Search Results (61)

Background/Objectives: This study examined weight pressures and symptoms of eating disorders in professional modern dancers. Methods: Eighty-six female dancers (age: 20.7 ± 2.5 y, dancing experience: 14.2 ± 4.4 y) completed the Eating Attitudes Test 26 (EAT-26), the Weight-Pressures in Sport inventory for females (WPS-F), and provided information on their dance lessons. Results: Twenty-five dancers (29.07%) scored ≥20 in EAT-26. Positive associations were found between EAT-26 and its subscales with WPS-F and its subscales (r = 0.217 to 0.600, p ˂ 0.05). Negative associations were found between age and dancing experience with the EAT-26 score and its subscales Dieting and Bulimia and Food Preoccupation (r = −0.286 to −0.373, p ˂ 0.001) and between body weight and BMI with Oral Control (r = −0.300 to −0.372, p ˂ 0.001). Multiple regression analysis showed that Pressures regarding Appearance and Performance, age, and dancing experience accounted for 38.3% of the variance in EAT-26 (p ˂ 0.001), with age and training experience showing a negative coefficient. Moderation analysis showed that dancing experience moderates the relationship between Pressures regarding Appearance and Performance and eating disorder symptoms (interaction b = −0.329, p = 0.040). Conclusions: Professional female dancers are at elevated risk for disordered eating. Inherent pressures regarding appearance and performance were associated with and explained a significant portion of the variance in eating disorder symptom scores, while dancing experience appeared to attenuate this association, although the cross-sectional design of this study precludes conclusions regarding the direction of this effect. Full article

Background and Objectives: Professional ballet dancers endure high occlusal loads, increasing cervical defect prevalence. Conventional composites fail frequently under such conditions. This randomized clinical trial (RCT) compared 24-month performance of a polymer-infiltrated ceramic network (PICN, VITA Enamic) versus a self-curing bioactive composite (Stela) for cervical restorations. Materials and Methods: Twenty professional ballet dancers (40 cervical defects: 21 carious, 19 abfraction) were enrolled in a paired split-mouth RCT. Each received one PICN inlay and one self-curing composite restoration on two non-adjacent defects. Restorations were assessed at 6, 12, and 24 months using United States Public Health Service (USPHS) criteria (primary: marginal integrity) and a dye penetration test. Secondary outcomes included secondary caries, hypersensitivity, and Oral Health Impact Profile-14 (OHIP-14). Statistical tests: McNemar, Fisher’s exact, Kaplan–Meier, log-rank (α = 0.05). Results: At 24 months, marginal integrity (USPHS Alpha) was maintained in 91% of PICN restorations for carious defects and 89% for abfraction defects, compared to 70% and 50% for self-curing composite, respectively. No PICN restoration failed (0%). Self-curing composite failures were 20% (carious) and 30% (abfraction) (exploratory uncorrected p = 0.031; non-significant after correction). Dye penetration was lower for PICN in abfraction defects (11% vs. 60%, adjusted p = 0.048) but not in carious defects (9% vs. 30%, adjusted p = 0.317). Kaplan–Meier survival favoured PICN (log-rank p = 0.001); 24-month survival probability: PICN 100% (95% CI: 83–100%), self-curing composite 75% (95% CI: 55–95%). No secondary caries or serious adverse events occurred. Conclusions: PICN hybrid ceramic provided superior marginal integrity and zero failures over 24 months in cervical restorations of professional ballet dancers, outperforming the self curing composite. Within this high-risk population, PICN inlays are recommended for abfraction defects. However, because the study was conducted exclusively in professional ballet dancers, direct extrapolation to the general population should be made with caution. The self-curing composite may be considered for carious defects when light curing is problematic, but patients should be informed of higher failure risk. Longer studies are needed. Full article

