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The forced turnout has a perceived risk of development of hallux valgus (HV) in ballet dancers. We determined how the forced turnout affects the sagittal mobility of the first tarsometatarsal (TMT) joint, which is one of the pathogenic factors of HV development. Seventeen female ballet dancers (body mass index: 18.2 ± 1.8 kg/m2) were included and performed demi-plié in control, functional turnout, and forced turnout conditions. Ultrasound imaging synchronized with a three-dimensional motion analysis system was used for measuring the vertical locations of the first metatarsal and medial cuneiform (MC) to evaluate the first TMT joint mobility. Plantar displacement of MC and the first TMT joint mobility in the forced turnout were the greatest among the 3 conditions. Multiple regression analysis indicated that the greater extent of the forcing angle might increase the displacement of MC and the first TMT joint mobility. Evaluating the sagittal mobility of the first TMT joint in the forced turnout can assist in understanding the association between inappropriate techniques including the forced turnout and HV development in ballet dancers. Since the excessive mobility of the first TMT joint is a factor in HV development, the acquirement of adequate active turnout may have the potential to prevent HV development in ballet dancers. [ABSTRACT FROM AUTHOR]

The purpose of the research is to study the development and creative improvement of the artist in a theatre group. The scientific novelty is that for the first time in Ukrainian art history, the development and significance of the artist's personality in a ballet company is presented on such a wide theoretical basis. The authors made a survey of the ballet dancers and found out that a considerable number of artists prefer experimenting and using innovative methods to express their individuality, which contributes to their creative growth and freedom. The research methodology is based on an integrated approach and general methods of scientific research. The historical and cultural methods are used to reveal the historical prerequisites for the development of ballet in Ukraine, comparison of its cultural paradigms. A comparative method was utilised for studying the peculiarities of ballet movement development. The method of interviewing was applied in the form of surveying and conversation with artist group leaders, leading soloists, and ballet dancers. The method of theoretical and comparative analysis was used when processing scientific and methodical literature. Conclusions. The article analyses the formation of one's individuality that begins with mastering basic ballet knowledge and skills during training in the art of ballet. However, it is certain that the real experience of a ballet dancer comes only after joining a theatre or a ballet troupe, that is the first step in one's career. It has been found that the path to becoming an artist begins with mastering ballet technique during training, but true development of individuality begins during professional activity in a theatre or ballet company. Individuality in art is expressed in the creative style, views, and perception of the world through the works of the artist. An artist develops their unique style, reflecting personal feelings and emotions in their creations. The development of an artist's individuality requires constant improvement through various stages such as lessons, performances, masterclasses, and self-study. This process expands the understanding of art and allows the artist to freely express their individuality in their ballet creations. [ABSTRACT FROM AUTHOR]

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Background: Since ballet dancers begin their training before skeletal maturity, accurate and non-invasive identification of cartilage diseases is clinically important. Angle-dependent analysis of T1rho and T2 sequences can be useful for quantification of the composition of cartilage. Purpose: To investigate the angle-dependent T1rho and T2 profiles of ankle cartilage in non-dancers and dancers. Material and Methods: Ten female non-dancers, ten female dancers, and 9 male dancers were evaluated using T1rho and T2 mapping sequences. Manual segmentation of talar and tibial cartilage on these images was performed by two radiologists. Inter- and intra-rater reliabilities were calculated using intraclass correlation coefficients (ICCs) and Bland–Altman analysis. Mean thickness and volume of cartilage were estimated. Angle-dependent relaxation time profiles of talar and tibial cartilage were created. Results: ICCs of the number of segmented pixels were poor to excellent. Bland–Altman plots indicated that differences were associated with segment sizes. Segmented cartilage on T1rho demonstrated larger thickness and volume than those on T2 in all populations. Male dancers showed larger cartilage thickness and volume than female dancers and non-dancers. Each cartilage demonstrated angular-dependent T1rho and T2 profiles. Minimal T1rho and T2 values were observed at approximately 180°–200°; higher values were seen at the angle closer to the magic angle. Minimal T2 value of talar cartilage of dancers was larger than that of non-dancers. Conclusion: In this small cohort study, regional and sex variations of ankle cartilage T1rho and T2 values in dancers and non-dancers were demonstrated using an angle-dependent approach. [ABSTRACT FROM AUTHOR]

