Journal of Dance Medicine & Science

Background: Toe flexor strength, which involves the combined activation of plantar intrinsic and extrinsic foot muscles, is crucial for locomotion, balance, and performance. Strong toe flexors are particularly crucial for efficient propulsion during running and jumping. Therefore, strengthening the feet has gained increased attention in the general population, as well as among athletes and dancers. However, accurately assessing foot muscle strength remains challenging. This study investigated the within- and between-session reliability of toe flexor maximal voluntary isometric contraction (MVIC) using a custom-made dynamometer. Method: Twenty-five vocational ballet students (23 females and two males; age: 16.48 ± 1.2 years; mass: 53.06 ± 8.84 kg; height: 167.14 ± 6.4 cm; forefoot length: 6.55 ± 0.44 cm) participated in two data collection sessions 48 to 72 hours apart with three trials each session. The toes were positioned at a 25° dorsiflexion angle on the dynamometer. Results: Between-session reliability showed good to excellent intraclass correlation coefficient (ICC) values for absolute MVIC (aMVIC) of the right and left foot (ICC = 0.89-0.95; 95% CI: 0.75-0.96; coefficient of variation [CV]: 4.63-6.45). Toe flexor strength normalized to forefoot length and body weight (rTFS) was excellent for both feet (ICC = 0.91-0.95; 95% CI: 0.79-0.98; CV: 4.8-6.4). The minimal detectable change (MDC) ranged from 9.7% to 13.7% of individual scores. Within-session ICC values ranged from 0.92 to 0.95 (95% CI: 0.70-0.98), indicating excellent reliability across all measures. Discussion: Based on these findings, we recommend conducting at least one familiarization session and three trials per session to reduce the variability in toe flexor muscle strength measurements. The toe flexor dynamometer shows great potential for future research on toe flexor muscle strength in dancers, as well as monitoring back-to-stage rehabilitation progress and assessing pointe readiness.

Introduction: In conjunction with medication, exercise is key for managing Parkinson disease (PD) related motor symptoms. Barre is an exercise modality that combines elements of classical ballet with strength training, involving high repetitions of low impact movements. Barre is accessible and may address documented barriers to exercise for people with PD such as fear of falling, lack of enjoyment, and lack of social support. To our knowledge, there is no previous literature on the effects of barre for PD. Therefore, this study aims to test the feasibility and acceptability of a novel barre exercise intervention. Methods: Individuals with mild to moderate PD were recruited to participate in a barre exercise class. The intervention consisted of twice-weekly, 45-minute group exercise classes for 12 weeks. Feasibility benchmarks included attendance, retention, and acceptability. Balance, gait, and functional strength assessments were carried out pre- and post-intervention to explore preliminary motor trends. Participants also completed a quality of life survey and a qualitative exit interview. Results: Eleven individuals completed the intervention. All three feasibility benchmarks were met. Participants had high attendance (70-100% of classes offered), high retention (84.6%), and reported that the class quality was excellent and generally met their needs. While most motor outcomes changed little pre- to post-intervention, gait outcomes (speed, distance on 2MWT) did improve. Exit interview themes surrounding what participants liked best about the program included comradery, support, and that the class was specific to PD, with 82% of participants indicating that they would re-enroll if the class was offered in a community setting. Conclusion: Engaging in barre exercise may be a safe, feasible way to meet exercise guidelines for PD. Future controlled studies should explore the clinical efficacy of barre for improving balance, gait, and functional strength in larger samples.

