Professional Ballet Research Articles

Self-reported Health Problems of Professional Dancers from Five German Opera Houses or State Theatres: A Prospective Study with Weekly Follow-ups during One Season

BackgroundMost studies on injuries of professional dancers used a medical-attention and/or time-loss definition and did not analyse all health problems. Further, almost all studies included just one company. The aim was to analyse all self-reported health problems of professional ballet and contemporary dancers during one season and compare sexes and five companies in Germany.MethodsDancers of five professional companies completed weekly health questionnaires during the season (September 2022 to June 2023). Numerical rating scales were used for severity of all health problems, musculoskeletal pain, impairment of the ability to dance at full potential, physical and mental workload in the previous seven days. If the severity of all health problems were rated greater than “0”, the dancers were asked to report the type and consequences of their most severe health problem.ResultsDuring 43 weeks, 98 dancers (39.8% male) completed 3123 weekly reports (response rate 74.1%). The season prevalence of any health problem was 100% and of time-loss health problems 74.5%. The average weekly prevalence of any health problem was 62.7%, of musculoskeletal pain 83.4% and of impaired ability to dance at full potential, due to health problem 48.6%. While the season prevalence and type of health problems was similar between sexes, the average weekly prevalence of severe health problems was higher in female than in male dancers (Chi2 = 23.2; p < .001), and female dancers saw a qualified health professional more often than male dancers (Chi2 = 19.5; p < .001). Companies differed in almost all investigated variables, with more health problems in companies where more dancers rated their workload higher than “ideal”.ConclusionHealth problems are frequent in professional dancers and affect their ability to dance. Future studies should analyse the impact of physical and mental workload on health problems.

Pain Candidate Genes 5-HTTLPR and COMT Affect Anxiety and Mood in Japanese Ballet Dancers: A Cross-Sectional and Longitudinal Study

The balance of mental, physical, and technical aspects is essential in improving ballet performance. Ballet dancers’ emotional and behavioral characteristics vary, even under identical stress conditions. This study aimed to investigate the association between the pain candidate genes 5-HTTLPR and COMT and anxiety in Japanese ballet dancers. Participants were 18 youth elite ballet students with professional aspirations (Y-Elite) and 16 dancers in a professional ballet company (Pro). We administered psychological questionnaires, the State-Trait Anxiety Inventory (STAI) and Brunel Mood Scale (BRUMS), to participants under the following four different stress conditions: standard practice day, cast decision day, rehearsal day, and one week before competition day. In addition, the genotypes of 5-HTTLPR and COMT Val158Met were examined. The distribution of 5-HTTLPR was not different between Y-Elite and Pro dancers, although one of the COMT genotypes was different. Y-Elite dancers had higher trait anxiety scores than Pro dancers for these genotypes before competition (ps &lt; 0.03), although no significant association was observed between both genotypes and scores on the STAI across conditions. Their moods were significantly different through the four conditions (p &lt; 0.004). Pro dancers’ moods were also more stable than those of the Y-Elite dancers in the presence of pain. The results indicate that 5-HTTLPR and COMT play a crucial role in dancers’ anxiety and mood during pain (ps &lt; 0.05). Pro dancers are probably predicted by their lower neuroticism and mood scores and their better adaptation to stress than Y-Elite dancers. The 5-HTTLPR and COMT genes may be influencing the sensitivity to the environment. Youth elite ballet dancers need to understand the relationship between pain and physical activity from an early stage.

Coping strategies for combating chronic pain among professional ballet dancers in Cali, Colombia. Qualitative study

IntroductionPain is part of the daily life of ballet dancers. To achieve perfection in the dance, techniques based on repetitive movements that overload different parts of the body are used, which generate pain. The purpose of this study is identify coping strategies used by professional ballet dancers to manage chronic pain. MethodsA qualitative study was conducted using a phenomenological design with a population of 17 professional dancers from a ballet company in Cali, Colombia. The Chronic Pain Coping Questionnaire (CAD) and a open interview with guiding questions were applied as research instruments. ResultsThe dancers of the Colombian Ballet Company engage in a physically demanding practice that necessitates continuous movement. The majority of these dancers are under 30 years of age and have been with the company for less than 5 years. Unfortunately, their frequent injuries include sprains, back pain, and disc herniation, often attributed to a lack of strengthening and the imposition of high physical loads. In coping with the pain, the dancers commonly resort to seeking information about their injuries and engaging in self-affirmation of their exceptional abilities. ConclusionsDancers get used to pain to continue in professional dance companies. Coping with pain involves developing strategies for self-affirmation and motivation to continue in their profession.

