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Dancers frequently perform jumps in the context of a prolonged, continuous dance piece. The purpose of this study is to explore the lower-extremity energetics in healthy dancers performing repetitive dance jumps (sautés) before and after typical dance-specific choreography. Lower-extremity kinetic data were collected from 14 healthy female dancers during a series of sautés performed before and after 3 minutes of dance. Percent contributions of the lower-extremity joints to the whole-limb mechanical energy expenditure during ground contact were calculated. The jumps performed at the beginning were compared with the jumps at the end of the dance choreography. Dancers maintained the jump rate and consistent whole-limb mechanical energy expenditure between the jump series. As expected, for both jump series, the sautés had greater relative energetic contribution from the ankle and knee as compared with lesser contribution from the hip and toe. However, we observed lesser contribution from the knee and greater contribution from the hip after a 3-minute dance. After performing typical dance choreography, the dancers demonstrated a distal to proximal redistribution of individual joints' contribution to whole-limb mechanical energy expenditure. [ABSTRACT FROM AUTHOR]

Whipped Cream is a two Act ballet performed by the American Ballet Theatre, with choreography by Alexei Ratmansky and sets and costumes designed by pop-surrealist, Mark Ryden. The story follows the protagonist, The Boy, after he overindulges on whipped cream following his First Communion. As a result, he has a series of dreams that become progressively more bizarre as The Boy descends into a fantasy world. The emphasis on subconscious combined with the 1920s Viennese setting of Whipped Cream immediately recalls Sigmund Freud and his Dream Theory. By using Freud’s Dream Theory as a point of departure, the paper argues that the main ‘want’ of The Boy lies in a craving for control and a need to escape the confines of reality in favor of a fantastical world. He conjures up an alternative life for himself, a future in which he has power and resources otherwise unavailable to him. Buffered by Mark Ryden’s grotesquely cute set, props, and costumes, and reinforced by the cuteness theories of Daniel Harris and Sianne Ngai, we see how The Boy seeks to control the fears of growing up and the pressures that come with it, by recreating the world as he sees fit. By the end of the ballet and despite The Boy’s desire to reshape the world, his mental breakdown and the inherent violence present in such a cutesy facade, expose a darker ending and the enduring presence of the reality The Boy is actively trying to escape.

BackgroundAchilles tendinopathy can be a devastating condition in ballet dancers. Initial medical evaluation is frequently conducted by generalist physicians, who may lack the perspective of dance and sports medicine focused training and often prescribe complete rest for chronic overuse injuries. In order to provide targeted information about Achilles tendinopathy and the unique needs of elite athletes, such as ballet dancers, we designed an educational intervention that covers relevant anatomy, physiology, biomechanics, clinical presentation and evaluation, and recommendations for initial treatment and sub-specialty referral. The objectives of this study were to determine baseline understanding of Achilles tendinopathy by generalist physicians and to evaluate the efficacy of an educational intervention on their knowledge.MethodsThis was a prospective pre- post-test study, to measure improvement in knowledge about Achilles tendinopathy. Emergency Medicine and Primary Care physicians participated in an educational intervention with didactic and hands-on components. Data were analyzed using a two-tailed t-test.ResultsTwenty generalist physicians participated. There was significant improvement in their knowledge of Achilles tendinopathy for all our educational objectives (Pre-test: 59% correct answers; post-test: 79% correct answers; P

Background: Cerebral palsy (CP) is considered the most prevalent developmental motor disorder in children. There is a need for training programs that enhance motor abilities and normalize function from an early age. Previous studies report improved motor outcomes in dance interventions for CP. Investigating the neurophysiological mechanisms underlying such improvements is necessary for efficient and safe intervention design. This study reports changes in stretch reflex responses as the primary neurophysiological motor outcome of a targeted ballet class intervention. Results: A case series of participants with mixed spastic and dyskinetic CP (n = 4, mean age = 12.5 years, SD = 6.9S years, three female, one male) who learned ballet technique in a course of one-hour classes twice per week for six weeks is presented. Changes in stretch reflex responses and in clinical motor tests as secondary outcomes were observed after the course and at one-month follow-up. Quantitative measures of elbow or ankle stretch reflex were obtained using electromyography and electrogoniometry. The joint angle of the stretch reflex onset varied across velocities of stretch, and its variability decreased after the intervention. Within-subject tests of the central tendency of stretch reflex angle coefficients of variation and frequency distribution demonstrated significant changes (p-values < 0.05). Secondary outcomes included the Quality of Upper Extremity Skills Test (QUEST), Pediatric Balance Scale (PBS), Modified Tardieu Scale (MTS), Dyskinesia Impairment Scale (DIS), and Selective Control Assessment of the Lower Extremity (SCALE). All the participants demonstrated improvements larger than the minimal clinical important difference (MCID) or the smallest detectable difference (SDD), as applicable. Conclusions: Evidence of changes in the stretch reflex responses in these four cases of mixed CP was observed. The observed variability in the stretch reflex responses may be due to the dyskinetic component of the mixed CP presentations. More studies with a larger sample size and longer duration of learning and practice of ballet technique are necessary to establish the extent of possible modulation and adaptation of the stretch reflex response as a neurophysiological basis for observed improvements in clinical measures. Trial registration: This study was registered in the Clinical Trials Protocol Registration and Results System (NCT04237506, January 17, 2020). [ABSTRACT FROM AUTHOR]

