Ballet Research Articles

Self-reported Health Problems of Professional Dancers from Five German Opera Houses or State Theatres: A Prospective Study with Weekly Follow-ups during One Season

BackgroundMost studies on injuries of professional dancers used a medical-attention and/or time-loss definition and did not analyse all health problems. Further, almost all studies included just one company. The aim was to analyse all self-reported health problems of professional ballet and contemporary dancers during one season and compare sexes and five companies in Germany.MethodsDancers of five professional companies completed weekly health questionnaires during the season (September 2022 to June 2023). Numerical rating scales were used for severity of all health problems, musculoskeletal pain, impairment of the ability to dance at full potential, physical and mental workload in the previous seven days. If the severity of all health problems were rated greater than “0”, the dancers were asked to report the type and consequences of their most severe health problem.ResultsDuring 43 weeks, 98 dancers (39.8% male) completed 3123 weekly reports (response rate 74.1%). The season prevalence of any health problem was 100% and of time-loss health problems 74.5%. The average weekly prevalence of any health problem was 62.7%, of musculoskeletal pain 83.4% and of impaired ability to dance at full potential, due to health problem 48.6%. While the season prevalence and type of health problems was similar between sexes, the average weekly prevalence of severe health problems was higher in female than in male dancers (Chi2 = 23.2; p < .001), and female dancers saw a qualified health professional more often than male dancers (Chi2 = 19.5; p < .001). Companies differed in almost all investigated variables, with more health problems in companies where more dancers rated their workload higher than “ideal”.ConclusionHealth problems are frequent in professional dancers and affect their ability to dance. Future studies should analyse the impact of physical and mental workload on health problems.

EFFECTIVENESS OF PLYOMETRIC EXERCISE ON LOWER EXTREMITY FUNCTION AMONG CLASSICAL BHARATANATYAM DANCERS.

Background: Aramandi is the most basic position in Bharatanatyam which is like Demiplie position of ballet dancers in which both the legs were internally rotated. Gaining proficiency in Bharatanatyam requires rigorous training for prolonged periods of time while maintaining specific postures which begin at a very young age during the adolescent growth spurt. Objective. To find out the effectiveness of plyometric exercise on lower extremity function among classical Bharatanatyam dancers Methods. Totally 20 classical dancers were recruited in accordance with inclusion criteria. Classical dancers were given plyometric exercise. Post-test taken for 20 participants with regular follow up. The LEFS questionnaire is an outcome measure that is used before and after the treatment. Result. The obtained data were analyzed by using paired ‘t’ test comparison of pre and post-test value for LEFS questionnaire the p value is 0.001. Hence, it is concluded that the LEFS questionnaire has highly significant. Conclusion. This study concluded that plyometric exercise had beneficial effect to shows that there is an improvement on lower extremity function among classical Bharatanatyam dancers.

Help Young Ballet Dancers with Knee Injuries in Training

Help Young Ballet Dancers with Knee Injuries in Training

Pointe Readiness in Youth Ballet Dancers: A Pilot Study on Dance Instructor Decision Making.

Introduction: Transiting to dancing en pointe is an important milestone for young dancers who wish to progress in ballet training. Various criteria exist regarding pointe readiness, including age, range-of-motion, endurance, strength, balance, and technique. However, awareness and use of these criteria by dance instructors is currently unknown. The purpose of this pilot study was to assess the awareness and use of pointe readiness criteria by youth ballet instructors. Methods: A cross-sectional web-based survey study design was used, which included questions regarding dance instruction experience, dance studio characteristics, and criteria used to assess pointe readiness. Ballet instructors were recruited for participation. Data are presented as percentages and frequencies. Results: Thirty-one ballet instructors completed the survey from 15 states (1 international). Years of pointe ballet instruction ranged from 2 to 30+ years, with 35% indicating more than 30 years of experience. Instructors reported students begin pointe at age 11.8 years (range 9-15 years). A majority of instructors require 5 years of ballet experience prior to dancing en pointe (range 2-8 years). Reported pointe readiness criteria included strength (100%), dance technique (94%), age (87%), and years of ballet experience (71%). While all instructors reported evaluating a dancer's strength, assessments of flexibility and movement quality were not evaluated by 42% and 45% of instructors, respectively. Strength, dance technique, and age were rated as the greatest indicators of a dancer's readiness to begin pointe. Finally, instructors reported low knowledge of existing pointe readiness criteria. Conclusion: Ballet instructors initiated pointe work at age 12 and required 5 years of ballet experience before beginning to dance en pointe. While strength, dance technique, and age were the top considerations for evaluating readiness, approximately 40% of instructors did not evaluate flexibility or movement quality prior to progressing to pointe, and overall, knowledge of existing criteria was low.

