Ballet Research Articles

Turning Movement into Words: The Technique Writings of Tamara Karsavina and Agrippina Vaganova

The Ballerina Tamara Karsavina’s career as a writer deserves attention and warrants a further assessment of her legacy. She left an impressive body of writing that documents her history and describes ballet’s specific and complex vocabulary of movement. I focus on Karsavina’s writing about ballet technique so as to shed light on her teaching approach and dance values through a contrast with those of her near contemporary in the Imperial Ballet School and Company, the famed pedagogue Agrippina Vaganova. Particular emphasis is given to Vaganova’s Basic Principles of Classical Ballet, Russian Ballet Technique and to Karsavina’s extensive writings in The Dancing Times.

ТРАНСФОРМАЦИЯ ФАНТАСТИЧЕСКОГО СЮЖЕТА В ЖАНРОВЫХ СТРУКТУРАХ ТАНЦЕВАЛЬНОГО ИСКУССТВА ОТ ЭПОХИ РЕНЕССАНСА К РОМАНТИЗМУ

The author refers to the Renaissance era – mainly to the Italian region, which is associated with the development of theatrical dance. In Europe, it appeared a little later and French courtyards, mostly became a source of exquisite stylization and baroque beauty of this kind of art. It is noted that such rulers of Italian city-states as L. Medici, M. Sforza, the Este and Gonzaga dynasties began to pay more and more attention to magnificent spectacles. Using approaches and methods of system analysis, the article analyzes the main features of the development of dance from the Renaissance to the Baroque of the XVII century.then to the XVIII century and ballet Romanticism of the XIX century. The problems of transformation of dance vocabulary into the plot fantastic structure of performances and choreographic compositions are considered. As a result, having brought the existing transformations of the fantastic plot in the ballet into a single whole, it is indicated that in this transformation of the plots the connection of the times from ancient mythology to the fantastic refraction of the romantic narrative is revealed. Special attention is paid to the main types of theatrical dances at the court, which contributed to the development of stage choreography. The article also analyzes the main issues of the development of ballet in the period, mainly from the late Renaissance to the XIX century, in particular, the history of the opening of the First Ballet School in Paris, which influenced the composition of the technique of classical dance and the aesthetics of the formation of movements. It is noted that the increase in the level of classical dance technique enriched the artistic potential of ballet and largely expanded its thematic and genre range. As a result of the work, the author draws conclusions about the significant influence of the Renaissance era on the transformation of fantastic plots in the ballet theater of the subsequent time.

Women's Body Movement As A Source Of Inspiration For The Creation Of Painting Art

This independent study TA thesis raised the theme of women's body movements as a source of inspiration for the creation of painting, starting from an idea about the illustration of women's body movements which always have its own meaning in each of its beautiful forms. From this, it gives rise to the urge to present a visualization of female body movements by combining certain techniques and references to achieve the desired goals and meanings. The problem faced is how to visually process women's body movements to represent ideas so that the embodiment of the work looks attractive. The purpose and benefits are to provide a new reflection and elevate the existence of women's body movements which are full of use in various lessons for everyone. To answer what is the purpose of this work, the method of creation uses exploration, improvisation, and formation. By arranging elements of art, and going through the exploration, improvisation, and formation stages, as well as combining them with ideas and ideas, 6 works were created entitled: 1) "lonely", 2) "Doesn't care", 3) "Ballet dancers", 4) Fire dance”, 5) “tired”, 6) “Lie down” In the embodiment of the work, the author will use some technical references from other artists. By combining impressionist techniques and expressionist techniques using tile paint, acrylic in the visualization of beautiful works of art, and combined with the response of a brush that resembles cloth as in the catalog of painter Ida Bagus Indra to represent a movement, it is expected to produce quality works and become author's identity.

