO(2max) obtained during the various exercises of the ballet lesson were similar among groups. During the ballet lesson, low technical level dancers had more V.O (2) and La values above (p < 0.05) the IAT than the other groups. Correlation analysis revealed that the number of exercises performed above IAT was positively related to anthropometric characteristics (BMI, %FM; r = 0.36, p < 0.05; r = 0.46, p < 0.01), negatively related to fitness parameters (VO(2IVT), VO(2IAT), VO(2max); r between - 0.43 and - 0.69; p < 0.001) and to technical level (r = - 0.70; p < 0.001). The subjects classified as having low technical abilities had lower fitness levels and performed more exercises above IAT than the more skilled dancers.

Prevalence of chronic ankle instability and associated symptoms in university dance majors: an exploratory study.

PubMed

Simon, Janet; Hall, Emily; Docherty, Carrie

2014-01-01

Previous investigations have established that dancers suffer a large number of injuries to the lower leg, foot, and ankle, with a portion of these being significant time loss injuries or in some cases career ending. Lateral ankle sprain is a common injury in dancers and can often lead to recurrent instability and repetitive injuries. Research in other active populations has linked ankle sprains to the development of chronic ankle instability (CAI). Therefore, the purpose of this study was to identify the prevalence of CAI and related symptoms of ankle sprain in a student dance population. Individuals were included if they were currently a modern or ballet dance major at the investigators' university (exclusion criterion: a history of fracture or surgery in the lower extremities). A self-reported demographic questionnaire and the Identification of Functional Ankle Instability survey were used to identify the presence and characteristics of CAI. A total of 83 questionnaires were collected, and after exclusions, 77 participants remained: 43 modern dancers and 34 ballet dancers (10 males and 67 females, mean age 19.61 ± 2.53 years, mean dance experience 13.61 ± 3.16 years). Of all dancers surveyed, 41 (53.2%) had CAI, and of those 24 (58.5%) were modern dancers, and 17 (41.5%) were ballet dancers. When looking only at those dancers who had a previous lateral ankle sprain, 75.9% were identified as having CAI. Chronic Ankle Instability can create long-term problems for anyone but especially female dancers, who place extreme stress on their feet and ankles from being en pointe or demi-pointe. It is important to educate dancers, instructors, and medical staff of the importance of recognizing CAI and seeking medical care for ankle sprains and their residual symptoms.

Differences in Cortical Representation and Structural Connectivity of Hands and Feet between Professional Handball Players and Ballet Dancers

PubMed Central

Meier, Jessica; Topka, Marlene Sofie; Hänggi, Jürgen

2016-01-01

It is known that intensive training and expertise are associated with functional and structural neuroadaptations. Most studies, however, compared experts with nonexperts; hence it is, specifically for sports, unclear whether the neuroplastic adaptations reported are sport-specific or sport-general. Here we aimed at investigating sport-specific adaptations in professional handball players and ballet dancers by focusing on the primary motor and somatosensory grey matter (GM) representation of hands and feet using voxel-based morphometry as well as on fractional anisotropy (FA) of the corticospinal tract by means of diffusion tensor imaging-based fibre tractography. As predicted, GM volume was increased in hand areas of handball players, whereas ballet dancers showed increased GM volume in foot areas. Compared to handball players, ballet dancers showed decreased FA in both fibres connecting the foot and hand areas, but they showed lower FA in fibres connecting the foot compared to their hand areas, whereas handball players showed lower FA in fibres connecting the hand compared to their foot areas. Our results suggest that structural adaptations are sport-specific and are manifested in brain regions associated with the neural processing of sport-specific skills. We believe this enriches the plasticity research in general and extends our knowledge of sport expertise in particular. PMID:27247805

Differences in Cortical Representation and Structural Connectivity of Hands and Feet between Professional Handball Players and Ballet Dancers.

PubMed

Meier, Jessica; Topka, Marlene Sofie; Hänggi, Jürgen

2016-01-01

It is known that intensive training and expertise are associated with functional and structural neuroadaptations. Most studies, however, compared experts with nonexperts; hence it is, specifically for sports, unclear whether the neuroplastic adaptations reported are sport-specific or sport-general. Here we aimed at investigating sport-specific adaptations in professional handball players and ballet dancers by focusing on the primary motor and somatosensory grey matter (GM) representation of hands and feet using voxel-based morphometry as well as on fractional anisotropy (FA) of the corticospinal tract by means of diffusion tensor imaging-based fibre tractography. As predicted, GM volume was increased in hand areas of handball players, whereas ballet dancers showed increased GM volume in foot areas. Compared to handball players, ballet dancers showed decreased FA in both fibres connecting the foot and hand areas, but they showed lower FA in fibres connecting the foot compared to their hand areas, whereas handball players showed lower FA in fibres connecting the hand compared to their foot areas. Our results suggest that structural adaptations are sport-specific and are manifested in brain regions associated with the neural processing of sport-specific skills. We believe this enriches the plasticity research in general and extends our knowledge of sport expertise in particular.

Effect of narrowing the base of support on the gait, gaze and quiet eye of elite ballet dancers and controls.

PubMed

Panchuk, Derek; Vickers, Joan N

2011-08-01

We determined the gaze and stepping behaviours of elite ballet dancers and controls as they walked normally and along progressively narrower 3-m lines (l0.0, 2.5 cm). The ballet dancers delayed the first step and then stepped more quickly through the approach area and onto the lines, which they exited more slowly than the controls, which stepped immediately but then slowed their gait to navigate the line, which they exited faster. Contrary to predictions, the ballet group did not step more precisely, perhaps due to the unique anatomical requirements of ballet dance and/or due to releasing the degrees of freedom under their feet as they fixated ahead more than the controls. The ballet group used significantly fewer fixations of longer duration, and their final quiet eye (QE) duration prior to stepping on the line was significantly longer (2,353.39 ms) than the controls (1,327.64 ms). The control group favoured a proximal gaze strategy allocating 73.33% of their QE fixations to the line/off the line and 26.66% to the exit/visual straight ahead (VSA), while the ballet group favoured a 'look-ahead' strategy allocating 55.49% of their QE fixations to the exit/VSA and 44.51% on the line/off the line. The results are discussed in the light of the development of expertise and the enhanced role of fixations and visual attention when more tasks become more constrained.

Ballet as Somatic Practice: A Case Study Exploring the Integration of Somatic Practices in Ballet Pedagogy

ERIC Educational Resources Information Center

Berg, Tanya

2017-01-01

This case study explores one teacher's integration of Alexander Technique and the work of neuromuscular retrainer Irene Dowd in ballet pedagogy to establish a somatic approach to teaching, learning, and performing ballet technique. This case study highlights the teacher's unique teaching method called IMAGE TECH for dancers (ITD) and offers…

Problems with Ballet: Steps, Style and Training

ERIC Educational Resources Information Center

Morris, Geraldine

2003-01-01

The purpose of this research is to instigate a debate about the way in which professional ballet dancers are trained and the content of that training. The literature on the teaching of ballet has always focused on two areas: ballet vocabulary and training. The former is treated as both a fixed and autonomous form, and, for the latter, methods of…

Dancers' Body Esteem, Fitness Esteem, and Self-Esteem in Three Contexts

ERIC Educational Resources Information Center

Van Zelst, Laura; Clabaugh, Alison; Morling, Beth

2004-01-01

Sixty-two college-aged, ballet and modern dancers evaluated their bodies and themselves in different dance and non-dance settings. In a self-report survey design, dancers' body esteem, fitness esteem, and self-esteem (an overall self-evaluation) were measured in three different contexts. Dancers rated their body esteem, fitness esteem, and…

Dance Talent Development: Case Studies of Successful Dancers in Finland and Singapore

ERIC Educational Resources Information Center

Chua, Joey

2014-01-01

Though anchored in cross-cultural comparisons, this study aims to identify the key factors that impacted the talent development of successful dancers from childhood through adulthood. Case studies of eight Finnish and Singaporean ballet and contemporary dancers exemplify the qualities of successful dancers in terms of their career achievements and…

Lower leg and foot contributions to turnout in female pre-professional dancers: A 3D kinematic analysis.

PubMed

Carter, Sarah L; Duncan, Rebekha; Weidemann, Andries L; Hopper, Luke S

2018-03-02

Turnout is a central element of classical ballet which involves sustained external rotation of the lower limbs during dance movements. Lower leg and foot compensation mechanisms which are often used to increase turnout have been attributed to the high incidence of lower limb injury in dancers. Evaluation of dancers' leg posture is needed to provide insight into the lower limb kinematic strategies used to achieve turnout. The primary purpose of this study was to use 3D kinematic analyses to determine the lower leg and foot compensations that are incorporated by female university dancers to accentuate their turnout. Active and passive external tibiofemoral rotation (TFR) was also measured. A moderate-strong negative relationship was observed between hip external rotation (HER) and foot abduction in the three first position conditions. A moderate negative relationship was found between passive TFR and foot abduction in all first position conditions. Our findings suggest dancers are more likely to pronate, than rotate the knee to compensate for limited HER. Dancers with a limited capacity to pronate may force additional rotation via the knee. Ongoing research would benefit from more in-depth analyses of the foot/ankle complex using a multi-segment foot model.

Are maturation, growth and lower extremity alignment associated with overuse injury in elite adolescent ballet dancers?

PubMed

Bowerman, Erin; Whatman, Chris; Harris, Nigel; Bradshaw, Elizabeth; Karin, Janet

2014-11-01

To identify growth, maturation and biomechanical risk factors for overuse injury in elite adolescent ballet dancers. Maturation (Tanner scale), growth (foot length change) and age at onset of menarche were recorded in elite adolescent ballet dancers. A modified knee valgus angle and lateral tilt of the pelvis were measured using 2D video during two dance movements (fondu, temps levé) to quantify lower extremity alignment. Overuse dance injuries were recorded by a physiotherapist. The injury rate ratio (RR) associated with each variable was estimated using over-dispersed Poisson regression modelling. Changes in right foot length (RR = 1.41, CI = 0.93-2.13), right knee angles during the fondu (RR = 0.68, CI = 0.45-1.03) and temps levé (RR = 0.72, CI = 0.53-0.98), and pelvic angles during the temps levé on the left (RR = 0.52, CI = 0.30-0.90) and fondu on the right (RR = 1.28, CI = 0.91-1.80) were associated with substantial changes in injury risk. Rate of growth in elite adolescent ballet dancers is likely associated with an increase in risk of lower extremity overuse injury and better right lower extremity alignment is likely associated with a reduction in risk of right lower extremity overuse injury. Copyright © 2014 Elsevier Ltd. All rights reserved.

Posterior Endoscopic Excision of Os Trigonum in Professional National Ballet Dancers.

PubMed

Ballal, Moez S; Roche, Andy; Brodrick, Anna; Williams, R Lloyd; Calder, James D F

2016-01-01

Previous studies have compared the outcomes after open and endoscopic excision of an os trigonum in patients of mixed professions. No studies have compared the differences in outcomes between the 2 procedures in elite ballet dancers. From October 2005 to February 2010, 35 professional ballet dancers underwent excision of a symptomatic os trigonum of the ankle after a failed period of nonoperative treatment. Of the 35 patients, 13 (37.1%) underwent endoscopic excision and 22 (62.9%) open excision. We compared the outcomes, complications, and time to return to dancing. The open excision group experienced a significantly greater incidence of flexor hallucis longus tendon decompression compared with the endoscopic group. The endoscopic release group returned to full dance earlier at a mean of 9.8 (range 6.5 to 16.1) weeks and those undergoing open excision returned to full dance at a mean of 14.9 (range 9 to 20) weeks (p = .001). No major complications developed in either group, such as deep infection or nerve or vessel injury. We have concluded that both techniques are safe and effective in the treatment of symptomatic os trigonum in professional ballet dancers. Endoscopic excision of the os trigonum offers a more rapid return to full dance compared with open excision. Copyright © 2016 American College of Foot and Ankle Surgeons. Published by Elsevier Inc. All rights reserved.

The prevalence and clinical significance of sonographic tendon abnormalities in asymptomatic ballet dancers: a 24-month longitudinal study.

PubMed

Comin, Jules; Cook, Jill L; Malliaras, Peter; McCormack, Moira; Calleja, Michelle; Clarke, Andrew; Connell, David

2013-01-01

Sonographic abnormalities of the achilles and patellar tendons are common findings in athletes, and tendinopathy is a common cause of pain and disability in athletes. However, it is unclear whether the sonographic changes are pathological or adaptive, or if they predict future injury. We undertook a cohort study to determine what sonographic features of the achilles and patellar tendons are consistent with changes as a result of ballet training, and which may be predictive of future development of disabling tendon symptoms. The achilles and patellar tendons of 79 (35 male, 44 female) professional ballet dancers (members of the English Royal Ballet) were examined with ultrasound, measuring proximal and distal tendon diameters and assessing for the presence of hypoechoic change, intratendon defects, calcification and neovascularity. All subjects were followed for 24 months for the development of patellar tendon or achilles-related pain or injury severe enough to require time off from dancing. Sonographic abnormalities were common among dancers, both male and female, and in both achilles and patellar tendons. Disabling tendon-related symptoms developed in 10 dancers and 14 tendons: 7 achilles (3 right, 4 left) and 7 patellar (2 right, 5 left). The presence of moderate or severe hypoechoic defects was weakly predictive for the development of future disabling tendon symptoms (p=0.0381); there was no correlation between any of the other sonographic abnormalities and the development of symptoms. There was no relationship between achilles or patellar tendons' diameter, either proximal or distal, with an increased likelihood of developing tendon-related disability. The presence of sonographic abnormalities is common in ballet dancers, but only the presence of focal hypoechoic changes predicts the development of future tendon-related disability. This suggests that screening of asymptomatic individuals may be of use in identifying those who are at higher risk of developing tendon-related disability, which may in turn allow targeted modifications of training or other preventative regimens.

Dance floor mechanical properties and dancer injuries in a touring professional ballet company.

PubMed

Hopper, Luke S; Allen, Nick; Wyon, Matthew; Alderson, Jacqueline A; Elliott, Bruce C; Ackland, Timothy R

2014-01-01

The mechanical properties of the floors used by dancers have often been suggested to be associated with injury, yet limited etiological evidence is available to support this hypothesis. The dance floors at three theatres regularly used by a touring professional ballet company were mechanically quantified with the aim of comparing floor properties with injury incidence in dancers. Cross sectional. Test points on the floors were quantified in accordance with European Sports Surface Standard protocols for force reduction. Injuries and associated variables occurring within the ballet company dancers during activity on the three floors were recorded by the company's medical staff. An injury was recorded if a dancer experienced an incident that restricted the dancer from performing all normal training or performance activities for a 24 h period. Injuries were delimited to those occurring in the lower limbs or lumbar region during non-lifting tasks. Floor construction varied between venues and a range of floor mechanical properties were observed. None of the floors complied with the range of force reduction values required by the European Sport Surface Standards. The highest injury rate was observed on the floor with the greatest variability of force reduction magnitudes. No difference in injury frequency was observed between the venues with the highest and lowest mean force reduction magnitudes. Professional dancers can be required to perform on floors that may be inadequate for safe dance practice. Intra-floor force reduction variability may have a stronger association with injury risk than mean floor force reduction magnitude. Copyright © 2013 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

Talent Developed: Conversations with Masters in the Arts and Sciences. Eliot Feld.

ERIC Educational Resources Information Center

Subotnik, Rena F.

2002-01-01

In this interview, Eliot Feld, a ballet dancer who has choreographed more than 100 ballets for every major company in the United States and around the world, discusses his passion for dance, dance training, mentors, balancing academics and performance at the High School of Performing Arts, and establishing Ballet Tech. (CR)

Effects of leg dominance on performance of ballet turns (pirouettes) by experienced and novice dancers.

PubMed

Lin, Chia-Wei; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

2013-01-01

Turns (pirouettes) are an important movement in ballet and may be affected by "lateral bias". This study investigated physiological differences exhibited by experienced and novice dancers, respectively, when performing pirouette with dominant and non-dominant leg supports, respectively. Thirteen novice and 13 experienced dancers performed turns on dominant or non-dominant legs. The maximum ankle plantarflexion, knee extension and hip extension were measured during the single-leg support phase. The inclination angle of rotation axis is the angle between instantaneous rotation axis and global vertical axis in the early single-leg support phase. Both groups exhibited a greater hip extension, knee extension, and ankle plantarflexion when performing a turn on the non-dominant leg. For experienced dancers, the inclination angle of rotation axis during the pre-swing phase was generally smaller for dominant leg support than non-dominant leg. However, no significant difference was found in inclination angle of rotation axis of novice dancers. For experienced dancers, an improved performance is obtained when using the dominant leg for support. By contrast, for novice dancers, the performance is independent of choice of support leg. The significant lateral bias in experienced dancers indicates the possible influence of training. That is, repetitive rehearsal on the preferred leg strengthens the impact of side dominance in experienced dancers.

A Case in Pointe: Romance and Regimentation at the New York City Ballet.

PubMed

Laemmli, Whitney E

2015-01-01

This article analyzes the ballet dancer's pointe shoe as a technology of artistic production and bodily discipline. Drawing on oral histories, memoirs, dance journals, advertisements, and other archival materials, it demonstrates that the shoe utilized by dancers at George Balanchine's New York City Ballet was not the quintessentially Romantic entity it is so often presumed to be. Instead, it emerged from uniquely twentieth-century systems of labor and production, and it was used to alter dancers' bodies and professional lives in particularly modern ways. The article explores not only the substance of these changes but also the ways in which Balanchine's artistic oeuvre was inextricably intertwined with the material technologies he employed and, more broadly, how the history of technology and the history of dance can productively inform one another. Fundamentally, this article recasts Balanchine, seeing him not as a disconnected artist but as an eager participant in the twentieth-century national romance with American technology.

Low RMRratio as a Surrogate Marker for Energy Deficiency, the Choice of Predictive Equation Vital for Correctly Identifying Male and Female Ballet Dancers at Risk.

PubMed

Staal, Sarah; Sjödin, Anders; Fahrenholtz, Ida; Bonnesen, Karen; Melin, Anna Katarina

2018-06-22

Ballet dancers are reported to have an increased risk for energy deficiency with or without disordered eating behavior. A low ratio between measured ( m ) and predicted ( p ) resting metabolic rate (RMR ratio  < 0.90) is a recognized surrogate marker for energy deficiency. We aimed to evaluate the prevalence of suppressed RMR using different methods to calculate p RMR and to explore associations with additional markers of energy deficiency. Female (n = 20) and male (n = 20) professional ballet dancers, 19-35 years of age, were enrolled. m RMR was assessed by respiratory calorimetry (ventilated open hood). p RMR was determined using the Cunningham and Harris-Benedict equations, and different tissue compartments derived from whole-body dual-energy X-ray absorptiometry assessment. The protocol further included assessment of body composition and bone mineral density, blood pressure, disordered eating (Eating Disorder Inventory-3), and for females, the Low Energy Availability in Females Questionnaire. The prevalence of suppressed RMR was generally high but also clearly dependent on the method used to calculate p RMR, ranging from 25% to 80% in males and 35% to 100% in females. Five percent had low bone mineral density, whereas 10% had disordered eating and 25% had hypotension. Forty percent of females had elevated Low Energy Availability in Females Questionnaire score and 50% were underweight. Suppressed RMR was associated with elevated Low Energy Availability in Females Questionnaire score in females and with higher training volume in males. In conclusion, professional ballet dancers are at risk for energy deficiency. The number of identified dancers at risk varies greatly depending on the method used to predict RMR when using RMR ratio as a marker for energy deficiency.

Augmenting a Ballet Dance Show Using the Dancer's Emotion: Conducting Joint Research in Dance and Computer Science

NASA Astrophysics Data System (ADS)

Clay, Alexis; Delord, Elric; Couture, Nadine; Domenger, Gaël

We describe the joint research that we conduct in gesture-based emotion recognition and virtual augmentation of a stage, bridging together the fields of computer science and dance. After establishing a common ground for dialogue, we could conduct a research process that equally benefits both fields. As computer scientists, dance is a perfect application case. Dancer's artistic creativity orient our research choices. As dancers, computer science provides new tools for creativity, and more importantly a new point of view that forces us to reconsider dance from its fundamentals. In this paper we hence describe our scientific work and its implications on dance. We provide an overview of our system to augment a ballet stage, taking a dancer's emotion into account. To illustrate our work in both fields, we describe three events that mixed dance, emotion recognition and augmented reality.

Radiographic Prevalence of Dysplasia, Cam, and Pincer Deformities in Elite Ballet.

PubMed

Harris, Joshua D; Gerrie, Brayden J; Varner, Kevin E; Lintner, David M; McCulloch, Patrick C

2016-01-01

The demands of hip strength and motion in ballet are high. Hip disorders, such as cam and pincer deformities or dysplasia, may affect dance performance. However, the prevalence of these radiographic findings is unknown. To determine the prevalence of radiographic cam and pincer deformities, borderline dysplasia, and dysplasia in a professional ballet company. Cross-sectional study; Level of evidence, 3. An institutional review board-approved cross-sectional investigation of a professional ballet company was undertaken. Male and female adult dancers were eligible for inclusion. Four plain radiographs were obtained (standing anteroposterior pelvis, bilateral false profile, and supine Dunn 45°) and verified for adequacy. Cam and pincer deformities, dysplasia, borderline dysplasia, and osteoarthritis were defined. All plain radiographic parameters were measured and analyzed on available radiographs. Student t test, chi-square test (and Fisher exact test), and Spearman correlation analyses were performed to compare sexes, groups, and the effect of select radiographic criteria. A total of 47 dancers were analyzed (21 males, 26 females; mean age (±SD), 23.8 ± 5.4 years). Cam deformity was identified in 25.5% (24/94) of hips and 31.9% (15/47) of subjects, with a significantly greater prevalence in male dancers than females (48% hips and 57% subjects vs 8% hips and 12% subjects; P < .001 and P = .001, respectively). Seventy-four percent of subjects had at least 2 of 6 radiographic signs of pincer deformity. Male dancers had a significantly greater prevalence of both prominent ischial spine and posterior wall signs (P = .001 and P < .001, respectively), while female dancers had a significantly greater prevalence of coxa profunda (85% female hips vs 26% male hips; P < .001). Eighty-nine percent of subjects had dysplasia or borderline dysplasia in at least 1 hip (37% dysplastic), with a significantly greater prevalence of dysplasia or borderline dysplasia in female versus male dancers (92% female hips vs 74% male hips; P < .022). Further, in those with dysplasia or borderline dysplasia, 92% of female and 82% of male dancers had bilateral findings. In this professional ballet company, a high prevalence of radiographic abnormalities was found, including cam and pincer deformity and dysplasia. The results also revealed several sex-related differences of these abnormalities in this unique population. The long-term implications of these findings in this group of elite athletes remain unknown, and this issue warrants future investigation. © 2015 The Author(s).

Radiographic Evidence of Hip Microinstability in Elite Ballet.

PubMed

Mitchell, Ronald J; Gerrie, Brayden J; McCulloch, Patrick C; Murphy, Andrew J; Varner, Kevin E; Lintner, David M; Harris, Joshua D

2016-06-01

To determine prevalence, magnitude, and predisposing radiographic features of hip subluxation in elite ballet dancers. A cross-sectional investigation of professional male and female ballet dancers was performed using 5 plain radiographs. A "splits" anteroposterior (AP) radiograph was performed with legs abducted parallel to the trunk in the coronal plane (splits position; grand écart facial). Hip center position (HCP) was measured on standing AP pelvis and AP pelvis splits views and the difference calculated (subluxation distance) to determine prevalence and magnitude of femoral head subluxation. Student t test compared HCP on AP pelvis and splits radiographs. Pearson correlations were used to correlate splits HCP with radiographic measures of femoroacetabular impingement and dysplasia. Analyzing 47 dancers (21 men, 26 women; 23.8 ± 5.4 years), mean HCP on standing AP pelvis was 9.39 ± 3.33 mm versus 10.8 ± 2.92 mm on splits radiograph, with mean subluxation distance of 1.41 mm (P = .035). Forty-two dancers' femoral heads translated laterally with splits positioning, and 17 dancers (36%) exhibited a "vacuum sign" (bilateral in 71% of subjects with at least 1 hip vacuum sign). There was strong positive correlation (r = 0.461, P = .001) with splits HCP and alpha angle (Dunn 45°), and moderate negative correlation (r = -0.332, P = .022) with subluxation distance and neck-shaft angle. In men, splits HCP increased as lateral center edge angle (CEA) decreased (r = -0.437, P = .047), as anterior CEA decreased (r = -0.482, P = .027), as Tönnis angle increased (r = 0.656, P = .001), and as femoral head extrusion index increased (r = 0.511, P = .018). In women, there was moderate negative correlation (r = -0.389, P = .049) with subluxation distance and neck-shaft angle. Hip subluxation occurs during splits in most professional ballet dancers, with a significantly greater magnitude of subluxation in women than men. Subluxation magnitude increases with increasing alpha angle and decreasing neck-shaft angle. In men, the magnitude increases with severity of dysplasia. Women had subluxation regardless of acetabular morphology but increased subluxation with decreased neck-shaft angle. This provides radiographic support for hip microinstability in elite ballet. Level IV, diagnostic. Copyright © 2016 Arthroscopy Association of North America. Published by Elsevier Inc. All rights reserved.

Structural neuroplasticity in the sensorimotor network of professional female ballet dancers.

PubMed

Hänggi, Jürgen; Koeneke, Susan; Bezzola, Ladina; Jäncke, Lutz

2010-08-01

Evidence suggests that motor, sensory, and cognitive training modulates brain structures involved in a specific practice. Functional neuroimaging revealed key brain structures involved in dancing such as the putamen and the premotor cortex. Intensive ballet dance training was expected to modulate the structures of the sensorimotor network, for example, the putamen, premotor cortex, supplementary motor area (SMA), and the corticospinal tracts. We investigated gray (GM) and white matter (WM) volumes, fractional anisotropy (FA), and mean diffusivity (MD) using magnetic resonance-based morphometry and diffusion tensor imaging in 10 professional female ballet dancers compared with 10 nondancers. In dancers compared with nondancers, decreased GM volumes were observed in the left premotor cortex, SMA, putamen, and superior frontal gyrus, and decreased WM volumes in both corticospinal tracts, both internal capsules, corpus callosum, and left anterior cingulum. FA was lower in the WM underlying the dancers' left and right premotor cortex. There were no significant differences in MD between the groups. Age of dance commencement was negatively correlated with GM and WM volume in the right premotor cortex and internal capsule, respectively, and positively correlated with WM volume in the left precentral gyrus and corpus callosum. Results were not influenced by the significantly lower body mass index of the dancers. The present findings complement the results of functional imaging studies in experts that revealed reduced neural activity in skilled compared with nonskilled subjects. Reductions in brain activity are accompanied by local decreases in GM and WM volumes and decreased FA. 2009 Wiley-Liss, Inc.

The relationship of heel contact in ascent and descent from jumps to the incidence of shin splints in ballet dancers.

PubMed

Gans, A

1985-08-01

I conducted a study to determine whether ballet dancers with a history of shin splints make heel contact on ascent and descent from jumps less often than dancers without this history. Sixteen dancers were filmed as they executed a sequence of jumps at two different speeds. Eight of the subjects had a history of shin-splint pain; eight had no such history. The film was viewed on a Super 8 movie projector. Heel contacts on ascent and descent from jumps were counted. Double heel strikes (heel rise between landing and pushing off) were also counted. A nonparametric t test showed no differences between the two groups in the number of contacts on ascent or descent. The dancers with a history of shin splints, however, demonstrated more double heel strikes (p = .02) than the other group. Clinically, this finding may represent a lack of control or a tight Achilles tendon or both. Further study is necessary to confirm these theories. For treatment and prevention of shin splints, a clinician must evaluate a dancer's jumping technique and then provide systematic training to develop the skin strength, flexibility, and coordination that make up control.

Ballet and stress. A pilot study.

PubMed

Tomei, G; Casale, T; Rosati, M V; Melcarne, R; Sinibaldi, F; Capozzella, A; Di Giorgio, V; Giubilati, R; Sacco, C; Tomei, F; Sancini, A

2015-01-01

Work-related stress is a complex problem requiring a work environment-based assessment. Artists like dancers represent a category of atypical workers potentially at high risk for work-related stress. Aim of our pilot study is to evaluate organizational stress in a population of professional dancers, using the HSE Indicator Tool for Work Related Stress. We administered the Italian version of the HSE Indicator Tool to 38 ballet dancers, males and females. The questionnaire evaluates 7 key organizational dimensions: demand, control, managers' support, peer support, relationships, role and change. The standards required-ideal conditions are achieved in none of the above-mentioned dimensions. Change is the only dimension for which results fall between the 20th and the 50th percentile, while for other dimensions results fall below the 20th percentile suggesting the need for immediate corrective action. In male dancers an acceptable situation is highlighted for the dimension "change" compared to female dancers. In both sexes there is a high frequency of subjects complaining of verbal abuse, bullying and harassment. Despite the small sample size, our pilot study highlights the presence of heightened levels of organizational stress. Preventive measures targeted towards improving communication between managers and dancers and aimed at team building should be implemented.

Does physical fitness affect injury occurrence and time loss due to injury in elite vocational ballet students?

PubMed

Twitchett, Emily; Brodrick, Anna; Nevill, Alan M; Koutedakis, Yiannis; Angioi, Manuela; Wyon, Matthew

2010-01-01

Most ballet dancers will suffer at least one injury a year. There are numerous causes of injury in dance, and while many investigators have documented risk factors such as anatomical characteristics, past medical history, menstrual history, dance experience, length of dance training, fatigue, and stress, risk factors related to body characteristics and nutrient intake, levels of conditioning, or physical fitness parameters have only recently received the same amount of attention. The aim of the present study was, therefore, to investigate correlations between ballet injury and body fat percentage, active and passive flexibility, lower limb power, upper body and core endurance, and aerobic capacity. Low levels of aerobic fitness were significantly associated with many of the injuries sustained over a 15-week period (r=.590, p=0.034), and body fat percentage was significantly associated with the length of time a dancer was forced to modify activity due to injury (r=-.614, p=0.026). This information may be of benefit to dancers, teachers, physical therapists and physicians in dance schools and companies when formulating strategies to prevent injury.

Generalizable Aspects of the Development of Expertise in Ballet across Countries and Cultures: A Perspective from the Expert-Performance Approach

ERIC Educational Resources Information Center

Hutchinson, Carla U.; Sachs-Ericsson, Natalie J.; Ericsson, K. Anders

2013-01-01

The expert-performance approach guided the collection of survey data on the developmental history of elite professional ballet dancers from three different countries/cultures (USA, Mexico, and Russia). The level of ballet expertise attained by age 18 was found to be uniquely predicted by only two factors, namely the total number of accumulated…

Dancer perceptions of the force reduction of dance floors used by a professional touring ballet company.

PubMed

Hopper, Luke S; Wheeler, Talia J; Webster, James M; Allen, Nick; Roberts, Jonathan R; Fleming, Paul R

2014-01-01

The mechanical properties of dance floors have the potential to influence dancers' performance and injury risk. Little information is available that describes dancers' preferences for dance floor mechanical properties. Investigation of dancers' perceptions of varied dance floors can serve to enlighten governing bodies, floor manufacturers, and the dance community. The aim of this study was to assess the perceptions of dancers from a touring professional ballet company regarding four floors with varied force reduction (FR) that were created to replicate those used by the company in normal dance training and performance. A specialized questionnaire was developed that incorporated a series of qualitative and quantitative measures that could be used by participants to express their perceptions of the custom built dance floors. Floor FR was quantified with reference to the protocols specified by European standards. Dancer perceptions were in general agreement with floor FR values; however, some discrepancies were observed. Dancers expressed a preference for floor FR within the mid to upper limits (57% to 72%) of the European standards, although a minority preferred low FR (approximately 36%) floors. A limited ability to perceive inconsistencies in FR across test floors was observed, which may have implications for injury risk. Investigation of the perceptions of dancers from more diverse backgrounds, on floors that provide a closer representation of typical dance studio and stage sizes, over longer periods of time, would provide further insight into the perceptual and adaptive responses of dancers to varied floor mechanical properties.

Pain and pain tolerance in professional ballet dancers.

PubMed Central

Tajet-Foxell, B; Rose, F D

1995-01-01

Pain experience in sport had been the subject of increasing research in recent years. While sports professionals have generally been found to have higher pain thresholds than control subjects the reasons for this are not entirely clear. The present study seeks to investigate one possible explanatory factor, the importance of the popular image of the physical activity and of the self-image of its participants, by examining pain experience in professional ballet dancers. Like sports professionals, dancers were found to have higher pain and pain tolerance thresholds than age matched controls in the Cold Pressor Test. However, they also reported a more acute experience of the sensory aspects of the pain. Explanations of this apparent paradox are discussed both in terms of the neuroticism scores of the two groups and in terms of the dancers' greater experience of pain and its relationship with physical activity. The results illustrated the importance of using multidimensional measures of pain in this type of investigation. PMID:7788215

Dietary intake and body composition of prepubescent female aesthetic athletes.

PubMed

Soric, Maroje; Misigoj-Durakovic, Marjeta; Pedisic, Zeljko

2008-06-01

The purpose of this study was to assess dietary intake and body composition of prepubescent girls competing in 3 aesthetic sports (artistic and rhythmic gymnastics and ballet). Because physiological demands of ballet training are similar to those in other aesthetic sports, ballet dancers were, for the purpose of this study, regarded as athletes. The sample consisted of 39 athletes (median age, 11 years, range 9-13) and 15 controls (median age, 11 years, range 10-12). Dietary intake was assessed using a quantitative food frequency questionnaire, and body composition, by means of anthropometry. There was no significant difference in total energy intake between groups, but there was a significant difference in energy substrate distribution. Artistic gymnasts reported significantly higher carbohydrate and lower fat contribution to total energy (57% +/- 6% and 29% +/- 5%, respectively) than rhythmic gymnasts (48% +/- 6% and 36% +/- 5%), ballet dancers (51% +/- 4% and 34% +/- 3%), or controls (51% +/- 5% and 34% +/- 4%). Relative to body weight, artistic gymnasts reported higher intake of carbohydrates (9.1 +/- 4.2 g/kg) than rhythmic gymnasts (5.6 +/- 3.1 g/kg), ballet dancers (6.6 +/- 2.5 g/kg), or controls (5.4 +/- 1.9 g/kg). Artistic gymnasts also had the lowest body-fat percentage among the groups. In all the groups mean reported daily intakes of most nutrients were higher than the current daily recommended intakes. The exceptions were dietary fiber and calcium. The proportion of athletes with an inadequate reported intake was highest for phosphorus (33%), followed by vitamin A and niacin (18%) and zinc (13%).

A Dance to the Music of Time: Aesthetically-Relevant Changes in Body Posture in Performing Art

PubMed Central

Daprati, Elena; Iosa, Marco; Haggard, Patrick

2009-01-01

In performing arts, body postures are both means for expressing an artist's intentions, and also artistic objects, appealing to the audience. The postures of classical ballet obey the body's biomechanical limits, but also follow strict rules established by tradition. This combination offers a perfect milieu for assessing scientifically how the execution of this particular artistic activity has changed over time, and evaluating what factors may induce such changes. We quantified angles between body segments in archive material showing dancers from a leading company over a 60-year period. The data showed that body positions supposedly fixed by codified choreography were in fact implemented by very different elevation angles, according to the year of ballet production. Progressive changes lead to increasingly vertical positions of the dancer's body over the period studied. Experimental data showed that these change reflected aesthetic choices of naïve modern observers. Even when reduced to stick figures and unrecognisable shapes, the more vertical postures drawn from later productions were systematically preferred to less vertical postures from earlier productions. This gradual change within a conservative art form provides scientific evidence that aesthetic change may arise from continuous interaction between artistic tradition, individual artists' creativity, and a wider environmental context. This context may include social aesthetic pressure from audiences. PMID:19325705

A dance to the music of time: aesthetically-relevant changes in body posture in performing art.

PubMed

Daprati, Elena; Iosa, Marco; Haggard, Patrick

2009-01-01

In performing arts, body postures are both means for expressing an artist's intentions, and also artistic objects, appealing to the audience. The postures of classical ballet obey the body's biomechanical limits, but also follow strict rules established by tradition. This combination offers a perfect milieu for assessing scientifically how the execution of this particular artistic activity has changed over time, and evaluating what factors may induce such changes. We quantified angles between body segments in archive material showing dancers from a leading company over a 60-year period. The data showed that body positions supposedly fixed by codified choreography were in fact implemented by very different elevation angles, according to the year of ballet production. Progressive changes lead to increasingly vertical positions of the dancer's body over the period studied. Experimental data showed that these change reflected aesthetic choices of naïve modern observers. Even when reduced to stick figures and unrecognisable shapes, the more vertical postures drawn from later productions were systematically preferred to less vertical postures from earlier productions. This gradual change within a conservative art form provides scientific evidence that aesthetic change may arise from continuous interaction between artistic tradition, individual artists' creativity, and a wider environmental context. This context may include social aesthetic pressure from audiences.

Testosterone concentrations in female athletes and ballet dancers with menstrual disorders.

PubMed

Łagowska, Karolina; Kapczuk, Karina

2016-01-01

Menstrual disorders are common among female athletes and ballet dancers. Endocrine changes, such as high testosterone (HT) levels and high luteinizing hormone (LH)/follicle-stimulating hormone (FSH) ratios, may suggest functional ovarian hyperandrogenism which may induce such dysfunction. The aim of this study was therefore to evaluate endocrine status in female athletes and ballet dancers with menstrual disorders. Their nutritional status and dietary habits were analysed in relation to the testosterone levels. In a cross-sectional approach, 31 female athletes (18.1 ± 2.6 years) and 21 ballerinas (17.1 ± 0.9) with menstrual disorders participated in the study. The levels of serum LH, FSH, progesterone (P), estradiol (E2), prolactin (PRL), thyroid-stimulating hormone, testosterone (T) and sex hormone-binding globulinwere measured to assess hormonal status. In addition, the free androgen index (FAI) was calculated. Nutritional status, total daily energy expenditure and nutritional habits were evaluated. Girls were assigned to one of the following groups: low testosterone (LT) level, normal testosterone level or HT level. There were significant differences between ballerinas and other female athletes in terms of testosterone levels, FAI, age at the beginning of training, length of training period and age at menarche. The PRL level was lowest in the LT group while the FAI index was highest in the HT group. Daily energy and carbohydrate intakes were significantly lower in the HT group. T levels in the study subjects were found to be associated with nutritional factors, energy availability, age at the beginning of training and frequency of training. This is the first report of HT levels being associated with the status of a female ballet dancer, the age of menarche and the length of the training history. Further research is necessary to confirm the results in a larger study group.

Hypermobility and injuries in a professional ballet company.

PubMed Central

Klemp, P.; Learmonth, I. D.

1984-01-01

A study was conducted on members of the Cape Performing Arts Board (CAPAB) professional ballet company to determine the prevalence of hypermobility and to document the injuries sustained over a ten year period. If forward flexion, which is acquired through training, is excluded as a parameter the difference in hypermobility between dancers and controls is not statistically significant. Considering the stresses imposed on the musculoskeletal system, the number of injuries was surprisingly low. Ligamentous injuries about the ankle and knee were both common and accounted for the major morbidity. There were minor differences in the nature and severity of injuries in the male and female dancers. Back injuries, fractures and osteoarthrosis were uncommon and shin splints was not recorded in any of the dancers. Images p143-a p143-b Figure 1 Figure 2 Figure 3 PMID:6435713

Development and evaluation of an educational intervention program for pre-professional adolescent ballet dancers: nutrition for optimal performance.

PubMed

Doyle-Lucas, Ashley F; Davy, Brenda M

2011-06-01

The purpose of this investigation was to develop, implement, and evaluate a theoretically based nutritional education intervention through a DVD lecture series (three 30-minute classes) in summer intensive programs for pre-professional, adolescent ballet dancers. Objectives of this intervention program were to increase knowledge of basic sports nutrition principles and the Female Athlete Triad and promote self-efficacy for adopting healthier dietary habits. Dancers ranging from 13 to 18 years old who were attending summer intensive programs affiliated with professional ballet companies were recruited. Group One (n = 231) participated in the nutrition education program, while Group Two the control participants (n = 90) did not. Assessments of the participants' dietary status consisted of a demographic questionnaire, a Sports Nutrition Knowledge and Behavior Questionnaire, and a Food Frequency Questionnaire. The intervention group was assessed at baseline, immediately post-program, and at six weeks post-program. The control group was assessed at baseline and at six weeks post-baseline. The intervention program was effective at increasing nutrition knowledge, perceived susceptibility to the Female Athlete Triad, and self-efficacy constructs. Improvements in dietary intake were also observed among intervention group participants. To improve overall health and performance nutrition education should be incorporated into the training regimens of adolescent dancers. This potentially replicable DVD-based program may be an effective, low-cost mechanism for doing that.

Does Wearing Textured Insoles during Non-class Time Improve Proprioception in Professional Dancers?

PubMed

Steinberg, N; Tirosh, O; Adams, R; Karin, J; Waddington, G

2015-11-01

This study sought to determine whether textured insoles inserted in the sports shoes of young dancers improved their inversion and eversion ankle movement discrimination. 26 ballet dancers (14 female, 12 male) from the Australian Ballet School, ages 14-19 years, were divided into 2 groups according to sex and class levels. During the first 4 weeks, the first intervention group (GRP1) was asked to wear textured insoles in their sports shoes during non-class periods, and the second intervention group (GRP2) followed standard practice. In the next 4 weeks, GRP2 was asked to wear the textured insoles and GRP1 did not wear the textured insoles. Participants were tested pre-intervention, after 4 weeks, and at 8 weeks for both inversion and eversion ankle discrimination. In both inversion and eversion testing positions, interaction was found between the 2 groups and the 3 testing times (p<0.001), with significant differences between the first testing and the second testing (p=0.038 and p=0.019, respectively), and between the third testing and the second testing (p=0.003 and p=0.029, respectively). In conclusion, the stimulation to the proprioceptive system arising from textured insoles worn for 4 weeks was sufficient to improve the ankle proprioception of ballet dancers, in both inversion and eversion movements. © Georg Thieme Verlag KG Stuttgart · New York.

[The estimation of nutrition habit of ballet school students in Krakow].

PubMed

Zuława, Graiyna; Pilch, Wanda

2012-01-01

There is a considerable cultural pressure towards a slim body silhouette. Girls and young woman whose professional carrier depends on their low body weight and sharp looking posture are especially vulnerable to such trends. This problem is especially acute in girls attending to ballet schools, professional dancers and in some sportswoman who are expected to move with charm and appear unnaturally slim, usually being the result of special nutrition. The aim of this study was the evaluation of the nutritional habits of ballet school students and to compare the results with the current nutritional norms. 14 girls, ballet dancers, participated in this study. Before the study their body high (BH) and body mass (BM) were measured for the calculation of BMI (Body Mass Index). The girls were asked to make notes, during 10 days, on the amount and kind of food they consumed. The energy and amounts of selected nutrients were calculated by the computer program Food 3. The results show the deficiency in fats, fibre, minerals like K, Ca, Fe, Mg and some vitamins B1 and PP. Improper diet, deficient in several basics nutrients may results in incorrect physical development of attendees of ballet schools.

Ballet injuries: injury incidence and severity over 1 year.

PubMed

Allen, Nick; Nevill, Alan; Brooks, John; Koutedakis, Yiannis; Wyon, Matthew

2012-09-01

Prospective, descriptive single-cohort study. To assess the incidence and severity of injuries to a professional ballet company over 1 year. Data for an elite-level ballet company of 52 professional dancers were collected by an in-house medical team using a time-loss injury definition. A total of 355 injuries were recorded, with an overall injury incidence of 4.4 injuries per 1000 hours (female, 4.1; male, 4.8; P>.05) and a mean of 6.8 injuries per dancer (female, 6.3; male, 7.3; P>.05). Mean injury severity was 7 days (female, 4; male, 9; P<.05). Most injuries were classified as overuse (64%; female, 68%; male, 60%; P>.05); mean severity of injury was 3 days for females and 9 days for males (P<.05). The percentage of traumatic injuries was 32% for females and 40% for males (P<.05); the corresponding severity was 6 and 10 days, respectively (P<.05). The relatively high number of injuries reported and the resulting loss of dance time support the need to introduce interventions to reduce the risk of injury in professional dancers.J Orthop Sports Phys Ther 2012;42(9):781-790. Epub 19 July 2012. doi:10.2519/jospt.2012.3893.

Disordered eating and injuries among adolescent ballet dancers.

PubMed

Thomas, J J; Keel, P K; Heatherton, T F

2011-09-01

Ballet dancers are at elevated risk for eating disorders, but the extent to which disordered eating attitudes and behaviors represent a relatively benign adaptation to an environment that values extreme thinness, or a functionally impairing form of psychopathology, has sparked considerable debate. To determine whether disordered eating is associated with role impairment in dancers, we evaluated its association with musculoskeletal injuries among 239 adolescent female ballet students. Dance students reported a variety of lifetime disordered eating behaviors to control weight including fasting (29.3%), vomiting (9.6%), and laxative use (4.2%). More than half (52.3%) reported a lifetime history of injury (stress fracture, broken bone, and/or medically treated tendonitis). A greater number of lifetime disordered eating behaviors was associated with a greater number of lifetime injuries (p=0.01). Moreover, vomiting history was associated with greater likelihood of injury (p=0.004) and increased time to recover from injury (median difference=22.8 days, p=0.006). Although the direction of causality cannot be determined from this retrospective design, these results suggest that disordered eating is associated with role-relevant functional impairment, even among members of a subculture that values extreme thinness.

The effect of a comprehensive injury audit program on injury incidence in ballet: a 3-year prospective study.

PubMed

Allen, Nick; Nevill, Alan M; Brooks, John H M; Koutedakis, Yiannis; Wyon, Matthew A

2013-09-01

The aim of this study was to determine whether an intervention with individualized conditioning program based on injury history and functional movement screening would be effective in reducing ballet injury incidence. Prospective 3-year epidemiological study. Professional ballet company and its in-house medical facility. Dancers from a professional ballet company over the 3-year study period. Participant numbers ranged from 52 to 58 (year 1: 52; year 2: 58; year 3: 53). The intervention consisted of individual conditioning programs developed using injury history and functional movement screening. Analysis was undertaken of the all dancers who were present in the company during the study period. The significance of change in injuries over a 3-year period was determined using a Poisson distribution model. To determine whether individual conditioning programs resulted in a decrease in injury incidence over the study period. The injury count reduced significantly in years 2 and 3 (P < 0.001). Injury incidence for male dancers declined from year 1 (in year/1000 h) (4.76/1000 h) to year 2 (2.40/1000 h) and year 3 (2.22/1000 h). For women, a reduction in the injury incidence was observed from year 1 (4.14/1000 h) to year 2 (1.71/1000 h) and year 3 (1.81/1000 h). Through prospective injury surveillance, we were able to demonstrate the benefit of individualized conditioning programs based on injury history and functional movement screening in reducing injuries in ballet. The implementation of well-structured injury surveillance programs can impact on injury incidence through its influence on intervention programs.

Hypermobility and joint hypermobility syndrome in Brazilian students and teachers of ballet dance.

PubMed

Sanches, S B; Oliveira, G M; Osório, F L; Crippa, J A S; Martín-Santos, R

2015-04-01

The current literature has been discussing the risks and benefits of joint hypermobility (JHM) for careers in ballet This study aimed to evaluate the prevalence of JHM and joint hypermobility syndrome (JHS) in a group of ballet teachers and students, looking both at aspects related to the flexibility required to dance, as at the risk of injuries when hypermobility is associated with other symptoms, in the case of JHS. We evaluated ballet teachers and ballet students, with age ranging from 18 to 40 years. All participants completed identification and sociodemographic questionnaires and underwent a physical examination. JHM was assessed using the Beighton score with goniometry. Symptoms of JHS were evaluated according to the Brighton criteria. Final sample consisted of 77 participants, being 44 ballet students and 33 ballet teachers. The prevalence of JHM in the sample as a whole was 58 %. Teachers and students had no significant differences regarding the prevalence of JHM (p = 0.74) (OR 1.21; 95 % CI 0.48-3.07). However, the prevalence of JHS was significantly different (p = 0.04) between students (16 %) and teachers (36 %). Teachers were three times more likely than student to have JHS (OR 3.02; 95 % CI 1.03-8.85). Teachers and students also presented differences in the frequency of specific items of Beighton score and Brighton criteria. These data provide elements to discuss the relationship between hypermobility, ballet technique and selection for dance, suggesting that dancers with JHS could find in ballet teaching an alternative to maintain professional activity with dance, while remaining protected from the higher risk of injury that professional dancers may be exposed to.

Dance-related concussion: a case series.

PubMed

Stein, Cynthia J; Kinney, Susan A; McCrystal, Tara; Carew, Elizabeth A; Bottino, Nicole M; Meehan Iii, William P; Micheli, Lyle J

2014-01-01

Sport-related concussion is a topic of increasing public and media attention; the medical literature on this topic is growing rapidly. However, to our knowledge no published papers have described concussion specifically in the dancer. This case series involved a retrospective chart review at a large teaching hospital over a 5.5-year period. Eleven dancers (10 female, 1 male) were identified who experienced concussions while in dance class, rehearsal, or performance: 2 in classical ballet, 2 in modern dance, 2 in acro dance, 1 in hip hop, 1 in musical theater, and 3 were unspecified. Dancers were between 12 and 20 years old at the time of presentation. Three concussions occurred during stunting, diving, or flipping. Three resulted from unintentional drops while partnering. Two followed slips and falls. Two were due to direct blows to the head, and one dancer developed symptoms after repeatedly whipping her head and neck in a choreographed movement. Time to presentation in the sports medicine clinic ranged from the day of injury to 3 months. Duration of symptoms ranged from less than 3 weeks to greater than 2 years at last documented follow-up appointment. It is concluded that dancers do suffer dance-related concussions that can result in severe symptoms, limitations in dance participation, and difficulty with activities of daily living. Future studies are needed to evaluate dancers' recognition of concussion symptoms and care-seeking behaviors. Additional work is also necessary to tailor existing guidelines for gradual, progressive, safe return to dance.

The association between body-built and injury occurrence in pre-professional ballet dancers - Separated analysis for the injured body-locations.

