Professional Dancers Research Articles

Single-Leg Heel Raise Capacity is Lower, and Perceived Ankle Instability is Greater, in Dancers and Athletes With Posterior Ankle Impingement Syndrome.

To compare clinical assessment findings between elite athletic populations with and without a clinical diagnosis of posterior ankle impingement syndrome (PAIS). Cross-sectional case-control study. Elite ballet and sport. Ten male and female professional ballet dancers and athletes with a clinical diagnosis of PAIS and were matched for age, sex, and activity to 10 professional ballet dancers and athletes without PAIS. Posterior ankle pain on body chart and a positive ankle plantarflexion pain provocation test. Single-leg heel raise (SLHR) endurance test, range of motion testing for weight-bearing ankle dorsiflexion, passive ankle plantarflexion, and first metatarsophalangeal joint dorsiflexion, and Beighton score for generalized joint hypermobility. Participants also completed the Cumberland Ankle Instability Tool (CAIT) questionnaire. The group with PAIS achieved significantly fewer repetitions on SLHR capacity testing ( P = 0.02) and were more symptomatic for perceived ankle instability according to CAIT scores ( P = 0.004). Single-leg heel raise endurance capacity was lower, and perceived ankle instability was greater in participants with PAIS. The management of this presentation in elite dancers and athletes should include the assessment and management of functional deficits.

Wheelchair Dance: Exploring a Novel Approach to Enhance Wheelchair Skills, Belongingness and Inclusion among Children with Mobility Limitations

Playful approaches are recommended to enhance wheelchair skills training with young people. Inclusive dance allows participants to discover motor skills and improve social participation. Integrating wheelchair skills training into dance has not been evaluated. This study aimed to explore participants’ experiences in dance while integrating wheelchair skills, and the influence of dance on wheelchair skills and wheelchair use confidence in young people. A convergent mixed-methods design was used during a one-week dance camp. Data collection combined observations, two focus groups (with young dancers who used manual wheelchairs and with professional dancers without disabilities), and evaluation of wheelchair skills and confidence. Data analyses included deductive thematic analysis guided by the Quality Parasport Participation Framework, merged with pre–post comparisons in wheelchair skills and confidence. Three young female dancers were 11, 12 and 15 years of age and three professional female dancers were 22, 27 and 27 years of age. Emergent themes included skill mastery, belongingness, and supportive environments. There were improvements in wheelchair skills and confidence (16.7%, 19.4%, 16.7%; 0.8%, 11.4%, 4.5%, respectively). Participants described overall positive experiences with the dance camp and perceived enhanced skills and confidence. This study advances knowledge about innovative approaches to integrate wheelchair skills training for young people. Future larger-scale controlled studies are needed to determine efficacy.

An Exploration of Low Back Beliefs of Male Pre-Professional and Professional Dancers.

Globally, male dancers are affected by low back pain (LBP) up to 2.5 times more than female dancers. While female dancers' beliefs around LBP and dance-specific low back movements exist, no research has explored male dancers' beliefs. This study aimed to (1) examine the low back beliefs of Australian male professional and pre-professional dancers, and (2) determine if beliefs toward common low back movements and lifting differed when current LBP or history of disabling LBP (DLBP) were considered. 40 male dancers (mean age [SD] 26.9 years [7.9]) from a range of dance backgrounds (all participating in ballet) were recruited to complete a cross-sectional survey comprising a beliefs questionnaire considering dance-specific movement and lifting tasks, the Back Pain Attitudes Questionnaire (Back-PAQ) and the Athletic Fear Avoidance Questionnaire (AFAQ). Primary analysis included initial descriptives, a repeated measures ANOVA for movement-specific beliefs and visual thematic analysis for written responses within the belief's questionnaire. Secondary subgroup analysis included independent T-tests for those with/without current LBP and those with/without a history of DLBP. Fourteen dancers reported current LBP and 30 reported a history of DLBP. Dancers held generally negative beliefs toward the low back (Back-PAQ mean 123.1 ± 9.7) with neither subgroup demonstrating significant between-group difference (P < .05). Dance-specific flexion movements were seen as safer than extension movements (P < .05), and more extended-spine lifting was seen as safer than more flexed-spine lifting (P < .05). Dancers experiencing current LBP held less positive beliefs surrounding some dance-specific movements. Dancers hold negative general beliefs toward the low back irrespective of current or historical DLBP, however their beliefs surrounding dance-specific movements were relatively positive. Dancers' beliefs surrounding some movements were affected by the presence of current LBP, in particular an arabesque and a fish dive.

