Professional Ballet Dancers Research Articles

Physiological Parameters Of Bone Health In Elite Ballet Dancers

Stress fractures are common among elite ballet dancers whereby musculoskeletal health may be affected by energy balance and overtraining. PURPOSE: To characterize bone health in relation to stress fracture history, body composition, and eating disorder risk in professional male and female ballet dancers. METHODS: A single cohort of 59 professional ballet dancers (M=30, 24±6yr; F=29, 23±5yr) was recruited. All participants underwent bone and body composition measures using dual-energy-xray-absorptiometry (DXA). A nutritional screen and stress fracture history was also collected. Aged-matched Z-scores were calculated for bone mineral density (BMD) and body composition. A 1x3 ANOVA and Chi-Square test was used to compare BMD and frequency for history of stress fractures for those scoring 0-1, 2-6, and 7+ using the EAT26 questionnaire for eating disorder risk. Regression was used to predict BMD from body composition and demographic information. RESULTS (Table): Female dancers demonstrated reduced spinal (42nd percentile, 10%Z<-1) and pelvic (16th percentile, 72%Z<-1) BMD. Several anthropometric and demographic measures were predictive of BMD (p<0.05, r2=0.66-0.90, SEE=0.08-0.10g/cm2). Those with a 7+ EAT26 score were observed to have a higher frequency for history of stress fracture (p<0.05). Higher EAT26 scores were also associated with lower total and spine BMD. CONCLUSIONS: Professional female ballet dancers exhibit reduced BMD (particularly in the pelvis) and body mass compared to the general population whereby low BMD and stress fractures tend to be more prevalent in those with a higher risk of disordered eating. When considering only total BMD, regions of high BMD (legs) were found, in some cases, to mask areas of low BMD (spine, arms, pelvis). Lastly, anthropometric and demographic variables are predictive of BMD in this population and may be used as a field proxy in the absence of DXA.

Differences Between Pointe Shoe And Barefoot Jumping In A Professional Ballet Dancer: A Case Study

Ballet is an art form that requires highly trained athletes to perform specialized movements specific to their field. Some of the most unique aspects of ballet training that sets it apart from other athletics are the use of pointe shoes, the emphasis on bilateral training, and the full body aesthetic requirements of every movement. PURPOSE: To determine how wearing pointe shoes alters full body kinematics during ballet temps levé jumps on both the preferred stance leg and the non-preferred stance leg, to compare the left and right side to determine the effectiveness of bilateral ballet training, and to observe the contribution of upper extremity movement to jump execution. METHODS: One professional female ballet dancer (23 yrs) with 17 years of ballet training performed various jumps in two footwear conditions. She was instrumented with 39 reflective markers, and a 10-camera motion capture system was used to collect three dimensional marker position data at 250 Hz. Sagittal plane upper and lower extremity angles were calculated and compared between conditions as well as between left and right sides. RESULTS: During single leg jumps, ankle range of motion (ROM) was slightly larger en pointe (79.1° ± 1.31°) than barefoot (56.4° ± 0.68°) due to an increase in plantarflexion, regardless of preferred takeoff leg. Conversely, knee ROM was slightly smaller due to a decrease in knee flexion en pointe (45.8° ± 2.43°) than barefoot (56.1° ± 6.33°) for single leg jumps, regardless of preferred takeoff leg. A bilateral jump revealed no distinct differences between left and right sides. Upper extremity angles did not show clear trends between left and right sides or between footwear conditions, however, the ipsilateral shoulder (114.7° ± 6.69°) had slightly greater ROM than the contralateral shoulder (103.4° ± 8.49°) during single leg jumps. CONCLUSIONS: Wearing pointe shoes causes alterations to lower limb angles during single leg jumps, altering the demand on the dancer’s body during these movements. The increase in ipsilateral shoulder ROM implies ballet dancers utilize the upper extremity to accurately execute single leg jumps. The lack of obvious differences between left and right side joint angles indicates that bilateral ballet training is effective at the professional level.

