Posterior Ankle Impingement Syndrome and M. Flexor Hallucis Longus Tendinopathy in Dancers Results of Open Surgery.

Posterior ankle impingement syndrome (PAIS), the result of posterolateral soft tissue or bony impingement of the ankle, and tendinopathy of the flexor hallucis longus (FHL tendinopathy) in the ankle are common in dancers. If conservative treatment of these conditions fails to produce adequate results, surgical intervention might be necessary. However, outcomes of treatment by open surgery for these diagnoses have been described only in small series of dancers. For this study, data were extracted from clinical files and operative reports of an orthopaedic surgery clinic specialized in dance medicine. Prior to October 2016, 148 patients (82.1% female, median age 19 years) underwent 190 open procedures, 57 (30%) for FHL, 83 (43.7%) for PAIS, and 50 (26.3%) for a combination thereof. In 90.8% of cases, patients reported a "better" or "much better" postoperative outcome. There were only minor, transient complications that neither required re-intervention nor influenced outcome. Patients were followed up for a median of 157 days (interquartile range: 91-245 days). Those operated on by a lateral approach were discharged from follow-up earlier (lateral 113 days vs. 190 for medial approach, p = 0.005), but there was no difference in outcome at discharge. It is concluded that the open surgical treatment of PAIS and FHL tendinopathy in dancers has a high success rate and can be considered a successful standard operative procedure. More detailed information is needed about dance-specific outcomes and the early postoperative course of rehabilitation.

Operative Treatment of Posterior Ankle Impingement Syndrome and Flexor Hallucis Longus Tendinopathy in Dancers Open Versus Endoscopic Approach.

Posterior ankle impingement syndrome (PAIS) is a painful, usually limited plantar flexion of the ankle joint due to soft tissue impingement or a bony impediment often coinciding with tendinopathy of the flexor hallucis longus (FHL) behind the medial malleolus. In persistent complaints, the bony impediment is removed, the tunnel of the FHL tendon is released, or a combination of both procedures has traditionally been performed by open surgery. In 2000, an endoscopic surgical technique for PAIS and FHL tendinopathy was introduced. To date there is no evidence of the superiority of one surgical technique over the other in dancers; both the open and the endoscopic approach provide up to 90% good and excellent long-term results. We compared the first 20 consecutive open procedures with the first 19 consecutive endoscopic procedures in dancers, all operated by the same orthopaedic surgeon. The postoperative outcomes were reviewed by studying the patient files, clinical evaluation, American Orthopaedic Foot and Ankle Society (AOFAS) scoring, and we administered a dance-specific questionnaire. The results in the open group were: nine excellent, nine good, one moderate, and one poor (90% excellent and good). In the endoscopic group: nine excellent, six good, three moderate, one poor (79% excellent and good). Both groups returned to dance (barre) at a median of 8 weeks (IQR: 2). The direct postoperative morbidity in the endoscopic group was less favorable and was mainly related to hematomas and an inflammatory response or deep scar tissue formation. There were no major complications requiring re-intervention. Although the two small groups of patients and the retrospective character of our descriptive study do not allow firm conclusions or statistical analysis of subgroups, the results of this study indicate that the open approach seems to be better than the endoscopic approach in the surgical treatment of PAIS and FHL tendinopathy in dancers.

Results of Treatment of Posterior Ankle Impingement Syndrome and Flexor Hallucis Longus Tendinopathy in Dancers: A Systematic Review.

