Body dissatisfaction, ideals, and identity in the development of disordered eating among adolescent ballet dancers.

OBJECTIVE: Little is known about how female adolescent ballet dancers-a group at high-risk for the development of body dissatisfaction and eating disorders-construct body ideals, and how their social identities interact with body ideals to confer risk for disordered eating. Using a novel body figure behavioral task, this study investigated (1) whether degree of body dissatisfaction corresponded to severity of disordered eating thoughts and behaviors, and (2) how ballet identity corresponded with ideal body figure size among adolescent ballet dancers. METHODS: Participants were 188 female ballet dancers ages 13-18 years who completed self-report measures of study constructs and the behavioral task. RESULTS: Linear regression models indicated that more severe body dissatisfaction was positively associated with increased disordered eating thoughts and behaviors (p < .19), except for muscle building (p = .32). We also found that identifying more strongly as a ballet dancer was correlated with having a smaller ideal body size (p = .017). CONCLUSION: Findings from this study suggest desire to achieve smaller body sizes is correlated with more severe disordered eating endorsement and stronger ballet identity. Instructors and clinicians may consider assessing the extent to which individuals identify as a ballet dancer as a risk factor for disordered eating and encourage adolescent dancers to build and nurture other identities beyond ballet. PUBLIC SIGNIFICANCE: Eating disorders are debilitating conditions that can lead to malnutrition, social isolation, and even premature death. Though disordered eating thoughts and behaviors can affect anyone, adolescents in physically demanding and body image-driven activities including ballet dance are particularly vulnerable. Investigating how factors like body dissatisfaction and strength of identity are associated with disordered eating among high-risk groups is crucial for developing effective prevention and intervention methods that minimize harm.

Eating psychopathology in ballet dancers: a meta-analysis of observational studies.

OBJECTIVE: To assess whether ballet dancers have higher eating psychopathology mean scores than the general population. METHODS: Meta-analysis of cross-sectional observational studies comparing the scores of one or more of the validated eating psychopathological scales between ballet dancers and any control groups. RESULTS: Twelve studies were included in the metanalysis. Ballet dancers had a significantly higher EAT score (12 studies retrieved, SMD 0.82 [95% CI 0.44-1.19], p < 0.00001, I2 = 84)]; subgroup analysis suggested a possible role of control subjects' choice in explaining heterogeneity. Scores on the EDI subscales of Drive for Thinness, Bulimia, and Body dissatisfaction were available from four studies; Drive for Thinness was higher in ballet dancers (SMD 0.62 [0.01, 1.22]), as well as the Bulimia scale (SMD 0.38 [0.02, 0.73], p = 0.04) and the Body Dissatisfaction scale (SMD 0.34 [0.15, 0.53]). Data on Perfectionism, Interpersonal problems, Ineffectiveness, and Maturity fears, were available from three studies. Higher scores in Perfectionism (SMD 0.68 [0.24, 1.12] p = 0.02), Interpersonal problems (SMD 0.24 [0.02, 0.47], in Inefficacy, (SMD 2.18 [1.31, 3.06]) were found for ballet dancers; on the other hand, Maturity fears scores were not significantly different between ballet dancers and controls (IV-MD = 0.15 [- 0.07, 0.36]). Seven studies reported tests not performed elsewhere. DISCUSSION: Ballet dancers show a higher level of restriction and drive for thinness than controls, and they may be, therefore, at higher risk for the development of eating disorders. Available studies do not allow the discrimination of dysfunctional eating attitudes and behaviors from adaptive responses. LEVEL OF EVIDENCE: Level I (evidence obtained from systematic reviews and meta-analyses).

Posturography measures in specific ballet stance position discriminate ballet dancers with different occurrences of musculoskeletal injuries.