Analysis of the Force-Velocity Profile in Female Ballet Dancers.

Jumping ability has been identified as one of the best predictors of dance performance. The latest findings in strength and conditioning research suggest that the relationship between force and velocity mechanical capabilities, known as the force-velocity profile, is a relevant parameter for the assessment of jumping ability. In addition, previous investigations have suggested the existence of an optimal force-velocity profile for each individual that maximizes jump performance. Given the abundance of ballistic actions in ballet (e.g., jumps and changes of direction), quantification of the mechanical variables of the force-velocity profile could be beneficial for dancers as a guide to specific training regimens that can result in improvement of either maximal force or velocity capabilities. The aim of this study was to compare the mechanical variables of the force-velocity profile during jumping in different company ranks of ballet dancers. Eighty-seven female professional ballet dancers (age: 18.94 ± 1.32 years; height: 164.41 ± 8.20 cm; weight: 56.3 ± 5.86 kg) showed high force deficits (> 40%) or low force deficits (10% to 40%) regardless of their company rank. Our results suggest that dance training mainly develops velocity capabilities, and due to the high number of dramatic elevations that dance performance requires, supplemental individualized force training may be beneficial for dancers. The individualization of training programs addressed to the direction of each individual's imbalance (high force or low force) could help dancers and their teachers to improve jump height and therefore dance performance.

The Validity of the Session Rating of Perceived Exertion Method for Measuring Internal Training Load in Professional Classical Ballet Dancers.

The aim of this study was to investigate the convergent validity of session rating of perceived exertion (s-RPE) with objective measures of internal training load (TL) in professional classical ballet dancers. Heart rate and s-RPE data were collected in 22 professional classical ballet dancers across a total of 218 ballet class or rehearsal sessions. Eleven participants completed at least 9 sessions, and were therefore included in analyses of individual relationships between s-RPE and objective measures. To calculate s-RPE, the session duration was multiplied by the RPE, measured using the modified Borg CR-10 scale. The Edwards summated heart rate zones (Edwards TRIMP) and Banister training impulse (Banister TRIMP) methods were used as criterion measures of internal TL. Pearson product-moment correlation coefficients were used to determine intra-individual relationships between s-RPE and objective measures. Repeated measures correlations were used to identify intra-individual relationships common across the cohort. Positive linear relationships were seen between s-RPE and objective measures across all session types [Edwards TRIMP: rrm (195) = 0.81, p < 0.001; Banister TRIMP: rrm (195) = 0.79, p < 0.001], in ballet class [Edwards TRIMP: rrm (58) = 0.64, p < 0.001; Banister TRIMP: rrm (58) = 0.59, p < 0.001], and in rehearsals [Edwards TRIMP: rrm (119) = 0.82, p < 0.001; Banister TRIMP: rrm (119) = 0.80, p < 0.001], as well as across both males [Edwards TRIMP: rrm (136) = 0.82, p < 0.001; Banister TRIMP: rrm (136) = 0.80, p < 0.001], and females [Edwards TRIMP: rrm (57) = 0.80, p < 0.001; Banister TRIMP: rrm (57) = 0.78, p < 0.001]. Intra-individual correlation coefficients ranged from 0.46–0.96 [Edwards TRIMP: mean r = 0.81 ± 0.11, p = 0.051 – < 0.001; Banister TRIMP: mean r = 0.78 ± 0.14, p = 0.13– < 0.001]. These results demonstrate that s-RPE is a valid and practical method for measuring internal TL in professional classical ballet dancers.

The Effect of Expertise on Kinesthetic Motor Imagery of Complex Actions.

