Background: A ballet dance routine places extreme functional demands on the musculoskeletal system and affects the motor behaviour of the dancers.
impingement syndrome (PAIS) in classical ballet dancers. .... tarsal bones was seen in all cases. .... fibro-osseous tunnel.12 A secondary ossification.
reported musculoskeletal pain in profes- sional ballet dancers was investigated. Fifty-one (72%) dancers, working in professional companies on both occasions.
fulfilled by its anatomic structure [3] and using com- .... If necessary, the manual correc- .... [6] CLIPPINGER K., Dance anatomy and kinesiology, Champaign,.
Nov 1, 2014 - men who figure skate (Adams, 1993, 2011; ... feminized context of ballet (Mennesson, 2009) and the ...... [American Dance Theater], and their.
Health Education, and Brett J. Goodwin, Ph.D., Chair and Associate ... Caroline G. Caine, Ph.D., Retired dance ... of injury for dancers at certain technique levels.
Degas-Dancers-Ballet-Portfolio-Framing-PDF-c4860b3e7.pdf. Degas-Dancers-Ballet-Portfolio-Framing-PDF-c4860b3e7.pdf. Open
7. Sandals. Claire Zhang investigates young ballet dancers' passion for their
painfully beautiful craft. In 2010, a crazed ballet dancer stabbed her understudy.
Swati M. Surkar, PT, MS; Christina Edelbrock, OT, MS; Nicholas Stergiou, PhD; Sarah Berger, ..... Out L, Van Soest AJ, Savelsbergh GJ, Hopkins B. The effect of.
May 28, 2010 -
LA Roxborough, BSR, OT/FT, is Director, Therapy Depanment, Sunny Hill Hospical for Children. 12finctional ...... 1 Bergen AF, Presperin J, Tallman 'T. Podion-.Missing:
their PC. Seven of these patients were assessed again after a period of 1295 ... Recovery after peripheral vestibular lesions can ... level with N data points, |2.
Apr 22, 2014 - Background: Women undergoing mastectomy may have postural asymmetries due to mutilation, culminating in changes in postural balance.
Ballet dancers are known for their âeliteâ balance skill. It is not known if this results from years of extensive training, or if instead before commencing their training.
Development of Postural Control in Ballet Dancers Adam W. Kiefer1, Sarah Cummins-Sebree1, Michael A. Riley1, & Jacqui Haas2 1University of Cincinnati, 2Cincinnati Ballet Company
Ballet dancers are known for their “elite” balance skill. It is not known if this results from years of extensive training, or if instead before commencing their training dancers happened to exhibit an intrinsic propensity for motor and balance skills which first drew them to dance training. As part of a larger cross-sectional study on postural control in ballet dancers, we compared two groups of ballet dancers— elementary aged girls in their first years of ballet training and adult professionals— with elementary age and adult matched control groups consisting of participants who had no ballet training (N = 6 in each group). We measured fine-grained variability of the medio-lateral (ML) and anterior-posterior (AP) center of pressure (COP)—an index of postural stability computed by averaging the standard deviation computed over non-overlapping, one second segments of the COP time series— under manipulations of vision (eyes open vs. eyes closed) and biomechanical stability (i.e., stance: feet together vs. feet shoulder-width apart). Regardless of age, dancers exhibited greater variability in both the AP [F(1,10) = 8.98, p = .01. (ballet M = 1.10 vs. control M = 1.08)] and ML [F(1,10) = 13.00, p < .01. (ballet M = 0.09 vs. control M = 1.07)] directions. A Stance × Group interaction was present for ML sway, F(1,10) = 29.77, p < .01. Follow-up t-tests (Bonferroni-corrected p ≤ .008) showed that ballet dancers exhibited greater COP variability in the feet-together than in the feet apart condition (M = 0.13 vs. 0.06, respectively), and greater COP variability than controls in the feet-together condition (M = 0.09). Controls also exhibited greater COP variability in the ML direction in the feet-together than the feet-apart condition (M = 0.05). Ballet dancers exhibited greater fine-grained variability in both sway directions, regardless of stance or vision manipulations, and regardless of age. Either only a small amount of training produces differences between dancers and controls, or perhaps people with certain inherent balance characteristics are drawn to ballet training.
