Professional Ballet Dancers Research Articles

An integrated platform for hip joint osteoarthritis analysis: design, implementation and results

We present a software designed to improve hip joint osteoarthritis (OA) understanding using 3D anatomical models, magnetic resonance imaging (MRI) and motion capture. In addition to a standard static clinical evaluation (anamnesis, medical images examination), the software provides a dynamic assessment of the hip joint. The operator can compute automatically and in real-time the hip joint kinematics from optical motion capture data. From the estimated motion, the software allows for the calculation of the active range of motion, the congruency and the center of rotation of the hip joint and the detection and localization of the femoroacetabular impingement region. All these measurements cannot be performed clinically. Moreover, to improve the subjective reading of medical images, the software provides a set of 3D measurement tools based on MRI and 3D anatomical models to assist and improve the analysis of hip morphological abnormalities. Finally, the software is driven by a medical ontology to support data storage, processing and analysis. We performed an in vivo assessment of the software in a clinical study conducted with 30 professional ballet dancers, a population who are at high risk of developing OA. We studied the causes of OA in this selected population. Our results show that extreme motion exposes the morphologically "normal" dancer's hip to recurrent superior or posterosuperior FAI and to joint subluxation. Our new hip software includes all the required materials and knowledge (images data, 3D models, motion, morphological measurements, etc.) to improve orthopedists' performances in hip joint OA analysis.

Imagem corporal e comportamentos de risco para transtornos alimentares em bailarinos profissionais

INTRODUÇÃO E OBJETIVO: A grande preocupação com a aparência e a forma física e a constante pressão para manterem baixo peso corporal são fatores que levam a distorções da imagem corporal e tornam os bailarinos um grupo de risco para o desenvolvimento de transtornos alimentares (TA). O objetivo deste estudo foi avaliar a percepção da imagem corporal e sua associação com comportamentos de risco para TA em bailarinos profissionais. MÉTODOS: Foram estudados 61 bailarinos (39 mulheres e 22 homens) de uma instituição representante da elite do balé clássico brasileiro. A avaliação dos comportamentos de risco para TA foi feita com base nas versões em português dos questionários Eating Attitudes Test (EAT-26) e Bulimic Investigatory Test Edinburgh (BITE). A Escala de Silhuetas de Stunkard foi utilizada para avaliação da percepção da imagem corporal. A associação entre as variáveis foi avaliada com base na razão de prevalência (RP) e seus respectivos intervalos de confiança (IC) de 95%. RESULTADOS: Trinta e um bailarinos (50,8%) gostariam de ter a silhueta menor que a autopercebida como usual. A presença de comportamentos de risco para TA foi 2,71 vezes maior (IC 95% = 1,02 - 7,18) entre os que desejavam ter silhueta menor que a usual e 2,64 vezes maior (IC 95% = 1,20 - 5,80) entre aqueles que desejavam ter silhueta menor que a considerada mais saudável, quando comparados com os que estavam satisfeitos com a sua silhueta. CONCLUSÃO: A alta frequência de insatisfação com o corpo encontrada pode estar colaborando para ocorrência de comportamentos de risco para TA nos bailarinos investigados.

Occupational Stress and Coping Strategies of Professional Ballet Dancers in Korea

Twenty professional ballet dancers from Korea were interviewed to identify the stressors they experience and the coping strategies they use during practice and performance. Inductive content analysis of the data identified four major sources of stress: physical (i.e., physical appearance, poor physical condition), psychological (i.e., desire, slump, personality), interpersonal (i.e., relationship with a dance director, relationship with other dancers), and situational factors (i.e., performance demands, finances). The results demonstrated that, within physical factors, physical appearance (e.g., maintaining a particular body type, keeping low body weight) was a preeminent problem. We also found three general dimensions for coping: psychological strategies (i.e., individual cognitive and emotional strategies, avoidance strategies), behavioral strategies (i.e., dysfunctional behavior, hobby activities, social interaction, dance-related behavior), and physical relaxation. The coping strategies mentioned most frequently were in the behavioral strategies dimension. Identifying sources of stress and coping strategies in dance can provide a basis for intervention programs, which can help to reduce stress by developing effective coping skills.

Working memory for ballet moves and spatial locations in professional ballet dancers

AbstractThe aim of the present study was to investigate working memory for ballet moves in expert dancers. Experiment 1 showed that a concurrent spatial task did not interfere with the recall of a sequence of ballet moves when these were encoded alone without being associated with spatial locations. Experiment 2 showed that a concurrent motor task selectively interfered with the recall of ballet moves while neither a concurrent motor task nor a spatial task affected recall of the specific locations where each ballet move had to be performed. Experiment 3 showed that spatial interference affected recall of sequences of locations when these were encoded alone. Finally, in Experiment 4, a similarity effect for patterned ballet movements was shown. Taken together results show that spatial interference does not affect short‐term memory for ballet moves thus suggesting that working memory might contain a system for motor configurations. Copyright © 2009 John Wiley & Sons, Ltd.

