Journal of Dance Medicine & Science

Introduction: Evaluating and training strength qualities is crucial for the physical development of ballet dancers. Whilst data is available as to the sensitivity of strength tests for detecting changes in athlete populations, between-session reliability for adolescent ballet dancers is yet to be determined. This study aimed to determine the between-session reliability of physical performance tests in elite adolescent ballet dancers. Methods: Depending on the test, a cohort of 25 to 54 pre-professional ballet dancers (9 -30 males, 14-29 females) participated in a series of 6 physical tests across 12 sessions. Each testing session involved performing 1 strength test, with retesting administered 7 days later. The testing protocol included single-leg isometric squat, single-leg isometric plantarflexion, countermovement jump, standing single-leg countermovement jump, drop jump from 30 cm, and for males, seated overhead press to voluntary failure using 30 kg. Data was analyzed using a pairs sample t-test, interclass correlation coefficients and measures of absolute reliability including values of minimal detectable change. Results: Pairs sample t-tests revealed no systematic bias was present between trial 1 and 2 for each test. Across all tests, interclass correlation coefficients ranged from good to excellent (.89-.98), and coefficients of variation were 2.6% to 6.5%. Conclusion: These results indicate strength testing can reliably be integrated into a comprehensive physical performance testing battery to identify changes associated with improved physical performance across the academic year for adolescent ballet dancers. Based on the minimum detectable change values, changes in jump performance across the range of tests employed in this study can likely be detected after relatively short training periods. However, maximal isometric strength tests such as the single-leg squat may require longer than 6 weeks to detect performance changes. The current study expands the testing options for ballet training centers and high-performance settings, ensuring confidence in accurately measuring physical changes.

Introduction: Dance has been studied as a beneficial intervention that enhances the physical and socioemotional well-being of individuals with Parkinson’s disease (PD). This study explores how regular dance practice can enhance the quality of life for individuals with PD, focusing on their perceptions and socioemotional experiences. Methods: Adopting a phenomenological approach, the research employed qualitative methods, specifically semi-structured interviews. The collected data were transcribed, categorized, and analyzed using IRAMUTEQ^® software. Results: Over 11 months, 20 interviews were conducted, yielding 7 subcategories. Participants were selected based on their involvement in a dance program tailored to individuals with PD, irrespective of gender, and if they maintained preserved cognitive function. The participants’ narratives revealed a strong perceived relationship between dance and an enhanced quality of life. Participants described dance as a therapeutic activity that fosters improved self-esteem, joy, and social interaction. Conclusion: The qualitative analysis indicated that regular dance practice positively impacts the physical, social, and emotional dimensions of life for individuals with PD.

Introduction: Leg asymmetry is common in many sports, including dance. Ten-sao, a fundamental practice movement in Khon masked dance, involves symmetrical continuous movements where dancers perform strong stomping actions. Objectives: to compare ground reaction forces (GRFs) and calculate the absolute symmetry index (ASI) between dominant and non-dominant legs during Ten-sao in Khon masked dancers. Methods: Fifteen healthy male Khon masked dancers with at least 5 years of experience participated in the study. Each dancer performed Ten-sao continuously for 10 cycles. The GRFs of each leg were assessed using two force plates, capturing in the vertical, antero-posterior, and medio-lateral directions during different phases of the Ten-sao dance. The ASI was calculated to assess symmetry in GRF distribution. Results: A significant difference in vertical GRF was found during the single-leg stance phase, with the dominant leg exhibiting greater force than the non-dominant leg (P = .023). The median and interquartile range (IQR) for the dominant leg was 90.005 N/kg (IQR 9.73), while the non-dominant leg exhibited a median of 57.494 N/kg (IQR 8.401). These findings highlight the asymmetry in force production between the dominant and non-dominant legs. The ASI showed asymmetries in the antero-posterior direction during double-leg support (DLS), and in the antero-posterior and medio-lateral directions during peak GRF (pGRF). Further asymmetries were observed in the antero-posterior, medio-lateral, and vertical directions during single-leg standing (SLS). Conclusion: The study reveals significant leg asymmetry in vertical GRF between the two legs among Khon dancers performing Ten-sao. The dominant leg demonstrates higher vertical force during SLS, and various asymmetries are presented in both DLS and SLS phases. Addressing these asymmetries in training programs is crucial for enhancing performance and reducing injury risk for Khon masked dancers.

Background: Objective assessment of ballet execution remains limited by the subjective nature of expert evaluations, which often integrate stylistic interpretation and artistic expression. Objective: This study introduces the Qualitative Assessment of Ballet Kinematics (QABAK), a computational framework that models ballet jumps within a low-dimensional biomechanical space. QABAK evaluates execution quality using four targeted parameters: Recovery Effectiveness (RE), Slap Coordination (SC), Grand Battement (GB), and Ballon Efficiency (BE). Methods: Motion capture data from professional dancers performing the Glissade Saut de Chat (GSDC) were analyzed using QABAK. Computed scores were compared to expert assessments based on the Performance Competence Evaluation Measure (PCEM). Results: QABAK rankings demonstrated strong alignment with expert evaluations while exhibiting reduced score variability. Each parameter captured distinct biomechanical features contributing to jump quality. Conclusion: QABAK offers a structured, repeatable method for evaluating ballet movement that may complement expert judgment while reducing subjective variance. Its use of biomechanical decomposition within a simplified execution space highlights a promising approach to performance analysis in dance.

