Differences of Ballet Turns (Pirouette) Performance Between Experienced and Novice Ballet Dancers

Abstract

A poorer performance in novice dancers could result from higher push force in propulsion, lack of a "proximal-to-distal extension sequence" pattern, and lack of visual spotting for postural stability. Training on sequential initiation of lower-extremity joints and rehearsal of visual spotting are essential for novice dancers to obtain better performance on ballet turns.

Do Grade II Ankle Sprains Have Chronic Effects on the Functional Ability of Ballet Dancers Performing Single-Leg Flat-Foot Stance? An Observational Cross-Sectional Study

“…We found out that, after six months, there was no significant difference in balance between the injured and non-injured sides. The internal (same subject) comparison is of the utmost importance, as any kind of difference in training could be an important bias [37]. In fact, using the contralateral healthy feet as a control, we were able to eliminate biases caused by potential differences in skills, body types, and other physical characteristics between athletes.…”

“…One strength of our study was the use of stabilometry in a new way, comparing ballet-specific static positions for determining ankle injury effects. We found just two studies that examined ballet-specific positions; one examined the single-leg retiré position [37] and the other the passé en demi-pointe position [24]. However, neither of the studies focused on post-injury athletes.…”

Influência do tempo de prática do ballet sobre equilíbrio e estabilização pélvica

“…Better skills related to postural control in more experienced dancers compared to less experienced dancers were also found in other studies. [21][22][23][24] In addition, studies report a better pattern of PB in dancers when compared to non-dancers. 25 -27 The central stabilizing muscles provide stability, which allows generating and distributing forces, what results in controlled and efficient body movements.…”

Balance in Theatrical Dance Performance: A Systematic Review

“…Of the 47 papers, 27 articles included ballet dancers 13,14,16,17,19,20,33,[34][35][36][38][39][40][41][42]54,55,[59][60][61][62][63][64][65][66][67][68] , eight contemporary/modern dancers 30,40,44,[68][69][70][71][72] , one included Thai dancers , six included other expert athletes in an additional test group 17,18,35,38,40,41 , 17 involved untrained participants (controls), and 13 comprised of dancers whose genre expertise was unspecified. Of the selected papers, 39 examined female participants, 19 males while four papers did not specify the gender of participants.…”

“…Overall, the selected studies demonstrated a variety of testing procedures (Tables 1-3): 24 used force plates as the principal apparatus for testing balance 14,15,17,20,34-37,39,53-56,60,63-70,73,74 , 10 studies employed motion capture analysis 41,[52][53][54]59,61,62,[64][65][66] , seven studies used the stabilometer, sometimes referred to as a "seesaw" 16,18,19,33,38,75 , placed on a force plate 36 , five studies utilised a pressure mat 13,30,31,40,71 , four studies included the SEBT or modified versions: SEBT 31,44,76 , the modified SEBT 76 , the Y-balance (SEBT components) 72 . Other assessment tools included the Balance Error Scoring System (BESS) 44 , the modified Bass Test of Dynamic Balance (BASS) 44 , a goniometer and computer generated visual target 42 , a Rod and Frame Test (RFT) 16 , a Biodex System 77 , a Foam and Dome Test 45 , and an observed timed-measure 51 .…”