Resilience, self-efficacy and motivation as positive psychological characteristics of student and professional dancers / Resiliência, autoeficácia e motivação como características psicológicas positivas de bailarinos alunos e profissionais

ABSTRACT This study aimed at assessing the following psychological variables: resilience, self-efficacy and motivation. A total of 135 dancers participated in the study, that is, 112 students from the Brazilian dance school known as Escola de Dança do Teatro Guaíra, 15 professional dancers from the school referred to as Balé Teatro Guaíra, and 08 professional dancers from the school named G2 Cia de Dança. The evaluation of the psychological variables was carried out by using four questionnaires: Resilience Scale (RS), General Self-Efficacy Scale (GSE), Self-Efficacy Scale for Dancers (SESD), and Sport Motivation Scale-II (SMS-II). The Hierarchical Cluster Analysis with the Ward's method and Mann-Whitney test were used for assessing the data. The results showed that students and professionals have similar levels of motivation, but divergent ones regarding friendship, personal fulfilment, satisfaction, meaning of life and self-confidence, ability to adapt to situations of resilience, and psychological self-efficacy. The Cluster Analysis enabled the researchers to organize the group of student dancers with similar characteristics into three clusters, that is, 'predominant', 'intermediate' and 'minority', whereas the group of professional dancers was divided into two groups, 'minor and 'major''. It was concluded that both student dancers and professional ones showed high values of resilience, self-efficacy and motivation. These results highlight that dance has an important role in the construction of a positive psychological profile.

RESUMO Esta pesquisa analisou as seguintes variáveis psicológicas: resiliência, autoeficácia e motivação. Um total de 135 bailarinos participou do estudo, isto é, 112 alunos da Escola de Dança do Teatro Guaíra, 15 bailarinos profissionais do Balé Teatro Guaíra e 08 bailarinos profissionais do G2 Cia de Dança. A avaliação das variáveis psicológicas foi realizada por meio de quatro questionários: Escala de Resiliência (ES), Escala de Autoeficácia Geral Percebida (EAGP), Escala de Autoeficácia para Bailarinos (AEBAI) e Escala de Motivação para o Esporte II (SMS-II). Para análise de dados utilizou-se a Análise de Clusters hierárquica com o Método de Ward e o Teste de Mann-Whitney. Os resultados mostraram que alunos e profissionais possuem níveis semelhantes para a motivação, todavia distintos com relação às categorias de amizade, realização pessoal, satisfação, significado de vida e autoconfiança, capacidade de adaptação a situações da resiliência e autoeficácia psicológica. A Análise de Clusters possibilitou organizar o grupo de bailarinos alunos com características semelhantes em três clusters, isto é, "predominante", "intermediário" e "minoritário", enquanto que o grupo de bailarinos profissionais foi dividido em dois grupos, isto é, "menor" e "maior". Concluiu-se que tanto bailarinos alunos e profissionais da dança apresentaram altos índices de resiliência, autoeficácia e motivação. Estes resultados permitem afirmar que a dança têm um papel importante na construção de um perfil psicológico positivo.

Satisfacción corporal en bailarinas y no bailarinas / Body satisfaction in female dancers and non- dancers

La imagen corporal es el conjunto de percepciones y actitudes sobre uno mismo, incluyendo pensamientos, sentimientos y comportamientos hacia el propio cuerpo. Se ha reportado que los niveles elevados de insatisfacción pueden resultar en trastornos de alimentación como anorexia nerviosa o bulimia, sobre todo en la población femenina. Se ha reportado que las bailarinas, sobre todo de ballet, están más expuestas a estos trastornos teniendo en cuenta su insatisfacción corporal. El objetivo del presente trabajo fue determinar si existía asociación entre la presencia de insatisfacción corporal y el hecho de ser bailarina. El presente fue un estudio observacional, analítico, de corte transversal, con muestreo de casos consecutivos. Se incluyó a 49 mujeres bailarinas y a 59 no bailarinas, mayores de edad, que voluntariamente aceptaron participar de la investigación y que previamente firmaron un consentimiento informado. La frecuencia encontrada de insatisfacción corporal en bailarinas fue de 38,8%. Los resultados obtenidos mostraron que las bailarinas tuvieron significativamente (valor p=0,011) mayor probabilidad de tener insatisfacción con su imagen corporal que las no bailarinas. Una de las posibles explicaciones de por qué las bailarinas sienten mayor insatisfacción con su imagen corporal, comparadas con la población general son las exigencias de la práctica de la danza, así como al juzgamiento al que son sometidas por parte del público.