PubMed

Zaletel, Petra; Sekulić, Damir; Zenić, Nataša; Esco, Michael R; Šajber, Dorica; Kondrič, Miran

2017-02-21

This study has aimed at identifying prevalence of injury-occurrence in 24 pre-professional-ballet-dancers (females, 16-18 years of age), and identifying the associations between the body-built and prevalence of injuries. The sample of variables included: body mass, body height, and 3 somatotype characteristics (mesomorph, ectomorph and endomorph) and data on injuries over the preceding year. Dancers were mostly ectomorphic-mesomorph (endomorphy: 2.6±0.54, mesomorphy: 3.99±0.77, ectomorphy: 3.23±0.54). The most commonly injured locations were the foot (17% of all injuries) and ankle (17%). Majority of the injuries occurred while practising but 37% of hip-injuries occurred while performing. Ankle-injuries resulted in longest absence from ballet. Endomorphy was related to ankle-injury (odds ratio (OR) = 1.9, 95% confidence interval (CI): 1.4-2.3), ectomorphy to foot injury (OR = 1.7, 95% CI: 1.1-2.9), and body-mass to injury to the toes (OR = 1.7, 95% CI: 1.4-3.1). The results of this study allow for recognizing those dancers who are particularly vulnerable to injuries of certain body location. A more profound analysis of the possible mechanisms that lead to hip-injury during performance is needed. Int J Occup Med Environ Health 2017;30(1):151-159. This work is available in Open Access model and licensed under a CC BY-NC 3.0 PL license.

Core strength training using a combination of home exercises and a dynamic sling system for the management of low back pain in pre-professional ballet dancers: a case series.

PubMed

Kline, Jessica Beckmann; Krauss, John R; Maher, Sara F; Qu, Xianggui

2013-01-01

Estimates of low back pain prevalence in USA ballet dancers range from 8% to 23%. Lumbar stabilization and extensor muscle training has been shown to act as a hypoalgesic for low back pain. Timing and coordination of multifidi and transverse abdominis muscles are recognized as important factors for spinal stabilization. The purpose of this study was to explore the effects of training methods using home exercises and a dynamic sling system on core strength, disability, and low back pain in pre-professional ballet dancers. Five participants were randomly assigned to start a traditional unsupervised lumbar stabilization home exercise program (HEP) or supervised dynamic sling training to strengthen the core and lower extremities. Measurements were taken at baseline and at weeks 3 and 6 for disability using the patient specific functional scale (PSFS), pain using the Numerical Pain Rating System (NPRS), core strength and endurance using timed plank, side-plank, and bridge positions, and sciatic nerve irritability using the straight leg raise (SLR). Data were analyzed using descriptive statistics. From initial to final measurements, all participants demonstrated an improvement in strength and SLR range, and those with initial pain and disability reported relief of symptoms. These results suggest that dynamic sling training and a HEP may help to increase strength, decrease pain, and improve function in dancers without aggravating sciatic nerve irritation.

Recontextualizing Dance Skills: Overcoming Impediments to Motor Learning and Expressivity in Ballet Dancers

PubMed Central

Karin, Janet

2016-01-01

The process of transmitting ballet’s complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers’ technique and expressivity is a core theme throughout the paper. A brief outline of the historical development of ballet’s aesthetics and training methods leads into factors that influence dancers’ performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualization theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives. PMID:27047437

Prevalence and predictors of adolescent idiopathic scoliosis in adolescent ballet dancers.

PubMed

Longworth, Brooke; Fary, Robyn; Hopper, Diana

2014-09-01

To determine any differences between the prevalence of adolescent idiopathic scoliosis in ballet dancers who are girls compared with age-matched nondancers, and to establish if any relations exist between the presence of scoliosis and generalized joint hypermobility, age of menarche, body mass index (BMI), and the number of hours of dance training per week. Cross-sectional, matched pair study. Dance school. Dancers (n=30) between the ages of 9 and 16 years were recruited from a certified dance school in Western Australia; each dancer provided a consenting age-matched nondancer (n=30). Not applicable. Measurements were taken for angle of trunk rotation using a scoliometer (presence of scoliosis) and for height and weight to produce generalized joint hypermobility using Beighton criteria and an age-adjusted BMI, respectively. A subjective questionnaire regarding age of menarche and participation in dance and other sports was completed. Thirty percent of dancers tested positive for scoliosis compared with 3% of nondancers. Odds ratio calculations suggest that dancers were 12.4 times more likely to have scoliosis than nondancers of the same age. There was a higher rate of hypermobility in the dancer group (70%) compared with the nondancers (3%); however, there were no statistically significant relations between scoliosis and hypermobility, age of menarche, BMI, or hours of dance per week. Adolescent dancers, similar to adult dancers, are at significantly higher risk of developing scoliosis than nondancers of the same age. Vigilant screening and improved education of dance teachers and parents of dance students may be beneficial in earlier detection and, consequently, reducing the risk of requiring surgical intervention. Copyright © 2014 American Congress of Rehabilitation Medicine. Published by Elsevier Inc. All rights reserved.

Hip and ankle range of motion and hip muscle strength in young female ballet dancersand controls

PubMed Central

Bennell, K.; Khan, K. M.; Matthews, B.; De Gruyter, M.; Cook, E.; Holzer, K.; Wark, J. D.

1999-01-01

OBJECTIVES: To compare the hip and ankle range of motion and hip muscle strength in 8-11 year old novice female ballet dancers and controls. METHODS: Subjects were 77 dancers and 49 controls (mean (SD) age 9.6 (0.8) and 9.6 (0.7) years respectively). Supine right active hip external rotation (ER) and internal rotation (IR) were measured using an inclinometer. A turnout protractor was used to assess standing active turnout range. The measure of ER achieved from below the hip during turnout (non-hip ER) was calculated by subtracting hip ER range from turnout range, and hip ER:IR was derived by dividing ER range by IR range. Range of right weight bearing ankle dorsiflexion was measured in a standing lunge using two methods: the distance from the foot to the wall (in centimetres) and the angle of the shank to the vertical via an inclinometer (in degrees). Right calf muscle range was measured in weight bearing using an inclinometer. A manual muscle tester was used to assess right isometric hip flexor, internal rotator, external rotator, abductor, and adductor strength. RESULTS: Dancers had less ER (p<0.05) and IR (p<0.01) range than controls but greater ER:IR (p<0.01). Although there was no difference in turnout between groups, the dancers had greater non-hip ER. Dancers had greater range of ankle dorsiflexion than controls, measured in both centimetres (p<0.01) and degrees (p<0.05), but similar calf muscle range. After controlling for body weight, controls had stronger hip muscles than dancers except for hip abductor strength which was similar. Regression analyses disclosed a moderate relation between turnout and hip ER (r = 0.40). There were no significant correlations between range of motion and training years and weekly training hours. CONCLUSIONS: Longitudinal follow up will assist in determining whether or not hip and ankle range in young dancers is genetically fixed and unable to be improved with further balletic training. 


 PMID:10522638

Generation of vertical angular momentum in single, double, and triple-turn pirouette en dehors in ballet.

PubMed

Kim, Jemin; Wilson, Margaret A; Singhal, Kunal; Gamblin, Sarah; Suh, Cha-Young; Kwon, Young-Hoo

2014-09-01

The purpose of this study was to investigate the vertical angular momentum generation strategies used by skilled ballet dancers in pirouette en dehors. Select kinematic parameters of the pirouette preparation (stance depth, vertical center-of-mass motion range, initial shoulder line position, shoulder line angular displacement, and maximum trunk twist angle) along with vertical angular momentum parameters during the turn (maximum momentums of the whole body and body parts, and duration and rate of generation) were obtained from nine skilled collegiate ballet dancers through a three-dimensional motion analysis and compared among three turn conditions (single, double, and triple). A one-way ('turn') multivariate analysis of variance of the kinematic parameters and angular momentum parameters of the whole body and a two-way analysis of variance ('turn' × 'body') of the maximum angular momentums of the body parts were conducted. Significant 'turn' effects were observed in the kinematic/angular momentum parameters (both the preparation and the turn) (p <  0.05). As the number of turns increased, skilled dancers generated larger vertical angular momentums by predominantly increasing the rate of momentum generation using rotation of the upper trunk and arms. The trail (closing) arm showed the largest contribution to whole-body angular momentum followed by the lead arm.

Moving Is Like Making Out: Developing Female University Dancers' Ballet Technique and Expression through the Use of Metaphor

ERIC Educational Resources Information Center

Spohn, Cydney; Prettyman, Sandra Spickard

2012-01-01

This qualitative study explored the use of metaphor within a somatic context as a means to bridge the divide between technique and expression in two undergraduate advanced intermediate ballet classes. Data included surveys, classroom observations, student journal responses and student work, as well as surveys and journal responses, one year after…

Specialized properties of the triceps surae muscle-tendon unit in professional ballet dancers.

PubMed

Moltubakk, M M; Magulas, M M; Villars, F O; Seynnes, O R; Bojsen-Møller, J

2018-05-03

This study compared professional ballet dancers (n = 10) to nonstretching controls (n = 10) with the purpose of comparing muscle and tendon morphology, mechanical, neural, and functional properties of the triceps surae and their role for ankle joint flexibility. Torque-angle and torque-velocity data were obtained during passive and active conditions by use of isokinetic dynamometry, while tissue morphology and mechanical properties were evaluated by ultrasonography. Dancers displayed longer gastrocnemius medialis fascicles (55 ± 5 vs 47 ± 6 mm) and a longer (207 ± 33 vs 167 ± 10 mm) and more compliant (230 ± 87 vs 364 ± 106 N/mm) Achilles tendon compared to controls. Greater passive ankle dorsiflexion range of motion (40 ± 7 vs 17 ± 9°) was seen in dancers, resulting from greater fascicle strain and greater elongation of the muscle. Peak electromyographic (EMG) activity recorded during passive stretching was lower in dancers, and at common joint angles, dancers displayed lower EMG amplitude and lower passive joint stiffness. No differences between groups were seen in maximal isometric plantar flexor torque, isokinetic peak torque, angle of peak torque, or work. In conclusion, the greater ankle joint flexibility of professional dancers seems attributed to multiple differences in morphological and mechanical properties of muscle and tendinous tissues, and to factors related to neural activation. © 2018 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

Vividness and transformation of mental images in karate and ballet.

PubMed

Di Corrado, Donatella; Guarnera, Maria; Quartiroli, Alessandro

2014-12-01

While imagery research has become popular in recent years, little research has specifically investigated differences in imagery ability between open- and closed-skill sport activities. The purpose of this study was to investigate whether the type of task, open or closed, affects vividness and controllability differently. Thirty female classic dancers (closed skill), 30 female karate athletes (open skill), and 30 female non-athlete students, between 14 and 20 years of age (M = 17.0, SD = 1.6), participated. They completed the Vividness of Visual Imagery Questionnaire, the Vividness of Movement Imagery Questionnaire, and the Subtraction of Parts Task. There was no difference in imagery ability between open- and closed-skill sport groups. Furthermore, dancers and karatekas had higher mean scores on imagery ability than the non-athlete group. A positive correlation was observed between the two questionnaires, supporting findings on the componential basis of imagery. This study contributed to increase the research in the specific area of open- and closed-skill sports and imagery ability.

The effects of nutrition, puberty and dancing on bone density in adolescent ballet dancers.

PubMed

Burckhardt, Peter; Wynn, Emma; Krieg, Marc-Antoine; Bagutti, Carlo; Faouzi, Mohamed

2011-06-01

Ballet dancers have on average a low bone mineral content (BMC), with elevated fracture-risk, low body mass index (BMI) for age (body mass index, kg/m2), low energy intake, and delayed puberty. This study aims at a better understanding of the interactions of these factors, especially with regard to nutrition. During a competition for pre-professional dancers we examined 127 female participants (60 Asians, 67 Caucasians). They averaged 16.7 years of age, started dancing at 5.8 years, and danced 22 hours/week. Assessments were made for BMI, BMC (DXA), and bone mineral apparent density (BMAD) at the lumbar spine and femoral neck, pubertal stage (Tanner score), and nutritional status (EAT-40 questionnaire and a qualitative three-day dietary record). BMI for age was found to be normal in only 42.5% of the dancers, while 15.7% had a more or less severe degree of thinness (12.6% Grade2 and 3.1% Grade 3 thinness). Menarche was late (13.9 years, range 11 to 16.8 years). Food intake, evaluated by number of consumed food portions, was below the recommendations for a normally active population in all food groups except animal proteins, where the intake was more than twice the recommended amount. In this population, with low BMI and intense exercise, BMC was low and associated with nutritional factors; dairy products had a positive and non-dairy proteins a negative influence. A positive correlation between BMAD and years since menarche confirmed the importance of exposure to estrogens and the negative impact of delayed puberty. Because of this and the probable negative influence of a high intake of non-dairy proteins, such as meat, fish, and eggs, and the positive association with a high dairy intake, ballet schools should promote balanced diets and normal weight and should recognize and help dancers avoid eating disorders and delayed puberty caused by extensive dancing and inadequate nutrition.

Experience-dependent modulation of alpha and beta during action observation and motor imagery.

PubMed

Di Nota, Paula M; Chartrand, Julie M; Levkov, Gabriella R; Montefusco-Siegmund, Rodrigo; DeSouza, Joseph F X

2017-03-06

EEG studies investigating the neural networks that facilitate action observation (AO) and kinaesthetic motor imagery (KMI) have shown reduced, or desynchronized, power in the alpha (8-12 Hz) and beta (13-30 Hz) frequency bands relative to rest, reflecting efficient activation of task-relevant areas. Functional modulation of these networks through expertise in dance has been established using fMRI, with greater activation among experts during AO. While there is evidence for experience-dependent plasticity of alpha power during AO of dance, the influence of familiarity on beta power during AO, and alpha and beta activity during KMI, remain unclear. The purpose of the present study was to measure the impact of familiarity on confidence ratings and EEG activity during (1) AO of a brief ballet sequence, (2) KMI of this same sequence, and (3) KMI of non-dance movements among ballet dancers, dancers from other genres, and non-dancers. Ballet dancers highly familiar with the genre of the experimental stimulus demonstrated higher individual alpha peak frequency (iAPF), greater alpha desynchronization, and greater task-related beta power during AO, as well as faster iAPF during KMI of non-dance movements. While no between-group differences in alpha or beta power were observed during KMI of dance or non-dance movements, all participants showed significant desynchronization relative to baseline, and further desynchronization during dance KMI relative to non-dance KMI indicative of greater cognitive load. These findings confirm and extend evidence for experience-dependent plasticity of alpha and beta activity during AO of dance and KMI. We also provide novel evidence for modulation of iAPF that is faster when tuned to the specific motor repertoire of the observer. By considering the multiple functional roles of these frequency bands during the same task (AO), we have disentangled the compounded contribution of familiarity and expertise to alpha desynchronization for mediating task engagement among familiar ballet dancers and reflecting task difficulty among unfamiliar non-dance subjects, respectively. That KMI of a complex dance sequence relative to everyday, non-dance movements recruits greater cognitive resources suggests it may be a more powerful tool in driving neural plasticity of action networks, especially among the elderly and those with movement disorders.

The Influence of Injury Definition on Injury Burden in Preprofessional Ballet and Contemporary Dancers.

PubMed

Kenny, Sarah J; Palacios-Derflingher, Luz; Whittaker, Jackie L; Emery, Carolyn A

2018-03-01

Study Design Cohort study. Background Multiple operational definitions of injury exist in dance research. The influence that these different injury definitions have on epidemiological estimations of injury burden among dancers warrants investigation. Objective To describe the influence of injury definition on injury prevalence, incidence, and severity in preprofessional ballet and contemporary dancers. Methods Dancers registered in full-time preprofessional ballet (n = 85; 77 female; median age, 15 years; range, 11-19 years) and contemporary (n = 60; 58 female; median age, 19 years; range, 17-30 years) training completed weekly online questionnaires (modified Oslo Sports Trauma Research Centre questionnaire on health problems) using 3 injury definitions: (1) time loss (unable to complete 1 or more classes/rehearsals/performances for 1 or more days beyond onset), (2) medical attention, and (3) any complaint. Physical therapists completed injury report forms to capture dance-related medical attention and time-loss injuries. Percent agreement between injury registration methods was estimated. Injury prevalence (seasonal proportion of dancers injured), incidence rates (count of new injuries per 1000 dance-exposure hours), and severity (total days lost) were examined across each definition, registration method, and dance style. Results Questionnaire response rate was 99%. Agreement between registration methods ranged between 59% (time loss) and 74% (injury location). Depending on definition, registration, and dance style, injury prevalence ranged between 9.4% (95% confidence interval [CI]: 4.1%, 17.7%; time loss) and 82.4% (95% CI: 72.5%, 89.8%; any complaint), incidence rates between 0.1 (95% CI: 0.03, 0.2; time loss) and 4.9 (95% CI: 4.1, 5.8; any complaint) injuries per 1000 dance-hours, and days lost between 111 and 588 days. Conclusion Time-loss and medical-attention injury definitions underestimate the injury burden in preprofessional dancers. Accordingly, injury surveillance methodologies should consider more inclusive injury definitions. J Orthop Sports Phys Ther 2018;48(3):185-193. Epub 13 Dec 2017. doi:10.2519/jospt.2018.7542 Level of Evidence Symptom prevalence study, level 1b.

Injuries to dancers: prevalence, treatment, and perceptions of causes.

PubMed Central

Bowling, A.

1989-01-01

A survey of injuries to dancers was commissioned by the National Organisation of Dance and Mime. Questionnaires asking about chronic and recent injuries were sent to 188 dancers and completed by 141 dancers from seven professional ballet and modern dance companies in the United Kingdom (75% response rate). It was found that of the 141 dancers, 67 (47%) had experienced a chronic injury and 59 (42%) an injury in the previous six months that had affected their dancing. A high proportion of injuries to the soft tissues had not responded to treatment. With correct treatment such injuries should usually heal completely. Dancers are aware of the high rate of injuries and also of procedures that might help to prevent injury--for example, dancing on floors that are sprung and in warmer studios; teachers' and choreographers' awareness of a dancer's limitations and the need for rest and adequate treatment when an injury occurs. Images p732-a PMID:2496824

My Body and Its Reflection: A Case Study of Eight Dance Students and the Mirror in the Ballet Classroom

ERIC Educational Resources Information Center

Radell, Sally Anne; Keneman, Margaret Lynn; Adame, Daniel D.; Cole, Steven P.

2014-01-01

This qualitative study investigated the impact of the mirror on a dancer's body image. Two groups of students enrolled in beginner ballet classes were taught the same classroom material; one group was taught with mirrors, the other, without. At the end of the semester four students from each class were randomly selected to participate in a private…

Potential Predictors of Injury Among Pre-Professional Ballet and Contemporary Dancers.

PubMed

Yau, Rebecca K; Golightly, Yvonne M; Richardson, David B; Runfola, Cristin D; Waller, Anna E; Marshall, Stephen W

2017-06-15

Injuries occur frequently among ballet and contemporary dancers. However, limited literature exists on injuries to pre-professional dancers in the USA. The goals of this study were to 1. provide a descriptive epidemiology of the incidence of musculoskeletal injuries in an adolescent and young adult dance population and 2. identify parsimonious regression models that could be potentially used to predict injury incidence. The study was based at the University of North Carolina School of the Arts (UNCSA) from Fall 2009 to Spring 2015. An injury was defined as any event that caused a dancer to be seen at the UNCSA Student Health Services and caused the dancer to modify or curtail dance activity for at least 1 day. Injury rate ratios (IRRs) were calculated using negative binomial generalized estimating equations. Models predicting injury rates were built using forward selection, stratified by sex. Among 480 dancers, 1,014 injuries were sustained. Most injuries were to the lower extremity and the result of overuse. There were differences in upper extremity, lower extremity, and traumatic injury rates by demographic subgroups. Among females, the most parsimonious predictive model for injury rates included a self-reported history of depression, age at time of injury, and number of injuries sustained at UNCSA prior to the semester of current injury. Among males, the most parsimonious model was a univariate model with family history of alcohol or drug problems. Strategies for traumatic injury prevention among dancers should be both sex- and style-specific. No differences were observed in overuse injury rates by sex or style, suggesting that generic overuse prevention strategies may not need to be guided by these factors. It is concluded that strategies can be implemented to reduce and mitigate the consequences of injuries if not the injuries themselves.

A profile of the demographics and training characteristics of professional modern dancers.

PubMed

Weiss, David S; Shah, Selina; Burchette, Raoul J

2008-01-01

Modern dancers are a unique group of artists, performing a diverse repertoire in dance companies of various sizes. In this study, 184 professional modern dancers in the United States (males N=49, females N=135), including members of large and small companies as well as freelance dancers, were surveyed regarding their demographics and training characteristics. The mean age of the dancers was 30.1 +/- 7.3 years, and they had danced professionally for 8.9 +/- 7.2 years. The average Body Mass Index (BMI) was 23.6 +/- 2.4 for males and 20.5 +/- 1.7 for females. Females had started taking dance class earlier (age 6.5 +/- 4.2 years) as compared to males (age 15.6 +/- 6.2 years). Females were more likely to have begun their training in ballet, while males more often began with modern classes (55% and 51% respectively, p < 0.0001). The professional modern dancers surveyed spent 8.3 +/- 6.0 hours in class and 17.2 +/- 12.6 hours in rehearsal each week. Eighty percent took modern technique class and 67% reported that they took ballet technique class. The dancers who specified what modern technique they studied (N=84) reported between two and four different techniques. The dancers also participated in a multitude of additional exercise regimens for a total of 8.2 +/- 6.6 hours per week, with the most common types being Pilates, yoga, and upper body weightlifting. The dancers wore many different types of footwear, depending on the style of dance being performed. For modern dance alone, dancers wore 12 different types of footwear. Reflecting the diversity of the dancers and companies surveyed, females reported performing for 23.3 +/- 14.0 weeks (range: 2-52 weeks) per year; males reported performing 20.4 +/- 13.9 weeks (range: 1-40) per year. Only 18% of the dancers did not have any health insurance, with 54% having some type of insurance provided by their employer. However, 23% of the dancers purchased their own insurance, and 22% had insurance provided by their families. Only 16% of dancers reported that they had Workers' Compensation coverage, despite the fact that they were all professionals, including many employed by major modern dance companies across the United States. It is concluded that understanding the training profile of the professional modern dancer should assist healthcare providers in supplying appropriate medical care for these performers.

Dance and the Athlete: An Interview

ERIC Educational Resources Information Center

Simpson, James L.

1978-01-01

Edward Villella, principal dancer of the New York City Ballet, has attempted to make professionals in physical education as well as athletes more aware of the great potential possessed within the interrelationship of dance and sport. (MM)

Bilateral anterior tarsal tunnel syndrome variant secondary to extensor hallucis brevis muscle hypertrophy in a ballet dancer: a case report.

PubMed

Tennant, Joshua N; Rungprai, Chamnanni; Phisitkul, Phinit

2014-12-01

We present a case of bilateral anterior tarsal tunnel syndrome secondary EHB hypertrophy in a dancer, with successful treatment with bilateral EHB muscle excisions for decompression. The bilateral presentation of this case with the treatment of EHB muscle excision is the first of its type reported in the literature. Copyright © 2014 European Foot and Ankle Society. Published by Elsevier Ltd. All rights reserved.

Kinematic repeatability of a multi-segment foot model for dance.

PubMed

Carter, Sarah L; Sato, Nahoko; Hopper, Luke S

2018-03-01

The purpose of this study was to determine the intra and inter-assessor repeatability of a modified Rizzoli Foot Model for analysing the foot kinematics of ballet dancers. Six university-level ballet dancers performed the movements; parallel stance, turnout plié, turnout stance, turnout rise and flex-point-flex. The three-dimensional (3D) position of individual reflective markers and marker triads was used to model the movement of the dancers' tibia, entire foot, hindfoot, midfoot, forefoot and hallux. Intra and inter-assessor reliability demonstrated excellent (ICC ≥ 0.75) repeatability for the first metatarsophalangeal joint in the sagittal plane. Intra-assessor reliability demonstrated excellent (ICC ≥ 0.75) repeatability during flex-point-flex across all inter-segmental angles except for the tibia-hindfoot and hindfoot-midfoot frontal planes. Inter-assessor repeatability ranged from poor to excellent (0.5 > ICC ≥ 0.75) for the 3D segment rotations. The most repeatable measure was the tibia-foot dorsiflexion/plantar flexion articulation whereas the least repeatable measure was the hindfoot-midfoot adduction/abduction articulation. The variation found in the inter-assessor results is likely due to inconsistencies in marker placement. This 3D dance specific multi-segment foot model provides insight into which kinematic measures can be reliably used to ascertain in vivo technical errors and/or biomechanical abnormalities in a dancer's foot motion.

The impact of mirrors on body image and performance in high and low performing female ballet students.

PubMed

Radell, Sally A; Adame, Daniel D; Cole, Steven P; Blumenkehl, Nicole J

2011-09-01

This study assesses the effect of mirrors on body image and performance in high and low performing female collegiate ballet students. Twenty-three females enrolled in a beginning ballet class were taught using mirrors, and a second group of 23 beginning females were taught without mirrors. All participants completed the Cash 69-item Body Self-Relations Questionnaire during the first and last class of a 14-week semester. They were videotaped performing in the studio during the fifth and fourteenth weeks. Two ballet teachers independently viewed the videotapes to evaluate the dancers' rhythmic accuracy, ease and flow of movement, and mastery of steps and alignment, and rated the students' skill level on a 1-5 scale. For analysis purposes, students whose scores averaged three or higher were categorized as "high performers," and those who averaged less than three were "low performers." Two (mirror, non-mirror) by two (high performance, low performance) by two (pre-test, post-test) repeated measures ANOVAs were used to test class differences over the course of the semester. There were significant 3-way interactions for overweight preoccupation (p < 0.01) and body-areas satisfaction (p < 0.05). Low performers increased in overweight preoccupation in the non-mirror class while decreasing in the mirror class. High performers significantly increased in satisfaction for most areas of their body in the non-mirror class, while there were smaller increases for both low and high performers in the mirror class. It is concluded that while use of the mirror has some benefits in training, higher performing dancers feel better about their body image when they do not use the mirror. Lower performers who use the mirror worry less about their weight; those who do not use the mirror worry more. The mirror may provide feedback that helps low performing dancers feel more comfortable with their weight.

Between-Day Reliability of Pre-Participation Screening Components in Pre-Professional Ballet and Contemporary Dancers.

PubMed

Kenny, Sarah J; Palacios-Derflingher, Luz; Owoeye, Oluwatoyosi B A; Whittaker, Jackie L; Emery, Carolyn A

2018-03-15

Critical appraisal of research investigating risk factors for musculoskeletal injury in dancers suggests high quality reliability studies are lacking. The purpose of this study was to determine between-day reliability of pre-participation screening (PPS) components in pre-professional ballet and contemporary dancers. Thirty-eight dancers (35 female, 3 male; median age; 18 years; range: 11 to 30 years) participated. Screening components (Athletic Coping Skills Inventory-28, body mass index, percent total body fat, total bone mineral density, Foot Posture Index-6, hip and ankle range of motion, three lumbopelvic control tasks, unipedal dynamic balance, and the Y-Balance Test) were conducted one week apart. Intra-class correlation coefficients (ICCs: 95% confidence intervals), standard error of measurement, minimal detectable change (MDC), Bland-Altman methods of agreement [95% limits of agreement (LOA)], Cohen's kappa coefficients, standard error, and percent agreements were calculated. Depending on the screening component, ICC estimates ranged from 0.51 to 0.98, kappa coefficients varied between -0.09 and 0.47, and percent agreement spanned 71% to 95%. Wide 95% LOA were demonstrated by Foot Posture Index-6 (right: -6.06, 7.31), passive hip external rotation (right: -9.89, 16.54), and passive supine turnout (left: -15.36, 17.58). The PPS components examined demonstrated moderate to excellent relative reliability with mean between-day differences less than MDC, or sufficient percent agreement, across all assessments. However, due to wide 95% limits of agreement, the Foot Posture Index-6 and passive hip range of motion are not recommended for screening injury risk in pre-professional dancers.

Muscle dependency of corticomuscular coherence in upper and lower limb muscles and training-related alterations in ballet dancers and weightlifters.

PubMed

Ushiyama, Junichi; Takahashi, Yuji; Ushiba, Junichi

2010-10-01

It has been well documented that the 15- to 35-Hz oscillatory activity of the sensorimotor cortex shows coherence with the muscle activity during weak to moderate steady contraction. To investigate the muscle dependency of the corticomuscular coherence and its training-related alterations, we quantified the coherence between electroencephalogram (EEG) from the sensorimotor cortex and rectified electromyogram (EMG) from five upper limb (first dorsal interosseous, flexor carpi radialis, extensor carpi radialis, biceps brachii, triceps brachii) and four lower limb muscles (soleus, tibialis anterior, biceps femoris, rectus femoris), while maintaining a constant force level at 30% of maximal voluntary contraction of each muscle, in 24 untrained, 12 skill-trained (ballet dancers), and 10 strength-trained (weightlifters) individuals. Data from untrained subjects demonstrated the muscle dependency of corticomuscular coherence. The magnitude of the EEG-EMG coherence was significantly greater in the distally located lower limb muscles, such as the soleus and tibialis anterior, than in the upper or other lower limb muscles in untrained subjects (P < 0.05). These results imply that oscillatory coupling between the sensorimotor cortex and spinal motoneurons during steady contraction differs among muscles, according to the functional role of each muscle. In addition, the ballet dancers and weightlifters showed smaller EEG-EMG coherences than the untrained subjects, especially in the lower limb muscles (P < 0.05). These results indicate that oscillatory interaction between the sensorimotor cortex and spinal motoneurons can be changed by long-term specialized use of the muscles and that this neural adaptation may lead to finer control of muscle force during steady contraction.

Factors Dancers Associate with their Body Dissatisfaction.

PubMed

Dantas, Ana García; Alonso, Diana Amado; Sánchez-Miguel, Pedro Antonio; Del Río Sánchez, Carmen

2018-06-01

Body dissatisfaction constitutes an important factor in the development of eating pathologies, particularly among dancers. The aim of this research was to test the factors that dancers identified as relevant to their body dissatisfaction using an exploratory mixed method design. Participants were 369 dancers from two Spanish dance conservatories. Questionnaires assessed body dissatisfaction, abnormal eating attitudes and behaviors, and risk factors to eating disorders in the dance domain. Nine factors were found; the "teacher", the "uniform", and the "mirrors" were the most common. Individuals with a greater likelihood of developing an eating disorder identified teacherś influence as a key factor in their body dissatisfaction. Specifically, ballet dancers were more likely to indicate that teachers were a negative influence compared to students in other dance genres (contemporary, flamenco, and Spanish dance). Programs to reduce negative body image and improve positive body image in dance conservatories are needed, specifically focusing on teachers. Copyright © 2018 Elsevier Ltd. All rights reserved.

Hypermobility in Adolescent Athletes: Pain, Functional Ability, Quality of Life, and Musculoskeletal Injuries.

PubMed

Schmidt, Heidi; Pedersen, Trine Lykke; Junge, Tina; Engelbert, Raoul; Juul-Kristensen, Birgit

2017-10-01

Study Design Cross-sectional. Background Generalized joint hypermobility (GJH) may increase pain and likelihood of injuries and also decrease function and health-related quality of life (HRQoL) in elite-level adolescent athletes. Objective To assess the prevalence of GJH in elite-level adolescent athletes, and to study the association of GJH with pain, function, HRQoL, and musculoskeletal injuries. Methods A total of 132 elite-level adolescent athletes (36 adolescent boys, 96 adolescent girls; mean ± SD age, 14.0 ± 0.9 years), including ballet dancers (n = 22), TeamGym gymnasts (n = 57), and team handball players (n = 53), participated in the study. Generalized joint hypermobility was classified by Beighton score as GJH4 (4/9 or greater), GJH5 (5/9 or greater), and GJH6 (6/9 or greater). Function of the lower extremity, musculoskeletal injuries, and HRQoL were assessed with self-reported questionnaires, and part of physical performance was assessed by 4 postural-sway tests and 2 single-legged hop-for-distance tests. Results Overall prevalence rates for GJH4, GJH5, and GJH6 were 27.3%, 15.9%, and 6.8%, respectively, with a higher prevalence of GJH4 in ballet dancers (68.2%) and TeamGym gymnasts (24.6%) than in team handball players (13.2%). There was no significant difference in lower extremity function, injury prevalence and related factors (exacerbation, recurrence, and absence from training), HRQoL, or lengths of hop tests for those with and without GJH. However, the GJH group had significantly larger center-of-pressure path length across sway tests. Conclusion For ballet dancers and TeamGym gymnasts, the prevalence of GJH4 was higher than that of team handball players. For ballet dancers, the prevalence of GJH5 and GJH6 was higher than that of team handball players and the general adolescent population. The GJH group demonstrated larger sway in the balance tests, which, in the current cross-sectional study, did not have an association with injuries or HRQoL. However, the risk of having (ankle) injuries due to larger sway for the GJH group must be studied in future longitudinal studies. J Orthop Sports Phys Ther 2017;47(10):792-800. doi:10.2519/jospt.2017.7682.

Effects of instructional focus on learning a classical ballet movement, the pirouette.

PubMed

Denardi, Renata Alvares; Corrêa, Umberto Cesar

2013-01-01

This study investigated how changes in the focus of instruction might affect the learning by individuals who are not trained dancers of a complex classical ballet movement, the pirouette. Seventy-two volunteer college students were divided into six groups according to the focus of instruction: (1.) head, (2.) arms, (3.) trunk, (4.) knees, (5.) feet, and (6.) controls. In the acquisition phase, all groups performed 160 trials, over 2 consecutive days. At the beginning of each day, they received verbal instruction regarding some of the general principles involved in performance of the pirouette and viewed a video that illustrated those principles. Each group (head, arms, etc., exclusive of controls) was then given specific directions for controlling focus on its body part while performing the movement. After a week, all participants were asked to complete a retention test, with no additional instruction. The trials were videotaped with two cameras (frontally and laterally), and the results were analyzed by 10 specially trained examiners, utilizing Movement Pattern and Error of Performance measures. They revealed that all groups improved in the acquisition phase, and the improvement was maintained in the retention test. No differences were revealed between groups. It was concluded that generalized instruction in basic principles of the movement was more effective than focus on specific body parts in the teaching and learning of the pirouette.

Proprioception of foot and ankle complex in young regular practitioners of ice hockey, ballet dancing and running.

PubMed

Li, Jing Xian; Xu, Dong Qing; Hoshizaki, Blaine

2009-01-01

This study examined the proprioception of the foot and ankle complex in regular ice hockey practitioners, runners, and ballet dancers. A total of 45 young people with different exercise habits formed four groups: the ice hockey, ballet dancing, running, and sedentary groups. Kinesthesia of the foot and ankle complex was measured in plantarflexion (PF), dorsiflexion (DF), inversion (IV), and eversion (EV) at 0.4 degrees /s using a custom-made device. The results showed the following: (1) significantly better perceived passive motion sense in PF/DF was found as compared with the measurements in IV/EV within each group (P < .01); (2) ice hockey and ballet groups perceived significantly better passive motion sense in IV/EV than the running (P < .05) and the sedentary (P < .01) groups; and (3) no significant difference in the all measurements was found between running and sedentary groups. The benefits of ice hockey and ballet dancing on proprioception may be associated with their movement characteristics.

Influences of Patellofemoral Pain and Fatigue in Female Dancers during Ballet Jump-Landing.

PubMed

Peng, H-T; Chen, W C; Kernozek, T W; Kim, K; Song, C-Y

2015-08-01

This study investigated the influence of patellofemoral pain (PFP) and fatigue on lower-extremity joint biomechanics in female dancers during consecutive simple ground échappé. 3-dimensional joint mechanics were analyzed from the no-fatigue to fatigue conditions. 2-way mixed ANOVAs were used to compare the differences of the kinematic and kinetic variables between groups and conditions. Group main effects were seen in increased jump height (p=0.03), peak vertical ground reaction force (p=0.01), knee joint power absorption (p=0.04), and patellofemoral joint stress (PFJS, p=0.04) for PFP group. Fatigue main effects were found for decreased jump height (p<0.01), decreased ankle plantarflexion at initial foot-ground contact (p=0.01), and decreased ankle displacement (p<0.01). Hip external rotation impulse and hip joint stiffness increased (both p<0.01) while knee extension and external rotation moment, and ankle joint power absorption decreased (p<0.01, p=0.02, p<0.01, respectively) after fatigue. The peak PFJS also decreased after fatigue (p<0.01). Female ballet dancers with PFP sustained great ground impact and loads on the knee probably due to higher jump height compared to the controls. All dancers presented diminished knee joint loading for the protective mechanism and endurance of ankle joint musculature required for the dissipation of loads and displayed a distal-to-proximal dissipation strategy after fatigue. © Georg Thieme Verlag KG Stuttgart · New York.

Professional ballet dancers' experience of injury and osteopathic treatment in the UK: A qualitative study.

PubMed

Pollard-Smith, Tobias; Thomson, Oliver P

2017-01-01

Professional dancers suffer significant musculoskeletal injuries during the course of their careers. Treatment-seeking behaviour is important in all patient populations, yet is rarely investigated amongst professional dancers. This qualitative study aimed to form a better understanding of how dancers decide to seek treatment, and in particular to explore their experiences of receiving osteopathic care for their injuries. A qualitative study design using grounded theory was used as a methodological framework for data collection and analysis. Semi-structured interviews were used to explore professional dancers' experience of injury and decision-making to seek professional healthcare. Five themes were constructed that explain and describe dancers' experience of injuries and their views and perspectives of treatment, these were; the growing dancer, the fear factor, learning to cope, effective treatment, and returning autonomy. The personal development of each dancer consisted of an amalgam of internal and external pressures. These pressures combine with experiences of pain and injury to influence a dancer's decision-making behaviour when injured and deciding to seek treatment. The study also provide factors relevant in the effective treatment of dancers, and outlined participants' preference for a global physical approach to assessment and treatment of their musculoskeletal pain. Copyright © 2016 Elsevier Ltd. All rights reserved.

Risk factors for musculoskeletal injury in preprofessional dancers: a systematic review.

PubMed

Kenny, Sarah J; Whittaker, Jackie L; Emery, Carolyn A

2016-08-01

Preprofessional dancers partake in rigorous training and have high injury prevalence. Attempts to identify risk factors for dance injuries have focused on a diversity of intrinsic and extrinsic factors. To identify and evaluate the evidence examining risk factors for musculoskeletal injury in preprofessional ballet and modern dancers. Fifteen electronic databases were systematically searched to October 2015. Studies selected met a priori inclusion criteria and investigated musculoskeletal injury risk factors in preprofessional (elite adolescent, student, young adult) ballet and modern dancers. Two reviewers independently assessed the quality and level of evidence using the Downs and Black (DB) criteria and a modified Oxford Centre of Evidence-Based Medicine 2009 model, respectively. Of 1364 potentially relevant studies, 47 were included and scored. Inconsistent injury definition and methodology precluded meta-analysis. The most common modifiable risk factors investigated were anthropometrics (ie, body mass index, adiposity), joint range of motion (ie, lower extremity), dance exposure (ie, years training, exposure hours) and age. The median DB score across studies was 8/33 (range 2-16). The majority of studies were classified as level 3 evidence and few considered risk factor inter-relationships. There is some level 2 evidence that previous injury and poor psychological coping skills are associated with increased injury risk. Because of the lack of high-quality studies, consensus regarding risk factors for musculoskeletal injury in preprofessional dancers remains difficult. There is a need for injury definition consensus and high-quality prospective studies examining the multifactorial relationship between risk factors and injury in preprofessional dance. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://www.bmj.com/company/products-services/rights-and-licensing/

Assessment of congruence and impingement of the hip joint in professional ballet dancers: a motion capture study.

PubMed

Charbonnier, Caecilia; Kolo, Frank C; Duthon, Victoria B; Magnenat-Thalmann, Nadia; Becker, Christoph D; Hoffmeyer, Pierre; Menetrey, Jacques

2011-03-01

Early hip osteoarthritis in dancers could be explained by femoroacetabular impingements. However, there is a lack of validated noninvasive methods and dynamic studies to ascertain impingement during motion. Moreover, it is unknown whether the femoral head and acetabulum are congruent in typical dancing positions. The practice of some dancing movements could cause a loss of hip joint congruence and recurrent impingements, which could lead to early osteoarthritis. Descriptive laboratory study. Eleven pairs of female dancer's hips were motion captured with an optical tracking system while performing 6 different dancing movements. The resulting computed motions were applied to patient-specific hip joint 3-dimensional models based on magnetic resonance images. While visualizing the dancer's hip in motion, the authors detected impingements using computer-assisted techniques. The range of motion and congruence of the hip joint were also quantified in those 6 recorded dancing movements. The frequency of impingement and subluxation varied with the type of movement. Four dancing movements (développé à la seconde, grand écart facial, grand écart latéral, and grand plié) seem to induce significant stress in the hip joint, according to the observed high frequency of impingement and amount of subluxation. The femoroacetabular translations were high (range, 0.93 to 6.35 mm). For almost all movements, the computed zones of impingement were mainly located in the superior or posterosuperior quadrant of the acetabulum, which was relevant with respect to radiologically diagnosed damaged zones in the labrum. All dancers' hips were morphologically normal. Impingements and subluxations are frequently observed in typical ballet movements, causing cartilage hypercompression. These movements should be limited in frequency. The present study indicates that some dancing movements could damage the hip joint, which could lead to early osteoarthritis.

Comparison of Balance Performance Between Thai Classical Dancers and Non-Dancers.

PubMed

Krityakiarana, Warin; Jongkamonwiwat, Nopporn

2016-01-01

Thai classical dance is a traditional dramatic art, the technique of which has many features in common with South East Asian performing art. The choreographic patterns consist of various forms of balance control together with limb movements in slow rhythm. The grace and beauty of the dancer are dependent on how well the limb movements curve and angle. The relationship of whole body proportion and balance control in various patterns of support base is also important. The purpose of this study was to compare balance abilities between Thai classical dancers and non-dancers in different balance conditions. Twenty-five Thai classical dancers and 25 non-dancers performed the modified Sensory Organization Test (mSOT) and were further challenged by adding dynamic head tilts (DHTs) in four different directions during mSOT. Mixed model ANOVA was applied to determine the equilibrium score in each balance condition and also the interaction between dancer and non-dancer groups. It was found that Thai classical dancers achieved better equilibrium scores in all mSOT conditions except the least challenging one. Moreover, additional multitask conditions (mSOT+DHT) were revealed to profoundly affect differences between dancers and controls. In conclusion, Thai classical dancers demonstrated a better ability to maintain postural stability during different challenging postural tests. This information suggests various ways of putting the practice of Thai classical dance to use in the future.

Arthroscopic treatment of tenosynovitis of the flexor hallucis longus tendon.

PubMed

Corte-Real, Nuno Manuel; Moreira, Rodrigo Manuel; Guerra-Pinto, Francisco

2012-12-01

Tenosynovitis of the flexor hallucis longus (FHL) tendon is a condition typically found in ballet dancers and sometimes in soccer players and is related to chronic overuse. A traumatic cause for this situation, such as an ankle sprain, is considered rare. In case of failure of conservative treatment, the tendon can be surgically released, which is usually done through an open procedure. This article presents the results of an arthroscopic release of the FHL. Twenty-seven patients underwent surgery for FHL tenosynovitis over a period of 18 months. The mean age of the patients was 34 years. All patients related the onset of the condition with an ankle sprain. Eighteen patients were on worker's compensation and five had sport-related accidents. None of the patients was a professional athlete or a ballet dancer. The mean follow-up was 32 months. The outcome was measured with a satisfaction questionnaire and with the American Orthopaedic Foot and Ankle Society (AOFAS) ankle-hindfoot scoring system. The mean postoperative AOFAS score was 89 with 70% excellent or good results. Mean satisfaction rate was 4 (range, 0 to 5); 89% of the patients would undergo the procedure again. Twenty-two patients (81%) returned to the same level of activity in work and sports. A complication rate of 18% (five patients) and reoperation rate of 4% (one patient) were found. Arthroscopic release of the FHL tendon was a valid procedure. It was a minimally invasive surgery that allowed good visualization of the involved structures and yielded good results. This condition can be related to trauma and is not an exclusive disease of ballet dancers or overuse.

The Relationship Between Range of Motion and Injuries in Adolescent Dancers and Sportspersons: A Systematic Review

PubMed Central

Storm, Joyce M.; Wolman, Roger; Bakker, Eric W. P.; Wyon, Matthew A.

2018-01-01

Background: The frequent and intensive training and performance of pre-professional ballet dancers and sportspersons is offered at a time when young ballet dancers and young athletes may be vulnerable to injury due to the progress through adolescence and growth spurts. Hypothesis: There are changes in range of motion during the progress through adolescence and growth periods in dancers and sportspersons. These changes in ROM can be linked to the increase of injury. Objectives: The primary aim of this systematic review is to determine whether there are changes in ROM during the progress through adolescence and growth spurts in dancers and sportspersons. The secondary aim is to determine whether these changes can predict the risk of injuries for adolescent dancers and sportspersons. Search strategy: Pubmed, Cochrane Register of Controlled Trails (CENTRAL), Cochrane Database of Systematic Reviews (CDSR), EBSCO Host databases: CINAHL Plus, MEDLINE, SPORTDiscus, Embase were searched using MeSH terms. Manual search in the Journal of Dance Medicine and Science and screening of the reference lists of identified studies and reviews was conducted. Selection criteria: Studies included adolescent dancers and sportspersons, aged 8–18, both sexes, growth spurt related to changes in ROM and injury incidence. Data collection and analysis: Search strategy was performed in the flow diagram of the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA). Two reviewers independently appraised each included study using Strengthening the Reporting of Observational Studies in Epidemiology (STROBE) for methodological quality of the included studies. For data extraction, the following information was systematically extracted: first author and year of publication, study design, participants (sample size of mean age), age, maturation (if assessed), intervention, outcome(s), and some notes of each study. For evaluation of the risk of bias and precision the Research Triangle Institute Item Bank (RTI-IB) is included. Main results: Seven observational studies met the inclusion criteria of this current review. The results of this review suggest that there are changes in ROM during the progress through adolescence and growth spurts in dancers and sportspersons. These changes may lead to an increase in injury incidence. Conclusion: There is evidence linking to changes in ROM during the progress through adolescence and growth spurts in dancers and sportspersons. These changes in ROM may be related to injury incidence. PMID:29623052

Arthroscopic Release of Flexor Hallucis Longus Tendon Sheath in Female Ballet Dancers: Dynamic Pathology, Surgical Technique, and Return to Dancing Performance.

PubMed

Funasaki, Hiroki; Hayashi, Hiroteru; Sakamoto, Kanako; Tsuruga, Rei; Marumo, Keishi

2015-12-01

Stenosing tenosynovitis of the flexor hallucis longus (FHL) tendon is known as a major overuse lesion in female dancers. We describe arthroscopic surgical techniques in relation to the dynamic pathology of the disease. Crepitus and pain on moving the great toe with the ankle in plantar flexion on preoperative examination confirm the diagnosis of FHL stenosing tenosynovitis even if the os trigonum is not evident. The ankle is approached through standard posterolateral and posteromedial portals. A 4.0-mm-diameter 30° arthroscope is used. Soft tissues around the talus are cleared with a motorized shaver and a radiofrequency device. The posterior aspects of the talus, os trigonum, and FHL tendon surrounded by the tendon sheath are visualized. The dynamic pathology of the FHL tendon is well observed on passive motion of the great toe. The prominent bone fragment of the talus is removed and the tendon sheath is cut with a retrograde knife and a motorized shaver from the superior border down to the entrance of the fibro-osseous tunnel. Arthroscopic release of the FHL tendon sheath is a useful and easy method to directly approach the dynamic pathology of FHL tenosynovitis in female ballet dancers.

Psychological intervention programs for reduction of injury in ballet dancers.

PubMed

Noh, Young-Eun; Morris, Tony; Andersen, Mark B

2007-01-01

The purpose of this study was to examine the effects of two psychological interventions designed to reduce injury among dancers by enhancing coping skills. Participants were 35 ballet dancers. They were assigned to three conditions: control (n = 12), autogenic training (n = 12), and a broad-based coping skills condition, including autogenic training, imagery, and self-talk (n = 11). The 12-week interventions were designed on the basis of results from previous studies. For the 12 weeks following the intervention, participants were asked to practice their respective interventions three times a week. During the 24-week period (12 weeks training plus 12 weeks practice), training staff at the dance academies recorded injuries on a record sheet each day. Participants wrote injury records by themselves for another 24 weeks. Multivariate analysis of variance (MANOVA) and univariate tests for each dependent variable showed that the broad-based coping skills condition enhanced coping skills, in particular, peaking under pressure, coping with adversity, having confidence and achievement motivation, and concentrating. Separate analyses of covariance (ANCOVA), one using preintervention injury frequency as the covariate and one using preintervention injury duration as the covariate, revealed that participants in the broad-based coping skills condition spent less time injured than participants in the control condition.

Urinary incontinence in elite female athletes and dancers.

PubMed

Thyssen, H H; Clevin, L; Olesen, S; Lose, G

2002-01-01

The aim of this study was, to determine the frequency of urinary loss in elite women athletes and dancers. Elite athletes in eight different sports, including ballet, filled in an evaluated questionnaire about urinary incontinence while participating in their sport/dancing and during daily life activities. A total of 291 women with a mean age of 22.8 years completed the questionnaire, providing a response rate of 73.9%. Overall, 151 women (51.9%) had experienced urine loss, 125 (43%) while participating in their sport and 123 (42%) during daily life. The proportion of urinary leakage in the different sports was: gymnastics 56%, ballet 43%, aerobics 40%, badminton 31%, volleyball 30%, athletics 25%, handball 21% and basketball 17%. During sport 44% had experienced leakage a few times, 46.4% now and then, and 9.6% frequently. During daily life the figures were: 61.7% a few times, 37.4% now and then, and 0.8% frequently. Of those who leaked during sport, 95.2% experienced urine loss while training versus only 51.2% during competition (P<0.001). The activity most likely to provoke leakage was jumping. Sixty per cent (91/151) occasionally wore pads or panty shields because of urine loss. Urinary leakage is common among elite athletes and dancers, particularly during training, but also during daily life activities.

Communication between medical practitioners and dancers.

PubMed

Lai, Ruanne Y J; Krasnow, Donna; Thomas, Martin

2008-01-01

The purpose of this study was to investigate patterns of communication between professional and pre-professional dancers and medical practitioners. One survey was developed and randomly conducted among family physicians, sports medicine physicians, chiropractors, physical therapists, and registered massage therapists. A second survey involved volunteer ballet and modern dancers in professional dance training programs, college and university dance programs, and independent dance artists. One hundred and ninety questionnaires were distributed to medical practitioners, and 50 were returned. Of 380 questionnaires given to dancers, 202 were returned. The dancers were 18 to 49 years old, with a majority between the ages of 18 and 20. They averaged more than 10 years of dance training. All of the questionnaires were distributed in a single large Canadian city. The data shows that medical practitioners rarely communicated with each other concerning a common (dance) patient. They also failed to communicate, in most cases, with the dancers' teachers, choreographers, and directors. This was not disconcerting to injured dancers, who tended to believe that such communication was not important to their recovery. Significantly, dancers did not fully understand the nature of their injuries when they sought medical advice, and they did not press the medical practitioners for additional information. Both groups generally believed that dancers would benefit by learning more about human anatomy.