Pain Candidate Genes 5-HTTLPR and COMT Affect Anxiety and Mood in Japanese Ballet Dancers: A Cross-Sectional and Longitudinal Study

The balance of mental, physical, and technical aspects is essential in improving ballet performance. Ballet dancers’ emotional and behavioral characteristics vary, even under identical stress conditions. This study aimed to investigate the association between the pain candidate genes 5-HTTLPR and COMT and anxiety in Japanese ballet dancers. Participants were 18 youth elite ballet students with professional aspirations (Y-Elite) and 16 dancers in a professional ballet company (Pro). We administered psychological questionnaires, the State-Trait Anxiety Inventory (STAI) and Brunel Mood Scale (BRUMS), to participants under the following four different stress conditions: standard practice day, cast decision day, rehearsal day, and one week before competition day. In addition, the genotypes of 5-HTTLPR and COMT Val158Met were examined. The distribution of 5-HTTLPR was not different between Y-Elite and Pro dancers, although one of the COMT genotypes was different. Y-Elite dancers had higher trait anxiety scores than Pro dancers for these genotypes before competition (ps &lt; 0.03), although no significant association was observed between both genotypes and scores on the STAI across conditions. Their moods were significantly different through the four conditions (p &lt; 0.004). Pro dancers’ moods were also more stable than those of the Y-Elite dancers in the presence of pain. The results indicate that 5-HTTLPR and COMT play a crucial role in dancers’ anxiety and mood during pain (ps &lt; 0.05). Pro dancers are probably predicted by their lower neuroticism and mood scores and their better adaptation to stress than Y-Elite dancers. The 5-HTTLPR and COMT genes may be influencing the sensitivity to the environment. Youth elite ballet dancers need to understand the relationship between pain and physical activity from an early stage.

Coping strategies for combating chronic pain among professional ballet dancers in Cali, Colombia. Qualitative study

IntroductionPain is part of the daily life of ballet dancers. To achieve perfection in the dance, techniques based on repetitive movements that overload different parts of the body are used, which generate pain. The purpose of this study is identify coping strategies used by professional ballet dancers to manage chronic pain. MethodsA qualitative study was conducted using a phenomenological design with a population of 17 professional dancers from a ballet company in Cali, Colombia. The Chronic Pain Coping Questionnaire (CAD) and a open interview with guiding questions were applied as research instruments. ResultsThe dancers of the Colombian Ballet Company engage in a physically demanding practice that necessitates continuous movement. The majority of these dancers are under 30 years of age and have been with the company for less than 5 years. Unfortunately, their frequent injuries include sprains, back pain, and disc herniation, often attributed to a lack of strengthening and the imposition of high physical loads. In coping with the pain, the dancers commonly resort to seeking information about their injuries and engaging in self-affirmation of their exceptional abilities. ConclusionsDancers get used to pain to continue in professional dance companies. Coping with pain involves developing strategies for self-affirmation and motivation to continue in their profession.

Lower Limb Motion Contributions To The Turnout During A Bipedal Jump In Pre-professional Ballet Dancers

Lower Limb Motion Contributions To The Turnout During A Bipedal Jump In Pre-professional Ballet Dancers

Correlation of Pre-Season Musculoskeletal Functional Tests with Lower Extremities Injuries in Elite Female Ballet Dancers (MOLED study): a study protocol for a prospective longitudinal study

Correlation of Pre-Season Musculoskeletal Functional Tests with Lower Extremities Injuries in Elite Female Ballet Dancers (MOLED study): a study protocol for a prospective longitudinal study

Can 5 Minutes of Finger Actions Boost Creative Incubation?

