Does a visual reference help ballet dancers turn more successfully?

In dance, performing multiple rotations around the longitudinal axis is a complex task that can only be accomplished proficiently by highly skilled dancers. However, this extraordinary skill has been investigated sparsely. The few studies to date have focused on the biomechanical analysis of ballet rotations. However, none have investigated the influence of visual information on continuous rotations, such as Fouettés or à la Seconde turns. Therefore, the present study aims to examine the role of a visual reference on balance control and the dance-specific head coordination – spotting – during turning performance of highly skilled ballet dancers. To this end, 12 participants performed 12 Fouettés (females) or à la Seconde turns (males) with and without a visual reference. As dependent measures, we analysed balance control (i.e., supporting foot path length), spotting duration, head isolation, and orientation (i.e., deviation of pelvis from the front). A linear mixed model was performed to analyse the influence of the visual conditions overall and over the continued performance of 12 consecutive rotations. The results revealed that overall, path length was significantly smaller in the condition without a visual reference. Spotting duration and head isolation did not differ significantly between conditions. Moreover, dancers oriented themselves better towards the front in the condition with a visual reference. When looking closer into the progression of performance over each consecutive rotation, highly skilled ballet dancers significantly decreased the supporting foot path length, and improved orientation when turning with a visual reference. On the other hand, without a visual reference, the dancers increased the spotting duration over time. Additionally, dancers increased head isolation towards the end of the turns in both conditions. These findings suggest that a visual reference helps ballet dancers sustain performance of consecutive rotations, mainly in optimising balance control and orientation. Thus, the more rotations a ballet dancer must turn, the more relevant a visual reference becomes for sustaining successful performance.     

Effects of mental imagery styles on shoulder and hip rotations during preparation of pirouettes

To analyze individual behavior in spatial navigation especially for pirouette preparations (complete whole-body rotations), the authors studied horizontal shoulder-hip interactions under 2 constraints: postural (right and left supporting legs [SL]) and spatial (clockwise [CW] and counterclockwise [CCW]). They performed kinematic analysis at the start and end of the shoulder-hip horizontal rotations (run-up) with regard to imagery of motor actions. On the basis of the Vividness of Movement Imagery Questionnaire, they classified 8 female expert ballet dancers and 7 untrained female participants according to their movement imagery style (kinesthetic and visual). At the run-up's end, the shoulders initiated the turn independently of SL but differently depending on training: CW for dancers and CCW for untrained participants (their commonly used direction). Kinesthetic and mixed imagery styles prevailed in dancers, whereas simply a mixed style appeared among untrained participants. Thus, dance training enhances the imagery of kinesthetic sensation and influences the choice of spatial direction, facilitating the body-space interaction.     

Relationship between the architecture and function of ankle plantar flexors with Achilles tendon morphology in ballet dancers

Achilles tendinopathy is the most frequent foot overuse injury in ballet dancers and knowledge of clinically modifiable factors related to tendon structure in a population at risk, such as ballet dancers, would be important for the development of preventive programs. Therefore, the present study aimed to assess relationships of gastrocnemius muscle architecture and ankle plantar flexors function with Achilles tendon morphology in ballet dancers. Fifty-four measures from 27 ballet dancers were collected. Tendon morphology (thickness, echogenicity, hypoechoic areas and neovascularisation) and muscle architecture (thickness, pennation angle and fascicle length) were evaluated using ultrasonography; ankle plantar flexors torque was evaluated using hand-held dynamometry, flexibility was evaluated in maximal weight-bearing ankle dorsiflexion position using inclinometer, and endurance was evaluated using the heel rise test. Ankle plantar flexors torque and medial gastrocnemius muscle architecture (thickness, pennation angle and fascicle length) are associated with Achilles tendon thickness in ballet dancers (r² = 0.24, p = 0.008). Ankle plantar flexors torque and medial gastrocnemius muscle fascicle length are also associated with the echogenicity of the Achilles tendon (r² = 0.13, p = 0.03). These findings call attention to the potential importance of ankle plantar flexors muscle force in healthy ballet dancers for the prevention of alterations in Achilles tendon structure.     