Dancing on pointe and relevé requires extreme plantar flexion of the talo-crural joint. Hence, these positions may lead to posterior ankle impingement syndrome (PAIS). PAIS often coincides with flexor hallucis longus tendinopathy (FHL tendinopathy, or "dancers' tendinitis"). Both injuries can appear in isolation as well. The goal of this review is to evaluate the results and the available levels of evidence of conservative and operative treatment (both open and endoscopic) of PAIS and FHL tendinopathy in dancers. It also offers an insight into the history of dance medical publications on this subject. In October 2016, a systematic search of PubMed, Embase, Cochrane, CINAHL, Web of Science, and (in French) ScienceDirect databases was undertaken. Five hundred and seventy-six publications were found, of which a total of 27 reported the results of operative treatment in 376 ankles (344 open, 32 endoscopic) in 324 dancers. The outcome was good to excellent in most cases (89%). The mean period of return to dance for all surgeries combined (PAIS and FHL tendinopathy, open and endo) was 11 weeks (range: 4 to 36 weeks), and for isolated FHL tendinopathy 16 weeks (range: 8 to 36 weeks). Only six publications reported the results of conservative treatment in 33 ankles (13 PAIS, 20 FHL tendinopathy) of 28 dancers, which does not allow for any evidence-based recommendations. Most studies failed to include dance-specific baseline characteristics, like dance style and level of participation. We concluded that only retrospective studies with levels of evidence four and five show that operative treatment for PAIS and FHL tendinopathy is successful with few complications. Since isolated PAIS, PAIS combined with FHL tendinopathy, and isolated FHL injuries appear to be different pathological entities, more research taking into account demography, dance type, and level of participation is needed to find out in which cases early operative management should be considered or avoided. The same applies to defining the place of endoscopic surgery in dancers and being able better to predict which pathology is likely to produce worse outcomes or delay the return to dance. Future research should have a prospective design, including dance-specific outcome scores both preand post-treatment. Furthermore, preferably a prospective randomized controlled design should be used to compare different conservative and operative treatment options.

Surgical Treatment of the Accessory Navicular (Os Tibiale Externum) in Dancers: A Retrospective Case Series.

This study is to draw attention to a relatively common anatomical anomaly and its possible operative treatment in dancers. The accessory navicular, or os tibiale externum, is an accessory bone on the medial side of the navicular of the foot at the insertion of the posterior tibial tendon (PTT). It can cause obvious hyperpronation, medial foot pain, and a limited and painful relevé in dancers. To the best of our knowledge, this is the first report on the operative treatment of the accessory navicular exclusively in dancers. Six dancers (10 feet) were treated in our clinic for a symptomatic accessory navicular Type II. Five of them (eight feet) underwent surgery, two unilaterally and three bilaterally (at the same time). All five had an excellent result at mean follow-up of 4.7 years, given that they fully resumed their professional dance activities without restriction, discomfort, or residual symptoms. One patient stopped dancing for unrelated reasons and became symptom free without further (surgical) treatment. Although no conclusions can be drawn from a retrospective case series and other treatment modalities were not considered, simple excision of a symptomatic accessory navicular Type II seems to be a good choice in dancers.

Dancers' and musicians' injuries.

This overview is based on the over 30 years of performing arts medicine experience of the author, an orthopaedic surgeon who devoted his professional life entirely to the prevention, diagnostics, and treatment of dancers' and musicians' injuries. After a short introduction on the specific demands of professional dance and music making, it describes some general principles of orthopaedic dance medicine and causes of injuries in dancers. The relation of dance injuries with compensatory mechanisms for insufficient external rotation in the hips is explained, as well as hypermobility and the importance of 'core-stability'. As a general principle of treatment, the physician must respect the 'passion' of the dancer and never give an injured dancer the advice to stop dancing. Mental practice helps to maintain dance technical capabilities. The specific orthopaedic dance-medicine section deals with some common injuries of the back and lower extremities in dancers. An important group of common dance injuries form the causes of limited and painful 'relevé' in dancers, like 'dancer's heel' (posterior ankle impingement syndrome), 'dancer's tendinitis' (tenovaginitis of the m.flexor hallucis longus) and hallux rigidus. The second half of the overview deals with the general principles of orthopaedic musicians' medicine and causes of injuries in musicians, like a sudden change in the 'musical load' or a faulty playing posture. Hypermobility in musicians is both an asset and a risk factor. As a general principle of treatment, early specialized medical assessment is essential to rule out specific injuries. Making the diagnosis in musicians is greatly facilitated by examining the patient during playing the musical instrument. The playing posture, stabilisation of the trunk and shoulder girdle and practising habits should always be checked. Musicians in general are intelligent and the time spent on extensive explanation and advice is well spent. In overuse injuries, relative rest supported by 'mental practice' is effective. The specific orthopaedic musicians' medicine section deals with some common injuries of the neck and upper extremities, like (posture related) cervicobrachialgia, and thoracic outlet syndrome. An important group of causes of musicians' injuries form the entrapment neuropathies (especially ulnaropathy), osteoarthritis of the hands and hypermobility.

