WorldWideScience

Sample records for pre-professional ballet dancers

  1. Epidemiological Review of Injury in Pre-Professional Ballet Dancers.

    Science.gov (United States)

    Caine, Dennis; Goodwin, Brett J; Caine, Caroline G; Bergeron, Glen

    2015-12-01

    The objective of this study was to provide an epidemiological review of the literature concerning ballet injuries affecting pre-professional ballet dancers. The literature search was limited to published peer-reviewed reports and involved an extensive examination of Scopus, SPORTDiscus, and CINAHL. The following search terms were used in various combinations: ballet, injury, epidemiology, risk factor, pre-professional, and intervention. Additional citations were located using the ancestry approach. Unlike some other athletic activities that have been the focus of recent intervention research, there is a paucity of intervention and translational research in pre-professional ballet, and sample sizes have often been small and have not accounted for the multivariate nature of ballet injury. Exposure-based injury rates in this population appear similar to those reported for professional ballet dancers and female gymnasts. A preponderance of injuries affect the lower extremity of these dancers, with sprains and strains being the most frequent type of injury reported. The majority of injuries appear to be overuse in nature. Injury risk factors have been tested in multiple studies and indicate a variety of potential injury predictors that may provide useful guidance for future research.

  2. Anorexia athletica in pre-professional ballet dancers.

    Science.gov (United States)

    Herbrich, Laura; Pfeiffer, Ernst; Lehmkuhl, Ulrike; Schneider, Nora

    2011-08-01

    Competitive sport has been under increasing discussion as a possible favourable factor in the development of eating disorders among children and adolescents. The aim of this study was to determine the frequency of sport-specific eating disorders, in line with the concept of anorexia athletica. This prospective field study included one experimental group and two control groups (disease and healthy). Fifty-two pre-professional ballet dancers aged 13-20 years were tested for clinical eating disorders, anorexia athletica criteria, eating disorder related psychopathology and self-concept, and were compared with 52 patients with anorexia nervosa and 44 non-athletic controls of the same age. The study was conducted using semi-structured interviews as well as self-report questionnaires. A clinical eating disorder diagnosis was made in 1.9% of the ballet dancers versus 0% of the high school students; anorexia athletica was diagnosed in 5.8% of the dancers versus 2.3% of the students. Ballet dancers scored lower than patients with anorexia nervosa with regard to eating disorder related psychopathology and higher than the patients with regard to self-concept. We conclude that more sensitive tools to differentiate between sport-specific (eating) patterns, anorexia athletica and clinically relevant eating disorders are needed, especially for aesthetic sports such as ballet. It remains an important goal to identify athletes with symptoms of anorexia athletica irrespective of their physique and/or sport.

  3. Potential Predictors of Injury Among Pre-Professional Ballet and Contemporary Dancers.

    Science.gov (United States)

    Yau, Rebecca K; Golightly, Yvonne M; Richardson, David B; Runfola, Cristin D; Waller, Anna E; Marshall, Stephen W

    2017-06-15

    Injuries occur frequently among ballet and contemporary dancers. However, limited literature exists on injuries to pre-professional dancers in the USA. The goals of this study were to 1. provide a descriptive epidemiology of the incidence of musculoskeletal injuries in an adolescent and young adult dance population and 2. identify parsimonious regression models that could be potentially used to predict injury incidence. The study was based at the University of North Carolina School of the Arts (UNCSA) from Fall 2009 to Spring 2015. An injury was defined as any event that caused a dancer to be seen at the UNCSA Student Health Services and caused the dancer to modify or curtail dance activity for at least 1 day. Injury rate ratios (IRRs) were calculated using negative binomial generalized estimating equations. Models predicting injury rates were built using forward selection, stratified by sex. Among 480 dancers, 1,014 injuries were sustained. Most injuries were to the lower extremity and the result of overuse. There were differences in upper extremity, lower extremity, and traumatic injury rates by demographic subgroups. Among females, the most parsimonious predictive model for injury rates included a self-reported history of depression, age at time of injury, and number of injuries sustained at UNCSA prior to the semester of current injury. Among males, the most parsimonious model was a univariate model with family history of alcohol or drug problems. Strategies for traumatic injury prevention among dancers should be both sex- and style-specific. No differences were observed in overuse injury rates by sex or style, suggesting that generic overuse prevention strategies may not need to be guided by these factors. It is concluded that strategies can be implemented to reduce and mitigate the consequences of injuries if not the injuries themselves.

  4. Development and evaluation of an educational intervention program for pre-professional adolescent ballet dancers: nutrition for optimal performance.

    Science.gov (United States)

    Doyle-Lucas, Ashley F; Davy, Brenda M

    2011-06-01

    The purpose of this investigation was to develop, implement, and evaluate a theoretically based nutritional education intervention through a DVD lecture series (three 30-minute classes) in summer intensive programs for pre-professional, adolescent ballet dancers. Objectives of this intervention program were to increase knowledge of basic sports nutrition principles and the Female Athlete Triad and promote self-efficacy for adopting healthier dietary habits. Dancers ranging from 13 to 18 years old who were attending summer intensive programs affiliated with professional ballet companies were recruited. Group One (n = 231) participated in the nutrition education program, while Group Two the control participants (n = 90) did not. Assessments of the participants' dietary status consisted of a demographic questionnaire, a Sports Nutrition Knowledge and Behavior Questionnaire, and a Food Frequency Questionnaire. The intervention group was assessed at baseline, immediately post-program, and at six weeks post-program. The control group was assessed at baseline and at six weeks post-baseline. The intervention program was effective at increasing nutrition knowledge, perceived susceptibility to the Female Athlete Triad, and self-efficacy constructs. Improvements in dietary intake were also observed among intervention group participants. To improve overall health and performance nutrition education should be incorporated into the training regimens of adolescent dancers. This potentially replicable DVD-based program may be an effective, low-cost mechanism for doing that.

  5. The effect of an eyes-closed dance-specific training program on dynamic balance in elite pre-professional ballet dancers: a randomized controlled pilot study.

    Science.gov (United States)

    Hutt, Kimberley; Redding, Emma

    2014-03-01

    Visual conditions for a dancer vary greatly between theatrical performance environments and dance studios, and this variability may be detrimental to their dynamic balance performance, particularly under stage lighting. In order to maintain balance control, dancers reportedly rely heavily on visual input, yet those who rely more on proprioceptive strategies for balancing have been found to be more stable. The purpose of this study was to assess the capability of an eyes-closed, dance-specific training program to nurture in dancers proprioceptive mechanisms that may facilitate their dynamic balance control. Eighteen elite pre-professional ballet dancers were randomly assigned to either a control (eyes open) or experimental (eyes closed) group for the intervention. The balance abilities of all subjects were tested using five dance-specific variations of the Star Excursion Balance Test before and after a 4 week balance intervention. Reach distance and time to complete the tests were recorded separately as indirect measurements of dynamic balance. The intervention consisted of dance-specific, eyes-closed exercises integrated into the dancers' daily ballet class and designed progressively to challenge the dancers' balance. During the intervention period, the control group undertook the same exercise program with their eyes open. Results revealed significant improvements in time to complete the three "timed" balance tests, and distances reached significantly improved in one of the two "reach" balance tests. No significant improvements were observed in the control group for any variation of the tests. These results indicate that dancers can be trained to adopt proprioceptive strategies to maintain dynamic balance, which consequently improves their balance performance. Such findings could encourage use of eyes-closed training in daily dance classes due to its potential to improve dancers' balance control.

  6. The association between body-built and injury occurrence in pre-professional ballet dancers – Separated analysis for the injured body-locations

    Directory of Open Access Journals (Sweden)

    Petra Zaletel

    2017-02-01

    Full Text Available Objectives: This study has aimed at identifying prevalence of injury-occurrence in 24 pre-professional-ballet-dancers (females, 16–18 years of age, and identifying the associations between the body-built and prevalence of injuries. Material and Methods: The sample of variables included: body mass, body height, and 3 somatotype characteristics (mesomorph, ectomorph and endomorph and data on injuries over the preceding year. Results: Dancers were mostly ectomorphic-mesomorph (endomorphy: 2.6±0.54, mesomorphy: 3.99±0.77, ectomorphy: 3.23±0.54. The most commonly injured locations were the foot (17% of all injuries and ankle (17%. Majority of the injuries occurred while practising but 37% of hip-injuries occurred while performing. Ankle-injuries resulted in longest absence from ballet. Endomorphy was related to ankle-injury (odds ratio (OR = 1.9, 95% confidence interval (CI: 1.4–2.3, ectomorphy to foot injury (OR = 1.7, 95% CI: 1.1–2.9, and body-mass to injury to the toes (OR = 1.7, 95% CI: 1.4–3.1. Conclusions: The results of this study allow for recognizing those dancers who are particularly vulnerable to injuries of certain body location. A more profound analysis of the possible mechanisms that lead to hip-injury during performance is needed. Int J Occup Med Environ Health 2017;30(1:151–159

  7. Stress fracture of the second metatarsal and sprain of lisfranc joint in a pre-professional ballet dancer.

    Science.gov (United States)

    Kriz, Peter; Rafferty, Jason; Evangelista, Peter; Van Valkenburg, Scott; DiGiovanni, Christopher

    2015-06-01

    We present the case of a 14-year-old pre-professional ballerina that demonstrates common features of two conditions affecting the midfoot that are often missed or subject to delay in diagnosis in such young athletes: 1. stress fractures at the base of the second metatarsal, and 2. sprain of the Lisfranc joint complex. While these represent potentially career-altering injuries in the professional dancer, this case demonstrates that a high index of clinical suspicion, careful physical exam, appropriate radiographic assessment, and prompt treatment are essential to achieving the best possible outcome.

  8. Core strength training using a combination of home exercises and a dynamic sling system for the management of low back pain in pre-professional ballet dancers: a case series.

    Science.gov (United States)

    Kline, Jessica Beckmann; Krauss, John R; Maher, Sara F; Qu, Xianggui

    2013-01-01

    Estimates of low back pain prevalence in USA ballet dancers range from 8% to 23%. Lumbar stabilization and extensor muscle training has been shown to act as a hypoalgesic for low back pain. Timing and coordination of multifidi and transverse abdominis muscles are recognized as important factors for spinal stabilization. The purpose of this study was to explore the effects of training methods using home exercises and a dynamic sling system on core strength, disability, and low back pain in pre-professional ballet dancers. Five participants were randomly assigned to start a traditional unsupervised lumbar stabilization home exercise program (HEP) or supervised dynamic sling training to strengthen the core and lower extremities. Measurements were taken at baseline and at weeks 3 and 6 for disability using the patient specific functional scale (PSFS), pain using the Numerical Pain Rating System (NPRS), core strength and endurance using timed plank, side-plank, and bridge positions, and sciatic nerve irritability using the straight leg raise (SLR). Data were analyzed using descriptive statistics. From initial to final measurements, all participants demonstrated an improvement in strength and SLR range, and those with initial pain and disability reported relief of symptoms. These results suggest that dynamic sling training and a HEP may help to increase strength, decrease pain, and improve function in dancers without aggravating sciatic nerve irritation.

  9. Life history and point prevalence of low back pain in pre-professional and professional dancers.

    Science.gov (United States)

    Swain, Christopher T V; Bradshaw, Elizabeth J; Whyte, Douglas G; Ekegren, Christina L

    2017-05-01

    To investigate lifetime history and point prevalence of low back pain (LBP) in pre-professional and professional dancers and to identify any demographic or physical factors associated with LBP in dancers. Cross-sectional study. One pre-professional ballet school, two pre-professional university dance programs, and a professional nationally touring ballet company. Male and female classical ballet and contemporary dancers aged 12 years old and above. Lifetime history and point prevalence of LBP. A total of 110 (n = 19 male) dancers (mean (SD) 17.8 (2.9) years old) participated in the study, which represented 50% of the population invited to participate. A 74% lifetime prevalence of LBP was reported by dancers. Point and 12 month prevalence were 24 and 64%, respectively. No significant association was observed between LBP and any demographic or physical variables. Pre-professional and professional dancers have an increased vulnerability to LBP. The development of LBP within this population is complex and may not be associated with individual factors measured in this study. Copyright © 2017 Elsevier Ltd. All rights reserved.

  10. Ballet Body Belief: Perceptions of an Ideal Ballet Body from Young Ballet Dancers

    Science.gov (United States)

    Pickard, Angela

    2013-01-01

    This paper explores what is perceived and believed to be an ideal ballet body by young ballet dancers. Such bodily belief becomes, in Pierre Bourdieu's terms, a core part of a ballet dancer's habitus. A four year longitudinal, ethnographic, empirical study of the experiences of 12 young ballet dancers, six boys and six girls, aged between 10 and…

  11. Ballet Body Belief: Perceptions of an Ideal Ballet Body from Young Ballet Dancers

    Science.gov (United States)

    Pickard, Angela

    2013-01-01

    This paper explores what is perceived and believed to be an ideal ballet body by young ballet dancers. Such bodily belief becomes, in Pierre Bourdieu's terms, a core part of a ballet dancer's habitus. A four year longitudinal, ethnographic, empirical study of the experiences of 12 young ballet dancers, six boys and six girls, aged…

  12. Classic ballet dancers postural patterns

    Directory of Open Access Journals (Sweden)

    Joseani Paulini Neves Simas

    2008-06-01

    Full Text Available The aim of this study was to evaluate classic ballet practice and its influence on postural patterns and (a identify the most frequent postural changes; (b determine the postural pattern; (c verify the existence of association of practice time and postural changes. The investigation was carried out in two stages: one, description in which 106 dancers participated; the other, causal comparative in which 50 dancers participated; and (a questionnaire; (b a checkerboard; (c postural chart; (d measure tape; (e camera and (f pedoscope were used as instrument. Descriptive and inferential statistics was used for analysis. The results revealed the most frequent postural changes such as hyperlordosis, unleveled shoulders and pronated ankles. Ballet seems to have negative implications in the postural development , affecting especially the vertebral spine, trunk and feet. The practice time was not a parameter to indicate the increase in postural changes. In conclusion, ballet may be associated with postural changes and determining a characteristic postural pattern.

  13. The effects of vestibular stimulation and fatigue on postural control in classical ballet dancers.

    Science.gov (United States)

    Hopper, Diana M; Grisbrook, Tiffany L; Newnham, Prudence J; Edwards, Dylan J

    2014-01-01

    This study aimed to investigate the effects of ballet-specific vestibular stimulation and fatigue on static postural control in ballet dancers and to establish whether these effects differ across varying levels of ballet training. Dancers were divided into three groups: professional, pre-professional, and recreational. Static postural control of 23 dancers was measured on a force platform at baseline and then immediately, 30 seconds, and 60 seconds after vestibular stimulation (pirouettes) and induction of fatigue (repetitive jumps). The professional dancers' balance was unaffected by both the vestibular stimulation and the fatigue task. The pre-professional and recreational dancers' static sway increased following both perturbations. It is concluded that professional dancers are able to compensate for vestibular and fatiguing perturbations due to a higher level of skill-specific motor training.

  14. Corps de ballet: the case of the injured ballet dancer.

    Science.gov (United States)

    Turner, Bryan S; Wainwright, Steven P

    2003-05-01

    This paper contributes to debate on social constructionism in the sociology of health and illness through a study of injury among ballet dancers. In this empirical study of classical ballet dancers, we outline a phenomenology of the injured and ageing body in terms of a critical commentary on constructionism. We explore dancers' experiences of embodiment to illustrate our critique of recent interpretations of dance as a textual practice. Those forms of social constructionism that define the body as a text provide a forceful attack on discourses of authority and legitimation, but we argue that they are problematic as epistemologies and ontologies of embodiment. Through a phenomenological understanding of the experiences of embodiment, we observe how injury and ageing disrupt the practical accomplishments that underpin the ballet habitus and the dancer's identity. Although ballet injuries can terminate a dancing career, they are accepted as an inevitable part of the vocation of ballet. Our aim is to understand the interaction between injuries, dancers' experiences of discomfort and the social support that emerges from the ballet dancers as a social group. We draw on the concepts of social solidarity and collective consciousness in Emile Durkheim to show that injury is mediated through the social bonding of dancers into a professional ballet company, where injury is accepted as a sign of vocational commitment, and suggest that this 'collective effervescence' gives a novel meaning to the idea of a corps de ballet.

  15. Stereotype accuracy of ballet and modern dancers.

    Science.gov (United States)

    Clabaugh, Alison; Morling, Beth

    2004-02-01

    The authors recorded preprofessional ballet and modern dancers' perceptions of the personality traits of each type of dancer and self-reports of their own standing, to test the accuracy of the group stereotypes. Participants accurately stereotyped ballet dancers as scoring higher than modern dancers on Fear of Negative Evaluation and Personal Need for Structure and accurately viewed the groups as equal on Fitness Esteem. Participants inaccurately stereotyped ballet dancers as lower on Body Esteem; the groups actually scored the same. Sensitivity correlations across traits indicated that dancers were accurate about the relative magnitudes of trait differences in the two types of dancers. A group of nondancers reported stereotypes that were usually in the right direction although of inaccurate magnitude, and nondancers were sensitive to the relative sizes of group differences across traits.

  16. Achilles tendinitis in ballet dancers.

    Science.gov (United States)

    Fernández-Palazzi, F; Rivas, S; Mujica, P

    1990-08-01

    Overuse injuries of tendons are known to occur in persons whose activities submit the tendon to excessive stress. Classical ballet dancers performing en pointe, demie point, or plié exert forces that, although normal in magnitude, are increased in frequency, thus overusing the Achilles tendon. In the present study all cases of Achilles tendinopathy seen in a period of three years in three ballet companies were reviewed by a special orthopedic clinic. The cause, whether by abnormal tension or incorrect use, development, and progression to chronic tendinopathy, as well as measures to prevent it, were analyzed in 19 cases. The methods of treatment, including conservative treatment with rest and refraining from dancing, local treatment such as ice and adhesive strapping, antiinflammatory drugs, local injections, thermotherapy, and laser therapy, were compared, and the time of recovery and ability to resume dancing were evaluated. Two cases required surgical treatment to subside, and the patients had to retire from professional dancing. The roentgenographic diagnosis of stage and progression of the tendinopathy is emphasized as a valuable accessory sign. The similarity in lesions between Achilles and patellar tendon problems was observed and confirmed.

  17. Schooling the Dancer: The Evolution of an Identity as a Ballet Dancer

    Science.gov (United States)

    Pickard, Angela

    2012-01-01

    This paper explores how young ballet dancers' bodies are constructed and narrated through their desire to become performing ballet dancers. The schooling of the balletic body engages the young dancer in embodying the discipline of ballet and in developing a particular belief in a performing body. The embodied set of acquired dispositions that are…

  18. Sleep quality in professional ballet dancers.

    Science.gov (United States)

    Fietze, Ingo; Strauch, Jutta; Holzhausen, Martin; Glos, Martin; Theobald, Christiane; Lehnkering, Hanna; Penzel, Thomas

    2009-08-01

    Ballet dancers are competitive athletes who undergo extreme physical and mental stress and work according to an irregular schedule, with long days of training, rehearsal, and performance. Their most significant potential risks entail physical injury and altered sleep. The elaborate training requirements for ballet dancers do not allow regular chronobiological patterns or a normal sleep-wake rhythm. Our aim was to investigate the sleep-wake rhythm and sleep quality during rehearsal phases prior to a ballet premiere. We used wrist actigraphy and sleep diaries for a period of 67 days before the ballet premiere performance to study 24 classical ballet dancers. We likewise applied the Epworth Sleepiness Score (ESS), Pittsburgh Sleep Quality Index (PSQI), SF-12 Quality of life Assessment, and d2 Test of Attention to assess quality of sleep, aspects of cognitive performance, and health status. We found significant reduction in sleep duration, from 418+/-43 min to 391+/-42 min, and sleep efficiency, from 81+/-4% to 79+/-5%, over the 67-day course of the rehearsal. We also found a decline in time in bed and an increase in wakefulness after sleep onset. Sleep onset latency did not change. However, the changes in sleep as documented by actigraphy were not reflected by the subjective data of the sleep diaries and sleep scores. As a result of the facts that total sleep efficiency and sleep duration values were already lower than usual for the dancers' age group at the beginning of the study and that mental acuity, concentration, and speed were likewise impaired, we observed exacerbated health deterioration in terms of sleep deprivation in ballet dancers during preparation for a premier. We conclude that individual activity-rest schedules, including daytime naps, may be helpful, especially during the stressful training and rehearsal experienced prior to ballet premieres.

  19. Knee joint proprioception in ballet dancers and non-dancers.

    Science.gov (United States)

    Dieling, Simone; van der Esch, Martin; Janssen, Thomas W J

    2014-01-01

    The aim of this study was to evaluate the influence of upper-leg muscle fatigue on knee joint proprioception in 13 ballet dancers and 13 non-dancer controls. Proprioception acuity, expressed as position and motion sense, was measured with an isokinetic dynamometer. The position and motion sense assessments were prior to and immediately after an isokinetic upper-leg muscle fatigue protocol. Participants wore blindfolds for both tasks to eliminate vision, an inflated air splint on their lower leg to neutralize cutaneous sensation, and headphones with white noise during the motion sense task to eliminate auditory cues. Results showed no significant differences in position and motion sense between dancers and controls in the non-fatigued state. In the fatigued state no significant differences were found in position sense between dancers and controls, while controls increased significantly in motion sense error (p = 0.030) and ballet dancers showed no change in motion sense. It is concluded that position sense and motion sense acuity are not affected by muscle fatigue in dancers, but motion sense is affected by muscle fatigue in non-dancers.

  20. Multi-joint coordination in ballet dancers.

    Science.gov (United States)

    Thullier, Francine; Moufti, Hicham

    2004-10-07

    In upright posture, we analyzed the multi-joint coordination during drawing ellipses with the foot in a horizontal plane in classical ballet dancers (Elite) and gymnasts who had no dance training (Novice). In both groups, the stability of the head and the trunk was similar. Furthermore, a comparatively simple synergy inter-relating the movements in the hip, knee and ankle joints, was revealed by the kinematic analysis. However, novices made larger errors in the eccentricity and orientation of ellipses than ballet dancers. Ankle angular excursions were smaller in novices than in dancers whereas hip angular excursions were larger. This study illustrates some rules underlying the ability of the nervous system to integrate multiple degrees of freedom of the body to master body balance while producing complex leg movement trajectories. This study offers a dynamical approach of the problem of redundancy.

  1. Retirement Transition in Ballet Dancers: "Coping Within and Coping Without"

    OpenAIRE

    Roncaglia, Irina

    2010-01-01

    Retirement transitions in ballet dancers have been under researched. The purpose of this paper is to investigate the experiences of career transition in ballet dancers, from a life course perspective. Drawing upon existing transition models (SCHLOSSBERG, 1981) and sport literature (TAYLOR & OGILVIE, 1994), the paper investigates how ballet dancers cope (or not) with the transition and explores the different factors influencing the coping process. Qualitative analysis of semi-structured interv...

  2. Male Ballet Dancers and Their Performances of Heteromasculinity

    Science.gov (United States)

    Haltom, Trenton M.; Worthen, Meredith G. F.

    2014-01-01

    Although previous research has investigated men in feminized sports, we took a different approach in this study and examined men in ballet. Because ballet is one of the most highly gendercodified sports, male ballet dancers must negotiate their identities as men while performing a dance form that is highly stigmatized as effeminate. We…

  3. Dietary practices of ballet, jazz, and modern dancers.

    Science.gov (United States)

    Stensland, S H; Sobal, J

    1992-03-01

    Ballet dancers have been shown to have nutrition problems and poor dietary practices. We asked dance instructors and dance directors to distribute a questionnaire to dancers involved in three dance types. Of the 106 dancers who completed the questionnaire, 71% participated in ballet, 60% in jazz, and 74% in modern dance; 31% participated in all three types of dance. The body mass index was similar for all types of dancers. More than half (60%) of the dancers used vitamin and mineral supplements, and 18% of the females reported irregular menstruation. Wide ranges existed in intake of foods from each of four food groups, caffeine, and alcohol. Printed media (magazines and books) were the primary sources of nutrition information. Dietitians may encounter many types of dancers and should be aware that dancers involved in ballet and other types of dance may have dietary practices that could improve with nutrition education and counseling.

  4. Differences of Ballet Turns ("Pirouette") Performance between Experienced and Novice Ballet Dancers

    Science.gov (United States)

    Lin, Chia-Wei; Chen, Shing-Jye; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

    2014-01-01

    Purpose: This study investigated the different postural control strategies exhibited by experienced and novice dancers in ballet turns ("pirouettes"). Method: Thirteen novice and 13 experienced dancers performed ballet turns with dominant-leg support. The peak push force was measured in the double-leg support phase. The inclination…

  5. Differences of Ballet Turns ("Pirouette") Performance between Experienced and Novice Ballet Dancers

    Science.gov (United States)

    Lin, Chia-Wei; Chen, Shing-Jye; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

    2014-01-01

    Purpose: This study investigated the different postural control strategies exhibited by experienced and novice dancers in ballet turns ("pirouettes"). Method: Thirteen novice and 13 experienced dancers performed ballet turns with dominant-leg support. The peak push force was measured in the double-leg support phase. The inclination…

  6. Seeing Futures in Ballet: The Storylines of Four Student Ballet Dancers

    Science.gov (United States)

    Loch, Sarah

    2015-01-01

    This paper explores the storylines of four student ballet dancers who attend a specialist performing arts secondary school and who, in differing ways, envisage futures which "look straight at ballet". When decisions about schooling intermingle with long-held imaginings of futures in ballet, thought is provoked about ways the young…

  7. Risk factors for lower back injury in male dancers performing ballet lifts.

    Science.gov (United States)

    Alderson, Jacqueline; Hopper, Luke; Elliott, Bruce; Ackland, Tim

    2009-01-01

    Lower back injuries are common in ballet dancers. Allegedly there is a higher incidence in males than in females due to their lifting requirements. This study analyzes the estimated forces generated at the L5/S1 joint in five professional and three pre-professional male dancers performing full press (FP) and arabesque (AR) ballet lifts. The estimated peak lumbar anterior shear force (PLASF) was identified using a 3D motion analysis system, and was found to occur at the beginning of each lift, approximately 0.01 seconds prior to the ballerina moving vertically into the lift. Data representing the male dancers' posture at the point of PLASF were input into a 3D Static Strength Prediction Program (3DSSPP, University of Michigan, Centre for Ergonomics, 2006) to calculate the PLASF and corresponding compression forces. The compression forces identified in this way were found to be greater than the National Institute of Occupational Safety and Health, Back Compression Design Limit (3400N). This suggests that administrative controls such as monitoring the number of lifts performed daily are required to reduce the risk of lower back injury in male dancers. Comparison of the two lifts found significantly (p ballerina, or the eccentric loading of the male dancers' lower limb and trunk musculature in the preparation phase of the FP. Retrospective regression analysis indicated that peak trunk extension velocity and the horizontal distance between the male dancer and the ballerina were significant (p < 0.05) predictors of PLASF.

  8. Empathy, Self-Esteem and Creativity among Junior Ballet Dancers.

    Science.gov (United States)

    Kalliopuska, Mirja

    This study examined the effect of the active pursuit of ballet as a hobby on personality. The study group consisted of 62 members of the junior ballet of the Finnish National Opera, ranging in age from 9 to 17 with the majority under 14. The dancers were given four self-esteem questionnaires which measured empathy, creativity, and other…

  9. Personality, stress, and injuries in professional ballet dancers.

    Science.gov (United States)

    Hamilton, L H; Hamilton, W G; Meltzer, J D; Marshall, P; Molnar, M

    1989-01-01

    Twenty-nine soloist and principal dancers (mean age, 29.08 years) from America's two most celebrated ballet companies were administered questionnaires measuring personality (API), occupational stress (OES), strain (PSQ), and coping mechanisms (PRQ), and injury patterns. The results revealed that male dancers demonstrated significantly more negative personality traits and psychological distress than female dancers or men in the general population. In addition, physical stress and personality traits, characteristic of the "overachiever," distinguished injured dancers. It is suggested that classical ballet's emphasis on the ballerina may be at odds with a masculine identity in male dancers. Furthermore, the qualities that lead to success in this profession may contribute to injuries if carried to an extreme.

  10. Eating disorders among classic ballet dancers

    Directory of Open Access Journals (Sweden)

    Mayara Freitas Monteiro

    2014-05-01

    Full Text Available Objective: To describe the prevalence of eating disorders symptoms among classical ballet dancers. Methods: This is an analytical, observational, cross-sectional study, conducted in 2009, that investigated eating disorder symptoms using the Eating Attitudes Test (EAT-26 and Bulimic Investigatory Test, Edinburgh (BITE. The body image of the study population was assessed by the Body Shape Questionnaire (BSQ. In addition, the anthropometric assessment was performed – measurement of weight, height and skin folds, calculation of body mass index (BMI and body fat percentage. Results: Of all the 139 emale adolescents assessed, 4.4% (n=6 had nutrition problems and 23% (n=23 presented abnormal values of body fat. The analysis of the EAT concluded that 12.3% (n=17 of the girls presented positive results for anorexia nervosa (AN. The BITE results showed that 13.7% (n=19 ofthe girls had unusual eating habits and 6.5% (n=9 presented subclinical bulimia nervosa (BN. As for severity, 3.6% (n=5 of the girls presented clinically significant results and 1.4% (n=2 were diagnosed with high severity. Concerning the results of the BSQ, 15.7% (n=21 of the girls were slightly concerned about body image; 5.2% (n=7 were moderately worried, and 6.7% (n=9 were severely concerned about it. Conclusion: This study did not diagnose the occurrence of eating disorders but found symptoms of AN (Anorexia Nervosa and BN (Bulimia Nervosa. Its main purpose was to alert about the prevalence of the possible development of eating disorders due to the influences of the environment where the teenagers are inserted – under a model defined by the classic ballet dance and the psychological turmoil of adolescence. doi:10.5020/18061230.2013.p396

  11. Body image and self-esteem in adolescent ballet dancers.

    Science.gov (United States)

    Bettle, N; Bettle, O; Neumärker, U; Neumärker, K J

    2001-08-01

    Body-image disturbances and low self-esteem have been implicated in the pathogenesis of eating disorders. This study investigated self-perception of body and personality among adolescent ballet dancers in a cross-sectional survey. Two questionnaires assessing "my body right now" and "my personality right now," using semantic differentials were completed by 90 ballet school students and 156 controls. Adolescent female dancers (ages 13 to 17 years) scored higher than age-matched controls and 11- to 12-yr. old peers on Undesirability and Sensitivity for personality and Unattractiveness for body. For both subscales of personality, differences were also found between male and female dancers; female ballet students scored higher. Within the control group a difference could be found only for Sensitivity on which girls scored higher than boys. Male dancers did not differ from controls except for a lower score on the Body mass measure. Adolescent female dancers showed a distinct answering profile for 7 of 16 semantic differentials in each questionnaire implicating less favorable body image and self-esteem. Interventions focused particularly on enhancing self-esteem may be useful in the prevention of psychopathology in adolescent ballet dancers.

  12. Lower-limb proprioceptive awareness in professional ballet dancers.

    Science.gov (United States)

    Kiefer, Adam W; Riley, Michael A; Shockley, Kevin; Sitton, Candace A; Hewett, Timothy E; Cummins-Sebree, Sarah; Haas, Jacqui G

    2013-09-01

    Enhanced proprioceptive feedback strengthens synergistic muscle groups and stabilizes the coordination of limbs, thus contributing to the movement efficiency of ballet dancers. The present study compared lower-limb proprioceptive awareness in professional ballet dancers to matched controls who had no dance training. Two assessment methods were used to test the hypothesis that ballet dancers would demonstrate increased proprioceptive awareness in the ankle, knee, and hip: 1. a joint-position matching task to assess static proprioceptive joint awareness, and 2. an eyes-closed, quiet standing task to assess both static and dynamic proprioceptive awareness through measures of center of pressure (COP) variability. Results of the matching task indicated that the dancers exhibited greater proprioceptive awareness than controls for all three joints (p 0.05), whereas controls were less aware of their ankle position compared to their knee and hip joints (p 0.05). This indicates that quiet stance may have limited value as a means for evaluating proprioception. These findings provide preliminary evidence that enhanced proprioceptive awareness of lower limb joints should be considered as an evaluative criterion for dancers' ability to learn complex ballet skills. They also indicate that quiet standing tasks may not provide sufficient challenge for dancers' enhanced proprioceptive awareness to manifest.

  13. Differences of ballet turns (pirouette) performance between experienced and novice ballet dancers.

    Science.gov (United States)

    Lin, Chia-Wei; Chen, Shing-Jye; Su, Fong-Chin; Wu, Hong-Wen; Lin, Cheng-Feng

    2014-09-01

    This study investigated the different postural control strategies exhibited by experienced and novice dancers in ballet turns (pirouettes). Thirteen novice and 13 experienced dancers performed ballet turns with dominant-leg support. The peak push force was measured in the double-leg support phase. The inclination angles of rotation axis with respect to vertical axis were calculated in the early single-leg support phase as well as the initiation sequence of ankle, knee, and hip joints on the supporting leg. Moreover, the anchoring index of the head was computed in the transverse plane during turning. The novice dancers applied a greater push force, an increased inclination angle of rotation axis, and an insufficient proximal-to-distal extension sequence pattern. The novice dancers also had a smaller head-anchoring index compared with experienced dancers, which meant novice dancers were not using a space target as a stability reference. A poorer performance in novice dancers could result from higher push force in propulsion, lack of a "proximal-to-distal extension sequence" pattern, and lack of visual spotting for postural stability. Training on sequential initiation of lower-extremity joints and rehearsal of visual spotting are essential for novice dancers to obtain better performance on ballet turns.

  14. Analysis of foot load during ballet dancers' gait.

    Science.gov (United States)

    Prochazkova, Marketa; Tepla, Lucie; Svoboda, Zdenek; Janura, Miroslav; Cieslarová, Miloslava

    2014-01-01

    Ballet is an art that puts extreme demands on the dancer's musculoskeletal system and therefore significantly affects motor behavior of the dancers. The aim of our research was to compare plantar pressure distribution during stance phase of gait between a group of professional ballet dancers and non-dancers. Thirteen professional dancers (5 men, 8 women; mean age of 24.1 ± 3.8 years) and 13 nondancers (5 men, 8 women; mean age of 26.1 ± 5.3 years) participated in this study. Foot pressure analysis during gait was collected using a 2 m pressure plate. The participants were instructed to walk across the platform at a self-selected pace barefoot. Three gait cycles were necessary for the data analysis. The results revealed higher (p < 0.05) pressure peaks in medial edge of forefoot during gait for dancers in comparison with nondancers. Furthermore, differences in total foot loading and foot loading duration of rearfoot was higher (p < 0.05) in dancers as well. We can attribute these differences to long-term and intensive dancing exercises that can change the dancer's gait stereotype.

  15. JOINT POSITION SENSE IN TURKISH PROFESSIONAL BALLET DANCERS

    Directory of Open Access Journals (Sweden)

    S. Rana VAROL

    2013-04-01

    Full Text Available Purpose. The aim of this study was to compare the joint position sense (JPS between professional ballet dancers and non-dancers controls.Methods. The study group consisted of thirty six professional ballet dancers and gender-matched controls. Measurements were performed on each group after filling out a questionnaire about their dance and injury backgrounds. Left and right arm flexion 50º and abduction 50º and left and right leg flexion 55º and abduction 70º were selected as measurement movements from dancers’ routine practice. Subjects repeated each movement six times with five-second intervals. Acumar Digital Inclinometer was used for JPS measurements and Gollehon Extendable Goniometer was used for validating the accuracy of measurements. The outcome measurement was an error score calculated as the mean absolute deviation (MAD between the target and replicated angle.Results. JPS was significantly better in the dancer group compared to the control group. JPS did not show a significant difference between males and females. It was found no correlation between dance year and MAD values, except for the left hip abduction MAD levels (p≤0.05. No significant difference was found between the right and left extremities. In comparing the upper and lower extremities, there was no significant difference except for the comparison of right shoulder and right hip flexion. Conclusion. Professional ballet dancers demonstrated greater accuracy in joint position. “Continued and repeated practice” may improve proprioceptive responses of dancers.

  16. The Body as a Tool: Professional Classical Ballet Dancers' Embodiment

    Science.gov (United States)

    Alexias, George; Dimitropoulou, Elina

    2011-01-01

    This article is a qualitative study, which adopts the approach of social construction in order to comprehend the role played by the body in the formation of social behaviour. Using the concept of embodiment, professional ballet dancers have been chosen in order to investigate the particular attitude they form towards their bodies. The use of their…

  17. Retirement Transition in Ballet Dancers: "Coping Within and Coping Without"

    Directory of Open Access Journals (Sweden)

    Irina Roncaglia

    2010-02-01

    Full Text Available Retirement transitions in ballet dancers have been under researched. The purpose of this paper is to investigate the experiences of career transition in ballet dancers, from a life course perspective. Drawing upon existing transition models (SCHLOSSBERG, 1981 and sport literature (TAYLOR & OGILVIE, 1994, the paper investigates how ballet dancers cope (or not with the transition and explores the different factors influencing the coping process. Qualitative analysis of semi-structured interviews from fourteen international ballet dancers were used adopting an idiographic approach through interpretative phenomenological analysis and tenets of grounded theory methodology. The results identified a main theme "Coping strategies: Coping within & without" and eight sub-categories: Denial, alienation, indecision, severance, acceptance, letting go, renegotiation and reconstruction. The individual can experience different responses, which trigger different coping processes and subsequently different types of support are sought. Finally the paper briefly discusses some of the implications for future career development and career guidance. URN: urn:nbn:de:0114-fqs100210

  18. Kinematic analysis of the gait in professional ballet dancers

    Directory of Open Access Journals (Sweden)

    Lucie Teplá

    2014-06-01

    Full Text Available Background: A ballet dance routine places extreme functional demands on the musculoskeletal system and affects the motor behaviour of the dancers. An extreme ballet position places high stress on many segments of the dancer's body and can significantly influence the mobility of the lower limb joints. Objective: The aim of this study was to observe the differences in the gait pattern between ballet dancers and non-dancers. Methods:Thirteen professional ballet dancers (5 males, 8 females; age 24.1 ± 3.8 years; height 170.2 ± 8.5 cm; weight 58.3 ± 11.2 kg participated in this research. We compared these subjects with twelve controls (3 males, 9 females; mean age 24.3 ± 2.75 years; height 173.3 ± 6.01 cm; weight 72.2 ± 12.73 kg. None of the participants had any history of serious musculoskeletal pathology or injury or surgery to the lower limbs. Control groups had no ballet experience. Each participant performed five trials of the gait at self-selected walking speed. Kinematic data was obtained using the Vicon MX optoelectronic system. The observed data was processed in the Vicon Nexus and Vicon Polygon programmes and statistically evaluated in Statistica. Non-parametric test (Mann-Whitney U test, p < .05 was applied for comparing the dancers and the controls. Results:  Significant differences (p < .05 were found in all lower limb joints. In the dancers, greater hip extension (-15.30 ± 3.31° vs. -12.95 ± 6.04°; p = .008 and hip abduction (-9.18 ± 5.89° vs. -6.08 ± 2.52°; p < .001 peaks together with increased pelvic tilt (3.33 ± 1.26° vs. 3.01 ± 1.46°; p = .020, pelvic obliquity (12.46 ± 3.05° vs. 10.34 ± 3.49°; p < .001 and pelvic rotation (14.29 ± 3.77° vs. 13.26 ± 4.91°; p = .029 were observed. Additionally, the dancers demonstrated greater knee flexion (65.67 ± 4.65° vs. 62.45 ± 5.24°; p = .002 and knee

  19. Substance use and misuse among professional ballet dancers.

    Science.gov (United States)

    Sekulic, Damir; Peric, Mia; Rodek, Jelena

    2010-07-01

    This study investigated substance use and misuse among 16 female and 9 male Croatian ballet professionals in 2008 using an original questionnaire. We analyzed social, personal, activity- and training-related, and educational factors, and criteria such as: binge alcohol drinking, cigarette smoking, appetite suppressant consumption, analgesic use, and actual and potential "doping" habits. Frequency tables and rank-order correlation were calculated. More than one third of the male dancers reported binge drinking, while 20% of the females smoked more than a box of cigarettes per day. Almost 25% of these dancers will use "doping" if it will ensure successful ballet performance, regardless of negative health consequences. In males, the risk of potential "doping" behavior increased with age. In females, education level was negatively related to cigarette smoking, but positively correlated to potential "doping" habits and behavior. In both genders, religiousness was the factor negatively related to the following: (1) potential "doping" behavior and (2) belief that "doping" exists in professional ballet. Results suggest that there is evident need for more specific medical and/or psychological services in professional ballet. The study's limitations are noted.

  20. The effects of nutrition, puberty and dancing on bone density in adolescent ballet dancers.

    Science.gov (United States)

    Burckhardt, Peter; Wynn, Emma; Krieg, Marc-Antoine; Bagutti, Carlo; Faouzi, Mohamed

    2011-06-01

    Ballet dancers have on average a low bone mineral content (BMC), with elevated fracture-risk, low body mass index (BMI) for age (body mass index, kg/m2), low energy intake, and delayed puberty. This study aims at a better understanding of the interactions of these factors, especially with regard to nutrition. During a competition for pre-professional dancers we examined 127 female participants (60 Asians, 67 Caucasians). They averaged 16.7 years of age, started dancing at 5.8 years, and danced 22 hours/week. Assessments were made for BMI, BMC (DXA), and bone mineral apparent density (BMAD) at the lumbar spine and femoral neck, pubertal stage (Tanner score), and nutritional status (EAT-40 questionnaire and a qualitative three-day dietary record). BMI for age was found to be normal in only 42.5% of the dancers, while 15.7% had a more or less severe degree of thinness (12.6% Grade2 and 3.1% Grade 3 thinness). Menarche was late (13.9 years, range 11 to 16.8 years). Food intake, evaluated by number of consumed food portions, was below the recommendations for a normally active population in all food groups except animal proteins, where the intake was more than twice the recommended amount. In this population, with low BMI and intense exercise, BMC was low and associated with nutritional factors; dairy products had a positive and non-dairy proteins a negative influence. A positive correlation between BMAD and years since menarche confirmed the importance of exposure to estrogens and the negative impact of delayed puberty. Because of this and the probable negative influence of a high intake of non-dairy proteins, such as meat, fish, and eggs, and the positive association with a high dairy intake, ballet schools should promote balanced diets and normal weight and should recognize and help dancers avoid eating disorders and delayed puberty caused by extensive dancing and inadequate nutrition.

  1. Frozen Landscapes: A Foucauldian Genealogy of the Ideal Ballet Dancer's Body

    Science.gov (United States)

    Ritenburg, Heather Margaret

    2010-01-01

    This paper explores the social construction of the "ideal" body of the female ballet dancer in North America. Specifically, the author constructs a Foucauldian genealogy tracing a body shape that came to dominate the principal female dancers of the New York City Ballet, and how this body shape continues to be normalized through…

  2. Central common drive to antagonistic ankle muscles in relation to short-term co-contraction training in non-dancers and professional ballet dancers

    DEFF Research Database (Denmark)

    Geertsen, Svend Sparre; Kjær, Majken; Pedersen, Kasper Karhu;

    2013-01-01

    Optimization of co-contraction of antagonistic muscles around the ankle joint has been shown to involve plastic changes in spinal and cortical neural circuitries. Such changes may explain the ability of elite ballet dancers to maintain a steady balance during various ballet postures. Here we...... investigated whether short-term co-contraction training in ballet dancers and non-dancers leads to changes in the coupling between antagonistic ankle motor units. Eleven ballet dancers and ten non-dancers were recruited for the study. Prior to training, ballet dancers and non-dancers showed an equal amount...... of coherence in the 15-35 Hz frequency band and short-term synchronization between antagonistic tibialis anterior and soleus motor units. The ballet dancers tended to be better at maintaining a stable co-contraction of the antagonistic muscles, but this difference was not significant (P = 0.09). Following 27...

  3. Assessing Readiness for En Pointe in Young Ballet Dancers.

    Science.gov (United States)

    Lai, Jeffrey C; Kruse, David W

    2016-01-01

    Children begin ballet lessons as young as age 2 years. The graceful movements of classical ballet require a combination of artistry, flexibility, and strength to perform. During the training and development of a young ballerina, the transition to dancing en pointe ("on the toes") represents a significant milestone and traditionally begins around age 11 or 12 years, assuming the proper training background and dance aspirations. However, current dance medicine literature describes factors such as maturity, proper technique, strength, and postural control as the more significant factors in determining pointe readiness. An in-office evaluation of these factors can be performed by the clinician to assist dancers, their family, and their dance instructor(s) determine pointe readiness. Copyright 2016, SLACK Incorporated.

  4. "Nutcracker Fracture" in a Ballet Dancer Performing in The Nutcracker.

    Science.gov (United States)

    Carsen, Sasha; Quinn, Bridget J; Beck, Elizabeth; Southwick, Heather; Micheli, Lyle J

    2015-09-01

    A 26-year-old female professional dancer sustained an acute injury to her mid-foot during a performance of The Nutcracker. An intra-articular, comminuted, minimally displaced fracture of the cuboid was found. The patient was treated non-operatively with cast and boot immobilization, modified weightbearing, and progressive rehabilitation. She was able to return to professional dance at 6 months post-injury and continues to dance professionally over 1 year out from injury without issue. The unique demands of classical ballet, especially dancing en pointe, increase the risk for mid-foot fractures, and clinicians should have a high-index of suspicion in dancers suffering an acute injury to the foot and ankle with greater than expected pain or swelling. Multiple imaging modalities can be used to make the diagnosis, to include plain film radiographs, MRI, and CT scan. Fracture characteristics and patient-specific factors should be taken into account when deciding on a treatment plan.

  5. Attentional Focus in Classical Ballet: A Survey Of Professional Dancers.

    Science.gov (United States)

    Guss-West, Clare; Wulf, Gabriele

    2016-03-01

    Focus of attention and its effects on skilled motor performance has become an important line of research in the motor learning domain. Numerous studies have demonstrated that an external focus of attention (i.e., on the movement effect) enhances motor performance and learning relative to an internal focus (i.e., on body movements). Thus, small differences in the wording of instructions or feedback given by teachers can have a significant impact on the effectiveness and efficiency of motor skill performance. In this paper, we review some of the attentional focus studies that are relevant to ballet performance. In addition, we report the findings of a survey among professional ballet dancers (N = 53) that we conducted to determine their typical attentional focus while performing certain movements. The results showed that the majority adopted internal foci, or combinations of internal and external foci, most of the time. This suggests that there is room for improvement for performance and teaching. We provide examples of how external foci can be promoted in ballet practice.

  6. Corticospinal excitability of the ankle extensor muscles is enhanced in ballet dancers.

    Science.gov (United States)

    Saito, Sakiko; Obata, Hiroki; Endoh, Takashi; Kuno-Mizumura, Mayumi; Nakazawa, Kimitaka

    2014-09-01

    We tested the corticospinal excitability of the soleus muscle in ballet dancers to clarify whether the presumed long-term repetition of the specific plantarflexion results in changes of excitability in this neural pathway. We compared motor evoked potentials of the soleus muscle at rest and during isometric contraction of the plantar flexors in dancers and non-dancers. The amplitudes of motor evoked potentials elicited by transcranial magnetic stimulation during contraction were examined against the background electromyographic activity. A regression line was calculated for each subject. Results showed that the slope of the regression line is significantly greater in the dancer group than in the control group, suggesting that the corticospinal tract of ballet dancers has adapted to long-term repetition of plantarflexion in daily ballet training.

  7. Weighing in on Surveillance: Perception of the Impact of Surveillance on Female Ballet Dancers' Health

    Science.gov (United States)

    Dryburgh, Anne; Fortin, Sylvie

    2010-01-01

    The aim of this qualitative study was to investigate professional ballet dancers' perceptions of the impact of surveillance on their psychological and physical health. The theoretical framework was inspired by Foucault's writing, particularly his concepts of surveillance, power, discipline and docile bodies. Fifteen professional ballet dancers…

  8. Weighing in on Surveillance: Perception of the Impact of Surveillance on Female Ballet Dancers' Health

    Science.gov (United States)

    Dryburgh, Anne; Fortin, Sylvie

    2010-01-01

    The aim of this qualitative study was to investigate professional ballet dancers' perceptions of the impact of surveillance on their psychological and physical health. The theoretical framework was inspired by Foucault's writing, particularly his concepts of surveillance, power, discipline and docile bodies. Fifteen professional ballet dancers…

  9. Unilateral jump behavior in young professional female ballet dancers.

    Science.gov (United States)

    Golomer, E; Féry, Y A

    2001-09-01

    In the field of dance, lateral body actions should be differently influenced by training. Classes should develop symmetrical jump behavior by the alternate working of the two body sides. In contrast, asymmetrical training effect linked to hemispheric laterality should be also expected. Indeed, for aesthetic reasons, the preferred led has to give the jump direction while the other leg has to carry out the impulsion during take-off. In addition, and for functional reasons, the preferred leg also has to ensure a soft landing and to avoid imbalance upon landing. To address the question, we studied ten professional right-footed female ballet dancers in a unilateral experimental task: the maximal vertical jump (MVJ). The MVJ height was compared for each leg in ten trials. In addition, the side of the leg usually involved in a choreographic bilateral task was determined. All these right-footed dancers selected their left leg as the impulsion leg for the choreographic jump so as to reserve the right leg for the expression of the artistic gesture linked to emotional laterality. However, ANOVA did not show differences between the right and left legs in MVJ. In these young ballerinas, jump actions of the two body sides seem to develop symmetrically by class training effects.

  10. Measurement of the extreme ankle range of motion required by female ballet dancers.

    Science.gov (United States)

    Russell, Jeffrey A; Kruse, David W; Nevill, Alan M; Koutedakis, Yiannis; Wyon, Matthew A

    2010-12-01

    Female ballet dancers require extreme ankle motion, especially plantar flexion, but research about measuring such motion is lacking. The purposes of this study were to determine in a sample of ballet dancers whether non-weight-bearing ankle range of motion is significantly different from the weight-bearing equivalent and whether inclinometric plantar flexion measurement is a suitable substitute for standard plantar flexion goniometry. Fifteen female ballet dancers (5 university, 5 vocational, and 5 professional dancers; age 21 ± 3.0 years) volunteered. Subjects received 5 assessments on 1 ankle: non-weight-bearing goniometry dorsiflexion (NDF) and plantar flexion (NPF), weight-bearing goniometry in the ballet positions demi-plié (WDF) and en pointe (WPF), and non-weight-bearing plantar flexion inclinometry (IPF). Mean NDF was significantly lower than WDF (17° ± 1.3° vs 30° ± 1.8°, P ballet proficiency. The authors conclude that assessment of extreme ankle motion in female ballet dancers is challenging, and goniometry and inclinometry appear to measure plantar flexion differently.

  11. Magnetic resonance imaging of the ankle in female ballet dancers en pointe

    Energy Technology Data Exchange (ETDEWEB)

    Russell, Jeffrey A. (Dept. of Dance, Univ. of California-Irvine, Irvine, CA (United States)), e-mail: jeff.russell@uci.edu; Shave, Ruth M. (Dept. of Radiology, Russells Hall Hospital, Dudley (United Kingdom)); Yoshioka, Hiroshi (Dept. of Radiological Sciences, Univ. of California-Irvine, Irvine, CA (United States)); Kruse, David W. (Dept. of Orthopaedic Surgery and Family Medicine, Univ. of California-Irvine, Irvine, CA (United States)); Koutedakis, Yiannis; Wyon, Matthew A. (School of Sport, Performing Arts and Leisure, Univ. of Wolverhampton, Walsall (United Kingdom))

    2010-07-15

    Background: Ballet dancers require extreme range of motion of the ankle, especially weight-bearing maximum plantar flexion (en pointe). In spite of a high prevalence of foot and ankle injuries in ballet dancers, the anatomy and pathoanatomy of this position have not been sufficiently studied in weight-bearing. Magnetic resonance imaging (MRI) is a beneficial method for such study. Purpose: To develop an MRI method of evaluating the ankles of female ballet dancers standing en pointe and to assess whether pathological findings from the MR images were associated with ankle pain reported by the subjects. Material and Methods: Nine female ballet dancers (age, 21+-2.9 years; dance experience, 16+-4.1 years; en pointe dance experience, 7+-4.9 years) completed an ankle pain visual analog scale questionnaire and underwent T1- and T2-weighted scans using a 0.25 T open MRI device. The ankle was scanned in three positions: supine with full plantar flexion, standing with the ankle in anatomical position, and standing en pointe. Results: Obtaining MR images of the ballet dancers en pointe was successful in spite of limitations imposed by the difficulty of remaining motionless in the en pointe position during scanning. MRI signs of ankle pathology and anatomical variants were observed. Convergence of the posterior edge of the tibial plafond, posterior talus, and superior calcaneus was noted in 100% of cases. Widened anterior joint congruity and synovitis/joint effusion were present in 71% and 67%, respectively. Anterior tibial and/or talar spurs and Stieda's process were each seen in 44%. However, clinical signs did not always correlate with pain reported by the subjects. Conclusion: This study successfully established an ankle imaging technique for ballet dancers en pointe that can be used in the future to assess the relationship between en pointe positioning and ankle pathoanatomy in ballet dancers

  12. Energy intake and energy expenditure of pre-professional female contemporary dancers

    Science.gov (United States)

    Brown, Meghan A.; Howatson, Glyn; Quin, Edel; Redding, Emma; Stevenson, Emma J.

    2017-01-01

    Many athletes in aesthetic and weight dependent sports are at risk of energy imbalance. However little is known about the exercise and eating behaviours of highly trained dance populations. This investigation sought to determine the energy intake and energy expenditure of pre-professional female contemporary dancers. Twenty-five female contemporary dance students completed the study. Over a 7-day period, including five week days (with scheduled dance training at a conservatoire) and two weekend days (with no scheduled dance training at the conservatoire), energy intake (self-reported weighed food diary and 24 h dietary recall) and expenditure (tri-axial accelerometry) were recorded. Mean daily energy intake and expenditure were different over the 7-day period (P = 0.014) equating to an energy deficit of -356 ± 668 kcal·day-1 (or -1.5 ± 2.8 MJ·day-1). Energy expenditure was not different when comparing week and weekend days (P = 0.297). However daily energy intake (P = 0.002), energy availability (P = 0.003), and energy balance (P = 0.004) were lower during the week compared to the weekend, where energy balance became positive. The percentage contribution of macronutrients to total energy intake also differed; with higher fat (P = 0.022) and alcohol (P = 0.020), and lower carbohydrate (P = 0.001) and a trend for lower protein (P = 0.051) at the weekend. Energy balance and appropriate macronutrient intake are essential for maintaining the demands of training, performance and recovery. Whilst aesthetics are important, female contemporary dancers may be at risk of the numerous health and performance impairments associated with negative energy balance, particularly during periods of scheduled training. PMID:28212449

  13. Energy intake and energy expenditure of pre-professional female contemporary dancers.

    Science.gov (United States)

    Brown, Meghan A; Howatson, Glyn; Quin, Edel; Redding, Emma; Stevenson, Emma J

    2017-01-01

    Many athletes in aesthetic and weight dependent sports are at risk of energy imbalance. However little is known about the exercise and eating behaviours of highly trained dance populations. This investigation sought to determine the energy intake and energy expenditure of pre-professional female contemporary dancers. Twenty-five female contemporary dance students completed the study. Over a 7-day period, including five week days (with scheduled dance training at a conservatoire) and two weekend days (with no scheduled dance training at the conservatoire), energy intake (self-reported weighed food diary and 24 h dietary recall) and expenditure (tri-axial accelerometry) were recorded. Mean daily energy intake and expenditure were different over the 7-day period (P = 0.014) equating to an energy deficit of -356 ± 668 kcal·day-1 (or -1.5 ± 2.8 MJ·day-1). Energy expenditure was not different when comparing week and weekend days (P = 0.297). However daily energy intake (P = 0.002), energy availability (P = 0.003), and energy balance (P = 0.004) were lower during the week compared to the weekend, where energy balance became positive. The percentage contribution of macronutrients to total energy intake also differed; with higher fat (P = 0.022) and alcohol (P = 0.020), and lower carbohydrate (P = 0.001) and a trend for lower protein (P = 0.051) at the weekend. Energy balance and appropriate macronutrient intake are essential for maintaining the demands of training, performance and recovery. Whilst aesthetics are important, female contemporary dancers may be at risk of the numerous health and performance impairments associated with negative energy balance, particularly during periods of scheduled training.

  14. Ballet dancers cardiorespiratory, oxidative and muscle damage responses to classes and rehearsals.

    Science.gov (United States)

    Rodrigues-Krause, Josianne; Krause, Mauricio; Cunha, Giovani Dos Santos; Perin, Diana; Martins, Jocelito B; Alberton, Cristine Lima; Schaun, Maximiliano I; De Bittencourt, Paulo Ivo Homem; Reischak-Oliveira, Alvaro

    2014-01-01

    This study aimed to describe and compare ballet dancers' cardiorespiratory responses, muscle damage and oxidative stress levels during a ballet class (practice of isolated ballet exercises performed with barre/hand-rail support and across-the-floor movements to improve technical skills) and rehearsal (practice of ballet choreography involving technical-artistic skills to improve dancers' performance for shows). The 12 advanced female ballet dancers undertook three exercise sessions: maximum effort test, class and rehearsal. Heart rate (HR) and oxygen consumption (VO2) were continuously measured. Lactate was determined before 15 min and after class and rehearsal. Blood was sampled pre, post and 48 h after class and rehearsal for creatine kinase (CK), lipid peroxides (LPO) and glutathione analysis (GSSG/GSH). Class was of lower intensity than rehearsal as shown by VO2, HR and lactate values: VO2 (mL.kg(-1).min(-1)): 14.5±2.1 vs. 19.1±1.7 (p Ballet dancers' muscle damage and oxidative stress responses seem not to be dependent on exercise intensity based on VO2 responses.

  15. Chronic Inflammation and Neutrophil Activation as Possible Causes of Joint Diseases in Ballet Dancers

    Science.gov (United States)

    Borges, Leandro da Silva; Santos, Vinicius Coneglian; de Moura, Nivaldo Ribeiro; Dermargos, Alexandre; Cury-Boaventura, Maria Fernanda; Gorjão, Renata; Pithon-Curi, Tania Cristina; Hatanaka, Elaine

    2014-01-01

    Herein, we investigated the effects of a ballet class on the kinetic profiles of creatine kinase (CK) and lactate dehydrogenase (LDH) activities, cytokines, complement component 3 (C3), and the concentrations of immunoglobulin (Ig), IgA and IgM, in ballerinas. We also verified neutrophil death and ROS release. Blood samples were taken from 13 dancers before, immediately after, and 18 hours after a ballet class. The ballet class increased the plasma activities of CK-total (2.0-fold) immediately after class, while the activities of CK-cardiac muscle (1.0-fold) and LDH (3.0-fold) were observed to increase 18 hours after the class. Levels of the TNF-α, IL-1β, IgG, and IgA were not affected under the study conditions. The exercise was found to induce neutrophil apoptosis (6.0-fold) 18 hours after the ballet class. Additionally, immediately after the ballet class, the neutrophils from the ballerinas were found to be less responsive to PMA stimulus. Conclusion. Ballet class was found to result in inflammation in dancers. The inflammation caused by the ballet class remained for 18 hours after the exercise. These findings are important in preventing the development of chronic lesions that are commonly observed in dancers, such as those with arthritis and synovitis. PMID:24701035

  16. Chronic Inflammation and Neutrophil Activation as Possible Causes of Joint Diseases in Ballet Dancers

    Directory of Open Access Journals (Sweden)

    Leandro da Silva Borges

    2014-01-01

    Full Text Available Herein, we investigated the effects of a ballet class on the kinetic profiles of creatine kinase (CK and lactate dehydrogenase (LDH activities, cytokines, complement component 3 (C3, and the concentrations of immunoglobulin (Ig, IgA and IgM, in ballerinas. We also verified neutrophil death and ROS release. Blood samples were taken from 13 dancers before, immediately after, and 18 hours after a ballet class. The ballet class increased the plasma activities of CK-total (2.0-fold immediately after class, while the activities of CK-cardiac muscle (1.0-fold and LDH (3.0-fold were observed to increase 18 hours after the class. Levels of the TNF-α, IL-1β, IgG, and IgA were not affected under the study conditions. The exercise was found to induce neutrophil apoptosis (6.0-fold 18 hours after the ballet class. Additionally, immediately after the ballet class, the neutrophils from the ballerinas were found to be less responsive to PMA stimulus. Conclusion. Ballet class was found to result in inflammation in dancers. The inflammation caused by the ballet class remained for 18 hours after the exercise. These findings are important in preventing the development of chronic lesions that are commonly observed in dancers, such as those with arthritis and synovitis.