Context: The ballet institution is known for its aesthetic and performative standards. In professional dancers' everyday lives, self-improvement and body awareness entwine with striving for artistic excellence. In this context, 'health' has primarily been explored in relation to eating disorders, pain, and injuries. Aim: This paper explores dancers' health practices, namely how they are shaped by the ballet institution and how they relate to broader health discourses. Methodology: A reflexive thematic analysis was conducted upon interviews with nine dancers (each interviewed twice) using a theoretical framework based on the concepts of greedy institutions and biopedagogies. Analyses: Two themes were developed: What it takes to be an 'insider' of the ballet institution and Learning to develop an acute embodied self-awareness. Dancers described ballet as a 'lifestyle' rather than a 'job'; practices of self-care defined by continuous self and body work were framed as necessary to meet the demands of this lifestyle. Participants 'played with' institutional and societal norms, often resisting docile bodies promoted within the ballet institution. Conclusion: Dancers' constructions of health and the art of ballet as not fitting neatly into 'good' nor 'bad' make room to consider the tensions between adopting and resisting dominant health discourses in this institution. [ABSTRACT FROM AUTHOR]

Adolescent ballet dancers are commonly recognized as aesthetic athletes who are at higher risk for body dissatisfaction, disordered eating, and eating disorders. Although athletic participation can generally protect against negative mental and physical health outcomes, idealization of a body ideal specific to ballet can confer unique vulnerability for eating pathology. Despite this known vulnerability, rigorous efforts to prevent eating pathology among young dancers are lacking. Previously, we reported on a trial of the Female Athlete Body Project adapted for professional female ballet dancers. The current study tested a subsequent adaptation, the Athlete Body Project (ABP), tailored for younger dancers, including a version for boys. This non-randomized, uncontrolled pilot trial tested ABP among boys and girls in two elite ballet schools (N = 23), formatted in-person and via video-conferencing. Program delivery met benchmarks for feasibility and acceptability across gender and delivery formats, and dancers provided positive qualitative feedback. Overall results suggest the potential of ABP in intervening on pre-post eating pathology and body appreciation, and significantly decreasing drive for muscularity among young ballet dancers. Taken together, this pilot work addresses a gap in the field and advances the needed development of eating disorder prevention programming for young, high-risk aesthetic athletes. [ABSTRACT FROM AUTHOR]

The ballet Giselle owes its present international fame to a production mounted in Paris exactly one hundred years ago by Nikolai Sergeyev and starring Olga Spessivtseva. The circumstances behind this influential production have long been misunderstood but new documents and a re-examination of the history now lead to the discovery of a revealingly different sequence of events. [ABSTRACT FROM AUTHOR]

Background: The gait function in adults with cerebral palsy (CP) deteriorates rapidly with age. Dance has been used as an effective intervention to improve balance, postural control, and gait. This study aimed to investigate the feasibility and effects of an adapted dance program (ADP) on the gait in adults with CP. The ADP, which consists of floor and barre workouts, was designed to be adapted for individuals with CP. Method: Ten female adults with spastic diplegic CP (mean age 52.3 ± 6.34, Gross Motor Function Classification System level II) participated in this study. Outcome measures, examined using 3D gait analysis, included spatiotemporal gait parameters and the Gait Deviation Index (GDI) based on nine kinematic variables in all planes of motion. To assess feasibility, we conducted postquestionnaires and a group interview. The ADP, each lasting 90 min, was held twice per week for 12 weeks. Results: A statistically significant improvement was observed in GDI (Δ5.74 points, p = 0.014), with a large effect size (d = 0.76). Foot off (Δ-0.72%), first double support (Δ-0.2%), second double support (Δ1.5%), and single support (Δ0.64%) showed no significant differences. Step length (Δ1.48 cm), cadence (Δ3.95 steps/min), and walking speed (Δ6.41 cm/s) tended to increase, though the differences were not statistically significant. Participants expressed high levels of physical and emotional satisfaction, suggesting a need for early intervention. Conclusion: The ADP may improve gait patterns in adults with spastic diplegic CP. The feasibility results indicated that the ADP is suitable for adults with spastic diplegic CP. This study provides evidence for improvement in gait patterns through dance, which has not been reported in previous dance studies on individuals with CP, offering additional information on the benefits of dance. [ABSTRACT FROM AUTHOR]