BACKGROUND: This study aimed to identify the postural sway variables that can distinguish between ballet dancers with high and low occurrences of musculoskeletal injuries. METHODS: Fourteen professional ballet dancers were assigned to a high-occurrence group (N = 5, reports >2 injuries in the previous 6-months) or a low-occurrence group (N = 9, reports ≤1 injury). Center-of-pressure (COP) data were acquired using a force platform during the following tasks: single-leg stance with eyes open, single-leg stance with eyes closed, and demi-pointe stance with eyes open. The COP standard deviation (SD) and range (RA) in both the medial-lateral (ML) and anterior-posterior (AP) directions were estimated. Between-group comparisons were made through Welch's t-tests for unequal sample size along the effect size measure (Cohen's d). Spearman's rho was used to estimate the association between the number of injuries and the COP variables. The statistical threshold was set at 1%. RESULTS: A between-group effect was found only for the demi-pointe stance, with large effects for SDML (P = 0.006, d = 1.7), RAAP (P = 0.006, d = 1.7), and RAML (P = 0.005, d = 1.7). An inverse relationship was found between the number of injuries and the demi-pointe's COP range in both directions (Spearman's rho from -0.681 to -0.726, P = 0.007). CONCLUSIONS: COP measures taken in ballet-specific positions can distinguish between dancers with a high and low occurrence of musculoskeletal injuries. Suggestions are made to include ballet-specific tasks in the functional assessments of professional dancers.

Analysis of Serum Ferritin Levels in a Group of Elite Ballet Dancers.

INTRODUCTION: Iron plays a significant role in energy production. However, it is not uncommon for athletes to be diagnosed with iron deficiency (ID), suggesting a correlation between performance and iron regulation. As a result, the International Olympic Committee has recommended iron screenings during health evaluations for elite athletes. Furthermore, athletes participating in esthetic sports are at increased risk for suboptimal iron intake due to disordered eating. Therefore, the purpose of this study was to investigate the distribution of serum ferritin (SF) in a cohort of elite ballet dancers and determine associations between vitamin D, anthropometric measures, stress injury, and dietary preferences. METHODS: Electronic health records of 40 elite ballet dancers (22 female, 18 male), age 19 to 38 years old, from the 2020 to 2021 pre-participation physical screening were examined. Chi squared comparisons were calculated to evaluate the association between SF and additional variables (ie, gender, age, height, weight, body mass index, vitamin D, stress injury history, and dietary preferences). SF values were compared to published normal and athletic population data. RESULTS: 58.97% of participants displayed normal or above SF values (>50 ng/ml), while 41.02% displayed minimal (<50 ng/ml) to depleted (<0.12/ng/ml) SF values. Approximately, 68% of the female dancers were ID and did not meet the minimal value needed for athletes. Females were more likely to have lower SF distributions (x2 [4] = 15.6377, P = .004) compared to male dancers. Additionally, dancers who reported dietary preferences (ie, vegetarian) were more likely to display lower SF distributions (x2[4] = 13.3366, P = .010). CONCLUSION: Over half of the female elite ballet dancers were ID which is consistent with current research. Females were at a significant higher risk compared to male dancers who reported dietary preferences. These findings suggest iron screenings should be considered in elite dancer populations.

"My job is to keep my body healthy": biopedagogies, beauty and institutional greed in professional ballet.

CONTEXT: The ballet institution is known for its aesthetic and performative standards. In professional dancers' everyday lives, self-improvement and body awareness entwine with striving for artistic excellence. In this context, 'health' has primarily been explored in relation to eating disorders, pain, and injuries. AIM: This paper explores dancers' health practices, namely how they are shaped by the ballet institution and how they relate to broader health discourses. METHODOLOGY: A reflexive thematic analysis was conducted upon interviews with nine dancers (each interviewed twice) using a theoretical framework based on the concepts of greedy institutions and biopedagogies. ANALYSES: Two themes were developed: What it takes to be an 'insider' of the ballet institution and Learning to develop an acute embodied self-awareness. Dancers described ballet as a 'lifestyle' rather than a 'job'; practices of self-care defined by continuous self and body work were framed as necessary to meet the demands of this lifestyle. Participants 'played with' institutional and societal norms, often resisting docile bodies promoted within the ballet institution. CONCLUSION: Dancers' constructions of health and the art of ballet as not fitting neatly into 'good' nor 'bad' make room to consider the tensions between adopting and resisting dominant health discourses in this institution.

