Ballet Research Articles

Stage Concept of the Golden Calf Dance in Myroslav Skoryk Opera "Moses"

The authors of the article considered the peculiarities of the stage interpretation of the vocalchoreographic component in Myroslav Skoryk's opera "Moses", namely the scene of worship before the Golden Calf. Two productions of this opera, which took place in Kyiv and Lviv, were analyzed. The relevance of this plot is due to the appeal to works of a parable direction in the fateful period for mankind, times when one has to choose one's own path on the basis of the spiritual treasury of Christianity - the Bible. The essence of the dance before the Golden Calf is a kind of echo of ancient Egyptian honors performed before the sacred Apis bull and Assyro-Babylonian religious rites dedicated to the god Baal. The characteristic signs of the pagan ritual of worshiping the Golden Idol, their manifestation in an orgiastic, passionately seductive dance with the excitement of the winefueled imagination of the crowd, driving it to frenzy and immoral acts, are proven. In order to create an artistic and holistic performance, it is necessary to synthesize oratorical features (the leading function of the choir, symbolic-generalized interpretations of events with their static-slow-motion unfolding) with operatic specifics (dynamic directing, bright scenography, expressive musical dramaturgy). The article notes the logic of the dance mise-en-scene with the ballet appearance from the choristers who are opponents of Moses, the ballet dancers gradually shed their clothes, and the audience watches the transformation of a religious ceremony into an orgy in the Lviv opera version. The Lviv version differs from the Kyiv version in that the latter has an interpretation of the idolatry scene with a weakly expressed conflict between the two ideological camps due to a simplified miseen-scène of introducing the ballet into the dance action without delineating its affiliation with Moses' opponents. The conformity of the stage solution of the dance of the Golden Calf in the Lviv and Kyiv versions of the opera to the creatively reinterpreted ancient pagan cult of fetishization of wealth and power is proven. Attention is focused on the logic of mise-en-scène in the Lviv version of the play, and on the psychologization and personification of the characters' images in the Kyiv version. The need for complex integrated studies of the use of ancient cult rituals in opera performances with the synthesis of historical, cultural, theological, ethical-aesthetic, socio-psychological, art-based foundations of the existence of a certain ethnic group in the conditions of the development of civilizational processes is predicted.

Jumping demands during classical ballet class.

Ballet class represents a considerable portion of professional ballet training, yet the external training load demands associated with class-and particularly the jumping demands-have not been investigated. The purpose of this study was to measure the jumping demands of ballet class by sex and rank. Eleven female and eight male elite professional ballet dancers participated in 109 ballet classes taught by 12 different teachers. Jump counts and jump heights were measured during each class. A Poisson generalized linear mixed effects model was used to examine the differences in jump counts between sexes and ranks. Greater jump counts were observed during class in men than in women (153, 95% confidence intervals [CI] [137, 170] vs. 119, 95% CI [109, 131], p = 0.004) and in junior ranking dancers compared with senior ranking dancers (151, 95% CI [138, 165] vs. 121, 95% CI [108, 135], p = 0.006). Female junior and senior ranking dancers jumped at rates of 9.2 ± 2.6 and 8.6 ± 4.7 jumps·min-1 , respectively, while male junior and senior ranking dancers jumped at rates of 9.1 ± 2.6 and 8.7 ± 2.6 jumps·min-1 , respectively. Across all classes, 73% of jumps observed were below 50% of maximum double-legged countermovement jump height. Unlike rehearsals and performances, class offers dancers an opportunity to self-regulate load, and as such, are a useful session to manage jump load, and facilitate gradual return-to-dance pathways. Communication between health care and artistic staff is essential to facilitate load management during class.

BALLET DANCERS OF THE TURN OF THE 20TH CENTURY IN THE PLASTIC INTERPRETATION OF B. FREDMAN-KLUZEL

The article is devoted to notable events in the theatrical life of the turn of the 20th century, when ballet dancers often became models for artistic works. The author refers only to one sculptor B. O. Fredman-Kluzel (1878-1959), whose name is little known in art history, despite the fact that some of his works are in large museum collections. They partly served as a source for the research, as well as old printed publications in which reproductions of the sculptor’s works are found and Sotheby’s catalogues, because his works were auctioned during S. Diaghilev’s “Russian Ballet Seasons” and most of them are abroad. The methodology of this study is based on a systematic, interdisciplinary and stylistic approach. The author comes to the conclusion that the signifi cance of the artistic heritage of B. O. Fredman-Kluzel is determined by the achievements of the ballet theatre itself, the staging principles of M. Fokin, outstanding personalities, as well as the genre, content and aesthetic side of choreographic works created at the turn of the 20th century.

