Body checking and avoidance among dancers.

Dancers are at heightened risk for eating disorders (EDs) and have job and training demands that obscure ED assessment and likely impede treatment. Two behavioral manifestations of ED psychopathology that may present uniquely in a dance environment are body checking and body avoidance. The current study sought to provide a foundational understanding of the phenomenology of body checking and avoidance among dancers by assessing the reliability (i.e., internal consistency) of existing body checking and avoidance measures and the relationships, or convergent validity, between measures of body checking and avoidance and measures of related constructs. Eighty professional and pre-professional (i.e., conservatory level) dancers (78.8 % female) from seven dance genres completed self-report measures of body checking and avoidance, ED pathology, clinical perfectionism, depression, and anxiety. Across the dancer sample, body checking and avoidance measures demonstrated adequate internal consistency. More frequent body checking and body avoidance was strongly related to higher levels of ED pathology. There were moderate to strong correlations between body checking and body avoidance and clinical perfectionism, depression, and anxiety such that higher body checking and body avoidance was related to higher clinical perfectionism, depression, and anxiety. Exploratory analyses found no significant differences between ballet dancers and dancers of other dance genres; professional dancers scored in the normative range on measures of body checking and body avoidance. Dancers' qualitative descriptions of body checking and avoidance revealed behaviors not included in existing questionnaires, such as unique mirror use behaviors, technology-assisted body checking, and the checking and avoidance of body parts relevant to the dance-specific body ideal. Results support the inclusion of body checking and avoidance interventions in ED treatments for dancers (particularly pre-professional dancers) and emphasize the need for dancer-specific ED assessment methods.

The Difference Between Expert Dancers' and Non-Dancers Tapping Timing With and Without an Auditory Stimulus at a Slow Tempo.

Our primary purpose in this study was to determine whether trained dancers differed from untrained non-dancers in their ability to accurately control motor timing during finger and heel tapping tasks, both with and without slow isochronous auditory stimuli. Dancers and non-dancers were instructed to synchronize their taps with isochronous auditory stimuli under three conditions: 30, 40, and 50 BPM. After the synchronization phase, participants were asked to continue tapping without the auditory sequences. On the synchronization task, the tapping onset of both groups lagged behind the stimulus onset in all tempo conditions. In all conditions, dancers showed more accurate and stable beat synchronization and continuation than non-dancers. As the tempo condition slowed down (from 50 to 30 BPM), synchronization accuracy decreased while synchronization and continuation variability increased. Unlike for novices, dancers showed no difference between the finger and heel tapping synchronization tasks. During the continuous tasks, their timing accuracy was higher for heel than for finger tapping. Collectively, these findings suggest that dance training, which involves synchronizing bodily movements based on rhythm, may lead to an accumulation of experience that enhances specific sensorimotor skills related to synchronizing movements with external stimuli or continuing rhythmic movements temporally.

Evaluating Post-concussion Clinical Management of University-Aged Performing Artists: A Systematic Review.

INTRODUCTION: Contemporary concussion literature has yet to establish appropriate clinical management guidelines to address the unique needs of performing arts populations, especially at the collegiate level. Therefore, the purpose of this investigation was to collate current evidence regarding post-concussion return to performance management among university-aged performing artists to generate broad clinical implications. METHODS: The research team was comprised of two faculty members in the performing arts, one concussion researcher, and athletic trainer, two university librarians, and one physical therapy graduate student with expertise in post-concussion management among performing arts patients. Two librarians searched the literature using PubMed, Cochrane, SPORTdiscus, and Education Research Complete. Studies were eligible for preliminary inclusion if they were written in English, conducted in the United States, as well as published in a peer-reviewed journal. There were no restrictions on publication date due to the limited literature on this topic. The most recent search was conducted in July 2023. RESULTS: Of the 18 studies identified during the search process, only 2 met the inclusion criteria. Broadly, this investigation identified common mechanisms of injury among stage crew/technicians and dancers who are of university-age. Furthermore, both studies identified several patients who opted to return to performing arts on their own volition. However, there were no studies that solely focused on the collegiate performing arts population and their return to performance procedures. CONCLUSIONS: Overall, these findings highlight a momentous gap in concussion literature regarding how to guide clinicians and academic teams when returning collegiate performing artists back to their performance environment(s). Thus, additional research is strongly warranted to understand the lived experiences of performing artists with concussion, as well as how to address specific coursework-related demands to support their recovery.