Lateral occipitotemporal cortex (LOTC) activity is greatest while viewing dance compared to visualization and movement: learning and expertise effects.

PubMed

Di Nota, Paula M; Levkov, Gabriella; Bar, Rachel; DeSouza, Joseph F X

2016-07-01

The lateral occipitotemporal cortex (LOTC) is comprised of subregions selectively activated by images of human bodies (extrastriate body area, EBA), objects (lateral occipital complex, LO), and motion (MT+). However, their role in motor imagery and movement processing is unclear, as are the influences of learning and expertise on its recruitment. The purpose of our study was to examine putative changes in LOTC activation during action processing following motor learning of novel choreography in professional ballet dancers. Subjects were scanned with functional magnetic resonance imaging up to four times over 34 weeks and performed four tasks: viewing and visualizing a newly learned ballet dance, visualizing a dance that was not being learned, and movement of the foot. EBA, LO, and MT+ were activated most while viewing dance compared to visualization and movement. Significant increases in activation were observed over time in left LO only during visualization of the unlearned dance, and all subregions were activated bilaterally during the viewing task after 34 weeks of performance, suggesting learning-induced plasticity. Finally, we provide novel evidence for modulation of EBA with dance experience during the motor task, with significant activation elicited in a comparison group of novice dancers only. These results provide a composite of LOTC activation during action processing of newly learned ballet choreography and movement of the foot. The role of these areas is confirmed as primarily subserving observation of complex sequences of whole-body movement, with new evidence for modification by experience and over the course of real world ballet learning.

Injuries in pre-professional ballet dancers: Incidence, characteristics and consequences.

PubMed

Ekegren, Christina L; Quested, Rachele; Brodrick, Anna

2014-05-01

Compared to other athletic activities, research on injury incidence and risk factors in dance is limited. There is also a need for more research evaluating the impact of intense training on elite adolescent athletes. The aim of this study was to evaluate the rates and risk of injuries, the hours of dance exposure and the characteristics and consequences of injuries among elite pre-professional ballet students. Prospective epidemiological study. 266 (112 male) full-time students aged 15-19 years from three elite pre-professional ballet schools were followed prospectively over one school year. Injury rate was reported per 1000 h of dance and 1000 dance exposures (DEs). Injury details collected included type and anatomical location of injury. The clinical incidence of injury was 1.42 injuries per dancer and the risk of injury was 76% over the one-year period. The rate of injury was 1.38/1000 h of dance and 1.87/1000 DEs. Joints were the most commonly injured structures and the ankle was the most commonly injured body area. Overuse injuries were more common than traumatic injuries. Bony injuries (e.g. stress fractures), and injuries to the knee were associated with the greatest time loss per injury. Injury risk and rate increased as students progressed through their three years of training. In comparison with other adolescent athletic populations, participants in this study had a similar injury rate but a higher risk of injury. This may be attributable to the high level of training exposure in pre-professional ballet students. Copyright © 2013 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

Overuse ankle injuries in professional Irish dancers.

PubMed

Walls, R J; Brennan, S A; Hodnett, P; O'Byrne, J M; Eustace, S J; Stephens, M M

2010-03-01

Overuse ankle injuries have been described in elite athletes and professional ballet dancers however the spectrum of injuries experienced by professional Irish dancers has not been defined. A troupe of actively performing dancers from an Irish-dance show were recruited (eight male, ten female; mean age, 26 years). The prevalence of overuse injuries in the right ankle was determined from magnetic resonance imaging. Foot and ankle self-report questionnaires were also completed (AOFAS and FAOS). Only three ankles were considered radiologically normal. Achilles tendinopathy, usually insertional, was the most frequent observation (n=14) followed by plantar fasciitis (n=7), bone oedema (n=2) and calcaneocuboid joint degeneration (n=2). There were limited correlations between MRI patterns and clinical scores indicating that many conditions are sub-clinical. Dancers with ankle pain had poor low (p=0.004) and high (p=0.013) level function. Overuse ankle injuries are common in Irish dancers. Incorporating eccentric exercises and plantar fascia stretching into a regular training program may benefit this population. Copyright 2009 European Foot and Ankle Society. Published by Elsevier Ltd. All rights reserved.

The Secret Talents of Fundraisers

ERIC Educational Resources Information Center

Pulley, John

2010-01-01

A significant but unknown number of performing artists have redirected their creativity and passion into development. They are ballet and contemporary dancers, jazz and orchestral musicians, actors and comedians, opera divas and gospel belters. None of them set out to become fundraisers. Yet here they are, and they partly credit their success in…

Cardiac Frequency and Caloric Cost of Aerobic Dancing in Young Women.

ERIC Educational Resources Information Center

Nelson, Deborah J.; And Others

1988-01-01

A study of cardiac frequency during aerobic dancing indicated that it can sustain an elevated cardiac frequency in most cases. The caloric cost of aerobic dancing is approximately 50 percent greater than an equal duration of barre and center-floor exercise by elite ballet dancers. (JD)

Physiological profiles of young boys training in ballet.

PubMed Central

Pekkarinen, H; Litmanen, H; Mahlamäki, S

1989-01-01

In order to evaluate physiological characteristics in young male ballet dancers, 27 boys (aged 9 to 16 years) who participated in a boys' dance course during the Kuopio Dance and Music Festival in June 1988 were studied. In general, the boys had started dancing at the age of 8.6 years and had been training for 4.1 years. They had, on average, three dancing sessions per week and the mean time spent on dancing was four hours per week. In the study, some anthropometric measurements were taken, the maximal oxygen uptake (VO2 max) was measured by a cycle ergometer test and the explosive strength and the mechanical power of lower extremities were evaluated by a jumping test. The results indicate that boys who train in ballet are in general moderately lean, have relatively small body size and a high degree of flexibility. The younger boys especially have only moderate aerobic power, but both explosive strength and mechanical power in leg muscles are good in ballet trained boys. PMID:2630002

Assessment of DNA damage in a group of professional dancers during a 10-month dancing season.

PubMed

Esteves, Filipa; Teixeira, Eduardo; Amorim, Tânia; Costa, Carla; Pereira, Cristiana; Fraga, Sónia; De Andrade, Vanessa Moraes; Teixeira, João Paulo; Costa, Solange

2017-01-01

Despite the numerous health benefits of physical activity, some studies reported that increased intensity and duration may induce oxidative stress in several cellular components including DNA. The aim of this study was to assess the level of basal DNA damage as well as oxidative DNA damage in a group of professional dancers before and after a 10-month dancing season. A group of individuals from general population was also assessed as a control. The alkaline version of the comet assay was the method selected to measure both basal DNA damage and oxidative stress, since this method quantifies both endpoints. In order to measure oxidative stress, the comet assay was coupled with a lesion-specific endonuclease (formamidopyrimidine glycosylase) to detect oxidized purines. The levels of oxidative DNA damage in dancers were significantly increased after the dancing season. Pre-season levels of oxidative DNA damage were lower in dancers than those obtained from the general population, suggesting an adaptation of antioxidant system in dancers. Results of the present biomonitoring study indicate the need for more effective measures to protect ballet dancers from potentially occupational health risks related to regular intensive physical exercise.

Effect of teaching with or without mirror on balance in young female ballet students

PubMed Central

2014-01-01

Background In literature there is a general consensus that the use of the mirror improves proprioception. During rehabilitation the mirror is an important instrument to improve stability. In some sports, such as dancing, mirrors are widely used during training. The purpose of this study is to evaluate the effectiveness of the use of a mirror on balance in young dancers. Sixty-four young dancers (ranging from 9–10 years) were included in this study. Thirty-two attending lessons with a mirror (mirror- group) were compared to 32 young dancers that attended the same lessons without a mirror (non-mirror group). Balance was evaluated by BESS (Balance Error Scoring System), which consists of three stances (double limb, single limb, and tandem) on two surfaces (firm and foam). The errors were assessed at each stance and summed to create the two subtotal scores (firm and foam surface) and the final total score (BESS). The BESS was performed at recruitment (T0) and after 6 months of dance lessons (T1). Results The repeated measures ANOVA analysis showed that for the BESS total score there is a difference due to the time (F = 3.86; p < 0.05). No other differences due to the group or to the time of measurement were found (p > 0.05). The analysis of the multiple regression model showed the influence of the values at T0 for every BESS items and the dominance of limb for stability on an unstable surface standing on one or two legs. Conclusions These preliminary results suggest that the use of a mirror in a ballet classroom does not improve balance acquisition of the dancer. On the other hand, improvement found after 6 months confirms that at the age of the dancers studied motor skills and balance can easily be trained and improved. PMID:24996519

Effect of teaching with or without mirror on balance in young female ballet students.

PubMed

Notarnicola, Angela; Maccagnano, Giuseppe; Pesce, Vito; Di Pierro, Silvia; Tafuri, Silvio; Moretti, Biagio

2014-07-04

In literature there is a general consensus that the use of the mirror improves proprioception. During rehabilitation the mirror is an important instrument to improve stability. In some sports, such as dancing, mirrors are widely used during training. The purpose of this study is to evaluate the effectiveness of the use of a mirror on balance in young dancers. Sixty-four young dancers (ranging from 9-10 years) were included in this study. Thirty-two attending lessons with a mirror (mirror- group) were compared to 32 young dancers that attended the same lessons without a mirror (non-mirror group). Balance was evaluated by BESS (Balance Error Scoring System), which consists of three stances (double limb, single limb, and tandem) on two surfaces (firm and foam). The errors were assessed at each stance and summed to create the two subtotal scores (firm and foam surface) and the final total score (BESS). The BESS was performed at recruitment (T0) and after 6 months of dance lessons (T1). The repeated measures ANOVA analysis showed that for the BESS total score there is a difference due to the time (F = 3.86; p < 0.05). No other differences due to the group or to the time of measurement were found (p > 0.05). The analysis of the multiple regression model showed the influence of the values at T0 for every BESS items and the dominance of limb for stability on an unstable surface standing on one or two legs. These preliminary results suggest that the use of a mirror in a ballet classroom does not improve balance acquisition of the dancer. On the other hand, improvement found after 6 months confirms that at the age of the dancers studied motor skills and balance can easily be trained and improved.

Public Participation in Classical Ballet: A Special Analysis of the Ballet Data Collected in the 1982 and 1985 Survey of Public Participation in the Arts.

ERIC Educational Resources Information Center

Keegan, Carol

The 1982 and 1985 Survey of Public Participation in the Arts (SPPA) produced a national audience profile for classical ballet and explored factors that predispose participation in this art form. This monograph analyzed data from these surveys in terms of: (1) audience size and composition for live ballet performances; (2) television's role in…

Teaching Creative Dexterity to Dancers: Critical Reflections on Conservatory Dance Education in the UK, Denmark and New Zealand

ERIC Educational Resources Information Center

Rowe, Nicholas; Zeitner-Smith, David

2011-01-01

This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and…

Embodied Subjectivities: Nine Young Women Talking Dance

ERIC Educational Resources Information Center

O'Flynn, Gabrielle; Pryor, Zoe; Gray, Tonia

2013-01-01

The purpose of this paper is to examine nine Australian young women's embodied experiences of dance. The young women were all amateur dancers involved in weekly jazz, tap, and ballet dance classes at the same dance studio. In this paper, embodiment is defined as multidimensional (Burkitt 1999). The authors explore the ways the corporeal and the…

Understanding Growth and Maturation in the Context of Ballet: A Biocultural Approach

ERIC Educational Resources Information Center

Mitchell, Siobhan B.; Haase, Anne M.; Cumming, Sean P.; Malina, Robert M.

2017-01-01

The pubertal transition can present an interesting paradox for the young dancer, with growth and maturation leading to improvements in some areas such as strength and power and detriment to others, such as flexibility and co-ordination. These challenges highlight the need to consider the interactions among biological, psychological and…

"Flash" dance: how speed modulates percieved duration in dancers and non-dancers.

PubMed

Sgouramani, Helena; Vatakis, Argiro

2014-03-01

Speed has been proposed as a modulating factor on duration estimation. However, the different measurement methodologies and experimental designs used have led to inconsistent results across studies, and, thus, the issue of how speed modulates time estimation remains unresolved. Additionally, no studies have looked into the role of expertise on spatiotemporal tasks (tasks requiring high temporal and spatial acuity; e.g., dancing) and susceptibility to modulations of speed in timing judgments. In the present study, therefore, using naturalistic, dynamic dance stimuli, we aimed at defining the role of speed and the interaction of speed and experience on time estimation. We presented videos of a dancer performing identical ballet steps in fast and slow versions, while controlling for the number of changes present. Professional dancers and non-dancers performed duration judgments through a production and a reproduction task. Analysis revealed a significantly larger underestimation of fast videos as compared to slow ones during reproduction. The exact opposite result was true for the production task. Dancers were significantly less variable in their time estimations as compared to non-dancers. Speed and experience, therefore, affect the participants' estimates of time. Results are discussed in association to the theoretical framework of current models by focusing on the role of attention. © 2013 Elsevier B.V. All rights reserved.

Dancing in pain: pain appraisal and coping in dancers.

PubMed

Anderson, Ruth; Hanrahan, Stephanie J

2008-01-01

This study investigated the relationships between the type of pain experienced (performance pain and injury pain), the cognitive appraisal of pain and pain coping styles in dancers. Fifty-one professional ballet and contemporary dancers (17 males and 34 females), with the mean age of 25.9 years, completed a general pain questionnaire, the Pain Appraisal Inventory, the Survey of Pain Attitudes Control Subscale, and the Sports Inventory for Pain. Multivariate analyses of variance indicated that both the cognitive appraisal of the pain and pain coping styles did not differ according to the type of pain experienced or the pain severity. However, it was found that dancers with performance pain of either low or high severity were more likely to dance in pain than dancers experiencing injury pain. Multiple regression analyses indicated that the appraisal of pain as threatening was predictive of the use of avoidance and catastrophizing pain coping styles. Overall, results indicated that dancers may not differentiate between performance pain and injury pain, or modify their appraisal and coping strategies according to the characteristics of the pain experienced. The study highlighted an opportunity for increased education for dancers in recognizing the difference between pain considered to be a routine aspect of training and pain which is a signal of serious injury.

Trust, Satisfaction, and Confidence in Health Care Providers Among Student and Professional Dancers in France.

PubMed

Alimena, Stephanie; Air, Mary E

2016-09-01

Patients who trust their physicians are more likely to communicate about medical problems, adhere to medical advice, and be satisfied with care. Dancers have demonstrated low utilization of physician services for both preventive care and dance injuries. The purpose of this cross-sectional study was to examine trust in physicians as a variable influencing dancers' health care-seeking behavior. The validated Trust in Physician Scale was administered to 45 professional and 34 student ballet/contemporary dancers in France (36.7% male, 63.3% female) to evaluate their trust in medical doctors (MDs) vs physical therapists (PTs). Dancers were also asked about satisfaction and confidence in medical treatment for dance injuries. Dancers indicated greater trust in PTs than MDs (70.61±10.57 vs 65.38±10.79, t=-3.499, p=0.001). Students exhibited significantly less trust in MDs than professional dancers (62.04±9.96 vs 67.65±10.42, t=-2.381, p=0.020). Trust scale scores for PTs did not differ between students and professionals (69.53±8.30 vs 71.68±12.09, t=-0.866, p=0.389). Students were less confident than professional dancers in their physician's ability to treat their most severe injury (6.7% of students vs 35.7% of professionals "very confident, " X2=9.402, p=0.052). Dancer patients exhibit lower trust in physicians compared to previously studied non-dancer populations. Our results suggest that reduced trust in physicians and factors related to professional status may influence dancers' health care-seeking behavior. Student dancers may comprise a unique subpopulation of dancers with distinctive health care needs.

Knee and ankle strength and lower extremity power in adolescent female ballet dancers.

PubMed

Kenne, Ellinor; Unnithan, Viswanath B

2008-01-01

The aims of this study were twofold: (1) to compare the strength of four muscle groups of the lower limb (quadriceps [Q], hamstrings [H], plantar flexors [PF], and dorsiflexors [DF]) between female adolescent ballet dancers (BALs) and basketball players (BBs) over three angular velocities (30 degrees, 60 degrees and 90 degrees/sec) and two types of contraction (eccentric and concentric); and (2) to compare peak and mean power between the BALs and BBs. Eleven BALs (age: 15.8 +/- 1.2 years; stature: 163.9 +/- 6.2 cm; body mass: 56.3 +/- 5.7 kg; Tanner stage 4: N=10, stage 5: N=1) and ten BBs (age: 15.8 +/- 1.0 years; stature: 172.5 +/- 5.8 cm; body mass: 63.2 +/- 10.0 kg; Tanner stage 4: N=7, stage 5: N=3) volunteered to participate. Each participant performed one habituation session and one testing session on a Biodex isokinetic dynamometer to determine peak torque. Three angular velocities (30 degrees, 60 degrees and 90 degrees/sec) were used for each muscle group. To determine absolute and relative peak and mean power, participants performed a 30 second anaerobic Wingate test on a cycle ergometer. There were no significant differences in peak torque for Q, H, PF, and DF between the groups. Basketball players produced greater absolute peak power [569.7 +/- 82.2 vs. 454.6 +/- 79.3 W (p < .05)], relative peak power [9.1 +/- 1.3 vs. 8.1 +/- 1.0 W/kg body mass (p < .05)], absolute mean power [428.4 +/- 53.9 vs. 333.7 +/- 68.2 W (p < .05)] and relative mean power [6.83 +/- 0.7 vs. 5.9 +/- 0.7 W/kg (p < .05)] than BALs. Ballet dancers and BBs had similar isokinetically measured lower extremity muscular strength, but BALs generated lower levels of peak power and mean power compared to BBs.

Musculoskeletal injuries and pain in dancers: a systematic review.

PubMed

Hincapié, Cesar A; Morton, Emily J; Cassidy, J David

2008-09-01

To assemble and synthesize the best evidence on the epidemiology, diagnosis, prognosis, treatment, and prevention of musculoskeletal injuries and pain in dancers. Medline, CINAHL, PsycINFO, Embase, and other electronic databases were searched from 1966 to 2004 using key words such as dance, dancer, dancing, athletic injuries, occupational injuries, sprains and strains, and musculoskeletal diseases. In addition, the reference lists of relevant studies were examined, specialized journals were hand-searched, and the websites of major dance associations were scanned for relevant information. Citations were screened for relevance using a priori criteria, and relevant studies were critically reviewed for scientific merit by the best evidence synthesis method. After 1865 abstracts were screened, 103 articles were reviewed, and 32 (31%) of these were accepted as scientifically admissible (representing 29 unique studies). Data from accepted studies were abstracted into evidence tables relating to the prevalence and associated factors, incidence and risk factors, diagnosis, treatment, economic costs, and prevention of musculoskeletal injuries and pain in dancers. The scientifically admissible studies consisted of 15 (52%) cohort studies, 13 (45%) cross-sectional studies, and 1 (3%) validation study of a diagnostic assessment tool. There is a high prevalence and incidence of lower extremity and back injuries, with soft tissue and overuse injuries predominating. For example, lifetime prevalence estimates for injury in professional ballet dancers ranged between 40% and 84%, while the point prevalence of minor injury in a diverse group of university and professional ballet and modern dancers was 74%. Several potential risk factors for injury are suggested by the literature, but conclusive evidence for any of these is lacking. There is preliminary evidence that comprehensive injury prevention and management strategies may help decrease the incidence of future injury. The dance medicine literature is young and heterogeneous, limiting our ability to draw consistent conclusions. Nonetheless, the best available evidence suggests that musculoskeletal injury is an important health issue for dancers at all skill levels. Better quality research is needed in this specialized area. Future research would benefit from clear and relevant research questions being addressed with appropriate study designs, use of conceptually valid and clinically meaningful case definitions of injury and pain, and better reporting of studies in line with current scientific standards.

Body Learning: Examining the Processes of Skill Learning in Dance

ERIC Educational Resources Information Center

Bailey, Richard; Pickard, Angela

2010-01-01

This paper was stimulated by the authors' attempt to understand the process of skill learning in dance. Its stimulus was a period of fieldwork based at the Royal Ballet School in London, and subsequent discussions with the school's teachers and with academic colleagues about how it was that the young dancers developed their characteristic set of…

The Pilates Method and Ballet Technique: Applications in the Dance Studio

ERIC Educational Resources Information Center

Ahearn, Elizabeth Lowe

2006-01-01

There are many body therapies from which dancers may choose in order to gain and maintain strength, flexibility, and balance and to avoid injury or facilitate rehabilitation from injury. The questions are: which system is best for the given student, and how can educators incorporate the many somatic perspectives into their curriculums. This…

Space Sciences and Idealism

NASA Astrophysics Data System (ADS)

Popov, M.

Erwin Schrodinger suggested that " Scientific knowledge forms part of the idealistic background of human life", which exalted man from a nude and savage state to true humanity [Science and Humanism, Cambridge, 1961, p9]. Modern space sciences an space exploration are a brilliant demonstration of the validity of Schrodinger's thesis on Idealism. Moreover, Schrodingers thesis could be considered also as a basic principle for the New Educational Space Philosophical Project "TIMAEUS"."TIMAEUS" is not only an attempt to to start a new dialogue between Science, the Humanities and Religion; but also it is an origin of the cultural innovations of our so strange of globilisation. TIMAEUS, thus, can reveal Idealism as something more fundamental , more refined, more developed than is now accepted by the scientific community and the piblic. TIMAEUS has a significant cultural agenda, connected with the high orbital performance of the synthetic arts, combining a knowledge of the truly spiritual as well as the universal. In particular, classical ballet as a synthetic art can be a new and powerful perfector and re-creator of the real human, real idealistic, real complex culture in orbit. As is well known, Carlo Blasis, the most important dance theorist of the 19t h .century, made probably the first attempts to use the scientific ideas of Leonardo da Vinci and Isaac Newton for the understanding of the gravitational nature of balance and allegro in ballet. In particular Blasis's idea of the limited use of the legs in classical dance realised by the gifted pupils of Enrico Cecchetti - M.Fokine, A.Pavlova and V.Nijinsky, with thinkable purity and elegance of style. V.Nijinsky in his remarkable animation of the dance of two dimensional creatures of a Euclidean flat world (L'Apres Midi d'un Faune,1912) discovered that true classical dance has some gravitational limits. For example, Nijinsky's Faunes and Nymphs mut use running on the heels (In accordance with "Partitura" 1916); they cannot use a turn-out or epaulement for their pas-de-bra. In other words Nijinsky's dancers must live in weightlessness in order to perform what his "Partitura" (L'Apres Midi d'un Faune, version of 1916) describes. Diaghilev and Benois, platonised theorists of the Ballet Russe, suggested that the true idealised classical dance must be performed in Tiepolo's weightlessnessful manner of later Baroque. Anna Pavlova by her idiosyncrasy of parallel motion opened the New World of Aesthetics and brought it to its utmost perfection. Hence, it is natural to think that some findings of choreographers could be developed and tested in space environment. Moreover, we believe that classical ballet itself could be brought to perfection in space fter Diaghilev's reform. Correspondingly, we may await that such innovations can initiate a development of the New Grand Style in Arts, Music and Choreography free from contemporary religious and national prejudices.

Exploring the effects of kinesiological awareness and mental imagery on movement intention in the performance of demi-plié.

PubMed

Couillandre, Annabelle; Lewton-Brain, Peter; Portero, Pierre

2008-01-01

This study was designed to assess the ability of a practitioner intervention using kinesiological explanations and mental imagery techniques to optimize the performance of demi-plié in dancers. Seven professional female ballet dancers were involved in the study. Biomechanical and electromyographical parameters (maximum knee flexion, jump height, maximal vertical acceleration and its duration, ratio of sagittal acceleration variation, and ratio of muscle activity in four muscles of the lower limb) were analyzed before and after the practitioner intervention. Results demonstrated no significant difference in the depth of the demi-plié, nor in the height of the jump that followed, nor in the maximal vertical acceleration and its duration, leading to the suggestion that the technical potential of the dancers was preserved. Significant differences were found in the SEMG of the hamstrings during the demi-plié and the jump, implying that an improvement in the dynamic alignment of the dancers was present. A correlation was also found between the ratio of sagittal acceleration variation and the hamstring activity, suggesting that increased hamstring engagement produces decreased disruption of dynamic alignment. However, the intervention was not assimilated equally by all of the dancers.

Athletes Doing Arabesques: Important Considerations in the Care of Young Dancers.

PubMed

Wilson, Julie C; Quinn, Bridget J; Stratton, Corinne W; Southwick, Heather; MacDonald, James P

2015-01-01

Dance is as much a sport as an art form. Sports medicine clinicians seeing dancers in their practice will need to be familiar with the unique characteristics of dance in order to provide proper care. Dance encompasses different forms, which vary in equipment and terminology. The epidemiology of dance injuries has historically focused on ballet, but there is increasing research on other dance forms. Lower extremity and back injuries predominate. Injury prevention, both primary and secondary, is at the heart of dance medicine. Primary prevention includes preseason conditioning, identifying risk factors for injury, and recognizing the female athlete triad. Secondary prevention includes a comprehensive approach to injury rehabilitation, an appreciation for the unique demands of dance, and an understanding of the particulars of the injury being treated. Dancers may have difficulty accessing medical care or following prescribed advice; the proactive clinician will anticipate these situations.

Bringing Joy through Dance: Community Outreach with the Council for Professional Recognition and the Trey McIntyre Project

ERIC Educational Resources Information Center

Dombrink-Green, Meghan

2011-01-01

In May 2011, the Council for Professional Recognition and the contemporary ballet troupe the Trey McIntyre Project (TMP) combined their passion for community outreach by bringing TMP dancers to perform for young children who are hospitalized in the Washington, D.C., area. The Council for Professional Recognition, which administers the Child…

The Mirror and Ballet Training: Do You Know How Much the Mirror's Presence Is Really Affecting You?

ERIC Educational Resources Information Center

Diehl, Kathy

2016-01-01

It is clear that the relationship that dancers have with the mirror, the reflected image, and the accompanying perceptions (and often, distortions) is complicated. One area that is quite complex involves the development of a student's ability to sense movement, which directly connects to other issues involving body image, self-perception,…

"A Shock of Electricity Just Sort of Goes through My Body": Physical Activity and Embodied Reflexive Practices in Young Female Ballet Dancers

ERIC Educational Resources Information Center

Wellard, Ian; Pickard, Angela; Bailey, Richard

2007-01-01

Participation in physical activities, in and out of school, remains heavily influenced by social constructions of gendered behaviour. In addition, the body plays a significant part in the presentation of legitimate performances of physical practice and the construction of a physical "identity". The consequence is that in formalized…

Single leg balancing in ballet: effects of shoe conditions and poses.

PubMed

Lobo da Costa, Paula H; Azevedo Nora, Fernanda G S; Vieira, Marcus Fraga; Bosch, Kerstin; Rosenbaum, Dieter

2013-03-01

The purpose of this study was to describe the effects of lower limb positioning and shoe conditions on stability levels of selected single leg ballet poses performed in demi-pointe position. Fourteen female non-professional ballet dancers (mean age of 18.4±2.8 years and mean body mass index of 21.5±2.8kg/m(2)) who had practiced ballet for at least seven years, without any musculoskeletal impairment volunteered to participate in this study. A capacitive pressure platform allowed for the assessment of center of pressure variables related to the execution of three single leg ballet poses in demi pointé position: attitude devant, attitude derriére, and attitude a la second. Peak pressures, contact areas, COP oscillation areas, anterior-posterior and medio-lateral COP oscillations and velocities were compared between two shoe conditions (barefoot versus slippers) and among the different poses. Barefoot performances produced more stable poses with significantly higher plantar contact areas, smaller COP oscillation areas and smaller anterior-posterior COP oscillations. COP oscillation areas, anterior-posterior COP oscillations and medio-lateral COP velocities indicated that attitude a la second is the least challenging and attitude derriére the most challenging pose. Copyright © 2012 Elsevier B.V. All rights reserved.

Body weight, exercise and menstrual status among ballet dancers in training.

PubMed

Abraham, S F; Beumont, P J; Fraser, I S; Llewellyn-Jones, D

1982-07-01

A prospective study of the menstrual pattern and weight changes was made in the first year of training of 29 new female entrants to a professional ballet school. Seventy-nine per cent of the student girls had menstrual disturbances at entry: primary amenorrhoea, four; secondary amenorrhoea, 11; irregular menses, eight. The incidence of secondary amenorrhoea increase substantially by the end of the year (20), but was not associated with any significant change in body weight. Only three students menstruated regularly during the year. Menstrual regularity improved during periods of injury and long vacation and it appears that deterioration of the menstrual pattern during dancing periods was related to strenuous physical exercise rather than to any change in body weight.

Reflective Practice in the Ballet Class: Bringing Progressive Pedagogy to the Classical Tradition

ERIC Educational Resources Information Center

Zeller, Jessica

2017-01-01

This research seeks to broaden the dialogue on progressive ballet pedagogy through an examination of reflective practices in the ballet class. Ballet's traditional model of instruction has long required students to quietly comply with the pedagogue's directives, and it has thus become notorious for promoting student passivity. Despite strong…

The Impact of Experience on Affective Responses during Action Observation.

PubMed

Kirsch, Louise P; Snagg, Arielle; Heerey, Erin; Cross, Emily S

2016-01-01

Perceiving others in action elicits affective and aesthetic responses in observers. The present study investigates the extent to which these responses relate to an observer's general experience with observed movements. Facial electromyographic (EMG) responses were recorded in experienced dancers and non-dancers as they watched short videos of movements performed by professional ballet dancers. Responses were recorded from the corrugator supercilii (CS) and zygomaticus major (ZM) muscles, both of which show engagement during the observation of affect-evoking stimuli. In the first part of the experiment, participants passively watched the videos while EMG data were recorded. In the second part, they explicitly rated how much they liked each movement. Results revealed a relationship between explicit affective judgments of the movements and facial muscle activation only among those participants who were experienced with the movements. Specifically, CS activity was higher for disliked movements and ZM activity was higher for liked movements among dancers but not among non-dancers. The relationship between explicit liking ratings and EMG data in experienced observers suggests that facial muscles subtly echo affective judgments even when viewing actions that are not intentionally emotional in nature, thus underscoring the potential of EMG as a method to examine subtle shifts in implicit affective responses during action observation.

[Influence of the dance discipline on body image distortion and dissatisfaction in preadolescents, adolescents and young women dancers].

PubMed

Vaquero-Cristóbal, Raquel; Kazarez, Miguel; Esparza-Ros, Francisco

2017-11-16

Dance discipline could modulate the presence of alterations in body image, which is a factor relationship with eating disorders. To analyze the body image distortion and dissatisfaction in student dancers based on dance discipline. Two hundred and ninety-eight preadolescents, adolescents and young classical, contemporary and Spanish dancers took part in the study. Participants self-fulfilled the "silhouette scale for adolescents" in order to determine the perceived and ideal image. The real body image was calculated with the body mass index data (BMI). After that, distortion index, dissatisfaction index and the relation between real and ideal image were calculated. About distortion index, classical and contemporary dancers perceived themselves with a higher BMI than they had, whereas Spanish dance showed the opposite tendency. Significant differences among classical dancers and the other modalities were found (p < 0.017). Based on distortion index results, ten dancers showed a high risk for developing an eating disorder. In the dissatisfaction index, all disciplines selected as ideal to be thinner as they perceived themselves, without significant differences. About the real/ideal index, contemporary and Spanish dancers considered as ideal silhouettes with a lower BMI than they had. Classical dancers showed the opposite tendency, with significant differences among this group and the others (p < 0.017). Most dancers have a self-image which is not related with the reality. This could act as a factor which induce eating disorders.

Effect of Reduced Stiffness Dance Flooring on Lower Extremity Joint Angular Trajectories During a Ballet Jump.

PubMed

Hackney, James; Brummel, Sara; Newman, Mary; Scott, Shannon; Reinagel, Matthew; Smith, Jennifer

2015-09-01

We carried out a study to investigate how low stiffness flooring may help prevent overuse injuries of the lower extremity in dancers. It was hypothesized that performing a ballet jump (sauté) on a reduced stiffness dance floor would decrease maximum joint flexion angles and negative angular velocities at the hips, knees, or ankles compared to performing the same jump on a harder floor. The participants were 15 young adult female dancers (age range 18 to 28, mean = 20.89 ± 2.93 years) with at least 5 years of continuous ballet experience and without history of serious lower body injury, surgery, or recent pain. They performed sautés on a (low stiffness) Harlequin ® WoodSpring Floor and on a vinyl-covered hardwood on concrete floor. Maximum joint flexion angles and negative velocities at bilateral hips, knees, and ankles were measured with the "Ariel Performance Analysis System" (APAS). Paired one-tailed t-tests yielded significant decreases in maximum knee angle (average decrease = 3.4° ± 4.2°, p = 0.026) and angular negative velocity of the ankles (average decrease = 18.7°/sec ± 27.9°/sec, p = 0.009) with low stiffness flooring. If the knee angle is less acute, then the length of the external knee flexion moment arm will also be shorter and result in a smaller external knee flexion moment, given an equal landing force. Also, high velocities of eccentric muscle contraction, which are necessary to control negative angular velocity of the ankle joint, are associated with higher risk of musculotendinous injury. Hence, our findings indicate that reduced floor stiffness may indeed help decrease the likelihood of lower extremity injuries.

Development of a portable anchored dynamometer for collection of maximal voluntary isometric contractions in biomechanics research on dancers.

PubMed

Krasnow, Donna; Ambegaonkar, Jatin P; Stecyk, Shane; Wilmerding, M Virginia; Wyon, Matthew; Koutedakis, Yiannis

2011-12-01

Surface electromyography (sEMG) has been used in dance medicine research since the 1970s, but normalization procedures are not consistently employed in the field. The purpose of this project was to develop a portable anchored dynamometer (PAD) specifically for dance-related research. Due to the limited studies in the dance research literature using normalization procedures for sEMG data, a review of the procedures used in the exercise science literature was conducted. A portable anchored dynamometer was then developed and tested with dancers, using methods validated in previous literature. We collected sEMG maximum voluntary isometric contractions (MVIC, mV) from 10 female dancers (mean age 31.0 ± 15 yrs, mean height 163 ± 7.6 cm, mean weight 57.6 ± 6.9 kg, and 17.0 ± 13.9 yrs of training in ballet and/or modern dance) over three trials (5 sec each) for eight muscles bilaterally (quadriceps, tibialis anterior, abductor hallucis, gastrocnemius, hamstrings, gluteus maximus, erector spinae, and rectus abdominus). Consistency of data and feedback from dancers suggest that this dance-specific portable anchored dynamometer is effective for future sEMG studies in dance research.

Traumatic injuries in professional dance-past and present: ballet injuries in Berlin, 1994/95 and 2011/12.

PubMed

Wanke, Eileen M; Koch, Franziska; Leslie-Spinks, Jeremy; Groneberg, David A

2014-09-01

The physical requirement profile for professional dancers has changed significantly during the past decades. The aim of this first comparative study is to present a differentiated analysis of work-related traumatic injuries sustained by professional ballet dancers at the end of the 20th century (1994/95) and now (2011/12). The data for evaluation were obtained from work accident reports (n=241; 1994/95, n=155; 2011/12, n=86) from three Berlin theatres. An increase in incidence of injuries could be observed only in male dancers (0.3 injuries/yr in 1994/95 vs 0.4/yr in 2011/12). Numerous significant differences were found between injuries in the earlier time span and in the present. Movement contents resulting in traumatic injuries have changed. Furthermore, differences as to injury types, injured body region, nature of causes, dance activities prior to injury, and attitude after sustaining an occupational accident were observed. The lower extremity remained the most common injury site (66.7% in 1994/95 vs 57.0% in 2011/12, p=0.697. (The frequency rate of traumatic injuries to the spine has increased significantly (13.5% in 1994/95 vs 24.1% in 2011/12, p=0.026, (with injuries to the lumbar spine region more than tripled (5.8% vs 20.3% respectively). Few deviations were observed as to injury locations and organizational and time aspects (e.g., time of year of injury). Dance is progressing as evidenced by the numerous aspects resulting in traumatic injuries. It is not organizational or time changes but rather work- and content-related factors that result in significant differences between past and present injuries.

Sport Skill-Specific Expertise Biases Sensory Integration for Spatial Referencing and Postural Control.

PubMed

Thalassinos, Michalis; Fotiadis, Giorgos; Arabatzi, Fotini; Isableu, Brice; Hatzitaki, Vassilia

2017-09-15

The authors asked how sport expertise modulates visual field dependence and sensory reweighting for controlling posture. Experienced soccer athletes, ballet dancers, and nonathletes performed (a) a Rod and Frame test and (b) a 100-s bipedal stance task during which vision and proprioception were successively or concurrently disrupted in 20-s blocks. Postural adaptation was assessed in the mean center of pressure displacement, root mean square of center of pressure velocity and ankle muscles integrated electromyography activity. Soccer athletes were more field dependent than were nonathletes. During standing, dancers were more destabilized by vibration and required more time to reweigh sensory information compared with the other 2 groups. These findings reveal a sport skill-specific bias in the reweighing of sensory inputs for spatial orientation and postural control.

Folic Acid Supplementation Improves Vascular Function in Professional Dancers With Endothelial Dysfunction

PubMed Central

Hoch, Anne Z.; Papanek, Paula; Szabo, Aniko; Widlansky, Michael E.; Gutterman, David D.

2012-01-01

Objective To determine if folic acid supplementation improves vascular function (brachial artery flow-mediated dilation [FMD]) in professional dancers with known endothelial dysfunction. Design Prospective cross-sectional study. Setting Academic institution in the Midwestern United States. Subjects Twenty-two professional ballet dancers volunteered for this study. Main Outcome Measures Subjects completed a 3-day food record to determine caloric and micronutrient intake. Menstrual status was determined by interview and questionnaire. Endothelial function was determined as flow-induced vasodilation measured by high-frequency ultrasound of the brachial artery. A change in brachial diameter of <5% to hyperemic flow stimulus was defined a priori as endothelial dysfunction. Subjects with abnormal FMD took 10 mg of folic acid daily for 4 weeks, and FMD testing was then repeated. Serum whole blood was measured for folic acid levels before and after supplementation. Results Sixty-four percent of dancers (n = 14) had abnormal brachial artery FMD (<5%) (mean ± standard deviation, 2.9% ± 1.5%). After 4 weeks of folic acid supplementation (10 mg/day), FMD improved in all the subjects (7.1% ± 2.3%; P < .0001). Conclusions This study reveals that vascular endothelial function improves in dancers after supplementation with folic acid (10 mg/day) for at least 4 weeks. This finding may have clinically important implications for future cardiovascular disease risk prevention. PMID:21715240

Time motion and video analysis of classical ballet and contemporary dance performance.

PubMed

Wyon, M A; Twitchett, E; Angioi, M; Clarke, F; Metsios, G; Koutedakis, Y

2011-11-01

Video analysis has become a useful tool in the preparation for sport performance and its use has highlighted the different physiological demands of seemingly similar sports and playing positions. The aim of the current study was to examine the performance differences between classical ballet and contemporary dance. In total 93 dance performances (48 ballet and 45 contemporary) were analysed for exercise intensity, changes in direction and specific discrete skills (e. g., jumps, lifts). Results revealed significant differences between the 2 dance forms for exercise intensity (p<0.001), changes in direction (p<0.001) and discrete skills (p<0.05) with gender differences noted in the latter (p<0.05). Ballet was characterised by longer periods at rest (38 s x min(-1)) and high to very high exercise intensities (9 s x min(-1)), whilst contemporary dance featured more continuous moderate exercise intensities (27 s x min(-1)). These differences have implications on the energy systems utilised during performance with ballet potentially stressing the anaerobic system more than contemporary dance. The observed high rates in the discrete skills in ballet (5 jumps x min(-1); 2 lifts x min(-1)) can cause local muscular damage, particularly in relatively weaker individuals. In conclusion, classical ballet and contemporary dance performances are as significantly different in the underlying physical demands placed on their performers as the artistic aspects of the choreography. © Georg Thieme Verlag KG Stuttgart · New York.

Prevalence of low bone mineral density in female dancers.

PubMed

Amorim, Tânia; Wyon, Matthew; Maia, José; Machado, José Carlos; Marques, Franklim; Metsios, George S; Flouris, Andreas D; Koutedakis, Yiannis

2015-02-01

While some authors report that dancers have reduced bone mineral density (BMD) and increased risk of osteoporosis, others have stressed the positive effects of dance training on developing healthy BMD. Given the existing controversy, the aim of this systematic review was to examine the best evidence-based information available in relation to female dancers. Four databases (Web of Science, PubMed, EBSCO, Scopus) and two dance science journals (Journal of Dance Medicine and Science and Medical Problems of Performing Artists) were searched for relevant material using the keywords "dance", "ballet", "BMD", "bone density", "osteoporosis" and "female athlete triad syndrome". A total of 257 abstracts were screened using selected inclusion (studies involving bone measurements in dancers) and exclusion (editorials, opinion papers, chapters in books, narrative reviews and non-English language papers) criteria according to PRISMA guidelines. Following the above screening, a total of 108 abstracts were identified as potentially relevant. After the exclusion of conference proceedings, review papers, studies focusing only in male dancers and studies in which dancers' information were combined with other athletes, the eligible papers were subsequently assessed using the GRADE system and grouped according to: (1) prevalence of low BMD and associated factors, (2) incidence of low BMD and risk factors, (3) prevention/treatment of low BMD in dancers, and (4) other studies. Of the 257 abstracts that were initially screened, only 35 studies were finally considered. Only one of these 35 was of high quality, while the remaining 34 were of relatively low quality. Seven studies reported prevalence of low BMD and associated factors, 10 reported associated factors with no prevalence data, while one reported prevalence with no associated factors data. One study cited risk factors, while another one elaborated on the treatment of low BMD in dancers. The remaining 15 studies were classified as "other studies". It remains unclear whether low BMD is prevalent in female dancers. The present review highlights the need for high-quality BMD research in this area.

Femoral Shaft Torsion in Injured and Uninjured Ballet Dancers and Its Association with Other Hip Measures: A Cross-sectional Study.

PubMed

Hafiz, Eliza; Hiller, Claire E; Nicholson, Leslie L; Nightingale, Elizabeth J; Grimaldi, Alison; Refshauge, Kathryn M

2016-03-01

Low range femoral torsion, termed "lateral shaft torsion," has been associated with greater range of hip external rotation and turnout in dancers. It is also hypothesized that achieving greater turnout at the hip minimizes torsion at the knee, shank, ankle, and foot, and consequently reduces incidence of lower limb injuries. The primary aims of this study were to investigate: 1. differences in range of femoral shaft torsion between dancers with and without lower limb injuries; and 2. the relationship between femoral shaft torsion, hip external rotation range, and turnout. A secondary aim was to examine the relationship between femoral shaft torsion and other hip measures: hip strength, lower limb joint hypermobility, hip stability, and foot progression angle, as explanatory variables. Demographic, dance, and injury data were collected, along with physical measures of femoral shaft torsion, hip rotation range of motion, and turnout. Hip strength, control, lower limb hypermobility, and foot progression angle were also measured. Eighty female dancers, 50 with lower limb injury (20.7 ± 4.8 years of age) and 30 without lower limb injury (17.8 ± 4.1 years of age), participated in the study. There was no difference in range of femoral shaft torsion between the groups (p = 0.941). Femoral shaft torsion was weakly correlated with range of hip external rotation (r = -0.034, p = 0.384) and turnout (r = -0.066, p = 0.558). Injured dancers had a significantly longer training history than non-injured dancers (p = 0.001). It was concluded that femoral shaft torsion does not appear to be associated with the overall incidence of lower limb injury in dancers or to be a primary factor influencing extent of turnout in this population.

[Selected indices of nutritional status and food habits among young ballet dancers].

PubMed

Nazarewicz, R; Babicz-Zielińska, E

2000-01-01

The work has been aimed at assessment of nutritional status on the base of some selected anthropometric factors and at evaluation of food habits among schoolchildren of the ballet dance school at Gdańsk. The 58 boys and girls were examined. The height, body mass and body fat were measured, and the Body Mass Index values calculated. The results were compared to those obtained among children at Poznań and Kielce. The survey of food habits was made with the especially prepared questionnaire. The substantial deficiency of body fat and relatively low body mass were observed. The BMI value below 18 was found for 35% of subjects, and between 20 and 25 only for 23% of subjects. The wrong food habits were found, especially low number of meals and their irregular consumption.

The Presentation of Self in the Classical Ballet Class: Dancing with Erving Goffman

ERIC Educational Resources Information Center

Whiteside, Bethany; Kelly, John

2016-01-01

This article analyses the social interactions and behaviours evident within an adult, amateur ballet class in one of Scotland's cities. Using an ethnographic empirical approach, the study utilises Erving Goffman's model of dramaturgy to explore the impression management of participants from the ballet class. Evidence (data) was generated through a…

Persistent osteopenia in ballet dancers with amenorrhea and delayed menarche despite hormone therapy: a longitudinal study.

PubMed

Warren, Michelle P; Brooks-Gunn, Jeanne; Fox, Richard P; Holderness, Claire C; Hyle, Emily P; Hamilton, William G; Hamilton, Linda

2003-08-01

To investigate the role of estrogen deprivation and replacement in amenorrheic and nonamenorrheic dancers on hormone therapy and calcium. Clinical, placebo-controlled, randomized trial study.Healthy volunteers in an academic research environment. Fifty-five dancers (mean age: 22.0 +/- 4.6, age at menarche: 14.7 +/- 2.3 years), including 24 amenorrheics. Amenorrheics were randomized in a controlled trial to receive placebo or Premarin, 0.625 mg for 25 days monthly, with Provera, 10 mg, for 10 of these 25 days (hormone therapy) for 2 years. These women were compared to normally menstruating controls. The study participants also received 1250 mg of calcium per day. Bone mineral density (BMD) measured at the foot, wrist, and lumbar spine. Our overall results showed no difference in BMD between the treated or placebo groups, indicating that hormone therapy did not change or normalize BMD when compared to normals. Five patients (all on placebo) who resumed menses during the study showed an increase in BMD without normalization. These findings suggest that mechanisms other than hypoestrogenism may be involved with the osteopenia associated with exercise-induced amenorrhea.

Comparison of landing biomechanics between male and female dancers and athletes, part 1: Influence of sex on risk of anterior cruciate ligament injury.

PubMed

Orishimo, Karl F; Liederbach, Marijeanne; Kremenic, Ian J; Hagins, Marshall; Pappas, Evangelos

2014-05-01

The incidence of anterior cruciate ligament (ACL) injuries among dancers is much lower than among team sport athletes, and no clear disparity between sexes has been reported in the dance population. Although numerous studies have observed differences in landing biomechanics of the lower extremity between male and female team sport athletes, there is currently little research examining the landing biomechanics of male and female dancers and none comparing athletes to dancers. Comparing the landing biomechanics within these populations may help explain the lower overall ACL injury rates and lack of sex disparity. The purpose was to compare the effects of sex and group (dancer vs team sport athlete) on single-legged drop-landing biomechanics. The primary hypothesis was that female dancers would perform a drop-landing task without demonstrating typical sex-related risk factors associated with ACL injuries. A secondary hypothesis was that female team sport athletes would display typical ACL risk factors during the same task. Controlled laboratory study. Kinematics and kinetics were recorded as 40 elite modern and ballet dancers (20 men and 20 women) and 40 team sport athletes (20 men and 20 women) performed single-legged drop landings from a 30-cm platform. Joint kinematics and kinetics were compared between groups and sexes with a group-by-sex multivariate analysis of variance (MANOVA) followed by pairwise t tests. Dancers of both sexes and male team sport athletes landed similarly in terms of frontal-plane knee alignment, whereas female team sport athletes landed with a significantly greater peak knee valgus (P = .007). Female dancers were found to have a lower hip adduction torque than those of the other 3 groups (P = .003). Dancers (male and female) exhibited a lower trunk side flexion (P = .002) and lower trunk forward flexion (P = .032) compared with team sport athletes. In executing a 30-cm drop landing, female team sport athletes displayed a greater knee valgus than did the other 3 groups. Dancers exhibited better trunk stability than did athletes. These biomechanical findings may provide insight into the cause of the epidemiological differences in ACL injuries between dancers and athletes and the lack of a sex disparity within dancers.

The Mind/Body Connection and the Practice of Classical Ballet

ERIC Educational Resources Information Center

Dixon, Emma

2005-01-01

This paper examines two very different approaches to dance training, ballet technique and the somatic discipline of Topf technique ("TT"). It explores and evaluates the application of TT to ballet training. Initially, what is meant by the term "mind/body connection" is discussed, and then the paper examines, in a theoretical and a practical sense,…

Dance as a Road to Science

NASA Astrophysics Data System (ADS)

Laws, Kenneth

2009-05-01

One of the challenges facing the science community is finding ways of demonstrating for non-scientists the logic and appeal of understanding how science applies to familiar phenomena. Dance movement involves many examples of physical principles that allow dancers and observers of dance to deepen their understanding of the natural world. To demonstrate the connection between science and art, we will observe a ballet dancer performing several movements which we can then analyze to illustrate why the movements are shaped the way they are and how dancers can improve their effectiveness through such analysis. One example is the tour jet'e, a half turn in the air during a vertical jump. The dancer's intent is to create the illusion of going up facing one direction, suddenly reversing direction while aloft, then landing. Good dancers recognize that they can most effectively create that illusion if they understand how the closeness of their legs determines their moment of inertia and hence rate of rotation. Another intriguing movement is a ``whip turn,'' a partnered pirouette in which the woman's leg is used to store angular momentum while her partner continues to increase that momentum by applying forces to her waist. This storing of angular momentum in a leg is a principle also used in fouett'e turns, a common repeated pirouette sequence. These examples, and others, many of which involve a broader range of motion than just rotation, provide the basis for observers and performers to understand how some dance movements can be carried out so effectively and beautifully!

Musculoskeletal injuries in professional modern dancers: a prospective cohort study of 15 years.