  17. Characteristics and prevalence of musculoskeletal injury in professional and non-professional ballet dancers

    Science.gov (United States)

    Costa, Michelle S. S.; Ferreira, Arthur S.; Orsini, Marco; Silva, Elirez B.; Felicio, Lilian R.

    2016-01-01

    BACKGROUND: Ballet is a high-performance activity that requires an advanced level of technical skills. Ballet places great stress on tendons, muscles, bones, and joints and may act directly as a trigger of injury by overuse. OBJECTIVES: 1) to describe the main types of injuries and affected areas related to classical ballet and 2) to compare the frequency of musculoskeletal injuries among professional and non-professional ballet dancers, considering possible gender differences among the professional dancers. METHOD: A total of 110 questionnaires were answered by professional and non-professional dancers. The questionnaire contained items related to the presence of injury, the regions involved, and the mechanism of the injury. RESULTS: We observed a high frequency of musculoskeletal injuries, with ankle sprains accounting for 69.8% of injuries in professional dancers and 42.1% in non-professional dancers. Pirouettes were the most frequent mechanism of injury in professional dancers, accounting for 67.9% of injuries, whereas in the non-professional dancers, repetitive movement was the most common mechanism (28.1%). Ankle sprains occurred in 90% of the women's injuries, and muscle sprains occurred in 54.5% of the men's injuries. The most frequent injury location was the ankle joint in both sexes among the professional dancers, with 67.6% in women and 40.9% in men. CONCLUSIONS: The identification of the mechanism of injury and time of practice may contribute to better therapeutic action aimed at the proper function of the dancers' bodies and improved performance by these athletes. PMID:26786085

  18. Characteristics and prevalence of musculoskeletal injury in professional and non-professional ballet dancers

    Directory of Open Access Journals (Sweden)

    Michelle S. S. Costa

    2016-01-01

    Full Text Available BACKGROUND: Ballet is a high-performance activity that requires an advanced level of technical skills. Ballet places great stress on tendons, muscles, bones, and joints and may act directly as a trigger of injury by overuse. OBJECTIVES: 1 to describe the main types of injuries and affected areas related to classical ballet and 2 to compare the frequency of musculoskeletal injuries among professional and non-professional ballet dancers, considering possible gender differences among the professional dancers. METHOD: A total of 110 questionnaires were answered by professional and non-professional dancers. The questionnaire contained items related to the presence of injury, the regions involved, and the mechanism of the injury. RESULTS: We observed a high frequency of musculoskeletal injuries, with ankle sprains accounting for 69.8% of injuries in professional dancers and 42.1% in non-professional dancers. Pirouettes were the most frequent mechanism of injury in professional dancers, accounting for 67.9% of injuries, whereas in the non-professional dancers, repetitive movement was the most common mechanism (28.1%. Ankle sprains occurred in 90% of the women's injuries, and muscle sprains occurred in 54.5% of the men's injuries. The most frequent injury location was the ankle joint in both sexes among the professional dancers, with 67.6% in women and 40.9% in men. CONCLUSIONS: The identification of the mechanism of injury and time of practice may contribute to better therapeutic action aimed at the proper function of the dancers' bodies and improved performance by these athletes.

  19. A preseason cardiorespiratory profile of dancers in nine professional ballet and modern companies.

    Science.gov (United States)

    Bronner, Shaw; Ojofeitimi, Sheyi; Lora, Jennifer Bailey; Southwick, Heather; Kulak, Michelina Cassella; Gamboa, Jennifer; Rooney, Megan; Gilman, Greg; Gibbs, Richard

    2014-01-01

    While studies have investigated the physical demands of dance in terms of cardiorespiratory fitness, there are no recent comparisons of cardiorespiratory response to exercise among professional dancers of different genres. Our purpose was to: 1. develop a cardiorespiratory profile of professional dancers; 2. investigate differences in peak and recovery heart rate (HR) between professional modern and ballet dancers using an accelerated 3-minute step test; 3. demonstrate the relationship between cardiorespiratory variables; and 4. investigate the effects of company and work variables on the dancers' cardiorespiratory profiles. We hypothesized greater cardiorespiratory fitness in modern dancers than in ballet dancers, due to the nature of their repertory. Furthermore, we hypothesized that company profiles would reflect differences in work variables. Two hundred and eleven dancers (mean age 24.6 ± 4.7) from nine companies (two modern and seven ballet) performed a 3-minute step test. Demographics, height, mass, blood pressure (BP), smoking history, and resting peak and recovery HR were recorded. Body mass index (BMI) and fitness category were calculated. Independent t-tests were used to compare differences in demographics and cardiorespiratory variables due to genre, MANOVA were conducted to compare differences due to company, and correlations were calculated to determine the relationships between cardiorespiratory variables (p ballet dancers (p < 0.03). There were differences between companies in age, experience, BMI, BP, resting, peak, and recovery HR, and fitness category (p < 0.001). The differences in cardiorespiratory fitness levels that may be related to rigor of repertory, rehearsal and performance seasons, or off-season exercise training are discussed. Results support the need for comprehensive physical fitness screening to identify dancers who could benefit from aerobic conditioning to enhance overall performance preparedness and to minimize fatigue effects.

  20. Disordered eating, amenorrhea, and substance use and misuse among professional ballet dancers: Preliminary analysis

    Directory of Open Access Journals (Sweden)

    Mia Peric

    2016-04-01

    Full Text Available Background: Substance use and misuse (SUM, eating disorders (ED and consequent amenorrhea (AM occur frequently in professional ballet dancing. The objective of this study has been to explore the prevalence and association between ED, AM and SUM in ballet. Material and Methods: The sample comprised 21 ballet dancers, 23.1±4.5 years old, members of the professional National Ballet Ensemble from Croatia. Variables were collected by questionnaires examining SUM, occurrence of amenorrhea, and corresponding ballet-specific and socio-demographic factors (Questionnaire on Substance Use – QSU and the level of ED (Brief Eating Disorder in Athletes Questionnaire – BEDA-Q. Results: Smoking is prevalent in 40% of dancers (25% smoke on a daily basis, 36% often use analgesics, and 25% engage in binge drinking at least once a month. Smoking and binge drinking are less frequent in ballerinas with a higher academic level (r = 0.60 and r = 0.54 for binge drinking and smoking, respectively; p < 0.05. Alcohol drinking is higher among dancers who consume analgesics more often and those with a higher BEDA-Q score (r = 0.53 and r = 0.54 for analgesics and BEDA-Q, respectively; p < 0.05. Amenorrhea is more prevalent among those dancers with a higher BEDA-Q score. Women who consume nutritional supplements are less likely to use analgesics (Mann Whitney U test = 2.11; p < 0.05. Conclusions: Efforts seeking to prevent ED in ballet should target dancers who consume alcohol to a greater extent. Future studies should specifically explore the less frequent consumption of analgesics among dancers who consume nutritional supplements. Med Pr 2016;67(1:21–27

  1. Postural control of ballet dancers: a specific use of visual input for artistic purposes.

    Science.gov (United States)

    Hugel, F; Cadopi, M; Kohler, F; Perrin, P

    1999-02-01

    Dance is a specific expression of human motor behaviour. This artistic physical activity depends upon an effective technical training with important postural components and necessitates the codification of sensory inputs to build mental representations of the action to be produced. Proprioception and vision being two fundamental sensory modalities in classical ballet, this study attempted to determine the importance of the visual input for postural control during the practice of this activity. First, this work compared the performances of 18 professional ballet dancers and 46 non-dancers on a platform of forces during static posturographic tests in open or closed eyes situation. Then, we studied how professional dancers achieve balance in postures specific of classical ballet: on demi-pointe and on pointe. The results indicate that visual inputs are important in classical ballet since dancers only performed better than controls in eyes open conditions. The similar results obtained on pointe with eyes open or closed conversely suggest that training in classical ballet develops specific modalities of balance which are not transferable to posture control in daily life situations.

  2. Evaluation of movements of lower limbs in non-professional ballet dancers: hip abduction and flexion

    Directory of Open Access Journals (Sweden)

    Valenti Erica E

    2011-08-01

    Full Text Available Abstract Background The literature indicated that the majority of professional ballet dancers present static and active dynamic range of motion difference between left and right lower limbs, however, no previous study focused this difference in non-professional ballet dancers. In this study we aimed to evaluate active movements of the hip in non-professional classical dancers. Methods We evaluated 10 non professional ballet dancers (16-23 years old. We measured the active range of motion and flexibility through Well Banks. We compared active range of motion between left and right sides (hip flexion and abduction and performed correlation between active movements and flexibility. Results There was a small difference between the right and left sides of the hip in relation to the movements of flexion and abduction, which suggest the dominant side of the subjects, however, there was no statistical significance. Bank of Wells test revealed statistical difference only between the 1st and the 3rd measurement. There was no correlation between the movements of the hip (abduction and flexion, right and left sides with the three test measurements of the bank of Wells. Conclusion There is no imbalance between the sides of the hip with respect to active abduction and flexion movements in non-professional ballet dancers.

  3. Reflections on a Degree Initiative: The UK's Birmingham Royal Ballet Dancers Enter the University of Birmingham

    Science.gov (United States)

    Benn, Tansin

    2003-01-01

    This paper provides an opportunity to share experiences and perceptions of the first 5 years of a degree programme for professional dancers. A partnership developed in the mid-1990s between the UK's Birmingham Royal Ballet and the University of Birmingham, Westhill (now School of Education), to provide a part-time, post-experience, flexible study…

  4. Self-Described Differences Between Legs in Ballet Dancers: Do They Relate to Postural Stability and Ground Reaction Force Measures?

    Science.gov (United States)

    Mertz, Laura; Docherty, Carrie

    2012-12-01

    Ballet technique classes are designed to train dancers symmetrically, but they may actually create a lateral bias. It is unknown whether dancers in general are functionally asymmetrical, or how an individual dancer's perceived imbalance between legs might manifest itself. The purpose of this study was to examine ballet dancers' lateral preference by analyzing their postural stability and ground reaction forces in fifth position when landing from dance-specific jumps. Thirty university ballet majors volunteered to participate in this study. The subjects wore their own ballet technique shoes and performed fundamental ballet jumps out of fifth position on a force plate. The force plate recorded center of pressure (COP) and ground reaction force (GRF) data. Each subject completed a laterality questionnaire that determined his or her preferred landing leg for ballet jumps, self-identified stronger leg, and self-identified leg with better balance. All statistical comparisons were made between the leg indicated on the laterality questionnaire and the other leg (i.e., if the dancer's response to a question was "left," the comparison was made with the left leg as the "preferred" leg and the right leg as the "non-preferred leg"). No significant differences were identified between the limbs in any of the analyses conducted (all statistical comparisons produced p values > 0.05). The results of this study indicate that a dancer's preferential use of one limb over the other has no bearing on GRFs or balance ability after landing jumps in ballet. Similarly, dancers' opinions of their leg characteristics (such as one leg being stronger than the other) seem not to correlate with the dancers' actual ability to absorb GRFs or to balance when landing from ballet jumps.

  5. Stress fractures of the base of the metatarsal bones in young trainee ballet dancers.

    Science.gov (United States)

    Albisetti, Walter; Perugia, Dario; De Bartolomeo, Omar; Tagliabue, Lorenzo; Camerucci, Emanuela; Calori, Giorgio Maria

    2010-02-01

    Classical ballet is an art form requiring extraordinary physical activity, characterised by rigorous training. These can lead to many overuse injuries arising from repetitive minor trauma. The purpose of this paper is to report our experience in the diagnosis and treatment of stress fractures at the base of the second and third metatarsal bones in young ballet dancers. We considered 150 trainee ballet dancers from the Ballet Schools of "Teatro Alla Scala" of Milan from 2005 to 2007. Nineteen of them presented with stress fractures of the base of the metatarsal bones. We treated 18 dancers with external shockwave therapy (ESWT) and one with pulsed electromagnetic fields (EMF) and low-intensity ultrasound (US); all patients were recommended rest. In all cases good results were obtained. The best approach to metatarsal stress fractures is to diagnose them early through clinical examination and then through X-ray and MRI. ESWT gave good results, with a relatively short time of rest from the patients' activities and a return to dancing without pain.

  6. Dancer perceptions of the force reduction of dance floors used by a professional touring ballet company.

    Science.gov (United States)

    Hopper, Luke S; Wheeler, Talia J; Webster, James M; Allen, Nick; Roberts, Jonathan R; Fleming, Paul R

    2014-01-01

    The mechanical properties of dance floors have the potential to influence dancers' performance and injury risk. Little information is available that describes dancers' preferences for dance floor mechanical properties. Investigation of dancers' perceptions of varied dance floors can serve to enlighten governing bodies, floor manufacturers, and the dance community. The aim of this study was to assess the perceptions of dancers from a touring professional ballet company regarding four floors with varied force reduction (FR) that were created to replicate those used by the company in normal dance training and performance. A specialized questionnaire was developed that incorporated a series of qualitative and quantitative measures that could be used by participants to express their perceptions of the custom built dance floors. Floor FR was quantified with reference to the protocols specified by European standards. Dancer perceptions were in general agreement with floor FR values; however, some discrepancies were observed. Dancers expressed a preference for floor FR within the mid to upper limits (57% to 72%) of the European standards, although a minority preferred low FR (approximately 36%) floors. A limited ability to perceive inconsistencies in FR across test floors was observed, which may have implications for injury risk. Investigation of the perceptions of dancers from more diverse backgrounds, on floors that provide a closer representation of typical dance studio and stage sizes, over longer periods of time, would provide further insight into the perceptual and adaptive responses of dancers to varied floor mechanical properties.

  7. Energetic efficiency, menstrual irregularity, and bone mineral density in elite professional female ballet dancers.

    Science.gov (United States)

    Doyle-Lucas, Ashley F; Akers, Jeremy D; Davy, Brenda M

    2010-01-01

    Sports that emphasize low body weight for optimal performance, such as ballet, are associated with an increased prevalence of the female athlete triad (FT). Previous research in this area that involves dancers has been limited; the majority of studies have been performed on adolescents training in classical ballet, and not professional adult dancers. The purpose of this study is to compare the physical and behavioral characteristics of female elite ballet dancers to sedentary, recreationally active non-dancing controls, with regard to characteristics of the FT and energetic efficiency. Women aged 18 to 35 years were recruited as participants. The dancers (N = 15) and non-dancing controls (N = 15) were pair-matched via age (dancers: 24.3 ± 1.3 years; controls: 23.7 ± 0.9 years), body mass index (dancers: 18.9 ± 0.2; controls: 19.4 ± 0.2 kg/m 2 ), and fat-free mass (dancers: 44.3 ± 0.8; controls: 44.1 ± 0.9 kg). Assessments included habitual dietary intake using 4-day food records, self-reported physical activity, psychometric measures of eating behaviors, health and menstrual history, body composition and bone density (dual energy x-ray absorptiometry), and resting metabolic rate (RMR) assessed by indirect calorimetry. Characteristics of the FT, specifically menstrual irregularities (6 of 15 dancers reported irregular or no menses; 1 of 15 controls reported irregular menses) and low energy availability, were more prevalent in dancers than in pair-matched controls. Despite having a similar fat-free mass (FFM), dancers had a significantly lower absolute RMR (dancers: 1367 ± 27; controls: 1454 ± 34 kcal/d; p ≤ 0.05) and significantly lower RMR relative to FFM (dancers: 30.9 ± 0.6; controls: 33.1 ± 0.8 kcal/kg fat-free mass/d; p ≤ 0.05). Energy intake between dancers (1577 ± 89 kcal/d) and pair-matched controls (2075 ± 163 kcal/d) also differed significantly (p ≤ 0.01). Six of the 15 dancers met the criteria for the FT (including low bone mineral

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

    Directory of Open Access Journals (Sweden)

    Besser Marcus P

    2008-03-01

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

  9. Three-Dimensional Analysis of a Ballet Dancer with Ischial Tuberosity Apophysitis. A Case Study

    Directory of Open Access Journals (Sweden)

    Hanna Pohjola

    2014-12-01

    Full Text Available The purpose of this case study was to describe the three-dimensional biomechanics of common ballet exercises in a ballet dancer with ischial tuberosity apophysitis. This was achieved by comparing kinematics between the symptomatic (i.e. ischial apophyseal symptoms and contralateral lower limbs, as well as via reported pain. Results suggest consistent differences in movement patterns in this dancer. These differences included: 1 decreased external rotation of contralateral hip, hence a decreased hip contribution to ‘turn out’; 2 increased contralateral knee adduction and internal rotation; 3 an apparent synchronicity in the contralateral lower limb of the decreased hip external rotation and increased knee adduction; and 4 minimal use of ankle plantar/dorsiflexion movement for symptomatic side. Pain related to the left ischial apophysitis was associated with reduced amplitudes especially in fast ballet movements that required large range of motion in flexion and adduction in the left hip joint. These findings suggest that ischial apophysitis may limit dancer’s ballet technique and performance.

  10. Spinal sagittal mobility and joint laxity in young ballet dancers. A comparative study between first-year students at the Swedish Ballet School and a control group.

    Science.gov (United States)

    Nilsson, C; Wykman, A; Leanderson, J

    1993-01-01

    The present study compares spinal configuration, spinal range of motion and joint mobility in first-year students of the Swedish Ballet School and in nondancing students of corresponding age and sex in a state school. The study comprises all the first-year (fourth grade) students (n = 23) at the Swedish Ballet School: 11 boys and 12 girls. Their dance practice time was 10 h per week. Thirty-six children in the fourth grade at a state school comprised the control group. None of the controls took ballet classes or participated in organised gymnastics out of school. The neutral spine configuration in standing and the sagittal spine mobility were measured using Debrunner's kyphometer and Myrin's inclinometer. Joint laxity was measured by employing a modified form of the Contompasis method. Compared with the controls, the dancers showed a higher incidence of joint hypermobility, greater mobility of the thoracic spine, a less prominent lordosis of the lumbar spine and a less prominent kyphosis in the thoracic spine in the neutral standing position. The dancers had done little or no ballet training before entering the ballet school at the age of ten. The results agree with those of earlier studies and suggest that increased flexibility is an asset for those being selected as future ballet dancers.

  11. Morphological characteristics of professional ballet dancers of the Bolshoi theater company.

    Science.gov (United States)

    Ferrari, Elisa Pinheiro; Silva, Diego Augusto Santos; Martins, Cilene Rebolho; Fidelix, Yara Lucy; Petroski, Edio Luiz

    2013-05-01

    The objective of this study was to describe the morphological profile ofprofessional dancers compared with university physical education students. Thirty-five subjects were evaluated as follows: 13 professional ballet dancers of the Bolshoi Theater Company, six males and seven females, and 22 university physical education students, 11 males and 11 females. Body mass, height, skinfold (triceps, biceps, subscapular, chest, axilla, supraspinale, Iliac crest, abdominal, Front thigh, medial calf) girth (Arm flexed and tensed, forearm, waist, gluteal girth, Mid-thigh girth and calf) and breadth (wrist, ankle, Biepicondylar humerus and femur) were evaluated and somatotype, body fat percentage (BF%) body mass index (BMI), Sigma7 Skinfolds lean body mass, bone, residual and muscle mass were calculated. Dancers showed lower values for BMI, sum of seven skinfolds, BF%, body fat percentage, fat mass, residual mass (pballet interfered in body composition components, changing them significantly.

  12. Anthropometric evaluation of body composition in ballet dancers. A longitudinal study

    Directory of Open Access Journals (Sweden)

    Maria Elena Díaz Sánchez

    2008-04-01

    Full Text Available The body of the adolescent dancer is the result of morphological, physiological and behavioral adaptations due to specific physical training. For the ballet master, body weight is irrelevant to evaluating the technical and artistic performance and beauty of a figure. All ballet dancers must have bodies that conform to the canon of international ballet in order to be able to perform in public. The purpose of this study is to describe the changes in the body composition of dancers at the Cuban National School of Ballet between two points in their training process. This was a longitudinal study of 54 girls and 40 boys, aged between 15 and 20 years old. An anthropometric protocol of 6 measurements was employed in order to determine body composition using the Durnin and Rahaman method for females and the Parizková and Buzková method for males. The main results demonstrate signifi cant increases in both weight and height for age in both sexes, and it was observed that height growth velocity decreased with age. The female dancers exhibited stable body fat percentages for all ages while male dancers signifi cantly reduced this percentage from one year to the next. The female students exhibited higher mean percentage body fat values than the normal range established in Cuba for elite athletes from competitive artistic sports and professional dancers, while the male students exhibited body fat percentages that were similar to these specialized groups. Resumo El cuerpo humano del bailarín adolescente es resultado de las adaptaciones orfológicas-fi siológicas y conductuales de un entrenamiento físico particular. Para los maestros de ballet el peso corporal no es relevante en la evaluación técnica-artística y de belleza de la fi gura del danzante. Cada bailarín tiene que cumplir con los cánones internacionales de fi gura del ballet para presentarse en el escenario artístico. El objetivo de esta investigación es describir las variaciones de la

  13. Effect of Mulligan's and Kinesio knee taping on adolescent ballet dancers knee and hip biomechanics during landing.

    Science.gov (United States)

    Hendry, D; Campbell, A; Ng, L; Grisbrook, T L; Hopper, D M

    2015-12-01

    Taping is often used to manage the high rate of knee injuries in ballet dancers; however, little is known about the effect of taping on lower-limb biomechanics during ballet landings in the turnout position. This study investigated the effects of Kinesiotape (KT), Mulligan's tape (MT) and no tape (NT) on knee and hip kinetics during landing in three turnout positions. The effect of taping on the esthetic execution of ballet jumps was also assessed. Eighteen pain-free 12-15-year-old female ballet dancers performed ballet jumps in three turnout positions, under the three knee taping conditions. A Vicon Motion Analysis system (Vicon Oxford, Oxford, UK) and Advanced Mechanical Technology, Inc. (Watertown, Massa chusetts, USA) force plate collected lower-limb mechanics. The results demonstrated that MT significantly reduced peak posterior knee shear forces (P = 0.025) and peak posterior (P = 0.005), medial (P = 0.022) and lateral (P = 0.014) hip shear forces compared with NT when landing in first position. KT had no effect on knee or hip forces. No significant differences existed between taping conditions in all landing positions for the esthetic measures. MT was able to reduce knee and the hip forces without affecting the esthetic performance of ballet jumps, which may have implications for preventing and managing knee injuries in ballet dancers.

  14. Lumbar facet stress fracture in a ballet dancer.

    Science.gov (United States)

    Fehlandt, A F; Micheli, L J

    1993-12-01

    A frequent cause of back pain in athletes and dancers is stress injury to the posterior vertebral elements. Stress fractures affect the pars interarticularis and, rarely, other vertebral regions. The authors present their experience with the diagnosis and treatment of a fourth lumbar inferior articular facet stress fracture in a ballerina in this brief report and discuss the literature concerning posterior element stress fractures.

  15. Vitamin D status and musculoskeletal health in adolescent male ballet dancers a pilot study.

    Science.gov (United States)

    Ducher, Gaele; Kukuljan, S; Hill, B; Garnham, A P; Nowson, C A; Kimlin, M G; Cook, J

    2011-09-01

    Adequate vitamin D levels during growth are critical to ensuring optimal bone development. Vitamin D synthesis requires sun exposure; thus, athletes engaged in indoor activities such as ballet dancing may be at relatively high risk of vitamin D insufficiency. The objective of this study was to investigate the prevalence of low vitamin D levels in young male ballet dancers and its impact on musculoskeletal health. Eighteen male ballet dancers, aged 10 to 19 years and training for at least 6 hours per week, were recruited from the Australian Ballet School, Melbourne, Australia. Serum 25(OH)D and intact PTH were measured in winter (July) from a non-fasting blood sample. Pubertal stage was determined using self-assessed Tanner criteria. Body composition and areal bone mineral density (aBMD) at the whole body and lumbar spine were measured using dual-energy x-ray absorptiometry (DXA). Injury history and physical activity levels were assessed by questionnaire. Blood samples were obtained from 16 participants. Serum 25(OH)D levels ranged from 20.8 to 94.3 nmol/L, with a group mean of 50.5 nmol/L. Two participants (12.5%) showed vitamin D deficiency [serum 25(OH)D level 50 nmol/L). No relationship was found between vitamin D status, PTH levels, body composition, and aBMD. The most commonly reported injuries were muscle tears and back pain. The average number of injuries reported by each dancer was 1.9 ± 0.4 (range: 0 to 5). There was no difference in the frequency of reported injuries between subjects with vitamin D deficiency or insufficiency (2.1 ± 0.6 injuries) and those with normal vitamin D levels (1.4 ± 0.6 injuries). This pilot study showed that more than half of highly-trained young male ballet dancers presented with low levels of vitamin D in winter. Further investigations in larger samples of adolescent athletes are needed to determine if this could negatively impact bone growth and place them at higher risk for musculoskeletal injuries.

  16. The role of puberty in the making and breaking of young ballet dancers: Perspectives of dance teachers.

    Science.gov (United States)

    Mitchell, Siobhan B; Haase, Anne M; Malina, Robert M; Cumming, Sean P

    2016-02-01

    Physical changes associated with puberty may conflict with functional and aesthetic ideals for a career in ballet. The dance teacher is in a position to guide young dancers through the pubertal transition, although dancers rather than teachers are often the focus of research. This study explores the social stimulus value of the female body in ballet as perceived by the dance teacher and how value may change during puberty. Ten UK dance teachers were interviewed; interpretative phenomenological analysis was used. Four main themes perceived by dance teachers emerged as central to the social stimulus value of the body among adolescent dancers: the ideal body; teacher approaches to managing puberty in the dance environment; puberty as a 'make or break' stage in ballet; and teacher awareness of pubertal onset and the implications of timing. Dance teachers can play an important role in moderating external and individual expectations during the pubertal transition.

  17. Inter- and intra-lower limb joint coordination of non-expert classical ballet dancers during tiptoe standing.

    Science.gov (United States)

    Tanabe, Hiroko; Fujii, Keisuke; Kouzaki, Motoki

    2014-04-01

    The main objective of this study was to compare ballet dancers' and non-dancers' joint coordination during tiptoe standing. Nine female non-expert ballet dancers and nine female non-dancers were asked to perform heel-toe and tiptoe standing for approximately 30s, during which the center of pressure (COP) and kinematic data from the metatarsophalangeal, ankle, knee, and hip joints were measured. Principal component analysis was performed on the angular displacements to determine joint coordination. The weighting vectors suggested that dancers' ankle and knee joints fluctuated in-phase in the anteroposterior direction, whereas all combinations of adjacent joints had anti-phase coordination for non-dancers. In addition, there was a significant difference in the intra-joint coordination pattern between groups. In particular, dancers' metatarsophalangeal (MP) and ankle joints tended to sway to the left-front or right-rear. However, there were no differences between the groups in the path length or rectangular COP. These results suggest that dancers maintained quiet postures via a decrease in the mechanical degree of freedom and that postural expertise may not be determined from a traditional COP analysis, even during unstable tiptoe standing. This in-phase coordination, which has an arch-like configuration, could be characteristic of dancers' lithe legs.

  18. Joint Coordination and Muscle Activities of Ballet Dancers During Tiptoe Standing.

    Science.gov (United States)

    Tanabe, Hiroko; Fujii, Keisuke; Kouzaki, Motoki

    2017-01-01

    We aimed to investigate joint coordination of lower limbs in dancers during tiptoe standing and the relationship between joint coordination and muscle coactivation. Seven female ballet dancers performed tiptoe standing with six leg positions (fi e classical dance positions and one modern dance position) for 10 s. The kinematic data of the metatarsophalangeal (MP), ankle, knee, and hip joints was collected, and surface electromyography (EMG) of over 13 lower limb muscles was conducted. Principal component analysis was performed to determine joint coordination. MP-ankle and ankle-knee had in-phase coordination, whereas knee-hip showed anti-phase coordination in the sagittal plane. In addition, most EMG-EMG coherence around the MP and ankle joints was significant up to 50 Hz when these two joints swayed with in-phase. This suggests that different joint coordination patterns are associated with neural processing related to different muscle coactivation patterns. In conclusion, ballet dancers showed in-phase coordination from the MP to knee joints, which was associated with muscle coactivation to a higher frequency domain (up to 50 Hz) in comparison with anti-phase coordination.

  19. Re-Contextualizing Dance Skills: Overcoming Impediments to Motor Learning and Expressivity in Ballet Dancers

    Directory of Open Access Journals (Sweden)

    Janet eKarin

    2016-03-01

    Full Text Available The process of transmitting ballet’s complex technique to young dancers can interfere with the innate processes that give rise to efficient, expressive and harmonious movement. With the intention of identifying possible solutions, this article draws on research across the fields of neurology, psychology, motor learning, and education, and considers their relevance to ballet as an art form, a technique, and a training methodology. The integration of dancers’ technique and expressivity is a core theme throughout the paper. A brief outline of the historical development of ballet’s aesthetics and training methods leads into factors that influence dancers’ performance. An exploration of the role of the neuromotor system in motor learning and the acquisition of expert skills reveals the roles of sensory awareness, imagery, and intention in cuing efficient, expressive movement. It also indicates potentially detrimental effects of conscious muscle control, explicit learning and persistent naïve beliefs. Finally, the paper presents a new theory regarding the acquisition of ballet skills. Recontextualisation theory proposes that placing a problematic task within a new context may engender a new conceptual approach and/or sensory intention, and hence the genesis of new motor programs; and that these new programs may lead to performance that is more efficient, more rewarding for the dancer, more pleasing aesthetically, and more expressive. From an anecdotal point of view, this theory appears to be supported by the progress of many dancers at various stages of their dancing lives.

  20. Single-leg squats can predict leg alignment in dancers performing ballet movements in “turnout”

    Directory of Open Access Journals (Sweden)

    Hopper LS

    2016-11-01

    Full Text Available Luke S Hopper,1 Nahoko Sato,2 Andries L Weidemann1 1Western Australian Academy of Performing Arts, Edith Cowan University, Mt Lawley, WA, Australia; 2Department of Physical Therapy, Nagoya Gakuin University, Seto, Japan Abstract: The physical assessments used in dance injury surveillance programs are often adapted from the sports and exercise domain. Bespoke physical assessments may be required for dance, particularly when ballet movements involve “turning out” or external rotation of the legs beyond that typically used in sports. This study evaluated the ability of the traditional single-leg squat to predict the leg alignment of dancers performing ballet movements with turnout. Three-dimensional kinematic data of dancers performing the single-leg squat and five ballet movements were recorded and analyzed. Reduction of the three-dimensional data into a one-dimensional variable incorporating the ankle, knee, and hip joint center positions provided the strongest predictive model between the single-leg squat and the ballet movements. The single-leg squat can predict leg alignment in dancers performing ballet movements, even in “turned out” postures. Clinicians should pay careful attention to observational positioning and rating criteria when assessing dancers performing the single-leg squat. Keywords: injury, motion capture, clinical assessment

  1. Single-leg squats can predict leg alignment in dancers performing ballet movements in “turnout”

    Science.gov (United States)

    Hopper, Luke S; Sato, Nahoko; Weidemann, Andries L

    2016-01-01

    The physical assessments used in dance injury surveillance programs are often adapted from the sports and exercise domain. Bespoke physical assessments may be required for dance, particularly when ballet movements involve “turning out” or external rotation of the legs beyond that typically used in sports. This study evaluated the ability of the traditional single-leg squat to predict the leg alignment of dancers performing ballet movements with turnout. Three-dimensional kinematic data of dancers performing the single-leg squat and five ballet movements were recorded and analyzed. Reduction of the three-dimensional data into a one-dimensional variable incorporating the ankle, knee, and hip joint center positions provided the strongest predictive model between the single-leg squat and the ballet movements. The single-leg squat can predict leg alignment in dancers performing ballet movements, even in “turned out” postures. Clinicians should pay careful attention to observational positioning and rating criteria when assessing dancers performing the single-leg squat. PMID:27895518

  2. Examination and treatment of a professional ballet dancer with a suspected acetabular labral tear: A case report.

    Science.gov (United States)

    Khoo-Summers, Lynnette; Bloom, Nancy J

    2015-08-01

    Dancers are at risk for developing groin pain that is due to acetabular labral tears. Although surgical management of labral tears has been reported extensively, conservative management has been poorly described. This case report describes the examination, diagnosis, and treatment of groin pain in a professional ballet dancer with a suspected acetabular labral tear. Treatment focused on decreasing anterior hip joint stresses and improving the precision of hip motion through correction of alignment and movement impairments noted during functional activities and dance. Successful outcomes included a reduction in pain and return to professional ballet dancing.

  3. A review of the risk factors for lower extremity overuse injuries in young elite female ballet dancers.

    Science.gov (United States)

    Bowerman, Erin Anne; Whatman, Chris; Harris, Nigel; Bradshaw, Elizabeth

    2015-06-01

    The objective of this study was to review the evidence for selected risk factors of lower extremity overuse injuries in young elite female ballet dancers. An electronic search of key databases from 1969 to July 2013 was conducted using the keywords dancers, ballet dancers, athletes, adolescent, adolescence, young, injury, injuries, risk, overuse, lower limb, lower extremity, lower extremities, growth, maturation, menarche, alignment, and biomechanics. Thirteen published studies were retained for review. Results indicated that there is a high incidence of lower extremity overuse injuries in the target population. Primary risk factors identified included maturation, growth, and poor lower extremity alignment. Strong evidence from well-designed studies indicates that young elite female ballet dancers suffer from delayed onset of growth, maturation, menarche, and menstrual irregularities. However, there is little evidence that this deficit increases the risk of overuse injury, with the exception of stress fractures. Similarly, there is minimal evidence linking poor lower extremity alignment to increased risk of overuse injury. It is concluded that further prospective, longitudinal studies are required to clarify the relationship between growth, maturation, menarche, and lower extremity alignment, and the risk of lower extremity overuse injury in young elite female ballet dancers.

  4. Testosterone concentrations in female athletes and ballet dancers with menstrual disorders.

    Science.gov (United States)

    Łagowska, Karolina; Kapczuk, Karina

    2016-01-01

    Menstrual disorders are common among female athletes and ballet dancers. Endocrine changes, such as high testosterone (HT) levels and high luteinizing hormone (LH)/follicle-stimulating hormone (FSH) ratios, may suggest functional ovarian hyperandrogenism which may induce such dysfunction. The aim of this study was therefore to evaluate endocrine status in female athletes and ballet dancers with menstrual disorders. Their nutritional status and dietary habits were analysed in relation to the testosterone levels. In a cross-sectional approach, 31 female athletes (18.1 ± 2.6 years) and 21 ballerinas (17.1 ± 0.9) with menstrual disorders participated in the study. The levels of serum LH, FSH, progesterone (P), estradiol (E2), prolactin (PRL), thyroid-stimulating hormone, testosterone (T) and sex hormone-binding globulinwere measured to assess hormonal status. In addition, the free androgen index (FAI) was calculated. Nutritional status, total daily energy expenditure and nutritional habits were evaluated. Girls were assigned to one of the following groups: low testosterone (LT) level, normal testosterone level or HT level. There were significant differences between ballerinas and other female athletes in terms of testosterone levels, FAI, age at the beginning of training, length of training period and age at menarche. The PRL level was lowest in the LT group while the FAI index was highest in the HT group. Daily energy and carbohydrate intakes were significantly lower in the HT group. T levels in the study subjects were found to be associated with nutritional factors, energy availability, age at the beginning of training and frequency of training. This is the first report of HT levels being associated with the status of a female ballet dancer, the age of menarche and the length of the training history. Further research is necessary to confirm the results in a larger study group.

  5. Fitness training and its effect on musculoskeletal pain in professional ballet dancers.

    Science.gov (United States)

    Ramel, E; Thorsson, O; Wollmer, P

    1997-10-01

    In a controlled, prospective, randomized study, half of the dancers in a professional ballet company were asked to do extra self-administered fitness training, while the other half became the control group. The aim was to examine if the dancers in the training group would be able to keep up the extra training during a regular season and to examine its effect on their maximum oxygen uptake and on their self-estimated musculoskeletal pain. The training group increased their oxygen uptake more than the control group. The self-estimated functional inability because of pain (SEFIP) indicated significantly less pain the week after the première for the study population taken as a whole, but not for the two groups when considered separately. The training group claimed that the fitness training had helped them to cope with the psychological strain during rehearsals.

  6. Social Physique Anxiety and Pressure to Be Thin in Adolescent Ballet Dancers, Rhythmic Gymnastics and Swimming Athletes

    Science.gov (United States)

    Kosmidou, Evdoxia; Giannitsopoulou, Evgenia; Moysidou, Dimitra

    2017-01-01

    Participation in sports may influence negative body image and Social Physique Anxiety (SPA) as there is pressure by significant others to have a certain body image. The aim of the present study was to examine possible differences in SPA and perceived pressure to be thin between female preadolescent and adolescent ballet dancers, rhythmic…

  7. Acute Effects of Static vs. Ballistic Stretching on Strength and Muscular Fatigue Between Ballet Dancers and Resistance-Trained Women.

    Science.gov (United States)

    Lima, Camila D; Brown, Lee E; Wong, Megan A; Leyva, Whitney D; Pinto, Ronei S; Cadore, Eduardo L; Ruas, Cassio V

    2016-11-01

    Lima, CD, Brown, LE, Wong, MA, Leyva, WD, Pinto, RS, Cadore, EL, and Ruas, CV. Acute effects of static vs. ballistic stretching on strength and muscular fatigue between ballet dancers and resistance-trained women. J Strength Cond Res 30(11): 3220-3227, 2016-Stretching is used to increase joint range of motion, but the acute effects can decrease muscle strength. However, this may depend on the population or mode of stretching. The purpose of this study was to compare the acute effects of static vs. ballistic stretching on strength and muscular fatigue between ballet dancers and resistance-trained women. Fifteen resistance-trained women (age 23.8 ± 1.80 years, mass 67.47 ± 7.77 kg, height 168.30 ± 5.53 cm) and 12 ballet dancers (age 22.8 ± 3.04 years, mass 58.67 ± 5.65 kg, height 168.00 ± 7.69 cm) performed 5 days of testing. The first day was control (no stretching), whereas the other 4 days were static or ballistic stretching in a counterbalanced order. Range of motion, strength, and fatigue tests were also performed. Both groups demonstrated a significant decrease in hamstrings strength after static (102.71 ± 2.67 N·m) and ballistic stretching (99.49 ± 2.61 N·m) compared with control (113.059 ± 3.25 N·m), with no changes in quadriceps strength. For fatigue, only ballet dancers demonstrated a decrease from control (71.79 ± 4.88%) to ballistic (65.65 ± 8.19%), but no difference with static (65.01 ± 12.29%). These findings suggest that stretching decreases hamstrings strength similarly in ballet dancers and resistance-trained women, with no differences between modes of stretching. However, ballistic stretching only decreased muscular fatigue in ballet dancers, but not in resistance-trained women. Therefore, no stretching should be performed before strength performance. However, ballistic stretching may decrease acute muscular fatigue in ballet dancers.

  8. Body mass composition of ballet dancers and elite female aesthetic sport athletes from Cuba. DOI: 10.5007/1980-0037.2011v13n5p335

    Directory of Open Access Journals (Sweden)

    Julieta Aréchiga Viramontes

    2011-08-01

    Full Text Available The level of scenic beauty of ballet dancer’s figure is signified for the reason of possessing morpho-functional characteristics valid only within the artistic cannon. The female ballet dancers and the sportswomen who practice esthetic sports do have in common the need of being slim and executing efficiently the complex movements of their technical activities. The objective of this paper is to compare the body composition of ballet female dancers with that of the artistic gymnastics (GAR, the rhythmic gymnastics (GRI and the synchronized swimming (NAS elite sportswomen. Thirty two female ballet dancers of the National Cuban Ballet School and sixty three elite sportswomen who practice aesthetic sports in Cuba have been studied for the purpose. An anthropometric protocol of sixteen measures has been applied to calculate the kinanthropometric indexes of the corporal mass composition’s component. The general percentage of the fat mass (PMG in the ballet dancers was found statistically different to the GAR and GRI groups, but this one was similar in comparison with NAS group. Mayor muscle mass general percentage (PMM was obtained in the GAR and GRI groups, in comparison with the dancers. The ballet group showed the minor differential PMM-PMG, and muscular percentage of the transverse areas of the segments of extremities than the elite athlete groups. The data classified the ballet group as the one of less potential efficiency of technical and transitive movement than the other ones.

  9. Ground reaction forces in ballet dancers landing in flat shoes versus pointe shoes.

    Science.gov (United States)

    Walter, Heather L; Docherty, Carrie L; Schrader, John

    2011-06-01

    Reports in the literature suggest an abundance of lower extremity injuries in ballet dancers; however, few studies have identified the underlying causes of these injuries. Excessive ground reaction forces and shoe type are two potential contributing factors. Eighteen collegiate female ballet majors volunteered for this study. Each participant performed 12 trials of a basic ballet jump, six trials in flat shoes and 6 trials in pointe shoes, landing on a force plate. Ground reaction force (Newtons) and jump height (centimeters) were assessed for each trial. The mean ground reaction force and jump height for each shoe condition was used for statistical analysis. Two dependent t-tests were conducted to determine differences between the shoe types, one for ground reaction force and one for jump height. Alpha level was set at p < .05. We found that the ground reaction force was significantly higher when landing in flat shoes than in pointe shoes (p = .003). There was no significant difference in jump height between the two shoe conditions. This leads us to believe that the increase in ground reaction force was produced primarily by the shoe type.

  10. Assessment of Maximum Aerobic Capacity and Anaerobic Threshold of Elite Ballet Dancers.

    Science.gov (United States)

    Wyon, Matthew A; Allen, Nick; Cloak, Ross; Beck, Sarah; Davies, Paul; Clarke, Frances

    2016-09-01

    An athlete's cardiorespiratory profile, maximal aerobic capacity, and anaerobic threshold is affected by training regimen and competition demands. The present study aimed to ascertain whether there are company rank differences in maximal aerobic capacity and anaerobic threshold in elite classical ballet dancers. Seventy-four volunteers (M 34, F 40) were recruited from two full-time professional classical ballet companies. All participants completed a continuous incremental treadmill protocol with a 1-km/hr speed increase at the end of each 1-min stage until termination criteria had been achieved (e.g., voluntary cessation, respiratory exchange ratio <1.15, HR ±5 bpm of estimated HRmax). Peak VO2 (5-breathe smooth) was recorded and anaerobic threshold calculated using ventilatory curve and ventilatory equivalents methods. Statistical analysis reported between-subject effects for gender (F1,67=35.18, p<0.001) and rank (F1,67=8.67, p<0.001); post hoc tests reported soloists (39.5±5.15 mL/kg/min) as having significantly lower VO2 peak than artists (45.9±5.75 mL/kg/min, p<0.001) and principal dancers (48.07±3.24 mL/kg/min, p<0.001). Significant differences in anaerobic threshold were reported for age (F1,67=7.68, p=0.008) and rank (F1,67=3.56, p=0.034); post hoc tests reported artists (75.8±5.45%) having significantly lower anaerobic threshold than soloists (80.9±5.71, p<0.01) and principals (84.1±4.84%, p<0.001). The observed differences in VO2 peak and anaerobic threshold between the ranks in ballet companies are probably due to the different rehearsal and performance demands.

  11. Effect of narrowing the base of support on the gait, gaze and quiet eye of elite ballet dancers and controls.

    Science.gov (United States)

    Panchuk, Derek; Vickers, Joan N

    2011-08-01

    We determined the gaze and stepping behaviours of elite ballet dancers and controls as they walked normally and along progressively narrower 3-m lines (l0.0, 2.5 cm). The ballet dancers delayed the first step and then stepped more quickly through the approach area and onto the lines, which they exited more slowly than the controls, which stepped immediately but then slowed their gait to navigate the line, which they exited faster. Contrary to predictions, the ballet group did not step more precisely, perhaps due to the unique anatomical requirements of ballet dance and/or due to releasing the degrees of freedom under their feet as they fixated ahead more than the controls. The ballet group used significantly fewer fixations of longer duration, and their final quiet eye (QE) duration prior to stepping on the line was significantly longer (2,353.39 ms) than the controls (1,327.64 ms). The control group favoured a proximal gaze strategy allocating 73.33% of their QE fixations to the line/off the line and 26.66% to the exit/visual straight ahead (VSA), while the ballet group favoured a 'look-ahead' strategy allocating 55.49% of their QE fixations to the exit/VSA and 44.51% on the line/off the line. The results are discussed in the light of the development of expertise and the enhanced role of fixations and visual attention when more tasks become more constrained.

  12. Imagem corporal e bailarinas profissionais Body image of professional ballet dancers

    Directory of Open Access Journals (Sweden)

    Aline Nogueira Haas

    2010-06-01

    Full Text Available A imagem corporal é um tema que sempre está em evidência quando se aborda a dança em suas diferentes modalidades. A busca da imagem corporal ideal em bailarinas vai além dos parâmetros da população em geral e, na medida em que elas se tornam profissionais, a necessidade de manter o peso adequado vai aumentando. Este estudo tem como objetivo verificar o nível de satisfação de bailarinas de balé clássico e de dança jazz com sua imagem corporal, identificando as diferenças e semelhanças entre os dois grupos. Pretende-se ainda identificar semelhanças e diferenças no nível de satisfação com a imagem corporal de bailarinas clássicas de países diferentes. Trata-se de uma pesquisa de campo descritiva. A amostra foi composta por 15 bailarinas adultas profissionais de balé clássico e 16 bailarinas de dança jazz de Porto Alegre, RS, Brasil, e por nove bailarinas adultas profissionais radicadas em Nova Iorque, Estados Unidos. O instrumento utilizado para avaliar o nível de satisfação com a imagem corporal foi o Questionário de Imagem Corporal - BSQ, que mede o grau de preocupação com a forma do corpo, a autodepreciação devido à aparência física e a sensação de estar gordo. Os dados foram analisados com auxílio do programa estatístico SPSS 15.0. Para a comparação dos dados foram aplicados os testes Qui-quadrado e Anova, sendo considerados significativos valores de p Body image is an issue that is always in evidence when addressing different types of dance. The search for the ideal body image among dancers goes beyond the parameters of the general population and, as they become professionals, the need to maintain the appropriate weight increases. This study aims to verify the level of satisfaction of classical ballet dancers and jazz dancers with their body image, identifying differences and similarities between the two groups. Furthermore, similarities and differences in the level of satisfaction with body image of

  13. Dietary Intake, Anthropometric Characteristics, and Iron and Vitamin D Status of Female Adolescent Ballet Dancers Living in New Zealand.

    Science.gov (United States)

    Beck, Kathryn L; Mitchell, Sarah; Foskett, Andrew; Conlon, Cathryn A; von Hurst, Pamela R

    2015-08-01

    Ballet dancing is a multifaceted activity requiring muscular power, strength, endurance, flexibility, and agility; necessitating demanding training schedules. Furthermore dancers may be under aesthetic pressure to maintain a lean physique, and adolescent dancers require extra nutrients for growth and development. This cross-sectional study investigated the nutritional status of 47 female adolescent ballet dancers (13-18 years) living in Auckland, New Zealand. Participants who danced at least 1 hr per day 5 days per week completed a 4-day estimated food record, anthropometric measurements (Dual-energy X-ray Absorptiometry) and hematological analysis (iron and vitamin D). Mean BMI was 19.7 ± 2.4 kg/m2 and percentage body fat, 23.5 ± 4.1%. The majority (89.4%) of dancers had a healthy weight (5th-85th percentile) using BMI-for-age growth charts. Food records showed a mean energy intake of 8097.3 ± 2155.6 kJ/day (48.9% carbohydrate, 16.9% protein, 33.8% fat, 14.0% saturated fat). Mean carbohydrate and protein intakes were 4.8 ± 1.4 and 1.6 ± 0.5 g/kg/day respectively. Over half (54.8%) of dancers consumed less than 5 g carbohydrate/kg/day, and 10 (23.8%) less than 1.2 g protein/kg/day. Over 60% consumed less than the estimated average requirement for calcium, folate, magnesium and selenium. Thirteen (28.3%) dancers had suboptimal iron status (serum ferritin (SF) ballet dancers are at risk for iron deficiency, and possibly inadequate nutrient intakes.

  14. Dancer Ballerina

    Institute of Scientific and Technical Information of China (English)

    1997-01-01

    SOMEONE once said that ballet, a splendidly external art, is actually a cruel art. The strict training and lifetime restrictions placed on dancers means a dancer must not only pay in perspiration, but also in tears and blood. Few ballet dancers can say their toes have not been broken. Every shoe is Stained with blood.

  15. Central common drive to antagonistic ankle muscles in relation to short-term cocontraction training in nondancers and professional ballet dancers.

    Science.gov (United States)

    Geertsen, S S; Kjær, M; Pedersen, K K; Petersen, T H; Perez, M A; Nielsen, J B

    2013-10-01

    Optimization of cocontraction of antagonistic muscles around the ankle joint has been shown to involve plastic changes in spinal and cortical neural circuitries. Such changes may explain the ability of elite ballet dancers to maintain a steady balance during various ballet postures. Here we investigated whether short-term cocontraction training in ballet dancers and nondancers leads to changes in the coupling between antagonistic ankle motor units. Eleven ballet dancers and 10 nondancers were recruited for the study. Prior to training, ballet dancers and nondancers showed an equal amount of coherence in the 15- to 35-Hz frequency band and short-term synchronization between antagonistic tibialis anterior and soleus motor units. The ballet dancers tended to be better at maintaining a stable cocontraction of the antagonistic muscles, but this difference was not significant (P = 0.09). Following 27 min of cocontraction training, the nondancers improved their performance significantly, whereas no significant improvement was observed for the ballet dancers. The nondancers showed a significant increase in 15- to 35-Hz coherence following the training, whereas the ballet dancers did not show a significant change. A group of control subjects (n = 4), who performed cocontraction of the antagonistic muscles for an equal amount of time, but without any requirement to improve their performance, showed no change in coherence. We suggest that improved ability to maintain a stable cocontraction around the ankle joint is accompanied by short-term plastic changes in the neural drive to the involved muscles, but that such changes are not necessary for maintained high-level performance.

  16. A comparison of ballet dancers with different level of experience in performing single-leg stance on retiré position.

    Science.gov (United States)

    Lin, Chia-Wei; Lin, Cheng-Feng; Hsue, Bih-Jen; Su, Fong-Chin

    2014-04-01

    The purpose of the current study was to evaluate the postural stability of single-leg standing on the retiré position in ballet dancers having three different levels of skill. Nine superior experienced female ballet dancers, 9 experienced, and 12 novice dancers performed single-leg standing in the retiré position. The parameters of center of pressure (COP) in the anterior-posterior and medial-lateral directions and the maximum distance between COP and the center of mass (COM) were measured. The inclination angles of body segments (head, torso, and supporting leg) in the frontal plane were also calculated. The findings showed that the novice dancers had a trend of greater torso inclination angles than the experienced dancers but that the superior experienced dancers had greater maximum COM-COP distance in the anterior-posterior direction. Furthermore, both experienced and novice dancers had better balance when standing on the nondominant leg, whereas the superior experienced dancers had similar postural stability between legs. Based on the findings, ballet training should put equal focus on both legs and frontal plane control (medial-lateral direction) should be integrated to ballet training program.

  17. Changes in biomechanics and muscle activation in injured ballet dancers during a jump-land task with turnout (Sissonne Fermée).

    Science.gov (United States)

    Lee, Hsing-Hsan; Lin, Chia-Wei; Wu, Hong-Wen; Wu, Tzu-Chuan; Lin, Cheng-Feng

    2012-01-01

    Large impact loading with abnormal muscle activity and motion patterns may contribute to lower extremity injuries in ballet dancers. Yet, few studies investigated the influence of injury on the ballet movement. The purpose of this study was to find the neuromuscular and biomechanical characteristics in dancers with and without ankle injury during a jump-landing Sissonne Fermée task. Twenty-two ballet dancers were recruited and divided into the injured group (n = 11) and the uninjured group (n = 11). They performed a ballet movement called "Sissonne Fermée" with reflective markers and electrodes attached to their lower extremities. Ground reaction force, joint kinematics, and muscle activity were measured. The injured dancers had greater peak ankle eversion but smaller hindfoot-to-tibial eversion angles. Also, the injured dancers had greater activity of the hamstring of the dominant leg and tibialis anterior of the non-dominant leg during the pre-landing phase. The injured dancers had greater tibialis anterior activity of the dominant leg but less muscle activity in the medial gastrocnemius of the non-dominant leg during the post-landing phase. The injured dancers had a greater co-contraction index in the non-dominant ankle and a lower loading rate. The higher co-contraction indices showed that the injured dancers required more muscle effort to control ankle stability. Furthermore, the injured dancers used a "load avoidance strategy" to protect themselves from re-injury. Neuromuscular control training of the ankle joint for ballet dancers to prevent injury is necessary.

  18. Differences in Cortical Representation and Structural Connectivity of Hands and Feet between Professional Handball Players and Ballet Dancers

    Directory of Open Access Journals (Sweden)

    Jessica Meier

    2016-01-01

    Full Text Available It is known that intensive training and expertise are associated with functional and structural neuroadaptations. Most studies, however, compared experts with nonexperts; hence it is, specifically for sports, unclear whether the neuroplastic adaptations reported are sport-specific or sport-general. Here we aimed at investigating sport-specific adaptations in professional handball players and ballet dancers by focusing on the primary motor and somatosensory grey matter (GM representation of hands and feet using voxel-based morphometry as well as on fractional anisotropy (FA of the corticospinal tract by means of diffusion tensor imaging-based fibre tractography. As predicted, GM volume was increased in hand areas of handball players, whereas ballet dancers showed increased GM volume in foot areas. Compared to handball players, ballet dancers showed decreased FA in both fibres connecting the foot and hand areas, but they showed lower FA in fibres connecting the foot compared to their hand areas, whereas handball players showed lower FA in fibres connecting the hand compared to their foot areas. Our results suggest that structural adaptations are sport-specific and are manifested in brain regions associated with the neural processing of sport-specific skills. We believe this enriches the plasticity research in general and extends our knowledge of sport expertise in particular.

  19. Differences in Cortical Representation and Structural Connectivity of Hands and Feet between Professional Handball Players and Ballet Dancers.

    Science.gov (United States)

    Meier, Jessica; Topka, Marlene Sofie; Hänggi, Jürgen

    2016-01-01

    It is known that intensive training and expertise are associated with functional and structural neuroadaptations. Most studies, however, compared experts with nonexperts; hence it is, specifically for sports, unclear whether the neuroplastic adaptations reported are sport-specific or sport-general. Here we aimed at investigating sport-specific adaptations in professional handball players and ballet dancers by focusing on the primary motor and somatosensory grey matter (GM) representation of hands and feet using voxel-based morphometry as well as on fractional anisotropy (FA) of the corticospinal tract by means of diffusion tensor imaging-based fibre tractography. As predicted, GM volume was increased in hand areas of handball players, whereas ballet dancers showed increased GM volume in foot areas. Compared to handball players, ballet dancers showed decreased FA in both fibres connecting the foot and hand areas, but they showed lower FA in fibres connecting the foot compared to their hand areas, whereas handball players showed lower FA in fibres connecting the hand compared to their foot areas. Our results suggest that structural adaptations are sport-specific and are manifested in brain regions associated with the neural processing of sport-specific skills. We believe this enriches the plasticity research in general and extends our knowledge of sport expertise in particular.

  20. Augmenting a Ballet Dance Show Using the Dancer's Emotion: Conducting Joint Research in Dance and Computer Science

    Science.gov (United States)

    Clay, Alexis; Delord, Elric; Couture, Nadine; Domenger, Gaël

    We describe the joint research that we conduct in gesture-based emotion recognition and virtual augmentation of a stage, bridging together the fields of computer science and dance. After establishing a common ground for dialogue, we could conduct a research process that equally benefits both fields. As computer scientists, dance is a perfect application case. Dancer's artistic creativity orient our research choices. As dancers, computer science provides new tools for creativity, and more importantly a new point of view that forces us to reconsider dance from its fundamentals. In this paper we hence describe our scientific work and its implications on dance. We provide an overview of our system to augment a ballet stage, taking a dancer's emotion into account. To illustrate our work in both fields, we describe three events that mixed dance, emotion recognition and augmented reality.

  1. Professional ballet dancers have a similar prevalence of articular cartilage defects compared to age- and sex-matched non-dancing athletes.

    Science.gov (United States)

    Mayes, Susan; Ferris, April-Rose; Smith, Peter; Garnham, Andrew; Cook, Jill

    2016-12-01

    Ballet exposes the hip joint to repetitive loading in extreme ranges of movement and may predispose a dancer to pain and osteoarthritis (OA). The aims of this study were to compare the prevalence of cartilage defects in professional ballet dancers and athletes and to determine the relationship of clinical signs and symptoms. Forty-nine male and female, current and retired professional ballet dancers and 49 age- and sex-matched non-dancing athletes completed hip pain questionnaires, including the Copenhagen Hip and Groin Outcome Score (HAGOS), and underwent hip range of movement (ROM) testing and 3-Tesla magnetic resonance imaging to score cartilage defects (no defect, grade 1: focal partial defect and grade 2: diffuse or full thickness defect). Thirty (61 %) dancers and 27 (55 %) athletes had cartilage defects (p = 0.54). The frequency of grade 1 and 2 cartilage defects did not differ between dancers and athletes (p = 0.83). The frequency of cartilage defects was similar in male and female dancers (p = 0.34), and male and female athletes (p = 0.24). Cartilage defects were not related to history of hip pain (p = 0.34), HAGOS pain (p = 0.14), sports/rec (p = 0.15) scores or hip internal rotation ≤20° (p > 0.01). Cartilage defects were related to age in male dancers (p = 0.002). Ballet dancers do not appear to be at a greater risk of cartilage injury compared to non-dancing athletes. Male dancers develop cartilage defects at an earlier age than athletes and female dancers. Cartilage defects were not related to clinical signs and symptoms; thus, prospective studies are required to determine which cartilage defects progress to symptomatic hip OA.

  2. Estado nutricional de bailarinas de ballet clásico, area metropolitana de Costa Rica Nutritional status of classical ballet dancers, metropolitan area of Costa Rica

    Directory of Open Access Journals (Sweden)

    Elena Madrigal Rojas

    2008-12-01

    Full Text Available El principal objetivo de esta investigación fue determinar el estado nutricional de bailarinas de ballet clásico de las tres academias más importantes de ballet localizadas en el Área Metropolitana de Costa Rica. Se trabajó con 24 bailarinas adultas (18 a 30 años de niveles avanzados de ballet. Se registró el consumo de alimentos durante tres días. Se tomaron medidas de talla, peso y pliegues cutáneos. Se recolectaron muestras de sangre para análisis bioquímicos. Se evaluó además la densidad ósea (cadera y lumbar L1, L2, L3, L4 con energía dual de rayos-X. Las actitudes, creencias y riesgo de factores predisponentes a desórdenes alimentarios se evaluaron mediante una entrevista y con la aplicación del Test de Actitudes Alimentarias (EAT-26 e Inventario de Trastornos Alimentarios (EDI. El consumo promedio diario de energía fue considerablemente menor a la recomendación (1880 Kcal/d ± 448 y solamente la niacina y la vitamina B6 fueron consumidas en rangos óptimos. La densidad ósea, hemoglobina y hematocrito estuvieron dentro de los rangos de normalidad. Los resultados de este estudio sugieren que las bailarinas con Índice de Masa Corporal (IMC ≥ 20 Kg/m² tienen dietas más hipocalóricas y mayor riesgo de desórdenes alimentarios. Se necesita investigación en este campo para desarrollar estrategias de educación nutricional que permitan mejorar el estado nutricional y de salud en esta población.The main objective of the present study was to examine the nutritional status of classic ballet dancers from three of the most important ballet academies located in Metropolitan Area of Costa Rica. Study participants included twenty-four adult females (18 to 30 years old of advanced ballet level. Threeday food records were collected from each dancer. Height, body weight and skin fold measurements were completed. Blood samples were collected for biochemical analysis. Bone density was measured by dual X-ray energy (hip and lumbar L

  3. Immediate effect of static and proprioceptive neuromuscular facilitation stretching on hip adductor flexibility in female ballet dancers.

    Science.gov (United States)

    Rubini, Ercole C; Souza, Andréa C; Mello, Mônica L; Bacurau, Reury F P; Cabral, Leonardo F; Farinatti, Paulo T V

    2011-01-01

    The aim of the present study was to investigate the immediate effects of static and proprioceptive neuromuscular facilitation (PNF) stretching on the flexibility of hip adductors in female ballet dancers. Forty-five subjects (age: 28.5 ± 8.0 years; minimum two years of ballet training) were randomly assigned to three groups: PNF (contract-release technique), Static, and Control. Subjects in the PNF and Static groups performed four sets of 30 second stretching with an interval of 30 seconds between sets. The control group stayed at rest for the same time spent by the PNF and Static groups during the stretching sessions. Maximal range of motion was measured before and immediately after the experimental and control protocols in all groups. The results indicated significant differences between pre- and post-stretching flexibility in both PNF and Static groups (p post-exercise flexibility were found between PNF and Static groups (p = 0.235). It is concluded that static and PNF stretching methods provoked similar post-exercise acute effects on the maximal range of motion of hip adductors in highly flexible female ballet dancers.

