Classical Ballet Dancers Research Articles

Plyometric training and vertical jump performance in classic ballet dancers

Plyometric training and vertical jump performance in classic ballet dancers

Excessive Knee Internal Rotation during Grand Plié in Classical Ballet Female Dancers.

Classical ballet dancers are exposed daily to physically demanding movements. Among these, the Grand Plié stands out for its biomechanical complexity, particularly the stress applied to the knee joint. This study investigates the knee kinematics of healthy professional classical ballet dancers performing the Grand Plié. Twenty dancers were evaluated with a motion analysis system using a marker-based protocol. Before measurements, the self-reported Global Knee Functional Assessment Scale was delivered for the knees' functional ability, and the passive range of knee motion was also assessed. The average score on the Global Knee Functional Assessment Scale was 94.65 ± 5.92. During a complete circle of the Grand Plié movement, executed from the upright position, the average maximum internal rotation of the knee joint was 30.28° ± 6.16°, with a simultaneous knee flexion of 134.98° ± 4.62°. This internal rotation observed during knee flexion exceeds the typical range of motion for the joint, suggesting a potential risk for knee injuries, such as meniscal tears. The findings provide an opportunity for future kinematic analysis research, focusing on the movement of the Grand Plié and other common ballet maneuvers. These data have the potential to yield valuable information about the knee kinematics concerning meniscus damage.

Effect of augmented feedback on classical ballet jump kinematics: A single-blind randomized controlled trial

BackgroundAugmented feedback strategies have been demonstrated to enhance jump-related biomechanics. Nevertheless, its effect on classical ballet is still unknown. The purpose of this study was to investigate whether a multimodal augmented feedback session is effective for improving lower limb and trunk kinematics during a classical ballet single-leg jump. MethodsIn a single-blind randomized controlled trial, 36 amateur classical ballet dancers were randomly assigned to either a control group (n = 18) to receive a brief warm-up session, or an augmented feedback group (n = 18) to receive, in addition to a brief warm-up session, a combined visual feedback session associated with verbal instruction. Hip kinematics in the frontal and transversal planes and knee and trunk kinematics in the frontal plane were analysed at baseline, immediate post-intervention, and one-week post-intervention. Intervention effects were analysed using a two-way, mixed model, repeated-measures analysis of variance. ResultsNo interaction effects were observed, indicating that a single session of multimodal augmented feedback was insufficient to improve lower limb and trunk kinematics during a classical ballet single-leg jump in amateur classical ballet dancers. ConclusionA single session of multimodal augmented feedback should not be used as the sole component in prevention programs intended to improve jump-related kinematics in amateur classical ballet dancers.

Is the Symmetry of Classical Ballet Positions Perfect?

It is expected that in classical ballet dancers would be able to execute all the techniques symmetrically from the right as well as from the left side of the body. This study aimed to evaluate the symmetry of kinematic parameters of hip joints, knee joints, and foot progression angle of the left and right lower extremities (LE) in five classical ballet positions, as well as the symmetry of active and passive turnout and range of passive hip external rotation. The experimental testing involved 12 female pre-professional ballet dancers. Three measurements of range of motion, made using a standard goniometer, were carried out to characterize the study group. Kinematic data of left and right LE in the five classical ballet positions were recorded using a motion capture system. The comparisons revealed significantly lower (p < 0.01) hip external rotation values by 9.8% (1st position), 5.4% (2nd position), and 8.5-11.8% (3rd position) for the right LE than the left LE. Moreover for 3rd, 4th and 5th positions, there was significantly higher (p < 0.05) hip external rotation values by 7.0%-27.2% in the back LE than the front LE. In 4th position there was asymmetry in foot progression angle with significantly lower values (p < 0.01) by 5.3% in the front LE (left) than the back LE (right). In case of goniometric measurements, the results showed significantly higher (p < 0.05) passive hip external rotation values by 10.8% for the right LE than the left LE. The perfect ballet symmetry pursued by dancers is not in fact so ideal. The most astonishing result was the existence of statistically significant differences in hip external rotation in the case of the 1st and 2nd positions.