Introduction: There is an increased injury risk during pointe training if dance students are not physically or technically prepared. The objective of this study was to find consensus between dance experts pertaining to the most reliable screening protocols when determining pointe readiness in young adolescent female dance students. Methods: Dance experts (10+ years of professional dance (pointe) experience/teaching pointe experience/clinician to dancers), were recruited through multiple dance teacher/science groups on social media. The Delphi method was utilized via Online Surveys and distributed in rounds until consensus was found. Questions were created, and subsequent rounds were devised based on analyzed data from the previous round. Descriptive and thematic analysis was used to collate, rank, and analyze data. Consensus was determined at 60% agreement between the dance experts’ answers. Results and discussion: Fifteen dance experts completed Round 3 with 80% consensus. The most important physical attributes were ankle alignment, pelvic stability, ankle strength, ankle stability, and lower limb alignment. Screening measures consisted of medical history, teacher assessment, heel raise test, single leg plié, plantarflexion. Functional skills tests were heel raise test, single leg sauté, holding passé relevé on demi-pointe, balance, and pencil test. All agreed that teacher assessment is more reliable than a test battery. Overall, responses corresponded with statistically significant evaluators yet were not conclusive. Conclusion: Contradictory responses meant providing reliable outcomes to the objectives was challenging. Further research projects are needed to indicate any association between testing and teacher assessment for pointe readiness.

Introduction: This systematic review aimed to analyze the literature on the effects of dance program as a strategy to improve fundamental motor skills in preschool children. Methods: Randomized clinical trials and comparative studies were searched in three electronic databases (Web of Science, PubMed, and Scopus) until March 2025. The methodological quality of included studies was assessed using the Physiotherapy Evidence Database and Methodological Index for Non-Randomized Studies scales. Results: A total of five randomized clinical trials and six comparative studies were included. The results obtained indicated that dancing programs led to improvements in motor skills. In addition to overall motor skills improvement, dance programs were found to be effective in enhancing body coordination and balance in preschool children. The performed meta-analysis with data from 149 participants, indicated a significant difference on static balance in dance groups compared to control (Hedges’ g 0.43; 95% CI −0.47; 1.32, P = .021). Conclusions: The evidence from this systematic review strongly advocates for the integration of dance programs into the preschool curriculum. Dancing practices stimulates the development of fundamental motor skills, leading to improvements in body coordination and balance.

Foot injury is one of the major problems that afflict ballet dancers. Measuring the force applied to the foot in pointe shoes can be a way to identify factors causing injuries that are associated with pointe shoes. However, a suitable sensor for measuring pressure in pointe shoes has not yet been developed. In this article, we propose using a pressure-sensitive film in which the magnitude of pressure correlates with the intensity of color, which has not been used for pressure measurement in pointe shoes. The advantage of this method is two-fold: first, it can measure pressure at many locations on the toes with high spatial resolution and without electricity; second, the film is thin and therefore does not interfere with actual movement. The foot pressures in a pointe shoe were measured with pressure-sensitive film for 4 ballet dancers, and each dancer was measured twice. As a result, an individual-specific pressure distribution pattern was observed, and it was consistent across the 2 measurements, confirming the repeatability. How this methodology can be used complementary to other methods was discussed.

Introduction: Spontaneous intracranial hypotension (SIH) is a condition caused by a cerebrospinal fluid (CSF) leak, leading to a drop in intracranial pressure. SIH typically results from a spontaneous dural tear, often linked to connective tissue disorders, minor trauma, or repetitive spinal stress. Among dancers, especially in professional ballet, the risk of SIH may be increased by repetitive spinal hyperextension and strenuous movements. Ballet movements, such as the cambré, place significant stress on the spine, potentially leading to CSF leaks. Recognizing the signs of SIH, which often presents with orthostatic headaches and lumbar pain, is critical for timely intervention and recovery, especially in athletes like dancers where functional recovery is paramount. Methods: We report the case of a professional female ballet dancer who presented with severe orthostatic headache and lumbar pain after a hyperextension injury during a ballet performance. Brain magnetic resonance imaging revealed pachymeningeal enhancement and a CSF fistula at the T11 level, confirming a diagnosis of SIH. Conservative treatment, including bed rest, high fluid intake, and caffeine failed to relieve symptoms. Multiple blind blood patches and a fluoroscopically targeted patch were also unsuccessful. Results: Definitive management was achieved via epidural patching with fibrin glue, which corrected the dural defect. A specialized physical therapy regimen focusing on spinal stabilization, core strengthening, and gradual reintroduction of dance-specific movements was essential for her recovery. This approach aimed to reduce the risk of recurrence and safely transition the patient back to dance. Conclusion: SIH can result from hyperextension injuries in dancers, underscoring the importance of early diagnosis and multidisciplinary management. While conservative measures may fail in some cases, surgical correction, followed by a targeted rehabilitation program, plays a crucial role in full functional recovery. A rehabilitation program tailored to the demands of professional dancing is essential to minimize long-term complications and support a safe return to performance.