Different Types of Training Lead to Different Levels of Cardiovascular Energy Dissipation: Young Soccer Players Versus Ballet Dancers.

Arterial wall viscosity is a source of energy dissipation that takes place during mechanical transduction. In our previous studies, a "global" damping effect in endurance training athletes was introduced, verifying that endurance-athletes dissipate greater pulsatile energy in the circulation compared with healthy untrained subjects. To investigate the wall energy dissipation in the vascular bed for each beat and within the conceptual framework of ventricular-arterial coupling, in order to elucidate if different types of training could lead to differentiated levels of cardiovascular energy dissipation. Data from subjects with different kinds of training (soccer players and ballet dancers) have been collected noninvasively and compared with a control group of untrained individuals to analyse the differentiating characteristics of the subjects, especially in terms of Stroke Work Dissipation (WDIS). In the endurance-trained individuals, an enhanced WDIS has been observed compared to the untrained individuals (p<0.05). However, non-significant differences were found regarding ballet-dancers group. Changes in wall energy dissipation are developed under high intensity endurance training routines.

Ballet without Borders by Vyacheslav Samodurov: the Formation of the Dancer’s Style on the European Stage

Vyacheslav Vladimirovich Samodurov is the embodiment of Russian modern ballet. The period when he worked with the companies of the Dutch National Ballet and the Royal British Ballet was a key one not only for Samodurov as a dancer, but also had a significant influence on his future activities as a director and choreographer. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. Samodurov’s productions have original and recognizable stylistic features and are of interest to audiences and critics, and are studied by theater and art historians. At the same time, the path of Samodurov-dancer has not received a comprehensive comprehension from the perspective of the evolution of his style and image. This fact determines the relevance of the topic of the article. The purpose of the research is to identify the role and influence of the foreign period of the master on the formation of his individual style as a choreographer. The novelty of the article lies in the fact that for the first time a study of a scientific nature raises the question of combining the art of Samodurov’s national ballet school and the experience he gained in the European ballet. On the basis of analysis of the available facts of Samodurov’s biography, memoirs of his colleagues from the European companies, and information obtained in conversations with the choreographer, generalizations were made which testify to preservation of V.V. Samodurov’s creative experience. A generalization has been made to show that the artistic experience of Samodurov, gained during his period of collaboration with foreign companies, has been preserved in his contemporary work as Artistic Director and Director of the Ekaterinburg State Academic Opera and Ballet Theatre (also known as the “Ural Opera Ballet”).

Timing is everything, but does it really matter? Impact of 8-weeks morning versus evening iron supplementation in ballet and contemporary dancers

ABSTRACT The effectiveness of a morning versus evening oral iron supplement strategy to increase iron stores was explored. Ballet and contemporary dancers with serum ferritin (sFer) < 50μg/L (n = 14), were supplemented daily with 105 mg elemental oral iron in either the morning (FeAM) or evening (FePM) for 8 weeks. A control group (n = 6) with sFer >50μg/L were given no supplement over the same period. Dancers’ sFer were measured at baseline and post-intervention. Assessment of daily training load, dietary intake, and menstruation were made. A significant interaction (p < 0.001) showed the within group sFer change over the 8-week intervention in FeAM (+25.9 ± 10.5μg/L) and FePM, (+22.3 ± 13.6μg/L) was significantly different to CON (−30.17 ± 28.7μg/L; both p = 0.001). This change was not different between FeAM and FePM (p = 0.778). sFer levels within FeAM and FePM significantly increased over the 8-weeks; however, they significantly decreased in the CON group (all p < 0.05). Post-intervention sFer levels were no longer different between the three groups (p > 0.05). Training load, dietary intake, and number of menstrual cycles incurred were similar between FeAM and FePM (p > 0.05). Oral iron supplementation in either the morning or evening appears equally effective in increasing sFer levels in dancers with sub-optimal iron status.