Body image is the set of perceptions and attitudes about oneself. It includes thoughts,feelings and behaviors towards one's own body. High levels of dissatisfaction have beenreported to result in eating disorders such as anorexia nervosa or bulimia, especially in thefemale population. It has been reported that dancers, especially ballet dancers, are moreexposed to these disorders taking into account their body dissatisfaction. The objective ofthis study was to determine if there was an association between the presence of bodydissatisfaction and the fact of being a dancer. The present was an observational, analytical,cross-sectional study, with a sampling of consecutive cases. A total of 49 female dancersand 59 female non-dancers, who voluntarily accepted to participate in the research andpreviously signed an informed consent, were included. The frequency of body dissatisfactionin dancers was 38.8%. The results showed that the dancers had a significantly (p=0.011) higher probability of having dissatisfaction with their body image than the non-dancers. One of the possible explanations why dancers feel more dissatis fied with their body image, compared to the general population, are the demands of dance practice, as well as thejudgment to which they are subjected by the public.

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

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.

Escala de Autoeficácia para Bailarinos (AEBAI): construção e evidências de validade / Self-efficacy Scale for Dancers (SESD): Construction and validity evidences / Escala de Autoeficacia para Bailarines (AEBAI): construción y evidencias de validez

Autoeficácia refere-se aos julgamentos que as pessoas fazem de suas próprias habilidades. É um conceito usado na Psicologia do Esporte, mas faltam instrumentos para a dança. Este estudo elaborou e verificou as evidências de validade da Escala de Autoeficácia para Bailarinos (AEBAI). Foram avaliados 410 bailarinos (10-19 anos), em festivais de dança nacionais e internacionais. Os itens foram selecionados com base na literatura e na experiência em dança da primeira autora, e avaliados por seis juízes treinados, obtendo-se 88,87% de concordância (índice Kappa). Foi conduzida a análise fatorial exploratória, que revelou dois fatores para seus 15 itens: Autoeficácia Física, com sete itens (α=0,82), e Autoeficácia Psicológica, com oito itens (α=0,81), apresentando boas propriedades psicométricas. Discutem-se os resultados à luz da Psicometria e importância para a Psicologia aplicada à dança...

Self-efficacy refers to judgments that people make about their own abilities. It is a concept used in Sport Psychology, but lacking instruments to dance. This study developed and verified the evidence of validity of the Self-Efficacy Scale for Dancers (SESD). We evaluated 410 dancers (10-19 years old) in national and international festivals of dance. The items were selected based on literature and practical experience with dance by the first author, and evaluated by six trained judges, obtaining 88.87% agreement (Kappa). Exploratory factor analysis revealed two factors for the 15-item instrument: Physical Self-Efficacy, with 7 items (α=0.82) and Psychological Self-Efficacy, with eight items (α=0.81), presenting good psychometric properties. We discuss the results in light of Psychometrics and importance for Psychology applied to the dance...

La autoeficacia se refiere a los juicios que las personas hacen sobre sus propias capacidades. Es un concepto utilizado en Psicología del Deporte, pero no hay instrumentos para la danza. En este estudio se construyó y verificó evidencias de la validez de la Escala de Autoeficacia para Bailarines (AEBAI). Fueron evaluados 410 bailarines (10-19 años) en festivales de danza nacional e internacional. Los ítems fueron seleccionados en base a la literatura y la experiencia práctica con la danza por el primer autor y evaluados por seis jueces entrenados, obteniendo 88,87% de acuerdo (Kappa). El análisis factorial exploratorio reveló dos factores para sus 15 ítems se llevó a cabo: Autoeficacia Fisica, con 7 ítems (α=0,82) y de Autoeficacia Psicológica, con ocho ítems (α=0,81), presentando buenas propiedades psicométricas. Los resultados se discuten a la luz de la Psicometría y la importancia de la Psicología aplicada a la danza...