Prevalence of Mental Health Problems and their Potential Association with Sleep Disturbance, Coping Skills and Social Support in Professional Ballet Dancers.

Introduction: While several studies have analyzed the characteristics and burden of injuries and physical complaints in (pre-)professional dancers, mental health problems, other than eating disorders, have rarely been studied in professional ballet dancers. The aims were to (a) investigate the prevalence of self-reported mental health problems, and (b) analyze their potential associations with sleep disturbance, coping skills and social support in professional ballet dancers. Methods: During a pre-season health screening, professional ballet dancers of three companies were asked to answer questions on personal characteristics, current need and attempt to lose weight, chronic/recurrent mental health problems, and need of support from a psychotherapist as well as established questionnaires on depression (PHQ-9), generalized anxiety (GAD-7), eating disorders (EDE-QS), sleep disturbance (ASSQ), athletic coping skills (ACSI-28) and perceived social support (F-SozU-K6). Results: All 96 dancers (average age 27.3 years, 51.0% male) who participated in the screening answered the questionnaire. In the PHQ-9, 19 (19.8%) dancers reported mild, and 4 (4.2%) moderate to severe symptoms. In the GAD-7, 19 (19.8%) dancers reported mild, 11 (11.5%) moderate and three (3.1%) severe symptoms. Ten (10.4%) dancers were screened positive for an eating disorder in the EDE-QS. Almost two thirds of the dancers reported sleep problems of mild (n = 39; 40.6%), moderate (n = 19; 19.8%) or severe extent (n = 3; 3.1%) in the ASSQ. One in five dancers (n = 19; 19.8%) wanted or needed support from a psychotherapist at the time of the screening. The mean score of ASSQ correlated significantly with PHQ-9 (r = .34; P = .001) and GAD-7 (r = .27; P = .008). Correlations of mental health problems with athletic coping skills and social support were generally low. Conclusion: The prevalence of mental health problems, especially anxiety and eating disorders, was high in professional ballet dancers. Routine screening of mental health and sleep problems as well as interventions to improve mental health and sleep quality are strongly recommended. Level of Evidence: 2b cross-sectional study.

Examination of Left-Right Differences and Intertrial Variability in Grand Jeté Among Professional Ballet Dancers.

Introduction: Ballet demands diverse physical prowess, requiring dancers to execute movements symmetrically, irrespective of their dominant leg. Ballet often includes jumps, including the basic open-leg leap-the grand jeté-which requires uniform performance regardless of the leg on which the leap is initiated. However, no studies have simultaneously evaluated the effects of dominant leg or movement variation on jump height, leg split angle, jump time, and floor reaction forces during take-off and landing, which are related to the feeling of floating in the grand jeté. This study aimed to determine whether the high-level, stable, and beautiful performance required of professional ballet dancers in the grand jeté is affected by the dominant leg. Methods: Twelve female ballet dancers, all right leg dominant, performed the grand jeté 3 times on each side, distinguishing between dominant (right leg landing) and non-dominant (left leg landing) grand jetés. Utilising 3D movement analysis, we measured jump height, jump time, maximum leg split angle, and maximum vertical ground reaction force (VGRF) during take-off and landing. Mean values and coefficients of variation were calculated for each analysed parameter. Paired sample t-tests were conducted to assess differences between left and right grand jetés, with a significance level set at P < .05. Results: Statistically significant differences were observed in jump height (P = .028) and jump time (P = .001) when comparing the average of three trials for each side. However, no significant differences were found in maximum leg split angle (P = 0.643), maximum VGRF at take-off (P = .200), and maximum VGRF at landing (P = .109). In addition, no significant differences in coefficients of variation were identified for all items. Conclusion: Ballet dancers showed consistent performance on dominant and non-dominant legs but higher and longer jumps for grand jetés landing on the dominant leg, which may have affected overall performance.