Total hip replacement in dancers.

A case report of a professional contemporary dancer who successfully returned to the stage after bilateral total hip replacements (THR) for osteoarthritis is presented, together with her own commentary and a retrospective cohort study of total hip replacements in dancers. In the presented cohort, there were no post-operative dislocations or infections, the original pain had been relieved, rehabilitation was objectively normal and all resumed their dance (teaching) activities. Nevertheless, they were disappointed about the prolonged rehabilitation. Due to their high demands as professional dancers, post-operative expectations were too optimistic in view of the usual quick and favourable results of THR in the older and less physically active, general population. In all dancers with unilateral osteoarthritis, the left hip was involved, which may reflect the tendency to use the left leg as standing leg and be suggestive that strenuous physical activity may lead to osteoarthritis. Better rehabilitation guidelines are needed for dancer patients undergoing THR, especially drawing their attention to realistic post-operative expectations.

Malignancies presenting at a performing arts medicine clinic.

Four performing artists with musculoskeletal complaints were found to have an underlying malignancy.

Use and effectiveness of orthotics in hyperpronated dancers.

Hyperpronation is a common foot problem in dancers. The aim of this study was to investigate the usage and effectiveness of orthotics in the management of symptomatic hyperpronation among dancers. A prospective cohort study of all dancer-patients in the investigators' practice who were prescribed orthotics for new symptoms related to hyperpronation between July 2008 and January 2009 was conducted. In this group, the longitudinal medial arch angle of the foot was measured by the foot build registration system (FBRS), both barefoot and while wearing the orthotics. In addition, patients filled out questionnaires addressing perceived effectiveness of the orthotics for pain reduction and dance ability, among other items. A second retrospective study was conducted in order to obtain longitudinal data regarding dancers' compliance with, and subjective evaluation of, wearing orthotics over the preceding 6 years. Among participating dancers who met criteria for the prospective (N = 24) or retrospective (N = 81) aspects of the study (total N = 105), 67% wore orthotics at the time of follow-up. The average compliance in usage was 6.0 (± 1.5 ) days per week and 7.5 (± 3) hours per day. The average rate of satisfaction was 67.9 (± 26.5), average degree of relief in symptoms was 58.3 (± 28.3), and self-reported degree of improvement in dance ability was 45.7 (± 27.9) on a 100 mm Visual Analogue Scale (VAS). There was a significant decrease in pain from the day of orthotics prescription to follow-up (25.9%, or 18.9 mm decrease on the VAS, CI 6.6-30.9, p = 0.005) in the prospective group (N = 24). Orthotics were found to decrease the medial longitudinal arch angle significantly during static stance with the orthotic in place (CI 0.08-1.65, p = 0.03). It is concluded that the dancers in this study demonstrated a high rate of compliance in obtaining and wearing their orthotics and experienced a significant decrease in pain.

Focal hand dystonia in musicians: a synopsis.

Focal hand dystonia in musicians (FHDM), also known as 'musicians' cramp', is a relatively rare, task-specific, pain-free disorder of control, causing unintentional, abnormal movements and/or positions in a part of the body directly involved in playing a musical instrument. Few physicians are familiar with the diagnosis, yet the exact cause of the disorder remains unknown and there is no generally effective therapy. In this synopsis, the authors present their experience with the diagnosis and treatment of FHDM and their aetiology hypothesis that musicians' cramp is caused by a loss of central motor control initiated by a failure of coping mechanisms, which (try to) compensate for the effects of peripheral local movement disturbing factors in the hand. Recent publications focus on the role of the central nervous system and on motor pattern relearning. We recommend further (prospective) research of the results of operative (peripheral) therapy, followed by (central) motor pattern relearning, and of neuropsychological contributions.

Some thoughts on the prevention of complaints in musicians and dancers.

This article summarizes the physical and psychological problems that can befall performing artists and aims to provide an insight into their prevention.

Left shoulder pain in a violinist, related to extensor tendon adhesions in a small scar on the back of the wrist.

