Prevalência e fatores associados à dor em bailarinos profissionais

To investigate the prevalence and factors associated to painful symptomatology in professional ballet dancers. Methodos: An analytical transversal cut study was performed with 141 professional ballet dancers in the main capital cities of the Brazilian Northeast. McGill`s Pain Questionnaire and the Wisconsin Brief Pain Inventory, both validated for Portuguese, were used to assess painful symptomatology. Descriptive statistical analysis of the results was carried out, followed by Student`s t-test and Pearson s correlation with pvalue < 0.05. Results: High pain tolerance levels were observed in 70.2% of the subjects, where the intensity varied from moderate to severe. Pain in the lumbar region was present in 85.8% of the individuals. Positive correlations were verified between the degree of pain intensity and activities how to dance (60,3%), general activities (32,6%), sleep (28,4%), mood (27,7%), march (20,6%) and relations with others (16,3%). Conclusions: High pain prevalence was found in professional ballet dancers in the main capital cities of the northeast, and the most affected area was the lumbar followed by knees, neck, hip and feet, with substantial interference of pain symptoms in several activities of the personal and professional lives of these people

Dança, corpo e desenho: arte como sensação

Este trabalho busca refletir sobre o estatuto do corpo e do movimento nas artes a partir da noção de sensação, como empregada no pensamento do filósofo francês Gilles Deleuze. Tal propósito se fará a partir do singular encontro entre os trabalhos de um pintor/desenhista e um dos mais emblemáticos bailarinos clássicos. O corpo em movimento, quando atinge o estado de dança, não se reduz a uma forma, a uma representação, nem a uma mecânica. Antes, pelo contrário, sua leveza singular afeta-nos sobremaneira. Tal afecção será tomada como fio condutor de nossa análise, tendo em vista as diferentes sensações e expressões que pode suscitar. A sensação de um corpo que dança pode expressar-se na dança em si como também no desenho. Que relações esses diferentes meios de expressão do corpo dançarino podem estabelecer entre si? Que acontecimentos singulares podem emergir nesse encontro particular? Antes que forma, linhas de força e expressão. Corpo-vibração, torrente de afectos e perceptos, constituindo sensações que diferentes meios artísticos expressam diferentemente.

Use of sneaker rush and symptoms occurrence of skeletal muscle (SME) in Ballerina

Introduction: Technical literature shows high frequencies of injuries occurring in classical ballet dancers; however, only limited information about the permanent effects of chronic diseases are mentioned. Objective: To compare the presence of MSD among dancers who wear pointe shoes and those who do not. Methods: The research was conducted at the 27th Festival of Joinville in Santa Catarina. The study had the participation of 111 dancers, 88 of whom wore pointe shoes while 23 did not. Specific procedures were used to obtain information related to MSD and foot injuries caused by dancing. Results: The most affected parts were the knees (29.7% with pointe shoes versus 39% without), spine (26.4% with pointe shoes versus 22% without), and ankle/foot (20% with pointe shoes versus 12.2% without). Through odds ratio and respective confidence intervals (IC95%), the study identified protection factor in the knees (0.24; CI95% - 0.09-0.64) and legs (0.11; CI95% - 0.02-0.65) for dancers who wear pointe shoes. It was found that the risk of injuries in specific structures of the foot is significantly higher among those dancers. In this case, the appearance of bunions (9.74; CI95% - 1.25-75,99), calluses on the toes (3.46; CI95% - 1.29-9.27) and the association of the three (4.47; CI95% - 1.69-11.83) were those that showed an increased risk factor compared to dancers who do not stand en pointe. Conclusion: The use of pointe shoes in elite Brazilian dancers was associated to lower occurrence of MSD in the knee and leg, however it was strongly associated to foot injuries.

