Recovery-Stress States of Professional Ballet Dancers During Different Phases of a Ballet Season

Abstract

Ballet dancers are exposed to chronic high training and performance demands that are associated with overtraining syndrome and injury. Balancing high training loads with recovery to reduce the risk of negative training adaptations is critical. Moreover, the recovery-stress states of professional ballet dancers during training phases of a season are largely unknown. Professional dancers (n = 27) from one classical ballet company in South Africa were monitored for two 8-week phases of a ballet season. A recovery-stress questionnaire for Athletes (RESTQ-76 Sport) was completed weekly during the rehearsal phase (P1) and the performance phase (P2), which took place at the start and the end of the ballet season, respectively. Comparisons were calculated between phases, sexes, and levels of performance with a mixed-model ANOVA and between demographic variables with a one-way ANOVA. The performance phase was signified by lower total recovery (TR, p < 0.01) and higher total stress (TS, p < 0.01) for the group. Female dancers had significantly lower recovery scores than male dancers during P2 (p < 0.01). No differences between levels of performance were found. Subscales previously associated with overreaching and injury were identified in certain groups during P2. In conclusion, P2 was a critical period where dancers, especially females, experienced high stress and low recovery. This could increase the risk for injury and negative training adaptations.

Mit Leichtigkeit tanzen – Verletzungsprophylaxe im Hochleistungstanz

“…Andererseits werden sport- und tanzwissenschaftliche Erkenntnisse zur gesunden Leistungssteigerung sowie präventive Trainingsprogramme selbst heute noch nur rudimentär in die Tanzpraxis implementiert 14 . Die Konsequenz ist ein hohes Verletzungsrisiko aufgrund fehlender oder mangelhafter Trainingsplanung und ausbleibenden Regenerationszeiten 4 . Eine Reduzierung auf Tanz als reine Kunstform, die ohne athletische Betreuung und Prävention auskommen muss, ist dabei kein Argument, da verletzte Tänzer genauso wenig leistungsfähig sind wie andere verletzte Athleten.…”

Psychological stress responses to a live performance by professional flamenco dancers

“…Moreover, there are very few studies on professional dance that determine the differences in psychological stress with regard to gender ( Van Winden et al, 2020 ), probably due to the low number of men who practice dance ( Ibáñez-Granados, Ortiz-Camacho & Baena-Extremera, 2018 ; Requena-Pérez, Martín-Cuadrado & Lago-Marín, 2015 ). However, some studies done with female dancers found differences in psychological stress, showing greater stress in both dance students, due to the lack of time to be able to make it compatible with their studies ( García-Dantas & Caracuel, 2011 ) and in professional dancers during their performance ( De Wet, Africa & Venter, 2022 ). Other studies indicate that professional men dancers show psychological unease that is significantly more negative than the women dancers ( Hamilton et al, 1989 ).…”

Blood biomarker profiling in the professional dancer: considerations and recommendations

“…In a typical 'work' day, reported rest periods are short and infrequent, and dancers may often dance for 40 hours per week through a combination of dance class, rehearsal, and performance [3,4]. Furthermore, rest-stress states in professional ballet dancers are akin to those observed in swimmers and footballers [5]. However, dancers' schedules, unlike many sports schedules, are rarely periodised [6].…”