Journal of Dance Medicine & Science最新文献

Introduction: The structure of many forms of dance training encourages high levels of body awareness and scrutiny, promoting extensive body surveillance. Robust literature links body surveillance to poor body image. This association may contribute to the particular vulnerability that dancers have to negative body image and eating disorders. Yet, most body surveillance research has not studied dancers, for whom surveillance is thought to be necessary to develop and perform skills. At the same time, research has found positive levels of body image in several dance forms and settings. This study, then, sought to examine the relationship between dancers' body surveillance, body satisfaction, body appreciation, dancer body image, body image coping strategies, and dancer identity. Method: Eighty-one college dance majors completed several measures to assess these variables. In addition, qualitative data came from open-ended questions on the survey and from interviews with eight students which investigated specific ways in which body surveillance emerges in dance learning spaces. Results: Quantitative results revealed that students had generally positive body image yet high levels of body surveillance. Surveillance was the strongest predictor of body image satisfaction and partially or fully mediated most of the correlations between the other dependent variables. Qualitative results highlighted the duality of body surveillance in dance via pedagogical structures of mirrors, attire, and language. Conclusions: Findings demonstrate the dual influences of objective (focused on technique) and subjective (focused on appearance) aspects of body surveillance in dance that are related to body image, suggesting avenues for further investigation. Results also support the judicious use of mirrors, allowing clothing choice or limiting clothing requirements to those focused on function, and avoiding body appearance comments and reinforcing in words and actions that all bodies belong in dance.

Background: Body image is a representation of body identity that involves self-perception, which anthropometric variables can influence. Previously, it has been found that, the increase in abdominal fat and excess weight are related to dissatisfaction with body image. Ballet is a sport that involves aesthetics; adolescent ballet dancers may suffer from high rates of body image dissatisfaction. Aim: To determine the prevalence of body image dissatisfaction and its correlation with anthropometric variables among adolescent ballerinas. Methods: A cross-sectional study was conducted with 26 adolescent ballerinas from a private ballet school. Data collected included sociodemographic and training information, anthropometric measurements, and responses to Body Shape Questionnaire to assess body image dissatisfaction, and Rosenberg Self-Esteem Scale to determine the self-esteem. Results: According to body mass index 80.8% of the ballerinas were classified as having normal weight, 15.4% as overweight, and 3.8% as obese. The body fat percentage was adequate at 46.1%, with the remainder showing excess body fat. The prevalence of body image dissatisfaction was 65.3%, and was subdivided into mild dissatisfaction 26.9%, moderate dissatisfaction 19.2%, and severe dissatisfaction 19.2%. Body image dissatisfaction was inversely correlated with self-esteem (P < .05). Severe dissatisfaction with body image was associated with higher weight, body mass index, waist circumference, and body fat (P < .05). Conclusion: Dissatisfaction with body image was present in 65.3% of adolescent ballet dancers. Severe dissatisfaction was associated with higher anthropometric variables.

Introduction: Perceptions of pain are influenced by individual characteristics, such as personality traits and gender. This study investigated, in professional male and female ballet dancers, the associations between pain catastrophizing and personality traits by calculating correlations and a regression model between scores of pain catastrophizing and extraversion, neuroticism, and psychoticism. Methods: Eighty two professional Brazilian ballet dancers (59 women, 23 men; M = 26.8 years, SD = 8.1) completed the Eysenck Personality Questionnaire (EPQ) and the Brazilian version of the Pain Catastrophizing Scale (B-PCS). Correlational analyses were conducted to assess associations between personality traits (neuroticism, extraversion, psychoticism) and pain catastrophizing. A linear regression model was developed to examine the predictive power of personality traits, using the Enter method. Analyses were stratified by gender. Results: In the total sample, neuroticism was significantly and positively correlated with pain catastrophizing, whereas extraversion and psychoticism showed no significant associations. Among male dancers, neuroticism was moderately correlated with pain catastrophizing; this relationship was not significant in females. The regression model identified neuroticism as the only significant predictor of pain catastrophizing, yielding the predictive equation: Neuroticism = 29.76 + (0.38 × PCS). Conclusion: Neuroticism is a key psychological factor associated with pain catastrophizing in professional ballet dancers, particularly among males. Contrary to prior findings, male dancers reported higher PCS scores than females, and their neuroticism levels more strongly predicted pain catastrophizing. Practical applications include the implementation of routine assessments to identify at-risk individuals, integration of cognitive-behavioral strategies to reduce maladaptive pain responses, and the development of gender-sensitive mental health interventions.