Relação entre postura, queixa dolorosa e lesão em bailarinas clássicas

Introduction: Due to the high recurrence of pain complaints and the increasing incidence of musculoskeletal injuries and postural changes in dance practice, researches related to this issue gained greater importance in scientific community. Objective: This study aimed to evaluate complaints and pain threshold, postural misalignments and the incidence of injuries in dancers noting if there is a relationship between these variables. Method: Participants were 15 ballet dancers in Marília - SP. We used photogrammetry for postural analysis, the McGill Pain Questionnaire for pain location of the volunteer, algometry pressure for measuring the threshold of pain perception and Referred Morbidity to verify and characterize the incidence of injuries this population. In the data analysis we use to percentage to quantify the data from questionnaires and Pearson correlation test angles of photogrammetry correlating with the values of the threshold of pain perception. Results: 73.33% of dancers reported to have suffered some kind of injury in the last year. The area of greatest pain complaint checked at McGill, was the region of the foot (73.30%). Conclusion: There was an agreement between regions of injury and pain, however, there wasn’t a correlation between the threshold of pain tolerance and postural angles.

Inquérito sobre a mobilidade articular entre universitários de 18 a 25 anos

Pós-graduação em Saúde Coletiva - FMB

Comparison of two field methods for estimating body fat in different Spanish Dance disciplines

The purpose of the present study was to investigate percentage body fat (%BF) differences in three Spanish dance disciplines and to compare skinfold and bioelectrical impedance predictions of body fat percentage in the same sample. Seventy-six female dancers, divided into three groups, Classical (n=23), Spanish (n=29) and Flamenco (n=24), were measured using skinfold measurements at four sites: triceps, subscapular, biceps and iliac crest, and whole body multi-frequency bioelectrical impedance (BIA). The skin-fold measures were used to predict body fat percentage via Durnin and Womersley's and Segal, Sun and Yannakoulia equations by BIA. Differences in percent fat mass between groups (Classical, Spanish and Flamenco) were tested by using repeated measures analysis (ANOVA). Also, Pearson's product-moment correlations were performed on the body fat percentage values obtained using both methods. In addition, Bland-Altman plots were used to assess agreement, between anthropometric and BIA methods. Repeated measures analysis of variance did not found differences in %BF between modalities (p<0.05). Fat percentage correlations ranged from r= 0.57 to r=0.97 (all, p<0.001). Bland-Altman analysis revealed differences between BIA Yannakoulia as a reference method with BIA Segal (-0.35 ± 2.32%, 95%CI: -0.89to 0.18, p=0.38), with BIA Sun (-0.73 ± 2.3%, 95%CI: -1.27 to -0.20, p=0.014) and Durnin-Womersley (-2.65 ± 2,48%, 95%CI: -3.22 to -2.07, p<0.0001). It was concluded that body fat percentage estimates by BIA compared with skinfold method were systematically different in young adult female ballet dancers, having a tendency to produce underestimations as %BF increased with Segal and Durnin-Womersley equations compared to Yannakoulia, concluding that these methods are not interchangeable.

Epidemiologia das lesões em bailarinas de dança clássica

Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em Fisioterapia

Accelerometer based performance assessment of basic routines in classical ballet

Classical ballet requires dancers to exercise significant muscle control and strength both while stationary and when moving. Following the Royal Academy of Dance (RAD) syllabus, 8 male and 27 female dancers (aged 20.2 + 1.9 yr) in a fulltime university undergraduate dance training program were asked to stand in first position for 10 seconds and then perform 10 repeats of a demi-plié exercise to a counted rhythm. Accelerometer records from the wrist, sacrum, knee and ankle were compared with the numerical scores from a professional dance instructor. The sacrum mounted sensor detected lateral tilts of the torso in dances with lower scores (Spearman’s rank correlation coefficient r = -0.64, p < 0.005). The RMS acceleration amplitude of wrist mounted sensor was linearly correlated to the movement scores (Spearman’s rank correlation coefficient r = 0.63, p < 0.005). The application of sacrum and wrist mounted sensors for biofeedback during dance training is a realistic, low cost option.

Ballet

The video Ballet engages with recent histories of rural filmmaking, linking everyday farming movements with the aesthetics of dance. Starting point for this new work is a series of archival films from the collection of the Museum of English Rural Life (MERL), which provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. These films present a unique vision of rural labour and collective staged action, where extras, rural background actors, are performing 'normality' prior to potential disruption of an imminent crisis. Szuper Gallery's video deconstructs the movements of extras in these rural propaganda films. It features a large cast of dancers and non-dancers in a spectacular rural setting performing a new choreography to a dramatic sound score.

