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espanolDurante la ultima decada, algunos autores han enfatizado en la importancia de describir y comprender aspectos positivos de la imagen corporal, por ejemplo, la estima corporal, especialmente en muestras de diferentes disciplinas artistico-estetico. Por tanto, el objetivo del presente estudio fue comparar la estima corporal y la insatisfaccion corporal, entre dos grupos de mujeres emparejadas por edad (bailarinas de ballet y estudiantes), y analizar la relacion entre dichas variables con el indice de masa corporal (IMC). Participaron 70 mujeres, con un rango de edad de 12 a 20 anos. Todas las participantes fueron pesadas y medidas, y respondieron una version corta del Cuestionario de Imagen Corporal y la Escala de Estima Corporal. El analisis de resultados indico que las bailarinas de ballet tienen menor IMC, menor insatisfaccion corporal y mayor estima corporal hacia la condicion fisica y preocupacion por el peso, que las estudiantes. Finalmente, en el grupo de bailarinas, el IMC se asocio con la insatisfaccion corporal, pero no con la estima corporal. Contrariamente, en el grupo de estudiantes, el IMC se asocio tanto con la estima corporal, como con la insatisfaccion corporal. Los hallazgos del presente estudio pueden tener implicaciones en el desarrollo e implementacion de estrategias que fortalezcan la estima corporal y la imagen corporal de mujeres que practican disciplinas artistico-estetico. EnglishDuring the last decade, some authors have emphasized the importance of describing and understanding positive aspects of body image, for example, body esteem, especially in samples from different artistic-aesthetic disciplines. Therefore, the objective of the present study was to compare body esteem and body dissatisfaction, between two groups of women matched for age (ballet dancers and students) and analyze the relationship between these variables with the body mass index (BMI). Seventy women participated,with an age range of 12 to 20 years. All the participants were weighed and measured, and answered a short version of the Body Image Questionnaire and the Body EsteemScale. The analysis of results indicated that ballet dancers have a lower body mass index(BMI), lower body dissatisfaction, and higher body esteem for physical condition and concern about weight than the students. Finally, in the group of dancers, the BMI was associated with body dissatisfaction, but not with body esteem. In contrast, in the group of students, BMI was associated with both body esteem and body dissatisfaction. The findings of the present study may have implications in the development and implementation of strategies that strengthen body esteem and body image of women who practice artistic-aesthetic disciplines

This study employed semi-structured interviews and Interpretative Phenomenological Analysis to explore experiences of on-time maturation in nine adolescent ballet dancers from across three vocational ballet schools in the United Kingdom. Two themes were identified as central to their experiences: ‘A right and a wrong way to grow’, and fitting in and moving forward. Instead of perceiving themselves as ‘average’ and experiencing a relatively easy pubertal transition, on-time dancers described unique challenges associated with a fluctuation between fitting in and not fitting in within their social context. The implications of on-time maturation in this context are complex and do not appear to follow the same trajectory as early maturing ballet dancers nor on-time non-dancers.

Self-report wellness measures are used extensively in elite sport as valid indicators of the adaptive responses to training and performance of an athlete. Wellness parameters such as quality and quantity of sleep, muscle soreness, fatigue, and stress are monitored in professional sport via Athlete Management Systems (AMS) and self-report monitoring applications (App). However, the use of a monitoring App specifically for professional classical ballet dancers has not been tested. This study piloted a self-report App to measure wellness constructs in a professional ballet company. Three male and two female dancers volunteered to take part in the mixed-method study, entering daily wellness data, frequency of work-related activities, and injury status into an App on their smart phones. Via a focus group interview session, perceptions of wellness and experiences using the App were found to be favorable, with dancers reporting that the App enhanced awareness of their well-being. To further develop monitoring tools in professional ballet companies, it is recommended that the App be made specific to the wellness needs of dancers.

Professional ballet dancers are known as a high-risk group for adopting disordered eating behaviours. However, research regarding the professionals of other dance styles/genres is quite limited. Th...