Introduction: Psychosocial functioning and body image are key dimensions of mental well-being and performance. Among professional dancers, competitive environments, aesthetic demands, and physical–emotional overload contribute to increased anxiety, stress, and mood disturbances, potentially impairing performance and heightening injury risk. Objective: To investigate longitudinal variations in psychosocial and emotional indicators among professional dancers throughout a season of rehearsals and performances. Methods: Thirteen dancers (9 women and 4 men) from a professional company were assessed across eight time points using the Brunel Mood Scale (BRUMS), State–Trait Anxiety Inventory (STAI-State), Recovery–Stress Questionnaire for Athletes (REST-Q 76 Sport), and Body Shape Questionnaire (BSQ). Data was analyzed using repeated-measures ANOVA with Bonferroni post hoc tests (p < 0.05). Results: Negative mood dimensions progressively increased (p < 0.01; η²p = 0.46, large), while vigor decreased (p = 0.03; η²p = 0.29, medium), indicating an inversion of the typical “iceberg” profile. Overall stress levels increased (p = 0.02; g = 0.53, power = 0.81) and perceived recovery declined (p = 0.04; g = 0.41, power = 0.78). State anxiety rose consistently (p < 0.01; η²p = 0.42), and body dissatisfaction, assessed via the BSQ, increased from “no concern” to “high concern” classifications (p = 0.03; g = 0.59, power = 0.84). Conclusions: Overall, the findings indicating a longitudinal pattern of increased psychometric strain indicators, inferred exclusively from psychometric trends, and conceptually consistent with a possible imbalance between perceived demands and perceived recovery, rather than reflecting objectively measured workload or recovery processes. Full article

The aim of the present study was to assess physical demands in professional dance during daily training routine using kinematic data and to categorize it ergonomically using the Rapid Entire Body Assessment (REBA) tool. The three phases of daily classical ballet training of n = 28 professional dancers (16f/12m) were recorded with the inertial motion capture system MVN Link (Xsens, Netherlands), extracted and analyzed by MATLAB; subsequently, the ergonomic risk was determined. Female dancers trained significantly longer in the high-risk range than their male colleagues (f: 94%; m: 89%; p < 0.001). During the entire training, the female and male dancers had a mean REBA score of 6.31 and 6.03 resp., with phase 3 tending to have lower REBA values but an increased likelihood of injury due to fatigue and ground reaction forces. It can be recommended that the daily training should be critically examined and adjusted to anthropometric characteristics and the integration of regeneration phases, cardiopulmonary components, and targeted strength training programs to relieve vulnerable structures, as substantiated in the main text and should not exaggerate the main conclusions. Full article

Background: Correct use of the feet, step techniques, and positions constitute significant factors in the success of a dancer. Moreover, the type of dance has crucial effects on the posture of the foot and ankle. Therefore, the primary aim of our study was to determine whether there was a relationship between dancesport, dance experience (years), shoe-wearing time (hours), and shoe heel height (centimeters) in dance athletes performing Sportive Latin American Ballroom (SLAB) dance. Second, we aimed to compare the foot posture of SLAB dancers and nondancers with similar demographic characteristics. Methods: Twenty-six professional SLAB dancers and 26 nondancers who had similar demographic characteristics and did not use high-heeled shoes volunteered to take part in this study. Foot posture (using the Foot Posture Index [FPI]), foot pronation (using the navicular drop test [NDT]), tibiocalcaneal angle, hallux valgus angle (HVA) (using a goniometer), and ankle dorsiflexion range of motion (ROM) (using the weightbearing lunge test) were evaluated. Results: There was a positive moderate correlation between FPI score and shoe-wearing time on the dominant (P = .041; r = 0.40) and nondominant (P = .026; r = 0.43) sides. A positive very good correlation was found between shoe heel height and HVA (P < .001; r = 0.75). A negative good correlation was observed between years of dancing and nondominant ankle dorsiflexion ROM (P = .027; r = 20.43). When dancers and nondancers were compared, a statistically significant difference was found between FPI and NDT scores (P < .001). The FPI and NDT scores, tibiocalcaneal angle, HVA, and ankle dorsiflexion ROM were significantly greater in the dancer group compared with the nondancer group (P < .001) in all measurements of the dominant and nondominant sides. Conclusions: Revealing the relationship between dance experience and shoe-wearing time and the difference between the foot posture and deformities of athletes who perform SLAB dance and those of nondancers constitutes a pivotal endeavor that will increase awareness and knowledge among dancers and clinicians. Full article

