European ballet in the age of ideologies

Kant, Marion

doi:10.1017/ccol9780521832212.026

Cited by 19 publications

(3 citation statements)

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“…The music stimulus was the Odile variation, act 3 from Swan Lake ballet, composed by Tchaikovsky. The original choreography was developed by Julius Reisinger in 1877 and then revised and re-created by Marius Petipa and Lev Ivanov in 1895 [48]. This variation was selected because it is generally believed to be one of the masterpieces of female classical ballet variations.…”

Section: Music Stimulusmentioning

confidence: 99%

Influence of musical context on sensorimotor synchronization in classical ballet solo dance

et al. 2023

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Several studies have addressed motor coordination in dance, but few have addressed the influence of musical context on micro-timing during sensorimotor synchronization (SMS) in classical ballet. In this study, we analyze the Promenade in Arabesque of the Odile variations, first as a dance-music fragment non-embedded in a musical context, then as a dance-music fragment embedded in a musical context at two different instances. Given the musical structure of the fragments, there are repeats of patterns between and within the fragments. Four dancers were invited to perform the three fragments in twelve successive performances. The beats of the music were extracted and compared with the timing of the dancers’ heel movements, using circular-linear smooth regression modelling, and circular statistics. The results reveal an effect of repeat within fragments, and an effect of musical context between fragments, on micro-timing anticipation in SMS. The methodology offers a framework for future work on dynamical aspects of SMS.

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Section: Music Stimulusmentioning

confidence: 99%

Influence of musical context on sensorimotor synchronization in classical ballet solo dance

et al. 2023

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“…Savukārt stabilitāte ir galvenā līdzsvara iezīme. Dejā precīza kustību tehniskā izpildījuma pamatā, daudz nozīmīgāka un svarīgāka pat par kāju pozīciju izkopšanu, vienmēr ir bijusi līdzsvara izjūta (Kant, 2007). Šīs ķermeņa īpašības kvalitāti galvenokārt nosaka mugurkaulāja stāvoklis, kā arī svarīga loma ir labai redzei, normālai vestibulārā aparāta darbībai un koordinācijai (Macintyre, 2008).…”

Section: Awareness Of the Body's Centre In Danceunclassified

Promoting Awareness of the Body's Centre in Classical and Modern Dance Training

Vītola¹

2015

SIE

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Based on dance theorist insights into the basic components that determine performance of movements in dance, the article analyses promotion of a sense of bodily centre in classical and modern dance training. The most significant condition for a dancer to be able to fit within the confines of the proposed tasks in dance is to govern own body, which is made easier through an understanding of the body’s centre of gravity. Promoting an awareness of muscle activity being fixated within the central point of the body develops an understanding of movements around this point among dancers, which leads to easier control over performed movements. The article aims to analyse the awareness of the body’s centre among dancers and to justify its significance in classical and modern dance training. The article applies the theoretical research method – it characterises classical and modern dance and analyses the sense of body centre in dance.

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“…Ballet is a traditional and highly technical form of dance which began in Italy before its export to France and Russia where it prospered during the Renaissance period [38]. The discipline combines athletic expertise with art to incite emotion in its audience.…”

Section: Introductionmentioning

confidence: 99%

Understanding hip pathology in ballet dancers

Singh

Pettit

et al. 2022

Knee Surg Sports Traumatol Arthrosc

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Purpose The literature on hip injuries in ballet dancers was systematically evaluated to answer (1) whether the prevalence of morphological abnormalities and pathology of hip injuries in dancers differs from the general population (2) if there are any specific risk factors which contribute to a higher rate of hip injury and (3) what are the outcomes of primary and secondary intervention strategies. Methods A systematic literature search of Medline, EMBASE and the Cochrane Library was undertaken for all literature relating to hip injuries in ballet dancers using the PRISMA guidelines. Reference lists were also searched for relevant literature. Clinical outcome studies, prospective/retrospective case series published between 1989 and October 2021 were included. Review articles (non-original data), case reports, studies on animals as well as book chapters were excluded. Results The search yielded 445 studies, of which 35 were included for final analyses after screening. This included 1655 participants, of which 1131 were females. The analyses revealed that damage at the chondrolabral junction and degenerative disease of the hip may develop at a higher rate in ballet dancers than in the general population (odds ratio > 1 in 15/18 cohorts). The intra-articular lesions were more frequently found in postero-superior region of the hip suggesting an alternative impingement mechanism. Furthermore, numerous risk factors specific for hip injury in ballet were highlighted amidst a wide body of literature which consistently reports risk factors for a more generic ‘dancer vulnerability’. Conclusion Ballet dancers may suffer from both higher rates of chondrolabral damage and degenerative disease in their hips. In contrast to other sports, the intra-articular lesions are more frequently found in postero-superior region of the hip. Future research clarifying the prevalence of osseous abnormalities and prevention strategies in dancers may be pivotal in delaying the development of hip disease in this cohort. Level of evidence Level IV.

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European ballet in the age of ideologies

Cited by 19 publications

References 0 publications

Influence of musical context on sensorimotor synchronization in classical ballet solo dance

Influence of musical context on sensorimotor synchronization in classical ballet solo dance

Promoting Awareness of the Body's Centre in Classical and Modern Dance Training

Understanding hip pathology in ballet dancers

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