Media influence and body dissatisfaction in preadolescent ballet dancers and non-physically active girls

ObjectivesThe present study analysed media influences and body dissatisfaction in preadolescent non-professional female ballet dancers and non-physically active girls.DesignCross-sectional design.MethodParticipants were 135 Italian preadolescent girls: 67 non-professional ballet dancers (M = 12.28 years) and 68 non-physically active girls (M = 12.56 years). Participants completed a questionnaire assessing body mass index (BMI), perceived media pressure to reach the societal body ideal, thin-ideal internalization, athletic internalization and body dissatisfaction.ResultsNo significant differences between ballet dancers and non-dancers emerged on age; however, dancers had a significantly lower BMI. Therefore, BMI was used as a covariate. No significant difference between the two groups emerged on perceived media pressure or thin-ideal internalization. Ballet dancers reported a higher level of athletic internalization and were more dissatisfied with their bodies than non-physically active girls. BMI emerged as the most important predictor of preadolescents' body dissatisfaction for both groups. Among non-dancers, perceived media pressure predicted body dissatisfaction both directly and indirectly via thin-ideal internalization. Among dancers, perceived media pressure predicted body dissatisfaction both directly and indirectly via athletic internalization but not via thin-ideal internalization.ConclusionsMedia influence emerged as an important predictor of body dissatisfaction for both groups, although the internalization of an athletic body ideal was more salient for the ballet dancers. These findings are noteworthy because they offer some clues for possible intervention programs aimed at promoting healthier body images in preadolescent ballet dancers and non-dancers and extend the existing literature on ballet dancers' body dissatisfaction.     

Effect of narrowing the base of support on the gait,gaze and quiet eye of elite ballet dancers and controls

We determined the gaze and stepping behaviours of elite ballet dancers and controls as they walked normally and along progressively narrower 3-m lines (l0.0, 2.5 cm). The ballet dancers delayed the first step and then stepped more quickly through the approach area and onto the lines, which they exited more slowly than the controls, which stepped immediately but then slowed their gait to navigate the line, which they exited faster. Contrary to predictions, the ballet group did not step more precisely, perhaps due to the unique anatomical requirements of ballet dance and/or due to releasing the degrees of freedom under their feet as they fixated ahead more than the controls. The ballet group used significantly fewer fixations of longer duration, and their final quiet eye (QE) duration prior to stepping on the line was significantly longer (2,353.39 ms) than the controls (1,327.64 ms). The control group favoured a proximal gaze strategy allocating 73.33% of their QE fixations to the line/off the line and 26.66% to the exit/visual straight ahead (VSA), while the ballet group favoured a ‘look-ahead’ strategy allocating 55.49% of their QE fixations to the exit/VSA and 44.51% on the line/off the line. The results are discussed in the light of the development of expertise and the enhanced role of fixations and visual attention when more tasks become more constrained.     

Modification of impulse generation during piqué turns with increased rotational demands

During initiation of a piqué turn, a dancer generates impulse to achieve the desired lateral translation and whole-body rotation. The goal of this study was to determine how individuals regulate impulse generation when initiating piqué turns with increased rotational demands. Skilled dancers (n = 10) performed single (∼360°) and double (∼720°) piqué turns from a stationary position. Linear and angular impulse generated by the push and turn legs were quantified using ground reaction forces and compared across turn conditions as a group and within a dancer using probability-based statistical methods. The results indicate that as the rotation demands of the piqué turn increased, the net angular impulse generated increased whereas net lateral impulse decreased. Early during turn initiation, the free moment contributed to angular impulse generation. Later during turn initiation, horizontal reaction forces were controlled to generate angular impulse. As rotational demands increased, the moment applied increased primarily from redirection of the horizontal reaction force (RFh) at the push leg and a combination of RFh magnitude and moment arm increases at the turn leg. RFh at each leg were coordinated to limit unwanted net linear impulse. Knowledge of observed subject-specific mechanisms is important to inform the design of turning performance training tools.     