Desarrollo de un modelo de motivación para explicar el flow disposicional y la ansiedad en bailarines profesionales / Development of a Motivation Model to Explain Dispositional Flow and Anxiety in Professional Dancers

El propósito del presente estudio fue aplicar un modelo de motivación en bailarines profesionales, para conocer los procesos motivacionales que pueden facilitar o dificultar la aparición de consecuencias emocionales como el flow disposicional o la ansiedad. Participaron en la investigación 332 bailarines de diferentes conservatorios españoles (293 mujeres y 39 hombres), con edades comprendidas entre los 12 y 45 años, que respondieron a diferentes cuestionarios. Los resultados del modelo revelaron que el clima tarea compañeros predecía la satisfacción de las tres necesidades psicológicas, mientras que el clima ego compañeros tan solo predijo la necesidad de competencia, siendo esta variable predictor positivo de la motivación intrínseca y negativo de la desmotivación. Por último, la motivación intrínseca se mostró como predictor positivo del flow disposicional y, en menor medida, de la ansiedad, mientras que la desmotivación predijo únicamente la ansiedad. Como conclusión se destaca que el modelo de motivación planteado se ajusta correctamente con una muestra de bailarines profesionales.

The aim of the current study was to apply a motivation model in professional dancers to know motivational processes that might help or make difficult the appearance of emotional consequences such as dispositional flow or anxiety. 332 dancers from different Spanish conservatories participated in the research (293 females and 39 males), ranging in age from 12 to 45 years old who filled several questionnaires. Mode's results showed that peer mastery climate predicted satisfaction of the three psychological needs and peer performance climate only predicted necessity of competence, being this variable a positive predictor of intrinsic motivation and a negative predictor of amotivation. Finally, intrinsic motivation was a dispositional flow predictor and, to a lesser extent, was an anxiety predictor, whereas amotivation only predicted anxiety. To conclude, we emphasize that motivation model was correctly adjusted for a professional dancers sample.

Influence of Pilates training on muscular strength and flexibility in dancers / Influência de um programa de treino Pilates na força muscular e flexibilidade de bailarinos

The purpose of the present study was to assess the effects of a Pilates training program on muscular strength and flexibility in dance students. Fifteen dance students were divided into 2 groups: experimental (n=7) and control (n=8). Both were assessed in beginning and in the end of the study. Muscular strength was assessed measuring the time supported in the technical skills penché and developpé. To asses flexibility, it was measured the angle between limbs in the technical skills arabesque, developpé and cambré. After the first moment of evaluation, the experimental group performed a Mat-Based Pilates Exercise during 11 weeks. The statistic analyses (two-way analysis of variance - ANOVA 2x2) showed significant differences (p ≤ 0,05) in muscular strength and flexibility measurements between groups after the training program. It was concluded that Pilates training has a positive effect on muscular strength and flexibility in dance students.

Foi objectivo avaliar o efeito de um programa de treino Pilates na força muscular e flexibilidade de bailarinos estudantes. Quinze bailarinos foram divididos em 2 grupos: experimental (n=7) e controlo (n=8). Ambos foram avaliados no início e final do estudo. A força muscular foi avaliada através do tempo de sustentação nos elementos técnicos penché e developpé. Para avaliar a flexibilidade foi medido o ângulo de amplitude entre os segmentos nos elementos técnicos arabesque, cambré e developpé. Após o 1.º momento de avaliação os bailarinos do grupo experimental participaram num programa de Mat-Based Pilates Exercise durante 11 semanas. A análise estatística (análise de variância para medidas repetidas - ANOVA 2x2) demonstrou diferenças significativas (p ≤ 0,05) entre os grupos no âmbito da força muscular e flexibilidade após o programa de treino. Conclui-se que o Pilates induz alterações positivas ao nível da força muscular e flexibilidade de bailarinos.