Training load has been identified as a risk factor for musculoskeletal injury in sport, but little is known about the effects of training load in dance. The purpose of this study was to describe adolescent dancers' internal training load (ITL) and compare objective and subjective measures of ITL using heart rate (HR) training impulse methods and session Rating of Perceived Exertion (sRPE), respectively. Fifteen female elite adolescent ballet dancers at a vocational dance school volunteered to participate in the study. Internal training load data using HR and sRPE were collected over 9 days of multiple technique classes at the midpoint of the dancers' training year. Heart rate data were quantified using Edwards' training impulse (ETRIMP) and Banister's training impulse (BTRIMP), and sRPE was estimated from the modified Borg 0 to 10 scale and class duration. Descriptive statistics (median [M], and interquartile range [IQR]) were determined in arbitrary units (AU), and were as follows for all classes combined: ETRIMP: M = 134 AU (IQR = 79 to 244 AU); BTRIMP: M = 67 AU (IQR = 38 to 109); sRPE: M = 407 AU (IQR = 287 to 836 AU). The association and agreement between objective and subjective ITL measures in ballet and pointe class was assessed using Spearman correlations (rs) and adjusted Bland-Altman 95% limits of agreement (LOA), respectively, with alpha set at 0.05. A significant moderate positive correlation was found between ETRIMP and BTRIMP in pointe class (rρ = 0.8000, p = 0.0031). The mean difference (LOA) between ETRIMP and BTRIMP was 121 AU (33 to 210 AU) in ballet and 43 AU (-3 to 88 AU) in pointe. It is concluded that some, but not all, measures of ITL in elite adolescent ballet dancers are comparable. Additional research is needed to examine the utilization of ITL measures for evaluating dance-related injury risk, as well as the application of ITL to inform the development of effective injury prevention strategies for this high-risk population.

Despite the well-documented challenges of professional ballet dancers and anecdotal report of premature retirement, no research has examined what professional ballet dancers do to persevere in thei...

It is well known that sex differences exist in landing biomechanics in athletes, and these differences are purported to underlie a prevalence of traumatic knee injuries in females compared to males. However, it remains unknown if these differences also apply to artistic athletes such as dancers. The purpose of this study was to investigate sex differences in ground reaction forces (GRFs) between male and female dancers during single- and double-leg dance-specific landing movements. Fourteen pre-professional and professional ballet dancers (seven female and seven male) performed grand jeté (single-leg landing) and sauté (double-leg landing) jumps onto two force platforms. Visual3D was used to calculate the resulting GRF time-series, and MAT-LAB to select discrete variables of interest including peak vertical GRF, loading rate, landing duration, and vertical impulse. Paired t-tests were used to compare mean GRF variables between male and female dancers. During single-leg landing male dancers had smaller peak vertical GRFs (p < 0.01), greater time-to-peak GRF (p = 0.03), and smaller loading rates (p < 0.01) than female dancers. No differences were observed in vertical impulse during single-leg landing or in any variables during double-leg landing. These results indicate that sex differences in landing GRFs are most evident in single-leg landing and may underlie divergent injury rates in male and female dancers. Further investigation of relevant lower extremity biomechanics during single- and double-leg landing in male and female dancers should be conducted to identify the mechanisms underlying these distinct GRF profiles.

BACKGROUND: Different amounts of force are needed to produce an effective turn for the pirouette, especially vertical force. AIM: To examine the vertical force produced by the supporting leg during the execution of a pirouette en dehors of ballet dancer and non-dancer participants. METHOD: The participants included five ballet dancers who composed the ballet dancer group and eight girls without previous experience of dance training who composed the non-dancer group. The participants were invited to execute the pirouette en dehors on a force platform with each leg as the supporting leg. Two-way analyses of variance were used to test vertical reaction forces between the two groups over the preferred and non-preferred leg. RESULTS: Among the three vertical forces measured in the present study, the maximum vertical peak for the initial impulse was significantly higher for the ballet dancers compared to the non-dancer girls. The minimum vertical force and maximum vertical peak for the final impulse were similar between both groups. CONCLUSION: The results suggest that the initial vertical force may be critical to the pirouette en dehors, determining proficient execution of this movement in ballet dancers.

