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Abstract 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.

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]

Rastislav Varga was born in September 29, 1955 in Bački Petrovac in a Slovak family by mother Želmira (b. 1931) and father Pavel (b. 1932) . He had two sisters, the eldest Vlasta (1951) and twin sister Svetluša (1955). The family moved to Novi Sad (1965), where brother and sister enrolled together in the Primary Ballet School, but only Rastislav (1973) graduated from the Secondary Ballet School. In the same year, he became a permanent member of the Ballet troup (although he played in children's performances at the Ballet while still a student at the Ballet School). A scholarship at the Ballet School in Leningrad (1974–1975) with pedagogue I.J. Umrichin was crucial for his professional advancement. There, in addition to his knowledge of ballet, he made many friends and perfected his Russian language. After returning to the ballet collective in Novi Sad, he got his first soloist and leading roles (in 1975 in the children's ballet Peter Pan). He earned the title of principal of the Ballet of the Serbian National Theater in 1983. Data on his professional career preserve the performances - a total of 58 different roles played during his professional life in the Ballet of the Serbian National Theater (SNP) - as well as numerous reviews in written, electronic media or in encyclopedic references. Critics evaluate differently which role is the best in his versatile career. However, as if there was some tacit agreement, it were the roles of the prince in Giselle, Swan Lake, Cinderella, and The Nutcracker that marked his acting style. This was followed by roles in children's ballets and with themes from everyday life (for example, The Wicked Woman) that revealed his gift for the comic. During twenty years (1975–1995) he played 14 solo roles in operas and operettas, and collaborated with 30 choreographers from the country and abroad (with some more than once). He remained connected with the Ballet School in Novi Sad until the end of his career, teaching duet dancing. He also contributed to the collective as director of the SNP Ballet on two occasions: from 1994 to 1996, and from 2005 to 2008 years. He was occasionally engaged in choreography: on the occasion of the 40th anniversary of the liberation of the city of Novi Sad (1984), he choreographed to the music of Gabor Lenđel for the cantata about freedom, “Open the door to vision” (“Latomasnak ajtot nyitni”), directed by Karol Wiček at the Novi Sad Theater. For his multiple contribution to the development of ballet art, he received three awards in his theater: Annual awards for the role of Allen in the ballet The Wicked Woman (“Vragolanka”) in 1991; Annual award for the role of Abbot Danilo in The Autumn of the King (1994), and the "Jovan Đorđević" gold medal (1996). He was the winner of the Spark of Culture award of the Cultural and Educational Community of Vojvodina for his pedagogical work and his contribution to the development of ballet art (2007).

Posterior ankle impingement syndrome is mainly seen in ballet dancers and frequently associated with specific movements in ballet such as pointe and demi pointe in which the whole-body weight is applied to the maximally plantar flexed ankle. We performed arthroscopic debridement for 2 dedicated ballet dancers on the intervening soft tissue causing posterior ankle impingement syndrome (PAIS). In both cases, T2-weighted magnetic resonance imaging (MRI) revealed low-signal intensity of meniscus-like soft tissue without abnormal osseous findings, connecting from the posterior side of the talus to Kager's fat pad. To examine the intervening soft tissue in detail, we performed histological evaluation by hematoxylin and eosin staining, Safranin O fast green staining, and immunohistochemistry for type I collagen and type II collagen. Hematoxylin and eosin staining showed that there was cartilage-like tissue including chondrocyte-like cells in contact with fibrous tissue. The extracellular matrix in the cartilage zone was consistently stained by Safranin O staining and type II collagen without any staining with type I collagen. These findings suggested that the meniscus-like soft tissue appearing as low-signal intensity on MRI at the posterior side of talus included hyaline-like cartilage. To the extent of our knowledge, these were rare cases of hyaline-like cartilage generation causing PAIS in ballet dancers, which might be associated with ballet specific movements resulting in chondrogenesis. [ABSTRACT FROM AUTHOR]