The relationship between rigorous perception of one's own body and self, unhealthy eating behavior and a high risk of anorexic readiness: a predictor of eating disorders in the group of female ballet dancers and artistic gymnasts at the beginning of their career.

BACKGROUND: A group that is particularly exposed to eating disorders are young sportswomen who practice aesthetic disciplines, for whom it is important to keep a slim figure. Hence, the purpose of the study was to present the assessment of perception of one's own body and self as well as nutritional behavior in the group of ballet dancers and artistic gymnasts (BGA, n = 60) aged 10-12 against the background of the peer group (K, n = 60) and to determine the relationship between the studied elements, as well as anorexic readiness risk assessment to help diagnose premorbid stage of eating disorders with full symptoms. METHODS: Anthropometric measurements (height, body weight) and the assessment of adipose tissue were performed. Using a questionnaire, data on physical activity, perception of one's own body and self, and selected eating behaviors were collected. RESULTS: Underweight was observed in nearly half of the girls from the BGA group and the content of adipose tissue was significantly lower. Girls from the BGA group were characterized by overestimation of body size (p = 0.032), the need to improve their appearance/body (p = 0.025) and wanting to be the best in many areas of life (p = 0.002) significantly more often than in the K group. Moreover, they significantly more often limited the consumption of fats and carbohydrates (p = 0.044) and felt angry with themselves after too large of a meal (p = 0.050). It was shown that unhealthy eating behavior in the BGA group was significantly associated with rigorous self-perception (r = 0.42; p < 0.001). Students from the BGA group were more often exposed to a higher risk of anorexic readiness (p = 0.001). In a detailed analysis, it was found that eating behaviors, such as fasting, limiting the consumption of fats and carbohydrates, and avoiding eating under stress, were associated with feelings of dissatisfaction with oneself, the belief that appearance is extremely important in achieving life success and the need to improve appearance. CONCLUSION: The obtained research results can be used as a source of information for specialists (including dietitians and psychologists), for the preparation of educational and repair programs in the group of ballet dancers or artistic gymnasts aged 10-12, including nutritional education and psychological care.

There is a risk that rigorous self-perception may promote unhealthy eating behavior and, consequently, have a negative effect on the nutritional status, as well as pose a risk of developing eating disorders. A group that is particularly exposed to eating disorders are young sportswomen who practice aesthetic disciplines, for whom it is important to keep a slim figure. Hence, the purpose of the study was to present the assessment of perception of one's own body and self as well as nutritional behavior in the group of ballet dancers and artistic gymnasts aged 10­12 against the background of the peer group, as well as anorexic readiness risk assessment. In a detailed analysis, it was found that incorrect eating behaviors, such as fasting, limiting the consumption of fats and carbohydrates, and avoiding eating under stress, were associated with feelings of dissatisfaction with oneself, the belief that appearance is extremely important in achieving life success and the need to improve appearance.The obtained research results can be used as a source of information for specialists (including dietitians and psychologists), for the preparation of educational and repair programs in the group of ballet dancers or artistic gymnasts aged 10­12, including nutritional education and psychological care.

In Pursuit of the Perfect Dancer's Ballet Foot. The Footprint, Stabilometric, Pedobarographic Parameters of Professional Ballet Dancers.

This work aims to assess footprint parameters in a group of professional ballet dancers and to determine the correlation between the aforementioned parameters and lateralization, stabilometric parameters, pedobarographic parameters and work environment conditions. A group subjected to tests consisted of 44 elite professional ballet dancers and the reference group was composed of 44 students. The test of balance and thrust under feet involved 30 s-long free standing with open eyes on a podographic platform. The research-related analysis was concerned with footprint parameters (foot length and width, Clarke angle, and Weissflog index), stabilometric parameters (path length and ellipse field, mean value of the velocity and deflection of the displacement of the center of the foot pressure on the ground) and pedobarographic parameters (percentage thrust on the right, left foot as well as the front and rear part the foot). Statistically significant differences between the groups were observed in relation to the stabilometric parameters, the percentage pressure of the left forefoot and the right heel, as well as the value of the Clarke angle (p ≤ 0.05). The longitudinal arch of the foot and the width of the foot in ballet dancers are not dependent on the total and professional career duration and weekly training volume.