  4. Comparison of Quantitative Cartilage T2 Measurements and Qualitative MR Imaging between Professional Ballet Dancers and Healthy Volunteers.

    Science.gov (United States)

    Cha, Jang Gyu; Yi, Ji Sook; Han, Jong Kyu; Lee, Young Koo

    2015-07-01

    To compare qualitative magnetic resonance (MR) images and quantitative T2 measurements of the tibiotalar cartilage between ballerinas and healthy volunteers. Institutional review board approval for this study and informed consent (from all participants) were obtained. MR examinations were performed by using a 3-T MR imaging system with 21 professional female ballet dancers and 20 healthy female volunteers. Two musculoskeletal radiologists qualitatively measured tibiotalar cartilage T2 values in the anterior zones, middle zones, and posterior zones of cartilage. MR findings were also qualitatively analyzed in both groups. The tibial cartilage T2 values measured in the anterior and posterior zones and the talar cartilage T2 values measured in all three zones were significantly higher in the ballerina group than in the control group (P quantitative T2 measurement may potentially be used as a noninvasive imaging tool for early detection of cartilage lesions in the tibiotalar joint.

  5. Ballet as a Career

    Science.gov (United States)

    Sutherland, David Earl

    1976-01-01

    A reorganization and reanalysis of data gathered by Ronald Charles Frederico--who interviewed 146 dancers belonging to 12 ballet companies in the U.S.--to investigate the structural features of ballet as a profession. Four possibilities exist for a more general interpretative scheme for understanding ballet: social structural, phenomenological,…

  6. Influences of Patellofemoral Pain and Fatigue in Female Dancers during Ballet Jump-Landing.

    Science.gov (United States)

    Peng, H-T; Chen, W C; Kernozek, T W; Kim, K; Song, C-Y

    2015-08-01

    This study investigated the influence of patellofemoral pain (PFP) and fatigue on lower-extremity joint biomechanics in female dancers during consecutive simple ground échappé. 3-dimensional joint mechanics were analyzed from the no-fatigue to fatigue conditions. 2-way mixed ANOVAs were used to compare the differences of the kinematic and kinetic variables between groups and conditions. Group main effects were seen in increased jump height (p=0.03), peak vertical ground reaction force (p=0.01), knee joint power absorption (p=0.04), and patellofemoral joint stress (PFJS, p=0.04) for PFP group. Fatigue main effects were found for decreased jump height (pballet dancers with PFP sustained great ground impact and loads on the knee probably due to higher jump height compared to the controls. All dancers presented diminished knee joint loading for the protective mechanism and endurance of ankle joint musculature required for the dissipation of loads and displayed a distal-to-proximal dissipation strategy after fatigue.

  7. Treatment of subacute posterior knee pain in an adolescent ballet dancer utilizing trigger point dry needling: a case report.

    Science.gov (United States)

    Mason, John S; Tansey, Kimberly A; Westrick, Richard B

    2014-02-01

    Case Report. Dry needling (DN) is an increasingly popular intervention used by clinicians as a treatment of regional neuromusculoskeletal pain. DN is an invasive procedure that involves insertion of a thin monofilament needle directly into a muscle trigger point (MTP) with the intent of stimulating a local twitch response. Current evidence is somewhat limited, but recent literature supports the use of this intervention in specific neuromusculoskeletal conditions. The purpose of this case report is to present the outcomes of DN as a primary treatment intervention in an adolescent subject with subacute posterior knee pain. The subject was a 16-year-old female competitive ballet dancer referred to physical therapy with a two month history of right posterior knee pain. Palpation identified MTPs which reproduced the patient's primary symptoms. In addition to an exercise program promoting lower extremity flexibility and hip stability, the subject was treated with DN to the right gastrocnemius, soleus, and popliteus muscles. The subject reported being pain free on the Numerical Pain Scale and a +7 improvement in perceived change in recovery on the Global Rating of Change at final follow-up. Physical examination demonstrated no observed impairments or functional limitations, including normal mobility, full strength, and unrestricted execution of dance maneuvers. The patient was able to return to high level dance training and competition without physical limitations and resumed pre-injury dynamic movement activities including dancing, running, jumping, and pivoting without pain. DN can be an effective and efficient intervention to assist patients in decreasing pain and returning to high intensity physical activity. Additional research is needed to determine if DN is effective for other body regions and has long-term positive outcomes. Level 4.

  8. TREATMENT OF SUBACUTE POSTERIOR KNEE PAIN IN AN ADOLESCENT BALLET DANCER UTILIZING TRIGGER POINT DRY NEEDLING: A CASE REPORT

    Science.gov (United States)

    Tansey, Kimberly A.; Westrick, Richard B.

    2014-01-01

    Study Design: Case Report. Background and Purpose: Dry needling (DN) is an increasingly popular intervention used by clinicians as a treatment of regional neuromusculoskeletal pain. DN is an invasive procedure that involves insertion of a thin monofilament needle directly into a muscle trigger point (MTP) with the intent of stimulating a local twitch response. Current evidence is somewhat limited, but recent literature supports the use of this intervention in specific neuromusculoskeletal conditions. The purpose of this case report is to present the outcomes of DN as a primary treatment intervention in an adolescent subject with subacute posterior knee pain. Case Description: The subject was a 16‐year‐old female competitive ballet dancer referred to physical therapy with a two month history of right posterior knee pain. Palpation identified MTPs which reproduced the patient’s primary symptoms. In addition to an exercise program promoting lower extremity flexibility and hip stability, the subject was treated with DN to the right gastrocnemius, soleus, and popliteus muscles. Outcomes: The subject reported being pain free on the Numerical Pain Scale and a +7 improvement in perceived change in recovery on the Global Rating of Change at final follow‐up. Physical examination demonstrated no observed impairments or functional limitations, including normal mobility, full strength, and unrestricted execution of dance maneuvers. Discussion: The patient was able to return to high level dance training and competition without physical limitations and resumed pre‐injury dynamic movement activities including dancing, running, jumping, and pivoting without pain. DN can be an effective and efficient intervention to assist patients in decreasing pain and returning to high intensity physical activity. Additional research is needed to determine if DN is effective for other body regions and has long‐term positive outcomes. Level of Evidence: Level 4 PMID:24567862

  9. Estado nutricional de bailarinas de ballet clásico, area metropolitana de Costa Rica Nutritional status of classical ballet dancers, metropolitan area of Costa Rica

    OpenAIRE

    Elena Madrigal Rojas; Ana Rocío González Urrutia

    2008-01-01

    El principal objetivo de esta investigación fue determinar el estado nutricional de bailarinas de ballet clásico de las tres academias más importantes de ballet localizadas en el Área Metropolitana de Costa Rica. Se trabajó con 24 bailarinas adultas (18 a 30 años) de niveles avanzados de ballet. Se registró el consumo de alimentos durante tres días. Se tomaron medidas de talla, peso y pliegues cutáneos. Se recolectaron muestras de sangre para análisis bioquímicos. Se evaluó además la densidad...

  10. Ballet Balance Strategies

    DEFF Research Database (Denmark)

    Pedersen, Camilla; Erleben, Kenny; Sporring, Jon

    2006-01-01

    movements of a ballet dancers. It is supported by computer simulated experiments and it is in good agreement with biomechanical measurements of real-life dancers. Our results questions the previous approaches in dynamic animation, which only uses the center of gravity strategy, and instead demonstrate...

  11. Imagem corporal e comportamentos de risco para transtornos alimentares em bailarinos profissionais Body image and risk behavior for eating disorders in professional ballet dancers

    Directory of Open Access Journals (Sweden)

    Lena Guimarães Ribeiro

    2010-04-01

    Full Text Available INTRODUÇÃO E OBJETIVO: A grande preocupação com a aparência e a forma física e a constante pressão para manterem baixo peso corporal são fatores que levam a distorções da imagem corporal e tornam os bailarinos um grupo de risco para o desenvolvimento de transtornos alimentares (TA. O objetivo deste estudo foi avaliar a percepção da imagem corporal e sua associação com comportamentos de risco para TA em bailarinos profissionais. MÉTODOS: Foram estudados 61 bailarinos (39 mulheres e 22 homens de uma instituição representante da elite do balé clássico brasileiro. A avaliação dos comportamentos de risco para TA foi feita com base nas versões em português dos questionários Eating Attitudes Test (EAT-26 e Bulimic Investigatory Test Edinburgh (BITE. A Escala de Silhuetas de Stunkard foi utilizada para avaliação da percepção da imagem corporal. A associação entre as variáveis foi avaliada com base na razão de prevalência (RP e seus respectivos intervalos de confiança (IC de 95%. RESULTADOS: Trinta e um bailarinos (50,8% gostariam de ter a silhueta menor que a autopercebida como usual. A presença de comportamentos de risco para TA foi 2,71 vezes maior (IC 95% = 1,02 - 7,18 entre os que desejavam ter silhueta menor que a usual e 2,64 vezes maior (IC 95% = 1,20 - 5,80 entre aqueles que desejavam ter silhueta menor que a considerada mais saudável, quando comparados com os que estavam satisfeitos com a sua silhueta. CONCLUSÃO: A alta frequência de insatisfação com o corpo encontrada pode estar colaborando para ocorrência de comportamentos de risco para TA nos bailarinos investigados.INTRODUCTION AND OBJECTIVE: Great concern with physical appearance and fitness as well as constant pressure in maintaining low body weight make ballet dancers a risk group for the development of eating disorders (ED. The objective of the present study was to evaluate the body image perception and its association with risk behavior for ED

  12. Arthroscopic Release of Flexor Hallucis Longus Tendon Sheath in Female Ballet Dancers: Dynamic Pathology, Surgical Technique, and Return to Dancing Performance.

    Science.gov (United States)

    Funasaki, Hiroki; Hayashi, Hiroteru; Sakamoto, Kanako; Tsuruga, Rei; Marumo, Keishi

    2015-12-01

    Stenosing tenosynovitis of the flexor hallucis longus (FHL) tendon is known as a major overuse lesion in female dancers. We describe arthroscopic surgical techniques in relation to the dynamic pathology of the disease. Crepitus and pain on moving the great toe with the ankle in plantar flexion on preoperative examination confirm the diagnosis of FHL stenosing tenosynovitis even if the os trigonum is not evident. The ankle is approached through standard posterolateral and posteromedial portals. A 4.0-mm-diameter 30° arthroscope is used. Soft tissues around the talus are cleared with a motorized shaver and a radiofrequency device. The posterior aspects of the talus, os trigonum, and FHL tendon surrounded by the tendon sheath are visualized. The dynamic pathology of the FHL tendon is well observed on passive motion of the great toe. The prominent bone fragment of the talus is removed and the tendon sheath is cut with a retrograde knife and a motorized shaver from the superior border down to the entrance of the fibro-osseous tunnel. Arthroscopic release of the FHL tendon sheath is a useful and easy method to directly approach the dynamic pathology of FHL tenosynovitis in female ballet dancers.

  13. Negotiating the Gay Male Stereotype in Ballet and Modern Dance

    Science.gov (United States)

    Polasek, Katherine M.; Roper, Emily A.

    2011-01-01

    Dance, ballet and modern in particular, is culturally defined as a feminine activity in the United States. The purpose of the present study was to examine the experiences of professional male modern and ballet dancers in the United States. Semi-structured interviews were conducted with 12 current professional ballet and modern dancers. We examined…

  14. Negotiating the Gay Male Stereotype in Ballet and Modern Dance

    Science.gov (United States)

    Polasek, Katherine M.; Roper, Emily A.

    2011-01-01

    Dance, ballet and modern in particular, is culturally defined as a feminine activity in the United States. The purpose of the present study was to examine the experiences of professional male modern and ballet dancers in the United States. Semi-structured interviews were conducted with 12 current professional ballet and modern dancers. We examined…

  15. Motivating and Evaluating Growth in Ballet Technique

    Science.gov (United States)

    White, Julie Hammond

    2012-01-01

    In teaching young dancers ballet, the utilization of effective assessments in partnership with supportive and creative teaching strategies can transform not only the learning experience, but the dancer as well. In this article, the author shares a "growth grade rubric" that specifically addresses three areas in ballet training: (1) skills and…

  16. Moving Is Like Making Out: Developing Female University Dancers' Ballet Technique and Expression through the Use of Metaphor

    Science.gov (United States)

    Spohn, Cydney; Prettyman, Sandra Spickard

    2012-01-01

    This qualitative study explored the use of metaphor within a somatic context as a means to bridge the divide between technique and expression in two undergraduate advanced intermediate ballet classes. Data included surveys, classroom observations, student journal responses and student work, as well as surveys and journal responses, one year after…

  17. Problems with Ballet: Steps, Style and Training

    Science.gov (United States)

    Morris, Geraldine

    2003-01-01

    The purpose of this research is to instigate a debate about the way in which professional ballet dancers are trained and the content of that training. The literature on the teaching of ballet has always focused on two areas: ballet vocabulary and training. The former is treated as both a fixed and autonomous form, and, for the latter, methods of…

  18. Injuries in classical ballet

    Directory of Open Access Journals (Sweden)

    Adriana Coutinho de Azevedo Guimarães

    2008-06-01

    Full Text Available This study aimed to elucidate what injuries are most likely to occur due to classical ballet practice. The research used national and international bibliography. The bibliography analysis indicated that technical and esthetical demands lead to a practice of non-anatomical movements, causing the ballet dancer to suffer from a number of associated lesions. Most of the injuries are caused by technical mistakes and wrong training. Troubles in children are usually due to trying to force external rotation at hip level and to undue use of point ballet slippers. The commonest lesions are in feet and ankles, followed by knees and hips. The rarest ones are in the upper limbs. These injuries are caused by exercise excess, by repetitions always in the same side and by wrong and early use of point slippers. The study reached the conclusion that incorrect application of classical ballet technique predisposes the dancers to characteristic injuries.

  19. Bilateral anterior tarsal tunnel syndrome variant secondary to extensor hallucis brevis muscle hypertrophy in a ballet dancer: a case report.

    Science.gov (United States)

    Tennant, Joshua N; Rungprai, Chamnanni; Phisitkul, Phinit

    2014-12-01

    We present a case of bilateral anterior tarsal tunnel syndrome secondary EHB hypertrophy in a dancer, with successful treatment with bilateral EHB muscle excisions for decompression. The bilateral presentation of this case with the treatment of EHB muscle excision is the first of its type reported in the literature.

  20. Musculoskeletal Injury in Professional Dancers

    DEFF Research Database (Denmark)

    Jacobs, Craig L; Cassidy, John David; Côté, Pierre

    2017-01-01

    participated in the study with an overall response rate of 81%. The point prevalence of self-reported injury in professional ballet and modern dancers was 54.8% (95% CI, 47.7-62.1) and 46.3% (95% CI, 35.5-57.1), respectively. Number of years dancing professionally (OR = 4.4, 95% CI, 1.6-12.3) and rank (OR = 2......OBJECTIVE: The purpose of the study was to determine the prevalence and factors associated with injury in professional ballet and modern dancers, and assess if dancers are reporting their injuries and explore reasons for not reporting injuries. DESIGN: Cross-sectional study. SETTING: Participants...... were recruited from nine professional ballet and modern dance companies in Canada, Denmark, Israel, and Sweden. PARTICIPANTS: Professional ballet and modern dancers. INDEPENDENT VARIABLES: Sociodemographic variables included age, sex, height, weight, and before-tax yearly or monthly income. Dance...

  1. Ballet Balance Strategies

    DEFF Research Database (Denmark)

    Pedersen, Camilla; Erleben, Kenny; Sporring, Jon

    2004-01-01

    for application and research purposes. The main contribution of this paper is a new model firmly based on biomechanics. The new model has been developed to animate some basic steps of ballet dancers, and it is supported by computer simulated experiments showing good agreement with biomechanical measurements...

  2. Ballet Flourishing in China

    Institute of Scientific and Technical Information of China (English)

    2010-01-01

    Du Xiaoqing, Executive Editor in Chief of Dance magazine, the leading professional dance periodical in China sponsored by the Dancers Association of China, sat down with Beijing Review reporter Zan Jifang recently to share her understanding of the development of ballet in China

  3. Ballet Flourishing in China

    Institute of Scientific and Technical Information of China (English)

    2010-01-01

    @@ Du Xiaoqing,Executive Editor in Chief of Dance magazine,the leading professional dance periodical in China sponsored by the Dancers Association of China,sat down with Belling Review reporter Zan Jifang recently to share her understanding of the development of ballet in China

  4. Operative management of bilateral Salter-Harris type III fractures of the proximal phalanges of the great toes of a 10-year-old female ballet dancer: a case report.

    Science.gov (United States)

    Csonka, Akos; Sikarinkul, Eakachit; Gargyan, Istvan; Boa, Kristof; Varga, Endre

    2016-07-01

    Differentiation between the normal variant cleft epiphysis and Salter-Harris type III fracture of the first proximal phalanges of the foot in children might be challenging. The authors describe a case of a 10-year-old ballet dancer girl with bilateral epiphyseal segmentation of the first proximal phalanges of the foot, unresponsive to conservative treatment. Considered a nonhealing stress-induced fracture, operative treatment with closed reduction and Herbert screw insertion was chosen on both sides. Complete union was achieved, with significant reduction of pain. The presented case suggests that internal fixation can be a viable option in the treatment of the problem.

  5. Overuse Injuries in Professional Ballet

    Science.gov (United States)

    Sobrino, Francisco José; de la Cuadra, Crótida; Guillén, Pedro

    2015-01-01

    Background Despite overuse injuries being previously described as the most frequent in ballet, there are no studies on professional dancers providing the specific clinical diagnoses or type of injury based on the discipline. Hypothesis Overuse injuries are the most frequent injuries in ballet, with differences in the type and frequency of injuries based on discipline. Study Design Cross-sectional study; Level of evidence, 3. Methods This was a descriptive cross-sectional study performed between January 1, 2005, and October 10, 2010, on injuries occurring in professional dancers from leading Spanish dance companies who practiced disciplines such as classical, neoclassical, contemporary, and Spanish ballet. Data, including type of injury, were obtained from specialized medical services at the Trauma Service, Fremap, Madrid, Spain. Results A total of 486 injuries were evaluated, a significant number of which were overuse disorders (P < .0001), especially in the most technically demanding discipline of classical ballet (82.60%). Injuries were more frequent among female dancers (75.90%) and classical ballet (83.60%). A statistically significant prevalence of patellofemoral pain syndrome was found in the classical discipline (P = .007). Injuries of the adductor muscles of the thigh (P = .001) and of the low back facet (P = .02) in the Spanish ballet discipline and lateral snapping hip (P = .02) in classical and Spanish ballet disciplines were significant. Conclusion Overuse injuries were the most frequent injuries among the professional dancers included in this study. The prevalence of injuries was greater for the most technically demanding discipline (classical ballet) as well as for women. Patellofemoral pain syndrome was the most prevalent overuse injury, followed by Achilles tendinopathy, patellar tendinopathy, and mechanical low back pain. Clinical Relevance Specific clinical diagnoses and injury-based differences between the disciplines are a key factor in ballet

  6. Overuse injuries in classical ballet.

    Science.gov (United States)

    Khan, K; Brown, J; Way, S; Vass, N; Crichton, K; Alexander, R; Baxter, A; Butler, M; Wark, J

    1995-05-01

    Successful management of classical ballet dancers with overuse injuries requires an understanding of the art form, precise knowledge of anatomy and awareness of certain conditions. Turnout is the single most fundamental physical attribute in classical ballet and 'forcing turnout' frequently contributes to overuse injuries. Common presenting conditions arising from the foot and ankle include problems at the first metatarsophalangeal joint, second metatarsal stress fractures, flexor hallucis longus tendinitis and anterior and posterior ankle impingement syndromes. Persistent shin pain in dancers is often due to chronic compartment syndrome, stress fracture of the posteromedial or anterior tibia. Knee pain can arise from patellofemoral syndrome, patellar tendon insertional pathologies, or a combination of both. Hip and back problems are also prevalent in dancers. To speed injury recovery of dancers, it is important for the sports medicine team to cooperate fully. This permits the dancer to benefit from accurate diagnosis, technique correction where necessary, the full range of manual therapies to joint and soft tissue, appropriate strengthening programmes and maintenance of dance fitness during any time out of class with Pilates-based exercises and nutrition advice. Most overuse ballet conditions respond well to a combination of conservative therapies. Those dancers that do require surgical management still depend heavily on ballet-specific rehabilitation for a complete recovery.

  7. Laban Movement Analysis Approach to Classical Ballet Pedagogy

    Science.gov (United States)

    Whittier, Cadence

    2006-01-01

    As a Certified Laban Movement Analyst and a classically trained ballet dancer, I consistently weave the Laban Movement Analysis/Bartenieff Fundamentals (LMA/BF) theories and philosophies into the ballet class. This integration assists in: (1) Identifying the qualitative movement elements both in the art of ballet and in the students' dancing…

  8. Toward a Feminist Ballet Pedagogy: Teaching Strategies for Ballet Technique Classes in the Twenty-First Century

    Science.gov (United States)

    Alterowitz, Gretchen

    2014-01-01

    Classical ballet technique is commonly taught through the use of authoritarian practices and normalizing aesthetic values, but the construction of the ballet dancer as a docile subject in opposition to an all-knowing instructor might impede ballet's progression. In this article I explore my development of a feminist or democratic ballet…

  9. Physiological characteristics of classical ballet.

    Science.gov (United States)

    Schantz, P G; Astrand, P O

    1984-10-01

    The aerobic and anaerobic energy yield during professional training sessions ("classes") of classical ballet as well as during rehearsed and performed ballets has been studied by means of oxygen uptake, heart rate, and blood lactate concentration determinations on professional ballet dancers from the Royal Swedish Ballet in Stockholm. The measured oxygen uptake during six different normal classes at the theatre averaged about 35-45% of the maximal oxygen uptake, and the blood lactate concentration averaged 3 mM (N = 6). During 10 different solo parts of choreographed dance (median length = 1.8 min) representative for moderately to very strenuous dance, an average oxygen uptake (measured during the last minute) of 80% of maximum and blood lactate concentration of 10 mM was measured (N = 10). In addition, heart rate registrations from soloists in different ballets during performance and final rehearsals frequently indicated a high oxygen uptake relative to maximum and an average blood lactate concentration of 11 mM (N = 5). Maximal oxygen uptake, determined in 1971 (N = 11) and 1983 (N = 13) in two different groups of dancers, amounted to on the average 51 and 56 ml X min-1 X kg-1 for the females and males, respectively. In conclusion, classical ballet is a predominantly intermittent type of exercise. In choreographed dance each exercise period usually lasts only a few minutes, but can be very demanding energetically, while during the dancers' basic training sessions, the energy yield is low.

  10. Femoral Shaft Torsion in Injured and Uninjured Ballet Dancers and Its Association with Other Hip Measures: A Cross-sectional Study.

    Science.gov (United States)

    Hafiz, Eliza; Hiller, Claire E; Nicholson, Leslie L; Nightingale, Elizabeth J; Grimaldi, Alison; Refshauge, Kathryn M

    2016-03-01

    Low range femoral torsion, termed "lateral shaft torsion," has been associated with greater range of hip external rotation and turnout in dancers. It is also hypothesized that achieving greater turnout at the hip minimizes torsion at the knee, shank, ankle, and foot, and consequently reduces incidence of lower limb injuries. The primary aims of this study were to investigate: 1. differences in range of femoral shaft torsion between dancers with and without lower limb injuries; and 2. the relationship between femoral shaft torsion, hip external rotation range, and turnout. A secondary aim was to examine the relationship between femoral shaft torsion and other hip measures: hip strength, lower limb joint hypermobility, hip stability, and foot progression angle, as explanatory variables. Demographic, dance, and injury data were collected, along with physical measures of femoral shaft torsion, hip rotation range of motion, and turnout. Hip strength, control, lower limb hypermobility, and foot progression angle were also measured. Eighty female dancers, 50 with lower limb injury (20.7 ± 4.8 years of age) and 30 without lower limb injury (17.8 ± 4.1 years of age), participated in the study. There was no difference in range of femoral shaft torsion between the groups (p = 0.941). Femoral shaft torsion was weakly correlated with range of hip external rotation (r = -0.034, p = 0.384) and turnout (r = -0.066, p = 0.558). Injured dancers had a significantly longer training history than non-injured dancers (p = 0.001). It was concluded that femoral shaft torsion does not appear to be associated with the overall incidence of lower limb injury in dancers or to be a primary factor influencing extent of turnout in this population.

  11. Physical fitness, menstrual cycle disorders and smoking habit in Croatian National Ballet and National Folk Dance Ensembles.

    Science.gov (United States)

    Oreb, Goran; Ruzić, Lana; Matković, Branka; Misigoj-Duraković, Marjeta; Vlasić, Jadranka; Ciliga, Dubravka

    2006-06-01

    The study investigated differences in morphological, motor and functional abilities between folk and ballet dancers. The sample comprised 51 female subjects: Croatian National Ballet (N=30) and Croatian National Folk Ensemble "LADO" (N=21). The data regarding menstrual cycle, menarche, number of births and smoking habit were collected and the morphological, motor and functional abilities measured. Significant correlations between the amount of fat tissue and number of births were found in both groups. Folk dancers were as tall as ballet dancers but weighted more and had a larger body frame (pBallet dancers were more flexible but there were no differences in absolute maximal oxygen uptake (2.65 vs. 2.35 L/min, p=0.101). Still, as the ballet dancers weighted less, their relative maximal oxygen uptake was significantly higher (37.62 vs. 50.22 mL/kg/min, pballet and professional folk dancers was found.

  12. Ballet Blooming

    Institute of Scientific and Technical Information of China (English)

    ZAN JIFANG

    2010-01-01

    @@ With The Red Detachment of Women,Swan Lake and four more representative works,the National Ballet of China (NBC) kicked off its 2009 performance season last December,a grand ballet feast celebrating the company's 50th anniversary.

  13. Positioning Ballet.

    Science.gov (United States)

    Kassing, Gayle, Ed.; And Others

    1981-01-01

    A series of articles discusses the development of ballet instruction in secondary and higher education, beginning ballet in high school and in college, teaching techniques, ballet for visually handicapped students, and methods for the prevention of injuries in beginning students. (JN)

  14. A psycho-educational model to enhance the self-development and mental health of classical dancers.

    Science.gov (United States)

    van Staden, Antoinette; Myburgh, Chris P H; Poggenpoel, Marie

    2009-01-01

    There is substantial evidence that some classical dancers have difficulty with their personal lives and with their lives as performers. Specifically, a consistent emphasis on performance-orientation has been linked to the development of potentially maladaptive dispositions. A pilot study was conducted to explore the life-world of the classical professional dancer through semi-structured interviews with nine dancers from two professional ballet companies in South Africa. The results indicated that the profession had strongly influenced their sense of self, relationships with others, and future-orientation. The findings of the pilot study are important for what they suggest about the tendency of classical dance to stimulate the setting of externalized goals that may lead to self-destructive behaviors such as eating disorders, depression, maladaptive perfectionism, and problems with career transitions. These findings were used to develop a model that aims at preparing pre-professional dancers to deal with such problems by promoting their sense of empowerment, self-development, and self-actualization as individuals and as artistic performers. What remains is for the model to be tested in practice, procedures and protocols established for training the personnel who will actualize it, and appropriate criteria identified for the assessment of self-development. Then the model can be disseminated for general use.

  15. Overuse Injuries in Professional Ballet: Injury-Based Differences Among Ballet Disciplines.

    Science.gov (United States)

    Sobrino, Francisco José; de la Cuadra, Crótida; Guillén, Pedro

    2015-06-01

    Despite overuse injuries being previously described as the most frequent in ballet, there are no studies on professional dancers providing the specific clinical diagnoses or type of injury based on the discipline. Overuse injuries are the most frequent injuries in ballet, with differences in the type and frequency of injuries based on discipline. Cross-sectional study; Level of evidence, 3. This was a descriptive cross-sectional study performed between January 1, 2005, and October 10, 2010, on injuries occurring in professional dancers from leading Spanish dance companies who practiced disciplines such as classical, neoclassical, contemporary, and Spanish ballet. Data, including type of injury, were obtained from specialized medical services at the Trauma Service, Fremap, Madrid, Spain. A total of 486 injuries were evaluated, a significant number of which were overuse disorders (P < .0001), especially in the most technically demanding discipline of classical ballet (82.60%). Injuries were more frequent among female dancers (75.90%) and classical ballet (83.60%). A statistically significant prevalence of patellofemoral pain syndrome was found in the classical discipline (P = .007). Injuries of the adductor muscles of the thigh (P = .001) and of the low back facet (P = .02) in the Spanish ballet discipline and lateral snapping hip (P = .02) in classical and Spanish ballet disciplines were significant. Overuse injuries were the most frequent injuries among the professional dancers included in this study. The prevalence of injuries was greater for the most technically demanding discipline (classical ballet) as well as for women. Patellofemoral pain syndrome was the most prevalent overuse injury, followed by Achilles tendinopathy, patellar tendinopathy, and mechanical low back pain. Specific clinical diagnoses and injury-based differences between the disciplines are a key factor in ballet.

  16. The Ballet Dancing Profession: A Career Transition Model

    Science.gov (United States)

    Roncaglia, Irina

    2008-01-01

    What type of emotional transition is experienced by professional dancers who face the end of their career? What does this journey imply? This article discusses the transition experiences of two case studies out of a total sample of fourteen (N = 14) international professional ballet dancers who left their careers between the ages of 21 and 49…

  17. Arthroscopic Release of Flexor Hallucis Longus Tendon Sheath in Female Ballet Dancers: Dynamic Pathology, Surgical Technique, and Return to Dancing Performance

    OpenAIRE

    Funasaki, Hiroki; Hayashi, Hiroteru; Sakamoto, Kanako; Tsuruga, Rei; Marumo, Keishi

    2015-01-01

    Stenosing tenosynovitis of the flexor hallucis longus (FHL) tendon is known as a major overuse lesion in female dancers. We describe arthroscopic surgical techniques in relation to the dynamic pathology of the disease. Crepitus and pain on moving the great toe with the ankle in plantar flexion on preoperative examination confirm the diagnosis of FHL stenosing tenosynovitis even if the os trigonum is not evident. The ankle is approached through standard posterolateral and posteromedial portals...

  18. Raising the Bar: How a Teacher Built a Ballet-Centered Public School that Aces Standardized Tests

    Science.gov (United States)

    Dalton, Aaron

    2005-01-01

    In this article, the author features Todd Eric Allen, an acclaimed ballet dancer, who returns home to Florida's so-called Redneck Riviera and opens a magnet school for dance. When asked the inevitable question of what an internationally known ballet dancer is doing teaching 3rd, 4th, and 5th graders in Fort Walton Beach, he simply replies in a way…

  19. Dance Talent Development: Case Studies of Successful Dancers in Finland and Singapore

    Science.gov (United States)

    Chua, Joey

    2014-01-01

    Though anchored in cross-cultural comparisons, this study aims to identify the key factors that impacted the talent development of successful dancers from childhood through adulthood. Case studies of eight Finnish and Singaporean ballet and contemporary dancers exemplify the qualities of successful dancers in terms of their career achievements and…

  20. Dance Talent Development: Case Studies of Successful Dancers in Finland and Singapore

    Science.gov (United States)

    Chua, Joey

    2014-01-01

    Though anchored in cross-cultural comparisons, this study aims to identify the key factors that impacted the talent development of successful dancers from childhood through adulthood. Case studies of eight Finnish and Singaporean ballet and contemporary dancers exemplify the qualities of successful dancers in terms of their career achievements and…

  1. Dancers' Body Esteem, Fitness Esteem, and Self-Esteem in Three Contexts

    Science.gov (United States)

    Van Zelst, Laura; Clabaugh, Alison; Morling, Beth

    2004-01-01

    Sixty-two college-aged, ballet and modern dancers evaluated their bodies and themselves in different dance and non-dance settings. In a self-report survey design, dancers' body esteem, fitness esteem, and self-esteem (an overall self-evaluation) were measured in three different contexts. Dancers rated their body esteem, fitness esteem, and…

  2. Ballet Blooming

    Institute of Scientific and Technical Information of China (English)

    2010-01-01

    For more than half a century, China’s national ballet troupe has dedicated itself to creating its own works with The Red Detachment of Women, Swan Lake and four more representative works,the National Ballet of China(NBC) kicked off its 2009

  3. Ballet Balance Strategies

    DEFF Research Database (Denmark)

    Pedersen, Camilla; Erleben, Kenny; Sporring, Jon

    2004-01-01

    Animating physically realistic human characters is challenging, since human observers are highly tuned to recognize human cues such as emotion and gender from motion patterns. Any new effort towards improving the physical realism of animating the human body is therefore valuable both for applicat......Animating physically realistic human characters is challenging, since human observers are highly tuned to recognize human cues such as emotion and gender from motion patterns. Any new effort towards improving the physical realism of animating the human body is therefore valuable both...... for application and research purposes. The main contribution of this paper is a new model firmly based on biomechanics. The new model has been developed to animate some basic steps of ballet dancers, and it is supported by computer simulated experiments showing good agreement with biomechanical measurements...

  4. Estudo anatómico do equilíbrio em pontas no ballet

    OpenAIRE

    Rufino, Rosa Maria Lima

    2012-01-01

    Tese de mestrado, Anatomia artística, Universidade de Lisboa, Faculdade de Belas Artes, 2012 For classical ballet, pointe is synonym of maturity and exquisite technique. For the common people, ballerinas magically stand up on top of their toes. This paper is about finding what is behind the balance on pointe of classical ballet dancers. This study begins with a brief dance history annalysis, putting ballet and pointe origins in context. Then the analysis is extended to the morphologic c...

  5. Overuse Injuries in Professional Ballet: Influence of Age and Years of Professional Practice.

    Science.gov (United States)

    Sobrino, Francisco José; Guillén, Pedro

    2017-06-01

    In spite of the high rate of overuse injuries in ballet dancers, no studies have investigated the prevalence of overuse injuries in professional dancers by providing specific diagnoses and details on the differences in the injuries sustained as a function of age and/or years of professional practice. Overuse injuries are the most prevalent injuries in ballet dancers. Professional ballet dancers suffer different types of injuries depending on their age and years of professional practice. Descriptive epidemiology study. This descriptive epidemiological study was carried out between January 1, 2005, and October 10, 2010, regarding injuries sustained by professional dancers belonging to the major Spanish ballet companies practicing classical, neoclassical, contemporary, and Spanish dance. The sample was distributed into 3 different groups according to age and years of professional practice. Data were obtained from the specialized medical care the dancers received from the Trauma and Orthopaedic Surgery Service at Fremap in Madrid. The dependent variable was the study of the injury. A total of 486 injuries were identified over the study period, with overuse injuries being the most common etiology (P contemporary ballet (P = .01). Specifically, among other findings, stress fractures of the base of the second metatarsal (P = .03), patellofemoral syndrome, and os trigonum syndrome were more prevalent among junior professionals (P = .04); chondral injury of the knee in senior professionals (P = .04); and cervical disc disease in dancers of intermediate age and level of experience. Overall, overuse injuries were more prevalent in younger professionals, especially in women. This finding was especially true for the more technical ballet disciplines. On the other hand, in the athletic ballet disciplines, overuse lesions occurred mainly in the more senior professionals. This study provides specific clinical diagnoses obtained through physical examination as well as details on

  6. Oxygen consumption and heart rate responses to isolated ballet exercise sets.

    Science.gov (United States)

    Rodrigues-Krause, Josianne; Dos Santos Cunha, Giovani; Alberton, Cristine Lima; Follmer, Bruno; Krause, Mauricio; Reischak-Oliveira, Alvaro

    2014-01-01

    Ballet stage performances are associated with higher cardiorespiratory demand than rehearsals and classes. Hence, new interest is emerging to create periodized training that enhances dancers' fitness while minimizing delayed exercise-induced fatigue and possible injuries. Finding out in what zones of intensity dancers work during different ballet movements may support the use of supplemental training adjusted to the needs of the individual dancer. Therefore, the main purpose of this study was to describe dancers' oxygen consumption (VO2) and heart rate (HR) responses during the performance of nine isolated ballet exercise sets, as correlated with their first and second ventilatory thresholds (VT1 and VT2). Twelve female ballet dancers volunteered for the study. Their maximum oxygen consumption (VO2max), VT1, and VT2 were determined by use of an incremental treadmill test. Nine sets of ballet movements were assessed: pliés, tendus, jetés, rond de jambes, fondus, grand adage (adage), grand battements, temps levés, and sautés. The sets were randomly executed and separated by 5 minute rest periods. ANOVA for repeated measurements followed by the Bonferroni Post-hoc test were applied (p ballet sets. This stratification followed closely, but not exactly, the variation in HR. For example, rond de jambes (156.8 ± 19 b·min(-1)) did not show any significant difference from all the other ballet sets, nor VT1 or VT2. It is concluded that the workloads of isolated ballet sets, based on VO2 responses, vary between low and moderate aerobic intensity in relation to dancers' VT1 and VT2. However, ballet set workloads may be higher when based on HR responses, due to the intermittent and isometric components of dance.

  7. Prevalence of eating disorders amongst dancers: a systemic review and meta-analysis.

    Science.gov (United States)

    Arcelus, Jon; Witcomb, Gemma L; Mitchell, Alex

    2014-03-01

    Eating disorders in dancers are thought to be common, but the exact rates remain to be clarified. The aim of this study is to systematically compile and analyse the rates of eating disorders in dancers. A literature search, appraisal and meta-analysis were conducted. Thirty-three relevant studies were published between 1966 and 2013 with sufficient data for extraction. Primary data were extracted as raw numbers or confidence intervals. Risk ratios and 95% confidence intervals were calculated for controlled studies. The overall prevalence of eating disorders was 12.0% (16.4% for ballet dancers), 2.0% (4% for ballet dancers) for anorexia, 4.4% (2% for ballet dancers) for bulimia and 9.5% (14.9% for ballet dancers) for eating disorders not otherwise specified (EDNOS). The dancer group had higher mean scores on the EAT-26 and the Eating Disorder Inventory subscales. Dancers, in general, had a higher risk of suffering from eating disorders in general, anorexia nervosa and EDNOS, but no higher risk of suffering from bulimia nervosa. The study concluded that as dancers had a three times higher risk of suffering from eating disorders, particularly anorexia nervosa and EDNOS, specifically designed services for this population should be considered.

  8. Ballet and stress. A pilot study.

    Science.gov (United States)

    Tomei, G; Casale, T; Rosati, M V; Melcarne, R; Sinibaldi, F; Capozzella, A; Di Giorgio, V; Giubilati, R; Sacco, C; Tomei, F; Sancini, A

    2015-01-01

    Work-related stress is a complex problem requiring a work environment-based assessment. Artists like dancers represent a category of atypical workers potentially at high risk for work-related stress. Aim of our pilot study is to evaluate organizational stress in a population of professional dancers, using the HSE Indicator Tool for Work Related Stress. We administered the Italian version of the HSE Indicator Tool to 38 ballet dancers, males and females. The questionnaire evaluates 7 key organizational dimensions: demand, control, managers' support, peer support, relationships, role and change. The standards required-ideal conditions are achieved in none of the above-mentioned dimensions. Change is the only dimension for which results fall between the 20th and the 50th percentile, while for other dimensions results fall below the 20th percentile suggesting the need for immediate corrective action. In male dancers an acceptable situation is highlighted for the dimension "change" compared to female dancers. In both sexes there is a high frequency of subjects complaining of verbal abuse, bullying and harassment. Despite the small sample size, our pilot study highlights the presence of heightened levels of organizational stress. Preventive measures targeted towards improving communication between managers and dancers and aimed at team building should be implemented.

  9. Percepción de imagen corporal y conductas alimentarias de riesgo en bailarinas de danza clásica del Liceo Municipal de la ciudad de Santa Fe Body image perception and dangerous eating habits among female ballet dancers from the municipal art academy in Santa Fe city

    Directory of Open Access Journals (Sweden)

    F Paredes

    2011-09-01

    habits with risk of anorexia nervosa among a group of 24 female dancers, aged between 13 and 23, attending ballet training courses at the Municipal Art Academy in Santa Fe City. The participants answered a self-administered questionnaire and anthropometric measurements were taken to calculate their BMI. Body images were used to assess the perception the participants had of themselves. 50% of the dancers overestimated their body image by selecting images that did not correspond to their anthropometric parameters. An EAT-40 questionnaire was used to identify eating disorders with risk of anorexia nervosa. The results showed that 58.3% of the dancers were at risk; that is to say, they followed abnormal eating habits; for example, they controlled their food intake and they were afraid of being overweight. The results show that dancers attending ballet training courses belong to a high-risk group, vulnerable to developing anorexia nervosa since more than half classified as "risk" and half presented the precipitating factor "body- image distortion".

  10. Kinematic evaluation of the classical ballet step "plié".

    Science.gov (United States)

    Gontijo, Kaanda Nabilla Souza; Candotti, Cláudia Tarragô; Feijó, Grace Dos Santos; Ribeiro, Lais Paixão; Loss, Jefferson Fagundes

    2015-06-01

    Lack of alignment between the lowerlimb structures, such as the hips, knees, and longitudinal arches of the feet, has been described as an important predisposing factor in musculoskeletal injury among classical ballet dancers. However, no studies were found that analyzed basic ballet movements with quantification of objective criteria of the movements. The purposes of this study were: 1. to establish a methodology to quantify, using kinematic evaluation, the technical criteria that guide the correct execution of all phases of the plié (simultaneous flexion of the hips, knees, and ankle joints); and 2. to explore whether experienced ballet dancers respect those criteria when performing the plié. The technical criteria considered were the following: 1. midfoot stability; 2. pelvic positioning in a neutral alignment; 3. pelvic stability, represented by pelvic angle variation; and 4. vertical alignment of the knee joint with the second toe of the ipsilateral foot. Twenty dancers from Porto Alegre, Brazil, with 18 years of uninterrupted ballet training, were filmed while performing plié using four synchronized cameras. The descriptive statistical analysis involved calculating the median, minimum, and maximum of each of the technical criteria. Results showed that for criterion 1, the 20 dancers showed great stabilization of the midfoot; for criteria 2 and 3, 18 dancers displayed pelvic instability tending toward retroversion throughout execution of the plié; and for criterion 4, 13 dancers presented with medial misalignment of the knees at all phases of the plié. Using these criteria, it was possible to characterize the plié from a kinematic point of view.

  11. Comparison of nutritional intake, body composition, bone mineral density, and isokinetic strength in collegiate female dancers.

    Science.gov (United States)

    Lim, Se-Na; Chai, Joo-Hee; Song, Jong Kook; Seo, Myong-Won; Kim, Hyun-Bae

    2015-12-01

    This study compared nutritional intake, body composition, bone mineral density, and isokinetic strength by dance type in collegiate female dancers. The study subjects included Korean dancers (n=12), ballet dancers (n=13), contemporary dancers (n=8), and controls (n=12). Nutritional intake was estimated using the Computer Aided Nutritional Analysis Program. Body composition and bone mineral density were measured using dual-energy X-ray absorptiometry. Isokinetic knee joint strength was measured by Cybex 770-NORM. All statistical analyses were performed by SAS 9.2. Means and standard deviations were calculated using descriptive statistics. One-way analysis of variance was applied to evaluate nutritional intake, body composition, bone mineral density, and isokinetic strength differences. Duncan multiple range test was used for post hoc testing. A level of significance was set at Pcontemporary and ballet dancers had lower body fat percentages than controls (Pdance type and more scientific methods of dance training are needed.

  12. Generalizable Aspects of the Development of Expertise in Ballet across Countries and Cultures: A Perspective from the Expert-Performance Approach

    Science.gov (United States)

    Hutchinson, Carla U.; Sachs-Ericsson, Natalie J.; Ericsson, K. Anders

    2013-01-01

    The expert-performance approach guided the collection of survey data on the developmental history of elite professional ballet dancers from three different countries/cultures (USA, Mexico, and Russia). The level of ballet expertise attained by age 18 was found to be uniquely predicted by only two factors, namely the total number of accumulated…

  13. Dancers entrain more effectively than non-dancers to another actor's movements.

    Science.gov (United States)

    Washburn, Auriel; DeMarco, Mariana; de Vries, Simon; Ariyabuddhiphongs, Kris; Schmidt, R C; Richardson, Michael J; Riley, Michael A

    2014-01-01

    For many everyday sensorimotor tasks, trained dancers have been found to exhibit distinct and sometimes superior (more stable or robust) patterns of behavior compared to non-dancers. Past research has demonstrated that experts in fields requiring specialized physical training and behavioral control exhibit superior interpersonal coordination capabilities for expertise-related tasks. To date, however, no published studies have compared dancers' abilities to coordinate their movements with the movements of another individual-i.e., during a so-called visual-motor interpersonal coordination task. The current study was designed to investigate whether trained dancers would be better able to coordinate with a partner performing short sequences of dance-like movements than non-dancers. Movement time series were recorded for individual dancers and non-dancers asked to synchronize with a confederate during three different movement sequences characterized by distinct dance styles (i.e., dance team routine, contemporary ballet, mixed style) without hearing any auditory signals or music. A diverse range of linear and non-linear analyses (i.e., cross-correlation, cross-recurrence quantification analysis, and cross-wavelet analysis) provided converging measures of coordination across multiple time scales. While overall levels of interpersonal coordination were influenced by differences in movement sequence for both groups, dancers consistently displayed higher levels of coordination with the confederate at both short and long time scales. These findings demonstrate that the visual-motor coordination capabilities of trained dancers allow them to better synchronize with other individuals performing dance-like movements than non-dancers. Further investigation of similar tasks may help to increase the understanding of visual-motor entrainment in general, as well as provide insight into the effects of focused training on visual-motor and interpersonal coordination.

  14. Ludics and dance: physiological and formative profile of the ballet dance

    Directory of Open Access Journals (Sweden)

    África Calvo Lluch

    2012-11-01

    Full Text Available The ballet (classic dance demands are artistic and physiological. Then, it is quite relevant to grasp into its training and performance in order to focus correctly on the rehearsal, auditions and the physical features to be worked on. Accordingly, this research has carried out the compiling of articles related to the ballet dancer physiological and formative concerns, the interpretation and analysis of the main thesis. This article shows the preliminary results of the research on physical conditioning and ballet in order to account for the main tendencies. However, the principal drawback was the lack of literature. So, research done on this issue is presented

  15. Dancers Entrain More Effectively than Non-Dancers to Another Actor’s Movements

    Directory of Open Access Journals (Sweden)

    Auriel eWashburn

    2014-10-01

    Full Text Available For many everyday sensorimotor tasks, trained dancers have been found to exhibit distinct and sometimes superior (more stable or robust patterns of behavior compared to non-dancers. Past research has demonstrated that experts in fields requiring specialized physical training and behavioral control exhibit superior interpersonal coordination capabilities for expertise-related tasks. To date, however, no published studies have compared dancers’ abilities to coordinate their movements with the movements of another individual—i.e., during a so-called visual-motor interpersonal coordination task. The current study was designed to investigate whether trained dancers would be better able to coordinate with a partner performing short sequences of dance-like movements than non-dancers. Movement time series were recorded for individual dancers and non-dancers asked to synchronize with a confederate during three different movement sequences characterized by distinct dance styles (i.e., dance team routine, contemporary ballet, mixed style without hearing any auditory signals or music. A diverse range of linear and nonlinear analyses (i.e., Cross-correlation, Cross-Recurrence Quantification Analysis (CRQA, and Cross-Wavelet analysis provided converging measures of coordination across multiple time scales. While overall levels of interpersonal coordination were influenced by differences in movement sequence for both groups, dancers consistently displayed higher levels of coordination with the confederate at both short and long time scales. These findings demonstrate that the visual-motor coordination capabilities of trained dancers allow them to better synchronize with other individuals performing dance-like movements than non-dancers. Further investigation of similar tasks may help to increase the understanding of visual-motor entrainment in general, as well as provide insight into the effects of focused training on visual-motor and interpersonal

  16. Developing a dancer wellness program employing developmental evaluation

    Directory of Open Access Journals (Sweden)

    Terry eClark

    2014-07-01

    Full Text Available Wellness programs are being increasingly employed with performing artists. Given their aim of reducing injuries, injury tracking is commonly employed as an outcome measure. Evaluating the development and process of a wellness program can also enhance its effectiveness. Developmental evaluation offers one methodological framework within which to conduct such investigations. This paper reports on a two year process involving feedback from professional ballet dancers, management and artistic staff, and healthcare providers at a ballet company in order to develop a dancer screening and wellness program. Following a consultation phase, an initial program comprised of an expanded medical team and annual injury prevention screen was proposed. Alongside implementation with 30 professional ballet dancers, formal and informal feedback was sought from stakeholders and members across all levels of the ballet company to facilitate ongoing development, evaluation, and revision of the wellness program. The use of a process informed by developmental evaluation helped identify strengths and limitations within the screening process. The collective expertise of the assessors was used to modify the components and process of the screen to strive for ecological appropriateness. The process also fostered buy-in from all involved. Participant feedback helped refine the medical team available to the dancers and influenced the treatment and referral pathways via which dancers are able to access each member of the medical team. Furthermore, reflective discussions with artistic and management staff brought to light potential interactions between repertoire programming, fitness, and injury patterns. This prompted a reconsideration of how artists are trained and supported. Evaluation methods that focus on experiences and insight gained during program development stand to result in more efficient screening programs and health promotion models and, ultimately, healthier

  17. Physiological fitness and professional classical ballet performance: a brief review.

    Science.gov (United States)

    Twitchett, Emily A; Koutedakis, Yiannis; Wyon, Matthew A

    2009-12-01

    Although classical ballet is an artistic expression through the use of the body, there is a real opportunity to improve and extend the dancer's career by simply applying sports science principles to dance training and performance. Dance training is a long process of physical, intellectual, and psychological preparation, through physical exercise, often beginning in childhood and continuing until retirement. Fitness programs, supplementary to traditional dance classes, have only recently been considered as a part of this process; it may be suggested that this cross-training has generally been avoided thus far because of tradition and a reluctance to follow principles associated with sport. Classical ballet training, rehearsal, and performance do not elicit significant stimulus to result in increased aerobic fitness levels. Therefore, dancers often demonstrate low levels of aerobic fitness even though a strong aerobic foundation is necessary to meet the required workload. Dancers have greater than average range of motion and strength at the hip joint but weaknesses in the upper body, torso, hamstrings, and quadriceps. In the past, dancers have been wary of strength training because they perceive this leads to aesthetically undesirable hypertrophy. Dancers also have low body weights and low percentage body fat. Given that training does not provide the opportunity to expend enough energy to maintain these aesthetic demands, this aesthetic demand may be met by caloric restriction, which may lead to subsequent increased injury risk. It has been hypothesized that a "fit for purpose" body can help improve performance, reduce the risk of injury, and ensure prolonged dance careers. This review aims to explore the extent to which physical fitness components relate to dance performance, in particular classical ballet.

  18. Occupational biomechanics of athletes and dancers: a comparative approach.

    Science.gov (United States)

    Bejjani, F J

    1987-07-01

    Muscle strains represent more than a third of all injuries in both dancers and athletes. Although often overlooked, anatomic variations play an important role in the etiology of these injuries, as does strength imbalance between agonists and antagonists. The incidence of spondylolysis is unusually high in ballet dancers and certain athletic groups, such as gymnasts, javelin throwers, and weight-lifters. Mechanical factors play a major role and can be exacerbated by congenital abnormalities. Various permanent adaptive musculoskeletal changes have been described both in dancers and athletes, especially those that start at a very young age. Task-related adaptive changes can also be seen in isokinetic strength measurements of various muscle groups, such as the spine muscles of Flamenco dancers. Shoes and floor surfaces can be directly responsible in part or in whole for many sports and dance injuries. "Vibration-pressure" diagrams are suggested as an objective way to document their effect on biomechanical behavior.

  19. Effect of footwear on dancers: a systematic review.

    Science.gov (United States)

    Fong Yan, Alycia; Hiller, Claire; Smith, Richard; Vanwanseele, Benedicte

    2011-06-01

    Dancers need their feet to be healthy and pain-free; therefore, the footwear they use is of great importance. Footwear has the potential to enhance or restrict movement and impact the dancer's body in various ways. To evaluate the effects of footwear on dancers, in particular the effects on foot motion and injury during dance movements, we undertook a systematic review of the literature. The major databases were searched for articles on theatrical dance styles and dance footwear. Sixteen articles were selected for inclusion in this study, ten on ballet and the remainder covering a variety of other genres. The contribution of dance shoes to the quality of dance movement is a relatively unexplored subject; little experimental research has been done. Prospective scientific evidence is needed to support or disprove traditional beliefs regarding the effects of footwear on dance performance and dancers' health.

  20. Musculoskeletal Injury in Professional Dancers: Prevalence and Associated Factors: An International Cross-Sectional Study

    DEFF Research Database (Denmark)

    Jacobs, Craig L; Cassidy, J. David; Côté, Pierre;

    2016-01-01

    OBJECTIVE: The purpose of the study was to determine the prevalence and factors associated with injury in professional ballet and modern dancers, and assess if dancers are reporting their injuries and explore reasons for not reporting injuries. DESIGN: Cross-sectional study. SETTING: Participants...... specific characteristics included number of years in present dance company, number of years dancing professionally, number of years dancing total, and rank in the company. MAIN OUTCOME MEASURES: Self-reported injury and Self-Estimated Functional Inability because of Pain. RESULTS: A total of 260 dancers...... participated in the study with an overall response rate of 81%. The point prevalence of self-reported injury in professional ballet and modern dancers was 54.8% (95% CI, 47.7-62.1) and 46.3% (95% CI, 35.5-57.1), respectively. Number of years dancing professionally (OR = 4.4, 95% CI, 1.6-12.3) and rank (OR = 2...

  1. Posttraumatic Stress Disorder and Psychopathology in Dancers.

    Science.gov (United States)

    Thomson, Paula; Jaque, S Victoria

    2015-09-01

    This study investigated the prevalence of posttraumatic stress disorder (PTSD) in pre-professional and professional dancers (n=209) who were exposed to traumatic events. Nine self-report instruments assessed (1) adverse childhood experiences, (2) past traumatic events, (3) coping strategies under stressful situations, and (4) fantasy proneness. The psychopathology variables included (5) anxiety, (6) depression, (7) dissociation, (8) shame, and (9)) PTSD diagnostic scale. Statistical calculations included descriptive, distributional, and multivariate analysis of covariates (MANCOVA). Results indicate that dancers had a significantly higher distribution of PTSD (20.2%) compared to the normal population (7.8%). They also had a higher frequency of family members with mental illness, an inability to speak about their trauma, and more suicidal thoughts. The PTSD group of dancers had higher levels of psychopathology (anxiety, depression, dissociation, and shame) and they had more childhood adversity and adult trauma. Compared to the no-PTSD group, the PTSD group had higher scores on fantasy proneness and emotion-oriented coping strategies. These coping strategies may increase psychological instability. Addressing early abuse and trauma is recommended. Clinicians may help dancers alter their internal working models that their self is worthless, others are abusive, and the world is threatening and dangerous. By understanding PTSD in dancers, medical and mental health treatment protocols may be established to address the debilitating, and often hidden, symptoms of PTSD.

  2. THF Rhine Ballet Traupe

    Institute of Scientific and Technical Information of China (English)

    1997-01-01

    ON June 2,1997,"The Cultural Express Train" from France came to us as swiftly sa wind and the Chinese audience had the honor to apreciate the splendid performance of France’s Rhine Ballet Troupe in the elegant Beijing Exhibition Hall Theater. From a historica view of ballet internationally, France’s Rhine Ballet Troupe,established just 25 years ago,is apromising new arrival on the performing arts scene.As far as full-length ballets are concerned,only large troupes with considerable strength have the ability

  3. Physical Fitness, Menstrual Cycle Disorders and Smoking Habit in Croatian National Ballet and National Folk Dance Ensembles

    OpenAIRE

    Oreb, Goran; Ružić, Lana; Matković, Branka; Mišigoj-Duraković, Marjeta; Vlašić, Jadranka; Ciliga, Dubravka

    2006-01-01

    The study investigated differences in morphological, motor and functional abilities between folk and ballet dancers. The sample comprised 51 female subjects: Croatian National Ballet (N=30) and Croatian National Folk Ensemble »LADO« (N=21). The data regarding menstrual cycle, menarche, number of births and smoking habit were collected and the morphological, motor and functional abilities measured. Significant correlations between the amount of fat tissue and number of births were found in bot...

  4. Anthropometry, somatotypes, and aerobic power in ballet, contemporary dance, and dancesport.

    Science.gov (United States)

    Liiv, Helena; Wyon, Matthew A; Jürimäe, Toivo; Saar, Meeli; Mäestu, Jarek; Jürimäe, Jaak

    2013-12-01

    This study compared anthropometric variables, somatotypes, and aerobic capacity between three groups of dancers: classical ballet dancers (M 33, F 56), contemporary dancers (M 28, F 109), and dancesport dancers (M 30, F 30). The assumption was that different functional requirements should produce differences in the anthropometric and aerobic capacity variables among the three groups. Anthropometric data for body mass index (BMI) and somatotypes were measured. Body fat percentage was measured by dual-energy x-ray absorptiometry. Maximal oxygen consumption and aerobic power were measured during an incremental treadmill test until exhaustion. Dancesport athletes were taller compared with same gender contemporary dancers (psomatotypes, and aerobic capacity, but we cannot say is it because of the training or selection or both.

  5. Private Speech in Ballet

    Science.gov (United States)

    Johnston, Dale

    2006-01-01

    Authoritarian teaching practices in ballet inhibit the use of private speech. This paper highlights the critical importance of private speech in the cognitive development of young ballet students, within what is largely a non-verbal art form. It draws upon research by Russian psychologist Lev Vygotsky and contemporary socioculturalists, to…

  6. Private Speech in Ballet

    Science.gov (United States)

    Johnston, Dale

    2006-01-01

    Authoritarian teaching practices in ballet inhibit the use of private speech. This paper highlights the critical importance of private speech in the cognitive development of young ballet students, within what is largely a non-verbal art form. It draws upon research by Russian psychologist Lev Vygotsky and contemporary socioculturalists, to…

  7. A Case in Pointe: Romance and Regimentation at the New York City Ballet.

    Science.gov (United States)

    Laemmli, Whitney E

    2015-01-01

    This article analyzes the ballet dancer's pointe shoe as a technology of artistic production and bodily discipline. Drawing on oral histories, memoirs, dance journals, advertisements, and other archival materials, it demonstrates that the shoe utilized by dancers at George Balanchine's New York City Ballet was not the quintessentially Romantic entity it is so often presumed to be. Instead, it emerged from uniquely twentieth-century systems of labor and production, and it was used to alter dancers' bodies and professional lives in particularly modern ways. The article explores not only the substance of these changes but also the ways in which Balanchine's artistic oeuvre was inextricably intertwined with the material technologies he employed and, more broadly, how the history of technology and the history of dance can productively inform one another. Fundamentally, this article recasts Balanchine, seeing him not as a disconnected artist but as an eager participant in the twentieth-century national romance with American technology.

  8. Developing a dancer wellness program employing developmental evaluation

    OpenAIRE

    Terry eClark; Arun eGupta; Chester eHo

    2014-01-01

    Wellness programs are being increasingly employed with performing artists. Given their aim of reducing injuries, injury tracking is commonly employed as an outcome measure. Evaluating the development and process of a wellness program can also enhance its effectiveness. Developmental evaluation offers one methodological framework within which to conduct such investigations. This paper reports on a two year process involving feedback from professional ballet dancers, management and artistic sta...

  9. Is There a Correlation Between Static and Dynamic Postural Balance Among Young Male and Female Dancers?

    Science.gov (United States)

    Steinberg, Nili; Adams, Roger; Waddington, Gordon; Karin, Janet; Tirosh, Oren

    2017-01-01

    Aimed to investigate whether young male and female dancers have different patterns of association between static and dynamic postural balance (PB), 60 dancers from the Australian Ballet School (14-19 years old) were tested for static and dynamic PB with head and lumbar accelerometers. Monotonic relationships between static and dynamic PB were found in head movements among young female dancers in all three directions, but were found for young male dancers in the mediolateral (ML) and anteroposterior (AP) directions only. In lumbar movements, monotonic relationships were found for young female dancers in the AP direction only. Comparing head with lumbar movements in static PB, young male dancers demonstrated monotonic relationships between head and lumbar movements in all 3 directions; however, young female dancers demonstrated monotonic relationships in the AP direction only. In the dynamic measurements, both male and female dancers demonstrated monotonic relationships between head and lumbar movements for all parameters measured in the ML and vertical directions (p static PB ability is correlated with their dynamic ability, whereas among male dancers, no relationship between the static and dynamic PB in the AP direction exists. Male dancers showed head and lumbar coordination in the static PB movement, but both genders manifested no head and lumbar coordination in the AP direction measured for dynamic PB.

