• The Korean Journal of Pain
• /
• v.21 no.2
• /
• pp.131-135
• /
• 2008

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.

• Korean Journal of Applied Biomechanics
• /
• v.19 no.4
• /
• pp.647-653
• /
• 2009

The purpose of this study was to investigate the differences between female and male ballet dancers in anterior cruciate ligament injury risk factors during the box drop landing task. Nine female and nine male collegiate ballet dancers participated in this study. Kinematic and ground reaction data were collected and combined with inverse dynamics to estimate the knee extensor and abductor moment. EMG data from the biceps femoris and rectus femoris were used to estimate the ratio of quadriceps-hamstrings muscle activity. No gender differences in anterior cruciate ligament injury risk factors were found during the box drop landing task. A significant relationship was found between female and male ballet dancers in the knee flexion angle.

• Physical Therapy Rehabilitation Science
• /
• v.11 no.4
• /
• pp.585-590
• /
• 2022

Objective: The purpose of this study was to investigate the effects of neuromuscular training of ballet dancers with chronic ankle instability on ankle stability and posture controlability. Design: A randomized controlled trial. Methods: A total of Thirty-twoyoung female ballet dancers with chronic ankle instability have voluntarily participated in the study. The participants were randomized to the neuromuscular training group(n₁=11), elastic resistance squat group(n₂=11), and control group(n₃=10). The intervention was applied to a total of 18 exercises per six weeks and conducted in each group for one hour a day, three times a week. All subjects were evaluated for Cumberland ankle instability tool(CAIT), static balance at before-after intervention. Results: In the comparison of the effects within the groups, the effect of the intervention on CAIT and posture control was significantly increased in the neuromuscular training group and elastic resistance squat group (p <0.05). In the comparison of the effects between the groups, the neuromuscular training group, and elastic resistance squat group were found to significantly increase more than the control group (p <0.05). The effect of ankle stability is similar in neuromuscular training and elastic resistance squat training, neuromuscular training is more effective in improving posture control rather than elastic resistance squat training. Conclusions: When planning a rehabilitation training program for a ballet dancer with chronic ankle instability, neuromuscular training can be applied as an intervention method to improve ankle stability and posture control ability.

• Korean Journal of Applied Biomechanics
• /
• v.25 no.2
• /
• pp.141-147
• /
• 2015

Objective : This study aimed to understand how increased heart rates at the time of drop landing during a step test would affect biomechanical variables of the lower extremity limbs. Background : Ballet performers do more than 200 landings in a daily training. This training raises the heart rate and the fatigability of the lower extremity limbs. Ballet performance high heart rate can trigger lower extremity limb injury. Method : We instructed eight female ballet dancers with no instability in their ankle joints(mean ${\pm}$ SD: age, $20.7{\pm}0.7yr$; body mass index, $19.5{\pm}1.2kg/m^2$, career duration, $8.7{\pm}2.0yr$) to perform the drop landing under the following conditions: rest, 60% heart rate reserve (HRR) and 80% HRR. Results : First, the study confirmed that the increased heart rates of the female ballet dancers did not affect the working ranges of the knee joints during drop landing but only increased angular speeds, which was considered a negative shock-absorption strategy. Second, 80% HRR, which was increased through the step tests, led to severe fatigue among the female ballet dancers, which made them unable to perform a lower extremity limb-neutral position. Hence, their drop landing was unstable, with increased introversion and extroversion moments. Third, we observed that the increasing 80% HRR failed to help the dancers effectively control ground reaction forces but improved the muscular activities of the rectus femoris and vastus medialis oblique muscles. Fourth, the increasing heart rates were positively related to the muscular activities of the vastus medialis oblique and rectus femoris muscles, and the extroversion and introversion moments. Conclusion/Application : Our results prove that increased HRR during a step test negatively affects the biomechanical variables of the lower extremity limbs at the time of drop landing.

• Korean Journal of Applied Biomechanics
• /
• v.22 no.1
• /
• pp.43-53
• /
• 2012

The purpose of this study was to quantitatively examine the biomechanical variables of Fouette turns for expert and beginner ballet dancers and to determine the difference in the variables between the two groups. sixteen female ballet dancers participated in this study. They were divided into an expert group(age, $25.38{\pm}1.92$ years; height, $168.38{\pm}4.66$ cm; mass, $49.63{\pm}4.41$ kg) and a beginner group(age, $20.88{\pm}1.13$ years; height, $161.63{\pm}7.42$ cm; mass, $48.88{\pm}3.64$ kg) depending on their ballet experience. Descriptive data were expressed as mean ${\pm}$ standard deviation (SD) for all variables including the duration, displacement of the center of the body, velocity of the center of the body, angle of the body segments, angular velocity of the body segments, ground reaction force, lower extremity torque, muscle activity, body weight, age, and body mass. An independence t-test was conducted to determine how the following variables differed between the beginners and experts: duration, displacement of the center of the body, velocity of the center of the body, angle of the body segments, angular velocity of the body segments, ground reaction force, lower extremity torque, and muscle activity. All comparisons were made at the p<0.05 significance level. The results show that the experts scored high on the biomechanical variables, although all the variables were not significant. Significant differences were found in the angle of body segments, angular velocity of the body segments, lower extremity torque, and muscle activity(p<0.05). The findings of this study demonstrate that the experts have the required skill to make an improved Fouette turn. The findings may also help ballet dancers to learn and understand the Fouette turn.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.3
• /
• pp.105-119
• /
• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• Physical Therapy Rehabilitation Science
• /
• v.11 no.2
• /
• pp.172-180
• /
• 2022