Introduction: Turnout, or external rotation, is a fundamental movement pattern in dance and has been associated with injury risk. While previous research has examined the relationship between turnout and range of motion (ROM) while other contributing factors such as strength and movement competency have been largely overlooked. This study aimed to explore the relationships between functional turnout measurements and movement competency screen (MCS) scores, passive hip external rotation (PER) and external rotation strength in collegiate dancers. Understanding these relationships is crucial for optimizing training and reducing injury risk in dancers. Methods: Twenty-one undergraduate dance majors participated in a cross-sectional study assessing PER, strength, movement competency (MCS) and turnout in a single session. Turnout was assessed statically (Static Functional Turnout, SFT) and dynamically (Dynamic Functional Turnout, DFT), in both first and fifth positions. Data were analyzed using IBM SPSS Statistics v27.0.1.0, with Pearson correlations used to examine the relationships between variables. Results: No statistically significant relationships were found between individual turnout measurements and MCS scores. Most participants (n = 18) exhibited greater SFT than their available PER, suggesting that turnout was achieved through movement at joints other than the hips. These dancers had lower PER and hip external rotation strength compared to those whose SFT was less than their PER. The extent to which dancers exceeded their PER during SFT had a moderate to good negative correlation with MCS scores (R = −.555, P = .017). This suggests that dancers who generate turnout beyond their passive hip mobility have lower movement competency. Conclusion: Turnout execution in dancers varies widely and does not consistently correlate with hip external rotation strength, ROM, or movement competency scores. However, dancers who exceed their available PER during the SFT demonstrate lower movement competency, suggesting that motor control may be an important factor in turnout execution.

Introduction: Ballet dancing is driven by goals of artistic performance that depend on aesthetic standards. These standards involve maintaining a slim and muscular physique. Therefore, dancers tend to adopt eating behaviors that may have long-term consequences for their health and performance. This study aims to explore ballet dancers’ perceptions of their dietary behaviors. Method: This study employed a qualitative approach, utilizing semi-structured interviews conducted via videoconference. Recruitment was carried out on social media in January 2023. Interviews were analyzed through reflexive thematic analysis. Each interview was coded using an inductive approach. Categories were grouped into sub-themes and themes. Participant citations were then translated. Results: Eleven interviews were conducted with professional ballerina dancers from various Operas in France and Monaco. Analysis generated three themes. Firstly, dancers must meet specific ballet standards instilled in them by both instructors and peers. Dance instructors were perceived as authority figures, and their words about their students’ physical appearance during puberty often carried stressful memories. Secondly, our participants discussed their relationship to food. To match the ideal ballerina’s appearance, dancers recounted adopting unhealthy eating behaviors. Thirdly, once in a ballet company, dancers recalled gaining maturity and knowledge, which helped them realize the consequences of these negative behaviors. They became more concerned about their health and adapted their diets. Individual characteristics, personal reactions to instructors’ demands, and the influence of significant others influenced their eating behaviors. Our participants voiced a desire for attitudes to change regarding ballet standards. They wished for more medical follow-up concerning physical and mental health. Conclusion: When it comes to diet, professional ballet dancers should be considered not just as artists, but also as elite athletes. Eating behaviors play a fundamental role in an athlete’s performance and well-being, as they help meet nutritional needs in the context of high athletic fueling demands.

Introduction: Amongst dance programs, mitigating the risk of injury using comprehensive screening tests is essential. Currently, the lack of standardization for tests/measurements in screening methodology poses as the main barrier to building more effective, future screening programs for dancers. Our objective is to fill critical gaps in the existing literature on dancer screening by producing normative data, describing screening outcome changes amongst a dancer’s college career, and providing guidance to building similar screening programs. Methods: This original quantitative study establishes normative data found in six tests (the Functional Movement Screen (FMS), Beighton Scale, Harvard Step Test, Y-Balance Test, Sagittal & Frontal Plane Core Stability (Plank Testing), and Turnout Test) within the DanceFIT Injury Prevention Screen collected from Dance Performance and Choreography-major students at a university over the course of ten years. Exploratory data analysis, including Cronbach’s alpha, principal components analysis (PCA), and parallel analysis, and correlation calculations were completed. Results: For all main outcomes of the screening tests, except Plank Testing, the percent change of means increased the most between 1st and 2nd year students (ie, students demonstrated the greatest improvement during this period). The overall screen test’s alpha value, .87 (95% CI, 0.86-0.89), fell in the acceptable alpha values range. PCA, parallel analysis, and eigenvalues demonstrated how four to seven components explained the variance of the screening tests. The Turnout components are highly correlated, the Plank Testing components moderately correlated, and the Harvard Step Test and FMS components were lowly correlated. Conclusion: The screening test data indicate replicability for future dancing injury prevention screening programs. Findings from this study suggest increasing the current literature’s 14-point cutoff of FMS testing in dancers, adjusting components of screening tests, and adapting courses based on screening test performance to reduce injury risk for dancers. Next steps include prospective studies to track injuries, validate screening methods, and establish appropriate cut off scores for dancers.

