Female Dancers Research Articles

PERANCANGAN BUKU CERITA BERGAMBAR BERJUDUL ”ASAL-USUL TARI RONGGENG IBING” UNTUK REMAJA BERUSIA 13-17 TAHUN

Design of a Picture Storybook titled “Origins of the Ronggeng Ibing Dance” for Youth 13-17 Years Old. The Ronggeng Ibing dance is a type of ronggeng art known in the Sundanese community that has developed in the southeastern part of West Java, especially in Ciamis Regency, Banjar City, and Pangandaran Regency. In this Ronggeng Ibing, several female dancers are accompanied by Sundanese gamelan and kawih-kawih (singing) music. Sundanese kawih-kawih as accompaniment to the Sundanese Ibing dance also experienced development with many new kawih-kawih being created. The research method was carried out by conducting interviews with resource persons, distributing questionnaires, and collecting and reading literature. The result of this design is in the form of an illustrated storybook that will discuss the origins of the Ronggeng Ibing Dance. Through this design, it is hoped that it can provide insight to children about their origins more specifically in terms of dance culture, can increase children's reading interest, and can make it easier for children to understand cultureKeywords: storybook, ronggeng ibing, Pangandaran Regency, West Java

Acute Musculoskeletal Complaints Vary According to the Perceived Stress Among Hungarian Professional Dancers.

Introduction: Studies showed that professional dance is often associated with a high degree of acute musculoskeletal injuries. These injuries' etiology predominantly describes their biomechanical or other extrinsic factors, but there is a limited number of scientific reports dealing with the perceived stress or mental health status concerning the physical complaints especially, among Hungarian professional dancers. Materials and Methods: In this study, we used validated questionnaires (RESTQ, SEFIP, Mental Health Test) filled out by Hungarian professional female dancers (N = 168) via an online platform anonymously and analyzed statistically. Results: Our findings showed a significantly positive relationship between musculoskeletal complaints and perceived stress, an elevated level of general stress, and a higher level of resilience in this population compared to the general population. Conclusion: Dancers demonstrate a heightened perception of stress; however, they exhibit elevated scores on resilience assessments, indicative of heightened functionality in their daily lives. Stress, per se, may not be directly regarded as a causative factor for acute musculoskeletal conditions, but it could potentially influence the severity of pain sensations and subjective pain levels in the context of existing injuries. Additional investigations are warranted to elucidate the precise mechanisms by which stress exacerbates the pain experience among dancers.

Nutritional, anthropometric characteristics and the probability of suffering disorders of eating behavior in classical dancers in four academies of the central department

Background: Eating behavior disorders (EDs) are mental health disorders characterized by pathological behavior towards food intake and an obsession with weight control, accompanied by distortion of the perception of body image. Methods: An observational, descriptive and cross-sectional study with a quantitative approach was carried out, which included 4 classical dance academies in the Central department, specifically classical dance dancers within the age range 12 to 18 years, whose parents signed an informed consent. Poorly completed surveys and male dancers were excluded. Sociodemographic data, eating and anthropometric characteristics, and the probability of having eating behavior disorders were analyzed using two scales, SCOFF and BULIT. The work regarding the bioethical principles of research to manage the personal data of the participants, only those data strictly necessary to solve the research objectives were taken. A formal letter was provided to the parents to confirm that their daughters could be part of the investigation. The study was presented to the Ethics Committee of the Universidad del Pacifico. Results: Of 91 female classical dancers surveyed, 17 (19 %) were 12 years old; 27 (30 %) are from Academy A; 89 % (n=81) do eat fruit; 86 % (n=78) vegetables; 100 % (n=91) consume meat; dairy products and derivatives 98 % (n=89); legumes it was obtained that 82 % (n=75) consume it; 88 % (n=80) consume sugary drinks; and in terms of the consumption of pure water, 60 % (n=55) make adequate consumption. For the anthropometric data, 43 % (n=39) weigh between 50 and 59.9 kg; 57 % (n=52) measure between 151 and 160 cm, 85 % (n=77) have adequate height, 70 % (n=64) of classical dance students are at risk of suffering behavioral disorders food according to the SCOFF scale; while 99 % (n=90) of the dancers do not present any risk of suffering from Bulimia Nervosa according to the BULIT scale. Conclusion: We conclude that classical dance dancers are likely to suffer from eating disorders, since this population is considered highly exposed, especially in the adolescent stage, since even today there is social pressure on the canon of beauty that they must achieve and sustain to be accepted and included.

