National survey to evaluate musuloskeletal health in retired professional ballet dancers in the United Kingdom

Smith, Toby; Medici, Akbar de; Oduoza, Uche; Hakim, Allan; Paton, Bruce; Retter, Greg; Haddad, Fares S.; Macgregor, Alexander

doi:10.1016/j.ptsp.2016.07.009

Cited by 21 publications

(26 citation statements)

References 22 publications

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“…In this population, injury risk ranges between 32% and 86.2% with incidence rates reaching up to 4.7/1000 hours . Also, injury burden is known to vary from temporary dance practice limitation to full inhibition, as well as early career ending, chronic physical disability, and poor health quality later in life . As such, injuries are a matter of concern for clinicians, dance teachers, researchers, and dancers with prevention being a recurrent topic of interest.…”

Section: Introductionmentioning

confidence: 99%

The role of prediagnostic data in injury epidemiology in preprofessional dancers

Moita

Gomes

Xarez

et al. 2019

Scandinavian Med Sci Sports

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Introduction preprofessional dance training starts at very early ages, on a highly demanding environment placing students at significant risk for injury. Injury management and prevention are a matter of concern. Given the constant interchangeability of risk factors, identifying injury patterns may prove to be equally as important. Data looking back from the time of injury through context‐specific approaches are missing. Objectives To identify activity‐related injury patterns based on prediagnostic data. Methods Prospective, non‐randomized, observational study, over a 3 years period on a full‐time preprofessional dance school featuring both gender students aged 9‐21 years old. Non‐parametric statistics were used. Results A total of 625 dance injury records from 209 students, n = 68 males and n = 141 females, were analyzed. Season injury risk probability was identified, proving different for each skill level (SkL). Multiple individual injuries revealed a trend toward prevalence rates in advanced level, while index injuries incidence becomes more noticeable in entry level students. Overall incidence rates had no significant differences within SkL. Anatomical location was in line with previous research, although differences were found between gender and SkL. Most injuries occurred in classes, with jumps standing out as the main motor action associated with injury symptoms of gradual onset mechanism. Conclusion Dance injuries happen because of dance practice. Knowing the context of injury history from the injured dancer perspective is determinant for management and prevention. prediagnostic data are an umbrella term encompassing several aspects of injury background and represents fertile ground for research. Context‐specific methodological approaches are recommended.

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Section: Introductionmentioning

confidence: 99%

The role of prediagnostic data in injury epidemiology in preprofessional dancers

Moita

Gomes

Xarez

et al. 2019

Scandinavian Med Sci Sports

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“…Students with hypermobility require additional strength to accomplish their training, which reflects the seriousness of the issue [25,26]. The most commonly reported symptoms are instability and pain relating to tendinitis, in which the need for joint stabilization leads to muscle overuse, thereby causing injuries and muscle fatigue [2,6,22,27]. Ankle sprain injuries are the most common type [23,24].…”

Section: Discussionmentioning

confidence: 99%

“…Dance is a unique blend of art and athleticism, which makes its practitioners particularly susceptible to skeletal muscle injuries [2,3] and pain [4]. Dancers are subjected to intense training, which contributes towards increasing the severity of injury and the possibility of it becoming incapacitating [5], given the repetitive movements and the exercises with excessive range of motion to which they are subjected [6].…”

Section: Introductionmentioning

confidence: 99%

Relationship between the joint mobility index and the presence of injury and pain among ballet students in Brazil

Zikan

2019

Fisioter Bras

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Dance is a unique blend of art and athleticism, which makes its practitioners particularly susceptible to skeletal muscle injuries and pain. Dancers are subjected to intense training, which contributes towards increasing the severity of injury. Injuries occur significantly more frequently in hypermobile dancers than in the non-hypermobile individuals. The present study aimed to correlate the Joint Mobility Index, obtained through Carter and Wilkinson’s Joint Mobility Scale, as modified by Beighton, with the prevalence of musculoskeletal injuries among students at vocational schools for classical ballet in Brazil, and to make a correlation with self-reported presence of pain and muscle fatigue. This study indicates that there is a real association between hypermobility as a risk factor for lesions, which were more present in hypermobile individuals. On the other hand, pain was inversely presented, such that it was more present in non-hypermobile dancers, perhaps because of skeletal muscle overload to meet the physical and esthetic needs of ballet. Fatigue was not an important variable in the analyses between the groups, and was similar between them. It is especially important to establish a relationship regarding the need for intensive therapeutic care for treating of skeletal muscle injuries among hypermobile individuals.Key-words: classical ballet, musculoskeletal system, injuries, joint mobility index, physiotherapy.

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“…For physical problems, a review article summarized the occupational hazards of ballet dancers, occupational and personal stress with low coping skills due to lack of social experience, economic factors, and frequent injuries [24]. Almost 40% of retired professional ballet dancers suffer from musculoskeletal injuries [25]. As discussed above, most articles report the physical problems of performing artists, but not on the psychological, social, and creative domains.…”

Section: Discussionmentioning

confidence: 99%

Depressive symptoms among dance artists in South Korea: balance between self- and social identity on job value

Lim

Kim

Sea-hee

et al. 2019

Ann Occup Environ Med

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BackgroundThe balance between self- and social identity on job value of Korean dance artists, considered as performing artists, was measured to investigate the relationship between balance and depressive symptoms.MethodsData of 139 dance artists were analyzed for depressive symptoms assessed by their responses to questionnaires from the Center for Epidemiologic Studies Depression (CESD) translated into Korean. The balance score of each aspect of social identity compared to that of self-identity on job value was measured and classified as lower, equal, or higher. Following a graphical approach, we performed locally weighted scatterplot smoothing algorithm, simple linear regression, and quadric equation regression.ResultsThe mean of CESD was highest in the higher balance group and lowest in the lower balance group. There was a linear relationship between balance score and CESD regarding specific audience, unspecified audience, and unspecified public. Balance score showed no association with other aspects of social identity. In the balance score range of 1 or higher, it was associated with CESD with respect to artist colleague, unspecified audience, and unspecified public.ConclusionsDance artists should maintain a balance between self- and social identity in job value to prevent depressive symptoms.

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National survey to evaluate musuloskeletal health in retired professional ballet dancers in the United Kingdom

Cited by 21 publications

References 22 publications

The role of prediagnostic data in injury epidemiology in preprofessional dancers

The role of prediagnostic data in injury epidemiology in preprofessional dancers

Relationship between the joint mobility index and the presence of injury and pain among ballet students in Brazil

Depressive symptoms among dance artists in South Korea: balance between self- and social identity on job value

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