Professional Dancers Research Articles

Emerging Frameworks for Engaging Precarity and “Otherness” in Greek Contemporary Dance Performances

At the dawn of the European refugee crisis, and in the middle of the ongoing sociopolitical and financial crisis in Greece, Greek choreographers started creating dance works that engaged immigrants and refugees. In most such initiatives, improvisation became the tool for bridging the disparity between the professional dancers and the “untrained” participants, who were often the vulnerable populations of refugees and asylum seekers. In this essay, I question the ethics and aesthetics of these methodological approaches utilized for staging encounters between natives and migrants through dance. In particular, I consider the significance of improvisation as potentially perpetuating hierarchical inequalities in the framework of Western concert dance, while I also highlight the ways that such artistic endeavors end up presenting immigrants and refugees as “Others.”

Quality of life is associated with fatigue among Brazilian professional dancers

This cross-sectional study aimed to analyze the relationship between quality of life and levels of fatigue among Brazilian professional dancers. A total of 127 professional classical ballet and contemporary dancers, both male and female, from professional dance companies of the Brazilian South-Southeast region, participated in the study. Data were collected using online self-administered questionnaires, the World Health Organization Quality of Life – Biomedical Research and Education Foundation (WHOQOL – BREF) and the Fatigue Symptom Checklist (FSC), to characterize the participants. Multiple linear regressions were used for data analysis. The results showed that worsened psychological health, social relationships, environment, and total quality of life domains were associated with the drowsiness and dullness scale. Worsened physical health, psychological, and total quality of life domains were also associated with the inability to concentrate scale. However, improvement in social relationships and total quality of life domains were associated with the awareness of physical discomfort scale. These results indicate that fatigue affects the quality of life of professional dancers differently based on the scales used to measure fatigue, which highlights the importance of studies empirically testing specific fatigue-modifying factors in professional dance contexts.

Exploring Area and Job of Dance Professionals in the Field of Arts & Culture Education for Holistic Education

Exploring Area and Job of Dance Professionals in the Field of Arts & Culture Education for Holistic Education

Injury Fear, Stigma, and Reporting in Professional Dancers.

BackgroundProfessional dance is a physically demanding career path with a high injury prevalence, yet an ingrained culture of hiding or pushing through injuries. Developing better knowledge surrounding the cultural beliefs and behaviors related to injury reporting is critical to understand their incidence and burden. Therefore, the aim of this study was to investigate injury fear and injury reporting behaviors in professional dancers in Australia.MethodsThis study utilized data collected in a cross-sectional survey of professional dancers in Australia. Descriptive analysis of injury fear and reporting stigma are presented with comparisons between subgroups (full-time versus part-time dancers; men versus women) conducted using two-sided Fisher's exact tests.ResultsA total of 146 professional dancers were included. Over half (63%) of the respondents reported that they fear sustaining a dance-related injury, that they believe there is still a stigma surrounding injuries in dance (62%), and that this stigma has led to a delay in reporting or seeking care for an injury (51%). A lower proportion of part-time than full-time dancers reported that they would usually tell someone within their dance employment about an injury (35.1% vs. 59.6%, p = 0.006).ConclusionProfessional dancers are at risk of losing contracts or roles if they are injured, and therefore, it is common to dance through their occurrence. Many dancers, particularly those dancing part-time, are unwilling to tell their employers about their injuries. Action is required to improve this culture regarding injury reporting and help seeking for more effective injury understanding, prevention, and management in dance.

Immediate Effect of Whole Body Vibration on Sauté Height and Balance in Female Professional Contemporary Dancers A Randomized Controlled Trial.