Dance-related injuries have become a field of great interest to researchers, with the most commonly reported injuries being those sustained by ballet dancers. However, there is a lack of research into injuries sustained by those who perform modern and hip-hop dance.A systematic literature review using the MEDLINE research database was performed and a search carried out for full-text studies that investigate injuries in modern and hip-hop dance.While a total of 74 hits were obtained from various searches, only nine studies were included in the systematic literature review. Six of them examined modern dancers, two examined break dancers and one examined hip-hop dancers. The results show that hip-hop dancers (and especially break dancers) sustain more injuries in comparison to modern dancers. The most common injuries are in the lower extremities, with studies revealing that overuse injuries occur in up to 71% of cases.The injury incidence rate in hip-hop dance seems to be higher compared to modern dance, chiefly because of the more demanding biomechanics involved and the dance techniques employed. Prevention management can have a positive effect on the number of injuries.Športne poškodbe so v zadnjih letih za raziskovalce postale vedno zanimivejše področje raziskovanja. Podobno velja tudi za poškodbe, povezane s plesom. Ta se je skozi desetletja precej spremenil, oblikovali so se novi plesni stili, razširil se je tudi v tekmovalnem smislu. Večina raziskav je opravljenih pri plesalcih baleta, največkrat profesionalnih, le malo raziskav pa lahko najdemo s področja poškodb v modernem plesu in hiphopu.Sistematični pregled literature je s pomočjo iskalnih ključnih besed potekal v spletni podatkovni zbirki MEDLINE. Iskani so bili članki s polnim besedilom, ki so raziskovali poškodbe v modernem plesu in/ali hiphopu.Najdenih je bilo 74 zadetkov, od katerih je bilo po branju naslova in izvlečka v nadaljnje branje vključenih 13 člankov, po branju polnega besedila pa jih je bilo v pregled literature vključenih devet. Šest študij je raziskavo opravilo na plesalcih modernega plesa, dve na plesalcih breakdancea in le ena na plesalcih hiphopa. Večina raziskav je uporabila vprašalnik o značilnostih plesalcev, plesni karieri in poškodbah, ena študija pa je v svojo osemletno raziskavo vključila obsežni preventivni ukrep za zmanjšanje poškodb. Rezultati vključenih študij kažejo, da plesalci hiphopa (še posebno breakdancea) utrpijo več poškodb kot plesalci modernega plesa. Najpogostejše so poškodbe spodnjega uda (ligamentov in sklepov), ki mu sledijo poškodbe trupa. V večini primerov gre za preobremenitve (do 71 %), precej manj je akutnih/travmatskih poškodb.Raziskave kažejo, da je incidenca poškodb v hiphopu večja kot v modernem plesu, predvsem zaradi zahtevnejše biomehanike gibanja in tehnike plesa. To velja zlasti za breakdance, pri katerem se pojavlja tudi več poškodb zgornjega dela telesa kot pri ostalih plesnih zvrsteh. Preventivni programi lahko dokazano zmanjšajo število poškodb in posledično tudi stroške, ki nastanejo zaradi zdravljenja in rehabilitacije.

Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mechanical variables of the force-velocity profile could be beneficial for dancers as a guide to specific training regimens that can result in improvement of either maximal force or velocity capabilities. The aim of this study was to compare the mechanical variables of the force-velocity profile during jumping in different company ranks of ballet dancers. Eighty-seven female professional ballet dancers (age: 18.94 ± 1.32 years; height: 164.41 ± 8.20 cm; weight: 56.3 ± 5.86 kg) showed high force deficits (> 40%) or low force deficits (10% to 40%) regardless of their company rank. Our results suggest that dance training mainly develops velocity capabilities, and due to the high number of dramatic elevations that dance performance requires, supplemental individualized force training may be beneficial for dancers. The individualization of training programs addressed to the direction of each individual's imbalance (high force or low force) could help dancers and their teachers to improve jump height and therefore dance performance.

OBJECTIVES: Some forefoot shapes are ideal for pointe work in ballet. Egyptian-type, with the hallux being longest and the remaining toes decreasing in size, and Greek-type, with the second toe longer than the hallux, are considered less optimal for pointe work. Square-type, with the second toe the same length as the hallux, is considered optimal. This study compared postural stability in the bipedal stance, demi pointe, and en pointe between ballet dancers with the two toe types using a stabilometer. METHODS: This study included 25 Japanese ballet academy dancers who had received ballet lessons for at least 6 years. Toes were categorized into Egyptian-type (n=14) and square-type (n=11). Bipedal stance, demi pointe, and en pointe were tested. Center of pressure (COP) parameters were calculated from ground-reaction forces using two force plates: total trajectory length (LNG), velocities of anterior-posterior (VAP) and medial-lateral directions (VML), and maximum range displacement in the anterior-posterior (MAXAP) and medial-lateral directions (MAXML). Mann-Whitney U-tests were used to examine differences in COP parameters. RESULTS: There were no differences in parameters during bipedal stance or demi pointe. However, dancers with Egyptian-type toes had significantly greater LNG (p

Ballet dancers need to constantly improve their performance. Several studies show that an internal focus (on body movements) leads to inferior motor performance relative to an external focus of attention (on the movement effects), but the majority of dancers usually adopt an internal focus. It is not clear if the benefits of an external focus are relevant for form-based tasks performed in a ballet.

Summary Study aim: The human foot is an essential element of the locomotor system. It plays a key role in both the dynamics and the statics of the whole lower limb. The normal structure of the foot determines its mechanical function. During growth and formation of the foot structure, sport activity plays an important role. The aim of this study was to analyse the structure of the foot in ballet dancers aged 6 to 14 years compared with a clinical reference peer group that did not do ballet. Material and methods: The study involved 120 girls aged 6 to 14 years (mean age 9.6, sd. 2.4). Sixty of them formed the study group of ballet dancers, and the other 60 formed the reference group. To conduct the measurements, the computer podoscope CQ-ST produced by the CQ Elektronik System, connected to a portable computer, was used. Results: A few differences were found between the foot structure in young female ballet dancers and their peers. A statistically significant difference was found in the hallux valgus α angle. The left foot of the examined ballet dancers was found to have a larger hallux valgus. A statistically significant correlation was found between the length of time of ballet training and the increase in the α angle values of the left foot and the right foot in the ballet group. Conclusions: Ballet dancing in childhood may increase the risk of developing hallux valgus, with the tendency of worsening with training time.