Factors associated with musculoskeletal pain in professional dancers, including lapse period of group practice due to the COVID-19 outbreak: repeated-measures analysis.

Background: This study investigated the prevalence and associated factors of musculoskeletal pain among professional dancers who experienced a lapse in group practice due to coronavirus disease 2019. Methods: General characteristics, practice time, region of musculoskeletal pain due to injury using the visual numeric scale (VNS), and causative motion were surveyed among professional dancers. Pain of VNS 0 to 3 was categorized as "no or minor," 4 to 6 was categorized as "moderate," and 7 to 10 was categorized as "severe." The causal motions of musculoskeletal pain were analyzed according to body region. Factors other than motion associated with pain were also analyzed. Results: In total, 368 participants were included. In the univariate analysis, age and practice time were positively associated with "moderate" pain. Practice time, dance experience, and postural accuracy were positively associated with "severe" pain, as was performing Korean traditional dance. In the multivariable analysis, practice time, group practice, and age were positively associated with pain of VNS 4 to 10, and practice time, group practice, and Korean traditional dance were positively associated with pain of VNS 7 to 10. Conclusion: Among the factors related to dancer training, practice time, group practice, and dance type affect the occurrence of pain.

Exploring biomechanical variations in ankle joint injuries among Latin dancers with different stance patterns: utilizing OpenSim musculoskeletal models.

Background: Dancers represent the primary demographic affected by ankle joint injuries. In certain movements, some Latin dancers prefer landing on the Forefoot (FT), while others prefer landing on the Entire foot (ET). Different stance patterns can have varying impacts on dancers' risk of ankle joint injuries. The purpose of this study is to investigate the differences in lower limb biomechanics between Forefoot (FT) dancers and Entire foot (ET) dancers. Method: A group of 21 FT dancers (mean age 23.50 (S.D. 1.12) years) was compared to a group of 21 ET dancers (mean age 23.33 (S.D. 0.94) years), performing the kicking movements of the Jive in response to the corresponding music. We import data collected from Vicon and force plates into OpenSim to establish musculoskeletal models for computing kinematics, dynamics, muscle forces, and muscle co-activation. Result: In the sagittal plane: ankle angle (0%-100%, p < 0.001), In the coronal plane: ankle angle (0%-9.83%, p = 0.001) (44.34%-79.52%, p = 0.003), (88.56%-100%, p = 0.037), ankle velocity (3.73%-11.65%, p = 0.017) (94.72-100%, p = 0.031); SPM analysis revealed that FT dancers exhibited significantly smaller muscle force than ET dancers around the ankle joint during the stance phase. Furthermore, FT dancers displayed reduced co-activation compared to ET dancers around the ankle joint during the descending phase, while demonstrating higher co-activation around the knee joint than ET dancers. Conclusion: This study biomechanically demonstrates that in various stance patterns within Latin dance, a reduction in lower limb stance area leads to weakened muscle strength and reduced co-activation around the ankle joint, and results in increased ankle inversion angles and velocities, thereby heightening the risk of ankle sprains. Nevertheless, the increased co-activation around the knee joint in FT dancers may be a compensatory response for reducing the lower limb stance area in order to maintain stability.

Passion and performance anxiety: How it affects the incidence of musculoskeletal disorders in dancers.