PubMed

Bronner, Shaw; McBride, Caroline; Gill, Allison

2018-08-01

We analysed work-related musculoskeletal injuries (WMSI) in two modern dance companies to determine whether injury rates decreased and patterns altered compared to previous 3-yr and 6-yr audits (0.48 and 0.25/1000-hrs exposure respectively). In this prospectively designed 15-yr cohort study, data were collected in 30-dancer Company-1 and 12-dancer Company-2. In-house physical therapists tracked WMSI and time-loss-injuries for 159 dancers (42 dancers/yr). 15-yrs were grouped into five 3-yr blocks for comparison with prior audits. Negative binomial logistic regression analyses were conducted with exposure-hrs converted to the natural log and used as the offset variable. Block and company were categorical predictors for dependent variables: WMSI, time-loss-injuries, trauma-injuries and overuse-injuries (p < 0.05). 69% of dancers reported WMSI; 45% sustained at least one time-loss-injury. Company-1, with greater annual exposure, was 1.6-times more likely to sustain time-loss-injuries (p = 0.016, CI = 1.095-2.422) and 5.6-times more likely to sustain time-loss overuse-injuries (p = 0.003, CI = 1.812-17.327). Compared to Block-1, WMSI and time-loss-injuries decreased in Blocks-2, 3, and 5 (p ≤ 0.027). The ratio of time-loss overuse to trauma-injuries was reversed, with trauma-injuries accounting for over 80% of injuries by Block 5. Time-loss-injuries averaged 0.16 injuries/1000-hrs, lower than rates in ballet and sports. Decreased injury rates and changed injury patterns demonstrate efficacious injury management and prevention programming.

The Physics of Toppling and Regaining Balance during a Pirouette.

PubMed

Lott, Melanie B; Laws, Kenneth L

2012-12-01

One of the most common movements in dance is a turn around a vertical axis with one supporting foot on the floor--a pirouette. If the pirouette is not performed with the body on balance, it is not considered successful. Dancers are often taught to perform successful pirouettes by beginning the movement on balance and then keeping the body in that configuration, as opposed to correcting for an imbalance with small adjustments during the turn. Many, even advanced, dancers have significant difficulty performing more than two or three turns in a pirouette before losing balance, despite continued trial and error efforts to improve. To describe the mechanics of toppling and control of toppling during a pirouette, a theoretical model of a dancer in standard pirouette position was created, and an experimental study of real dancers performing pirouettes was conducted. Body segment parameters for the model (mass, length, etc.) were based on anatomical data and adjusted for sex, total body mass, and height. The principal moments of inertia were determined for several hypothetical dancers, and rigid body equations of motion numerically solved to express topple angle vs. time. When dancers reach too large a topple angle, they are forced to compensate by either hopping on the supporting foot in an attempt to regain balance or terminating the turn. The angle at which dancers lose stability and feel inclined to hop (θmax) was determined experimentally through a video analysis of nine intermediate to advanced ballet dancers' pirouettes (8 female, 1 male; 16 ± 2.3 years of age). The dancers hopped on the supporting foot after the body reached an average angle of 9.3 ± 1.9° from the vertical. With an average spin rate of 1.7 rev/s, it was found that a "rigid body" dancer (male or female) would need to begin the pirouette displaced less than one degree from the vertical in order to perform more than a double pirouette before reaching θmax. The results of this study demonstrate the difficulty of achieving many rotations when the body is held rigidly, whereas dancers may have success in consistently performing more pirouettes if they are taught strategies for regaining balance while turning.

Physics and the Art of Dance - Understanding Movement

NASA Astrophysics Data System (ADS)

Swope, Kenneth Laws

2005-03-01

Written by a physicist with professional dance training, Physics and the Art of Dance explains how dancers can achieve better, safer performances through an understanding of physics in motion. Using simple, non-technical terms, Kenneth Laws combines his knowledge of both physics and dance to describe how the laws of gravity, momentum, and energy affect dancing bodies. The book explores the natural laws that govern the subtleties of balance, the techniques of leaps and pirouettes, and the impressive lifts and turns executed by ballet partners. Finally, Laws offers insight into two current discussions in the dance world--the effect of body size on ballet technique, and the relationship between science and the art of dance. Beautiful, original stop-action photographs by Martha Swope, along with clear diagrams, illustrate the concepts described in the text. Plus, an intriguing "puzzler" at the beginning of each chapter provides an engaging entree into the topics presented. For those who want a more advanced understanding of the physics, extensive appendices are provided. This new book combines the best features of Laws's widely acclaimed The Physics of Dance and Physics, Dance, and the Pas de Deux by Laws and Cynthia Harvey. Its expert application of the basic principles of physics to the art of dance will be an invaluable resource for dancers and dance instructors and will open a new level of appreciation for lovers of the form. It will also appeal to physicists who seek to include the arts in their scientific pursuits.

Nutrition and nutritional issues for dancers.

PubMed

Sousa, Mónica; Carvalho, Pedro; Moreira, Pedro; Teixeira, Vítor H

2013-09-01

Proper nutrition, not simply adequate energetic intake, is needed to achieve optimal dance performance. However, little scientific research exists concerning nutrition in dance, and so, to propose nutritional guidelines for this field, recommendations need to be based mainly on studies done in other physically active groups. To diminish the risk of energy imbalance and associated disorders, dancers must consume at least 30 kcal/kg fat-free mass/day, plus the training energy expenditure. For macronutrients, a daily intake of 3 to 5 g carbohydrates/kg, 1.2 to 1.7 g protein/kg, and 20 to 35% of energy intake from fat can be recommended. Dancers may be at increased risk of poor micronutrient status due to their restricted energy intake; micronutrients that deserve concern are iron, calcium, and vitamin D. During training, dancers should give special attention to fluid and carbohydrate intake in order to maintain optimal cognition, motivation, and motor skill performance. For competition/stage performance preparation, it is also important to ensure that an adequate dietary intake is being achieved. Nutritional supplements that may help in achieving specific nutritional goals when dietary intake is inadequate include multivitamins and mineral, iron, calcium, and vitamin D supplements, sports drinks, sports bars, and liquid meal supplements. Caffeine can also be used as an ergogenic aid. It is important that dancers seek dietary advice from qualified specialists, since the pressure to maintain a low body weight and low body fat levels is high, especially in styles as ballet, and this can lead to an unbalanced diet and health problems if not correctly supervised.

Association Between the Female Athlete Triad and Endothelial Dysfunction in Dancers

PubMed Central

Hoch, Anne Z.; Papanek, Paula; Szabo, Aniko; Widlansky, Michael E.; Schimke, Jane E.; Gutterman, David D.

2013-01-01

Objective To determine the prevalence of the 3 components of the female athlete triad [disordered eating, menstrual dysfunction, low bone mineral density (BMD)] and their relationships with brachial artery flow-mediated dilation in professional dancers. Design Prospective study. Setting Academic institution in the Midwest. Participants Twenty-two professional ballet dancers volunteered for this study. Interventions The prevalence of the female athlete triad and its relationship to endothelial dysfunction. Main Outcome Measures Subjects completed questionnaires to assess disordered eating and menstrual status/history. They also completed a 3-day food record and wore an accelerometer for 3 days to determine energy availability. Serum baseline thyrotropin, prolactin, and hormonal concentrations were obtained. Bone mineral density and body composition were measured with a GE Lunar Prodigy dual-energy X-ray absorptiometry. Endothelial function was determined as flow-mediated vasodilation measured by high-frequency ultrasound in the brachial artery. An increase in brachial diameter <5% to hyperemic flow stimulus was defined a priori as endothelial dysfunction. Results Seventeen dancers (77%) had evidence of low/negative energy availability. Thirty-two percent had disordered eating (EDE-Q score). Thirty-six percent had menstrual dysfunction and 14% were currently using hormone contraception. Twenty-three percent had evidence of low bone density (Z-score < −1.0). Sixty-four percent had abnormal brachial artery flow-mediated dilation (<5%). Flow-mediated dilation values were significantly correlated with serum estrogen and whole-body and lumbar BMD. All the 3 components of the triad plus endothelial dysfunction were present in 14% of the subjects. Conclusions Endothelial dysfunction was correlated with reduced BMD, menstrual dysfunction, and low serum estrogen. These findings may have profound implications for cardiovascular and bone health in professional women dancers. PMID:21358502

Perfectionism, Burnout, and Motivation in Dance: A Replication and Test of the 2×2 Model of Perfectionism.

PubMed

Nordin-Bates, Sanna M; Raedeke, Thomas D; Madigan, Daniel J

2017-09-15

The relationships between multidimensional perfectionism, burnout, and motivation were examined. In so doing, this study aimed to replicate and extend the study by Cumming and Duda (2012). Ninety-one ballet dancers completed questionnaires assessing the target constructs. Using cluster analysis, four profiles emerged that replicated Cumming and Duda's findings and generally supported Gaudrau and Thompson's 2x2 model of perfectionism. As such, these profiles represented pure personal standards perfectionism, mixed perfectionism, pure evaluative concerns perfectionism, and non-perfectionism. Extending previous literature, the four profiles were then compared on a range of burnout symptoms and motivational regulations. It was found that the four clusters differed significantly on these constructs, in a manner partly supportive of the hypotheses associated with the 2x2 model of perfectionism. In particular, our results reflect and extend those of Cumming and Duda, in that mixed perfectionism and pure evaluative concerns perfectionism did not differ on any of the measures. Thus, the higher personal standards of dancers exhibiting mixed perfectionism did not appear to be associated with better functioning than that experienced by dancers with pure evaluative concerns perfectionism. Altogether, the study extends our current understanding of perfectionism in dance and its potential effects, including those on burnout and motivation.

Dancing through pregnancy: activity guidelines for professional and recreational dancers.

PubMed

Sanders, Sarah G

2008-01-01

Over the past few years the benefits of exercise during pregnancy have become appreciated. Much attention has been given to common forms of exercise, such as aerobic dance, swimming, cycling and running. The effects of professional and recreational dance during pregnancy, such as ballet or flamenco, for example, have not been explored. Many studies, however, address issues relevant to dance. The purpose of this article is to delineate as clearly as possible what dance activities are safe and even possibly beneficial for the mother and her baby, as well as those activities and levels of exertion that should be avoided.

Drive for leanness, anorexia nervosa, and overactivity: the missing link.

PubMed

Arun, C P

2008-12-01

Anorexia nervosa (AN) is a psychiatric condition characterized by deliberate reduction of body weight. Some patients with AN exhibit overactivity that can worsen their state of malnutrition. Employing an evolutionary psychiatry line of inquiry, we propose that rigidity of thinking and overactivity are behavioral phenotypic changes in AN patients that are normal to tree-dwelling mammals, such as monkeys. Such behavior can lead to good functioning as ballet dancers and athletes but lead to certain disadvantages in other areas of modern life. The overactivity in AN, though under conscious control may be neurobehavioral and driven subconsciously by disordered cerebral neuropsychopharmacology.

Kinematic analysis of hip and knee rotation and other contributors to ballet turnout.

PubMed

Quanbeck, Amy E; Russell, Jeffrey A; Handley, Sara C; Quanbeck, Deborah S

2017-02-01

Turnout, or external rotation (ER) of the lower extremities, is essential in ballet. The purpose of this study was to utilise physical examination and a biomechanical method for obtaining functional kinematic data using hip and knee joint centres to identify the relative turnout contributions from hip rotation, femoral anteversion, knee rotation, tibial torsion, and other sources. Ten female dancers received a lower extremity alignment assessment, including passive hip rotation, femoral anteversion, tibial torsion, weightbearing foot alignment, and Beighton hypermobility score. Next, turnout was assessed using plantar pressure plots and three-dimensional motion analysis; participants performed turnout to ballet first position on both a plantar pressure mat and friction-reducing discs. A retro-reflective functional marker motion capture system mapped the lower extremities and hip and knee joint centres. Mean total turnout was 129±15.7° via plantar pressure plots and 135±17.8° via kinematics. Bilateral hip ER during turnout was 49±10.2° (36% of total turnout). Bilateral knee ER during turnout was 41±5.9° (32% of total turnout). Hip ER contribution to total turnout measured kinematically was less than expected compared to other studies, where hip ER was determined without functional kinematic data. Knee ER contributed substantially more turnout than expected or previously reported. This analysis method allows precise assessment of turnout contributors.

Postural trials: expertise in rhythmic gymnastics increases control in lateral directions.

PubMed

Calavalle, A R; Sisti, D; Rocchi, M B L; Panebianco, R; Del Sal, M; Stocchi, V

2008-11-01

The first aim of this paper was to investigate if expertise in rhythmic gymnastics influences postural performance even in an easy non-specific task such as bipedal posture. Rhythmic gymnastics is a unique female sport which encompasses aspects of both artistic gymnastics and ballet and includes the use of a small apparatus (rope, hoop, ball, clubs and ribbon). Most previous studies have shown that expertise achieved by artistic gymnasts and dancers improves postural steadiness only in the situations for which those athletes are trained. Literature has not yet compared rhythmic gymnasts to other athletes in terms of their postural strategies. Hence, the study presented herein tested a group of high level rhythmic gymnasts and a group of female university students, trained in other sports, in the bipedal posture under eyes open and closed conditions. A force platform was used to record body sway. (1) Distance from the centre of sway, (2) lateral and (3) antero-posterior displacements were analyzed in time and frequency domains. Comparing the two groups, it was found that rhythmic gymnasts had better strategies than students in simple postural tasks, especially in lateral directions and in the period from 0.05 to 2 s. The most interesting finding in this study is that rhythmic gymnastics training seems to have a direct effect on the ability to maintain bipedal posture, which may confirm the "transfer" hypothesis of rhythmic gymnastics expertise to bipedal postural sway, especially in medio-lateral displacements. This finding has never been reported in previous studies on artistic gymnasts and ballet dancers. Furthermore, the present study confirmed the visual dependence of all the athletes, irrespective of their disciplines, in their postural trials.

Comparative analysis of substance use in ballet, dance sport, and synchronized swimming: results of a longitudinal study.

PubMed

Zenic, Natasa; Peric, Mia; Zubcevic, Nada Grcic; Ostojic, Zdenko; Ostojic, Ljerka

2010-06-01

There have been few studies comparing substance use and misuse (SU&M) in different performing arts forms. Herein, we identified and compared SU&M in women studying an art (ballet, n = 21), a non-Olympic sport (dance sport, n = 25), and an Olympic sport (synchronized swimming, n = 23). The sample of variables comprised general, educational, and sport factors, as well as SU&M data, including consumption of opiates, cigarettes, alcohol, nutritional supplements, doping behaviors, and beliefs. Using the Kruskal-Wallis test, we found no significant differences between study groups in potential doping behaviors. Most of the examinees reported that they did not rely on physicians' and/or coaches' opinions regarding doping. Only sport dancers recognized their consumption of cannabis as a violation of anti-doping rules. Those more convinced that doping habits are present in their sport (or art) have a certain tendency toward doping usage. In conclusion, a strong anti-doping campaign within the studied arts is suggested, focusing on the health-related problems of SU&M.

Tracking Plasticity: Effects of Long-Term Rehearsal in Expert Dancers Encoding Music to Movement

PubMed Central

Bar, Rachel J.; DeSouza, Joseph F. X.

2016-01-01

Our knowledge of neural plasticity suggests that neural networks show adaptation to environmental and intrinsic change. In particular, studies investigating the neuroplastic changes associated with learning and practicing motor tasks have shown that practicing such tasks results in an increase in neural activation in several specific brain regions. However, studies comparing experts and non-experts suggest that experts employ less neuronal activation than non-experts when performing a familiar motor task. Here, we aimed to determine the long-term changes in neural networks associated with learning a new dance in professional ballet dancers over 34 weeks. Subjects visualized dance movements to music while undergoing fMRI scanning at four time points over 34-weeks. Results demonstrated that initial learning and performance at seven weeks led to increases in activation in cortical regions during visualization compared to the first week. However, at 34 weeks, the cortical networks showed reduced activation compared to week seven. Specifically, motor learning and performance over the 34 weeks showed the typical inverted-U-shaped function of learning. Further, our result demonstrate that learning of a motor sequence of dance movements to music in the real world can be visualized by expert dancers using fMRI and capture highly significant modeled fits of the brain network variance of BOLD signals from early learning to expert level performance. PMID:26824475

Effects of a Resistance Training Intervention on Strength, Power, and Performance in Adolescent Dancers.

PubMed

Dowse, Rebecca A; McGuigan, Mike R; Harrison, Craig

2017-11-01

Dowse, RA, McGuigan, MR, and Harrison, C. Effects of a resistance training intervention on strength, power, and performance in adolescent dancers. J Strength Cond Res XX(X): 000-000, 2017-The aim of this study was to determine whether a 9-week resistance training program could have a significant effect on maximum lower-body strength and power, dynamic balance, and dance performance in adolescent dancers. Twelve competitive adolescent female dancers trained in jazz, ballet, and contemporary were recruited from local dance schools and assigned to a resistance training group (dance experience 9.2 ± 2.4 years; age 14.2 ± 1.9 years; height 155.6 ± 9.1 cm; and mass 48.9 ± 13.8 kg). Anthropometry (height, seated height, mass, and skinfolds), subjective dancing performance, dynamic balance (eyes open [EO] and eyes closed), maximum lower-body strength (isometric midthigh pull), and power (vertical countermovement jump, squat jump, and single-leg countermovement jump) were assessed before and after the 9-week intervention period. Posttesting identified a significant improvement EO overall stability (p = 0.003; effect size [ES] = 0.88), EO anterior-posterior stability (p = 0.003; ES = 0.92), peak force (p < 0.001; ES = 0.61), peak power (p = 0.021; ES = 0.22), and subjective dancing performance (p = 0.008; ES = 0.76). These results were accompanied by a trivial but significant change in mass (p = 0.023; ES = 0.09) that was attributed to growth and no significant change in body fat or the sum of skinfolds. This study demonstrated that resistance training can have a significant effect on dynamic balance, maximum lower-body strength, and power without adversely affecting artistic or esthetic components. The results suggest that incorporating resistance training may enhance strength and power adaptations and manage growth-related changes in adolescent dancers.

Dance floors as injury risk: analysis and evaluation of acute injuries caused by dance floors in professional dance with regard to preventative aspects.

PubMed

Wanke, Eileen M; Mill, Helmgard; Wanke, Alice; Davenport, Jaqueline; Koch, Franziska; Groneberg, David A

2012-09-01

A dance floor is often the only support of movements in dance. A dance floor surface that shows deficiencies, can result in acute injuries and chronic problems. Although the significance of an adequate dance floor is well known, there is still a lack of differentiated analyses of dance floor-related acute injuries. This study presents data on acute injuries exclusively caused by the dance floor. The data were obtained from standardized work accident reports from consultants (F 1000), documentary accident records from all Berlin theatres, a state ballet school (n=2,281), and case records from the Berlin State Accident Insurance (UKB) covering a period of 17 years. All analyses and descriptive statistics were conducted with Excel 2007 and SPSS 18. Dance floor surfaces were the causative factor in 12.8% of all accidents (n=291, female 183, male 108). Almost two thirds (62.6%) of all accidents in professional dancers happened on stage, and almost half (49.5%) occurred during performances. As for causative factors, 53.1% of the professional dancers (P) and 42.5% of the dance students (S) claimed that the floor had been "too slippery," with "getting stuck" or (tripping) as the second most common problem (P 18.4%, S 11.3%). Of the injured dancers, 41.8% were older than 30 years and can therefore be categorized as experienced. Dance floors play a significant role in the occurrence of acute injuries, even in experienced dancers. Performances on stage seem to be a particular risk. However, injury prevention measures should include all work locations (P) as well as non-dance-specific locations (S).

Survey of Musculoskeletal Disorders Among Indian Dancers in Mumbai and Mangalore.

PubMed

Nair, Shruti Prabhakaran; Kotian, Shruti; Hiller, Claire; Mullerpatan, Rajani

2018-06-15

Classical Indian dance has earned recognition across the globe; however, the health of dancers who are carrying forth this heritage has not received due attention. Therefore, this study aimed to explore musculoskeletal pain and injury prevailing among Indian dancers in Mumbai and Mangalore. A secondary aim was to compare pain tolerance levels between dancers and non-dancers. Fifty-one dancers trained in different traditional Indian and Western dance forms and 164 recreational dancers were recruited as participants. An indigenous questionnaire was designed and validated by physical therapists across various levels of experience and dancers across various training levels. The questionnaire recorded dance, pain, and injury profiles. Additionally, pain tolerance was evaluated using the Pain Sensitivity Questionnaire among dancers and healthy age- and gender-matched controls (N = 200). Descriptive statistical analysis was performed to present results of the site of current pain, site of past injury, perceived causes of injury, and exercise routine. The Student's t-test was used to compare Pain Sensitivity Questionnaire scores between dancers and non-dancers, and independent one-way ANOVA was used to compare scores among dancers practicing different dance forms. For both current pain and past injury, dancers reported the back (42.5%) followed by the knee (28.3%) and ankle (18.6%) as the most common sites. Stress was the most commonly perceived cause of injury (34.4%), followed by over work (24.7%), tiredness (17.2%), and falls (13.5%). Warm-up exercises were always performed by 43.30% of dancers, whereas only 20% performed stretching after dance. Almost 60% of dancers participated in forms of exercise other than dance, e.g., swimming, yoga, and aerobics. Pain sensitivity was not significantly different between dancers and non-dancers (p = 0.159). Level of training and gender did not influence pain.

TREATMENT OF SUBACUTE POSTERIOR KNEE PAIN IN AN ADOLESCENT BALLET DANCER UTILIZING TRIGGER POINT DRY NEEDLING: A CASE REPORT

PubMed Central

Tansey, Kimberly A.; Westrick, Richard B.

2014-01-01

Study Design: Case Report. Background and Purpose: Dry needling (DN) is an increasingly popular intervention used by clinicians as a treatment of regional neuromusculoskeletal pain. DN is an invasive procedure that involves insertion of a thin monofilament needle directly into a muscle trigger point (MTP) with the intent of stimulating a local twitch response. Current evidence is somewhat limited, but recent literature supports the use of this intervention in specific neuromusculoskeletal conditions. The purpose of this case report is to present the outcomes of DN as a primary treatment intervention in an adolescent subject with subacute posterior knee pain. Case Description: The subject was a 16‐year‐old female competitive ballet dancer referred to physical therapy with a two month history of right posterior knee pain. Palpation identified MTPs which reproduced the patient’s primary symptoms. In addition to an exercise program promoting lower extremity flexibility and hip stability, the subject was treated with DN to the right gastrocnemius, soleus, and popliteus muscles. Outcomes: The subject reported being pain free on the Numerical Pain Scale and a +7 improvement in perceived change in recovery on the Global Rating of Change at final follow‐up. Physical examination demonstrated no observed impairments or functional limitations, including normal mobility, full strength, and unrestricted execution of dance maneuvers. Discussion: The patient was able to return to high level dance training and competition without physical limitations and resumed pre‐injury dynamic movement activities including dancing, running, jumping, and pivoting without pain. DN can be an effective and efficient intervention to assist patients in decreasing pain and returning to high intensity physical activity. Additional research is needed to determine if DN is effective for other body regions and has long‐term positive outcomes. Level of Evidence: Level 4 PMID:24567862

Aesthetic sports as high-risk contexts for eating disorders--young elite dancers and gymnasts perspectives.

PubMed

Francisco, Rita; Alarcão, Madalena; Narciso, Isabel

2012-03-01

This is the first study developed in Portugal which investigates specific characteristics of dance and gymnastics environments that make them high-risk contexts for the development of eating disorders. Four focus groups were conducted with thirteen ballet students from a professional dance school and nine gymnasts from a gymnastics club (aged 12 to 17 years old), which were subjected to an inductive-deductive analysis procedure. Specific risk and protective factors were identified. Among their respective sources of influence, teachers and coaches are those who exert a stronger influence upon young athletes. We also explored some themes related to the influence of peers, parents, and environmental characteristics, which could have an important role on the development or prevention of disordered eating.

A Detailed Analysis of DanceAbility's Contribution to Mixed-Abilities Dance

ERIC Educational Resources Information Center

Herman, Amanda; Chatfield, Steven

2010-01-01

In the 1960s a visible shift in the ideology of contemporary dancers and choreographers took place. A desire for a dance language that rejected the need for the classical dancerly body paved the way for dance that was open to a more diverse population of participants. DanceAbility emerged in that late 1980s as a method of making dance accessible…

Self-Reported Injury and Management in a Liberal Arts College Dance Department.

PubMed

DiPasquale, Sarah; Becker, Nicole; Green, Sarah; Sauers, Kim

2015-12-01

Dancers often view injuries as a necessary sacrifice for participating in their art form. The purpose of this research was to determine the frequency and patterns of injury in a non-conservatory, liberal arts dance environment. These data may enable dance departments to provide more effective health resources. Dancers registered in technique courses in a liberal arts dance department (including ballet, modern, tap, and jazz) completed an injury questionnaire immediately following the occurrence of any dance-related injury over the course of one semester. Out of 168 students registered in the department, 46 injuries were reported throughout the semester. The greatest rate of injury was in September and December with 0.95 and 0.65 injuries reported per day, respectively. 89.1% of participants indicated that they would use a direct-access, on-campus physical therapist or athletic trainer if available, though 45.7% of injured participants indicated that they would seek treatment off campus. Dancers in a liberal arts collegiate program may train at a higher intensity during the semester than summer break, which likely accounts for the high incidence of injury in September. Of those injured, most planned on self-treating, but none planned on missing class. Pre-semester screening and post-semester cross-training education should be implemented in liberal arts dance programs to help decrease the rate of injury seen when returning to dance following prolonged time off from dancing. Additionally, direct access to physical therapy or athletic training treatment would likely be utilized by these students if available.

The Relationship Between Muscular Strength and Dance Injuries: A Systematic Review.

PubMed

Moita, João P; Nunes, Alexandre; Esteves, José; Oliveira, Raul; Xarez, Luis

2017-03-01

The physical demands placed on dancers put them at significant risk for injury, with rates similar to ones sustained by athletes in sports at the same level of performance. Muscle strength has been suggested to play a preventative role against injury in dancers. To systematically search and examine the available evidence on the protective role of muscle strength in dance injuries. Five electronic databases and two dance-specific science publications were screened up to September 2015. Study selection was based on a priori inclusion criteria on the relation between muscle strength components and injuries. Methodologic quality and level of evidence were assessed using the Downs and Black (DB) checklist and the Oxford Centre of Evidence-Based Medicine (OCEBM) 2011 model. From 186 titles found, only 8 studies met the inclusion criteria and were considered for review. Because of the significant heterogeneity of the included studies, meta-analysis was deemed inappropriate. The DB quality assessment results ranged from 18.7% to 75% (mean 42.3±16.9) and the OCEBM between 2b and 4. Some level 2b evidence from 2 studies suggested that pre-professional ballet dancers who get injured exhibit lower overall muscle strength scores on the lower extremity, and that lower extremity power gains may be associated with decreased bodily pain but not injury rate. Although there might be an association trend toward low muscle strength and dance injuries, the nature of that relation remains unclear, and presently the state of knowledge does not provide a solid basis for designing interventions for prevention.

Living autobiographically: Concepts of aging and artistic expression in painting and modern dance.

PubMed

Banerjee, Mita; Wohlmann, Anita; Dahm, Ralf

2017-01-01

This article discusses the ways in which artists have incorporated or failed to incorporate the aging process of their bodies into their art. Using Russian ballet dancer Mikhail Baryshnikov and the French painter Claude Monet as cases in point, we explore situations in which physical changes brought about by aging compromises artists' ability to engage with their artistic medium. Connecting Monet's oeuvre and Baryshnikov's dance performances to life writing accounts, we draw on John Paul Eakin's concept of "living autobiographically": In this vein, life writing research does not only have to take into account concepts of identity as they emerge from life writing narratives, but it also needs to explore the somatic, corporeal and material dimensions of these narratives. Copyright © 2016. Published by Elsevier Inc.

Mechanics of jazz shoes and their effect on pointing in child dancers.

PubMed

Fong Yan, Alycia; Smith, Richard; Vanwanseele, Benedicte; Hiller, Claire

2012-07-01

There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.

Characterising the proximal patellar tendon attachment and its relationship to skeletal maturity in adolescent ballet dancers

PubMed Central

Rudavsky, Aliza; Cook, Jillianne; Magnusson, Stig Peter; Kjaer, Michael; Docking, Sean

2017-01-01

Summary Background It is unknown how and when the proximal attachment of the patellar tendon matures; puberty may be key in ensuring normal tendon formation. The aim of this study was to investigate the features of the proximal patellar tendon attachment at different stages of skeletal maturity, to help gain an understanding of how and when the tendon attachment matures. Methods Sixty adolescent elite ballet students (ages 11–18) and eight mature adults participated. Peak height velocity (PHV) estimated skeletal maturity. Ultrasound tissue characterisation (UTC) scan was taken of the left knee and analysed for stability of echopattern. An image-based grading scale for greyscale ultrasound was developed to describe the tendon appearance. Anterior-posterior thickness was measured at the inferior pole of the patella, 1 and 2 centimetres distally. Outcomes were compared with skeletal maturity. Results Mid-portion patellar tendon thickness increased with skeletal maturity (p=0.001 at 1 cm and p=0.007 at 2 cm). There was more variance in structural appearance (greyscale classification and UTC echopattern) in pre and peri-PHV participants. Tendon attachment one-year post PHV appeared similar to mature tendons. Conclusions Early adolescence was associated with highly variable tendon appearance, whereas the tendon appeared mature after PHV. Adolescence may be a critical time for the formation of normal tendon attachment. Level of evidence IIb individual cohort study. PMID:29264342

Prevalence of orthorexia nervosa among Turkish performance artists.

PubMed

Aksoydan, E; Camci, N

2009-03-01

The aim of the study was to determine the prevalence of orthorexia nervosa among the performance artists in the State Opera and Ballet and in the Bilkent University Symphony Orchestra. The study population consisted of 39 men and 55 women for a total of 94 artists with mean age of 33 years. The ORTO-15 test was used to determine the prevalence of orthorexia nervosa. Those subjects who scored below 40 in the ORTO-15 test were classified as having orthorexia nervosa. Mean score of the participants in the ORTO-15 test was 37.9+/-4.46. A total of 56.4% of the artists involved in the research scored below 40 in the ORTO-15 test. While the highest prevalence of orthorexia nervosa was recorded among opera singers (81.8%), it was 32.1% among ballet dancers and 36.4% among symphony orchestra musicians. The differences between the three groups were statistically significant. No difference was noted between mean ORTO-15 score by baseline characteristics as gender, age, educational level, work experience, body mass index, smoking and alcohol consumption. The research group have a higher socio-economic and education level than the majority of the general public in Turkey. Additionally, being an artist in Turkey means being a role model for the general public both in terms one's physical appearance and lifestyle. These may be the reason why artists are more sensitive to this issue.

[Protein intake in selected youth groups of different physical activity and requirements for athletes].

PubMed

Nazarewicz, Rafał; Babicz-Zielińska, Ewa

2004-01-01

The aim of the study was to investigate protein intake in groups of different physical activity. The research was undertaken over a group of young people of different physical activity (age group 15-18 years) including ballet dancers, karate fighters, cross runners as well as adolescents of average physical activity (female and male). The investigation was performed in two series. The first--before intense exercise training and the second--after intense exercise training. In control group there was only one series. Urea was estimated by using urease which converts urea into ammonia, CO2 and glutamic dehydrogenase reaction via measurements of ammonia derived from urea. The amounts of urea were applied for counting quantity of consumed proteins. In the physically active groups the protein intake was too low in comparison to required.

The impact of aesthetic evaluation and physical ability on dance perception.

PubMed

Cross, Emily S; Kirsch, Louise; Ticini, Luca F; Schütz-Bosbach, Simone

2011-01-01

The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though less studied than the neuroaesthetics of visual art, dance neuroaesthetics is a particularly rich subfield to explore, as it is informed not only by research on the neurobiology of aesthetics, but also by an extensive literature on how action experience shapes perception. Moreover, it is ideally suited to explore the embodied simulation account of esthetic experience, which posits that activation within sensorimotor areas of the brain, known as the action observation network (AON), is a critical element of the esthetic response. In the present study, we address how observers' esthetic evaluation of dance is related to their perceived physical ability to reproduce the movements they watch. Participants underwent functional magnetic resonance imaging while evaluating how much they liked and how well they thought they could physically replicate a range of dance movements performed by professional ballet dancers. We used parametric analyses to evaluate brain regions that tracked with degree of liking and perceived physical ability. The findings reveal strongest activation of occipitotemporal and parietal portions of the AON when participants view movements they rate as both esthetically pleasing and difficult to reproduce. As such, these findings begin to illuminate how the embodied simulation account of esthetic experience might apply to watching dance, and provide preliminary evidence as to why some people find enjoyment in an evening at the ballet.

Occupational accidents in professional dance with focus on gender differences

PubMed Central

2013-01-01

Background Classical dance comprises gender specific movement tasks. There is a lack of studies which investigate work related traumatic injuries in terms of gender specific differences in detail. Objective To define gender related differences of occupational accidents. Methods Basis for the evaluation were occupational injuries of professional dancers from three (n = 785; f: n = 358, m: n = 427) state theatres. Results The incidence rate (0.36 per year) was higher in males (m: 0.45, f: 0.29). There were gender specific differences as to the localizations of injuries, particularly the spine region (m: 17.3%, f: 9.8%, p = 0.05) and ankle joint (m: 23.7%, f: 35.5%, p = 0.003). Compared to male dancers, females sustained more injuries resulting from extrinsic factors. Significant differences could specifically be observed with dance floors (m: 8.8%, f: 15.1%, p = 0.02). There were also significant gender differences observed with movement vocabulary. Conclusion The clearly defined gender specific movement activities in classical dance are reflected in occupational accidents sustained. Organisational structures as well as work environment represent a burden likewise to male and female dancers. The presented differences support the development of gender specific injury prevention measures. PMID:24341391

The relevance of Newton's laws and selected principles of physics to dance techniques: Theory and application

NASA Astrophysics Data System (ADS)

Lei, Li

1999-07-01

In this study the researcher develops and presents a new model, founded on the laws of physics, for analyzing dance technique. Based on a pilot study of four advanced dance techniques, she creates a new model for diagnosing, analyzing and describing basic, intermediate and advanced dance techniques. The name for this model is ``PED,'' which stands for Physics of Expressive Dance. The research design consists of five phases: (1) Conduct a pilot study to analyze several advanced dance techniques chosen from Chinese dance, modem dance, and ballet; (2) Based on learning obtained from the pilot study, create the PED Model for analyzing dance technique; (3) Apply this model to eight categories of dance technique; (4) Select two advanced dance techniques from each category and analyze these sample techniques to demonstrate how the model works; (5) Develop an evaluation framework and use it to evaluate the effectiveness of the model, taking into account both scientific and artistic aspects of dance training. In this study the researcher presents new solutions to three problems highly relevant to dance education: (1) Dancers attempting to learn difficult movements often fail because they are unaware of physics laws; (2) Even those who do master difficult movements can suffer injury due to incorrect training methods; (3) Even the best dancers can waste time learning by trial and error, without scientific instruction. In addition, the researcher discusses how the application of the PED model can benefit dancers, allowing them to avoid inefficient and ineffective movements and freeing them to focus on the artistic expression of dance performance. This study is unique, presenting the first comprehensive system for analyzing dance techniques in terms of physics laws. The results of this study are useful, allowing a new level of awareness about dance techniques that dance professionals can utilize for more effective and efficient teaching and learning. The approach utilized in this study is universal, and can be applied to any dance movement and to any dance style.

A Test of Objectification Theory in Adolescent Girls.

ERIC Educational Resources Information Center

Slater, Amy; Tiggemann, Marika

2002-01-01

Tested the components of a model proposed by Objectification Theory in a sample of adolescent girls who did and did not study classical ballet. Participant surveys examined self-objectification, body shame, appearance anxiety, and disordered eating. There was no difference between groups on self-objectification or any of its proposed consequences.…

Advocating for Arts in the Classroom

ERIC Educational Resources Information Center

Bauerlein, Mark

2010-01-01

This article contends that every chairman of the National Endowment for the Arts must advocate for arts education. The arts need a voice in power, say people in the field, someone in the corridors of influence to argue the benefits of teaching the nation's students about classical and jazz music, ballet, and sculpture. With No Child Left Behind…

Visualizing Caribbean Performance (Jamaican Dancehall and Trinidadian Carnival) as Praxis: An Autohistoria of Kiki's Journey

ERIC Educational Resources Information Center

Carey, A'Keitha

2016-01-01

I discuss my journey in the construction, pedagogy, and philosophy of the dance technique CaribFunk™. CaribFunk fuses Afro-Caribbean (traditional and social dance), classical ballet, modern, and fitness elements. It also encourages exploration of self while investigating identity, citizenship, and culture through a kinesthetic expression of the…

Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy.

PubMed

López-Ortiz, Citlali; Egan, Tara; Gaebler-Spira, Deborah J

2016-01-01

This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Twelve children with cerebral palsy (ages 7-15 years) with Gross Motor Function Classification scores II-IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively). The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted.

[Posterior ankle impingement syndrome].

PubMed

Bojanić, Ivan; Janjić, Tamara; Dimnjaković, Damjan; Križan, Sanja; Smoljanović, Tomislav

2015-01-01

Posterior ankle impingement syndrome (PAIS) is a clinical syndrome characterized by posterior ankle pain which occurs in maximal forced plantar flexion of the foot. PAIS can be the result of an acute injury of the ankle, which is more often in general population, or it can be the result of the overuse syndrome, which is more often in athletes and ballet dancers. The etiology of PAIS may involve bony structures or soft tissue structures, or, more often, the combination of both. The diagnosis of PAIS is based on patient's clinical history and physical examination with the hyperplantarflexion test as a very important part of it. Physical examination should be completed with imaging techniques, which most often include magnetic resonance imaging (MRI) or computed tomography (CT) to confirm the diagnosis of PAIS. Conservative treatment is recommended as the primary treatment strategy. In those cases where 3 to 6 months of conservative treatment fails, open or, more often, arthroscopic/endoscopic surgery may be recommended. Nowadays, a 2-portal endoscopic approach introduced by van Dijk et al. in 2000 is the method of choice for the treatment of posterior ankle impingement syndrome.

Artful Stories: The Teacher, the Student, and the Muse. Black Studies and Critical Thinking. Volume 22

ERIC Educational Resources Information Center

Dowdy, Joanne Kilgour

2012-01-01

These are the stories of four arts practitioners from Trinidad and Tobago--a lighting designer, a dancer, a jazz musician and a choreographer--who have made names for themselves internationally. The book centers on their role as educators in their fields; their unique and individual journeys exemplify the classic role artists have (always) played…

Arts Education in America: What the Declines Mean for Arts Participation. Based on the 2008 Survey of Public Participation in the Arts. Research Report #52

ERIC Educational Resources Information Center

Rabkin, Nick; Hedberg, E. C.

2011-01-01

The Surveys of Public Participation in the Arts (SPPAs), conducted for the National Endowment for the Arts, have shown a steady decline in the rates of adult attendance at most "benchmark" arts events--specifically, classical music and jazz concerts, musical and non-musical plays, opera, and ballet performances--as well as declines in other forms…

Feasibility Study for Ballet E-Learning: Automatic Composition System for Ballet "Enchainement" with Online 3D Motion Data Archive

ERIC Educational Resources Information Center

Umino, Bin; Longstaff, Jeffrey Scott; Soga, Asako

2009-01-01

This paper reports on "Web3D dance composer" for ballet e-learning. Elementary "petit allegro" ballet steps were enumerated in collaboration with ballet teachers, digitally acquired through 3D motion capture systems, and categorised into families and sub-families. Digital data was manipulated into virtual reality modelling language (VRML) and fit…

Positioning Ballet.

ERIC Educational Resources Information Center

Kassing, Gayle, Ed.; And Others

1981-01-01

A series of articles discusses the development of ballet instruction in secondary and higher education, beginning ballet in high school and in college, teaching techniques, ballet for visually handicapped students, and methods for the prevention of injuries in beginning students. (JN)

Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy

PubMed Central

López-Ortiz, Citlali; Egan, Tara; Gaebler-Spira, Deborah J

2016-01-01

Introduction: This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Methods: Twelve children with cerebral palsy (ages 7–15 years) with Gross Motor Function Classification scores II–IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Results: Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively). The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Conclusion: Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted. PMID:27721977

"Whole" Ballet Education: Exploring Direct and Indirect Teaching Methods

ERIC Educational Resources Information Center

Choi, Euichang; Kim, Na-ye

2015-01-01

The purpose of this study was to explore teaching methods for whole ballet in Korean ballet education. This study built upon a first phase of research that identified the educational content of "whole" ballet. Four dimensions were identified as the educational content: "physical," "cognitive," "emotional"…

The Influences of an Exemplary Ballet Teacher on Students' Motivation: "The Finnish Way"

ERIC Educational Resources Information Center

Chua, Joey

2017-01-01

This ethnographic case story aims to illuminate the instructional practices and decisions of an exemplary ballet teacher, Minna Stenvall at the Finnish National Opera Ballet School. Minna is considered to be exemplary in her field because she received the Best Ballet Pedagogue Award in 2014. Spurred on by the literature on the significant role…

Postural stability in a population of dancers, healthy non-dancers, and vestibular neuritis patients.

PubMed

Martin-Sanz, Eduardo; Ortega Crespo, Isabel; Esteban-Sanchez, Jonathan; Sanz, Ricardo

2017-09-01

Several studies have indicated better balance control in dancers than in control participants, but some controversy remains. The aim of our study is to evaluate the postural stability in a cohort of dancers, non-dancers, compensated, and non-compensated unilateral vestibular neuritis (VN). This is a prospective study of control subjects, dancers, and VN patients between June 2009 and December 2015. Dancers from the Dance Conservatory of Madrid and VN patients were referred to our department for analysis. After the clinical history, neuro-otological examination, audiogram, and caloric tests, the diagnosis was done. Results from clinical examination were used for the categorization of compensation situation. A computerized dynamic posturography was performed to every subject. Forty dancers and 38 women formed both 'dancer' and 'normal' cohorts. Forty-two compensated and 39 uncompensated patients formed both 'compensated' and 'uncompensated' cohorts. Dancers had significantly greater antero-posterior (AP) body sway than controls during condition 5 and 6 in the Sensory Organization Test (SOT) (p < .05). When we compared the uncompensated cohort with both control and dancers groups, we found significant greater body sway in every SOT studied condition (p < .05). While mean AP body say in SOT 5 and 6, showed greater values in compensated patients than the control group, the mean analysis did not show any statistical difference between the compensated and dancer groups, in such SOT conditions. Dancers demonstrated greater sways than non-dancers when they relied their postural control on vestibular input alone. Compensated patients had a similar posturographic pattern that the dancers cohort, suggesting a similar shift from visual to somatosensory information.

Sexual orientation and professional dance.

PubMed

Bailey, J M; Oberschneider, M

1997-08-01

The stereotypical professional male dancer is a gay man. However, little if any systematic research has investigated the validity of this stereotype, much less the reasons why male sexual orientation would be associated with interest in dance. We interviewed 136 professional dancers about the prevalence of homosexuality among dancers, the dancers' own sexual development, and relationships between dancers of different sexual orientations. Dancers estimated that over half of male dancers are gay, but that only a small minority of female dancers are lesbian. Gay men recalled more intense early interest in dance compared to heterosexual men and women, and were more feminine as boys than were heterosexual men. Gay men's homosexual feelings typically preceded their dance experience, and only one gay man felt that his dance experiences may have influenced his sexual orientation. Heterosexual men voiced some mild complaints about gay male dancers, but these were balanced by positive sentiments.

Differences in the occurrence and characteristics of injuries between full-time and part-time dancers

PubMed Central

Pappas, Evangelos; Stamatakis, Emmanuel; Hiller, Claire E

2018-01-01

Background Professional dancers are at significant risk of injury due to the physical demands of their career. Despite their high numbers, the experience of injury in freelance or part-time dancers is not well understood. Therefore, the aim of this study was to examine the occurrence and characteristics of injury in part-time compared with full-time Australian professional dancers. Methods Data were collected using a cross-sectional survey distributed to employees of small and large dance companies and freelance dancers in Australia. Statistical comparisons between full-time and part-time dancer demographics, dance training, injury prevalence and characteristics were made using χ2, two-tailed Fisher’s exact tests, independent t-tests and Mann-Whitney U tests. Results A total of 89 full-time and 57 part-time dancers were included for analysis. A higher proportion of full-time dancers (79.8%) than part-time dancers (63.2%) experienced an injury that impacted on their ability to dance in the past 12 months (p=0.035). Injuries characteristics were similar between groups with fatigue being the most cited contributing factor. Part-time dancers took longer to seek treatment while a higher proportion of full-time dancers were unable to dance in any capacity following their injury. Conclusion More full-time dancers sustained an injury in the past 12 months, and were unable to dance in any capacity following their injury. However injuries still commonly occurred in part-time dancers without necessarily a large volume of dance activity. Part-time dancers often access general community clinicians for treatment, who may need additional education to practically advise on appropriate return to dance. PMID:29629183

Differences in the occurrence and characteristics of injuries between full-time and part-time dancers.

PubMed

Vassallo, Amy Jo; Pappas, Evangelos; Stamatakis, Emmanuel; Hiller, Claire E

2018-01-01

Professional dancers are at significant risk of injury due to the physical demands of their career. Despite their high numbers, the experience of injury in freelance or part-time dancers is not well understood. Therefore, the aim of this study was to examine the occurrence and characteristics of injury in part-time compared with full-time Australian professional dancers. Data were collected using a cross-sectional survey distributed to employees of small and large dance companies and freelance dancers in Australia. Statistical comparisons between full-time and part-time dancer demographics, dance training, injury prevalence and characteristics were made using χ 2 , two-tailed Fisher's exact tests, independent t-tests and Mann-Whitney U tests. A total of 89 full-time and 57 part-time dancers were included for analysis. A higher proportion of full-time dancers (79.8%) than part-time dancers (63.2%) experienced an injury that impacted on their ability to dance in the past 12 months (p=0.035). Injuries characteristics were similar between groups with fatigue being the most cited contributing factor. Part-time dancers took longer to seek treatment while a higher proportion of full-time dancers were unable to dance in any capacity following their injury. More full-time dancers sustained an injury in the past 12 months, and were unable to dance in any capacity following their injury. However injuries still commonly occurred in part-time dancers without necessarily a large volume of dance activity. Part-time dancers often access general community clinicians for treatment, who may need additional education to practically advise on appropriate return to dance.

Dancing attraction: followers of honey bee tremble and waggle dances exhibit similar behaviors.

PubMed

Lam, Calvin; Li, Yanlei; Landgraf, Tim; Nieh, James

2017-06-15

The function of the honey bee tremble dance and how it attracts signal receivers is poorly understood. We tested the hypothesis that tremble followers and waggle followers exhibit the same dance-following behavior. If correct, this could unify our understanding of dance following, provide insight into dance information transfer, and offer a way to identify the signal receivers of tremble dance information. Followers showed similar initial attraction to and tracking of dancers. However, waggle dancers were faster than tremble dancers, and follower-forward, -sideways, and -angular velocities were generally similar to the velocities of their respective dancers. Waggle dancers attracted followers from 1.3-fold greater distances away than tremble dancers. Both follower types were attracted to the lateral sides of dancers, but tremble followers were more attracted to the dancer's head, and waggle followers were more attracted to the dancer's abdomen. Tremble dancers engaged in 4-fold more brief food exchanges with their followers than waggle dancers. The behaviors of both follower types are therefore relatively conserved. Researchers can now take the next steps, observing tremble followers to determine their subsequent behaviors and testing the broader question of whether follower attraction and tracking is conserved in a wide range of social insects. © 2017. Published by The Company of Biologists Ltd.

Dancing attraction: followers of honey bee tremble and waggle dances exhibit similar behaviors

PubMed Central

Lam, Calvin; Li, Yanlei; Landgraf, Tim

2017-01-01

ABSTRACT The function of the honey bee tremble dance and how it attracts signal receivers is poorly understood. We tested the hypothesis that tremble followers and waggle followers exhibit the same dance-following behavior. If correct, this could unify our understanding of dance following, provide insight into dance information transfer, and offer a way to identify the signal receivers of tremble dance information. Followers showed similar initial attraction to and tracking of dancers. However, waggle dancers were faster than tremble dancers, and follower-forward, -sideways, and -angular velocities were generally similar to the velocities of their respective dancers. Waggle dancers attracted followers from 1.3-fold greater distances away than tremble dancers. Both follower types were attracted to the lateral sides of dancers, but tremble followers were more attracted to the dancer's head, and waggle followers were more attracted to the dancer's abdomen. Tremble dancers engaged in 4-fold more brief food exchanges with their followers than waggle dancers. The behaviors of both follower types are therefore relatively conserved. Researchers can now take the next steps, observing tremble followers to determine their subsequent behaviors and testing the broader question of whether follower attraction and tracking is conserved in a wide range of social insects. PMID:28432104

Private Speech in Ballet

ERIC Educational Resources Information Center

Johnston, Dale

2006-01-01

Authoritarian teaching practices in ballet inhibit the use of private speech. This paper highlights the critical importance of private speech in the cognitive development of young ballet students, within what is largely a non-verbal art form. It draws upon research by Russian psychologist Lev Vygotsky and contemporary socioculturalists, to…

Dissecting the doctor-dancer relationship: health care decision making among American collegiate dancers.

PubMed

Air, Mary E; Grierson, Matthew J; Davenport, Kathleen L; Krabak, Brian J

2014-03-01

To examine perceptual influences on dancers' health care-seeking decisions and whether dancers' beliefs correlate with actual use of provider services when they are injured. Secondary aims were to understand how dancers may select physicians and what they consider to be the most important features of the medical consultation. Prospective cohort study. University and conservatory dance departments. Forty American collegiate dancers. Before the start of the dance semester, all participants completed a retrospective survey that included baseline demographic data, dance experience, a dance-related injury (DRI) inventory, previous health care exposures, and perceptions regarding health care treatment providers. Data regarding new DRIs and health care exposures were then prospectively collected every 2 weeks for 6 months. A DRI was defined as any neuromusculoskeletal condition sustained as the result of dancing activity that caused a dancer to stop or modify his or her dancing for more than 3 consecutive days. Dancers perceived dance teachers to be first-line treatment providers (47.5%), followed by physical therapists (PTs; 30%). Physicians were ranked third (12.5%) and only marginally higher than a dance colleague (10%). The dancers expressed a strong preference for nonsurgical rather than surgical physicians (87.5% versus 5.0%), and among physicians, the majority of dancers preferred subspecialists (60%), namely nonsurgical sports medicine doctors and physiatrists. During the 6-month prospective data-collection period, 25 dancers (69.4%) sustained 55 unique injuries, with 22 dancers (88%) and 34 injuries (61.8%) undergoing evaluation. Only 17.7% of injuries were evaluated by a physician. Dancers showed greater incongruity between their preinjury perceptions and postinjury use of physicians than they did with PTs (P = .0002). Although dancers did not perceive physicians to be first-line treatment providers for DRIs, these perceptions about physicians were poorly correlated with use. Instead, injured dancers' health care-seeking behaviors were more likely related to relatively decreased barriers to other nonphysician providers, as well as pre-existing referral pathways to PTs. Copyright © 2014 American Academy of Physical Medicine and Rehabilitation. Published by Elsevier Inc. All rights reserved.