Objectives: Ballet dancers require a high level of control on their muscles in order to perform various dance figures. Specialballet moves require adaptive changes in order to maintain posture while performing classical ballet dance. The aim of thepresent study was to evaluate the differences in body postures and range of motion in certain joints between female classicalballet students and female non-dancer students.Methods: Fifty nine female university students participated in the study; 30 were studying classical ballet at Hacettepe UniversityAnkara State Conservatory and 29 were studying at Baflkent University with no professional dancing history. Students in bothgroups 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 (p0.05). The median values of body flexion and hyperextension showed statistically significant differencesbetween the two groups (p

Despite various approaches to measuring ballet dancers' turnout, no standardized method for doing so has yet been estab- lished. Here a newly designed rotational goniometer (RGM) for assessing ballet dancers' functional turnout is evaluated. Twenty experienced female ballet dancers participated in the study. Measurements of the dancers' turnout were taken three times in each of the following conditions: 1. while standing on the RGM device (RGMT); 2. as if the participant was in a ballet class (CT); and 3. performing an active external rotation of the lower extremities in the supine position (AT). The angles obtained in the three trials in each condition were averaged and the results of the three conditions were compared. The mean angle of RGMT (RGMTangle: 103.89° ± 15.2°) was significantly smaller than those of the CT (CTangle: 128.7° ± 15.1°) and AT (ATangle: 110.09° ± 17.6°) conditions (p < 0.05 and p < 0.01, respectively). The greatest angle (i.e., the CTangle) is influenced by both friction and weightbearing. The ATangle is released from weightbearing, unlike the RGMTangle. Positive correlations were revealed between the RGMTangle and the ATangle (r = 0.78, p < 0.01) and between the RGMTangle and the CTangle (r = 0.57, p = 0.05). These findings demonstrate that the novel RGM device, characterized by elimination of friction and full weightbearing, is useful for assessing ballet dancers' functional turnout.

Clinical practice and some scientific evidence seem to suggest that there is some kind of relationship between the components that form the postural chain. For professional dancers, good posture and balance are essential. The aim of the present retrospective study is to evaluate whether gnathological treatment could have an impact on the postural balance and sports performance of professional ballet dancers. Electromyographic (EMG) data and balance tests were recorded before and after six months of treatment with a customized occlusal splint. Twenty athletes were examined during ballet exercises in terms of balance and speed of execution by two experienced clinicians. The results showed statistically significant changes for all EMG tests carried out and the Flamingo Balance Test. It appears that the use of a customized occlusal device improved neuro-muscular coordination and the overall performance of dancers.

Athlete Management Systems (AMS) provide a central repository for performance, training and medical data for elite and developing athletes. Self-report wellness measures as monitoring tools are used extensively in elite sport as valid indicators of the recovery status of an athlete. Wellness parameters such as sleep quality and quantity, fatigue and stress are being monitored in professional sport via AMS; however, wellness monitoring with an AMS has not been trialled in the professional Australian Performing Arts Industry. This research aimed to evaluate the practicality of using an AMS to monitor wellness parameters in a professional ballet company.

Background: Ballet dancers are at high risk of ankle sprain. As a result, effective training programs are required for ballet dancers to minimize injury occurrence and improve their balance ability. Our purpose was to investigate the effects of a 6-week integrated training program on the ankle joint position sense and postural stability in ballet dancers.Methods: Twenty-nine female ballet dancers were recruited to the study. Sixteen of the dancers underwent a 6-week integrated training program consisting of plyometric, proprioception and core stability exercises. The remaining ballet dancers performed no additional training, but continued regular ballet practice as usual. For both groups, ankle joint position sensing tests were performed before and after training. Furthermore, for the training group, the postural stability was assessed by measuring the average speed of the center of pressure (COP) and the maximum ankle joint displacements while performing grand plie (deep squatting) and releve en demi-pointe (standing on balls of foot) movements.Results: After 6 weeks, both groups showed significantly smaller absolute ankle joint reposition errors in plantarflexion and eversion. Furthermore, the training group showed a significantly smaller ankle joint reposition error in dorsiflexion. The training group also showed a significantly slower average COP speed and smaller maximum COP displacement in the medial-lateral direction.Conclusions: The 6-week integrated training program improved the ankle joint position sense in dorsiflexion and the postural control in the medial-lateral direction while performing grand-plie and releve en demi-pointe movements. Thus, this integrated training program can be suggested for dancers in order to improve ankle position sense and postural stability during ballet movements.