Introduction: Scientific peer-reviewed journals are crucial for disseminating scholarly information. Bibliometrics, the application of statistical methods to analyze academic literature, offers a quantitative approach to evaluate research output, assess quality, and examine patterns in publication, authorship, and thematic trends. This study employed bibliometric analysis to comprehensively examine the landscape of Dance Medicine and Science (DMS) research, including its quality, demographic characteristics, and thematic evolution. This study aimed to fill this gap by analyzing the dissemination of DMS research output between 2007 and 2024 using bibliometric indicators. We sought to answer key questions about the field’s annual scientific production, publication venues, journal comparisons, geographical distribution of authors, cross-institutional and international collaborations, gender parity in authorship, and thematic trends in current DMS research. Methods: Using the Core Collection of Clarivate Analytics’ Web of Science©, we filtered articles using dance-related search terms: “dance,” “science,” “medicine,” and “education.” From this search, we extracted 2750 peer-reviewed articles to construct our analyses. We utilized visualization of similarity (VOS) software as well as descriptive statistics to tabularize, visualize, and explore bibliometric maps of science and medical articles related to dance. Results: The Journal of Dance Medicine & Science (JDMS) led in quantity of publications with over 304 articles in the seventeen-year period. Most DMS research is produced by authors in North America, Europe, and Australia, primarily examining Western dance styles. We observed a higher proportion of feminine names among first authors in DMS research, though further analysis is needed to understand overall gender distribution across all author positions. The field showed an annual growth rate average of 11.04% in publications. Our network analysis revealed distinct clusters of research themes, highlighting the multidisciplinary nature of DMS. Conclusions: Our analysis revealed significant growth in DMS research over the studied period. The Journal of Dance Medicine & Science emerged as the leading publication venue. Geographically, we found a concentration of research output from North America, Europe, and Australia, highlighting potential areas for expanding international collaboration. Gender distribution among authors was nearly balanced, with a slight majority of female first authors. Thematic analysis identified three primary research clusters: injury prevention, performance enhancement, and dance education, providing insight into the field’s current focus areas. These findings offer a comprehensive overview of the DMS field, illustrating its evolution, key contributors, and emerging research themes, while also identifying areas for future development and collaboration.

Introduction: There is an ongoing search for evidence based on unconventional modalities that can treat the physical and psychological symptoms resulting from menopause. The main objective of this study was to analyze the effects of Jazz Dance, compared to the control group, on stress, urinary incontinence, and sexual function in menopausal women in the short and long term, as well as to investigate stress as a predictor of sexual function and urinary incontinence. Methods: Two-arm randomized clinical trial (Jazz Dance Intervention Group (JDIG) (n = 23) and Control Group (CG) (n = 24)) with 47 women (53.41 ± 2.8 years). Data collection was carried out at four timepoints: baseline, post-intervention, and 6-month and 12-month follow-ups. The instruments used were the Female Sexual Function Index (FSFI); Perceived Stress Scale (PSS), and International Consultation on Incontinence Questionnaire—Short Form (ICIQ-SF). Results: Positive results over time were found in the JDIG for stress (P = .030) and sexual function in the domains of satisfaction (P = .041), desire (P = .018), and orgasm (P = .033) in the long term. Stress was a predictor of sexual dysfunction and urinary incontinence. Discussion: Jazz Dance is a effective, and low-cost modality for managing stress. For sexual function, the benefits need to be looked at in the long term, and this modality does not seem to be an effective management alternative for urinary incontinence.