Background: Resilience is fundamental for maintaining mental health. Research literature suggests that resilience training may have a major impact on improving mental health and reveals a need for mental health interventions in dance. However, there have been no empirical investigations into building this essential capacity in dancers. Therefore, the purpose of this study was to conduct a pilot investigation evaluating the effects of resilience training using dance-specific behavioral measures. Method: Four university dance majors, between 18 and 20 years old, completed 6 weeks of mental resilience training, consisting of 6 modules in an online application delivered through individual meetings with a resilience coach. We directly observed the effects of resilience training on dance-specific behaviors likely to be related to positive function in training environments (Eye-Contact, Self-Disapproval, and Blanking on Choreography). The individual patterns of behavior revealed by direct observations were evaluated using a multiple-baseline-across-participants-experimental design. Supplemental measures included self-reported assessments of depression (PHQ-9), anxiety (GAD-7), and mental health (RAND Mental Health Inventory) and were assessed as a pre-post comparison. Results: Behavioral indicators of positive function (Eye-Contact, Self-Disapproval, and Blanking on Choreography) showed statistically significant improvements (P values ranging from .008 to .031) after resilience training for each dancer, with a mean improvement of 61%. All 4 dancers also showed "clinically important" improvements in levels of anxiety, and 1 dancer showed "clinically important" improvements in levels of depression. Participants showed improvements in mental health and psychological distress, but changes in psychological wellbeing did not reach the threshold of statistical significance. Conclusion: The findings suggest that resilience training can improve both behavioral indicators of positive function and mental health in university dancers.

Introduction: The purpose of the present study was to investigate the interplay between harmonious passion, obsessive passion, self-confidence, emotional arousal control, worry, concentration disruption, and psychobiosocial experiences in female amateur dancers during their usual practice. Methods: A convenience sample of 160 Italian female amateur dancers aged 16 to 36 years (M = 20.63, SD = 4.93) participated in a cross-sectional study and completed a questionnaire assessing the variables of interest. Correlational, parallel mediation, and moderated mediation analyses were conducted to test hypotheses regarding direct and indirect effects of passion on psychobiosocial experiences. Results: Harmonious passion positively correlated with self-confidence, emotional arousal control, and psychobiosocial experiences, while obsessive passion was found to have weaker associations with these variables. Self-confidence mediated the relationship between harmonious passion and psychobiosocial experiences. Moderated mediation revealed that the positive effect of harmonious passion on psychobiosocial experiences was stronger when obsessive passion was low. Conclusion: Findings suggest that fostering harmonious passion and self-confidence enhances dancers' functional emotional experiences, particularly when obsessive passion is minimized. Practical implications include autonomy-supportive coaching and confidence-building strategies to promote performance satisfaction and well-being.

Introduction: Injuries are prevalent in dance, affecting performance. Understanding injury risk factors is essential for prevention. Coping strategies and anxiety influence injury risk, yet their influence among pre-professional contemporary and ballet dancers aged 15+ remains underexplored. This transitional stage is marked by increased training intensity, heightened psychological demands, and performance pressure, increasing the risk of injury. This study examined the association between coping strategies, trait anxiety, and injury risk among contemporary and ballet pre-professional dancers aged 15+. Methods: In October 2022, participants from a French dance school completed an intake questionnaire assessing demographics (age, sex, injury history), dispositional coping strategies (Brief COPE), and trait anxiety (STAI-Y trait). From November 2022 to February 2023, participants completed monthly questionnaires assessing injuries, using the Oslo Sports Trauma Research Center questionnaire on Health Problems (OSTRC-H) during a prospective follow-up. Injuries were defined as "all-complaints injuries" (any physical complaint irrespective of the need for medical attention and/or time loss) and/or "substantial injuries" (leading to moderate/severe/complete reduction in training volume or performance). Binomial logistic regression examined associations between demographics, coping strategies, trait anxiety, and injury risk. Results: Eighty-two dancers consented to participate. The final analysis included 31 (37.8%) participants (mean age: 17.4 ± 1.36 years) excluding those with pre-existing injuries reported in the intake (n = 8) or a completion rate < 30% (n = 43). Included participants had higher active coping scores than excluded students (U = 418.5, P = .006). The completion rate among included participants was 80.64%. Nineteen students (61.29%) reported at least 1 all-complaints injury. "Humor" as a coping strategy was associated with reduced risk of substantial injury (OR: 0.485, 95% CI: 0.25-0.96, P = .037). No associations were found between demographics, training volume, trait anxiety, and injury outcomes. Conclusion: Humor may be a coping strategy that reduces self-reported substantial injuries among pre-professional contemporary and ballet dancers. Encouraging appropriate humor during instruction may support injury prevention. Level of Evidence: 3.