This randomized controlled trial examined the immediate effect of whole body vibration (WBV) on first position sauté height, and on static and dynamic balance, in 59 female professional contemporary dancers. Following instruction, a warm-up, and a training session, participants received a 75-second randomly assigned WBV intervention under four conditions: static demi-plié (0 Hz), static demi-plié (30 Hz), dynamic demi-plié (0 Hz), and dynamic demi-plié (30 Hz). Before and immediately after intervention, participants performed three sautés on the Just Jump® Mat System, provided dynamic balance data via the Star Excursion Balance Test, and static balance data via the Balance Error Scoring System. A two-way split-plot multivariate approach ANOVA was used to analyze sauté height (α = 0.025). Balance was examined with a 4 x 2 x 2 split-plot MANOVA (α = 0.025). Follow-up two-way split plot multivariate approach ANOVAs were also conducted (α = 0.0125). Dancers from the static first position demi-plié group were found to jump higher than those from the dynamic first position demi-plié group, regardless of WBV frequency (p = 0.001). The 30 Hz frequency resulted in significantly improved static balance (p = 0.001) for both static and dynamic demi-plié. Therefore, the use of WBV is worthy of consideration as a quick method of improving static balance, and use of the static first position demi-plié may be beneficial for improving sauté height.

Immediate effects of ultrasound-guided percutaneous neuromodulation versus physical exercise on performance of the flexor hallucis longus muscle in professional dancers: a randomised clinical trial.

Ultrasound-guided percutaneous neuromodulation (US-guided PNM) is a minimally invasive intervention. This technique consists of the application of percutaneous electrical stimulation (PES) through an acupuncture needle-like electrode that is placed in close proximity to the nerve or motor point of the target muscle under ultrasound guidance. To examine the immediate effects of a stretching exercise, an eccentric exercise and US-guided PNM on the performance of the flexor hallucis longus (FHL) muscle in young dancers. Randomised clinical trial. A total of 45 dancers were divided into three groups: Stretching group, Eccentric group and PNM group. The following performance parameters were assessed: range of motion (ROM) of the first metatarsophalangeal joint, balance test and unilateral heel raise fatigue test. There were no differences between these groups in baseline measurements; at the end of the study, mean balance and endurance values were only significantly higher for the PNM group compared to the Stretching (p = 0.007 and p < 0.001, respectively) and Eccentric groups (p = 0.003 and p < 0.001, respectively). The effect sizes were large for the balance (d = 0.8) and endurance (d = 1.83) tests in the PNM group. Both the Stretching and Eccentric groups exhibited improvements in ROM compared to their baseline values (p = 0.009 and p = 0.004, respectively), whereas there was no significant temporal improvement noted for the PNM group. The effect sizes with respect to ROM values were moderate for stretching (d = 0.6) and eccentric (d = 0.7) exercises. An isolated PES intervention provides a greater immediate increase in balance and muscular strength than an active stretching and eccentric exercise of the FHL muscle in young ballet dancers.

Professional Dancers Distinct Biomechanical Pattern during Multidirectional Landings.

This study aimed to compare lower extremity (LE) biomechanics between professional dancers (PD) and nondancers (ND) during multidirectional single-leg landings. Fifteen PD (27 ± 7 yr, 1.69 ± 0.1 m, 57.8 ± 9.3 kg) and 15 ND (25 ± 5 yr, 1.69 ± 0.1 m, 66 ± 10.2 kg) performed single-leg jumps in three directions: 1) lateral, 2) diagonal, and 3) forward. Dominant LE biomechanical data were collected using a motion capture system. Data were processed in Visual3D. LE kinematic (hip, knee, and ankle joint angles in sagittal and frontal planes, and range of motion [ROM]) and kinetics (hip and knee internal joint moments and vertical ground reaction force) variables were analyzed at initial contact (IC), peak vertical ground reaction force (PvGRF), and peak knee flexion (PKF). Repeated-measures ANOVA was conducted (P < 0.05). At IC, statistically significant interactions were found for ankle frontal and hip sagittal angles (P < 0.05). The main effects for groups and jump directions were attained (P < 0.05). PD at IC had lower hip and knee flexion and higher ankle plantarflexion than ND. PD had significantly higher knee (PD, 41 ± 6.1; ND, 33.8 ± 8.4) and ankle (PD, 53.7 ± 3.4; ND, 38.9 ± 8.9) ROM than ND. At IC, the lateral jump had higher hip abduction moment, hip abduction, and ankle inversion and lower hip flexion and ankle plantarflexion than the forward and diagonal jumps. The lateral jump (15.5 ± 7.7) had higher hip excursion than the forward jump (12.7 ± 5.4). The higher extended posture of PD at IC promoted an efficient use of the knee and ankle ROM to dissipate the landing forces. Regardless of the group, jump directions also solicited different biomechanical responses, particularly between lateral and forward directions. These strategies should be considered for implementation in prevention programs, as it can foster adequate LE neuromuscular control.