Korrekciós tréning a Magyar Táncművészeti Egyetem klasszikus balett szakirányának első évfolyamaiban

At the beginning of the academic year all students newly admitted to the classical ballet dancer training course of The Hungarian Dance University are assessed by the Child Development and Therapy Centre called Bárányfelhő. After the assessment of their motor and neurodevelopment, children can have special skills development training integrated in their curriculum. Between the 33 children assessed in September 2020 the most significant differences were found in cross-body movements and the independent use and coordination of the upper and lower extremities. In the seventh month following the evaluation, the ballet masters of these classes reported development in concentration, coordination, balance, attention, as well as the independent use of the limbs and proprioception in these children. The skills development training has got a compound effect: as students` coordination skills improve, they gain more success and, as a result, they become more self-confident. This kind of specific skills development at the Hungarian Dance Academy does not only fill a gap in professional dancer training but it is also unique regarding professional dancer courses.

La danse classique ou la domestication de la transe

Through a previous anthropological perspective, links have been established between foundational dances (tribal and ethnic) and their relationship to trance. This article proposes to examine the relevance of bringing our westernized classical academic dance closer to a “tamed trance”. This style of dance, corresponding to a given era and culture, will allow us to understand the context of its emergence and its formative influence on the dancer. By defining the specificity of certain modified states of consciousness (MSC) otherwise known as “trance states”, it appears that the classical ballet dancer can experience “trance-in-dance” states which have certain functionalities. Achieving a daily and professionalized trance state would make it possible not only to subjugate any painful phenomena but also to experience one's body as a medium for uniqueness and association. The symbolic research underlying this choreography of bodies would appear to impose a connection with a supra order, a form of spirituality, even one of transcendence which would indicate a utilitarian purpose of the trance in the dancer.

Work-Related Dermatoses of the Feet in Professional Dancers: A Pilot Study

The feet of professional dancers are exposed to high work-related stresses. To date, data from the professional dance sector concerning this matter are lacking. The aim of this exploratory project was to analyze and evaluate skin health in the foot area with regard to the prevalence of dermatoses, their locations, as well as gender-specific and load-specific differences. Professional classical and neo-classical ballet dancers were examined at two time points: in a phase with increased stress (T0: daily training sessions, rehearsals, and high performance frequency) (n=51, 35 females, 16 males) and after a 24-day rest phase (T1: n=35, 28 females, 7 males). In addition, gender-specific and load-specific (T0 and T1) differences were evaluated. All professional dancers were affected by skin lesions of the feet at T0. Hyperkeratosis (96.1%), onychomycosis (27.5%), and subungual hematoma (11.8%) were the most frequent dermatoses of the feet of professional dancers. Onychomycosis affected the nails of the big toes in particular (right 15.7%; left 13.7%), and subungual hematomas were found exclusively on the nails of the first toe (right 7.8%; left 7.8%). Women tended to be more frequently affected by hyperkeratosis, men more frequently by onychomycosis. There were no load-specific differences between the stress and rest phases. The prevalence of work-related dermatoses is equally high among female and male dancers. The results can be used for further research and serve as a basis for specific measures of behavioral and environmental prevention in dance.

Body Composition, Eating Habits, and Disordered Eating Behaviors among Adolescent Classical Ballet Dancers and Controls

Adolescent classical ballet dancers are nutritionally vulnerable, as they try to retain a lean body shape during a life period of high nutritional requirements due to rapid growth. Studies conducted on adult dancers have indicated a high risk for the development of disordered eating behaviors (DEBs), but research on adolescent dancers remains scarce. The aim of the present case-control study was to compare the body composition, dietary habits, and DEBs of female adolescent classical ballet dancers and their non-dancer same-sex peers. Self-reported questionnaires, namely the Eating Attitudes Test-26 (EAT-26) and a 19-item Food Frequency Questionnaire (FFQ), were used for the assessment of habitual diet and DEBs. The assessment of body composition included the measurements of body weight, height, body circumference, and skinfolds and bioelectrical impedance analysis (BIA). The results indicate that the dancers were leaner than the controls, with lower weight, BMIs, and hip and arm circumferences, leaner skinfolds, and less fat mass. No differences were observed between the two groups regarding eating habits and the EAT-26 scores, but almost 1 out of 4 (23.3%) participants scored ≥ 20, indicative of DEBs. Participants with an EAT-26 score ≥ 20 had significantly higher body weight, BMIs, body circumferences, fat mass, and fat-free mass than those with a score < 20. Adolescents must be educated on nutrition and healthy methods to control body weight through evidence-based information and programs, and whenever appropriate, also through individual counseling by the appropriate health professionals.