The ability to mentally simulate an action by recalling the body sensations relative to the real execution is referred to as kinesthetic motor imagery (MI). Frontal and parietal motor-related brain regions are generally engaged during MI. The present study aimed to investigate the time course and neural correlates of complex action imagery and possible effects of expertise on the underlying action representation processes. Professional ballet dancers and controls were presented with effortful and effortless ballet steps and instructed to mentally reproduce each movement during EEG recording. Time-locked MI was associated with an Anterior Negativity (AN) component (400-550ms) that was larger in dancers relative to controls. The AN was differentially modulated by the motor content (effort) as a function of ballet expertise. It was more negative in response to effortful (than effortless) movements in control participants only. This effect also had a frontal distribution in controls and a centro-parietal distribution in dancers, as shown by the topographic maps of the scalp voltage. The source reconstruction (swLORETA) of the recorded potentials in the AN time-window showed enhanced engagement of prefrontal regions in controls (BA 10/47) relative to dancers, and occipitotemporal (BA 20) and bilateral sensorimotor areas in dancers (BA6/40) compared with controls. This evidence seems to suggest that kinesthetic MI of complex action relied on visuomotor simulation processes in participants with acquired dance expertise. Simultaneously, increased cognitive demands occurred in participants lacking in motor knowledge with the specific action. Hence, professional dance training may lead to refined action representation processes.

Evaluation of Professional Ballet Dancers Body Posture During Barre Movements.

Ballet dancers have finite careers due to the demands placed upon their bodies throughout years of training, study, and performance. The average age a dancer retires is 34 due to persistent stress on their joints and injuries due to mechanical overload or overuse. Proper form is crucial to prevent injury. The aim of this study was to establish benchmarks for normal movement patterns among professional dancers. Ten professional ballerinas were studied. Reflective markers were placed on the pelvis, left and right anterior superior iliac spine (ASIS), and posterior iliac spine (PSIS) to evaluate motion during Barre movements: plié, grand battement, and développé. Pelvis flexion/extension, mediolateral rotation, and torsion were analyzed. These motions test different skills. The plié is a controlled coordinated motion using both legs. The grand battement and développé both require leg extension, one with a quick motion that creates momentum and one using controlled motion that requires strength. Each requires core and pelvis stability to perform accurately and with less injury. Dancers' motions were consistent. Maximum pelvis range of motion for the plié, grand battement, and développé were 8.0, 42, and 50 deg, respectively. This represents usable benchmarks with which other dancers may be compared, for example, those who are at different levels of training, injured, predisposed to injury, or recovering from injury. Early recognition of pathologic movement patterns could benefit professional and amateur dancers by helping to prevent injuries, and potentially improve the quality and length of their careers.

Workload Intensity and Rest Periods in Professional Ballet: Connotations for Injury.

Fatigue and overwork have been cited as the main cause of injury with the dance profession. Previous research has shown a difference in workload between professional dancers of different rank, but the role of sex has not been examined. The purpose of this study was to determine workload intensity, rest, and sleep profiles of professional ballet dancers. 48 professional ballet dancers (M=25, F=23) took part in an observational design over 7-14 days using triaxial accelerometer devices. Minutes in METS at different intensities, total time asleep and rest breaks were analysed. Significant main effects for rank (p<0.001) and rank by sex (p=0.003) for total PA, working day activity, post work activity and sleep. Sleep ranged between 2.4-9.6 h per night. All participants spent more time between 1.5-3 METS outside of work. Significant amounts of exercise where carried out outside of their work day, therefore when injury is reported per 1000 h dance activity, this extra-curricular activity might need to be included. When looking at potential causes of injury in dance, a global perspective of physical activity is required that includes activity outside of work and sleep patterns, all activities that influence physiological recovery.

Person-job fit across the work lifespan – The case of classical ballet dancers

This study examines how employees assess demands-abilities and needs-supplies across their work lifespan, and how they better adjust to their work. Based on person-environment fit theory, the job design and the lifespan literatures, and using interviews with a sample of 40 professional ballet dancers, our research shows how the interplay between demands, abilities, needs, organizational resources, and regulation strategies contributes to a process of adjustment, and consequently enhances psychological well-being across the work lifespan. Additionally, we contribute to literature on well-being by presenting evidence of how organizational resources are perceived differently across the work lifespan and why. We also extend theory on job crafting by showing that crafting is partly a function of the phases of one's lifetime and by presenting evidence of forms of crafting among older workers. With increased longevity, individuals will need to remain working or recraft a career after reaching retirement age. Addressing age-related changes and considering the importance of organizational resources to well-being can help promote active aging.