Autocriticismo, Estima Corporal e Sintomas de Perturbação do Comportamento Alimentar em Adolescentes do Sexo Feminino, Praticantes de Ballet e Andebol

Introdução: As Perturbações do Comportamento Alimentar (PCA) constituem um grave problema de saúde pública. Poucos estudos em Portugal ligam esta temática a áreas como o autocriticismo e a estima corporal. Assim, são nossos objetivos principais: explorar, numa amostra de adolescentes do sexo feminino, as diferenças entre praticantes de ballet e praticantes de andebol, nos sintomas de PCA, índice de massa corporal (IMC), dimensões avaliativas da aparência e níveis de autocriticismo; analisar se níveis maiores de autocriticismo e uma visão mais depreciativa em termos de aparência se associam a níveis mais elevados de sintomas de PCA (nas duas modalidades desportivas). Em virtude das associações encontradas, pretendemos realizar análises preditivas, controlando a influência de sintomas de depressão, ansiedade e stress. Metodologia: A amostra é constituída por 105 adolescentes do sexo feminino (n = 52; 49,5% do ballet e n = 53; 50,5% do andebol) com idades compreendidas entre os 12 e 18 anos (M = 14,5; DP = 1,80). As participantes preencheram um protocolo composto por um questionário sociodemográfico, pela Escala de Autocriticismo e Autotranquilização (FSCRS), pelo Teste de Atitudes Alimentares-25 (TAA-25/EAT-25), pela Escala Estima Corporal (BES) e pela Escala Depressão Ansiedade e Stress (DASS-21). Resultados: Verificaram-se percentagens preocupantes de eventual PCA (ponto de corte de 19) nas praticantes de Ballet (7,7%) e de Andebol (9,4%). Quanto ao IMC, na amostra de praticantes de ballet, encontrou-se uma percentagem relevante de jovens com magreza (34,6%). As praticantes de Ballet e de Andebol apenas se diferenciaram no IMC e na dimensão FSCRS_eu inadequado (valores superiores nas praticantes de Andebol). Verificaram-se, na subamostra Ballet, associações significativas entre a Motivação para a Magreza e as formas de autocriticismo FSCRS_eu inadequado, FSCRS_eu detestado, FSCRS_eu tranquilizador e FSCRS_total e entre os Comportamentos Bulímicos e as formas de autocriticismo FSCRS_eu detestado e FSCRS_total. Na subamostra Andebol constataram-se associações significativas entre a Motivação para a Magreza e a forma de autocriticismo FSCRS_eu inadequado e FSCRS_total. A dimensão FSCRS_eu detestado mostrou predizer, na subamostra Ballet, a Motivação para a Magreza e os Comportamentos Bulímicos. Na subamostra Andebol o BES_Peso foi o preditor significativo da Motivação para a Magreza. Discussão: É preocupante a percentagem de eventual PCA (em ambas em subamostras) bem como a percentagem de jovens que praticam Ballet com um IMC indicador de magreza, principalmente por serem jovens atletas e estarem mais focadas no seu corpo e forma física, estando mais vulneráveis ao desenvolvimento da patologia. É um contributo fundamental deste trabalho verificar associações (bem como o papel preditivo) nestas duas modalidades desportivas, separadamente, entre as formas de autocriticismo e as dimensões do TAA-25 Motivação para a Magreza e Comportamentos Bulímicos. Parece essencial o desenvolvimento de ações de sensibilização junto dos professores/treinadores, com o intuito de despertar uma maior atenção para a visão crítica das suas bailarinas/atletas em relação ao seu corpo, que parece influenciar as suas atitudes alimentares. Será importante iniciar estas ações/intervenções precocemente (antes mesmo da adolescência) não esquecendo a inclusão das figuras paternas, com vista a melhorar o seu sucesso, tendo consciência que particularmente no “nicho” desportivo do ballet a imagem/aparência e o peso continuam e continuarão, muito provavelmente, a ser valorizados e reforçados. / Introduction: Eating Disorders are a major public health problem. Few studies in Portugal associate this theme with areas such as self-criticism and body esteem. Thus, our main objectives are: to explore, in a sample of female adolescents, the differences between ballet and handball practitioners as to symptoms of eating disorders, body mass index (BMI) and evaluative dimensions of appearance and self-criticism levels; to analyze whether higher levels of self-criticism and a more derogatory vision in terms of appearance are associated with higher levels of PCA symptoms (in both sports). Having these associations into account, we intend to perform predictive analysis, controlling the influence of symptoms of depression, anxiety and stress. Methodology: Our sample is composed by 105 female adolescents (n = 52; 49.5% from ballet and n = 53; 50.5% from handball) with ages between 12 and 18 years (M = 14.5; DP = 1.80). The participants filled in a protocol composed by a sociodemographic questionnaire, the Forms of Self-Criticizing and Reassuring Scale (FSCRS), the Eating Attitudes Test-25 (TAA-25/EAT-25), the Body Esteem Scale (BES) and Depression, Anxiety and Stress Scale (DASS-21). Results: There were worrying percentages of eventual PCA (cutoff of 19) in Ballet practitioners (7.7%) and Handball (9.4%). As to the BMI, in the sample of practitioners of ballet we found a significant percentage of young people with malnutrition (34.6%). Ballet and Handball practitioners only differed in BMI and in the inadequate self form (higher values in Handball practitioners). In the Ballet subsample there were significant associations between Motivation for thinness and forms of self-criticism, inadequate self form, hated self form, reassure self form and total self criticism and between Bulimic behaviors and inadequate self form and total self criticism. In the Handball subsample, significant associations were found between Motivation for thinness, the inadequate self form and total self criticism. The hated self form predicted, in the Ballet subsample, Motivation for thinness and Bulimic behaviors. In the subsample Handball BES_Weight was the significant predictor of Motivation for thinness. Discussion: The percentage of any Eating Disorders (in both subsamples) and the percentage of young people who practice ballet with a IMC indicating thinness is worrying, especially in young athletes who are more focused on their body and physical form, being more vulnerable to develop these disorders/symptoms. A major contribution of this work is to have shown the associations (as well as the predictive role), in these two sports, separately, between self-criticism forms and the TAA-25 dimensions Motivation for thinness and Bulimic behaviors. It seems essential to develop awareness-raising among teachers/trainers, in order to raise greater attention to the critical view of their dancers / athletes in relation to their body, which seems to influence their eating attitudes. It will be important to start these actions/interventions earlier (even before adolescence) not forgetting the inclusion of parents in order to improve their success, particularly in the ballet “niche”, where image/appearance and weight will most likely continue to be valued and reinforced.

