Ballet dancers have a special morphology, such as a large muscle thickness that affects passive torque. Ballet dancers also possess specialized mechanical, and neural properties of muscles and tendons. These characteristics may produce different static stretching effects than non-dancers. Therefore, this study aimed to determine the differences in the effects of static stretching on joint range of motion, passive torque, and muscle strength between ballet dancers and non-dancers. This study included 13 ballet dancers and 13 college students. The muscle and tendon thicknesses were assessed using ultrasonography. In the right lower extremity, torque-angle data and muscle-tendon junction displacement measurements were obtained during isokinetic passive dorsiflexion before and after a 5-minute static stretch against the right plantar flexors. The relative stretching intensity was calculated by dividing the stretching angle by the maximal dorsiflexion angle pre-stretch. Additionally, the isometric maximal voluntary plantar flexion torque on the left ankle was measured before and after 5 minutes of static stretching against the left plantar flexors. Ballet dancers had significantly greater muscle thickness than non-dancers (22.4 ± 2.2 vs 18.1 ± 1.7 mm), whereas no significant difference was observed in the Achilles tendon thickness. No significant difference was observed in the stretching angle; however, the relative stretching intensity was higher in the control group (65.9 ± 19.8 vs 127.5 ± 63.8%). Static stretching increased the maximal dorsiflexion angle (dancer: 30.4° ± 9.6° to 33.9° ± 9.5°, non-dancer: 18.4° ± 8.6° to 20.5° ± 9.5°) and maximal passive torque in both groups, whereas the maximal isometric plantar flexion torque and submaximal passive torque decreased. However, no significant differences were observed in the changes between the groups. These results indicate that despite having a lower relative stretching intensity, ballet dancers experienced similar changes as non-dancers after 5 minutes of static stretching.
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http://dx.doi.org/10.1177/1089313X241241450 | DOI Listing |
Sports Biomech
January 2025
Artistic Health Department, The Australian Ballet, Southbank, Victoria, Australia.
Quantifying impact accelerations during ballet class may assist load management. The largest impact accelerations occur during the sequence of large (single or double-leg) jumps (grand allegro) but are potentially the most challenging class component for utilising wearable technology, and feasibility is unknown. This pilot study utilised wearable technology during class to (1) explore feasibility and acceptability, (2) quantify impact accelerations during the entire sequence of jumps during grand allegro and (3) compare impact accelerations between limbs (preferred and non-preferred landing limb).
View Article and Find Full Text PDFJ Dance Med Sci
January 2025
School of Life Sciences, Pharmacy, and Chemistry, Kingston University, Kingston, UK.
There is currently little research relating specifically to the muscular strength and endurance requirements of the upper body such as lifts at varying heights, ground floor contact with the hands and inversions such as handstands. Enhanced understanding of muscular demands can inform training program design to build physical tolerance to meet the demand of the activity. The aim of this study was to ascertain the frequency of upper body muscular skills in contemporary and ballet dance performance.
View Article and Find Full Text PDFJ Dance Med Sci
January 2025
Frontier Research Institute of Convergence Sports Science, College of Educational Sciences, Yonsei University, Seoul, Korea.
Ballet-based dance training emphasizes the equal development of both legs. However, dancers often perceive differences between their legs during balance or landing. There still needs to be more consensus on the functional difference between dominant (D) and non-dominant legs (ND).
View Article and Find Full Text PDFJ Chiropr Med
August 2024
Department of Physical Education, São Paulo State University, São Paulo, Brazil.
Objective: The purpose of this case study was to report the effect of an 8-week Pilates intervention on a ballet dancer's strength, balance, and endurance.
Clinical Features: A healthy 24-year-old ballet dancer (50 kg, 1.66 meters, 12 years of practice and who had no previous experience with Pilates) presented for care.
Nutrients
December 2024
Discipline of Nutrition and Dietetics, Susan Wakil School of Nursing and Midwifery, Faculty of Medicine and Health, The University of Sydney, Camperdown, NSW 2006, Australia.
Background/objectives: Dancers require adequate nutrition support for growth and development during the pre-professional stage, as well as to fuel classes and rehearsals and to enhance performance for both pre-professional and professional dancers. The aim of this study is to understand the energy status and diet of pre-professional and professional dancers in the genres of ballet, contemporary, musical theatre, and opera.
Methods: Electronic databases ( = 9) and grey literature were searched for primary studies with no time limit.
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