Kettlebell Training for Female Ballet Dancers: Effects on Lower Limb Power and Body Balance.

The aim of the present study was to evaluate the effects of 5 month kettlebell-based training on jumping performance, balance, blood pressure and heart rate in female classical ballet dancers. It was a clinical trial study with 23 female dancers (age = 21.74 ± 3.1 years; body height = 168.22 ± 5.12 cm; body mass = 53.69 ± 5.91 kg) took part in the study. Participants were divided into two groups: a kettlebell group (n = 13), that followed a commercial kettlebell training protocol named the "Simple & Sinister protocol", and a traditional dance training control group (n = 10). In the kettlebell group, kettlebell training completely replaced the jump and balance section of dance classes. Both groups performed balance and jumping tests before and after the training period. Blood pressure and the heart rate were also measured. The kettlebell group showed significant improvements in the balance tests (antero-posterior and medio-lateral oscillation) with both legs and eyes open as well as in all types of jump exercises (unrotated: +39.13%, p < 0.005; with a turnout: +53.15%, p < 0.005), while maximum and minimum blood pressure and the heart rate decreased significantly (max: -7.90%, p < 0.05; min: -9.86%, p < 0.05; Heart rate: -17.07%, p < 0.01). The results for the control group were non-significant for any variable. Comparison between groups showed significant differences for all variables analyzed, with greater improvements for the kettlebell group. Our results suggest that specific kettlebell training could be effective in improving jump performance and balance in classical dancers to a significantly greater degree compared to classical dance training.

Assessment of Body Composition and Nutritional Risks in Young Ballet Dancers - The Bioelectrical Impedance Analysis.

BACKGROUND: Young ballet dancers are at risk of health issues associated with altered nutritional status and of relative energy deficiency in sport compared to the general population. AIM: To evaluate the nutritional status and body composition in ballet dancers. MATERIALS AND METHODS: The study group consisted of 40 young ballet dancers (mean age 19.97 years). Height and weight were measured and body mass index was calculated in all subjects (mean BMI value 19.79 kg/m2, SD: 2.051). Body composition was estimated using the bioelectrical impedance method. RESULTS: The dancers' fat-free mass was 47.33 kg (SD: 5.064) and, on the average, body fat represented the 15.92% (SD: 16.91) of their body weight. CONCLUSIONS: Ballet dancers, who usually show significantly lower BMI values compared to the general population, also displayed body fat values under the suggested range. Some screening for altered nutritional status should be performed. In addition, education programs should be recommended in young ballet dancers, in order to inform about energy and nutrition requirements for health and training and to prevent malnutrition-related problems.

Intrinsic modifiable risk factors in ballet dancers: Applying evidence based practice principles to enhance clinical applications.

INTRODUCTION: The risk of musculoskeletal injury is multifactorial (Bahr 2005). Injury risk is a composite of intrinsic and extrinsic risk factors that can be modifiable or non-modifiable. Ballet dancers have unique risk factors, due to the nature of their art and sport. The purpose of this literature review is to identify intrinsic modifiable risk factors for injury in ballet dancers. The secondary purpose is to investigate potential screening tools which can be used to identify these risk factors. METHODS: The authors performed a review of the literature in October 2017 within the databases of MEDLINE Complete, SPORTDiscus, and PubMed Central following a list of inclusion and exclusion criteria. RESULTS: A review of the available literature identified seven intrinsic modifiable factors specifically for ballet dancers and seven appropriate screening tools. DISCUSSION: The literature identified the most common intrinsic modifiable risk factors associated with ballet dancers to be: hypermobility, fatigue, overuse, neuromuscular dysfunction, degree of turnout, weakness of core and lower extremity musculature, and lower extremity range of motion (ROM) discrepancies. CONCLUSION: Sports medicine professionals who manage these performing artists can use this literature review to help develop injury prevention programs and enhance return to sport decision.