Stereotype accuracy of ballet and modern dancers

The authors recorded preprofessional ballet and modern dancers' perceptions of the personality traits of each type of dancer and self-reports of their own standing, to test the accuracy of the group stereotypes. Participants accurately stereotyped ballet dancers as scoring higher than modern dancers on Fear of Negative Evaluation and Personal Need for Structure and accurately viewed the groups as equal on Fitness Esteem. Participants inaccurately stereotyped ballet dancers as lower on Body Esteem; the groups actually scored the same. Sensitivity correlations across traits indicated that dancers were accurate about the relative magnitudes of trait differences in the two types of dancers. A group of nondancers reported stereotypes that were usually in the right direction although of inaccurate magnitude, and nondancers were sensitive to the relative sizes of group differences across traits.     

Personality differences between young dancers and non-dancers

Leisure activities, interests and personality traits of young dancers, spending about 15 h weekly on classical and modern ballet education, were assessed by means of a number of questionnaires.Two groups were selected. One comprised dancers, aged 11 or 12 years who had been attending a professional ballet school for one or two years. The other group, dancers aged 15 or 16 years, had attended the same ballet school for at least four years. Children of the same age, not involved (above average) in any particular activity made up the two control groups. Leisure activities and interests of dancers differed only slightly from those of non-dancers, although some significant differences emerged. With respect to physical self-concept and self-esteem, findings indicated significantly less favourable attitudes and less self-esteem among dancers as compared to non-dancers. This was true especially in the older group of children. In both age groups, dancers were significantly more introverted than non-dancers.The results are discussed with reference to the frequently reported positive effects of physical activity on feelings of well-being and on self concept.     

A Dance with Many Secrets: The Experience of Emotional Harm from the Perspective of Past Professional Female Ballet Dancers in Canada

Originating in the Italian and French courts, ballet is an age-old art that fuses aesthetics and athleticism (Wulff, 2008). Despite changing times, ballet masters and mistresses tenaciously hold on to a sense of deep traditionalism. However, some scholars suggest that unwavering devotion to the art may conceal troubled embodied relations and oppressive practices (Gvion, 2008). In this study, we drew on the phenomenological research tradition in an effort to further examine the power relations that play out on the body in the world of Canadian professional ballet (Papaefstathiou, Rhind, & Brakenridge, 2013). Twenty past professional female ballet dancers from across Canada participated in this study. Our dedicated dancers were relentless. They sacrificed body and mind in the pursuit of excellence in a broader cultural context that expected nothing less. The dancers normalized harmful emotional experiences, inappropriate sexual transgressions, and chronic injury (Gvion, 2008). They also described experiences of neglect—and feeling replaceable—after the onset of injury. We have attempted to theorize our findings within the context of embodiment literature and the work of gender theorists. Emboldened by our dancers’ voices, we have shed light—and broken secrets—regarding some of the harmful practices that still characterize professional ballet in Canada. We hope that our work might further continue efforts to democratize power imbalances in professional ballet and ultimately enhance holistic dancer development and health.     

Body image and self-esteem in adolescent ballet dancers.

Body-image disturbances and low self-esteem have been implicated in the pathogenesis of eating disorders. This study investigated self-perception of body and personality among adolescent ballet dancers in a cross-sectional survey. Two questionnaires assessing "my body right now" and "my personality right now," using semantic differentials were completed by 90 ballet school students and 156 controls. Adolescent female dancers (ages 13 to 17 years) scored higher than age-matched controls and 11- to 12-yr. old peers on Undesirability and Sensitivity for personality and Unattractiveness for body. For both subscales of personality, differences were also found between male and female dancers; female ballet students scored higher. Within the control group a difference could be found only for Sensitivity on which girls scored higher than boys. Male dancers did not differ from controls except for a lower score on the Body mass measure. Adolescent female dancers showed a distinct answering profile for 7 of 16 semantic differentials in each questionnaire implicating less favorable body image and self-esteem. Interventions focused particularly on enhancing self-esteem may be useful in the prevention of psychopathology in adolescent ballet dancers.     