Alignment of the metatarsal heads affects foot inversion/eversion during tiptoe standing on one leg in demi–pointe position: A cross–sectional study on recreational dancers

Classical ballet dancers stand on tiptoe in the demi-pointe position where the ankle is plantarflexed, and the toes extend around a mediolateral axis passing through the second metatarsal head. Foot sickling, the foot inversion/eversion when the forefoot is grounded, should be avoided to achieve esthetics and prevent injuries during tiptoe standing. The foot inversion/eversion angle may change depending on the metatarsal heads through which the toe extension axis passes. This study investigated the relationship between metatarsal alignment in both load positions and foot inversion/eversion angle during tiptoe standing. Nine recreational female ballet dancers performed tiptoe standing on a single leg in the demi-pointe position. The foot inversion/eversion angle, the centre of pressure (COP) positions, and angles between adjacent metatarsal heads in the horizontal plane were investigated using motion-capture data and magnetic resonance imaging of the forefoot. As the angle between the second and adjacent metatarsal heads became more acute during tiptoe standing on the non-dominant leg, the dancers everted the foot more and significantly loaded the first toe-side more, and vice versa (r = -0.85 and -0.82, respectively). Then, the load positions were distributed on the distal side of the second metatarsal head. These were not seen during standing on the dominant leg with COPs more proximal to the second metatarsal head. In conclusion, dancers load the distal part of the second metatarsal head during tiptoe standing on the non-dominant leg. When the angle at the second metatarsal head was acute, within the triangle formed by the first, second, and third metatarsal heads, even slight mediolateral shifts of load positions altered the toe extension axis around that metatarsal head; the dancers loaded medial to the second metatarsal head and everted the foot and vice versa. Therefore, the angle between the second and adjacent metatarsal heads influenced the foot inversion/eversion angle.

Hip Pain in Ballet Dancers: Evaluation and Management.

Hip and groin injuries are common in ballet dancers, who often begin sport-specific training at a young age. The unique demands of ballet include extreme range of motion, with an emphasis on external rotation and abduction. This creates a distinctive constellation of hip symptoms and pathology in this cohort, which may differ from other flexibility sports. When managing hip symptoms in this cohort, orthopaedic surgeons should consider the unique factors associated with ballet, including ballet-specific movements, morphologic adaptations of the hip, and the culture of the sport. Three common etiologies of hip pain in ballet dancers include femoroacetabular impingement syndrome, hip instability, and extra-articular snapping hip syndrome. First-line treatment often consists of focused physical therapy to strengthen the core and periarticular hip musculature, with surgical management reserved for patients who fail to improve with conservative measures.

Professional Ballet Dancers’ Balance Ability and Psychological Traits and States: A Longitudinal Pilot Study

Introduction:Professional dancers are committed to dancing despite their injuries and mood changes. Therefore, dancers’ balance ability should be evaluated as an objective indicator of the quality of their dance/dancing ability.Objective:We aimed to examine the relationship between the balance ability of professional ballet dancers and their psychological traits and states by serotonin polymorphism, using pressure and center of gravity sensors.Methods:Five female professional dancers participated in this three-month longitudinal pilot study. The dancers’ stress status was assessed each month on three conditional days to gauge stress conditions. Before and after their standard warm-up exercises, the dancers’ center of gravity was assessed while standing and posing in ballet-specific positions, and psychological questionnaire surveys were conducted to assess the level of anxiety and objective stress. After all observations were completed, serotonin polymorphism was analyzed as one of the psychological traits.Results:All participants possessed the s/s-type (short type) serotonin transporter gene promoter polymorphism, indicating high sensitivity to stress. Their average trait anxiety score was 50.80±8.47. However, all participants were able to be calm, had no injuries, and maintained a stable center of gravity throughout the study period.Conclusion:Throughout the study, from ordinary practice to the time of the approaching ballet performance, the participants maintained stable balance ability regardless of their psychological traits and states of mind. It is unlikely that reactions to stress and psychological traits affected professional dancers’ physicality. Thus, continuous assessment of the balance between mental and physical aspects enhances performance management.

Anatomical zone where more injuries occur in four different dance styles: Hip-Hop, Classical Ballet, Contemporary dance and Irish dancing: a systematic review

Introduction: To this date there is no systematic study that reviews which anatomical zone has a higher incidence of injuries in four different dance styles: hip-hop, classical ballet, contemporary dance, and Irish dancing. Objective: Summarize and determine the incidence of injuries by anatomical zones in elite, pre-professional and professional dancers who practice one of the following dance styles: ballet, contemporary dance, hip-hop and Irish dancing. Methods: Articles were searched according to the following criteria: year of publication (between 2016 and 2022), observational and cohort studies published in English, full text available, and analysis of the incidence of injuries in the dance styles of hip-hop, classical ballet, contemporary dance, and Irish dancing. MESH terms and Boolean operators used for the search were “injury AND dancers AND incidence”. Data sources: Databases used were ProQuest, Pubmed, Google Scholar, Elsevier, Clinical Key and ScienceDirect. Results: A total of 511 records were identified, and only 19 were included for the analysis. The results of the reviewed literature revealed that the ankle was the anatomical zone with the highest incidence to suffer an injury (62.9%), overuse injuries had a higher incidence rate (63%), and the joint/ligament was the most common musculoskeletal type of injury (36.84%). Conclusion: Overall, the lower extremity had the highest injury incidence rate; even though the four different dance styles have different techniques and biomechanics, the most reported anatomical zone to suffer an injury was the ankle.