OBJECTIVES: This study aimed to examine the association between the incidence of musculoskeletal disorder episodes (MDEs) and obsessive and harmonious passion as well as performance anxiety throughout a dance season, which lasted 38 weeks. DESIGN: Prospective cohort study. METHODS: A total of 118 professional and preprofessional dancers were recruited and assessed at baseline, while 88 completed the follow-up. Their levels of passion and performance anxiety were assessed at the beginning of a dance season using the Passion Scale and the Kenny Music Performance Anxiety Inventory, respectively. To monitor the incidence of MDEs throughout a dance season, dancers were asked to complete a weekly electronic diary. RESULTS: A higher level of obsessive passion was associated with a higher incidence of MDEs causing an interruption of dance activities (ß = 0.264, p = 0.022). Harmonious passion and performance anxiety were not associated with MDEs throughout the season. CONCLUSIONS: Findings of this study support the role of obsessive passion in the development of MDEs in dancers.

Increased asphericity of the femoral head-neck junction in professional breakers compared to hobby athletes - a retrospective case-control study.

OBJECTIVE: Breaking has gained public attention as a form of sports activity. The associated intense movements of the hip joints are possibly linked to the development of femoroacetabular impingement (FAI). Therefore, this study aimed to assess clinical and radiographic FAI measures in professional breakers compared to hobby athletes. METHODS: The study cohort consisted of professional breakers with persisting hip pain who were 1:1 matched to a cohort of FAI patients without professional sports careers from our outpatient clinic. The primary endpoint assessed on standardized plain radiographs was the alpha angle (AA). Further measures were the acetabular index (AI), lateral center-edge angle (LCEA), crossover sign, ischial spine sign, and femoral head extrusion index (FHEI). The modified Harris Hip Score (mHHS) and the Western Ontario and McMaster Universities Osteoarthritis Index (WOMAC) score were used to obtain patient-reported measures. RESULTS: We recruited ten professional breakers and matched them to ten hobby athletes. The median AA was significantly higher in the breakers compared with the hobby athletes (73° [IQR 66.5°, 84.2°]) vs. 61.8° [IQR 59.5°, 64.8°], p = 0.0004). There was a significant reduction in weekly training hours in breakers after diagnosis (13.0 hours [interquartile range [IQR] 9.5, 32.4] to 1.5 hours [IQR 0, 4.8], p = 0.0039). There were no inter-group differences regarding mHHS, WOMAC, and additional radiographic measurements. CONCLUSION: Breakers have higher AA in cam-type FAI compared to nonprofessional athletes. The corresponding hip pain significantly reduced training hours and caused the end of their breaking career. The potentially high prevalence of FAI in breakers and the corresponding consequences need to be considered early when athletes present with hip pain.

Perceptions and Attitudes Toward the Use of Wearable Technology in the Dance Studio Environment.

Introduction: Wearable technology (WT) has become common place in sport. Increased affordability has allowed WT to reach the wrists and bodies of grassroots and community athletes. While WT is commonly used by sport populations to monitor training load, the use of WT among dancers and dance teachers is unknown. Therefore, the purpose of this study is to explore the perspectives of dancers, dance teachers, and dance parents on using WT in the dance studio environment. Methods: Dancers (aged 14+), dance teachers (aged 18+), and dance parents (with a child <18 years registered in a dance program) were recruited from local dance studios (including those offering vocational programs and/or professional training opportunities), and dance retail stores. Participants provided informed consent/assent and completed a one-time online survey about their attitudes, self-efficacy, motivations, barriers, and current practices of using WT in the studio. Results: Sixty-seven participants (19 dancers, 32 dance teachers, and 16 dance parents) completed the survey. Attitudes toward using WT were similar across all groups (mean score range = 34-38/45). Thirteen dancers (68%), 29 teachers (91%), and 7 dance parents reporting on behalf of their children (47%) were permitted to use WT in the studio. Smartwatches were the most common WT used in the studio by dancers (7/9) and teachers (13/17), while dance parents reported that their children primarily used wristband activity trackers (3/4). Among all groups, the primary reason for using WT was to track personalized training data, with calories, total duration, and heart rate being the most important perceived metrics for improving dancing. Conclusion: Across all groups, attitudes toward WT were modest. Prevalence of WT use in the dance studio varied, with wrist-based gadgets being the most common. As WT research continues in dance populations, it will be important for future studies to consider studio permissions as well as participants' existing WT use practices.