Background: This study examined the influence of creative thinking, shaped by different forms of episodic mental representations, on human movement. The primary objective was to investigate how creativity, elicited through distinct cognitive stimuli, affects movement variability. Methods: Twenty-four professional dancers developed two original dance phrases, each inspired by either a visual or a narrative mental representation. Movement data were collected via inertial sensor technology and subsequently analysed to determine differences in motor expression. Results: The results indicated that movements performed under narrative representation conditions exhibited significantly increased risk-taking behaviour, greater movement amplitude, and a higher overall movement volume compared to those guided by visual stimuli. Conclusions: These findings underscore the role of creativity in modulating both the expressive and physical dimensions of human movement. Moreover, this research demonstrates the potential of inertial sensor technology not only to capture kinematic patterns but also to provide insight into the deeper layers of human artistic and cognitive processes. Full article

This study aims to investigate asymmetries in muscle activation and co-contraction of main lower limb muscles during flamenco Zap-3 footwork with consideration of the footwork speed and dancer proficiency. Twelve flamenco dancers participated, including six professionals and six amateurs. Each participant performed the Zap-3 sequence under three speed conditions: 160 beats per minute (bpm), 180 bpm and the fastest speed level (F). The normalized surface electromyography was recorded in the gastrocnemius medialis (GM), biceps femoris (BF), tibialis anterior (TA) and rectus femoris (RF) in the dominant (DL) and non-dominant leg (NDL). The co-contraction index was also calculated for selected muscle pairs. The results showed that significant asymmetries occurred only in professional dancers and exclusively at the F speed level. Specifically, the value of the GM in the NDL was higher than that of the DL (p < 0.05, d = 1.97); the value of the BF in the DL was higher than that of the NDL (p < 0.05, d = 1.86) and the co-contraction index of BF/RF in the DL was higher than that of the NDL (p < 0.05, d = 1.87). Understanding these asymmetries may help to inform individualized training strategies aimed at optimizing performance and reducing potential risks. Full article

Injury or fear of injury can cause stress for everyone. This is especially true for dancers, whose careers can be ruined by a serious injury. Stress or various psychological problems can play a role in the development of injury. Our research aims to explore the psychosocial patterns associated with injuries among Hungarian professional folk dancers. A cross-sectional study was carried out with 96 professional dancers (47.9% male, 52.1% female, mean age 29.9 years). Data was collected through an online questionnaire survey. Among psychological factors, perceived stress (using the Perceived Stress Scale), burnout (using the Athletic Burnout Questionnaire), coping skills (using the Athletic Coping Skills Inventory), relationship with the leader (using the Coaching Behaviour Questionnaire) and perceived social support (using the Multidimensional Scale of Perceived Social Support) were examined among injured and non-injured dancers. The two groups were compared along psychological subscales using Multivariate Analysis of Variance (MANOVA) followed by a post hoc ANOVA and Mann–Whitney test regarding social support. Our results showed a significant correlation between psychosocial factors and injuries sustained during the study period. Positive correlation was found between injuries and perceived stress (p < 0.001) and burnout (reduced sense of accomplishment p = 0.021; dance devaluation p < 0.001). Factors reflecting dancer’s behavior and coping skills also correlated with injuries, such as a decrease in coachability (p = 0.007), less concern (p = 0.029), and negative reactions to the leader’s behavior (p = 0.019). In addition, perceived social support from family also negatively correlates with injury (p = 0.019). Our findings suggest a multidirectional relationship between physical injuries and the mental state of dancers. Further investigation of the causal relationships is recommended, with the aim of using psychosocial support tools during the prevention and treatment of injuries by the professionals dealing with dance artists. It is also recommended to investigate whether individual psychological factors are directly related to injuries or interact with each other. It would also be useful to introduce prevention programs that help dancers manage their emotions related to injuries. Full article