Correlates of dispositional flow and emotional intelligence: an exploratory study with ballet dancers

ABSTRACT This work explored the dynamics of trait emotional intelligence (EI) and dispositional flow in a sample of ballet dancers since research on these topics is scarce in the artistic domain. This study analyses whether EI correlates and predicts flow experiences and whether dancers’ experience influences their levels of EI and flow. One hundred and fifty-two Portuguese ballet dancers, mostly females (90.7%), aged 15–18 years-old (69.7%), and students (87.4%), answered the Trait Emotional Intelligence Questionnaire – Short Form (TEIQue SF), Dispositional Flow Scale (DFS2), a dance practice questionnaire and a sociodemographic questionnaire. The results confirmed the positive correlation between trait EI and flow (r = .43) and the predictive effect of dancers’ trait EI on their flow experiences (ß = .43). Moreover, differences on dancer’s trait EI and flow were found according to their experience. This study corroborates previous associations and reinforces research in the artistic domain as a privileged context of optimal human achievement.

Ballet in a Box: Iso-Ballet, Lockdown, and the Reconstruction of the Domestic Space

In the first wave of the Covid-19 pandemic, the principal mitigation strategies were physical distancing and the dramatic restriction of socializing with others. The absence of live performances meant arts institutions had to reconsider their relationship with audiences and thoroughly rethink what they do. While many institutions uploaded videos of past performances, some dance companies created new performances specifically for online media that have provided an opportunity for dancers to remain active and visible during the COVID lockdowns. We borrow the term iso-dance to collectively refer to these performances, a term that succinctly invokes both the medium (dance) and the conditions under which the performance is conducted (isolation). We examine how performances of ballet dancers from professional companies were informed by the home environment. We propose the examination of iso-ballet helps us understand relationships between video, bodily movement and the particular affordances of the home, as well as invite us to question the ways we inhabit and constitute places through creative, bodily practices.

Balletic bodies under lockdown: The consequences of a pandemic for highly disciplined habitus.

Like other elite athletes, ballet dancers are highly dedicated to the pursuit of their vocation. They work to perfect their bodies, their movements and their expression of the art form. The lockdowns that occurred during the COVID-19 pandemic represented a significant interruption to the extraordinary but everyday lives of ballet dancers, creating unique environments where exploration of the embodied habitus of ballet can be further investigated. The impacts of lockdown upon dancers were explored via a series of interviews with 12 professional dancers from Germany. Framed by previous research, theorising the balletic body from a Bourdieusian perspective, interview data were analysed using Interpretative Phenomenological Analysis. Our research highlights the way in which COVID-19 lockdowns and associated restrictions disrupt the habitus of dancers and results in a form of suffering that is comparable to injury or chronic illness. Our research suggests that individuals respond to the 'structural injuries' of lockdown measures in a manner comparable to the way they respond to physiological injury. Thus, dancers sought to repair or re-establish the social structures they ordinarily inhabit whilst the inevitable limitations of such efforts engendered occasions for reflexive thinking about their role, careers and identity as dancers.

Excessive Femoral Anteversion Leading to Symptomatic Posterior Femoroacetabular Impingement, Cam Deformity of the Posterior Femoral Head-Neck Junction, and Anterior Hip Instability in a Dancer: A Case Report.

An adolescent female dancer with excessive femoral anteversion presented with posterior and anterior hip pain aggravated by poses that required extension and external rotation. Imaging revealed an atypical cam deformity of the posterior head-neck junction. During surgery, the posterior head-neck junction was observed to impinge on the posterior acetabulum with anterior subluxation of the hip. After a derotational femoral osteotomy, the patient experienced resolution of her symptoms. Excessive femoral anteversion can lead to reactive cam deformity, posterior intra-articular impingement, and anterior hip instability in patients who require repetitive hip extension and external rotation, such as ballet dancers.

Posterior Hip Impingement at Maximal Hip Extension in Female Patients With Increased Femoral Version or Increased McKibbin Index and Its Effect on Sports Performance.