Introduction: Ballroom dance participation is growing due to its competitive, social, and health benefits. Despite its popularity, there is limited information regarding the biomechanics of ballroom dance. This study aimed to quantify the vertical ground reaction force and its loading rate during two common rhythm ballroom dance steps, and to determine the variance of these variables across three levels of ballroom dancers. Methods: Fifty-six participants (20 inexperienced, 18 recreational, and 18 professional) performed nine common American rhythm ballroom dance elements from the American Rumba box step and the foundational step of the Cha Cha Cha on a vinyl dance floor over two embedded force plates. The Kruskal-Wallis test with experience level as the independent variable was used to compare variables among dance levels. Levene’s test for equal variances was used to determine if the variance among the dance levels differed. Results: Results indicated that both the vertical ground reaction force and the rate of loading are associated with the dancing experience level for eight of the nine dance elements (P-values ranging between <0.001 and 0.040 for the ground reaction force and between <0.001 and 0.001 for the rate of loading). Forces were highest in the inexperienced level and lowest in the professional level. This finding was pronounced when stepping backward and leftward. Additionally, the variance in the force-related measurements was smaller among more experienced groups than their less-experienced counterparts. Conclusion: These findings provide an initial understanding of the kinetics underlying the movement patterns of foundational rhythm ballroom dance. This study is a starting point for future research to better understand other ballroom dance patterns and explore the mechanisms of ballroom dance-related musculoskeletal injuries.

Objective: The aim of this study was to propose reference values for the Dynamic Evaluation Method of Lower Limb Joint Alignment (MADAAMI II). Methods: During the 2023 Joinville Dance Festival, 346 dancers (315 females and 31 males), aged between 15 and 58 years, with a minimum of 5 years of ballet experience, were randomly evaluated. The dancers were filmed performing the three-step sequence (demi plié, grand plié, and fondu) of the MADAAMI II, in the first foot position, with self-selected turnout and at 120 degrees. A single trained evaluator analyzed the videos using the method’s scoring sheet, and the scores (foot, knee, pelvis, and general) were calculated. To verify if there was a difference between the scores of young and adult dancers, the Mann-Whitney U test was used, and to determine the reference values, the 10th, 15th, 25th, 50th, 75th, 85th, and 90th percentiles were calculated considering the total sample. Results: There was no significant difference between young and adult dancers regarding lower limb joint alignment, thus the reference values for the MADAAMI II scores can be used for all dancers aged 15 years and older. The reference values, based on the 15th and 85th percentiles, respectively, are: Foot Score (31-52); Knee Score (34-56); Pelvis Score (40-55); and General Score (115-156). Conclusion: The determined reference values can be used as a screening tool to determine the lower limb stability of dancers. This study can help in verifying the effectiveness of a specific training program and in detecting dancers at risk of injury.

Introduction: Jumping is a fundamental element of classical ballet, often performed with the feet turned out, in a position known as en dehors, achieved through hip external rotation. Experience level and impact attenuation strategies may play a crucial role in reducing injury risk during jump landings. This study aimed to investigate the impact during drop jump landings in en dehors versus parallel foot orientation in experienced ballet dancers. Method: Seventeen experienced ballet dancers (aged 18-31 years, with an average of 13 years of experience) and 15 controls (aged 20-32 years old) who were not dancers and did not engage in regular physical activity, participated in the study. Participants performed drop jumps from a 30 cm high block, landed on two force platforms, and immediately executed a maximum vertical jump with feet in en dehors position or parallel. Maximum vertical ground reaction force, time to reach this maximum, maximum rate of force development during drop landing, and maximum height of the jump performed immediately after drop landing were calculated and compared between groups and foot orientations. Results: Time to reach the maximum vertical ground reaction force was shorter in the en dehors compared to parallel foot orientation, with no significant group differences. Ballet dancers achieved higher vertical jumps after the drop landing compared to controls. Conclusions: Long-term classical ballet practice does not lead to lower impact landings in en dehors compared to parallel foot orientation. Ballet dancers may take more advantage of the impact and rebounding for performing the subsequent vertical jump.