Laterality in Body Coordination of Professional and Amateur Ballet Dancers While Performing a Single Pirouette with Pointe Shoes.

Imbalances in muscle strength coordination owing to lateral preference may be a risk factor for injury in dancers. Postural control is essential for the basic turn in ballet (pirouette), owing to its lateral asymmetry. Since dance with pointe shoes demands greater range of motion, muscle strength, and balance control compared to dancing with flat shoes, pointe shoes may further add to the risk and cause an imbalance between the preferred and non-preferred legs during pirouette. In this study, we examined lateral differences in professional and experienced amateur ballet dancers during single pirouettes with pointe shoes to understand the multiple elements involved in lateral balance control in pirouettes. Eight female professionals and seven female amateur ballet dancers performed single pirouettes in pointe shoes on both the preferred and non-preferred sides. To understand the body coordination laterality in single pirouettes, statistical parametric mapping was performed for the trunk, hip, knee, ankle angle, and center of mass-center of pressure inclination angle timeframe data during the pirouette in three phases: turn with double-leg (Phase 1), single-leg (Phase 2), and finish turning with a single-leg (Phase 3). In addition, the hop-up time was calculated as the percentage when the foot is not in contact with the ground in Phases 2 and 3. There were no lateral differences in trunk and lower limb angles in either group. Professional dancers showed slightly more inclination towards the stance leg during left rotation at the beginning of the movement (Phase 1) with longer hop-up time in Phase 2, whereas amateur dancers tended to tilt forward during the left turn (Phases 1 and 2) with longer hop-up time in Phase 3. It is notable that the COP-COM inclination angle was adjusted by hop-up and it caused the lateral differences in both professional and amateur dancers during a single pirouette with pointe shoes. This study highlights elements to consider in laterality when monitoring pirouette performance with pointe shoes.

Clinical outcomes and return to dance after total hip arthroplasty or hip resurfacing in professional dancers.

Professional dancers represent a unique patient population in the setting of hip arthroplasty, given the high degree of hip strength and mobility required by their profession. We sought to determine the clinical outcomes and ability to return to professional dance after total hip arthroplasty (THA) or hip resurfacing arthroplasty (HRA). Active professional dancers who underwent primary THA or HRA at a single institution with minimum one-year follow-up were included in the study. Primary outcomes included the rate of return to professional dance, three patient-reported outcome measures (PROMs) (modified Harris Hip Score (mHHS), Hip disability and Osteoarthritis Outcome Score for Joint Replacement (HOOS-JR), and Lower Extremity Activity Scale (LEAS)), and postoperative complications. A total of 49 hips in 39 patients (mean age 56 years (SD 13); 80% female (n = 39)) were included. Mean follow-up was 4.9 years (SD 5.1). Of these 49 hips, 37 THAs and 12 HRAs were performed. In all, 96% of hips returned to professional dance activities postoperatively. With regard to PROMs, there were statistically significant improvements in mHHS, HOOS-JR, and LEAS from baseline to ≥ one year postoperatively. There were complications in 7/49 hips postoperatively (14%), five of which required revision surgery (10%). There were no revisions for instability after the index procedure. Two complications (5.4%) occurred in hips that underwent THA compared with five (42%) after HRA (p = 0.007), though the difference by procedure was not significantly different when including only contemporary implant designs (p = 0.334). Active professional dancers experienced significant improvements in functional outcome scores after THA or HRA, with a 96% rate of return to professional dance. However, the revision rate at short- to mid-term follow-up highlights the challenges of performing hip arthroplasty in this demanding patient population. Further investigation is required to determine the results of THA versus HRA using contemporary implant designs in these patients.