クラシックバレエにおけるターンアウトが直立およびプリエ姿勢に及ぼす影響

クラシックバレエにおけるターンアウトが直立およびプリエ姿勢に及ぼす影響

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.

Effect of Supplementary Physical Training on Vertical Jump Height in Professional Ballet Dancers.

Dancers require many specific dance skills of a ballistic nature. The design of supplementary training to improve the strength of the lower limbs and jump height is a relevant area of research. The purpose of this study was (1)to compare the effect of plyometric training versus combined training on countermovement jump (CMJ), squat jump (SJ), and sauté in first position (sauté) height and (2)to observe whether changes in CMJ and SJ were associated with changes in sauté in female and male dancers. Eighty-one classical professional ballet dancers (41 women and 40 men, age = 22.9 [3.7]y, body mass = 59.7 [8.6]kg, height = 167.4 [7.3]cm) were divided into a control group and 2 experimental groups: plyometric training and combined training. All groups followed their common routine of training regarding classes and rehearsal practice, whereas the experimental groups added 2 sessions (1 h per session) for 9 weeks of supplementary training. Significant increases (medium to large effect size) in CMJ, SJ, and sauté height were found in the pretest versus posttest comparisons for both experimental groups. Significant, very large correlations were found between the magnitude of improvement in sauté and the magnitude of improvement in CMJ and SJ. Plyometric and combined training programs are effective ways to improve jumping ability in professional dancers. The improvement in CMJ and SJ has a good transference on sauté `performance. These findings support the use of traditional training methods to improve jump height in specific and nonspecific ballet jumping ability.

Evaluating the Relationship Between Ballet Dancers and Incidence of Femoroacetabular Impingement

Dance demands performers engage in rigorous artistic and physical movement patterns. Classical ballet dancers repeatedly perform extreme ranges of motion, which can lead to irregular stresses on the hip joints that may cause pathologies, such as femoroacetabular impingement of the cam, pincer, or mixed type. These pathologies can be detrimental in the long term to the dancing body. Is participation in classical ballet correlated to the incidence of femoroacetabular impingement? This paper will appraise the current evidence regarding hip injury incidence to identify potential factors, which may correlate with incidence of femoroacetabular impingement in ballet dancers.

Effect of low back pain on clinical-functional factors and its associated potential risk of chronicity in adolescent dancers of classical ballet: cross-sectional study

BackgroundLow back pain (LBP) is a common symptom in classical ballet dancers, which can limit their daily activities and dance training routines. The purpose of the study was to verify the association and comparison of clinical-functional outcomes (spine flexibility and foot posture) between different levels of intensity low back pain in adolescents of classical ballet and the potential risk of chronicity using the STarT back tool.MethodsCross-sectional study. Participants: 78 adolescent girls who practice classical ballet were evaluated and divided into groups according to level of low back pain: mild (n = 21), moderate (n = 17), and high (n = 20), and a control group (n = 20). Main outcome measures: Pain, flexibility of the spine (thoracic and lumbosacral), risk of chronicity for low back pain, and foot posture were assessed using the visual analogue scale, clinical tests, STarT back screening tool (SBST) questionnaire, and foot posture index (FPI), respectively.ResultsDancers with high-intensity low back pain showed a potential risk of chronicity by the SBST. The spine pain intensity was not different considering thoracic and lumbosacral flexibility in the sagittal plane, but was different with greater supine FPI when compared to control dancers. Mild low back pain was associated with greater supine FPI. The SBST score was associated with higher exposure time–frequency and time of dancing.ConclusionAdolescents of classical ballet with high-intensity low back pain showed a potential risk of chronicity by the SBST. The level of intensity low back pain did not influence the clinical-functional aspects of spine flexibility in the sagittal plane, but the level of intensity moderate pain promoted changes in foot posture (more supinated). The potential risk of chronicity using the SBST was also associated with higher exposure time–frequency and time of dancing, in adolescents of classical ballet.