This study explored transient characteristics of body sway during single-leg quiet stance in young ballet dancers (n=41) and young healthy adults (n=58). We compared the groups in terms of center of pressure (CoP) parameters (CoP velocity and amplitude, averaged across the duration of the 30-s trial), and the transient characteristics of the corresponding parameters, which were expressed as relative differences between the 1st and 2nd, and the 1st and 3rd 10-second interval within the trial (DIF_21 and DIF_31, respectively). Ballet dancers exhibited superior quiet stance postural control (2/5 parameters), as well as different transient behavior (3/5 parameters for DIF_21, and none for DIF_31). Specifically, the ballet dancers reduced body sway more during the 2nd interval, resulting in lower DIF_21 for CoP velocity (total and anterior-posterior) andCoP amplitude(medial–lateral) (effect size=0.42–0.54). The correlations between individual CoP parameters and the corresponding DIF_21 and DIF_31 were very small or trivial (r&nbsp

OBJECTIVE: In high-performance sport, the use of self-report measures is expanding. The exploration of wellness states in response to training and performance requires further investigation for professional ballet dancers and athletes. This study therefore aimed to: compare wellness scores between professional ballet dancers and athletes in training and performance; report frequency of self-reported modified participation during training and performance; and report frequency of self-reported inability to participate due to pain and illness in dancers and athletes. METHODS: Fourteen professional ballet dancers (mean 26 yrs, SD 2.6) and 14 sex- and age-matched professional athletes (mean 27.7 yrs, SD 2.9) recorded daily wellness (fatigue, stress, sleep quality and quantity), participation (full, rest, modified, or unable to participate) and activity (performance, training) into a wellness application on their smart phone over a 4-month period. Mixed factorial ANOVAs were conducted to assess the interaction between group (ballet dancers and athletes) and activity (performance and training) on the dependent variables (stress, fatigue, sleep quality, and sleep quantity). RESULTS: Stress and fatigue levels were higher for both dancers and athletes during performance compared to training periods. Dancers recorded lower sleep quantity than athletes, with no difference in sleep quality. Modified participation appears more common in dancers compared to athletes. Dancers and athletes were rarely unable to train or perform/compete over the 4 months. CONCLUSION: Self-reported wellness scores appear sensitive to activity type and can provide valuable information to guide intervention and recovery strategies. Further research on the impact of poor wellness on performance, illness, and injury in professional ballet is warranted.

The purpose of this study was to compare lower extremity (LE) biomechanics and muscle activity between 'new' and 'dead' pointe shoes in professional female ballet dancers performing relevé and arabesque. We compared sway area, peak ankle moments, and tibialis anterior and medial gastrocnemius muscle activation amplitudes. Nine ballet dancers participated (age = 22.2 ± 2.2 years, height = 163.2 ± 6.3 cm, body mass = 50.8 ± 6.5 kg) executed three trials of relevé and arabesque on pointe shoes under two conditions: 'dead' (108-144 training hours) and 'new' (3-36 training hours). While wearing 'dead' pointe shoes, dancers had significantly higher sway area during both relevé and arabesque (

Since its codified genesis in the 18th century, ballet training has largely been unchanged: it relies on the word of mouth expertise passed down generation to generation and on tools that do not adequately support both dancers and teachers. Moreover, top-tier training comes at an exceptional price and only found in a few locations around the world. In this context, artificial intelligence (AI)-based video tools could represent an affordable and non-invasive alternative: they would allow dancers and teachers to quantitatively self-assess as well as enable skilled ballet teachers to connect with a wider audience. In my dissertation research, I study how to design and evaluate AI-based tools for ballet dancers and teachers to quantify performance and facilitate learning.

This study focusses on how peak performance lived experiences (identified as spiritual) during a dance career continued into and influenced the later teaching lives of former ballet dancers...

