Male Ballet Dancers Research Articles

Improving Attitudes towards Male Ballet Dancers

Improving Attitudes towards Male Ballet Dancers

Quantitative MRI Analysis of the Talocrural and Talonavicular Joints in Ballet Dancers.

The ankles of ballet dancers are routinely under heavy loading that may lead to osteoarthritic changes. It would be clinically useful to identify such pathology as early as possible in a dancer's career. Therefore, the purpose of this study was to compare quantitative measurements in magnetic resonance (MR) images of the talocrural and talonavicular joints in ballet dancers and healthy non-dancers for use in formulating prediction of chronic injury and degenerative joint disease in these locations. Quantitative measurements in MR images of the talocrural and talonavicular joints were compared in 10 female ballet dancers, 10 healthy female non-dancers, and nine male ballet dancers. Fat-suppressed density-weighted proton, T1rho, and T2 mapping images were acquired with a 3.0 T MR scanner. Medial and lateral subchondral bone distance between the tibia and talus (MSBD and LSBD), axial navicular-talus axis angle (ANT angle), sagittal talar neck angle against the posterior talocalcaneal joint (TN angle), and curvature of navicular surface at the talonavicular joint were measured on sagittal images. The medial subchondral bone distance was found to be significantly larger in female dancers than female non-dancers (4.05 mm vs. 2.75 mm, p < 0.05), whereas there were no significant differences in LSBD (2.63 mm vs. 2.63 mm, p = 0.87). Axial navicular talus angles in female dancers were significantly larger than those in female non-dancers (38.9° vs. 24.3°, p < 0.05). There was a tendency for the TN angle to be smaller and navicular curvature (NC) to be larger in female dancers compared to female non-dancers, though the differences were not significant (TN angle: 16.6° vs. 22.3°, p = 0.09, and NC: 0.186 vs. 0.165, p = 0.28). There were no significant differences in T1rho or T2 values of talonavicular joint cartilage. These results show that the bony anatomy of dancers' ankles may adapt to the stresses placed on them by ballet.

T1rho and T2 mapping of ankle cartilage of female and male ballet dancers.

Since ballet dancers begin their training before skeletal maturity, accurate and non-invasive identification of cartilage diseases is clinically important. Angle-dependent analysis of T1rho and T2 sequences can be useful for quantification of the composition of cartilage. To investigate the angle-dependent T1rho and T2 profiles of ankle cartilage in non-dancers and dancers. Ten female non-dancers, ten female dancers, and 9 male dancers were evaluated using T1rho and T2 mapping sequences. Manual segmentation of talar and tibial cartilage on these images was performed by two radiologists. Inter- and intra-rater reliabilities were calculated using intraclass correlation coefficients (ICCs) and Bland-Altman analysis. Mean thickness and volume of cartilage were estimated. Angle-dependent relaxation time profiles of talar and tibial cartilage were created. ICCs of the number of segmented pixels were poor to excellent. Bland-Altman plots indicated that differences were associated with segment sizes. Segmented cartilage on T1rho demonstrated larger thickness and volume than those on T2 in all populations. Male dancers showed larger cartilage thickness and volume than female dancers and non-dancers. Each cartilage demonstrated angular-dependent T1rho and T2 profiles. Minimal T1rho and T2 values were observed at approximately 180°-200°; higher values were seen at the angle closer to the magic angle. Minimal T2 value of talar cartilage of dancers was larger than that of non-dancers. In this small cohort study, regional and sex variations of ankle cartilage T1rho and T2 values in dancers and non-dancers were demonstrated using an angle-dependent approach.