시대적 제약 속에 문화적 기업가정신(Cultural Entrepreneurship)

This study explores the founding and development process of Cloud Gate Dance Theatre, the first professional modern dance company in Taiwan, established in 1973 by Lin Hwai-min(1947. 02. 19.~ ). This research has two main focuses. First, it analyzes the lasting imprint of the historical and social context of Taiwan in the 1970s on the development of the dance company. Second, it examines the role played by Lin Hwai-min as a cultural entrepreneur in the formation of Cloud Gate amidst the challenges of the era. Based on existing literature and prior research, this study analyzes how Lin Hwai-min integrated Taiwan's unique historical experiences and collective emotions with modern dance to establish the unique aesthetic identity of the dance company. Applying the theory of organizational imprinting and the concept of cultural entrepreneurship, the research deeply investigates how the socio-political climate of Taiwan in the 1970s influenced the establishment and early growth of Cloud Gate. It examines the impact of Taiwan's complex socio-political environment and the changes of that period on the organizational imprint, and highlights the significance of Lin Hwai-min's entrepreneurial approach in forming the aesthetic identity of Cloud Gate. The findings of this study provide sophisticated insights into understanding the identity formation of cultural and artistic organizations within a broader socio-historical context and emphasize the interaction between external environments and entrepreneurial spirit in shaping cultural institutions.

Dancemania: Analyzing the Commercialization of Dance Crew Competitions

This research delves into the intricate landscape of commercialization within dance crew competitions, employing a focused examination of prominent television series, notably the widely recognized "Dancemania." As the dance competition model gains unprecedented popularity and financial success, there is a discernible risk that the core authenticity of this expressive art form may be compromised. Rather than adhering to artistic values, there is a growing concern that these competitions may veer towards catering primarily to mass entertainment tastes. To comprehensively unravel the increasing commercial influences and economic incentives shaping the competition format, this study employs a multifaceted approach. Interviews and surveys are conducted, drawing perspectives from dance professionals, competitors, and television producers intimately involved in the dance competition milieu. Through qualitative insights and firsthand accounts, the paper aims to shed light on the evolving dynamics propelled by commercial interests. Quantitative data analysis forms a critical component of this research, uncovering correlations that exist between success metrics and influential factors, such as viewership ratings, which may take precedence over the technical prowess of dance ability. The findings from this analysis serve as a catalyst for discussions surrounding potential policy and structural adjustments. The overarching objective is to realign the priorities of competitive dance with a renewed emphasis on artistic values, countering the prevailing trend of prioritizing commercial interests. This research signals the need for holistic interventions and shifts in the competition landscape to preserve the inherent artistic integrity of dance within a commercialized context.

“Let’s Get a Little Bit Aboriginal, Shall We?”: Transforming Cultural Appropriation into Spiritual Wellness via the Neohealthism of KINRGY

Celebrity-driven wellness ventures are pervasive and often spearheaded by white women, resulting in white-centric health guidance. One such venture is KINRGY, a workout and lifestyle method created by professional dancer Julianne Hough that regularly appropriates and exploits Eastern, Aboriginal, and BIPOC cultural practices. Through a critical rhetorical interrogation of the workout videos and Instagram feed of KINRGY, we assess how this method relies on cultural appropriation and New Age Orientalism to situate spirituality as the crux of universal health, thus establishing a reconfiguration of healthism into what we call “neohealthism”—a phenomenon that further obfuscates structural constraints on health, and expands the individual imperatives of healthful choices by placing metaphysical considerations on consumers’ shoulders. We theorize neohealthism through the following themes: the consumption of the Other via cultural exploitation, the question of expertise in spiritual leadership, and the intensified neoliberal imperatives that individualize health and wellness for self and the universe.