A 6-Week Mindfulness-Acceptance-Commitment Intervention to Improve Professional Ballet Dancers' Psychological States Around Performance.

Background: Mindfulness and acceptance-based approaches have been trialled in professional sport. The present pilot study was a randomized controlled trial with professional ballet dancers investigating the effectiveness of the Mindfulness-Acceptance-Commitment (MAC) approach, developed for athletes, compared to an education program which included topics relevant to ballet and performance. Methods: Participants included 16 professional ballet dancers (2 men and 14 women) who were randomly assigned into either the MAC or education group for 1 session per week, for 6 weeks. Participants were assessed pre-and post-intervention using the Mindfulness Inventory for Sport (MIS) and the Acceptance Action Questionnaire (AAQ-II). Within 2 weeks of the final mindfulness session, all participants completed a semi-structured interview. Results: No differences were found when comparing the questionnaire responses between pre- and post- intervention, nor between the MAC group and the control group at post intervention for all subscales. Although dancers reported in the interviews that the sessions were valuable, they advised their ability to dedicate time to mindfulness ongoing would be challenging. Conclusions: Mindfulness interventions, as explored in this study, show promise to promote the well-being of professional ballet dancers. For consistent and ongoing mindfulness practice, future designs should seek to embed mindfulness practice into dancer and company schedules.

Foot and Ankle MRI Findings in Asymptomatic Professional Ballet Dancers.

Previous research in sport populations has demonstrated that abnormal magnetic resonance imaging (MRI) findings may be present in individuals without symptoms or known pathology. Extending this understanding to ballet, particularly in relation to the foot and ankle, is important to guide medical advice given to dancers. To assess foot and ankle MRI scans in asymptomatic ballet dancers focusing on bone marrow edema and the posterior ankle and to investigate whether these MRI findings would become symptomatic within 1 year. Case series; Level of evidence, 4. In total, 31 healthy dancers (62 feet/ankles; 15 male and 16 female; age, 26.5 ± 4.3 years) who were dancing in full capacity were recruited from an elite professional ballet company. Orthogonal 3-plane short tau inversion recovery imaging of both feet and ankles was obtained using 3T MRI and the images were reviewed using a standardized evaluation form by 2 musculoskeletal radiologists. Injuries in the company were recorded and positive MRI findings were assessed for correlation with any injuries requiring medical attention during the subsequent 12 months. A total of 51 (82%) of the 62 feet and ankles had ≥1 area of bone marrow edema. The most common locations of bone marrow edema were the talus (n = 41; 66%), followed by first metatarsal (n = 14; 23%). Os trigonum and Stieda process were seen in 5 (8%) and 8 (13%) ankles, respectively. Among them, 2 os trigona showed bone marrow edema. Fluid in the anterior and posterior talocrural joints and the subtalar joint was observed in 48%, 63%, and 63% of these joints, respectively. Fluid around foot and ankle tendons was observed, with the most prevalent being the flexor hallucis longus tendon (n = 13; 21%). Two dancers who had positive findings on their MRI subsequently developed symptoms during the next 12 months. Positive MRI findings are commonplace in the foot and ankle of asymptomatic professional ballet dancers. The majority do not result in the development of symptoms requiring medical attention within 12 months. Careful interpretation of MRI findings with the dancer's clinical picture is required before recommending activity modification or further intervention.