Zapateado technique as an injury risk in Mexican folkloric and Spanish dance: an analysis of execution, ground reaction force, and muscle strength.

PubMed

Echegoyen, Soledad; Aoyama, Takeshi; Rodríguez, Cristina

2013-06-01

Zapateado is a repetitive percussive footwork in dance. This percussive movement, and the differences in technique, may be risk factors for injury. A survey on zapateado dance students found a rate of 1.5 injuries/1,000 exposures. Knee injuries are more frequent than in Spanish dancers than folkloric dancers. The aim of this research was to study the relationship between technique and ground reaction force between zapateado on Spanish and Mexican folkloric dancers. Ten female dance students (age 22.4 ± 4 yrs), six Spanish dancers and four Mexican folkloric dancers, were considered. Each student performed zapateado with a flat foot, wearing high-heeled shoes during 5 seconds on a force platform. Videotapes were taken on a lateral plane, and knee and hip angles in each movement phase were measured with Dartfish software. Additionally, knee and ankle flexor and extensor strength was measured with a dynamometer. Ground reaction forces were lower for Spanish dancers than Mexican folkloric dancers. Spanish dancers had less knee flexion when the foot contacted to the ground than did Mexican folkloric dancers. On Spanish dancers, the working leg had more motion in relation to hip and knee angles than was seen in folkloric dancers. The ankle extensors were stronger on folkloric dancers, and there were no differences for the other muscle groups. Knee flexion at foot contact and muscle strength imbalance could be risk factors for injuries. It is suggested that the technique in Spanish dance in Mexico be reviewed, although more studies are required to define more risk factors.

Ballet Doesn't Have to Be Boring: Engaging Students in the Creative Process

ERIC Educational Resources Information Center

Scheff, Helene

2005-01-01

For many years, the author has incorporated creative process into the way she teaches ballet class. The author shares the philosophical, practical, and artistic reasons for the creative process in ballet classes. She also shares the rationale and how this practice developed over time.

Precision Teaching, Frequency-Building, and Ballet Dancing

ERIC Educational Resources Information Center

Lokke, Gunn E. H.; Lokke, Jon A.; Arntzen, Erick

2008-01-01

This article reports the effectiveness of a brief intervention aimed at achieving fluency in basic ballet moves in a 9-year-old Norwegian girl by use of frequency-building and Precision Teaching procedures. One nonfluent ballet move was pinpointed, and instructional and training procedures designed to increase the frequency of accurate responding…

Fat Talk and Body Dissatisfaction among College Dancers

ERIC Educational Resources Information Center

Kartawidjaja, Jenae E.; Cordero, Elizabeth D.

2013-01-01

The purpose of this study was to investigate "fat talk" conversations about weight and body dissatisfaction within college dancers. Participants were 116 female undergraduates who were dancers/dance majors ("n"?=?20), dancers/nondance majors ("n"?=?32), and nondancers ("n"?=?63). Participants responded to…

Utilization of Routine Primary Care Services Among Dancers.

PubMed

Alimena, Stephanie; Air, Mary E; Gribbin, Caitlin; Manejias, Elizabeth

2016-01-01

This study examines the current utilization of primary and preventive health care services among dancers in order to assess their self-reported primary care needs. Participants were 37 dancers from a variety of dance backgrounds who presented for a free dancer health screening in a large US metropolitan area (30 females, 7 males; mean age: 27.5 ± 7.4 years; age range: 19 to 49 years; mean years of professional dancing: 6.4 ± 5.4 years). Dancers were screened for use of primary care, mental health, and women's health resources using the Health Screen for Professional Dancers developed by the Task Force on Dancer Health. Most dancers had health insurance (62.2%), but within the last 2 years, only approximately half of them (54.1%) reported having a physical examination by a physician. Within the last year, 54.1% of dancers had had a dental check-up, and 56.7% of female dancers received gynecologic care. Thirty percent of female participants indicated irregular menstrual cycles, 16.7% had never been to a gynecologist, and 16.7% were taking birth control. Utilization of calcium and vitamin D supplementation was 27.0% and 29.7%, respectively, and 73.0% were interested in nutritional counseling. A high rate of psychological fatigue and sleep deprivation was found (35.1%), along with a concomitant high rate of self-reported need for mental health counseling (29.7%). Cigarette and recreational drug use was low (5.4% and 5.4%); however, 32.4% engaged in binge drinking within the last year (based on the CDC definition). These findings indicate that dancers infrequently access primary care services, despite high self-reported need for nutritional, mental, and menstrual health counseling and treatment. More studies are warranted to understand dancers' primary health care seeking behavior.

Effects of ballet training of children in Turkey on foot anthropometric measurements and medial longitudinal arc development.

PubMed

Ozdinc, Sevgi Anar; Turan, Fatma Nesrin

2016-07-01

To investigate the effects of ballet training on foot structure and the formation of the medial longitudinal arc in childhood, and the association of body mass index with structural change secondary to ballet training. This study was conducted at Öykü Ballet and Dance School and Trakya University, Edirne, Turkey, from September 2007 to November 2008, and comprised girl students who were taking ballet classes, and a group of those who were not taking such who acted as the controls. Static footprints of both feet of all participants were taken with an ink paedogram. Parameters evaluated from footprints included foot length, metatarsal width, heel width and medial longitudinal arch. The relationship between the parameters, the ballet starting age, training duration and body mass index was investigated. Of the 67 participants, there were 36(53.7%) in the experimental group and 31(48.3%) in the control group. The difference between age, height, weight and body mass index between the two groups was insignificant (p>0.05). The average ballet starting age was 6.47±1.55 years and duration was 4.36±2.002 years. Positive correlations were found between body mass index and foot length, metatarsal width, heel width, medial longitudinal arch contact width and halluxvalgus angle; between ballet starting age and metatarsal width, heel width; between duration of training and foot length, metatarsal width and hallux valgus angle (p?0.05 each). Evidence supporting the education in children on foot anthropometric measurements and medial longitudinal arc development could not be found.

Testing legal assumptions regarding the effects of dancer nudity and proximity to patron on erotic expression.

PubMed

Linz, D; Blumenthal, E; Donnerstein, E; Kunkel, D; Shafer, B J; Lichtenstein, A

2000-10-01

A field experiment was conducted in order to test the assumptions by the Supreme Court in Barnes v. Glen Theatre, Inc. (1991) and the Ninth Circuit Court of Appeals in Colacurcio v. City of Kent (1999) that government restrictions on dancer nudity and dancer-patron proximity do not affect the content of messages conveyed by erotic dancers. A field experiment was conducted in which dancer nudity (nude vs. partial clothing) and dancer-patron proximity (4 feet; 6 in.; 6 in. plus touch) were manipulated under controlled conditions in an adult night club. After male patrons viewed the dances, they completed questionnaires assessing affective states and reception of erotic, relational intimacy, and social messages. Contrary to the assumptions of the courts, the results showed that the content of messages conveyed by the dancers was significantly altered by restrictions placed on dancer nudity and dancer-patron proximity. These findings are interpreted in terms of social psychological responses to nudity and communication theories of nonverbal behavior. The legal implications of rejecting the assumptions made by the courts in light of the findings of this study are discussed. Finally, suggestions are made for future research.

Risk factors for injuries in competitive Irish dancers enrolled in dance schools in Calgary, Canada.

PubMed

Eustergerling, Mercedes; Emery, Carolyn

2015-03-01

Irish dancing has become a popular activity following international exposure to touring dance companies. Previous studies have reported high injury incidence rates in dancers. The objective of this study was to examine risk factors for injuries in competitive Irish dancers in Calgary, Canada. This is a cross-sectional study. Competitive dancers over 12 years of age in Calgary, Canada, were eligible to participate. A pen-and-paper survey was administered to gather information on demographics, risk factors for injury, and injuries in the past year. Potential risk factors included age, competitive level, participation in other physical activities, years of participation in Irish dance, and performing a warm-up or cool-down. Incidence proportions (IP) and odds ratios (OR) were estimated. Three of the five accredited dance schools in Calgary participated and a total of 36 questionnaires were completed. Twenty-six dancers (IP=72.2%; 95% CI 54.8-85.8%) reported at least one Irish dance-related injury in the past year. There were 60 injuries reported and the majority (57%) were foot or ankle injuries. Elite level dancers (OR= 6.33; CI 1.27-31.57) and dancers over 18 years of age (OR= 24.43; CI 2.60-229.56) were at greater risk of injury in the past year than non-elite and younger dancers. Elite dancers and dancers over 18 years of age are at the greatest risk of injury in Irish dance in Calgary, Canada.

Dancers' Perceived and Actual Knowledge of Anatomy.

PubMed

Kotler, Dana H; Lynch, Meaghan; Cushman, Daniel; Hu, Jason; Garner, Jocelyn

2017-06-15

Dancers are highly susceptible to musculoskeletal injuries and frequently require interaction with medical professionals. While many dancers have a finely tuned awareness of their bodies, their knowledge of the fundamentals of human anatomy is not uniform. There is a paucity of literature on the benefits of human anatomy education in dancers, though it seems intuitive that there should be a relationship. The purpose of this study was to assess dancers' perceived and actual knowledge of basic musculoskeletal anatomy and its relationship to function. Adult dancers at the undergraduate, pre-professional, and professional levels were surveyed through an anonymous online questionnaire. Questions included demographic information, dance techniques studied, anatomy training, and injury history. Subjects rated their perceived knowledge of anatomy and were tested with 15 multiple-choice questions on basic musculoskeletal anatomy. Four hundred seventy-five surveys were completed. Ordinal regression showed a correlation of perceived to actual knowledge of anatomy (p < 0.001). Factors that correlated with increases in both perceived and actual knowledge of anatomy included having taken an anatomy course of any type (p < 0.001) and increased age (p ≤ 0.001). Years of dance training and professional dancer status both significantly correlated with increased knowledge of anatomy (p < 0.001) but not perceived knowledge. Chi-square analysis showed that dancers with training in either modern or jazz dance had a significantly higher perceived, but not actual, knowledge when compared to those without training in those styles of dance (p < 0.001 and p = 0.011, respectively). In conclusion, dancers generally scored well on questions pertaining to basic musculoskeletal anatomy, and their perception correlated with their actual knowledge of anatomy. Factors that contribute to dancers' knowledge of anatomy include age, years of experience, professional dancer status, and anatomy training.

Musculoskeletal injuries in break-dancers.

PubMed

Cho, Chul Hyun; Song, Kwang Soon; Min, Byung Woo; Lee, Sung Moon; Chang, Hyuk Won; Eum, Dae Seup

2009-11-01

Since no epidemiologic studies have been reported about musculoskeletal injuries in break-dancers, there are no data on the rates and patterns of musculoskeletal injuries in this population that clinicians can use to find ways to decrease injury rate. We believe that the incidence of injuries in break-dancers is higher than assumed and that injury rates and patterns differ between professional and amateur dancers. Descriptive epidemiologic study. Of a total of 42 study subjects, 23 were professional dancers and 19 were amateur dancers. Injury frequency, site and type, along with the presence of supervised training, the use of protective devices and warm-up exercises done were recorded. Of the 42 study subjects, excluding two amateur dancers, 40 (95.2%) had had musculoskeletal injuries at more than one site. The mean number of sites per dancer was 4.60. The frequency of injury depended on the site and was as follows: wrist (69.0%), finger (61.9%), knee (61.9%), shoulder (52.4%), lumbar spine (50.0%), elbow (42.9%), cervical spine (38.1%), ankle (38.1%), foot (28.6%) and hip (16.7%). Sprain, strain and tendinitis were the most common injuries, accounting for the most cases. Of the 42 dancers, 13 (31%) had had fractures or dislocations. Eight (19.1%) learned break-dancing under supervised instruction, 17 (40.5%) used protective devices and 28 (66.7%) performed warm-up exercises before dancing. There were significant differences in age, dance career length, amount of dance training, mean number of injury sites and the presence of supervised training between professionals and amateurs (P<0.05). Clinicians must inquire thoroughly into the nature of the activities that result in both unusual and common injuries in break-dancers and educate them about safety. Careful screening, instruction and supervised training of break-dancers will help to prevent injuries.

[Analysis and evaluation of occupational accidents in dancers of the dance theatre].

PubMed

Wanke, E M; Groneberg, D A; Quarcoo, D

2011-03-01

The dance theatre is an autonomous form of presentation within the performing arts. It is a combination of dance, drama, singing and speaking. As the actors are usually professional dancers the dance theatre is associated with the professional dance. Compared with other dance styles there is an enhanced usage of props, costumes or décor to intensify the production and the expressiveness. In contrast to the defined professional dance technique the range of movements is unlimited. There has not yet been done any research on the influence of props as well as décor in terms of exogenous factors potentially favouring injuries. Aim of this study is to characterize specific injury patterns, as well as their causes and to suggest basic approaches to prevent injuries in the dance theatre. The data of this evaluation comprise occupational accident reports, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 1106) of the Berlin State Accident Insurance over a 9-year period. 103 occupational accidents are accounted for the dance theatre. 44.6 % of the accidents happen during rehearsals, 42.4 % during performances, 76.7 % on stage and adjoining areas and 10.7 % in the ballet studio. Second most common movement resulting in an injury are jumps with 25.4 %. Altogether 69.7 % of the accidents have a uniquely defined exogenous cause with 30.5 % by props, 12.7 % by the floor and 17.2 % by the dance partner. 30.3 % of the accidents have multifactorial causes (e. g. the social situation, state of training and nutrition). 61 % of all accidents happen within three hours after starting work with an increase of occupational accidents between 11:00 - 12:00 hrs and 08:00- 09:00 hrs. The lower extremity is the most affected location (53.3 %), followed by the head/neck area (21.4 %) and the upper extremity (17.5 %). Contusions (26.2 %), distortions (17.5 %), muscular strains (19.4 %) and wounds (13.6 %) are the most frequent types of injuries. In combination with the partly undefined movement pattern the majority of the acute injuries is - compared to other dance styles - above all caused by susceptible exogenous factors. Corrections of the daily routine, the working conditions, state of training as well as of the state of nutrition of the dancers may be initial steps towards injury prevention. At that, early interactions and interventions in the planning process of a dance theatre production could help to minimize the amount of accidents caused by exogenous factors and contribute to a practicable injury prevention in the dance theatre. © Georg Thieme Verlag KG Stuttgart · New York.

My Dance and the Ideal Body: Looking at Ballet Practice from the Inside Out

ERIC Educational Resources Information Center

Jackson, Jennifer

2005-01-01

This paper argues for a change of thinking about the "ideal body" in relation to ballet as a dance form and how it is studied. It distinguishes between spectator and practitioner perspectives on ballet, and draws on the practice of established dance artists and that of the author to write about the first-person experience--from the inside out.…

Anthropometry and somatotypes of competitive DanceSport participants: a comparison of three different styles.

PubMed

Liiv, H; Wyon, M; Jürimäe, T; Purge, P; Saar, M; Mäestu, J; Jürimäe, J

2014-04-01

Anthropometry in dance and aesthetic sports has been shown to play an important role in selection and performance criteria. The aim of the present study was to examine variations in somatotype and anthropometry in three different competitive dance styles: DanceSport Standard, Latin American and Ten Dance. Anthropometry and somatotype data were collected from thirty couples competing in Standard (n=24 individuals), Latin American (n=14) and Ten Dance (n=22) styles. A single tester (ISAK Level 1) carried out all anthropometric measurements using the Heath-Carter protocol and somatotypes were calculated using the Heath-Carter's decimal equations. Results indicated that the mean somatotype for the male dancers was 2.4-3.9-3.2, whilst for females it was 2.7-2.7-3.5. Factorial analysis reported Standard dancers scored significantly higher for ectomorphy, sitting height and arm span than Latin dancers (p<0.05). Correlation analysis with the Standard dancer's International Ranking highlighted moderate positive correlation with mesomorphy (r=0.434, p<0.05) and negative correlation with ectomorphy (r=-0.546, p<0.001). The findings of this study show that somatotypes differ among DanceSport participants by dance style. Compared with other aesthetic sports, male and female dancers were less mesomorphic and more ectomorphic. Standard dancers tend to be more ectomorphic with greater height, longer arm span and greater sitting height compared with Latin American dancers. Although Standard dancers were ectomorphic, those dancers who had higher mesomorphic ranking had higher places in the dancers' international ranking. Copyright © 2013 Elsevier GmbH. All rights reserved.

Pointing the foot without sickling: an examination of ankle movement during jumping.

PubMed

Jarvis, Danielle N; Kulig, Kornelia

2015-03-01

The sauté is a relatively simple dance jump that can be performed by both highly skilled dancers and non-dancers. However, there are characteristics of jumping unique to trained dancers, especially in terms of foot and ankle movement during flight. Dancers are trained not to "sickle, " or to avoid the anatomically coupled ankle inversion that occurs with plantar flexion, maintaining the appearance of a straight line through the lower leg and foot. The purpose of this study was to examine ankle movements in elite dancers compared to non-dancers. Twenty healthy females, 10 with no prior dance training and 10 professional dancers, performed 20 consecutive sautés while three-dimensional kinematic data were collected. Sagittal and frontal plane kinematics were calculated and vector coding methods were used to quantify coordination patterns within the ankle in the sagittal and frontal planes. This pattern was chosen for analysis to identify the avoidance of a sickled foot by trained dancers. Peak ankle positions and coordination patterns between groups were examined using independent t-tests (a <0.05). Dancers demonstrated greater peak plantar flexion (p<0.01) and less change in ankle angle during the flight phase (p= 0.01), signifying holding the pointed foot position during flight. There was no statistically significant difference in sagittal and frontal plane ankle coupling (p= 0.15); however, the Cohen's d effect size for the difference in coupling was medium-to-large (0.73). Dynamic analysis of the foot and ankle during jumping demonstrates how elite dancers achieve the aesthetic requirements of dance technique.

Lumbar lordosis in female collegiate dancers and gymnasts.

PubMed

Ambegaonkar, Jatin P; Caswell, Amanda M; Kenworthy, Kristen L; Cortes, Nelson; Caswell, Shane V

2014-12-01

Postural deviations can predispose an individual to increased injury risk. Specifically, lumbar deviations are related to increased low back pain and injury. Dancers and gymnasts are anecdotally suggested to have exaggerated lumbar lordosis and subsequently may be at increased risk of lumbar pathologies. Our objective was to examine lumbar lordosis levels in dancers and gymnasts. We examined lumbar lordosis in 47 healthy collegiate females (17 dancers, 29 gymnasts; mean age 20.2 ± 1.6 yrs) using 2-dimensional sagittal plane photographs and the Watson MacDonncha Posture Analysis instrument. Participants' lordosis levels were cross-tabulated and a Mann-Whitney U-test compared lumbar lordosis between groups (p<0.05). Most participants (89.4%, n=42) exhibited either marked (dancers 50%, n=9; gymnasts 62.1%, n=18; combined 57.4%, n=27) or moderate (dancers 27.8%, n=5; gymnasts 34.5%, n=10; combined 31.9%, n=15) lumbar lordosis deviations. The distribution of lordosis was similar across groups (p=0.22). Most dancers and gymnasts had moderate or marked lumbar lordosis. The extreme ranges of motion required during dancing and gymnastics may contribute to the participants' high lumbar lordosis. Instructors should be aware that there may be links between repetitive hyperextension activities and lumbar lordosis levels in dancers and gymnasts. Thus, they should proactively examine lumbar lordosis in their dancers and gymnasts. How much age of training onset, regimens, survivor bias, or other factors influence lumbar lordosis requires study. Longitudinal studies are also needed to determine if lumbar lordosis levels influence lumbar injury incidence in dancers and gymnasts.

Cardiorespiratory Considerations in Dance: From Classes to Performances.

PubMed

Rodrigues-Krause, Josianne; Krause, Mauricio; Reischak-Oliveira, Álvaro

2015-09-01

When attempting to ascertain dancers' fitness levels, essential parameters, such as aerobic and anaerobic capacity, muscular power and strength, flexibility, and body composition, must be considered. Dance is characterized as an intermittent type of exercise, demanding energy from different metabolic pathways (aerobic and anaerobic, lactic or alactic). A dancer's maximum aerobic capacity (ranging from 37 to 57 ml·kg(-1)·min(-1)) is related to his or her dance style, gender, level of technical ability, and status in a dance company. However, dancers' cardiorespiratory requirements during dance classes (essentially designed for the development of technical skills) are significantly lower than during dance performances, indicating that there is a divergence between dance training and performance with regard to demands on dancers' physical fitness. It follows that supplementary fitness training is needed in order to optimize dancers' technical and artistic performance and to reduce the incidence of injury. Traditional aerobic and strength training have been proposed to cover dancers' lack of conditioning; however, it seems likely that high-intensity interval training would more properly meet the requirements of today's choreography. Therefore, with an approach that applies basic exercise physiology to dance characteristics, this review covers the following topics: 1. dance as physical exercise; 2. dancers' aerobic capacity; 3. cardiorespiratory demands of dance classes and performances; 4. supplementary fitness training for dancers; and 5. fitness testing and assessment for dancers.

Body Image of Dancers in Los Angeles: The Cult of Slenderness and Media Influence among Dance Students

ERIC Educational Resources Information Center

Heiland, Teresa L.; Murray, Darrin S.; Edley, Paige P.

2008-01-01

Body image and self-esteem are examined through personal stories among Los Angeles college dancers who grew up in the Hollywood culture of the cult of slenderness. The study incorporates a body image survey, eating disorder screen, and an interview process capturing dancers' lived experiences with daily pressures. Dancers reveal their experiences…

Dynamic postural control and associated attentional demands in contemporary dancers versus non-dancers

PubMed Central

Sirois-Leclerc, Geneviève; Remaud, Anthony

2017-01-01

Postural control is not a fully automatic process, but requires a certain level of attention, particularly as the difficulty of the postural task increases. This study aimed at testing whether experienced contemporary dancers, because of their specialized training involving the control of posture/balance, would present with a dual-task performance suggesting lesser attentional demands associated with dynamic postural control compared with non-dancers. Twenty dancers and 16 non-dancers performed a dynamic postural tracking task in both antero-posterior and side-to-side directions, while standing on a force platform. The postural task was performed, in turn, 1) as a stand-alone task, and concurrently with both 2) a simple reaction time task and 3) a choice reaction time task. Postural control performance was estimated through variables calculated from centre of pressure movements. Although no overall group difference was found in reaction time values, we found a better ability to control the side to side movements of the centre of pressure during the tracking task in dancers compared with non-dancers, which was dependent on the secondary task. This suggests that such increased ability is influenced by available attentional resources. PMID:28323843

Dynamic postural control and associated attentional demands in contemporary dancers versus non-dancers.

PubMed

Sirois-Leclerc, Geneviève; Remaud, Anthony; Bilodeau, Martin

2017-01-01

Postural control is not a fully automatic process, but requires a certain level of attention, particularly as the difficulty of the postural task increases. This study aimed at testing whether experienced contemporary dancers, because of their specialized training involving the control of posture/balance, would present with a dual-task performance suggesting lesser attentional demands associated with dynamic postural control compared with non-dancers. Twenty dancers and 16 non-dancers performed a dynamic postural tracking task in both antero-posterior and side-to-side directions, while standing on a force platform. The postural task was performed, in turn, 1) as a stand-alone task, and concurrently with both 2) a simple reaction time task and 3) a choice reaction time task. Postural control performance was estimated through variables calculated from centre of pressure movements. Although no overall group difference was found in reaction time values, we found a better ability to control the side to side movements of the centre of pressure during the tracking task in dancers compared with non-dancers, which was dependent on the secondary task. This suggests that such increased ability is influenced by available attentional resources.

Identifying enhanced cortico-basal ganglia loops associated with prolonged dance training

PubMed Central

Li, Gujing; He, Hui; Huang, Mengting; Zhang, Xingxing; Lu, Jing; Lai, Yongxiu; Luo, Cheng; Yao, Dezhong

2015-01-01

Studies have revealed that prolonged, specialized training combined with higher cognitive conditioning induces enhanced brain alternation. In particular, dancers with long-term dance experience exhibit superior motor control and integration with their sensorimotor networks. However, little is known about the functional connectivity patterns of spontaneous intrinsic activities in the sensorimotor network of dancers. Our study examined the functional connectivity density (FCD) of dancers with a mean period of over 10 years of dance training in contrast with a matched non-dancer group without formal dance training using resting-state fMRI scans. FCD was mapped and analyzed, and the functional connectivity (FC) analyses were then performed based on the difference of FCD. Compared to the non-dancers, the dancers exhibited significantly increased FCD in the precentral gyri, postcentral gyri and bilateral putamen. Furthermore, the results of the FC analysis revealed enhanced connections between the middle cingulate cortex and the bilateral putamen and between the precentral and the postcentral gyri. All findings indicated an enhanced functional integration in the cortico-basal ganglia loops that govern motor control and integration in dancers. These findings might reflect improved sensorimotor function for the dancers consequent to long-term dance training. PMID:26035693

Social and cultural vulnerability to sexually transmitted infection: the work of exotic dancers.

PubMed

Maticka-Tyndale, E; Lewis, J; Clark, J P; Zubick, J; Young, S

1999-01-01

This article examines the social and cultural factors that influence the vulnerability of female exotic dancers to sexually transmitted infections. Results are based on a qualitative, exploratory study using observations in 10 clubs and in-depth interviews with 30 dancers in southern Ontario. The social and cultural context within which exotic dancing takes place contributes to a chronic state of sexual harassment and sexual assault in the strip clubs. Women are pressured by economics and by their customers to engage in sex for pay. The defence mechanisms that some women use to deal with these work conditions also contribute to women's vulnerability. The social structure of strip clubs and their policies toward employees and customers can either reduce or exacerbate the vulnerability of dancers. Workplace policies and health and safety standards appear to be the most effective ways to decrease the vulnerability of dancers. Public health units can work with employers and dancers to establish workplace policies and programmes that contribute to the health and wellbeing of dancers.

US Africa Command: Paradigm Change for the Combatant Command

DTIC Science & Technology

2009-01-01

information operations. 5 The ability to attempt the successfully manage all these elements has been referred to as the DIME Ballet , characterizing...3 U.S. National Security Counsel, National Security Strategy 2006, pp 43. 4Austin Bay, "The DIME Ballet " strategypage. com May 24,2005. http...DIME Ballet " May 24,2005. http://www.strategypage.comlon--point/2005524.aspx. (accessed on February 19, 2009). Eisenhower, Dwight. Presidential

The effect of first ballet classes in the community on various postural parameters in young girls.

PubMed

Moller, Anna; Masharawi, Youssef

2011-11-01

To examine the effect of first season ballet classes in the community on the thoracic kyphosis (TK), lumbar lordosis (LL), hip external rotation (ER) and joint flexibility in young girls. Longitudinal single blinded cohort control study. Institutional. 30 girls aged 6-9, recruited from the same primary school were divided equally into 2 groups: a group bi-weekly community ballet class and a sedentary control group. All girls were assessed prior to ballet classes (t(0)), at the conclusion (t(1)) (6 months), and approximately one year later (t(fu)). Beighton score for joint hyper-flexibility, peak of TK and LL, range of hip ER, ratio TK/LL, and individual's height, weight and BMI. LL at t1 became greater in the ballet girls' group (23.7°± 6) as opposed to the controls (19.5°±3.9) due to a decrease in LL in the controls from t0 to t1 (mean difference = -16.5°) (cut-off score = 3.45°) (p < 0.05). TK decreased from t0 to t1 in the ballet girls' group (mean difference = -26.1°) and controls (mean difference = -31.3°) (cut-off score = 4.85°) (p < 0.05). Left hip ER decreased only in the controls from t0 to t1 (mean difference = -13.8°) (cut-off score = 5.43°) (p < 0.05). Beighton score at tfu was greater in the ballet girls' group (6.1 ± 2.3) as opposed to the controls (4.4 ± 1.5) (p < 0.05). First season ballet classes for young girls in the community can be associated with relatively greater LL, and left hip ER and joint hyper-flexibility. Copyright © 2011 Elsevier Ltd. All rights reserved.

Comparison of the metabolic demands of dance performance using three mobility devices for a dancer with spinal cord injury and an able-bodied dancer.

PubMed

Mengelkoch, Larry J; Highsmith, M Jason; Morris, Merry L

2014-09-01

Mobility devices for dancers with physical mobility impairments have previously been limited to traditional manual or power wheelchairs. The hands-free torso-controlled mobility chair is a unique powered mobility device which allows greater freedom and expression of movement of the trunk and upper extremities. This study compared differences in energy expenditure during a standardized dance activity using three mobility devices: the hands-free torso-controlled mobility chair, a manual sports wheelchair with hand-arm control, and an electric power chair with hand-joystick control. An experienced dancer with C7 incomplete spinal cord injury (SCI) and an experienced able-bodied dancer were recruited for testing. Three measurement trials were obtained for each chair per subject. Oxygen uptake (VO2) and heart rate (HR) were measured continuously during the dance activity. Immediately following the dance activity, subjects rated perceived exertion. Significant differences (p ≤ 0.05) and similar linear patterns in VO2 and HR responses were observed between chairs for both dancers. When the hands-free mobility chair was used, the dance activity required a moderate level of energy expenditure compared to the manual sports chair or electric power chair for both dancers. Higher ratings of perceived exertion were observed in the manual chair compared to the other chairs for the dancer with SCI, but were similar between chairs for the able-bodied dancer. These results suggest that for a dancer with high-level SCI, the hands-free torso-controlled mobility chair may offer improved freedom and expressive movement possibilities and is an energy-efficient mobility device.

Associations Between Sedentary Behaviors, Sleep Patterns, and BMI in Young Dancers Attending a Summer Intensive Dance Training Program.

PubMed

Stracciolini, Andrea; Stein, Cynthia J; Kinney, Susan; McCrystal, Tara; Pepin, Michael J; Meehan Iii, William P

2017-09-15

The purpose of this study was to investigate associations between sedentary behaviors, sleep hours, and body mass index (BMI) in 12- to 17-year-old dancers. This was a cross sectional survey in which bivariate correlation and simple linear regression were used to determine associations between self-reported components. One hundred fifteen dancers were queried, 91.3% of whom were female. The mean BMI was 19.6 ± 2.3 kg/m2. Two-thirds of dancers fell below the 50th percentile for age-adjusted BMI, and 30.4% fell below the 25th percentile. Better than 12% of dancers reported a history of anxiety, and 2.6% reported depression. Mean hours of sleep per night was 7.8 ± 0.9, with 58% of the dancers getting less than 8 hours of sleep per night. The mean total screen time for dancers was 3.4 ± 2.1 hours/day, which consisted of tablet and computer usage: 1.6 ± 1.1 hours/day; texting: 0.5 ± 1.1 hours/day; watching television: 1.2 ± 1.1 hours/day; and playing video games 1.2 ± 1.1 hours/ day. Total screen time was independently associated positively with BMI, explaining nearly 10% of the variability in BMI. Age, hours dancing per day, and hours of sleep per night were not independently associated with BMI. To summarize: screen time was associated with increased BMI in this young dancer cohort; the majority of dancers slept less than 8 hours per night; anticipatory guidance addressing media use and sleep hygiene in the adolescent dancer population is needed.

Risk factors for musculoskeletal injury in elite pre-professional modern dancers: A prospective cohort prognostic study.

PubMed

Bronner, Shaw; Bauer, Naomi G

2018-05-01

To examine risk factors for injury in pre-professional modern dancers. With prospectively designed screening and injury surveillance, we evaluated four risk factors as categorical predictors of injury: i) hypermobility; ii) dance technique motor-control; iii) muscle tightness; iv) previous injury. Screening and injury data of 180 students enrolled in a university modern dance program were reviewed over 4-yrs of training. Dancers were divided into 3-groups based on predictor scores. Dance exposure was based on hours of technique classes/wk. Negative binomial log-linear analyses were conducted with the four predictors, p < 0.05. Dancers with low and high Beighton scores were 1.43 and 1.22 times more likely to sustain injury than dancers with mid-range scores (p ≤ 0.03). Dancers with better technique (low or medium scores) were 0.86 and 0.63 times less likely to sustain injury (p = 0.013 and p < 0.001) compared to those with poor technique. Dancers with one or 2-4 tight muscles were 2.7 and 4.0 times more likely to sustain injury (p ≤ 0.046). Dancers who sustained 2-4 injuries in the previous year were 1.38 times more likely to sustain subsequent injury (p < 0.001). This contributes new information on the value of preseason screening. Dancers with these risk factors may benefit from prevention programs. Copyright © 2018 Elsevier Ltd. All rights reserved.

Injury incidence in hip hop dance.

PubMed

Ojofeitimi, S; Bronner, S; Woo, H

2012-06-01

Hip hop dance has rapidly become a popular international art form. There is limited information on injury patterns in this population. The purpose of this study was to determine injury incidence and patterns among three groups of hip hop dancers. Three hundred and twelve intermediate, advanced, and expert hip hop dancers were recruited at battles, dance conferences, clubs, and on dance related web sites within the United States and internationally. A Web-based survey was conducted over a 6-month period. Inclusion criteria included intermediate and advanced level dancers over the age of 13. Dancers were divided into three main categories: Breakers, Popper/Lockers, and New Schoolers. Separate analysis of variances were used to compare injury pattern differences between groups. Two hundred and thirty-two dancers reported a total of 738 injuries. Five hundred and six of these (sustained by 205 dancers) were time-loss (TL) injuries. Annual injury incidence was 237% (162% involving TL). Lower extremity injuries were 52% and upper extremity injuries 32% of total injuries. Breakers had a higher injury incidence compared with Popper/Lockers, and New Schoolers. Hip hop dancers report injury rates that are higher than other dance forms but similar to gymnastics. These dancers should be educated concerning injury prevention, biomechanics, and use of protective equipment. © 2010 John Wiley & Sons A/S.

Long-term training modifies the modular structure and organization of walking balance control

PubMed Central

Allen, Jessica L.

2015-01-01

How does long-term training affect the neural control of movements? Here we tested the hypothesis that long-term training leading to skilled motor performance alters muscle coordination during challenging, as well as nominal everyday motor behaviors. Using motor module (a.k.a., muscle synergy) analyses, we identified differences in muscle coordination patterns between professionally trained ballet dancers (experts) and untrained novices that accompanied differences in walking balance proficiency assessed using a challenging beam-walking test. During beam walking, we found that experts recruited more motor modules than novices, suggesting an increase in motor repertoire size. Motor modules in experts had less muscle coactivity and were more consistent than in novices, reflecting greater efficiency in muscle output. Moreover, the pool of motor modules shared between beam and overground walking was larger in experts compared with novices, suggesting greater generalization of motor module function across multiple behaviors. These differences in motor output between experts and novices could not be explained by differences in kinematics, suggesting that they likely reflect differences in the neural control of movement following years of training rather than biomechanical constraints imposed by the activity or musculoskeletal structure and function. Our results suggest that to learn challenging new behaviors, we may take advantage of existing motor modules used for related behaviors and sculpt them to meet the demands of a new behavior. PMID:26467521

Long-term training modifies the modular structure and organization of walking balance control.

PubMed

Sawers, Andrew; Allen, Jessica L; Ting, Lena H

2015-12-01

How does long-term training affect the neural control of movements? Here we tested the hypothesis that long-term training leading to skilled motor performance alters muscle coordination during challenging, as well as nominal everyday motor behaviors. Using motor module (a.k.a., muscle synergy) analyses, we identified differences in muscle coordination patterns between professionally trained ballet dancers (experts) and untrained novices that accompanied differences in walking balance proficiency assessed using a challenging beam-walking test. During beam walking, we found that experts recruited more motor modules than novices, suggesting an increase in motor repertoire size. Motor modules in experts had less muscle coactivity and were more consistent than in novices, reflecting greater efficiency in muscle output. Moreover, the pool of motor modules shared between beam and overground walking was larger in experts compared with novices, suggesting greater generalization of motor module function across multiple behaviors. These differences in motor output between experts and novices could not be explained by differences in kinematics, suggesting that they likely reflect differences in the neural control of movement following years of training rather than biomechanical constraints imposed by the activity or musculoskeletal structure and function. Our results suggest that to learn challenging new behaviors, we may take advantage of existing motor modules used for related behaviors and sculpt them to meet the demands of a new behavior. Copyright © 2015 the American Physiological Society.

Effects on Inter-Personal Memory of Dancing in Time with Others.

PubMed

Woolhouse, Matthew H; Tidhar, Dan; Cross, Ian

2016-01-01

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment's aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers' faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash color and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion, and social bonding.

Time to stability differences between male and female dancers after landing from a jump on flat and inclined floors.

PubMed

Pappas, Evangelos; Kremenic, Ian; Liederbach, Marijeanne; Orishimo, Karl F; Hagins, Marshall

2011-07-01

To determine the effect of gender and inclined floor on time to stability (TTS) after landing from a vertical jump. This study used a repeated measures design with male and female professional dancers landing on a flat and 4 inclined floors. A repeated measures univariate analysis of variance (gender × floor) was performed on TTS in the anterior-posterior and medial-lateral directions. Biomechanics laboratory. Twenty-three female and 13 male professional dancers. Gender and floor inclination (flat, posterior, anterior, lateral, and medial). Time to stability in the anterior-posterior and medial-lateral directions after landing from a vertical jump. Female dancers exhibited longer TTS in both directions (P ≤ 0.05). Floor inclination or the interaction of gender × floor did not have an effect on TTS (P > 0.3). Female dancers exhibited longer TTS after landing from a vertical jump compared with their male counterparts. This balance difference may be a factor related to the higher rate of ankle sprain among female dancers. Additionally, professional dancers exhibited similar TTS when landing on flat and inclined floors.

The role of psychological factors in the career of the independent dancer.

PubMed

Aujla, Imogen; Farrer, Rachel

2015-01-01

Previous research indicates that psychological factors such as motivation and mental skills play an important role in relation to performance and to negotiating talent development stages. However, little is known about these factors in dance, particularly with regard to the independent dancer whose career may involve multiple roles, varied work patterns, and periods of instability. The aim of this study was to explore dancers' motivation to work in an independent capacity, and the extent to which dancers' psychological characteristics and skills enabled them to navigate a career in this demanding sector. In-depth semi-structured interviews were conducted with 14 dancers at different stages of their careers. Interviews were transcribed verbatim and content analyzed. Analysis revealed that the dancers were intrinsically motivated and highly committed to the profession. Working in the independent sector offered dancers opportunities for growth and fulfillment; they appreciated the autonomy, flexibility and freedom that the independent career afforded, as well as working with new people across roles and disciplines. In order to overcome the various challenges associated with the independent role, optimism, self-belief, social support, and career management skills were crucial. The mental skills reported by the participants had developed gradually in response to the demands that they faced. Therefore, mental skills training could be invaluable for dancers to help them successfully negotiate the independent sector.

Injuries among talented young dancers: findings from the U.K. Centres for Advanced Training.

PubMed

Steinberg, N; Aujla, I; Zeev, A; Redding, E

2014-03-01

The aim of the present study was to characterize the injuries of young dancers attending Centres for Advanced Training. 806 dancers, ages 10-18 years responded to surveys regarding their biological profile, dance experience and injury history, and were examined for their anthropometric profile. Of the 806 dancers, 347 reported an injury. Based on 4 age groups, the total hours of practice per week increased significantly with increasing age. Incidence of injuries per 1000 h of dance practice for dancers ages 11-12 were found to be significantly higher compared to the incidence for dancers ages 13-18 (p<0.05). Foot and ankle and other lower extremities were the most common injury location, and muscle injuries were the most common type of injury. Total months in CAT training (OR=1.044, 95% CI=1.014-1.075) and hours per week in creative style practice (OR=1.282, 95% CI=1.068-1.539) were found to be significantly associated with injuries. In conclusion, both young and mature dancers are exposed to extensive risk of injury. The intensity of training (such as number of months and number of hours of training per week) is important factor that should be taken into account in order to decrease future injuries among young dancers. © Georg Thieme Verlag KG Stuttgart · New York.

Organizational Implications of the U.S. Army’s Increasing Demand for Explosive Ordnance Disposal Capabilities

DTIC Science & Technology

2008-05-22

Washington D.C: Government Printing Office, 1976), 1-1 to 1-5. 43 Ibid, 2-1 to 2-32. 16 “orchestrated ballet of farm implements.”44 The Army’s...Orchestrated Ballet of Farm Implements”, Engineer Bulletin, August 1996, http://fas.org/man/dod 101/sys/land/docs /960800-greene2.htm (accessed 5 April...An Alternative to the Orchestrated Ballet of Farm Implements” Engineer Bulletin (August 1996), http://fas.org/man/dod_101/sys/land/docs/960800

The dancer's hip.

PubMed

Sammarco, G J

1983-11-01

Conditions that occur in the dancer's hip fall into the following categories: poor training; conditions that occur as the result of normal use; overuse syndromes, including tendinitis and myositis; and conditions referring pain to the hip. Dancers are highly motivated and goal oriented and often suppress symptoms for long periods, making diagnosis and treatment difficult. Observing the dancer at work and understanding his art are emphasized, and a practical guide to therapy is presented. Development of proper dance technique and a proper flexibility program can decrease the incidence of injuries.

Dancers with achilles tendinopathy demonstrate altered lower extremity takeoff kinematics.

PubMed

Kulig, Kornelia; Loudon, Janice K; Popovich, John M; Pollard, Christine D; Winder, Brooke R

2011-08-01

Controlled laboratory study using a cross-sectional design. To analyze lower extremity kinematics during takeoff of a "saut de chat" (leap) in dancers with and without a history of Achilles tendinopathy (AT). We hypothesized that dancers with AT would demonstrate different kinematic strategies compared to dancers without pathology, and that these differences would be prominent in the transverse and frontal planes. AT is a common injury experienced by dancers. Dance leaps such as the saut de chat place a large demand on the Achilles tendon. Sixteen female dancers with and without a history of AT (mean ± SD age, 18.8 ± 1.2 years) participated. Three-dimensional kinematics at the hip, knee, and ankle were quantified for the takeoff of the saut de chat, using a motion analysis system. A force platform was used to determine braking and push-off phases of takeoff. Peak sagittal, frontal, and transverse plane joint positions during the braking and push-off phases of the takeoff were examined statistically. Independent samples t tests were used to evaluate group differences (α = .05). The dancers in the tendinopathy group demonstrated significantly higher peak hip adduction during the braking phase of takeoff (mean ± SD, 13.5° ± 6.1° versus 7.7° ± 4.2°; P = .046). During the push-off phase, dancers with AT demonstrated significantly more internal rotation at the knee (13.2° ± 5.2° versus 6.9° ± 4.9°; P = .024). Dancers with AT demonstrate increased peak transverse and frontal plane kinematics when performing the takeoff of a saut de chat. These larger displacements may be either causative or compensatory factors in the development of AT.

Surgical treatment of refractory tibial stress fractures in elite dancers: a case series.

PubMed

Miyamoto, Ryan G; Dhotar, Herman S; Rose, Donald J; Egol, Kenneth

2009-06-01

Treatment of tibial stress fractures in elite dancers is centered on rest and activity modification. Surgical intervention in refractory cases has important implications affecting the dancers' careers. Refractory tibial stress fractures in dancers can be treated successfully with drilling and bone grafting or intramedullary nailing. Case series; Level of evidence, 4. Between 1992 and 2006, 1757 dancers were evaluated at a dance medicine clinic; 24 dancers (1.4%) had 31 tibial stress fractures. Of that subset, 7 (29.2%) elite dancers with 8 tibial stress fractures were treated operatively with either intramedullary nailing or drilling and bone grafting. Six of the patients were followed up closely until they were able to return to dance. One patient was available only for follow-up phone interview. Data concerning their preoperative treatment regimens, operative procedures, clinical union, radiographic union, and time until return to dance were recorded and analyzed. The mean age of the surgical patients at the time of stress fracture was 22.6 years. The mean duration of preoperative symptoms before surgical intervention was 25.8 months. Four of the dancers were male and 3 were female. All had failed nonoperative treatment regimens. Five patients (5 tibias) underwent drilling and bone grafting of the lesion, and 2 patients (3 tibias) with completed fractures or multiple refractory stress fractures underwent intramedullary nailing. Clinical union was achieved at a mean of 6 weeks and radiographic union at 5.1 months. Return to full dance activity was at an average of 6.5 months postoperatively. Surgical intervention for tibial stress fractures in dancers who have not responded to nonoperative management allowed for resolution of symptoms and return to dancing with minimal morbidity.

[Rehabilitation after occupational accidents in professional dancers: advice with due regard to dance specific aspects].

PubMed

Wanke, E M; Quarcoo, D; Uibel, S; Groneberg, D A

2012-08-01

The highly specialized occupation of professional dancers is a combination of sport and artistic expression. The exertion is only possible with a fully operative body. Although professional dancers may be compared with elite athletes and acute injuries frequently happen, dancers do not seem to be granted an appropriate therapy after accidents as compared with athletes. Although even minor injuries may potentially endanger the career of a professional dancer, physiotherapeutic or physical treatment methods are applied in every tenth case only. Alternative and holistic concepts such as Pilates or dance-specific re-integration that proved successful in professional dancers, are used in even fewer instances. The aim of this study is to develop a rehabilitation concept for professional dancers focusing on dance-medicine aspects. It has been taken into account that the best physical outcomes are reflected in an optimized, holistic, dance-specific therapy and rehabilitation. Intensifying and exploiting dance-specific methods of treatment can not only reduce costs in the end but can even contribute to reducing the duration of rehabilitation after injuries of dancers. Preconditions for realization of the rehabilitative model are a high qualification of all persons working in the rehabilitative field as well as a marked willingness to cooperate in the various dance fields. Both gender-specific and dance-style particularities are to be taken into account to ensure a successful rehabilitation. © Georg Thieme Verlag KG Stuttgart · New York.

And Dance Like a Wave of the Sea.

ERIC Educational Resources Information Center

Banks, Geraldine

1985-01-01

The author describes the beginning of a ballet/modern dance class for deaf elementary students. The group has performed, attended practice sessions of ballet companies, and participated in dance workshops. (Author/CL)

Wellness Education for Dancers: A 15-Year Retrospective

ERIC Educational Resources Information Center

Cardinal, Marita K.

2009-01-01

The health and well-being of dancers is a critical but often neglected issue. Dancers face the pressure of extreme physical and emotional demands and lean body weight, which can result in musculoskeletal injuries, disordered eating behaviors, endangered health, and diminished artistic performance. Unfortunately, many do not receive adequate…

Balance Comparisons between Female Dancers and Active Nondancers

ERIC Educational Resources Information Center

Ambegaonkar, Jatin P.; Caswell, Shane V.; Winchester, Jason B.; Shimokochi, Yohei; Cortes, Nelson; Caswell, Amanda M.

2013-01-01

Purpose: Female dancers have lower anterior cruciate ligament (ACL) injury rates compared with physically active women. Enhanced balance can decrease musculoskeletal injury risk. Dancers are proposed to have superior balance compared with physically active nondancers, and this may reduce their risk for ACL injury. However, whether female dancers…

Key motion characteristics of side-step movements in hip-hop dance and their effect on the evaluation by judges.

PubMed

Sato, Nahoko; Nunome, Hiroyuki; Ikegami, Yasuo

2016-06-01

In hip-hop dance, the elements of motion that discriminate the skill levels of dancers and that influence the evaluations by judges have not been clearly identified. This study set out to extract these motion characteristics from the side-step movements of hip-hop dancing. Eight expert and eight non-expert dancers performed side-step movements, which were recorded using a motion capture system. Nine experienced judges evaluated the dancers' performances. Several parameters, including the range of motion (ROM) of the joint angles (neck, trunk, hip, knee, and face inclination) and phase delays between these angular motions were calculated. A quarter-cycle phase delay between the neck motion and other body parts, seen only in the expert dancers, is highlighted as an element that can distinguish dancers' skill levels. This feature of the expert dancers resulted in a larger ROM during the face inclination than that for the non-expert dancers. In addition, the experts exhibited a bottom-to-top segmental sequence in the horizontal direction while the non-experts did not demonstrate any such sequential motion. Of these kinematic parameters, only the ROM of the face inclination was highly correlated to the judging score and is regarded as being the most appealing element of the side-step movement.

A Retrospective Assessment of Return to Function in Dance After Physical Therapy for Common Dance Injuries.

PubMed

Junck, Emily; Richardson, Megan; Dilgen, Faye; Liederbach, Marijeanne

2017-12-15

An injury that causes a dancer to take time away from training or performance can be career ending, and thus it is important for dancers to have accurate expectations when considering treatment options. Thus far, few studies have reported functional outcomes after injury in dancers, which may be different than for the general athletic population. Therefore, our study sought to determine functional outcomes in dancers after operative and non-operative treatment for common dance injuries. Our outcome measures included a subjective assessment of the degree to which a dancer had returned to his or her previous level of dance, the SF-12 survey, and the WHO functional outcome scale modified for dance. We also compared these as outcome measurement tools for return to full function in dance. Secondarily, we sought to assess factors that may have contributed to poorer functional outcomes. We reviewed the charts of 675 dancers seen at our physical therapy facilities between 2006 and 2010 and identified 416 adult dancers who had experienced a dance-related injury that we categorized as "common," based on surveys of injuries among dancers (with back injuries excluded). One hundred and sixty-four dancers completed a tele- phone survey about their recovery after injury. Descriptive statistics, correlation, and linear regression were then used to identify factors associated with poor functional outcomes. Sixty-three percent of the participants had a full return to their pre-injury level. No variables were found to be significantly correlated (p < 0.05) with poorer outcomes by linear re- gression. However, there was a trend to- ward better outcomes when dancers were younger, their injuries were not chronic, and their recovery was not limited by fear. The three measurement tools were all highly correlated with one another (p = 0.000) and found to be useful determinants of functional return to dance. Given that there were few strongly correlated outcome factors, we concluded that poorer functional outcomes in dance resulted from a combination of many factors, including those of a psychosocial nature. We believe these results can be used to better advise dancers who are considering treatment options, provide better estimates of possible limitations and time needed to return to dance, and potentially promote easier recoveries and better functional outcomes.

Disordered eating, menstrual disturbances, and low bone mineral density in dancers: a systematic review.