Health variables and professional practice profile of ballroom dance teachers in Brazil

The objective was to investigate fatigue, quality of life (QoL) and professional profile of ballroom dance teachers in Brazil compared by gender. A total of 272 professionals from the five regions of Brazil were evaluated using a self-administered questionnaire divided into professional profile, QoL and fatigue. It was observed that women showed better results compared to men in terms of education and BMI. The general QoL of both sexes showed regular scores, with higher values for the social relations domain and lower values for the physical domain. The data reflect the search for information on the profile of the ballroom dance teachers and health factors related to their professional practice profile, with possible distinctions between the sexes and highlight the importance of awareness for the maintenance of the health of dance professionals.

PROBLEMS AND REFORM STRATEGIES OF COLLEGE DANCE EDUCATION UNDER THE BACKGROUND OF QUALITY EDUCATION

College dance education plays a crucial role in training qualified dance professionals and promoting the art form. However, it currently faces problems affecting program quality, including lack of standardization, outdated curricula and facilities, shortages of qualified faculty, and more. This paper analyzes key issues and challenges for college dance programs in China through an extensive literature review. Potential reform measures are proposed such as improving teacher training, modernizing curricula and teaching methods, upgrading facilities and equipment, and strengthening industry partnerships. Findings suggest comprehensive reforms are needed across areas such as administration, curriculum, faculty, facilities and assessment to improve program quality and enable college dance education to better meet the needs of the cultural market.

Excessive Knee Internal Rotation during Grand Plié in Classical Ballet Female Dancers.

Classical ballet dancers are exposed daily to physically demanding movements. Among these, the Grand Plié stands out for its biomechanical complexity, particularly the stress applied to the knee joint. This study investigates the knee kinematics of healthy professional classical ballet dancers performing the Grand Plié. Twenty dancers were evaluated with a motion analysis system using a marker-based protocol. Before measurements, the self-reported Global Knee Functional Assessment Scale was delivered for the knees' functional ability, and the passive range of knee motion was also assessed. The average score on the Global Knee Functional Assessment Scale was 94.65 ± 5.92. During a complete circle of the Grand Plié movement, executed from the upright position, the average maximum internal rotation of the knee joint was 30.28° ± 6.16°, with a simultaneous knee flexion of 134.98° ± 4.62°. This internal rotation observed during knee flexion exceeds the typical range of motion for the joint, suggesting a potential risk for knee injuries, such as meniscal tears. The findings provide an opportunity for future kinematic analysis research, focusing on the movement of the Grand Plié and other common ballet maneuvers. These data have the potential to yield valuable information about the knee kinematics concerning meniscus damage.

Moving Together, Sharing Space in Dance Your Way Home by Emma Warren

Italian has two words for dancing, ballare and danzare. The former refers to the informal, everyday dancing one does with family and friends; the latter means dancing of a high level, the kind that usually requires years of formal training. British author Emma Warren observes that the conflation of both these meanings into the single English verb ‘dance’ comes at the cost of nuance; for one to be defined as a dancer, the assumption follows that one is good at dancing. In her vibrant non-fiction book Dance Your Way Home: A Journey Through the Dancefloor, she seeks to decouple these meanings: if one dances, she argues, then one is a dancer, no matter how excellently or terribly one dances. Her book is concerned not with professional dance but with the ordinary movement of bodies together to music, the spaces this shapes, and the communities this creates. She writes: ‘Moving together to music, I realised, allows us to form new relationships with ourselves and with the wider world’ (7).

벨리댄스 전문 공연이 이미지 및 재관람 의사에 미치는 영향

The purpose of this study is to analyze the impact of professional belly dance performances on the belly dance image perceived by visitors and their intention to watch it again. Accordingly, a research study was conducted with 173 viewers of the performance of Ahlan Wa sahlan, a belly dance original work commissioned as part of the event commemorating the 70th anniversary of Egypt's national holiday hosted by the Egyptian Embassy in Korea, as a valid sampling group. SPSS 25 was used as an analysis tool, and the results are as follows. First, professional belly dance performances have a significant positive impact on the belly dance image. Second, professional belly dance performances have a significant positive effect on visitors’ intention to re-watch. Third, the belly dance image has a significant positive effect on viewers' intention to watch again. Fourth, professional belly dance performances show a mediating effect in the influence relationship between image and re-viewing intention factors.