MRI hip findings in asymptomatic professional rugby players, ballet dancers, and age-matched controls

To investigate hip magnetic resonance imaging (MRI) findings in asymptomatic professional male rugby players and male ballet dancers compared to age-matched controls. After ethics committee approval and consent from participants, 11 professional rugby players, 10 professional ballet dancers, and 10 controls completed activity and symptom questionnaires and underwent 3 T MRI of their self-declared dominant hip. Each scan was independently scored by two musculoskeletal radiologists for multiple features, including: joint morphology, acetabular labrum appearance, cartilage loss, and capsular thickness. Clinical and MRI features were assessed for variance by group using one-way analysis of variance (ANOVA) tests and Tukey post-hoc pairwise comparison of means. Labral tear prevalence was 87% with no significant difference between groups (p>0.05). Rates of paralabral cysts were significantly higher in ballet dancers (50%), compared to rugby players (0%) and controls (10%; p=0.01). Acetabular cartilage loss was present in 54% with no significant differences between groups. Superior capsular thickness was significantly greater in ballet dancers (5.3 mm) compared to rugby players (3.8 mm) and controls (3.8 mm; p=0.03). Despite the difference in type of activity between groups, there were equally high rates of labral tears and acetabular cartilage loss, questioning the role that sport plays in the development of these findings and their relationship to symptoms. The focally increased superior capsular thickness in ballet dancers may be an adaptive response to extreme ranges of movement.

T2 and T1rho mapping of ankle cartilage of female and male ballet dancers

T2 and T1rho mapping of ankle cartilage of female and male ballet dancers

Male Ballet Dancers and Their Performances of Heteromasculinity

Although previous research has investigated men in feminized sports, we took a different approach in this study and examined men in ballet. Because ballet is one of the most highly gender-codified sports, male ballet dancers must negotiate their identities as men while performing a dance form that is highly stigmatized as effeminate. We investigated how five self-identified heterosexual male college dance majors perceive and perform heteromasculinity within male ballet culture using qualitative data gathered from structured interviews. Results provide three unique contributions to the literature. First, we found that these men develop and contextualize their heteromasculinity in the context of a male ballet culture. Second, the results demonstrate three unique stigma-management techniques within male ballet culture. Third, men described a hegemonic heteromasculinity and the roles of masculinity and emotionality in male ballet performance as parts of male ballet culture. We hope this study will stimulate future research that can help personnel and faculty to better understand how college ballet programs can be informed by the ways masculinity may be institutionalized and reproduced within the context of dance programs, as well as the ways male ballet dancers can challenge heteromasculine hegemony in the sports world.

Vitamin D Status and Musculoskeletal Health in Adolescent Male Ballet Dancers

Adequate vitamin D levels during growth are critical to ensuring optimal bone development. Vitamin D synthesis requires sun exposure; thus, athletes engaged in indoor activities such as ballet dancing may be at relatively high risk of vitamin D insufficiency. The objective of this study was to investigate the prevalence of low vitamin D levels in young male ballet dancers and its impact on musculoskeletal health. Eighteen male ballet dancers, aged 10 to 19 years and training for at least 6 hours per week, were recruited from the Australian Ballet School, Melbourne, Australia. Serum 25(OH)D and intact PTH were measured in winter (July) from a non-fasting blood sample. Pubertal stage was determined using self-assessed Tanner criteria. Body composition and areal bone mineral density (aBMD) at the whole body and lumbar spine were measured using dual-energy x-ray absorptiometry (DXA). Injury history and physical activity levels were assessed by questionnaire. Blood samples were obtained from 16 participants. Serum 25(OH)D levels ranged from 20.8 to 94.3 nmol/L, with a group mean of 50.5 nmol/L. Two participants (12.5%) showed vitamin D deficiency [serum 25(OH)D level &lt; 25 nmol/L], seven dancers (44 %) had vitamin D insufficiency (25 to 50 nmol/L), and the remaining seven dancers (44 %) had normal levels (&gt; 50 nmol/L). No relationship was found between vitamin D status, PTH levels, body composition, and aBMD. The most commonly reported injuries were muscle tears and back pain. The average number of injuries reported by each dancer was 1.9 ± 0.4 (range: 0 to 5). There was no difference in the frequency of reported injuries between subjects with vitamin D deficiency or insufficiency (2.1 ± 0.6 injuries) and those with normal vitamin D levels (1.4 ± 0.6 injuries). This pilot study showed that more than half of highly-trained young male ballet dancers presented with low levels of vitamin D in winter. Further investigations in larger samples of adolescent athletes are needed to determine if this could negatively impact bone growth and place them at higher risk for musculoskeletal injuries.

