Female Ballet Research Articles

On-Time Maturation in Female Adolescent Ballet Dancers: Learning From Lived Experiences

This study employed semi-structured interviews and Interpretative Phenomenological Analysis to explore experiences of on-time maturation in nine adolescent ballet dancers from across three vocational ballet schools in the United Kingdom. Two themes were identified as central to their experiences: ‘A right and a wrong way to grow’, and fitting in and moving forward. Instead of perceiving themselves as ‘average’ and experiencing a relatively easy pubertal transition, on-time dancers described unique challenges associated with a fluctuation between fitting in and not fitting in within their social context. The implications of on-time maturation in this context are complex and do not appear to follow the same trajectory as early maturing ballet dancers nor on-time non-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.

Стрессовое недержание мочи у юных гимнасток и танцовщиц как нарушение функции от перегрузки (пилотное исследование)

Stress urinary incontinence (SUI) is common among young, nearly healthy female athletes and ballet dancers (up to 80 and 50%, respectively). Patients and methods. A pilot study included 46 adolescent girls aged 10 to 14 years (rhythmic gymnastics and choreography students); SUI was identified in 14 subjects. Using analysis of variance (ANOVA), it was revealed that inspite of the small sample, pelvic and hip muscle hypertension (p = 0.005) and lumbar hyperlordosis (p = 0.028) could be considered as risk factors for the SUI development . Discomfort and/or uncertain pain in pelvis and hip joints that increased during specific movements were considered as “non-specific pain syndrome; overuse injury” in all subjects. Results. After a standard rehabilitation therapy used in such cases, all the 14 SUI patients noted a decrease in urinary leak episodes (p = 0.033). Conclusion. The results suggest that a larger randomized controlled trial of risk factors, treatment and rehabilitation of SUIsyndrome in young female athletes and dancers should be carry out. Keywords: ballet, hypertension, urinary incontinence, rehabilitation, female athletes

Semitendinosus snapping: analysis of movement, electromyographic activities, muscle strength and endurance, motor control and joint position sense

A female ballet with a history of two-years of semi-tendinosus (ST) snapping was assessed. On physical examination snapping was observed during hyperextension of the knee. Neither any history of trauma nor treatment was recalled. Magnetic resonance imaging (MRI), movement analysis, onset timing of ST and Bisceps Femoris (BF), motor control, isokinetic muscle strength and endurance, joint position sense (JPS) were assessed. The MRI findings were normal. There were abnormal oscillations observed during hyperextension of the snapping knee compared to healthy side. There were no isokinetic muscle strength nor do muscle endurance differences. The motor control and JPS deficits were greater on the snapping knee than the healthy side. ST onset timing was earlier than BF on the snapping side. Snapping of the semitendinosus tendon has an adverse affect on JPS, motor control and onset timing of the knee muscles.

Assessment of the aesthetic component of female classical ballet dancers performance

Since the aesthetic component of dancers’ performance is heavily related to their fitness level, the assessment of its qualitative aspect is highly needed (Angioi et al., 2009). This study aimed to assess the qualitative performance of classical ballet dancers by means of an adapted version of the “Performance Competence Evaluation Measure (PCEM)”, developed and validated by Krasnow et al.(2009). Eight female classical ballet dancers (age: 19,3±3,37 years; height: 165±4,65 cm; weight: 52,6±2,26 kg; total years of dance training: 10,5±2,26) were recruited to perform a movement sequence (“adagio”) lasting 80 seconds and specifically choreographed for this study. All participants were free of injury and not involved in any supplementary fitness training or other sport activity. Each performance was video recorded, randomly ordered in an edited video and handed together with assessment guidelines to three judges (two very experienced and one professional). Then, the judges’ scores for each one of the four parameters [1) Full Body Involvement (FBI); 2) Body Integration and Connectedness (BIC); 3) Articulation of Body Segments (ABS); 4) Movement Skills (MS)] were collected based on a Likert scale ranging from 1 to 5, in order to assess the inter-rater and intra-test-retest (one week after the first) reliability of their decisions. With regard to inter-rater reliability, the Kappa values were ranging from moderate (between 0.4 and 0.6) and very good (over 0.8) for FBI and MS and from good (between 0.6 and 0.8) and very good for BIC, while the professional judge differed from the others for ABS. With regard to intra-test-retest reliability there was mostly a very good agreement between all judges for all parameters. The reliability of the measures suggest that the PCEM can be serve as a useful tool to assess the aesthetic component of the performance of classical ballet dancers.