Injury epidemiology in pre-professional ballet dancers: A 5-year prospective cohort study

IntroductionPre-professional ballet dancers are at high-risk for injury, with injury rates ranging from 1.4 to 4.7 injuries/1000 dance-hours. In dance injury epidemiology, multi-year studies are limited, and findings are inconsistent. Thus, the extent to which injury estimates range from year to year in a pre-professional ballet program is currently unknown. ObjectiveThe aim of this study was to establish the extent and characteristics of injuries in pre-professional adolescent ballet dancers across five academic training years. Methods452 female and male pre-professional ballet dancers (median age, 15 years; range, 11–20 years) participated across five academic years at a vocational ballet school. Participants completed an online weekly injury questionnaire (OSTRC-Q) and self-reported dance hours questionnaire. ResultsQuestionnaire response was 91.4%. Depending on the definition of injury, yearly injury prevalence ranged from 32.1% (145/452; time-loss) to 67.4% (305/452; all-complaints) across the 5 years. Yearly injury rates ranged from 0.76 (95%CI: 0.66, 0.86; time-loss) to 2.54 (95%CI: 2.37, 2.73; all-complaints) per 1000 dance-hours. The ankle was the most reported injury location (range: 16–33%). ConclusionsInjury prevalence and injury rate estimates remained high across five academic years in a pre-professional ballet population. Injury estimates were highest when an all-complaints definition was employed. Level of evidenceTherapy/Prevention, Aetiology/Harm, level 2b.

Choreographing neutrality: dance in Cambodia’s Cold War diplomacy in Asia, 1953–1970

ABSTRACT This article examines the role of dance in Cambodia’s Cold War diplomacy in Asia from 1953 up until the establishment of the Khmer Republic in 1970. It explores how Sihanouk leveraged Cambodian dances to enact Cambodia’s neutral stance during the Cold War and forge cordial relations with other Asian states. Through an examination of the myriad of dance performances of the Royal Ballet and other Khmer dance troupes within the context of Cambodia’s diplomatic relations in Asia, this paper demonstrates how dance afforded a space for Inter-Asia referencing amidst the Cold War tension in the region. Premised on an interdisciplinary approach, this paper underscores dance as an active political space where two historical phenomena merged: decolonisation/nation-building and the Cold War. In doing so, it places dance as inevitably entangled with diplomatic history and sheds light on its role in reifying the newly constructed, albeit nebulous, national identity of postcolonial Cambodia.

Pursuing perfection through relationality: Studying the intersubjective dynamics of embodied agency in ballet

This study investigates the relational dynamics of embodied agency in the empirical context of ballet. Drawing on 15 ethnographic and 6 photo-elicitation interviews with professional dancers from the Finnish National Ballet, this study analyses the ways in which ballet dancers negotiate their agency in relation to other agents in their everyday work. We show how ballet dancers have to balance between satisfying the needs of the invisible gaze through different layers of relationality, on the one hand, and aiming to create room for their intimate, embodied experiences on the other. This study contributes to the existing knowledge on agency at the workplace by illustrating how it is grounded in the body in relational ways. By furthering the phenomenological understanding of subject formation as a form of intersubjectivity, this study shows how the working self is always relationally constructed, open to ambiguity and, sometimes, ‘caught between’ achieving agency and the objectifying scrutiny of the self and others between the visible onstage and hidden backstage. Consequently, this study offers in-depth insights into and parallels for intersubjective development in organisations.

Neuromuscular Training in Pre-Professional Ballet Dancers: A Feasibility Randomized Controlled Trial.