Objectives: Ballet dancers require a high level of control on their muscles in order to perform various dance figures. Special ballet moves require adaptive changes in order to maintain posture while performing classical ballet dance. The aim of the present study was to evaluate the differences in body postures and range of motion in certain joints between female classical ballet students and female non-dancer students. Methods: Fifty nine female university students participated in the study; 30 were studying classical ballet at Hacettepe University Ankara State Conservatory and 29 were studying at Baflkent University with no professional dancing history. Students in both groups were compared by conducting a body posture analysis anteriorly, laterally and posteriorly with the symmetrigraf chart. Range of motion of the joints was measured using a goniometer and distances were measured using an anthropometer. Results: Ballet education was a factor in the development of hallux valgus and genu varum deformities (p<0.001). Being a ballet dancer or not was determined to be a factor for the development of genu recurvatum (p=0.004), but not related to the flexion angle on knee (p>0.05). The median values of body flexion and hyperextension showed statistically significant differences between the two groups (p<0.001). Conclusion: Postural defects caused by the adaptive changes that occur during ballet training can be assessed easily by using a symmetrigra. It is also possible to evaluate the degree of the deformities that can develop by time. [ABSTRACT FROM AUTHOR]

Dancers’ motions are perceived by observers through visual processes with visual information forming the basis for the observers’ appreciation and evaluation of the dancers’ motions. There have been many discussions as to whether or not observers’ personal athletic capabilities form an essential basis for accurate assessment of the motions of others but, so far, no valid conclusions have been reached. The purpose of this study is to investigate how the ability to predict motions of others varies depending on the athletic expertise of the observers. Participants of this research were ballet dancers of varying athletic expertise. Twenty seven participants were divided into three groups with nine in each: beginners, intermediate experts and experts. The participants watched the same dance video and then evaluated whether the motion would be successful or not. The movement related visual information required to evaluate the success of the motion was systematically adjusted by controlling the length of the video. Using the temporal occlusion method, this study measured the response accuracy of the participants by category of expertise. Under the circumstance with insufficient visual information to utilize, the experts showed higher rates of correct response than the intermediate experts and the beginners. The beginners showed higher rates of wrong response than the experts and the intermediate experts. These results showed that the ability to predict success or failure of a dance motion varied depending on motion expertise of the observers, although they had similar level of expertise in perception. Participants considered to have high athletic expertise showed high prediction ability on the result of the motion. In addition, high expertise in perception reduced the likelihood that participants would make hasty responses under the circumstance with insufficient information and helped to reduce wrong response rate. In conclusion, this study showed that motor expertise and perceptual expertise contribute to prediction accuracy of observed motions. [ABSTRACT FROM AUTHOR]

A rightward turning bias has been more frequently noted during adult classical dance practice than during spontaneous rotations. Training could play a role in inducing a preferred direction. We observed the preferred direction for executing four spontaneous whole-body full turns (pirouettes), with eyes open or closed, in pre-pubertal untrained girls and classical dance students. Of untrained girls, 58% showed a leftward turning bias (LTB) and 42% a rightward turning bias (RTB), independently of vision, lateral preferences, and supporting leg. Only one dancer showed a consistent LTB while the majority showed a RTB, with a tendency to use the left leg to turn towards the right. These results suggest that the role of the vestibular and visual systems is minimal for untrained girls, and suggest a training influence for dancers. The dance students' choice of a supporting leg for turning may exploit some biomechanical properties facilitating the pirouette. [ABSTRACT FROM AUTHOR]

Stress fracture in the pars interarticularis is a common cause of low back pain in young athletes. Pedicle stress fractures have also been reported in adolescent sport players, and most of them were associated with contralateral spondylolysis. Only a few cases with bilateral pedicle stress fractures have been reported. We report a 14-year-old ballet dancer with fresh bilateral pedicle fractures treated conservatively, together with a review of the literature. [ABSTRACT FROM AUTHOR]