Effect of Kinesio® Taping on Ankle Complex Motion and Stiffness and Jump Landing Time to Stabilization in Female Ballet Dancers.

Ankle sprain is the most commonly diagnosed injury experienced by ballet dancers with few studies investigating preventive support measures such as Kinesio taping. The need exists to examine the mechanical support characteristics of Kinesio taping and effect of application on ankle motion and performance. This may be important to understanding the mechanical mechanisms attributed to Kinesio ankle taping and justify its use in the prevention and treatment of jump landing injuries in ballet dancers. This study compared Kinesio taping with and without tension and no tape (control) on active and passive measures of ankle complex motion in healthy ballet dancers. A secondary objective was to examine the effect of Kinesio taping on balance using time to stabilization. Participants performed three ballet jumps with single-leg landings on a force plate across three ankle support conditions consisting of Kinesio taping, sham-Kinesio taping, and no tape. Sagittal and frontal plane motion and load-displacement of the ankle complex for each support condition were obtained using an ankle arthrometer. Kinesio taping with tension significantly restricted inversion-eversion rotation and increased inversion stiffness of the ankle complex (p < 0.05). No significant differences were found among the three ankle support conditions for jump landing time to stabilization (p > 0.05). Arthrometric results indicate Kinesio taping significantly restricted ankle complex motion in the frontal plane that is associated with lateral ankle sprain. Objective information on the nature of Kinesio taping support can assist sports medicine practitioners when recommending ankle support to athletes.

Assessment of Dietary Intake, Energy Status, and Factors Associated With RED-S in Vocational Female Ballet Students.

Elite ballet dancers are at risk of health issues associated with Relative Energy Deficiency in Sport (RED-S). This study determined the nutritional status, estimated energy status, and assessed factors related to RED-S in vocational female ballet students. Using a cross-sectional study design, we measured dietary intake (food diaries and 24 h dietary-recall) and energy expenditure (accelerometry) in vocational female ballet students (n = 20; age: 18.1 ± 1.1 years; body mass index: 19.0 ± 1.6 kg·m2; body fat: 22.8 ± 3.4%) over 7 days, including 5 weekdays (with dance training) and 2 weekend days (without scheduled dance training). Furthermore, we assessed eating behaviors, menstrual function, risk of RED-S (questionnaires), and body composition (dual x-ray absorptiometry). Energy and macronutrient intakes of vocational ballet students were similar during weekdays and weekend days (P > 0.050), whereas total energy expenditure was greater on weekdays than weekend days (P < 0.010; 95% CI: 212, 379). Energy balance was lower on weekdays (-425 ± 465 kcal·day-1) than weekend days (-6 ± 506 kcal·day-1, P = 0.015; 95% CI: -748, -92). Exercise energy expenditure was greater on weekdays (393 ± 103 kcal·day-1) than weekend days (213 ± 129 kcal·day-1; P < 0.010; 95% CI: 114, 246), but energy availability was similar between time periods (weekdays 38 ± 13 kcal·kg FFM·day-1; weekend days 44 ± 13 kcal·kg FFM·day-1; P = 0.110). Overall, 35% of participants had an energy intake <1,800 kcal·day-1, 44% had reduced energy availability (30-45 kcal·kg FFM·day-1), and 22% had low energy availability (<30 kcal·kg FFM·day-1). Menstrual dysfunctions were reported in 40% of participants; 15 and 25% reported oligomenorrhea and secondary amenorrhea, respectively; while 65% were classified at risk of RED-S (based on the Low Energy Availability in Females Questionnaire). All participants had adequate bone health (bone mineral density Z-score: 1.1 ± 0.9 SD), but 20% had <85% expected body weight. The observation of an energy deficit in vocational female ballet students was primarily attributed to an inability to plan energy intake and thereby meet higher energy requirements during ballet training weekdays. Screening for factors associated with RED-S and tailoring education programs to inform energy and nutrition requirements for health and training are recommended in elite young ballet students.