It is well documented that there is high prevalence of injuries in pre-professional and professional ballet dancers. Current evidence from high in quality and quantity research on in- jury prevention in sport indicates that interventions can reduce injury risks by 30% to 50%. Injury prevention research in dance is limited. The aim of this study was to assess the feasibility (adherence, fidelity, and practicality) of a randomized controlled trial for the utilization of neuromuscular training in pre-professional ballet dancers.<br/> Methods: A convenience sample of 22 pre-professional ballet dancers were randomized into an intervention and control group. The intervention group took part in a neuromuscular-based training workout, five times per week before the ballet class, for 10 weeks. The intervention was an adaptation of the FIFA 11+, an injury prevention intervention and is called 11+ Dance. The intervention consisted of low intensity bodyweight exercises that lasted 20 to 30 minutes performed daily.<br/> Results: Intervention adherence was 38% ± 8%, with higher participation at the beginning of the study. Attendance for post-testing was low 45% and 36% for the intervention and control group, respectively, mainly due to injury. There were no adverse effects reported, however, the participants reported delayed onset muscle soreness at the beginning of the intervention, indicating that there may be a potential training effect. Fear of muscle hypertrophy and fatigue were also reported as reasons for attrition. The repeated measures ANOVA revealed statistically non-significant differences for the countermovement jump F(1, 9) = 0.36, p = 0.564, η² p= 0.04; reactive strength index F(1, 7) = 0.02, p = 0.885, η² p= 0.003; and the isometric mid-thigh pull F(1, 12) = 0.002, p = 0.967, η² p= 0.000.<br/> Conclusion: The results of the study, together with the feedback from the participants, suggest that some protocol modifications are necessary for the feasibility of a randomized controlled trial in a pre-professional setting. The current trial has produced valuable information for the intervention frequency and load prescription.

Perceived Severity and Management of Low Back Pain in Adult Dancers in the United States.

Low back pain (LBP) lifetime prevalence in dancers reportedly ranges from 17% to 88%. Low back pain can have negative secondary consequences on dancers' lives and careers. Still, how LBP impacts dancer function and medical care-seeking behaviors and whether these issues differ across dance genres, is understudied.<br/> Materials and Methods: Two hundred and eight-nine ballet, modern, and hip-hop dancers and teachers (median age: 20.3 years; range: 18 to 69 years) in the United States completed an online 24-question survey assessing LBP related self-reported injury history, impact on their lives, and management strategies. We defined LBP as occurrence of acute or chronic pain in the lumbar or sacral regions of the back.<br/> Results: Two hundred and fifty-seven participants (88.9% of 289 total) reported at least one instance of LBP during their lifetime and 220 participants reported LBP in the prior 4 weeks. Of these 220, 72 (32.7%) had LBP severe enough to limit their activities of daily living. Of the 213 who had LBP and danced during that time, 89 (41.8%) reported that LBP limited their dancing. Pain intensity (median: 4 on a 0 to 10 scale, IQR: 3.0) and LBP prevalence were similar across dance genres. Dancers sought multiple medical professionals, most often chiropractors (n = 94, 33.8%), medical doctors (n = 77, 27.7%), and physiotherapists (n = 60, 21.6%). Ninety dancers (35.0% of those with LBP) never sought medical care. Dancers who did seek care reported higher pain intensities (median: 4, IQR: 3.8) than those who did not (median: 3, IQR: 3.0).<br/> Conclusion: Overall, most participants did suffer from LBP. Low back pain negatively impacts dancers' everyday activities and dancing. Pain intensity and loss of function may impact care-seeking. Our findings highlight the need for all dance stakeholders to educate dancers about their health, provide resources for dancer health care, and proactively create an environment that supports injury reporting behaviors in dancers.

The Relationship of Year Group and Sex on Injury Incidence and Countermovement Jump in Adolescent Ballet Dancers: A Cross-Sectional Analysis.