  10. Influence of ankle injury on muscle activation and postural control during ballet grand plié.

    Science.gov (United States)

    Lin, Chia-Wei; Su, Fong-Chin; Lin, Cheng-Feng

    2014-02-01

    Ballet deep squat with legs rotated externally (grand plié) is a fundamental movement for dancers. However, performing this task is a challenge to ankle control, particularly for those with ankle injury. Thus, the purpose of this study was to investigate how ankle sprains affect the ability of postural and muscular control during grand plié in ballet dancers. Thirteen injured dancers and 20 uninjured dancers performed a 15 second grand plié consisting of lowering, squatting, and rising phases. The lower extremity motion patterns and muscle activities, pelvic orientation, and center of pressure (COP) excursion were measured. In addition, a principal component analysis was applied to analyze waveforms of muscle activity in bilateral medial gastrocnemius, peroneus longus, and tibialis anterior. Our findings showed that the injured dancers had smaller pelvic motions and COP excursions, greater maximum angles of knee flexion and ankle dorsiflexion as well as different temporal activation patterns of the medial gastrocnemius and tibialis anterior. These findings suggested that the injured dancers coped with postural challenges by changing lower extremity motions and temporal muscle activation patterns.

  11. Hypermobility and joint hypermobility syndrome in Brazilian students and teachers of ballet dance.

    Science.gov (United States)

    Sanches, S B; Oliveira, G M; Osório, F L; Crippa, J A S; Martín-Santos, R

    2015-04-01

    The current literature has been discussing the risks and benefits of joint hypermobility (JHM) for careers in ballet This study aimed to evaluate the prevalence of JHM and joint hypermobility syndrome (JHS) in a group of ballet teachers and students, looking both at aspects related to the flexibility required to dance, as at the risk of injuries when hypermobility is associated with other symptoms, in the case of JHS. We evaluated ballet teachers and ballet students, with age ranging from 18 to 40 years. All participants completed identification and sociodemographic questionnaires and underwent a physical examination. JHM was assessed using the Beighton score with goniometry. Symptoms of JHS were evaluated according to the Brighton criteria. Final sample consisted of 77 participants, being 44 ballet students and 33 ballet teachers. The prevalence of JHM in the sample as a whole was 58 %. Teachers and students had no significant differences regarding the prevalence of JHM (p = 0.74) (OR 1.21; 95 % CI 0.48-3.07). However, the prevalence of JHS was significantly different (p = 0.04) between students (16 %) and teachers (36 %). Teachers were three times more likely than student to have JHS (OR 3.02; 95 % CI 1.03-8.85). Teachers and students also presented differences in the frequency of specific items of Beighton score and Brighton criteria. These data provide elements to discuss the relationship between hypermobility, ballet technique and selection for dance, suggesting that dancers with JHS could find in ballet teaching an alternative to maintain professional activity with dance, while remaining protected from the higher risk of injury that professional dancers may be exposed to.

  12. Injuries in a Professional Ballet Dance Company: A 10-year Retrospective Study.

    Science.gov (United States)

    Ramkumar, Prem N; Farber, Joseph; Arnouk, Johnny; Varner, Kevin E; Mcculloch, Patrick C

    2016-03-01

    Ballet dancers are high-performance athletes who are particularly susceptible to a wide variety of musculoskeletal injuries. However, they are relatively understudied, and data on their injury rates are lacking. This retrospective study features the largest aggregate data on professional ballet dancers to date and aims to identify the most common diagnoses and areas of injury in this unique population to better direct preventative and clinical practices. The study encompassed a 10-year period from January 2000 to December 2010 of dancers from a single company. Data regarding the dancers' age, gender, location of injury, and diagnosis were collected from workers' compensation claims, company records, and medical records maintained by the treating doctors. These were analyzed to determine metrics on injury incidence, frequency, and diagnosis. Over the 10-year span, 574 injuries occurred. There were approximately 52 dancers per year for a total of 153 who danced at least one complete season during the study period. The average age was 27, and 53% were female. Given turnover with retirement and replacements, the total number of dancer-years was 520, indicating an injury incidence per annum of 1.10 (574 injuries per 520 dancer-years). The most common locations of injury were foot and ankle and the lumbar spine, with the three most common diagnoses making up greater than a third (37%) of the total. As the current largest study in professional ballet, the findings set the benchmark metrics for musculoskeletal injury to the foot, ankle, and lumbar spine sites. Future studies should aim to identify injury risk factors and modalities for prevention of these injuries.

  13. Self-reported hamstring injuries in student-dancers.

    Science.gov (United States)

    Askling, C; Lund, H; Saartok, T; Thorstensson, A

    2002-08-01

    Dancing involves powerful movements as well as flexibility exercises, both of which may be related to specific injuries to the musculo-tendinosus tissue, e.g., the hamstring muscle complex. In this study, the occurrence of acute and overuse injuries to the rear thigh in dancers was investigated retrospectively by means of a questionnaire. All but one (n = 98) of the student-dancers (age 17-25 years) at the Ballet Academy in Stockholm participated. The results demonstrated that, during the past 10 years, every third dancer (34%) reported that they had acute injuries and every sixth dancer (17%) had overuse injuries to the rear thigh. Most (91%) of the acute injuries were subjectively located to an area close to tuber ischiadicum. The majority (88%) stated that the acute injury occurred during slow activities in flexibility training, e.g., splits, and only a few (12%) in powerful movements. Continuing problems were reported by 70% of the acutely injured dancers. Many of the dancers neglected their acute injury (14 did not even stop the ongoing dance activity) and they also greatly underestimated the recovery time. Only 4 dancers (12%) received acute medical assistance. Thus the results, based on the recollection of the subjects, indicated that stretching could induce severe strain injuries to the proximal hamstrings in dancers. Extrapolating these results to the practice, it can be recommended that stretching exercises be executed with caution in connection with dancing sessions and training, and that, information about the seriousness and acute treatment of such injuries be added to the student-dancers' curriculum.

  14. Exercise intensities during a ballet lesson in female adolescents with different technical ability.

    Science.gov (United States)

    Guidetti, L; Gallotta, M C; Emerenziani, G P; Baldari, C

    2007-09-01

    To investigate the exercise intensity during a typical grade five ballet lesson, thirty-nine dancers (13 - 16 yrs) were divided into three different technical proficiency groups: low level (n = 13), intermediate level (n = 14), and high level (n = 12). A progressively incremented treadmill test was administered to determine VO(2max), individual ventilatory threshold (IVT), and the individual anaerobic threshold (IAT). Oxygen uptake (VO(2)), heart rate (HR) and blood lactate (La) were then evaluated during a grade five ballet lesson. Oxygen uptake at IVT, IAT and maximal oxygen uptake were greater (p fitness. HR and %VO(2max) obtained during the various exercises of the ballet lesson were similar among groups. During the ballet lesson, low technical level dancers had more V.O (2) and La values above (p fitness parameters (VO(2IVT), VO(2IAT), VO(2max); r between - 0.43 and - 0.69; p fitness levels and performed more exercises above IAT than the more skilled dancers.

  15. Dancing in pain: pain appraisal and coping in dancers.

    Science.gov (United States)

    Anderson, Ruth; Hanrahan, Stephanie J

    2008-01-01

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

  16. Do increases in selected fitness parameters affect the aesthetic aspects of classical ballet performance?

    Science.gov (United States)

    Twitchett, Emily A; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew

    2011-03-01

    Research has indicated that classical ballet dancers tend to have lower fitness levels and increased injury rates compared to other athletes with similar workloads. The aim of the current study was to examine the effects of a specifically tailored fitness training programme on the incidence of injury and the aesthetic quality of performance of classical ballet dancers compared to a control group. Proficiency in performance was evaluated at the beginning and end of the intervention period for both groups through a 4-min dance sequence using previously ratified marking criteria. The intervention group (n = 8) partook in a weekly 1-hr training session that included aerobic interval training, circuit training, and whole body vibration. All dancers' performance proficiency scores increased from pre-intervention testing to post-intervention. The intervention group's overall performance scores demonstrated a significantly greater increase (p = 0.03) than the equivalent for the control group. It was concluded that supplementary fitness training has a positive effect on aspects related to aesthetic dance performance as studied herein; further research is recommended on a larger and more varied sample. Practical applications from this study suggest that supplemental training should be part of a ballet dancer's regime, and minimal intervention time is required to have observable effects.

  17. My Body and Its Reflection: A Case Study of Eight Dance Students and the Mirror in the Ballet Classroom

    Science.gov (United States)

    Radell, Sally Anne; Keneman, Margaret Lynn; Adame, Daniel D.; Cole, Steven P.

    2014-01-01

    This qualitative study investigated the impact of the mirror on a dancer's body image. Two groups of students enrolled in beginner ballet classes were taught the same classroom material; one group was taught with mirrors, the other, without. At the end of the semester four students from each class were randomly selected to participate in a private…

  18. Noise exposure of musicians of a ballet orchestra.

    Science.gov (United States)

    Qian, Cheng Liang; Behar, Alberto; Wong, Willy

    2011-01-01

    With over 70 dancers and its own orchestra, The National Ballet of Canada ranks amongst the world's top dance companies. It performs three seasons annually: fall, winter and summer, plus many shows of Tchaikovsky's Nutcracker. The 70-strong orchestra plays an average of 360 hours/year including rehearsals and performances. Rehearsals are held at two locations: one in a ballet rehearsal room with little or no absorption, and the other in an acoustically treated location. Performances are held in the Four Seasons Centre for the Performing Arts in Toronto. The present survey was done at the request of the National Ballet, since the musicians complained of excessive sound levels and were concerned about possible hearing losses. The survey was performed using five dosimeters Quest Mod 300 during 10 performances of the ballet Romeo and Juliet by Sergei Prokofiev, deemed as the noisiest in the whole repertoire. Results of the survey indicate that the noise exposure levels from only the orchestra's activities do not present risk of hearing loss. Exposure due to other musical activities was, however, not included.

  19. Noise exposure of musicians of a ballet orchestra

    Directory of Open Access Journals (Sweden)

    Cheng Liang Qian

    2011-01-01

    Full Text Available With over 70 dancers and its own orchestra, The National Ballet of Canada ranks amongst the world′s top dance companies. It performs three seasons annually: fall, winter and summer, plus many shows of Tchaikovsky′s Nutcracker. The 70-strong orchestra plays an average of 360 hours/year including rehearsals and performances. Rehearsals are held at two locations: one in a ballet rehearsal room with little or no absorption, and the other in an acoustically treated location. Performances are held in the Four Seasons Centre for the Performing Arts in Toronto. The present survey was done at the request of the National Ballet, since the musicians complained of excessive sound levels and were concerned about possible hearing losses. The survey was performed using five dosimeters Quest Mod 300 during 10 performances of the ballet Romeo and Juliet by Sergei Prokofiev, deemed as the noisiest in the whole repertoire. Results of the survey indicate that the noise exposure levels from only the orchestra′s activities do not present risk of hearing loss. Exposure due to other musical activities was, however, not included.

  20. Can textured insoles improve ankle proprioception and performance in dancers?

    Science.gov (United States)

    Steinberg, Nili; Waddington, Gordon; Adams, Roger; Karin, Janet; Begg, Rezaul; Tirosh, Oren

    2016-08-01

    With the aim of determining both the acute and the chronic effects of textured insoles on the ankle discrimination and performance ability of dancers, 60 ballet dancers from the Australian Ballet School, aged 14-19 years, were divided into three groups (two intervention groups and a control group), age- and level-matched. In the first 5 weeks (weeks 1 to 5), the first intervention group (GRP1) was asked to wear textured insoles in their ballet shoes and the second intervention group (GRP2) was not given textured insoles to wear. In the next 5 weeks (weeks 6 to 10), GRP2 was asked to wear the same type of textured insoles and GRP1 did not wear the textured insoles. The control group (CTRL) did not wear textured insoles during the whole 10 weeks. All participants were tested preintervention, after 5 weeks and after 10 weeks for ankle discrimination score (AUC scores). Dance performance was assessed by 5-7 dance teachers. Pre-to-post change in AUC scores was significantly greater for the groups wearing insoles than for the controls (P = .046) and the size of pre-to-post changes did not differ between the two intervention groups (P = .834). Significant correlation was found between ankle discrimination score and performance scores, using the textured insoles (r = .412; P = .024). In conclusion, the stimulation to the proprioceptive system arising from textured insoles worn for five weeks was sufficient to improve the proprioceptive ability and performance ability of ballet dancers.

  1. Resisting Vocationalism in the Pre-Professional Writing Course.

    Science.gov (United States)

    Griffin, Susan

    This paper discusses vocationalism versus a utilitarian view of the university in the context of funding and inclusion of pre-professional writing courses in a liberal arts education. It begins by describing a situation in which pre-professional writing courses for medicine, law, and business might be eliminated, based on their vocational…

  2. Dynamism of Ballet in Isan

    Directory of Open Access Journals (Sweden)

    Sirimongkol Natayakul

    2015-11-01

    Full Text Available Isan is a region with diverse dancing art forms, such as Fon (Northertern-Thai-style-dance, Serng (Northestern-Thai-style-dance, and Ram (Central-Thai-style-dance which are attached to important traditions associated with Buddhism and spiritual beliefs. Ballet is a unique cross-cultural dance that has spread into Isan society over a long period of time. This qualitative research aims to study the history of ballet in Isan from 1976 to 2012 and the factors that have led to the dynamism of ballet in Isan. Research methods used for data collection include document study, fieldwork and researcher experience. In this study, the population and area samples are in seven provinces: Khon Kaen, Nakhon Ratchasima, Udon Thani, Ubon Ratchathani, Maha Sarakham, Chaiyaphum and Buriram. Ballet first appeared in Isan in 1976 when Khunying Genevieve Damon, a French national, Ekachai Kaikaew and Kanoknat Homasawin set up as ballet teachers. Ballet schools are found in 12 public schools, 21 private schools and one school of the local administrative organization. Ballet shows take two forms, which are either Conventional Ballet and Non-Conventional Ballet. Seven factors affect the dynamism of ballet in Isan: government policy, education, economy, ballet teachers, parents of ballet students, communications and overseas organizations. Ballet teachers have a multidimensional role in educational society and are thus very important to the ballet shows in the Isan area. Moreover, ballet teachers in the Northeast also create, design, choreograph and direct the shows. The dynamism of education and economy are the second and the third most important factors

  3. Proprioception of foot and ankle complex in young regular practitioners of ice hockey, ballet dancing and running.

    Science.gov (United States)

    Li, Jing Xian; Xu, Dong Qing; Hoshizaki, Blaine

    2009-01-01

    This study examined the proprioception of the foot and ankle complex in regular ice hockey practitioners, runners, and ballet dancers. A total of 45 young people with different exercise habits formed four groups: the ice hockey, ballet dancing, running, and sedentary groups. Kinesthesia of the foot and ankle complex was measured in plantarflexion (PF), dorsiflexion (DF), inversion (IV), and eversion (EV) at 0.4 degrees /s using a custom-made device. The results showed the following: (1) significantly better perceived passive motion sense in PF/DF was found as compared with the measurements in IV/EV within each group (P ballet groups perceived significantly better passive motion sense in IV/EV than the running (P ballet dancing on proprioception may be associated with their movement characteristics.

  4. Nutrition and nutritional issues for dancers.

    Science.gov (United States)

    Sousa, Mónica; Carvalho, Pedro; Moreira, Pedro; Teixeira, Vítor H

    2013-09-01

    Proper nutrition, not simply adequate energetic intake, is needed to achieve optimal dance performance. However, little scientific research exists concerning nutrition in dance, and so, to propose nutritional guidelines for this field, recommendations need to be based mainly on studies done in other physically active groups. To diminish the risk of energy imbalance and associated disorders, dancers must consume at least 30 kcal/kg fat-free mass/day, plus the training energy expenditure. For macronutrients, a daily intake of 3 to 5 g carbohydrates/kg, 1.2 to 1.7 g protein/kg, and 20 to 35% of energy intake from fat can be recommended. Dancers may be at increased risk of poor micronutrient status due to their restricted energy intake; micronutrients that deserve concern are iron, calcium, and vitamin D. During training, dancers should give special attention to fluid and carbohydrate intake in order to maintain optimal cognition, motivation, and motor skill performance. For competition/stage performance preparation, it is also important to ensure that an adequate dietary intake is being achieved. Nutritional supplements that may help in achieving specific nutritional goals when dietary intake is inadequate include multivitamins and mineral, iron, calcium, and vitamin D supplements, sports drinks, sports bars, and liquid meal supplements. Caffeine can also be used as an ergogenic aid. It is important that dancers seek dietary advice from qualified specialists, since the pressure to maintain a low body weight and low body fat levels is high, especially in styles as ballet, and this can lead to an unbalanced diet and health problems if not correctly supervised.

  5. International Dictionary of Ballet.

    Science.gov (United States)

    Martin, Ron

    1992-01-01

    Describes the "International Dictionary of Ballet" and provides an activity for grades 6-9 that can be used by the school library media specialist in cooperation with the music teacher. Resource materials are listed (including books and nonprint materials), and suggestions for adaptation to other curriculum areas are offered. (LRW)

  6. The dancer as a performing athlete: physiological considerations.

    Science.gov (United States)

    Koutedakis, Yiannis; Jamurtas, Athanasios

    2004-01-01

    The physical demands placed on dancers from current choreography and performance schedules make their physiology and fitness just as important as skill development. However, even at the height of their professional careers, dancers' aerobic power, muscular strength, muscular balance, bone and joint integrity are the 'Achilles heels' of the dance-only selection and training system. This partly reflects the unfounded view, shared by sections of the dance world, that any exercise training that is not directly related to dance would diminish dancers' aesthetic appearances. Given that performing dance itself elicits only limited stimuli for positive fitness adaptations, it is not surprising that professional dancers often demonstrate values similar to those obtained from healthy sedentary individuals of comparable age in key fitness-related parameters. In contrast, recent data on male and female dancers revealed that supplementary exercise training can lead to improvements of such fitness parameters and reduce incidents of dance injuries, without interfering with key artistic and aesthetic requirements. It seems, however, that strict selection and training regimens have succeeded in transforming dance to an activity practised by individuals who have selectively developed different flexibility characteristics compared with athletes. Bodyweight targets are normally met by low energy intakes, with female dance students and professional ballerinas reported to consume below 70% and 80% of the recommended daily allowance of energy intake, respectively, while the female athlete 'triad' of disordered eating, amenorrhoea and osteoporosis is now well recognised and is seen just as commonly in dancers. An awareness of these factors will assist dancers and their teachers to improve training techniques, to employ effective injury prevention strategies and to determine better physical conditioning. However, any change in the traditional training regimes must be approached cautiously

  7. Development, validity, and reliability of a ballet-specific aerobic fitness test.

    Science.gov (United States)

    Twitchett, Emily; Nevill, Alan; Angioi, Manuela; Koutedakis, Yiannis; Wyon, Matthew

    2011-09-01

    The aim of this study was to develop and assess the reliability and validity of a multi-stage, ballet-specific aerobic fitness test to be used in a dance studio setting. The test consists of five stages, each four minutes long, that increase in intensity. It uses classical ballet movement of an intermediate-level of difficulty, thus emphasizing physiological demand rather than skill. The demand of each stage was determined by calculating the mean oxygen uptake during its final minute using a portable gas analyser. After an initial familiarization period, eight female subjects performed the test twice within seven days. The results showed significant differences in oxygen consumption between stages (p ballet dancers, with many possible applications.

  8. Kinematic and kinetic analysis of the fouetté turn in classical ballet.

    Science.gov (United States)

    Imura, Akiko; Iino, Yoichi; Kojima, Takeji

    2010-11-01

    The fouetté turn in classical ballet dancing is a continuous turn with the whipping of the gesture leg and the arms and the bending and stretching of the supporting leg. The knowledge of the movement intensities of both legs for the turn would be favorable for the conditioning of the dancer's body. The purpose of this study was to estimate the intensities. The hypothesis of this study was that the intensities were higher in the supporting leg than in the gesture leg. The joint torques of both legs were determined in the turns performed by seven experienced female classical ballet dancers with inverse dynamics using three high-speed cine cameras and a force platform. The hip abductor torque, knee extensor and plantar flexor torques of the supporting leg were estimated to be exerted up to their maximum levels and the peaks of the torques were larger than the peaks of their matching torques of the gesture leg. Thus, the hypothesis was partly supported. Training of the supporting leg rather than the gesture leg would help ballet dancers perform many revolutions of the fouetté turn continuously.

  9. The Effects of 17 Weeks of Ballet Training on the Autonomic Modulation, Hormonal and General Biochemical Profile of Female Adolescents

    Directory of Open Access Journals (Sweden)

    da Silva Carla Cristiane

    2015-09-01

    Full Text Available This study aimed to examine the alterations in physiological and biochemical markers, after 17 weeks of ballet training in high level ballet dancers. Twenty four female ballet dancers from 12 to 15 years old took part in the study. The study followed 17 weeks of ballet training and analyzed changes in body composition, the autonomic nervous system and biochemical variables before and after (post training. The internal training load was obtained using the session rating of perceived exertion (session-RPE method, calculated as the mean weekly session-RPE, monotony and strain. After 17 weeks of training there were significant increases in body mass, height, lean body mass, total protein, urea, hemoglobin concentration, testosterone and thyroxine. During this period, decreases in relative body fat, uric acid, red blood cells, C-reactive protein, and ferritin were also found. After the training period, the autonomic modulation demonstrated significant positive alterations, such as increases in parasympathetic related indices. Based on the results obtained we concluded that ballet training led to improvements in body composition and autonomic modulation. In general hematological and biochemical variables demonstrated that the training did not have adverse effects on the health state of the adolescents.

  10. The Effects of 17 Weeks of Ballet Training on the Autonomic Modulation, Hormonal and General Biochemical Profile of Female Adolescents

    Science.gov (United States)

    da Silva, Carla Cristiane; Goldberg, Tamara Beres Lederer; Soares-Caldeira, Lúcio Flávio; dos Santos Oliveira, Ricardo; de Paula Ramos, Solange; Nakamura, Fábio Yuzo

    2015-01-01

    This study aimed to examine the alterations in physiological and biochemical markers, after 17 weeks of ballet training in high level ballet dancers. Twenty four female ballet dancers from 12 to 15 years old took part in the study. The study followed 17 weeks of ballet training and analyzed changes in body composition, the autonomic nervous system and biochemical variables before and after (post) training. The internal training load was obtained using the session rating of perceived exertion (session-RPE) method, calculated as the mean weekly session-RPE, monotony and strain. After 17 weeks of training there were significant increases in body mass, height, lean body mass, total protein, urea, hemoglobin concentration, testosterone and thyroxine. During this period, decreases in relative body fat, uric acid, red blood cells, C-reactive protein, and ferritin were also found. After the training period, the autonomic modulation demonstrated significant positive alterations, such as increases in parasympathetic related indices. Based on the results obtained we concluded that ballet training led to improvements in body composition and autonomic modulation. In general hematological and biochemical variables demonstrated that the training did not have adverse effects on the health state of the adolescents. PMID:26555850

  11. Retirement transition in ballet dancers: "coping within and coping without"

    OpenAIRE

    Roncaglia, Irina

    2010-01-01

    Bisher wurden Übergänge in den Ruhestand im Falle von Balletttänzer/innen wenig erforscht. Deshalb widmet sich dieser Beitrag deren Erfahrungen mit Karriereübergangen unter einer Lebenslaufperspektive. Rückgreifend auf vorliegende Transitions-Modelle (SCHLOSSBERG, 1981) und sportwissenschaftliche Befunde (TAYLOR & OGILVIE, 1994) soll gezeigt werden, wie Balletttänzer/innen den Übergang in den Ruhestand (nicht) bewältigen und welche Faktoren auf den Bewältigungsprozess Einfluss nehmen. In der ...

  12. The Creative Dancer

    Science.gov (United States)

    Farrer, Rachel

    2014-01-01

    This article explores the creative role of contemporary dancers within the choreographic process, and introduces the question of why their creative contribution is often overlooked? It highlights how different modes of creativity can be understood, and what impacts different choreographic processes have on the way dancers understand their creative…

  13. The Creative Dancer

    Science.gov (United States)

    Farrer, Rachel

    2014-01-01

    This article explores the creative role of contemporary dancers within the choreographic process, and introduces the question of why their creative contribution is often overlooked? It highlights how different modes of creativity can be understood, and what impacts different choreographic processes have on the way dancers understand their creative…

  14. Psychological distress among dancers seeking outpatient treatment for musculoskeletal injury.

    Science.gov (United States)

    Air, Mary Elizabeth

    2013-09-01

    The purpose of this study was to investigate the incidence and magnitude of clinically significant psychological symptoms among outpatient injured dancers presenting for musculoskeletal issues and to identify features of "at risk" dancer-patients who might require additional psychological support when injured. The Brief Symptom Inventory® (BSI), a highly reliable and valid screening tool for psychological distress, was administered to first- and last-visit injured dancers at an orthopedic clinic in the Netherlands from February to May 2008. In all, 153 BSI surveys were completed, including 82 among first-visit patients and 71 among end-treatment patients. Scores were examined for the influence of age, gender, dance level, style, pain, perceived level of artistic compromise, and anatomic location of injury. Dancers' scores were compared to normative values for adult non-psychiatric patient community members. Ninety-two dancers (60.1%) met requirements for clinical referral to a psychologist or psychiatrist, having scored two or more standard deviations (SD) above the norm in at least one of nine psychopathological symptoms. Across first- and last-visit groups, dancers met referral criteria for an average of four psychopathological symptoms. First-visit dancers demonstrated higher distress than the general population on 90% of BSI dimensional symptoms and last-visit dancers on 50%. On the Global Symptom Index, a summary score for overall distress and the best measure of psychological discomfort, 46.6% of dancers demonstrated "above average" distress (≥ 1 SD) compared to the general population, and 19.6% demonstrated "high" (≥ 2 SD) or "very high" (≥ 2.5 SD) distress. Compared to academy level pre-professional students, professionals showed reduction in BSI scores on somatic, cognitive, interpersonal sensitivity, anxious, hostile, phobic, and global scores following resolution of injury, particularly among those greater than 25 years of age. Students and

  15. Goltsman Ballet hakkab lapsi õpetama

    Index Scriptorium Estoniae

    2014-01-01

    Tantsutrupp Goltsman Ballet asutaja, kunstilise juhi ja tänapäevase balletikunsti pedagoog Maria Goltsmani sõnul hakkab tantsutrupp andma tantsutunde 5-7-aastastele lastele, esialgu Tallinnas. Detsembri lõpus esitles Goltsman Ballet uut tantsuetendust "Blue", lavastajaks Krista Köster

  16. Goltsman Ballet hakkab lapsi õpetama

    Index Scriptorium Estoniae

    2014-01-01

    Tantsutrupp Goltsman Ballet asutaja, kunstilise juhi ja tänapäevase balletikunsti pedagoog Maria Goltsmani sõnul hakkab tantsutrupp andma tantsutunde 5-7-aastastele lastele, esialgu Tallinnas. Detsembri lõpus esitles Goltsman Ballet uut tantsuetendust "Blue", lavastajaks Krista Köster

  17. Does Wearing Textured Insoles during Non-class Time Improve Proprioception in Professional Dancers?

    Science.gov (United States)

    Steinberg, N; Tirosh, O; Adams, R; Karin, J; Waddington, G

    2015-11-01

    This study sought to determine whether textured insoles inserted in the sports shoes of young dancers improved their inversion and eversion ankle movement discrimination. 26 ballet dancers (14 female, 12 male) from the Australian Ballet School, ages 14-19 years, were divided into 2 groups according to sex and class levels. During the first 4 weeks, the first intervention group (GRP1) was asked to wear textured insoles in their sports shoes during non-class periods, and the second intervention group (GRP2) followed standard practice. In the next 4 weeks, GRP2 was asked to wear the textured insoles and GRP1 did not wear the textured insoles. Participants were tested pre-intervention, after 4 weeks, and at 8 weeks for both inversion and eversion ankle discrimination. In both inversion and eversion testing positions, interaction was found between the 2 groups and the 3 testing times (pproprioceptive system arising from textured insoles worn for 4 weeks was sufficient to improve the ankle proprioception of ballet dancers, in both inversion and eversion movements.

  18. Spine injuries in dancers.

    Science.gov (United States)

    Gottschlich, Laura M; Young, Craig C

    2011-01-01

    Care of a dancer calls for a unique balance between athlete and artist. The physician must familiarize himself or herself with dance terminology, common moves, correct technique, and dancer's mentality. The goal is to work intimately with the dancer to care for the injury and, if possible, continue to participate in portions of dance class to limit anxiety and increase compliance to treatment. The spine is the second most injured area of the body in dancers, and many issues stem from poor technique and muscle imbalance. This often leads to hyperlordosis, spondylolysis, spondylolisthesis, lumbar facet sprain, discogenic back pain, and muscle spasm and piriformis syndrome. This article reviews these causes of low back pain with a focus on dance-related presentation and treatment issues.

  19. Perfectionism and learning experiences in dance class as risk factors for eating disorders in dancers.

    Science.gov (United States)

    Penniment, Kylie J; Egan, Sarah J

    2012-01-01

    There is strong evidence that perfectionism is a risk factor for eating disorders. Women who engage in dance training have been reported to be at risk for eating disorders, and it has been hypothesised that expectancies about thinness and restricting food intake are formed partly as a result of exposure to thinness related learning (TRL) experiences in this environment, which may increase their risk. To clarify the relative contribution of perfectionism and learning in accounting for eating disorder symptoms in this group, 142 female ballet dancers completed an online survey. Through structural equation modelling it was found that the association between perfectionism and eating disorder symptoms was partially mediated by learning about thinness and restriction. The results suggest that eating disorder symptoms in dancers are significantly influenced by the interaction of perfectionism and learning, and future research should investigate the efficacy of prevention programs to target these risk factors in female dancers.

  20. The Ballet-Pantomime Technique of Passions: Constructing Knowledge of Dance during the 17th and 18th Centuries

    Directory of Open Access Journals (Sweden)

    Juan Ignacio VALLEJOS

    2015-05-01

    Full Text Available This article examines the fundamentals of the pantomime-ballet dance technique, which was characteristic of the eighteenth century. In particular, it explores how knowledge developed with regard to the representation of passions and expressive gestures. Our hypothesis proposes the existence of a correlation between the regulation of the theatrical practice of dance in the seventeenth century, during the reign of Louis XIV, and the discourses on the dancing-body that accompanied the zenith of the pantomime-ballet project between 1760 and 1776. In this way, we show that the passage from baroque ballet to pantomimeballet represents a breakthrough in body encoding as well as a development of the aesthetic framework for the theatrical expression of the dancer.

  1. Single leg balancing in ballet: effects of shoe conditions and poses.

    Science.gov (United States)

    Lobo da Costa, Paula H; Azevedo Nora, Fernanda G S; Vieira, Marcus Fraga; Bosch, Kerstin; Rosenbaum, Dieter

    2013-03-01

    The purpose of this study was to describe the effects of lower limb positioning and shoe conditions on stability levels of selected single leg ballet poses performed in demi-pointe position. Fourteen female non-professional ballet dancers (mean age of 18.4±2.8 years and mean body mass index of 21.5±2.8kg/m(2)) who had practiced ballet for at least seven years, without any musculoskeletal impairment volunteered to participate in this study. A capacitive pressure platform allowed for the assessment of center of pressure variables related to the execution of three single leg ballet poses in demi pointé position: attitude devant, attitude derriére, and attitude a la second. Peak pressures, contact areas, COP oscillation areas, anterior-posterior and medio-lateral COP oscillations and velocities were compared between two shoe conditions (barefoot versus slippers) and among the different poses. Barefoot performances produced more stable poses with significantly higher plantar contact areas, smaller COP oscillation areas and smaller anterior-posterior COP oscillations. COP oscillation areas, anterior-posterior COP oscillations and medio-lateral COP velocities indicated that attitude a la second is the least challenging and attitude derriére the most challenging pose.

  2. MODELO DE COMUNICACIÓN NO VERBAL EN DEPORTE Y BALLET NON-VERBAL COMMUNICATION MODELS IN SPORTS AND BALLET

    Directory of Open Access Journals (Sweden)

    Gloria Vallejo

    2010-12-01

    Full Text Available Este estudio analiza el modelo de comunicación que se genera en los entrenadores de fútbol y de gimnasia artística a nivel profesional, y en los instructores de ballet en modalidad folklórica, tomando como referente el lenguaje corporal dinámico propio de la comunicación especializada de deportistas y bailarines, en la que se evidencia lenguaje no verbal. Este último se estudió tanto en prácticas psicomotrices como sociomotrices, para identificar y caracterizar relaciones entre diferentes conceptos y su correspondiente representación gestual. Los resultados indican que el lenguaje no verbal de los entrenadores e instructores toma ocasionalmente el lugar del lenguaje verbal, cuando este último resulta insuficiente o inapropiado para describir una acción motriz de gran precisión, debido a las condiciones de distancia o de interferencias acústicas. En los instructores de ballet se encontró una forma generalizada de dirigir los ensayos utilizando conteos rítmicos con las palmas o los pies. De igual forma, se destacan los componentes paralingüísticos de los diversos actos de habla, especialmente, en lo que se refiere a entonación, duración e intensidad.This study analyzes the communication model generated among professional soccer trainers, artistic gymnastics trainers, and folkloric ballet instructors, on the basis of the dynamic body language typical of specialized communication among sportspeople and dancers, which includes a high percentage of non-verbal language. Non-verbal language was observed in both psychomotor and sociomotor practices in order to identify and characterize relations between different concepts and their corresponding gestural representation. This made it possible to generate a communication model that takes into account the non-verbal aspects of specialized communicative contexts. The results indicate that the non-verbal language of trainers and instructors occasionally replaces verbal language when the

  3. Generation of vertical angular momentum in single, double, and triple-turn pirouette en dehors in ballet.

    Science.gov (United States)

    Kim, Jemin; Wilson, Margaret A; Singhal, Kunal; Gamblin, Sarah; Suh, Cha-Young; Kwon, Young-Hoo

    2014-09-01

    The purpose of this study was to investigate the vertical angular momentum generation strategies used by skilled ballet dancers in pirouette en dehors. Select kinematic parameters of the pirouette preparation (stance depth, vertical center-of-mass motion range, initial shoulder line position, shoulder line angular displacement, and maximum trunk twist angle) along with vertical angular momentum parameters during the turn (maximum momentums of the whole body and body parts, and duration and rate of generation) were obtained from nine skilled collegiate ballet dancers through a three-dimensional motion analysis and compared among three turn conditions (single, double, and triple). A one-way ('turn') multivariate analysis of variance of the kinematic parameters and angular momentum parameters of the whole body and a two-way analysis of variance ('turn' × 'body') of the maximum angular momentums of the body parts were conducted. Significant 'turn' effects were observed in the kinematic/angular momentum parameters (both the preparation and the turn) (p <  0.05). As the number of turns increased, skilled dancers generated larger vertical angular momentums by predominantly increasing the rate of momentum generation using rotation of the upper trunk and arms. The trail (closing) arm showed the largest contribution to whole-body angular momentum followed by the lead arm.

  4. Does physical fitness affect injury occurrence and time loss due to injury in elite vocational ballet students?

    Science.gov (United States)

    Twitchett, Emily; Brodrick, Anna; Nevill, Alan M; Koutedakis, Yiannis; Angioi, Manuela; Wyon, Matthew

    2010-01-01

    Most ballet dancers will suffer at least one injury a year. There are numerous causes of injury in dance, and while many investigators have documented risk factors such as anatomical characteristics, past medical history, menstrual history, dance experience, length of dance training, fatigue, and stress, risk factors related to body characteristics and nutrient intake, levels of conditioning, or physical fitness parameters have only recently received the same amount of attention. The aim of the present study was, therefore, to investigate correlations between ballet injury and body fat percentage, active and passive flexibility, lower limb power, upper body and core endurance, and aerobic capacity. Low levels of aerobic fitness were significantly associated with many of the injuries sustained over a 15-week period (r=.590, p=0.034), and body fat percentage was significantly associated with the length of time a dancer was forced to modify activity due to injury (r=-.614, p=0.026). This information may be of benefit to dancers, teachers, physical therapists and physicians in dance schools and companies when formulating strategies to prevent injury.

  5. Athletes Doing Arabesques: Important Considerations in the Care of Young Dancers.

    Science.gov (United States)

    Wilson, Julie C; Quinn, Bridget J; Stratton, Corinne W; Southwick, Heather; MacDonald, James P

    2015-01-01

    Dance is as much a sport as an art form. Sports medicine clinicians seeing dancers in their practice will need to be familiar with the unique characteristics of dance in order to provide proper care. Dance encompasses different forms, which vary in equipment and terminology. The epidemiology of dance injuries has historically focused on ballet, but there is increasing research on other dance forms. Lower extremity and back injuries predominate. Injury prevention, both primary and secondary, is at the heart of dance medicine. Primary prevention includes preseason conditioning, identifying risk factors for injury, and recognizing the female athlete triad. Secondary prevention includes a comprehensive approach to injury rehabilitation, an appreciation for the unique demands of dance, and an understanding of the particulars of the injury being treated. Dancers may have difficulty accessing medical care or following prescribed advice; the proactive clinician will anticipate these situations.

  6. The impact of mirrors on body image and performance in high and low performing female ballet students.

    Science.gov (United States)

    Radell, Sally A; Adame, Daniel D; Cole, Steven P; Blumenkehl, Nicole J

    2011-09-01

    This study assesses the effect of mirrors on body image and performance in high and low performing female collegiate ballet students. Twenty-three females enrolled in a beginning ballet class were taught using mirrors, and a second group of 23 beginning females were taught without mirrors. All participants completed the Cash 69-item Body Self-Relations Questionnaire during the first and last class of a 14-week semester. They were videotaped performing in the studio during the fifth and fourteenth weeks. Two ballet teachers independently viewed the videotapes to evaluate the dancers' rhythmic accuracy, ease and flow of movement, and mastery of steps and alignment, and rated the students' skill level on a 1-5 scale. For analysis purposes, students whose scores averaged three or higher were categorized as "high performers," and those who averaged less than three were "low performers." Two (mirror, non-mirror) by two (high performance, low performance) by two (pre-test, post-test) repeated measures ANOVAs were used to test class differences over the course of the semester. There were significant 3-way interactions for overweight preoccupation (p < 0.01) and body-areas satisfaction (p < 0.05). Low performers increased in overweight preoccupation in the non-mirror class while decreasing in the mirror class. High performers significantly increased in satisfaction for most areas of their body in the non-mirror class, while there were smaller increases for both low and high performers in the mirror class. It is concluded that while use of the mirror has some benefits in training, higher performing dancers feel better about their body image when they do not use the mirror. Lower performers who use the mirror worry less about their weight; those who do not use the mirror worry more. The mirror may provide feedback that helps low performing dancers feel more comfortable with their weight.

  7. Magnetic resonance study of lumbar disks in female dancers.

    Science.gov (United States)

    Capel, Antonio; Medina, Fernando Santonja; Medina, Daniel; Gómez, Sebastian

    2009-06-01

    Previous imaging studies have shown that degenerative disk disease is more common in the competitive female gymnast than in asymptomatic nonathletic people of the same age training to any degree. However, results of exposure-discordant monozygotic and classic twin studies suggest that physical loading specific to occupation and sport has a relatively minor role in disk degeneration, beyond that of upright postures and routine activities of daily living. Intensive, regular, and prolonged dancing causes strain on the lumbar spine and can trigger or accelerate the development of degenerative diskopathy. Cross-sectional study; Level of evidence, 3. Forty volunteer female dancers (20 ballet and 20 flamenco) aged between 18 and 31 years (mean = 24.2) underwent magnetic resonance imaging of the lumbar spine. They were compared against a control group of 20 women of the same age. A descriptive analysis was done, and the 2 groups were compared by contingency table analysis using the Pearson chi-square test complemented by an analysis of residuals. Results Nine of the 20 women (45%) in the control group had disk degeneration compared with 13 of the 40 (32.5%) women in the dancer group, with a chi-square of 0.897 (not significant). There were 12 degenerated disks of the 100 explored (12%) in the control group compared with 21 of the 200 explored (10.5%) in the dancer group (chi-square = 0.153; not significant). Dancing cannot be considered a risk factor for lumbar disk degeneration in women. The present study indicates that dancing has no negative effect on the development of degenerative diskopathy.

  8. Virtual Rap Dancer: Invitation to Dance

    NARCIS (Netherlands)

    Reidsma, D.; Nijholt, A.; Poppe, R.W.; Rienks, R.J.; Hondorp, H.

    2006-01-01

    This paper presents a virtual rap dancer that is able to dance to the beat of music coming in from music recordings, beats obtained from music, voice or other input through a microphone, motion beats detected in the video stream of a human dancer, or motions detected from a dance mat. The rap dancer

  9. Total hip replacement in dancers.

    Science.gov (United States)

    Buyls, Inge R A E; Rietveld, A B M Boni; Ourila, Tiia; Emerton, Mark E; Bird, H A

    2013-04-01

    A case report of a professional contemporary dancer who successfully returned to the stage after bilateral total hip replacements (THR) for osteoarthritis is presented, together with her own commentary and a retrospective cohort study of total hip replacements in dancers. In the presented cohort, there were no post-operative dislocations or infections, the original pain had been relieved, rehabilitation was objectively normal and all resumed their dance (teaching) activities. Nevertheless, they were disappointed about the prolonged rehabilitation. Due to their high demands as professional dancers, post-operative expectations were too optimistic in view of the usual quick and favourable results of THR in the older and less physically active, general population. In all dancers with unilateral osteoarthritis, the left hip was involved, which may reflect the tendency to use the left leg as standing leg and be suggestive that strenuous physical activity may lead to osteoarthritis. Better rehabilitation guidelines are needed for dancer patients undergoing THR, especially drawing their attention to realistic post-operative expectations.

  10. Dance as Experience: Pragmatism and Classical Ballet

    National Research Council Canada - National Science Library

    Jean Van Delinder

    2000-01-01

    ... life, and the necessity of removing any limitations that prevent it from occurring. How can a regimented, formalized dance form such as classical ballet create a consummatory experience for the artist...

  11. Ballet, why and how? On the role of classical ballet in dance education

    NARCIS (Netherlands)

    Brown, D.D.; Vos, M.

    2013-01-01

    Classical ballet is no longer the sole stimulus for today's audiences, as a fluid fusion of everything from ballet to Bollywood and from breakdancing to Latin represents how dance is consumed today. With the emergence of modern choreographers and new teaching styles, debate on the benefits of classi

  12. Effect of Reduced Stiffness Dance Flooring on Lower Extremity Joint Angular Trajectories During a Ballet Jump.

    Science.gov (United States)

    Hackney, James; Brummel, Sara; Newman, Mary; Scott, Shannon; Reinagel, Matthew; Smith, Jennifer

    2015-09-01

    We carried out a study to investigate how low stiffness flooring may help prevent overuse injuries of the lower extremity in dancers. It was hypothesized that performing a ballet jump (sauté) on a reduced stiffness dance floor would decrease maximum joint flexion angles and negative angular velocities at the hips, knees, or ankles compared to performing the same jump on a harder floor. The participants were 15 young adult female dancers (age range 18 to 28, mean = 20.89 ± 2.93 years) with at least 5 years of continuous ballet experience and without history of serious lower body injury, surgery, or recent pain. They performed sautés on a (low stiffness) Harlequin ® WoodSpring Floor and on a vinyl-covered hardwood on concrete floor. Maximum joint flexion angles and negative velocities at bilateral hips, knees, and ankles were measured with the "Ariel Performance Analysis System" (APAS). Paired one-tailed t-tests yielded significant decreases in maximum knee angle (average decrease = 3.4° ± 4.2°, p = 0.026) and angular negative velocity of the ankles (average decrease = 18.7°/sec ± 27.9°/sec, p = 0.009) with low stiffness flooring. If the knee angle is less acute, then the length of the external knee flexion moment arm will also be shorter and result in a smaller external knee flexion moment, given an equal landing force. Also, high velocities of eccentric muscle contraction, which are necessary to control negative angular velocity of the ankle joint, are associated with higher risk of musculotendinous injury. Hence, our findings indicate that reduced floor stiffness may indeed help decrease the likelihood of lower extremity injuries.

  13. "Whole" Ballet Education: Exploring Direct and Indirect Teaching Methods

    Science.gov (United States)

    Choi, Euichang; Kim, Na-ye

    2015-01-01

    The purpose of this study was to explore teaching methods for whole ballet in Korean ballet education. This study built upon a first phase of research that identified the educational content of "whole" ballet. Four dimensions were identified as the educational content: "physical," "cognitive," "emotional"…

  14. "Whole" Ballet Education: Exploring Direct and Indirect Teaching Methods

    Science.gov (United States)

    Choi, Euichang; Kim, Na-ye

    2015-01-01

    The purpose of this study was to explore teaching methods for whole ballet in Korean ballet education. This study built upon a first phase of research that identified the educational content of "whole" ballet. Four dimensions were identified as the educational content: "physical," "cognitive," "emotional"…

  15. "Shiva Natavaja, King of Dancers."

    Science.gov (United States)

    Prabhu, Vas

    1987-01-01

    Offers an art lesson designed to introduce junior high school students to a Shiva sculpture and to Hindu symbolism. The lesson is based on a full-color photograph of a 500 year-old bronze sculpture entitled Shiva Nataraja, King of Dancers. (BR)

  16. Scoliosis in musicians and dancers.

    Science.gov (United States)

    Bird, H A; Pinto, Sofia Ornellas

    2013-04-01

    Scoliosis, although often considered a condition of athletes, is very common as a cause of symptoms in performing artists. Three typical case histories are presented with a physiotherapy review. Surprisingly, scoliosis is often more of a problem in musicians than in dancers.

  17. Feasibility Study for Ballet E-Learning: Automatic Composition System for Ballet "Enchainement" with Online 3D Motion Data Archive

    Science.gov (United States)

    Umino, Bin; Longstaff, Jeffrey Scott; Soga, Asako

    2009-01-01

    This paper reports on "Web3D dance composer" for ballet e-learning. Elementary "petit allegro" ballet steps were enumerated in collaboration with ballet teachers, digitally acquired through 3D motion capture systems, and categorised into families and sub-families. Digital data was manipulated into virtual reality modelling language (VRML) and fit…

  18. Effect of sprung (suspended) floor on lower extremity stiffness during a force-returning ballet jump.

    Science.gov (United States)

    Hackney, James; Brummel, Sara; Becker, Dana; Selbo, Aubrey; Koons, Sandra; Stewart, Meredith

    2011-12-01

    Our objective in this study was to compare stiffness of bilateral lower extremities (LEs) in ballet dancers performing sauté on a low-stiffness "sprung floor" to that during the same movement on a high-stiffness floor (wood on concrete). LE stiffness was calculated as the ratio of vertical ground reaction force (in kN) to compression of the lower limb (in meters). Seven female dancers were measured for five repetitions each at the point of maximum leg compression while performing sauté on both of the surfaces, such that 43 ms of data were represented for each trial. The stiffness of bilateral LEs at the point of maximum compression was higher by a mean difference score of 2.48 ± 2.20 kN/m on the low-stiffness floor compared to a high-stiffness floor. Paired t-test analysis of the difference scores yielded a one-tailed probability of 0.012. This effect was seen in six out of seven participants (one participant showed no difference between floor conditions). The finding of increased stiffness of the LEs in the sprung floor condition suggests that some of the force of landing the jump was absorbed by the surface, and therefore did not need to be absorbed by the participants' LEs themselves. This in turn implies that a sprung dance floor may help to prevent dance-related injuries.

  19. Lower limb kinematic variability in dancers performing drop landings onto floor surfaces with varied mechanical properties.

    Science.gov (United States)

    Reeve, Helen K; Hopper, Luke S; Elliott, Bruce C; Ackland, Timothy R

    2013-08-01

    Elite dancers perform highly skilled and consistent movements. These movements require effective regulation of the intrinsic and extrinsic forces acting within and on the body. Customized, compliant floors typically used in dance are assumed to enhance dance performance and reduce injury risk by dampening ground reaction forces during tasks such as landings. As floor compliance can affect the extrinsic forces applied to the body, secondary effects of floor properties may be observed in the movement consistency or kinematic variability exhibited during dance performance. The aim of this study was to investigate the effects of floor mechanical properties on lower extremity kinematic variability in dancers performing landing tasks. A vector coding technique was used to analyze sagittal plane knee and ankle joint kinematic variability, in a cohort of 12 pre-professional dancers, through discrete phases of drop landings from a height of 0.2m. No effect on kinematic variability was observed between floors, indicating that dancers could accommodate the changing extrinsic floor conditions. Future research may consider repeat analysis under more dynamic task constraints with a less experienced cohort. However, knee/ankle joint kinematic variability was observed to increase late in the landing phase which was predominantly comprised of knee flexion coupled with the terminal range of ankle dorsiflexion. These findings may be the result of greater neural input late in the landing phase as opposed to the suggested passive mechanical interaction of the foot and ankle complex at initial contact with a floor. Analysis of joint coordination in discrete movement phases may be of benefit in identifying intrinsic sources of variability in dynamic tasks that involve multiple movement phases.

  20. Modern Dancer Goes Against Tradition

    Institute of Scientific and Technical Information of China (English)

    1994-01-01

    WANG Mei is the youngest associate professor in modern dance at the Beijing College of Dance. Her art is the most important part of her life. When inspiration comes, she can’t help but move her hands and feet to the choreography going on in her head. And when people watch Wang perform, contradictory feelings of light-heartedness and melancholy simultaneously are felt. This charming dancer has a unique understanding about

  1. Traumatic injuries in revue dancers.

    Science.gov (United States)

    Wanke, Eileen M; Arendt, Michael; Mill, Helmgard; Koch, Franziska; Wanke, Alice; Groneberg, David A

    2014-03-01

    Revue productions are a combination of dancing and singing, musical and spoken sequences, and acrobatics, performed with or without a story line, and characterized by a versatility of dance styles and a high number of performances (over 250 in a 10-month season). The aim of this quantitative single cohort study is to evaluate work-related traumatic injuries in this dance genre. Data were obtained from work accident reports of the German Social Accident Insurance Institution for the public sector in Berlin (UKB) involving 440 revue dancers (183 males and 257 females). Analysis was conducted with Excel 2007 and PASW Statistics 18. One out of three female dancers and one out of two male dancers sustained an acute injury in the course of a theatrical season (0.22 injuries per 1,000 hours). The incidence rate was 0.44 for males and 0.31 for females, with the lower extremity as the most commonly injured body region, followed by the spine. Of all occupational accidents, 75.1% happened on stage, with 69% during performances. The dance partner and dance floor were the most common exogenous factors resulting in a traumatic injury. Of all traumatic injuries, 81.7% occurred in the first 3 hours after starting work. Gender specific differences could be observed. Due to the limited availability of comparable studies of other forms of professional dance, in this study revue dance is largely considered as an independent genre.

  2. Engaging the Borders: Empathy, Religious Studies, and Pre-Professional Fields

    Science.gov (United States)

    Trothen, Tracy J.

    2016-01-01

    This article proposes that religious studies instructors can gain pedagogical insights regarding the value and teaching of empathy from pre-professional health care and counseling fields. I present research findings from these fields to support claims that empathic skills are teachable. I then show that empathy has been established within the…

  3. Pre-Professional Ideologies and Career Trajectories of the Allied Professional Undergraduate Student

    Science.gov (United States)

    Hosein, Anesa; Rao, Namrata

    2017-01-01

    Undergraduate students sometimes pursue degrees that are aimed at allied jobs. This research examines how students in one allied professional degree, education studies, conceptualise their pre-professional ideology and how these ideologies relate to their intended career trajectory. The research draws upon a year-long qualitative survey of over 70…

  4. A Survey Study of Pre-Professionals' Understanding of the Canadian Music Therapy Internship Experience.

    Science.gov (United States)

    Clements-Cortes, Amy

    2015-01-01

    There is limited research to date on the clinical music therapy internship experience from the perspective of the pre-professional. Further study is required to advance this significant stage in clinician development, as it is an intense period when pre-professionals apply and integrate theoretical knowledge about music therapy into their clinical practice. This study aimed to: (1) assess the skills, competence, comfort, concerns, issues, challenges, and anxieties of Canadian undergraduate students at two stages in the internship process (pre- and post-internship); and (2) examine whether these perceptions are consistent with published research on internship. Thirty-five pre-professionals, from a pool of 50 eligible respondents (70% response rate), completed a 57-question survey using a five-point Likert scale ranking pre- and post-internship experience and participated in an interview post-study. Survey results indicate a statistically significant increase in pre-professionals' perceived clinical, music, and personal skill development from pre- to post-internship. Areas of desired skill development included counseling, functional guitar, and clinical improvisation. Recommendations for educators and supervisors are provided with respect to areas of focus in undergraduate education and during clinical internship. © the American Music Therapy Association 2015. All rights reserved. For permissions, please e-mail: journals.permissions@oup.com.

  5. Engaging the Borders: Empathy, Religious Studies, and Pre-Professional Fields

    Science.gov (United States)

    Trothen, Tracy J.

    2016-01-01

    This article proposes that religious studies instructors can gain pedagogical insights regarding the value and teaching of empathy from pre-professional health care and counseling fields. I present research findings from these fields to support claims that empathic skills are teachable. I then show that empathy has been established within the…

  6. Interacting with a Virtual Rap Dancer

    NARCIS (Netherlands)

    Reidsma, Dennis; Nijholt, Anton; Rienks, Rutger; Hondorp, Hendri; Maybury, M.; Stock, O.; Wahlster, W.

    2005-01-01

    This paper presents a virtual dancer that is able to dance to the beat of music coming in through the microphone and to motion beats detected in the video stream of a human dancer. In the current version its moves are generated from a lexicon that was derived manually from the analysis of the video

  7. Dancers' Application of the Alexander Technique

    Science.gov (United States)

    Fortin, Sylvie; Girard, Fernande

    2005-01-01

    This qualitative study describes the experience of professional contemporary dancers studying and applying the Alexander Technique to their dancing. This study was motivated by: 1. years of teaching both dance and somatics, 2. a strong desire to better understand how the Alexander Technique can be applied by dancers, and 3. a gap that the…

  8. Virtual Rap Dancer: Invitation to Dance

    NARCIS (Netherlands)

    Reidsma, Dennis; Nijholt, Antinus; Poppe, Ronald Walter; Rienks, R.J.; Hondorp, G.H.W.

    This paper presents a virtual rap dancer that is able to dance to the beat of music coming in from music recordings, beats obtained from music, voice or other input through a microphone, motion beats detected in the video stream of a human dancer, or motions detected from a dance mat. The rap

  9. Comparison of Balance Performance Between Thai Classical Dancers and Non-Dancers.

    Science.gov (United States)

    Krityakiarana, Warin; Jongkamonwiwat, Nopporn

    2016-01-01

    Thai classical dance is a traditional dramatic art, the technique of which has many features in common with South East Asian performing art. The choreographic patterns consist of various forms of balance control together with limb movements in slow rhythm. The grace and beauty of the dancer are dependent on how well the limb movements curve and angle. The relationship of whole body proportion and balance control in various patterns of support base is also important. The purpose of this study was to compare balance abilities between Thai classical dancers and non-dancers in different balance conditions. Twenty-five Thai classical dancers and 25 non-dancers performed the modified Sensory Organization Test (mSOT) and were further challenged by adding dynamic head tilts (DHTs) in four different directions during mSOT. Mixed model ANOVA was applied to determine the equilibrium score in each balance condition and also the interaction between dancer and non-dancer groups. It was found that Thai classical dancers achieved better equilibrium scores in all mSOT conditions except the least challenging one. Moreover, additional multitask conditions (mSOT+DHT) were revealed to profoundly affect differences between dancers and controls. In conclusion, Thai classical dancers demonstrated a better ability to maintain postural stability during different challenging postural tests. This information suggests various ways of putting the practice of Thai classical dance to use in the future.

  10. Tracking Plasticity: Effects of Long-Term Rehearsal in Expert Dancers Encoding Music to Movement.

    Science.gov (United States)

    Bar, Rachel J; DeSouza, Joseph F X

    2016-01-01

    Our knowledge of neural plasticity suggests that neural networks show adaptation to environmental and intrinsic change. In particular, studies investigating the neuroplastic changes associated with learning and practicing motor tasks have shown that practicing such tasks results in an increase in neural activation in several specific brain regions. However, studies comparing experts and non-experts suggest that experts employ less neuronal activation than non-experts when performing a familiar motor task. Here, we aimed to determine the long-term changes in neural networks associated with learning a new dance in professional ballet dancers over 34 weeks. Subjects visualized dance movements to music while undergoing fMRI scanning at four time points over 34-weeks. Results demonstrated that initial learning and performance at seven weeks led to increases in activation in cortical regions during visualization compared to the first week. However, at 34 weeks, the cortical networks showed reduced activation compared to week seven. Specifically, motor learning and performance over the 34 weeks showed the typical inverted-U-shaped function of learning. Further, our result demonstrate that learning of a motor sequence of dance movements to music in the real world can be visualized by expert dancers using fMRI and capture highly significant modeled fits of the brain network variance of BOLD signals from early learning to expert level performance.

  11. Tracking Plasticity: Effects of Long-Term Rehearsal in Expert Dancers Encoding Music to Movement.

    Directory of Open Access Journals (Sweden)

    Rachel J Bar

    Full Text Available Our knowledge of neural plasticity suggests that neural networks show adaptation to environmental and intrinsic change. In particular, studies investigating the neuroplastic changes associated with learning and practicing motor tasks have shown that practicing such tasks results in an increase in neural activation in several specific brain regions. However, studies comparing experts and non-experts suggest that experts employ less neuronal activation than non-experts when performing a familiar motor task. Here, we aimed to determine the long-term changes in neural networks associated with learning a new dance in professional ballet dancers over 34 weeks. Subjects visualized dance movements to music while undergoing fMRI scanning at four time points over 34-weeks. Results demonstrated that initial learning and performance at seven weeks led to increases in activation in cortical regions during visualization compared to the first week. However, at 34 weeks, the cortical networks showed reduced activation compared to week seven. Specifically, motor learning and performance over the 34 weeks showed the typical inverted-U-shaped function of learning. Further, our result demonstrate that learning of a motor sequence of dance movements to music in the real world can be visualized by expert dancers using fMRI and capture highly significant modeled fits of the brain network variance of BOLD signals from early learning to expert level performance.

  12. Goltsman Ballet avab oma hooaja Jõhvis / Irina Kiviselg

    Index Scriptorium Estoniae

    Kiviselg, Irina, 1961-

    2013-01-01

    Tantsutrupp Goltsman Ballet avab oma teise hooaja Jõhvi kontserdimajas tantsuetendusega "Siddhartha", mille idee toetub Hermann Hesse samanimelisele romaanile. Tantsutrupi juhendaja on Maria Goltsman

  13. Goltsman Ballet avab oma hooaja Jõhvis / Irina Kiviselg

    Index Scriptorium Estoniae

    Kiviselg, Irina, 1961-

    2013-01-01

    Tantsutrupp Goltsman Ballet avab oma teise hooaja Jõhvi kontserdimajas tantsuetendusega "Siddhartha", mille idee toetub Hermann Hesse samanimelisele romaanile. Tantsutrupi juhendaja on Maria Goltsman

  14. Comparison of cervical and ocular vestibular evoked myogenic potentials in dancers and non-dancers

    OpenAIRE

    Sujeet Kumar Sinha; Vaishnavi Bohra; Himanshu Kumar Sanju

    2013-01-01

    The objective of the study was to assess the sacculocollic and otolith ocular pathway function using cervical vestibular evoked myogenic potentials (cVEMP) and ocular vestibular myogenic potentials (oVEMP) in dancers and non dancers. Total 16 subjects participated in the study. Out of 16 participants, 8 were trained in Indian classical form of dance (dancers) and other 8 participants who were not trained in any dance form (non dancers). cVEMP and oVEMP responses were recorded for all the subj...