Introduction: Traditional dance training is designed to develop a well-balanced dancer, yet laterality has the ability to impair bilateral strength and functional symmetry. The aim of this study was to investigate the effects of lateral preference on elite level dancers by conducting a bilateral comparison of lower limb strength and pirouette performance. A pirouette is an essential turning skill in dance technique, wherein multiple revolutions are completed on a single supporting leg along the longitudinal axis. Methods: Eight highly trained female dancers performed three maximal effort single leg countermovement jumps (SCMJ) on each lower limb, as well as ten single pirouette en dehors in both the preferred and non-preferred directions. Results: A lateral preference questionnaire indicated a rightward bias was prevalent amongst this group of dancers for both footedness and preferred turning direction. Significantly more successful pirouettes were performed in the preferred (73%) compared to the non-preferred condition (50%). The SCMJ data demonstrated no significant differences in jump height and vertical ground reaction force (vGRF) at take-off, suggesting no bilateral strength asymmetry between the lower limbs. There were also no significant differences in any of the discrete biomechanical pirouette performance variables: displacement of the center of mass over center of pressure (COM-COP), trunk angle, knee flexion and external hip rotation of the gesture leg in retiré position, as well as GRF production and peak pelvic rotational angular velocity at push-off. However, non-significant trends toward greater COM-COP displacement at retiré (0.08 m ± 0.03 vs 0.06 m ± 0.04) and peak pelvic angular velocity at push-off (1.04 revs/s ± 0.20 vs 0.99 revs/s ± 0.22) were observed in the non-preferred compared to the preferred direction, respectively. Conclusion: Therefore, the lower success rate of non-preferred pirouettes may be a result of postural instability or the use of a less efficient weight transfer strategy.

Introduction: Dance is a widely popular physical art form, with over 500,000 dancers spanning six continents. While dance demands various physical capabilities, there is currently no comprehensive data on the relationship between physical fitness and aesthetic competence in the Chinese dance style. This pilot study aimed to investigate the relationship between physical fitness parameters and aesthetic competence in Chinese dance among pre-professional dancers, addressing a gap in genre-specific research. Methods: Twenty-four dance students (21 female, 3 male) from a vocational dance conservatoire participated. Physical fitness was assessed through tests of flexibility, lower body power, upper and lower body strength, balance, endurance, and aerobic capacity. Aesthetic competence was evaluated by two experienced judges using a standardized tool with seven criteria. Results: Male dancers were taller, heavier, and outperformed female dancers in plank hold time, jump height, 6RM bench press, 6RM squat, and aerobic capacity, but had a smaller hip abduction angle. No significant sex differences were found in the Y-balance test or total aesthetic scores. For female dancers (n = 21), backward stepwise regression identified anterior plank hold time, 6RM bench press load, and right posteromedial Y-balance reach as significant predictors of aesthetic competence, explaining 50% of the variance (F(3,17) = 4.12, P < .05, R² = .50). ANOVA showed no significant differences in aesthetic scores across three randomized video presentations (F(2,46) = 0.82, P = .44), with moderate inter-rater reliability (r = 0.54-0.68). Conclusion: The findings highlight the importance of specific physical fitness parameters, including core endurance, upper body strength, and dynamic balance, as key contributors to aesthetic competence in pre-professional Chinese dancers. These insights provide valuable direction for training strategies aimed at enhancing performance for male and female dancers.

Introduction: Falls are a serious health concern with severe consequences in older adults. Various physical and cognitive functions are related to falls in older adults. Although studies have indicated that well-controlled ballet-based interventions could lead to physical and cognitive improvements in older adults, it remains unknown if and how recreational ballet practice in an unstandardized environment could also reap health benefits. This cross-sectional study examined the fall risk among recreational older ballet dancers relative to their non-dancer counterparts. Methods: Forty-three older adults aged 55 and older were recruited: 20 ballet dancers and 23 age- and sex-matched non-dancers. Fall risk was assessed through fall history (over the previous 12 months), physical function (Five-Time Sit-to-Stand test, Timed-Up-and-Go test, leg muscle strength, and physical activity level), and cognition (Montreal Cognitive Assessment). Results: The retrospective falls were similar between groups (P = 0.704). However, dancers were faster than non-dancers to perform the Five-Time Sit-to-Stand (P < 0.001) and Timed-Up-and-Go (P = 0.003) tests. They also exhibited stronger knee extensors (P = 0.010) and ankle plantarflexors (P = 0.031) than non-dancers. Dancers were more physically active (P < 0.001). No group difference was detected for cognition score (P = 0.205). Conclusions: The results suggest that older adults who practice ballet recreationally show better dynamic balance with stronger and more powerful leg muscles compared to non-dancers. Dancers were also more physically active than non-dancers. The findings augment our understanding of ballet’s effects on improving physical functions in different environments and could help apply ballet as an intervention to prevent falls in older adults.