Health Problems of Professional Ballet Dancers: an Analysis of 1627 Weekly Self-Reports on Injuries, Illnesses and Mental Health Problems During One Season

BackgroundSeveral studies have investigated injuries of (pre-)professional ballet dancers, however most used a medical-attention and/or time-loss definition and did not analyse the prevalence of all health problems. The aim was to analyse the frequency and characteristics of all self-reported physical and mental health complaints (i.e. injuries, illnesses and mental health problems) of professional ballet dancers during one season.MethodsThree professional ballet companies were prospectively monitored weekly during one season with the Performing artist and Athlete Health Monitor (PAHM). Numerical rating scales (ranging 0–10) were used for severity of musculoskeletal pain, all health problems and impairment of the ability to dance at full potential in the previous seven days. If dancers rated the severity of their health problems or their impairment greater than 0, they were asked to answer specific questions on the characteristics of each health problem.ResultsOver a period of 44 weeks, 57 dancers (57.9% female) filled in 1627 weekly reports (response rate of 64.9%), in which 1020 (62.7%) health problem were registered. The dancers reported musculoskeletal pain in 82.2% of the weeks. They felt that their ability to dance at their full potential was affected due to a health problem in about every second week (52.6%) or on at least 29.1% of the days documented in the weekly reports. Almost all dancers (96.5%) reported at least one injury, almost two thirds (64.9%) an illness and more than a quarter (28.1%) a mental health problem. On average, every dancer reported 5.6 health problems during the season. Most of the 320 health problems were injuries (73.1%), 16.9% illnesses and 10.0% mental health problems. Injuries affected mainly ankle, thigh, foot, and lower back and were mostly incurred during rehearsal (41.6%) or training (26.1%). The most frequent subjective reasons of injury were “too much workload” (35.3%), “tiredness/exhaustion” (n = 22.4%) and “stress/overload/insufficient regeneration” (n = 21.6%).ConclusionPreventive interventions are urgently required to reduce the prevalence of health problems and especially injuries of professional dancers. Injury prevention measures should regard the balance of the load capacity of professional dancers and the workload in training, rehearsals and performances.

A brief report: A rehabilitation journey in a professional elite ballet dancer

Purpose:This brief report aims to present and reflect on the lessons learnt from practice with an individual case professional dancer who sought comprehensive psychological support as a result of a trauma-injury ruptured Achilles tendon during a live performance.Method &amp; Results:A professional elite ballet dancer received a total of 12 sessions delivered weekly lasting 60 minutes each session. Rehabilitation post-surgery included physiotherapy, strength and conditioning, pilates, nutrition and psychological support as part of a comprehensive package. Quantitative data through the PANAS questionnaire (Watson et al., 1988) was administered at baseline, midpoint and at the end of the sessions. Three main themes emerged as acquired skills through psychological interventions: 1) self-confidence and self-esteem, 2) a renewed sense of belonging, and 3) a sense of autonomy.Discussion &amp; Conclusions:A dancers’ centred approach in providing psychological support for a comprehensive rehabilitation program where transdisciplinary interlinked approaches benefited the recovery from injury to full recovery. Reflections highlight the importance of positive person-centred psychological models of practice, the Rogerian foundations of authenticity, non-judgemental and guiding principles of recovery and the clinician positionality, active listening and compassion.

Poster 391: Injury Risk Cut-offs for Bone Density and Body Composition in Professional Female Ballet Dancers