In the historically elitist and predominantly White world of ballet, dance companies have attempted to increase diversity, with limited success. One contributing factor may involve differing levels of engagement with White and Black Dance Companies in social media environments. This study explores ‘macro conversations’ on Instagram across White vs. Black Dance Companies. A total of 445 ‘comments’ and 48,491 ‘likes’ across 28 dance-related Instagram posts were analyzed to compare rates of engagement and the types of comments (e.g. female stereotypes, physical attributes). Results indicated that White Dance Companies received significantly more engagement (defined as ‘likes’ and ‘comments’; M = 3,229) compared to Black Dance Companies (M = 274). Further, Males, compared to Females, used more female stereotypes on White Dance Company posts, whereas Females used more female stereotypes on Black Dance Company posts compared to Males. Despite efforts to enhance diversity, results show White and Black Dance Companies receive different levels and types of engagement on social media. [ABSTRACT FROM AUTHOR]

This study developed an Instructional Package for Teaching the Fundamentals of Classical Ballet. This study followed the Research and Development (R&D) Design in developing the instructional package for teaching the fundamentals of classical ballet. The quasi-experimental research design was also used to determine the effectiveness of the development of the instructional package in teaching the fundamentals of ballet. The study was conducted in Tupi National High School during the Third Quarter of School Year 2018-2019. The instructional package was evaluated in terms of its content, instructional quality, and technical quality. After it was evaluated, the instructional package was implemented to determine its effectiveness. Five and two information technology experts evaluated the instructional video using the evaluation tool. Two classes were utilized and designated as the control group and the experimental group to determine the effectiveness of the instructional package. The evaluation results of the instructional package revealed its excellent content, instructional, and technical quality. The study's findings also revealed that the instructional package is an effective tool for teaching the fundamentals of classical ballet. The results indicated that the instructional package is a more effective tool. It is recommended that teachers use the instructional package to teach the fundamentals of classical ballet because it enhances students' learning performance. [ABSTRACT FROM AUTHOR]

This study proposes that the inclusion of the Aragonese jota (a type of folk dance) in The Three-Cornered Hat contributed to interwar transnational modernism. The modern ballet, which opened at the Alhambra Theatre in 1919, featured choreography by Léonide Massine, music by Manuel de Falla, libretto by María Lejárraga, and designs by Pablo Picasso. The jota amplified theories of Spanish philosopher José Ortega y Gasset, who identified cross-cultural exchange as a tool to strengthen a shared identity across the European continent, as well as theories of Gesamtkunstwerk put forward by Richard Wagner, who greatly influenced Falla. [ABSTRACT FROM AUTHOR]

This study unravels the intricate dynamics of ballet competitions in South Korea, highlighting the interplay between domestic and international competitions. Expected to function as fair and credible tests, domestic competitions in South Korea are entwined with academicism, neoliberalism, and private education. Meanwhile, international ballet competitions are perceived as more prestigious and occupy a hierarchical status over domestic events, which influences and, at times, compromises local practices and discourses. This research examines the interplay of nationalism, commercialism, and genre rivalry in dance competition to emphasize how these events in South Korea serve diverse entities and play both symbolic and practical roles. [ABSTRACT FROM AUTHOR]

The article focuses on the evolution and hybrid nature of Chinese classical dance (gudianwu), exploring its development since the establishment of the People's Republic of China in 1949 and its role in promoting national identity. It argues that the integration of elements from Soviet ballet and traditional Chinese theatre has created a unique dance form that challenges essentialist notions of Chineseness, presenting gudianwu as a product of postcolonial modernity.

Over the last two decades, the growth and development of the fields of Dance Science and Pedagogy, as practice, research and area of study, has changed the landscape of 21st Century training and performance. The aim of this paper is to stimulate thinking and initiate dialogue between practitioners and academics in the exploration of new solutions to ongoing pedagogical tensions within the vocational training environment. In recognising the challenge which an interdisciplinary approach brings to dance (integrating the science of content and the art of delivery), this paper explores the integration of coaching pedagogical concepts and practices, to inform an innovative approach to dancer empowerment, placing the dancer central to the learning environment. The paper proposes an empowered dancer focused framework for coaching with the emphasis being placed on the development of the dancer displaying the skills of self-determined, decision-making and are empowered across the life cycle of their career(s). [ABSTRACT FROM AUTHOR]