Sleep Quality in Professional Ballet Dancers

Sleep Quality in Professional Ballet Dancers

Overuse ankle injuries in professional Irish dancers

Overuse ankle injuries have been described in elite athletes and professional ballet dancers however the spectrum of injuries experienced by professional Irish dancers has not been defined. A troupe of actively performing dancers from an Irish-dance show were recruited (eight male, ten female; mean age, 26 years). The prevalence of overuse injuries in the right ankle was determined from magnetic resonance imaging. Foot and ankle self-report questionnaires were also completed (AOFAS and FAOS). Only three ankles were considered radiologically normal. Achilles tendinopathy, usually insertional, was the most frequent observation (n=14) followed by plantar fasciitis (n=7), bone oedema (n=2) and calcaneocuboid joint degeneration (n=2). There were limited correlations between MRI patterns and clinical scores indicating that many conditions are sub-clinical. Dancers with ankle pain had poor low (p=0.004) and high (p=0.013) level function. Overuse ankle injuries are common in Irish dancers. Incorporating eccentric exercises and plantar fascia stretching into a regular training program may benefit this population.

Comparison of Landing Biomechanics Between Male and Female Professional Dancers

Background The incidence of anterior cruciate ligament injuries among dancers is much lower than that among team sport athletes and no clear gender disparity has been reported in the dance population. Although numerous studies have observed differences in lower extremity landing biomechanics between male and female athletes, there is currently little research examining the landing biomechanics of male and female dancers. Comparing landing biomechanics within this population may help explain the lower overall anterior cruciate ligament injury rates and the lack of gender disparity. Hypothesis Due to the fact that dancers receive jump-specific and balance-specific training from a very young age, we hypothesized that there would be no gender differences in drop-landing biomechanics in professional dancers. Study Design Controlled laboratory study. Methods Kinematics and ground-reaction forces were recorded as 33 professional modern and ballet dancers (12 men and 21 women) performed single-legged drop landings from a 30-cm platform. Joint kinematics and kinetics were compared between genders. Results No gender differences in joint kinematics or kinetics were found during landings (multivariate analysis of variance: P = .490 and P = .175, respectively). A significant relationship was found between the age at which the dancers began training and the peak hip adduction angle during landing (r = .358, P = .041). Conclusion In executing a 30-cm drop landing, male and female dancers exhibited similar landing strategies and avoided landing patterns previously associated with increased injury rates. Clinical Relevance Commonly reported biomechanical differences between men and women, as well as the gender disparity among athletes in the incidence of ACL injuries, may be the result of inadequate experience in proper balance and landing technique rather than intrinsic gender factors. Beginning jump-specific and balance-specific training at an early age may counteract the potentially harmful adaptations in landing biomechanics observed in female athletes after maturity.

Prevalence Of The Female Athlete Triad/Tetrad In Professional Ballet Dancers

Prevalence Of The Female Athlete Triad/Tetrad In Professional Ballet Dancers

Being a man in dance: socialization modes and gender identities

This essay examines the participation of men in physical activities deemed female. Biographical interviews of 14 professional male jazz and ballet dancers were conducted and analysed to determine the gender-socialization modes that allow men to develop a taste for female activities, and the socialization effects of being in a female world on the gender identity of male dancers. The data provide evidence of a reversed gender-socialization mode within specific family configurations, as found in women who play male sports. The professional socialization of male dancers in a female world is shown to produce specific effects on their gender identity. As ‘feminist’ men, they fight against being stigmatized as homosexual dancers by recognizing gender-related ways of dancing. In addition to this shared characteristic, two forms of gender identity were found, men who want to ‘remain a man’ and men who describe themselves as ‘both feminine and masculine’.

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.

The cognitive structure of movements in classical dance

Aims This study was designed to elicit differences in the mental representations of two basic movements from classical ballet, the Pirouette en dehors and the Pas assemblé, stored in long-term memory of dancers of different skill-levels. Method The movements were demonstrated and explained verbally to professional ballet dancers, amateur dancers, and non-dancers. Subsequently, participants were assigned to a hierarchical sorting (splitting) task in which Basic Action Concepts (BACs) of the movements had to be sorted according to their functional relevance in movement execution. The task was presented as verbal labels on a computer screen. The responses were subjected to the application of a new analytical method, called SDA-M, which includes a hierarchical cluster analysis. The method enabled eliciting cognitive structures of the movements in the participants' long-term memory, and thus enabled comparing these cognitive structures in subjects of different skill-level. Results Participants of different skill-level showed movement-specific differences in their mental representation structures in long-term memory. A similar structure was noted in advanced amateurs and professionals for the Pirouette en dehors, which referred to the functional phases of the movement, and less functional representations were noted in beginners and novices. For the Pas assemblé, the experts' representation structure was different from that of amateurs and novices, pointing toward differences in movement execution. It is concluded that movement representations of this kind in long-term memory might provide the basis for motor control in skilled ballet movements in the form of suitably organized perceptual-cognitive reference structures. Implications The results point toward a unique mental representation as a function of skill-level and movement nature. Individual and group results obtained with the applied method can be implemented to support (mental) training methods in classical dance practice.

