Female Classical Ballet Dancers Research Articles

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.

Kettlebell Training for Female Ballet Dancers: Effects on Lower Limb Power and Body Balance.

The aim of the present study was to evaluate the effects of 5 month kettlebell-based training on jumping performance, balance, blood pressure and heart rate in female classical ballet dancers. It was a clinical trial study with 23 female dancers (age = 21.74 ± 3.1 years; body height = 168.22 ± 5.12 cm; body mass = 53.69 ± 5.91 kg) took part in the study. Participants were divided into two groups: a kettlebell group (n = 13), that followed a commercial kettlebell training protocol named the “Simple & Sinister protocol”, and a traditional dance training control group (n = 10). In the kettlebell group, kettlebell training completely replaced the jump and balance section of dance classes. Both groups performed balance and jumping tests before and after the training period. Blood pressure and the heart rate were also measured. The kettlebell group showed significant improvements in the balance tests (antero-posterior and medio-lateral oscillation) with both legs and eyes open as well as in all types of jump exercises (unrotated: +39.13%, p < 0.005; with a turnout: +53.15%, p < 0.005), while maximum and minimum blood pressure and the heart rate decreased significantly (max: -7.90%, p < 0.05; min: -9.86%, p < 0.05; Heart rate: -17.07%, p < 0.01). The results for the control group were non-significant for any variable. Comparison between groups showed significant differences for all variables analyzed, with greater improvements for the kettlebell group. Our results suggest that specific kettlebell training could be effective in improving jump performance and balance in classical dancers to a significantly greater degree compared to classical dance training.

Correlation between degreeof hallux valgus and kinematics in classical ballet: A pilot study.

Hallux valgus is a serious medical concern for classical ballet dancers. Although it is well-known that progression of hallux valgus is related to inappropriate movement techniques in classical ballet, the kinematic relationship between the degree of hallux valgus and ballet techniques has not been substantiated. To develop proper training methods that prevent progression of hallux valgus, this study aimed to investigate the relationship between the degree of hallux valgus and movement techniques in classical ballet. Seventeen female classical ballet dancers at the advanced college-level participated in this study. Kinematic analysis of standing and plié in the first position was conducted via video capture technique. The Pearson product-moment correlation analysis was performed to examine the degree of hallux valgus and the following three kinematic variables: (1) the extent to which turnout is forced by other joints in the lower extremity than the hip joint, (2) the direction difference between the knee and toe in the transverse plane, and (3) the pelvis obliquity angle. Among these kinematic variables, we found a significant correlation between the hallux valgus angle and the pelvis obliquity angle during plié (P = .045). The greater the hallux valgus angle, the greater the retroversion of the pelvis, a result which was contrary to our prediction. We present the first evidence that the degree of hallux valgus correlates with kinematics in a very basic technique of classical ballet.

QUALITATIVE ASSESSMENT OF A SEQUENCE OF “ALLEGRO” IN CLASSICAL BALLET DANCERS WITH DIFFERENT TECHNICAL LEVEL

Since training of professional classical ballet dancers is primarily focused on the aesthetic component of performance there is a necessity to assess its qualitative aspects. This study aimed to investigate whether the Performance Competence Evaluation Measure (PCEM) adapted version for classical ballet can be a valid and useful tool: 1) to assess the performance of an “Allegro” sequence; 2) to discriminate between different levels of dancers’ experience. Twenty-four female classical ballet dancers divided in two subgroups [Ballet students (n = 12) and Pre-professional dancers (n = 12)] were recruited to perform a 70 seconds sequence of “Allegro” specifically choreographed. Each performance was assessed by three very experienced judges, which scores were based on a Likert scale (ranging from 1 to 5) to evaluate the following four parameters: 1) Full Body Involvement (FBI); 2) Body Integration and Connectedness (BIC); 3) Articulation of Body Segments (ABS); 4) Movement Skills (MS). The inter-rater reliability values were ranging from good (between 0.6 and 0.8) and very good (over 0.8) for all parameters, while the test-retest reliability showed a very good agreement for all parameters. The Allegro is a dance sequence with greater dynamism that better highlights differences of execution between dancers with different technical levels and the Mann-Whitney test showed significant differences for all parameters (P=0.001) with lower values for the ballet students. In conclusion, the PCEM adapted version for classical ballet showed to be a valid tool: 1) to assess the performance of Allegro; 2) to discriminate between different dancers’ level of experience.

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.

A comprehensive musculoskeletal profile of advanced female classical ballet dancers

A comprehensive musculoskeletal profile of advanced female classical ballet dancers

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.