Comparison of Static Lower Extremity Alignment in Female Ballet Dancers and Non-ballet Dancer

PURPOSE This study aimed to: 1) compare the differences in static lower-extremity alignment (SLEA) between female ballet dancers (BD) and non-ballet dancers (NBD); 2) investigate the differences among gesture leg (GL) and supporting leg (SL) in BD and dominant leg (DL) in NBD; and 3) compare limb asymmetry between groups.METHODS Twenty-nine female BD and 20 NBD were recruited for this study. The quadriceps, tibiofemoral, rearfoot, and genu-recurvatum angles, tibial torsion and varum, and navicular drop height were measured. An independent <i>t</i>-test was conducted to compare SLEA and limb asymmetry between groups. One-way analysis of variance with Bonferroni post-hoc tests were performed to determine the differences among the GL, SL and DL.RESULTS BD showed lower quadriceps and rearfoot angles, less tibial varum and navicular drop, and greater tibiofemoral angle (<i>p</i><.005) than NBD. BD showed less quadriceps angle asymmetry but greater tibial torsion asymmetry (<i>p</i><.01) than NBD. GL and SL in BD showed differences in quadriceps, tibiofemoral, rearfoot angle, tibial torsion and navicular drop compared to NBD.CONCLUSIONS Repetitive dance movements can transfer varying forces to the GL and SL, potentially contributing to SLEA asymmetry. An intervention strategy that can reduce SLEA asymmetry in BD is needed, as is the identification of elements of ballet training that contribute to maintaining a normal SLEA.

Halk Oyuncuların Serbest Zaman Doyum ve Mutluluk Düzeylerinin İncelenmesi

The aim of this research conducted with folk dancers is to examine the leisure time, satisfaction and happiness levels of folk dancers. In this context, the universe sample group of the relevant research was 75 folk dancers in Alanya. The relevant data was collected from folk dancers through Google forms. In the study, short Oxford happiness and leisure time satisfaction scale was used as a data collection medium. SPSS 26.0 program was used in the analysis of the data obtained within the scope of the study. In the study, the normality of the data was examined by looking at the skewness and kurtosis values before the analysis. Since the skewness and kurtosis values of the data obtained from folk dancers are between -1.5 + 1.5 reference values, the normal distribution is accepted (Tabachnick and Fidell, 2013). Therefore, sample t test, one-way analysis of variance and Pearson correlation analysis independent of parametric tests were performed in the study. 
 As a result of this research, which was carried out to examine the leisure time and happiness levels of folk dancers, it was found that the leisure time satisfaction levels of male folk dancers were higher than female folk dancers, and as the education level decreased, happiness was affected accordingly.

Biomechanical Analysis of Latin Dancers' Lower Limb during Normal Walking.

Latin dance involves fundamental walking steps, integral to the dance process. While resembling daily walking, Latin dance demands higher balance levels, necessitating body adjustments by dancers. These adaptations affect dancers' gait biomechanics, prompting our study on gait differences between Latin dancers (LDs) and non-dancers (NDs). We enlisted 21 female Latin dancers and 21 subjects based on specific criteria. Participants executed walking tasks, with an independent sample t-test for 1-dimensional statistical parameter mapping (SPM 1d) analyzing stance phase variations between LDs and NDs. Notably, significant differences in ankle and hip external rotation were evident during the 16.43-29.47% (p = 0.015) and 86.35-100% (p = 0.014) stance phase. Moreover, pronounced distinctions in rectus Achilles tendon force (ATF) (12.83-13.10%, p = 0.049; 15.89-80.19%, p < 0.001) and Patellofemoral joint contact force (PTF) (15.85-18.31%, p = 0.039; 21.14-24.71%, p = 0.030) during stance were noted between LDs (Latin dancers) and NDs (Non-dancers). The study revealed dancers' enhanced balance attributed to external ankle rotation for dance stability, coupled with augmented Achilles tendon and patellofemoral joint strength from prolonged practice. Moreover, integrating suitable Latin dance into rehabilitation may benefit those with internal rotation gait issues.

Jumping demands during classical ballet class.