Introduction: Breaking has been included in the 2024 Olympic Games; however, research on the training and injuries of professional breakers remains limited. This study examines the profiles of competitive breakers within national squads worldwide, focusing on the defining characteristics of professional breakers qualifying for the 2024 Paris Olympics regarding their training patterns, mental health, and injury characteristics. Methods: Sixty-four professional breakers, 27 males and 37 females, with a mean age of 26.4 ± 4.6 years from 43 national squads participated in this study (n = 17 elite athletes ranked from 1 to 64 in the 2023 Olympic ranking; n = 30 developing athletes ranked from 65 to 600; n = 17 non-ranked athletes as they did not participate in Olympic qualification competitions after that). They completed a questionnaire regarding their training and competition habits, their mental health, and the injuries sustained from breaking. ANOVAs with post-hoc comparisons were utilized to identify group differences based on the independent variables of elite level and sex. Multinomial logistic regression models examined associations between Olympic ranking and training parameters, mental health, and injuries. Results: Elite athletes participated in more competitions than developing athletes (F(2,56) = 6.86, P = .002, η p 2  = .20). Athletes across all groups experienced injuries in the previous 12 months, with muscle and joint injuries being the most frequently reported. Performing in the elite athletes’ group in 2023 was significantly positively associated with the onset of breaking (OR 1.38), body conditioning (OR 2.18), and a Top 32 ranking in 2021 (OR 62.1) and significantly negatively associated with endurance training (OR 0.264), and body weight (OR 62.1). Conclusion: These findings provide insights into the profile of professional breakers qualifying for the Olympic Games, which are essential for optimizing performance, promoting health, and supporting the rapid development of this Olympic dance style.

Objectives: To explore the perceptions of dancers and the supporting staff regarding the management of dancers’ health in a professional ballet company. Methods: Twenty-two dancers, health team members, artistic staff and administrators were interviewed, focusing on what is a healthy dancer, as well as the challenges and facilitators to prevent and manage health within the company. Analysis was conducted using principles of Grounded Theory. Results: Participants mentioned that being a healthy dancer was based on three main concepts: (1) achieving a dynamic balance of load through self-implemented strategies, (2) receiving support from their team and (3) navigating the aspects inherent to the professional ballet context. Dancers had to maintain a dynamic balance where they would adapt their load according to a constant assessment of their state (ie, pain, fatigue) and situations (ie, casting, opportunities, career). This dynamic balance was impacted by the support dancers receive from their entourage. They needed to establish relationships built on trust to ensure efficient communication and collaboration. Once established, the dancers’ entourage contributed to their assessment and the load adaptation strategies. The assessment and adaptation of load by dancers and the support provided were also influenced by contextual elements of ballet culture, including time and financial resources. Conclusion: To provide comprehensive care for dancers and maintain a dynamic balance, it is essential to empower dancers in their self-strategies through education and creating a positive work environment where open communication is encouraged.