PubMed

Hincapié, Cesar A; Cassidy, J David

2010-11-01

To assemble and synthesize the best evidence on the epidemiology, diagnosis, prognosis, treatment, and prevention of disordered eating, menstrual disturbances, and low bone mineral density in dancers. Medline, CINAHL, PsycINFO, Embase, and other electronic databases were searched from 1966 to 2010 using key words such as "dance," "dancer," "dancing," "eating disorders," "menstruation disturbances," and "bone density." In addition, the reference lists of relevant studies were examined, specialized journals were hand-searched, and the websites of major dance associations were scanned for relevant information. Citations were screened for relevance using a priori criteria, and relevant studies were critically reviewed for scientific merit by the best evidence synthesis method. After 2748 abstracts were screened, 124 articles were reviewed, and 23 (18.5%) of these were accepted as scientifically admissible (representing 19 unique studies). Data from accepted studies were abstracted into evidence tables relating to prevalence and associated factors; incidence and risk factors; diagnosis; and prevention of disordered eating, menstrual disturbances, and/or low bone mineral density in dancers. The scientifically admissible studies consisted of 13 (68%) cross-sectional studies and 6 (32%) cohort studies. Disordered eating and menstrual disturbances are common in dancers. The lifetime prevalence of any eating disorder was 50% in professional dancers, while the point prevalence ranged between 13.6% and 26.5% in young student dancers. In their first year of intensive dance training, 32% of university-level dancers developed a menstrual disturbance. The incidence of disordered eating and low bone mineral density in dancers is unknown. Several potential risk factors are suggested by the literature, but there is little compelling evidence for any of these. There is preliminary evidence that multifaceted sociocultural prevention strategies may help decrease the incidence of disordered eating. The dance medicine literature is heterogeneous. The best available evidence suggests that disordered eating, menstrual disturbances, and low bone mineral density are important health issues for dancers at all skill levels. Future research would benefit from clear and relevant research questions being addressed with appropriate study designs and better reporting of studies in line with current scientific standards. Copyright © 2010 American Congress of Rehabilitation Medicine. Published by Elsevier Inc. All rights reserved.

Achieving the Perfect Body: Nutritional Behaviors of Nonprofessional, Regional Female Dancers

ERIC Educational Resources Information Center

Griner, Brenda; Michiels Hernandez, Barbara L.; Strickland, George; Boatwright, Douglas

2006-01-01

For female students and professional dancers, dance imposes a low body-weight image. Despite high energy needs, many female dancers consume fewer nutrients than recommended when they perceive themselves as overweight. These abnormal behaviors can lead to malnutrition, dehydration, and vitamin deficiencies, or even to medical problems such as…

The Invisible Injury: Supporting the Recovery of Dancers with Concussions

ERIC Educational Resources Information Center

Kish, Robin L.; Koutures, Chris G.

2016-01-01

Dancers are "artistic athletes." They must possess the strength, agility, power and flexibility of any athlete and perform with perfect musicality and emotion, demonstrating the artistry of the dance. As an art form dance continues to push the physical boundaries of the human body, increasing the inherent risks to the dancers. Most…

Effects on Inter-Personal Memory of Dancing in Time with Others

PubMed Central

Woolhouse, Matthew H.; Tidhar, Dan; Cross, Ian

2016-01-01

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers’ faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash color and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion, and social bonding. PMID:26941668

Preventing dance injuries: current perspectives

PubMed Central

Russell, Jeffrey A

2013-01-01

Dancers are clearly athletes in the degree to which sophisticated physical capacities are required to perform at a high level. The standard complement of athletic attributes – muscular strength and endurance, anaerobic and aerobic energy utilization, speed, agility, coordination, motor control, and psychological readiness – all are essential to dance performance. In dance, as in any athletic activity, injuries are prevalent. This paper presents the research background of dance injuries, characteristics that distinguish dance and dancers from traditional sports and athletes, and research-based perspectives into how dance injuries can be reduced or prevented, including the factors of physical training, nutrition and rest, flooring, dancing en pointe, and specialized health care access for dancers. The review concludes by offering five essential components for those involved with caring for dancers that, when properly applied, will assist them in decreasing the likelihood of dance-related injury and ensuring that dancers receive optimum attention from the health care profession: (1) screening; (2) physical training; (3) nutrition and rest; (4) specialized dance health care; and (5) becoming acquainted with the nature of dance and dancers. PMID:24379726

Let's dance--feel better! Mood changes following dancing in different situations.

PubMed

Zajenkowski, Marcin; Jankowski, Konrad S; Kołata, Daria

2015-01-01

In the present study, we examined mood changes following dancing. Previous works suggested that contextual factors may influence affective states; it has been shown that changes in mood following competition differ from those following recreational exercise. The study has been conducted in Warsaw, Poland. Mood was assessed before and after dance activity in three groups of ballroom dancers: recreational (n = 32) and competitive (n = 38) dancers doing ordinary training and competitive dancers taking part in a dance competition (n = 35). We observed a moderately positive change in recreational dancers doing ordinary training; they reported higher energetic arousal (EA) and hedonic tone (HT) and lower tense arousal (TA) after dance activity. In comparison dancers taking part in a competition were higher on TA before dancing and felt less pleasure after dancing than recreational and competitive dancers doing ordinary training; HT, TA and EA moderately decreased during competition. In general, the current study suggests that dance can elicit changes in mood; however, situational context has to be taken into consideration when explaining the influence of dance on mood.

Lower Body Stiffness and Muscle Activity Differences Between Female Dancers and Basketball Players During Drop Jumps

PubMed Central

Ambegaonkar, Jatin P.; Shultz, Sandra J.; Perrin, David H.; Schmitz, Randy J.; Ackerman, Terry A.; Schulz, Mark R.

2011-01-01

Background: Anterior cruciate ligament (ACL) injuries often occur during landing, with female athletes at higher injury risk than male athletes. Interestingly, female dancers have lower ACL injury rates than do female athletes in general. Hypothesis: Female dancers will have earlier and greater lower extremity muscle activity and higher sagittal knee joint and leg stiffness than will female basketball players. Study Design: Cross-sectional group comparison. Methods: Fifty-five healthy female athletes (35 dancers, 20 basketball players) performed 5 double-leg drop jumps from a 45-cm box. Surface electromyography (onsets and amplitudes; prelanding and postlanding) was recorded from the lateral gastrocnemius, medial and lateral hamstrings, lateral quadriceps muscles with a 3-dimensional electromagnetic tracking system, and forceplates recording biomechanics (leg spring stiffness and knee joint stiffness). Results: Compared with basketball players, dancers had greater leg spring stiffness (P = 0.047) but similar knee joint stiffness (P = 0.44). Although no significant differences were observed in overall muscle onset times (P = 0.22) or activation amplitudes (prelanding, P = 0.60; postlanding, P = 0.78), small to moderate effect sizes (ESs) suggest trends in dancers toward earlier (ES = 0.53) and higher medial hamstrings activation pre- (ES = 0.55) and post- (ES = 0.41) landing and lower lateral quadriceps (ES = 0.30) and higher gastrocnemius (ES = 0.33) postlanding muscle activation. Conclusions: In dancers, the higher leg spring stiffness and trends toward higher hamstrings prelanding and postlanding, as well as lower quadriceps and higher gastrocnemius activation postlanding with similar knee joint stiffness, indicate lower extremity neuromechanical differences across other joints. Clinical Relevance: Female dancers may have lower extremity neuromechanics that are different from those of basketball players during drop jumps. If dancers use ACL-protective strategies during activity, then their training routines should be further investigated to improve ACL injury prevention programs. PMID:23015996

Talent Developed: Conversations with Masters in the Arts and Sciences. Hugo Fiorato.

ERIC Educational Resources Information Center

Subotnik, Rena F.

2001-01-01

An interview with Hugo Fiorato, the conductor of the New York City Ballet, recounts his musical education, special problems of conducting for a ballet company, the training of orchestra members and conductors, and mentorship. (DB)

Knee injury patterns in young irish dancers.

PubMed

Beasley, Michael A; Stracciolini, Andrea; Tyson, Kesley D; Stein, Cynthia J

2014-06-01

To characterize knee injury patterns in Irish dancers. A retrospective chart review was performed for Irish dancers under age 19 who presented with knee injuries to the sports medicine or orthopedic clinic from January 1, 2000 to December 31, 2010. Data were collected on all knee injuries partially or directly related to Irish dance. Injury was defined as dance-related pain or damage to the structures in the knee that resulted in evaluation in the clinic. Survey data were collected to determine the number of different schools/studios represented by the dancers in the study. Sixty-seven Irish dancers with 86 knee injuries were evaluated. Half (50.7%) of these patients received more than one diagnosis during these visits. Overuse injuries accounted for 90.7% of knee injuries. Time to presentation ranged from less than 1 week to over 1 year. There was a significant difference in time to presentation, with traumatic injuries being evaluated sooner than overuse injuries. The most common diagnoses, accounting for 53.5% of injuries, were patellar tracking disorders, including patellofemoral syndrome, hypermobile patella, and patellar subluxation. In Irish dance overuse injuries represent the great majority of knee injuries, and patellofemoral tracking disorders are the most common diagnosis. For many dancers, there is often a delay of weeks to months between the onset of symptoms and evaluation in clinic. Prevention programs could potentially eliminate a large portion of knee pain experienced by young Irish dancers.

Multiple Engagement of Self in the Development of Talent in Professional Dancers

ERIC Educational Resources Information Center

Critien, Nicola; Ollis, Stewart

2006-01-01

The purpose of this study was to identify and examine the methods that professional dancers use to engage fully into their work as artists. Participants (N=15) were professional dancers from five European nationalities, (7 females; 8 males), currently performing for three major Scotland-based dance companies, including two professional free-lance…

Is Dance a Sport?: A Twenty-First-Century Debate

ERIC Educational Resources Information Center

Guarino, Lindsay

2015-01-01

This article discusses a new debate which has emerged for dancers. For many years dancers debated dance as art versus entertainment. This age-old debate still exists without a consensus, yet there is suddenly a new generation of dancers with a fresh debate. Legions of young performers are fervently proclaiming that their dance is actually a sport.…

The Identification and Development of Talented Young Dancers with Disabilities

ERIC Educational Resources Information Center

Aujla, Imogen Jane; Redding, Emma

2014-01-01

There is a general recognition of the lack of progression routes for dancers with disabilities. Alongside this, there is a lack of understanding of how best to identify and develop talent among young disabled dancers. The current study sought to address this gap in the literature by investigating criteria that might be appropriately applied when…

Stravinsky's "Firebird" and Young Children.

ERIC Educational Resources Information Center

Roebuck, Edith

1999-01-01

Describes how the young children of the Early Learning Center in the Chelsea (Massachusetts) school district learned about Igor Stravinsky's ballet suite, "The Firebird." Explains that children in three kindergarten classes depicted the ballet's characters in a participatory performance. Highlights some qualitative observations. (CMK)

Lumbosacral pain in ballet school students. Pilot study.

PubMed

Drężewska, Marlena; Śliwiński, Zbigniew

2013-01-01

The unique biomechanical demands placed on ballet students predispose to injury and pain. The aim of this study was to evaluate the prevalence of lumbosacral pain in ballet school students and to identify possible risk factors for the pain. The study group comprised 71 ballet school students, including 45 females and 26 males, aged 15-18 years (mean 16.5 years). In order to identify possible risk factors for pain, a survey was conducted, the angle of sacral bone inclination was measured using a mechanical inclinometer and the BMI was calculated. A VAS scale was used for a subjective assessment of pain intensity. Low back pain was reported by 44 patients (62%). A comparison of sacral inclination angles in a position with the feet placed parallel and in the turnout position showed statistically significant changes in the angle among respondents reporting pain (p <0.05). 1. Compensation in the turnout position by increas ed anterior tilt of the pelvis may increase the risk of low back pain. 2. An angle of sacral bone inclination in turnout above or equal to 30° can increase the intensity of low back pain. 3. A BMI below 18.5 in female ballet school stu dents can increase the risk of lumbosacral pain.

Performing arts medicine-a bibliographic retrospective of the early literature: an historical examination of bibliographic references pre-1975.

PubMed

Dawson, William J

2013-03-01

Performing arts medicine (PAM) emerged as a medical specialty around 1985. Prior to this time, relatively few publications addressed the identification and concerns of musicians' and dancers' medical problems. To determine what number and types of publications occurred prior to the actual beginnings of PAM as a discipline, and to determine how these original topics compared with present-day publications, a retrospective review of the current bibliographic database of the Performing Arts Medicine Association (PAMA) was undertaken. Out of a total of 12,600 entries to date, 489 references were found published from 1798 through 1974, which represent only 3.9% of the current database listings. One-sixth of the references were originally written in a language other than English. Journal articles were by far the most numerous type of publication. Topics with the highest number of entries included the neurobiology of music (n=77), dental/orofacial matters (71), and biographical accounts of composers or musicians and their illnesses (59). Other frequently published topics included hearing loss, physiology of playing instruments, and instrumental technique and teaching. Early topics with multiple publications included composers' biographies, dystonias, and surgery to improve finger independence for playing piano. Subjects whose publications occurred principally in the last two decades of this review included dermatological disorders, hearing loss, and ballet physiology, teaching, and technique. Those which remain popular to the present day include hearing loss, performance anxiety, focal dystonia, and dental/orofacial problems.

Big Five Personality Traits and Eating Attitudes in Intensively Training Dancers: The Mediating Role of Internalized Thinness Norms.

PubMed

Scoffier-Mériaux, Stéphanie; Falzon, Charlène; Lewton-Brain, Peter; Filaire, Edith; d'Arripe-Longueville, Fabienne

2015-09-01

Dancers are at high risk of developing disordered eating attitudes, notably because of internalized thinness norms. Although the big five personality traits have been shown to be associated with eating attitudes in daily life, in dancers where eating issues and thinness norms internalization could be salient little is known about these associations and the role of the internalization of thinness norms in this relationship. The main objectives of this study were thus to examine the relationships between the personality traits defined in the big five model and the self-regulation of eating attitudes, and to assess the role of internalized thinness norms in this association. The study included 180 intensively training dancers with an average age of 15.6 years (SD = 2.8). Dancers completed questionnaires measuring the big five personality traits, internalization of thinness norms and self-regulation of eating attitudes in sport. Bootstrapped mediation analyses showed that neuroticism was negatively associated with self-regulation of eating attitudes, both directly and indirectly through the mediating role of internalized thinness norms. This study suggested that: (a) neuroticism is a vulnerability factor for self-regulation of eating attitudes in dancers, as already evidenced in the general population, and (b) the internalization of thinness norms is a pathway through which neuroticism affects self-regulation of eating attitudes. The big five model is therefore partially related to the internalization of thinness norms and eating attitudes in dancers. Key pointsThe big five model relates to the internalization of thinness norms and eating attitudes in dancers.Neuroticism is negatively related to the self-regulation of eating attitudes.The internalization of thinness norms is correlated to the relationship between neuroticism and self-regulation of eating attitudes.

Injuries in Female Dancers Aged 8 to 16 Years

PubMed Central

Steinberg, Nili; Siev-Ner, Itzhak; Peleg, Smadar; Dar, Gali; Masharawi, Youssef; Zeev, Aviva; Hershkovitz, Israel

2013-01-01

Context Most studies of injured dancers have been carried out on professional adult dancers; data on young, nonprofessional injured dancers are sparse. Objective To identify the types of injuries sustained by recreational dancers and to examine their association with age, joint range of motion, body structure, age at menarche, presence of anatomic anomalies, and physical burden (ie, practice hours en pointe). Design Descriptive epidemiology study. Setting The Israel Performing Arts Medicine Center, Tel Aviv. Patients or Other Participants A total of 569 injured female dancers, aged 8 to 16 years. Main Outcome Measure(s) Dependent variables were 61 types of current injuries that were later classified into 4 major categories: knee injuries, foot and ankle tendinopathy, back injuries, and other injuries. Independent variables were age, joint range of motion, body size and shape, age at menarche, anatomic anomalies, and dance discipline (eg, hours of practice per week en pointe). Results At least 1 previous injury had been sustained by 42.4% of the dancers. The most common injuries involved the knee (40.4%), followed by other injuries (23.4%). The relative frequency of back injuries and tendinopathy decreased with age, whereas knee injuries increased. Types of injuries were significantly associated with ankle plantar flexion, hip external rotation, hip abduction, and knee flexion. Multinomial regression analysis revealed only 3 predictive variables (with other as baseline), all for back injury: scoliosis, age, and hip external rotation. Conclusions Joint range of motion and scoliosis may signal the potential for future injury. Young dancers (less than 10 years of age) should not be exposed to overload (especially of the back) or extensive stretching exercises. PMID:23672333

Big Five Personality Traits and Eating Attitudes in Intensively Training Dancers: The Mediating Role of Internalized Thinness Norms

PubMed Central

Scoffier-Mériaux, Stéphanie; Falzon, Charlène; Lewton-Brain, Peter; Filaire, Edith; d’Arripe-Longueville, Fabienne

2015-01-01

Dancers are at high risk of developing disordered eating attitudes, notably because of internalized thinness norms. Although the big five personality traits have been shown to be associated with eating attitudes in daily life, in dancers where eating issues and thinness norms internalization could be salient little is known about these associations and the role of the internalization of thinness norms in this relationship. The main objectives of this study were thus to examine the relationships between the personality traits defined in the big five model and the self-regulation of eating attitudes, and to assess the role of internalized thinness norms in this association. The study included 180 intensively training dancers with an average age of 15.6 years (SD = 2.8). Dancers completed questionnaires measuring the big five personality traits, internalization of thinness norms and self-regulation of eating attitudes in sport. Bootstrapped mediation analyses showed that neuroticism was negatively associated with self-regulation of eating attitudes, both directly and indirectly through the mediating role of internalized thinness norms. This study suggested that: (a) neuroticism is a vulnerability factor for self-regulation of eating attitudes in dancers, as already evidenced in the general population, and (b) the internalization of thinness norms is a pathway through which neuroticism affects self-regulation of eating attitudes. The big five model is therefore partially related to the internalization of thinness norms and eating attitudes in dancers. Key points The big five model relates to the internalization of thinness norms and eating attitudes in dancers. Neuroticism is negatively related to the self-regulation of eating attitudes. The internalization of thinness norms is correlated to the relationship between neuroticism and self-regulation of eating attitudes PMID:26336350

Acute ankle sprain in dancers.

PubMed

Russell, Jeffrey A

2010-01-01

Ankle sprain is a common injury in dancers. Because of the relative frequency of this injury and its wide acceptance as a likely part of an active lifestyle, in many individuals it may not receive the careful attention it deserves. An extreme ankle range of motion and excellent ankle stability are fundamental to success in dance. Hence, following a proper treatment protocol is crucial for allowing a dancer who suffers an ankle sprain to return to dance as soon as possible without impaired function. This article reviews the basic principles of the etiology and management of ankle sprain in dancers. Key concepts are on-site examination and treatment, early restoration, dance-specific rehabilitation, and a carefully administered safe return to dance. Additionally, injuries that may occur in conjunction with ankle sprain are highlighted, and practical, clinically relevant summary concepts for dance healthcare professionals, dance scientists, dance teachers, and dancers are provided.

Body Mass Index and Menstrual Patterns in Dancers.

PubMed

Stracciolini, Andrea; Quinn, Bridget J; Geminiani, Ellen; Kinney, Susan; McCrystal, Tara; Owen, Michael; Pepin, Michael J; Stein, Cynthia J

2016-04-18

Questionnaires were distributed to investigate body mass index (BMI) and menstrual patterns in female dancers aged 12 to 17 years. The study cohort consisted of 105 dancers, mean age 14.8 ± 1.1 years, and mean BMI 19.5 ± 2.3 kg/m 2 In all, 92% were healthy weight for height. First menses age ranged from 10 to 15 years (mean 12.9 ± 1.1 years). A total of 44% reported irregular menses; of those, 14% described irregularity as "every other month," 37% as "every 3 months," and 49% as "skips a month occasionally." A total of 36% of the dancers stop getting their menses during times of increased activity/dance, and 30% have gone >3 months at any time without getting their menses. A significant negative correlation between BMI and age of first menses was found with lower BMI associated with increased age of first menses (linear regression, β = -0.49,P= .021). This study supports an association between BMI and age of menarche among young female dancers. Given bone health reliance on hormonal milieu in female dancers, future research is warranted. © The Author(s) 2016.

Modification of Impulse Generation During Pirouette Turns With Increased Rotational Demands.

PubMed

Zaferiou, Antonia M; Wilcox, Rand R; McNitt-Gray, Jill L

2016-10-01

This study determined how dancers regulated angular and linear impulse during the initiation of pirouettes of increased rotation. Skilled dancers (n = 11) performed single and double pirouette turns with each foot supported by a force plate. Linear and angular impulses generated by each leg were quantified and compared between turn types using probability-based statistical methods. As rotational demands increased, dancers increased the net angular impulse generated. The contribution of each leg to net angular impulse in both single and double pirouettes was influenced by stance configuration strategies. Dancers who generated more angular impulse with the push leg than with the turn leg initiated the turn with the center of mass positioned closer to the turn leg than did other dancers. As rotational demands increased, dancers tended to increase the horizontal reaction force magnitude at one or both feet; however, they used subject-specific mechanisms. By coordinating the generation of reaction forces between legs, changes in net horizontal impulse remained minimal, despite impulse regulation at each leg used to achieve more rotations. Knowledge gained regarding how an individual coordinates the generation of linear and angular impulse between both legs as rotational demand increased can help design tools to improve that individual's performance.

Acoustical components of the Orpheum Theatre renovation

NASA Astrophysics Data System (ADS)

Conant, David A.

2002-05-01

The before and after acoustically-important listening conditions and measurements are described for a $14.2 million restoration and renovation of this 1,400-seat grand 1929 Movie Palace-at one time the tallest building in Phoenix. Great care was taken to restore all the acoustically good parts of the original design and to subtly modify the acoustically-troublesome parts (including severely focusing dome and sidewalls) so they looked the same but performed properly. A beautiful playhouse was achieved in 1997 with fine, fixed acoustics and conventional audio reinforcement, a surrounding Italian village, plenty of gilt, moving clouds and sunsets overhead. Today, the venue successfully hosts shows from performance art to ballet to jazz. It was not intended (acoustically) to serve classical music but does so on occasion.

Musculoskeletal injuries and pain in dancers: a systematic review update.

PubMed

Jacobs, Craig L; Hincapié, Cesar A; Cassidy, J David

2012-01-01

The objective of this study was to assemble and synthesize the best available literature from 2004 to 2008 on musculoskeletal injury and pain in dancers. MEDLINE and CINAHL were the primary sources of data. Indexed terms such as dance, dancer, dancing, athletic injuries, occupational injuries, sprains and strains, musculoskeletal diseases, bone density, menstruation disturbances, and eating disorders were used to search the databases. Citations were screened for relevance using a priori criteria, and relevant studies were critically reviewed for scientific merit by the best-evidence synthesis method. After screening, 19 articles were found to be scientifically admissible. Data from accepted studies were abstracted into evidence tables relating to: prevalence and associated factors; incidence and risk factors; intervention; and injury characteristics and prognosis of musculoskeletal injury and pain in dancers. Principal findings included: a high prevalence and incidence of lower extremity, hip and back injuries; preliminary evidence that psychosocial and psychological issues such as stress and coping strategies affect injury frequency and duration; history of a previous lateral ankle sprain is associated with an increased risk of ankle sprain in the contralateral ankle in dance students; fatigue may play a role in ACL injury in dancers; acute hamstring strains in dancers affect tendon more than muscle tissue, often resulting in prolonged absence from dance. It is concluded that, while there are positive developments in the literature on the epidemiology, diagnosis, prognosis, treatment, and prevention of MSK injuries and pain in dancers, much room for improvement remains. Suggestions for future research are offered.

COMPARISON OF RANGE OF MOTION, STRENGTH, AND HOP TEST PERFORMANCE OF DANCERS WITH AND WITHOUT A CLINICAL DIAGNOSIS OF FEMOROACETABULAR IMPINGEMENT.

PubMed

Kivlan, Benjamin R; Carcia, Christopher R; Christoforetti, John J; Martin, RobRoy L

2016-08-01

Dancers commonly experience anterior hip pain caused by femoroacetabular impingement (FAI) that interrupts training and performance in dance. A paucity of literature exists to guide appropriate evaluation and management of FAI among dancers. The purpose of this study was to determine if dancers with clinical signs of FAI have differences in hip range of motion, strength, and hop test performance compared to healthy dancers. Quasi-experimental, cohort comparison. Fifteen dancers aged between 18- 21 years with clinical signs of FAI that included anterior hip pain and provocative impingement tests were compared to 13 age-matched dancers for passive hip joint range of motion, isometric hip strength, and performance of the medial triple hop, lateral triple hop, and cross-over hop tests. No statistically significant differences in range of motion were noted for flexion (Healthy = 145° + 7°; FAI = 147° + 10°; p=0.59), internal rotation (Healthy = 63° + 7°; FAI = 61° + 11°; p=0.50), and external rotation (Healthy = 37° + 9°; FAI = 34° + 12°; p=0.68) between the two groups. Hip extension strength was significantly less in the dancers with FAI (224 + 55 Newtons) compared to the healthy group (293 ± 58 Newtons; F(1,26) = 10.2; p=0.004). No statistically significant differences were noted for flexion, internal rotation, external rotation, abduction, or adduction isometric strength. The medial triple hop test was significantly less in the FAI group (354 ± 43 cm) compared to the healthy group (410 ± 50 cm; F(1,26) = 10.3; p = 0.004). Similar results were observed for the lateral hop test, as the FAI group (294 ± 38 cm) performed worse than the healthy controls (344 ± 54cm; F(1,26) = 7.8; p = 0.01). There was no statistically significant difference between the FAI group (2.7 ± 0.92 seconds) and the healthy group (2.5 ± 0.75 seconds) on the crossover hop test. Dancers with FAI have less strength of the hip extensors and perform worse during medial and lateral hop triple tests compared to healthy dancers. Clinicians may use this information to assist in screening of dancers with complaints of hip pain and to measure their progress for return to dance. 3B, non-consectutive cohort study.

COMPARISON OF RANGE OF MOTION, STRENGTH, AND HOP TEST PERFORMANCE OF DANCERS WITH AND WITHOUT A CLINICAL DIAGNOSIS OF FEMOROACETABULAR IMPINGEMENT

PubMed Central

Carcia, Christopher R.; Christoforetti, John J.; Martin, RobRoy L.

2016-01-01

ABSTRACT Background Dancers commonly experience anterior hip pain caused by femoroacetabular impingement (FAI) that interrupts training and performance in dance. A paucity of literature exists to guide appropriate evaluation and management of FAI among dancers. Purpose The purpose of this study was to determine if dancers with clinical signs of FAI have differences in hip range of motion, strength, and hop test performance compared to healthy dancers. Study Design Quasi-experimental, cohort comparison. Methods Fifteen dancers aged between 18- 21 years with clinical signs of FAI that included anterior hip pain and provocative impingement tests were compared to 13 age-matched dancers for passive hip joint range of motion, isometric hip strength, and performance of the medial triple hop, lateral triple hop, and cross-over hop tests. Results No statistically significant differences in range of motion were noted for flexion (Healthy = 145° + 7°; FAI = 147° + 10°; p=0.59), internal rotation (Healthy = 63° + 7°; FAI = 61° + 11°; p=0.50), and external rotation (Healthy = 37° + 9°; FAI = 34° + 12°; p=0.68) between the two groups. Hip extension strength was significantly less in the dancers with FAI (224 + 55 Newtons) compared to the healthy group (293 ± 58 Newtons; F(1,26) = 10.2; p=0.004). No statistically significant differences were noted for flexion, internal rotation, external rotation, abduction, or adduction isometric strength. The medial triple hop test was significantly less in the FAI group (354 ± 43 cm) compared to the healthy group (410 ± 50 cm; F(1,26) = 10.3; p = 0.004). Similar results were observed for the lateral hop test, as the FAI group (294 ± 38 cm) performed worse than the healthy controls (344 ± 54cm; F(1,26) = 7.8; p = 0.01). There was no statistically significant difference between the FAI group (2.7 ± 0.92 seconds) and the healthy group (2.5 ± 0.75 seconds) on the crossover hop test. Conclusion Dancers with FAI have less strength of the hip extensors and perform worse during medial and lateral hop triple tests compared to healthy dancers. Clinicians may use this information to assist in screening of dancers with complaints of hip pain and to measure their progress for return to dance. Level of Evidence 3B, non-consectutive cohort study PMID:27525177

Dance on cortex: enhanced theta synchrony in experts when watching a dance piece.

PubMed

Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

2018-03-01

When watching performing arts, a wide and complex network of brain processes emerge. These processes can be shaped by professional expertise. When compared to laymen, dancers have enhanced processes in observation of short dance movement and listening to music. But how do the cortical processes differ in musicians and dancers when watching an audio-visual dance performance? In our study, we presented the participants long excerpts from the contemporary dance choreography of Carmen. During multimodal movement of a dancer, theta phase synchrony over the fronto-central electrodes was stronger in dancers when compared to musicians and laymen. In addition, alpha synchrony was decreased in all groups during large rapid movement when compared to nearly motionless parts of the choreography. Our results suggest an enhanced cortical communication in dancers when watching dance and, further, that this enhancement is rather related to multimodal, cognitive and emotional processes than to simple observation of dance movement. © 2018 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

Karl von Frisch lecture. Signals and flexibility in the dance communication of honeybees.

PubMed

Michelsen, Axel

2003-03-01

Progress in understanding dance communication in honeybees is reviewed. The behaviour of both dancers and follower bees contain flexible and stereotypic elements. The transfer of specific information about direction and distance probably involves more than one sensory modality. The follower bees need to stay behind the dancer (within the angle of wagging) during at least one waggle run in order to perceive the specific information. Within this zone, a small stationary air-flow receiver (like the antenna of a follower bee) experiences a well-defined maximum when the abdomen of the wagging dancer passes by. Within 1 mm from the tip of the abdomen, the maximum may be caused by oscillating flows generated by the wagging motion. At other positions and distances (up to several millimetres from the dancer) the maximum is due to a spatially narrow jet air flow generated by the vibrating wings. The time pattern of these maxima is a function of the angular position of the receiver relative to the axis of the waggle run and thus a potential cue for direction. In addition to the narrow jet air flows, the dancers can generate a broad jet. The jets are not automatic by-products of wing vibration, since they can be switched on and off when the dancer adjusts the position of her wings.

78 FR 18664 - Culturally Significant Objects Imported for Exhibition Determinations: “Diaghilev and the Ballets...

Federal Register 2010, 2011, 2012, 2013, 2014

2013-03-27

... DEPARTMENT OF STATE [Public Notice 8259] Culturally Significant Objects Imported for Exhibition Determinations: ``Diaghilev and the Ballets Russes, 1909-1929: When Art Danced With Music'' SUMMARY: Notice is... with Music,'' imported from abroad for temporary exhibition within the United States, are of cultural...

Reflections on "Petit Battement sur le Cou de Pied": Is It Still Relevant?

ERIC Educational Resources Information Center

Paskevska, Anna

2007-01-01

This article presents multiple perspectives of "petit battement sur le cou de pied". These perspectives include historical, biomechanical, and pedagogic points of view. The article offers useful information for ballet specialists and applied research studies aimed at ballet pedagogy. (Contains 2 tables and 5 figures.)

A New Dialogue in Ballet Pedagogy: Improving Learner Self-Sufficiency through Reflective Methodology

ERIC Educational Resources Information Center

Weidmann, Chelsea

2018-01-01

Current research into reflective pedagogy in dance almost exclusively discusses the tertiary education population. Additionally, the research is primarily focused on concert modern dance and creative dance pedagogies, techniques, and choreography. Ballet technique programs in precollegiate populations have, so far, been left out of the…

The effect of moderate glycemic energy bar consumption on blood glucose and mood in dancers.

PubMed

Brown, Derrick; Wyon, Matthew

2014-03-01

Ingesting quality carbohydrates has been shown to be essential for dancers. Given that most dance classes take place in the morning, it has been recommended that dancers eat a well-balanced breakfast containing carbohydrates, fats, and protein as a means of fuelling this activity. The aim of this study was to determine the effect of a moderate glycemic index energy (MGI) bar or a fasting condition on dancers' blood glucose levels and perceived pleasure-displeasure response during the first dance class of the day. In a randomized counterbalanced design, 10 female preprofessional dance students took their regular scheduled contemporary dance class, on four separate occasions. On each occasion, they consumed either a commercially prepared carbohydrate (CHO)-dense energy bar (47.3 g CHO) or water (FAST). Plasma glucose responses and pleasure-displeasure affect were measured before and at two time points during the class. Dancers who consumed the MGI bar had significantly greater peak blood glucose levels at all time points than those who fasted (p<0.05). Regarding affective state measures, participants who had breakfast had significantly greater pleasure scores than those who only ingested water(p<0.05). In conclusion, results suggest that CHO with an MGI value positively impacts blood glucose concentrations during a dance class. Further, we conclude that skipping breakfast can have an unfavorable effect on the pleasure-displeasure state of dancers. These findings highlight the impact of breakfast on how one feels, as well as the physiological and metabolic benefits of CHO as an exogenous energy source in dancers.

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training.

PubMed

Burzynska, Agnieszka Z; Finc, Karolina; Taylor, Brittany K; Knecht, Anya M; Kramer, Arthur F

2017-01-01

Dance - as a ritual, therapy, and leisure activity - has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson's disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training

PubMed Central

Burzynska, Agnieszka Z.; Finc, Karolina; Taylor, Brittany K.; Knecht, Anya M.; Kramer, Arthur F.

2017-01-01

Dance – as a ritual, therapy, and leisure activity – has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson’s disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations. PMID:29230170

Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias.

PubMed

Christensen, Julia F; Gaigg, Sebastian B; Gomila, Antoni; Oke, Peter; Calvo-Merino, Beatriz

2014-01-01

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants' subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants' GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community.

INJURY INCIDENCE, DANCE EXPOSURE AND THE USE OF THE MOVEMENT COMPETENCY SCREEN (MCS) TO IDENTIFY VARIABLES ASSOCIATED WITH INJURY IN FULL-TIME PRE-PROFESSIONAL DANCERS

PubMed Central

Reid, Duncan; Cadwell, Jill; Palmer, Priya

2017-01-01

Background/Purposes Prospective studies utilizing standardized injury and exposure measures are needed to consolidate our knowledge of injury incidence and associated risk factors for musculoskeletal injury amongst pre-professional dancers. The purpose of this study was to investigate the injury incidence amongst pre-professional dancers attending a fulltime training school in New Zealand. The secondary purposes of this study were to investigate the relationship between dance exposure and injury risk, and the relationship between risk factors (specifically the MCS outcome scores) and injury risk. Methods A prospective cohort study of 66 full-time pre-professional dancers was undertaken over one full academic year (38 weeks), included 40 females (mean age 17.78 yrs, SD 1.18) and 26 males (mean age 18.57yrs, SD 1.72). Injury surveillance included both reported and self reported injury data. Dancers were screened using the MCS in the first week of term one. Results Eighty-six per cent of dancers sustained one or more injuries. Fifty-nine per cent of all injuries were time-loss. The injury incidence rate was 2.27 per 1000 hours of dance exposure (DEhr) and 3.35 per 1000 dance exposures (DE). There was a significant association between the total number of injuries and total DE per month (B=0.003, 95% CI 0.001 - 0.006, p=0.016). Dancers who had a MCS score < 23 were more likely to be injured than those who scored ≥23 (B = -0.702, 95% CI = -1.354 – -0.050, p=0.035). Conclusion Injury prevalence and incidence was comparable with other international cohorts. The number of dance exposures was more highly associated with injury risk than the hours of dance exposure. The MCS may be a useful tool to help identify dancers at risk of injury. Level of Evidence Level 3b, Prospective Longitudinal Cohort Study PMID:28593089

Dancer perceptions of the cognitive, social, emotional, and physical benefits of modern styles of partnered dancing.

PubMed

Lakes, Kimberley D; Marvin, Shesha; Rowley, Jessica; Nicolas, Malia San; Arastoo, Sara; Viray, Leo; Orozco, Amanda; Jurnak, Frances

2016-06-01

To study dancers' perceptions of the physical, cognitive, affective, and social benefits of partnered dancing. 225 dancers (71% female) were recruited through a community ballroom dance center and completed an online survey designed to measure their perceptions of the physical, cognitive, affective, and social benefits of modern, partnered dance styles (swing, Lindy Hop, and ballroom dancing). Subgroups were formed for analyses. For one set of analyses, groups based on length of dance participation were formed: experienced (dancing for more than 2 years) or novice (dancing for less than a year) dancers. For another set of analyses, groups based on frequency of dance practice were formed: committed (dancing at least one or more times per week) or occasional (dancing two or fewer times per month). The majority of participants reported perceived benefits in physical fitness, cognition, affect, and social functioning. Experienced dancers reported significantly greater self-perceived physical, social, and cognitive benefits than novice dancers. Committed dancers were more likely than occasional dancers to report improvements in physical fitness, U=6942, z=2.38, r=0.16, p<0.05. A Mann-Whitney test indicated that self-reported improvements in mood (i.e., feeling less depressed and more happy) were greater for women than for men, U=3945, z=-3.07, r=0.20, p<0.001. Length and frequency of dance participation significantly predicted perceived physical benefits [Χ(2) (1,6)=35.463, p <0.001, R(2)=0.16] and social benefits [Χ(2) (1,6)=15.776, p<0.05, R(2)=0.07], but not cognitive benefits. Results suggest that participation in partnered dance styles is associated with perceived improvements in physical fitness, cognitive functioning, social functioning, mood, and self-confidence, and that perceived benefits may increase as individuals dance more frequently and over longer periods of time. Copyright © 2016 Elsevier Ltd. All rights reserved.

Operation Ghost Dancer: The Use of Active Duty Army Forces in Marijuana Eradication.

DTIC Science & Technology

1991-03-11

NO. NO. ACCESSION NO. 11. TITLE (Include Security Classification) OPERATION GHOST DANCER: The Use of Active Duty Army Forces in Marijuana Eradication...The Use of Active Duty Army Forces in Marijuana Eradication An Individual Study Project by Lieutenant Colonel Henry J. Richter United States Army...Dancer: The Use of Active Duty Army Forces in Marijuana Eradication Format: Individual Study Project Date: 11 March 1991 Pages: 70 Classification

Dance for Students with Orthopedic Conditions--Popular, Square, Folk, Modern, [and] Ballet.

ERIC Educational Resources Information Center

Harris, Cordelia Graves

1979-01-01

Preparation for teaching dance to orthopedically handicapped students is discussed in addition to specific suggestions for teaching popular dance, square dance, folk dance, modern dance, and ballet. Dancing is seen as a way to give orthopedically handicapped students physical education success without competition. Recommended music for each type…

Artistry or Mere Technique? The Value of the Ballet Competition

ERIC Educational Resources Information Center

Morris, Geraldine

2008-01-01

In recent years there has been a remarkable proliferation of ballet competitions. This prompts a number of questions, in particular how much are they affecting current training and performance practice and, more fundamentally, whether the notion of competition may be antithetical to dance as art. Underlying these questions is the issue of…

The Nutcracker Ballet: How To Use a Video as a Big Book.

ERIC Educational Resources Information Center

Mackin, Rosemary

2002-01-01

Presents three days of classroom activities for children 4 years and older in preschools using a videotape of Tchaikovsky's ballet "The Nutcracker" through which children explore storytelling through dance and music, learn the nuances of music, and become aware of the performing arts. Includes steps for teacher preparation, a script for…

The Effect of Physical Therapist Involvement in the Diagnosis and Treatment of Youth and Adolescent Dancers' Injuries.

PubMed

Kinney, Susan; McCrystal, Tara; Owen, Michael; Stracciolini, Andrea; Meehan Iii, William P

2018-06-15

In studies of major dance companies that employ mostly adult dancers, measuring the effect of comprehensive medical management that includes daily on-site physical therapy has shown a decrease in the incidence of dance injuries, days missed from dance, injury-related costs, and Workers Compensation claims. As no comparable data have been collected with regard to youth and adolescent dancers, we sought to assess the effect of physical therapist involvement in the care of injuries sustained by young dancers on the incidence and amount of time missed from dancing. A cross sectional study was conducted by questionnaire of 55 students attending a US school for the arts summer dance program. Dancers ranged in age from 13 to 17 years, with a mean age of 15.0 ± 1.0. Most (87.3%) were female. Participants reported dancing a mean of 4.4 ± 2.6 hours per day prior to arrival at the program. They recorded 37 prior injuries, most of which (51.4%) were diagnosed by a physician, although a substantial proportion were diagnosed by a physical therapist (43.2%). Dancers whose injuries were diagnosed by a physician were more likely to miss dance class than those diagnosed by a physical therapist (100% vs. 50%; p = 0.014). When an injury did result in missed dance time, the median number of days missed was greater when the diagnosis was made by a physician as opposed to a physical therapist, although this finding was not statistically significant (6.0 vs. 2.5 days; p = 0.203). This supports previous literature showing a beneficial effect of health care management that involves physical therapists, especially those with expertise in dance injuries, on outcomes from dance injuries sustained by adult dancers.

Seizing the Lodgment: Forcible Entry Lessons from Panama and the Falklands

DTIC Science & Technology

2016-05-10

combat power long before the initiation of hostilities. The Army began deployment of additional troops in early 1989 as part of Operation Nimrod ...Dancer, an effort to bolster existing US forces in Panama in response to instability. As part of Nimrod Dancer, the Army deployed an additional brigade...90 1) Task Force Atlantic. 7th Infantry Division elements stationed in Panama as part of Operation Nimrod Dancer. Attacked H-hour targets north of

The role of psychological factors in the career of the independent dancer

PubMed Central

Aujla, Imogen; Farrer, Rachel

2015-01-01

Previous research indicates that psychological factors such as motivation and mental skills play an important role in relation to performance and to negotiating talent development stages. However, little is known about these factors in dance, particularly with regard to the independent dancer whose career may involve multiple roles, varied work patterns, and periods of instability. The aim of this study was to explore dancers’ motivation to work in an independent capacity, and the extent to which dancers’ psychological characteristics and skills enabled them to navigate a career in this demanding sector. In-depth semi-structured interviews were conducted with 14 dancers at different stages of their careers. Interviews were transcribed verbatim and content analyzed. Analysis revealed that the dancers were intrinsically motivated and highly committed to the profession. Working in the independent sector offered dancers opportunities for growth and fulfillment; they appreciated the autonomy, flexibility and freedom that the independent career afforded, as well as working with new people across roles and disciplines. In order to overcome the various challenges associated with the independent role, optimism, self-belief, social support, and career management skills were crucial. The mental skills reported by the participants had developed gradually in response to the demands that they faced. Therefore, mental skills training could be invaluable for dancers to help them successfully negotiate the independent sector. PMID:26579059

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

PubMed Central

Van Dyck, Edith; Vansteenkiste, Pieter; Lenoir, Matthieu; Lesaffre, Micheline; Leman, Marc

2014-01-01

Recent research revealed that emotional content can be successfully decoded from human dance movement. Most previous studies made use of videos of actors or dancers portraying emotions through choreography. The current study applies emotion induction techniques and free movement in order to examine the recognition of emotional content from dance. Observers (N = 30) watched a set of silent videos showing depersonalized avatars of dancers moving to an emotionally neutral musical stimulus after emotions of either sadness or happiness had been induced. Each of the video clips consisted of two dance performances which were presented side-by-side and were played simultaneously; one of a dancer in the happy condition and one of the same individual in the sad condition. After every film clip, the observers were asked to make forced-choices concerning the emotional state of the dancer. Results revealed that observers were able to identify the emotional state of the dancers with a high degree of accuracy. Moreover, emotions were more often recognized for female dancers than for their male counterparts. In addition, the results of eye tracking measurements unveiled that observers primarily focus on movements of the chest when decoding emotional information from dance movement. The findings of our study show that not merely portrayed emotions, but also induced emotions can be successfully recognized from free dance movement. PMID:24587026

Multifidus Muscle Size and Symmetry in Ballroom Dancers with and without Low Back Pain.

PubMed

Smyers Evanson, Alyssa; Myrer, Joseph William; Eggett, Dennis L; Mitchell, Ulrike H; Johnson, A Wayne

2018-06-08

The incidence of low back pain (LBP) among elite ballroom dancers is high and understanding associations between muscle morphology and pain may provide insight into treatment or training options. Research has linked multifidus muscle atrophy to LBP in the general and some athletic populations; however, this has not been examined in ballroom dancers. We compared the lumbar multifidus cross-sectional area (CSA) at rest in 57 elite level ballroom dancers (age 23±2.4 years; height, 174±11 cm; mass, 64±10 kg) divided into one of three pain groups, according to their self-reported symptoms, 1) LBP group (n=19), 2) minimal LBP (n=17), and 3) no LBP (n=21). There were no significant difference in demographics between the groups (P>0.05). The LBP group demonstrated significant differences in reported pain and Oswestry Disability Index scores compared to the other two groups. There was no significant difference between groups in multifidus cross-sectional area (P=0.49). Asymmetry was found in all groups with the overall left side being significantly larger than the right (P<0.002). Pain associated with segmental decrease in multifidus CSA was not observed in ballroom dancers with LBP, suggesting other reasons for persistent LBP in ballroom dancers. © Georg Thieme Verlag KG Stuttgart · New York.

Effects of two different programs of modern sports dancing on motor coordination, strength, and speed.

PubMed

Uzunovic, Slavoljub; Kostic, Radmila; Zivkovic, Dobrica

2010-09-01

This study aimed to determine the effects of two different programs of modern sports dancing on coordination, strength, and speed in 60 beginner-level female dancers, aged 13 and 14 yrs. The subjects were divided into two experimental groups (E1 and E2), each numbering 30 subjects, drawn from local dance clubs. In order to determine motor coordination, strength, and speed, we used 15 measurements. The groups were tested before and after the experimental programs. Both experimental programs lasted for 18 wks, with training sessions twice a week for 60 minutes. The subjects from the E1 group trained according to a new experimental program of disco dance (DD) modern sports dance, and the E2 group trained according to the classic DD program of the same kind for beginner selections. The obtained results were assessed by statistical analysis: a paired-samples t-test and MANCOVA/ANCOVA. The results indicated that following the experimental programs, both groups showed a statistically significant improvement in the evaluated skills, but the changes among the E1 group subjects were more pronounced. The basic assumption of this research was confirmed, that the new experimental DD program has a significant influence on coordination, strength, and speed. In relation to these changes, the application of the new DD program was recommended for beginner dancers.

Body image distortion, perfectionism and eating disorder symptoms in risk group of female ballet dancers and models and in control group of female students.

PubMed

Zoletić, Emina; Duraković-Belko, Elvira

2009-09-01

The aim of this research was to examine differences among two groups of girls, models and ballerinas (with risk factors - experimental group) and young students (control group), in body image preception, body mass index, neurotic perfectionism, body - image distortion and simptoms of eating disorders. The research was conducted with 91 participants divided in two groups, control group - 55 students at University of Sarajevo and experimental group - 13 professional ballerinas, 23 professional models. During this research work we used several measuring instruments: Body mass index; Body Mass Index - Silhouette Matching Test; Neurotic Perfectionism Questioner; Eating Disorders Inventory. In this study statistically significant differences occur between these two groups of girls which are related to body - image perception and objective position on the body mass index chart. All 91 participants saw themselves as obese. Statistically significant differences occur in body - image distortion and simptoms of eating disorders in the experimental group, they have high scores on body - image distortion, on eating disorders inventory and neurotic perfectionism simptoms. Based on th results in this study, we may conclude that there are groups of people who have risk factors for developing some kind of eating disorder, so it would be desirable to create a preventive intervention for young ballerinas and models, but also for those people who coach them, trainers, instructors and managers. For other population groups with risky behavior such as young children, a prevention plan and modifications of cultural influences on people's opinion of body image are extremely important.

Etiology and body area of injuries in young female dancers presenting to sports medicine clinic: A comparison by age group.

PubMed

Stracciolini, Andrea; Yin, Amy X; Sugimoto, Dai

2015-11-01

Improving knowledge regarding injuries sustained by pediatric dancers is important in order to better understand injury risk. The aim of this study is to analyze dance injury etiology and body area by age in a cohort of young female dancers presenting to a pediatric sports/dance medicine clinic. The cross-sectional epidemiological study of a 5% probability sample of dancers evaluated between 1/1/2000 and 12/31/2009 with a musculoskeletal injury requiring physician evaluation. A total of 2,133 charts were reviewed from which 171 female dancers 8-17 years old (mean age 14.7 years) were identified. Data were stratified by age, < 12 years and ≥ 12 years, and analyzed based on injury body area, type, and etiology. Fisher's exact test was used to determine statistical significance. Injuries sustained by dancers in the younger age category (< 12 years) were largely to the foot-ankle/lower leg/knee (93.3%) versus thigh-hip/spine/upper extremity (6.7%). In comparison, dancers in the older age group (≥ 12 years) had a large proportion of injuries to the foot-ankle/lower leg/knee (67.3%) as well, but had a notably larger fraction of injuries to the thigh-hip/spine/upper extremity (32.7%; p = 0.04). Approximately two-thirds of the injuries sustained in the younger age group (< 12 years) were classified as bony. In comparison, injuries in the older age group (≥ 12 years) were roughly half bony and half soft tissue (51.3% and 48.7%, respectively; p = 0.29). Most injuries were overuse in etiology for both younger and older age groups (86.7% and 82.1%, respectively; p = 1.00). Through puberty, there was a decline in the injuries to the foot-ankle/lower leg/knee. Conversely, there was an increase in the thigh/hip-pelvis/spine/upper extremity injuries through growth. Injuries to young female dancers in this study cohort were mostly categorized as overuse in etiology, and differed by the age group and the body area. Increased information regarding dance injuries can help guide future injury prevention efforts.

Validation results of the IAG Dancer project for distributed GPS analysis

NASA Astrophysics Data System (ADS)

Boomkamp, H.

2012-12-01

The number of permanent GPS stations in the world has grown far too large to allow processing of all this data at analysis centers. The majority of these GPS sites do not even make their observation data available to the analysis centers, for various valid reasons. The current ITRF solution is still based on centralized analysis by the IGS, and subsequent densification of the reference frame via regional network solutions. Minor inconsistencies in analysis methods, software systems and data quality imply that this centralized approach is unlikely to ever reach the ambitious accuracy objectives of GGOS. The dependence on published data also makes it clear that a centralized approach will never provide a true global ITRF solution for all GNSS receivers in the world. If the data does not come to the analysis, the only alternative is to bring the analysis to the data. The IAG Dancer project has implemented a distributed GNSS analysis system on the internet in which each receiver can have its own analysis center in the form of a freely distributed JAVA peer-to-peer application. Global parameters for satellite orbits, clocks and polar motion are solved via a distributed least squares solution among all participating receivers. A Dancer instance can run on any computer that has simultaneous access to the receiver data and to the public internet. In the future, such a process may be embedded in the receiver firmware directly. GPS network operators can join the Dancer ITRF realization without having to publish their observation data or estimation products. GPS users can run a Dancer process without contributing to the global solution, to have direct access to the ITRF in near real-time. The Dancer software has been tested on-line since late 2011. A global network of processes has gradually evolved to allow stabilization and tuning of the software in order to reach a fully operational system. This presentation reports on the current performance of the Dancer system, and demonstrates the obvious benefits of distributed analysis of geodetic data in general. IAG Dancer screenshot

Emerging Themes on the Efficacy of Ballet Barre Work and Its Connection to Center Work: An Investigatory Study

ERIC Educational Resources Information Center

Martinell, Nicole Antonette

2009-01-01

Research on the efficacy of traditional ballet barre exercises in relation to student learning and performance in technique class essentially is non-existent. This research explored how students described their experiences with barre work as well as how they saw these experiences as developing desired skills for moving in the center work.…

The Ballet of the Streets: Teaching about Cities at Street Level

ERIC Educational Resources Information Center

McGuire, Patrick A.; Spates, James L.