Objectives: Female professional ballet performers are a unique population that undergo substantial physiologic stresses related to training, performance, and, at times, reduced energy availability that can result in elevated incidences of injury relative to their male counterparts and, even more so, the general population. However, there are currently no population-specific cut-offs based on dual energy X-ray absorptiometry (DEXA), bone mineral density (BMD), bone mineral content (BMC), and body composition (lean mass, LM; fat mass, FM) in relation to injury risk for appropriate screening and identification of those who might benefit from nutritional or activity-based interventions for injury prevention. The objective of this investigation was to develop population-specific DEXA cut-offs for BMD and body composition in professional female ballet performers based on injury risk. Methods: All procedures for this investigation were approved by the IRB. A total of 132 DEXA scans among 48 female professional ballet dancers from a single dance company taken during yearly physicals between 2017-2022 were collected for BMD and body composition (body mass, lean mass, fat mass). The electronic hospital record (EHR) was reviewed for each performer. The year of injury, level of injury, anatomic location, and diagnosis were collected if an injury was identified for the year following DEXA and physical. Level of injury was recorded. The data was de-identified and categorized by gender and year of injury. A female ballet population-matched Z-score was generated for total and regional BMD and body composition measures whereby Zb = (Measure – Ballet Population Measure) / SD of the ballet population. Logistic regression was used to determine Zb-score cut-offs whereby a significant increase in injury metrics (frequency &amp; severity) would occur. Next, a T-test was used to compare injury severity scores between those above and below the cut-off. Chi-square analysis was then used to compare injury level frequencies between those above and below the cut-off. Significance was set at p&lt;0.05 for all analyses. Corresponding BMD and body composition measures to each established Zb cut-off were also calculated. Results: Results are presented in Figure 1. Analysis revealed a strong association between Zb-scores for body mass index (BMI, kg/m2) and increased incidence of level 1 injuries. Weaker associations for Zb-scores for total BMD and total lean mass index (LMI, kgLM/m2) with all-cause injury severity and frequency rates (P&lt;0.05) were also found. For total BMD, a Zb-score threshold of -0.5 was observed to be the point at which injury severity (P=0.039) and frequency of higher-level injuries (Level 2&amp; 3, P&lt;0.05) was observed to significantly increase. This cut-off corresponded to a total BMD value of 1.100 g/cm2. For total LMI, a Zb-score threshold of -0.5 was observed to be the point at which injury severity (P=0.046) and overall injury frequency (P=0.023) was observed to increase. This cut-off corresponded to a total LMI value of 13.86 kgLM/m2. For BMI, a Zb-score threshold of -0.4 was observed to be the point at which injury severity (P=0.047) and frequency of level higher level injuries (&gt;Level 1, P=0.002) was observed to significantly increase. No significant injury cut-offs for % body fat or fat mass index were observed. This cut-off corresponded to a BMI value of 18.40 kg/m2. Conclusions: Reduced total bone density (BMD &lt;1.100 g/cm2), lean mass (LMI &lt; 13.86 kgLM/m2), and body mass (BMI &lt; 18.40 kg/m2) may increase injury risk in elite professional female ballet performers. The cut-offs identified here may be used to better evaluate injury risk (as it pertains to DEXA assessment) in a manner that is specific to this population as opposed to generalizing to general population norms. Investigation remains ongoing regarding male dancers as well as how regional DEXA measures may relate to specific injury locations. The methods used here may also be utilized to find similar body composition and BMD injury risk cut-offs among other athlete populations and may greatly enhance the value of densitometry-based screening.

Ankle mechanics during jump landings across different foot positions in professional ballet dancers

ABSTRACT This study aimed to investigate the effect foot position on ankle joint mechanics and vertical ground reaction forces (vGRF) across jump landings in professional ballet dancers. Twenty-seven professional ballet dancers (men: 14; women: 13) attended one data collection session, completing five maximal countermovement jumps in parallel, first, second, fourth, and fifth positions. Three-dimensional ankle mechanics, landing vGRF variables, and jump height were recorded via a seven-camera motion capture system and one force platform. A repeated measures multivariate analysis of variance was used to assess the main effects foot position across all target variables. A linear discriminate analysis was conducted to investigate target variables across foot positions. Frontal and transverse plane ankle mechanics had the largest impact when discriminating between foot positions. Ankle power in the transverse plane during jump landing in fourth was double that of all other positions. Our findings suggest that ankle range of motion should be restored before returning to jumps in fourth and fifth positions following distal lower extremity injury. The multiplanar energy transfer observed indicates a need for specific exercises to develop multiplanar force and rate of force development of local structures around the ankle.