The success of the operation and flow of a ballet class has many factors that can positively impact students both technically and artistically. One of the most important of these factors is the accompaniment. Contrary to popular belief, the harmony and collaboration between the ballet teacher and the ballet accompanist in a ballet class is both difficult and extremely important. This harmony in the ballet class lays the groundwork for the technical quality of the class, musical integrity, and a smooth flow. It is essential to establish a classroom environment where the elements of this communication during the class are well defined, any missing or incorrect information is mutually corrected, and the teacher and accompanist discover ways to communicate effectively. The quality of the ballet accompaniment should be such that it assists the lesson, containing musical features suitable for the movements, and it should be possible for the music to become a more effective tool in the class through the coordinated and collaborative work of the ballet teacher and ballet accompanist. This article aims to examine the obstacles in the harmony between the ballet teacher and the ballet accompanist, strategies to improve this harmony, and the musical technical elements. The views of some artists were consulted regarding the harmony between the ballet teacher and the ballet accompanist, and in light of this information, musical technical elements, forms of articulation, beginnings and endings of movements, determination of tonality and appropriate rhythms, use of staccato and legato terms in the class, accents, and use of dynamics were grouped under specific headings. Additionally, very few existing sources sufficiently emphasize the importance of the musical skill required to accompany technical ballet classes and the skills that a ballet accompanist should possess. At this point, it is necessary for the teacher to establish proper dialogue with the accompanist and guide them correctly, and for the accompanist to benefit from this feedback in light of their own knowledge. Since many studies do not address the cooperation between the accompanist and the teacher, this research topic has been emphasized as a small introductory guide for both ballet teachers and accompanists. [ABSTRACT FROM AUTHOR]

The ballet industry has long been criticized for using excessively thin and exclusively Anglo-looking ballerinas. The statement that they fit the "look" or comments such as this in the 2015 New York Daily Post: "A lot of people feel ballerinas should all be the same color" (Keivom, 2015) have been used to exclude Black and Brown ballerinas. This chapter describes the relationship between race, gender, and beauty within the ballet industry. It describes the challenges that Black women experience and the anti-Blackness that takes place within ballet due to Eurocentric beauty standards. Through a focus on the emphasis on hair texture, flesh-tone tights, and pointe shoes, and on the racist history of America and ballet, this chapter demonstrates how ballet continues to discriminate against and marginalize Black women. [ABSTRACT FROM AUTHOR]

Abstract Background Cerebral palsy (CP) is considered the most prevalent developmental motor disorder in children. There is a need for training programs that enhance motor abilities and normalize function from an early age. Previous studies report improved motor outcomes in dance interventions for CP. Investigating the neurophysiological mechanisms underlying such improvements is necessary for efficient and safe intervention design. This study reports changes in stretch reflex responses as the primary neurophysiological motor outcome of a targeted ballet class intervention. Results A case series of participants with mixed spastic and dyskinetic CP (n = 4, mean age = 12.5 years, SD = 6.9S years, three female, one male) who learned ballet technique in a course of one-hour classes twice per week for six weeks is presented. Changes in stretch reflex responses and in clinical motor tests as secondary outcomes were observed after the course and at one-month follow-up. Quantitative measures of elbow or ankle stretch reflex were obtained using electromyography and electrogoniometry. The joint angle of the stretch reflex onset varied across velocities of stretch, and its variability decreased after the intervention. Within-subject tests of the central tendency of stretch reflex angle coefficients of variation and frequency distribution demonstrated significant changes (p-values

Talent-school settings may generate stress via demanding expectations. To investigate students representing Norway's growing phenomenon of early adolescent talent schools, we interviewed twenty-seven 14- to15-year-old boys and girls about their experiences with self- and socially imposed expectations. Students were recruited from two sports schools (n = 14) and one school each with talent classes for ballet (n = 7) and music (n = 6). Using reflexive thematic analysis, we found four main themes representing the performers' accounts of (a) self-oriented expectations of persistent hard work, evoking self-doubts, and never-give-up attitudes; (b) coaches'/teachers' socially prescribed expectations, stimulating hard work, and pursuit of approval and opportunities; (c) parental expectations, reflected as helpful support, concerns of letting parents down, and negotiating independence; and (d) struggles with balancing expectations, reflected by demanding workloads, difficulties with prioritizing recovery, and ill-being. Early interventions targeting unhealthy self- and socially imposed expectations in high-expectation settings may be required to safeguard youth performers' healthy development. [ABSTRACT FROM AUTHOR]

Introduction: The Oslo Sports Trauma Research Centre Questionnaire on Health Problems (OSTRC-H) is a valid and reliable registration method for self-reported injuries and is regularly used among dancer populations. Monthly questionnaire administration is acceptable in athlete populations but has not been evaluated in dancers. The aim of this exploratory study was to assess the influence of weekly versus monthly administration of the OSTRC-H on estimated injury outcomes among elite adolescent ballet dancers. Methods: Participants (n = 103) were prospectively followed for 6 months and completed the OSTRC-H online, evaluating perceived consequences of self-reported health problems during the previous week and the previous 4 weeks, respectively. Four definitions of dance-related injury were utilized: (1) all complaints, (2) substantial, (3) medical attention, and (4) time-loss injuries. Descriptive statistics estimated: (1) the number of injuries reported (count), (2) average injury prevalence [proportion, 95% confidence intervals (CI)], (3) average severity score (0-100), and (4) days of time loss (count) for each injury definition. The 4 outcome measures were then compared between weekly and monthly registration with paired sample t -tests (P <.05) and overlapping 95% CI. Results: A significant difference between the number of all complaints injuries (weekly: 133; monthly: 94; P <.001) and substantial injuries (weekly: 64; monthly: 45; P =.012) was found. Regardless of injury definition, there were no significant differences between injury prevalence, severity scores, and days of time loss when reported weekly versus monthly. Conclusion: Monthly administration of the OSTRC-H is an acceptable method to estimate injury prevalence, severity scores, and days of time loss amongst elite adolescent ballet dancers. [ABSTRACT FROM AUTHOR]