Injury Occurrence and Return to Dance in Professional Ballet: Prospective Analysis of Specific Correlates.

Professional ballet is a highly challenging art, but studies have rarely examined factors associated with injury status in ballet professionals. This study aimed to prospectively examine gender-specific correlates of injury occurrence and time-off from injury in professional ballet dancers over a one-year period. The participants were 99 professional ballet dancers (41 males and 58 females). Variables included: (i) predictors: sociodemographic data (age, educational status), ballet-related factors (i.e., experience in ballet, ballet status), cigarette smoking, alcohol drinking, and consumption of illicit drugs; and (ii) outcomes: injury occurrence and time-off from injury. Participants were questioned on predictors at the beginning of the season, while data on outcomes were collected continuously once per month over the study period. Dancers reported total of 196 injuries (1.9 injuries (95% CI: 1.6–2.3) per dancer in average), corresponding to 1.4 injuries per 1000 dance-hours (95% CI: 1.1–1.7). In females, cigarette smoking was a predictor of injury occurrence in females (OR: 4.33, 95% CI: 1.05–17.85). Alcohol drinking was a risk factor for absence from dance in females (OR: 1.29, 95% CI: 1.01–4.21) and males (OR: 1.21, 95% CI: 1.05–3.41). Less experienced dancers were more absent from dance as a result of injury than their more experienced peers (Mann-Whitney Z: 2.02, p < 0.04). Ballet dancers and their managers should be aware of the findings of this study to make informed decisions on their behavior (dancers) or to initiate specific programs aimed at the prevention of substance use and misuse in this profession (managers).

Decreased Bone Mineral Density in Forearm vs Loaded Skeletal Sites in Professional Ballet Dancers.

To compare the differences in bone mineral density (BMD) at loaded and non-loaded skeletal sites in professional ballet dancers. We hypothesized that in both male and female elite ballet dancers, a significant difference in BMD will be observed between impact and non-impact sites. 44 elite ballet dancers, 22 men (age 26.4±5.9 yrs) and 22 women (age 24.9±5.3 yrs), were examined. BMD measurements were performed using dual-energy x-ray absorptiometry at three skeletal sites-forearm (FA), lumbar spine (LS), and femoral neck (FN)-and analyzed using t-tests, ANOVA, and linear regression models. Information about career duration, training volume, health habits, and menstrual disorders (women) was collected. Z-scores for LS and FN were significantly higher in men than in women. However, Z-scores for FA were similar in men and women and fell below the expected range for age (<-2.0), and they were significantly lower than those for LS and FN. With longer career duration, a trend was observed towards lower Z-scores for FN in men and towards higher Z-scores for FA in women. In ballet dancers, FA mineralization is extremely low compared to loaded skeletal sites. Male dancers may have lowered forearm BMD despite the absence of risk factors present in female dancers (menstrual disorders). Professional ballet dancers may be at risk of local osteopenia due to the "local non-impact" characteristics of ballet dance, and use of the 33% distal radius region for the accurate assessment of bone mineral status should be investigated further in this population.