The role of muscle function and pointe shoe characteristics in Arabesque movement among ballet dancers with non-specific low back pain

ABSTRACT This study aimed to investigate posterior chain muscle function and the influence of pointe shoes in ballet dancers with and without low back pain (LBP) in the Arabesque. Twenty-nine young professional ballet dancers (17 with LBP and 12 healthy controls) were recruited. Muscle strength and mechanical properties of the erector spinae and hamstrings were assessed. The displacement of centre of mass (COM) during Arabesque under different shoe conditions (R-class, Chacott, and own shoes) was measured with a motion capture system. The LBP group exhibited greater dynamic stiffness and decreased mechanical stress relaxation time in the lateral hamstring compared to the control group. During Arabesque, the LBP group demonstrated significantly greater anterior-posterior displacement of the COM and a larger percentage of time to achieve maximal trunk extension angle. The COM displacement in vertical and medial-lateral directions was smaller in the R-class than in their own shoes. LBP impacts muscle mechanical properties, particularly in the lateral hamstring. The compromised muscle function resulted in a longer time to spinal extension during Arabesque, signifying that reduced trunk control contributed to greater COM displacement. Hence, it is essential to emphasise that evaluating muscle properties and dynamic postural control is imperative for dancers experiencing LBP.

Evaluation of the Physiological and Psychological Impact of Ballet Performances Across Age Cohorts: An Observational Uncontrolled Case Study.

Background: Ballet, epitomized by iconic seasonal performances such as "The Nutcracker," combines artistic expression with considerable physical demands. This study investigated the physiological and psychological responses of ballet dancers to the demands of intensive training and performance, with a specific focus on "The Nutcracker." Methods: Thirty- eight dancers volunteered for the study, including 6 youths (10.5 + 1.8 years, n = 6 female), 7 adolescents (15.4 + 1.1 years, n = 5 female), and 25 adults (21.1 + 2.1 years, n = 20 female). Employing an uncontrolled observational design, this pilot study tracked key biomarkers such as CK-MM for muscle damage and B-ALP for bone health, alongside psychological measures via PANAS-C/PANAS and DASS-21. Results: Significant findings included a post-performance reduction in cortisol and depression levels. Conclusion: These insights advocate for tailored strategies that address the multifaceted needs of dancers, acknowledging the intricate balance required to maintain peak performance and overall health within the demanding realm of professional ballet.

Muscle Strength Asymmetries of the Lower Limbs and Trunk in Ballet Dancers.

Ballet dancers are expected to use their bodies symmetrically during training, because dance movements are performed on both sides. However, there is a general belief that ballet training encourages the use of one side of the body more than the other. Frequent repetition of a particular exercise can lead to body asymmetries and musculoskeletal injuries. The aim of this cross-sectional study was to investigate the presence of lower limbs and trunk muscle strength asymmetries in ballet dancers and secondly to assess whether there is a difference between professional dancers and ballet students. Ballet students (n=19) and professional ballet dancers (n=23) performed maximal voluntary isometric contractions of the trunk (flexion, extension, lateral flexion), hip (flexion, extension, adduction, abduction, external and internal rotation), knee (flexion, extension) and ankle (flexion, extension) on isometric dynamometer. The results showed that the percentage of ballet dancers with contralateral muscle strength asymmetries >10% ranged from 22.5% (ballet students) to 31.6% (professional dancers). The percentage of ballet dancers deviating by >10% from the normative maximum torque agonist/antagonist ratio ranged from 56.5% to 100%. A statistically significant difference between ballet students and professional ballet dancers was found in the trunk flexion/extension ratio (t(40) = -3 .55; p = 0.001; d = 0.55). This study revealed strength asymmetries in the lower limbs and trunk in ballet dancers, both professionals and students. Further research is needed to develop appropriate complementary exercise to address and eliminate asymmetries in muscle strength in ballet dancers.

Perspectives of Ballet Dancers on Causes of Their Injuries and Implementation of Injury Preventive Measures by Ballet Teachers and Masters.