Differences in Achilles tendon mechanical properties between professional ballet dancers and collegiate athletes utilizing shear wave elastography.

To report normative stiffness parameters obtained using shear wave elastography in dorsiflexion from the Achilles tendons in asymptomatic professional ballet dancers and compare them with college-level athletes. An Institutional Review Board (IRB)-approved study consists of 28 professional ballet dancers and 64 asymptomatic collegiate athletes. The athletes were further subdivided into runner and non-runner disciplines. Shear wave elastography (SWE) measurements were made in maximum ankle dorsiflexion position. Forty-eight (52%) males and 44 (48%) females were examined with an overall mean age of 22.2 (± 3.8 years). There were no significant SWE differences between dominant and non-dominant legs in both groups and comparing spin vs. non-spin leg of ballet dancers (p > 0.05). Ballet dancers had significantly higher short-axis velocity values than runners and non-runners (2.34 m/s increase and 2.79 m/s increase, respectively, p < 0.001). Long-axis velocity was significantly higher in ballet dancers compared to non-runners (by 0.80 m/s, p < 0.001), but was not different between ballet dancers and runners (p > 0.05). Short-axis modulus was significantly higher in dancers compared to runners and non-runners (by 135.2 kPa and 159.2 kPa, respectively, p < 0.001). Long-axis modulus (LAM) was not significantly different in ballet dancers when compared to runners. Asymptomatic professional ballet dancers exhibit greater short-axis tendon stiffness compared to athletes and greater long-axis tendon stiffness compared to non-runners but similar to runners. The functional benefit from elevated short-axis stiffness in dancers is not clear but may be related to greater axial loading and adaptations of the tendon matrix.

THE ROLE OF BALLROOM DANCES IN THE FORMATION OF SOCIAL SKILLS AND INTERACTION WITH OTHERS

The research is dedicated to exploring the multifaceted impact of ballroom dancing on the development of social skills and the enhancement of interpersonal interactions. It delves into how this form of dance transcends its artistic boundaries to become a significant tool in social and personal development. The primary aim of this study is to systematically analyze and understand the ways in which ballroom dancing contributes to the formation and enhancement of social skills. It seeks to establish a connection between the physical and psychological aspects of ballroom dancing and their collective influence on an individual’s ability to interact and communicate effectively within a social context. The research employs a combination of qualitative and quantitative methodologies, including literature review, observational studies. It integrates the analysis of academic journals, dance therapy reports, and firsthand observations from dance studios and educational settings. The findings of the study highlight the significant role of ballroom dancing in improving communication skills, fostering teamwork and respect, enhancing self-esteem and posture, providing cultural education, facilitating emotional expression, and improving physical health and coordination. This research underscores the practical application of ballroom dancing as a tool for enhancing social skills in educational and therapeutic settings. It provides insights for educators, therapists, and dance professionals on utilizing ballroom dancing as an effective medium for fostering social and personal development.

Ground reaction force as a factor responsible for the topography of injuries in professional dance. An analysis of three dance styles: classical dance, modern dance, and folk dance.

The study aimed to identify the effects of ground reaction forces (GRF) recorded during landing in typical elements of three dance styles, including classical, modern, and folk dance, on injuries` topography. The research involved a survey and measurements of GRF generated during landing after the jump. The survey involved a group of 90 professional dancers. In the questionnaire, the dancers marked areas of the human body that were affected at least once by injuries. Biomechanical tests of the GRF recording were conducted on a group of 15 professional dancers. The analysis focused on the following parameters: a maximum value of the vertical variable of the GRF relative to body weight (maxGRFz), the time between the moment from first foot contact with the ground to the moment of reaching the maxGRFz (tmaxGRFz), and the loading rate of the GRF relative to body weight (LRGRFz). Regardless of dance style and sex, the lower spine, knee joints, ankle joints and feet were the areas most affected by injuries among professional dancers. The level of maxGRFz, tmaxGRFz and LRGRFz during typical jumps in classical, modern, and folk dance was statistically significantly different (P<0.01*). The highest mean maxGRFz values were recorded for jumps performed by classical dancers. Furthermore, the sum of injury-affected areas differed significantly across various dance styles and was connected with the impact forces transferred by the dancer's musculoskeletal system. The level of GRF is one of the decisive factors affecting the topography of professional dance injuries.