Objective: The purpose of this study was to investigate the effects of squat exercises using elastic bands of ballet dancers on muscle activity, arabesque angle, and static balance of ballet dancers during arabesque posture. Design: A randomized controlled trial Methods: A total of 25young female ballet dancer svoluntarily participated in the study. The participants were randomized to the elastic resistance squat group(n₁=13) and body squat group(n₂=12). The squats exercise was applied to a total of 12 exercises per four weeks and consisted of 15 times per one set in one to two weeks, 4 sets in three to four weeks. All subjects were evaluated muscle activity, arabesque angle, and static balance during arabesque posture at before-after intervention. All participants were measured muscle activity, arabesque angle, and static balance during arabesque posture at before-after intervention. Results: Elastic resistance squat group and body groups showed a significant increase in the muscle activity, angle, and static balance ability during arabesque posture(p<0.05). In the comparison between the groups, the elastic resistance squat group showed a significant increase in muscle strength, angle, and static balance during arabesque posture (p<0.05). The results showed that the elastic resistance squat exercise was more increased than the body squat exercise in all variables (p<0.05). Conclusions: Therefore, when planning a training program for a ballet dancer, the elastic resistance squat movement can be applied as an exercise method to improve the muscular performance and balance ability of the ballet dancer.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.12 no.12
• /
• pp.5469-5476
• /
• 2011

The purpose of this study was to analyze relating with Faucult's disciplinary power which factors influence a dancer's self-management (weight control)Total 10 ballet major undergraduate students of two respective universities in Seoul and Daijon were selected for the research and the chosen method was an interview with them. After the researchers analyzed the interview result, they found out the following several significant results. The first reason that major ballet dancers control their weight is to show their beautiful figures on the stage and to make their appearances look slender in the mirror. Dancers adapt various methods for effective weight management (diet control) such as dietary control, 1 food intake (potatoes, bananas, grapes, etc), physical force to advise or ingest (injection, taking medicines, reflexology, vomiting, etc.) Then, what is the hidden vision that makes such a practice of weight control maintain? The study presents a "mirror" as a tool of control playing a significant role, in terms that the power of discipline functions automatically in a dancer's body. In addition, another constant factor of dancers' weight management is monitoring each other's performance continuously, which is called "synopticon" Symptoms. Lastly, the fact that a question about placing a ruler could function in the continuous practice was also revealed.

• The Journal of Korean Physical Therapy
• /
• v.31 no.2
• /
• pp.129-133
• /
• 2019

Purpose: This study aimed to investigate effect of ankle instability on peripheral muscle activation among female ballet dancers to provide information on the development of prevention programs for ankle injury rehabilitation. Methods: 32 female ballet dancers were randomly divided into two groups: experience ankle sprain group (n=16, age, $20.7{\pm}0.8years$, BMI $18.6{\pm}1.2kg/m2$) and non-experience ankle sprain group (n=16, $age=21.0{\pm}0.8years$, BMI $19.6{\pm}2.0kg/m2$). Activation of the peroneus longus, tibialis anterior muscle, and gastrocnemius during vertical landing, half pointe, and gait between the two groups were measured. Body composition analyzer was used to examine skeletal muscle mass and body fat mass. Results: A total of 32 patients were included. In the experience ankle sprain group (n=16: left sprain 14, right sprain 2), average ankle sprain injury occurred 7.5 months before the study. The average age of the dancers in the experience ankle sprain group and non-experience ankle sprain group was $20.7{\pm}0.8$ and $21.0{\pm}0.8years$, major period was $64.5{\pm}23.8$ and $71.6{\pm}25.8months$, BMI was $18.6{\pm}1.2$ and $19.5{\pm}2.0kg/m2$, respectively. No significant differences were found on body composition between the two groups (p>0.05). The experience ankle sprain group showed significantly lower tibialis anterior and peroneus longus muscle activation (p<0.5), while gastrocnemius muscle activation appeared to be significantly higher (p<0.05) during landing, half pointe, and normal gait. Conclusion: Ankle sprain can cause a decline in peripheral muscle activation and coordination, which increased the risk for repetitive ankle sprain in the future. Moreover, ankle peripheral muscle selective strength training, coordination program development, and application need to be considered to prevent ankle sprain.

• Korean Journal of Applied Biomechanics
• /
• v.17 no.1
• /
• pp.185-190
• /
• 2007

The purpose of this study was to investigate the effects that breathing, thoracic and abdominal, had on the smoothness while performing ballet pour de bra. Five skilled ballet dancers(age: $24{\pm}1$, height: $163.4{\pm}2.88$, weight: $44.4{\pm}1.34$) with experience of over 10 years participated in this study. Each participant performed the ballet movement three times with abdominal respiration and with thoracic respiration. The kinematic data was recorded at 60 Hz with three digital cameras (Sony VX-2100). The pour de bra movement consists of two phases, up and down. The up phase is defined as the movement from the en bas through the en avant to the en haut. The down phase is defined as the movement from the en haut through the $\grave{a}$ la seconde to the en bas. During these two phases the Jerk Cost (JC) factor was calculated for the shoulder, elbow and wrist to quantify the smoothness. The group who performed the movement while abdominal respiration had a lower JC factor and so it was concluded that while abdominal respiration the smoothness of the movement was increased as opposed to the thoracic respiration.