The location of posterior hip impingement at maximal extension in patients with posterior femoroacetabular impingement (FAI) is unclear. To investigate the frequency and area of impingement at maximal hip extension and at 10° and 20° of extension in female patients with increased femoral version (FV) and posterior hip pain. Cross-sectional study; Level of evidence, 3. Osseous patient-specific 3-dimensional (3D) models were generated of 50 hips (37 female patients, 3D computed tomography) with a positive posterior impingement test and increased FV (defined as >35°). The McKibbin index (combined version) was calculated as the sum of FV and acetabular version (AV). Subgroups of patients with an increased McKibbin index >70° (24 hips) and FV >50° (20 hips) were analyzed. A control group of female participants (10 hips) had normal FV, normal AV, and no valgus deformity (neck-shaft angle, <139°). Validated 3D collision detection software was used for simulation of osseous impingement-free hip extension (no rotation). The mean impingement-free maximal hip extension was significantly lower in patients with FV >35° compared with the control group (15° ± 15° vs 55° ± 19°; P < .001). At maximal hip extension, 78% of patients with FV >35° had osseous posterior extra-articular ischiofemoral hip impingement. At 20° of extension, the frequency of posterior extra-articular ischiofemoral impingement was significantly higher for patients with a McKibbin index >70° (83%) and for patients with FV >35° (76%) than for controls (0%) (P < .001 for both). There was a significant correlation between maximal extension (no rotation) and FV (r = 0.46; P < .001) as well as between impingement area at 20° of extension (external rotation [ER], 0°) and McKibbin index (0.61; P < .001). Impingement area at 20° of extension (ER, 0°) was significantly larger for patients with McKibbin index >70° versus <70° (251 vs 44 mm2; P = .001). The limited hip extension found in our study could theoretically affect the performance of sports activities such as running, ballet dancing, or lunges. Therefore, although not examined directly in this study, these activities are not advisable for these patients. Preoperative evaluation of FV and the McKibbin index is important in female patients with posterior hip pain before hip preservation surgery (eg, hip arthroscopy).

An Intervention Program Based on Motor Coordination Principles Improves Knee Alignment in Pre-Professional Ballet Dancers

The practice of classical ballet requires constant, prolonged physical training periods, and the repetition of aesthetic movements that exceed anatomical limits. Joint misalignment during sustained posture or movement execution is one of the principal risk factors for injury in the dance world.

Developing the Temporal and Order Characteristics of a Dance-Specific Star Excursion Balance Test (dsSEBT).

Previous studies have made crucial steps toward developing a dance-specific balance test to challenge dancer's balance capabilities wherein positional characteristics, timing, as well as reach order were altered. However, the authentic performance nature of the protocols could be questioned. The aim of this study was to examine the effects of different tempo and order variations on the previously developed Dance-Specific Star Excursion Balance Test (dsSEBT). Twenty- two female dancers voluntarily took part in the research (162.68 ± 6.57 cm; 61.35 ± 11.25 kg). This research looked at 3 different temporal variations as well as an alternate reach order, to the traditional order, to examine the effect it may have on individual spoke scores. Reach distances (% of limb length), center of pressure (cm2), and error scores were measured. Overall, the varying tempos did not create a significant change in any of the variables measured (P = .067-1.00) which suggests that dancers have a unique ability to adapt to temporal changes due to the nature of ever-changing tempos in class and performance. Additionally, the new reach order did not affect the difficulty level of each individual spoke, which agrees with previous research suggesting that the crossed side and crossed front spokes are in fact the most challenging spokes for ballet and contemporary dancers to accomplish. Results support the utilization of all 8 spokes of the dsSEBT in identifying balance deficits in this genre of dancers. The data collected in this study provides useful baseline measurements to further develop a reliable dance-specific dynamic balance test protocol to be used by ballet and contemporary dancers.

Spinal Counts, Impact, and Partnering Movements in Ballet, Modern, and Hip Hop dance: A YouTube Video Analysis Study.

Dancers have self-reported a link between spinal extension movements and low back pain (LBP). Researchers have not reported the total number or frequency that spinal movements occur in ballet, modern, or hip-hop dance classes or performances. The purpose of this study was to report the number of spinal movements dancers are exposed to in different dance environments. We analyzed 65 dance videos on YouTube.com for dance movements within 7 dance environments: ballet class and performance, modern class and performance, and hip-hop breaking, ciphers (large groups), and battles ("1v1s"). Two reviewers recorded counts of spinal (spinal flexion, extension, lateral flexion, and rotation), impact (jumps, leaps, and falls), and partnering movements (lifts, catches, and leans). Data analyses were processed in Jamovi (the jamovi project, Sydney, Australia). We reported movement totals, percentages, frequency, ranges, means with standard deviations (SD), and medians with interquartile range (IQR). We calculated significant differences using Mann-Whitney U tests. Video length ranged from 3 to 141 minutes (mean ± SD: 38.4 ± 38.3, range: 138). the average spinal extension movements ranged from 2 ± 0.8 to 7 ± 9.6 movements per minute across genres. Modern dance class had the most spinal flexion (89 ± 53.6), rotation (60 ± 40.8), and lateral flexion (74 ± 20.7) movements. Ballet performance had the most spinal extension movements (77 ± 69.8), jumps (74 ± 48), and leaps (19 ± 18.2). Hip-hop breaking had the highest number of falling movements (2 ± 2.3). Partnering movements were only present in ballet performance, modern dance performance, and hip-hop breaking environments. Movements that increase LBP occur often in all 3 dance genres. Dancers can expect frequent exposure to spinal extension movements; therefore, we recommend strengthening back and core musculature for all dancers. We recommend that ballet dancers also strengthen their lower extremity muscles. For modern dancers, we recommend strengthening their obliques. For hip-hop dancers, we recommend increasing muscular power and muscular endurance.