2011-01-01

The urban scholar Jane Jacobs once described city life as "the ballet of the streets." In more than a quarter century of joint teaching, the authors have used Jacobs' metaphor to help their students understand that cities are living organisms created and maintained, for good or ill, by the people who live and work in them. At heart their…

Influences and Inspirations: The Ballet Designs of Sophie Fedorovitch

ERIC Educational Resources Information Center

McLean, Elizabeth

2012-01-01

Sophie Fedorovitch (1893-1953) had a formative influence on the designs of English ballet as it developed during the 1930s and 1940s. Trained as a painter, she was a Polish-born Russian who adopted England as her homeland. Reticent by nature, little is documented about Fedorovitch's life and work. This paper examines her sources of influence,…

Sexy ladies sexing ladies: women as consumers in strip clubs.

PubMed

Wosick-Correa, Kassia R; Joseph, Lauren J

2008-01-01

Recent shifts in the consumer base of the sex industry have involved greater female attendance in strip clubs. This article examines how strip clubs and dancers incorporate female patrons into a sexualized space traditionally designed for men by identifying three interactional processes: passing over, sidestaging, and tailoring. We suggest dancers pass over women because they perceive female patron behavior to include resistance to "buying the game" and spending patterns that diverge from male customers. Drawing on Goffman's dramaturgical analysis, we suggest the dynamic relationship between dancer and female patron involves what we term sidestaging, which refers to both dancers' disclosure and how the club's spatial organization inhibits the construction of women as customers through sharing gendered spaces, such as the bathroom. We argue that when a dancer tailors her lap dance for a female patron, she succeeds in acknowledging the female customer's sexual subjectivity and potential same-sex desires by providing an individualized avenue for exploring an erotic experience. Finally, we discuss data implications for understanding how same-sex desire and sexual identity operate in an environment that eroticizes the female form, and how the strip club becomes a potential space for engaging in same-sex eroticism that includes elements of play.

Key features of hip hop dance motions affect evaluation by judges.

PubMed

Sato, Nahoko; Nunome, Hiroyuki; Ikegami, Yasuo

2014-06-01

The evaluation of hip hop dancers presently lacks clearly defined criteria and is often dependent on the subjective impressions of judges. Our study objective was to extract hidden motion characteristics that could potentially distinguish the skill levels of hip hop dancers and to examine the relationship between performance kinematics and judging scores. Eleven expert, six nonexpert, and nine novice dancers participated in the study, where each performed the "wave" motion as an experimental task. The movements of their upper extremities were captured by a motion capture system, and several kinematic parameters including the propagation velocity of the wave were calculated. Twelve judges evaluated the performances of the dancers, and we compared the kinematic parameters of the three groups and examined the relationship between the judging scores and the kinematic parameters. We found the coefficient of variation of the propagation velocity to be significantly different among the groups (P < .01) and highly correlated with the judging scores (r = -0.800, P < .01). This revealed that the variation of propagation velocity was the most dominant variable representing the skill level of the dancers and that the smooth propagation of the wave was most closely related to the evaluation by judges.

Functional movement impairment in dancers: An assessment and treatment approach utilizing the Biomechanical Asymmetry Corrector (BAC) to restore normal mechanics of the spine and pelvis.

PubMed

Keller, K; West, J C

1995-01-01

Musculoskeletal injuries to the spine and pelvis are common in dancers. These injuries are associated with mechanical dysfunctions that impair spinal adaptation to the movement demands of the art form. This article introduces the biomechanical asymmetry corrector (BAC), a dynamic assessment and treatment tool, designed to restore normal spinal mechanics and functional movement patterns in dancers. A discussion of lumbo-pelvic mechanics and dance injury provides a theoretical context for describing exercises on the BAC.

Dancer Perceptions of the Cognitive, Social, Emotional, and Physical Benefits of Modern Styles of Partnered Dancing

PubMed Central

Lakes, Kimberley D.; Marvin, Shesha; Rowley, Jessica; Nicolas, Malia San; Arastoo, Sara; Viray, Leo; Orozco, Amanda; Jurnak, Fran

2016-01-01

Objective To study dancers’ perceptions of the physical, cognitive, affective, and social benefits of partnered dancing. Method 225 dancers (71% female) were recruited through a community ballroom dance center and completed an online survey designed to measure their perceptions of the physical, cognitive, affective, and social benefits of modern, partnered dance styles (swing, Lindy Hop, and ballroom dancing). Subgroups were formed for analyses. For one set of analyses, groups based on length of dance participation were formed: experienced (dancing for more than 2 years) or novice (dancing for less than a year) dancers. For another set of analyses, groups based on frequency of dance practice were formed: committed (dancing at least one or more times per week) or occasional (dancing two or fewer times per month). Results The majority of participants reported perceived benefits in physical fitness, cognition, affect, and social functioning. Experienced dancers reported significantly greater self-perceived physical, social, and cognitive benefits than novice dancers. Committed dancers were more likely than occasional dancers to report improvements in physical fitness, U = 6,942, z = 2.38, r = .16, p <.05. A Mann-Whitney test indicated that self-reported improvements in mood (i.e., feeling less depressed and more happy) were greater for women than for men, U = 3,945, z = −3.07, r = .20, p < .001. Length and frequency of dance participation significantly predicted perceived physical benefits [X2 (1,6) = 35.463, p <.001, R2 = .16] and social benefits [X2 (1,6) = 15.776, p <.05, R2 =.07], but not cognitive benefits. Conclusions Results suggest that participation in partnered dance styles is associated with perceived improvements in physical fitness, cognitive functioning, social functioning, mood, and self-confidence, and that perceived benefits may increase as individuals dance more frequently and over longer periods of time. PMID:27261991

Learning and remembering strategies of novice and advanced jazz dancers for skill level appropriate dance routines.

PubMed

Poon, P P; Rodgers, W M

2000-06-01

This study examined the influence of the challenge level of to-be-learned stimulus on learning strategies in novice and advanced dancers. In Study 1, skill-level appropriate dance routines were developed for novice and advanced jazz dancers. In Study 2, 8 novice and 9 advanced female jazz dancers attempted to learn and remember the two routines in mixed model factorial design, with one between-participants factor: skill level (novice or advanced) and two within-participants factors: routine (easy or difficult) and performance (immediate or delayed). Participants were interviewed regarding the strategies used to learn and remember the routines. Results indicated that advanced performers used atypical learning strategies for insufficiently challenging stimuli, which may reflect characteristics of the stimuli rather than the performer. The qualitative data indicate a clear preference of novice and advanced performers for spatial compatibility of stimuli and response.

Viscoelastic shoe insoles: their use in aerobic dancing.

PubMed

Clark, J E; Scott, S G; Mingle, M

1989-01-01

To determine whether use of viscoelastic insoles would significantly decrease the frequency of musculoskeletal overuse injury in aerobic dancers, 139 high-level aerobic dancers were divided randomly into two groups. The control group received placebo foam insoles and test subjects were fitted with viscoelastic insoles. Subjects used these insoles during dance class for 15 weeks. Injury rates were low in both groups and no statistical difference was found. Pain syndromes were fewer in the group using viscoelastic insoles, but the difference was not statistically significant. About a third of dancers fitted with viscoelastic insoles and a tenth of placebo insert wearers found that the insoles made their shoes too tight to be comfortable. No conclusion can be drawn on whether shock-absorbing insoles decrease injuries from aerobic dancing, but use of viscoelastic insoles may improve comfort and provide pain relief for some high-level aerobic dancers if proper fit is achieved.

Dance partner or dance floor?: exogenous factors resulting in accidents in professional dancers.

PubMed

Wanke, Eileen M; Mill, Helmgard; Wanke, Alice; Davenport, Jaqueline; Checcetti, Fistd; Koch, Franziska; Groneberg, David A

2013-09-01

Injury prevention in professional dancers is very important due to the high risk for acute injuries posing a threat to dancers' careers. Causative factors of acute injuries in professional dance can be divided into exogenous and endogenous factors. Although both are known in professional dance, there is still a lack of data to have a differentiated view. The aim of this study is to analyze exogenous factors resulting in work accidents of professional dancers. The data for the evaluation were obtained from work accident reports (n = 1,438, female 722, male 716) from six Berlin Theatres. Evaluation and descriptive statistics were conducted by SPSS 18 and Excel 2007. About half (48.5%, n = 698) of all work accidents are caused by exogenous factors. The "dance partner" is the most common exogenous factor (39.9%), followed by the dance floor (28.24%) and props (13.6%). The lower extremity is the most frequent structure injured in either sex (male 47.3%, female 61.3%), followed by the upper extremity in females (14.6%) and spine in male dancers (19.8%). The stage is the most common injury location in both genders (males 63.9%, females 56.8%). Acute injuries caused by exogenous factors were particularly sustained during performances (males 58.8%, females 50.5%) and during rehearsals (males 33%, females 39.9%). This study shows the key significance of exogenous factors in acute injuries in professional dance. Preserving the dancers' health and preventing injuries takes top priority, and therefore, interventions in the artistic work cannot be ruled out when preventive measures are implemented.

The association between menarche, intensity of training and passive joint ROM in young pre-professional female dancers: A longitudinal follow-up study.

PubMed

Nili, Steinberg; Shay, Tenenbaum; Myriam, Stern; Aviva, Zeev; Itzhak, Siev-Ner

2018-05-05

To determine the association between the status of menarche (yes/no), the intensity of training and the potential to improve passive joint range of motion (ROM) over a 12-month period of dance training. Prospective cohort study. Dance studio. Fifty-nine female dancers aged 12.8 ± 0.5. The dancers were asked about their dance intensity and screened for anthropometric parameters and passive joint ROM in Grades 7 and 8. Along the 12 months of dance training, we found significantly increased ankle-foot en-pointe, hip abduction, and hip external rotation (ER); significantly decreased hip internal rotation (IR); and significant increased hip ER:IR ratio. In Grade 7, 26 dancers (44.1%) reached menarche (Yes menarche); in Grade 8 an additional 23 dancers (39.0%) reached menarche (No/Yes menarche); and 10 dancers (16.9%) had not reached menarche (No menarche). MANOVA (mixed models) with repeated measures to compare joint ROM between the three menarche groups (Yes; No/Yes; No), with h/week dance practice as a co-variant, showed that hip ER, ankle-foot en-pointe, and ER:IR were significantly correlated with h/week in all three menarche groups. Most passive joint ROM can be improved over 12 months of dancing around the age onset of menarche. H/week of dance practice is a main factor contributing to improved hip ER, ankle-foot en-pointe and ER/IR ratio. Copyright © 2018 Elsevier Ltd. All rights reserved.

Influence of turnout on foot posture and its relationship to overuse musculoskeletal injury in professional contemporary dancers: a preliminary investigation.

PubMed

Cimelli, Sonja N; Curran, Sarah A

2012-01-01

The angle of turnout is thought to predispose professional dancers to overuse musculoskeletal injuries of the lower limb; yet, the influence of angle of turnout on foot posture is currently unknown. Twelve professional contemporary dancers (five women and seven men; mean age, 26.8 years) were recruited. The angle of gait and angle of turnout were measured using a quasi-static clinical tracing method. Foot posture was assessed in the base of gait and angle of turnout using the Foot Posture Index. Each dancer completed a dance history and injury questionnaire. The results show a tendency toward a pronated foot posture (mean, 9°) in the angle of turnout position. A significant relationship was noted between the Foot Posture Index and angle of turnout (ρ = 0.933-0.968, P < .01) and between the number of reported injuries and change in foot posture in the angle of turnout (ρ = 0.789, P < .01) (right foot only). Twenty-eight injuries were reported; male dancers experienced a mean of 2.8 injuries and females a mean of 1.6 injuries. An inverse relationship was noted between age at training initiation and total reported injuries (r =-0.867, P < .01). All of the dancers reported a history of injury to the spine or lower limb, and 9 of the 12 reported an injury within the previous 12 months. Turnout is one of the most fundamental aspects of dance technique. This study suggests a trend toward pronation in angle of turnout and a link to lower-limb musculoskeletal injury.

Metatarsal pain and plantar hyperkeratosis in the forefeet of female professional flamenco dancers.

PubMed

Castillo-López, José M; Vargas-Macías, Alfonso; Domínguez-Maldonado, Gabriel; Lafuente-Sotillos, Guillermo; Ramos-Ortega, Javier; Palomo-Toucedo, Inmaculada C; Reina-Bueno, María; Munuera-Martínez, Pedro V

2014-12-01

The objectives of this study were to determine the frequency of metatarsal pain and of hyperkeratosis on the plantar forefoot in female professional flamenco dancers, and to determine whether there is a relationship between the two disorders. Forty-four female professional flamenco dancers, with a minimum activity of 25 hrs/wk, participated in this cross-sectional study. The presence or absence of metatarsal pain while dancing was recorded, and plantar pressures were measured on a pressure platform, both barefoot and shod with the usual dance shoe. The heel height of the dance shoe was also measured. Of the dancers, 80.7% experienced metatarsal pain while dancing, and 84.1% presented with plantar hyperkeratosis. Plantar hyperkeratosis coincided with the presence of metatarsal pain in 67.04% of the feet studied. The maximum load point in the feet when the dancers were barefoot was located 59.5% in the rearfoot and 40.5% in the forefoot; when dancers wore their specific flamenco dancing shoes, it was located 52.4% in the rearfoot and 47.6% in the forefoot. Metatarsal pain and plantar hyperkeratosis in the forefoot are common foot disorders in female flamenco dancing. The incidence of the maximum load point being located in the forefoot, and the difference between the results of the tests while shod or barefoot, are both too low to support the idea that the raised heels of flamenco shoes are a major contributing factor for these injuries. Therefore, these disorders may be caused by chronic repetitive trauma suffered during the practice of footwork dancing.

Effects of a Fragmented View of One’s Partner on Interpersonal Coordination in Dance

PubMed Central

Brown, Derrick D.; Meulenbroek, Ruud G. J.

2016-01-01

In this study we investigated the effects of a mirror-mediated, partial view of one’s dance partner on interpersonal coordination in dance duets. Fourteen participant pairs (dyads) were asked to perform a reflectionally-symmetric eight-segment dance-relevant arm movement sequence in two visual conditions: with one dancer facing the mirror and providing a partial view on the dance partner, or both dancers facing back to back with, for both dancers, no view on one’s partner. During an eight-count beat-preparation phase, the task was paced via a metronome at three TEMPI; 1.6, 1.9, and 2.3 Hz, which was subsequently removed after which the movement sequence continued in silence. Interpersonal coordination was assessed using two tri-axial wireless accelerometers, one fixed to each dancer, that allowed the off-line kinematic analyses of dyad correlation, mean relative phase and mean standard deviation of relative phase of the up–down movements of (one of) the hands of the two dancers. In addition, two independent raters estimated the realized movement frequencies and percentage of the trial duration that the dancers moved in sync. Repeated measure ANOVAs revealed systematic effects of tempo on the performance measures, a positive effect of the use of the mirror on the coordination of the dancers’ movements but no facilitating effect of the mirror on the dancers’ synchronization. Overall, the results support the contention that when dancing to an internalized rhythmic beat the use of a mirror provides an ecological means to stabilize interpersonal coordination in dance duets without an effect on synchronization. PMID:27199847

Scoliosis in musicians and dancers.

PubMed

Bird, H A; Pinto, Sofia Ornellas

2013-04-01

Scoliosis, although often considered a condition of athletes, is very common as a cause of symptoms in performing artists. Three typical case histories are presented with a physiotherapy review. Surprisingly, scoliosis is often more of a problem in musicians than in dancers.

LOWER EXTREMITY HYPERMOBILITY, BUT NOT CORE MUSCLE ENDURANCE INFLUENCES BALANCE IN FEMALE COLLEGIATE DANCERS.

PubMed

Ambegaonkar, Jatin P; Cortes, Nelson; Caswell, Shane V; Ambegaonkar, Gautam P; Wyon, Matthew

2016-04-01

Dance is a physically demanding activity, with almost 70% of all injuries in dancers occurring in the lower extremity (LE). Prior researchers report that muscle function (e.g. muscle endurance) and anatomical factors (e.g. hypermobility) affect physical performance (e.g. balance) and can subsequently influence LE injury risk. Specifically, lesser core muscle endurance, balance deficits, and greater hypermobility are related to increased LE injury risk. However, the potentials interrelationships among these factors in dancers remain unclear. The purposes of this study were to examine the relationships among core muscle endurance, balance, and LE hypermobility, and determine the relative contributions of core muscle endurance and LE hypermobility as predictors of balance in female collegiate dancers. Cross-sectional. Core muscle endurance was evaluated using the combined average anterior, left, and right lateral plank test time scores(s). LE hypermobility was measured using the LE-specific Beighton hypermobility measure, defining hypermobility if both legs had greater than 10 ° knee hyperextension. Balance was measured via the composite anterior, posterolateral, and posteromedial Star Excursion Balance Test (SEBT) reach distances (normalized to leg length) in 15 female healthy collegiate dancers (18.3 + 0.5yrs, 165.5 + 6.9cm, 63.7 + 12.1kg). Point-biserial-correlation-coefficients examined relationships and a linear regression examined whether core endurance and hypermobility predicted balance (p<.05). LE hypermobility (Yes; n = 3, No; n = 12) and balance (87.2 + 8.3% leg length) were positively correlated r(14)=.67, (p=.01). However, core endurance (103.9 + 50.6 s) and balance were not correlated r(14)=.32, (p=.26). LE hypermobility status predicted 36.9% of the variance in balance scores (p=.01). LE hypermobility, but not core muscle endurance may be related to balance in female collegiate dancers. While LE hypermobility status influenced balance in the female collegiate dancers, how this LE hypermobility status affects their longitudinal injury risk as their careers progress needs further study. Overall, the current findings suggest that rather than using isolated core endurance-centric training, clinicians may encourage dancers to use training programs that incorporate multiple muscles - in order to improve their balance, and possibly reduce their LE injury risk. 2b.

LOWER EXTREMITY HYPERMOBILITY, BUT NOT CORE MUSCLE ENDURANCE INFLUENCES BALANCE IN FEMALE COLLEGIATE DANCERS

PubMed Central

Cortes, Nelson; Caswell, Shane V.; Ambegaonkar, Gautam P.; Wyon, Matthew

2016-01-01

Background Dance is a physically demanding activity, with almost 70% of all injuries in dancers occurring in the lower extremity (LE). Prior researchers report that muscle function (e.g. muscle endurance) and anatomical factors (e.g. hypermobility) affect physical performance (e.g. balance) and can subsequently influence LE injury risk. Specifically, lesser core muscle endurance, balance deficits, and greater hypermobility are related to increased LE injury risk. However, the potentials interrelationships among these factors in dancers remain unclear. Purpose The purposes of this study were to examine the relationships among core muscle endurance, balance, and LE hypermobility, and determine the relative contributions of core muscle endurance and LE hypermobility as predictors of balance in female collegiate dancers. Study Design Cross-sectional Methods Core muscle endurance was evaluated using the combined average anterior, left, and right lateral plank test time scores(s). LE hypermobility was measured using the LE-specific Beighton hypermobility measure, defining hypermobility if both legs had greater than 10 ° knee hyperextension. Balance was measured via the composite anterior, posterolateral, and posteromedial Star Excursion Balance Test (SEBT) reach distances (normalized to leg length) in 15 female healthy collegiate dancers (18.3 + 0.5yrs, 165.5 + 6.9cm, 63.7 + 12.1kg). Point-biserial-correlation-coefficients examined relationships and a linear regression examined whether core endurance and hypermobility predicted balance (p<.05). Results LE hypermobility (Yes; n = 3, No; n = 12) and balance (87.2 + 8.3% leg length) were positively correlated r(14)=.67, (p=.01). However, core endurance (103.9 + 50.6 s) and balance were not correlated r(14)=.32, (p=.26). LE hypermobility status predicted 36.9% of the variance in balance scores (p=.01). Conclusion LE hypermobility, but not core muscle endurance may be related to balance in female collegiate dancers. While LE hypermobility status influenced balance in the female collegiate dancers, how this LE hypermobility status affects their longitudinal injury risk as their careers progress needs further study. Overall, the current findings suggest that rather than using isolated core endurance-centric training, clinicians may encourage dancers to use training programs that incorporate multiple muscles - in order to improve their balance, and possibly reduce their LE injury risk. Level of Evidence 2b PMID:27104055

Micro-finite element analysis applied to high-resolution MRI reveals improved bone mechanical competence in the distal femur of female pre-professional dancers

PubMed Central

Rajapakse, C. S.; Diamond, M.; Honig, S.; Recht, M. P.; Weiss, D. S.; Regatte, R. R.

2013-01-01

Summary Micro-finite element analysis applied to high-resolution (0.234-mm length scale) MRI reveals greater whole and cancellous bone stiffness, but not greater cortical bone stiffness, in the distal femur of female dancers compared to controls. Greater whole bone stiffness appears to be mediated by cancellous, rather than cortical bone adaptation. Introduction The purpose of this study was to compare bone mechanical competence (stiffness) in the distal femur of female dancers compared to healthy, relatively inactive female controls. Methods This study had institutional review board approval. We recruited nine female modern dancers (25.7± 5.8 years, 1.63±0.06 m, 57.1±4.6 kg) and ten relatively inactive, healthy female controls matched for age, height, and weight (32.1±4.8 years, 1.6±0.04 m, 55.8±5.9 kg). We scanned the distal femur using a 7-T MRI scanner and a three-dimensional fast low-angle shot sequence (TR/TE= 31 ms/5.1 ms, 0.234 mm×0.234 mm×1 mm, 80 slices). We applied micro-finite element analysis to 10-mm-thick volumes of interest at the distal femoral diaphysis, metaphysis, and epiphysis to compute stiffness and cross-sectional area of whole, cortical, and cancellous bone, as well as cortical thickness. We applied two-tailed t-tests and ANCOVA to compare groups. Results Dancers demonstrated greater whole and cancellous bone stiffness and cross-sectional area at all locations (p< 0.05). Cortical bone stiffness, cross-sectional area, and thickness did not differ between groups (>0.08). At all locations, the percent of intact whole bone stiffness for cortical bone alone was lower in dancers (p<0.05). Adjustment for cancellous bone cross-sectional area eliminated significant differences in whole bone stiffness between groups (p>0.07), but adjustment for cortical bone cross-sectional area did not (p<0.03). Conclusions Modern dancers have greater whole and cancellous bone stiffness in the distal femur compared to controls. Elevated whole bone stiffness in dancers may be mediated via cancellous, rather than cortical bone adaptation. PMID:22893356

Practice of Contemporary Dance Promotes Stochastic Postural Control in Aging

PubMed Central

Ferrufino, Lena; Bril, Blandine; Dietrich, Gilles; Nonaka, Tetsushi; Coubard, Olivier A.

2011-01-01

As society ages and the frequency of falls increases, counteracting gait and posture decline is a challenging issue for countries of the developed world. Previous studies have shown that exercise and hazard management help to improve balance and/or decrease the risks for falling in normal aging. Motor activity based on motor-skill learning, particularly dance, can also benefit balance and decreases falls with age. Recent studies have suggested that older dancers have better balance, posture, or gait than non-dancers. Additionally, clinical or laboratory measures have shown improvements in some aspects of balance after dance interventions in elderly trainees. This study examined the impact of contemporary dance (CD) and of fall prevention (FP) programs on postural control of older adults. Posturography of quiet upright stance was performed in 41 participants aged 59–86 years before and after 4.4-month training in either CD or FP once a week. Though classical statistic scores failed to show any effect, dynamic analyses of the center-of-pressure displacements revealed significant changes after training. Specifically, practice of CD enhanced the critical time interval in diffusion analysis, and reduced recurrence and mathematical stability in recurrence quantification analysis, whereas practice of FP induced or tended to induce the reverse patterns. Such effects were obtained only in the eyes open condition. We suggest that CD training based on motor improvisation favored stochastic posture inducing plasticity in motor control, while FP training based on more stereotyped behaviors did not. PMID:22232582

The effects of floor incline on lower extremity biomechanics during unilateral landing from a jump in dancers.

PubMed

Pappas, Evangelos; Orishimo, Karl F; Kremenic, Ian; Liederbach, Marijeanne; Hagins, Marshall

2012-05-01

Retrospective studies have suggested that dancers performing on inclined ("raked") stages have increased injury risk. One study suggests that biomechanical differences exist between flat and inclined surfaces during bilateral landings; however, no studies have examined whether such differences exist during unilateral landings. In addition, little is known regarding potential gender differences in landing mechanics of dancers. Professional dancers (N = 41; 14 male, 27 female) performed unilateral drop jumps from a 30 cm platform onto flat and inclined surfaces while extremity joint angles and moments were identified and analyzed. There were significant joint angle and moment effects due to the inclined flooring. Women had significantly decreased peak ankle dorsiflexion and hip adduction moment compared with men. Findings of the current study suggest that unilateral landings on inclined stages create measurable changes in lower extremity biomechanical variables. These findings provide a preliminary biomechanical rationale for differences in injury rates found in observational studies of raked stages.

Exploring the social-environmental determinants of well- and ill-being in dancers: a test of basic needs theory.

PubMed

Quested, Eleanor; Duda, Joan L

2010-02-01

Grounded in the basic needs mini-theory (Deci & Ryan, 2000), this study examined the interplay among perceptions of the social environment manifested in vocational dance schools, basic need satisfaction, and indices of elite dancers' well- and ill-being. The hypothesized mediating role of need satisfaction was also tested. Dancers (N = 392) completed a questionnaire tapping the targeted variables. Structural equation modeling supported a model in which perceptions of task-involving dance environments positively predicted need satisfaction. Perceived ego-involving climates negatively corresponded with competence and relatedness. Perceptions of autonomy support were positively related to autonomy and relatedness. Need satisfaction positively predicted positive affect. Competence and relatedness satisfaction corresponded negatively to reported negative affect. Emotional and physical exhaustion was not related to need satisfaction. Partial support emerged for the assumed mediation of the needs. Results highlight the relevance of task-involving and autonomy-supportive dance climates for elite dancers' need satisfaction and healthful engagement in vocational dance.

Natural Selection and the Audition Process: Dance Science in Context. Monaco Dance Forum/Association Danse Medecine Recherche Colloquium, Monaco, 1-4 April 2010

ERIC Educational Resources Information Center

Sporton, Gregory

2010-01-01

The Monaco Dance Forum (MDF), a biennale of dance that takes place in the beautiful and affluent surroundings of Monte Carlo, has chosen this time to celebrate as its theme the centenary of the "Ballets Russes." Diaghilev's famous company made its first tour in 1909, an event that unarguably changed ballet's status as an art form, and heralded…

Spondylolysis as a cause of low back pain in swimmers.

PubMed

Nyska, M; Constantini, N; Calé-Benzoor, M; Back, Z; Kahn, G; Mann, G

2000-07-01

Low back pain (LBP) has recently become a common complaint in swimmers. The differential diagnosis of LBP in swimmers includes muscle and ligament sprains, Scheuerman disease, herniated disc, facet joint injury, tumors, infections, and spondylolysis. Although spondylolysis or listhesis is a frequent injury in the athlete, mainly in weightlifters, wrestlers, gymnasts, divers and ballet dancers, it is infrequently reported in swimmers. We have recently encountered four adolescent elite swimmers who complained of low back pain and were diagnosed as having spondylolysis. Three of the patients were either breast-strokers or butterfly swimmers. Plain radiography demonstrated the lesion in two patients. Increased uptake in bone scan was noted in all patients. CT was performed only in two patients and revealed the lesion in both. One patient was diagnosed within two weeks, and the diagnosis in the others was deferred for 2-7 months. The patients were treated successfully by reducing the intensity of their training program and the use of a corset for at least three months. Repeated hyperextension is one of the mechanisms for spondylolysis in athletes as is the case in breast-strokers and butterfly style swimmers. LBP in swimmers should raise the suspicion of spondylolysis. Plain radiography and bone scan should be performed followed by SPEC views, CT, or MRI as indicated. If the case is of acute onset as verified by bone scan, a Boston or similar brace should be used for 3 to 6 months in conjunction with activity modification and optional physical therapy. Multidisciplinary awareness of low back pain in swimmers, which includes trainers, sport medicine physicians, and physical therapists, should lead to early diagnosis and appropriate treatment.

Petit Petipa

NASA Image and Video Library

2017-12-08

This striking image highlights Petipa crater, which was recently named after Marius Petipa, a French ballet dancer, teacher, and choreographer. The rays eminating from Petipa indicate that it is a relatively fresh crater; over time, these rays will fade as they are subjected to space weathering. North is towards the top of this image. This image was acquired as a high-resolution targeted observation. Targeted observations are images of a small area on Mercury's surface at resolutions much higher than the 200-meter/pixel morphology base map. It is not possible to cover all of Mercury's surface at this high resolution, but typically several areas of high scientific interest are imaged in this mode each week. The MESSENGER spacecraft is the first ever to orbit the planet Mercury, and the spacecraft's seven scientific instruments and radio science investigation are unraveling the history and evolution of the Solar System's innermost planet. Visit the Why Mercury? section of this website to learn more about the key science questions that the MESSENGER mission is addressing. During the one-year primary mission, MESSENGER acquired 88,746 images and extensive other data sets. MESSENGER is now in a yearlong extended mission, during which plans call for the acquisition of more than 80,000 additional images to support MESSENGER's science goals. Credit: NASA/Johns Hopkins University Applied Physics Laboratory/Carnegie Institution of Washington NASA image use policy. NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission. Follow us on Twitter Like us on Facebook Find us on Instagram

Achilles Tendinosis Stopping the Progression to Disability.

PubMed

Chessin, Meta

2012-09-01

The purpose of this article is to differentiate between acute Achilles tendinitis and chronic Achilles tendinosis and to highlight a specific treatment protocol for mid-portion Achilles tendinosis. Tendinosis (degeneration of the tendon) results from chronic tissue injury and has long-term implications for a dancer's career. An eccentric heavy-load exercise protocol has been used successfully to treat tendinosis in athletes. A modified eccentric exercise protocol is proposed as one component of an effective rehabilitation program for dancers. This protocol facilitates tissue remodeling to build strength, flexibility, and adaptability of the Achilles tendon tissue, so that dancers can continue to dance without further complications of the injury.

Imagery Exercises for Young Highland Dancers

ERIC Educational Resources Information Center

Muir, Irene L.; Munroe-Chandler, Krista J.

2017-01-01

Scottish Highland Dance (Highland Dance), known for its accompaniment of bagpipe music and traditional wearing of the kilt, has captured the interest of many dancers and spectators worldwide. It requires strength, stamina, coordination, and very controlled movements. Such intricate technique and movements can be difficult to master, especially for…

Concussion Knowledge and Behaviors in a Sample of the Dance Community.

PubMed

McIntyre, Lauren; Liederbach, Marijeanne

2016-01-01

Despite recent improvements in their concussion knowledge, athletes still demonstrate risky concussion behaviors (e.g., playing while concussed or not reporting a concussion). Little has been published about dancers' concussion knowledge and behaviors, but research in dance contending with questions about injury in general has found that dancers often avoid physician consults and ignore the signs of injury. In the present study, an IRB approved anonymous online survey, it was hypothesized that dancers would demonstrate concussion knowledge deficits, fail to report concussions, and have difficulty adhering to management guidelines. In addition, it was hypothesized that dancers in companies or schools with an onsite health care practitioner present would demonstrate improved concussion knowledge and safer concussion behaviors compared with those that do not have onsite health care. Concussion knowledge and behavior questions were modified for a dance sample based on validated sports-specific tools developed by other investigators. One hundred fifty-three subjects were recruited to complete the survey from an urban orthopaedic clinic specializing in dance medicine and via Facebook, email, and newsletter announcements. Dancers in this sample had good foundational knowledge of concussion; however, this knowledge did not correlate with safe, self-reported concussion care behaviors. Future research should focus on determination of dance-specific barriers to practicing safe behaviors and seeking care for concussive injury, as well as further identifying dance concussion epidemiology and outcomes.

Affective temperaments in tango dancers.

PubMed

Lolich, María; Vázquez, Gustavo H; Zapata, Stephanie; Akiskal, Kareen K; Akiskal, Hagop S

2015-03-01

Links between affective temperaments and folk culture have been infrequently explored systematically. Creativity and personality and temperament studies, conversely, have reported several associations. Tango is one of the most typical Argentinean folk dance-musical repertoires. The main purpose of this study is to compare affective temperaments between Argentinean professional tango dancers and the general population. TEMPS-A was administered to a sample of 63 professional tango dancers and 63 comparison subjects from the general population who did not practice tango. Subscale median scores and total median scores with non-parametric statistics were analyzed. Median scores on hyperthymic subscale (p ≤ 0.001), irritable subscale (p=0.05) and total median score were significantly higher among tango dancers compared to controls (p ≤ 0.001). Self-report measures were used. A larger sample size would have provided greater statistical power for data analysis. Besides, the naturalistic study design did not allow controlling for other clinical variables and limited the generalization of results to broader populations. Our data adds new evidence for the hypothesis that artistic performance is related to one's temperament. Tango passionata, which has both melancholic and vigorous (including "upbeat") features, seems to impart tango dancers' hyperthymic and irritable temperament features. Our study supports the increasing literature on the validity of utilizing temperament as a sub-affective traits in relation to artistic creativity and performing arts. Copyright © 2014 Elsevier B.V. All rights reserved.

Fit to dance survey: a comparison with dancesport injuries.

PubMed

Riding McCabe, Teri; Ambegaonkar, Jatin P; Redding, Emma; Wyon, Matthew

2014-06-01

The Fit to Dance survey has been conducted twice previously, in 1993 and 2002, without dancesport participants. The purpose of this present online survey was to supplement a comparison of dancesport against the earlier results. The current study had a greater percentage of male respondents than previous studies (43% vs 24% and 26%). The dancesport participants were older (28% at 40+ yrs vs 3% and 1%) and more likely to have normal (69% vs 57%) to overweight BMI (18% vs 2%). Dancesport participants spent more time in various non-dancing conditioning activities than previous surveys (5.2 ± 3.9 hrs SD vs 1.9 ± 2.5 and 2.2 ± 2.7). Muscles and joints were the most common type of injury in all the surveys. The knee was the top injury site in this survey, with lower back in previous surveys. The main perceived cause of injury was repetitive movements, whereas fatigue and overwork were cited in the previous surveys. Physiotherapists were the most common type of medical professionals from whom the dancers sought treatment for their injuries in all surveys. The first survey included recommendations that the present survey results agree with, including: dancers should be physically fit, dancers should warm up and cool down, dancers should never have to work in unsuitable environments, and dancers should receive immediate high-quality treatment for injuries.

Shannon: An Ojibway Dancer.

ERIC Educational Resources Information Center

King, Sandra

Intended for teenage readers, this book profiles 13-year old Shannon Anderson. Shannon lives in Minneapolis, Minnesota, with her grandmother, her two sisters, and two cousins. Shannon, who is an Ojibway Indian, practices the fancy shawl dance. This traditional dance requires the dancer to use fancy footwork and twirl a shawl. Shannon's younger…

Dance Dynamics. Athletes & Dancers Training & Moving Together.

ERIC Educational Resources Information Center

Pruett, Diane Milhan, Ed.; And Others

1981-01-01

This series of articles explores the various ways in which training procedures in both dance and athletics are compatible. Topics include: traditional and adapted dance class structures and materials; the inclusion of dance in the physical education curriculum; and the physical fitness of dancers as compared to athletes. (JN)

Arthroscopic Assessment and Treatment of Dancers' Knee Injuries.

ERIC Educational Resources Information Center

Silver, Daniel M.; Campbell, Pat

1985-01-01

Arthroscopic examination of 16 dancers with dance-related knee injuries which defied conservative treatment showed 15 meniscal tears and 4 cases of chondromalacia patellae. Partial arthroscopic meniscectomy was used to treat the tears. The results were excellent, with 13 of the 16 returning to preoperative levels of dance activity. (MT)

Overexcitability: A Psychological Comparison between Dancers, Opera Singers, and Athletes

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria

2016-01-01

Overexcitability is a component in Dabrowski's theory of positive disintegration. This cross-sectional study investigated the psychological profile, including the five overexcitability dimensions (psychomotor, sensual, imaginational, intellectual, emotional), of three talented groups of dancers (n = 84), opera singers (n = 62), and athletes…

Tales of New York City's Guerrilla Teaching Artists

ERIC Educational Resources Information Center

Katzoff, Howard Martin

2011-01-01

This article presents snapshots of an innovative program in which performing actor, musician, and dancer TAs work as substitute teachers. Through STARRRs (Substitute Teachers for the Arts and 3Rs) Program, New York City principals hire professional performers as licensed substitute teachers. Actors, musicians, and dancers bring their craft into…

Integration of a Professional Dancer into College

ERIC Educational Resources Information Center

Pulinkala, Ivan

2011-01-01

This paper evaluates the experience of integrating a professional dancer into a collegiate environment using a case study method of qualitative research. Interviews, focus groups, observation studies and document analysis techniques were used to gather qualitative data for this study. The innovation of diffusion theory was used to highlight the…

Inclusion Strategies for Bringing Dance to Conservative Communities

ERIC Educational Resources Information Center

Lent, Shawn Renee

2016-01-01

In this article the author uses the term "conservative dancers" to describe dancers who live in communities or families that are socially, culturally, or religiously conservative with ideological consistency, adhering to traditional values that they deem to be moral (e.g., modest dress, clear gender roles and separation, purity, family…

Lesbian Lacunae: Invisible Spaces in Dance Education

ERIC Educational Resources Information Center

Mozingo, Karen A.

2005-01-01

Recent research about sexuality and dance has begun to address the needs of gay male dancers, yet the needs of lesbian dancers have remained mostly absent from scholarly discourse. Exploring the lesbian lacunae, or invisible spaces of dance education, reveals the personal, political, and pedagogical implications of their existence within the dance…

Formative Assessment in Dance Education

ERIC Educational Resources Information Center

Andrade, Heidi; Lui, Angela; Palma, Maria; Hefferen, Joanna

2015-01-01

Feedback is crucial to students' growth as dancers. When used within the framework of formative assessment, or assessment for learning, feedback results in actionable next steps that dancers can use to improve their performances. This article showcases the work of two dance specialists, one elementary and one middle school teacher, who have…

"Just Clicks": An Interpretive Phenomenological Analysis of Professional Dancers' Experience of Flow

ERIC Educational Resources Information Center

Hefferon, Kate M.; Ollis, Stewart

2006-01-01

The subjective experience of flow in professional dancers was analyzed using interpretive phenomenological analysis (IPA). Flow is believed to be a psychological state in which the mind and body "just click", creating optimal performance. Unfortunately, sport and performance research have severely neglected reviewing the flow experience in…

Motor Simulation without Motor Expertise: Enhanced Corticospinal Excitability in Visually Experienced Dance Spectators

PubMed Central

Jola, Corinne; Abedian-Amiri, Ali; Kuppuswamy, Annapoorna; Pollick, Frank E.; Grosbras, Marie-Hélène

2012-01-01

The human “mirror-system” is suggested to play a crucial role in action observation and execution, and is characterized by activity in the premotor and parietal cortices during the passive observation of movements. The previous motor experience of the observer has been shown to enhance the activity in this network. Yet visual experience could also have a determinant influence when watching more complex actions, as in dance performances. Here we tested the impact visual experience has on motor simulation when watching dance, by measuring changes in corticospinal excitability. We also tested the effects of empathic abilities. To fully match the participants' long-term visual experience with the present experimental setting, we used three live solo dance performances: ballet, Indian dance, and non-dance. Participants were either frequent dance spectators of ballet or Indian dance, or “novices” who never watched dance. None of the spectators had been physically trained in these dance styles. Transcranial magnetic stimulation was used to measure corticospinal excitability by means of motor-evoked potentials (MEPs) in both the hand and the arm, because the hand is specifically used in Indian dance and the arm is frequently engaged in ballet dance movements. We observed that frequent ballet spectators showed larger MEP amplitudes in the arm muscles when watching ballet compared to when they watched other performances. We also found that the higher Indian dance spectators scored on the fantasy subscale of the Interpersonal Reactivity Index, the larger their MEPs were in the arms when watching Indian dance. Our results show that even without physical training, corticospinal excitability can be enhanced as a function of either visual experience or the tendency to imaginatively transpose oneself into fictional characters. We suggest that spectators covertly simulate the movements for which they have acquired visual experience, and that empathic abilities heighten motor resonance during dance observation. PMID:22457754

Analysis of stress fractures in athletes based on our clinical experience

PubMed Central

Iwamoto, Jun; Sato, Yoshihiro; Takeda, Tsuyoshi; Matsumoto, Hideo

2011-01-01

AIM: To analyze stress fractures in athletes based on experience from our sports medicine clinic. METHODS: We investigated the association between stress fractures and age, sex, sports level, sports activity, and skeletal site in athletes seen at our sports medicine clinic between September 1991 and April 2009. Stress fractures of the pars interarticularis were excluded from this analysis. RESULTS: During this period (18 years and 8 mo), 14276 patients (9215 males and 5061 females) consulted our clinic because of sports-related injuries, and 263 patients (1.8%) [171 males (1.9%) and 92 females (1.8%)] sustained stress fractures. The average age of the patients with stress fractures was 20.2 years (range 10-46 years); 112 patients (42.6%) were 15-19 years of age and 90 (34.2%) were 20-24 years of age. Altogether, 90 patients (34.2%) were active at a high recreational level and 173 (65.8%) at a competitive level. The highest proportion of stress fractures was seen in basketball athletes (21.3%), followed by baseball (13.7%), track and field (11.4%), rowing (9.5%), soccer (8.4%), aerobics (5.3%), and classical ballet (4.9%). The most common sites of stress fractures in these patients were the tibia (44.1%), followed by the rib (14.1%), metatarsal bone (12.9%), ulnar olecranon (8.7%) and pelvis (8.4%). The sites of the stress fractures varied from sport to sport. The ulnar olecranon was the most common stress fracture site in baseball players, and the rib was the most common in rowers. Basketball and classical ballet athletes predominantly sustained stress fractures of the tibia and metatarsal bone. Track and field and soccer athletes predominantly sustained stress fractures of the tibia and pubic bone. Aerobics athletes predominantly sustained stress fractures of the tibia. Middle and long distance female runners who sustained multiple stress fractures had the female athlete triad. CONCLUSION: The results of this analysis showed that stress fractures were seen in high-level young athletes, with similar proportions for males and females, and that particular sports were associated with specific sites for stress fractures. Middle and long distance female runners who suffered from multiple stress fractures had the female athlete triad. PMID:22474626

Flexible as a Dancer, More Resilient because of It

ERIC Educational Resources Information Center

Mitchell, Martin; Jacob, Dana

2010-01-01

When asked once during an interview what her best quality is, Victoria Rowell simply responded with one word: Resilience. This article profiles Victoria Rowell, actress, author, dancer, and foster care advocate, who helps enrich the lives of foster youth through her charitable work and the development of the Rowell Foster Children Positive Plan.…

Moving and Seeing: Photographing Dance

ERIC Educational Resources Information Center

Clark, Steve

2006-01-01

Photography should be regarded as an art rather than as passive documentation. Those interested in photographing dance can best think of it as an opportunity not just to record what the dancer is doing, but also to explore the dancer's personality and to stimulate the invention of movement. This exploratory approach will not only benefit the…

Characteristics of Talented Dancers and Age Group Differences: Findings from the UK Centres for Advanced Training

ERIC Educational Resources Information Center

Walker, Imogen J.; Nordin-Bates, Sanna M.; Redding, Emma

2011-01-01

This study investigated differences in the characteristics of talented dancers in relation to age. Physical (handgrip muscular strength, leg muscular power, hamstring flexibility and external hip rotation), psychological (passion, self-esteem and anxiety) and social (the motivational climate) characteristics were assessed in 334 students enrolled…

Etiological and therapeutical observations in a case of belly dancer's dyskinesia.

PubMed

Linazasoro, Girutz; Van Blercom, Nadège; Lasa, Asier; Fernández, José Manuel; Aranzábal, Inés

2005-02-01

We report on the case of a woman with belly dancer's syndrome. This case presented two peculiarities: (1) the condition was induced by the chronic use of clebopride, and (2) abdominal dyskinesias showed a dramatic response to the application of transcutaneous electrical nerve stimulation. Copyright 2004 Movement Disorder Society.

A Duet between Science and Art: Neural Correlates of Dance Improvisation

ERIC Educational Resources Information Center

Savrami, Katia

2017-01-01

Dance Improvisation is an essential skill and tool for dancers. It is grounded in the kinesthetic experience and its constantly changing dynamic qualities through self-movement. It requires a spontaneous kinesthetic response in a spatiotemporal vigorous qualitative dynamic happening of affect and movement; a momentum that allows dancers to perform…

Somatics in Action: How "I Feel Three-Dimensional and Real" Improves Dance Education and Training

ERIC Educational Resources Information Center

Kearns, Lauren W.

2010-01-01

The contemporary dance world, both in academic and professional settings, asks dancers to consistently engage with increasingly complex conceptual and physical dance work. Dancers in both settings must assimilate complex movement patterns, combine the technical nuances of multiple genres, reflect upon and critically assess their dancing, and…

Teaching Modern Dance: A Conceptual Approach

ERIC Educational Resources Information Center

Enghauser, Rebecca Gose

2008-01-01

A conceptual approach to teaching modern dance can broaden the awareness and deepen the understanding of modern dance in the educational arena in general, and in dance education specifically. This article describes a unique program that dance teachers can use to introduce modern dance to novice dancers, as well as more experienced dancers,…

The Development of an HIV Risk Environment Scale of Exotic Dance Clubs.

PubMed

Sherman, Susan G; Brantley, Meredith R; Zelaya, Carla; Duong, Quyen; Taylor, Ralph B; Ellen, Jon M

2017-07-01

Exotic dancers have received little research attention despite evidence of high-risk behaviours within exotic dance clubs (EDCs). We developed and assessed the reliability and validity of a risk environment score, examining differences between dancers (n = 107) and other staff (n = 172). In the summer of 2013, anonymous surveys were administered via A-CASI in EDCs (N = 26) in Baltimore among exotic dancers and staff. Surveys consisted of a brief demographic section followed by 65 statements. The overall domain had an alpha = 0.77 and subdomains had the following: social (alpha = 0.87), economic (alpha = 0.92), drug (alpha = 0.89), and policy (alpha = 0.66). In a factor analysis, each domain contributed significantly to the overall latent construct. The results indicate a high level of HIV/STI risk for dancers in EDCs and underscore the need for targeted interventions in these environments. As we continue to unpack the function of the broader environment in STI/HIV risk transmission, the scale could be instructive for other settings.

Perceptions of the motivational climate, need satisfaction, and indices of well- and ill-being among hip hop dancers.

PubMed

Quested, Eleanor; Duda, Joan L

2009-01-01

Grounded in the self-determination theoretical framework (SDT) formulated by Deci and Ryan, and specifically the basic needs mini-theory (BNT), this study examined the relationship between perceptions of the motivational climate manifested in hip hop environments, satisfaction of the three basic needs, and indicators of well- and ill-being among hip hop dancers. Fifty-nine hip hop dancers (mean age: 20.29 years) completed a questionnaire assessing the variables of interest in the study. Perceptions of a task-involving climate were positively associated with satisfaction of the needs for autonomy, competence, and relatedness. Perceptions of an ego-involving climate negatively predicted relatedness. Satisfaction of the need for competence was positively associated with positive affect, and negatively linked to negative affect. Competence need satisfaction significantly mediated the relationship between a perceived task-involving climate and positive and negative affective states. In sum, the findings provided partial support for the facets of SDT and BNT. The results also indicated that promoting the task-involving features of dance learning environments may be beneficial to dancers' well-being.

Traces across the body: influence of music-dance synchrony on the observation of dance.

PubMed

Woolhouse, Matthew Harold; Lai, Rosemary

2014-01-01

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis-music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer's gaze towards the face-the main "communicative portal" with respect to the transmission of intent, affect and empathy.

Traces across the body: influence of music-dance synchrony on the observation of dance

PubMed Central

Woolhouse, Matthew Harold; Lai, Rosemary

2014-01-01

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. PMID:25520641

The Hyperflexible Hip

PubMed Central

Weber, Alexander E.; Bedi, Asheesh; Tibor, Lisa M.; Zaltz, Ira; Larson, Christopher M.

2015-01-01

Context: Dance, gymnastics, figure skating, and competitive cheerleading require a high degree of hip range of motion. Athletes who participate in these sports use their hips in a mechanically complex manner. Evidence Acquisition: A search of the entire PubMed database (through December 2013) and additional searches of the reference lists of pertinent articles. Study Design: Systematic review. Level of Evidence: Level 3. Results: Whether innate or acquired, dancers and gymnasts have some hypermobility that allows their hips to be placed in potentially impinging or unstable positions required for their given activity. Such extremes of motion can result in both intra-articular and extra-articular impingement as well as compensatory osseous and muscular pathology. In addition, dancers and gymnasts are susceptible to impingement-induced instability. Dancers with innate generalized hyperlaxity are at increased risk of injury because of their activities and may require longer recovery times to return to play. Both nonoperative and operative treatments (arthroscopic and open) have an important role in returning flexibility athletes to their preoperative levels of sport and dance. Conclusion: Because of the extreme hip motion required and the compensatory soft tissue laxity in dancers and gymnasts, these athletes may develop instability, impingement, or combinations of both. This frequently occurs in the setting of subtle pathoanatomy or in patients with normal bony anatomy. With appropriate surgical indications and the correct operative technique, the treating surgeon can anticipate high levels of return to play for the gymnast and dancer with hip pain. PMID:26137181

Experiences of structural vulnerability among exotic dancers in Baltimore, Maryland: co-occurring social and economic antecedents of HIV/STI risk

PubMed Central

Brantley, Meredith L.; Footer, Katherine; Lim, Sahnah; Kerrigan, Deanna; Sherman, Susan G.