  15. Precision Teaching, Frequency-Building, and Ballet Dancing

    Science.gov (United States)

    Lokke, Gunn E. H.; Lokke, Jon A.; Arntzen, Erick

    2008-01-01

    This article reports the effectiveness of a brief intervention aimed at achieving fluency in basic ballet moves in a 9-year-old Norwegian girl by use of frequency-building and Precision Teaching procedures. One nonfluent ballet move was pinpointed, and instructional and training procedures designed to increase the frequency of accurate responding…

  16. The effect of sprung (suspended) floors on leg stiffness during grand jeté landings in ballet.

    Science.gov (United States)

    Hackney, James; Brummel, Sara; Jungblut, Kara; Edge, Carissa

    2011-09-01

    This study compared stiffness of the landing leg in ballet dancers performing grand jeté on a sprung floor to leg stiffness during the same movement on a hard floor (wood on concrete). Leg stiffness was calculated as the ratio of vertical ground reaction force (in Newtons) to compression of the lower limb (in meters). Thirteen female dancers were measured for five repetitions each at the point of maximum leg compression while landing grand jeté on both of the surfaces, such that 20 milliseconds of data were represented for each trial. The stiffness of the landing leg at the point of maximum compression was decreased by a mean difference score of 6168.0 N/m ± 11,519.5 N/m on the hard floor compared to the sprung floor. Paired t-test yielded a one-tailed probability of p = 0.038. This effect was seen in 11 of the 13 participants. The finding of increased stiffness of the landing leg in the sprung floor condition suggests that some of the force of landing the leap was absorbed by the surface, and therefore did not need to be absorbed by the landing leg itself. This in turn implies that a sprung dance floor may help to prevent dance-related injuries.

  17. Cosmic Ballet or Devil's Mask?

    Science.gov (United States)

    2004-04-01

    Stars like our Sun are members of galaxies, and most galaxies are themselves members of clusters of galaxies. In these, they move around among each other in a mostly slow and graceful ballet. But every now and then, two or more of the members may get too close for comfort - the movements become hectic, sometimes indeed dramatic, as when galaxies end up colliding. ESO PR Photo 12/04 shows an example of such a cosmic tango. This is the superb triple system NGC 6769-71, located in the southern Pavo constellation (the Peacock) at a distance of 190 million light-years. This composite image was obtained on April 1, 2004, the day of the Fifth Anniversary of ESO's Very Large Telescope (VLT). It was taken in the imaging mode of the VIsible Multi-Object Spectrograph (VIMOS) on Melipal, one of the four 8.2-m Unit Telescopes of the VLT at the Paranal Observatory (Chile). The two upper galaxies, NGC 6769 (upper right) and NGC 6770 (upper left), are of equal brightness and size, while NGC 6771 (below) is about half as bright and slightly smaller. All three galaxies possess a central bulge of similar brightness. They consist of elderly, reddish stars and that of NGC 6771 is remarkable for its "boxy" shape, a rare occurrence among galaxies. Gravitational interaction in a small galaxy group NGC 6769 is a spiral galaxy with very tightly wound spiral arms, while NGC 6770 has two major spiral arms, one of which is rather straight and points towards the outer disc of NGC 6769. NGC 6770 is also peculiar in that it presents two comparatively straight dark lanes and a fainter arc that curves towards the third galaxy, NGC 6771 (below). It is also obvious from this new VLT photo that stars and gas have been stripped off NGC 6769 and NGC 6770, starting to form a common envelope around them, in the shape of a Devil's Mask. There is also a weak hint of a tenuous bridge between NGC 6769 and NGC 6771. All of these features testify to strong gravitational interaction between the three galaxies

  18. Anterior cruciate ligament injury in professional dancers.

    Science.gov (United States)

    Meuffels, Duncan E; Verhaar, Jan A N

    2008-08-01

    Anterior cruciate ligament injury (ACL) is a common sport injury; however, there are no data concerning dance and ACL injury. We report the incidence, injury mechanism, and clinical follow-up of ACL injury in professional dancers. In a retrospective cohort study involving the three major dance companies in the Netherlands, by interviewing all 253 dancers who had had a full-time contract during 1991-2002, dancers with symptomatic ACL injury or past ACL reconstruction were identified and examined. 6 dancers (2 of whom were women) had had a symptomatic ACL rupture and reconstruction. Interestingly, all had been on the left side and had had a similar trauma mechanism: while dancing a classical variation they landed, after a jump, on their left leg, in the turned out position with a valgus force on their knee. There was a higher risk of ACL injury in the classical company than in the two contemporary companies. The risk of dancers having a rupture of the left ACL during a 10-year career in this classical company was 7%. ACL injuries are not an infrequently seen type of injury in professional classical dancers, with a very specific mechanism of injury--a landing on the left leg in exorotation. More attention and prophylactic measures should be given to this specific injury mechanism.

  19. INVITATION Replay of the Rudra-Béjart Ballet for the CERN Staff

    CERN Multimedia

    Luciano Maiani

    2000-01-01

    Most of you couldn't attend the ballet performance given by the Rudra-Béjart School at the LEP Ministerial Ceremony on 9 October due to the limited space on the seating - and I felt that was a great pity. But I am very happy to announce now, prompted by the quality of the show and the unanimous enthusiasm of those present, that I have asked the Rudra-Béjart School to repeat the show for you - not on CERN Site this time - but nonetheless in excellent conditions. Not only has Maurice Béjart accepted, but this second performance also gives great joy to the young dancers of his School, who felt so proud to perform at CERN. A private performance will be given for you at the Geneva ARENA on Tuesday 5 December at 8.00 pm sharp, and will last longer than the original performance at CERN: 1 hour 20 instead of 35 minutes. I encourage you all to attend this performance-bring in great numbers yourselves, members of your family, and your friends. 2,020 places are available, for which tick...

  20. Fat Talk and Body Dissatisfaction among College Dancers

    Science.gov (United States)

    Kartawidjaja, Jenae E.; Cordero, Elizabeth D.

    2013-01-01

    The purpose of this study was to investigate "fat talk" conversations about weight and body dissatisfaction within college dancers. Participants were 116 female undergraduates who were dancers/dance majors ("n"?=?20), dancers/nondance majors ("n"?=?32), and nondancers ("n"?=?63). Participants responded to…

  1. Trunk coordination in dancers and nondancers.

    Science.gov (United States)

    Jarvis, Danielle N; Smith, Jo Armour; Kulig, Kornelia

    2014-08-01

    Variability, or how a task changes across trials, may reveal differences between athletes of differing skill levels. The purpose of this study was to examine trunk and lower extremity (LE) single joint kinematic variability and intersegmental coordination variability in dancers and nondancers during bipedal vertical dance jumps (sautés). Twenty healthy females, 10 with no formal dance training and 10 professional dancers, performed 20 consecutive sautés. Single joint kinematic variability was assessed using mean standard deviation of angular displacement, and intersegmental coordination variability was assessed using angular deviation of the coupling angle between segments. Within the context of the standard error of measure, there was no difference in single joint kinematic variability between dancers and nondancers. Intersegmental coordination variability in the trunk was higher than variability in LE couplings for both groups. Dancers had lower intersegmental coordination variability than nondancers for LE sagittal, frontal, and transverse plane couplings, and sagittal plane trunk couplings. Trunk adjustments may be important for successful performance, but lower intersegmental coordination variability in expert dancers indicates a higher level of control. Trunk coordination and postural control may be important factors to investigate in skilled athletes.

  2. Sky dancer: an intermittent system

    Science.gov (United States)

    Cros, Anne; Rodríguez Romero, Jesse Alexander; Damián Díaz Andrade, Oscar

    2009-11-01

    Sky dancers attract people sight to make advertising. What is the origin of those large vertical tubes fluctuations above an air blower? This study complements the previous one [1] about the system analysis from a dynamical system point of view. As a difference from the ``garden hose-instability'' [2], the tube shape has got ``break points''. Those ``break points'' separate the air-filled bottom tube portion from its deflated top portion. We record the tube dynamics with a high-speed videocamera simultaneously that we measure the pressure at the air blower exit. The intermittent pressure evolution displays picks when the tube fluctuates. We compare those overpressure values with the ones that appears in a rigid tube whose exit is partially obstructed. [1] F. Castillo Flores & A. Cros ``Transition to chaos of a vertical collapsible tube conveying air flow'' J. Phys.: Conf. Ser. 166, 012017 (2009). [2] A. S. Greenwald & J. Dungundji ``Static and dynamic instabilities of a propellant line'' MIT Aeroelastic and Structures Research Lab, AFOSR Sci. Report: AFOSR 67-1395 (1967).

  3. 78 FR 18664 - Culturally Significant Objects Imported for Exhibition Determinations: “Diaghilev and the Ballets...

    Science.gov (United States)

    2013-03-27

    ... From the Federal Register Online via the Government Publishing Office DEPARTMENT OF STATE Culturally Significant Objects Imported for Exhibition Determinations: ``Diaghilev and the Ballets Russes... the Ballets Russes, 1909- 1929: When Art Danced with Music,'' imported from abroad for...

  4. Mihail Jora, creator of Romanian ballet prototype

    Directory of Open Access Journals (Sweden)

    Lava BRATU

    2011-01-01

    Full Text Available The idea to use in the ballet performances topics related to the Romanian music and life came through Mihail Jora’s creations: „La piaţă” (1928, „Demoazela Măriuţa” (1940, „Curtea Veche” (1948, „Când strugurii se coc” (1953, „Întoarcerea din adâncuri” (1959, „Hanul Dulcineea” (1966. His works are characterized by creative force, subtlety and staging gift that have turned the trivial into art. The dramatic sense, the picturesque force, the complex rhythm, the harmonious coloring, the conducting talent and the gentle use of sounds as well as the modern aesthetic vision - all speak about an artistic personality of an extraordinary originality.

  5. Imagery Exercises for Young Highland Dancers

    Science.gov (United States)

    Muir, Irene L.; Munroe-Chandler, Krista J.

    2017-01-01

    Scottish Highland Dance (Highland Dance), known for its accompaniment of bagpipe music and traditional wearing of the kilt, has captured the interest of many dancers and spectators worldwide. It requires strength, stamina, coordination, and very controlled movements. Such intricate technique and movements can be difficult to master, especially for…

  6. Dance Dynamics. Athletes & Dancers Training & Moving Together.

    Science.gov (United States)

    Pruett, Diane Milhan, Ed.; And Others

    1981-01-01

    This series of articles explores the various ways in which training procedures in both dance and athletics are compatible. Topics include: traditional and adapted dance class structures and materials; the inclusion of dance in the physical education curriculum; and the physical fitness of dancers as compared to athletes. (JN)

  7. Imagery Exercises for Young Highland Dancers

    Science.gov (United States)

    Muir, Irene L.; Munroe-Chandler, Krista J.

    2017-01-01

    Scottish Highland Dance (Highland Dance), known for its accompaniment of bagpipe music and traditional wearing of the kilt, has captured the interest of many dancers and spectators worldwide. It requires strength, stamina, coordination, and very controlled movements. Such intricate technique and movements can be difficult to master, especially for…

  8. Ballet-related content in music education in the first cycle of primary education

    OpenAIRE

    Kovačič, Bojan; Črčinovič Rozman, Janja; Stergulec, Tjaša

    2015-01-01

    This paper deals with the integration of ballet-related content into music lessons in the first cycle of primary education. It seeks to outline some current findings concerning the positive impact of dance and classical ballet on integrated child development and the results of an empirical research study the objective of which was to compare the ability of primary school pupils aged six to nine years to perform a simple ballet choreography against that of ballet school pupils and to examine p...

  9. Estudio descriptivo del morfotipo raquídeo sagital en bailarinas de flamenco. Descriptive study of sagittal spinal morphotype in female flamenco dancers.

    Directory of Open Access Journals (Sweden)

    Sebastián Gómez-Lozano

    2013-05-01

    Full Text Available Resumen Son escasos los estudios que analizan la morfología de la espalda en bailaoras de flamenco, si bien, en estilos como el ballet clásico, es conocido el mito de la espalda plana flat back, en el baile flamenco podemos pensar que la sociedad tiene una percepción general de una pose corporal más desdibujada y pasional. Se valoró que tipo de adaptación existe sobre el morfotipo raquídeo en bipedestación después de una década bailando flamenco. Se estudió una muestra de 66 mujeres, 33 bailaoras y 33 estudiantes, no bailarinas, que practicaban actividad física de mantenimiento. La edad media de las bailaoras era de 22.12 + 4.21 años, la talla de 162 + 5.35 cm y el peso de 53.5 + 4.07 Kg. La media de años de entrenamiento era de 15.48 + 4.25. Las curvas raquídeas lumbar y dorsal fueron medidas en bipedestación con un inclinómetro tanto de forma relajada como activa, maniobra de autocorrección que valora el componente flexible de las curvas. Se realizó una estadística descriptiva de cada una de las variables. También se utilizó un análisis de contingencia con la prueba de la Chi-cuadrado de Pearson complementada con un análisis de residuos para extracción de casos procedentes de las variables cuantitativas. Los resultados reflejaron, en relación a las bailaoras que la cifosis dorsal tiende a la reducción de la curvatura o rectificación pero no a la estructuración. La parte baja de la espalda muestra valores de normalidad. Por lo que, en conocimiento de sus antecedentes, recomendamos a cualquier persona que se inicie en el baile flamenco, la práctica de la técnica clásica como complemento funcional preventivo, sobre todo, en los primeros años de entrenamiento.There are few studies examining the morphology of flamenco dancers' back. Whereas in styles like ballet, the “back flat” myth is well known, flamenco dance is seen in a different way: like a blurred, passionate body posture. This study assessed what kind

  10. Kinematics analysis technique fouettes 720° classic ballet.

    Directory of Open Access Journals (Sweden)

    Li Bo

    2011-07-01

    Full Text Available Athletics practice proved that the more complex the item, the more difficult technique of the exercises. Fouettes at 720° one of the most difficult types of the fouettes. Its implementation is based on high technology during rotation of the performer. To perform this element not only requires good physical condition of the dancer, but also requires possession correct technique dancer. On the basis corresponding kinematic theory in this study, qualitative analysis and quantitative assessment of fouettes at 720 by the best Chinese dancers. For analysis, was taken the method of stereoscopic images and the theoretical analysis.

  11. Mechanics of jazz shoes and their effect on pointing in child dancers.

    Science.gov (United States)

    Fong Yan, Alycia; Smith, Richard; Vanwanseele, Benedicte; Hiller, Claire

    2012-07-01

    There has been little scientific investigation of the impact of dance shoes on foot motion or dance injuries. The pointed (plantar-flexed) foot is a fundamental component of both the technical requirements and the traditional aesthetic of ballet and jazz dancing. The aims of this study were to quantify the externally observed angle of plantar flexion in various jazz shoes compared with barefoot and to compare the sagittal plane bending stiffness of the various jazz shoes. Sixteen female recreational child dancers were recruited for 3D motion analysis of active plantar flexion. The jazz shoes tested were a split-sole jazz shoe, full-sole jazz shoe, and jazz sneaker. A shoe dynamometer measured the stiffness of the jazz shoes. The shoes had a significant effect on ankle plantar flexion. All jazz shoes significantly restricted the midfoot plantar flexion angle compared with the barefoot condition. The split-sole jazz shoe demonstrated the least restriction, whereas the full-sole jazz shoe the most midfoot restriction. A small restriction in metartarsophalangeal plantar flexion and a greater restriction at the midfoot joint were demonstrated when wearing stiff jazz shoes. These restrictions will decrease the aesthetic of the pointed foot, may encourage incorrect muscle activation, and have an impact on dance performance.

  12. Postural stability and physical performance in social dancers.

    Science.gov (United States)

    Zhang, Jian-Guo; Ishikawa-Takata, Kazuko; Yamazaki, Hideo; Morita, Takae; Ohta, Toshiki

    2008-05-01

    This cross-sectional study examined the benefits of social dancing on postural stability and physical performance in dancers aged 50 years or more. Walking speed, lower limb reaction time and low back flexibility were measured in 202 social dancers and 202 community-dwelling comparison subjects aged 50-87 years. The results showed that dancers who were older than 60 years had better postural stability and faster leg reaction times, whilst dancers aged 50-59 showed only better flexibility, when compared with the controls. Male dancers had greater low back flexibility and leg reaction time compared to controls. In contrast, female dancers had superior performance only for leg reaction time when compared with controls. The results indicate that social dancing is associated with enhanced postural stability and physical performance in older adults.

  13. Utilization of Routine Primary Care Services Among Dancers.

    Science.gov (United States)

    Alimena, Stephanie; Air, Mary E; Gribbin, Caitlin; Manejias, Elizabeth

    2016-01-01

    This study examines the current utilization of primary and preventive health care services among dancers in order to assess their self-reported primary care needs. Participants were 37 dancers from a variety of dance backgrounds who presented for a free dancer health screening in a large US metropolitan area (30 females, 7 males; mean age: 27.5 ± 7.4 years; age range: 19 to 49 years; mean years of professional dancing: 6.4 ± 5.4 years). Dancers were screened for use of primary care, mental health, and women's health resources using the Health Screen for Professional Dancers developed by the Task Force on Dancer Health. Most dancers had health insurance (62.2%), but within the last 2 years, only approximately half of them (54.1%) reported having a physical examination by a physician. Within the last year, 54.1% of dancers had had a dental check-up, and 56.7% of female dancers received gynecologic care. Thirty percent of female participants indicated irregular menstrual cycles, 16.7% had never been to a gynecologist, and 16.7% were taking birth control. Utilization of calcium and vitamin D supplementation was 27.0% and 29.7%, respectively, and 73.0% were interested in nutritional counseling. A high rate of psychological fatigue and sleep deprivation was found (35.1%), along with a concomitant high rate of self-reported need for mental health counseling (29.7%). Cigarette and recreational drug use was low (5.4% and 5.4%); however, 32.4% engaged in binge drinking within the last year (based on the CDC definition). These findings indicate that dancers infrequently access primary care services, despite high self-reported need for nutritional, mental, and menstrual health counseling and treatment. More studies are warranted to understand dancers' primary health care seeking behavior.

  14. The Invisible Injury: Supporting the Recovery of Dancers with Concussions

    Science.gov (United States)

    Kish, Robin L.; Koutures, Chris G.

    2016-01-01

    Dancers are "artistic athletes." They must possess the strength, agility, power and flexibility of any athlete and perform with perfect musicality and emotion, demonstrating the artistry of the dance. As an art form dance continues to push the physical boundaries of the human body, increasing the inherent risks to the dancers. Most…

  15. Measuring and enhancing proprioception in musicians and dancers.

    Science.gov (United States)

    Smitt, Myrim Sillevis; Bird, H A

    2013-04-01

    Proprioception is important to many musicians and all dancers. Methods of measuring proprioception in the hands of musicians and globally in dancers are reviewed. Their uses in defining proprioception in performers and thereby reducing the risk of injury as well as enhancing performance are discussed.

  16. The Invisible Injury: Supporting the Recovery of Dancers with Concussions

    Science.gov (United States)

    Kish, Robin L.; Koutures, Chris G.

    2016-01-01

    Dancers are "artistic athletes." They must possess the strength, agility, power and flexibility of any athlete and perform with perfect musicality and emotion, demonstrating the artistry of the dance. As an art form dance continues to push the physical boundaries of the human body, increasing the inherent risks to the dancers. Most…

  17. Embodying Multiplicity: The Independent Contemporary Dancer's Moving Identity

    Science.gov (United States)

    Roche, Jenny

    2011-01-01

    In this article, I argue for an acknowledgement of the significance of the dancer's role in the creation of independent contemporary dance. I propose the term "moving identity" to outline the independent contemporary dancer's "way of moving" which could be perceived as the accumulation of various factors including training approaches,…

  18. Dancers' perceptions of pain and injury: positive and negative effects.

    Science.gov (United States)

    Thomas, Helen; Tarr, Jennifer

    2009-01-01

    Two hundred and four dance students, professionals, and former dancers in the UK completed questionnaires, semi-structured interviews, and a body scanning and mapping process aimed at gaining an increased understanding of how dancers interpret pain and its relationship to injury in the context of their careers. The research was targeted at modern and contemporary dancers, as they are an underrepresented group in the dance-injury literature. Results from the questionnaires were compared with other studies of dance injury, drawing on qualitative data where relevant. Findings indicated that 90% of the sample had experienced an injury (now or in the past), and that the lower back and knee were among the most common sites of current pain and injury. Qualitative descriptions of pain and injury indicated that dancers tend to define injury as something that stops them from dancing or from moving normally. Dance injury rates do not appear to be decreasing significantly, despite greater awareness and the promotion of the "healthier dancer" in dance training schools, universities and among professionals in the UK. There is evidence to show that as dancers age they are likely to be more aware of the warning signs of injury and to take steps to prevent it. Data indicated that dancers may under report injuries on surveys, suggesting that such self-reported survey data should be treated with caution. Further qualitative research on dance injuries may provide more useful understanding of dancers' interpretations and treatment of pain and injury.

  19. Embodying Multiplicity: The Independent Contemporary Dancer's Moving Identity

    Science.gov (United States)

    Roche, Jenny

    2011-01-01

    In this article, I argue for an acknowledgement of the significance of the dancer's role in the creation of independent contemporary dance. I propose the term "moving identity" to outline the independent contemporary dancer's "way of moving" which could be perceived as the accumulation of various factors including training approaches,…

  20. Balance Comparisons between Female Dancers and Active Nondancers

    Science.gov (United States)

    Ambegaonkar, Jatin P.; Caswell, Shane V.; Winchester, Jason B.; Shimokochi, Yohei; Cortes, Nelson; Caswell, Amanda M.

    2013-01-01

    Purpose: Female dancers have lower anterior cruciate ligament (ACL) injury rates compared with physically active women. Enhanced balance can decrease musculoskeletal injury risk. Dancers are proposed to have superior balance compared with physically active nondancers, and this may reduce their risk for ACL injury. However, whether female dancers…

  1. Comparative analysis of substance use in ballet, dance sport, and synchronized swimming: results of a longitudinal study.

    Science.gov (United States)

    Zenic, Natasa; Peric, Mia; Zubcevic, Nada Grcic; Ostojic, Zdenko; Ostojic, Ljerka

    2010-06-01

    There have been few studies comparing substance use and misuse (SU&M) in different performing arts forms. Herein, we identified and compared SU&M in women studying an art (ballet, n = 21), a non-Olympic sport (dance sport, n = 25), and an Olympic sport (synchronized swimming, n = 23). The sample of variables comprised general, educational, and sport factors, as well as SU&M data, including consumption of opiates, cigarettes, alcohol, nutritional supplements, doping behaviors, and beliefs. Using the Kruskal-Wallis test, we found no significant differences between study groups in potential doping behaviors. Most of the examinees reported that they did not rely on physicians' and/or coaches' opinions regarding doping. Only sport dancers recognized their consumption of cannabis as a violation of anti-doping rules. Those more convinced that doping habits are present in their sport (or art) have a certain tendency toward doping usage. In conclusion, a strong anti-doping campaign within the studied arts is suggested, focusing on the health-related problems of SU&M.

  2. Physical therapy rehabilitation strategies for dancers: a qualitative study.

    Science.gov (United States)

    Sabo, Megin

    2013-01-01

    This was a qualitative study utilizing a phenomenological approach. The purpose was to determine what rehabilitation strategies physical therapists use with dancers and to discuss techniques for implementing these strategies from both the dancer's and the physical therapist's perspectives. Self-administered questionnaires were sent via email to dancers and physical therapists. Purposeful sampling was done through use of a criterion sampling method that required participants to have experienced dancer rehabilitation. Data were correlated to find common strategies and to encourage modification of current approaches. Physical therapists returned 29 surveys, while dancers returned eight. Five themes were identified in the areas of: 1. evaluation, 2. dance modification, 3. interventions, 4. education, and 5. communication. The conclusion of this study was that successful rehabilitative strategies involve ongoing evaluation that incorporates knowledge of dance technique and performance, dance-centered movement modification that is clearly defined, and an understanding of dance lingo.

  3. Injuries in professional modern dancers: incidence, risk factors, and management.

    Science.gov (United States)

    Shah, Selina; Weiss, David S; Burchette, Raoul J

    2012-03-01

    Modern (or contemporary) dance has become increasingly popular, yet little has been reported with respect to modern dance injuries and their consequences. The purpose of this study is to define the incidence, risk factors, and management of musculoskeletal injuries in professional modern dancers. A total of 184 dancers in the United States completed an anonymous 17-page questionnaire on their injuries, including extensive details regarding the two most severe injuries that had occurred in the prior 12 months. According to their self-reports, a total of 82% of the dancers had suffered between one and seven injuries. The foot and ankle (40%) was the most common site of injury, followed by the lower back (17%) and the knee (16%). The rate of injuries was 0.59 per 1,000 hours of class and rehearsal. Injured male dancers returned to full dancing after a median of 21 days, while females returned after a median of 18 days. Most dancers missed no performances due to injury. Of the medical consultations sought by dancers for their injuries, 47% were made to physicians, 41% to physical therapists, and 34% to chiropractors. The majority of dancers adhered to the advice given them by consultants (87% of males and 78% of females for the most severe injury). While the majority of injuries were considered work-related (61% of the most severe injury and 69% of the second most severe), few were covered by Workers' Compensation insurance (12% and 5% respectively). These professional modern dancers suffer from a rate of injury similar to other groups of professional dancers. Most dancers return to a partial level of dancing several weeks before attempting full-capacity dancing.

  4. Stravinsky: Symphonies, Concertos, Ballets and other works / David S. Gutman

    Index Scriptorium Estoniae

    Gutman, David S.

    1994-01-01

    Uuest heliplaadist "Stravinsky: Symphonies, Concertos, Ballets and other works. Gabriele Schnaut (sop), Peter Svensson (ten), Franz Grundheber (bar), Günther von Kannen (bass), Jean Piat (narr), Lydia Mordkovitch (vn), Geoffrey Tozer, Boris Berman (pfs), Suisse Romande Chamber Choir, Lausanne Pro Arte Choir, Brassus Choral Society, Suisse Romande Ochestra, Neeme Järvi. Chandos CD CHAN 9240

  5. Stravinsky: Symphonies, Concertos, Ballets and other works / David S. Gutman

    Index Scriptorium Estoniae

    Gutman, David S.

    1994-01-01

    Uuest heliplaadist "Stravinsky: Symphonies, Concertos, Ballets and other works. Gabriele Schnaut (sop), Peter Svensson (ten), Franz Grundheber (bar), Günther von Kannen (bass), Jean Piat (narr), Lydia Mordkovitch (vn), Geoffrey Tozer, Boris Berman (pfs), Suisse Romande Chamber Choir, Lausanne Pro Arte Choir, Brassus Choral Society, Suisse Romande Ochestra, Neeme Järvi. Chandos CD CHAN 9240

  6. Influences and Inspirations: The Ballet Designs of Sophie Fedorovitch

    Science.gov (United States)

    McLean, Elizabeth

    2012-01-01

    Sophie Fedorovitch (1893-1953) had a formative influence on the designs of English ballet as it developed during the 1930s and 1940s. Trained as a painter, she was a Polish-born Russian who adopted England as her homeland. Reticent by nature, little is documented about Fedorovitch's life and work. This paper examines her sources of influence,…

  7. Artistry or Mere Technique? The Value of the Ballet Competition

    Science.gov (United States)

    Morris, Geraldine

    2008-01-01

    In recent years there has been a remarkable proliferation of ballet competitions. This prompts a number of questions, in particular how much are they affecting current training and performance practice and, more fundamentally, whether the notion of competition may be antithetical to dance as art. Underlying these questions is the issue of…

  8. Japanese Matsuyama Ballet Troupe's Performance Tour in China

    Institute of Scientific and Technical Information of China (English)

    XuJianxia

    2004-01-01

    To mark the 25th anniversary of the signing of the Sino-Japanese Peace and Friendship Treaty, the 91-member Japanese Matsuyama Ballet Troupe gave performances of the new adaptation of Swan Lake, two in the Shanghai Grand Theatre and four in the Beijing Tianqiao Theatre,from October 7 to 18, 2003, successfully concluding their 12th performance tour in China.

  9. Japanese Matsuyama Ballet Troupe’s Performance Tour in China

    Institute of Scientific and Technical Information of China (English)

    2004-01-01

    <正>To mark the 25th anniversary of the signing of the SinoJapanese Peace and Friendship Treaty, the 91-member Japanese Matsuyama Ballet Troupe gave performances of the new adaptation of Swan Lake, two in the Shanghai Grand Theatre and four in the Beijing Tianqiao Theatre, from October 7 to 18, 2003, successfully concluding their 12th performance tour in China.

  10. Public Participation in Classical Ballet: A Special Analysis of the Ballet Data Collected in the 1982 and 1985 Survey of Public Participation in the Arts.

    Science.gov (United States)

    Keegan, Carol

    The 1982 and 1985 Survey of Public Participation in the Arts (SPPA) produced a national audience profile for classical ballet and explored factors that predispose participation in this art form. This monograph analyzed data from these surveys in terms of: (1) audience size and composition for live ballet performances; (2) television's role in…

  11. Foot and ankle injuries in theatrical dancers.

    Science.gov (United States)

    Hardaker, W T; Margello, S; Goldner, J L

    1985-10-01

    The theatrical dancer is a unique combination of athlete and artist. The physical demands of dance class, rehearsal, and performance can lead to injury, particularly to the foot and ankle. Ankle sprains are the most common acute injury. Chronic injuries predominate and relate primarily to the repeated impact loading of the foot and ankle on the dance floor. Contributing factors include anatomic variation, improper technique, and fatigue. Early and aggressive conservative management is usually successful and surgery is rarely indicated. Orthotics play a limited but potentially useful role in treatment. Following treatment, a structured rehabilitation program is fundamental to the successful return to dance.

  12. Lumbar lordosis in female collegiate dancers and gymnasts.

    Science.gov (United States)

    Ambegaonkar, Jatin P; Caswell, Amanda M; Kenworthy, Kristen L; Cortes, Nelson; Caswell, Shane V

    2014-12-01

    Postural deviations can predispose an individual to increased injury risk. Specifically, lumbar deviations are related to increased low back pain and injury. Dancers and gymnasts are anecdotally suggested to have exaggerated lumbar lordosis and subsequently may be at increased risk of lumbar pathologies. Our objective was to examine lumbar lordosis levels in dancers and gymnasts. We examined lumbar lordosis in 47 healthy collegiate females (17 dancers, 29 gymnasts; mean age 20.2 ± 1.6 yrs) using 2-dimensional sagittal plane photographs and the Watson MacDonncha Posture Analysis instrument. Participants' lordosis levels were cross-tabulated and a Mann-Whitney U-test compared lumbar lordosis between groups (plordosis deviations. The distribution of lordosis was similar across groups (p=0.22). Most dancers and gymnasts had moderate or marked lumbar lordosis. The extreme ranges of motion required during dancing and gymnastics may contribute to the participants' high lumbar lordosis. Instructors should be aware that there may be links between repetitive hyperextension activities and lumbar lordosis levels in dancers and gymnasts. Thus, they should proactively examine lumbar lordosis in their dancers and gymnasts. How much age of training onset, regimens, survivor bias, or other factors influence lumbar lordosis requires study. Longitudinal studies are also needed to determine if lumbar lordosis levels influence lumbar injury incidence in dancers and gymnasts.

  13. Musculoskeletal demands on flamenco dancers: a clinical and biomechanical study.

    Science.gov (United States)

    Bejjani, F J; Halpern, N; Pio, A; Dominguez, R; Voloshin, A; Frankel, V H

    1988-04-01

    The flamenco dancer acts on the floor like a drummer. The percussive footwork and vibration patterns created during dancing impose unusual demands on the musculoskeletal system. This study investigated the clinical and biomechanical aspects of this task. Using the electrodynogram and skin-mounted accelerometers, foot pressures as well as hip and knee vibrations were recorded in 10 female dancers after a thorough clinical evaluation. A health questionnaire was also distributed to 29 dancers. Foot pressures and acceleration data reveal the percussive nature of the dance. Some clinical findings, like calluses, are related to pressure distribution. Urogenital disorders, as well as back and neck pain, may be related to the vibrations generated by the flamenco dance form. The hip joint seems to absorb most of the impacts. "Vibration-pressure" diagrams are suggested as a useful tool for evaluating a dancer's biomechanical behavior, as well as the effect of floors and footwear on this behavior.

  14. Stress Fracture of the Ulna in an Elite Ice Dancer

    Directory of Open Access Journals (Sweden)

    Davide Tornese

    2015-03-01

    Full Text Available Stress fracture of the ulna is a rare overuse injury often arising from repetitive excessive forearm rotation. Here we report the first case of ulnar stress fracture in a female ice dancer. Diagnosis was made by history and physical examination, with the aid of imaging studies (plain x-ray, computed tomography, and magnetic resonance imaging, and biomechanical analysis of forearm pronation and supination. Following identification and modification of the causal technical element, the ice dancer was able to continue training and competing without cessation of activity. Treatment was with a 30-day course of capacitively coupled bone stimulation to promote fracture healing, confirmed on radiography and magnetic resonance imaging. Such injuries to ice dancers may be prevented at the planning stage of technical elements in the dance program if coaches place more attention on the potentially deleterious effects of difficult positions the lifted dancer must sustain to reward points on the technical elements score.

  15. 中央芭蕾舞团芭蕾舞服装设计实践%The Ballet Costume Design Practice in The National Ballet of China

    Institute of Scientific and Technical Information of China (English)

    魏世兴

    2014-01-01

    The writer briefly introduced the development of ballet costume. With the example of RedDetachmentofWomen, RaisetheRedLantern as example, he described the ballet costume design practice in The National Ballet of China.%简述芭蕾舞服装的发展演化过程,以《红色娘子军》、《大红灯笼高高挂》为例,讲述中央芭蕾舞团的芭蕾舞服装设计实践。

  16. Musculoskeletal injuries and pain in dancers: a systematic review update.

    Science.gov (United States)

    Jacobs, Craig L; Hincapié, Cesar A; Cassidy, J David

    2012-01-01

    The objective of this study was to assemble and synthesize the best available literature from 2004 to 2008 on musculoskeletal injury and pain in dancers. MEDLINE and CINAHL were the primary sources of data. Indexed terms such as dance, dancer, dancing, athletic injuries, occupational injuries, sprains and strains, musculoskeletal diseases, bone density, menstruation disturbances, and eating disorders were used to search the databases. Citations were screened for relevance using a priori criteria, and relevant studies were critically reviewed for scientific merit by the best-evidence synthesis method. After screening, 19 articles were found to be scientifically admissible. Data from accepted studies were abstracted into evidence tables relating to: prevalence and associated factors; incidence and risk factors; intervention; and injury characteristics and prognosis of musculoskeletal injury and pain in dancers. Principal findings included: a high prevalence and incidence of lower extremity, hip and back injuries; preliminary evidence that psychosocial and psychological issues such as stress and coping strategies affect injury frequency and duration; history of a previous lateral ankle sprain is associated with an increased risk of ankle sprain in the contralateral ankle in dance students; fatigue may play a role in ACL injury in dancers; acute hamstring strains in dancers affect tendon more than muscle tissue, often resulting in prolonged absence from dance. It is concluded that, while there are positive developments in the literature on the epidemiology, diagnosis, prognosis, treatment, and prevention of MSK injuries and pain in dancers, much room for improvement remains. Suggestions for future research are offered.

  17. Visual availability, balance performance and movement complexity in dancers.

    Science.gov (United States)

    Muelas Pérez, Ruth; Sabido Solana, Rafael; Barbado Murillo, David; Moreno Hernández, Francisco Javier

    2014-09-01

    Research regarding the complex fluctuations of postural sway in an upright standing posture has yielded controversial results about the relationship between complexity and the capacity of the system to generate adaptive responses. The aim of this study is to compare the performance and complexity of two groups with different levels of expertise in postural control during a balance task. We examined the balance ability and time varying (dynamic) characteristics in a group of 18 contemporary dancers and 30 non-dancers in different visual conditions. The task involved maintaining balance for 30s on a stability platform with opened or closed eyes. The results showed that dancers exhibited greater balance ability only in open eyes task than non-dancers. We also observed a lower performance in both groups during the test with closed eyes, but only dancers reduced their complexity in closed eyes task. The main conclusion is that the greater postural control exhibited by dancers depends on the availability of visual information. Copyright © 2014 Elsevier B.V. All rights reserved.

  18. The Presentation of Self in the Classical Ballet Class: Dancing with Erving Goffman

    Science.gov (United States)

    Whiteside, Bethany; Kelly, John

    2016-01-01

    This article analyses the social interactions and behaviours evident within an adult, amateur ballet class in one of Scotland's cities. Using an ethnographic empirical approach, the study utilises Erving Goffman's model of dramaturgy to explore the impression management of participants from the ballet class. Evidence (data) was generated through a…

  19. The Mind/Body Connection and the Practice of Classical Ballet

    Science.gov (United States)

    Dixon, Emma

    2005-01-01

    This paper examines two very different approaches to dance training, ballet technique and the somatic discipline of Topf technique ("TT"). It explores and evaluates the application of TT to ballet training. Initially, what is meant by the term "mind/body connection" is discussed, and then the paper examines, in a theoretical and a practical sense,…

  20. My Dance and the Ideal Body: Looking at Ballet Practice from the Inside Out

    Science.gov (United States)

    Jackson, Jennifer

    2005-01-01

    This paper argues for a change of thinking about the "ideal body" in relation to ballet as a dance form and how it is studied. It distinguishes between spectator and practitioner perspectives on ballet, and draws on the practice of established dance artists and that of the author to write about the first-person experience--from the inside out.…

  1. 'The moment when it al comes together': embodied experiences in ballet

    NARCIS (Netherlands)

    Aalten, A.

    2004-01-01

    This article is both an elaborated critique on the one-sided analysis of the misogynist nature of ballet as a cultural practice, and a contribution to a more embodied feminist theory. Based on empirical material, that was brought together by observing the body practices in ballet and listening to th

  2. Ballet Doesn't Have to Be Boring: Engaging Students in the Creative Process

    Science.gov (United States)

    Scheff, Helene

    2005-01-01

    For many years, the author has incorporated creative process into the way she teaches ballet class. The author shares the philosophical, practical, and artistic reasons for the creative process in ballet classes. She also shares the rationale and how this practice developed over time.

  3. System Attraction of Visual and Iconographic Material as a Development Thrustof Modern Ballet Theater

    Directory of Open Access Journals (Sweden)

    Tatiana Portnova

    2015-08-01

    Full Text Available The article deals with the issues of artwork impact on ballet artists’ and ballet masters’ creativity – creation of choreographic works based on artworks. Facts (examples demonstrating such borrowing are involved, but more significantly, the range of potential opportunities, which may enrich modern ballet theater, is outlined. The matter of figurative material takes on particular importance, i.e. the issue to what extent a choreographic work reflects the essence of an artwork accurately, deeply, and adequately. The article considers the connection and mutual benefit of the processes of creative interpenetration of graphics, art, sculpture, arts and crafts, and ballet theater. Different techniques of figurative sources are studied: illustration, statement, demonstration, comparison, event localization, generalization, stylistic device, and their visualization by means of choreographic dynamics. It’s concluded the synthetic nature of ballet theatergives rise to new polygenre structures that can intensify both expressive and semantic content of choreographic image, create original stage solutions.

  4. “The art of dancing words”. Gasparo Angiolini and the Dissertation on pantomime ballets of the ancients

    Directory of Open Access Journals (Sweden)

    Stefania Onesti

    2009-09-01

    Full Text Available In 1765 Gasparo Angiolini presented his tragic pantomime ballet Semiramide, accompanying it with an explanatory programme. The Dissertation sur les Ballets Pantomimes des Anciens gives voice to Angiolini’s first ideas on pantomime ballet. This is the reason why it has to be considered, like other primary sources and documents, an important contribution for the study of the birth and the growth of the ballet d’action. The French text is translated into Italian and it is preceded by some reflections on Angiolini and the reform of pantomime ballet.

  5. Ballet-Related Content in Music Education in the First Cycle of Primary Education

    Directory of Open Access Journals (Sweden)

    Stergulec Tjaša

    2013-09-01

    Full Text Available This paper deals with the integration of ballet-related content into music lessons in the first cycle of primary education. It seeks to outline some current findings concerning the positive impact of dance and classical ballet on integrated child development and the results of an empirical research study the objective of which was to compare the ability of primary school pupils aged six to nine years to perform a simple ballet choreography against that of ballet school pupils and to examine pupils’ attitude towards classical ballet. For this end, we prepared additional ballet-related content in 2011 and incorporated it into classroom practice with students attending Fran Korun Koželjski Music School in Velenje and pupils attending the first and the third grades of Franc Rozman Stane Primary School in Maribor. To compare the performance of one and the other we used specific evaluation criteria, while we obtained pupils’ feedback on ballet lessons by means of a short questionnaire. It was established that children did possess the ability as well as the desire to practice classical ballet. The executions of the ballet choreography by both groups were comparable, and the only difference noticed regarded the physical ability, body coordination, and spatial coordination criteria, which were not fully achieved by the primary school pupils. Due to the positive influence of the activity on the integrated development of children and the children’s positive reaction, it is necessary to incorporate as many ballet-related subject matter as possible into music education.

  6. Injuries in Female Dancers Aged 8 to 16 Years

    Science.gov (United States)

    Steinberg, Nili; Siev-Ner, Itzhak; Peleg, Smadar; Dar, Gali; Masharawi, Youssef; Zeev, Aviva; Hershkovitz, Israel

    2013-01-01

    Context Most studies of injured dancers have been carried out on professional adult dancers; data on young, nonprofessional injured dancers are sparse. Objective To identify the types of injuries sustained by recreational dancers and to examine their association with age, joint range of motion, body structure, age at menarche, presence of anatomic anomalies, and physical burden (ie, practice hours en pointe). Design Descriptive epidemiology study. Setting The Israel Performing Arts Medicine Center, Tel Aviv. Patients or Other Participants A total of 569 injured female dancers, aged 8 to 16 years. Main Outcome Measure(s) Dependent variables were 61 types of current injuries that were later classified into 4 major categories: knee injuries, foot and ankle tendinopathy, back injuries, and other injuries. Independent variables were age, joint range of motion, body size and shape, age at menarche, anatomic anomalies, and dance discipline (eg, hours of practice per week en pointe). Results At least 1 previous injury had been sustained by 42.4% of the dancers. The most common injuries involved the knee (40.4%), followed by other injuries (23.4%). The relative frequency of back injuries and tendinopathy decreased with age, whereas knee injuries increased. Types of injuries were significantly associated with ankle plantar flexion, hip external rotation, hip abduction, and knee flexion. Multinomial regression analysis revealed only 3 predictive variables (with other as baseline), all for back injury: scoliosis, age, and hip external rotation. Conclusions Joint range of motion and scoliosis may signal the potential for future injury. Young dancers (less than 10 years of age) should not be exposed to overload (especially of the back) or extensive stretching exercises. PMID:23672333

  7. Questionnaire of Executive Function for Dancers: An Ecological Approach

    Science.gov (United States)

    Wong, Alina; Rodriguez, Mabel; Quevedo, Liliana; de Cossio, Lourdes Fernandez; Borges, Ariel; Reyes, Alicia; Corral, Roberto; Blanco, Florentino; Alvarez, Miguel

    2012-01-01

    There is a current debate about the ecological validity of executive function (EF) tests. Consistent with the verisimilitude approach, this research proposes the Ballet Executive Scale (BES), a self-rating questionnaire that assimilates idiosyncratic executive behaviors of classical dance community. The BES was administrated to 149 adolescents,…

  8. THE CLASSICAL BALLET METHODOLOGY AND THEIR POSSIBLE DIALOGUE WITH LABANIANAS THEORIES

    Directory of Open Access Journals (Sweden)

    Lanusse Sousa Jaime

    2015-12-01

    Full Text Available Establish a dialogue between a codified technique with other body techniques becomes a challenge when it comes to a tradition. Moths new avenues for the ballet teaching may move several problems found with respect to a hierarchy of knowledge. Ballet with its tradition and its stroked paths can be reorganized to build thinking and conscious bodies? The traditional classical technique transits other body language? Often there are more complex issues to think today in teaching and learning ballet . These issues translate my need to research and experiment with new ways to teach this technique.

  9. Neurapraxia of the femoral nerve in a modern dancer.

    Science.gov (United States)

    Sammarco, G J; Stephens, M M

    1991-01-01

    We have presented a case of an acute onset femoral nerve neurapraxia in a pure modern dancer. Repeated mild stretching of the femoral nerve during an established dance routine over a period of several months is implicated as the etiology. The thigh muscles quickly weakened, but regained strength within 3 months. Electromyographic evidence of specific femoral nerve injury initially was negative, but was evident 6 weeks following injury. Overuse syndrome in dancers can cause rapid loss of strength. Other conditions such as herniated intervertebral disc, acute hemorrhage, trauma, iliopsoas rupture, and acute stretching must be ruled out. Complete recovery was the natural outcome.

  10. The Solar System Ballet: A Kinesthetic Spatial Astronomy Activity

    Science.gov (United States)

    Heyer, Inge; Slater, T. F.; Slater, S. J.; Astronomy, Center; Education ResearchCAPER, Physics

    2011-05-01

    The Solar System Ballet was developed in order for students of all ages to learn about the planets, their motions, their distances, and their individual characteristics. To teach people about the structure of our Solar System can be revealing and rewarding, for students and teachers. Little ones (and some bigger ones, too) often cannot yet grasp theoretical and spatial ideas purely with their minds. Showing a video is better, but being able to learn with their bodies, essentially being what they learn about, will help them understand and remember difficult concepts much more easily. There are three segments to this activity, which can be done together or separately, depending on time limits and age of the students. Part one involves a short introductory discussion about what students know about the planets. Then students will act out the orbital motions of the planets (and also moons for the older ones) while holding a physical model. During the second phase we look at the structure of the Solar System as well as the relative distances of the planets from the Sun, first by sketching it on paper, then by recreating a scaled version in the class room. Again the students act out the parts of the Solar System bodies with their models. The third segment concentrates on recreating historical measurements of Earth-Moon-Sun system. The Solar System Ballet activity is suitable for grades K-12+ as well as general public informal learning activities.

  11. Somatotype analysis of students who will be trained for classical ballet

    Directory of Open Access Journals (Sweden)

    Ayse Gul Kabakci

    2016-12-01

    Material and Methods: In the 2013-2014 academic year Cukurova University State Conservatory Ballet Main Art Branch recieved 8-11-year-old students admitted to study ballet training, compared to students who were not accepted by the accepted students. Convenient and inconvenient students for ballet education were identified as two study groups. While conevient experimental group, inconvenient students were evaluated as control group. This study ballet students determine their body type and includes anthropometric measurements to evaluate objectively the criteria for ballet training. In determining the Heath-Carter body type classification is used. Results: In our study, Cukurova University State Conservatory accepted applicants for training in ballet, for 51 female students were enrolled. As 31 girls were convenient for ballet education, 20 girls were not. While the average of age, height and weight measurements of convenient students were 9.51+/-0.67, 1.38+/-0.07 m and 30.03+/-4.85kg respectively, the same dimensions in inconvenient students, 10.20+/-0.89, 1.43+/-0.10 m and 39.06+/-6.94 kg respectively. Measurements of diameter, circumference and subcutaneous fat thickness were found less for convenient students. Major body type of convenient students was identified as mesomorph, whereas major body type of inconvenient students was identified as endomorphy. Conclusion: These parameters used in convenience for classical ballet education were evaluated objectively. The observations presented in this study have defined physical features and need to be taken into consideration for evaluate and guidelines for determine the deficiency in literature. [Cukurova Med J 2016; 41(4.000: 744-753

  12. Ballet in the Dark: A Critical Review of Black Swan by Darren Aronofsky

    OpenAIRE

    Rina Angela Corpus

    2011-01-01

    Choreographing the life of a ballerina in an ominous psychological thriller is a highly gendered project that takes us to well-established suspects in the patriarchal schema of the ballet world. Black Swan’s filmmakers created a narrative out of a performance of the classic ballet Swan Lake, making it a mimicry of the life of the tragic heroine Nina Sayers (Natalie Portman). The symptomatic pathology of perfectionism haunts the lead character, revealing her manifest hubris while unmasking the...

  13. Body Image in Female Professional and Amateur Dancers

    Science.gov (United States)

    Pollatou, Elisana; Bakali, Nikoleta; Theodorakis, Yannis; Goudas, Marios

    2010-01-01

    Body image is considered to be an obscure, mental representation of body shape, size and form which is influenced by a variety of factors that operate over varying time spans. Research has shown that professional female dancers may face preoccupations with their body image and weight. The present study aimed to investigate how body image was…

  14. Overexcitability: A Psychological Comparison between Dancers, Opera Singers, and Athletes

    Science.gov (United States)

    Thomson, Paula; Jaque, S. Victoria

    2016-01-01

    Overexcitability is a component in Dabrowski's theory of positive disintegration. This cross-sectional study investigated the psychological profile, including the five overexcitability dimensions (psychomotor, sensual, imaginational, intellectual, emotional), of three talented groups of dancers (n = 84), opera singers (n = 62), and athletes…

  15. Overexcitability: A Psychological Comparison between Dancers, Opera Singers, and Athletes

    Science.gov (United States)

    Thomson, Paula; Jaque, S. Victoria

    2016-01-01

    Overexcitability is a component in Dabrowski's theory of positive disintegration. This cross-sectional study investigated the psychological profile, including the five overexcitability dimensions (psychomotor, sensual, imaginational, intellectual, emotional), of three talented groups of dancers (n = 84), opera singers (n = 62), and athletes…

  16. Arthroscopic Assessment and Treatment of Dancers' Knee Injuries.

    Science.gov (United States)

    Silver, Daniel M.; Campbell, Pat

    1985-01-01

    Arthroscopic examination of 16 dancers with dance-related knee injuries which defied conservative treatment showed 15 meniscal tears and 4 cases of chondromalacia patellae. Partial arthroscopic meniscectomy was used to treat the tears. The results were excellent, with 13 of the 16 returning to preoperative levels of dance activity. (MT)

  17. Sensorimotor integration is enhanced in dancers and musicians.

    Science.gov (United States)

    Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

    2016-03-01

    Studying individuals with specialized training, such as dancers and musicians, provides an opportunity to investigate how intensive practice of sensorimotor skills affects behavioural performance across various domains. While several studies have found that musicians have improved motor, perceptual and sensorimotor integration skills compared to untrained controls, fewer studies have examined the effect of dance training on such skills. Moreover, no study has specifically compared the effects of dance versus music training on perceptual or sensorimotor performance. To this aim, in the present study, expert dancers, expert musicians and untrained controls were tested on a range of perceptual and sensorimotor tasks designed to discriminate performance profiles across groups. Dancers performed better than musicians and controls on a dance imitation task (involving whole-body movement), but musicians performed better than dancers and controls on a musical melody discrimination task as well as on a rhythm synchronization task (involving finger tapping). These results indicate that long-term intensive dance and music training are associated with distinct enhancements in sensorimotor skills. This novel work advances knowledge of the effects of long-term dance versus music training and has potential applications in therapies for motor disorders.

  18. Physiological characteristics of elite dancers of different dance styles.

    Science.gov (United States)

    Liiv, Helena; Jürimäe, Toivo; Mäestu, Jarek; Purge, Priit; Hannus, Aave; Jürimäe, Jaak

    2014-01-01

    The present investigation was aimed to study international level dancesport dancer's aerobic capacity during incremental test and competition simulation in relation to the gender, dance style and international ranking. A total of 30 couples (12 Standard, 7 Latin American and 11 Ten Dance; aged 22.8 ± 6.6 years male and 22.0 ± 6.4 years female) performed an incremental treadmill test and competition simulation. In this study for the first time we carried out longer than one round competition simulation and compared three different dancesport styles (Standard, Latin American and Ten Dance). The results showed that dancers of these three dance styles had similar aerobic capacity values. The average maximal oxygen consumption (VO2max) values were 59.6 ± 5.1 and 51.2 ± 6.2 ml · min(-1) · kg(-1) for male and female dancers, respectively. Competition simulation showed that Latin American Dance discipline is physiologically more intensive compared to Standard and Ten Dance styles especially for the female dancers. It appeared that male and female Standard dancers tended to perform at lower intensity than anaerobic threshold (AT) during competition simulation (male 97.3 ± 2.9%; female 97.9 ± 3.6%), while Latin (male 101.4 ± 2.9%; female 106.7 ± 5.9%) and Ten Dance (male 100.7 ± 6.4%; female 99.2 ± 5.6%) competition intensity was higher compared to AT level of athletes. The highest heart rate during competition simulation was always found during the last dances (Paso Double, Jive or Quickstep) and in the last round of each dance style. No significant relationship between VO2max values and international rankings was registered.

  19. La formación de estudiantes de ballet y el desarrollo de competencias emocionales Educating students of ballet and the development of emotional competencies

    Directory of Open Access Journals (Sweden)

    Adonys Isidro Ordán Bolívar

    2017-03-01

    Full Text Available This article is aimed at characterizing the historical background of students of ballet education from the perspective of the process of emotional competencies. The study was carried out by examining written documentary about the few memories found. The prevailing trend that favors technical and physical elements at the expense of the emotional ones in educating ballet students justifies the need of the study and gives novelty to the findings herein described. The main finding is the description of characteristic features of antecedents of balletstudent’s formative process and the approach to emotional competencies development.

  20. Vividness and transformation of mental images in karate and ballet.

    Science.gov (United States)

    Di Corrado, Donatella; Guarnera, Maria; Quartiroli, Alessandro

    2014-12-01

    While imagery research has become popular in recent years, little research has specifically investigated differences in imagery ability between open- and closed-skill sport activities. The purpose of this study was to investigate whether the type of task, open or closed, affects vividness and controllability differently. Thirty female classic dancers (closed skill), 30 female karate athletes (open skill), and 30 female non-athlete students, between 14 and 20 years of age (M = 17.0, SD = 1.6), participated. They completed the Vividness of Visual Imagery Questionnaire, the Vividness of Movement Imagery Questionnaire, and the Subtraction of Parts Task. There was no difference in imagery ability between open- and closed-skill sport groups. Furthermore, dancers and karatekas had higher mean scores on imagery ability than the non-athlete group. A positive correlation was observed between the two questionnaires, supporting findings on the componential basis of imagery. This study contributed to increase the research in the specific area of open- and closed-skill sports and imagery ability.

  1. Finger-to-beat coordination skill of non-dancers, street dancers, and the world champion of a street-dance competition

    Directory of Open Access Journals (Sweden)

    Akito eMiura

    2016-04-01

    Full Text Available The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz than in the non-dancers (2.6 Hz. Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

  2. Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition.

    Science.gov (United States)

    Miura, Akito; Fujii, Shinya; Okano, Masahiro; Kudo, Kazutoshi; Nakazawa, Kimitaka

    2016-01-01

    The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz). Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

  3. Core stability for dancers - testing the effect of an exercise program

    OpenAIRE

    2014-01-01

    The purpose of this thesis was to create a targeted tool, a three-month exercise program, for an advanced group of dancers to improve their core stability. The second purpose was to increase awareness of the importance of deep abdominal activation among dancers. The thesis was implemented in cooperation with a local dance school in Pori, Tanssikoulu Tiina ja heimo, which provided the target group of research: an advanced group of dancers, called LeikistiVakavasti. The research methods of this...

  4. Atlante del bianco: new dancers on the contemporary scenes

    Directory of Open Access Journals (Sweden)

    Gaia Germanà

    2011-12-01

    Full Text Available The essay deals with the experience of the newborn Italian dance company Damasco Corner, a group of visually impaired professional dancers working with the choreographer Virgilio Sieni in Firenze, at CANGO_Cantieri Goldonetta. The text looks at the performance process they went through (workshops, training and rehearsals preparing the first official piece of the company: Atlante del bianco. The access of these new dancers to the field of professional artistic education implies different changing, in the studio as well as on the scene. Inclusive approaches are applied, teaching dance techniques, improvisation and creating choreographies. The audience needs to embrace different perspectives to feel and understand the dance that is lived and presented on the scene. 

  5. Heel lipoma mimicking plantar fasciitis in a ballroom dancer.

    Science.gov (United States)

    Taweel, Nicholas R; Raikin, Steven M

    2015-01-01

    The present case illustrates a lipoma as an unusual cause of heel pain. A 64-year-old female ballroom dancer presented with 8 months of pain that was unresponsive to previous treatment of plantar fasciitis. Magnetic resonance imaging revealed a heel lipoma. Her pain was fully resolved after surgical excision. Soft tissue tumors should be included in the differential diagnosis of heel pain, especially when symptoms and treatment response do not follow the typical course of plantar fasciitis.

  6. The Effects of Multimedia Computer- Assisted Instruction on Learning Basic Ballet Skills with Physical Education Students

    Directory of Open Access Journals (Sweden)

    El-Moneim Doaa Abd

    2014-09-01

    Full Text Available Computer technology has become an integral part of physical education, yet there have been few studies exploring the use of multimedia technology in the instruction of Physical Education. The purpose of this study was to investigate if multimedia technology affected the learning of basic ballet skills. A total of 32 female students, mean age 18.1 years, studying at the Faculty of Physical Education Zagazig university were divided into two groups. The experimental group comprised 16 students. Participants in this group participated in a ballet class with multimedia technology for six weeks. Group two participated in the ballet class with the traditional method as the control group. Parameters assessed height, weight, age, and academic level. All participants were free of any disorders known to affect performance, such as bone fractures, osteoporosis, diabetes, or cardiovascular disease. Participants reported no use of anti-seizure drugs or alcohol. In addition, all participants were fully informed of the aims of the study, and gave their voluntary consent prior to participation. The measurement procedures were in accordance with ethical human experimentation. All statistical analyses were calculated with the SPSS statistical package. Results indicated significant differences between the two groups in learning the basic skills and levels of knowledge of ballet. Applying the proposed educational program meant using multimedia to teach basic ballet skills to second-year female students enrolled in the Faculty of Physical Education

  7. Time motion and video analysis of classical ballet and contemporary dance performance.

    Science.gov (United States)

    Wyon, M A; Twitchett, E; Angioi, M; Clarke, F; Metsios, G; Koutedakis, Y

    2011-11-01

    Video analysis has become a useful tool in the preparation for sport performance and its use has highlighted the different physiological demands of seemingly similar sports and playing positions. The aim of the current study was to examine the performance differences between classical ballet and contemporary dance. In total 93 dance performances (48 ballet and 45 contemporary) were analysed for exercise intensity, changes in direction and specific discrete skills (e. g., jumps, lifts). Results revealed significant differences between the 2 dance forms for exercise intensity (pdance featured more continuous moderate exercise intensities (27 s x min(-1)). These differences have implications on the energy systems utilised during performance with ballet potentially stressing the anaerobic system more than contemporary dance. The observed high rates in the discrete skills in ballet (5 jumps x min(-1); 2 lifts x min(-1)) can cause local muscular damage, particularly in relatively weaker individuals. In conclusion, classical ballet and contemporary dance performances are as significantly different in the underlying physical demands placed on their performers as the artistic aspects of the choreography.

  8. Pathologic Disorders of the Foot in Professional Female Flamenco Dancers.

    Science.gov (United States)

    Castillo-López, José M; Munuera-Martínez, Pedro V; Algaba-Guisado, Cristina; Reina-Bueno, María; Salti-Pozo, Nadia; Vargas-Macías, Alfonso

    2016-01-01

    The foot is the main element of artistic creation in flamenco dancing. At the professional level, the foot undergoes high musculoskeletal demands, predisposing the development of podiatric pathologic disorders in this group. The principal objective of this study was to determine the most common foot lesions in professional female flamenco dancers. In a cross-sectional observational study of 44 female professional flamenco dancers, the participants completed a short questionnaire about their demographic features, number of hours danced per week, and years of professional activity. Any foot lesions presented by the participant were also recorded. Some type of pathologic foot condition was noted in 75% of the women, with a particularly high prevalence of hallux abducto valgus (61.4%), hypermobility of the first ray (43.2%), claw toe (40.9%), and varus fifth toe (37.5%) compared with the general population. No significant differences in the presence of pathologic disorders of the foot were found according to the time dedicated to dance or the years of professional activity. Female flamenco dancers in this study had a high prevalence of podiatric medical problems: some kind of pathologic abnormality of the foot was present in 75% of the participants. Hallux abducto valgus, claw toe, and hypermobility of the first ray were the most common pathologic disorders observed.

  9. Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition

    OpenAIRE

    Miura, Akito; Fujii, Shinya; Okano, Masahiro; Kudo, Kazutoshi; Nakazawa, Kimitaka

    2016-01-01

    The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory–motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory–motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The part...

  10. Dancing through pregnancy: activity guidelines for professional and recreational dancers.

    Science.gov (United States)

    Sanders, Sarah G

    2008-01-01

    Over the past few years the benefits of exercise during pregnancy have become appreciated. Much attention has been given to common forms of exercise, such as aerobic dance, swimming, cycling and running. The effects of professional and recreational dance during pregnancy, such as ballet or flamenco, for example, have not been explored. Many studies, however, address issues relevant to dance. The purpose of this article is to delineate as clearly as possible what dance activities are safe and even possibly beneficial for the mother and her baby, as well as those activities and levels of exertion that should be avoided.

  11. Body Image of Dancers in Los Angeles: The Cult of Slenderness and Media Influence among Dance Students

    Science.gov (United States)

    Heiland, Teresa L.; Murray, Darrin S.; Edley, Paige P.