Ballet class represents a considerable portion of professional ballet training, yet the external training load demands associated with class-and particularly the jumping demands-have not been investigated. The purpose of this study was to measure the jumping demands of ballet class by sex and rank. Eleven female and eight male elite professional ballet dancers participated in 109 ballet classes taught by 12 different teachers. Jump counts and jump heights were measured during each class. A Poisson generalized linear mixed effects model was used to examine the differences in jump counts between sexes and ranks. Greater jump counts were observed during class in men than in women (153, 95% confidence intervals [CI] [137, 170] vs. 119, 95% CI [109, 131], p = 0.004) and in junior ranking dancers compared with senior ranking dancers (151, 95% CI [138, 165] vs. 121, 95% CI [108, 135], p = 0.006). Female junior and senior ranking dancers jumped at rates of 9.2 ± 2.6 and 8.6 ± 4.7 jumps·min-1 , respectively, while male junior and senior ranking dancers jumped at rates of 9.1 ± 2.6 and 8.7 ± 2.6 jumps·min-1 , respectively. Across all classes, 73% of jumps observed were below 50% of maximum double-legged countermovement jump height. Unlike rehearsals and performances, class offers dancers an opportunity to self-regulate load, and as such, are a useful session to manage jump load, and facilitate gradual return-to-dance pathways. Communication between health care and artistic staff is essential to facilitate load management during class.

Feasibility of mitigating out-toeing gait using compression tights with inward-directing taping lines.

Out-toeing gait may cause alterations in lower limb biomechanics that could lead to an increased risk of overuse injuries. Surgery and physical therapy are conventional methods for mitigating such gait, but they are costly and time-consuming. Wearable devices like braces and orthoses are used as affordable alternatives, but they apply non-negligible stress on the skin. Haptic feedback-delivering shoes were also recently developed, but they require actuators and power sources. The purpose of our study is to develop compression tights with inward directing taping lines that apply compression to lower limb muscles and segments to facilitate inward rotation of the foot, overcoming the drawbacks of previous methods. These compression tights were manufactured to fit the average height, leg length, hip girth, and waist girth of South Korean females in their twenties. The efficacy of these compression tights was evaluated by comparing walking kinematics and user satisfaction of 12 female dancers with an out-toeing gait under three conditions: wearing tights with taping lines, tights without taping lines, and basic bicycle shorts. The foot rotation angles and joint kinematics were recorded using a pressure-pad treadmill and motion capture system, respectively. Multiple pairwise comparisons revealed that the compression tights with inward-directing lines significantly reduced foot rotation angles (up to an average of 20.1%) compared with the bicycle shorts (p = 0.002 and 0.001 for dominant and non-dominant foot, respectively) or the compression tights without taping lines (p = 0.005 and p = 0.001 for dominant and non-dominant foot, respectively). Statistical parametric mapping revealed significant main effects of the tight type on joint kinematics. Also, t-tests revealed that the participants reported significantly higher ratings of perceived functionality and usability on the compression tights with inward-directing taping lines. In conclusion, we developed a comfortable and practical apparel-type wearable and demonstrated its short-term efficacy in mitigating out-toeing gait.

Bentuk Penyajian Tari Pilanuk di Kecamatan Sungai Ambawang Kabupaten Kubu Raya Kalimantan Barat

The background of this research is because of the researcher's concern about the authenticity of the Pilanuk Dance performance, which in the future will experience changes. Therefore the researcher describes and documents the Pilanuk Dance in the form of videos, writings, pictures. This study uses descriptive methods, qualitative research forms, ethnochoreological approaches and choreographic approaches. Data collection techniques in the form of observation techniques, interview techniques, and documentation techniques. The technique to test the validity of the data used is the extension of observations and source triangulation. Based on the data analysis, it was concluded that the form of presentation of the Pilanuk Dance has a movement structure, namely the opening movement, the core movement which consists of agile footsteps and closing movements. The number of dancers must be even, namely 8 and so on. This dance can be danced by both men and women. The floor pattern is in the form of straight lines, circles and plus signs which are interpreted as the direction of the compass. drum). The costumes used by female dancers are traditional Dayak Kanayant clothes, skirts, shawls, headbands, roof tiles, obi/belts, necklaces, earrings, rinyuakng leaves. For male costumes, they use loincloths, scarves, headbands, tiles, necklaces, rinyuakng leaves, obi/belt. The facial makeup used by dancers is natural makeup. The place for the performance uses an open stage or the hall of a traditional house.