A imagem corporal na dança de salão / Body image in ballroom dance

A dança é uma forma de manifestação corporal que promove união do corpo-mente-emoção e que tem influência sobre os aspectos psicológicos e fisiológicos do ser humano. A dança de salão é a expressão dos movimentos do corpo em sincronia com um parceiro, em harmonia com o ritmo musical,organizados em um padrão espacial. Dançar permite que conheçamos novos caminhos que nos coloca em contato com nós mesmos e com o ambiente. Essa é uma maneira de produzir mudanças na relação mente corpo proporcionando aprendizado cognitivo e perceptivo dos sistemas, influenciando a imagem corporal. A imagem corporal é o caminho que o corpo aparece para o indivíduo. Representa a forma com que uma pessoa experimenta e conceitua seu corpo. Sofre influência dos processos neurais e estados emocionais por isso está em constante mutação. Partindo do princípio que a dança desencadeia emoções e quepromove a melhora na relação corporal pressupomos que ela tenha influência positiva na auto-imagem. Sendo assim, a proposta desse estudo é de ampliar os dados acerca da prática de dança de salão avaliando seus benefícios na imagem corporal de indivíduos iniciantes. Para isso foi utilizada a escala de silhuetas proposta por Stunkard capaz de avaliar o grau de auto-satisfação corporal antes e depois do módulo inicialde aulas de dança. Concluímos que a dança de salão trouxe benefícios nos aspectos psicológicos para ambos os sexos. Sendo responsável, principalmente, pela melhoria na satisfação corporal das mulheres, que a princípio apresentavam-se descontentes com sua auto-imagem.

Dance is a complex behavior that integrates body-mind-emotion. Dance is responsible for the improvement of psychological and physiological aspects of human. Ballroom dance is an expression of synchronic body movements with the partners in a rhythm music harmony, organizing themselves in a region of space integrated with different sensations. Dancing with a partner develops knowledge aboutnew ways to put us in touch with ourselves and with the environment. It produces changes in the relationbetween body and mind. Dance has competence to develop cognitive and perceptual systems and improve the body image. Body image is understood as how the body appears for us. It is represented by the way that the individual experiences and conceptualize his/her own body. It is influenced by neural processes and emotional states, so it is constantly in changing. Assuming that dance allows the individual toexpresses his emotions and that it improves their body relationship, the prediction is that dancing influencethe body image. Therefore, the purpose of this research is to study and confirm if ballroom dancing improves the body image in beginners. We used the silhouettes scale describes by Stunkard for assessing the degree of bodily self-satisfaction. These measures were compared at the beginning and the end of a journey of classrooms groups. With this prediction, this study proved that ballroom dance was responsible for the improvement in body satisfaction for man and woman. And also the influence is still higher for women, who initially presented unhappy with their self-image.

Imagem corporal e bailarinas profissionais / Body image of professional ballet dancers

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 < 0,05. Os resultados encontrados mostram que as bailarinas, independente de sua modalidade de escolha, apresentam níveis de insatisfação e distorção de sua imagem corporal. Não houve diferenças estatisticamente significativas (p = 0,96) entre os três grupos avaliados. Destaca-se, em conclusão, a importância de estudos sobre imagem corporal em grupos considerados de risco, visando a identificação de distúrbios graves em concomitância com transtornos do comportamento alimentar, que trazem consequências nocivas para a saúde de bailarinas.

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 classical dancers of different countries will be identified. This is a descriptive research. The sample was composed of 15 professional adult ballet dancers and 16 jazz dancers from Porto Alegre, RS, Brazil, and nine professional adult dancers working in New York, United States. The instrument used to assess the level of satisfaction with body image was the Body Shape Questionnaire - BSQ, which measures the degree of concern with the body shape, self-depreciation due to physical appearance and the feeling of being overweight. Data were analyzed with the statistical program SPSS 15.0. Chi-square test and ANOVA test were applied for data comparison and p < 0.05 values were considered significant. The findings show that the dancers, regardless of their modality of choice, present levels of dissatisfaction and distortion of their body image. There were no statistically significant differences (p = 0.96) in the three groups evaluated. In conclusion, studies about body image in risk groups are important for the identification of serious disturbs in concomitance with eating disorders, which bring deleterious consequences to the health of dancers.