Background: Adherence to nutritional recommendations in groups of adolescents practicing various sports, including esthetic disciplines, is insufficient. Hence, the authors of this study attempted to design, implement and evaluate a nutritional education program for girls aged 10–12 attending a ballet school and artistic gymnastics classes. Methods: The study was conducted with 60 female students at the state ballet school and artistic gymnastics classes (professionally practicing ballet and artistic gymnastics). The nutritional education program was implemented by all students for a period of 4 weeks. The program consisted of three parts: group sharing and discussing the educational brochure, group nutritional workshops, and providing and discussing individual nutritional recommendations. Information provided to students during the nutritional education program concerned the principles of proper nutrition contained in the Pyramid of Healthy Nutrition and Physical Activity for Children and Youth, the most important sources of nutrients in the diet and their role, and the principles of nutrition of people practicing sports/training. Before starting the nutritional education program and 3 months after its completion, the level of nutritional knowledge was assessed in the group of ballerinas and artistic gymnasts to evaluate the program. Results: The proposed nutritional education program had a significant impact on the level of nutritional knowledge of students aged 10–12 attending the ballet school and artistic gymnastics classes. Conclusions: The presented nutritional education program may be used as a source of information for specialists for the preparation of educational and repair programs in the group of ballet dancers or artistic gymnasts aged 10–12. Full article

Mental images such as foci of attention can significantly enhance the quality of movements, providing a positive effect on human performance, e.g., in dancers or athletes. Thirteen participants (height = 161 ± 13 cm, mass = 46.4 ± 17.3 kg, and age = 21 ± 8.4 years) with varying levels of experience in classical ballet were divided into three groups (amateur, professional, and children). Each participant performed three sauté en suite jumps, followed by an instruction to imagine “taking the floor with them” during the jump. The study aimed to assess the effect of this external focus on jumping performance using biomechanical modeling. Results showed a statistically significant increase in jump height and an expanded range of motion in the hip and knee joints after the intervention, suggesting a positive influence on movement quality. However, results varied among groups, with no significant change in leg stiffness across participants, though tendencies appeared within each group. These findings indicate that an external focus of attention could be a useful tool in dance pedagogy, enhancing performance quality across experience levels and supporting individual progress. The study recommends further research to explore the full impact of psychologically effective instructions on various aspects of physical performance. Full article

Objectives: The jumping ability and strength of the lower limbs in dancers are fundamental to their artistic performance. Similarly, the correct placement of the various leg positions, such as parallel and dehors, are essential aspects of dance technique. We aimed to analyze the effectiveness of a modified strength program on jumping capacity in parallel and dehors, and to assess whether this type of training improves the isometric strength of dancers. Methods: An experimental research study was conducted with pre- and post-intervention assessments on a group of nine semi-professional dancers (seven women and two men) (X = 20 years and DT = 6.67), with an average weight of 62.12 ± 7.38 kg and a height of 1.67 ± 0.05 m. Body composition, isometric strength in the lower limbs, and vertical jump capacity with feet in parallel and in the dehors position were analyzed. The “Simple and Sinister” kettlebell training protocol was implemented, reducing the number of sessions and the duration of the program while incorporating a progression in load. Results: Significant changes were observed in both the parallel jump and the dehors position; however, body composition and isometric strength, although showing higher values at the end of the intervention for all variables, did not demonstrate significant improvements. Thus, while in the pre-intervention phase, jump capacity was associated with multiple variables, in the post-intervention phase, an inverse association was found only with the percentage of body fat. Conclusions: A 12-week training program with two sessions per week is sufficient to achieve significant changes in the jumping ability of dancers, but not in the isometric strength of the lower limbs. Full article