Exploring the Effects of Kinesiological Awareness and Mental Imagery on Movement Intention in the Performance of Demi-Plié

This study was designed to assess the ability of a practitioner intervention using kinesiological explanations and mental imagery techniques to optimize the performance of demi-plié in dancers. Seven professional female ballet dancers were involved in the study. Biomechanical and electromyographical parameters (maximum knee flexion, jump height, maximal vertical acceleration and its duration, ratio of sagittal acceleration variation, and ratio of muscle activity in four muscles of the lower limb) were analyzed before and after the practitioner intervention. Results demonstrated no significant difference in the depth of the demi-plié, nor in the height of the jump that followed, nor in the maximal vertical acceleration and its duration, leading to the suggestion that the technical potential of the dancers was preserved. Significant differences were found in the SEMG of the hamstrings during the demi-plié and the jump, implying that an improvement in the dynamic alignment of the dancers was present. A correlation was also found between the ratio of sagittal acceleration variation and the hamstring activity, suggesting that increased hamstring engagement produces decreased disruption of dynamic alignment. However, the intervention was not assimilated equally by all of the dancers.

The Ballet Dancing Profession: A Career Transition Model

What type of emotional transition is experienced by professional dancers who face the end of their career? What does this journey imply? This article discusses the transition experiences of two case studies out of a total sample of fourteen (N=14) international professional ballet dancers who left their careers between the ages of 21 and 49 years. By adopting tenets of Interpretative Phenomenological Analysis and Grounded Theory, the analysis of semi-structured interviews is presented as evidence of the discussion. The article raises questions about the theoretical implications behind the concept of retirement and helps to gain an understanding of some of the intricate and hidden issues involved in what seems to be quite a complex area of psychological and social enquiry. It attempts to nurture different thoughts on the subjects of transitions, re-training, re-employment and their relation to career change development and lifelong learning.

Bone stress injury of the ankle in professional ballet dancers seen on MRI

BackgroundBallet Dancers have been shown to have a relatively high incidence of stress fractures of the foot and ankle. It was our objective to examine MR imaging patterns of bone marrow edema (BME) in the ankles of high performance professional ballet dancers, to evaluate clinical relevance.MethodsMR Imaging was performed on 12 ankles of 11 active professional ballet dancers (6 female, 5 male; mean age 24 years, range 19 to 32). Individuals were imaged on a 0.2 T or 1.5 T MRI units. Images were evaluated by two musculoskeletal radiologists and one orthopaedic surgeon in consensus for location and pattern of bone marrow edema. In order to control for recognized sources of bone marrow edema, images were also reviewed for presence of osseous, ligamentous, tendinous and cartilage injuries. Statistical analysis was performed to assess the strength of the correlation between bone marrow edema and ankle pain.ResultsBone marrow edema was seen only in the talus, and was a common finding, observed in nine of the twelve ankles imaged (75%) and was associated with pain in all cases. On fluid-sensitive sequences, bone marrow edema was ill-defined and centered in the talar neck or body, although in three cases it extended to the talar dome. No apparent gender predilection was noted. No occult stress fracture could be diagnosed. A moderately strong correlation (phi = 0.77, p= 0.0054) was found between edema and pain in the study population.ConclusionBone marrow edema seems to be a specific MRI finding in the talus of professional ballet dancers, likely related to biomechanical stress reactions, due to their frequently performed unique maneuvers. Clinically, this condition may indicate a sign of a bone stress injury of the ankle.

Verletzungen und Überlastungsschäden beim klassischen Ballett-Tanz

Typical injuries of highly professional classical ballet dancers were evaluated in 108 members of German opera companies. We demonstrated the predominance of overuse-syndromes to acute injuries related to the excessive training-extends. Disorders of the feet, particularly tendinitis followed by low-back pain, chondromalacia patellae, jumpers knee, shin splints and muscle strains are most frequent. Considerable time often elapsed before diagnosing was made because complaints were ignored by dancers. Our inquiry includes range of motion of the spine and the extremities, serial x-rays and a systematic review of ballet-related injuries, training-programs and techniques.