Pregnancy and delivery after lumbosacral junction fixation: A clinical observation

The clinical signs of spondylolysis and spondylolisthesis most commonly appear at a young age in professional athletes and ballet dancers. The development and improvement of diagnostic methods and surgical treatment techniques for these pathologies lead to an increase in the number of patients of reproductive age with implants in the lumbosacral junction. A multidisciplinary approach in the management of pregnancy and determination of the delivery method in women with this pathology allows for safe reduction in the incidence of unwarranted operative delivery without worsening maternal and perinatal outcomes. This study presents the clinical case of a patient who had surgery for spondylolysis and spondylolisthesis and delivered successfully through natural childbirth at full-term gestation.

Gluteal Muscle Size and Quality in Professional Ballet Dancers Compared to Non-Dancing Athletes.

Professional ballet dancers load their hips in extreme ranges of motion and commonly report hip pain. Evaluating gluteal muscle size and quality may help guide exercise programs. Objectives of this study were to compare gluteal muscle size and quality (fatty infiltration) in ballet dancers compared to athletes; and to investigate the relationship between gluteal muscle size and quality, and reports of hip-related pain. This study was a case-control design. Professional ballet dancers (current and retired, n = 49, mean age 35 years, range 19-63) and age and sex-matched athletes (current and retired, n = 49) underwent magnetic resonance imaging of both hips. Muscle cross-sectional areas (CSA) were obtained at standardized landmarks for gluteus maximus (GMax) and gluteus medius (GMed). Full muscle volume was calculated for gluteus minimus (GMin). Fatty infiltration was rated using the Goutallier classification system. Muscle size was compared between groups using linear mixed models. Fatty infiltration was compared using a mixed model binary logistic regression. Hip-related pain, participation status, limb side and sex were included as covariates. Ballet dancers had significantly larger GMax (upper P < .01, middle P < .01, lower P = .01) and GMed (level of anterior inferior iliac spine P < .01, greater sciatic foramen P < .01) CSA and larger GMin volume (P < .01), when normalized to weight. There was no difference in fatty infiltration ratings between dancers and non-dancing athletes. Retired dancers and athletes reporting hip-related pain were more likely to have fatty infiltration in GMax lower (P = .04). Gluteal muscles are larger in ballet dancers compared to athletes suggesting high-level loading of these muscles. There is no relationship between hip-related pain and gluteal muscle size. Dancers and athletes have comparable muscle quality.

Pre-Season Screening Assessments: Normative Data for Pre-Professional Ballet Dancers.

Pre-professional dance is high-risk, with injury incidence up to 4.7 injuries/1000 dance hours. Pre-season screening measures have been utilized to assess risk factors for dance-related injury, however normative values haven't been established for a pre-professional ballet population. The purpose of this study was to establish normative values of ankle and hip joint range of motion (ROM), lumbopelvic control, and dynamic balance pre-season screening measures for pre-professional ballet dancers. 498 adolescent pre-professional ballet dancers [n = 219 junior division (194 female, 25 male; mean age: 12.9±0.9 year); n = 281 senior division (238 female, 41 male; mean age: 16.8±1.5 year)] participated in baseline screening tests across 5 seasons (2015-2019). Baseline measures took place at the beginning of each academic year: ankle ROM [dorsiflexion (deg); plantarflexion (PF) (deg)], total active turnout (TAT) (deg), lumbopelvic control [active straight leg raise (ASLR) (score); one leg standing test (OLS) (score)], and dynamic balance [unipedal balance (sec); Y-Balance Test (cm)]. Percentiles for ankle dorsiflexion ranged from 28.2° (male senior division, 10th percentile) to 63.3° (female junior division, 100th percentile). For PF, percentiles ranged from 77.5 to 111.8° (male junior division, 10th percentile; male senior division, 100th percentile). Percentiles for TAT for all participants ranged between 121.1° and 131.0°. For the ASLR, the proportion of participants moving with compensation (pelvis shifting) was between 64.0% and 82.2%. For OLS, 19.7% to 56.1% of dancers had a positive score (hip hiking). Percentiles for dynamic balance ranged from 3.5 to 17.1 seconds (unipedal dynamic balance) and 75.8 to 103.3 cm (YBT composite reach score) across all groups. The establishment of normative values of pre-season screening measures among a pre-professional ballet population can be used to determine areas to target during training, recognize individuals with possible injury risk, and inform return to dance protocols following injury. Comparison with other dancer/athletic populations will also provide insight into the performance of dancers and identify areas in need of improvement.

