Journal of Dance Medicine & Science最新文献

Introduction: It is well known that the pointe shoes are essential for ballet's unique postural control and repetitive wear makes the pointe shoes vary in stiffness. However, the effects of different shoe stiffness conditions on the vertical ground reaction force (vGRF) in ballet dancers are unknown. The purposes of this study were to quantify the stiffness of the sole of pointe shoes and to investigate its effect on vGRF during single-legged landings by ballet dancers. Methods: Eleven female ballet dancers participated, with 22 pairs of pointe shoes categorized based on sole stiffness measurements into hard or soft conditions. The relationship between sole stiffness and usage time was examined based on the Spearman's rank correlation coefficient (P < .05). Participants performed 10 single-leg drop-landings on each leg under both hard and soft shoe conditions. A principal component analysis (PCA) of the 0% to 100% time-normalized vGRF signals during landing was conducted for each leg to determine the time periods that best differentiated the two shoe conditions. Results: There was a significant weak negative correlation between sole stiffness and usage time (r = -.353, P = .0188). Most shoes with short usage had greater stiffness values than shoes with long usage, however, for two out of the 22 pairs of shoes, this trend was reversed. The loading vector magnitude of the selected principal components increased 25% time period (corresponding to the ground contact time of the ball of the foot) and 100% time period (corresponding to heel contact), indicating that vGRF during these time periods was influenced by sole stiffness. Conclusion: Prolonged use of pointe shoes does not consistently result in lower sole stiffness compared to shoes used for shorter durations and different sole stiffness levels can affect foot landing impact, suggesting these findings may help dancers, instructors, and manufacturers recognize the importance of shoe stiffness in reducing the risk of injury.

Introduction: The increasing legalization of recreational marijuana worldwide necessitates a comprehensive understanding of its use. While data exists on marijuana use among theater actors and sport athletes, no data on its use within the dancer population exist, hence this study aims to describe the effects and motives of cannabis use within a dancer cohort. Methods: An online survey was conducted October 1, 2023 to January 31, 2024, involving dancers worldwide who had used cannabis in the past 6 months. The survey focused on motives for cannabis use and the Cannabis Use Disorder Identification Test-Revised (CUDIT-R). Qualitative methodology with thematic content analysis was employed, and statistical analysis was performed using t-test and chi-square. Results: One hundred and eight dancers completed the survey. Sixteen dancers (14.8%) reported failing to do what was normally expected from them as a dancer due to cannabis use. T-test results revealed that these dancers had an average CUDIT-R score of 19.5, significantly higher than the average score of 7.7 for dancers who did not report such failure (P < .001). Chi-square analysis showed that on average, 93.8% of participants who failed to meet dancer expectations due to cannabis scored above 12 on the CUDIT-R compared to 18.5% of those who did not report failure (P < .001). On average, 56.2% of participants who scored above 12 on the CUDIT-R indicated a coping motive for cannabis use compared to 31.6% of those who scored 12 or below (P = .029). On average, 43.8% of participants who scored above 12 on the CUDIT-R indicated an expansion motive for cannabis use compared to 18.4% of those who scored 12 or below (P = .005). Conclusion: Dancers with high CUDIT-R scores are more likely to fail to do what was normally expected from them as a dancer because of using cannabis, and more likely to cite coping and expansion as motives for cannabis use.Level of Evidence: Level 4.

Background: Dancers are uniquely susceptible to musculoskeletal injuries due to the repetitive, high-impact, and technical demands of their art form. When conservative measures are insufficient or expedited recovery is needed, injection therapy may be considered as part of a comprehensive treatment plan. Purpose: This narrative review provides a high-level overview of musculoskeletal injections relevant to dancers. As many dancers receive education and initial guidance from non-physician professionals, this review is designed to support these providers by summarizing common injection options, the conditions for which they are most appropriate, and dancer-specific considerations. Methods: A comprehensive literature search of PubMed, MEDLINE, and Google Scholar was conducted through March 2025. Peer-reviewed studies, systematic reviews, and case reports were analyzed qualitatively. Injections in this review are organized by clinical indication rather than preference, reflecting how decisions are made in practice. Selecting an injection requires consideration of multiple contextual factors, including the dancer's diagnosis, performance schedule, symptom chronicity, therapeutic goals, and comorbid medical issues. Results: Five main categories of injections were identified: (1) fluid aspiration, (2) corticosteroid injections, (3) regenerative medicine, (4) peripheral nerve hydrodissections, and (5) spine injections. Image guidance with ultrasound and/or fluoroscopy enhances accuracy and safety across injection types. Corticosteroid injections offer potent anti-inflammatory effects and rapid symptom relief. Regenerative medicine injections (hyaluronic acid, prolotherapy, platelet-rich plasma [PRP], and mesenchymal stromal cell-based therapies), aim to enhance tissue healing and may be beneficial for chronic tendinopathies and mild to moderate osteoarthritis. Peripheral nerve hydrodissection provides a minimally invasive approach for nerve entrapment syndromes, and spinal injections may be indicated for persistent axial or radicular pain. Post-injection care and return-to-dance protocols should be individualized based on the injectate, anatomical target, and performance goals. Conclusion: Musculoskeletal injections can be a valuable tool in a dancer's treatment plan alongside multidisciplinary care for successful return to dance.

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.