Pertunjukan Tari Piring Kumun Sebagai Representasi Sosiologi Gender dan Upaya Pelestarian Adat Budaya Kerinci

Piring Kumun Dance is one of the traditional arts of the Kumun people. The Piring Kumun Dance is often performed in community activities and traditional activities, the dancers are a mixture of male dancers and female dancers. This research has three objectives namely; First, knowing the form of the motion of the Piring Kumun dance. secondly knowing the traditional and societal views of female dancers, thirdly analyzing the position and existence (social) of women in the Kumun community. This study uses Lev Vygotsky's feminist and sociocultural theory. Sociocultural theory emphasizes the role of social interaction in a person's psychological development. The research method used is a qualitative method with a content analysis approach from Krippendorf, namely a method used to examine symbolic phenomena with the aim of exploring and expressing the observed phenomena which are the content, meaning and essential elements of the performance. On the other hand, this research also uses an ethnographic context, this is done because it has compatibility between the subjects studied, namely art and culture or traditions in a society based on local wisdom.

Mambaleh Nan Talipek Terinspirasi Dari Kegiatan Manganyam Kampia Di Matua Kabupaten Agam

The Mambaleh Nan Talipek dance work departs from manganyam kampia activities in Matur, Agam Regency. The creators chose to transform the woven techniques such as the lipek technique and the twisting technique onto the dancer's body, so that in making the work they are more focused on developing the woven technique into the structure of the dance work by Mambaleh Nan Talipek which is divided into three parts. In the first part, the artist transforms the lipek technique using his hands, feet and body. The second part transforms the weaving technique by using the properties of the cloth and in this part the dancers perform complementary movements. In the third part, the artist shows the woven Kampia into dance. In this section, Kampia is used to show how the results of the two techniques are formed. This work is strengthened by live music and other compositional elements, the methods used in composing this work are methods of exploration, improvisation, observation, and formation. This work is supported by seven female dancers, with cultural themes and non-dramatic types.

Ballet and Celebrity at the Paris Opera, or the Dreams of the Rat

Abstract: The panoramic literature of the July Monarchy (1830–48) depicts the rat or ballet girl to be destined for prostitution, her dream of becoming a star a mere pretext used to exploit her. In my analysis of journalists writing about the young female dancer, I interrogate the neutrality of such sources, contextualizing the dance profession in relation to other employment options available to female women workers of the lower classes and reconsidering the rat as an icon of women's economic and artistic ambitions. While dance was described as essentializing femininity, it promised a transformation of the body and the self that allowed for social mobility, self-expression, and artistic renown. Including accounts from former rats (including Berthe Bernay, Cléo de Mérode, and Judith Gautier) I show how dancing informed their identities, allowing them to imagine alternative realities and giving form to the articulation of their desires for the future.

Perempuan Dalam Tari Galombang Kreasi: Kajian Perubahan Peran Dan Fungsi Terhadap Posisi Penari

This study aims to describe and describe 1) the causes of changes in the role and function of dancers' positions by using women in Galombang Kreasi dance. 2) the role and function of female dancers in Galombang Kreasi dance performances. This type of research is qualitative research with descriptive methods. The instrument of this study is the researcher himself and assisted by supporting instruments such as stationery and cameras. Data collection techniques are carried out by means of literature studies, observations, interviews and documentation. The steps of analyzing or analyzing are data reduction, data presentation and inferring data. The results showed that the Galombang Kreasi dance is usually performed by men who can number up to dozens of people and then divided into two groups, where each group seems to be a group of bodyguards. Galombang Kreasi dance has a little element of pencak silat in its movements, so that when it is performed there will be a little martial arts attraction in the series of dances performed, in contrast to pasambahan dance which highlights elegance in every movement and can also be performed by women. The combination of these two dances serves to welcome and pay homage to the bride and groom, also paving the way for a line of virgins carrying carano offerings containing traditional betel. In addition, this new creation of traditional dance also serves as a fence for the entrance of the ninik mamak troupe that accompanies the journey of the bride and groom.

Resilient Tightroping as Becoming Included: Theorizing from the Journey of Kazakhstani Disabled Entrepreneur

Scholars of entrepreneurship among people with disabilities suggest that it is necessary to develop deeper insights into the contextual elements that enable or oppose such entrepreneurship. This study problematizes a core premise of the disability entrepreneurship literature that social support, institutional support or both enact disability entrepreneurship. This study modifies the premise by examining a case from the contextual scenario of a post-Soviet country where both societal and institutional attention to disability are largely inadequate and unfavourable. This case study concerns a blind female dancer in Kazakhstan who developed herself into a successful cultural entrepreneur. This inductive study proposes a process model which is labelled resilient tightroping, a model that enables a person with a disability to move towards empowerment and inclusion. The author is well aware that one cannot generalize from a single case. On the other hand, a single case can identify a deficiency in current thinking and point to additional directions where research is needed.