Professional ballet dancers' experience of injury and osteopathic treatment in the UK: A qualitative study.

OBJECTIVES: Professional dancers suffer significant musculoskeletal injuries during the course of their careers. Treatment-seeking behaviour is important in all patient populations, yet is rarely investigated amongst professional dancers. This qualitative study aimed to form a better understanding of how dancers decide to seek treatment, and in particular to explore their experiences of receiving osteopathic care for their injuries. METHODS: A qualitative study design using grounded theory was used as a methodological framework for data collection and analysis. Semi-structured interviews were used to explore professional dancers' experience of injury and decision-making to seek professional healthcare. RESULTS: Five themes were constructed that explain and describe dancers' experience of injuries and their views and perspectives of treatment, these were; the growing dancer, the fear factor, learning to cope, effective treatment, and returning autonomy. CONCLUSION: The personal development of each dancer consisted of an amalgam of internal and external pressures. These pressures combine with experiences of pain and injury to influence a dancer's decision-making behaviour when injured and deciding to seek treatment. The study also provide factors relevant in the effective treatment of dancers, and outlined participants' preference for a global physical approach to assessment and treatment of their musculoskeletal pain.

Characteristics and prevalence of musculoskeletal injury in professional and non-professional ballet dancers

BACKGROUND: Ballet is a high-performance activity that requires an advanced level of technical skills. Ballet places great stress on tendons, muscles, bones, and joints and may act directly as a trigger of injury by overuse. OBJECTIVES: 1) to describe the main types of injuries and affected areas related to classical ballet and 2) to compare the frequency of musculoskeletal injuries among professional and non-professional ballet dancers, considering possible gender differences among the professional dancers. METHOD: A total of 110 questionnaires were answered by professional and non-professional dancers. The questionnaire contained items related to the presence of injury, the regions involved, and the mechanism of the injury. RESULTS: We observed a high frequency of musculoskeletal injuries, with ankle sprains accounting for 69.8% of injuries in professional dancers and 42.1% in non-professional dancers. Pirouettes were the most frequent mechanism of injury in professional dancers, accounting for 67.9% of injuries, whereas in the non-professional dancers, repetitive movement was the most common mechanism (28.1%). Ankle sprains occurred in 90% of the women's injuries, and muscle sprains occurred in 54.5% of the men's injuries. The most frequent injury location was the ankle joint in both sexes among the professional dancers, with 67.6% in women and 40.9% in men. CONCLUSIONS: The identification of the mechanism of injury and time of practice may contribute to better therapeutic action aimed at the proper function of the dancers' bodies and improved performance by these athletes.

Comparative study of anthropometric variables in female classical ballet dancers, volleyball players and physically active subjects / Estudo comparativo das variáveis antropométricas em bailarinas clássicas e jogadoras de voleibol

O objetivo do presente estudo foi comparar medidas antropométricas(massa corporal, estatura e percentual de gordura) e a amplitude de movimento (ADM) de dorsiflexão e plantiflexão entre três diferentes grupos: bailarinas clássicas (n=14), jogadoras de voleibol (n=22) e mulheres fisicamente ativas (n=13). Assumiu-se que diferentes demandas funcionais deveriam produzir alterações nas medidas antropométricas e de ADM entre os três grupos. A massa corporal e a estatura foram maiores nas atletas de voleibol (66,42 ± 5,8 kg; 174,77 ± 5,6 cm), seguidasdas mulheres fisicamente ativas (59,93 ± 10,3 kg; 164 ± 7,5 cm) e das bailarinas clássicas (49,25 ± 4,5 kg; 157,03 ± 3,6 cm), respectivamente (p<0,05). O percentual de gordura foi maior nas mulheres ativas (30,67 ± 4,6%) quando comparadas aos outros dois grupos, que foram semelhantes entre si (jogadoras de voleibol = 24,93 ± 4,1%; bailarinas = 21,94 ± 4,3%, respectivamente). Os três grupos apresentaramsemelhante ADM entre os lados direito e esquerdo e para a amplitude de movimento ativa de dorsiflexão. Entretanto, para a plantiflexão a amplitude de movimento ativa foi maior nas bailarinas (~83°), seguidas das mulheres fisicamente ativas (~68°) e, por fim, pelas jogadoras de voleibol que apresentaram a menor amplitude de flexão plantar (~60°). As diferentes demandas impostas pelas três distintas atividades parecem ser responsáveis pelas mudanças em algumas variáveis antropométricas ena ADM da articulação do tornozelo.