    2008-01-01

    Body image and self-esteem are examined through personal stories among Los Angeles college dancers who grew up in the Hollywood culture of the cult of slenderness. The study incorporates a body image survey, eating disorder screen, and an interview process capturing dancers' lived experiences with daily pressures. Dancers reveal their experiences…

  12. Body Image of Dancers in Los Angeles: The Cult of Slenderness and Media Influence among Dance Students

    Science.gov (United States)

    Heiland, Teresa L.; Murray, Darrin S.; Edley, Paige P.

    2008-01-01

    Body image and self-esteem are examined through personal stories among Los Angeles college dancers who grew up in the Hollywood culture of the cult of slenderness. The study incorporates a body image survey, eating disorder screen, and an interview process capturing dancers' lived experiences with daily pressures. Dancers reveal their experiences…

  13. Analogy between training for dancers and problems of adjustment to microgravity: an evaluation of the subjective vertical in dancers.

    Science.gov (United States)

    Dubois, K

    1991-01-01

    "Moderne dance" (as opposed to a more academic or classical dance form) uses techniques from kinesiology, anatomy and improvization which are adapted to a cultural, technological and political environment. The function of a choreographic system is to take and give a measure of the world. This includes, with the present tendency of the evolution of culture, a new "naturalism" which seeks the secrets of the body. Dance movements express in terms of space the dimension fo the infinite. It gives somehow the measure of a world within which everything is relative. Except for the speed of light, time and space are bound together by the same principle. The qualities of body awareness and specific motricity in dancers imply--besides a strict discipline--balance, coordination, muscular performance and perfect orientation, problems that astronauts also encounter in microgravity. Could chosen exercises used in modern dance technique be applied to the training of astronauts? Dancer-choreographer Kitsou Dubois has been working in this direction since 1988. She was granted a "Villa Medicis Hors Les Murs" by the French Ministry of Foreign Affairs, to carry on with her research at NASA, Houston, Tex. in April 1989. It allowed her to investigate the reality of this analogy. She intends to evaluate the dancers' subjective vertical refering to Mittelstaedt's observations on the proportional relationship between "space sickness" and some astronauts poor evaluation of the subjective vertical. This study should create a relationship between a choreographer's empirical intuition and a scientific reality.

  14. Analogy between training for dancers and problems of adjustment to microgravity: An evaluation of the subjective vertical in dancers

    Science.gov (United States)

    Dubois, Kitsou

    "Moderne dance" (as opposed to a more academic or classical dance form) uses techniques from kinesiology, anatomy and improvization which are adapted to a cultural, technological and political environment. The function of a choreographic system is to take and give a measure of the world. This includes, with the present tendency of the evolution of culture, a new "naturalism" which seeks the secrets of the body. Dance movements express in terms of space the dimension fo the infinite. It gives somehow the measure of a world within which everything is relative. Except for the speed of light, time and space are bound together by the same principle. The qualities of body awareness and specific motricity in dancers imply—besides a strict discipline—balance, coordination, muscular performance and perfect orientation, problems that astronauts also encounter in microgravity. Could chosen exercises used in modern dance technique be applied to the training of astronauts? Dancer-choreographer Kitsou Dubois has been working in this direction since 1988. She was granted a "Villa Medicis Hors Les Murs" by the French Ministry of Foreign Affairs, to carry on with her research at NASA, Houston, Tex. in April 1989. It allowed her to investigate the reality of this analogy. She intends to evaluate the dancers' subjective vertical refering to Mittelstaedt's observations on the proportional relationship between "space sickness" and some astronauts poor evaluation of the subjective vertical. This study should create a relationship between a choreographer's empirical intuition and a scientific reality.

  15. Ballet in the Dark: A Critical Review of Black Swan by Darren Aronofsky

    Directory of Open Access Journals (Sweden)

    Rina Angela Corpus

    2011-12-01

    Full Text Available Choreographing the life of a ballerina in an ominous psychological thriller is a highly gendered project that takes us to well-established suspects in the patriarchal schema of the ballet world. Black Swan’s filmmakers created a narrative out of a performance of the classic ballet Swan Lake, making it a mimicry of the life of the tragic heroine Nina Sayers (Natalie Portman. The symptomatic pathology of perfectionism haunts the lead character, revealing her manifest hubris while unmasking the systemic social conditioning of women in the ballet system. These women are driven to become tenacious competitors, pleasant and willing objects of a gaze and patronage that are traditionally male-defined and controlled.

  16. The effect of moderate glycemic energy bar consumption on blood glucose and mood in dancers

    NARCIS (Netherlands)

    Brown, D.D.; Wyon, M.

    2014-01-01

    Ingesting quality carbohydrates has been shown to be essential for dancers. Given that most dance classes take place in the morning, it has been recommended that dancers eat a well-balanced breakfast containing carbohydrates, fats, and protein as a means of fuelling this activity. The aim of this

  17. The effect of moderate glycemic energy bar consumption on blood glucose and mood in dancers

    NARCIS (Netherlands)

    Brown, D.D.; Wyon, M.

    2014-01-01

    Ingesting quality carbohydrates has been shown to be essential for dancers. Given that most dance classes take place in the morning, it has been recommended that dancers eat a well-balanced breakfast containing carbohydrates, fats, and protein as a means of fuelling this activity. The aim of this st

  18. Estudio antropométrico de la forma corporal de bailarines adolescentes de ballet

    OpenAIRE

    Betancourt León, Hamlet; Aréchiga Viramontes, Julieta; Ramírez García, Carlos M.; Díaz Sánchez, María E.

    2008-01-01

    El desempeño técnico artístico de los bailarines exitosos está relacionado a tipos específicos de forma corporal. El objetivo de esta investigación es comparar la forma corporal de bailarines adolescentes de ballet en relación a ejecutantes de danza moderna y folclórica. Se estudiaron bailarines cubanos de la Escuela Nacional de Ballet y de la Escuela de Danza Moderna y Folclórica, con edades comprendidas entre los 15 y 18 años. Se aplicó un protocolo antropométrico de 10 mediciones...

  19. ESTUDIO ANTROPOMETRICO DE LA FORMA CORPORAL DE BAILARINES ADOLESCENTES DE BALLET

    OpenAIRE

    Hamlet Betancourt León; Julieta Aréchiga Viramontes; Ramírez García, Carlos M.; Díaz Sánchez, María E.

    2008-01-01

    El desempeño técnico artístico de los bailarines exitosos está relacionado a tipos específicos de forma corporal. El objetivo de esta investigación es comparar la forma corporal de bailarines adolescentes de ballet en relación a ejecutantes de danza moderna y folclórica. Se estudiaron bailarines cubanos de la Escuela Nacional de Ballet y de la Escuela de Danza Moderna y Folclórica, con edades comprendidas entre los 15 y 18 años. Se aplicó un protocolo antropométrico de 10 mediciones para esti...

  20. The Bright Light of China’s Ballet——Notes on the Central Ballet Troupe

    Institute of Scientific and Technical Information of China (English)

    1993-01-01

    DOZENS of years ago BaiShuxiang’s performance inthe first-ever showing ofSwan Lake on the Chinese stage an-nounced the arrival of ballet inChina.Since then years of trial anderror,setbacks and progress,haveshown that the borrowed art isflourishing on the Chinese stage.The First“White Swan”The reception accorded to West-ern ballet in China,an ancient coun-try,proves that the Chinese peoplecan include breadth of vision amongtheir many other strong points.In

  1. Comparison of the metabolic demands of dance performance using three mobility devices for a dancer with spinal cord injury and an able-bodied dancer.

    Science.gov (United States)

    Mengelkoch, Larry J; Highsmith, M Jason; Morris, Merry L

    2014-09-01

    Mobility devices for dancers with physical mobility impairments have previously been limited to traditional manual or power wheelchairs. The hands-free torso-controlled mobility chair is a unique powered mobility device which allows greater freedom and expression of movement of the trunk and upper extremities. This study compared differences in energy expenditure during a standardized dance activity using three mobility devices: the hands-free torso-controlled mobility chair, a manual sports wheelchair with hand-arm control, and an electric power chair with hand-joystick control. An experienced dancer with C7 incomplete spinal cord injury (SCI) and an experienced able-bodied dancer were recruited for testing. Three measurement trials were obtained for each chair per subject. Oxygen uptake (VO2) and heart rate (HR) were measured continuously during the dance activity. Immediately following the dance activity, subjects rated perceived exertion. Significant differences (p ≤ 0.05) and similar linear patterns in VO2 and HR responses were observed between chairs for both dancers. When the hands-free mobility chair was used, the dance activity required a moderate level of energy expenditure compared to the manual sports chair or electric power chair for both dancers. Higher ratings of perceived exertion were observed in the manual chair compared to the other chairs for the dancer with SCI, but were similar between chairs for the able-bodied dancer. These results suggest that for a dancer with high-level SCI, the hands-free torso-controlled mobility chair may offer improved freedom and expressive movement possibilities and is an energy-efficient mobility device.

  2. A cross-sectional examination of the mental and social well-being of older female Scottish country dancers and physically active non-dancers

    OpenAIRE

    Elliott, Dave; Dewhurst, Susan

    2016-01-01

    It has been established that conventional forms of physical activity such as walking, jogging and swimming can help maintain the mental and social well-being of older individuals. However, there have been few attempts to determine whether dance participation offers the same benefits. This study compared measures of mental and social well-being between Scottish country dancers and physically active non-dancers. Scores were recorded for the Warwick-Edinburg Mental Well-Being Scale, Satisfaction...

  3. Scoring the ballo fantastico: supernatural characters and their music in Italy’s ballets during the Risorgimento

    Directory of Open Access Journals (Sweden)

    Matilda Ann Butkas Ertz

    2016-12-01

    Full Text Available Ballets with the designation fantastico first appeared in Italy’s theaters during the Risorgimento period. Ultramontane romanticism and fantastic topics were a minority within a diverse repertoire, reflecting the Italian revolution for independence. While some of these ballets were imports (often greatly adapted of successful French romantic ballets, many were Italian choreographers’ own brand of theater. The fantastic could even appear in the guise of allegorical characters within ballet genres more common to the Italian stage. This article situates the fantastic in Italy's theatrical scene and offers an investigation of the musical manifestation of supernatural characters in Italy's ballets through the case studies of four works that span six decades of performance—Il Noce di Benevento (1812, Fausto (1849,Bianchi e Negri (1853, and Gretchen (1868. This topical music is an important part of Italy's musical-theatrical participation in romanticism. While musicologists have largely focused on Italy's operas and dance scholars on French ballet for the nineteenth century, this article begins to bridge the gap with a focus on Italian ballet music.

  4. Histoire et esthétique de la danse de ballet au XIXe siècle - Quelques aspects au prisme du genre, féminisation du ballet et stigmatisation des danseurs

    OpenAIRE

    Marquié, Hélène

    2014-01-01

    "Histoire et esthétique de la danse de ballet au XIXe siècle - Quelques aspects au prisme du genre, féminisation du ballet et stigmatisation des danseurs" est une synthèse de travaux sur la danse de ballet au XIXe siècle, à partir d'une problématique initiale concernant la fixation de la féminisation - à la fois symbolique et des pratiques - de la danse. Quatre chapitres et un divertissement composent ce mémoire. Le premier chapitre porte sur la question des sources et des spécificités des ma...

  5. "A Shock of Electricity Just Sort of Goes through My Body": Physical Activity and Embodied Reflexive Practices in Young Female Ballet Dancers

    Science.gov (United States)

    Wellard, Ian; Pickard, Angela; Bailey, Richard

    2007-01-01

    Participation in physical activities, in and out of school, remains heavily influenced by social constructions of gendered behaviour. In addition, the body plays a significant part in the presentation of legitimate performances of physical practice and the construction of a physical "identity". The consequence is that in formalized…

  6. Imagem corporal e comportamentos de risco para transtornos alimentares em bailarinos profissionais Body image and risk behavior for eating disorders in professional ballet dancers

    OpenAIRE

    Lena Guimarães Ribeiro; Gloria Valeria da Veiga

    2010-01-01

    INTRODUÇÃO E OBJETIVO: A grande preocupação com a aparência e a forma física e a constante pressão para manterem baixo peso corporal são fatores que levam a distorções da imagem corporal e tornam os bailarinos um grupo de risco para o desenvolvimento de transtornos alimentares (TA). O objetivo deste estudo foi avaliar a percepção da imagem corporal e sua associação com comportamentos de risco para TA em bailarinos profissionais. MÉTODOS: Foram estudados 61 bailarinos (39 mulheres e 22 homens)...

  7. The Nutcracker Ballet: How To Use a Video as a Big Book.

    Science.gov (United States)

    Mackin, Rosemary

    2002-01-01

    Presents three days of classroom activities for children 4 years and older in preschools using a videotape of Tchaikovsky's ballet "The Nutcracker" through which children explore storytelling through dance and music, learn the nuances of music, and become aware of the performing arts. Includes steps for teacher preparation, a script for…

  8. The Ballet of the Streets: Teaching about Cities at Street Level

    Science.gov (United States)

    McGuire, Patrick A.; Spates, James L.

    2011-01-01

    The urban scholar Jane Jacobs once described city life as "the ballet of the streets." In more than a quarter century of joint teaching, the authors have used Jacobs' metaphor to help their students understand that cities are living organisms created and maintained, for good or ill, by the people who live and work in them. At heart their…

  9. The Nutcracker Ballet: How To Use a Video as a Big Book.

    Science.gov (United States)

    Mackin, Rosemary

    2002-01-01

    Presents three days of classroom activities for children 4 years and older in preschools using a videotape of Tchaikovsky's ballet "The Nutcracker" through which children explore storytelling through dance and music, learn the nuances of music, and become aware of the performing arts. Includes steps for teacher preparation, a script for augmenting…

  10. [Rehabilitation after occupational accidents in professional dancers: advice with due regard to dance specific aspects].

    Science.gov (United States)

    Wanke, E M; Quarcoo, D; Uibel, S; Groneberg, D A

    2012-08-01

    The highly specialized occupation of professional dancers is a combination of sport and artistic expression. The exertion is only possible with a fully operative body. Although professional dancers may be compared with elite athletes and acute injuries frequently happen, dancers do not seem to be granted an appropriate therapy after accidents as compared with athletes. Although even minor injuries may potentially endanger the career of a professional dancer, physiotherapeutic or physical treatment methods are applied in every tenth case only. Alternative and holistic concepts such as Pilates or dance-specific re-integration that proved successful in professional dancers, are used in even fewer instances. The aim of this study is to develop a rehabilitation concept for professional dancers focusing on dance-medicine aspects. It has been taken into account that the best physical outcomes are reflected in an optimized, holistic, dance-specific therapy and rehabilitation. Intensifying and exploiting dance-specific methods of treatment can not only reduce costs in the end but can even contribute to reducing the duration of rehabilitation after injuries of dancers. Preconditions for realization of the rehabilitative model are a high qualification of all persons working in the rehabilitative field as well as a marked willingness to cooperate in the various dance fields. Both gender-specific and dance-style particularities are to be taken into account to ensure a successful rehabilitation.

  11. El proceso de selección natural en el campo social del ballet en Cuba

    Directory of Open Access Journals (Sweden)

    Hamlet Betancourt León

    2010-09-01

    Full Text Available El campo del ballet es un sistema social conflictivo donde se manifiesta gran competitividad -reflejada en continuas selecciones sociales y naturales- para cumplimentar la fantasía de todos los bailarines: bailar públicamente. El objetivo de esta investigación es demostrar la pertinencia del supuesto teórico darwinista de selección natural en la discriminación de belleza escénica de la figura del bailarín en el sistema piramidal de selección, formación y desempeño profesional del campo cubano del ballet. El campo del ballet se registra fácticamente en instituciones culturales pobladas por individuos que persiguen cotidianamente crear bailarines profesionales aptos -primera condición es ser revolucionario- que representen internacionalmente a la Revolución Cubana. El campo se estructura en un sistema piramidal de selección, formación y desempeño de bailarines profesionales que rige sus prácticas principales de exclusión/inclusión -puntos de corte- por el principio darwinista de selección natural. Los exámenes de capacidades físicas de ingreso y pase de nivel a la enseñanza de nivel medio y la aceptación a la compañía profesional Ballet Nacional de Cuba conforman los puntos de corte del sistema piramidal. Estos contienen prácticas sociales que valoran -empírica, pero sistemáticamente- las características morfo-funcionales de los participantes interesados respecto al deber ser del canon artístico de figura, para seleccionar siempre a los más bellos, los más aptos, bailarines de ballet.

  12. The Complex Hydrodynamics of Swimming in the Spanish Dancer

    Science.gov (United States)

    Zhou, Zhuoyu; Mittal, Rajat

    2016-11-01

    The lack of a vertebra seems to have freed marine gastropods to explore and exploit a stupendous variety of swimming kinematics. In fact, examination of just a few animals in this group reveal locomotory modes ranging from insect-like flapping, to fish-like undulatory swimming, jet propulsion, and rajiform (manta-like) swimming. There are also a number of marine gastropods that have bizarre swimming gaits with no equivalent among fish or marine mammals. In this latter category is the Spanish Dancer (Hexabranchus sanguineus) a sea slug that swims with a complex combination of body undulations and flapping parapodia. While the neurobiology of these animals has been relatively well-studied, less is known about their propulsive mechanism and swimming energetics. In this study, we focus on the hydrodynamics of two distinct swimmers: the Spanish Dancer, and the sea hare Aplysia; the latter adopts a rajiform-like mode of swimming by passing travelling waves along its parapodia. In the present study an immersed boundary method is employed to examine the vortex structures, hydrodynamic forces and energy costs of the swimming in these animals. NSF Grant No. 1246317.

  13. Action-perception coordination dynamics of whole-body rhythmic movement in stance: a comparison study of street dancers and non-dancers.

    Science.gov (United States)

    Miura, Akito; Kudo, Kazutoshi; Nakazawa, Kimitaka

    2013-06-07

    This study investigated whether whole-body, rhythmic action-perception coordination in stance is organized in terms of dynamic principles. We observed whether phase transition and hysteresis occur during the execution of dancing movements. Nine skilled street dancers and 9 novice controls performed 2 types of rhythmic knee-bending movements to a metronome beat in the standing position. Participants performed down-on-the-beat (in which knee flexion coincides with the beat) and up-on-the-beat (in which knee extension coincides with the beat), which are both typical components of street dance. All participants were instructed not to intervene in the pattern change. The auditory stimulus beat rate increased or decreased between 60 and 220 beats per minute (bpm) in steps of 20 bpm. We calculated the phase angle of beat time that is superposed on knee movement trajectory on a phase plane. Under the up-on-the-beat condition, phase transition and hysteresis were observed. The bifurcation frequency at which phase transition occurred significantly differed between groups, indicating that dancers were able to perform up-on-the-beat at higher movement frequencies than non-dancers. This suggests that dynamical properties may differ between Dancers and Non-dancers. The present results provide additional evidence that whole-body action-perception pattern formation is governed by general and common dynamical principles.

  14. [Bilateral stress fracture of the mid-tibial shaft in a professional dancer].

    Science.gov (United States)

    Tomčovčík, L; Tomčovčíková, A

    2011-01-01

    Stress fractures of the anterior cortex of the mid-tibial shaft in dancers are rare, with a 1.4 % incidence in injured eli- te dancers. Treatment can be difficult and long-lasting and can seriously influence the dancer's career. The authors pre- sent the case of a 26-year-old professional dancer of a folk dance ensemble who suffered rare simultaneous bilateral mid-tibial shaft stress fractures. A conservative method of treatment with avoiding exercise and dancing activities resulted in the resolution of symptoms and healing of the fractures after 6 months. The patient finished his dancing career because of the necessity of a prolonged therapy interfering with his dancing activities. Current options of the treatment are also presented.

  15. Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers

    OpenAIRE

    Jeana Jorgensen

    2012-01-01

    In this paper, I explore how contemporary American practitioners of belly dance (as Middle Eastern dance and its many varieties are often called in the English-speaking world) conceptualize not only the spiritual dimensions of their dance, but also how the very notion of performance affects sacred and spiritual dance practices. Drawing on interviews with this community, I describe the techniques of sacred and spiritual belly dancers, how these dancers theorize performance, and how the conflic...

  16. The dancer : Physical effort, muscle fibre types, and energy intake and expenditure

    OpenAIRE

    Dahlström, Monica

    1996-01-01

    The Dancer Physical Effort, Muscle Fibre Types, and Energy Intake and Expenditure Monica Dahlström From Karolinska Institutet, Department of Medical Laboratory Sciences and Technology, Division of Clinical Physiology, Huddinge University Hospital, Huddinge, Sweden. The aims of this thesis were: -to estimate aerobic fitness in dancers and analyse possible changes during a three-year dance course and after a detraining period. -to compare different dance style...

  17. Lower Body Stiffness and Muscle Activity Differences Between Female Dancers and Basketball Players During Drop Jumps

    OpenAIRE

    2011-01-01

    Background: Anterior cruciate ligament (ACL) injuries often occur during landing, with female athletes at higher injury risk than male athletes. Interestingly, female dancers have lower ACL injury rates than do female athletes in general. Hypothesis: Female dancers will have earlier and greater lower extremity muscle activity and higher sagittal knee joint and leg stiffness than will female basketball players. Study Design: Cross-sectional group comparison. Methods: Fifty-five healthy female ...

  18. The effect of moderate glycemic energy bar consumption on blood glucose and mood in dancers.

    Science.gov (United States)

    Brown, Derrick; Wyon, Matthew

    2014-03-01

    Ingesting quality carbohydrates has been shown to be essential for dancers. Given that most dance classes take place in the morning, it has been recommended that dancers eat a well-balanced breakfast containing carbohydrates, fats, and protein as a means of fuelling this activity. The aim of this study was to determine the effect of a moderate glycemic index energy (MGI) bar or a fasting condition on dancers' blood glucose levels and perceived pleasure-displeasure response during the first dance class of the day. In a randomized counterbalanced design, 10 female preprofessional dance students took their regular scheduled contemporary dance class, on four separate occasions. On each occasion, they consumed either a commercially prepared carbohydrate (CHO)-dense energy bar (47.3 g CHO) or water (FAST). Plasma glucose responses and pleasure-displeasure affect were measured before and at two time points during the class. Dancers who consumed the MGI bar had significantly greater peak blood glucose levels at all time points than those who fasted (pdance class. Further, we conclude that skipping breakfast can have an unfavorable effect on the pleasure-displeasure state of dancers. These findings highlight the impact of breakfast on how one feels, as well as the physiological and metabolic benefits of CHO as an exogenous energy source in dancers.

  19. Perfectionism, shame, and self-concept in dancers: a mediation analysis.

    Science.gov (United States)

    Eusanio, Jacqueline; Thomson, Paula; Jaque, S Victoria

    2014-01-01

    Perfectionism has been linked to various forms of physiological and psychological maladjustment. This study examined the inter-relationships between multi-dimensional aspects of perfectionism (self-oriented, other-oriented, and socially prescribed), internalized shame, and total self-concept in elite dancers (N = 24) as compared to a control group of healthy, active non-dancers (N = 23). All participants completed psychometric self-report measures targeting the variables of interest. Multivariate analysis of covariance (gender as covariate) indicated that the dancers had higher levels of self-oriented perfectionism than the control group. Building on the findings of Ashby, Rice, and Martin, we examined a model in which dancers' shame mediates the relationship between maladaptive aspects of perfectionism and self-concept. Analysis revealed internalized shame to fully mediate the relationship between dancers' socially prescribed perfectionism and total self-concept; however, shame did not mediate self-concept in the control group. We conclude that dancers would benefit from programs that enhance self-esteem and reduce the negative effects of internalized shame and self-oriented and socially prescribed perfectionism.

  20. The Pilates Method and Ballet Technique: Applications in the Dance Studio

    Science.gov (United States)

    Ahearn, Elizabeth Lowe

    2006-01-01

    There are many body therapies from which dancers may choose in order to gain and maintain strength, flexibility, and balance and to avoid injury or facilitate rehabilitation from injury. The questions are: which system is best for the given student, and how can educators incorporate the many somatic perspectives into their curriculums. This…

  1. The Pilates Method and Ballet Technique: Applications in the Dance Studio

    Science.gov (United States)

    Ahearn, Elizabeth Lowe

    2006-01-01

    There are many body therapies from which dancers may choose in order to gain and maintain strength, flexibility, and balance and to avoid injury or facilitate rehabilitation from injury. The questions are: which system is best for the given student, and how can educators incorporate the many somatic perspectives into their curriculums. This…

  2. Lope de puntillas: el estreno del ballet «Laurencia» en Leningrado (1939

    Directory of Open Access Journals (Sweden)

    Maria Chiginskaya

    2016-01-01

    Full Text Available Este artículo trata sobre el ballet Laurencia, basado en la obra de Lope de Vega Fuenteovejuna, estrenado en Leningrado (URSS en 1939, y explica cómo un experimento arriesgado, que consistía en convertir una antigua obra dramática española en ballet moderno soviético, fue coronado por el éxito. El trabajo muestra también cómo y por qué en la URSS surgió un particular interés hacia la dramaturgia española, y explora la historia de las representaciones más emblemáticas de Fuenteovejuna en el escenario ruso.

  3. Lope de puntillas: el estreno del ballet «Laurencia» en Leningrado (1939)

    OpenAIRE

    Maria Chiginskaya

    2016-01-01

    Este artículo trata sobre el ballet Laurencia, basado en la obra de Lope de Vega Fuenteovejuna, estrenado en Leningrado (URSS) en 1939, y explica cómo un experimento arriesgado, que consistía en convertir una antigua obra dramática española en ballet moderno soviético, fue coronado por el éxito. El trabajo muestra también cómo y por qué en la URSS surgió un particular interés hacia la dramaturgia española, y explora la historia de las representaciones más emblemáticas de Fuenteovejuna en el e...

  4. Praxiología motriz y ballet clásico

    OpenAIRE

    Ameri, Gisela

    2013-01-01

    El presente trabajo se propone realizar un análisis del ballet clásico (en tanto acción motriz) desde los lineamientos de las teorías parlebasianas. Puntualmente intentaré valerme de los conceptos de semiotricidad y metacomunicación específicamente en su tipo referencial para evaluar la pertinencia o no de la aplicación de la "ciencia de la acción motríz" en el análisis de una práctica sociomotríz perteneciente al arte. El modo de abordaje del trabajo será analizar un ballet representat...

  5. Alpha-actinin-3 R577X Polymorphism Profile of Turkish Professional Hip-Hop and Latin Dancers

    Directory of Open Access Journals (Sweden)

    Korkut Ulucan

    2016-12-01

    Full Text Available Actins are small globular filaments functioning in cell processes like muscle contraction, and stabilized to the sarcomeric Z- discs by actin binding proteins (actinins. One of the important gene coding for actin binding proteins in fast twitch fibers is alpha- actinin- 3 (ACTN3. In this research, we have conducted a gene profile study investigating the genotype and allele distributions of ACTN3 R577X polymorphism in Turkish professional hip- hop and latin dancers and compared them to non-dancers as a control group. 30 professional dancers and non-dancers were recruited for the study. A genotyping procedure was carried out by a newly introduced four-primer PCR methodology. For statistical analysis, the Chi-square test was used to compare data between the groups (p<0,05 evaluated as significant. Numbers and the percentages of dancers were 2 (7%, 21 (70% and 7(23% for RR, RX and XX genotypes, respectively. The same numbers and the percentages were 15 (50%, 8 (15% and 7 (23% for RR, RX and XX genotypes, respectively, for the controls. Allele numbers and percentages of the R allele were 38 (63% and 25 (42% for the control and dancers, respectively. For X allele, the respective number for control and dancers were 22 (37% and 35 (58%. No significant difference was detected between the groups in the terms of genotypes and alleles. Only RX genotype was significantly different between dancers and non-dancers (p<0,05. The results of the present and the first study, associating professional dancers and ACTN3 R577X polymorphism, is suggesting that RX genotype may have an genetic advantage for the physical predisposition for dancing, at least in the terms of ACTN3 R577X polymorphism. Prospective studies with extended numbers of dancers focusing on the influence of ACTN3 R577X polymorphism are required for confirmation of these findings.

  6. "Goltsman Ballet" начинает обучать малышей

    Index Scriptorium Estoniae

    2014-01-01

    Tantsutrupp Goltsman Ballet asutaja, kunstilise juhi ja tänapäevase balletikunsti pedagoog Maria Goltsmani sõnul hakkab tantsutrupp andma tantsutunde 5-7-aastastele lastele, esialgu Tallinnas. Detsembri lõpus esitles Goltsman Ballet uut tantsuetendust "Blue", lavastajaks Krista Köster

  7. "Goltsman Ballet" начинает обучать малышей

    Index Scriptorium Estoniae

    2014-01-01

    Tantsutrupp Goltsman Ballet asutaja, kunstilise juhi ja tänapäevase balletikunsti pedagoog Maria Goltsmani sõnul hakkab tantsutrupp andma tantsutunde 5-7-aastastele lastele, esialgu Tallinnas. Detsembri lõpus esitles Goltsman Ballet uut tantsuetendust "Blue", lavastajaks Krista Köster

  8. Correlation of Serum Leptin Level with Bone Mineral Density and Bone Turnover Markers in Chinese Adolescent Dancers

    Institute of Scientific and Technical Information of China (English)

    LI-CHEN YANG; YAN LAN; JING HU; YAN-HUA YANG; QIAN ZHANG; JIAN-HUA PIAO

    2009-01-01

    Objective To investigate plasma leptin concentrations in adolescent female dancers and to determine whether leptin has some effects on their bone mineral density (BMD) and bone turnover markers. Methods Sixty dancers aged 15-17 years and 77 healthy controls were enrolled in the study. Bone mineral density (BMD) and body composition were detected by dual energy X-ray absorptiometry. Serum leptin concentrations were measured by radioimmunoassay (RIA). Two bone turnover markers, bone-specific alkaline phosphatase (BAP) and tartrate-resistant acid phosphatase(TRACP), were determined by ELISA. Results The dancers had a lower fat mass and a lower leptin level than the controls, while they had a relatively higher BMD of the total body and legs after adjustment for BMI and age. The levels of bone resorption and formation of markers were higher in the dancers than in the controls. Leptin was positively correlated with BMI, body weight, fat mass, and percentage of body fat. In dancers, Leptin was positively correlated with the BMD of the total body and the left leg. However, after adjustment for BMI, no correlation of serum leptin concentrations with BMD values was found in either dancers or controls. Nor correlation was found between leptin and bone turnover markers after adjustment for BMI. Conclusion The leptin profile is different between the controls and the dancers with a lower BMI and a lower fat mass. Circulating plasma leptin level depends on BMI and is not a direct determinant of BMD in Chinese adolescent dancers.

  9. The role of psychological factors in the career of the independent dancer

    Directory of Open Access Journals (Sweden)

    Imogen eAujla

    2015-10-01

    Full Text Available Previous research indicates that psychological factors such as motivation and mental skills play an important role in relation to performance and to negotiating talent development stages. However, little is known about these factors in dance, particularly with regard to the independent dancer whose career may involve multiple roles, varied work patterns and periods of instability. The aim of this study was to explore dancers’ motivation to work in an independent capacity, and the extent to which dancers’ psychological characteristics and skills enabled them to navigate a career in this demanding sector. In-depth semi-structured interviews were conducted with 14 dancers at different stages of their careers. Interviews were transcribed verbatim and content analyzed. Analysis revealed that the dancers were intrinsically motivated and highly committed to the profession. Working in the independent sector offered dancers opportunities for growth and fulfillment; they appreciated the autonomy, flexibility and freedom that the independent career afforded, as well as working with new people across roles and disciplines. In order to overcome the various challenges associated with the independent role, optimism, self-belief, social support and career management skills were crucial. The mental skills reported by the participants had developed gradually in response to the demands that they faced. Therefore, mental skills training could be invaluable for dancers to help them successfully negotiate the independent sector.

  10. Differences in motor abilities between dancers in professional and amateur folklore ansambles

    Directory of Open Access Journals (Sweden)

    Kocić Jadranka

    2014-01-01

    Full Text Available Differences in motor abilities between dancers in Serbinan professional folklore ansamble for dance and sing 'Kolo' in Belgrade and amateur folklore ansambles from coulture-arts society 'Vila' and 'Sonja Marinković' from Novi Sad had been tested on sample of 47 members. Motor area was examined by Provincial Governement Institute tests for Sport in Novi sad, and it was received 9 variables: single movement speed, explosivity below extremities (legs, endurance in jumping, absolutely strength backs' flexor muscule, relatively strength backs' flexor muscule, absolutely strength backs' extensor muscule, relatively strength backs' extensor muscule, absolutely strength backs' flexor muscule, relatively strength backs' flexor muscule. Relatively values obtained from absolutely values results using mathemathics. To determine differences between folklore dancers in whole variable system, it was used multivariante analysis variance (MANOVA. It was determined differences between sexes in motor abilities. Data was obtained by statistic packet SPSS 10.0. The aim was to find significant differences in nine mentioned variables between professional and amateur dancers and between sexes. Received results showed that there was not significant differences between professional and amateur dancers. Between sexes it was significant differences in man benefit, except one variable single movement speed. The conclusion is that for better, statisticaly significant results, professional dancers should enlarge contents and expend training intensity.

  11. Case studies in cervicothoracic spine function evaluation and treatment of two dancers with mechanical neck pain.

    Science.gov (United States)

    Sandow, Emily

    2011-03-01

    It has been reported that manual therapy directed at the thoracic spine followed by exercise may improve outcomes in patients with mechanical neck pain. At this point, there is little available data on dancers with neck pain, and it is unclear whether this type of treatment is appropriate for restoring the rigorous level of activity required of the dancer. The purpose of this study was to review the evaluation, clinical decision-making process, and treatment of two dancers-one with acute and the other with chronic neck pain-who fell into the classification of patients who might benefit from an intervention to the thoracic spine. The two participants were a musical theater dancer with an acute onset of neck pain and a retired dancer who was an active dance company director with an 11-year history of chronic neck pain. Both participants went through a standard examination and were treated with mobilizations to the upper thoracic spine followed by therapeutic exercises. In both cases, successful outcomes were achieved immediately after treatment and up to six months after discharge from physical therapy.

  12. Perfectionism and eating psychopathology among dancers: the role of high standards and self-criticism.

    Science.gov (United States)

    Goodwin, Huw; Arcelus, Jon; Geach, Nicole; Meyer, Caroline

    2014-09-01

    This study examined the associations between conscientious perfectionism (high standards), self-evaluative perfectionism (self-criticism) and eating psychopathology among dancers. A sample of 244 female dancers, with a mean age of 20.11 years (standard deviation=1.97) completed the Perfectionism Inventory and Eating Disorder Examination Questionnaire. Self-evaluative perfectionism predicted eating psychopathology (eating restraint, eating concern, weight concern and shape concern). This relationship was not moderated by conscientious perfectionism. The mediation analyses showed that although conscientious perfectionism predicted eating psychopathology, this relationship was fully mediated by self-evaluative perfectionism. These findings demonstrate the greater influence of self-evaluative perfectionism, rather than conscientious perfectionism, on eating psychopathology in dancers.

  13. COMPARATIVE ANALYSIS OF TRAINING METHODOLOGY EFFICIENCY ON THE MOTOR SPHERE OF JUNIOR I DANCERS

    Directory of Open Access Journals (Sweden)

    Grigore Virgil

    2015-10-01

    Full Text Available The purpose of this paper is to highlight the influence of the training methodology on the motor sphere of junior I dancers. This scientific approach has involved the organization of an experimental study in ”Two Step” Club of Bucharest. The research activity was conducted from January 2012 to November 2013, by investigating two groups of athletes, an experimental group and a control group; each group included 12 dancers, aged from 12 to 13, corresponding to sports classification category Junior I. The results of the research show that thanks to the training methodology applied to the Junior I dancers included in the experimental group, these ones improved their strength of abdominal and arms muscles, they had an increase of the spine and coxo-femoral joint mobility and they improved their strength under speed conditions as well.

  14. PULMONARY AND BIOCHEMICAL CHARACTERISTICS OF SMOKER AND NON-SMOKER MODERN DANCERS

    Directory of Open Access Journals (Sweden)

    Ani Agopyan

    2016-02-01

    Full Text Available ABSTRACT Introduction: Although the harmful effects of smoking on the cardiovascular and respiratory systems have been established for a long time, the effect on physiological and physical parameters in modern female dancers is not well documented. Objective: To determine differences in selected pulmonary functions, biochemical parameters, and body composition in female smoker and non-smoker modern dancers who are university or graduate students. Methods: A total of twenty-two female modern dancers (mean age of 24.6 ± 4.3 years, who were non-smokers (n = 11 and smokers (n = 11, voluntarily participated in the study. The smokers had been smoking 1 to 20 cigarettes per day for an average period of seven years. The pulmonary function test Mir Spirobank Spirometer, (Italy was applied; selected biochemical parameters were tested, and various anthropometric measurements (height, weight and seven skinfold thickness were performed. The results of body composition were evaluated using Jackson-Pollock equations. Intergroup comparisons were performed using the Mann-Whitney U test. Result: No significant differences were found between smoker and non-smoker dancers in terms of body composition (body fat, % body fat, lean body fat and selected biochemical parameters (p > 0.05. However, non-smokers had prediction values of forced expiratory volume during the first second (FEV1 and peak expiratory flow (PEF significantly better (p < 0.05. The effect of smoking on the performance of female modern dancers should be examined in a longitudinal study, with a higher number of participants. Conclusion: It was observed that smoking reduces lung pulmonary capacity at a certain rate, although the biochemical parameters and body composition of the female smoker and non-smoker dancers were similar.

  15. Dancing the Numinous: Sacred and Spiritual Techniques of Contemporary American Belly Dancers

    Directory of Open Access Journals (Sweden)

    Jeana Jorgensen

    2012-12-01

    Full Text Available In this paper, I explore how contemporary American practitioners of belly dance (as Middle Eastern dance and its many varieties are often called in the English-speaking world conceptualize not only the spiritual dimensions of their dance, but also how the very notion of performance affects sacred and spiritual dance practices. Drawing on interviews with this community, I describe the techniques of sacred and spiritual belly dancers, how these dancers theorize performance, and how the conflicts inherent to patriarchal mind-body dualism are resolved in these practices. My purpose here is twofold: to document an emergent dance tradition and to analyze its meanings in the relevant social context.

  16. The ballet of the planets a mathematician's musings on the elegance of planetary motion

    CERN Document Server

    Benson, Donald

    2012-01-01

    The Ballet of the Planets unravels the beautiful mystery of planetary motion, revealing how our understanding of astronomy evolved from Archimedes and Ptolemy to Copernicus, Kepler, and Newton. Mathematician Donald Benson shows that ancient theories of planetary motion were based on the assumptions that the Earth was the center of the universe and the planets moved in a uniform circular motion. Since ancient astronomers noted that occasionally a planet would exhibit retrograde motion--would seem to reverse its direction and move briefly westward--they concluded that the planets moved in epicyc

  17. Proyecto de desarrollo institucional 2012 – 2017 de la escuela nacional superior de ballet

    OpenAIRE

    Hervias Guerra, Edmundo Magno

    2015-01-01

    Para definir los objetivos estratégicos de la Escuela Nacional Superior de Ballet (ENSB), las estrategias genéricas y específicas para el período 20122017; se ejecutó la metodología de planeamiento estratégico consistente en una secuencia de evaluación de los entornos indirecto y directo, un análisis de fortalezas, oportunidades, debilidades y amenazas; la propuesta de una misión y visión, la determinación de objetivos y las estrategias para la consecución. Externamente la ENSB se desenvuelve...

  18. Lesiones acumulativas por microtraumatismos de repetición en el ballet

    OpenAIRE

    2013-01-01

    Las lesiones acumulativas por microtraumatismos de repetición, son las más frecuentes en la práctica de actividades atléticas como el ballet, que requieren una técnica precisa y numerosas repeticones de gestos técnicos específicos para adquirir destreza suficiente en su ejecución, existiendo diferencias en función de la disciplina, sexo, edad y/o experiencia profesional. En este estudio se analizan las lesiones presentadas por 145 bailarines profesionales de las principales compañías españ...

  19. Acordes arrítmicos del color de la piel del bailarín de la escuela cubana de ballet

    OpenAIRE

    2009-01-01

    El color de la piel es una clase dentro del modelo sistémico de cuerpo del bailarín cubano de ballet. Muchos cubanos externos al campo del ballet valoran el color de la piel como una de las características fundamentales para decidir el ingreso y la permanencia exitosa del bailarín en su entorno danzario. El objetivo de la investigación es determinar el impacto del color de la piel en la apreciación de belleza escénica corporal del bailarín de ballet del campo cubano. Las evidencias empíricas ...

  20. Self-organized Pattern Formation of Whole-body Action-perception Coordination: A Study of Street Dancers and Non-dancers

    Directory of Open Access Journals (Sweden)

    Nakazawa Kimitaka

    2011-12-01

    Full Text Available The aim of this study was to investigate whether whole-body action-perception coordination is governed by dynamical principles using basic street dance movement. Six skilled street dancers and 8 novice controls performed 2 movement patterns: knee-flexion-on-the-beat (down movement and knee-extension-on-the-beat (up movement in the standing position, and they did not intervene in the pattern change. The beat rate increased/decreased between 60 and 220 beats per minute (bpm in steps of 20 bpm. The relative phase between knee movements (as measured by twin-axis electrogoniometer and the beat were calculated. In the ascending beat rate condition of the up movement, phase transition from knee-extension-on-the-beat to knee-flexion-on-the-beat occurred at averages of 125 bpm in non-dancers and 164 bpm in dancers. Critical fluctuation and hysteresis were also observed. These results suggest that whole-body action-perception pattern formation is governed by general dynamical principles and that critical frequency could be a parameter of proficiency in street dance.

  1. Emerging Themes on the Efficacy of Ballet Barre Work and Its Connection to Center Work: An Investigatory Study

    Science.gov (United States)

    Martinell, Nicole Antonette

    2009-01-01

    Research on the efficacy of traditional ballet barre exercises in relation to student learning and performance in technique class essentially is non-existent. This research explored how students described their experiences with barre work as well as how they saw these experiences as developing desired skills for moving in the center work.…

  2. Characteristics of Talented Dancers and Age Group Differences: Findings from the UK Centres for Advanced Training

    Science.gov (United States)

    Walker, Imogen J.; Nordin-Bates, Sanna M.; Redding, Emma

    2011-01-01

    This study investigated differences in the characteristics of talented dancers in relation to age. Physical (handgrip muscular strength, leg muscular power, hamstring flexibility and external hip rotation), psychological (passion, self-esteem and anxiety) and social (the motivational climate) characteristics were assessed in 334 students enrolled…

  3. From the Eiffel Tower to the Javanese Dancer: Envisioning Cultural Globalization at the 1889 Paris Exhibition

    Science.gov (United States)

    Young, Patrick

    2008-01-01

    Arguably the two main attractions for visitors to the 1889 "Exposition Universelle" (Universal Exposition), the Eiffel Tower and the live dancers from the Dutch colony of Java make for a provocative juxtaposition. Constructed expressly for the 1889 Exhibition, Gustave Eiffel's 106-story iron lattice tower became not only the world's…

  4. Brain correlates underlying creative thinking: EEG alpha activity in professional vs. novice dancers.

    Science.gov (United States)

    Fink, Andreas; Graif, Barbara; Neubauer, Aljoscha C

    2009-07-01

    Neuroscientific research on creativity has revealed valuable insights into possible brain correlates underlying this complex mental ability domain. However, most of the studies investigated brain activity during the performance of comparatively simple (verbal) type of tasks and the majority of studies focused on samples of the normal population. In this study we investigate EEG activity in professional dancers (n=15) who have attained a high level of expertise in this domain. This group was compared with a group of novices (n=17) who have only basic experience in dancing and completed no comprehensive training in this field. The EEG was recorded during performance of two different dancing imagery tasks which differed with respect to creative demands. In the first task participants were instructed to mentally perform a dance which should be as unique and original as possible (improvisation dance). In the waltz task they were asked to imagine dancing the waltz, a standard dance which involves a sequence of monotonous steps (lower creative demands). In addition, brain activity was also measured during performance of the Alternative Uses test. We observed evidence that during the generation of alternative uses professional dancers show stronger alpha synchronization in posterior parietal brain regions than novice dancers. During improvisation dance, professional dancers exhibited more right-hemispheric alpha synchronization than the group of novices did, while during imagining dancing the waltz no significant group differences emerged. The findings complement and extend existing findings on the relationship between EEG alpha activity and creative thinking.

  5. From the Eiffel Tower to the Javanese Dancer: Envisioning Cultural Globalization at the 1889 Paris Exhibition

    Science.gov (United States)

    Young, Patrick

    2008-01-01

    Arguably the two main attractions for visitors to the 1889 "Exposition Universelle" (Universal Exposition), the Eiffel Tower and the live dancers from the Dutch colony of Java make for a provocative juxtaposition. Constructed expressly for the 1889 Exhibition, Gustave Eiffel's 106-story iron lattice tower became not only the world's…

  6. Rehabilitation of a Female Dancer with Patellofemoral Pain Syndrome: Applying Concepts of Regional Interdependence in Practice

    OpenAIRE

    2010-01-01

    Due to complex movements and high physical demands, dance is often associated with a multitude of impairments including pain of the low back, pelvis, leg, knee, and foot. This case report provides an exercise progression, emphasizing enhancement of strength and neuromuscular performance using the concept of regional interdependence in a 17 year old female dancer with patellofemoral pain syndrome.

  7. Modelo de comunicación no verbal en deporte y ballet

    Directory of Open Access Journals (Sweden)

    Gloria Vallejo

    2010-01-01

    Full Text Available Este estudio analiza el modelo de comunicación que se genera en los entrenadores de fútbol y de gimnasia artística a nivel profesional, y en los instructores de ballet en modalidad folklórica, tomando como referente el lenguaje corporal dinámico propio de la comunicación especializada de deportistas y bailarines, en la que se evidencia lenguaje no verbal. Este último se estudió tanto en prácticas psicomotrices como sociomotrices, para identificar y caracterizar relaciones entre diferentes conceptos y su correspondiente representación gestual. Los resultados indican que el lenguaje no verbal de los entrenadores e instructores toma ocasionalmente el lugar del lenguaje verbal, cuando este último resulta insuficiente o inapropiado para describir una acción motriz de gran precisión, debido a las condiciones de distancia o de interferencias acústicas. En los instructores de ballet se encontró una forma generalizada de dirigir los ensayos utilizando conteos rítmicos con las palmas o los pies. De igual forma, se destacan los componentes paralingüísticos de los diversos actos de habla, especialmente, en lo que se refiere a entonación, duración e intensidad.

  8. Modelo de comunicación no verbal en deporte y ballet

    Directory of Open Access Journals (Sweden)

    Vallejo Gloria

    2010-12-01

    Full Text Available Este estudio analiza el modelo de comunicación que se genera en los entrenadores de fútbol y de gimnasia artística a nivel profesional, y en los instructores de ballet en modalidad folklórica, tomando como referente el lenguaje corporal dinámico propio de la comunicación especializada de deportistas y bailarines, en la que se evidencia lenguaje no verbal. Este último se estudió tanto en prácticas psicomotrices como sociomotrices, para identificar y caracterizar relaciones entre diferentes conceptos y su correspondiente representación gestual. Los resultados indican que el lenguaje no verbal de los entrenadores e instructores toma ocasionalmente el lugar del lenguaje verbal, cuando este último resulta insuficiente o inapropiado para describir una acción motriz de gran precisión, debido a las condiciones de distancia o de interferencias acústicas. En los instructores de ballet se encontró una forma generalizada de dirigir los ensayos utilizando conteos rítmicos con las palmas o los pies. De igual forma, se destacan los componentes paralingüísticos de los diversos actos de habla, especialmente, en lo que se refiere a entonación, duración e intensidad.

  9. MODELO DE COMUNICACIÓN NO VERBAL EN DEPORTE Y BALLET

    Directory of Open Access Journals (Sweden)

    Gloria Vallejo

    2010-12-01

    Full Text Available Este estudio analiza el modelo de comunicación que se genera en los entrenadores de fútbol y de gimnasia artística a nivel profesional, y en los instructores de ballet en modalidad folklórica, tomando como referente el lenguaje corporal dinámico propio de la comunicación especializada de deportistas y bailarines, en la que se evidencia lenguaje no verbal. Este último se estudió tanto en prácticas psicomotrices como sociomotrices, para identificar y caracterizar relaciones entre diferentes conceptos y su correspondiente representación gestual. Los resultados indican que el lenguaje no verbal de los entrenadores e instructores toma ocasionalmente el lugar del lenguaje verbal, cuando este último resulta insuficiente o inapropiado para describir una acción motriz de gran precisión, debido a las condiciones de distancia o de interferencias acústicas. En los instructores de ballet se encontró una forma generalizada de dirigir los ensayos utilizando conteos rítmicos con las palmas o los pies. De igual forma, se destacan los componentes paralingüísticos de los diversos actos de habla, especialmente, en lo que se refiere a entonación, duración e intensidad.

  10. Metatarsal pain and plantar hyperkeratosis in the forefeet of female professional flamenco dancers.

    Science.gov (United States)

    Castillo-López, José M; Vargas-Macías, Alfonso; Domínguez-Maldonado, Gabriel; Lafuente-Sotillos, Guillermo; Ramos-Ortega, Javier; Palomo-Toucedo, Inmaculada C; Reina-Bueno, María; Munuera-Martínez, Pedro V

    2014-12-01

    The objectives of this study were to determine the frequency of metatarsal pain and of hyperkeratosis on the plantar forefoot in female professional flamenco dancers, and to determine whether there is a relationship between the two disorders. Forty-four female professional flamenco dancers, with a minimum activity of 25 hrs/wk, participated in this cross-sectional study. The presence or absence of metatarsal pain while dancing was recorded, and plantar pressures were measured on a pressure platform, both barefoot and shod with the usual dance shoe. The heel height of the dance shoe was also measured. Of the dancers, 80.7% experienced metatarsal pain while dancing, and 84.1% presented with plantar hyperkeratosis. Plantar hyperkeratosis coincided with the presence of metatarsal pain in 67.04% of the feet studied. The maximum load point in the feet when the dancers were barefoot was located 59.5% in the rearfoot and 40.5% in the forefoot; when dancers wore their specific flamenco dancing shoes, it was located 52.4% in the rearfoot and 47.6% in the forefoot. Metatarsal pain and plantar hyperkeratosis in the forefoot are common foot disorders in female flamenco dancing. The incidence of the maximum load point being located in the forefoot, and the difference between the results of the tests while shod or barefoot, are both too low to support the idea that the raised heels of flamenco shoes are a major contributing factor for these injuries. Therefore, these disorders may be caused by chronic repetitive trauma suffered during the practice of footwork dancing.

  11. Disordered Eating Behavior, Body Image, and Energy Status of Female Student Dancers.

    Science.gov (United States)

    Robbeson, Justine G; Kruger, Herculina Salome; Wright, Hattie H

    2015-08-01

    Modern culture has stereotyped the female body as one that is continually getting thinner. Internalization of the 'thin' ideal is partly attributable to the inner ideal to be successful combined with the external pressure imposed by media and others. Many individuals attempt to achieve these ideals by behavior modification that imposes health risks. To investigate disordered eating (DE) behavior and energy status in female student dancers. Volunteer dancers (n = 26) aged 19.0 (18.0; 21.0) years, matched by controls (n = 26) aged 20.0 (19.0; 21.0) years were recruited. Eating Disorder Inventory-3 (EDI-3) subscales, Three-factor Eating Questionnaire (TFEQ) Cognitive Dietary Restraint (CDR) subscale, and EDI-3 Referral Form behavioral questions assessed DE behavior. Energy status was assessed with a food record and Actiheart monitor. Dancers achieved significantly higher scores than controls in all questionnaires, namely: EDI-3 Drive for Thinness [12.0 (3.0; 19.0) vs. 4.5 (2.0; 9.0), p = .023], EDI-3 Body Dissatisfaction [16.0 (10.0; 25.0) vs. 6.5 (3.0; 14.0), p = .004], and TFEQ-CDR [9.0 (2.0; 15.0) vs. 3.0 (3.0; 7.0), p = .032]; dancers used excessive exercise to lose weight (19.2% vs. 0%, c2 = 5.53, p = .019), and had lower energy availability (24% vs. 8%, p Female dancers are at risk for DE behavior and many have suboptimal energy status which may be related to their quest to achieve a more desirable appearance; education on healthy weight management practices is needed.

  12. Big Five Personality Traits and Eating Attitudes in Intensively Training Dancers: The Mediating Role of Internalized Thinness Norms

    Directory of Open Access Journals (Sweden)

    Stéphanie Scoffier-Mériaux, Charlène Falzon, Peter Lewton-Brain, Edith Filaire, Fabienne d’Arripe-Longueville

    2015-09-01

    Full Text Available Dancers are at high risk of developing disordered eating attitudes, notably because of internalized thinness norms. Although the big five personality traits have been shown to be associated with eating attitudes in daily life, in dancers where eating issues and thinness norms internalization could be salient little is known about these associations and the role of the internalization of thinness norms in this relationship. The main objectives of this study were thus to examine the relationships between the personality traits defined in the big five model and the self-regulation of eating attitudes, and to assess the role of internalized thinness norms in this association. The study included 180 intensively training dancers with an average age of 15.6 years (SD = 2.8. Dancers completed questionnaires measuring the big five personality traits, internalization of thinness norms and self-regulation of eating attitudes in sport. Bootstrapped mediation analyses showed that neuroticism was negatively associated with self-regulation of eating attitudes, both directly and indirectly through the mediating role of internalized thinness norms. This study suggested that: (a neuroticism is a vulnerability factor for self-regulation of eating attitudes in dancers, as already evidenced in the general population, and (b the internalization of thinness norms is a pathway through which neuroticism affects self-regulation of eating attitudes. The big five model is therefore partially related to the internalization of thinness norms and eating attitudes in dancers.

  13. Tragédie et ballet : enjeux d’un spectacle mixte

    OpenAIRE

    Naudeix, Laura

    2016-01-01

    Le ballet est l’une des composantes les plus remarquables des spectacles donnés dans les collèges jésuites, ils participent à la magnificence qui entoure les remises des prix, en allant parfois jusqu’à constituer le cadre même de l’ensemble de la représentation offerte au public : tragédie et distribution des prix de fin d’année compris, lieu spectaculaire par excellence, et ce d’autant plus que la plupart des autres collèges n’utilisent pas la danse, voire la proscrivent avec énergie des rep...

  14. Estudio longitudinal de la composición corporal de bailarines cubanos de ballet

    Directory of Open Access Journals (Sweden)

    Betancourt León, Hamlet

    2006-01-01

    Full Text Available El peso del bailarín debe tener una relación específica entre las diferentes masas corporales que le permitan ejecutar correctamente el proceder técnico expresando el patrón estético del arte. En el ballet las masas corporales más importantes de monitorear son la masa grasa y muscular, debido a sus cambios constantes producto del riguroso entrenamiento físico de esta especialidad. El objetivo de esta investigación es describir las modificaciones de la composición corporal de los bailarines de la Escuela Nacional de Ballet de Cuba en dos momentos del proceso de crecimiento, maduración y desarrollo. Se estudiaron longitudinalmente 54 bailarinas y 40 bailarines, con edades entre 15 y 20 años, de la especialidad bailarín profesor. Se aplicó un protocolo antropométrico de 13 mediciones para determinar la composición corporal, masa grasa y la masa muscular, a través del método multicompartimental de Ross y Kerr. Las bailarinas presentaron siempre mayor adiposidad que los bailarines, en quienes la reducción de este componente estuvo en función de su aumento ponderal. De un año a otro la masa muscular de la mayoría de los bailarines aumentó significativamente, mientras las bailarinas presentaron una estabilidad en este componente para todos los grupos de edades. Un estudio sistemático de la composición corporal debe establecer las normas óptimas de los valores de masa grasa y masa muscular y sus porcentajes respectivos en una población de bailarines según el nivel técnico, la edad y el sexo.

  15. The Mirror and Ballet Training: Do You Know How Much the Mirror's Presence Is Really Affecting You?

    Science.gov (United States)

    Diehl, Kathy

    2016-01-01

    It is clear that the relationship that dancers have with the mirror, the reflected image, and the accompanying perceptions (and often, distortions) is complicated. One area that is quite complex involves the development of a student's ability to sense movement, which directly connects to other issues involving body image, self-perception,…

  16. Suture Button Fixation Treatment of Chronic Lisfranc Injury in Professional Dancers and High-Level Athletes.

    Science.gov (United States)

    Charlton, Timothy; Boe, Chelsea; Thordarson, David B

    2015-12-01

    Chronic Lisfranc injury is a subtle and severe injury in high-level athletes, including dancers. This patient population is generally intolerant of intra-articular screw fixation and can develop significant post-traumatic arthritis with potentially career ending complications. Flexible fixation with suture-button devices provides potential restoration of physiologic motion at the joint, with appropriate support for healing that may facilitate return to en pointe activities for dancers. We hypothesized that the suture-button device would restore motion at the Lisfranc joint and allow for return to activities in this particular population without the limitations and complications of rigid fixation. We operated on seven dancers and high-level athletes with diagnosed Lisfranc injuries by installing a suture-button device. All patients had failed conservative management after late presentation. They were allowed to return to sport in 6 months, preoperative and postoperative American Orthopaedic Foot and Ankle Score (AOFAS) foot scores were obtained, and patients were followed for a minimum of 15 months. All seven returned to full activities in 6 months, with radiographic evidence of fixation and no complications to date. AOFAS foot scores improved from an average of 65 preoperatively to an average of 97 postoperatively at latest follow-up. It is concluded that flexible fixation with suture-button type device represents a viable alternative to screw fixation or fusion that may allow dancers and athletes to return to previous levels of activity after Lisfranc injury. This case series represents to our knowledge the first application of this device to a unique population that requires flexibility at the Lisfranc joint for performance.

  17. María de Ávila in the National Ballet of Spain: trajectory and legacy

    Directory of Open Access Journals (Sweden)

    Ana Isabel Elvira Esteban

    2017-09-01

    Full Text Available During the years 1983-1986 María de Ávila played the work of director of the National Ballet of Spain, a period which can be considered special and characteristic, being the only time in its history in which one person exercised that position while did in Classic National Ballet. The aim of this paper is to examine this period using various documentary sources (texts and commemorative compilations, programs, dissertations, journals performing arts and media to proceed after your analysis and provide a rationale for the documentation compiled following a historical-temporal qualitative approach that allows better understand not only the legacy of María de Ávila, but its influence on the evolution and history of the BNE.

  18. Neurocognitive aspects of body size estimation - A study of contemporary dancers

    Directory of Open Access Journals (Sweden)

    André Bizerra

    Full Text Available Abstract Dancers use multiple forms of body language when performing their functions in the contemporary dance scene. Some neurocognitive aspects are involved in dance, and we highlight the aspect of body image, in particular, the dimensional aspect of the body perception. The aim of this study is to analyze the perceptual aspect of body image (body size estimation and its possible association with the motor aspect (dynamic balance involved in the practice of dance, comparing contemporary dancers with physically active and inactive individuals. The sample consisted of 48 subjects divided into four groups: 1 Professional Group (PG; 2 Dance Student Group (SG; 3 Physically Active Group (AG; and 4 Physically Inactive Group (IG.Two tests were used: the Image Marking Procedure (body size estimation and the Star Excursion Balance Test (dynamic balance. Was observed that dancing and exercising contribute to a proper body size estimation, but cannot be considered the only determining factor. Although dancers have higher ability in the motor test (dynamic balance, no direct relation to the perception of body size was observed, leading us to conclude it is a skill task/dependent acquired by repeating and training. In this study, we found a statistical significant association between educational level and body size estimation. The study opens new horizons in relation to the understanding of factors involved in the construction of the body size estimation.

  19. The relationship between passion and the psychological well-being of professional dancers.

    Science.gov (United States)

    Padham, Melissa; Aujla, Imogen

    2014-03-01

    The Dualistic Model of Passion defines passion as an intense desire or enthusiasm for a self-defining activity that people love, consider important, and devote significant amounts of time and energy to. The model proposes two distinct types of passion, harmonious (HP) and obsessive (OP). HP occurs when the activity is autonomously internalized into the individual's life and identity, while OP is a result of a controlled internalization of the activity. The aim of this study was to investigate the prevalence and type of passion professional dancers have for dance in relation to their psychological well-being, specifically eating attitudes, self-esteem, and perfectionism. Participants were 92 professional dancers, aged 19 to 35 years (M = 27.03, SD = 3.84), and mostly from the United States, the United Kingdom, and Canada. Results revealed that HP positively predicted self-esteem (SE), while OP positively predicted self-evaluative perfectionism (SEP), conscientious perfectionism (CP), and disordered eating attitudes (EAT-26). Additionally, SEP was found to mediate the relationship between OP and EAT-26, suggesting that OP may lead to SEP, which could in turn motivate disordered eating. Overall, the results of this study have supported and extended previous research suggesting that the two types of passion can have divergent effects on aspects of psychological well-being. Findings indicate that HP should be encouraged and OP discouraged among dancers, for example, via autonomy supportive behaviors of teachers.