AbstractPrevious studies suggest that the activation of the motor system – either via action, motor imagery, or brain stimulation – may increase subsequent performance on divergent thinking tasks (e.g., the alternate uses task; AUT). We tested this idea in a within-subjects design by administering the AUT using four different target objects and four different 5-min incubation tasks that differed in terms of arm and finger movements. In between-subjects designs, 0-back incubation has been shown to yield more creative responses than rest. Additionally, we included two new incubations that both involved arm actions, but differed in the amount of finger actions (Iranian dance, ballet dance). Incubation tasks involving finger actions (Iranian dance, 0-back) were predicted to increase creativity for objects that are typically manipulated with the fingers. There was a main effect of object. Alternate uses given to the paperclip were rated as more creative than those given to the other objects. With our within-subjects design, we could not replicate the previously described difference between 0-back and rest incubations. However, hypothesis-driven comparisons showed that, although the interaction of object and incubation was not significant, Iranian dance yielded more creative usages for paperclip than for sheet of paper, cup and brick, and all other incubations yielded more creative usages for paperclip than for brick. Iranian dance also generated marginally more creative usages than ballet. Our results suggest that if the hypothesized effects exist, they are likely to be small. Overall, AUT performance seems more influenced by the AUT object than by type of incubation.

Hip Range of Motion and Strength in Young Pre-Professionals Ballet Dancers Versus Non-Dancers.

Introduction: Lower-extremity external rotation, commonly known as turnout, is a fundamental skill in dance. Limited data exist regarding joint range of motion and strength in pre-professional young dancers and non-dancers. This study aimed to evaluate the differences in hip range of motion and hip strength between pre-professional ballet dancers and non-dancers. Additionally, the study assessed the variations between the left and right sides within each group. Methods: This observational study assessed 60 pre-professional ballet dancers and 31 non-dancers with an average age of 11.91 ± 1.49. Evaluation included passive hip rotation, tibial torsion, total passive turnout measured with digital goniometers, and total active turnout (both static and dynamic) through standing on paper and rotational discs. Hip rotation strength was measured using a force sensor device. Statistical analyses encompassed student t-tests, Pearson's correlations, and ANCOVA with age and body weight as covariates, applying the Bonferroni correction for multiple comparisons. Results: Ballet dancers exhibited greater passive hip external rotation and lower passive hip internal rotation compared to non-dancers. They also demonstrated superior total active turnout (static and dynamic). After adjusting for age and weight, dancers demonstrated significantly higher hip external rotation strength than non-dancers. Hip internal rotation strength did not differ significantly between the groups. Ballet dancers displayed inherent asymmetry, with the left side showing greater tibial torsion and standing active turnout, while the right side exhibited greater hip external rotation during dynamic active turnout. Non-dancers did not show significant side differences. Conclusions: Young pre-professional ballet dancers exhibited significant hip rotation differences compared to non-dancers, including notable right-left asymmetry. These findings should be considered when planning training, aiming to optimize musculoskeletal attributes and promote balanced hip rotation. Recognizing these asymmetries and addressing muscular imbalances is vital for injury prevention and performance enhancement.

Performance Quality Assessment in Ballet, Modern and Contemporary Dance: A Two-Step Systematic Review.