Pre-professional ballet training involves long training hours from an early age that could influence young dancers' physical performance and injury incidence. This cross-sectional analysis investigated the relationship of year group and sex with countermovement jump and injury incidence (primary outcome) in adolescent ballet dancers at a pre-professional dance school.<br/> Method: Countermovement jump (CMJ) height was recorded at the start of the academic year for 179 participants (M = 68, F = 111) spread across eight year-groups. Injury etiology and incidence was prospectively recorded over a 6-month period (September through February) by the medical team using a time-loss definition.<br/> Results: Between-subject statistically significant differences were reported for sex [F(1, 153) = 101.46; p < 0.001], year group [F(7, 153) = 12.57; p < 0.001], and sex*year group [F(7, 153) = 9.22; p < 0.001]. Mean CMJ across the year groups ranged between 24.7 to 41.3 cm for males and 23.5 to 25.1 cm for females. Injury incidence per dancer was 0.84 (CI: 0.13, 1.56) and injury incidence per 1,000 hours of dance was 1.94 (CI: 1.63, 2.25). No statistically significant differences between sexes or year groups were reported for injury incidence per 1,000 dance hours and time-loss. Hours dancing was statistically significantly positively associated with CMJ (r = .481, p < 0.05) and negatively associated with injury incidence (r = -.253, p < 0.05) for males; for females it was positively associated with time-loss (r = .254, p < 0.05).<br/> Conclusion: Even though CMJ was cross-sectionally monitored, the expected increased physical abilities in males as they grew older and progressed through their training was observed. Females did not indicate a similar increase in their physical ability, but they seemed to become more susceptible to injuries as they grow older. The lack of this speculative physiological development for the females may be associated with the ballet-only approach in their training. The use of CMJ as an injury screening tool may be limited, however, it could still be used as a tool to monitor physiological and fundamental motor skill development of adolescent dancers, as jumping is an integral part of ballet.

Influence of the sport specific training background on the symmetry of the single legged vertical counter movement jump among female ballet dancers and volleyball players

IntroductionVertical jumps are the key components of performance in the classical ballet and volleyball. Asymmetry of performance between the lower extremities is a potential risk factor for injury. PurposeThe purpose of this study was to analyse the symmetry of the unilateral vertical countermovement jump (CMJ) in a group of female ballet dancers and in a group of female college volleyball players. MethodsWe tested the CMJ with the dominant and nondominant leg and the bilateral CMJ among 15 female ballet dancers and 15 female volleyball players aged 18–24 years. Ground reaction forces were recorded with the force plate and five variables were analysed - jump height, power, energy, and time to flight and time to maximum force during landing. Results2 × 2 repeated measures of ANOVA indicates that type of sport is influencing some of the single leg CMJ variables (energy used and time to maximal force in landing), there was a significant asymmetry between dominant and non-dominant leg in some of the vertical CMJ variables (CMJ height, energy used and the average power was marginally significant). The interaction between the type of sport and leg dominance however was not significant for all of the analysed CMJ variables indicating no difference in asymmetry between the dominant and non-dominant leg in the two investigated sports. The results expressed in the percentage differences between both legs that is widely used in the scientific literature showed that ballet dancers exhibited more symmetrical CMJ height, power, and energy compared to volleyball players. The average percent difference in CMJ height between the dominant and non-dominant leg was 4.26 (10.60) % and 13.36 (14.72) %, respectively. On average, volleyball players jumped slightly higher at the bilateral CMJ (p < 0.001). ConclusionSport-specific training background could explain the observed contralateral deficit differences between two sport groups. The elements of ballet training could be introduced into the volleyball training to overcome observed this contralateral deficit.

Greek and Roman Mythologies Within the Dance Classroom: An In-Depth Description of a Cross-Curricular Unit Plan

This article provides an in-depth look into a unit plan I crafted as a student teacher based on Greco-Roman mythologies and how I have since modified it and applied it to various grade levels. My inspiration for this unit is based on the connection between ballet and modern dance pioneers (George Balanchine, Isadora Duncan, and Martha Graham) and the Greco-Roman mythologies that influenced them when creating some of their masterworks. Along with explanations of successfully tested lesson plans and templates of rubrics and assignments, I include descriptions and short analyses of four myths I have used in the high school and middle school setting. This unit could easily be adapted to embrace mythology from other areas of the world and modified for any pre-K–12 setting.