Cognitive task during fatiguing exercise increases the sensory-motor performance in professional dancers

Cognitive task during fatiguing exercise increases the sensory-motor performance in professional dancers

CHRONIC LACK OF SLEEP IS ASSOCIATED WITH INCREASED SPORTS INJURY IN ADOLESCENTS: A SYSTEMATIC REVIEW AND META-ANALYSIS

Background:Although sleep has been identified as an important modifiable risk factor for sports injury, the effect of decreased sleep on sports injuries in adolescents is poorly studied.Purpose:To ...

Measuring Training Load in Dance: The Construct Validity of Session-RPE.

The session rating of perceived exertion (session-RPE) is a practical and non-invasive method that allows a quantification of internal training load (ITL) in individual and team sports. As yet, no study has investigated its construct validity in dance. This study examines the convergent validity between the session-RPE method and an objective heart rate (HR)-based method of quantifying the similar ITL in vocational dance students during professional dance training. Ten dance students (4 male, 20±1.16 yrs; 6 female, 20±0.52 yrs) participated in this study. During a normal week of training, session-RPE and HR data were recorded in 96 individual sessions. HR data were analysed using Edwards-TL method. Correlation analysis was used to evaluate the convergent validity between the session-RPE and Edwards-TL methods for assessing ITL in a variety of training modes (contemporary, ballet, and rehearsal). The overall correlation between individual session-RPE and Edwards-TL was r=0.72, p<0.0001, suggesting there was a statistically significantly strong positive relationship between session-RPE and Edwards-TL. This trend was observed across all the training modes: rehearsal sessions (r=0.74, p=0.001), contemporary (r=0.60, p=0.001), and ballet (r=0.46, p=0.018) sessions. This study shows that session-RPE can be considered as a valid method to assess ITL for vocational dance students, and that notably there is some variation between session-RPE and HR-based TL in different dance activities.

직업무용수의 완벽주의성향과 자기관리 및 무대불안의 관계

직업무용수의 완벽주의성향과 자기관리 및 무대불안의 관계

Familiarity and complexity of a movement influences motor imagery in dancers: A cross-sectional study.

The present study aimed to analyze the differences between ballet, contemporary, and flamenco dancers when generating mental motor kinesthetic and visual images of simple and complex movements. A cross-sectional study, including 45 professional dancers (15 flamenco dancers, 15 ballet dancers, and 15 contemporary dancers), was planned. We analyzed the ability to generate mental motor visual and kinesthetic images with the revised movement imagery questionnaire (MIQ-R) and mental chronometry (MC); the real movement execution (RME) chronometry was also measured, using arm and jump movement assessments. ANOVA revealed significant differences between groups regarding the jump movement assessments for the kinesthetic MIQ-R item (F=5.29, P=0.009), for the RME chronometry (F=13.19, P=<0.001), and for the kinesthetic MC (F=9.28, P<0.001). The post-hoc analysis revealed significant differences between flamenco dancers compared with contemporary and ballet dancers for all the variables regarding the jump movement. Flamenco dancers used significantly greater visual than kinesthetic imagery modalities to generate mental motor imagery in the jump movement (P=0.024, d=0.63). No differences were found in the arm movement assessment between groups. Results reveal differences in the ability to generate motor images, specifically the kinesthetic ones, between flamenco dancers and ballet and contemporary dancers. When performing a non-familiar complex movement, dancers predominantly use a visual motor imagery modality, which leads to a longer execution time as well as a longer time for kinesthetic mental motor imagery.