Ballet dancers have a high injury risk. We aimed to gain insight into the causes for acute and overuse injuries in ballet dancers and the level of implementation of injury prevention by ballet teachers/masters, as perceived by dancers. An international cross-sectional online-survey was based on the Fit-to-Dance Questionnaire and literature. Adult amateur, pre-professional, and professional ballet dancers reported the perceived causes of their injuries sustained in the previous 2 years. Multiple answers per injury were possible. Also, dancers rated the level of implementation of measures to prevent injury by their ballet teachers and ballet masters based on 21 items using a 5-point Likert scale. Causes were analyzed per-injury as well as per-dancer. 188 ballet ensembles and 51 dance organizations were contacted, from which 192 ballet dancers (mean age 27 ±7.8 yrs, 83% females) responded. 119 dancers (62%) reported 203 acute and 164 (85%) reported 469 overuse injuries. Fatigue was the most frequently perceived cause for acute injuries in the per-injury (n=89, 43.8%) and per-dancer analysis (n=63, 32.8%). For overuse injuries, pressure from the teacher/master was most frequently perceived as cause in the per-injury analysis (n=240, 51.2%), specifically in pre-/professional dancers (n=233, 61.3%). In the per-dancer analysis, fatigue/overtraining scored highest for overuse injuries (n=107; 55.7%). Other causes were previous/repetitive injuries (acute-per-injury 26.1%, acute-per-dancer 22.4%; overuse-per-injury 46.3%, overuse-per-dancer 53.1%) or erroneous dance technique (acute-per-injury 24.6%, acute-per-dancer 21.9%; overuse-per-injury 47.8%, overuse-per-dancer 45.3%). With regard to perceived level of implementation of injury preventive measures by ballet teachers/masters to prevent musculoskeletal injuries, 2 items received high ratings, 12 moderate ratings and 6 low ratings. Fatigue and pressure accounted for the majority of perceived causes for injuries. Perceived support by ballet teachers/masters regarding injury prevention was moderate to low. Future research should focus on the awareness, attitudes, and the important role of ballet teachers/masters for injury prevention in dancers.

Macedonian ballet (1949 – 2024), decoding of diverse choreographic “letters”

This article attempts to determine the relevant processes related to ballet, positioned in a concrete geographic space&amp;ndash;the Republic of Macedonia. The time frame starts with the year of the founding of the professional ballet ensemble within the Macedonian National Theatre (MNT) 1949 and ends with the year 2024. An additional reason for such a theoretical review is the celebration of the 75th anniversary of the Macedonian ballet. Due to the volume of material, the author decided to detect general styles, that is, general &amp;ldquo;chapters&amp;rdquo; or &amp;ldquo;letters&amp;rdquo; (as will be defined in the article), with their specific tendencies. From an analysis of the entire repertoire, performances can be classified into three general groups. The first is classical ballet with a fixed choreography (in Macedonia&amp;rsquo;s case, versions currently performed in Russia, that is, countries of the former Soviet Union). The second group is performances classified as contemporary regarding theme and music, but most importantly dance style. The third group is the works where there is a symbiosis between classical ballet and folk dance, which are referred to as national ballets. This group carries the most important and most distinctive national features. Each of the aforementioned groups is in close interaction with cultural politics, that is, current societal trends, which will be further elaborated.

Haptic and deep sensing in ballet class

ABSTRACT Different cultural traditions about the sensory domain of tactility can lead groups of people to categorize the senses differently. This research explores how professional dancers in their social relations learn sensorially through touch at three London institutions and offers new perspectives on how touch compose part of the dancers’ shifting sensoria and the epistemology of the culture of their ballet class. Drawing on de Sousa Santos (2018) development of the concept of corazonar and Borda’s (2015, 10) notion of “sentipensar” (feeling-thinking) I discuss how dancers feel touch, how other sensorial modalities intersect with touch and how the variants of touch/being touched influence learning. In my study the dancer’s ways of knowing are inscribed in social relations by combining the feeling/thinking, reason, and love in emotions/affects indicating a deeper understanding of the confluence of various senses. The methodology involved four years of ethnographic observations, my active participation in professional ballet classes and interviews with dancers.