Comparative study of anthropometric variables in female classical ballet dancers, volleyball players and physically active subjects / Estudo comparativo das variáveis antropométricas em bailarinas clássicas e jogadoras de voleibol

O objetivo do presente estudo foi comparar medidas antropométricas(massa corporal, estatura e percentual de gordura) e a amplitude de movimento (ADM) de dorsiflexão e plantiflexão entre três diferentes grupos: bailarinas clássicas (n=14), jogadoras de voleibol (n=22) e mulheres fisicamente ativas (n=13). Assumiu-se que diferentes demandas funcionais deveriam produzir alterações nas medidas antropométricas e de ADM entre os três grupos. A massa corporal e a estatura foram maiores nas atletas de voleibol (66,42 ± 5,8 kg; 174,77 ± 5,6 cm), seguidasdas mulheres fisicamente ativas (59,93 ± 10,3 kg; 164 ± 7,5 cm) e das bailarinas clássicas (49,25 ± 4,5 kg; 157,03 ± 3,6 cm), respectivamente (p<0,05). O percentual de gordura foi maior nas mulheres ativas (30,67 ± 4,6%) quando comparadas aos outros dois grupos, que foram semelhantes entre si (jogadoras de voleibol = 24,93 ± 4,1%; bailarinas = 21,94 ± 4,3%, respectivamente). Os três grupos apresentaramsemelhante ADM entre os lados direito e esquerdo e para a amplitude de movimento ativa de dorsiflexão. Entretanto, para a plantiflexão a amplitude de movimento ativa foi maior nas bailarinas (~83°), seguidas das mulheres fisicamente ativas (~68°) e, por fim, pelas jogadoras de voleibol que apresentaram a menor amplitude de flexão plantar (~60°). As diferentes demandas impostas pelas três distintas atividades parecem ser responsáveis pelas mudanças em algumas variáveis antropométricas ena ADM da articulação do tornozelo.

The objective of this study was to compare anthropometric variables (bodyweight, height, and percent body fat) and plantarflexion and dorsiflexion range of motion (ROM) between three different groups of women: classical ballet dancers (n=14), volleyball players (n=22) and physically active subjects (n=13). The assumption was that different functional requirements should produce differences in the anthropometric variablesand ROM between the three groups. Body weight and height were higher in volleyball players (66.42 ± 5.8 kg; 174.77 ± 5.6 cm), followed by physically active women (59.93 ± 10.3 kg; 164 ± 7.5 cm) and ballet dancers (49.25 ± 4.5 kg; 157.03 ± 3.6 cm) (p<0.05). Percent body fat was higher in physically active women (30.67 ± 4.6%) compared to theother two groups, which showed similar percentages (volleyball players: 24.93 ± 4.1%; ballet dancers: 21.94 ± 4.3%). The three groups were similar in terms of total ankle ROM and active dorsiflexion ROM between the right and left sides. However, plantarflexion ROM was higher in ballet dancers (~83°), followed by physically active women (~68°)and volleyball players who presented the smallest ROM (~60°). The different requirements imposed by the three distinct physical activities seem to be responsible for changes in some of the anthropometric variables and ankle joint ROM.

Valoración antropométrica de la composición corporal de Bailarines de ballet: un estudio longitudinal / Anthropometric evaluation of body composition in ballet dancers: a longitudinal study

El cuerpo humano del bailarín adolescente es resultado de las adaptaciones morfológicas-fisiológicas 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 figura del danzante. Cada bailarín tiene que cumplir con los cánones internacionales de figura del ballet para presentarse en el escenario artístico. El objetivo de esta investigación es describir las variaciones de la composición corporal de los bailarines de la Escuela Nacional de Ballet de Cuba en dos momentos del proceso de entrenamiento. Se analizaron a través de un estudio longitudinal 54 bailarinas y 40 bailarines con edades entre 15 y 20 años. Se aplicó un protocolo antropométrico de 6 mediciones para estimar la composición corporal, empleándose las ecuaciones de Durnin y Rahaman, sexo femenino y Parizková y Buzková, sexo masculino. Los bailarines manifestaron incrementos significativos de peso y estatura; la velocidad de crecimiento de la estatura disminuyó con la edad para los dos sexos. En las bailarinas de todos los grupos etarios no se encontraron diferencias significativas en el porcentaje de la masa grasa de un año a otro, mientras todos los bailarines disminuyeron significativamente los valores porcentuales grasos en el mismo intervalo del estudio. Las féminas estudiantes presentaron valores promedios de porcentaje graso superiores al rango establecido en ejecutantes cubanos de deportes de arte competitivo y ballet profesional; los varones estudiantes registraron porcentajes grasos en rangos similares a los informados en esas poblaciones especializadas...