Introduction: The demipointe dance position puts the ankle at high risk of overuse injury and posteromedial ankle pain due to increased ankle valgus forces. Previous work has shown that creating lower limb external rotation intrinsic to demipointe with hip external rotation reduces foot pronation that causes ankle valgus stress. Therefore, the purpose of this work was to examine long axis rotation kinematics of the hip, knee, and ankle as well as the ankle joint contact forces in demipointe to better understand the biomechanical impact(s) of the specific cue to increase hip external rotation in this position. Methods: Three-dimensional motion capture and force plate data were collected from 23 contemporary or ballet pre-professional dancers (age: 19.94 ± 1.34 years) who each performed 3 dancer-selected (DS) demipointe positions and 3 demipointes with the cue to "externally rotate from the hips." Results: The cue to increase hip external rotation resulted in significantly increased hip external rotation angle [DS: 37.5; 9.42° (median; interquartile range), Cued: 39.9; 10.8°, P <.0001)] and significantly reduced ankle eversion angle (DS: 8.13; 11.4°, Cued: 7.77; 10.3°, P =.023). However, total turnout angle was also significantly decreased (DS: 75.8; 7.91°, Cued: 75.4; 7.73°, P <.0001), which is undesirable for proper esthetic performance of demipointe. Total ankle joint force remained unchanged, but ankle eversion force was significantly reduced (DS: 15.3; 4.18 %bodyweight (BW), Cued: 14.7; 4.99 %BW, P <.0001) with use of the cue. Discussion/Conclusion: Utilization of a cue to increase hip external rotation was successful in increasing hip contribution to turnout angle and reducing injurious ankle eversion force. Further coaching using this cue may allow dancers to produce these advantageous mechanics while maintaining turnout angle. [ABSTRACT FROM AUTHOR]

Développé à la seconde is a classic ballet movement that requires the maintenance of a high hip joint range of motion (ROM) and muscle strength. However, the contribution of these hip joint biomechanical parameters to this movement's esthetic performance is unclear. Therefore, this study evaluated hip joint biomechanical characteristics of 21 experienced ballet dancers (15–29 y old) and verified the relationship between these variables with the développé à la seconde static and dynamic performance. Correlations between age, ballet practice time, gluteus maximus and gluteus medius thicknesses, ROM, and muscle strength with absolute and relative static and dynamic performances were verified. Flexors, extensors, and internal rotators peak strength and external rotation ROM were highly correlated with absolute and relative static performances (0.5–0.7). Flexors and extensors strength and external and internal rotation ROM showed the highest correlations with the développé dynamic performance (0.49–0.67). Flexor strength and flexor and internal rotation ROM predicted 26% to 41% of this movement's static and dynamic performances. Thus, from a biomechanical perspective, clinical assessment of hip strength and ROM may be used to predict the quality of the ballet dancers' performance of the développé à la seconde and guide classical ballet training. [ABSTRACT FROM AUTHOR]

Using a case study design, we explored two ballet dancers' perfectionism experiences via interviews and questionnaires at two time points 5 years apart. They represented the two types of "pure perfectionism" in the 2 × 2 model of perfectionism: a female representing pure personal standards perfectionism (high perfectionistic strivings, low perfectionistic concerns) and a male representing pure evaluative concerns perfectionism (low perfectionistic strivings, high perfectionistic concerns). The pure personal standards perfectionism dancer reported stable perfectionism across time, seemingly resilient to any perfectionistic concerns developing. She attributed this to her stable, grounded personality, also reporting autonomous motivation and performance success. The dancer representing pure evaluative concerns perfectionism reported increased perfectionistic strivings and lowered perfectionistic concerns over time; concurrently, his motivation became less controlled and more autonomous. He described the reasons in terms of improved basic psychological needs satisfaction and personal growth. Overall, autonomy might be important in mitigating perfectionism. [ABSTRACT FROM AUTHOR]