Lumbopelvic Muscle Mobility and Resistance and their Association with Musculoskeletal Pain in Ballet Dancers.

Objective The present study analyzes ankle mobility and lumbopelvic muscle mobility and resistance. In addition, it identifies factors associated with musculoskeletal pain in young ballet dancers. Methods This is a quantitative, descriptive, cross-sectional study evaluating 14 ballet dancers aged 12 to 16 years old. We used the following instruments: a) Nordic Musculoskeletal Symptom Questionnaire (NSQ) for musculoskeletal pain assessment; b) leg lateral reach test, lumbar lock, and rotation test (for trunk mobility analysis) and lunge test (for ankle mobility evaluation); c) front bridge, lumbar extensor, and lumbar flexor muscles tests to assess lumbopelvic complex resistance. Results The main complaints reported by ballet dancers were pain in the low back area and in the lower extremities, especially in the knee (57.1%). Those with low back pain had significantly lower lumbar mobility ( p = 0.05) and lower ankle mobility on both sides ( p ≤ 0.05). Dancers with knee pain presented significantly lower muscular trunk extensor muscle resistance ( p = 0.05). Conclusions Our study revealed significant associations between the lumbopelvic complex function and musculoskeletal symptoms, supporting the implementation of preventive strategies.

Body dissatisfaction, ideals, and identity in the development of disordered eating among adolescent ballet dancers.

Little is known about how female adolescent ballet dancers-a group at high-risk for the development of body dissatisfaction and eating disorders-construct body ideals, and how their social identities interact with body ideals to confer risk for disordered eating. Using a novel body figure behavioral task, this study investigated (1) whether degree of body dissatisfaction corresponded to severity of disordered eating thoughts and behaviors, and (2) how ballet identity corresponded with ideal body figure size among adolescent ballet dancers. Participants were 188 female ballet dancers ages 13-18 years who completed self-report measures of study constructs and the behavioral task. Linear regression models indicated that more severe body dissatisfaction was positively associated with increased disordered eating thoughts and behaviors (p < .19), except for muscle building (p = .32). We also found that identifying more strongly as a ballet dancer was correlated with having a smaller ideal body size (p = .017). Findings from this study suggest desire to achieve smaller body sizes is correlated with more severe disordered eating endorsement and stronger ballet identity. Instructors and clinicians may consider assessing the extent to which individuals identify as a ballet dancer as a risk factor for disordered eating and encourage adolescent dancers to build and nurture other identities beyond ballet. Eating disorders are debilitating conditions that can lead to malnutrition, social isolation, and even premature death. Though disordered eating thoughts and behaviors can affect anyone, adolescents in physically demanding and body image-driven activities including ballet dance are particularly vulnerable. Investigating how factors like body dissatisfaction and strength of identity are associated with disordered eating among high-risk groups is crucial for developing effective prevention and intervention methods that minimize harm.

Joint Hypermobility and Fatigue Are Associated With Injuries in a Group of Preprofessional Ballet Dancers.

Strenuous preprofessional ballet training places young students at an increased risk of injury. This represents a major concern for aspiring dancers since a link has been described between injury and dropping out. It is therefore important to identify physical and psychological factors related to injuries in dance for prevention purposes. In this cross-sectional study, we explored the frequency and characteristics of injuries, as well as their physical and psychological determinants in preprofessional ballet dancers. Seventy-three participants (women = 75.6%; mean age = 13.7; SD = 1.8) were evaluated with the Beighton criteria for joint hypermobility and self-questionnaires assessing injuries in the last 18 months, fatigue, fear of injury, and motivation. Most of participants (61.6%) experienced injuries in the last 18 months, mainly in the lower limbs, and due to overuse. Multivariate analyses showed that joint hypermobility and fatigue predict injury status in this sample. These results confirm previous reports suggesting that physical factors such as fatigue and joint hypermobility, that are frequent in ballet dancers, should be taken into account in order to prevent injuries.