Spinal Counts, Impact, and Partnering Movements in Ballet, Modern, and Hip Hop dance: A YouTube Video Analysis Study.

INTRODUCTION: Dancers have self-reported a link between spinal extension movements and low back pain (LBP). Researchers have not reported the total number or frequency that spinal movements occur in ballet, modern, or hip-hop dance classes or performances. The purpose of this study was to report the number of spinal movements dancers are exposed to in different dance environments. MATERIALS AND METHODS: We analyzed 65 dance videos on YouTube.com for dance movements within 7 dance environments: ballet class and performance, modern class and performance, and hip-hop breaking, ciphers (large groups), and battles ("1v1s"). Two reviewers recorded counts of spinal (spinal flexion, extension, lateral flexion, and rotation), impact (jumps, leaps, and falls), and partnering movements (lifts, catches, and leans). Data analyses were processed in Jamovi (the jamovi project, Sydney, Australia). We reported movement totals, percentages, frequency, ranges, means with standard deviations (SD), and medians with interquartile range (IQR). We calculated significant differences using Mann-Whitney U tests. RESULTS: Video length ranged from 3 to 141 minutes (mean ± SD: 38.4 ± 38.3, range: 138). the average spinal extension movements ranged from 2 ± 0.8 to 7 ± 9.6 movements per minute across genres. Modern dance class had the most spinal flexion (89 ± 53.6), rotation (60 ± 40.8), and lateral flexion (74 ± 20.7) movements. Ballet performance had the most spinal extension movements (77 ± 69.8), jumps (74 ± 48), and leaps (19 ± 18.2). Hip-hop breaking had the highest number of falling movements (2 ± 2.3). Partnering movements were only present in ballet performance, modern dance performance, and hip-hop breaking environments. CONCLUSIONS: Movements that increase LBP occur often in all 3 dance genres. Dancers can expect frequent exposure to spinal extension movements; therefore, we recommend strengthening back and core musculature for all dancers. We recommend that ballet dancers also strengthen their lower extremity muscles. For modern dancers, we recommend strengthening their obliques. For hip-hop dancers, we recommend increasing muscular power and muscular endurance.

Posturography measures in specific ballet stance position discriminate ballet dancers with different occurrences of musculoskeletal injuries.

BACKGROUND: This study aimed to identify the postural sway variables that can distinguish between ballet dancers with high and low occurrences of musculoskeletal injuries. METHODS: Fourteen professional ballet dancers were assigned to a high-occurrence group (N = 5, reports >2 injuries in the previous 6-months) or a low-occurrence group (N = 9, reports ≤1 injury). Center-of-pressure (COP) data were acquired using a force platform during the following tasks: single-leg stance with eyes open, single-leg stance with eyes closed, and demi-pointe stance with eyes open. The COP standard deviation (SD) and range (RA) in both the medial-lateral (ML) and anterior-posterior (AP) directions were estimated. Between-group comparisons were made through Welch's t-tests for unequal sample size along the effect size measure (Cohen's d). Spearman's rho was used to estimate the association between the number of injuries and the COP variables. The statistical threshold was set at 1%. RESULTS: A between-group effect was found only for the demi-pointe stance, with large effects for SDML (P = 0.006, d = 1.7), RAAP (P = 0.006, d = 1.7), and RAML (P = 0.005, d = 1.7). An inverse relationship was found between the number of injuries and the demi-pointe's COP range in both directions (Spearman's rho from -0.681 to -0.726, P = 0.007). CONCLUSIONS: COP measures taken in ballet-specific positions can distinguish between dancers with a high and low occurrence of musculoskeletal injuries. Suggestions are made to include ballet-specific tasks in the functional assessments of professional dancers.

Body dissatisfaction, ideals, and identity in the development of disordered eating among adolescent ballet dancers.