박스 드롭 착지 시 남자와 여자 발레 무용수들의 하지의 생체역학적 요인의 차이

본 연구의 목적은 박스 드롭 착지 시 남자와 여자 발레 무용수들의 하지의 생체역학적 요인의 차이를 규명하는 것이다. 본 연구에 참가한 연구 대상자는 20~23세 사이의 여자발레무용수 9명과 21~24세 사이의 남자발레무용수 9명이었다. 박스 드롭 착지 동작은 양 발을 편안하게 벌린 상태에서 연구대상자의 무릎 높이의 박스 위에서 지면반력기 위에 뛰어 내리도록 하였다. 하지의 생체역학적 변인의 계산을 위해서 6대의 고해상도 비디오카메라와 2대의 지면반력기 그리고 8채널 무선 근전도 시스템을 사용하였다. 변인의 차이를 규명하기 위해서 성(2수준, 남자 발레 무용수 여자 발레 무용수)을 독립변인으로 하는 독립 t-test를 실시하였다. 연구결과, 여자발레무용수들은 남자발레 무용수들보다 박스 드롭 착지 시 최대무릎굴곡각도 변인에서 성의 차이가 나타났으나, 나머지 하지의 생체역학적 요인들에서는 성의 차이가 나타나지 않았다. 어린 나이에 점프와 착지 훈련과 교육을 받는 것은 잠재적인 전방십자인대 부상위험 요인을 감소시킨다. The purpose of this study was to investigate the differences between female and male ballet dancers in anterior cruciate ligament injury risk factors during the box drop landing task. Nine female and nine male collegiate ballet dancers participated in this study. Kinematic and ground reaction data were collected and combined with inverse dynamics to estimate the knee extensor and abductor moment. EMG data from the biceps femoris and rectus femoris were used to estimate the ratio of quadriceps-hamstrings muscle activity. No gender differences in anterior cruciate ligament injury risk factors were found during the box drop landing task. A significant relationship was found between female and male ballet dancers in the knee flexion angle.

Estudio de los tamaños absolutos de bailarines profesionales de elite de ballet

The similarities and differences in the body dimensions of a group of ballet dancers compared with those of modern or folklore dances are indicators of corporal heterogeneity or homogeneity and of the spatial volume occupied by a group of dancers. The present study aimed to analyze the kinanthropometric similarities and differences among elite professional ballet dancers compared with modern and folklore dancers. The anthropometric profiles of dancers from the National Ballet, National Dance and National Folkloric companies in Cuba were determined. Following the selection criteria of expert teachers on figure and technical-artistic performance, the best dancers, aged between 18 and 40 years, were measured. To determine body dimensions, an anthropometric protocol of 16 measurements was applied. There was lesser variability in stature in both male and female ballet dancers than in modern and folklore dancers. Female ballet dancers occupied a smaller physical space than female modern and folklore dancers, while male folklore dancers occupied a larger physical space than male ballet dancers. The differences found among the three kinds of dancers revealed greater corporal homogeneity among ballet dancers.

Age- and Gender-Related Psychological Characteristics of Adolescent Ballet Dancers

Ballet school students (n = 90) aged 11–17 years, and nondancing adolescents (n = 156) aged 13–17 completed the Eating Disorder Inventory (EDI). Significant differences between female dancers and controls were seen in five subscales, with higher scores for the dancers (‘Drive for thinness’, ‘Bulimia’, ‘Interpersonal distrust’, ‘Ineffectiveness’ and ‘Perfectionism’). Their highest scores on most subscales were for the 16-year-olds. The only difference between male dancers and controls was seen for Ineffectiveness. Our data suggest important psychological inconsistency in the course of the adolescence of female ballet dancers, whilst the psychological profile of male ballet dancers appeared quite similar to that of nondancing adolescents.