The article is devoted to the analysis of the activities of the ballet troupe of M.Jalil Tatar Academic State Opera and Ballet Theater in the Soviet and post-Soviet periods. It shows that after the premiere of the first ballet “Vain Precaution” by P.Hertel in 1939, the troupe continued to master the performances of the classical heritage “Giselle” by A.Adam (1945) and “Swan Lake” by P.Tchaikovsky (1947). At the same time, the troupe was working on creating a national ballet performance. Turning to the historical past and folklore, the authors of the libretto and choreographers immersed the viewer in the life and culture of the Tatar people, and the composers built the score based on centuries-old musical traditions. All this was expressed in the ballets “Shurale” by F.Yarullin (1945) and “Zyugra” by N.Zhiganov (1946). At this time, new productions appear in the repertoire, reflecting the current ideas of Soviet art at the time of creation. These are “Bakhchisarai Fountain” by B.Asafiev (1946) and “Laurencia” by A.Crane (1953). In the 2000s, a number of premieres took place produced for the Kazan ballet stage – “The Tale of Yusuf” (2001) by L.Lyubovskiy, choreography by N.Boyarchikov, G.Kovtun; “Peer Gynt” (2003) by E.Grieg, “The Golden Horde” (2013), R.Akhiyarova – choreography by G.Kovtun; “Сarmina Вurana, or the Wheel of Fortune” (2013) by K.Orff, choreography by A.Polubentsev. The author sets the task of identifying trends in the development of the repertoire in the post-Soviet period. His focus is on original ballet performances. The conclusion was that the result of the search for choreographers on the Kazan stage, expressed in the synthesis of genres, styles, and appeal to new subjects for the ballet theater, was the enrichment of the repertoire of M.Jalil Tatar Academic State Opera and Ballet Theater and entertainment culture in general.

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

Background: Several studies have investigated injuries of (pre-)professional ballet dancers, however most used a medical-attention and/or time-loss definition and did not analyse the prevalence of all health problems. The aim was to analyse the frequency and characteristics of all self-reported physical and mental health complaints (i.e. injuries, illnesses and mental health problems) of professional ballet dancers during one season. Methods: Three professional ballet companies were prospectively monitored weekly during one season with the Performing artist and Athlete Health Monitor (PAHM). Numerical rating scales (ranging 0–10) were used for severity of musculoskeletal pain, all health problems and impairment of the ability to dance at full potential in the previous seven days. If dancers rated the severity of their health problems or their impairment greater than 0, they were asked to answer specific questions on the characteristics of each health problem. Results: Over a period of 44 weeks, 57 dancers (57.9% female) filled in 1627 weekly reports (response rate of 64.9%), in which 1020 (62.7%) health problem were registered. The dancers reported musculoskeletal pain in 82.2% of the weeks. They felt that their ability to dance at their full potential was affected due to a health problem in about every second week (52.6%) or on at least 29.1% of the days documented in the weekly reports. Almost all dancers (96.5%) reported at least one injury, almost two thirds (64.9%) an illness and more than a quarter (28.1%) a mental health problem. On average, every dancer reported 5.6 health problems during the season. Most of the 320 health problems were injuries (73.1%), 16.9% illnesses and 10.0% mental health problems. Injuries affected mainly ankle, thigh, foot, and lower back and were mostly incurred during rehearsal (41.6%) or training (26.1%). The most frequent subjective reasons of injury were "too much workload" (35.3%), "tiredness/exhaustion" (n = 22.4%) and "stress/overload/insufficient regeneration" (n = 21.6%). Conclusion: Preventive interventions are urgently required to reduce the prevalence of health problems and especially injuries of professional dancers. Injury prevention measures should regard the balance of the load capacity of professional dancers and the workload in training, rehearsals and performances. Key Points: The prevalence of health problems is high: Almost all professional ballet dancers (97%) reported at least one injury, 65% an illness and 28% a mental health problem during one season. Health problems have substantial impact: On at least 29% of the days documented in the weekly reports, the dancers were not able to dance at full potential due to a health problem. Many injuries seem to be preventable: Half of the injuries occur during training (26%) or rehearsal run-through (23%) and the most frequent reasons were "too much workload" (35%), "tiredness / exhaustion" (n=22%) and "stress / overload / insufficient regeneration" (22%). [ABSTRACT FROM AUTHOR]

The purpose of the article is to analyse the visual component in the musical genre (songs) and musical-theatrical genre (ballet), which is an element for the formation of spectacle. The work methodology includes analytical, structural-functional, generalising scientific methods; techniques of comparative analysis to reveal the specifics of modern artistic practices in revealing the specifics of the visual as a component of spectacle. The scientific novelty of the work consists in the analysis of the song ―Smerekova Khata‖, the musical and stage performance of the ―Gerdan‖ theatre, the ballet ―Signs‖ with the determination of the visualisation of the images laid down by the authors to form the spectacle. Conclusions. Based on the analysis of M. Bakay and P. Dvorskyi's song ―Smerekova Khata‖, the dependence of visualisation in musical-poetic composition and music, metaphoricity in musical-poetic images in various performing interpretations with a certain amount of spectacularity according to the definition of ―spectacularity‖ in the dictionary of Efron and Brockhaus is determined as a concert, performance. The analysis of the concert performance of the Chernivtsi City Folklore Theatre-Studio ―Gherdan‖ based on the musical and textual material, stage design and costumes of the performers made it possible to reveal the degree of visualisation of musical and stage images that contribute to spectacle in art according to K. Stanislavska's concept as a spectacle with an artistic structure, which is a system of means of expression with external manifestations. The French-American dancer-choreographer Carolyn Carlson's ballet ―Signes‖ (1997, Paris Opera) with scenery by the French artist Olivier Debre and electronic music by the French composer René Aubry fully meets all the parameters of spectacle: a) unusual events that appeal to history with famous heroes Leonardo da Vinci and Gioconda with her outstanding smile; b) entertainment in the presentation of material with the use of three-dimensional pictures that are constantly moving; c) seven different locations; d) lack of verbal text (words), which are compensated by electronic music and choreographic movements. [ABSTRACT FROM AUTHOR]