  20. Big Five Personality Traits and Eating Attitudes in Intensively Training Dancers: The Mediating Role of Internalized Thinness Norms.

    Science.gov (United States)

    Scoffier-Mériaux, Stéphanie; Falzon, Charlène; Lewton-Brain, Peter; Filaire, Edith; d'Arripe-Longueville, Fabienne

    2015-09-01

    Dancers are at high risk of developing disordered eating attitudes, notably because of internalized thinness norms. Although the big five personality traits have been shown to be associated with eating attitudes in daily life, in dancers where eating issues and thinness norms internalization could be salient little is known about these associations and the role of the internalization of thinness norms in this relationship. The main objectives of this study were thus to examine the relationships between the personality traits defined in the big five model and the self-regulation of eating attitudes, and to assess the role of internalized thinness norms in this association. The study included 180 intensively training dancers with an average age of 15.6 years (SD = 2.8). Dancers completed questionnaires measuring the big five personality traits, internalization of thinness norms and self-regulation of eating attitudes in sport. Bootstrapped mediation analyses showed that neuroticism was negatively associated with self-regulation of eating attitudes, both directly and indirectly through the mediating role of internalized thinness norms. This study suggested that: (a) neuroticism is a vulnerability factor for self-regulation of eating attitudes in dancers, as already evidenced in the general population, and (b) the internalization of thinness norms is a pathway through which neuroticism affects self-regulation of eating attitudes. The big five model is therefore partially related to the internalization of thinness norms and eating attitudes in dancers. Key pointsThe big five model relates to the internalization of thinness norms and eating attitudes in dancers.Neuroticism is negatively related to the self-regulation of eating attitudes.The internalization of thinness norms is correlated to the relationship between neuroticism and self-regulation of eating attitudes.

  1. Perda de peso e consumo de bebidas durante sessões de treinamento de ballet clássico

    Directory of Open Access Journals (Sweden)

    Cláudia Villela da Silva

    2011-06-01

    Full Text Available O objetivo do estudo foi analisar a perda de peso (PP e o consumo de líquidos durante sessões de treinamento de ballet clássico. A amostra foi composta por vinte e uma bailarinas, que foram avaliadas em três sessões de ballet: uma sessão sem oferta de líquidos, uma sessão com oferta de água e outra com oferta de bebida esportiva. Na sessão em que as bailarinas receberam água, a mediana de consumo foi 376,19 mL e a mediana de PP foi -190g. Na sessão com bebida esportiva, a mediana do consumo foi de 226,19 mL e a mediana da PP foi -150g. Observou-se diferença na ingestão de líquidos, mas não na PP, durante as sessões com consumo de líquidos (p=0,01 e p=0,79, respectivamente. As bailarinas, voluntariamente, beberam mais água do que bebida esportiva durante os treinos de ballet clássico.

  2. Sintomatologia dolorosa e fatores associados em bailarinos profissionais Painful symptoms and associated factors in professional dancers

    Directory of Open Access Journals (Sweden)

    Bianca Fontes Dore

    2007-04-01

    Full Text Available A sintomatologia dolorosa no esporte e na dança tem sido objeto de crescentes pesquisas nos últimos anos. Assim como os profissionais do esporte, os bailarinos profissionais apresentam dores e limiar de tolerância à dor elevados. É comum encontrarmos bailarinos com diversas lesões decorrentes do esforço excessivo. O objetivo do estudo foi investigar a prevalência e fatores associados à sintomatologia dolorosa em bailarinos profissionais. Foi realizado um estudo analítico de corte transversal em 141 bailarinos profissionais atuantes nas principais capitais do Nordeste brasileiro. Para avaliação da sintomatologia dolorosa foram utilizadas versões validadas para o português do Protocolo de McGill e do Inventário para Dor de Wisconsin. Para análise estatística dos resultados realizou-se uma análise descritiva, seguida dos testes t de Student e de correlação de Pearson, considerando-se um valor de p Painful symptoms in sports and dancing have been object of increasing research over the last years. Professional dancers as well as sports professionals present high pain and tolerance thresholds, being common to find dancers with several injuries derived from excessive effort. The aim of this study was to investigate the prevalence and factors associated with painful symptoms in professional dancers. An analytical study of transversal cut was conducted in 141 professional dancers performing in the main capitals of the Brazilian northeast. For evaluation of the painful symptoms, versions validated for Portuguese of the McGill Protocol and the Pain Inventory of Wisconsin were used. For the statistical analysis of results, a descriptive analysis followed by the t-Student and Pearson correlation tests was used, being considered a value of p < 0.05. High levels of pain tolerance were observed in 70.2% of the subjects, where the intensity varied from moderate to severe. Pain in the lumbar region was present in 85.8% of the interviewees

  3. Teaching Creative Dexterity to Dancers: Critical Reflections on Conservatory Dance Education in the UK, Denmark and New Zealand

    Science.gov (United States)

    Rowe, Nicholas; Zeitner-Smith, David

    2011-01-01

    This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and…

  4. Teaching Creative Dexterity to Dancers: Critical Reflections on Conservatory Dance Education in the UK, Denmark and New Zealand

    Science.gov (United States)

    Rowe, Nicholas; Zeitner-Smith, David

    2011-01-01

    This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and…

  5. Le Marteau sans maître ou le Ballet de l’Opéra de Bucarest à la rencontre de l’Occident

    OpenAIRE

    Severin, Irina

    2015-01-01

    En novembre 1965, la troupe de Ballet de l’Opéra de Bucarest participe à la troisième édition du Festival international de danse à Paris et présente en première mondiale le ballet Le Marteau sans maître (chorégraphe Stere Popescu, compositeur Pierre Boulez) afin de montrer au monde occidental que la Roumanie n’est plus un pays communiste satellite de l’URSS, mais un État autonome. Cet article étudie les enjeux de ce ballet en lien avec le contexte sociopolitique qui a déterminé sa création et...

  6. Analysis on the Relationship between Artistry and Techniique of Ballet%浅析芭蕾艺术与技术的关系

    Institute of Scientific and Technical Information of China (English)

    刘厦静

    2012-01-01

    The relationship between art and technique of ballet has always been a hot topic in dance field, which results in controversy about the aesthetic definition of ballet. Some regard technique as an enemy to kill the nature of ballet while others adhere to the indispensability of highly difficult techniques. The author of the paper believes that Russian classic ballet itself in the 19'h century could help explain the issue. This paper tries to analyze the relationship between art and technique of ballet in term of aesthetics, training and history of dance, with the intention of ensuring a sound development of ballet with respect for tradition as well as innovation for the future.%如何处理芭蕾中艺术与技术的关系问题一直是舞蹈界关注的热点话题,有关芭蕾的美学观念也由于二者的关系而众说纷纭。不少人认为技术是艺术的天敌,会抹杀艺术的天性;也有人认为高难度技巧有非存在不可的必要。本文从舞蹈美学、训练和历史角度分别梳理这二者的关系,希望芭蕾舞在多元发展的今天,既能尊重传统,又可以创新未来。

  7. Evaluation by Expert Dancers of a Robot That Performs Partnered Stepping via Haptic Interaction.

    Directory of Open Access Journals (Sweden)

    Tiffany L Chen

    Full Text Available Our long-term goal is to enable a robot to engage in partner dance for use in rehabilitation therapy, assessment, diagnosis, and scientific investigations of two-person whole-body motor coordination. Partner dance has been shown to improve balance and gait in people with Parkinson's disease and in older adults, which motivates our work. During partner dance, dance couples rely heavily on haptic interaction to convey motor intent such as speed and direction. In this paper, we investigate the potential for a wheeled mobile robot with a human-like upper-body to perform partnered stepping with people based on the forces applied to its end effectors. Blindfolded expert dancers (N=10 performed a forward/backward walking step to a recorded drum beat while holding the robot's end effectors. We varied the admittance gain of the robot's mobile base controller and the stiffness of the robot's arms. The robot followed the participants with low lag (M=224, SD=194 ms across all trials. High admittance gain and high arm stiffness conditions resulted in significantly improved performance with respect to subjective and objective measures. Biomechanical measures such as the human hand to human sternum distance, center-of-mass of leader to center-of-mass of follower (CoM-CoM distance, and interaction forces correlated with the expert dancers' subjective ratings of their interactions with the robot, which were internally consistent (Cronbach's α=0.92. In response to a final questionnaire, 1/10 expert dancers strongly agreed, 5/10 agreed, and 1/10 disagreed with the statement "The robot was a good follower." 2/10 strongly agreed, 3/10 agreed, and 2/10 disagreed with the statement "The robot was fun to dance with." The remaining participants were neutral with respect to these two questions.

  8. Evaluation by Expert Dancers of a Robot That Performs Partnered Stepping via Haptic Interaction.

    Science.gov (United States)

    Chen, Tiffany L; Bhattacharjee, Tapomayukh; McKay, J Lucas; Borinski, Jacquelyn E; Hackney, Madeleine E; Ting, Lena H; Kemp, Charles C

    2015-01-01

    Our long-term goal is to enable a robot to engage in partner dance for use in rehabilitation therapy, assessment, diagnosis, and scientific investigations of two-person whole-body motor coordination. Partner dance has been shown to improve balance and gait in people with Parkinson's disease and in older adults, which motivates our work. During partner dance, dance couples rely heavily on haptic interaction to convey motor intent such as speed and direction. In this paper, we investigate the potential for a wheeled mobile robot with a human-like upper-body to perform partnered stepping with people based on the forces applied to its end effectors. Blindfolded expert dancers (N=10) performed a forward/backward walking step to a recorded drum beat while holding the robot's end effectors. We varied the admittance gain of the robot's mobile base controller and the stiffness of the robot's arms. The robot followed the participants with low lag (M=224, SD=194 ms) across all trials. High admittance gain and high arm stiffness conditions resulted in significantly improved performance with respect to subjective and objective measures. Biomechanical measures such as the human hand to human sternum distance, center-of-mass of leader to center-of-mass of follower (CoM-CoM) distance, and interaction forces correlated with the expert dancers' subjective ratings of their interactions with the robot, which were internally consistent (Cronbach's α=0.92). In response to a final questionnaire, 1/10 expert dancers strongly agreed, 5/10 agreed, and 1/10 disagreed with the statement "The robot was a good follower." 2/10 strongly agreed, 3/10 agreed, and 2/10 disagreed with the statement "The robot was fun to dance with." The remaining participants were neutral with respect to these two questions.

  9. Can turnout measurements be used to predict physiotherapist-reported injury rates in dancers?

    Science.gov (United States)

    Jenkins, Jo Baker; Wyon, Matthew; Nevill, Alan

    2013-12-01

    Research has suggested that dancers may be more at risk of injury when they excessively utilise non-hip components of turnout to compensate for deficits in hip external rotation when trying to achieve maximal total turnout. However, recently different measures of turnout have been cited in the literature as well as suggestions for derived variables to account for shortfalls in particular components of turnout. This study aimed to assess whether measurements of turnout can predict the number of injuries (0 or 1 injury, or 2+ injuries) over a 10-month period. At the beginning of the academic year, 47 female, full-time, contemporary dance students (mean age 19.9 ± 2.51 yrs; height 1.65 ± 0.05 cm; weight 56.23 ± 6.51 kg) were screened as part of a biannual screening process. Measurements, summed of both legs, were obtained for passive hip external rotation (pER), total passive turnout (TPT), and total active turnout (TAT). From these, three further variables were derived: compensated turnout, muscular turnout, and active ER lag. At the end of 10 months, the dancers' physiotherapist-reported and self-reported injuries were obtained. Binary regression analyses for the six turnout variables identified compensated and muscular values as having significant positive effects. For every 1% increase in compensated and muscular values, there was a corresponding 9% or 8.4% increase in the odds that the dancer would sustain 2 or more injuries compared to 0 or 1 injury. Screening compensated and muscular values may be useful to address shortfalls to prevent injuries in the future.

  10. Evaluation by Expert Dancers of a Robot That Performs Partnered Stepping via Haptic Interaction

    Science.gov (United States)

    Chen, Tiffany L.; Bhattacharjee, Tapomayukh; McKay, J. Lucas; Borinski, Jacquelyn E.; Hackney, Madeleine E.; Ting, Lena H.; Kemp, Charles C.

    2015-01-01

    Our long-term goal is to enable a robot to engage in partner dance for use in rehabilitation therapy, assessment, diagnosis, and scientific investigations of two-person whole-body motor coordination. Partner dance has been shown to improve balance and gait in people with Parkinson's disease and in older adults, which motivates our work. During partner dance, dance couples rely heavily on haptic interaction to convey motor intent such as speed and direction. In this paper, we investigate the potential for a wheeled mobile robot with a human-like upper-body to perform partnered stepping with people based on the forces applied to its end effectors. Blindfolded expert dancers (N=10) performed a forward/backward walking step to a recorded drum beat while holding the robot's end effectors. We varied the admittance gain of the robot's mobile base controller and the stiffness of the robot's arms. The robot followed the participants with low lag (M=224, SD=194 ms) across all trials. High admittance gain and high arm stiffness conditions resulted in significantly improved performance with respect to subjective and objective measures. Biomechanical measures such as the human hand to human sternum distance, center-of-mass of leader to center-of-mass of follower (CoM-CoM) distance, and interaction forces correlated with the expert dancers' subjective ratings of their interactions with the robot, which were internally consistent (Cronbach's α=0.92). In response to a final questionnaire, 1/10 expert dancers strongly agreed, 5/10 agreed, and 1/10 disagreed with the statement "The robot was a good follower." 2/10 strongly agreed, 3/10 agreed, and 2/10 disagreed with the statement "The robot was fun to dance with." The remaining participants were neutral with respect to these two questions. PMID:25993099

  11. The dancer heel and the alpinist heel (black heel. Case reports

    Directory of Open Access Journals (Sweden)

    Piotr Brzezinski

    2014-07-01

    Full Text Available „Black heel” (calcaneal petechiae is a lesion affecting the back or posterolateral aspect of the heel. The cause is assumed to be trauma. The patients does not remember when the lesions occurred. We describe two patients with classical case of black heel (talon noir (BH. One man were alpinist and second were dancer. The patients does not remember when the lesions occurred and they noticed it accidentally. Black heels, characterized by speckled bluish-black areas of macular pigmentation occurring at the border of the heel, have been observed in two young male.

  12. Correlates of current transactional sex among a sample of female exotic dancers in Baltimore, MD.

    Science.gov (United States)

    Reuben, Jacqueline; Serio-Chapman, Chris; Welsh, Christopher; Matens, Richard; Sherman, Susan G

    2011-04-01

    Transactional sex work, broadly defined as the exchange of money, drugs, or goods for sexual services, occurs in a wide range of environments. There is a large body of research characterizing the risks and harms associated with street- and venue-based sex work, but there is a dearth of research characterizing the risk associated with the environment of exotic dance clubs. The current study aimed to: (1) characterize the nature of female exotic dancers' sex- and drug-related risk behaviors, (2) to examine the role of the club environment in these behaviors, and (3) to examine correlates of currently exchanging sex. From June 2008 to February 2009, we conducted a cross-sectional study among women who were aged 18 years or older and reported exotic dancing within the past 3 months (n = 98). The survey ascertained socio-demographic characteristics, personal health, medical history, sexual practices, drug use, and employment at clubs on the block. Bivariate and multivariate Poisson regression with robust variance was used to identify correlates of current sex exchange. Participants were a median of 24 years old, and were 58% white; 43% had not completed high school. Seventy-four percent reported ever having been arrested. Twenty-six percent reported having injected heroin and 29% reported having smoked crack in the past 3 months. Fifty-seven percent reported using drugs in the club in the past 3 months. Sixty-one percent had ever engaged in transactional sex, and 67% of those did so for the first time after beginning to dance. Forty-three percent reported selling any sex in the club in the past 3 months. In multiple Poisson regression, factors associated with current sex exchange included: race, ever having been arrested, and using drugs in the club. High levels of both drug use and transactional sex among this sample of exotic dancers were reported. These findings indicate that there are a number of drug- and sex-related harms faced by exotic dancers in strip clubs

  13. BRAZILIAN DANCERS AND SAMBA IN CHICAGO: IN THE LIMITS OF THE OTHER EXPECTATIONS

    Directory of Open Access Journals (Sweden)

    Bernadete Beserra

    2014-01-01

    Full Text Available This article is based on the story of Taís, a Brazilian dancer and samba entrepreneur in Chicago. It analyses how both samba and Brazilian samba dancers change in order to accommodate views and expectations of consumers and agents that make up the market of Brazilian culture in the city. Immigrant since the mid-1980s, Taís has gone around performing Brazilian dance to the “midwest” since the early 1990s. As she negotiates samba and Brazilian identities with different clienteles, she learns about the limits and possibilities of the exotic. In the body-to-body daily struggle for recognition and a place for Brazilian dance in the market - and eager to reconcile what most pleases the “other” with her own understanding and experience of Brazil - new ideas of Brazil and Brazilianness are constructed and disseminated in the United States as well as new relationships and alliances are established with other ethnic groups.

  14. Balance, Sensorimotor, and Cognitive Performance in Long-Year Expert Senior Ballroom Dancers

    Directory of Open Access Journals (Sweden)

    Jan-Christoph Kattenstroth

    2011-01-01

    Full Text Available Physical fitness is considered a major factor contributing to the maintenance of independent living and everyday competence. In line with this notion, it has been shown that several years of amateur dancing experience can exert beneficial effects not only on balance and posture but also on tactile, motor, and cognitive functions in older people. This raises the question of whether an even more extensive schedule of dancing, including competitive tournaments, would further enhance these positive effects. We therefore assessed posture, balance, and reaction times, as well as motor, tactile, and cognitive performance in older expert ballroom dancers with several years of competitive experience. We found substantially better performance in the expert group than in the controls in terms of expertise-related domains like posture, balance, and reaction times. However, there was no generalization of positive effects to those domains that were found to be improved in amateur dancers, such as tactile and cognitive performance, suggesting that there might be an optimal range of intervention intensity to maintain health and independence throughout the human lifespan.

  15. Early auditory processing in musicians and dancers during a contemporary dance piece.

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2016-09-09

    The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other.

  16. Association between selected physical fitness parameters and esthetic competence in contemporary dancers.

    Science.gov (United States)

    Angioi, Manuela; Metsios, George S; Twitchett, Emily; Koutedakis, Yiannis; Wyon, Matthew

    2009-01-01

    The physical demands imposed on contemporary dancers by choreographers and performance schedules make their physical fitness just as important to them as skill development. Nevertheless, it remains to be confirmed which physical fitness components are associated with aesthetic competence. The aim of this study was to: 1. replicate and test a novel aesthetic competence tool for reliability, and 2. investigate the association between selected physical fitness components and aesthetic competence by using this new tool. Seventeen volunteers underwent a series of physical fitness tests (body composition, flexibility, muscular power and endurance, and aerobic capacity) and aesthetic competence assessments (seven individual criteria commonly used by selected dance companies). Inter-rater reliability of the aesthetic competence tool was very high (r = 0.96). There were significant correlations between the aesthetic competence score and jump ability and push-ups (r = 0.55 and r = 0.55, respectively). Stepwise backward multiple regression analysis revealed that the best predictor of aesthetic competence was push-ups (R(2) = 0.30, p = 0.03). Univariate analyses also revealed that the interaction of push-ups and jump ability improved the prediction power of aesthetic competence (R(2) = 0.44, p = 0.004). It is concluded that upper body muscular endurance and jump ability best predict aesthetic competence of the present sample of contemporary dancers. Further research is required to investigate the contribution of other components of aesthetic competence, including upper body strength, lower body muscular endurance, general coordination, and static and dynamic balance.

  17. Early auditory processing in musicians and dancers during a contemporary dance piece

    Science.gov (United States)

    Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

    2016-01-01

    The neural responses to simple tones and short sound sequences have been studied extensively. However, in reality the sounds surrounding us are spectrally and temporally complex, dynamic and overlapping. Thus, research using natural sounds is crucial in understanding the operation of the brain in its natural environment. Music is an excellent example of natural stimulation which, in addition to sensory responses, elicits vast cognitive and emotional processes in the brain. Here we show that the preattentive P50 response evoked by rapid increases in timbral brightness during continuous music is enhanced in dancers when compared to musicians and laymen. In dance, fast changes in brightness are often emphasized with a significant change in movement. In addition, the auditory N100 and P200 responses are suppressed and sped up in dancers, musicians and laymen when music is accompanied with a dance choreography. These results were obtained with a novel event-related potential (ERP) method for natural music. They suggest that we can begin studying the brain with long pieces of natural music using the ERP method of electroencephalography (EEG) as has already been done with functional magnetic resonance (fMRI), these two brain imaging methods complementing each other. PMID:27611929

  18. Inter-rater reliability of a musculoskeletal screen as administered to female professional contemporary dancers.

    Science.gov (United States)

    Karim, Annette; Millet, Victoria; Massie, Kate; Olson, Sharon; Morganthaler, Andrea

    2011-01-01

    The purpose of this study is to determine the inter-rater reliability of commonly used musculoskeletal screening components in a population of contemporary professional dancers. Study participants were 30 women from six contemporary dance companies between the ages of 18 and 32, with a mean age of 24, and Body Mass Index of 22.4. 101 items were assessed in the categories of Static Posture, the Beighton 9-Point Hypermobility Test, Flexibility, Strength, and Dynamic Posture, based upon the Pilot 2006 Dance USA Annual Post-Hire Health Screen for Professional Dancers. Testing was non-ordered, using 2 of the 4 available testers, with variable assignment of the lead tester. High percent agreement was found for the subcategories of hallux valgus, pelvic tilt, and forefoot alignment, flexor hallucis, iliopsoas, hip internal rotation flexed, external rotation extended, and soleus extensibility, composite Beighton, and for most measures within the dynamic posture category. Low to moderate percent agreement was found in the strength tests. Although this study demonstrated moderate to high percent agreement between raters, further test refinement is needed to improve the reliability of the measurement components.

  19. Perceived autonomy support, motivation regulations and the self-evaluative tendencies of student dancers.

    Science.gov (United States)

    Quested, Eleanor; Duda, Joan L

    2011-03-01

    Limited research has considered the social-environmental and motivational processes predictive of self evaluations and body-related concerns. Evidence suggests that low self-esteem, poor body evaluations, and associated anxieties are particularly prevalent among the student dance population. Grounded in self-determination theory (SDT), this study examined the relationships among perceptions of autonomy support, motivation regulations, and self-evaluations of body-related concerns in the context of vocational dance. Three hundred and ninety-two dancers completed questionnaires regarding their perceptions of autonomy support in their dance school, reasons for engaging in dance, self-esteem, social physique anxiety (SPA), and body dissatisfaction. Structural equation modeling analyses revealed that perceived autonomy support predicted intrinsic motivation (+) and amotivation (-). Extrinsic regulation positively predicted SPA. Amotivation mediated the associations between perceptions of autonomy support and dancers' self-esteem, SPA, and body dissatisfaction. The utility of SDT in understanding predictors of self-worth, physical evaluations, and associated concerns was supported. Moreover, this study provides preliminary evidence supporting the applicability of SDT in dance contexts.

  20. Job satisfaction of professional Irish dancers: implications for performer health and well-being.

    Science.gov (United States)

    Cahalan, Roisin; O'Sullivan, Kieran

    2013-12-01

    This study investigates for the first time whether experienced former and current professional Irish dancers (PIDs) would recommend a career in Irish dance, and their perceived positive and negative attitudes toward this occupation. One hundred and sixty-five (71 current, 94 retired) PIDs participated in an online survey. Additional focus group interviews of six current and three retired PIDs were conducted to validate survey findings. PID comments were examined independently by the two investigators using thematic analysis and then cross-indexed and coded into the most common positive and negative themes. Ninety-four percent of surveyed PIDs and 100% of focus group participants stated that they would recommend a career in professional Irish dance. The main positive attributes identified included the opportunity to travel and experience diverse cultures, the development of enduring friendships, the pursuit of a hobby as a financially lucrative career, evolving personal life skills, and the maintenance of good physical health and fitness. The main negative themes included the insecure and short-term nature of the career, physical consequences in terms of pain and injury, potentially damaging psychological consequences, and practical difficulties inherent in a touring lifestyle. The effects of dancer job satisfaction on health, wellbeing, and performance are discussed, and recommendations for company managers and dance captains are developed based on findings.

  1. Assessment of range of motion and muscular shortening in female flamenco dancers. Valoración de las amplitudes articulares y acortamientos musculares en bailaoras de flamenco.

    OpenAIRE

    José L. Costa Sepúlveda; Jorge del R. Fernández Santos; Roque Gómez Espinosa de los Monteros; Ana González Galo

    2011-01-01

    The purpose of the study was to assess flexibility and range of motion in flamenco dancers of Cádiz, Sevilla and Jaén (Spain) through a tests battery. The study population comprised 37 healthy flamenco dancers (25 ± 7,2 years, 1,6 ± 0,5 m y 56 ± 7,6 Kg). They performed a range of flexibility and motion tests (i.e. Kendall test, Nachlas test). Results has shown that there is muscle shortening in most of the tests that flamenco dancers has passed. We conclude that there are not many articles on...

  2. "I Am Not a Fairy Tale": Contextualizing Sioux Spirituality and Story Traditions in Susan Power's "The Grass Dancer"

    Science.gov (United States)

    Diana, Vanessa Holford

    2009-01-01

    Standing Rock Sioux writer Susan Power's best-selling novel "The Grass Dancer" (1994) includes depictions of the supernatural and spiritual that do not conform to the Judeo-Christian or, in some cases, the atheist or rationalist worldviews of many readers. Power writes of ghost characters and haunted places, communication between the living and…

  3. Comparison of Shape, Space, and Time Judgments in Expert Dancers and Novices: Evidence that Production Enhances Perception.

    Science.gov (United States)

    Henley, Matthew Kenney

    2015-09-01

    Neuroimaging and behavioral studies have indicated that expertise in dance is associated with differences in the visual processing of dance movements. This study sought to determine if dance expertise was also associated with the ability to recognize visual differences between dance movements. Participants (20 dancers and 20 non-dancers) watched pairs of video clips showing dance phrases. Within each pair of phrases a manipulation was made to a single movement in the categories of shape (25%), time (25%), or space (25%), or there was no manipulation made between the two videos (25%). After viewing each pair, participants used pencil and paper to indicate if they observed a difference between the phrases and, if so, in which category. Group differences were compared for each category with four separate t-tests. Results showed that dancers were better at recognizing manipulations of space, time, and trials with no change but did not differ from non-dancers at recognizing manipulations of shape. Results are discussed in reference to the tested hypothesis that the ability and experience to produce an action is associated with enhanced perception of similar actions.

  4. Facilitating and Nurturing Creativity in Pre-Vocational Dancers: Findings from the UK Centres for Advanced Training

    Science.gov (United States)

    Watson, Debbie E.; Nordin-Bates, Sanna M.; Chappell, Kerry A.

    2012-01-01

    This is a case study investigation into creativity involving young dancers and faculty members on the UK government-funded pre-vocational contemporary dance training programme. Qualitative research techniques were used to gather and interpret data on how individuals nurtured and viewed creativity at an individual level, as well as how the…

  5. Facilitating and Nurturing Creativity in Pre-Vocational Dancers: Findings from the UK Centres for Advanced Training

    Science.gov (United States)

    Watson, Debbie E.; Nordin-Bates, Sanna M.; Chappell, Kerry A.

    2012-01-01

    This is a case study investigation into creativity involving young dancers and faculty members on the UK government-funded pre-vocational contemporary dance training programme. Qualitative research techniques were used to gather and interpret data on how individuals nurtured and viewed creativity at an individual level, as well as how the…

  6. "I Am Not a Fairy Tale": Contextualizing Sioux Spirituality and Story Traditions in Susan Power's "The Grass Dancer"

    Science.gov (United States)

    Diana, Vanessa Holford

    2009-01-01

    Standing Rock Sioux writer Susan Power's best-selling novel "The Grass Dancer" (1994) includes depictions of the supernatural and spiritual that do not conform to the Judeo-Christian or, in some cases, the atheist or rationalist worldviews of many readers. Power writes of ghost characters and haunted places, communication between the living and…

  7. Šostakovitš, D. Suites de ballet no. 1 a 4 et no. 5 op. 27A / Pierre-E. Barbier

    Index Scriptorium Estoniae

    Barbier, Pierre-E.

    1995-01-01

    Uuest heliplaadist "Šostakovitš, D. Suites de ballet no. 1 a 4 et no. 5 op. 27A. Ouverture de tete op. 96. Royal Scottish National Orchestra, Neeme Järvi" Chandos CHAN 7000/1, distribution Media 7(2CD: 195F). 1987/88. TT: 1h 54'36"

  8. Šostakovitš, D. Suites de ballet no. 1 a 4 et no. 5 op. 27A / Pierre-E. Barbier

    Index Scriptorium Estoniae

    Barbier, Pierre-E.

    1995-01-01

    Uuest heliplaadist "Šostakovitš, D. Suites de ballet no. 1 a 4 et no. 5 op. 27A. Ouverture de tete op. 96. Royal Scottish National Orchestra, Neeme Järvi" Chandos CHAN 7000/1, distribution Media 7(2CD: 195F). 1987/88. TT: 1h 54'36"

  9. 芭蕾童话象征世界中的原生态美%The Original Beauty and Inner Aesthetic Intention of Ballet Art

    Institute of Scientific and Technical Information of China (English)

    朱孝远; 肖翠松

    2011-01-01

    This article aims to explore emotional essence and aesthetic connotations of the western ballet art,from a perspective of original beauty. The author tries to examine and interpret ballet changes in the historical context of ballet styles and theories. These theoretical ideas include the relationship between dance and love,and the psychology of performance. The paper intends to clarify and stimulate thinking on relationship between ballet and human society as well as its trend of development. While history does not tell us what to like,it does offer us means to make intelligent choice. The application of historical methods and cultural theory of acceptance should help us better understand the deep meaning of ballet.%本文旨在从原生态美的角度探索西方芭蕾艺术的情感本质和美学内涵。作者试图以风格及理念发展的历史背景为模式,对芭蕾的发展变化进行研究和解读。这些理念包括舞蹈与爱之间的关系以及表演心理学。本文探讨的目的在于阐明并启发人们去思考芭蕾艺术与人类社会之间的关系和发展趋势。历史学不会告诉我们应该喜欢什么,但确实可以给予我们方法以做出明智的选择。我们必须使用历史学方法和文化接受理论,然后才可以更好地理解芭蕾的深层含义。

  10. Functional movement impairment in dancers: An assessment and treatment approach utilizing the Biomechanical Asymmetry Corrector (BAC) to restore normal mechanics of the spine and pelvis.

    Science.gov (United States)

    Keller, K; West, J C

    1995-01-01

    Musculoskeletal injuries to the spine and pelvis are common in dancers. These injuries are associated with mechanical dysfunctions that impair spinal adaptation to the movement demands of the art form. This article introduces the biomechanical asymmetry corrector (BAC), a dynamic assessment and treatment tool, designed to restore normal spinal mechanics and functional movement patterns in dancers. A discussion of lumbo-pelvic mechanics and dance injury provides a theoretical context for describing exercises on the BAC.

  11. A rationale for a ballet exercise-based balance training programme for older adults with balance impairments : an alternative approach to a group-based balance training in physiotherapy

    OpenAIRE

    Van Camp, Julia

    2015-01-01

    The objective of this study was to combine ballet exercise and its teaching principles with physiotherapy practice for improving balance in elderly patients with balance impairment. The purpose of this study was to create theoretical and practical grounds for a balance training programme for older adults comprising ballet exercises. The study resulted in materials for a balance training programme grounded in the current literature on balance control, physiological changes in balance control a...

  12. Femoral neuropathy due to patellar dislocation in a theatrical and jazz dancer: a case report.

    Science.gov (United States)

    Shin, Chris S; Davis, Brian A

    2005-06-01

    This case report describes a teenage female, high-level modern dancer who suffered multiple left patellar dislocations. Her history is atypical in that after her fifth dislocation, her recovery was hindered secondary to persistent weakness and atrophy of her quadriceps out of proportion to disuse alone. Electrodiagnostic studies and magnetic resonance imaging showed evidence of a subacute femoral neuropathy correlating chronologically with her most recent patellar dislocation. This case suggests that further diagnostic study may be warranted in patients with persistent quadriceps weakness or atrophy after a patellar dislocation, because this may suggest the presence of a femoral neuropathy. This is important because the strength training goals and precautions differ in disuse atrophy and a neuropathy. We believe this is the first reported case of a femoral neuropathy associated with the mechanism of a patellar dislocation.

  13. Kinematic study of a flamenco dancer. Estudio cinemático de una bailaora de flamenco

    Directory of Open Access Journals (Sweden)

    Roque Gómez Espinosa de los Monteros

    2012-05-01

    Full Text Available The purpose of the study was to determine the biomechanical profile of flamenco dancers to analyze the dance technique. In this way we can achieve greater performance optimization and preserve the physical integrity of the dancer, as it happens with athletes. The study population comprised one female flamenco dancer from Cádiz. We proceeded to film a dance sequence, which includes specific technical gestures of flamenco dance. We created a model of wired "mono", as well as synchronization, digitizing and rendering of images. Results have shown that, due to the height of left and right heel during the footwork, we can deduce the number of heel tapping made ​​(41 right, 42 left. We can also verify if the feet are parallel during the dance, if the speed of the footwork was superior in the right foot over the left, if a knee flexion angle can cause excessive overhead, trigger joint injuries, and muscle imbalances among others. With this analysis we can get an interesting information to reflect on the technique used by the dancer, in order to take corrective action and improvement.El objetivo de este estudio fue determinar el perfil biomecánico del bailaor/a de flamenco para el análisis de la técnica de danza. De esta manera se consigue una mayor optimización del rendimiento y preservar la integridad física del bailaor/a, al igual que sucede con los deportistas. Se realizó un estudio de un caso, siendo el sujeto experimental, una bailaora de flamenco de la ciudad de Cádiz, participando en el análisis cinemático mediante video. Se procedió a la filmación de una secuencia de baile flamenco la cual comprende gestos técnicos tales como braceo, marcaje de pies con y sin desplazamiento, vuelta de tacón en dehors, zapateado, vuelta normal y cierre. Se llevaron a cabo la creación de un modelo de “mono” alámbrico, la sincronización de las imágenes, la digitalización y renderización de las mismas. Destaca entre los resultados

  14. Suprascapular nerve lesion as an occupational neuropathy in a semiprofessional dancer.

    Science.gov (United States)

    Kukowski, B

    1993-07-01

    A 25-year-old semi-professional dancer developed painless, isolated weakness of external rotation of the right arm. Physical examination was otherwise normal. Electromyography showed selective partial denervation of the infraspinatus muscle. Stimulation of the suprascapular nerve at Erb's point demonstrated delayed conduction to the infraspinatus muscle. Clinical and electrophysiological findings implicated a distal lesion of the suprascapular nerve. Almost complete recovery of muscle function after 4 months of suspending the training program of Latin dances supports the view that the nerve injury occurred as an occupational neuropathy. It is assumed that repetitive, forceful movements of the arm with external rotation and abduction had induced compression of the nerve at the spinoglenoid notch.

  15. Postural stability of older female Scottish country dancers in comparison with physically active controls.

    Science.gov (United States)

    Dewhurst, Susan; Peacock, Leslie; Bampouras, Theodoros M

    2015-01-01

    Physical activity assists older individuals' functional ability and postural stability. Recently, Scottish country dance (SCD) was reported as being a beneficial form of physical activity for functional ability in older females. This study aims to examine the effect of SCD on postural stability. Scottish country dancers (n = 20) were compared with physically active controls (n = 33) for static postural sway measured on a force platform. The Romberg and Tandem stances were used under 'eyes open' and 'eyes closed' conditions. Ninety-five percent ellipse area and sway velocity were calculated from the center of pressure displacement. Ninety-five percent ellipse area was the same for both groups in all tests. The control group had greater sway velocity for all tests (P < .01) except Tandem eyes closed. SCD participation resulted in similar postural sway as participation in other physical activities, however nondancers may need a greater amount of regulatory activity to maintain balance.

  16. The benefits of Square dancing as a means of physical activity for Czech dancers with hearing loss

    Directory of Open Access Journals (Sweden)

    Petra Kurková

    2014-12-01

    Full Text Available Background: Hearing, a strong line of communication that enables individuals to learn about the world around them, is a major factor contributing to the psychomotor development of every individual. Hearing loss can also affect the conception and perception of sounds and rhythm. Objective: The purpose of this study was to describe and analyse the benefits of Square and Round dancing for persons with hearing loss. Methods: The present study is an analytic-descriptive qualitative research. The sample was constituted non-probabilistically based on the following features: a a participant had to have hearing problems (hearing loss and b had to have participated regularly in Square dance for at least two years. Each participant was asked to name possible people to be interviewed (snowball technique. We analysed the data of 7 individuals (6 males and 1 female with hearing loss. The mean age of the dancers with hearing loss was 51.3 years. The participants had no cochlear implants or any other physical or vision related impairments. Results: The present findings constitute the first published survey regarding Czech Square dancers' status, their family's hearing status, hearing aid use, communication preference, education in integrated or segregated settings, the influence of family background on dance initiation, coach preference (hearing or deaf, and the environment for participation in Square dance as a mode of physical activity with regular dancers and with dancers with hearing loss as well. In the present sample of dancers with hearing loss, most were from hearing families and had hearing siblings. The degree to which individuals with hearing loss feel comfortable with the hearing world appears to influence their later preference for participating in regular, as opposed to segregated, physical activities. More than half of the dancers with hearing loss who participated in this research study would like to meet with the deaf minority. One of the

  17. The spinning dancer illusion and spontaneous brain fluctuations: an fMRI study.

    Science.gov (United States)

    Bernal, Byron; Guillen, Magno; Marquez, Juan Camilo

    2014-01-01

    The brain activation associated with the Spinning Dancer Illusion, a cognitive visual illusion, is not entirely known. Inferences from other study modalities point to the involvement of the dorso-parieto-occipital areas in the spontaneous switchings of perception in other bistable non-kinetic illusions. fMRI is a mature technique used to investigate the brain responses associated with mental changes. Resting-state fMRI is a novel technique that may help ascertain the effects of spontaneous brain changes in the top-down regulation of visual perception. The purpose of this report is to describe the brain activation associated with the subjective illusory changes of perception of a kinetic bistable stimulus. We hypothesize that there is a relationship between the perception phases with the very slow cortical spontaneous fluctuations, recently described. A single normal subject who was trained to produce voluntarily perception phase switches underwent a series of fMRI studies whose blocks were either defined post-hoc or accordingly with a predefined timeline to assess spontaneous and voluntarily evoked visual perception switches, respectively. Correlation of findings with resting-state fMRI and independent component analysis of the task series was sought. Phases of the rotation direction were found associated with right parietal activity. Independent component analysis of the task series and their comparison with basal resting-state components suggest that this activity is related to one of the very slow spontaneous brain fluctuations. The spontaneous fluctuations of the cortical activity may explain the subjective changes in perception of direction of the Spinning Dancer Illusion. This observation is a proof-of-principle, suggesting that the spontaneous brain oscillations may influence top-down sensory regulation.

  18. "Goltsman Ballet" начнет свой сезон спектаклем в Йыхви / Ирина Кивисельг

    Index Scriptorium Estoniae

    Кивисельг, Ирина, 1961-

    2013-01-01

    Tantsutrupp Goltsman Ballet avab oma teise hooaja Jõhvi kontserdimajas tantsuetendusega "Siddhartha", mille idee toetub Hermann Hesse samanimelisele romaanile. Tantsutrupi juhendaja on Maria Goltsman

  19. "Goltsman Ballet" начнет свой сезон спектаклем в Йыхви / Ирина Кивисельг

    Index Scriptorium Estoniae

    Кивисельг, Ирина, 1961-

    2013-01-01

    Tantsutrupp Goltsman Ballet avab oma teise hooaja Jõhvi kontserdimajas tantsuetendusega "Siddhartha", mille idee toetub Hermann Hesse samanimelisele romaanile. Tantsutrupi juhendaja on Maria Goltsman

  20. The effect of whole-body vibration on jump height and active range of movement in female dancers.

    Science.gov (United States)

    Marshall, Lucille C; Wyon, Matthew A

    2012-03-01

    Whole-body vibration (WBV) has been shown to have beneficial effects on strength and power indices in sedentary and moderately trained individuals. The aim of this study was to investigate the effect of 4 weeks of WBV on jump height, active range of motion (AROM), and leg anthropometry in conservatoire dance students. Seventeen female dancers were randomly assigned to a control or intervention group. The intervention group trained for 30 seconds per position at a 35-Hz frequency, 8-mm displacement in the first 2 weeks, and 40 seconds at 40 Hz for the final 2 weeks, whereas the control group carried out the same exercises but without vibration stimulation. A significant (p active ROM. No significant changes over time were noted in the anthropometric data. In conclusion, WBV can be used as a beneficial supplemental training intervention to increase jump and active flexibility in highly trained dancers without corresponding increases in relative anthropometric data.

  1. Attitude and knowledge changes in collegiate dancers following a short-term, team-centered prevention program on eating disorders.

    Science.gov (United States)

    Torres-McGehee, Toni M; Green, James M; Leaver-Dunn, Deidre; Leeper, James D; Bishop, Phillip A; Richardson, Mark T

    2011-06-01

    Eating knowledge, nutritional knowledge, and psychological changes among female collegiate dancers were examined before and after a 4-wk. team-centered program on sport nutrition, exercise, and disordered eating consequences. Collegiate female dancers from two NCAA Division I institutions participated in a control (n = 19; M age = 19.1 yr., SD = 1.0) or intervention (n = 21; M age = 19.2 yr., SD = 1.2) group. Measures were administered to both groups before and after intervention to assess eating disorders, depression, and nutritional and disordered eating knowledge. There was a statistically significant increase in scores on nutritional and overall eating disorder knowledge in the intervention group compared to the control group. Mean scores on depression, drive for thinness, body dissatisfaction, and maturity fears decreased in the intervention group.

  2. Self-control and frequency of model presentation: effects on learning a ballet passé relevé.

    Science.gov (United States)

    Fagundes, Julie; Chen, David D; Laguna, Patricia

    2013-08-01

    The purpose of this experiment was to examine the combined effects of self-control and frequency of model presentation on learning a complex motor skill, i.e., ballet passé relevé. Before practice started self-control participants were asked to choose two viewings or six viewings (before practice and then every five trials) and the externally controlled groups were yoked to their self-control counterparts. All participants completed 15 acquisition trials followed by 5 trials for the immediate and 5 trials for the delayed retention tests 48 hours later. Dependent variables included cognitive representation scores, physical reproduction rankings, and balance time. Statistical analyses indicated that under limited physical practice conditions self-control and higher frequency of model presentation facilitated the development of cognitive representation and did not produce further benefits in movement reproductions and balance time. The results were discussed with respect to the social cognitive theory.

  3. Acute effects of warm-up stretch protocols on balance, vertical jump height, and range of motion in dancers.

    Science.gov (United States)

    Morrin, Niamh; Redding, Emma

    2013-01-01

    The aim of this study was to examine the acute effects of static stretching (SS), dynamic stretching (DS), and a combined (static and dynamic) stretch protocol on vertical jump (VJ) height, balance, and range of motion (ROM) in dancers. A no-stretch (NS) intervention acted as the control condition. It was hypothesized that the DS and combination stretch protocols would have more positive effects on performance indicators than SS and NS, and SS would have negative effects as compared to the NS condition. Ten trained female dancers (27 ± 5 years of age) were tested on four occasions. Each session began with initial measurements of hamstring ROM on the dominant leg. The participants subsequently carried out a cardiovascular (CV) warm-up, which was followed by one of the four randomly selected stretch conditions. Immediately after the stretch intervention the participants were tested on VJ performance, hamstring ROM, and balance. The data showed that DS (p stretch (p stretch demonstrated significantly enhanced balance performance as compared to SS (p stretch displayed significantly greater changes in ROM than DS (p stretch protocols used in the current study, it can be concluded that SS does not appear to be detrimental to a dancer's performance, and DS has some benefits but not in all three key area's tested, namely lower body power (VJ height), balance, and range of motion. However, combination stretching showed significantly enhanced balance and vertical jump height scores and significantly improved pre-stretch and post-stretch ROM values. It is therefore suggested that a combined warm-up protocol consisting of SS and DS should be promoted as an effective warm-up for dancers.

  4. A Drumming Dance: A Study on the Effects of West African Dance on Motor Performance and Motivation among Collegiate Dancers

    OpenAIRE

    Wajid-Ali, Darlisa Gloria

    2016-01-01

    Changes in cardiovascular health, balance, agility, and motivation were assessed during a 6-week West African dance and live drumming intervention with collegiate dancers. The study measured cardiovascular health with the Accelerated 3-Minute Step test, balance with the m/r Star Excursion Balance test, and agility with the Illinois Agility test. Motivation was measured using the Classroom Life Measure, Motivated Strategies Learning Questionnaire, and the Rosenberg Self-Esteem Scale. The inter...

  5. Influence of turnout on foot posture and its relationship to overuse musculoskeletal injury in professional contemporary dancers: a preliminary investigation.

    Science.gov (United States)

    Cimelli, Sonja N; Curran, Sarah A

    2012-01-01

    The angle of turnout is thought to predispose professional dancers to overuse musculoskeletal injuries of the lower limb; yet, the influence of angle of turnout on foot posture is currently unknown. Twelve professional contemporary dancers (five women and seven men; mean age, 26.8 years) were recruited. The angle of gait and angle of turnout were measured using a quasi-static clinical tracing method. Foot posture was assessed in the base of gait and angle of turnout using the Foot Posture Index. Each dancer completed a dance history and injury questionnaire. The results show a tendency toward a pronated foot posture (mean, 9°) in the angle of turnout position. A significant relationship was noted between the Foot Posture Index and angle of turnout (ρ = 0.933-0.968, P history of injury to the spine or lower limb, and 9 of the 12 reported an injury within the previous 12 months. Turnout is one of the most fundamental aspects of dance technique. This study suggests a trend toward pronation in angle of turnout and a link to lower-limb musculoskeletal injury.

  6. Les philosophes de la danse. Le projet du ballet pantomime dans l’Europe des Lumières (1760-1776)

    OpenAIRE

    Vallejos, Juan Ignacio

    2013-01-01

    Composition du jury : Monsieur Roger Chartier, Directeur de thèse ;Monsieur Antoine Lilti, Président du jury ;Monsieur José Emilio Burucua ;Monsieur Pierre Frantz. Thèse soutenue le 10 mars 2012 Résumé Le ballet pantomime est un nouveau genre de ballet, émergeant dans la seconde moitié du XVIIIe siècle, qui associe la technique de la belle danse aux gestes expressifs de la pantomime. Les Lettres sur la danse de Jean-Georges Noverre, publiées en 1760, sont considérées comme un texte fondateur...

  7. 还原翻译、标题迻译及其他——就The Ballet Dancer一文的翻译答徐勇

    Institute of Scientific and Technical Information of China (English)

    2007-01-01

    日前《中国翻译》编辑部收到了徐勇的来信,信中就The Ballet Dancer(《中国翻译》2005年第4期)一文的翻译提出了若干意见。本刊编辑部专此与译者刘全福教授联系,刘教授作出以下回复:

  8. 花样滑冰舞蹈训练中的芭蕾舞教学法%Ballet Didactics in the Dance Training of Figure Skating

    Institute of Scientific and Technical Information of China (English)

    郝秀艳; 王珂; 陈玲

    2011-01-01

    花样滑冰舞蹈训练中的芭蕾舞教学法,是侧重研究花样滑冰训练中对运动员芭蕾舞蹈的教学训练方法。围绕着教学训练的有效性这一目的对教学训练的科学性、系统性和有效性进行分析和研究,并提升到理论的高度。对芭蕾舞教法在教学训练中的重要性、芭蕾舞蹈技能形成阶段中的教学训练方法进行论述。同时还对不同年龄阶段芭蕾舞蹈教学训练内容和方法的侧重点、芭蕾舞蹈教学法的原则等关键问题进行了详细的分析研究,并加以阐述。%The ballet didactics in the dance training of figure skating is a training method of focusing on the ballet dance in figure skating training.Encircling the goal of training effectiveness,the paper has an analysis on the training's scientificity and availability into a theoretical degree.It discusses the importance of ballet didactics in training and the training method in growth stage of ballet dance skill.Furthermore,it elaborates the respective emphasis and fundamental of training contents and methods at different ages.

  9. Before and after Lightfoot/León. Using rich pictures to illustrate an educational journey through the world of opera and ballet

    Directory of Open Access Journals (Sweden)

    Laurence Habib

    2014-12-01

    Full Text Available In this article, we describe part of an action research project carried out during a classroom-based art course at a higher education institution. We gave the students themed collaborative drawing assignments, with the purpose of achieving a rich picture of what they associated with the notion of “going to the opera”. They completed assignments before and after attending a guided tour and a ballet performance at a famous opera house. We aimed to address two main research questions: a How can the students’ understanding of opera and ballet develop through their experience of a ballet performance? and b How can drawing activities in the classroom support collaborative learning and the students’ personal development? The data gathered involved three main elements: 1 the rich pictures themselves, 2 the teachers’ observations of the students and 3 the students’ reflections on the process. The study points towards a significant transformation of the students’ representation of the concept of opera, as illustrated in their drawings. We discuss how the students’ drawings may reflect their development in terms of attitude and their newly acquired knowledge of an artistic genre they knew little about, and suggest new avenues for further research.

  10. Recreation of Language in Choreography of Contemporary Ballet%当代芭蕾编创中的语言再创造

    Institute of Scientific and Technical Information of China (English)

    胡晓; 马南

    2012-01-01

    This paper studies structural ways of dance language in choreography of contemporary ballet, suggesting the necessity of innovation of dance language based on heritage and recreation based on advantages of tradition. The author of the paper intends to discuss thoughts and methods of recreation of classic ballet language in composition of contemporary ballet according to their own practice and experience of choreography.%本文对当代芭蕾编创的舞蹈语言结构方式进行了探索,旨在说明中国当代芭蕾的舞蹈语言应是继承传统基础上的创新,是力求在继承古典芭蕾舞蹈语言优长基础上的再创造。笔者结合实际编创工作中的经验,总结了当代芭蕾编创中对古典芭蕾舞蹈语言再创造的思路和方法。

  11. Aspects of Cultural Landscape Application on Classical Stage Art. Ballet Performance in the Open Space as a Significant Element of the Cultural Landscape

    Directory of Open Access Journals (Sweden)

    Jelena Lebedeva

    2016-04-01

    Full Text Available The article examines the applications aspects of cultural landscape for the preparation of the classical performing arts staging. Research findings highlighted that the cultural landscape (parks, estates, castles, bastions, etc. objects occupies an increasingly important role in public recreation and classical art development programs. At the same time it is noted that event’s aesthetic and emotional quality suffers due to the fact that no specific attention was given for the preparation of the event space. More methodological materials are necessary for preparation of this type of design spaces. In Lithuania classical performing arts events in cultural landscape open spaces are based on XVI–XVII century tradition and has good prospects for modern development. A review of some of the classical art events installations, based on the importance of quality of open spaces influence on the emotional impact, that should be an integral part of the cultural event. The author summarizes his experience of ballet events in open spaces in the cultural landscape – Klaipėda, Trakai. Presented is Tchaikovsky's ballet “Swan Lake” construction in Klaipėda John Hill project that includes infrastructure and environmental design concept: audience space, stage design, stage design performance solutions. Analogous key decisions are later adapted to the ballet performance in the natural environment of the lake Trakai. Experience of this project dictated the necessity of deeper understanding and methodological basis for the classical performing arts analysis and design.

  12. Neuromuscular independence of abdominal wall muscles as demonstrated by middle-eastern style dancers.

    Science.gov (United States)

    Moreside, Janice M; Vera-Garcia, Francisco J; McGill, Stuart M

    2008-08-01

    Previous studies analyzing neuromuscular independence of the abdominal wall have involved a participant population with no specific training in separating individual muscle segments. We chose to study nine women trained in the art of middle-eastern dance, anticipating they may have unique skills in motor control. Specifically, we were searching for evidence of separation of upper rectus abdominis (URA) from lower rectus abdominis (LRA), as well as understanding what role the oblique muscles play in abdominal wall synergies. EMG analysis was done on eight trunk muscles bilaterally as the dancers participated in 30 dance, planar, and curl-up activities. The filtered data were then cross-correlated to determine the time lag between pairs of signals. Only three dance movements demonstrated consistent evidence of an ability to separate URA/LRA activation timing. The external and internal oblique muscles tend to align themselves temporally with the LRA. However, these findings were only evident in these three specific "belly-roll" conditions, all with low levels of muscle activation, and no external torque. Evidence of significantly different activation levels (% MVC) between URA/LRA was demonstrated in eight conditions, all of which required various pelvis movements with minimal thorax motion.

  13. Water Dancer II-a: a Non-tethered Telecontrollable Water Strider Robot

    Directory of Open Access Journals (Sweden)

    Licheng Wu

    2011-09-01

    Full Text Available Water Strider Robot (WSR is a kind of bio‐ inspired micro robot that can stand and move on water surface via surface tension. In this paper, a design method is presented with algorithms for designing driving leg. Structure, control system and software of the robot are also discussed in details. A prototype Water Dancer II‐a that is driven with two electric motors is presented as successfully tested in lab. The proposed WSR is tele‐controlled with infrared signals and has the capability of turning and speed regulation with features of light tiny volume and low power consumption. Experimental results are reported and discussed to show practical feasibility of the presented WSR prototype. The new results in the paper are related also to the WSR prototype design with a robot body of less than 30 x 30 mm size and with ten leg rods of 90 mm length and 0.2 diameter that are able to provide lifting force for a water walk of the 6.0 grams robot at a forward speed of 20 cm/s or angular velocity of 9 degree/s with two micro DC motors (RoomFlight 4 x 8 mm, 28 Ohm.

  14. Experimenting relations between artists and scientists : the appropriation of motion sensors by dancers

    Directory of Open Access Journals (Sweden)

    Fabienne MARTIN-JUCHAT

    2013-07-01

    Full Text Available We want to show here how recent innovations called Motion Capture, still being tested in laboratory on their potential uses, invite us to change our way to relate to the “technique”. We don’t want to question what the technique does to the social, nor what the social structures does to the technique, but we want to highlight the shifting principles that define interactions between technologies and humans. We therefore underline how using these motion sensors gives birth to different human modes of being present, co-present, or in a sensory and thymic interaction with technology. This article is based on experimental use tests, convoking both artists and engineers, questioning differently the relationship between technology, human and the interaction order. Our result is to question how using and being with these motion sensors, as a dancer, displace epistemological oppositions such as person/machine. It finally sheds light on how some others classical models can move, especially the semiotic decomposition of interaction processes and status.

  15. The relationship between postural stability and dancer's past and future lower-limb injuries.

    Science.gov (United States)

    Clark, Terry; Redding, Emma

    2012-12-01

    In an effort to address dance-related injuries, screening programs are typically employed to assess injury susceptibility. The aim of this study was to explore for potential links between postural stability and dancers' previous lower-limb injuries and susceptibility to future lower-limb injuries. Eighty-five contemporary dance students were recruited at a UK dance conservatoire. Information concerning previous injuries was collected by self-report survey. The participants completed two balance tasks, one static and one dynamic, performed on a RS Scan Footscan pressure pad to calculate postural sway. Injuries in the participant cohort were then tracked for a 10-month period to assess injury susceptibility. The participants exhibited significantly less postural sway when balancing on the left leg than their right, and the women exhibited less postural sway than the men. A one-way ANOVA revealed that participants who had experienced a lower-limb injury in the 12 months prior to testing exhibited more postural sway than participants who had not experienced a lower-limb injury, with some of the differences attaining significance (p dance and work to fully ascertain injury susceptibility.

  16. The dialogical dance: self, identity construction, positioning and embodiment in tango dancers.

    Science.gov (United States)

    Tateo, Luca

    2014-09-01

    Argentine tango is a complex phenomenon, involving music, dancing and lifestyle, today practiced by hundreds of thousands of people worldwide. This is already a good reason for psychology to make it an object of study. Besides, studying tango could also help to develop a dialogical way of theorizing and a dialogical methodology, taking into account both the genetic historical and eso-systemic dimensions and the individual experiencing. As any other product of human psyche, tango creates an universal and abstract representation of life starting from very situated and individual acts. Such institutionalized representation, which is at the same time epistemological, ethical and aesthetical, becomes a tradition -that is the framework distanced from the individual immediate experience- within which the meaning of the experiences to be make sense in return. To illustrate this epistemological and methodological stance, a history of the development of tango as dialogical social object first is sketched. Then, an ethnographic study about the Self actuation in a community of Italian tango dancers is presented. Results show how participants construct and actuate their identities in a dialogue between their I-positions inside and outside tango community.

  17. Corporeidade e sexualidade em dançarinos de rua: axé e hip hop Bodyness and sexuality of street dancers: axé and hip hop

    Directory of Open Access Journals (Sweden)

    Fernando Luiz Cardoso

    2011-12-01

    Full Text Available Analisaram-se aspectos da corporeidade e sexualidade em dançarinos de hip hop e axé (35 homens e 49 mulheres comparativamente a indivíduos não-dançarinos expectadores da plateia (21 homens e 19 mulheres, via questionário anônimo. Os dançarinos de axé foram os mais satisfeitos com suas vidas sexuais, com as preliminares sexuais e os que mais gostavam de se masturbarem em relação aos de hip hop e plateia. Dançarinos do axé apresentaram uma sexualidade mais vinculada ao conhecimento corporal e conexões afetivas. Em ambos estilos, os dançarinos homens davam maior ênfase à genitália e a libido em relação aos aspectos da afetividade.We analyzed selected aspects of the bodyness and sexuality of hip hop and axé dancers (35 men and 49 women in comparison with non-dancer controls (21 men and 19 women through anonymous questionnaire. The axé dancers were the most satisfied with their sexual lives, with sexual preliminaries and who liked more to masturbate when compared with the hip hop dancers and controls. Axé dancers of both sexes presented a strong link between their sexuality and their corporal knowledge and affective connections. Men dancers were more focused in their genitals and gave stronger sexual emphasis to libido rather than affectivity.

  18. AN INTERVENTION-BASED CLINICAL REASONING FRAMEWORK TO GUIDE THE MANAGEMENT OF THORACIC PAIN IN A DANCER: A CASE REPORT

    Science.gov (United States)

    Kirker, Kaitlin; Collins, Cristiana Kahl; Hanney, William; Liu, Xinliang

    2016-01-01

    Background and Purpose As a result of the anatomical proximity of the thoracic spine to the cervical, lumbar, and shoulder regions, dysfunction in the thoracic spine can influence pain, mobility, and stability across these areas. Currently, a paucity of evidence exists addressing treatment of individuals with primary thoracic pain, especially in young, athletic patients. Furthermore, current research discussing clinical reasoning frameworks focus on the differential diagnostic process. The purpose of this case report was to present a framework that describes the clinical reasoning process for the implementation and sequencing of procedural interventions for the management of a dancer with thoracic pain. Case Description A 21-year-old female dancer presented to physical therapy with a medical diagnosis of thoracic pain. The patient reported exacerbation of left thoracic pain with prolonged sitting, twisting/arching her back during dance, and lifting >15 lbs overhead. Examination revealed hypomobility with positive pain provocation during mobility testing of T1-T3 and the sternocostal junction of ribs 2-4, with associated muscle guarding palpated in the left iliocostalis thoracis and levator scapulae. Outcomes Following 10 visits, the patient had no pain, no functional deficits, and a Global Rating of Change (GROC) of + 6. She returned to full competition, and a 3-month follow-up revealed continued success with dancing and a GROC of +7. Discussion This case report described the successful management of a dancer with primary thoracic pain using a clinical reasoning framework for the sequencing of procedural interventions, while incorporating Olson's impairment-based classification system. A combination of manual therapy techniques and neuromuscular control exercises were incorporated to address mobility, stability, mobility on stability, and skill level impairments, which allowed the patient to return to dance activities safely. Future studies should consider the

  19. 论芭蕾舞基训在体育舞蹈教学中的作用%The Role of Basic Training of Ballet in Sports Dance Teaching

    Institute of Scientific and Technical Information of China (English)

    汪阳帆

    2015-01-01

    通过查阅各种文献资料,从芭蕾舞与体育舞蹈的共性分析出发,讨论芭蕾基训在体育舞蹈教学中的作用和重要性,以期为体育舞蹈科学训练提供一些教学思路,为体育舞蹈的能力、技术的提高提供一些理论参考。%By consulting all kinds of related literature of ballet and sports dance training, starting from the general analysis of ballet and sports dance, this paper discusses the role and the importance of basic training of ballet in sports dance teaching, in order to provide some teaching ideas for science training of sports dance, to provide some theoretical reference for the improvement of the technology ability of sports dance.