Perfil de aptidão cardiorrespiratória e metabólica em bailarinos profissionais

O principal objetivo deste estudo foi analisar aspectos cardiorrespiratórios e metabólicos e as alterações provocadas pelo treinamento específico de dança em um grupo de 16 bailarinos de balé profissional, modalidade clássico, sendo oito mulheres e oito homens, com média de idade de 18,2 ± 3,8 anos e 26,2 ± 4,5 anos, respectivamente. Todos foram submetidos a teste máximo em esteira rolante utilizando-se o protocolo de Bruce. Foi utilizado, na análise das respostas respiratórias e metabólicas, o sistema computadorizado Metabolic Measurement Cart da Beckman. Os seguintes resultados foram obtidos entre o grupo de balé vs. o grupo controle masculino: VO2 máx. - 46 ± 4 vs. 43 ± 6mlO2.kg.-1min-1; FC máx. - 194 ± 12 vs. 202 ± 11bpm; V E máx. - 112 ± 16 vs. 123 ± 18L.min-1; VO2-LA - 35 ± 4 vs. 26 ± 4mlO2.kg.-1min-1 (p &lt; 0,01); FC-LA - 169 ± 18 vs. 163 ± 15 bpm. Grupo de balé vs. grupo controle feminino: VO2 máx. - 39 ± 6 vs. 35 ± 6mlO2.kg.-1min-1; FC máx. - 197 ± 10 vs. 201 ± 6bpm; V E máx. - 72 ± 9 vs. 81 ± 6L.min-1; VO2-LA - 26 ± 4 vs. 27 ± 4mlO2.kg.-1min-1; FC-LA - 164 ± 10 vs. 176 ± 17bpm. Conclusões: 1) a rotina específica de dança parece não gerar estímulo suficiente para aprimorar a aptidão cardiorrespiratória e metabólica dos bailarinos e 2) sugere-se condicionamento físico adicional ao treinamento de balé.

The Foot in Ballet Dancers: The Importance of Second Toe Length

Ballet dancers are prone to foot injuries. Our hypothesis was that the length of the second toe in relation to the big toe affected the distribution of stresses on the foot, correlating with calluses, injuries, and pain. Fifty-nine ballet dancers were examined for second toe length with respect to great toe, calluses, and metatarsophalangeal inflammation. Daily foot pain, limitation of work hours because of this, injuries, age, sex, and rank in the company were considered. The dancers' feet had an incidence of shorter, equal, or longer second toes which was comparable to a non-ballet-dancing cohort (N = 60). In female dancers (N = 34), total callus counts and pain scores were significantly lower in the group with shorter second toes versus those with equal or longer second toes. Counts were unrelated to age or rank. Longer second toes were related to hallux rigidus. Limitation of practice hours, ankle sprains, and foot/ankle fractures and sprains were comparable across the groups. The male dancers (N = 25) had significantly fewer calluses than did the women, but had equal pain scores and number of injuries. There were no significant differences among the males in total callus counts, pain scores, limitation of practice hours, or injuries between groups based on toe length, age, or rank. We conclude that there is no significantly more ideal pattern of toe lengths for male ballet dancers, but females with shorter second toes have fewer calluses and less daily foot pain. Those with a longer second toe had a higher incidence of hallux rigidus and correspondingly increased pain scores.

Physiological profiles of young boys training in ballet.

In order to evaluate physiological characteristics in young male ballet dancers, 27 boys (aged 9 to 16 years) who participated in a boys' dance course during the Kuopio Dance and Music Festival in June 1988 were studied. In general, the boys had started dancing at the age of 8.6 years and had been training for 4.1 years. They had, on average, three dancing sessions per week and the mean time spent on dancing was four hours per week. In the study, some anthropometric measurements were taken, the maximal oxygen uptake (VO2 max) was measured by a cycle ergometer test and the explosive strength and the mechanical power of lower extremities were evaluated by a jumping test. The results indicate that boys who train in ballet are in general moderately lean, have relatively small body size and a high degree of flexibility. The younger boys especially have only moderate aerobic power, but both explosive strength and mechanical power in leg muscles are good in ballet trained boys.