This article embarks on a sociological explanation of the genesis of talent as an embodied experience and as bodily hexis generated within a system of social and aesthetic relations which are characterised by symbolic oppositions. Using Bourdieu's theory of artistic production, I argue that talent in theatrical dance constitutes an ideal type materialised through the construction of the dancing body as a site of excellence, only possible through access to specific forms of capital. Drawing on historical and contemporary empirical material to conceptualise talent in dance, the article critiques the notion of talent as an innate gift, contending that virtuoso physical performance is a product of history and practice and acquires meaning within such conditions of engagement. [ABSTRACT FROM AUTHOR]

This article focuses on representations of ballet at Astley's Amphitheatre to examine the venue's negotiations of cultural difference and the politics of empire as a uniquely cross-Channel operation. Tracing the shifting role of ballet at Astley's, from a source of inspiration for John Astley's celebrated dancing-on-horseback routine to its inclusion as a stage-based, nominally "French" entertainment, the article proposes that theatrical dance provided an important counterpoint to the circus's imperialist rhetoric and tendencies to jingoism. By facilitating the promotion of Astley's as an enterprise mediating between French and British cultures, ballet enabled Astley's to manifest a commitment to cosmopolitanism that shored up the circus's appeal across the social classes. [ABSTRACT FROM AUTHOR]

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

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

This article presents an overview of the process of researching, reimagining, and reconstructing Doris Humphrey's Felipe "El Loco," the missing work from her trilogy of Spanish repertoire. In 1954, Humphrey created Felipe "El Loco" for her protégé, José Limón, and his then-emerging company, and showcased it in that year's American Dance Festival. Although the debut had an enthusiastic reception, the 1955 performances had mixed reviews, and the work was lost and forgotten, leaving no filmed, written, or notation recordings. In 2022, M. Gabriela Estrada undertook the project of restoring Felipe "El Loco" to bring awareness of its legacy as a unique example of interdisciplinary collaboration and multicultural repertoire connecting modern dance, ballet, and flamenco's history. This restoration project has aimed to pay tribute to the dance pioneers represented in this choreographic project: Doris Humphrey, José Limón, Pauline Koner, and Félix Fernández, the flamenco dancer on whose legend this choreographic work is based. [ABSTRACT FROM AUTHOR]

Demi-plié is a coordinated dance movement involving knees bent while keeping hips turned out and heels grounded. It consists of descending and ascending phases, the latter often preparing for the next move. Task goals may influence its trajectory. Ten classical dancers (eight females, two males), aged 20–45 years old performed demi-plié itself and prior to pirouette en dehors, relevé, sauté, and sissonne fermée de côté. Lower limb and hip trajectory data were collected through a motion capture system. Time-series data were aligned across all conditions using a dynamic time warping algorithm. The Euclidean distance measured the hip trajectory between each ballet movement, providing a continuous dissimilarity function over time. Descriptive analysis focused on each participant’s maximum dissimilarity values across conditions. Results showed maximum hip trajectory differences of 40% for demi-plié before sauté, 30% before sissonne, 20% before relevé, and 10% before pirouette. Dissimilarities began in the descending phase of the demi-plié. ANOVAs for repeated measures and Bonferroni’s post-hoc showed that the standard deviation of dissimilarity had the largest effect size for the demi-plié – demi-plié before sauté, and the smallest for the demi-plié – demi-plié before pirouette. Demi-plié prior to jumps demands plyometric forces and has open-loop motor planning, requiring acceleration, whereas demi-plié is closed-loop, relying on proprioceptive updating. [ABSTRACT FROM AUTHOR]

Dance research should consider time points within a season that may be associated with injury, and report on weekly dance training loads. The current study aimed to analyse injuries within each semester and participant, monitor load, mood and stress within one semester, and calculate compliance with monitoring in a tertiary dance training cohort. The dance training program that participants are drawn from is a six-semester, three-year undergraduate course, training in ballet and contemporary dance. A better understanding of injury in dance may further refine load management and injury prevention strategies. Fourteen tertiary dance students consented to participate. A medical attention injury definition was used. Weekly injury rate ratios within each 14-week semester were calculated. Participants completed ratings of perceived exertion , and mood and stress questionnaires across one semester. Injuries were significantly increased for Week 5, Semester 1; Week 2, Semester 2; and Week 1, Semester 3, and 4. Spikes in load coincided with injury spikes, as observed visually on a line graph. Certain weeks in proximity to a change in training schedule had increased injury. Applying training principles in response to monitoring, specifically to return to dance after a holiday period, may aid in reducing injuries at this time requiring further investigation. [ABSTRACT FROM AUTHOR]