The Effects of Pointe Shoes on Ballet Dancers' Biomechanics, Muscle Activity, Movement and Symptoms: A Scoping Review.

Introduction: Dancing en pointe requires ballet dancers to stand on the tips of their toes while wearing a structured pointe shoe. Understanding the effect of pointe shoes on ballet dancers' biomechanics, function, symptoms and skin health is essential to guide shoe development and ultimately improve dancer performance. Therefore, the purpose of this scoping review was to map the evidence and identify knowledge gaps related to the effect of wearing pointe shoes on professional and recreational ballet dancers. Method: A scoping review was conducted by searching 6 electronic databases and the International Association for Dance Medicine and Science Bibliography. Results: Thirty-five studies were grouped into 5 categories: pointe shoe factors (eg, toe box and shank, pointe shoe status; 9 studies), shoe types (eg, flat shoes vs demi pointe vs pointe; 10 studies), ballet movements (11 studies), symptoms (5 studies), and intrinsic dancer factors (eg, foot type/toe length; 7 studies). Studies were published between 1979 and 2023, with 72% (n = 23) published between 2006 and 2020. Most (86%) of the studies were cross-sectional. Most studies explored biomechanical outcomes and the most common data collection device was force plates (19 studies). Overall, there was an insufficient volume of evidence for specific research aims. Significant gaps in knowledge exist regarding functional and performance-based outcomes, injury outcomes including exploration of factors such as shoe age/usage, and pointe shoe treatment factors. Conclusions: Currently the field of research suffers from threats to ecological validity, with many study methods not reflecting ballet-specific demands or environments. The impact of pointe shoes on ballet dancers is a developing research area, and this scoping review can help guide future research decisions. Studies need to target the knowledge gaps and employ rigorous ecologically valid study designs and ensure that findings inform shoe design and dancer education to minimize injury and maximize comfort and performance.

Association between body dissatisfaction and eating disorder symptomatology in professional dancers

The aim was to investigate the association between body image dissatisfaction and eating disorder symptomatology in professional dancers in Brazil. A total of 127 dancers of classical ballet or contemporary dance modalities from professional companies in Brazil participated. Data were collected through a self-administered online questionnaire. Multiple logistic regression showed that dancers with anorexia nervosa symptomatology had 1.13 more odds of being dissatisfied with overweight and dancers with bulimia nervosa symptomatology had 1.28 more odds of being dissatisfied with thinness, in both cases demonstrating a desire for an extremely rigid ideal of thinness. Higher scores of eating disorder symptomatology are associated with greater odds of body image dissatisfaction in Brazilian professional dancers of classical and contemporary companies.

“They really looked, looked and looked:” Contemporary dance, disability and the circulation of emotions

Over the past decade, several inclusive dance projects, in which professional dancers with and without disabilities collaborate, have been started in Sweden. The article explores disabled and able-bodied dancers’ and leaders’ experiences of and strategies for managing gazes and emotions – in encounters with the audience and other surrounding people – from a phenomenological perspective. Eleven qualitative interviews were conducted. The interviewees meet gazes filled with benevolence, surprise, pity and fascination. The emotions stick to the disabled dancers’ bodies, distance them from their own bodies and arouse uneasiness that needs to be handled. However, disabled dancers and disabled persons in the audience may also meet in the gaze of recognition. The companies’ internal gazes are important, too. When disabled dancers are only physically integrated or when differences are hidden, the potential for change gets lost. If choreographers and audiences succeed in looking beyond the body itself, an empathetic identification may take place. Another strategy is to completely break with voyeurism by blocking all gazes. The companies show new ways of interacting, thus expanding the possibilities for both able and disabled bodies.

Nakhchivan yalli in the repertoire of professional dance collectives

Nakhchivan yalli in the repertoire of professional dance collectives