Ballet and Contemporary Dance Injuries When Transitioning to Full-Time Training or Professional Level Dance: A Systematic Review

Fuller, Melanie; Moyle, Gene Margaret; Hunt, Andrew P.; Minett, Geoffrey M.

doi:10.12678/1089-313x.23.3.112

Cited by 18 publications

(17 citation statements)

References 48 publications

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“…Thus, it seems probable that as a dancer's rank increases, their volume of work decreases whilst the intensity of their work increases [5]. The transition from pre-professional to professional ballet has been identified as a potential period of heightened injury risk due to increased ballet exposure [28]. However, we observed similar weekly dance hours in apprentices as those previously reported in pre-professional dancers [29].…”

Section: Discussionsupporting

confidence: 77%

The Demands of a Professional Ballet Schedule: A Five-Season Analysis

Shaw¹,

Mattiussi²,

Brown³

et al. 2021

Preprint

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Periodizing rehearsal and performance schedules in professional ballet is difficult given a lack of published longitudinal data. We aimed to describe the structure of a professional ballet season, and identify factors associated with inter-dancer and inter-production variation in dance hours. Scheduling data were collected from 123 dancers over five seasons at The Royal Ballet. Linear mixed effects models were used to evaluate differences in weekly dance hours and performance counts across sexes, company ranks, and months. Random forest regressions were used to investigate factors associated with the variation in rehearsal hours across different productions. Performance congestion was observed in December, whereas total dance hours peaked between January and April. Differences in weekly dance hours were observed between company ranks (p < .001, range in means: 19.1–27.5 h·week-1). Seasonal performance counts varied across company ranks (p < .001), ranging from 28, 95% CI [22, 35] in principals, to 113, 95% CI [108, 118] in artists. Rehearsal durations were greatest in preparation for newly choreographed and longer ballets. Dancers creating roles in new ballets completed considerably more rehearsal hours than for existing ballet. These results provide a basis for the implementation of rehearsal and repertoireperiodization in professional ballet.

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Section: Discussionsupporting

confidence: 77%

The Demands of a Professional Ballet Schedule: A Five-Season Analysis

Shaw¹,

Mattiussi²,

Brown³

et al. 2021

Preprint

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show abstract

“…The transition period from pre-professional training into a professional ballet company has been previously identified as a potential risk factor for injury. 31 Our findings, however, demonstrate that Apprentices are at the lowest risk of injury compared to other company members. It is plausible that Apprentices may avoid disclosing injuries when trying to establish themselves within a new company.…”

Section: Incidence Ratementioning

confidence: 50%

Injury epidemiology in professional ballet: a five-season prospective study of 1596 medical attention injuries and 543 time-loss injuries

et al. 2021

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ObjectivesTo describe the incidence rate, severity, burden and aetiology of medical attention and time-loss injuries across five consecutive seasons at a professional ballet company.MethodsMedical attention injuries, time-loss injuries and dance exposure hours of 123 professional ballet dancers (women: n=66, age: 28.0±8.3 years; men: n=57, age: 27.9±8.5 years) were prospectively recorded between the 2015/2016 and 2019/2020 seasons.ResultsThe incidence rate (per 1000 hours) of medical attention injury was 3.9 (95% CI 3.3 to 4.4) for women and 3.1 (95% CI 2.6 to 3.5) for men. The incidence rate (per 1000 hours) of time-loss injury was 1.2 (95% CI 1.0 to 1.5) for women and 1.1 (95% CI 0.9 to 1.3) for men. First Soloists and Principals experienced between 2.0–2.2 additional medical attention injuries per 1000 hours and 0.9–1.1 additional time-loss injuries per 1000 hours compared with Apprentices (p≤0.025). Further, intraseason differences were observed in medical attention, but not time-loss, injury incidence rates with the highest incidence rates in early (August and September) and late (June) season months. Thirty-five per cent of time-loss injuries resulted in over 28 days of modified dance training. A greater percentage of time-loss injuries were classified as overuse (women: 50%; men: 51%) compared with traumatic (women: 40%; men: 41%).ConclusionThis is the first study to report the incidence rate of medical attention and time-loss injuries in professional ballet dancers. Incidence rates differed across company ranks and months, which may inform targeted injury prevention strategies.

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“…Ballet is an art exercise that requires long-term training and has high physical performance demands. Ballet dancers are at a high risk of injuries, especially those considered overuse or cumulative injuries ( Costa et al, 2016 ; Smith et al, 2016 ; Fuller et al, 2019 ; and Fuller et al, 2020 ). Most ballet dancers are exposed to strenuous training at an early age ( Twitchett et al, 2009 ), before their musculoskeletal system matures.…”

Section: Introductionmentioning

confidence: 99%

Relationship of Extrinsic Risk Factors to Lower Extremity Injury in Collegiate Ballet Dancers

Huang

Lin

Jankaew

et al. 2022

Front. Bioeng. Biotechnol.

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Ballet dancers are thought to be at higher risk of lower extremity injury. This objective of this study was to describe the self-reported incidence, location, and factors associated with lower extremity injury in collegiate ballet dancers. Two hundred and forty-nine female ballet dancers responded to a questionnaire that addressed their injury event/location, dance behavior over the past 2 years, and overall dance history. Behaviors assessed included the following: types and number of shoes worn (pointé shoes/ballet slippers), wear time, training time (session frequency and duration), use of warm-up/cool-down, and use of a strengthening program and lower extremity accessory. Overall dance history included age of the onset of training, total years of experience, and number of dance styles. Backward multivariable logistic regression analysis was used to determine the extent to which variables measured were associated with injury. Ankle injury was the most prevalent injury. Years of wearing pointé shoes (adjusted odds ratio = 1.21, p = 0.01) and days/weeks in pointé shoes (adjusted odds ratio = 1.26, p = 0.04) were associated with an increased risk of injury; while additional strengthening (adjusted odds ratio = 0.39, p = 0.02) and use of lower extremity accessories during classes/rehearsals (adjusted odds ratio = 0.64, p = 0.01) were protective associations. These findings suggested that the use of pointé shoes, lower extremity accessories, and additional exercise should specifically be recorded during evaluation of injured ballet dancers; and must be considered potential factors to modify during rehabilitation.

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Ballet and Contemporary Dance Injuries When Transitioning to Full-Time Training or Professional Level Dance: A Systematic Review

Cited by 18 publications

References 48 publications

The Demands of a Professional Ballet Schedule: A Five-Season Analysis

The Demands of a Professional Ballet Schedule: A Five-Season Analysis

Injury epidemiology in professional ballet: a five-season prospective study of 1596 medical attention injuries and 543 time-loss injuries

Relationship of Extrinsic Risk Factors to Lower Extremity Injury in Collegiate Ballet Dancers

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