Classical ballet

Abstract: We performed a combined retro- and prospective study of injuries in a Swedish professional, classical ballet company during 5 consecutive years. There were 390 injuries incurred by 98 dancers over a 5-year period, i.e., 0.6 injuries/1000 dance hours. Most injuries were considered to be due to overuse. The median sick leave was 2.3 weeks per injury. The foot and ankle region is vulnerable in classical ballet dancers, and overuse injuries can result in long periods of sick leave. Of the dancers employed for more than 1 year 95% were suffered injuries during the study period. We found considerable differences in the injury profile between male and female and between younger and older dancers. Male dancers suffered more frequently from acute injuries to the knee joint. Traumatic injuries were seen most frequently in male soloists. Female dancers more often suffered overuse injuries, especially to the foot and ankle region. The younger dancers more often suffered traumatic injuries, for example, ankle sprain, and also stress fractures

Abstract: The present study tested the components of the model proposed by Objectification Theory (Fredrickson & Roberts, 1997) in a sample of adolescent girls Two groups of girls aged between 12 and 16 years (38 girls who currently studied classical ballet, and 45 girls who did not study classical ballet) completed questionnaire measures of self-objectification, body shame, appearance anxiety, and disordered eating Contrary to prediction, there was no difference between the 2 groups on self-objectification or on any of its proposed consequences For the total sample, however, the proposed model was largely supported In particular, body shame and appearance anxiety partially mediated the relationship between self-objectification and disordered eating It was concluded that Objectification Theory is applicable to adolescents

Abstract: Successful management of classical ballet dancers with overuse injuries requires an understanding of the art form, precise knowledge of anatomy and awareness of certain conditions. Turnout is the single most fundamental physical attribute in classical ballet and 'forcing turnout' frequently contributes to overuse injuries. Common presenting conditions arising from the foot and ankle include problems at the first metatarsophalangeal joint, second metatarsal stress fractures, flexor hallucis longus tendinitis and anterior and posterior ankle impingement syndromes. Persistent shin pain in dancers is often due to chronic compartment syndrome, stress fracture of the posteromedial or anterior tibia. Knee pain can arise from patellofemoral syndrome, patellar tendon insertional pathologies, or a combination of both. Hip and back problems are also prevalent in dancers. To speed injury recovery of dancers, it is important for the sports medicine team to cooperate fully. This permits the dancer to benefit from accurate diagnosis, technique correction where necessary, the full range of manual therapies to joint and soft tissue, appropriate strengthening programmes and maintenance of dance fitness during any time out of class with Pilates-based exercises and nutrition advice. Most overuse ballet conditions respond well to a combination of conservative therapies. Those dancers that do require surgical management still depend heavily on ballet-specific rehabilitation for a complete recovery.

Abstract: Acknowledgements. List of Illustrations. Introduction. 1. The Romantic Ballet 2. The Russian Imperial Ballet 3. Early Modern Dance 4. Early Modern Ballet 5. Modern Dance 6. Modern Ballet Envoi.