Muscular effort coding in action representation in ballet dancers and controls: Electrophysiological evidence

The present electrophysiological (EEG) study investigated the neural correlates of perceiving effortful vs. effortless movements belonging to a specific repertoire (ballet). Previous evidence has shown an increased heart and respiratory rate during the observation and imagination of human actions that require a great muscular effort. In addition, TMS (transcranial magnetic stimulation) and EEG studies have evidenced a greater muscle-specific cortical excitability and an increase in late event-related potentials during the observation of effortful actions. In this investigation, fifteen professional female ballet dancers and 15 controls with no experience whatsoever with dance, gymnastics, or martial arts were recruited. They were shown 326 short videos displaying a male dancer performing standard ballet steps that could be either effortful or relatively effortless. Participants were instructed to observe each clip and imagine themselves physically executing the same movement. Importantly, they were blinded to the stimuli properties. The observation of effortful compared with effortless movements resulted in a larger P300 over frontal sites in dancers only, likely because of their visuomotor expertise with the specific steps. Moreover, an enhanced Late Positivity was identified over posterior sites in response to effortful stimuli in both groups, possibly reflecting the processing of larger quantities of visual kinematic information. The source reconstruction swLORETA performed on the Late Positivity component showed greater engagement of frontoparietal regions in dancers, while task-related frontal and occipitotemporal visual regions were more active in controls. It, therefore, appears that, in dancers, effort information was encoded in a more refined manner during action observation and in the absence of explicit instruction. Acquired motor knowledge seems to result in visuomotor resonance processes, which, in turn, underlies enhanced action representation of the observed movements.

Internal and Imagined External Foci of Attention Do Not Influence Pirouette Performance in Ballet Dancers

ABSTRACT Ballet dancers need to constantly improve their performance. Several studies show that an internal focus (on body movements) leads to inferior motor performance relative to an external focus of attention (on the movement effects), but the majority of dancers usually adopt an internal focus. It is not clear if the benefits of an external focus are relevant for form-based tasks performed in a ballet. Purpose: Test whether an imagined external focus of attention can improve ballet dancers’ performance of a form-based task, the en dehors double pirouette (EDDP). Method: 23 experienced amateurs and 17 professional dancers between 18 and 35 years old performed three EDDP under each of three attentional focus instruction conditions (No Focus, Internal, Imagined External). Order of presentation of Internal and Imagined External focus instructions was blocked and balanced across participants. Movement quality was assessed by three experts with a customized observational scale. Movement kinematics were measured by the angle of inclination of the trunk and inclination of the rotation axis with respect to the global vertical during the EDDP. Results: Movement quality and trunk inclination were significantly different between amateurs and professionals, but the rotation axis inclination was not. No quantitative or qualitative effects of focus were found for the performance of the EDDP across focus conditions. Conclusions: There appears to be no differential effects of using an internal or imagined external focus on the immediate performance of the EDDP for amateur and professional ballet dancers. Personal and task factors might account for the lack of effects.

Changes in Body Composition, Energy Metabolism, and Appetite-Regulating Hormones in Korean Professional Female Ballet Dancers Before and After Ballet Performance.