  20. Da formação em ballet à atuação em dança: a práxis criadora como caminho de superação

    OpenAIRE

    2015-01-01

    Esse estudo teve como objetivo apreender os sentidos e significados que o professor de ballet atribui ao seu processo de formação e atuação (tanto como bailarino quanto educador). Para tanto, selecionou-se um bailarino (Rodolfo), professor de dança (que lecionou ballet por determinado período) em instituição privada e projeto social. Foi realizada uma entrevista, em um ambiente público, que buscou apreender a história de vida do participante. A entrevista foi gravada e audiotranscrita de acor...

  1. Coreógrafas, directoras y pedagogas: la contribución de la mujer al desarrollo del ballet y los cambios de paradigmas en la transición al s. XXI

    OpenAIRE

    ABAD CARLES, ANA MARIA

    2013-01-01

    La presente tesis doctoral presenta un repaso del papel de la mujer en el ballet a lo largo de su historia y recoge los cambios que se han producido a lo largo del s. XX, con especial énfasis en las últimas décadas del pasado siglo y en los inicios del nuevo milenio. En una primera parte, esta investigación se centra en la recuperación de diversas figuras femeninas que, en diferentes puntos geográficos y a lo largo de la historia del ballet, en especial durante el s. XX, participaron en e...

  2. EEG frequency tagging dissociates between neural processing of motion synchrony and human quality of multiple point-light dancers

    Science.gov (United States)

    Alp, Nihan; Nikolaev, Andrey R.; Wagemans, Johan; Kogo, Naoki

    2017-01-01

    Do we perceive a group of dancers moving in synchrony differently from a group of drones flying in-sync? The brain has dedicated networks for perception of coherent motion and interacting human bodies. However, it is unclear to what extent the underlying neural mechanisms overlap. Here we delineate these mechanisms by independently manipulating the degree of motion synchrony and the humanoid quality of multiple point-light displays (PLDs). Four PLDs moving within a group were changing contrast in cycles of fixed frequencies, which permits the identification of the neural processes that are tagged by these frequencies. In the frequency spectrum of the steady-state EEG we found two emergent frequency components, which signified distinct levels of interactions between PLDs. The first component was associated with motion synchrony, the second with the human quality of the moving items. These findings indicate that visual processing of synchronously moving dancers involves two distinct neural mechanisms: one for the perception of a group of items moving in synchrony and one for the perception of a group of moving items with human quality. We propose that these mechanisms underlie high-level perception of social interactions. PMID:28272421

  3. Web Tension regulation of multispan roll-to-roll system using integrated active dancer and load cells for printed electronics applications

    Science.gov (United States)

    Zubair, Muhammad; Ponniah, Ganeshthangaraj; Yang, Young Jin; Choi, Kyung Hyun

    2014-03-01

    The mass production of printed electronics can be achieved by roll-to-roll(R2R) printing system, so highly accurate web tension is required that can minimize the register error and keep the thickness and roughness of printed devices in limits. The web tension of a R2R system is regulated by the use of integrated load cells and active dancer system for printed electronics applications using decentralized multi-input-single-output(MISO) regularized variable learning rate backpropagation artificial neural networks. The active dancer system is used before printing system to reduce disturbances in the web tension of process span. The classical PID control result in tension spikes with the change in roll diameter of winder and unwinder rolls. The presence of dancer in R2R system shows that improved web tension control in printing span and the web tension can be enhanced from 3.75 N to 4.75 N. The overshoot of system is less than ±2.5 N and steady state error is within ±1 N where load cells have a signal noise of ±0.7 N. The integration of load cells and active dancer with self-adapting neural network control provide a solution to the web tension control of multispan roll-to-roll system.

  4. Primera aproximación al análisis del ballet clásico a la luz de la praxiología motriz

    OpenAIRE

    Troya Montañez, Yanira; Hernández Moreno, José; Cuéllar Moreno, María Jesús

    2011-01-01

    Nuestra investigación es de carácter artístico y se enmarca dentro del ámbito de la Praxiología Motriz. Para la realización de la misma, empleamos la metodología observacional sistemática para estudiar las posibles conductas motrices que se dan en el ballet clásico. Desde esta perspectiva, la primera parte del estudio consiste en elaborar un sistema de categorías para analizar dicha práctica, culminando con la observación de un fragmento de la obra “Don Quijote”. La presente investigaci...

  5. Mime, Music and Drama on the Eighteenth-Century Stage. The Ballet d'Action. Edward Nye, Cambridge-New York, Cambridge University Press, 2011

    Directory of Open Access Journals (Sweden)

    Stefania Onesti

    2012-11-01

    Full Text Available Mime, Music and Drama on the Eighteenth-Century Stage by Edward Nye (Cambridge University Press, 2011 has the merit of inspiring a strong reflection on ballet d'action, connected with cultural, literaturary and philosophic environment of Eighteenth century. The author, with brilliant insight and careful historical research, explores the most debated issues of the new genre, providing an unusual interpretation. The review traces the focal points and the structure of the book, developing further consideration of some of the most challenging aspects offered by the text.

  6. Effect of practicum experiences on pre-professional physical education teachers' intentions toward teaching students with disabilities in general physical education classes Efeito de experiências práticas nas intenções de professores de educação física não capacitados para ensinar, na escola regular, alunos com deficiência

    Directory of Open Access Journals (Sweden)

    M. Kathleen Ellis

    2012-09-01

    Full Text Available The purpose of this study was to examine the effect of practicum experiences on pre-professional physical education teachers' intentions toward working with individuals with disabilities. Pre-professional physical education teachers were students in their respective university's PETE programs and were categorized based on level of practicum experience. Over a three year period, a total of 596 PETE students completed the Physical Educators' Intention toward Teaching Individuals with Disabilities (PEITID questionnaire (Rizzo, 2007. Significant differences were found among groups for overall intention to teach students with disabilities in their general physical education classroom. Additionally, trends of more positive intentions among pre-professionals with greater practicum experiences lead to higher Quality of Experience and Perceived Competence. The results of this study indicated that the level and quality of practicum experience significantly influence pre-professional teachers' intentions and competence toward teaching individuals with disabilities. (138 wordsO objetivo deste estudo foi examinar o efeito de experiências práticas nas intenções dos professores de educação física não capacitados com relação ao trabalho com pessoas com deficiência. Participaram da pesquisa professores de educação física matriulados como estudantes em programas de capacitação (PETE em suas respectivas universidades, categorizados com base no nível de experiência prática. Num período de três anos, 596 alunos PETE preencheram o questionário PEITID - Physical Educators' Intention toward Teaching Individuals with Disabilities (Rizzo, 2007. Foram encontradas diferenças significativas entre os grupos que tinham a intenção de ensinar alunos com deficiência em turmas regulares de educação física. Além disso, as intenções mais positivas entre os professores não capacitados com mais experiência prática se relacionam com a maior Qualidade

  7. 我国职业组标准舞选手与拉丁舞选手对比分析%The Comparative Analysis of Our Professional Standard Dancer and Latin Dancer

    Institute of Scientific and Technical Information of China (English)

    孙贻蕙; 王子豪

    2014-01-01

    文章采用文献资料法、调查法、数据统计法等研究方法,通过对我国职业组标准舞和拉丁舞选手进行比较分析,得出标准舞与拉丁舞虽同属于体育舞蹈项目下的两大分支,但因其舞蹈风格和技术特点的不同,所以在标准舞与拉丁舞选手体型、身高、性格等方面都存在差异。文章旨在为我国体育舞蹈后备人才力量的选拔以及体育舞蹈参与者结合自身特点选择发展方向提供参考和理论依据。%With the methods of literature review,investigation,statistics and other research methods,through our professional group Ballroom and Latin dancers perform;a comparative analysis of two studies is made.The result shows that dance ballroom and Latin dance Sport belongs to the project under branch,but because of different dance styles and technical characteristics,so in Ballroom and Latin dancers size,height,and other aspects of per-sonality differences.The purpose of this paper is for the selection of participants and sports dance,sport talented combining forces to select the direction from the characteristics of reference and theoretical basis.

  8. Pedagogy of the Possessed: re-thinking the Dancer-Researcher-Performer (BPI method in dance curricula in Brazil

    Directory of Open Access Journals (Sweden)

    Ana Paula Höfling

    2016-05-01

    Full Text Available This paper calls into question the central tenets of the Dancer-Researcher-Performer (BPI method taught at the Universidade Estadual de Campinas (Unicamp in Brazil. The analysis problematizes the underlying assumption that students lack an awareness of their own Brazilianness, which they must find through BPI, and questions a choreographic methodology where students are coached to be possessed by the dance. The paper draws attention to the power imbalances inherent in BPI’s co-habitation experience, where students research marginal others who are understood as the source of authentic Brazilian culture. The paper invites BPI students and teachers to reconsider the ethics of this research methodology, and to consider the possibility of choreographic research that engages both mind and body critically and consciously.

  9. Contraception and clean needles: feasibility of combining mobile reproductive health and needle exchange services for female exotic dancers.

    Science.gov (United States)

    Moore, Eva; Han, Jennifer; Serio-Chapman, Christine; Mobley, Cynthia; Watson, Catherine; Terplan, Mishka

    2012-10-01

    Young women engaged in exotic dancing have a higher need for reproductive health services than women not in this profession, and many also use drugs or exchange sex for money or drugs. Few report receiving reproductive health services. We describe a public health, academic, and community partnership that provided reproductive health services on needle exchange mobile vans in the "red light district" in downtown Baltimore, Maryland. Women made 220 visits to the vans in the first 21 months of the program's operation, and 65% of these visits involved provision of contraception. Programmatic costs were feasible. Joint provision of needle exchange and reproductive health services targeting exotic dancers has the potential to reduce unintended pregnancies and link pregnant, substance-abusing women to reproductive care, and such programs should be implemented more widely.

  10. RELATIONSHIP OF CHARACTERISTICS OF MUSCULAR COORDINATION, BALANCE AND THE OF THE VEGETATIVE-VASCULAR DEPENDENTS ON DANCERS

    Directory of Open Access Journals (Sweden)

    Yu. P. Bredikhina

    2013-01-01

    Full Text Available Study the relation between the characteristics of muscle coordination, balance, and - vegetative-vascular balance on dancers. The dependence of balance and coordination abilities of the nature of the muscle and, in turn, from the vegetative-vascular support activities. The method of correlation analysis were confirmed by the relationship of coordination abilities with the characteristics of the bioelectrical activity of the muscles and vegetative-vascular support. All the above allows us to consider the formation of skills in ballroom dancing as a single functional system, in which the sense of balance and coordination abilities that determine the skill level of athletes associated with the information field of visual and vestibular reception, to the organization of the contractile activity of muscles and vegetative-vascular maintenance activities.

  11. Application of alpha/theta neurofeedback and heart rate variability training to young contemporary dancers: state anxiety and creativity.

    Science.gov (United States)

    Gruzelier, J H; Thompson, T; Redding, E; Brandt, R; Steffert, T

    2014-07-01

    As one in a series on the impact of EEG-neurofeedback in the performing arts, we set out to replicate a previous dance study in which alpha/theta (A/T) neurofeedback and heart rate variability (HRV) biofeedback enhanced performance in competitive ballroom dancers compared with controls. First year contemporary dance conservatoire students were randomised to the same two psychophysiological interventions or a choreology instruction comparison group or a no-training control group. While there was demonstrable neurofeedback learning, there was no impact of the three interventions on dance performance as assessed by four experts. However, HRV training reduced anxiety and the reduction correlated with improved technique and artistry in performance; the anxiety scale items focussed on autonomic functions, especially cardiovascular activity. In line with the putative impact of hypnogogic training on creativity A/T training increased cognitive creativity with the test of unusual uses, but not insight problems. Methodological and theoretical implications are considered.

  12. Танцы и шахматы от "Goltsman Ballet" в Кохтла-Ярве / Ирина Кивисельг

    Index Scriptorium Estoniae

    Кивисельг, Ирина, 1961-

    2017-01-01

    Tantsutrupp Goltsman Ballet esitleb Kohtla-Järve kultuurikeskuses oma uut etendust, tantsulist malemängu "Seiklus malemaailmas". Etendusega avatakse kiirmale juubeliturniir Kohtla-Järvel. Selgitusi jagab Goltsman Balleti kunstiline juht Maria Goltsman

  13. Supplementary motor area and primary auditory cortex activation in an expert break-dancer during the kinesthetic motor imagery of dance to music.

    Science.gov (United States)

    Olshansky, Michael P; Bar, Rachel J; Fogarty, Mary; DeSouza, Joseph F X

    2015-01-01

    The current study used functional magnetic resonance imaging to examine the neural activity of an expert dancer with 35 years of break-dancing experience during the kinesthetic motor imagery (KMI) of dance accompanied by highly familiar and unfamiliar music. The goal of this study was to examine the effect of musical familiarity on neural activity underlying KMI within a highly experienced dancer. In order to investigate this in both primary sensory and motor planning cortical areas, we examined the effects of music familiarity on the primary auditory cortex [Heschl's gyrus (HG)] and the supplementary motor area (SMA). Our findings reveal reduced HG activity and greater SMA activity during imagined dance to familiar music compared to unfamiliar music. We propose that one's internal representations of dance moves are influenced by auditory stimuli and may be specific to a dance style and the music accompanying it.

  14. What Organizes the Molecular Ballet that Promotes the Movement of the Axoneme in Such a Way that its Molecular Machinery Seems to be a Whole?

    Science.gov (United States)

    Cibert, Christian

    2005-03-01

    The axonemal machinery constitutes a highly organized structure whose mechanisms seem to be very simple but whose regulation remains unknown. This apparent simplicity is reinforced by the fact that many models are able to perfectly mimic the axonemal wave trains that propagate along cilia and flagella. However nobody knows what are the actual mechanisms that coordinate the molecular ballet that exist during the beat. Here we present some theoretical elements that show that if the radial spokes are one of the main elements that promote axonemal regulation, they must be involved in a complex mechanism that makes the axoneme a discrete structure whose regulation could depend on local entropy that promotes the emergence of new molecular properties.

  15. The Russian musical emigration in Yugoslavia after 1917

    Directory of Open Access Journals (Sweden)

    Melita Milin

    2003-01-01

    Full Text Available Around forty thousand Russian emigrants settled in Yugoslavia running away from the terror of the 1917 Revolution. A high percentage of them were writers, artists, musicians and ballet dancers. Their greatest contribution to Yugoslav musical culture consists in the important acceleration they brought to the development of the domestic scene. Especially valuable were the activities of opera singers and directors, ballet dancers and choreographers, scenery designers, conductors of church choirs and music pedagogues.

  16. The Aesthetic and Training Exploration of the Ballet Point Work%芭蕾足尖审美与训练探究

    Institute of Scientific and Technical Information of China (English)

    高娟敏

    2012-01-01

    Ballet is an art of body language. As a kind of visual art, the appearance of point work changed the art form considerably with aesthetic features as being pulling upwards and full of stretching force. This paper analyzes the aesthetic characteristics of stretching force in ballet point work from perspectives of artistic form effect and movement mechanics. The author also points out the function of point work training in ankle, knee and the core of body with the intention of sharing ideas and facilitating further research on more effective, scientific and artistic training of point work.%作为一种视觉艺术,芭蕾足尖技术的出现,给芭蕾舞艺术带来了一场革命,使芭蕾在轻盈飘逸的基础上具有挺拔向上、充满张力的审美特征。本文从审美视角入手,从视觉形式和运动力学角度分析芭蕾足尖艺术中张力美的审美特征,并对芭蕾足尖训练在体现芭蕾足尖艺术美时踝关节、膝关节和身体中段的作用及其训练进行分析论证,旨在探讨如何使脚尖训练更具有成效性、科学性和艺术性。

  17. Assessment of range of motion and muscular shortening in female flamenco dancers. Valoración de las amplitudes articulares y acortamientos musculares en bailaoras de flamenco.

    Directory of Open Access Journals (Sweden)

    José L. Costa Sepúlveda

    2011-12-01

    Full Text Available The purpose of the study was to assess flexibility and range of motion in flamenco dancers of Cádiz, Sevilla and Jaén (Spain through a tests battery. The study population comprised 37 healthy flamenco dancers (25 ± 7,2 years, 1,6 ± 0,5 m y 56 ± 7,6 Kg. They performed a range of flexibility and motion tests (i.e. Kendall test, Nachlas test. Results has shown that there is muscle shortening in most of the tests that flamenco dancers has passed. We conclude that there are not many articles on physiological and fitness aspects of dance and we think that it is necessary a specific physical dancer training, to prevent injuries and to extend dancers life.El objetivo de este estudio es la valoración de la flexibilidad muscular y la amplitud articular en bailaoras de flamenco de la provincia de Cádiz, Sevilla y Jaén, a través de una batería de tests. En el estudio participaron 37 bailaoras de danza flamenca de 25 ± 7,2 años, con una altura con valores de 1,6 ± 0,5 m y 56 ± 7,6 Kg de peso. La batería está compuesta de las siguientes pruebas que se realizarán a través del protocolo de actuación especificado: Prueba de rotadores internos y aductores del hombro, Prueba de Kendall, Prueba de Diagonal Posterior, Prueba de Nachlas, Prueba de Ridge, Prueba de Flexión de cadera con rodilla en extensión, Prueba de Thomas y Prueba de Elongación de los flexores plantares. Los resultados demuestran que existen acortamientos en diferente musculatura implicada como los rotadores internos y aductores del hombro, dorsal ancho, pectoral mayor, redondo mayor, cintura escapular, psoas-ilíaco, recto anterior del muslo y sóleo. Concluir con la escasa existencia de artículos relacionados con la valoración de la condición física de bailarines de cualquier modalidad de danza y con la necesaria aplicación de un entrenamiento planificado complementario con una propuesta de ejercicios de mejora de la musculatura implicada y, así, poder prevenir futuras

  18. Planning Research of Shaanxi Xianyang ballet Baby Photography Museum Network Marketing Based on%基于陕西咸阳芭蕾宝贝摄影馆网络营销策划研究

    Institute of Scientific and Technical Information of China (English)

    刘辉

    2013-01-01

    文章主要针对咸阳市乐育南路巴黎宝贝旗舰店做出网络营销方案,能够很好的帮助贵单位进行推广,同时也能使广大消费者理性的选择自己的所需。通过芭蕾宝贝摄影馆网络营销策划方案的制定和实施,充分利用网络宣传优势,提高自己的知名度,为芭蕾宝贝摄影馆提供长远的发展规划,力争使芭蕾摄影馆品牌价值得以显著提升。%This article mainly aims at the Xianyang Le Yu Nan Lu baby in Paris flagship store to make a network marketing program,can help the good of your organization to promote,but also to enable consumers to rational choice their required. Ballet Baby Photography Museum through network marketing plan formulation and implementation plan,make full use of network advantages of the propaganda,enhance their visibility, with the long-term development plan for the ballet Baby Photography Museum, and strive to make the ballet studio to significantly enhance the brand value.

  19. T he Comparison of Turkish Folk Dancers with Sedentary People in Terms of Some Physical Fitness P aram e ters

    Directory of Open Access Journals (Sweden)

    Ender ŞENEL

    2014-03-01

    Full Text Available The aim of this study wa s to compare Turkish folk dancers with sedentary people in terms of some physical fitness p arameters . 12 women and 14 men from Turkish folk dances team, which took part in a contest in 2013 and 12 sedentary women and 14 sedentary men from Muğla Sıtkı Koçman University, totally 52 volunteers, pa rticipated in this study. Height, weight, strength, flexibility, vertical jump and anaerobic power of subjects were measured with measuring tools. Descriptive and Mann - Whitney U tests in SPSS 16.0 were used to analyze data. When physical fitness p arameters of men Turkish folk dances athletes and sedentary men were compared, while statistically significant difference was found between the right - hand grip strength, the left - hand grip strength and vertical jump (p0.05. When physical fitness p arameters of women Turkish folk dances athletes and sedentary women were compared, while statistically significant difference was found between the right - hand grip strength, the left - hand grip strength, vertical jump and a naerobic power (p0.05. Consequently, it was found that the right and left handgrip strength and vertical jump values of women and men Turkish folk da nces athletes were higher than sedentary. It can be said that these differences result from that they usually do exercises for development of these p arameters because of the nature of this sport branch.

  20. Ballet and Dance

    Science.gov (United States)

    ... 18-21yrs. Healthy Living Healthy Living Healthy Living Nutrition Fitness Sports Oral Health Emotional Wellness Growing Healthy Sleep Safety & ... Word Shop AAP Find a Pediatrician Healthy Living Nutrition Fitness Sports Oral Health Emotional Wellness Sleep Growing Healthy Healthy ...

  1. Ballet Balance Strategies

    DEFF Research Database (Denmark)

    Pedersen, Camilla; Erleben, Kenny; Sporring, Jon

    2006-01-01

    Animating physically realistic human characters is challenging, since human observers are highly tuned to recognize human cues such as emotion and gender from motion patterns. The main contribution of this paper is a new model firmly based on biomechanics, which is used to animate balance and basic...

  2. Descriptive study of pelvic mobility in female flamenco dancers. Estudio descriptivo de la movilidad pélvica en bailarinas de flamenco

    Directory of Open Access Journals (Sweden)

    Sebastián Gómez-Lozano

    2012-05-01

    Full Text Available There are few studies about the behavior of the back mobility in flamenco dancers, although in styles such as classical, it is known that these practices have a generous range of motion of the trunk. This study analyzes the hamstring extensibility in flamenco dancers, and its relationship to the biomechanics of the pelvic mobility. The Sit-and-reach Test (DD-P, Lumbo Sacral Angle (L-Hfx, and the Straight Leg Raising (EPR have been used. Sixty six women have been studied, 33 Flamenco-Spanish dancers, and 33 who performed physical activity maintenance (control group. The average age of the dancers was 12.22 + 4.21 years, height 162 cm and weight 5.35 + 7.4 kg. Mean years of training dance was 15.48 + 4.25, and the average time spent on specialty was 4.27 + 8.84 years. In DD-P, the flamenco group manifested a greater extent than the control group (t = 8.7, p <0.00005. In L-fx, the degree of pelvic tilt in maximum trunk flexion, determined significant differences in favor of flamenco group (t = -7.1, p <0.00005. In EPR, both for the right leg and the left, identifies significant differences in favor of flamenco group (t = 14.7, P <0.00005, t = 9.6, p <0.00005. Flamenco dancers have wide ranges of hamstring extensibility, there being no cases of hamstring shortness. Hamstring extensibility is significantly higher in the dancers than in control subjects.Son escasos los estudios sobre el comportamiento de la movilidad de la espalda en bailarinas de flamenco, si bien, en estilos como el clásico, es conocido que estas prácticas cuentan con un generoso rango de movimiento del tronco. Este estudio analiza la extensibilidad de la musculatura isquiosural en bailarinas de flamenco, y su vinculación con el comportamiento biomecánico de la movilidad pélvica. Se utilizó el Test Dedos-Planta (DD-P, el de Ángulo Lumbo-Horizontal en flexión (L-Hfx, y el de Elevación de la Pierna Recta (EPR. Se estudió una muestra de 66 mujeres, 33 bailarinas de Flamenco

  3. 论芭蕾舞之美--美学与教学的融合%The beauty of ballet--Fusion of aesthetic and teaching

    Institute of Scientific and Technical Information of China (English)

    孙亚男

    2014-01-01

    芭蕾起源于意大利,流传至法国,鼎盛于俄罗斯后流传到中国并逐渐职业化。它以规范、科学、严谨著称。芭蕾舞教学中,更多的是体现美、展现美,而并非是为了跳芭蕾而舞蹈,也并非是仅仅表达一种立足尖展示动作的形式,而应将他回归于舞蹈艺术起源的真谛,即展现人类的思想感情,无论是喜怒哀乐都可以通过身体不同形式的动作变化和组合表现出来。因此,虽舞蹈种类不同,但无论是中外各国家、民族的民间舞,欧洲古典舞蹈,还是中国古典舞蹈,它们都是最淳朴、本质的情与形的统一,任何一种舞蹈表现形式都不能脱离形、情、神、韵的统一。也就是说,美的“学习”需要经历一个过程,即发现美、认识美、展现美。%That originated in Italy in the ballet, spread to France, its spread to China and gradually after the Russian professional. It is famous for its specification, scientific, rigorous. As one of the art form, but the ballet is more beauty, show the beauty, and is not for the sake of ballet dance, also is not only to express a kind of based on pointed to show action form, and he should be back in the true meaning of dance art origin, which show human thoughts and feelings, both joys and sorrows can change through different forms of body movement and the combination. Therefore, although different dancing, but both the Chinese and foreign countries, the national folk, European classical dance, or the Chinese classical dance, they are the most honest and the nature of the emotion and form unification, any kind of dance form cannot be out of shape, affection, god, the unification of the musical sound. That is to say,"learning"need to experience a process of beauty, which found that beauty, beauty, show beauty.

  4. The ability to create pre-professional students in the art of teaching culture insights and try%通过美术教学培养学前教育专业学生创造能力的见解和尝试

    Institute of Scientific and Technical Information of China (English)

    周丽霞

    2013-01-01

      随着职中生源质量的下降,在美术教学中,如何针对学前教育专业学生的特点和客观实际,有效培养学生的创造能力,是当前迫切需要解决的一大难题,文章试从兴趣入手,以成功为动力,开展丰富多彩的美术活动等方面,阐述解决这一难题的方法。%With the decline in the quality of vocational students in the art of teaching, characteristics of students for pre-professional and objective reality, effectively develop students' ability to create, is the urgent need to address a major problem. The article tries to start from the interest to successfully carry out a variety of art activities and other aspects of the method to solve this problem.

  5. 舞蹈治疗对于舞者身心健康的意义初探%A Preliminary Investigation into the Effect of Dance Therapy on Physical and Mental Health of Dancers

    Institute of Scientific and Technical Information of China (English)

    顾丽; 赵妍

    2011-01-01

    The effect of dance therapy on physical and mental health of dancers is a blind spot in theoretical research and empirical analysis.Action is the most familiar language for dancers.Dance therapy has a particular effect on dancers if they break through the bottleneck of the "feeling" for action.Dance therapy can help dancers to accept the body,enhance the level of self-image and self-esteem,vent emotions,relieve stress,improve interaction and promote artistic creativity and showmanship.%舞蹈治疗对于舞者身心健康的意义,在理论和实证研究中是一个盲点。动作是舞者最熟悉的语言,一旦突破了对动作的"体验"瓶颈,舞蹈治疗和辅导对于舞者接纳身体、提升自我意识和自尊水平,表达和宣泄情绪及缓解压力,改善人际互动,提升艺术创造力和表现力等方面具有独特的价值和作用。

  6. Purplebook Alpha: For Pre-Professional Trainees in Higher Education.

    Science.gov (United States)

    Reitan, Henry M.; Coole, Walter A.

    The "Purplebook" is an essential part of the "Greenbook System"--an integrated sequence of five programs (Alpha, Beta, Gamma, Delta, and Epsilon) for professional development of college educators. The Alpha program is designed for college seniors or graduate students preparing for careers in higher education. Purplebook Alpha…

  7. Design and Analysis of Virtual Hinged Shaft in Tilted Ballet Stage%芭蕾舞台倾斜台面虚拟铰轴的设计与分析

    Institute of Scientific and Technical Information of China (English)

    张向勇; 刘斌; 常江江

    2016-01-01

    介绍虚拟铰轴机构在芭蕾舞台倾斜台面中的应用,该机构有效地实现了台面接口在运动过程中始终保持契合,重点对翻转驱动力进行分析,并进一步提出改进与优化措施。%This paper introduces the application of virtual hinged shaft in tilted ballet stage. This structure keeps stage borders effectively fitted during motion. This paper lays emphasis on reversal driving forces, and proposes approaches for further optimization.

  8. Treatment of Type 3 Arthrofibrosis Following Arthroscopic Reconstruction of ACL and Posterolateral Corner Injury with Tibia Plateau Fracture in a Professional Dancer

    Science.gov (United States)

    Aksu, Neslihan; Abay, Burak; Soydan, Ramazan; Atansay, Vefa

    2014-01-01

    Objectives: Arthrofibrosis is a serious complication following the reconstruction of anterior cruciate ligament (ACL) and posterolateral corner (PLC) injury. Loss of motion caused by arthrofibrosis can be disabling in young and active patients. We report the clinical results of the treatment of arthrofibrosis following arthroscopic reconstruction of ACL with ipsilateral hamstring tendon graft and surgically repairing PLC with 2 suture anchors in a 30 year-old professional dancer, treated with surgical lysis and manipulation under general anesthesia followed by aggressive physical therapy. Methods: A 30 year-old male professional dancer presented with pain, effusion and severe instability in his left knee after falling in a dance event. The pain was evaluated on Visual analog scale (VAS) as 6 to 8. At the physical examination, anterior drawer test was evaluated as grade 3, pivot shift test, varus test, dial test and posterolateral drawer test were found positive. The Tegner Lysholm score was evaluated as 22 (poor). Under general anesthesia, left knee had tendency to external rotation and recurvatum when leg was suspended by toes. A magnetic resonance image (MRI) revealed the presence of a total ACL rupture, PLC injury and a fracture of lateral tibia plateau. The patient was treated with arthroscopic reconstruction of ACL with ipsilateral hamstring tendon graft fixed with endobutton through femoral tunnel and bio interference screw through tibial tunnel and PLC injury was treated with 2 suture anchors. Postoperatively first day, quadriceps musculature and active and passive ROM exercises was trained. During postoperatively third week, the patient was allowed to mobilize nonweight bearing with the use of two crutches without functional knee brace. At the sixth week, arthroscopic lysis was performed due to type 3 arthrofibrosis. At the tenth week, manipulation was performed to the left knee under general anesthesia. Results: At the 3 month- follow-up, the patient

  9. Analyses about Experimental the Influence of Drilling Prancing Ballet step on the Strength of Leg%马步站桩对下肢力量影响实验的分析

    Institute of Scientific and Technical Information of China (English)

    王立利

    2011-01-01

    By doing experiments,consulting reference materials and applying statistical method,this article is to study the influence of drilling prancing Ballet step on the strength of leg and spring.It is proved that drilling prancing ballet step has a notable influence on the development of the strength in legs,but has little effect on lower limb explosive power.%主要采用实验法、文献资料法和数理统计法,就马步站桩练习对下肢力量发展的影响进行了实验,通过测得受试者实验前后的马步站桩的时间和纵跳摸高的高度两个指标,分析得知马步站桩练习对下肢力量耐力的影响明显,而对下肢爆发力的影响不大。

  10. O Balé Clássico e a Dança Contemporânea na formação humana: caminhos para a emancipação Classic Ballet and Contemporary Dance in Human Development: Paths to Freedom El Ballet Clásico y la Danza Contemporánea en la Formación Humana: Caminos para la Emancipación

    Directory of Open Access Journals (Sweden)

    2006-11-01

    Full Text Available Este artigo vem analisar, a partir de um estudo de caso comparativo entre o balé clássico e a dança contemporânea, como a dança se relaciona com a formação humana em uma sociedade capitalista hegemônica. Presenciamos na dança contemporânea formas muito ricas de trabalho, com uma grande abertura para o crescimento crítico e criativo do ser humano. Porém, estão presentes no grupo analisado algumas contradições no que se refere aos conteúdos e à metodologia utilizada para alcançar os objetivos. No balé clássico nos deparamos com a busca pela apropriação da técnica institucionalizada cujos significados e códigos refletem uma sociedade hierarquizada e autoritária. Sua proposta de trabalho é pautada na reprodução e repetição a fim de chegar a um movimento tecnicamente perfeito. Desvencilhar-se das antigas concepções reafirmadas pelo balé clássico sobre o ensino da dança é bastante árduo, porém muito necessário para que tenhamos uma nova proposta, pautada na liberdade e no respeito pela individualidade do ser humano. Acreditamos que também a possibilidade de criação, intervenção e questionamentos no espaço de ensino venha a ser fundamental para a formação de um ser humano que se entenda como sujeito de suas ações na sociedade em que está inserido. PALAVRAS-CHAVE: Dança - Formação humana - Balé clássico - Dança contemporânea. This article aims at analizing, from the starting point of a case study comparing Classic Ballet and Contemporary Dance, how dance can relate to human development, within the context of a capitalist-dominated society. We have observed that contemporary dance offers many enriching forms of work, with great openness for the perceptive and creative growth of a human being. The analyzed group, however, presented a few contradictions in regards to the contents and methodology that were used to achieve their goals. Lettin go of the old conceptions in the teaching of dance

  11. 'Dancer in the Dark?'

    DEFF Research Database (Denmark)

    Høgenhaven, Jesper

    2014-01-01

    Two famous Old Testament texts – Proverbs 8 and Job 28 - contain descriptions of wisdom as a pre-existent being with a special relationship to God before the world was created. However, these texts present pre-existent wisdom in two very different contexts and perspectives: In Proverbs 8 the cont......Two famous Old Testament texts – Proverbs 8 and Job 28 - contain descriptions of wisdom as a pre-existent being with a special relationship to God before the world was created. However, these texts present pre-existent wisdom in two very different contexts and perspectives: In Proverbs 8...... and ordering of the universe and enjoyed a special and privileged relationship with him, dancing in his presence, and how she continues to dance and take pleasure in the presence of humans in God’s world. The reference to wisdom’s pre-existence in this context serves to emphasize her deep roots in primeval...... time and her intimate connection with God and with the established order of the universe. This embedment in the divine order guarantees the validity of her teaching to the humans. In Job 28 the point is the inaccessibility of wisdom which is and remains out of reach for humans. Here wisdom does...

  12. Singalese Devil Dancers

    OpenAIRE

    Unknown

    2003-01-01

    278 x 216 mm. A posed view showing a group of four men dressed in ornate costumes and appearing to be in the middle of a dance. A fifth man, in simple clothing, is seated to the right and is playing a drum. Devil dancing is an important form of Sri Lankan dance, but the occult overtones are still strong. Sri Lankans of various religions believe that certain ritual devil dances can cure the sick, appease angry gods, and ensure good harvests. Dressed in elaborate and colourful costumes - a...

  13. Political And Economic Approach Of Women Working In Executive Levels In The Service Sector: Ankara State Opera And Ballet (Asob Case

    Directory of Open Access Journals (Sweden)

    Ilkben Akansel

    2012-04-01

    Full Text Available Political economy is related to how capitalist system works by means of distribution of economical and cultural sources which has also a connection between the circumstances of women’s working life. Because hegemony, which is reflected to hegemony’s ideology, constitutes its force by the mediation of the concepts: ‘discrimination’ and ‘segregation’. This force sometimes can effect women as both earning much less in some labor-force market, facing to harassment etc. and being obstructed to get top-level managerial positions in which institutes their work by means of political economy point of view.In this study, we will examine the art sector which is one of the sub-branches of service sector in the labor-force market. Our case is Ankara State Opera and Ballet (ASOB. In this case, we aim to display how the institution is founded, and accepted as a part of modernization with the beginning of Republic of Turkey and changed especially by means of political approaches in the last years.While doing this, we will elaborate the concepts of ‘discrimination’ and ‘segregation’ which issues women face in the labor-force market. Then, we will relate these three concepts with Antonio Gramsci’s ‘hegemony’ and Louis Althusser’s ‘ideology’, Michel Foucault’s ‘power’  and we will examine how women are assigned to the executive positions in the case of institution which we have chosen.We will study the circumstances which may be narrowed as; whether women are permitted to work in the top-level management or not, how many women have been worked in the top-level management in the history of the institution, if quantity has a meaning or not etc., by means of political economy.By the mediation of aforementioned subjects, we will analyse the reasons of women being prevented to work in the top-level management in the working life by economical, political and social aspects. Consequently, we will elaborate how political economy, in

  14. Planificación de la preparación física como método de prevención de lesiones en ballet clásico para las etapas de formación.

    OpenAIRE

    2015-01-01

    El ballet es una actividad física a caballo entre el arte y el deporte de élite cuyo instrumento de trabajo es el cuerpo. La finalidad de la presente investigación es sensibilizar al colectivo de la danza de la necesidad de llevar a cabo una preparación física adecuada, planificada y específica a las demandas físicas de la danza. El objetivo de dicha preparación física será mejorar el rendimiento de los bailarines y sobre todo reducir el elevado número de lesiones que se producen tanto en la ...

  15. 舞蹈演员静力性平衡能力的定量测评%Quantitative evaluation of static postural balance ability in a dancer

    Institute of Scientific and Technical Information of China (English)

    张秋海; 全明辉

    2012-01-01

    BACKGROUND: Balance ability for the dancers is an important quality, which directly influences stage performance.OBJECTIVE: To Judge the dancer's static postural balance ability using the method of natural science and to make itsquantification which can be compared with each other.METHODS: Totally 50 subjects from folk and classic professionals were tested by balance test system of BismarckSuperBalance which generated in Germany for obtaining the static balance data.RESULTS AND CONCLUSION: Most data of static balance in the subjects of classic professional were better than that of thefolk professional both male and female. Comprehensive score of the static balance ability in female was better than that of in themale. It is indicated that maybe classical professional requirements of higher skills and difficulty result in the difference ofmeasurement, and the differences of static balance ability of gender needs further verify.%背景:平衡能力对于舞蹈演员来说是一项重要的素质,直接影响着舞者在舞台上表现.目的:利用自然科学方法判断舞蹈演员静力性平衡能力,使其量化并能相互比较.方法:利用德国产Bismarck SuperBalance 平衡训练测试系统对民间舞专业和古典舞专业共计50 名受试者进行测试,得出各静力性平衡能力参数数据.结果与结论:无论男、女,古典舞专业受试者的绝大多数静力性平衡数据优于民间舞专业受试者;静力性平衡能力综合得分,女生显著性优于男生.提示古典舞专业要求更高的技巧和难度,可能是造成测量差异性的主要原因;而静力性平衡能力性别上的差异原因有待于进一步验证.

  16. DANCE, BALANCE AND CORE MUSCLE PERFORMANCE MEASURES ARE IMPROVED FOLLOWING A 9-WEEK CORE STABILIZATION TRAINING PROGRAM AMONG COMPETITIVE COLLEGIATE Dancers.

    Science.gov (United States)

    Watson, Todd; Graning, Jessica; McPherson, Sue; Carter, Elizabeth; Edwards, Joshuah; Melcher, Isaac; Burgess, Taylor

    2017-02-01

    Dance performance requires not only lower extremity muscle strength and endurance, but also sufficient core stabilization during dynamic dance movements. While previous studies have identified a link between core muscle performance and lower extremity injury risk, what has not been determined is if an extended core stabilization training program will improve specific measures of dance performance. This study examined the impact of a nine-week core stabilization program on indices of dance performance, balance measures, and core muscle performance in competitive collegiate dancers. Within-subject repeated measures design. A convenience sample of 24 female collegiate dance team members (age = 19.7 ± 1.1 years, height = 164.3 ± 5.3 cm, weight 60.3 ± 6.2 kg, BMI = 22.5 ± 3.0) participated. The intervention consisted of a supervised and non-supervised core (trunk musculature) exercise training program designed specifically for dance team participants performed three days/week for nine weeks in addition to routine dance practice. Prior to the program implementation and following initial testing, transversus abdominis (TrA) activation training was completed using the abdominal draw-in maneuver (ADIM) including ultrasound imaging (USI) verification and instructor feedback. Paired t tests were conducted regarding the nine-week core stabilization program on dance performance and balance measures (pirouettes, single leg balance in passe' releve position, and star excursion balance test [SEBT]) and on tests of muscle performance. A repeated measures (RM) ANOVA examined four TrA instruction conditions of activation: resting baseline, self-selected activation, immediately following ADIM training and four days after completion of the core stabilization training program. Alpha was set at 0.05 for all analysis. Statistically significant improvements were seen on single leg balance in passe' releve and bilateral anterior reach for the SEBT (both p ≤ 0

  17. Choice of jumping strategy in two standard jumps, squat and countermovement jump--effect of training background or inherited preference?

    DEFF Research Database (Denmark)

    Ravn, Susanne; Voigt, M; Simonsen, Erik Bruun

    1999-01-01

    Six male subjects, three professional ballet dancers and three elite volleyball players, performed maximal vertical jumps from 1) a static preparatory position (squat jump), 2) starting with a countermovement (countermovement jump) and 3) a specific jump for ballet and for volleyball, respectively....... The jumps were recorded on highspeed film (500 Hz) combined with registration of ground reaction forces, and net joint moments were calculated by inverse dynamics. The purpose was to investigate the choice of strategy in two standard jumps, squat jump and countermovement jump. The volleyball jump...... was performed with a sequential strategy and the ballet jump was performed with a simultaneous strategy. In the two standard jumps, the choice of strategy was individual and not related to training background. This was additionally confirmed in a test of seven ballet dancers and seven volleyball players....

  18. Chromosome choreography: the meiotic ballet.

    Science.gov (United States)

    Page, Scott L; Hawley, R Scott

    2003-08-08

    The separation of homologous chromosomes during meiosis in eukaryotes is the physical basis of Mendelian inheritance. The core of the meiotic process is a specialized nuclear division (meiosis I) in which homologs pair with each other, recombine, and then segregate from each other. The processes of chromosome alignment and pairing allow for homolog recognition. Reciprocal meiotic recombination ensures meiotic chromosome segregation by converting sister chromatid cohesion into mechanisms that hold homologous chromosomes together. Finally, the ability of sister kinetochores to orient to a single pole at metaphase I allows the separation of homologs to two different daughter cells. Failures to properly accomplish this elegant chromosome dance result in aneuploidy, a major cause of miscarriage and birth defects in human beings.

  19. РУССКИЕ МАСТЕРА БАЛЕТА НА БЕЛГРАДСКОЙ СЦЕНЕ В XX – НАЧАЛЕ XXI ВВ.

    Directory of Open Access Journals (Sweden)

    Viktor Ivanovich Kosik

    2017-02-01

    Full Text Available The main goal of the article is to outline significant contribution to the history of Belgrade ballet of those Russian dancers who came to the Kingdom of Serbia after leaving Russia in 1917, and to monitor the contribution of the next generations of Russian masters who came to Belgrade, the capital of the Kingdom of Yugoslavia, later the Socialistic Federative Republic of Yugoslavia. They have invested a lot of their effort, talent, and time, laid the foundations and provided very fast development of Belgrade ballet so that it caught up step with European ballet scene. The article, based on numerous sources and literature, including unpublished memoirs, confirmed that dancers who came after Bolshevik revolution contributed to the establishment of the national ballet center at the Belgrade National Theater and the ballet school where the first dancers of the Serbian origin were formed under the tutelage of Elena Poljakova, Nina Kirsanova, Xenia Grundt-Dumet. Celebrated ballerinas Anna Pavlova and Tamara Karsavina performed at the Belgrade stage in the twenties of the last century. In addition, unlike previously common approaches to this subject limited to the role and activity of the Russian emigration in the interwar period, the article is extended from the period during and after the Second World War to the present days. Accordingly, the paper includes the renowned Soviet masters such as Leonid Lavrovsky, Maya Plisetskaya, Natalia Dudinskaya, and those who have played important role in the contemporary ballet life in Serbia, to name Hmela, Pilipenko, Kasatkin, Logunov, and Kostjukov.

  20. Prevalence of chronic ankle instability and associated symptoms in university dance majors: an exploratory study.

    Science.gov (United States)

    Simon, Janet; Hall, Emily; Docherty, Carrie

    2014-01-01

    Previous investigations have established that dancers suffer a large number of injuries to the lower leg, foot, and ankle, with a portion of these being significant time loss injuries or in some cases career ending. Lateral ankle sprain is a common injury in dancers and can often lead to recurrent instability and repetitive injuries. Research in other active populations has linked ankle sprains to the development of chronic ankle instability (CAI). Therefore, the purpose of this study was to identify the prevalence of CAI and related symptoms of ankle sprain in a student dance population. Individuals were included if they were currently a modern or ballet dance major at the investigators' university (exclusion criterion: a history of fracture or surgery in the lower extremities). A self-reported demographic questionnaire and the Identification of Functional Ankle Instability survey were used to identify the presence and characteristics of CAI. A total of 83 questionnaires were collected, and after exclusions, 77 participants remained: 43 modern dancers and 34 ballet dancers (10 males and 67 females, mean age 19.61 ± 2.53 years, mean dance experience 13.61 ± 3.16 years). Of all dancers surveyed, 41 (53.2%) had CAI, and of those 24 (58.5%) were modern dancers, and 17 (41.5%) were ballet dancers. When looking only at those dancers who had a previous lateral ankle sprain, 75.9% were identified as having CAI. Chronic Ankle Instability can create long-term problems for anyone but especially female dancers, who place extreme stress on their feet and ankles from being en pointe or demi-pointe. It is important to educate dancers, instructors, and medical staff of the importance of recognizing CAI and seeking medical care for ankle sprains and their residual symptoms.

  1. 从《伊豆的舞女》探究川端康成的审美意识%Discussion on Kawabata Yasunari’s Aesthetic Consciousness through The Lzu Dancer

    Institute of Scientific and Technical Information of China (English)

    王蓉; 翁丽霞

    2014-01-01

    This paper starts around The Izu Dancer, by the way of text analysis, to explore Kawabata Yasunari’s aesthetic taste which infiltrated from The Izu Dancer, including three kinds of aesthetic con-sciousness: the vision of traditional Japanese beauty, mononoaware and the hazy beauty which he pursued and advocated. And from the geographical and humane environment———Japan’s traditional national con-sciousness, Kawabata’s own life experience and the background of the times these three aspects to trace back the root of Kawabata Yasunari’s aesthetic taste.%采用文本分析方式,探讨《伊豆的舞女》中所渗透的川端康成的审美情趣,即对日本传统美的憧憬,物哀思想的渗透以及他所追求提倡的朦胧美这三种审美意识,并从地理人文环境———日本的传统民族意识、川端自身的人生阅历以及时代大背景这三个方面来追溯川端康成审美情趣养成的根源。

  2. DANCE, BALANCE AND CORE MUSCLE PERFORMANCE MEASURES ARE IMPROVED FOLLOWING A 9-WEEK CORE STABILIZATION TRAINING PROGRAM AMONG COMPETITIVE COLLEGIATE Dancers

    Science.gov (United States)

    Graning, Jessica; McPherson, Sue; Carter, Elizabeth; Edwards, Joshuah; Melcher, Isaac; Burgess, Taylor

    2017-01-01

    Background Dance performance requires not only lower extremity muscle strength and endurance, but also sufficient core stabilization during dynamic dance movements. While previous studies have identified a link between core muscle performance and lower extremity injury risk, what has not been determined is if an extended core stabilization training program will improve specific measures of dance performance. Hypothesis/Purpose This study examined the impact of a nine-week core stabilization program on indices of dance performance, balance measures, and core muscle performance in competitive collegiate dancers. Study Design Within-subject repeated measures design. Methods A convenience sample of 24 female collegiate dance team members (age = 19.7 ± 1.1 years, height = 164.3 ± 5.3 cm, weight 60.3 ± 6.2 kg, BMI = 22.5 ± 3.0) participated. The intervention consisted of a supervised and non-supervised core (trunk musculature) exercise training program designed specifically for dance team participants performed three days/week for nine weeks in addition to routine dance practice. Prior to the program implementation and following initial testing, transversus abdominis (TrA) activation training was completed using the abdominal draw-in maneuver (ADIM) including ultrasound imaging (USI) verification and instructor feedback. Paired t tests were conducted regarding the nine-week core stabilization program on dance performance and balance measures (pirouettes, single leg balance in passe’ releve position, and star excursion balance test [SEBT]) and on tests of muscle performance. A repeated measures (RM) ANOVA examined four TrA instruction conditions of activation: resting baseline, self-selected activation, immediately following ADIM training and four days after completion of the core stabilization training program. Alpha was set at 0.05 for all analysis. Results Statistically significant improvements were seen on single leg balance in passe

  3. Sedução e identidade nacional: dançarinas eróticas brasileiras no Queens, Nova York Performing Seduction and National Identity: Brazilian Erotic Dancers in New York

    Directory of Open Access Journals (Sweden)

    Suzana Maia

    2009-12-01

    Full Text Available Este artigo examina a trajetória de mulheres brasileiras que trabalham como dançarinas eróticas em bares noturnos da cidade de Nova York. Parte-se do pressuposto de que processos de globalização e transnacionalismo estão relacionados não apenas a transformações políticoeconômicas, como também a mudanças na maneira com que as pessoas se relacionam, como utilizam seus corpos e realizam seus desejos. Tais transformações devem também ser entendidas em relação ao regime colonial e pós-colonial, em que representações sobre seus corpos ganham inteligibilidade. A maioria das mulheres consideradas pela pesquisa é proveniente das classes médias e, quanto à raça, tendem a se autodenominar "morenas". A partir de trabalho de campo realizado durante os anos de 2004 e 2005, eu analiso de que forma essas posições e identidades sociais são traduzidas de um contexto a outro, e como novas hierarquias sociais são construídas num contexto transnacional. Tomando como foco de estudo o Blue Diamond, um bar localizado no bairro do Queens, este artigo examina como tais reconfigurações transnacionais são articuladas através das interações cotidianas entre dançarinas e entre essas e seus clientesThis article examines the trajectory of Brazilian women who work as erotic dancers in New York City's gentlemen's bars. It argues that processes of globalization and transnationalism are related not just with political-economic transformations, but also to significant shifts in the ways people relate to each other, use their bodies, and conceive and realize their desires. Such transformations must also be understood in relation to a colonial and post-colonial regime, in which representations about their bodies gain intelligibility. Most of the women who participated in my research are from the middle-classes, and in terms of race, they self-identify as "morenas". Based on fieldwork conducted between years 2004-2005, I analyze how their social

  4. What's Old is New: Martha Graham Project Includes Archives, New Work.

    Science.gov (United States)

    Manus, Susan

    1998-01-01

    Describes the acquisition of the archives of the late dancer/choreographer Martha Graham. Discusses the Library's financial support of Graham's classic ballet, "Appalachian Spring"; Graham's influence on dance; negotiations for the archives; materials in the archives; a commemorative performance; and the Martha Graham Legacy Project…

  5. The Secret Talents of Fundraisers

    Science.gov (United States)

    Pulley, John

    2010-01-01

    A significant but unknown number of performing artists have redirected their creativity and passion into development. They are ballet and contemporary dancers, jazz and orchestral musicians, actors and comedians, opera divas and gospel belters. None of them set out to become fundraisers. Yet here they are, and they partly credit their success in…

  6. Hypermobility in Adolescent Athletes: Pain, Functional Ability, Quality of Life, and Musculoskeletal Injuries

    DEFF Research Database (Denmark)

    Schmidt, Heidi; Pedersen, Trine Lykke; Junge, Tina

    2017-01-01

    athletes, and to study the association of GJH with pain, function, HRQoL, and musculoskeletal injuries. Methods A total of 132 elite-level adolescent athletes (36 adolescent boys, 96 adolescent girls; mean ± SD age, 14.0 ± 0.9 years), including ballet dancers (n = 22), TeamGym gymnasts (n = 57), and team......-reported questionnaires, and part of physical performance was assessed by 4 postural-sway tests and 2 single-legged hop-for-distance tests. Results Overall prevalence rates for GJH4, GJH5, and GJH6 were 27.3%, 15.9%, and 6.8%, respectively, with a higher prevalence of GJH4 in ballet dancers (68.2%) and TeamGym gymnasts...... significantly larger center-of-pressure path length across sway tests. Conclusion For ballet dancers and TeamGym gymnasts, the prevalence of GJH4 was higher than that of team handball players. For ballet dancers, the prevalence of GJH5 and GJH6 was higher than that of team handball players and the general...

  7. Hypermobility in Adolescent Athletes

    DEFF Research Database (Denmark)

    Schmidt, Heidi; Pedersen, Trine Lykke; Junge, Tina

    2017-01-01

    athletes, and to study the association of GJH with pain, function, HRQoL, and musculoskeletal injuries. Methods A total of 132 elite-level adolescent athletes (36 adolescent boys, 96 adolescent girls; mean ± SD age, 14.0 ± 0.9 years), including ballet dancers (n = 22), TeamGym gymnasts (n = 57), and team......-reported questionnaires, and part of physical performance was assessed by 4 postural-sway tests and 2 single-legged hop-for-distance tests. Results Overall prevalence rates for GJH4, GJH5, and GJH6 were 27.3%, 15.9%, and 6.8%, respectively, with a higher prevalence of GJH4 in ballet dancers (68.2%) and TeamGym gymnasts...... significantly larger center-of-pressure path length across sway tests. Conclusion For ballet dancers and TeamGym gymnasts, the prevalence of GJH4 was higher than that of team handball players. For ballet dancers, the prevalence of GJH5 and GJH6 was higher than that of team handball players and the general...

  8. Suitability of Defector Operations Applied Against Al Qaeda

    Science.gov (United States)

    2008-05-01

    military pilots, politicians, sports figures, and ballet dancers switched sides in the bi-polar struggle between communism and democracy...Madrid trains in March 2004 fits into this statement. 105 Kilcullen, 8-13. 106 Ibid., 14. 107 Sageman, 171-172. 29 It is obvious that Al Qaeda has

  9. Embodied Subjectivities: Nine Young Women Talking Dance

    Science.gov (United States)

    O'Flynn, Gabrielle; Pryor, Zoe; Gray, Tonia

    2013-01-01

    The purpose of this paper is to examine nine Australian young women's embodied experiences of dance. The young women were all amateur dancers involved in weekly jazz, tap, and ballet dance classes at the same dance studio. In this paper, embodiment is defined as multidimensional (Burkitt 1999). The authors explore the ways the corporeal and the…

  10. The Secret Talents of Fundraisers

    Science.gov (United States)

    Pulley, John

    2010-01-01

    A significant but unknown number of performing artists have redirected their creativity and passion into development. They are ballet and contemporary dancers, jazz and orchestral musicians, actors and comedians, opera divas and gospel belters. None of them set out to become fundraisers. Yet here they are, and they partly credit their success in…

  11. Bringing Joy through Dance: Community Outreach with the Council for Professional Recognition and the Trey McIntyre Project

    Science.gov (United States)

    Dombrink-Green, Meghan

    2011-01-01

    In May 2011, the Council for Professional Recognition and the contemporary ballet troupe the Trey McIntyre Project (TMP) combined their passion for community outreach by bringing TMP dancers to perform for young children who are hospitalized in the Washington, D.C., area. The Council for Professional Recognition, which administers the Child…

  12. Bringing Joy through Dance: Community Outreach with the Council for Professional Recognition and the Trey McIntyre Project

    Science.gov (United States)

    Dombrink-Green, Meghan

    2011-01-01

    In May 2011, the Council for Professional Recognition and the contemporary ballet troupe the Trey McIntyre Project (TMP) combined their passion for community outreach by bringing TMP dancers to perform for young children who are hospitalized in the Washington, D.C., area. The Council for Professional Recognition, which administers the Child…

  13. The Relationship between Mental and Somatic Practices and Wisdom.

    Directory of Open Access Journals (Sweden)

    Patrick B Williams

    Full Text Available In this study we sought to explore how experience with specific mental and somatic practices is associated with wisdom, using self-report measures of experience and wisdom. We administered standard surveys to measure wisdom and experience among four groups of practitioners of mental and somatic practices, namely, meditators, practitioners of the Alexander Technique, practitioners of the Feldenkrais Method, and classical ballet dancers. We additionally administered surveys of trait anxiety and empathy to all participants to explore possible mediating relationships of experience and wisdom by characteristics thought to be components of wisdom. Wisdom was higher on average among meditation practitioners, and lowest among ballet dancers, and this difference held when controlling for differences in age between practices, supporting the view that meditation is linked to wisdom and that ballet is not. However, we found that increased experience with meditation and ballet were both positively associated with wisdom, and that lowered trait anxiety mediated this positive association among meditation practitioners, and, non-significantly, among ballet dancers. These results suggest that not all practices that are purported to affect mental processing are related to wisdom to the same degree and different kinds of experience appear to relate to wisdom in different ways, suggesting different mechanisms that might underlie the development of wisdom with experience.

  14. Fitness in contemporary dance: a systematic review.

    Science.gov (United States)

    Angioi, M; Metsios, G S; Metsios, G; Koutedakis, Y; Wyon, M A

    2009-07-01

    It has been suggested that dancers are less fit compared to other athletes. However, the majority of studies make their arguments based on data deriving mainly from ballet. Therefore, the aim of the current review was to investigate: a) aerobic and anaerobic fitness, muscular strength and body composition characteristics in contemporary dancers of different levels, and b) whether supplementary exercise interventions, in addition to normal dance training, further improves contemporary dance performance. Three databases (Medline, Cochrane and the Cumulative Index to Nursing & Allied Health research database) were searched to identify publications regarding the main fitness components of contemporary professional and student dancers. At a professional level, it appears that contemporary dancers demonstrate higher maximal oxygen uptake and higher scores in muscular endurance than ballet dancers. However, contemporary dance students are equally fit compared to their ballet counterparts and their body composition is also very similar. Only two studies have investigated the effects of supplementary exercise training on aspects of dance performance. Further research is needed in order to confirm preliminary data, which suggest that the implementation of additional fitness training is beneficial for contemporary dance students to achieve a better performance outcome.

  15. Through the"Izu dancer"to taste Kawabata type love%透过《伊豆的舞女》体味川端式的爱情

    Institute of Scientific and Technical Information of China (English)

    李丽丽

    2014-01-01

    Kawabata Yasunari was the first writer to receive Nobel prize for literature in Japan, has created many excellent works."Izu dancer"is the famous early work. This paper starts from the action and psychological activity two line expansion, in order to make the reader aware of the changes of"me", and appreciate the hazy, beautiful Kawabata type love.%川端康成是日本第一位获得诺贝尔文学奖的作家,一生中创造了许多优秀的作品。《伊豆的舞女》是其早期的成名作。本论文围绕作品中两位主人公的行动和心理活动两条暗线展开,从相遇到分别娓娓道来,从而使读者感知到“我”的变化,进而体味到川端式爱情的朦胧、唯美。

  16. The Influences of Pre-Professional Socialization on Early Career Physical Educators

    Science.gov (United States)

    Flory, Sara B.; McCaughtry, Nate

    2014-01-01

    The purpose of this study was to examine how three PE teachers' personal biographies before their formal teacher education programs influenced their early careers in urban schools. Using occupational socialization theory and cultural relevance theory, we conducted in-depth interviews and observed early career physical education teachers who…

  17. Re-Conceptualising Graduate Employability: The Importance of Pre-Professional Identity

    Science.gov (United States)

    Jackson, Denise

    2016-01-01

    Despite efforts to broaden the concept of graduate employability, there remains an overarching focus on developing industry-relevant employability skills. The skills-based approach is, however, too narrow and does not fully capture the complexity of graduate work-readiness. This paper argues for the redefining of graduate employability by…

  18. Pre-Professional Arts Based Service-Learning in Music Education and Art Therapy

    Science.gov (United States)

    Feen-Calligan, Holly; Matthews, Wendy K.

    2016-01-01

    This article describes a study of art therapy and music education students at a Midwestern university in the United States, who participated in single-semester service-learning assignments prior to their clinical internship or student teaching experience. Undergraduate music teacher-candidates taught music to homeschool students; art therapy…

  19. From cosmic OPERA to neutrino ballet

    CERN Multimedia

    2006-01-01

    View of the OPERA detector (on the CNGS facility) with its two identical Super Modules, each of which contains one target section and one spectrometer.As the CNGS (CERN Neutrinos to Gran Sasso) project prepares to send its high intensity neutrino beam, some 730 km away in Italy, the OPERA collaboration is beginning to commission its electronic detectors in the underground Gran Sasso National Laboratory (LNGS). OPERA is ready to come on stage. Based in the INFN Gran Sasso National Laboratory, 732 km from CERN, the experiment will commission its electronic detectors with the high intensity neutrino beam sent by CNGS (see Bulletin n°29-30/2006). The OPERA Collaboration, which comprises 170 physicists from 35 research institutes and universities worldwide, aims to clear up the mystery of neutrino oscillation. The installation of the OPERA detector began in 2003 in Hall C of the underground laboratory at the LNGS. The detector is made of two identical Super Modules, each one containing one target section and ...

  20. An Awkward Transition for Chinese Ballet

    Institute of Scientific and Technical Information of China (English)

    2002-01-01

    AT weekends the normally peaceful BeijingDance Academy is alive with people. The roadbefore its gate is partly blocked by cars andbicycles parked on both sides, leaving a nar-row path where still more cars and bicycles jamtogether, trying to push their way through. These peo-