Introduction: Measurement of performance quality in dance is important but challenging and few dance performance quality measures exist. This study aims to (1) identify and (2) assess the quality of dance performance outcome measures for ballet, modern and contemporary dance. Methods: A 2-step systematic review with two separate literature searches was conducted. Step 1 involved a systematic review to identify all ballet, modern and contemporary dance performance quality outcome measures. Step 2 involved a systematic review to identify studies that reported measurement properties (eg, validity, reliability) of the tools identified in Step 1. A comprehensive electronic search of MEDLINE, SPORTSDiscus, CINHAL, Embase and IADMS Bibliography was conducted from inception to November 2020 (Part 1) and February 2021 (Part 2). To evaluate the quality of each dance performance outcome measure, three steps were conducted (1) assessment of methodological quality using the COSMIN checklists, (2) evaluation of results against criteria of good measurement properties and (3) summary of the evidence and an overall rating of evidence using a modified Grading of Recommendations Assessment, Development and Evaluation (GRADE) approach. Results: Fifteen dance performance quality outcome measures were identified (Step 1). Seventeen studies reported measurement property data for 14 of 15 identified outcome measures (Step 2). The majority of the 34 measurement property outcomes were rated as doubtful (COSMIN checklists), and demonstrated sufficient measurement properties. Only one outcome measure, the Radell Evaluation Scale for Dance Technique (RESDT), was assessed as having low and moderate quality evidence for validity and reliability respectively. The remaining 13 tools were rated as having very low-quality evidence (GRADE criteria). Conclusions: Due to low quality, the 15 dance performance quality tools cannot be confidently recommended for use at this time. Dance teachers, clinician and researchers should consider feasibility issues and use the tools with caution until adequate high-quality evidence is available.

Prevalence of Mental Health Problems and their Potential Association with Sleep Disturbance, Coping Skills and Social Support in Professional Ballet Dancers.

Introduction: While several studies have analyzed the characteristics and burden of injuries and physical complaints in (pre-)professional dancers, mental health problems, other than eating disorders, have rarely been studied in professional ballet dancers. The aims were to (a) investigate the prevalence of self-reported mental health problems, and (b) analyze their potential associations with sleep disturbance, coping skills and social support in professional ballet dancers. Methods: During a pre-season health screening, professional ballet dancers of three companies were asked to answer questions on personal characteristics, current need and attempt to lose weight, chronic/recurrent mental health problems, and need of support from a psychotherapist as well as established questionnaires on depression (PHQ-9), generalized anxiety (GAD-7), eating disorders (EDE-QS), sleep disturbance (ASSQ), athletic coping skills (ACSI-28) and perceived social support (F-SozU-K6). Results: All 96 dancers (average age 27.3 years, 51.0% male) who participated in the screening answered the questionnaire. In the PHQ-9, 19 (19.8%) dancers reported mild, and 4 (4.2%) moderate to severe symptoms. In the GAD-7, 19 (19.8%) dancers reported mild, 11 (11.5%) moderate and three (3.1%) severe symptoms. Ten (10.4%) dancers were screened positive for an eating disorder in the EDE-QS. Almost two thirds of the dancers reported sleep problems of mild (n = 39; 40.6%), moderate (n = 19; 19.8%) or severe extent (n = 3; 3.1%) in the ASSQ. One in five dancers (n = 19; 19.8%) wanted or needed support from a psychotherapist at the time of the screening. The mean score of ASSQ correlated significantly with PHQ-9 (r = .34; P = .001) and GAD-7 (r = .27; P = .008). Correlations of mental health problems with athletic coping skills and social support were generally low. Conclusion: The prevalence of mental health problems, especially anxiety and eating disorders, was high in professional ballet dancers. Routine screening of mental health and sleep problems as well as interventions to improve mental health and sleep quality are strongly recommended. Level of Evidence: 2b cross-sectional study.

Alinhamento toraco-lombo-pélvico em adolescentes que frequentam aulas de balé clássico

This study aimed to assess factors associated with altered thoraco-lumbo-pelvic alignment among adolescents who attend classical ballet class. 57 adolescents were distributed into a case group formed by student ballet dancers with altered thoraco-lumbo-pelvic alignment and a control group formed by student ballet dancers with neutral alignment. The adolescents were subjected to an anthropometric and postural evaluation (photographic record of posture in the lateral view analysed using the vector graphics editor software Corel Draw 3), abdominal muscle strength test and questionnaire. The practice of ballet through Royal Academy of Dancing (RAD) method was 10.47 times more likely to be associated with altered thoraco-lumbo-pelvic alignment than the practice through Vaganova method in adolescents, and muscle strengthening was 6.23 times more likely to be associated with altered alignment when controlling for the other study variables. RAD method combined with muscle strengthening was associated with altered thoraco-lumbo-pelvic alignments among adolescents who showed weak or normal abdominal muscle strength, performed another physical activity, danced ballet for five years or less, had a weekly training load over three hours and usually slept in the prone position. The practice of ballet by the RAD method, in addition to the practice of muscle strengthening, was a factor associated with altered thoraco-lumbar-pelvic alignment.