This study investigated changes in body composition, energy balance, and appetite-regulating hormones in professional female ballet dancers before and after 3 days of ballet performances. The subjects were 43 professional female ballet dancers in Korea. The mean age of the subjects was 25.9 ± 2.8 years, and they had over 13 years of ballet training on average. For body composition, the body mass index (BMI), percent body fat (%BF), lean body mass (LBM), and total body water (TBW) were evaluated. By way of blood analysis the serum levels of ghrelin, leptin, and insulin were examined. The calculations of energy intake (EI) and expenditure (EE) were based on journals that were self-recorded by the subjects for 14 days. For statistical analysis, the dependent sample t-test was applied (p < 0.05). The results showed no significant change in %BF, but the BMI, LBM, and TBW increased significantly in the post-performance measurement. Energy balance results demonstrated a significant increase in EI and decrease in EE. Both the ghrelin and leptin levels increased significantly. Although reported energy intake increased after performances, it remained below estimated energy requirements. Ballet dancers should be aware of the need to maintain energy balance in order to optimize their health and performance.

High Prevalence of Connective Tissue Gene Variants in Professional Ballet

Background: There is a high prevalence of hypermobility spectrum disorder (HSD) in dancers. While there is no known genetic variant for HSD, hypermobile Ehlers-Danlos syndrome is a genetic disorder that exists within HSD. There are many connective tissue disorders (CTDs) with known (and unknown) genes associated with hypermobility. Hypermobility has distinct advantages for participation in flexibility sports, including ballet. Purpose: To determine the prevalence of gene variants associated with hypermobility in a large professional ballet company. Study Design: Cross-sectional study; Level of evidence, 3. Methods: In this cross-sectional investigation, 51 professional male and female dancers from a large metropolitan ballet company were eligible and offered participation after an oral and written informed consent process. Whole blood was obtained from peripheral venipuncture, and DNA was isolated. Isolated DNA was subsequently enriched for the coding exons of 60 genes associated with CTD that included hypermobility as a phenotype, including Ehlers-Danlos syndromes, osteogenesis imperfecta, Marfan syndrome, and others. Genes were targeted with hybrid capture technology. Prepared DNA libraries were then sequenced with next-generation sequencing technology. Genetic database search tools (Human Gene Mutation Database and e!Ensembl, http://useast.ensembl.org/) were used to query specific variants. Descriptive statistics were calculated. Results: Of 51 dancers, 32 (63%) agreed to participate in DNA analysis (mean ± SD age, 24.3 ± 4.4 years; 18 men, 14 women). Twenty-eight dancers had at least 1 variant in the 60 genes tested, for an 88% prevalence. A total of 80 variants were found. A variant in 26 of the 60 genes was found in at least 1 dancer. Among the 28 dancers with variants, 16 were found in the TTN gene; 10 in ZNF469; 5 in RYR1; 4 in COL12A1; 3 in ABCC6 and COL6A2; 2 in ADAMTS2, CBS, COL1A2, COL6A3, SLC2A10, TNC, and TNXB; and 1 in ATP6V0A2, B4GALT7, BMP1, COL11A1, COL5A2, COL6A1, DSE, FBN1, FBN2, NOTCH1, PRDM5, SMAD3, and TGFBR1. Nine variants found in this population have never been reported. No identified variant was identical to any other variant. No identified variant was known to be disease causing. In the general population, the prevalence of each variant ranges from never reported to 0.33%. In the study population, the prevalence of each variant was 3.13%. There was no association between hypermobility scores and genetic variants. Conclusion: Genetic variants in CTD-associated genes are highly prevalent (88%) in professional ballet dancers. This may significantly account for the high degree of motion in this population.

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.

Prevalence and unique patterns of lower limb hypermobility in elite ballet dancers

