An analysis of the foot in turnout using a dance specific 3D multi‐segment foot model

Carter, Sarah L.; Bryant, Alan; Hopper, Luke

doi:10.1186/s13047-019-0318-1

Cited by 18 publications

(38 citation statements)

References 70 publications

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“…These results indicate that in the subjects with lesser passive HER the mechanism of forced TO is employed. Foot overpronation in classical positions is aesthetically unwanted [3] and is connected with hindfoot eversion, midfoot abduction and forefoot abduction [32]. In lesser rotation group, in asymmetric positions CP3-CP5 a greater tibialis anterior activity was observed in forward setting.…”

Section: Methodsmentioning

confidence: 99%

On the track of the ideal turnout: Electromyographic and kinematic analysis of the five classical ballet positions

Gorwa¹,

Kabaciński²,

Murawa³

et al. 2020

PLoS ONE

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The turnout of the lower extremities is the major component of the classical ballet positions (CPs) and correctly is initiated in the hips. The aim of this research was to determine the differences in the electromyographic and kinematic variables in the five CPs in ballet students with greater and lesser amount of passive hip external rotation (HER). A group of 14 female pre-professional ballet dancers 11-16 years of age participated in the study. Based on the amount of passive HER, participants with higher values made up greater rotation group (n = 7) whereas those with lesser values formed lesser rotation group (n = 7). Electromyographic activity of 14 muscles from right side of the trunk and right lower extremity was recorded with the surface electrodes while subjects were standing in all five CPs (CP1-CP5). The external rotation of the hips, knees and feet were recorded with the motion capture system. The kinematic differences between the groups were revealed in asymmetric positions CP4 and CP5 where foot progression angle was significantly lesser in forward than backward setting only in lesser rotation group. In lesser rotation group the ankle and back muscles were more engaged in CPs while abdominal and hip muscles less when compared with greater rotation group. This finding suggests that in the group with lesser passive HER the mechanism of forced turnout was employed. The most remarkable finding in our work was that various electromyographic patterns can be observed between groups in all CPs, while kinematic differences may be marked only in asymmetric positions.

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Section: Methodsmentioning

confidence: 99%

On the track of the ideal turnout: Electromyographic and kinematic analysis of the five classical ballet positions

Gorwa¹,

Kabaciński²,

Murawa³

et al. 2020

PLoS ONE

View full text Add to dashboard Cite

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“…This is because we could not quantify foot pronation, which requires higher resolution of the video analysis than was available to us. A previous study demonstrated using 3D multi-segment foot model that female college dance students pronate their feet via hindfoot eversion and midfoot abduction during turnout compared with a natural stance [19]. Although they did not report the relationship between the extent of pronation and degree of hallux valgus, their proposed model that can measure foot motion on a segment basis is beneficial to investigate this relationship in a future study.…”

Section: Discussionmentioning

confidence: 95%

“…In such forced turnout, there is hyperpronation of subtalar joints, called "rolling in." [13,15,19] This increases force on the first metatarsophalangeal in the direction of abduction, possibly leading to progression of hallux valgus. Therefore, we expected that movement kinematics that characterize or associate with such forced turnout would be correlated with the degree of hallux valgus.…”

Section: Introductionmentioning

confidence: 99%

Correlation between degree of hallux valgus and kinematics in classical ballet: A pilot study

Seki¹,

Miura²,

Sato³

et al. 2020

PLoS ONE

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Hallux valgus is a serious medical concern for classical ballet dancers. Although it is wellknown that progression of hallux valgus is related to inappropriate movement techniques in classical ballet, the kinematic relationship between the degree of hallux valgus and ballet techniques has not been substantiated. To develop proper training methods that prevent progression of hallux valgus, this study aimed to investigate the relationship between the degree of hallux valgus and movement techniques in classical ballet. Seventeen female classical ballet dancers at the advanced college-level participated in this study. Kinematic analysis of standing and plié in the first position was conducted via video capture technique. The Pearson product-moment correlation analysis was performed to examine the degree of hallux valgus and the following three kinematic variables: (1) the extent to which turnout is forced by other joints in the lower extremity than the hip joint, (2) the direction difference between the knee and toe in the transverse plane, and (3) the pelvis obliquity angle. Among these kinematic variables, we found a significant correlation between the hallux valgus angle and the pelvis obliquity angle during plié (P = .045). The greater the hallux valgus angle, the greater the retroversion of the pelvis, a result which was contrary to our prediction. We present the first evidence that the degree of hallux valgus correlates with kinematics in a very basic technique of classical ballet.

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“…Most injuries of the ankle are connected with performing “pointé” and “demi pointé” [ 1 , 2 ]. Apart from “turnout”, these two are the most characteristic technical elements of the classical dance [ 10 , 11 ]. Both “pointé” and “demi pointé” are preceded by multi-annual exercises.…”

Section: Introductionmentioning

confidence: 99%

In Pursuit of the Perfect Dancer’s Ballet Foot. The Footprint, Stabilometric, Pedobarographic Parameters of Professional Ballet Dancers

Gorwa¹,

Michnik

Nowakowska-Lipiec

2021

Biology

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This work aims to assess footprint parameters in a group of professional ballet dancers and to determine the correlation between the aforementioned parameters and lateralization, stabilometric parameters, pedobarographic parameters and work environment conditions. A group subjected to tests consisted of 44 elite professional ballet dancers and the reference group was composed of 44 students. The test of balance and thrust under feet involved 30 s-long free standing with open eyes on a podographic platform. The research-related analysis was concerned with footprint parameters (foot length and width, Clarke angle, and Weissflog index), stabilometric parameters (path length and ellipse field, mean value of the velocity and deflection of the displacement of the center of the foot pressure on the ground) and pedobarographic parameters (percentage thrust on the right, left foot as well as the front and rear part the foot). Statistically significant differences between the groups were observed in relation to the stabilometric parameters, the percentage pressure of the left forefoot and the right heel, as well as the value of the Clarke angle (p ≤ 0.05). The longitudinal arch of the foot and the width of the foot in ballet dancers are not dependent on the total and professional career duration and weekly training volume

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An analysis of the foot in turnout using a dance specific 3D multi‐segment foot model

Cited by 18 publications

References 70 publications

On the track of the ideal turnout: Electromyographic and kinematic analysis of the five classical ballet positions

On the track of the ideal turnout: Electromyographic and kinematic analysis of the five classical ballet positions

Correlation between degree of hallux valgus and kinematics in classical ballet: A pilot study

In Pursuit of the Perfect Dancer’s Ballet Foot. The Footprint, Stabilometric, Pedobarographic Parameters of Professional Ballet Dancers

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