Effect of Long-Term Classical Ballet Dance Training on Postactivation Depression of the Soleus Hoffmann-Reflex.

Classical ballet dancing is a good model for studying the long-term activity-dependent plasticity of the central nervous system in humans, as it requires unique ankle movements to maintain ballet postures. The purpose of this study was to investigate whether postactivation depression is changed through long-term specific motor training. Eight ballet dancers and eight sedentary subjects participated in this study. The soleus Hoffmann reflexes were elicited at after the completion of a slow, passive dorsiflexion of the ankle. The results demonstrated that the depression of the soleus Hoffmannreflex (i.e.,postactivation depression) was larger in classical ballet dancers than in sedentary subjects at two poststretch intervals. This suggests that the plastic change through long-term specific motor training is also expressed in postactivation depression of the soleus Hoffmann reflex. Increased postactivation depression would strengthen the supraspinal control of the plantarflexors and may contribute to fine ankle movements in classical ballet dancers.

"Can A Ballerina Eat Ice Cream?": A Mixed-Method Study on Eating Attitudes and Body Image in Female Ballet Dancers.

Aim: We aimed to explore how a group of classical ballet dancers perceived their eating attitudes and their bodies, with special attention to the potential presence of eating disorders (EDs) symptoms and body image (dis)satisfaction.Methods: A cross-sectional, mixed-method study was conducted on fourteen trained classical ballet dancers (18–30 years old). Their experiences, perceptions, and feelings regarding eating attitudes and body image concerning classical ballet were acquired through qualitative focus groups. The presence of EDs symptoms and perception and (dis)satisfaction with body image was analyzed quantitatively through self-report questionnaires.Results: Participants reported concerning eating attitudes during the focus groups, such as the regular practice of several restrictive popular diets, constant restriction of foods considered “heavy” or “fatty,” meal skipping and ignoring signs of hunger, presence of overeating episodes due to stress and anxiety, feeling guilty about breaking their usual diet, classifying foods as “good” and “bad” or “lean” and “fat,” and excluding some of those foods from their usual diets. These reports were partially reflected in the questionnaires, with 50% of the ballerinas showing bulimic symptoms indicative of an unusual eating pattern (only two of them with a significant risk index), 7.1% showing symptoms of moderate binge eating, and 14.3% symptoms of EDs in general. Additionally, when considering their bodies in the context of everyday life, participants were satisfied; however, in the “classical ballet” context, they reported feeling dissatisfied with their shape. These findings were in line with results from the Stunkard's Scale, which revealed that 50% of the sample was dissatisfied with their current body shape and 57.1% indicated that their desired body shape was a leaner figure than one they considered healthy.Conclusions: The constant practice of restrictive diets and other weight-loss strategies to achieve a leaner body were associated with symptoms of EDs and body dissatisfaction in this sample. Importantly, the questionnaires used seemed to underestimate the presence of a disordered eating pattern reported by the participants during focus groups. These data could help to inform psychological and nutritional strategies aimed at improving performance, physical and psychological well-being, and quality of life of ballet dancers.

Amateur ballet practicing, body image and eating behaviors: a comparative study of classical ballet dancers, gym users and sedentary women

BackgroundBallet dancers are a risk group for body image (BI) distortion, dissatisfaction and eating disorders (ED), but few studies have investigated these aspects in amateur adult practitioners. This study aimed to evaluate if amateur female adult classical ballet dancers presented different BI and behaviors for ED than gym users and sedentary women.MethodsThis is a cross-sectional study where classical ballet dancers (n = 19) were compared to gym users (n = 19) and sedentary women (n = 19). Body mass index (BMI) was assessed, and a figure rating scale was applied to assess BI distortion/dissatisfaction. The body shape questionnaire (BSQ) was used to measure BI concern. The eating attitudes test (EAT-26) and the bulimic investigatory test, Edinburgh (BITE) were used for behaviors toward anorexia and bulimia.ResultsBMI was significantly lower in ballet dancers than gym users and sedentary women (F, p = .04). BI distortion did not differ among the studied groups. BI dissatisfaction was lower (X2, p = .041) in ballet dancers (75.0%) and gym users (70.6%) compared to sedentary women (100%). Correspondence analysis showed ballet dancers were mostly not concerned with BI, which was not observed among the other groups. The EAT-26 did not differ between the studied groups. The BITE score was lower (Tukey’s post hoc test, p = .005) in the ballet dancers [mean 5.3 (5.6)] compared to the sedentary women [mean 10.9 (4.8)].ConclusionsData suggest that amateur classical ballet practicing is associated to better BI and fewer behaviors for ED in the studied population. The lower BMI in ballet dancers might explain these findings, and further studies should explore these associations.