Surface EMG Evaluation of Patellofemoral Pain Syndrome in a Professional Ballet Dancer: A Case Report

Objective: Because of the repetitive loading of the lower limb, patellar disorders are common in athletes and performing artists. Although this condition might be ascribed to different factors, the main cause is believed to be patellar maltracking. Design: Patellar maltracking is believed to be generated by an asymmetric activation of the vastus lateralis and vastus medialis obliquus muscles. A professional ballet dancer who suffered from anterior knee pain was examined. After clinical and MRI evaluations, he was subjected to surface electromyography (sEMG) of the vastus medialis obliquus and vastus lateralis. Results: We found a difference in the latency of onset of the vastus medialis obliquus and vastus lateralis of the painful right knee as compared to the asymptomatic left knee. Conclusion: Via sEMG, we demonstrate the role of the vastus medialis in patellar maltracking. sEMG is therefore a useful method to help diagnose and guide treatment in performing artists and elite athletes.

Dancing in Pain: Pain Appraisal and Coping in Dancers

This study investigated the relationships between the type of pain experienced (performance pain andinjury pain), the cognitive appraisal of pain and pain coping styles in dancers. Fifty-one professional ballet and contemporary dancers (17 males and 34 females), with the mean age of 25.9 years, completed a general pain questionnaire, the Pain Appraisal Inventory, the Survey of Pain Attitudes Control Subscale, and the Sports Inventory for Pain. Multivariate analyses of variance indicated that both the cognitive appraisal of the pain and pain coping styles did not differ according to the type of pain experienced or the pain severity. However, it was found that dancers with performance pain of either low or high severity were more likely to dance in pain than dancers experiencing injury pain. Multiple regression analyses indicated that the appraisal of pain as threatening was predictive of the use of avoidance and catastrophizing pain coping styles. Overall, results indicated that dancers may not differentiate between performance pain and injury pain, or modify their appraisal and coping strategies according to the characteristics of the pain experienced. The study highlighted an opportunity for increased education for dancers in recognizing the difference between pain considered to be a routine aspect of training and pain which is a signal of serious injury.

The Clinical Characteristics of Pain and the Usefulness of Pain Clinics from the Perspective of Professional Ballet Dancers in Korea

Background: There has recently been a rapid increase in the number of pain clinics and significant advancement in the treatment of pain in Korea. Therefore, this study was conducted to identify possible problems associated with pain clinics and to use this information to help design future pain clinics. This assessment was conducted from the perspective of professional ballet dancers, who are at high risk for pain like other athletes. Methods: One-hundred professional ballet dancers responded to questionnaires designed to ascertain their preference for different types of clinics, the extent of the pain they experience, and their overall opinion of pain clinics. Results: All of the respondents complained of pain in one or more sites and reported that they had visited some type of clinic for treatment at least once. Overall, the respondents preferred using the following methods to treat pain: orthopedic surgery (76 dancers), oriental medicine (49 dancers), and therapy at pain clinic (48 dancers). Fifty-three percent of the 48 dancers who had receiv ed treatment at pain clinics were satisfied with their treatment. Forty-four percent of the 52 dancers who had not been treated at a pain clinic had no knowledge of the existence of such facilities. Conclusions: This survey revealed that, although professional ballet dancers have a high prevalence of pain, many have no knowledge of pain clinics. Therefore, efforts should be made by pain clinics to make information regarding their facilities widely available to professional ballet dancers so they can serve the widest range of clientele. (Korean J Pain 2008; 21: 131�� 135)

Stress Fracture of the Distal Phalanx of the Great Toe in a Professional Ballet Dancer

Stress Fracture of the Distal Phalanx of the Great Toe in a Professional Ballet Dancer

Benefits of arthroscopic tuberculoplasty in posterior ankle impingement syndrome

The purpose of this work was to describe the posterior ankle impingement syndrome related to the posterolateral tubercle of the talus bone and to present a retrospective analysis of our results after arthroscopic plasty of the tubercle in 15 ankles with a mean 3-year follow-up. Fifteen cases of posterior ankle impingement (PAI) underwent arthroscopic excision of an impinging bone spur. All the patients (13) were retrospectively evaluated at an average of 36 months after index surgery. There were seven women (bilateral in two of them) and six men. Ten were involved in different kinds of sport and three were professional ballet dancers. Preoperative symptoms included pain localized in the posterior ankle, limitation of motion, weakness and swelling. All patients had failed a course of conservative therapies. Surgery was performed through posterolateral and posteromedial portals as described by van Dijk. After soft tissue debridement, partial resection of the posterolateral process was performed until there was complete plantar flexion without bone impingement. Postoperatively, all patients followed the same rehabilitation protocol. Improvement in their impingement symptoms was recorded in all of them according to AOFAS score. One of them (7%) still had occasional discomfort. The results suggest that arthroscopic bone decompression of the posterolateral tubercle in cases of PAI resistant to non-surgical therapies is an effective treatment.