Use of breath, close physical proximity, and tactile cues are some of the unique facets of dance training. In March of 2020, as COVID-19 lockdowns occurred, these aspects were removed from the lexicon of dance educators as virtual learning took the place of in-person training. This data-driven project explores the benefits and challenges of virtual dance, examining whether online dance can acutely improve mental health and enhance social connectivity. We explore our findings from an education perspective, focusing on learning style, class experience, and dance history. Our findings suggest that online dance can improve mood and increase community connectedness in healthy adults. Importantly, we found that an individual's trait learning style can influence the effectiveness of online learning, with tactile learners benefitting the most in terms of mood state and visual learners benefitting the most in terms of social connectivity. Additionally, we found that greater levels of experienced enjoyment provided the greatest benefits to mood state, whereas greater levels of perceived difficulty may have detrimental effects. We suggest best practices for online dance learning, provide future areas of research, and highlight the importance of using online learning to increase dance accessibility to diverse populations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: To explore perspectives and experiences of adolescent ballet dancers in Australia in relation to dance-related injuries and their impact, injury risk factors, prevention, and treatment. Design: Adolescent ballet dancers aged from 12 to 19 years in Australia were invited to participate in an online qualitative survey. Methods: Responses to openended questions were analyzed thematically using grounded theory while quantitative information was summarized with descriptive statistics and triangulated with qualitative data. Results: Nineteen adolescent dancers reported experiencing pain and multiple injuries but hiding or ignoring injuries due to fear. Dancers recognized the significant physical and psychosocial impact of dance-related injuries on themselves and others. Several risks and injury prevention strategies were identified by dancers. Dancers perceived that treatments were not always informed or effective. Conclusion: Findings suggest that adolescent ballet dancers experience multiple dance-related injuries but require support to disclose injuries, participate in injury prevention, and access treatment. Health professionals may improve quality of care by increasing their understanding of ballet and providing specific management advice. Dance teachers may benefit from further education to support their students. Clinical trials are required to confirm or negate the validity of proposed injury risks and the effectiveness of injury prevention strategies and treatments. [ABSTRACT FROM AUTHOR]

This article examines the work of Yanov-Yanovsky, an Honored Artist of the Republic of Uzbekistan and a leading modern composer. Professor F. M. Yanov-Yanovsky has played a vital role in advancing the Uzbek school of composers, showcasing his unparalleled talent, artistic insight, and versatility as a composer, performer, and educator. His impact spans the entire field of contemporary compositional art in Uzbekistan. His personal and professional life are closely connected, mirroring the significant changes in the country over the last fifty years. The article highlights his diverse portfolio, which includes both classical and contemporary works. Yanov-Yanovsky's refusal to be restricted to one artistic path is evident in his broad range of compositions, such as poems, symphonic suites, instrumental concertos, and symphonies. His work seamlessly merges classical traditions with modern stylistic elements, demonstrating his mastery in both chamber and large symphonic formats. He excels in portraying lyrical, tragic, sarcastic, sorrowful, and poetic themes. Some of his pieces are known for their delicacy, fragility, and meditative nature, while others stand out for their intense emotionality and internal tension. His meticulous attention to detail, artistic craftsmanship, and rational approach are reflected in the clarity and balance of his musical ideas. Yanov-Yanovsky's body of work includes symphonies, concertos, oratorios, operas, chamber instrumental and vocal pieces, music for theater and film, and popular songs. He has significantly contributed to Uzbekistan's film industry, composing music for numerous films produced by the Uzbekfilm studio, which showcases the diversity of his work. Since the early stages of his career, Yanov-Yanovsky has also been involved in teaching at the State Conservatory of Uzbekistan, balancing his educational role with administrative responsibilities. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jaka Bombač writes about Masterwork for Six Dancers, a dance performance by Emese Cuhorka, Csaba Molnár and En-Knap Group, modelling itself on the Bauhaus philosophy and the Triadic Ballet that explores the ways in which the body sheds cultural symbols and social meanings. The author wonders if the performing procedures associated with the Triadic Ballet and other avant-garde forms have not themselves become a convention. He concludes that the semiotic logic of the post-industrial world is completely different from the semiotic logic of the industrial world which, he believes, makes it unclear whether the performance subverts conventions or merely repeats them. [ABSTRACT FROM AUTHOR]

Idoia Murga Catro y Alejandro Coello Hernández (eds.) (2024), Los Ballets Espagnols de Antonia Mercé, La Argentina, Madrid, Fundamentos, 2023, 284 pp. ISBN 978-84-245-1424-2.