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The ankle plays an essential role in establishing lower extremity stability that is important for such physically demanding sports as ballet. Nonphysiological movements in the joint that force the ankle into extreme positions and repetitive stress during intense practice and performances predispose to the development of pathological conditions. Radiological studies are an integral part of diagnostic algorithm for the search of the causes of pain. The aim was to conduct a literature review on diagnostic imaging of ankle pathology in ballet dancers. Methods Literature searching was performed via databases of PubMed, Cochrane library, eLibrary.ru, etc. using the following terms: ankle pathology in ballet dancers, bballet ankle imaging, ballet ankle. Conclusions Standard radiographs are usually the initial screening modality to evaluate patients, including ballet dancers with lower extremity symptoms, nonetheless, MRI provides a superb global evaluation of each joint, including deep structures and detecting possible causes of pain.

Due to the drastically rising coronavirus disease (COVID-19) incidence since March 2020, social life was shut down across the globe, and most opera houses were closed. As a result, there are limited data on SARS-CoV-2 infections among artists. The Bavarian State Opera has been reopened in September 2020. This study aimed to identify the incidence of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) infection among employees in the Bavarian State Opera. In addition, the various hygiene strategies for the work groups within the institution are described. During the study period from September 1, 2020 to July 31, 2021, 10,061 nasopharyngeal swabs were obtained from 1,460 artistic staff members in a rolling system. During the entire study period, 61 individuals tested positive for SARS-CoV-2. None of the patients had a severe disease course. Compared to the seven-day-incidence per 100,000 German inhabitants, the estimated corresponding incidence among employees was lower at 37 weeks and higher or equal at 9 weeks. Among the infected individuals, 58.3% were symptomatic, 23.3% were presymptomatic, and 18.3% were asymptomatic. Forty-five percent of employees reported that they had been infected in their private environment, 41.7% suspected that their colleagues were the main contact, and 13.3% were unsure about the origin of their infection. Twenty-four diseased employees were ballet dancers, eight from the orchestra, seven from the administration, seven from the choir singers, six from the costume department, 10 from technical support, and one guest solo singer. In the 2020/2021 theater season, increased SARS-CoV-2 infections and large disease outbreaks were avoided at the Bavarian State Opera. Hygiene strategies, that existed since the beginning, was specifically designed for various work areas in the opera. Regular, mandatory PCR testing and follow-up of positive cases with the issuance of quarantine were performed. Using this disease management approach, artistic work at and reopening of the Bavarian State Opera was feasible with a well-controlled risk. [ABSTRACT FROM AUTHOR]

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]

Purpose: The aim of this study is to analyse the body type for ballet training. Material and Methods: In the 2013-2014 academic year Cukurova University State Conservatory Ballet Main Art Branch recieved 8-11-year-old students admitted to study ballet training, compared to students who were not accepted by the accepted students. Convenient and inconvenient students for ballet education were identified as two study groups. While conevient experimental group, inconvenient students were evaluated as control group. This study ballet students determine their body type and includes anthropometric measurements to evaluate objectively the criteria for ballet training. In determining the Heath-Carter body type classification is used. Results: In our study, Cukurova University State Conservatory accepted applicants for training in ballet, for 51 female students were enrolled. As 31 girls were convenient for ballet education, 20 girls were not. While the average of age, height and weight measurements of convenient students were 9.51+/-0.67, 1.38+/-0.07 m and 30.03+/-4.85kg respectively, the same dimensions in inconvenient students, 10.20+/-0.89, 1.43+/-0.10 m and 39.06+/-6.94 kg respectively. Measurements of diameter, circumference and subcutaneous fat thickness were found less for convenient students. Major body type of convenient students was identified as mesomorph, whereas major body type of inconvenient students was identified as endomorphy. Conclusion: These parameters used in convenience for classical ballet education were evaluated objectively. The observations presented in this study have defined physical features and need to be taken into consideration for evaluate and guidelines for determine the deficiency in literature. [Cukurova Med J 2016; 41(4.000): 744-753]