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 significant 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 significantly 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...

The Clinical Characteristics of Pain and the Usefulness of Pain Clinics from the Perspective of Professional Ballet Dancers in Korea / 대한통증학회지

BACKGROUND: There has recently been a rapid increase in the number of pain clinics and significant advancement in the treatment of pain in Korea. Therefore, this study was conducted to identify possible problems associated with pain clinics and to use this information to help design future pain clinics. This assessment was conducted from the perspective of professional ballet dancers, who are at high risk for pain like other athletes. METHODS: One-hundred professional ballet dancers responded to questionnaires designed to ascertain their preference for different types of clinics, the extent of the pain they experience, and their overall opinion of pain clinics. RESULTS: All of the respondents complained of pain in one or more sites and reported that they had visited some type of clinic for treatment at least once. Overall, the respondents preferred using the following methods to treat pain: orthopedic surgery (76 dancers), oriental medicine (49 dancers), and therapy at pain clinic (48 dancers). Fifty-three percent of the 48 dancers who had received treatment at pain clinics were satisfied with their treatment. Forty-four percent of the 52 dancers who had not been treated at a pain clinic had no knowledge of the existence of such facilities. CONCLUSIONS: This survey revealed that, although professional ballet dancers have a high prevalence of pain, many have no knowledge of pain clinics. Therefore, efforts should be made by pain clinics to make information regarding their facilities widely available to professional ballet dancers so they can serve the widest range of clientele.

Flexor hallucis Longus Tendinitis in Classical Ballet Dancer / 대한정형외과학회잡지

Flexor hallucis longus tendinitis is a common overuse syndrome in classic ballet dancers. To describe the clinical symptoms, diagnosis and non-operative and operative treatment, we evaluated twenty ballet dancers from march 1994 to August 1995. For the diagnosis, Tomasen test was helpful clinically and MRI was essential for surgical intervetion to find a tendon degeneration. Patients were classified into three groups by symptoms and clinical stages. All of the Group 1 and 2 were recovered by means of the conservative treatment. Two dancers belongs to Group 3 showed a severe degeneration of tendon on the MRI scan, finally was taken the an operation. Release of the tarsal tunnel were performed. Six months after operation, they could return to dancing.

Hallux Valgus Angle in Ballet, Mordern and Trditional Dancers / 대한정형외과학회잡지

Various etiologies of hallux valgus and metatarsus primus varus have been reported, but still they are not conclusively established. Furthermore, between hallux valgus and metatarsus primus varus, the question is unanswered as to which is the cause and which is the result. To determine the primary cause and attribution of high heeled position to hallux valgus and metatarsus primus varus, we selected three different types of dancer. Traditional dancers wear cotton sox and strike the heels first to move, modern dancers walk or run and jump on naked feet, and ballerinas stand, walk or jump on their toes with hard wooden shoes, so the latter two types of dancers move with extremely high-heeled position. We analyzed the plain AP roentgenography of 84 feet for 16 ballerinas, 13 modern and 13 traditional dancers. The results were as follows : 1. First metatarsalgia was noted in 38% of modern dancers and 43% of ballerinas but none in traditional dancers. 2. The mean hallux valgus angle was 13.6°±2.7° in traditional dancers, 13.5°±3.8° in modern dancers, 18°±3.3° in ballerinas which are statistically significant between ballerinas and modern, traditional dancers(P 0.01). Therefore, it is concluded that medio-lateral compression of shoes may be the principal contributor for the hallux valgus rather than high heel, and hallux valgus is the primary deformity.