To determine the differences in the lower limb landing biomechanics of adolescent ballet dancers compared to non-dancers when performing a hop and a stop jump task.Cross-sectional.Laboratory.Thirteen adolescent female ballet dancers (11.8 ± 1.1 years) and 17 non-dancers (10.9 ± 0.8 years) performed hop and stop jump tasks.Vertical ground reaction force, and three-dimensional ankle, knee and hip joint angles and moments during the landing phase.Dancers displayed greater sagittal plane joint excursions during the hop and stop jump at the ankle (mean difference = 22.0°, P 0.001, 14.8°, P 0.001 respectively), knee (mean difference = 18.1°, P = 0.001, 9.8°, P = 0.002 respectively) and hip (stop jump task; mean difference = 8.3°, P = 0.008). Dancers displayed a larger hip extensor moment compared to non-dancers (P 0.001) during the stop jump task only. Dancers also took longer to reach peak vGRF and jumped three times higher than non-dancers (P 0.001) during the stop jump task. No difference in peak vGRF between groups was displayed for either task.Adolescent dancers demonstrate a transfer of landing technique to non-ballet specific tasks, reflective of the greater jump height and sagittal plane joint excursions. This landing strategy may be associated with the low rate of non-contact ACL injuries in female dancers.

Objetivo: Verificar as lesoes musculoesqueleticas mais prevalentes em bailarinos contemporâneos do bale da cidade de Teresina Metodos: sera realizado um estudo transversal descritivo explicativo feito com 12 bailarinos de 18 a 35 anos de idade do bale da cidade de Teresina, onde sera aplicado 3 questionarios. Questionario bipolar- avaliacao de fadiga, nordico musculoesqueletico e outro elaborado pela autora do trabalho. Resultados: Foram obtidos atraves dos questionarios que avaliam dores, fadiga no trabalho e tipos de lesoes nos bailarinos. Conclusao: Pode concluir-se que dor, fadiga pode ocasionar varios tipos de lesoes musculoesqueleticas em bailarinos contemporâneos. Palavras-chaves: Danca, Lesoes musculoesqueleticas, Dor, Bailarinos. Abstract: Objective: To verify the most prevalent musculoskeletal injuries in contemporary ballet dancers in the city of Teresina Methods: a descriptive cross - sectional study will be carried out with 12 ballet dancers from 20 to 40 years of age from the ballet of the city of Teresina, where 3 questionnaires will be applied. Bipolar questionnaire - evaluation of fatigue, musculoskeletal and other Nordic elaborated by the author of the work. Results: They were obtained through questionnaires that evaluated pain, fatigue at work and types of injuries in dancers. Conclusion: It can be concluded that pain, fatigue can cause several types of musculoskeletal injuries in contemporary dancers. Keywords: Dance, Musculoskeletal injuries, Pain, Dan.

The bodies in motion in this special set of articles are those of athletes in stadiums, ballet dancers on stage, and chefs in restaurant kitchens. The articles are first concerned with how such bod...

Ballet training includes exercises of high and moderate intensities, which require breathing control for a good performance. This study describes the thoracoabdominal motion of professional dancers and compares the breathing patterns between professional dancers and non-dancers. Participants of this study were four male and four female (30.33 ± 4.64 years) professional dancers and four male and four female (22.75 ± 1.49 years) non-dancers. The participants executed two breathing manoeuvres while sitting motionless: quiet breathing (QB) and vital capacity (VC). The 3D coordinates of 32 retro-reflective markers positioned on the trunk were used to calculate the volume of the superior thorax, inferior thorax and abdomen. Principal component analysis was applied in the volume variation of each trunk compartment to search for dominant independent variables in a breathing motion pattern. The correlation coefficient was calculated to verify the coordination between the compartments during the breathing manoeuvres. A predominance of the superior thorax or abdomen movement was found in both groups. The professional ballet dancers have an efficient breathing pattern and maintain the same breathing pattern in QB and VC manoeuvres. On the other hand, the non-dancers group showed relevant changes of the breathing pattern to respond to a greater breathing effort, like in VC.

The purpose of the study is to integrate Laban Movement Analysis to coaching approach for Dancer. With LMA/BF, this study is to analyze the dancer’s movement which causes problems, and aim for re-thinking and re-patterning of the movements in accordance with BF to improve upon the problematic movements and prevent further injuries. As a result, through LMA/BF of coaching, some differences were observed in Dancer’s movement. Dancer showed more awareness in his Body and Mind. Also, it helped him think more deeply about every part of his body and try his movements with a whole new perspective. LMA/BF work can then provide the dancers repatterning and reconditioning, and enable them to dance in a more efficient and safer way.