Multi-segment spine range of motion in dancers with and without recent low back pain

BackgroundAltered spine kinematics are a common in people with LBP. This may be especially true for populations such as dancers, who are required to perform repetitive movements of the spine, although this remains unclear. Research questionDo dancers with recent LBP display altered spine kinematics compared to their asymptomatic counterparts? MethodsA cross-sectional study of multi-segment spine kinematics was performed. Forty-seven pre-professional and professional female dancers either with LBP in the past two months (n = 26) or no LBP in the past 12 months (n = 21) participated. Range of motion (ROM) during standing side bending, seated rotation, and walking gait were compared. ResultsFemale dancers with LBP displayed reduced upper lumbar transverse plane ROM in seated rotation (Effect Size (ES)= −0.61, 95% Confidence Interval (CI): −1.20, 0.02, p = 0.04), as well as reduced lower lumbar transverse plane ROM (ES=−0.65, 95% CI: −1.24, −0.06, p = 0.03) in gait. However, there was increased lower thoracic transverse plane ROM (ES = 0.62, 95% CI: 0.04, 1.21, p = 0.04) during gait. No differences in the frontal plane were observed. SignificanceAltered transverse plane spine kinematics were evident in dancers with recent LBP for select segments and tasks. This may reflect a protective movement strategy. However, as the effect sizes of observed differences were moderate, and the total number of differences between groups was small, collectively, it seems only subtle differences in spine kinematics differentiate dancers with LBP to dancers without.

The Evaluation of Strength, Flexibility, and Functional Performance in the Adolescent Ballet Dancer During Intensive Dance Training

Adolescent ballet dancers have a higher incidence of injury than adult professional dancers. It is unclear which factors, including biomechanical changes related to intense dance training and/or the growth process itself, contribute to increased injury risk in this population. To assess changes in strength, flexibility, and functional performance in adolescent ballet dancers during a summer intensive dance program. Prospective cohort study. Performing arts school in a suburb of Massachusetts. A convenience sample of 58 male and female ballet dancers, 12 to 17 years old, was enrolled. One dancer did not have functional testing due to injury, but strength and range of motion results were included. Paired sample t-test was used to evaluate changes in (1) strength: lower abdominal muscle strength evaluated by the Kendall double leg lowering test; (2) flexibility: passive range of motion in hip extensibility, hip internal rotation, hip external rotation, hip turnout, and ankle dorsiflexion; and (3) functional athletic and dance assessment: the star excursion balance test (SEBT), vertical jump test, and dance technique performing demi-plié and passé dance positions. Change in strength, flexibility, and functional dance measurements pre- and postsummer intensive dance training. Lower abdominal strength testing improved 11° on the Kendall test (P < .001); lower extremity passive flexibility was reduced in all tested ranges bilaterally. Dance technique, in performing demi-plié and passé dance positions, improved. More dancers demonstrated correct knee alignment during demi-plié (P < .001-.002) and hip alignment during plié (P = .01-.04). Dancers also had greater active hip turnout in first position passé of 2 to 3° (P = .02-.05). No significant change was found in functional athletic performance as measured by the SEBT and vertical jump test. Adolescent dancers in this study cohort who participated in a summer intensive dance program improved lower abdominal muscle strength as well as functional dance technique in demonstrating correct alignment performing demi-plié and passé dance positions despite a decrease in passive lower extremity range of motion. Further research is needed to clarify the role of these findings in training for young dancers in order to move forward injury prevention efforts. II.

Self-reported distortion of body image among classical ballet students in Brazil: classification according to the Body Shape Questionnaire

Body image is an important component of the complex mechanism of personal identity. The subjective component of body image refers to individuals"™ satisfaction with their body size or specific parts of their body. Ballet has been cited in some studies on feeding behavior among athletes as yet another specific group, who value low weight and overvalue esthetics. The present study aimed to evaluate the potential body image disorders among classical ballet students in Brazilian schools through identifying self-reported body image distortion, using the Body Shape Questionnaire (BSQ) as the instrument. This study is fundamental for the formation of all corporal work that physiotherapists do together with dancers, students or professionals. This was a descriptive study conducted in three schools that are officially recognized as training centers for professional dancers in Brazil. The results indicate homogeneity among the BSQ values attained by the students at the participating schools. Differing from the literature, there was no significant difference between the genders in terms of scoring and distribution of classification of the BSQ levels. We conclude that dissatisfaction with body image is a constant variable and important when dealing with ballet students, and that this importance goes beyond just the esthetic values and towards professional performance. Body image distortions can alter the way in which dance students codify their body, which may facilitate disorders in their physical and mental health.Key-words: classical ballet, body image, musculoskeletal system.