Experts see it all: configural effects in action observation

Biological motion perception is influenced by observers’ familiarity with the observed action. Here, we used classical dance as a means to investigate how visual and motor experience modulates perceptual mechanism for configural processing of actions. Although some ballet moves are performed by only one gender, male and female dancers train together and acquire visual knowledge of all ballet moves. Twenty-four expert ballet dancers (12 female) and matched non-expert participants viewed pairs of upright and inverted point light female and common dance movements. Visual discrimination between different exemplars of the same movement presented upright was significantly better in experts than controls, whilst no differences were found when the same stimuli were presented upside down. These results suggest expertise influences configural action processing. Within the expert group, effects were stronger for female participants than for males, whilst no differences were found between movement types. This observer gender effect could suggest an additional role for motor familiarity in action perception, over and above the visual experience. Our results are consistent with a specific motor contribution to configural processing of action.     

Inter- and intra-lower limb joint coordination of non-expert classical ballet dancers during tiptoe standing

The main objective of this study was to compare ballet dancers’ and non-dancers’ joint coordination during tiptoe standing. Nine female non-expert ballet dancers and nine female non-dancers were asked to perform heel-toe and tiptoe standing for approximately 30 s, during which the center of pressure (COP) and kinematic data from the metatarsophalangeal, ankle, knee, and hip joints were measured. Principal component analysis was performed on the angular displacements to determine joint coordination. The weighting vectors suggested that dancers’ ankle and knee joints fluctuated in-phase in the anteroposterior direction, whereas all combinations of adjacent joints had anti-phase coordination for non-dancers. In addition, there was a significant difference in the intra-joint coordination pattern between groups. In particular, dancers’ metatarsophalangeal (MP) and ankle joints tended to sway to the left-front or right-rear. However, there were no differences between the groups in the path length or rectangular COP. These results suggest that dancers maintained quiet postures via a decrease in the mechanical degree of freedom and that postural expertise may not be determined from a traditional COP analysis, even during unstable tiptoe standing. This in-phase coordination, which has an arch-like configuration, could be characteristic of dancers’ lithe legs.     

Unipodal performance and leg muscle mass in jumping skills among ballet dancers

We examined the vertical jump performance of each leg among 10 right-footed female ballet dancers with 1 yr. of international professional experience (quadrilles: Opera ballerinas). Their mean age was 17.5 yr. (SD=0.3). The maximal height of the unilateral jump was recorded, and muscle mass was evaluated by biphotonic absorptiometry method. Muscle mass and maximal jump height were similar for the two legs. A strong inverse relation was found between the muscle mass of the right leg (67%) and maximal jump height (r=-.81, p<.01) but not for the left leg. These results highlight a functional asymmetry and the effect of motor laterality in dance.     

Creativity and personality in professional dancers

In this study three different groups of professional dancers (ballet, modern/contemporary and jazz/musical), which considerably vary with respect to the creativity-related demands involved in the respective dancing style, are compared with respect to psychometrically determined creativity, general mental ability and different facets of personality. Results indicate that modern/contemporary dancers, who are often required to freely improvise on stage, exhibited relatively high levels of verbal and figural creativity (as it was measured by means of psychometric creativity tests), followed by jazz/musical and finally by ballet dancers. With respect to personality, modern/contemporary dancers can be characterized as being less conscientious, higher on psychoticism and more open to experiences than the remaining experimental groups. In line with relevant research in this field, this study reveals some central personality characteristics of highly creative individuals which may be considered as important ingredients in the acquisition or actualization of exceptional creative potential.     

Working memory for ballet moves and spatial locations in professional ballet dancers

The aim of the present study was to investigate working memory for ballet moves in expert dancers. Experiment 1 showed that a concurrent spatial task did not interfere with the recall of a sequence of ballet moves when these were encoded alone without being associated with spatial locations. Experiment 2 showed that a concurrent motor task selectively interfered with the recall of ballet moves while neither a concurrent motor task nor a spatial task affected recall of the specific locations where each ballet move had to be performed. Experiment 3 showed that spatial interference affected recall of sequences of locations when these were encoded alone. Finally, in Experiment 4, a similarity effect for patterned ballet movements was shown. Taken together results show that spatial interference does not affect short‐term memory for ballet moves thus suggesting that working memory might contain a system for motor configurations. Copyright © 2009 John Wiley & Sons, Ltd.     