ObjectivesDetermine the prevalence of lower limb hypermobility in elite dancers and secondarily to describe the patterns of mobility. DesignCross sectional. SettingSelf-report questionnaires and physical assessments were undertaken at a tertiary dance institution and a professional ballet company. ParticipantsFifty-seven pre-professional and 29 professional ballet dancers (21±4years, 64% female, mean 13.7years training) were recruited. Main outcome measuresLower Limb Assessment Score (LLAS) was used to assess hypermobility. Prevalence was determined by descriptive statistics, between-leg and -group comparisons were analysed using the chi-square statistic and the pattern of mobility by cluster analyses. ResultsThe right leg was significantly more hypermobile than the left for the whole cohort (44% vs 40% meeting ≥7/12 for the LLAS; LLAS mean/12(SD): right:5.0(2.4) and 7.6(1.9); left:4.8(2.1) and 6.7(2.0) in pre-professionals and professionals respectively (p = 0.02)). Subtalar pronation (p < 0.001) and hip abduction/external rotation (left:p = 0.01; right:p < 0.001) were significantly more hypermobile bilaterally in professionals. Three hypermobility profiles on the left and four on the right lower limb were identified. ConclusionsThis paper presents unique lower limb hypermobility profiles identified in elite dancers.

Dancers’ heart: Cardiac screening in elite dancers

Using electrocardiography and echocardiography, we screened elite men and women ballet dancers for abnormal cardiovascular conditions using an observation design with blinded clinical analysis of cardiac function tests. Fifty-eight (females n = 33) elite professional ballet dancers (age: 26.0 ± 5.7 years, body mass index: 19.9 ± 2.2 kg/m2) with no past or present history of cardiovascular disease volunteered. Participants were assessed via a 12-lead electrocardiography and two-dimensional echocardiography for cardiac function. Electrocardiography revealed that 83% of the dancers demonstrated normal axis, while 31% had incomplete right bundle branch block and 17% had sinus bradycardia; none showed any abnormal findings. Findings from the echocardiography were also normal for all participants and comparable to their counterparts in other sports. Significant differences (p < 0.05) were detected in almost all studied echocardiographic parameters between males and females. In conclusion, heart function and structure seem to be normal in elite ballet dancers, placing them at low risk for sudden cardiac death and performance-related cardiovascular complications. Larger samples are required to confirm these findings.

Wellness monitoring in Professional Ballet Dancers: A pilot study

Introduction: Athlete Management Systems (AMS) provide a central repository for performance, training and medical data for elite and developing athletes. Self-report wellness measures as monitoring tools are used extensively in elite sport as valid indicators of the recovery status of an athlete. Wellness parameters such as sleep quality and quantity, fatigue and stress are being monitored in professional sport via AMS; however, wellness monitoring with an AMS has not been trialled in the professional Australian Performing Arts Industry. This research aimed to evaluate the practicality of using an AMS to monitor wellness parameters in a professional ballet company.

Self-reported wellness profiles: Comparing professional ballet dancers to professional athletes

Self-reported wellness profiles: Comparing professional ballet dancers to professional athletes

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.

Ballet and Contemporary Dance Injuries When Transitioning to Full-Time Training or Professional Level Dance: A Systematic Review.

This systematic review examines the relationship between injury and two stages of a dancer's career development: when transitioning to full-time training and to a professional dance company. The findings are discussed in relation to managing transitioning loads with regard to injury prevention. Six electronic databases (PubMed, Embase, CINAHL, SPORTDiscus, Scopus, and Performing Arts Periodicals Database) were searched from inception to July 2018, inclusive of English language peer reviewed studies investigating injury in pre-professional and professional ballet and contemporary dancers. Seventeen studies met the inclusion criteria. "Limited" evidence revealed that dancers transitioning to professional ballet had a significantly higher rate of time-loss injuries per exposure hour relative to established professionals, whereas transitioning professional contemporary dancers had a significantly lower rate of both medical-attention and time-loss injuries. "Limited" evidence also showed a decreased rate and trend toward lower prevalence rates for time-loss injuries per exposure hour for transitioning ballet students and an increased rate of medical-attention injury in a combined cohort of transitioning ballet and contemporary dance students. Thus, this review provides some evidence that injuries tend to occur as dancers are transitioning to full-time ballet or contemporary dance training or to professional careers.

Eating disorders and associated factors in professional classical ballet dancers in Brazil

Eating disorders and associated factors in professional classical ballet dancers in Brazil