Lower extremity biomechanics and muscle activity differ between ‘new’ and ‘dead’ pointe shoes in professional ballet dancers

ABSTRACT The purpose of this study was to compare lower extremity (LE) biomechanics and muscle activity between ‘new’ and ‘dead’ pointe shoes in professional female ballet dancers performing relevé and arabesque. We compared sway area, peak ankle moments, and tibialis anterior and medial gastrocnemius muscle activation amplitudes. Nine ballet dancers participated (age = 22.2 ± 2.2 years, height = 163.2 ± 6.3 cm, body mass = 50.8 ± 6.5 kg) executed three trials of relevé and arabesque on pointe shoes under two conditions: ‘dead’ (108–144 training hours) and ‘new’ (3–36 training hours). While wearing ‘dead’ pointe shoes, dancers had significantly higher sway area during both relevé and arabesque (p = 0.017 and 0.028, respectively). Dancers exhibit significantly higher tibialis anterior activation (root mean square, %maximum voluntary contraction) during arabesque while wearing ‘dead’ pointe shoes (p = 0.043). No significant differences were identified in other dependent variables. The increased sway area and tibialis anterior muscle activity when wearing ‘dead’ pointe shoes during relevé and arabesque movements demonstrates that using ‘dead’ shoes is more demanding. Our findings provide quantitative evidence of possible deleterious biomechanical changes when wearing dead pointe shoes that may increase LE injury risk in dancers.

Long-term memory for contemporary dance is distributed and collaborative

Professional dancers appear to be the embodied records of works of choreography that have been created, rehearsed and performed. Their precision in recalling extended sequences of movement developed for these works defies the conventional methods used to investigate memory. A distributed cognition view holds that memory will not only be individualistic, but also extended across a dance ensemble. Working closely with the highly skilled dancers of Australian Dance Theatre (ADT), we set out to develop an ecologically valid method that elicited memory recall and lapsing. Dancers were divided into two “teams” with each team asked to choose excerpts for memory recall from the company's extensive repertoire that would challenge individual dancers in the other team. There were 14 trials; 12 involved the dancers recalling dance excerpts on their own (solo condition) and 2 with a partner (duet condition). In the ADT studio, seven dancers recalled (reproduced) as much of the excerpt as possible in the absence of an accompanying soundscape. Recall was extensive, but contained lapses, and these recall failures form the core of the analysis in this study. Four novel types of memory recall were identified: static shapes, isolated movements, partial and full movement sequences; and two strategies for recall: looking for movement by moving and collaborative sketching. Four types of errors were observed: errors of detail, order, omission, and additions. Analysis was conducted through a new method of counting ‘choreographic items’. The most detailed recall (73–96%) was for the two duet excerpts with significantly poorer recall of excerpts from complex group sections of a dance. Movement gist was generally retained. The types of recall and types of errors observed pointed to the use of not only procedural memory and chaining but also contextual cues as aids to movement recall. Collaborative elements of recall were observed that suggest the importance of distributed cognition and collective memory within a contemporary dance ensemble.

His Reputation Precedes Him: Examining the Construction and Management of the Pimp in Strip Clubs

ABSTRACTNarratives of dancers and managerial individuals working in strip clubs in Ontario, Canada, reveal that even within the sex industry the dominant image of the pimp—as an exploitative, racialized, underclass villain—informs the perception of certain men, characteristics, and relationships. To make sense of this phenomenon, this article applies Baudrillard’s concept of simulacrum to examine the circulation of the pimp trope amongst strip club workers. In so doing it argues the pimp stereotype deviantizes dancers’ relationships, and black men, as the same time as its narrow focus diverts attention away from various personal and professional challenges dancers may face.