Background: The impact of dance training on brainstem-mediated vestibular reflexes remains unclear. This study examined the vestibulo-ocular reflex (VOR) and its suppression during high-speed head movements, which may closely resemble the head-turning speeds used in dancers’ spotting techniques, using the video head impulse test. Methods: Eighteen female college students (mean age: 21 years) were divided into two groups—nine trained dancers (≥six years of dance training) and nine age-matched non-dancers—all without a history of hearing, vestibular, or neurological disorders. VOR function was assessed using the head impulse paradigm (HIMP) and the suppression head impulse paradigm (SHIMP) for right and left lateral stimulation, with minimum head velocities of 150°/s. Results: All participants exhibited VOR measures within normal limits and the VOR gain of dancers did not significantly differ from that of non-dancers. However, most dancers reported a preference for right-sided pirouettes and the right-side SHIMP gain negatively correlated with years of training, suggesting a link between preferred turning direction and VOR suppression ability. Furthermore, dancers with over 15 years of training exhibited earlier anti-compensatory saccade latencies (~75 ms) during SHIMP. Conclusions: Trained dancers maintain a healthy VOR and may develop enhanced voluntary control, enabling more effective VOR suppression. The earlier onset of anti-compensatory saccades suggests neural adaptations in eye–head coordination for high-velocity movements. Given the study’s small sample size and the inclusion of non-fulltime dancers, future research with larger samples of professional dancers is needed for enhanced generalizability. These findings provide preliminary evidence of dance-related neuroplasticity in brainstem-mediated vestibular reflexes and open new research avenues. Full article

Mental imagery influences the body, movement, and technical skills of the dancer. The aim of this study was to identify the influence of dance imagery on the electromyographic parameters of selected muscles in a professional ballet dancer during three ballet tasks: parallel position, demi pointe relevé, and demi plié. Five mental imageries according to the Franklin Method^® were used: foot dome, the wheelbarrow, pushing the toes, space behind the kneecap, and the kneecap float. Electromyographic signals were recorded bilaterally for lumbar erector spinae, rectus abdominis, vastus medialis, long head of biceps femoris, lateral head of gastrocnemius, tibialis anterior, and fibularis longus. All of the mental imageries resulted in increased activity (above 20% compared with no-imagery performance) of the selected muscles in the studied classical dance positions and tasks. Overall, the ankle muscles were influenced the most. This study indicates that mental images effectively influence a physiological parameter, as indicated by an electromyographic signal. Full article

Professional dancers are susceptible to lower limb pathologies, particularly in the hip joint, due to biomechanical stress. Multiple factors contribute to this, requiring a particular therapeutic approach to address them. This review aims to document these injuries, identify the contributing causes, and propose appropriate treatment modalities. This research was conducted by searching the PubMed, ScienceDirect, and Google Scholar databases using relevant keywords and phrases, and in accordance with the PRISMA guidelines. The major findings suggest that the most prevalent conditions include snapping hip syndrome, femoroacetabular impingement syndrome, acetabular labral tears, bursitis, and fatigue fractures. The main factors contributing to these results include excessive joint range of motion, increased training loads, hyperactivity, gender, and BMI. Dancers are susceptible to injuries; nevertheless, studies on this topic are limited, necessitating further research to strengthen their methodological level and establish their results. Full article

Background/Objectives: Dancers require adequate nutrition support for growth and development during the pre-professional stage, as well as to fuel classes and rehearsals and to enhance performance for both pre-professional and professional dancers. The aim of this study is to understand the energy status and diet of pre-professional and professional dancers in the genres of ballet, contemporary, musical theatre, and opera. Methods: Electronic databases (n = 9) and grey literature were searched for primary studies with no time limit. Screening and data extraction were completed by two reviewers. Results: Twelve studies were included for pre-professional (n = 7) and professional (n = 5) dancers. The genres identified were ballet (n = 11) and contemporary (n = 1), with no studies on musical theatre or opera. Studies on pre-professional ballet and contemporary dancers indicated a negative energy balance and low energy availability. Pre-professional ballet dancers had lower energy intakes than professional dancers. Professional dancers had lower BMI and body fat percentages. Macronutrients were mostly reported using the acceptable macronutrient distribution range for carbohydrates (38–56%E), protein (12–17%E), and total fat (26–42%E). Iron and calcium were the main micronutrients of concern. Conclusions: Accredited sports dietitians are recommended to support pre-professional and professional dancers to optimize their diet for health and performance. Further investigation is needed to quantify and assess dancers’ dietary intake using sports nutrition guidelines for reference. Full article