Differences in Foot Characteristics Between Bharatanatyam Dancers and Age-Matched Non-Dancers.

INTRODUCTION: The ankle-foot complex is the third most common site of pain in Indian dancers. In Bharatanatyam dance, rhythmic stamping performed barefoot at varying speeds may influence the height of the medial longitudinal arch, causing structural alteration of the ankle-foot complex. As little information is available on the ankle-foot complex of Bharatanatyam dancers, the present study was conducted to test the hypothesis that foot characteristics of Bharatanatyam dancers differ from those of non-dancers. METHODS: Female professional Bharatanatyam dancers (n=21), aged 18-30 years, with a minimum of 8 years of performance experience after completing formal dance training, and 21 control non-dancers participated in this study. Physical foot examination included navicular drop test and Feiss line. Foot geometry and pedobarography were recorded as participants walked barefoot at self-selected walking pace over a pressure-platform. An average of five gait cycles was computed to analyse maximum peak pressure (MPP), pressure time integral, contact time, and foot geometry of the midfoot, forefoot, great toe, and second to fifth toes. Analysis of covariance was performed for intergroup comparison of all variables with gait speed as a covariate. RESULTS: During walking, dancers presented a higher medial-longitudinal-arch, wider midfoot, and wider forefoot (cm) (p<0.001), indicating an over-pronated foot due to lower medial longitudinal arch height. Total plantar peak pressure (kPa) was 37% higher among dancers, whereas MPP was 24% higher on midfoot and 13% higher on forefoot, indicating greater plantar loading during walking. CONCLUSION: Greater plantar loading and an over-pronated foot during the most commonly performed weight-bearing activity of daily living (e.g., walking) explain the common prevalence of ankle and foot pain among dancers. These findings will inform clinicians and Bharatanatyam dancers on dancer's foot function and guide strategies for prevention and management of foot pain.

Evaluation of Standing Balance Performance in Indian Classical Dancers.

Indian classical dance involves a constant change of the base of support from stance to low jumps and spins along with intricate footwork. Graceful movement of the torso, shifting from side to side and turning around the axis of the spine, challenges balance. Yet, balance performance remains unexplored in Indian classical dancers. Therefore, the present study aimed to compare the standing balance of 36 active female dancers (18 to 25 years of age) who had performed Indian classical dance for a minimum of 10 years with 36 healthy age-matched women not involved in regular physical activity. Balance was evaluated in static and dynamic conditions of single and dual-limb stance on a force plate using center-of-pressure trajectory and the Star Excursion Balance Test (SEBT). Dancers demonstrated better balance on both instrumented and non-instrumented outcome variables: wide base of support with eyes open and with eyes closed; for 30-second single limb stance with eyes open and with eyes closed; for 13-second dual task in single limb stance; and for 22-second dual task in wide base of support. The SEBT revealed significantly better balance performance of dancers in the three directions tested: anterior, posteromedial, and posterolateral. There was also a strength component of the study on which the dancers achieved significantly higher scores than controls for the three muscle groups tested (gastrocsoleus, gluteus medius, and quadriceps), which can be attributed to their training. These findings can be used to recommend classical dance training to achieve the dual purpose of deriving better balance and stronger bodies and maintaining the Indian dance heritage.