Social Physique Anxiety and pressure to be thin in adolescent ballet dancers, rhythmic gymnastics and swimming athletes

Participation in sports may influence negative body image and Social Physique Anxiety (SPA) as there is pressure by significant others to have a certain body image. The aim of the present study was to examine possible differences in SPA and perceived pressure to be thin between female preadolescent and adolescent ballet dancers, rhythmic gymnastics, and swimming athletes, and to predict SPA by global self-esteem, pressure to be thin, BMI, and training age. In the study participated 23 ballet dancers, 47 rhythmic gymnastics athletes, and 32 swimming athletes. They completed self-reported questionnaires assessing SPA, perceived pressure to be thin by coaches, parents and friends, global self esteem, and body image. There were no significant differences between groups in SPA, global self-esteem, perceived pressure to be thin, and in rates of body image (χ2 = 1.65, p = .800). Hierarchical linear regression showed that SPA was predicted significantly by global self-esteem and BMI (R = .58, R2 = .34, F(6,95) = 8.13, p < .001). It seems that there are similarities between ballet dancers, rhythmic gymnastics athletes, and swimming athletes although ballet is considered as a non-competitive physical activity. Intervention programs in order to reduce SPA and enhance global self-esteem should be addressed to each group.

A comprehensive musculoskeletal profile of advanced female classical ballet dancers

A comprehensive musculoskeletal profile of advanced female classical ballet dancers

Comparing Ankle Range of Motion, Functional Ability, Talar Tilt Angle and Foot Injuries between High School Ballet Majors with and without Foot Deformities

Background: The purpose of the study was to compare and contrast ankle range of motion, functional ability, talar-tilt angle and foot injuries between high school ballet majors with and without foot deformities and to provide fundamental data about effective intervention methods for their successful performance and injury prevention. Methods: Subjects were 18 female high school ballet dancers, eight with foot deformities and ten without foot deformities. For statistical analysis, the independent t-test (SPSS 20.0; SPSS Inc, Chicago, IL, USA) was used and the significant level of P<0.050 was selected. Results: 1. Foot injuries of plantar flexion and talar tilt were significantly different between the two groups (P<0.050). 2. The deformity group displayed a higher proportion of mechanical instability compared to that of the control group. Conclusions: Foot deformities in high school students majoring in ballet can have negative effects to the ankle joint, with a strong possibility of ankle instability and foot injuries linked to tarlar tilt, and quite probably, of chronic ankle sprain. Korean J Health Promot 2014;14(2):74-81

A Descriptive Study on Injury Prevalence Among Female Ballet, Jazz, and Modern Dancers

Objective: To provide a descriptive analysis of injury frequency and location among ballet, jazz, and modern dancers. Analysis of years of dance experience, practice hours, and training methods were examined. Study Design: Prospective cross-sectional survey. Background: Body type, biomechanical demands, and choreography differ among ballet, jazz, and modern dancers. Research related to injuries in ballet dancers is commonplace; however, minimal research exists related to injury frequency and location in jazz and modern dancers. Methods and Measures: Ballet, jazz, and modern female dancers between ages 14 and 22 years old were randomly selected to complete a survey allowing for the collection of data. Two hundred surveys were sent out, and 72 surveys were received. Sixty surveys, 20 from each category of dance, were chosen. Results: This study found differences in injury frequency, with modern dancers having the highest injury frequency. Jazz and ballet dancers experienced an injury frequency pattern of distal to proximal joints, whereas modern dancers experienced a proximal to distal pattern. Lower extremity injuries were more common than upper extremity injuries across all dance types. Body mass index and conditioning do not appear to influence injury frequency. Conclusions: Injury frequency and location cannot be generalized to all styles of dance. There are some common injury patterns across all 3 dance types. There are also specific injury patterns typical to a specific dance type. This study provides valuable information that can be used in the areas of dance injury identification, prevention, and education.