What goes up must come down: injury and jumping in professional ballet (PhD Academy Award)

What goes up must come down: injury and jumping in professional ballet (PhD Academy Award)

Dance-specific eligibility of vocational ballet students - examinations at a governmental training institution for classical ballet

During their training, pre-professional ballet students are confronted with physical stresses comparable to those of competitive sports. In competitive sports, there are mandatory and binding aptitude tests to ensure that the growing athlete meets the requirements. In ballet, there are no such mandatory examinations preceding the start of training. For adult professional dancers, musculoskeletal ideals could be isolated from the dance medicine literature. However, only a few studies describe musculoskeletal characteristics of pre-professional ballet students. It is neither known at what age a student should meet the ideal measurements for an adult nor what deviations from the ideal can be considered normal. This study aims to describe sociodemographic and musculoskeletal characteristics of pre-professional ballet students and discusses to what extent they already meet or deviate from dance-specific eligibility criteria for adult professional ballet dancers. In this study, n = 414 female and n = 192 male students of John Cranko School (JCS) were seen by an experienced orthopaedist and dance physician. Mean age was 13.9 years (SD 3.5, range 5-22 years). Their medical history was taken (age; nationality; start of ballet/training) and a physical examination was performed (height/weight; symmetry of shoulder girdle, spine, waist triangles; pelvic tilt; tibial torsion; range of motion of base of index finger joint, spine, hips, ankle and base of great toe joint). Subsequently, the results of this study were compared with suitability criteria for adult professional ballet dancers that had been isolated from the dance medicine literature for a previous article. Examinees were from 49 different nations. 34.6% of the female subjects (≥16 years) were between 165 and 170 cm and 33.3% of the male subjects (≥18 years) were between 178 and 185 cm tall. 45.0% of those examined showed low body weight (<10th percentile, BMI <18.5 kg/m²). The trunk of 61.0-84.8% of those examined was erect and symmetrical. 25.2% had scoliosis. Half (53.5%) were found to have a bilateral external rotation of the hips of at least 60°, and 68.7% had a bilateral internal rotation between 20 and 50°. 87.3% exhibited a bilateral tibial torsion between 15 and 40°. A bilateral en dehors of 90° was calculated for 25.0%. In 9.1% of those examined, the upper ankle joints presented a dorsiflexion of at least 25°, and in 70.2%, a plantarflexion of at least 70° was seen. In 88.0%, the metatarsophalangeal joint of the great toe was 90° (f) and 80° (m) on both sides. The results of this study showed that pre-professional ballet students fulfil many characteristics of adult professional ballet dancers. High values already among young age groups suggest a ballet-specific selection. Nevertheless, not all students fulfil the theoretical "ideal measurements" for professional classical ballet. These anatomical limits should be considered individually in training to protect the growing pre-professional ballet dancer. The high ballet-specific anatomical demands, but especially the large number of students with a low body weight, underline the necessity of mandatory aptitude tests at the beginning and regular check-ups in the course of training to avert compensatory mechanisms and their consequential damage and to screen for eating disorders and disorders of eating behaviour.

The association of range of motion, lower limb strength, and load during jump landings in professional ballet dancers

This study aimed to investigate the associations between peak plantarflexion ankle joint moments and vertical ground reaction forces (vGRF) during jump landings, and static ankle dorsiflexion range of motion (ROM), three-dimensional ankle excursions, and lower extremity strength in professional ballet dancers. Twenty-seven professional ballet dancers volunteered to participate (men = 14, women = 13). Participants attended one data collection session to measure dorsiflexion ROM and isometric lower extremity strength. Two further sessions were used to establish ankle mechanics and vGRFs during countermovement jump landings in seven foot positions, via a seven-camera motion capture system and piezoelectric force platform. Two linear mixed-effects models were used to investigate associations between the target variables and strength, dorsiflexion ROM, and ankle excursions. Dancer identification, sex, and foot position were entered as random effects. Model fit, when considered independent of random effects, was generally poor with the predictor variables explaining little of the variance of peak plantarflexion ankle joint moments (R2 = 0.02) or vGRF (R2 = 0.01). Model fit improved when random effects were considered (R2 = 0.65 & 0.34). Frontal plane ankle excursion was the only predictor variable with a significant negative association with peak plantarflexion ankle joint moments (p = .016), although coefficient estimates were small. Strength, static ankle dorsiflexion ROM, and three-dimensional ankle excursions are poor predictors of load experienced at a joint and system level in professional ballet dancers. Differences between individuals, sex, and foot position may be better indicators of the load experienced during jump landings.