Examination of Left-Right Differences and Intertrial Variability in Grand Jeté Among Professional Ballet Dancers.

Introduction: Ballet demands diverse physical prowess, requiring dancers to execute movements symmetrically, irrespective of their dominant leg. Ballet often includes jumps, including the basic open-leg leap-the grand jeté-which requires uniform performance regardless of the leg on which the leap is initiated. However, no studies have simultaneously evaluated the effects of dominant leg or movement variation on jump height, leg split angle, jump time, and floor reaction forces during take-off and landing, which are related to the feeling of floating in the grand jeté. This study aimed to determine whether the high-level, stable, and beautiful performance required of professional ballet dancers in the grand jeté is affected by the dominant leg. Methods: Twelve female ballet dancers, all right leg dominant, performed the grand jeté 3 times on each side, distinguishing between dominant (right leg landing) and non-dominant (left leg landing) grand jetés. Utilising 3D movement analysis, we measured jump height, jump time, maximum leg split angle, and maximum vertical ground reaction force (VGRF) during take-off and landing. Mean values and coefficients of variation were calculated for each analysed parameter. Paired sample t-tests were conducted to assess differences between left and right grand jetés, with a significance level set at P < .05. Results: Statistically significant differences were observed in jump height (P = .028) and jump time (P = .001) when comparing the average of three trials for each side. However, no significant differences were found in maximum leg split angle (P = 0.643), maximum VGRF at take-off (P = .200), and maximum VGRF at landing (P = .109). In addition, no significant differences in coefficients of variation were identified for all items. Conclusion: Ballet dancers showed consistent performance on dominant and non-dominant legs but higher and longer jumps for grand jetés landing on the dominant leg, which may have affected overall performance.

Research on the difference in plantar biomechanics among dance majors

Dance majors’ plantar biomechanics studies the functional and structural dynamics of their feet as they perform different dance moves and techniques. The primary objective is to comprehend which distinct dancing styles and approaches affect plantar biomechanics to possibly identify risk factors for injuries and guide dancers on how to prevent them. Dancing requires precise body alignment and movement, which leads to certain foot biomechanical variations that are vital for preventing injuries and improving performance. Distinct plantar biomechanics within dance majors (ballet and jazz) are examined to identify novel biomechanical factors. One hundred and fifty all fifty jazz dancers, fifty ballet dancers, and fifty non-dancers participated in the study. A 3D foot scanner and pressure measuring system are utilized for assessing variables such as arch elevation (AE), plantar pressure dispersion (PPD), and foot position (FP). Additionally, tests of gait ability using distinct foot biomechanics are carried out in various dance-related motions. For comparative assessment of such dancer groups, statistical techniques like Anova and Kruskal-wallis tests are used. Types of dance show different PPD formations, with jazz dancers including maximum midfoot pressure (MFP) and ballet dancers including maximum forefoot pressure (FFP), and both dancer groups have stronger ankle flexibility and toe flexion. Future research needs to assess the consequences of training plans and long-term modifications to gain an improved comprehension of how the biomechanically unique feet of dance majors necessitate targeted interventions for injury prevention and performance improvement.

Validated Tools Used to Assess Musculoskeletal Injuries in Dancers: A Systematic Review.