Wellness Monitoring for Professional Ballet Dancers - A Pilot Study.

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

Sagittal Integral Morphotype of Female Classical Ballet Dancers and Predictors of Sciatica and Low Back Pain.

The aims of this study were to describe the sagittal integral morphotype (SIM) of classical ballet (CB) dancers, and to establish predictor factors and their cut off values for high risk of experiencing sciatica or low back pain (LBP). This retrospective cohort study was performed in 33 female professional CB dancers. Data related to anthropometric parameters, CB dance experience, sciatica or LBP history, and sagittal spine curvatures were collected. A binary logistic regression and receiver-operating characteristic analysis were performed. The main spine misalignments observed in the SIM of CB dancers were thoracic functional hyperkyphosis, hypomobile kyphosis, and hypokyphosis, and those for the lumbar curvature were hyperlordotic attitude and functional hyperkyphosis. The lumbar curvature in slump sitting and trunk forward bending positions, together with the stature, were significant predictor factors of sciatica history, while the years of dance experience was a significant predictor factor of LBP history. The cut off values analysis revealed that dancers with a stature of 161 cm or less, and those with 14 years of experience or more, have a greater probability of experiencing sciatica or LBP history, respectively.

The Impact of Dance-Specific Neuromuscular Conditioning and Injury Prevention Training on Motor Control, Stability, Balance, Function and Injury in Professional Ballet Dancers: A Mixed-Methods Quasi-Experimental Study.

BackgroundProfessional ballet dancers suffer high injury rates and are less likely than other athletes to specifically train to improve muscular strength, coordination, agility, speed and motor control because of heavy training demands, aesthetic appearances and financial barriers.Hypothesis/PurposeThe purpose of this study was to examine the effects of a supplemental conditioning program on professional and pre-professional contemporary ballet dancers. The authors hypothesized that those participating in a training program would reduce injury rate by improving their motor control, stability, balance and physical function. The authors aimed to observe the feasibility and qualitative phenomena related to a conditioning program from the dancer’s perspective.Study DesignA mixed-methods study; within subject quasi-experimental design and qualitative interviews.MethodsSix professional classical and contemporary ballet dancers completed the five-week conditioning and injury prevention training program. Non-parametric analysis of baseline, posttest and four-month follow-up physical performance measures, subjective outcomes, and qualitative follow-up interviews, were reported.ResultsSignificant post-test improvements included: The Dance Functional Outcome Survey (Z= -2.2, p= 0.04), composite Modified Star Excursion Balance Test (Z= -2.2, p= 0.03 bilaterally), Single Leg Hop for Distance (Z= -2.02, p= 0.04), and Upper Extremity Closed Kinetic Chain Test (Z=-2.03, p= 0.04). Significant changes from baseline to the four-month follow up remained for: (1) Dance Functional Outcome Survey (Z= -2.2, p= 0.03), (2) Single Leg Hop for Distance (Z= -2.2, p= 0.03), and (3) Modified Star Excursion Balance Test composite maximum reach for the left lower extremity (Z= -2.2, p= 0.03).ConclusionCompleting a conditioning and prevention program for professional ballet dancers was related to improved function, balance, hop distance/stability and upper extremity stability. Dancers found the program beneficial, identified barriers to participation, and elucidated factors making the program feasible and successful. More research is necessary to determine the effect of such programs on injury incidence.Level of evidence3b

Relationship between postural control ability on demi-pointe and toe muscular strength in junior female classic ballet dancers

Relationship between postural control ability on demi-pointe and toe muscular strength in junior female classic ballet dancers