The Young Dancer

Solomon, Ruth; Brown, Theresa C.; Gerbino, Peter G.; Micheli, Lyle J.

doi:10.1016/s0278-5919(05)70234-9

Cited by 40 publications

(29 citation statements)

References 49 publications

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“…The acute injury rate is very low despite the intensive and monospecific training, and an increase of requirements to ensure the competitive capability observed in recent years [11] . The results show a slight overbalance of lighter injuries [3] and only one in twelve accidents resulted in a training interval of more than 3 days.…”

Section: Discussionmentioning

confidence: 99%

Acute Injuries in Student Circus Artists with Regard to Gender Specific Differences

Wanke

McCormack²,

Koch³

et al. 2012

Asian J Sports Med

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Purpose: Student circus artists train as both artists and athletes with their bodies holding the key to professional success. The daily training load of student circus artists is often associated with maximum physical and psychological stress with injuries posing a threat to a potential professional career. The purpose of this study is the differentiated analysis and evaluation of work accidents in order to initiate the development of injury preventive programs. Methods Results: The injury risk seems to be relatively low (0.3 injuries/1000h). There are gender specific differences as to the location of injuries. Only 7% of the accidents demand a break of more than 3 days. Injury patterns vary depending on the activity and the employment of props/equipment. 75.2% of work accidents have multifactorial and 24.8% exogenous causes. Conclusions:Because physical fitness is all important in the circus arts there are numerous options for injury prevention programs that should be realized subject to gender-specific differences. Follow-ups on chronic complaints and a more individual approach are indispensable due to the very specific activities in the circus arts.

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Section: Discussionmentioning

confidence: 99%

Acute Injuries in Student Circus Artists with Regard to Gender Specific Differences

Wanke

McCormack²,

Koch³

et al. 2012

Asian J Sports Med

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“…These compensatory patterns may place increased stress on the involved joints. Dancers with less than ideal turnout can force turnout and increase their lumbar lordosis 21 by anteriorly tilting the pelvis. This rotation, or tilt of the pelvis, allows increased external rotation at the hip because the acetabular shelf is much deeper posterosuperiorly than posteroinferiorly.…”

Section: Compensated Turnoutmentioning

confidence: 99%

Ballet Dancer's Turnout and its Relationship to Self-reported Injury

Coplan¹

2002

J Orthop Sports Phys Ther

140

152

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Study Design: Retrospective cohort study. Objectives: To compare the relationship between the degrees of turnout, passive hip external rotation range of motion, and self-reported history of low back and lower extremity injury in ballet dancers. Background: Ballet dancers are encouraged to externally rotate their lower extremities (turnout) as far as possible. This may cause stress on the dancers' low back and lower extremities, putting them at risk for injury. Methods and Measures: Thirty college-level ballet dancers and instructors were evaluated. Each participant completed an injury questionnaire that placed the participant either in a group with a self-reported history of low back and lower extremity injury or in a group without a self-reported history of low back and lower extremity injury. Each dancer's first-position turnout and passive external rotation range of motion for both hips were measured. The comparison between each dancer's first-position turnout and the measured hip external rotation range of motion was called ''compensated turnout.'' A 2-sample t test was used to determine if the average compensated turnout was significantly different in the injured and noninjured groups. Key Words: dancing, hip rotation, injuryA lthough ballet is noted for its beauty and grace by audiences, it can be a source of injury and pain for dancers. Epidemiological studies of ballet dancers show that 90% of professional dancers and 63% of student dancers have had a dance-related injury at some point in their ballet career. 18 In a study by Lewis et al, 13 100% of the retired dancers reported at least 1 injury during their career. This high incidence of ballet-related injury was confirmed in a major American ballet company, where ''there was an 80% chance of a dancer's filing for worker's compensation for physical disability during a single season. '' 18 A report of the New York City Ballet indicated that on any given day during the contract season, 17% of the dancers were not dancing because of injury. 18 Of these injuries, 60% to 80% involved the knee, ankle, or foot.18 While ballet dancers may appear to dance with ease, ballet is physically demanding, taxing, and potentially injurious.