The objective of this study was to compare anthropometric variables (bodyweight, height, and percent body fat) and plantarflexion and dorsiflexion range of motion (ROM) between three different groups of women: classical ballet dancers (n=14), volleyball players (n=22) and physically active subjects (n=13). The assumption was that different functional requirements should produce differences in the anthropometric variablesand ROM between the three groups. Body weight and height were higher in volleyball players (66.42 ± 5.8 kg; 174.77 ± 5.6 cm), followed by physically active women (59.93 ± 10.3 kg; 164 ± 7.5 cm) and ballet dancers (49.25 ± 4.5 kg; 157.03 ± 3.6 cm) (p<0.05). Percent body fat was higher in physically active women (30.67 ± 4.6%) compared to theother two groups, which showed similar percentages (volleyball players: 24.93 ± 4.1%; ballet dancers: 21.94 ± 4.3%). The three groups were similar in terms of total ankle ROM and active dorsiflexion ROM between the right and left sides. However, plantarflexion ROM was higher in ballet dancers (~83°), followed by physically active women (~68°)and volleyball players who presented the smallest ROM (~60°). The different requirements imposed by the three distinct physical activities seem to be responsible for changes in some of the anthropometric variables and ankle joint ROM.

The Clinical Characteristics of Pain and the Usefulness of Pain Clinics from the Perspective of Professional Ballet Dancers in Korea / 대한통증학회지

BACKGROUND: There has recently been a rapid increase in the number of pain clinics and significant advancement in the treatment of pain in Korea. Therefore, this study was conducted to identify possible problems associated with pain clinics and to use this information to help design future pain clinics. This assessment was conducted from the perspective of professional ballet dancers, who are at high risk for pain like other athletes. METHODS: One-hundred professional ballet dancers responded to questionnaires designed to ascertain their preference for different types of clinics, the extent of the pain they experience, and their overall opinion of pain clinics. RESULTS: All of the respondents complained of pain in one or more sites and reported that they had visited some type of clinic for treatment at least once. Overall, the respondents preferred using the following methods to treat pain: orthopedic surgery (76 dancers), oriental medicine (49 dancers), and therapy at pain clinic (48 dancers). Fifty-three percent of the 48 dancers who had received treatment at pain clinics were satisfied with their treatment. Forty-four percent of the 52 dancers who had not been treated at a pain clinic had no knowledge of the existence of such facilities. CONCLUSIONS: This survey revealed that, although professional ballet dancers have a high prevalence of pain, many have no knowledge of pain clinics. Therefore, efforts should be made by pain clinics to make information regarding their facilities widely available to professional ballet dancers so they can serve the widest range of clientele.

Flexor hallucis Longus Tendinitis in Classical Ballet Dancer / 대한정형외과학회잡지

Flexor hallucis longus tendinitis is a common overuse syndrome in classic ballet dancers. To describe the clinical symptoms, diagnosis and non-operative and operative treatment, we evaluated twenty ballet dancers from march 1994 to August 1995. For the diagnosis, Tomasen test was helpful clinically and MRI was essential for surgical intervetion to find a tendon degeneration. Patients were classified into three groups by symptoms and clinical stages. All of the Group 1 and 2 were recovered by means of the conservative treatment. Two dancers belongs to Group 3 showed a severe degeneration of tendon on the MRI scan, finally was taken the an operation. Release of the tarsal tunnel were performed. Six months after operation, they could return to dancing.