An exploration of the perceptions and experiences of professional ballet dancers using a wellness monitoring application

ABSTRACT Athlete injury and illness surveillance methods have been explored; however, dance-health monitoring systems are scarce. This study aimed to explore the experiences of professional ballet dancers using a wellness application, and the applicability of a wellness application for the dance industry. Fourteen professional ballet dancers (female n = 8, male n = 6), over the age of 18-years (M = 26.0 years, SD = 2.60) and employed full time in a national ballet company participated in one semi-structured interview, approximately 40–50 minutes in duration, reflecting on their perceptions and experiences using a wellness application. The interview material was analysed via thematic analysis. Three overarching main themes emerged: 1) Applicability of a wellness application in the professional ballet industry: experiences entering wellness scores; 2) Dancers conceptualisation of wellness: perceptions and difficulties; and 3) Psychological impact of entering wellness scores. Findings indicated that a wellness application enhances dancer’s self-awareness of wellness, specifically psychological wellbeing which is often ‘not at the forefront’ of dancers’ minds and focused attention. Further, dancers explained difficulties in processing and acknowledging wellness scores and subsequent avoidance as a coping mechanism from ‘confronting’ experiences of consecutive poor wellness scores. Monitoring wellness may assist companies in developing interventions that promote positive adaptive behavioural responses to changes in wellness scores for optimal wellbeing in training and performance. However, further education, support structures and strategies for acknowledging and coping with fluctuating wellness are required.

Ballet Rehabilitation: A Novel Return to Sport Protocol.

Dance injuries and re-injuries are common but can be difficult to rehabilitate because of the unique demands and motor skills required. During tissue healing, pain resolves prior to tissue maturation and re-injury often occurs if the original injury is not properly rehabilitated.The purpose of this narrative review is to analyze the existing literature addressing ballet injury, re-injury, and recovery, and to provide clinicians with timing guidelines for entering and implementing a Return to Sport (RTS) ballet rehabilitation protocol designed to prevent re-injury by progressive, sport-specific tissue loading. Thus far, a literature-based ballet-specific and body region-specific late-stage rehabilitation RTS protocol has not been established. The authors sought to address this literature gap by combining this comprehensive narrative review with our extensive clinical expertise to develop a late-stage rehabilitation RTS protocol to help guide medical clinicians treating injured ballet dancers.

Directing for ballet as an adept of literary creation on the screen

The aim of the article is to identify problems of adaptation of ballet productions based on literary sources in the audiovisual space and to determine scientific landmarks that will contribute to a comprehensive study and analysis of the phenomenon of ballet art on the screen. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the topic, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, synthesis), which made it possible to develop a historical and factual basis. Methods of systematization and generalization came in handy to argue the originality of the phenomenon of ballet in the context of the screen arts. The typological method allowed us to consider common artistic principles in the creative experiments of screen and performing arts. In addition, analytical and systematic methods were used in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is to define directing as a universal and multi-vector variety of artistic and aesthetic activities; in clarifying the interaction and mutual enrichment of performing, screen arts and literature in the use of pictorial and expressive means; in certain features of the director's activity through screen adaptation of literary work and stage means of ballet art in film and television productions of theatrical productions, which for the first time became the subject of special research; in identifying the original principles of construction of screen works based on ballet productions. Conclusions. It is proved that the audiovisual work of directors contributes to the widespread popularization of ballet, choreographers, and ballet dancers, as well as calls into question the claims of film and television theorists about the danger of invading stage culture on the screen.&#x0D; Key words: directing, screen arts, ballet, directing means, stage production, film adaptation.

Osteoarthritis Risks and Sports: An Evidence-based Systematic Review.

Regular sports activities are associated with multiple physical and psychological health benefits. However, sports also may lead to injuries and the development of osteoarthritis (OA). This systematic review investigated the association between sports activity, sports type, and the risk of developing OA. A systematic review was performed by assessing studies that have investigated the risk of OA development in sports. Data extracted included general information, study design, number of participants, related body mass index, sports type, and assessment of OA. The methodological quality of the studies was assessed using the Newcastle-Ottawa Scale. A total of 63 studies were included in this systematic review. The overall Newcastle-Ottawa Scale score was 6.46±1.44 demonstrating a good methodological quality of the articles included in the present study. A total of 628,036 participants were included, with a mean follow-up of 8.0±8.4 years. The mean age of the included athletes was 45.6±15.8, with a mean body mass index of 24.9±2.3kg/m 2 . Football and soccer players seem to be at higher risk for the development of OA, although the injury status of the joint should be considered when assessing the risk of OA. High equipment weight and increased injury risk also put military personnel at a higher risk of OA, although elite dancing leads to more hip labral tears. Femoroacetabular impingement was also often diagnosed in ice-hockey players and ballet dancers.

Dancing with the Revolution: Power, Politics, and Privilege in Cuba

Dancing with the Revolution: Power, Politics, and Privilege in Cuba