OBJECTIVE: Little is known about how female adolescent ballet dancers-a group at high-risk for the development of body dissatisfaction and eating disorders-construct body ideals, and how their social identities interact with body ideals to confer risk for disordered eating. Using a novel body figure behavioral task, this study investigated (1) whether degree of body dissatisfaction corresponded to severity of disordered eating thoughts and behaviors, and (2) how ballet identity corresponded with ideal body figure size among adolescent ballet dancers. METHODS: Participants were 188 female ballet dancers ages 13-18 years who completed self-report measures of study constructs and the behavioral task. RESULTS: Linear regression models indicated that more severe body dissatisfaction was positively associated with increased disordered eating thoughts and behaviors (p < .19), except for muscle building (p = .32). We also found that identifying more strongly as a ballet dancer was correlated with having a smaller ideal body size (p = .017). CONCLUSION: Findings from this study suggest desire to achieve smaller body sizes is correlated with more severe disordered eating endorsement and stronger ballet identity. Instructors and clinicians may consider assessing the extent to which individuals identify as a ballet dancer as a risk factor for disordered eating and encourage adolescent dancers to build and nurture other identities beyond ballet. PUBLIC SIGNIFICANCE: Eating disorders are debilitating conditions that can lead to malnutrition, social isolation, and even premature death. Though disordered eating thoughts and behaviors can affect anyone, adolescents in physically demanding and body image-driven activities including ballet dance are particularly vulnerable. Investigating how factors like body dissatisfaction and strength of identity are associated with disordered eating among high-risk groups is crucial for developing effective prevention and intervention methods that minimize harm.

Adolescent Dance Team Fitness: Initial Quantitative Normative Values.

BACKGROUND: Research on improving dancer fitness to enhance performance capacity and prevent injury continues to grow. Fitness research for the adolescent dance team population, however, presents an evidence void. PURPOSE: Utilizing studio-based assessments, this descriptive quantitative study reveals an initial set of fitness normative values for the female adolescent competitive dance team dancer population. METHODS: 115 female dance team dancers ages 12 to 17 participated in a 90-minute field test assessment battery for cardiorespiratory fitness, muscle endurance of the upper body, lower body, and core, and lower extremity power. Descriptive statistics (mean, standard deviation, and interquartile range) created an initial set of quantitative fitness normative values for this population. RESULTS: Dancers' results revealed 29.5mL/O2×min ± 5.7 estimated VO2max, 35 ± 16 push ups, 62 ± 14 half sit ups, 51 ± 13 squats in 1 minute, 190 ± 23 cm broad jump, 445 ± 65 cm right lower extremity triple hop, and 450 ± 69 cm/left lower extremity triple hop. CONCLUSION: Discussion includes comparison of findings relative to previously established adolescent fitness and dancer normative data. Discussion also suggests implications, study limitations, and future research directions.

Analysis of Serum Ferritin Levels in a Group of Elite Ballet Dancers.

INTRODUCTION: Iron plays a significant role in energy production. However, it is not uncommon for athletes to be diagnosed with iron deficiency (ID), suggesting a correlation between performance and iron regulation. As a result, the International Olympic Committee has recommended iron screenings during health evaluations for elite athletes. Furthermore, athletes participating in esthetic sports are at increased risk for suboptimal iron intake due to disordered eating. Therefore, the purpose of this study was to investigate the distribution of serum ferritin (SF) in a cohort of elite ballet dancers and determine associations between vitamin D, anthropometric measures, stress injury, and dietary preferences. METHODS: Electronic health records of 40 elite ballet dancers (22 female, 18 male), age 19 to 38 years old, from the 2020 to 2021 pre-participation physical screening were examined. Chi squared comparisons were calculated to evaluate the association between SF and additional variables (ie, gender, age, height, weight, body mass index, vitamin D, stress injury history, and dietary preferences). SF values were compared to published normal and athletic population data. RESULTS: 58.97% of participants displayed normal or above SF values (>50 ng/ml), while 41.02% displayed minimal (<50 ng/ml) to depleted (<0.12/ng/ml) SF values. Approximately, 68% of the female dancers were ID and did not meet the minimal value needed for athletes. Females were more likely to have lower SF distributions (x2 [4] = 15.6377, P = .004) compared to male dancers. Additionally, dancers who reported dietary preferences (ie, vegetarian) were more likely to display lower SF distributions (x2[4] = 13.3366, P = .010). CONCLUSION: Over half of the female elite ballet dancers were ID which is consistent with current research. Females were at a significant higher risk compared to male dancers who reported dietary preferences. These findings suggest iron screenings should be considered in elite dancer populations.