A female professional orchestra violin player, age 54, with an 8-year history of severe left shoulder problems, presented with reproducible, acute, incapacitating left shoulder pain when playing the lowest violin string. This complaint was found caused by compensatory left arm positions for unnoticed finger extensor excursion limitations in a well-healed scar bed from two dorsal wrist ganglion operations 11 and 13 years before. Immediately after extensor tendon mobilization in the scar bed, the patient could assume a normal playing position, which was pain free, and could return to orchestral duties without further major shoulder complaints (follow-up of 10 years). The case study presents finger extensor excursion limitations at the wrist as an unusual extra-regional risk factor for a shoulder complaint and analyses the biomechanics linking these limitations to the complaint. The case illustrates the importance of long-term post-operative hand surgery rehabilitation in musicians.

Hyperpronation in Dancers Incidence and Relation to Calcaneal Angle.

Hyperpronation is a common finding when examining the dancer-patient and is thought to be implicated in several dance-related injuries. Little is known about the incidence of hyperpronation-related symptoms in dancers. Additionally, there is no current easy method for estimating the degree of hyperpronation. This study was designed to investigate the incidence of symptoms related to foot hyperpronation in dancer-patients and to evaluate the potential correlation between the patient's calcaneal angle and severity of hyperpronation. A retrospective study of 2,427 dancers' charts over the past 6 years was undertaken to identify dancers who presented with musculoskeletal complaints or problems related to hyperpronation. Physical exam data and diagnoses were collected. Among 24 new dancer-patients presenting to clinic with hyperpronation-related symptoms, the calcaneal angle was measured and correlated with a clinical grading scale based on the Hübscher maneuver. Per chart review, the incidence of symptomatic hyperpronation resulting in prescription for orthotics was 30% (739 dancers out of 2,427). The most common related diagnosis was retropatellar chondropathy (10%). Clinical severity of hyperpronation was linearly related to the calcaneal angle (95% CI [1.25, 4.14], p = 0.0006; Pearson's r(2) = 0.97). The calcaneal angles among mild, moderate, and severe hyperpronators differed significantly (H = 13.45, p = 0.0012). It was concluded that measuring the calcaneal angle may be a useful adjunct to the Hübscher maneuver for grading the clinical severity of a dancer's hyperpronation. Healthcare providers working with dancers should be aware of the presence of hyperpronation, its relation to compensatory turnout techniques, and association with injuries in the foot, ankle, knee, hip, and low back. A standard, time-efficient method of measuring and grading hyperpronation is still needed.

Genees & kunst 10: tenth symposium on medical problems of dancers & musicians, universitair medisch centrum, Utrecht, March 27, 2010.

On Saturday, March 27th, 2010, the Dutch Performing Arts Medicine Association (NVDMG) organized a scientific and artistic Jubilee symposium "Genees & Kunst 10" for its 5th anniversary and 10th member assembly, at the University Medical Centre Utrecht, The Netherlands. During his opening speech, dr. Rietveld, president of NVDMG, mentioned the successful first 5 years and the vitality of the NVDMG, and he emphasized the importance of performing arts medicine, given the large proportion of performing artists (at least 14% of all patients) in an average Dutch family physician's practice. Scientific presentations, interspersed with dance and music performances, were given by several medical specialists. Abstracts of these presentations are published here as the symposium proceedings.

Freiberg's disease as a rare cause of limited and painful relevé in dancers.

Freiberg's disease, or osteonecrosis of the second metatarsal head, is an uncommon cause of forefoot pain that can severely limit a dancer's relevé. Dancers may be predisposed to the condition due to repetitive microtrauma to the ball of the foot during routine dance movements. Freiberg's disease is diagnosed by history, physical examination, and plain film radiographs. Conservative treatment in dancers is disappointing, and surgical options fail to produce uniformly good results. Previously published reports of successful surgical outcomes would, for a dancer, result in an unacceptable loss of dorsiflexion of the MTP joint. This first case report of Freiberg's disease in a dancer serves to discuss the orthopaedic and artistic implications of managing the disease in a young, active, adolescent dancer. A new surgical treatment involving modification of Mann's cheilectomy, normally used for hallux rigidus, is presented. The operation corrected the patient's pain, completely normalized the aberrant relevé, allowed her to resume dance training within three weeks, and return to full dance activity within three months.