Introduction: Injuries are prevalent in dance, affecting performance. Understanding injury risk factors is essential for prevention. Coping strategies and anxiety influence injury risk, yet their influence among pre-professional contemporary and ballet dancers aged 15+ remains underexplored. This transitional stage is marked by increased training intensity, heightened psychological demands, and performance pressure, increasing the risk of injury. This study examined the association between coping strategies, trait anxiety, and injury risk among contemporary and ballet pre-professional dancers aged 15+. Methods: In October 2022, participants from a French dance school completed an intake questionnaire assessing demographics (age, sex, injury history), dispositional coping strategies (Brief COPE), and trait anxiety (STAI-Y trait). From November 2022 to February 2023, participants completed monthly questionnaires assessing injuries, using the Oslo Sports Trauma Research Center questionnaire on Health Problems (OSTRC-H) during a prospective follow-up. Injuries were defined as “all-complaints injuries” (any physical complaint irrespective of the need for medical attention and/or time loss) and/or “substantial injuries” (leading to moderate/severe/complete reduction in training volume or performance). Binomial logistic regression examined associations between demographics, coping strategies, trait anxiety, and injury risk. Results: Eighty-two dancers consented to participate. The final analysis included 31 (37.8%) participants (mean age: 17.4 ± 1.36 years) excluding those with pre-existing injuries reported in the intake (n = 8) or a completion rate < 30% (n = 43). Included participants had higher active coping scores than excluded students (U = 418.5, P = .006). The completion rate among included participants was 80.64%. Nineteen students (61.29%) reported at least 1 all-complaints injury. “Humor” as a coping strategy was associated with reduced risk of substantial injury (OR: 0.485, 95% CI: 0.25–0.96, P = .037). No associations were found between demographics, training volume, trait anxiety, and injury outcomes. Conclusion: Humor may be a coping strategy that reduces self-reported substantial injuries among pre-professional contemporary and ballet dancers. Encouraging appropriate humor during instruction may support injury prevention. Level of Evidence: 3

Background: Resilience is fundamental for maintaining mental health. Research literature suggests that resilience training may have a major impact on improving mental health and reveals a need for mental health interventions in dance. However, there have been no empirical investigations into building this essential capacity in dancers. Therefore, the purpose of this study was to conduct a pilot investigation evaluating the effects of resilience training using dance-specific behavioral measures. Method: Four university dance majors, between 18 and 20 years old, completed 6 weeks of mental resilience training, consisting of 6 modules in an online application delivered through individual meetings with a resilience coach. We directly observed the effects of resilience training on dance-specific behaviors likely to be related to positive function in training environments (Eye-Contact, Self-Disapproval, and Blanking on Choreography). The individual patterns of behavior revealed by direct observations were evaluated using a multiple-baseline-across-participants-experimental design. Supplemental measures included self-reported assessments of depression (PHQ-9), anxiety (GAD-7), and mental health (RAND Mental Health Inventory) and were assessed as a pre-post comparison. Results: Behavioral indicators of positive function (Eye-Contact, Self-Disapproval, and Blanking on Choreography) showed statistically significant improvements (P values ranging from .008 to .031) after resilience training for each dancer, with a mean improvement of 61%. All 4 dancers also showed “clinically important” improvements in levels of anxiety, and 1 dancer showed “clinically important” improvements in levels of depression. Participants showed improvements in mental health and psychological distress, but changes in psychological wellbeing did not reach the threshold of statistical significance. Conclusion: The findings suggest that resilience training can improve both behavioral indicators of positive function and mental health in university dancers.

Introduction: Screening tests are used in the dance population to assess musculoskeletal status, neuromotor function, psychological wellness, performance capacity, nutrition, and medical history. Several screening tests have been developed over the past 20 years. To date, no review of screening tests for Irish dancers has been conducted. The purpose of this systematic review was to identify the screening tests utilized in the Irish dance population. Methods: PubMed, Cochrane, Medline, CINAHL, ERIC, and SPORTDiscus medical databases were independently searched by three researchers for articles using the keywords “Irish AND Danc*” AND “Test* OR assess* OR screen* OR evaluat*” Inclusion criteria was full text articles and published in English. Two independent reviewers conducted the data extraction and appraised each article using the National Institute of Health’s quality assessment tests. Results: Of the 75 articles found prior to deduplication, twenty-nine articles met inclusion criteria. After full-text review, 22 articles were accepted for our review. Most of the articles (59%) achieved good-quality methodological scores, seven articles (32%) achieved fair-quality scores, and two articles (9%) achieved poor-quality scores. During the data extraction process, over 50 screening tests were identified and categorized as either a subjective or objective test or measure. Subjective screening tests were placed in one of the following categories: descriptive data, general health, eating habits, sleep habits, psychological well-being, or injury surveillance. Objective screening tests were placed in one of the following categories: anthropometric tests, strength/power tests, cardiovascular tests, functional/movement tests, flexibility/mobility tests, balance/coordination tests, or other. No screening test was found to be validated for Irish dancers. Conclusion: The content of screening tests among the Irish dance population is varied, without standardization of norms to specific age and level of Irish dancer. Future studies should focus on validating screening tests in the Irish dance population.