Introduction: Demi-pointe is a characteristic movement in female ballet dancers that requires sufficient foot and ankle joint range of motion (ROM) and muscle strength. This ROM may result from the combined motion of the foot and ankle joints. However, no studies have investigated the characteristics of forefoot varus/valgus ROM and the relationship between ROM and muscle cross-sectional area (CSA) in ballet dancers. Therefore, this study aimed to compare ballet dancers and non-dancers to clarify the characteristics of foot and ankle ROM and CSA of the intrinsic and extrinsic foot muscles and the relationship between ROM and CSA in ballet dancers. Methods: This study included 12 female ballet dancers (24 legs) and 11 non-dancers (22 legs). The ROM of the foot and ankle joints-including plantar flexion and forefoot varus/valgus-and CSA of the intrinsic foot muscle (abductor hallucis, abductor digiti minimi, flexor hallucis brevis, flexor digitorum brevis, and quadratus plantae) and extrinsic foot muscles (peroneus longus, flexor hallucis longus, flexor digitorum longus, and tibialis anterior) were evaluated and compared between the two groups. The relationship between ROM and CSA was also examined. Results: Compared with non-dancers, ballet dancers exhibited greater plantar flexion and forefoot valgus and reduced varus. The CSA of the intrinsic foot muscles and the peroneus longus muscle were significantly greater in ballet dancers. In ballet dancers, a significant negative correlation was observed between the ROM and CSA. Among the ROM variables examined, forefoot valgus showed a significant negative correlation with the CSA of multiple muscles. Conclusions: Ballet dancers demonstrated greater foot and ankle ROM in the sagittal and frontal planes, along with a larger intrinsic foot muscle CSA compared to non-dancers. Among these features, increased forefoot valgus and a negative correlation between forefoot valgus and CSA are particularly noteworthy as it has not been previously reported.

Background: Développé is a leg gesturing skill commonly used in concert dance forms such as Ballet and Modern Dance. It requires mastery of subtle skills that make dance unique. Measuring unique dancer capacities such as développé can present special challenges for dance medicine and science researchers. Purpose and research design: One purpose of this study was to evaluate a field-deployable protocol for measuring the height of dancers' développé to the side. A second purpose was to use a concurrent multiple-baseline experimental design to determine whether each of six university dance majors nearing the end of their pre-professional training could improve their performance of développé through targeted training. Methods: During 4, weekly, 30-minute training sessions, dancers were taught an approach to performing développé advocated by an internationally recognized dance kinesiologist. The dancers also completed 3, self-guided training sessions per week in which they applied the approach while engaging in développé-related strengthening and stretching exercises. Each dancer's développé performance was measured twice weekly for 8-1/2 weeks (17 measurements). Results: All 6 dancers' développé height increased only when training was applied for each dancer suggesting that training, rather than other uncontrolled variables, was the likely cause of the improvements in performance. Conclusions: Two conclusions appear justified: (1) reliable and responsive measurements of développé height can be made efficiently in field settings, and (2) university dancers with considerable prior training can improve their performance of développé with targeted training.

Introduction: Ballroom dancing, particularly in its competitive form of dancesport, has been recognized for its beneficial effects on physical health and psychological well-being. In recent years, research attention has also shifted toward examining its associations with psychological constructs such as stress, anxiety, and coping. Study Design: The present cross-sectional comparative study aimed to compare sport dancers and non-dancers in the level of perceived stress and the coping strategies. Additionally, the study explored the relative contribution of specific coping strategies to perceived stress while controlling for sex, age, and dance status. Methods: The sample consisted of 119 participants aged 18 to 31, of whom 61 were competitive sport dancers. Research data collection was conducted using a form containing a demographic section focusing on dancesport, the Perceived Stress Scale (PSS-10) and the Brief COPE questionnaire. The results of the research do not indicate significant differences in levels of perceived stress; non-dancers, male and female sport dancers perceive stress at similar levels. Regarding coping, sport dancers also less frequently choose a problem-solving coping compared to non-dancers (P = .007). Defensive strategies were the most significant predictor of perceived stress of the sport dancers (P < .001). Conclusion: The research findings can be applied in sport and dance psychology, dance coach education, promoting the development of constructive coping in sport dancers via mental contrasting, advanced competition practice and as well as the overall training program in a dynamic dance environment.

Introduction: Sedentary lifestyles remain a persistent health issue in Japan. Ballroom dancing has recently gained attention as a potential means of maintaining physical activity, but there are very few reports on Japanese subjects. Exploratory research is therefore needed to investigate the effects of ballroom dancing on the physical and mental health of sedentary middle-aged Japanese adults. The aim of this study was to assess the impact of ballroom dancing on various health-related physical and psychological outcomes in middle-aged adults compared to a control group. Methods: A parallel-group study was carried out. Thirty healthy but inactive middle-aged adults with no previous dance experience were divided into 2 groups: an intervention group which participated in a recreational level ballroom dance program for 10 weeks (60 minutes, once per week) and a control group which had no dance lessons. Subjects completed questionnaires regarding subjective mood changes and daily physical activity. Objective measures of physical fitness, oxidative stress, antioxidant capacity, and autonomic nervous system function were also assessed before (T0) and after 10 weeks (T11) of dance practice. Results: In the subjective questionnaire, the Profile of Mood States 2 (POMS^®2) survey, one of the health-related indicators, T-scores of the Total Mood Disturbance (TMD) after the intervention showed a difference (P = .014) between the dance group and the control group. In post hoc tests, increases of autonomic activity and number of days of high-intensity physical activity correlated positively with a reduction in TMD in the dance group. Conclusion: Among inactive middle-aged adults, participation in weekly ballroom dance lessons for 10 weeks improved their psychological mood compared to a control group. The improvement was found to have the positive effects of activating autonomic nervous system activity and increasing high-intensity physical activity. The results suggest that ballroom dancing may be effective in improving exercise habits and physical and mental health.