Physical fitness, body image, and locus of control in college women dancers and nondancers

This study assessed the correlations among measures of physical fitness, body image and locus of control in college freshman women dancers and nondancers. 39 students enrolled in courses in modern, ballet, and jazz dance, and 120 students enrolled in an introductory personal health course were administered the Hall Physical Fitness Test Profile, the Winstead and Cash 54-item short-form Body Self-relations Questionnaire (BSRQ), and the Adult Nowicki-Strickland Locus of Control Scale. Analysis showed dancers were more physically fit, scored more positively on the BSRQ physical fitness and health domains, and were more internal in their locus of control than the nondancers. There was no significant difference between dancers and nondancers on the BSRQ appearance domain. The significant positive correlation between BSRQ health and physical fitness among dancers was not observed among nondancers. The significant positive correlation for BSRQ appearance and health was noted for nondancers but not for dancers.     

Tiny dancer: Body image and dancer identity in female modern dancers

Dance has been found to both enhance and undermine body image. Most of the literature has focused on ballet dancers and has neglected the role of identity as a dancer. This study assessed general and dance specific body image and dancer identity in 77 female modern dancers. Compared to samples of non-clinical college women, this sample had higher body appreciation and lower drive for thinness and self-objectification. White dancers in the sample also had positive levels of dancer body efficacy/acceptance whereas as non-White dancers had negative levels of this variable. Identity as a dancer was negatively correlated with body appreciation and dancer body perceptions and not related to the number of years of dance experience. Of general and dance specific body image, body appreciation emerged as the unique predictor. The findings warrant further research on positive body image, modern dancers, and identity.     

Gesture changes thought by grounding it in action

When people talk, they gesture. We show that gesture introduces action information into speakers' mental representations, which, in turn, affect subsequent performance. In Experiment 1, participants solved the Tower of Hanoi task (TOH1), explained (with gesture) how they solved it, and solved it again (TOH2). For all participants, the smallest disk in TOH1 was the lightest and could be lifted with one hand. For some participants (no-switch group), the disks in TOH2 were identical to those in TOH1. For others (switch group), the disk weights in TOH2 were reversed (so that the smallest disk was the heaviest and could not be lifted with one hand). The more the switch group's gestures depicted moving the smallest disk one-handed, the worse they performed on TOH2. This was not true for the no-switch group, nor for the switch group in Experiment 2, who skipped the explanation step and did not gesture. Gesturing grounds people's mental representations in action. When gestures are no longer compatible with the action constraints of a task, problem solving suffers.     

Sport Skill–Specific Expertise Biases Sensory Integration for Spatial Referencing and Postural Control

The authors asked how sport expertise modulates visual field dependence and sensory reweighting for controlling posture. Experienced soccer athletes, ballet dancers, and nonathletes performed (a) a Rod and Frame test and (b) a 100-s bipedal stance task during which vision and proprioception were successively or concurrently disrupted in 20-s blocks. Postural adaptation was assessed in the mean center of pressure displacement, root mean square of center of pressure velocity and ankle muscles integrated electromyography activity. Soccer athletes were more field dependent than were nonathletes. During standing, dancers were more destabilized by vibration and required more time to reweigh sensory information compared with the other 2 groups. These findings reveal a sport skill–specific bias in the reweighing of sensory inputs for spatial orientation and postural control.     

“Flash” dance: How speed modulates perceived duration in dancers and non-dancers

Speed has been proposed as a modulating factor on duration estimation. However, the different measurement methodologies and experimental designs used have led to inconsistent results across studies, and, thus, the issue of how speed modulates time estimation remains unresolved. Additionally, no studies have looked into the role of expertise on spatiotemporal tasks (tasks requiring high temporal and spatial acuity; e.g., dancing) and susceptibility to modulations of speed in timing judgments. In the present study, therefore, using naturalistic, dynamic dance stimuli, we aimed at defining the role of speed and the interaction of speed and experience on time estimation. We presented videos of a dancer performing identical ballet steps in fast and slow versions, while controlling for the number of changes present. Professional dancers and non-dancers performed duration judgments through a production and a reproduction task. Analysis revealed a significantly larger underestimation of fast videos as compared to slow ones during reproduction. The exact opposite result was true for the production task. Dancers were significantly less variable in their time estimations as compared to non-dancers. Speed and experience, therefore, affect the participants' estimates of time. Results are discussed in association to the theoretical framework of current models by focusing on the role of attention.