Sleep, Dance Exposure Hours, and Injury Risk in Collegiate Dancers.

INTRODUCTION: Sleep is essential for athletes and dancers to optimize recovery. Poor sleep negatively affects cognitive function and injury risk in athletes. Increased athletic participation (hours) is associated with decreased total sleep and quality in athletes. Still, information about how sleep is related with exposure hours and injury in collegiate dancers remains unclear. We examined the relationships among the Athlete Sleep Behavior Questionnaire (ASBQ), dance exposure hours (DEHr), and injuries in collegiate dancers over a 7 -month period (August 2019-February 2020). METHODS: Seventy-two dancers (58 female, 14 male; 19.7 ± 1.4 years) completed the 18 question ASBQ at the start of each month (Scale:1 = Never, 5 = Always; Global Scores ≤36 = "good sleep behavior" and ≥42 = "poor sleep behavior"). A DEHr was recorded as 1 hour of dance participation in class, rehearsal, or performance. Injuries were defined as any condition where the dancer sought medical attention, and we calculated an injury rate for total injuries (IR/1000 DEHr). Pearson correlations examined relationships among ASBQ, DEHr, and injuries (P ≤ .05). RESULTS: Dancers participated in 467.8 ± 45.7 DEHr over 7 months, with 14 dancers suffering 18 injuries (IR = 0.5/1000-DEHr; 95% CI:0.3-0.8). Overall, dancers reported poor sleep behaviors (42.6 ± 6.4). ASBQ scores, DEHr, and injuries in August-October, and December-February were not related, except for a weak positive relationship between ASBQ scores and DEHr in November (r = .28, P = .04). CONCLUSIONS: Sleep, DEHr, and injuries were inconsistently related in collegiate dancers. Sleep and DEHr were only correlated during the month where dancers had 2 performance weeks. While we did not observe this relationship every month, performance weeks may have negatively affected sleep in November. Despite consistent poor sleep, sleep did not seem to negatively affect injury risk during the 7 -month study period. Future researchers should validate the ASBQ in dancers.

Estimates of Agreement Between Three Low-cost and One High-cost Bioelectrical Impedance Analyzers using Classical and Contemporary Dancers.

The aim of this study was to determine the concordance between the estimates of three low-cost and one high-cost electrical bioimpedance equipment (BIA) in classical and contemporary dancers. Participation in the study included 28 subjects (15 men and 13 women) 18 to 35 years old, who perform classical and/or modern dance, thrice weekly, from 60 to 120 min per session, for 10 years or more. Those who presented any disease, consumed drugs, supplements or multivitamins; had prostheses, surgical metal parts or pacemakers, had problems maintaining the correct anatomical positions for taking measurements, and pregnant women were excluded. Their body composition was determined with 3 low-cost BIA equipment (OMRON HBF-306C, SKULPT CHISEL and BEURER BF 1000) and one high-cost equipment (SECA mBCA 515). The results indicated that in men, SKULTP in its "complete" modality had the highest agreement with SECA (CCC=0.73, 95% CI=0.46-0.88) for body fat percentage (%BF); in women, OMRON in its "normal" modality had the highest agreement with SECA (CCC=0.85, 95% CI=0.62-0.94) for %BF; while BEURER had poor concordances (CCC=0.86-0.03) for the rest of the estimates in its different modalities, in both sexes. It is concluded that the lower cost equipment (SKULPT and OMRON) were the most consistent with SECA for %BF in normal weight dancers. BEURER had the lowest agreements with SECA, in all its modalities, as well as inconsistent estimates for all parameters. Therefore, there was no relationship between the cost of the low-cost impedance equipment and its agreement with those of a high-cost one.