The present study addressed whether motor memory acquired earlier in life through specific training can be maintained through later life with further training. To this end, the present study focused on the training effect of a specific ballet practice and investigated the spinally mediated stretch reflex responses of the soleus muscle in ballet dancers of upper‐middle to old age (60.6 ± 5.4 years old) with experience levels of 28.4 ± 7.4 years (“older ballet” group). Comparisons were conducted with a group of young ballet dancers (“young ballet” group) and groups of both young and older individuals without weekly participation in physical activities (“young sedentary” and “older sedentary” groups). The results revealed natural age‐dependent changes, with reflex responses being larger in older sedentary than in young sedentary individuals. A training‐induced effect was also observed, with responses being smaller in ballet dancers than in sedentary groups of the same age. Furthermore, the responses were surprisingly smaller in the older ballet dancers than in the young sedentary group, at an equivalent level to that of the young ballet dancers. The influence of training, therefore, overcame the natural age‐dependent changes. On the other hand, the onset latencies of the responses showed a solely age‐dependent trend. Taken together, the present is the first to demonstrate that the motor memories in the spinal cord acquired through specific ballet training earlier in life can be maintained and carried forward in later life through further weekly participation in the same training., With the knowledge that human motor system undergoes functional changes after participation in specific motor training, the present study first demonstrated that the motor memories in the spinal cord acquired through participation in specific ballet training earlier in life can be maintained and carried forward in later life through further weekly participation in the training.

Dancers are highly trained athletes who are at significant risk of injury due to the repetitive nature of their movement patterns. Most ballet injuries result from overuse and occur in the lower limbs. Therefore, the behavior of the lower limbs during a basic ballet movement should be studied in order to identify and subsequently correct mechanical factors that may contribute to injuries. This study analyzed a cou-de-pied derrière with demi-plié to piqué arabesque gesture executed by 18 ballet dancers identified in two groups: experienced dancers (EDs) and beginner dancers (BDs). Kinematic, baropodometric, and electromyographic analyses enabled the observation of differences between these study groups with regard to joint angles, velocities, foot pressure behavior, and muscle activation during execution of the gesture. Experienced dancers reached greater hip and lumbar spine hyperextension and demonstrated less forward torso flexion, which enables better execution of the gesture compared to BDs. The highest foot pressure in both groups was found in the first metatarsal, with a tendency toward the great toe. In terms of muscular activation, BDs exhibited lower electrical activity than EDs. It is concluded that: 1. ankle and knee angles in demi-plié are not defined by dancers' expertise; 2. the faster the leg is raised during piqué-arabesque the better the gesture; 3. special attention to the metatarsal heads is required due to the high pressures found in this study; and 4. activation of different muscle groups depends on the complexity of the gesture and dancer's expertise.

Excessive forces and/or loading rates during landing may place ballet dancers at risk for overuse injury. The ability to estimate and monitor the landing forces of ballet dancers could help to improve injury prevention and rehabilitation; however, force platforms are not conducive to testing outside of a laboratory. Fortunately, it may be possible to indirectly assess landing forces via a wearable accelerometer. The purposes of this study were to examine the relationship between impact accelerations, recorded via a pelvis-worn accelerometer, and the peak forces and loading rates during performance of a common ballet manoeuvre, and to examine if a wearable accelerometer is sensitive to fatigue-related changes in landing forces. Fifteen ballet dancers continuously performed a ballet manoeuvre until self-determined exhaustion while impact accelerations and landing forces were simultaneously recorded using an accelerometer and force platforms. We observed very strong, positive relationships between the impact accelerations and the peak forces and loading rates during the landings. In addition, the changes in impact accelerations with fatigue paralleled the changes in the peak forces and loading rates. As a result, it appears that a wearable accelerometer could be used to estimate and monitor landing forces in ballet dancers.

Ballet dancers have finite careers due to the demands placed upon their bodies throughout years of training, study, and performance. The average age a dancer retires is 34 due to persistent stress on their joints and injuries due to mechanical overload or overuse. Proper form is crucial to prevent injury. The aim of this study was to establish benchmarks for normal movement patterns among professional dancers. Ten professional ballerinas were studied. Reflective markers were placed on the pelvis, left and right anterior superior iliac spine (ASIS), and posterior iliac spine (PSIS) to evaluate motion during Barre movements: plié, grand battement, and développé. Pelvis flexion/extension, mediolateral rotation, and torsion were analyzed. These motions test different skills. The plié is a controlled coordinated motion using both legs. The grand battement and développé both require leg extension, one with a quick motion that creates momentum and one using controlled motion that requires strength. Each requires core and pelvis stability to perform accurately and with less injury. Dancers' motions were consistent. Maximum pelvis range of motion for the plié, grand battement, and développé were 8.0, 42, and 50 deg, respectively. This represents usable benchmarks with which other dancers may be compared, for example, those who are at different levels of training, injured, predisposed to injury, or recovering from injury. Early recognition of pathologic movement patterns could benefit professional and amateur dancers by helping to prevent injuries, and potentially improve the quality and length of their careers.