Introduction: Breaking, also known as breakdancing, has evolved from street culture to a structured sport, debuting in the 2024 Olympics. Despite its popularity, limited data exists on injury prevalence, types, and risk factors associated with acute and overuse injuries sustained from breaking. While existing studies offer insights into common injury patterns, they provide limited analysis of the specific mechanisms behind these injuries. This overview aims to classify acute and overuse injuries in breaking, reviewing 50 years of literature to identify risk factors and high-risk movements. Methods: The overview followed a predefined protocol using the PICO framework and was registered at OSF, targeting case reports and letters to the editor involving breakers. Databases searched included PubMed, ProQuest, Scopus, and EBSCO, covering literature from the 1970s to December 2023. Inclusion criteria were strictly case reports and letters to the editor that focused on injuries sustained from breaking. Results: A total of 41 papers were selected for inclusion after screening, reading and data extraction. Among these, 36 papers were reviewed in detail, encompassing acute and overuse injuries. The reported injuries involve high-impact movements, particularly affecting the upper extremities, head, neck, and back during spins, balancing, landing, and sliding. Acute injuries included fractures and dislocations, while chronic conditions involved soft tissue injuries, stress fractures, and nerve compressions. Risk factors identified in case reports included the lack of training supervision and specific breaking maneuvers like flips, spins, and balancing acts. Conclusion: This is the first overview of case reports and letters to the editor that categorizes breaking injuries based on these types of papers. It demonstrates the value of detailed medical diagnoses and standardized injury classification compared to self-reported injury data commonly found in surveys. Gaining a deeper understanding of injury mechanisms and risk factors could help promote safer practices as breaking continues to evolve as a competitive sport.

Introduction: Dancers are aesthetic athletes with high workloads similar to sport athletes. Wearable biosensors are used in athletics to assess workload and inform training decisions to optimize performance and reduce fatigue and injury risk. While workload monitoring methods in dancers have been systematically reviewed, limited research specifically examines using wearable biosensors for this purpose. Thus, this study aims to systematically review how wearable biosensors are used to monitor workload in dancers. Methods: Following PRISMA guidelines, 8 databases were searched by 2 authors. Articles were included if participants were current dancers, workload was assessed during dance activity by wearable biosensors, and published in English in a peer-reviewed journal. Dancer characteristics (age, sex, anthropometrics, years dancing, training level, dance style) and methods (sessions, variables, setting, biosensor) were extracted and synthesized in an Excel synthesis matrix. The Joanna Briggs Institute (JBI) Critical Appraisal Checklists were used to assess the risk of bias. Results: 35 of 119 potentially relevant studies were included. Heart rate (HR) monitors (25 studies) and accelerometers (12 studies) were primarily used. 24 studies (69%) examined only objective workload and 23 studies (66%) examined internal workload. The most common dependent variable was HR (25 studies). The duration of data collection ranged between 1 and 49 days, with 26% of studies (n = 9) using a single day. High-level (14 studies) female (74.7%; n = 1342) ballet dancers (45.7%; n = 16 studies) were most assessed. Risk of bias was fair-to-moderate across studies. Conclusions: This systematic review highlights 4 primary trends across previous literature assessing workload in dancers using wearable biosensors to inform future research. First, HR monitors, followed by accelerometers, are the most common wearable biosensors used to quantify workload in dancers. Second, most studies only evaluated objective physiological (internal) workload, primarily using HR variables. Third, data were primarily collected within a timeframe of 1 to 3 days. Finally, high-level female ballet dancers were predominantly assessed.