2017-01-01

Women who grow up in an environment of economic scarcity often face limited opportunities for upward mobility, as a result of challenges securing stable housing, quality education, and high-paying, steady employment. Chronically unstable women often also have reduced capacity to protect themselves against HIV/STI related harm when engaging in sexual activity or illicit drug use. Characterizing and targeting the structural contexts that facilitate HIV/STI risk are critical to effective design and implementation of drug and sexual harm reduction interventions. This study explores the nature and progression of structural vulnerability experienced by female exotic dancers during their early lives through the initial months of exotic dancing. We also examine the roles of drug use and social relationships regarding experiences of structural vulnerability and engagement in sexual risk behavior. We conducted semi-structured in-depth interviews with exotic dancers working in Baltimore City and County exotic dance clubs during July 2014 and May 2015. Using thematic analysis, interviews revealed important individual, social, and economic effects of structural vulnerability. Many dancers depicted early experiences of residential transience, violence, and independence, and were raised in an environment of social and economic scarcity. The accumulation of chronic, overlapping social and economic disadvantage continued upon entry into dancing. Substance use emerged as an important issue for the majority of women, operating cyclically as both precursor to and product of accumulating social and economic hardship. Dancers also revealed social strategies that buffered the effects of structural vulnerability and minimized exposure to workplace-related drug and sexual risks. This study provides insight on an understudied group of at-risk women with a unique demographic profile. Findings illustrate how the effects of structural vulnerability, substance abuse, social strategies, and opportunities for economic gain through sexual services in the workplace converge to produce varying levels of HIV/STI risk among exotic dancers. PMID:29040840

Trunk Muscle Activation and Estimating Spinal Compressive Force in Rope and Harness Vertical Dance.

PubMed

Wilson, Margaret; Dai, Boyi; Zhu, Qin; Humphrey, Neil

2015-12-01

Rope and harness vertical dance takes place off the floor with the dancer suspended from his or her center of mass in a harness attached to a rope from a point overhead. Vertical dance represents a novel environment for training and performing in which expected stresses on the dancer's body are different from those that take place during dance on the floor. Two male and eleven female dancers with training in vertical dance performed six typical vertical dance movements with electromyography (EMG) electrodes placed bilaterally on rectus abdominus, external oblique, erector spinae, and latissimus dorsi. EMG data were expressed as a percentage of maximum voluntary isometric contraction (MVIC). A simplified musculoskeletal model based on muscle activation for these four muscle groups was used to estimate the compressive force on the spine. The greatest muscle activation for erector spinae and latissimus dorsi and the greatest trunk compressive forces were seen in vertical axis positions where the dancer was moving the trunk into a hyper-extended position. The greatest muscle activation for rectus abdominus and external oblique and the second highest compressive force were seen in a supine position with the arms and legs extended away from the center of mass (COM). The least muscle activation occurred in positions where the limbs were hanging below the torso. These movements also showed relatively low muscle activation compression forces. Post-test survey results revealed that dancers felt comfortable in these positions; however, observation of some positions indicated insufficient muscular control. Computing the relative contribution of muscles, expressed as muscle activation and estimated spinal compression, provided a measure of how much the muscle groups were working to support the spine and the rest of the dancer's body in the different movements tested. Additionally, identifying typical muscle recruitment patterns in each movement will help identify key exercises for training that should promote injury prevention.

On the Use of Dance as a Rehabilitation Approach for Children with Cerebral Palsy: A Single Case Study.

PubMed

Morán Pascual, Patricia; Mortes Roselló, Esther; Domingo Jacinto, Amparo; Belda Lois, Juan Manuel; Bermejo, Ignacio; Medina, Enric; Barberà Guillem, Ricard

2015-01-01

Cerebral Palsy (CP) is the most common motor disability in childhood. It is a group of permanent disorders that affect child development causing disorders of movement and posture and activity limitations. The impairment of psychomotor skills of children with Cerebral Palsy is attributed to a permanent alteration occurred in non-progressive brain development of the fetus or nursing infant. Some motor related symptoms can be treated using proper physical therapy. However, one of the biggest problems of the usual physical therapy is adherence to therapy. Ballet can be an alternative or a complement to physiotherapy, with the added attraction of not being part of a to therapy, but a fun activity with the extra reward associated with the realization of an artistic activity. For some years the ballet is used as therapeutically valuable for both children with cerebral palsy: Intensive ballet training can generate changes in the sensorimotor cortex. Ballet is characterized by a complex process of movements that have to be in a musical rhythm (hence have to be precise), in which there is an overall coordination of the muscles. It is also a highly motivating and rewarding activity that allows many children with CP sharing the activities of their peers without special needs. Objective measurements of the Full Port de Bras movement has been chosen as an index of improvement. The results shows progressive improvements of the execution in a single case.

Virtual Tour Environment of Cuba's National School of Art

NASA Astrophysics Data System (ADS)

Napolitano, R. K.; Douglas, I. P.; Garlock, M. E.; Glisic, B.

2017-08-01

Innovative technologies have enabled new opportunities for collecting, analyzing, and sharing information about cultural heritage sites. Through a combination of two of these technologies, spherical imaging and virtual tour environment, we preliminarily documented one of Cuba's National Schools of Art, the National Ballet School.The Ballet School is one of the five National Art Schools built in Havana, Cuba after the revolution. Due to changes in the political climate, construction was halted on the schools before completion. The Ballet School in particular was partially completed but never used for the intended purpose. Over the years, the surrounding vegetation and environment have started to overtake the buildings; damages such as missing bricks, corroded rebar, and broken tie bars can be seen. We created a virtual tour through the Ballet School which highlights key satellite classrooms and the main domed performance spaces. Scenes of the virtual tour were captured utilizing the Ricoh Theta S spherical imaging camera and processed with Kolor Panotour virtual environment software. Different forms of data can be included in this environment in order to provide a user with pertinent information. Image galleries, hyperlinks to websites, videos, PDFs, and links to databases can be embedded within the scene and interacted with by a user. By including this information within the virtual tour, a user can better understand how the site was constructed as well as the existing types of damage. The results of this work are recommendations for how a site can be preliminarily documented and information can be initially organized and shared.

Redefining the Ideal: Exquisite Imperfection in the Dance Studio

ERIC Educational Resources Information Center

Prichard, Robin

2017-01-01

It has become a cultural cliché to equate dancers with unattainable perfection. When movies, television, and print advertisements want to portray perfection, they are often accompanied by the image of a dancer. Considering that perfectionism comes at a high cost to a person's mental and physical well-being, Robin Prichard suggests this mind-set…

A Case Study of a Greek Australian Traditional Dancer: Embodying Identity through Musicking

ERIC Educational Resources Information Center

Georgoulas, Renee; Southcott, Jane

2015-01-01

This article is a study of a bilingual and bicultural Pontian Greek Australian dancer. His musicking involves performing and teaching dancing. Dancing has been and continues to be a major part of the self-identity of the participant. This phenomenological single case study used interpretative phenomenological analysis to analyse the data collected…

From the Eiffel Tower to the Javanese Dancer: Envisioning Cultural Globalization at the 1889 Paris Exhibition

ERIC Educational Resources Information Center

Young, Patrick

2008-01-01

Arguably the two main attractions for visitors to the 1889 "Exposition Universelle" (Universal Exposition), the Eiffel Tower and the live dancers from the Dutch colony of Java make for a provocative juxtaposition. Constructed expressly for the 1889 Exhibition, Gustave Eiffel's 106-story iron lattice tower became not only the world's…

Adolescent Males in Dance: A Closer Look at Their Journey

ERIC Educational Resources Information Center

Li, Zihao

2011-01-01

The pronounced gender imbalance in dance has been the norm for some time. Some studies focus on established male dancers and others focus on aspects of physical education in dance. However, studies about adolescent male dance students (nonprofessional dancers in any form) who take dance classes in a high school setting are almost nonexistent.…

A Return to the Chicago School? From the "Subculture" of Taxi Dancers to the Contemporary Lap Dancer

ERIC Educational Resources Information Center

Colosi, Rachela

2010-01-01

There has been much debate about the study of British youth cultures, often involving the analysis and critique of two dominant theoretical frameworks: the Centre for Contemporary Cultural Studies (CCCS) "subcultural" position and the "post-subcultural" position. This paper, will engage in this debate by offering an alternative…

Foot and ankle pain and injuries in elite adult Irish dancers.

PubMed

Cahalan, Roisin; Purtill, Helen; O'Sullivan, Peter; O'Sullivan, Kieran

2014-12-01

In Irish dance, the foot and ankle are the structures most commonly affected by pain and injury, but there is scant research examining the potential factors placing Irish dancers at risk of sustaining pain and injury in the foot and ankle. An observational study examining the factors linked to pain and injury in the foot and ankle in elite adult Irish dancers. The biopsychosocial characteristics of 29 subjects with no previous pain and injury in the foot and ankle were compared to 53 subjects who cited the foot and ankle as their most troublesome bodily area. These 82 subjects were professional, competitive, and student Irish dancers, of both sexes aged 18 years or older, and were allocated to "never troublesome" (NT) and "most troublesome" (MT) groups, respectively. Factors found to be statistically significant for membership of the MT group included female gender (p=0.004), greater gastrocnemius flexibility (p=0.021), better single leg balance (p=0.019), and a higher number of endurance jumps (p=0.009). The MT group reported more severe levels of day-to-day pain (p=0.038), greater bothersomeness of daily pain (p=0.005), more subjective health complaints (p=0.024), more psychological complaints (p=0.030), and a greater number of bodily areas experiencing pain and injury (p=0.025). Pain and injury in the foot and ankle in elite adult Irish dancers is commonplace and comparable to levels of injury in other elite forms of dance. A complex mix of biopsychosocial factors is associated with pain and injury in the foot and ankle in this cohort.

Dance floor force reduction influences ankle loads in dancers during drop landings.

PubMed

Hopper, Luke S; Alderson, Jacqueline A; Elliott, Bruce C; Ackland, Timothy R

2015-07-01

Dance floor mechanical properties have the potential to influence the high frequency of ankle injuries in dancers. However, biomechanical risk factors for injury during human movement on hard, low force reduction floors have not been established. The aim of this study was to examine the ankle joint mechanics of dancers performing drop landings on dance floors with varied levels of force reduction. Repeated measures cross sectional study. Fourteen dancers performed drop landings on five custom built dance floors. Ankle joint mechanics were calculated using a three dimensional kinematic model and inverse dynamics approach. Ankle joint kinematic (dorsiflexion; range of motion, peak angular velocity and acceleration) and kinetic (plantar flexion; peak joint moments and power) variables significantly increased with a decrease in floor force reduction. Many of the observed changes occurred within a latency of <0.1s post-contact with the floor and were associated with increased vertical ground reaction forces and decreased floor vertical deformation. The observed mechanical changes are interpreted as an increase in the load experienced by the energy absorbing structures that cross the ankle. The short latency of the changes represents a high intensity movement at the ankle during a period of limited cognitive neuromuscular control. It is suggested that these observations may have injury risk implications for dancers that are related to joint stabilization. These findings may be of benefit for further investigation of dance injury prevention and support the notion that bespoke force reduction standards for dance floors are necessary. Copyright © 2014 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

What counts? Visual and verbal cues interact to influence what is considered a countable thing.

PubMed

Chesney, Dana L; Gelman, Rochel

2015-07-01

Many famous paintings illustrate variations in what we here dub "referential depth." For example, paintings often include not only portrayals of uniquely referenced items, but also reflections of those items in mirrors or other polished surfaces. If a painting includes both a dancer and that dancer's reflection in a mirror, are there one or two dancers in the painting? Although there are two images of a dancer, both images reference the exact same dancer. Consequently, counting both may seem to violate the constraint against double counting (Gelman & Gallistel, 1978). This illustrates that determining which things "count" in a given context may not be straightforward. Here we used counting tasks paired with illustrations that manipulated referential depth to investigate the conceptual, perceptual, and language variables that may influence whether a "thing" is a "countable thing." Across four experiments, 316 participants counted items in displays that included both foreground items and items placed inside mirrors, picture frames, and windows. Referential depth and frame boundaries both influenced counting: For one thing, participants were more likely to count items contained by windows than by picture frames or mirrors. Moreover, items in mirrors were rarely counted unless they were interpreted as reflections of items "off screen." Also, the items contained inside windows were sometimes (~10% of trials) excluded from the counts, when counting them would require crossing frame boundaries. We concluded that conceptual and perceptual contexts both influence people's decisions about the physical boundaries of the to-be-counted set and which items within these boundaries are countable.

Suture Button Fixation Treatment of Chronic Lisfranc Injury in Professional Dancers and High-Level Athletes.

PubMed

Charlton, Timothy; Boe, Chelsea; Thordarson, David B

2015-12-01

Chronic Lisfranc injury is a subtle and severe injury in high-level athletes, including dancers. This patient population is generally intolerant of intra-articular screw fixation and can develop significant post-traumatic arthritis with potentially career ending complications. Flexible fixation with suture-button devices provides potential restoration of physiologic motion at the joint, with appropriate support for healing that may facilitate return to en pointe activities for dancers. We hypothesized that the suture-button device would restore motion at the Lisfranc joint and allow for return to activities in this particular population without the limitations and complications of rigid fixation. We operated on seven dancers and high-level athletes with diagnosed Lisfranc injuries by installing a suture-button device. All patients had failed conservative management after late presentation. They were allowed to return to sport in 6 months, preoperative and postoperative American Orthopaedic Foot and Ankle Score (AOFAS) foot scores were obtained, and patients were followed for a minimum of 15 months. All seven returned to full activities in 6 months, with radiographic evidence of fixation and no complications to date. AOFAS foot scores improved from an average of 65 preoperatively to an average of 97 postoperatively at latest follow-up. It is concluded that flexible fixation with suture-button type device represents a viable alternative to screw fixation or fusion that may allow dancers and athletes to return to previous levels of activity after Lisfranc injury. This case series represents to our knowledge the first application of this device to a unique population that requires flexibility at the Lisfranc joint for performance.

Queering the Adult Gaze: Young Male Hustlers and Their Alliances with Older Gay Men

ERIC Educational Resources Information Center

Raible, John

2011-01-01

Based on ethnographic data collected at a gay bar with sexual minority youths as dancers or strippers, this study calls attention to the gazes through which adults view and position male youths. It highlights a dancer named Austin, who at times engaged in the underground hustling economy centered in the bar. The findings suggest that the social…

Designing Modern Dance Classes for the Mature Mover: Physiological and Psychological Considerations

ERIC Educational Resources Information Center

Brodie, Julie A.; Lobel, Elin E.

2016-01-01

Dancers are continuing to dance longer due to changes in technique and increased awareness of the body and safe movement practices. Even after performing careers have ended, it is healthy both physically and emotionally for dancers to continue to take technique class, particularly if they are teaching dance classes. It can be a challenge, however,…

Visiting the Muses: Creativity, Coping, and PTSD in Talented Dancer and Athletes

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria

2016-01-01

Although exposure to traumatic events runs high among Americans, only a few--about 8.7 percent--of those exposed to such events develop symptoms that warrant a diagnosis of Posttraumatic Stress Disorder (PTSD). The authors investigate two groups--dancers and athletes, including some who suffered from PTSD and some who did not--and found a higher…

Examining the Relation between Social Values Perception and Moral Maturity Level of Folk Dancers

ERIC Educational Resources Information Center

Dogan, Pinar Karacan

2018-01-01

The purpose of the present study is to examine the relation between social values perceptions and moral maturity levels of folk dancers, and evaluate this relation in terms of some variables. The relational screening model was used in the study. The "Multi-dimensional Social Values Scale," which was developed by Bolat (2013), and the…

"I Am Not a Fairy Tale": Contextualizing Sioux Spirituality and Story Traditions in Susan Power's "The Grass Dancer"

ERIC Educational Resources Information Center

Diana, Vanessa Holford

2009-01-01

Standing Rock Sioux writer Susan Power's best-selling novel "The Grass Dancer" (1994) includes depictions of the supernatural and spiritual that do not conform to the Judeo-Christian or, in some cases, the atheist or rationalist worldviews of many readers. Power writes of ghost characters and haunted places, communication between the living and…

Overexcitability and Optimal Flow in Talented Dancers, Singers, and Athletes

ERIC Educational Resources Information Center

Thomson, Paula; Jaque, S. Victoria

2016-01-01

Overexcitability (OE) and optimal flow are variables shared by talented individuals. This study demonstrated that the dancer (n = 86) and opera singer (n = 61) groups shared higher OE profiles compared to the athlete group (n = 50). Two self-report instruments assessed flow (global and subscales) and the five OE dimensions. All groups endorsed…

Calculation of muscle loading and joint contact forces during the rock step in Irish dance.

PubMed

Shippen, James M; May, Barbara

2010-01-01

A biomechanical model for the analysis of dancers and their movements is described. The model consisted of 31 segments, 35 joints, and 539 muscles, and was animated using movement data obtained from a three-dimensional optical tracking system that recorded the motion of dancers. The model was used to calculate forces within the muscles and contact forces at the joints of the dancers in this study. Ground reaction forces were measured using force plates mounted in a sprung floor. The analysis procedure is generic and can be applied to any dance form. As an exemplar of the application process an Irish dance step, the rock, was analyzed. The maximum ground reaction force found was 4.5 times the dancer's body weight. The muscles connected to the Achilles tendon experienced a maximum force comparable to their maximal isometric strength. The contact force at the ankle joint was 14 times body weight, of which the majority of the force was due to muscle contraction. It is suggested that as the rock step produces high forces, and therefore the potential to cause injury, its use should be carefully monitored.

Kinematic analysis of basic rhythmic movements of hip-hop dance: motion characteristics common to expert dancers.

PubMed

Sato, Nahoko; Nunome, Hiroyuki; Ikegami, Yasuo

2015-02-01

In hip-hop dance contests, a procedure for evaluating performances has not been clearly defined, and objective criteria for evaluation are necessary. It is assumed that most hip-hop dance techniques have common motion characteristics by which judges determine the dancer's skill level. This study aimed to extract motion characteristics that may be linked to higher evaluations by judges. Ten expert and 12 nonexpert dancers performed basic rhythmic movements at a rate of 100 beats per minute. Their movements were captured using a motion capture system, and eight judges evaluated the performances. Four kinematic parameters, including the amplitude of the body motions and the phase delay, which indicates the phase difference between two joint angles, were calculated. The two groups showed no significant differences in terms of the amplitudes of the body motions. In contrast, the phase delay between the head motion and the other body parts' motions of expert dancers who received higher scores from the judges, which was approximately a quarter cycle, produced a loop-shaped motion of the head. It is suggested that this slight phase delay was related to the judges' evaluations and that these findings may help in constructing an objective evaluation system.

What Does Dance History Have to Do with Dancing? Making College Dance History Usable for Dancers

ERIC Educational Resources Information Center

Kattner, Elizabeth

2016-01-01

This paper explores methods for bringing dance history directly into the studio. It shows how the movement components that have proven successful in introductory courses can be extended to in-depth studies of dance history with dancers who have formal training. Through the example of a research project on the early work of George Balanchine, it…

Exploring the Role of Feel in the Creative Experiences of Modern Dancers: A Realist Tale

ERIC Educational Resources Information Center

Lussier-Ley, Chantale; Durand-Bush, Natalie

2009-01-01

Radford (2004) postulated that emotions are fundamentally data that should be used as a guide towards creative acts. Yet, empirically speaking, we know very little about the role of emotions, and more specifically feel, in the creative experiences of dancers. The purpose of this study was to explore the role of feel in the creative experiences of…

Examining the Relation between the Fear of Negative Evaluation and the Anxiety for Social Appearance in Folk Dancers

ERIC Educational Resources Information Center

Dogan, Pinar Karacan

2018-01-01

The purpose of this study was to analyze and examine the relationship between the fear of negative evaluation and the anxiety for social appearance in folk dancers. The relational survey method was used in the study. "The Brief Fear of Negative Evaluation (BFNE) Scale", which was developed by Leary (1983) and the "Social Appearance…

Rehabilitation of a female dancer with patellofemoral pain syndrome: applying concepts of regional interdependence in practice.

PubMed

Welsh, Caitlyn; Hanney, William J; Podschun, Laura; Kolber, Morey J

2010-06-01

Due to complex movements and high physical demands, dance is often associated with a multitude of impairments including pain of the low back, pelvis, leg, knee, and foot. This case report provides an exercise progression, emphasizing enhancement of strength and neuromuscular performance using the concept of regional interdependence in a 17 year old female dancer with patellofemoral pain syndrome.

Rigorous GNSS network solutions of unlimited size

NASA Astrophysics Data System (ADS)

Boomkamp, H.; Iag Working Group 1. 1. 1

2010-12-01

The session description states that rigorous estimation processes for millions of parameters are computationally impossible. A more accurate observation would be that such solutions exceed the capacity of current Analysis Centres by several orders of magnitude, as was already discussed during the IGS Workshop of 2004. We can however make processing elements that are smaller and simpler than conventional Analysis Centres, until we have a “centre” that can be replicated in arbitrary amounts, at zero cost. In practice this means that the processing element is reduced to a single, automated computer application that can run anywhere. These analysis elements are connected via the internet into a scalable grid computing scheme that can handle GNSS networks of any size. The approach is not fundamentally different from current combination solutions among a network of Analysis Centres, but refines the granularity of the network elements in order to reduce system complexity and eliminate cost. The Dancer project of IAG Working Group 1 has developed a JXTA peer-to-peer application to this purpose. Dancer splits a conventional batch least squares process into as many interacting subtasks as there are receivers. Each task can then run on a local PC of a permanent GNSS site, or anywhere else. All Dancer instances find the same global solution for satellite orbits, clocks and Earth rotation parameters via an efficient vector averaging method called square dancing. The hardware requirements for a single Dancer process do not exceed those of e.g. current mobile phone applications, so that future generations of GNSS receivers may be able to run such a task as an embedded process. This leads to the concept of “smart receivers” that no longer require any post-processing infrastructure. Instead they need an internet connection to join thousands of other smart receivers in a global network solution. The key algorithms, project status and further deployment of the Dancer system will be presented. A brief summary is also given of two follow-on projects, called Digger (distributed computing for global geodetic reprocessing) and Dart (Dancer real-time). For more details, see www.GPSdancer.com.

When can I start pointe work? Guidelines for initiating pointe training.

PubMed

Weiss, David S; Rist, Rachel Anne; Grossman, Gayanne

2009-01-01

The initiation of pointe training for dance students should be determined after careful evaluation of a number of factors. These include: the dance student's stage of physical development; the quality of her (or his) trunk, abdominal and pelvic control ("core" stability); the alignment of her legs (hip-knee-ankle-foot); the strength and flexibility of her feet and ankles; and the duration and frequency of her dance training. For students who meet the requirements related to all of these factors, began ballet training at age eight or later, and who are taking ballet class at least twice per week, pointe work should be initiated in the fourth year of training. Students with poor core stability or hypermobility of the feet and ankles may require additional strengthening to allow them to safely begin pointe training. For those who are only taking ballet classes once per week, or who are not truly pre-professional, pointe training should be discouraged. No student with insufficient ankle and foot plantar flexion range of motion or with poor lower extremity alignment should be allowed to do pointe work.

The evolution of dance.

PubMed

Laland, Kevin; Wilkins, Clive; Clayton, Nicky

2016-01-11

Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation. Copyright © 2016 Elsevier Ltd. All rights reserved.

A cross-sectional study of elite adult Irish dancers: biopsychosocial traits, pain, and injury.

PubMed

Cahalan, Roisin; Purtill, Helen; O'Sullivan, Peter; O'Sullivan, Kieran

2015-03-01

Despite its growing popularity, scant research exists concerning musculoskeletal pain and injury in Irish dancing (ID). This study aimed to record the biopsychosocial characteristics of elite adult Irish dancers and to investigate potential relationships between these characteristics and musculoskeletal pain and injury. One hundred and four professional Irish dancers, elite competitive Irish dancers, and dancers in full time education studying ID completed a questionnaire providing data on dance and activity levels, physical and psychological health, and pain and injury history. Of these subjects, 84 underwent 1. a physical screening of lower limb flexibility, which involved balance and endurance; 2. a number of functional tests; and 3. anthropometric, biomechanical, and anatomical assessments. Subjects were divided into "significantly injured (SI)" and "not significantly injured (NSI)" categories based on the severity and impact of self-reported pain and injury. Thirty-three (31.7%) subjects were classified as SI and 71 (68.3%) as NSI. The factors significantly associated with being SI were female sex (p = 0.036), higher number of subjective general health (p = 0.001) and psychological (p = 0.036) complaints, low mood (p = 0.01), heightened catastrophizing (p = 0.047), and failure always to complete a warm-up (p = 0.006). A self-reported injury rate of 76.9% over the previous 5 years was reported. The mean number of injuries sustained to all body parts over the previous 5 years was 1.49, with a mean of 126.1 days lost annually to injury. Foot and ankle injuries were most prevalent. It was concluded that there is a significant level of musculoskeletal pain and injury in elite adult ID. A complex combination of biopsychosocial factors appears to be associated with pain and injury.

Nutritional Considerations for the Vegetarian and Vegan Dancer.

PubMed

Brown, Derrick D

2018-03-15

Vegetarianism provides a catchall term for a variety of diets that exclude the consumption of some or all animal products. Contrary to popular claims, appropriately designed and managed vegetarian diets contain foods nutritionally sufficient for health, well-being, and physical performance. Vegetarian dancers can meet their protein needs from primarily or exclusively (vegan) plant-based sources when a variety of these foods are consumed daily and energy intake is adequate. However, the quality and timing of dietary intake is of key importance to meet the physical demands typical of high intensity, intermittent types of dance styles. Poorly planned, calorically restrictive, and nutrient poor diets confer a host of deficiencies that diminish health and ultimately performance. The recommendation for dietary macronutrient composition of carbohydrate, fat, and protein of 55%, 20% to 30%, and 12% to 15%, respectively, offers an acceptable baseline for all dancers across different dance styles. Vegetarians, in particular vegans, should ensure sufficient caloric and adequate intake of Vitamin B12, Vitamin D, ω-3 fatty acids, calcium, and zinc. Many of these micronutrients are derived from animal products, but, with sufficient knowledge, can be obtained from plantbased sources. However, the diminished bioavailability of iron from plants and lack of plant sources of Vitamin B12 in vegan type diets can have detrimental effects on physical performance. Thus, to prevent long-term deficiencies, vegan dancers require more diligence when preparing and managing dietary intake. This article reviews literature on vegetarian diets with regard to dance, gleaning findings from epidemiologic, clinical, and sport nutrition research. It also highlights potential micronutrient deficiencies that may occur in some plant-based diets and presents potential strategies to improve nutrient and caloric intake for dancers who opt for a plant-based diet.

Attitude and knowledge changes in collegiate dancers following a short-term, team-centered prevention program on eating disorders.

PubMed

Torres-McGehee, Toni M; Green, James M; Leaver-Dunn, Deidre; Leeper, James D; Bishop, Phillip A; Richardson, Mark T

2011-06-01

Eating knowledge, nutritional knowledge, and psychological changes among female collegiate dancers were examined before and after a 4-wk. team-centered program on sport nutrition, exercise, and disordered eating consequences. Collegiate female dancers from two NCAA Division I institutions participated in a control (n = 19; M age = 19.1 yr., SD = 1.0) or intervention (n = 21; M age = 19.2 yr., SD = 1.2) group. Measures were administered to both groups before and after intervention to assess eating disorders, depression, and nutritional and disordered eating knowledge. There was a statistically significant increase in scores on nutritional and overall eating disorder knowledge in the intervention group compared to the control group. Mean scores on depression, drive for thinness, body dissatisfaction, and maturity fears decreased in the intervention group.

Self-reported and reported injury patterns in contemporary dance students.

PubMed

Baker, Jo; Scott, Daniel; Watkins, Katherine; Keegan-Turcotte, Sheramy; Wyon, Matthew

2010-03-01

Injury is a major concern among dancers, as currently rates are reported as being high. The purpose of the present study was to assess the incidence and details of injuries across an academic year at a full-time contemporary dance school. A questionnaire was distributed to 57 dancers at the end of their first academic year. Reported injury information was also retrieved from a database as collected from a physiotherapist over the same period. Differences were found between the reported and self-reported information, particularly with reference to shin injuries. The majority of injuries occurred in November and May, noted to be close to assessment periods. Injury rates in contemporary dance are high; notably, 89% of dancers reported one or more injuries. This problem is particularly evident in the lower limb. Med Probl Perform Art 2010; 25:10-15.

Flash Mob Project Creates Awareness of Environmental Sensitivities: Making "Multiple Chemical Sensitivity" a Household Name

ERIC Educational Resources Information Center

Smith, Melva Gail

2011-01-01

Having severe Asthma and trying to maintain a social life isn't easy, but when one adds the disability of Multiple Chemical Sensitivity (MCS) to the combination, the challenges become even tougher. As a dancer with both Asthma and MCS, the author was forced to give up the sport for 15 years before finding a group of line dancers that were…

Rehabilitation of a Female Dancer with Patellofemoral Pain Syndrome: Applying Concepts of Regional Interdependence in Practice

PubMed Central

Welsh, Caitlyn; Podschun, Laura; Kolber, Morey J.

2010-01-01

Due to complex movements and high physical demands, dance is often associated with a multitude of impairments including pain of the low back, pelvis, leg, knee, and foot. This case report provides an exercise progression, emphasizing enhancement of strength and neuromuscular performance using the concept of regional interdependence in a 17 year old female dancer with patellofemoral pain syndrome. PMID:21589665

Cosmonaut Aleksey Leonov joins belly dancer on stage at Folklife Festival

NASA Technical Reports Server (NTRS)

1974-01-01

Cosmonaut Aleksey A. Leonov, in one of the lighter moments of activity involving Soviet Cosmonauts and American Astronauts, joins a belly dancer on stage as several visitors to weekend activity at the site of San Antonio's HemisFair look on. Leonov is commander of the Soviet Apollo Soyuz Test Project (ASTP) crew. The Lebanese dancing was just one feature among many during the Texas Folklife Festival.

Impact attenuation properties of jazz shoes alter lower limb joint stiffness during jump landings.

PubMed

Fong Yan, Alycia; Smith, Richard M; Hiller, Claire E; Sinclair, Peter J

2017-05-01

To quantify the impact attenuation properties of the jazz shoes, and to investigate the in-vivo effect of four jazz shoe designs on lower limb joint stiffness during a dance-specific jump. Repeated measures. A custom-built mechanical shoe tester similar to that used by athletic shoe companies was used to vertically impact the forefoot and heel region of four different jazz shoe designs. Additionally, dancers performed eight sautés in second position in bare feet and the shoe conditions. Force platforms and 3D-motion capture were used to analyse the joint stiffness of the midfoot, ankle, knee and hip during the jump landings. Mechanical testing of the jazz shoes revealed significant differences in impact attenuation characteristics among each of the jazz shoe designs. Gross knee and midfoot joint stiffness were significantly affected by the jazz shoe designs in the dancers' jump landings. The tested jazz shoe designs altered the impact attenuating capacity of jump landing technique in dancers. The cushioned jazz shoes are recommended particularly for injured dancers to reduce impact on the lower limb. Jazz shoe design should consider the impact attenuation properties of the forefoot region, due to the toe-strike landing technique in dance movement. Copyright © 2016 Sports Medicine Australia. Published by Elsevier Ltd. All rights reserved.

Supplementary motor area and primary auditory cortex activation in an expert break-dancer during the kinesthetic motor imagery of dance to music.

PubMed

Olshansky, Michael P; Bar, Rachel J; Fogarty, Mary; DeSouza, Joseph F X

2015-01-01

The current study used functional magnetic resonance imaging to examine the neural activity of an expert dancer with 35 years of break-dancing experience during the kinesthetic motor imagery (KMI) of dance accompanied by highly familiar and unfamiliar music. The goal of this study was to examine the effect of musical familiarity on neural activity underlying KMI within a highly experienced dancer. In order to investigate this in both primary sensory and motor planning cortical areas, we examined the effects of music familiarity on the primary auditory cortex [Heschl's gyrus (HG)] and the supplementary motor area (SMA). Our findings reveal reduced HG activity and greater SMA activity during imagined dance to familiar music compared to unfamiliar music. We propose that one's internal representations of dance moves are influenced by auditory stimuli and may be specific to a dance style and the music accompanying it.

Motor imagery modality in expert dancers: an investigation of hip and pelvis kinematics in demi-plié and sauté.

PubMed

Coker, Elizabeth; McIsaac, Tara L; Nilsen, Dawn

2015-06-01

Elite dancers often engage in mental practice during training, but little is known about the effects of discrete, repetitive motor imagery on dance movement performance. This study compared the effects of two motor imagery modalities, third-person visual imagery and kinesthetic imagery, on hip and pelvis kinematics during two technical dance movements, plié and sauté. Twenty-four female dancers (mean age: 26.04; mean years of training: 19.63) were randomly assigned to a type of imagery practice: visual imagery (VI), kinesthetic imagery (KI), or a mental arithmetic task control condition (MAT). No statistically significant effects of imagery group or task type were found for external hip rotation, sagittal pelvic excursion, or a ratio relating hip to pelvic movement, suggesting that imagery practice did not affect either temporal or kinematic characteristics of the plié or sauté.

Structural risk and limits on agency among exotic dancers: HIV risk practices in the exotic dance club.

PubMed

Footer, Katherine H A; Lim, Sahnah; Brantley, Meredith R; Sherman, Susan G

2018-03-01

This paper provides longitudinal examination of women's health and sexual risk trajectories in US exotic dance clubs, which represent an important commercial setting for the economic mainstreaming of sexual services and an important target for public health programmes. Between July 2014 and May 2015, two semi-structured interviews (at baseline and at three months) were conducted with 24 female exotic dancers who had recently started working in in Baltimore City, USA. Results from a constant comparative analysis point to the interrelationship between the structures of the club setting, including the social context, and women's agentic practices concerning their sexual health. Study findings highlight the centrality of the interrelationship between individual- and structural-level experiences in influencing dancers' risk behavior. Findings point to the need for interventions to empower women both individually and collectively so as to provide the foundation for longer-term structural change.

Kinematic parameters that influence the aesthetic perception of beauty in contemporary dance.

PubMed

Torrents, Carlota; Castañer, Marta; Jofre, Toni; Morey, Gaspar; Reverter, Ferran

2013-01-01

Some experiments have stablished that certain kinematic parameters can influence the subjective aesthetic perception of the dance audience. Neave, McCarty, Freynik, Caplan, Hönekopp, and Fink (2010, Biology Letters 7 221-224) reported eleven movement parameters in non-expert male dancers, showing a significant positive correlation with perceived dance quality. We aim to identify some of the kinematic parameters of expert dancers' movements that influence the subjective aesthetic perception of observers in relation to specific skills of contemporary dance. Four experienced contemporary dancers performed three repetitions of four dance-related motor skills. Motion was captured by a VICON-MX system. The resulting 48 animations were viewed by 108 observers. The observers judged beauty using a semantic differential. The data were then subjected to multiple factor analysis. The results suggested that there were strong associations between higher beauty scores and certain kinematic parameters, especially those related to amplitude of movement.

Results of Treatment of Posterior Ankle Impingement Syndrome and Flexor Hallucis Longus Tendinopathy in Dancers: A Systematic Review.

PubMed

Rietveld, A B M Boni; Hagemans, F M T; Haitjema, S; Vissers, T; Nelissen, R G H H

2018-03-15

Dancing on pointe and relevé requires extreme plantar flexion of the talo-crural joint. Hence, these positions may lead to posterior ankle impingement syndrome (PAIS). PAIS often coincides with flexor hallucis longus tendinopathy (FHL tendinopathy, or "dancers' tendinitis"). Both injuries can appear in isolation as well. The goal of this review is to evaluate the results and the available levels of evidence of conservative and operative treatment (both open and endoscopic) of PAIS and FHL tendinopathy in dancers. It also offers an insight into the history of dance medical publications on this subject. In October 2016, a systematic search of PubMed, Embase, Cochrane, CINAHL, Web of Science, and (in French) ScienceDirect databases was undertaken. Five hundred and seventy-six publications were found, of which a total of 27 reported the results of operative treatment in 376 ankles (344 open, 32 endoscopic) in 324 dancers. The outcome was good to excellent in most cases (89%). The mean period of return to dance for all surgeries combined (PAIS and FHL tendinopathy, open and endo) was 11 weeks (range: 4 to 36 weeks), and for isolated FHL tendinopathy 16 weeks (range: 8 to 36 weeks). Only six publications reported the results of conservative treatment in 33 ankles (13 PAIS, 20 FHL tendinopathy) of 28 dancers, which does not allow for any evidence-based recommendations. Most studies failed to include dance-specific baseline characteristics, like dance style and level of participation. We concluded that only retrospective studies with levels of evidence four and five show that operative treatment for PAIS and FHL tendinopathy is successful with few complications. Since isolated PAIS, PAIS combined with FHL tendinopathy, and isolated FHL injuries appear to be different pathological entities, more research taking into account demography, dance type, and level of participation is needed to find out in which cases early operative management should be considered or avoided. The same applies to defining the place of endoscopic surgery in dancers and being able better to predict which pathology is likely to produce worse outcomes or delay the return to dance. Future research should have a prospective design, including dance-specific outcome scores both preand post-treatment. Furthermore, preferably a prospective randomized controlled design should be used to compare different conservative and operative treatment options.

Effect of whole body vibration training on lower limb performance in selected high-level ballet students.

PubMed

Annino, Giuseppe; Padua, Elvira; Castagna, Carlo; Di Salvo, Valter; Minichella, Stefano; Tsarpela, Olga; Manzi, Vincenzo; D'Ottavio, Stefano

2007-11-01

The aim of this study was to examine the effects of 8 weeks of whole body vibration (WBV) training on vertical jump ability (CMJ) and knee-extensor performance at selected external loads (50, 70, and 100 kg; leg-press exercise) in elite ballerinas. Twenty-two (age, 21.25 +/- 1.5 years) full-time ballerinas were assigned randomly to the experimental (E, n = 11) and control (C, n = 11) groups. The experimental group was submitted to WBV training 3 times per week before ballet practice. During the training period, the E and C groups undertook the same amount of ballet practice. Posttraining CMJ performance significantly increased in E group (6.3 +/- 3.8%, p < 0.001). Furthermore, E group showed significant (p < 0.05-0.001) posttraining average leg-press power and velocity improvements at all the external loads considered. Consequently, the force-velocity and power-velocity relationship shifted to the right after WBV training in the E group. The results of the present study show that WBV training is an effective short-term training methodology for inducing improvements in knee-extensor explosiveness in elite ballerinas.

The relationship between passion and the psychological well-being of professional dancers.

PubMed

Padham, Melissa; Aujla, Imogen

2014-03-01

The Dualistic Model of Passion defines passion as an intense desire or enthusiasm for a self-defining activity that people love, consider important, and devote significant amounts of time and energy to. The model proposes two distinct types of passion, harmonious (HP) and obsessive (OP). HP occurs when the activity is autonomously internalized into the individual's life and identity, while OP is a result of a controlled internalization of the activity. The aim of this study was to investigate the prevalence and type of passion professional dancers have for dance in relation to their psychological well-being, specifically eating attitudes, self-esteem, and perfectionism. Participants were 92 professional dancers, aged 19 to 35 years (M = 27.03, SD = 3.84), and mostly from the United States, the United Kingdom, and Canada. Results revealed that HP positively predicted self-esteem (SE), while OP positively predicted self-evaluative perfectionism (SEP), conscientious perfectionism (CP), and disordered eating attitudes (EAT-26). Additionally, SEP was found to mediate the relationship between OP and EAT-26, suggesting that OP may lead to SEP, which could in turn motivate disordered eating. Overall, the results of this study have supported and extended previous research suggesting that the two types of passion can have divergent effects on aspects of psychological well-being. Findings indicate that HP should be encouraged and OP discouraged among dancers, for example, via autonomy supportive behaviors of teachers.

Peak Lower Extremity Landing Kinematics in Dancers and Nondancers.

PubMed

Hansberger, Bethany L; Acocello, Shellie; Slater, Lindsay V; Hart, Joseph M; Ambegaonkar, Jatin P

2018-04-01

  Anterior cruciate ligament (ACL) injuries often occur during jump landings and can have detrimental short-term and long-term functional effects on quality of life. Despite frequently performing jump landings, dancers have lower incidence rates of ACL injury than other jump-landing athletes. Planned versus unplanned activities and footwear may explain differing ACL-injury rates among dancers and nondancers. Still, few researchers have compared landing biomechanics between dancers and nondancers.   To compare the landing biomechanics of dancers and nondancers during single-legged (SL) drop-vertical jumps.   Cross-sectional study.   Laboratory.   A total of 39 healthy participants, 12 female dancers (age = 20.9 ± 1.8 years, height = 166.4 ± 6.7 cm, mass = 63.2 ± 16.4 kg), 14 female nondancers (age = 20.2 ± 0.9 years, height = 168.9 ± 5.0 cm, mass = 61.6 ± 7.7 kg), and 13 male nondancers (age = 22.2 ± 2.7 years, height = 180.6 ± 9.7 cm, mass = 80.8 ± 13.2 kg).   Participants performed SL-drop-vertical jumps from a 30-cm-high box in a randomized order in 2 activity (planned, unplanned) and 2 footwear (shod, barefoot) conditions while a 3-dimensional system recorded landing biomechanics.   Overall peak sagittal-plane and frontal-plane ankle-, knee-, and hip-joint kinematics (joint angles) were compared across groups using separate multivariate analyses of variance followed by main-effects testing and pairwise-adjusted Bonferroni comparisons as appropriate ( P < .05).   No 3-way interactions existed for sagittal-plane or frontal-plane ankle (Wilks λ = 0.85, P = .11 and Wilks λ = 0.96, P = .55, respectively), knee (Wilks λ = 1.00, P = .93 and Wilks λ = 0.94, P = .36, respectively), or hip (Wilks λ = 0.99, P = .88 and Wilks λ = 0.97, P = .62, respectively) kinematics. We observed no group × footwear interactions for sagittal-plane or frontal-plane ankle (Wilks λ = 0.94, P = .43 and Wilks λ = 0.96, P = .55, respectively), knee (Wilks λ = 0.97, P = .60 and Wilks λ = 0.97, P = .66, respectively), or hip (Wilks λ = 0.99, P = .91 and Wilks λ = 1.00, P = .93, respectively) kinematics, and no group × activity interactions were noted for ankle frontal-plane (Wilks λ = 0.92, P = .29) and sagittal- and frontal-plane knee (Wilks λ = 0.99, P = .81 and Wilks λ = 0.98, P = .77, respectively) and hip (Wilks λ = 0.88, P = .13 and Wilks λ = 0.85, P = .08, respectively) kinematics. A group × activity interaction (Wilks λ = 0.76, P = .02) was present for ankle sagittal-plane kinematics. Main-effects testing revealed different ankle frontal-plane angles across groups ( F 2,28 = 3.78, P = .04), with male nondancers having greater ankle inversion than female nondancers ( P = .05).   Irrespective of activity type or footwear, female nondancers landed with similar hip and knee kinematics but greater peak ankle eversion and less peak ankle dorsiflexion (ie, positions associated with greater ACL injury risk). Ankle kinematics may differ between groups due to different landing strategies and training used by dancers. Dancers' training should be examined to determine if it results in a reduced occurrence of biomechanics related to ACL injury during SL landing.

Biomechanical metrics of aesthetic perception in dance.

PubMed

Bronner, Shaw; Shippen, James

2015-12-01

The brain may be tuned to evaluate aesthetic perception through perceptual chunking when we observe the grace of the dancer. We modelled biomechanical metrics to explain biological determinants of aesthetic perception in dance. Eighteen expert (EXP) and intermediate (INT) dancers performed développé arabesque in three conditions: (1) slow tempo, (2) slow tempo with relevé, and (3) fast tempo. To compare biomechanical metrics of kinematic data, we calculated intra-excursion variability, principal component analysis (PCA), and dimensionless jerk for the gesture limb. Observers, all trained dancers, viewed motion capture stick figures of the trials and ranked each for aesthetic (1) proficiency and (2) movement smoothness. Statistical analyses included group by condition repeated-measures ANOVA for metric data; Mann-Whitney U rank and Friedman's rank tests for nonparametric rank data; Spearman's rho correlations to compare aesthetic rankings and metrics; and linear regression to examine which metric best quantified observers' aesthetic rankings, p < 0.05. The goodness of fit of the proposed models was determined using Akaike information criteria. Aesthetic proficiency and smoothness rankings of the dance movements revealed differences between groups and condition, p < 0.0001. EXP dancers were rated more aesthetically proficient than INT dancers. The slow and fast conditions were judged more aesthetically proficient than slow with relevé (p < 0.0001). Of the metrics, PCA best captured the differences due to group and condition. PCA also provided the most parsimonious model to explain aesthetic proficiency and smoothness rankings. By permitting organization of large data sets into simpler groupings, PCA may mirror the phenomenon of chunking in which the brain combines sensory motor elements into integrated units of behaviour. In this representation, the chunk of information which is remembered, and to which the observer reacts, is the elemental mode shape of the motion rather than physical displacements. This suggests that reduction in redundant information to a simplistic dimensionality is related to the experienced observer's aesthetic perception.

Acute effects of warm-up stretch protocols on balance, vertical jump height, and range of motion in dancers.

PubMed

Morrin, Niamh; Redding, Emma

2013-01-01

The aim of this study was to examine the acute effects of static stretching (SS), dynamic stretching (DS), and a combined (static and dynamic) stretch protocol on vertical jump (VJ) height, balance, and range of motion (ROM) in dancers. A no-stretch (NS) intervention acted as the control condition. It was hypothesized that the DS and combination stretch protocols would have more positive effects on performance indicators than SS and NS, and SS would have negative effects as compared to the NS condition. Ten trained female dancers (27 ± 5 years of age) were tested on four occasions. Each session began with initial measurements of hamstring ROM on the dominant leg. The participants subsequently carried out a cardiovascular (CV) warm-up, which was followed by one of the four randomly selected stretch conditions. Immediately after the stretch intervention the participants were tested on VJ performance, hamstring ROM, and balance. The data showed that DS (p < 0.05) and the combination stretch (p < .05) produced significantly greater VJ height scores as compared to SS, and the combination stretch demonstrated significantly enhanced balance performance as compared to SS (p < 0.05). With regard to ROM, a one-way ANOVA indicated that SS and the combination stretch displayed significantly greater changes in ROM than DS (p < 0.05). From comparison of the stretch protocols used in the current study, it can be concluded that SS does not appear to be detrimental to a dancer's performance, and DS has some benefits but not in all three key area's tested, namely lower body power (VJ height), balance, and range of motion. However, combination stretching showed significantly enhanced balance and vertical jump height scores and significantly improved pre-stretch and post-stretch ROM values. It is therefore suggested that a combined warm-up protocol consisting of SS and DS should be promoted as an effective warm-up for dancers.

Alienation of sexuality in male erotic dancing.

PubMed

Boden, David M

2007-01-01

This ethnographic study investigates a male-for-male gender arrangement of erotic dancing. Analysis of the data suggests that the men in this occupation understand their labor as titillation, a pleasurable erotic flirtation, for the entertainment of the consumer. Central to the performance is a constructed sexuality that is not reflective of the desires of the dancer but, rather, those of the consumer. The alienation of the dancer from his sexuality may result in behaviors and encounters that violate his normative and moral expectations.

Obsessive passion: a dependency associated with injury-related risky behaviour in dancers.

PubMed

Akehurst, Sally; Oliver, Emily J

2014-01-01

Grounded in self-determination theory, obsessive passion for an activity has been associated with increased risky behaviour and rigid persistence, both symptomatic of dependence. However, it is unknown whether obsessive passion may predict the development of dependence, and furthermore, theoretically important relationships between basic need satisfaction, passion, exercise dependence and subsequent risky behaviour have not been fully explored. A sample of 100 professional dancers (50(fs); 50(ms); Mage = 20.88; SD = 2.69) completed self-ratings of risk-related behaviours (doctor visits; following treatment, and warming up), passion for dance and dance dependence. Findings supported the maladaptive nature of obsessive passion in relation to risky behaviour and as predicted dance dependence mediated this relationship. Interestingly, need satisfaction was positively related to both obsessive passion and harmonious passion. Results are discussed in the light of self-determination theory and dysfunctions of obsessive passion, suggesting that professional dancers are at risk of employing maladaptive behaviours if high in obsessive passion, which may be detectable via symptoms of dance dependence.

Dance expertise modulates visual sensitivity to complex biological movements.

PubMed

Orlandi, Andrea; Zani, Alberto; Proverbio, Alice Mado

2017-09-01

Motor resonance processes that occur when observing an individual perform an action may be modulated by acquired visuomotor expertise. We used the event-related potential (EEG/ERP) technique to investigate the ability to automatically recognize a subtle difference between very similar novel contemporary dance movements. Twelve professional dancers and twelve non-dancers were shown 212 pairs of videos of complex whole-body movements that lasted 3s. The second of each pair was the repetition of the previous movement or a slight variation of it (deviance). The participants were engaged in a secondary attentional task. Modulation of a larger centro-parietal N400 effect and a reduction of the Late Positivity amplitude (repetition suppression effect) were identified in response to deviant stimuli only in the dancers. Source reconstruction (swLORETA) showed activations in biological motion, body and face processing related areas, and fronto-parietal and limbic systems. The current findings provide evidence that acquired dance expertise modifies the ability to visually code whole-body complex movements. Copyright © 2017 Elsevier Ltd. All rights reserved.

Perceived autonomy support, motivation regulations and the self-evaluative tendencies of student dancers.

PubMed

Quested, Eleanor; Duda, Joan L

2011-03-01

Limited research has considered the social-environmental and motivational processes predictive of self evaluations and body-related concerns. Evidence suggests that low self-esteem, poor body evaluations, and associated anxieties are particularly prevalent among the student dance population. Grounded in self-determination theory (SDT), this study examined the relationships among perceptions of autonomy support, motivation regulations, and self-evaluations of body-related concerns in the context of vocational dance. Three hundred and ninety-two dancers completed questionnaires regarding their perceptions of autonomy support in their dance school, reasons for engaging in dance, self-esteem, social physique anxiety (SPA), and body dissatisfaction. Structural equation modeling analyses revealed that perceived autonomy support predicted intrinsic motivation (+) and amotivation (-). Extrinsic regulation positively predicted SPA. Amotivation mediated the associations between perceptions of autonomy support and dancers' self-esteem, SPA, and body dissatisfaction. The utility of SDT in understanding predictors of self-worth, physical evaluations, and associated concerns was supported. Moreover, this study provides preliminary evidence supporting the applicability of SDT in dance contexts.