Bentuk Komponen Nonverbal Karya Tari Elegi

This paper aims to reveal the meaning of the nonverbal component forms of Elegi dance by interpreting the compound relationships between its elements. Several elements are discussed, namely: theme, movement, facial expressions (polatan), make-up, clothing, floor patterns and music as accompaniment. The research methodology is qualitative with data collection techniques: literature study, observation and interviews. All data that has been collected, classified, processed and analyzed using the triangulation method. The data that has been collected is then compared between one data and other data. This study found that the compound relationship of the nonverbal component elements of the Elegi dance is a dance work presented by two female dancers based on elements of traditional Surakarta style dance which was developed with the theme of romance. The struggle for love that is presented is about a love relationship that failed due to the denial of love and the woman fell into a state of hatred, resentment and anger, but in her downturn a new awareness was born, she got up and moved on to continue living by arranging her entire life so that it was meaningful for herself and others.

Dancers Show Significant Improvement in Outcomes and Favorable Return-to-Dance Rates After Primary Hip Arthroscopy With Femoral Head Cartilage Status Being a Predictor of Secondary Surgical Procedures at Mid-Term Follow-Up

To report minimum 5-year follow-up patient-reported outcome measurement scores (PROMS) and return to dance in dancers who underwent primary hip arthroscopy and to identify predictors for secondary surgeries. Prospectively collected data from May 2010 and June 2016 were retrospectively reviewed. Patients were included if they participated in dance one year prior to surgery at any level, had preoperative and minimum 5-year follow-up scores for the modified Harris Hip Score (mHHS), Nonarthritic Hip Score (NAHS), Hip Outcome Score-Sports Specific Subscale (HOS-SSS), and Visual Analog Scale for pain (VAS). Exclusion criteria were previous hip conditions, previous ipsilateral hip surgery, Tönnis grade > 1, or lateral center-edge angle < 18°. The minimal clinically important difference (MCID) was reported. Dancers that discontinued dance for reasons other than pain in their operated hip were excluded from the return to dance analysis. A logistic regression model was used to identify predictors of secondary surgeries. Fifty-one hips (48 female dancers) were included. The average age and follow-up were 29.8 ± 17.2 years and 79.1 ± 23.2 months, respectively. Improvement in all PROMS (P < 0.001) was reported. Achievement rates of MCID for the mHHS, NAHS and VAS were 83.3%, 85.7% and 85.7%, respectively. Five dancers (9.8%) underwent revision hip arthroscopy and four dancers (7.8%) converted to total hip arthroplasty. The rate to return to dance was 78.6%, with 57.6% returning to the pre-injury or higher performance level. Higher femoral head Outerbridge grade was identified as a predictor for secondary surgeries [P = 0.045, odds ratio 6.752, 95% CI (1.043 - 43.688)]. Dancers following primary hip arthroscopy experienced significant improvement in all PROMS collected and achieved a high rate of the MCID at a minimum 5-year follow-up. The rate to return to dance, in dancers that did not discontinue due to lifestyle transition, was 78.6% with 57.6% returning to the pre-injury or higher performance level. Higher femoral head Outerbridge grade was found to be a predictor for secondary surgeries.

Analysis of Topeng Jaya Perbangsa's Performance in Cirebon Regency

Jaya Perbangsa mask dance performance is a creation taken from the Mahabhrata story, with a blend of two dances between jaipong and mask dance with contemporary touch, with new types of accompaniment in West Java. The researcher's aim is to analyze the performance form of Jaya Perbangsa mask dance. This research uses a qualitative method, with an ethnochoreology approach. Data collection techniques using observation, interviews and documentation. Analysis of the performance form of Jaya Perbangsa mask dance consists of, performance structure and performance elements of Jaya Perbangsa mask dance. The dancers do not have a mandatory number, and are performed by female dancers who are required to bring a dashing Gatotkaca character, strong power, and a wide volume of motion. The makeup used by dancers uses corrective makeup with the characteristic three-braid hair.