Introduction: Dance is a physically demanding art form that often results in musculoskeletal injuries. To effectively treat these injuries, standardized and reliable assessment tools designed to the dancer's needs are required. Thus, the aim of this review is to identify studies that have employed validated tools to assess musculoskeletal injuries in ballet, modern, and contemporary dancers, focusing on describing the content and psychometric quality of the tools used. Methods: This systematic review is registered at PROSPERO (CRD42022306755). PubMed, Cochrane, LILACS, Web of Science and SPORTDiscus databases were searched by two independent reviewers. Articles assessing musculoskeletal injuries with validated tools in ballet, modern and/or contemporary dancers and written in English, Portuguese, or Spanish were included. Non-peer reviewed articles, books, conference abstracts, thesis/review articles, or case design studies were excluded. The original validation studies were compiled when necessary. Two independent reviewers conducted a standardized data extraction and evaluated the methodological quality using an adapted Downs and Black checklist. Results: From the 3933 studies screened, 172 were read to verify if they met the inclusion criteria, resulting in 37 studies included accounting for 16 unique validated tools. Two were imaging exams, one was an injury classification system, and 13 were self-reported injury questionnaires. Only four injury assessment tools were validated for dancers, emphasizing the need for further validation studies for the dance population. Most of the articles (57%) achieved high-quality methodological scores and the remaining (43%) reported medium-quality scores. Conclusions: Valid, reliable, and specific tools to assess dance injuries are lacking in general. For enhanced methodological rigor in future studies, the incorporation of validated tools is recommended to improve methodological quality and facilitate cross-study comparisons. Researchers may consider conducting validation studies, involving processes such as translation into another language, validation of modifications to the original tool, or reporting reliability within the article itself.

Differences in the Size of Individual Plantar Intrinsic Foot Muscles Between Ballet Dancers and Non-Dancers.

In classic ballet, choreography often involves tiptoe standing. Tiptoe standing requires a high and stable foot arch structure, which is achieved by contraction of the plantar intrinsic foot muscles (PIFMs). Long-term repetitive loading with a specific movement can induce hypertrophic adaptation of the associated muscles. For dancers, however, limited information on the size of individual PIFMs is available from previous studies. The purpose of this study was to determine the differences in the sizes of 10 individual PIFMs between dancers and non-dancers. Muscle volumes (MVs) of 10 individual PIFMs were measured using magnetic resonance imaging in 15 female dancers and 15 female non-dancers. Muscles analyzed included abductor hallucis, flexor digitorum brevis, abductor digiti minimi, quadratus plantae, lumbricals, flexor hallucis brevis, adductor hallucis oblique head, adductor hallucis transverse head, flexor digiti minimi, plantar/dorsal interossei. In addition to absolute MVs, relative MVs normalized to body mass (rMVBM) and the percentage of individual MVs relative to the sum of 10 individual PIFM MVs (%MVWHOLE) were calculated. The absolute MVs of 6 individual PIFMs, including the flexor digitorum brevis and lumbricals, were +16% to 59% larger in dancers than in non-dancers (P ≤ .048). The rMVBM of all individual PIFMs were +35% to 95% larger in dancers than in non-dancers (P ≤ .019). The %MVWHOLE of the flexor digitorum brevis and lumbricals were +10% to 36% higher (P ≤ .014) and those of the abductor digiti minimi and adductor hallucis oblique head were +8% to 11% lower (P ≤ .037) in dancers than in non-dancers. For all 3 MV measures, only the flexor digitorum brevis and lumbricals, which are functionally specialized for flexion of the second to fifth metatarsophalangeal joints, were consistently larger in dancers than in non-dancers. This may be due to long-term repetitive loading on these PIFMs during ballet training involving tiptoe standing.

Ballet practice improves neuromuscular and biomechanical responses to an unexpected standing-slip in older adults.