Celebrating difference/censoring difference? : Marie Chouinard’s bODY rEMIX

This paper examines performances that defy established representations of disease, deformity and bodily difference. Historically, the ‘deformed’ body has been cast – onstage and in sideshows – as flawed, an object of pity, or an example of the human capacity to overcome. Such representations define the boundaries of the ‘normal’ body by displaying its Other. They bracket the ‘abnormal’ body off as an example of deviance from the ‘norm’, thus, paradoxically, decreasing the social and symbolic visibility (and agency) of disabled people. Yet, in contemporary theory and culture, these representations are reappropriated – by disabled artists, certainly, but also as what Carrie Sandahl has called a ‘master trope’ for representing a range of bodily differences. In this paper, I investigate this phenomenon. I analyse French Canadian choreographer Marie Chouinard’s bODY rEMIX/gOLDBERG vARIATIONS, in which 10 able-bodied dancers are reborn as bizarre biotechnical mutants via the use of crutches, walkers, ballet shoes and barres as prosthetic pseudo-organs. These bodies defy boundaries, defy expectations, develop new modes of expression, and celebrate bodily difference. The self-inflicted pain dancers experience during training is cast as a ‘disablement’ that is ultimately ‘enabling’. I ask what effect encountering able bodies celebrating ‘dis’ or ‘diff’ ability has on audiences. Do we see the emergence of a once-repressed Other, no longer silenced, censored or negated? Or does using ‘disability’ to express the dancers’ difference and self-determination usurp a ‘trope’ by which disabled people themselves might speak back to the dominant culture, creating further censorship?

Mindfulness and dancers

This chapter provides an overview of the relevant theory, history and evidence-based research regarding mindfulness interventions and practice within the dance profession. Further applied information will be provided to assist professionals and performers utilise and employ mindfulness techniques to the performance.