AIMS: Research demonstrates that dancers benefit from reduced injury risk and improved health by engaging in strength training and conditioning (STC). Historic bias within the discipline of dance, however, establishes a long-standing stigma that gains in muscle mass and strength lessen a dancer's aesthetic appearance, and thus many dancers rebuff STC as a supplement to dance training. However, there is growing evidence that dancers and dance educators are beginning to understand the importance of additional resistance training and cardiovascular conditioning. This study explored dancers' perceptions and utilization of STC using a general qualitative approach. METHODS: Twenty-three female collegiate dancers (13 contemporary dancers, 10 ballet dancers, mean age 19.95 x 0.97 yrs) volunteered to participate in this study. The principal investigator conducted individual, semi-structured interviews. RESULTS: Inductive analysis revealed three major themes: 1) evolving body image, 2) motivation, and 3) education. Trustworthiness was established using member checks, peer debriefing, and journaling. This study concluded collegiate dancers utilized STC as a means to enhance the individual's body image. This was driven by a continuum of motivating factors. Although collegiate dancers are utilizing STC, education on STC techniques and practices was minimal. CONCLUSIONS: While further research is needed, results from this study suggest STC could be initiated and promoted in the discipline of dance to further enhance physical fitness and general well-being. Dancers and dance instructors should receive education about the importance of STC within dance training as well as how to safely implement STC exercise into training regimens.

Ballet training has been reported to positively influence balance ability. It is not entirely clear how improved balance ability manifests under standing conditions with different demands on postural control. The aim of the study was to compare balance of ballet dancers and non-dancers in a unipedal stance under different conditions. Twenty-five professional ballet dancers and twenty-five controls completed four unipedal standing balance tests: firm surface with eyes open and closed; foam mat surface with eyes open; and firm surface with eyes open immediately after performing ten 360° whole-body turns. The centre of pressure (COP) data were obtained with a force platform and the direction-specific standard deviations, velocities, and sample entropy of the COP displacement were computed. A three-way analysis of variance was used to compare groups, genders, and conditions. For standing immediately after performing ten turns, the postural sway parameters were significantly larger in the control group compared to the ballet dancers in both men and women. In this stance condition the values of postural sway and COP velocities in the control group were larger in the men compared to the women. For both genders in the control group all postural sway and COP velocity parameters were larger in standing with eyes closed and standing after performing 10 turns compared to standing with eyes open on both firm and foam surface. In the ballet dancers all COP velocity parameters were larger in standing with eyes closed compared to all other conditions. The results from the present study indicate that professional ballet dancers do not have a better general balance ability than untrained subjects.

Dancing is mainly regarded as a form of art, which has been linked to the expression of emotions. Imagery is a well-known technique for enhancing performance. Additionally, specific personality traits are likely to facilitate performance. In the dancer’s performance, regarding the body as a tool is crucial. The following study examines personality and perceived body esteem as predictors of imagery ability in professional dancers. We analyzed two experimental groups, namely ballet dancers and professional dancers of other styles, and a control group. A sample of 249 people took part in the study: 155 women and 94 men aged 18–56 years. Participants filled in The Imagination in Sport Questionnaire and Polish adaptations of the Big Five Inventory—Short and the Body Esteem Scale. Results indicated that while each experimental group differed significantly from the control group in terms of their imagery ability, there were no differences between the two experimental groups. Findings revealed that personality traits, mainly higher openness to experience, and body esteem, mainly related to physical condition, were significant predictors of higher imagery ability in all groups.

To progress to a high level in classical ballet, en pointe is a requirement. The aim of this literature review was to evaluate the available evidence relating to readiness for dancing en pointe, including injury rates in the adolescent dancer population, screening tools, and pre-pointe training methods.It has been emphasized that young dancers are a demographic at increased risk of injury, especially as they progress through the growth spurt and increase their training hours. Dancers are commonly screened at the pre-pointe level, but unfortunately the majority of evidence resulting from this process, as reported in the literature, is subjective in nature. Hence, there is large variance regarding an appropriate time or level to commence en pointe training,and it remains unclear what dance teachers should be looking for in making this decision. A further paucity of evidence is demonstrated with regard to pre-pointe training protocols or instruction; in this review, no published literature was found on the topic. As such, there is a clear need for further study of pre-pointe screening and en pointe training protocols. Refereed/Peer-reviewed

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.

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 gymnastics, and swimming athletes, and to predict SPA by global self-esteem, pressure to be thin, BMI, and training age. In the study participated 23 ballet dancers, 47 rhythmic gymnastics athletes, and 32 swimming athletes. They completed self-reported questionnaires assessing SPA, perceived pressure to be thin by coaches, parents and friends, global self esteem, and body image. There were no significant differences between groups in SPA, global self-esteem, perceived pressure to be thin, and in rates of body image (χ2 = 1.65, p = .800). Hierarchical linear regression showed that SPA was predicted significantly by global self-esteem and BMI (R = .58, R2 = .34, F(...