Falls and fall-induced injuries are common and consequential in older adults. Ballet emphasizes full-body coordination, leg strength, and postural control. However, it remains unknown whether ballet can indeed reduce falls in older adults. This study examined biomechanical and neuromuscular responses of older recreational ballet dancers to an unexpected standing-slip. Twenty older ballet dancers (17 females, 3 males) and 23 age- and sex-matched nondancers (19 females, 4 males) were exposed to an unexpected slip during treadmill standing. The slip-faller rate was the primary outcome. The secondary outcomes were kinematic measurements, including dynamic gait stability, slip distance, and recovery stepping performance (step latency, duration, length, and speed). The tertiary outcome was the electromyography latency of leg muscles (bilateral tibialis anterior, medial gastrocnemius, rectus femoris, and biceps femoris). Fewer dancers fell than nondancers after the standing-slip (45% vs. 83%, P = 0.005, d = 0.970). Dancers displayed better stability at recovery foot liftoff (P = 0.006) and touchdown (P = 0.012), a shorter step latency (P = 0.020), shorter step duration (P = 0.011), faster step speed (P = 0.032), and shorter slip distance (P = 0.015) than nondancers. They also exhibited shorter latencies than nondancers for the standing leg rectus femoris (P = 0.028) and tibialis anterior (P = 0.002), and the stepping leg biceps femoris (P = 0.031), tibialis anterior (P = 0.017), and medial gastrocnemius (P = 0.030). The results suggest that older ballet dancers experience a lower fall risk and are more stable than nondancers following an unexpected standing-slip. The greater stability among dancers could be attributed to more biomechanically effective recovery stepping, possibly associated with the ballet-induced neuromuscular benefit-an earlier leg muscle activation.NEW & NOTEWORTHY This is the first study to examine how older ballet dancers respond to an unexpected external slip perturbation while standing. The results suggest that older ballet dancers experience a reduced fall risk after the slip than their nondancer counterparts. The lower fall risk can be accounted for by dancers' quicker neuromuscular reactions to the slip that result in a more effective recovery step and thus higher stability against backward falls due to the slip.

Physiological Demands of Competitive Collegiate Dance.

Seifert Gonzales, AM and Stenson, MC. Physiological demands of competitive collegiate dance. J Strength Cond Res 38(9): e503-e509, 2024-Competitive collegiate dance combines elements of gymnastics and acrobatics with more traditional styles, such as ballet, jazz, and modern dance. Assessing the physiological demands and identifying clear measures of intensity and duration of such dance provide a framework for planning the competitive season and developing strength and conditioning programs. This study examined the blood lactate (BL), heart rate (HR), and ratings of perceived exertion (RPE) of 14 well-trained female dancers on a competitive collegiate dance team. Subjects completed a treadmill test to determine their lactate threshold (LT) and then performed a 120-second choreographed jazz dance routine in cumulative 30-second segments, during which physiological markers were measured. All subjects exceeded their individually determined LT values by 90 seconds into the dance routine. A moderate (rs = 0.53; p < 0.001) positive correlation was observed between HR and RPE, as was a strong (rs = 0.70; p < 0.001) positive correlation between BL and RPE. Subjects worked at or above LT for much of the 120-second jazz dance routine, indicating that competitive collegiate dance is physiologically demanding and highly anaerobic. Understanding the physiological demands of competitive collegiate dance allows strength and conditioning professionals to develop, monitor, and adjust training parameters, which will aid in minimizing injury and maximizing competitive performance in collegiate dancers.

A 6-Week Mindfulness-Acceptance-Commitment Intervention to Improve Professional Ballet Dancers' Psychological States Around Performance.

Background: Mindfulness and acceptance-based approaches have been trialled in professional sport. The present pilot study was a randomized controlled trial with professional ballet dancers investigating the effectiveness of the Mindfulness-Acceptance-Commitment (MAC) approach, developed for athletes, compared to an education program which included topics relevant to ballet and performance. Methods: Participants included 16 professional ballet dancers (2 men and 14 women) who were randomly assigned into either the MAC or education group for 1 session per week, for 6 weeks. Participants were assessed pre-and post-intervention using the Mindfulness Inventory for Sport (MIS) and the Acceptance Action Questionnaire (AAQ-II). Within 2 weeks of the final mindfulness session, all participants completed a semi-structured interview. Results: No differences were found when comparing the questionnaire responses between pre- and post- intervention, nor between the MAC group and the control group at post intervention for all subscales. Although dancers reported in the interviews that the sessions were valuable, they advised their ability to dedicate time to mindfulness ongoing would be challenging. Conclusions: Mindfulness interventions, as explored in this study, show promise to promote the well-being of professional ballet dancers. For consistent and ongoing mindfulness practice, future designs should seek to embed mindfulness practice into dancer and company schedules.