Mental health in dance: A scoping review.

Research in dance psychology and mental health is rapidly growing. Yet, evidence in the field can seem dispersed due to few existing meta overviews that outline research in dance related to mental health. Therefore, the aim of this scoping review is to strengthen future dance research by gathering and contextualizing existing findings on mental health in dance. Following the PRISMA guidelines and protocols, 115 studies were included in the review. Overall, the data analysis shows a predominant adoption of quantitative research but a lack of applied interventions of preventive and reactive procedures in mental health. Similarly, there is a tendency to study pre-professional dancers, whereas research into professional dancers, especially aged 30-60 is underrepresented. Dance genres have been unevenly investigated, with classical ballet being the most researched, whereas different dance styles and freelance employment are in dire need of in-depth investigation. Conceptualizing mental health as a dynamic state, the thematic analysis identified three main categories: stressors, mental processes, and outcomes. These factors appear to be in a complex interaction. Overall, the existing literature gives indications of components essential to understanding dancers' mental health but has several blind spots and shortcomings. Therefore, a lot of in-depth understanding and research is still needed to fully grasp the dynamic complexity of mental health in dance.

"My job is to keep my body healthy": biopedagogies, beauty and institutional greed in professional ballet.

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.

Hip Joint Biomechanical Parameters and Their Relationship With the Esthetic Functional Performance of the Développé à la Seconde Movement in Classical Ballet Dancers.

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.

The Prevalence of Orthorexia Nervosa among Greek Professional Dancers.

The aim of this study was to determine the prevalence of orthorexia nervosa (ON) among professional dancers in Greece, as well as its relationship with nutrition, body mass index (BMI), body image flexibility, and parental bonding. The participants were 96 professional dancers, with a mean age of 23.41 ± 5.13 years, who completed a battery of questionnaires recording sociodemographic, clinical, and anthropometric characteristics; adherence to the Mediterranean diet (MedDiet); indications of ON, as determined by the ORTHO-15 questionnaire; body image flexibility, using the body image-acceptance and action questionnaire (BI-AAQ-5); and their recollection of their parents' attitudes towards them during the first 16 years of life, with the parental bonding instrument (PBI). The study population was classified into two groups, based on BMI: normal weight, and underweight. ON was shown to be significantly correlated with BMI (p = 0.006)-present in normal weight subjects- and body image inflexibility (p < 0.001). Parental body image inflexibility was significantly correlated with a low bonding relationship as perceived in childhood. In conclusion, disordered eating attitudes and body shape concerns are prevalent among professional dancers and appear to be associated with their parental relationship during childhood. Identification of potential ON and development of preventive mechanisms could help to eliminate such concerns and improve the nutrition of professional dancers.

Is there an association between joint range of motion and muscle strength in young female dancers? And, does it depend on the effects of age and menarche?

Aiming to determine the association between joint range of motion (ROM) and muscle strength; and, the effect of age and menarche on those two factors; 132 pre-and post-menarche dancers, aged 12-14 years were assessed for joint ROM and for muscle strength at the hip, knee and ankle and foot joints. En-pointe ROM was significantly correlated with ankle plantar-flexors' (r = -.184) and with ankle dorsiflexors' muscle strength (r = -.221). Hip external rotation ROM was significantly correlated with knee extensors' strength (r = -.263). Pre-menarche dancers had higher joint ROM compared with post-menarche dancers; yet, dancers at post-menarche were stronger compared to dancers at pre-menarche. The slope coefficient was negative at the age of 12 in hip external rotation and in en-pointe (-0.80 and -0.52, respectively) and became steeper with age (age 13: -3.52 and -3.28, respectively; age 14: -6.31 and -4.42, respectively). Along maturation, dancers with high joints ROM showed reduced muscle strength. Pre-menarche dancers have higher joint ROM, yet reduced muscle strength, compared with post-menarche dancers. As the association between joint ROM and muscle strength might be involved with growth and development, young dancers should be screened along pubertal stages in order to decide the correct curricula and to prevent future injuries.