Kinematic and Kinetic Analysis of the Fouetté Turn in Classical Ballet

The fouetté turn in classical ballet dancing is a continuous turn with the whipping of the gesture leg and the arms and the bending and stretching of the supporting leg. The knowledge of the movement intensities of both legs for the turn would be favorable for the conditioning of the dancer's body. The purpose of this study was to estimate the intensities. The hypothesis of this study was that the intensities were higher in the supporting leg than in the gesture leg. The joint torques of both legs were determined in the turns performed by seven experienced female classical ballet dancers with inverse dynamics using three high-speed cine cameras and a force platform. The hip abductor torque, knee extensor and plantar flexor torques of the supporting leg were estimated to be exerted up to their maximum levels and the peaks of the torques were larger than the peaks of their matching torques of the gesture leg. Thus, the hypothesis was partly supported. Training of the supporting leg rather than the gesture leg would help ballet dancers perform many revolutions of the fouetté turn continuously.

Comparative study of anthropometric variables in female classical ballet dancers, volleyball players and physically active subjects

The objective of this study was to compare anthropometric variables (body weight, height, and percent body fat) and plantarflexion and dorsiflexion range of motion (ROM) between three different groups of women: classical ballet dancers (n=14), volleyball players (n=22) and physically active subjects (n=13). The assumption was that different functional requirements should produce differences in the anthropometric variables and ROM between the three groups. Body weight and height were higher in volleyball players (66.42 ± 5.8 kg; 174.77 ± 5.6 cm), followed by physically active women (59.93 ±10.3 kg; 164 ± 7.5 cm) and ballet dancers (49.25 ± 4.5 kg; 157.03 ± 3.6 cm) (p<0.05). Percent body fat was higher in physically active women (30.67 ± 4.6%) compared to theother two groups, which showed similar percentages (volleyball players: 24.93 ± 4.1%; ballet dancers: 21.94 ± 4.3%). The three groups were similar in terms of total ankle ROM and active dorsiflexion ROM between the right and left sides. However, plantarflexion ROM was higher in ballet dancers (~83°), followed by physically active women (~68°) and volleyball players who presented the smallest ROM (~60°). The different requirements imposed by the three distinct physical activities seem to be responsible for changes in some of the anthropometric variables and ankle joint ROM.

The validity of a four day weighed food record for measuring energy intake in female classical ballet dancers.

To assess the validity of a four day weighed food record in the measurement of energy intake in female classical ballet dancers. Twelve classical ballet dancers volunteered to take part in this study. Queensland University of Technology. Twelve classical ballet dancers. Data collected from one subject was not used due to poor compliance with the requirements of the study. Measurements of energy intake via a four day weighed record and total energy expenditure via the doubly labelled water technique. There was a mean bias to under-reporting energy intake of 667 kcal/day or 21% of real intake. Results of dietary data obtained via a four day weighed intake should be viewed with caution in the light of the evidence of major under-reporting in this cohort.

Anthropometric variables and muscle properties of Japanese female ballet dancers.

Physiological characteristics of japanese female classical ballet dancers were investigated in comparison with sedentary women of similar age (non-dancers). Subjects were 20 professional female ballet dancers with a mean age of 26.5 +/- 4.4 years (mean +/- SD) and 66 sedentary women with a mean age of 23.7 +/- 3.6 years. Dancers had been trained in ballet classes for 20.4 +/- 2.4 years and had no experience of regular exercises except dance training. Body mass and % body fat measured by under-water weighing method were significantly smaller in the dancers than in the non-dancers. For all extremities, percentage of the muscle in total cross-sectional area calculated by ultra sound apparatus was significantly larger and percentage of the adipose tissue in total cross-sectional area was significantly smaller in the dancers. The maximal isometric and isokinetic force of knee flexors and the maximal isometric force of dorsi flexors (MVC force) were significantly larger in the dancers when the values were divided by body mass of each subject. During 50 repetitions of maximal plantar flexion, the isometric force of the dancers was significantly larger in all repetitions except first and second reps, though no significant difference was observed in MVC force during plantar flexion. It was suggested that the significant differences between the dancers and the non-dancers in some physiological variables might be attributed to the characteristics of dance movements/training.

Menstrual Abnormalities, Nutritional Patterns, and Body Composition in Female Classical Ballet Dancers.

In brief: Classical ballet is a demanding discipline that until recently has been largely ignored by the medical and exercise communities. The authors studied the nutritional habits of 34 high-level classical ballet dancers during three days of a typical rehearsal week and found that they consumed only 71.6% of the recommended daily allowance for nutrients. Their average percent body fat was 16.9%. Many (17) had menstrual abnormalities, 15 had secondary amenorrhea, and 11 cited irregularities they felt were directly due to dancing. No statistical correlation could be found between the reported menstrual abnormalities and percent body fat or the age they began training.