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“…This external rotation known as 'turnout' is maintained in static postures and during movement. Increased lumbar lordosis is used as a compensatory mechanism for inadequate external hip rotation to meet the expectations of dance has been proposed as a factor which is linked to back pain (Bachrach 1986, Kelly 1987, Solomon et al 2000. In college level dancers, increased risk of injury to the low back and lower limbs has been shown if dancers use turnout which is greater than the range of bilateral passive hip external rotation (Coplan 2002).…”

Section: The Influence Of Lower Limb External Rotationmentioning

confidence: 99%

“…Factors which have been cited as contributing to dancers' low back injury and pain include; excessive compressive load ) and volume of activity (Kadel et al 1992, McMeeken et al 2001, Purnell et al 2003; excessive range of movement or hypermobility (Klemp et al 1984); presence of scoliosis (Hakim and Grahame 2003, Hamilton et al 1992; posture (Solomon et al 2000); low (Benson et al 1989) and relatively high Body Mass Index (McMeeken et al 2002); limited range of lower limb external rotation compared to other dancers (Bachrach 1986, Kelly 1987, Solomon et al 2000; and inadequate muscle strength, control (Gelabert 1986, Kelly 1987, Solomon et al 2000 and endurance (Swain and Redding 2014). The relative contribution of each of these factors to LBP in dancers is yet to be identified.…”

Section: Chapter 1 Introductionmentioning

confidence: 99%

“…Studies of professional dancers with LBP to date have included measurements of torque production ) and range of movement (Feipel et al 2004), however, none have shown an association between these factors and pain. Suboptimal motor control of the spine has been proposed by many authors as an important factor in LBP in dancers (Gelabert 1986, Kelly 1987, Rickman et al 2012, Smith 2009, Solomon et al 2000. These authors also emphasize that motor control training is an essential component in rehabilitation of back injuries.…”

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confidence: 98%

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Physiology and pathophysiology of low back pain in ballet dancers

Gildea¹

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Classical ballet dancers combine artistry and physical skills to perform graceful and exciting movements. Lengthy, exacting dance training potentially promotes unique adaptation of motor control to; execute these movements; maintain optimal physiological function, and provide stability to avoid injury and pain. Yet low back pain (LBP) is common in dancers. Differences in motor control are frequently observed between non-dancers with and without LBP. This often involves reduced and delayed activity of deep trunk muscles and augmented activity of superficial muscles. These changes are proposed to affect the control of movement and stiffness of the trunk. LBP is also associated with deficits in postural control, an aspect of motor control, which depends on control of the trunk. Some features of adaptation in motor control are relatively common; but there are some features that are specific to individuals or different populations. It is essential to understand how motor control is adapted in elite classical ballet dancers with LBP as less optimal motor control has potential to impair performance and limit the capacity to dance. The overall objective of this thesis was to investigate aspects of motor control in dancers with and without LBP, with specific attention to trunk muscle morphology and to postural stability.Studies I and II investigated trunk muscle size, symmetry and function, in dancers with and without LBP, at rest and during simple manoeuvres, with magnetic resonance imaging (MRI). Reduced size of the multifidus muscle was observed in dancers with LBP and dancers with both back and hip/pelvic region pain. This finding is similar to that for nondancers. Study II provided preliminary evidence of a behavioural change in transversus abdominis (the deepest abdominal muscle); expressed as reduced length change of this muscle measured with MRI, in dancers with LBP. Thickness of transversus abdominis, obliquus internus abdominis and multifidus muscles were asymmetrical in dancers but this was not related to LBP. This may be related to repetitive performance of asymmetrical movements. Studies III and IV investigated postural control. In Study III, the trunk was perturbed in order to measure the dynamic properties of stiffness, damping and mass as an indication of control of the trunk. Dancers with LBP had less damping (control of velocity) than dancers without LBP, but this could be changed with motor imagery in the dancers with LBP. Study IV used linear and non-linear measures of centre of pressure trajectories to investigate standing balance in dancers with and without LBP and nondancers. Balance was measured with the feet in parallel and the dance-specific turned out 'first' position; which increases the dependence on trunk motion for balance in the anteroposterior direction. Dancers without LBP used more movement to control balance iii than non-dancers. These findings suggest that "less" movement does not define optimal balance in dancers. Dancers with a history of LBP used strategies that were more s...

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The Young Dancer

Cited by 40 publications

References 49 publications

Acute Injuries in Student Circus Artists with Regard to Gender Specific Differences

Acute Injuries in Student Circus Artists with Regard to Gender Specific Differences

Ballet Dancer's Turnout and its Relationship to Self-reported Injury

Physiology and pathophysiology of low back pain in ballet dancers

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