Http://www.esciencecentral.org/journals/peroneal-nerve-compression-in-figure-skaters-2329-910X.1000102.php?aid=12908

Dance is a fascinating artistic activity, although highly demanding as regards physical and technical skills. It forces dancers in major loads which lead to musculoskeletal problems, with ankle injuries being undoubtedly amongst the most common dance injuries. Posterior Tibialis Tendonitis although not common, it may be a debilitating pathology affecting female classical ballet dancers, especially when anatomical foot abnormalities are present. Clinicians dealing with dance injuries should be aware of this existing, although rare pathological entity, due to the fact that it may prove to have harmful influence on a dancer’s career. In this review an analysis of the basic aspects of pathogenesis, diagnosis and treatment of this specific clinical entity is conducted, with special focus on dancers.

Influence of high-intensity training and of dietetic and anthropometric factors on menstrual cycle disorders in ballet dancers

Background. Intensity of exercise and low energy consumption, specific type and amount of training, early age at initiation, previous menstrual dysfunctions, low body mass index (BMI) or percentage body fat, pathological feeding habits and psychological stress have been suggested as potential factors accountable for menstrual irregularities in female athletes.Aim. To evaluate the influence of intensive training and of dietetic and anthropometric factors on menstrual cycles in female ballet dancers.Method. A case–control study, in which a structured interview and physical examination were carried out in two groups of teenagers aged between 12 and 18 years. The study included a total of 115 adolescent girls distributed in two groups: dancers (group B, n = 38) and girls of the same age not engaged in any sports activity (group C, n = 77).Results. Early starting high-intensity training delayed the onset of menarche ( p < 0.001). Dancers had a higher prevalence of oligomenorrhea and amenorrhea than control girls ( p = 0.004). Additionally, the dancers had lower scores in anthropometric variables: breast circumference 80 cm vs. 86.6 cm for controls ( p = 0.0001), low weight in 18% of dancers vs. 2.6% of controls ( p = 0.0001), and low height in 18% of dancers vs. 9% of controls ( p = 0.016). In addition, in dancers, low BMI was observed in 21% compared with 13% of controls ( p = 0.0001). Finally, 32% of the dancers were on a weight-control diet while this percentage decreased to 12% for the girls in control group (odds ratio = 3.49, 95% confidence interval = 1.31–9.25).Conclusions. In ballet dancers, high-intensity training was associated with late onset of menarche, menstrual disorders, lower weight and height development, and abnormal feeding behaviors.

Bone Mineral Density And Body Composition In Female Professional Ballet Dancers

Bone Mineral Density And Body Composition In Female Professional Ballet Dancers

Total body water and fat-free mass in ballet dancers

Nine male and seven female high level ballet students had total body water (TBW) measured by two methods: 1) H2(18)O isotope dilution and 2) total body electrical conductivity (TOBEC). TBW from TOBEC measurements was calculated using an equation previously derived from adults, and these new measurements correlated highly with TBW by isotope dilution (r = 0.99, SEE = 0.78 kg). However, the difference between these two methods increased as TBW increased. Therefore, a new equation (ballet equation) was developed which improved the prediction of TBW for individuals (SEE = 0.69 kg) and for which the difference in TBW between isotope dilution and TOBEC was independent of the TBW value. Using age-adjusted hydration constants, the TBW measurements by isotope dilution were converted to fat-free mass, and these values were used to develop an accurate equation for predicting fat-free mass from TOBEC measurements (r = 0.99, SEE = 0.91 kg). In addition, we measured TBW and calculated FFM in ten control adolescents and used these values to develop equations for predicting TBW (r = 0.99, SEE = 1.01 kg) and FFM (r = 0.99, SEE = 1.42 kg) in a combined group of adolescent dancers and non-dancers. Total body water and fat-free mass can be accurately measured in adolescent ballet dancers and non-dancers using TOBEC.