Patellofemoral pain and musculoskeletal features in young pre- and post-pubertal female dancers

ABSTRACT The aim of this study was to examine associations between patellofemoral pain (PFP) and musculoskeletal features (such as tendon structure and bone properties) in young (pre- and post-pubertal) female dancers. A total of 49 dancers participated in this study (mean age 13.6 ± 2.9; weight 47.0 ± 13.2; height 153.7 ± 12.9 and body mass index (BMI) 19.4 ± 3.1) and were assessed for the following factors: dance background and Tanner stage through interviews; ultrasonography assessments of bone properties and patellar tendon structure through ultrasonographic tissue characterization and quantitative ultrasound, respectively; and anthropometric measurements, muscle strength, range of motion (ROM), hypermobility and PFP through physical examinations. PFP was found in 49% of the participants. Post-pubertal dancers with no-PFP were found to have greater muscle strength, greater radial and tibial properties, and better tendon structure compared to pre-pubertal dancers with PFP and compared to pre-pubertal dancers with no-PFP [F(2, 41) = 18.64, p < .001; F(2, 41) = 20.46, p < .001; F(2, 41) = 33.06, p < .001; and, F(2, 41) = 6.02, p = .007, respectively]. Logistic regression showed that tibial bone properties and range of movement (ROM) in hip external rotation were significantly associated with PFP [odds ratio (OR) = .889 and OR = 2.653, respectively; Cox & Snell R2 = .701]. The study revealed a high prevalence of PFP among young dancers, with low bone properties and hyperjoint ROM emerging as the main factors that are related to PFP. These findings should be addressed by medical teams, athletic trainers, and dance teachers regarding the need for implementing modifications to dance training programmes and injury-prevention strategies in young pre-pubertal dancers.

Assessment of Foot Deviations and Associated Foot Injuries and its Effect on Foot Functional Activity among Amateur Adolescent Female Kathak Dancers in Selected Dance Schools in Bengaluru

Background &amp; purpose: Kathak is a north Indian classical dance form that requires fast rhythmically sophisticatedfootwork and fast turns, which puts the dancers at risk of foot injuries. Any foot deviations or reduced foot functionare associated with an increased risk of a foot injury. This study aims to assess foot deviations and related footinjuries and their effect on functional activity and create awareness among kathak dancers about foot position andits risk factor for injury. Methods: This study included 100 recruited subjects based on the inclusion and exclusioncriteria. Demographic data and other variables were collected and recorded, and measures like foot posture andfunction indexes were used.Results: The foot posture index mean and SD of the left feet for the subjects recruited in the present study were1.83 and 1.43 and of the right feet were 1.89 and 1.54 respectively. The overall foot functional index score mean andSD, for the subjects recruited in the present study were 9.76 and 10.39.Conclusion: The present study concluded by stating that the foot posture index was normal and didn’t haverestrictions on foot usage while performing the kathak dance form. Whereas with the foot function index, it wasobserved that the pain experienced by subjects was severe which restricted their activity pattern and hinderedtheir dance performance.

Female Collegiate Dancers' Physical Fitness across Their Four-Year Programs: A Prospective Analysis.

Dance is physically demanding, requiring physical fitness (PF) that includes upper body, lower body, core fitness, and balance for successful performance. Whether PF changes as dancers advance from when they enter (freshmen) to when they graduate from their collegiate program (seniors) is unclear. We prospectively compared collegiate dancers' freshman-to-senior PF. We recorded PF in regard to upper body strength endurance (push-ups), core strength endurance (front, left-side, right-side, and extensor plank hold times), lower body power (single leg hop-SLH-distances % height; Leg Symmetry Index: LSI = higher/lower × 100, %), and balance (anterior reach balance, % leg length, LL; LSI balance = higher/lower × 100, %) in 23 female collegiate dancers (freshman age = 18.2 ± 0.6 years). Repeated measures ANOVAs (p ≤ 0.05) were used to compare measures from freshman to senior years. Across their collegiate programs, dancers' PF remained unchanged. Specifically, their upper body strength endurance push-up numbers (p = 0.93), their core strength endurance plank times (left: p = 0.44, right: p = 0.67, front: p = 0.60, p = 0.22), their SLH distances (left: p = 0.44, right: p = 0.85), and their symmetry (p = 0.16) stayed similar. Also, dancers' right leg (p = 0.08) and left leg balance (p = 0.06) remained similar, with better balance symmetry (p < 0.001) in seniors. Overall, dancers' PF did not change across their collegiate programs. Thus, female dancers' freshman PF may be an adequate baseline reference measure when devising rehabilitation programs and determining readiness-to-return-to-activity post injury.