Injuries across a pre-professional ballet and contemporary dance tertiary training program: A retrospective cohort study

Fuller, Melanie; Moyle, Gene Margaret; Minett, Geoffrey M.

doi:10.1016/j.jsams.2020.06.012

Cited by 16 publications

(40 citation statements)

References 29 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…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]. suggesting this transition does not represent an increase in dance exposure.…”

Section: Discussionsupporting

confidence: 71%

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

Shaw¹,

Mattiussi²,

Brown³

et al. 2021

Preprint

View full text Add to dashboard Cite

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.

show abstract

Section: Discussionsupporting

confidence: 71%

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

Shaw¹,

Mattiussi²,

Brown³

et al. 2021

Preprint

View full text Add to dashboard Cite

show abstract

“…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.

View full text Add to dashboard Cite

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.

show abstract

“…Being both a sport and a performance art, ballet is highly physical, technically demanding, and has unique rehabilitation requirements [26]. It is reported that 95% of ballet dancers are injured during their careers, with an injury rate of 0.6-4.6 per 1000 exposure hours, which for many ballet dancers, correlates to 25-50 weeks of participation [27][28][29][30][31][32]. This wide range of injury rates reflects not only novice to professional status, but also differences in how injury is defined, emphasizing the need for reporting standardization [17,33].…”

Section: The Need For a Ballet-specific Return To Sport Protocolmentioning

confidence: 99%

“…FHL: flexor hallucis longus; MTP: metatarsophalangeal; MT: metatarsal; RED-S: relative energy deficiency in sport; ITB: iliotibial band; DJD: degenerative joint disease; ACL: anterior cruciate ligament; TFL: tensor fascia lata [1,14,15,17,24,28,[30][31][32][36][37][38][39][40][41][42][43][44].…”

Section: Table 3: Common Ballet Injuries and Ballet Specific Consider...mentioning

confidence: 99%

“…Injury risk decreases when a ballet dancer refrains from alcohol and cigarette use [26,53]. Practices and performances on even, sprung (suspended) floor types result in lower forces on the dancers' extremities and therefore, fewer injuries [32,53]. Injuries are also reduced when pointe shoes are replaced before they structurally deteriorate and lose the ability to provide ankle and foot support [24,37].…”

Section: Factors Contributing To Ballet Injuriesmentioning

confidence: 99%

See 1 more Smart Citation

Ballet Rehabilitation: A Novel Return to Sport Protocol

Glasser¹,

Frey²,

Frias³

et al. 2022

Cureus

View full text Add to dashboard Cite

Dance injuries and re-injuries are common but can be difficult to rehabilitate because of the unique demands and motor skills required. During tissue healing, pain resolves prior to tissue maturation and reinjury often occurs if the original injury is not properly rehabilitated.The purpose of this narrative review is to analyze the existing literature addressing ballet injury, reinjury, and recovery, and to provide clinicians with timing guidelines for entering and implementing a Return to Sport (RTS) ballet rehabilitation protocol designed to prevent re-injury by progressive, sport-specific tissue loading. Thus far, a literature-based ballet-specific and body region-specific late-stage rehabilitation RTS protocol has not been established. The authors sought to address this literature gap by combining this comprehensive narrative review with our extensive clinical expertise to develop a late-stage rehabilitation RTS protocol to help guide medical clinicians treating injured ballet dancers.

show abstract

Injuries across a pre-professional ballet and contemporary dance tertiary training program: A retrospective cohort study

Cited by 16 publications

References 29 publications

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

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

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

Ballet Rehabilitation: A Novel Return to Sport Protocol

Contact Info

Product

Resources

About