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"Ballerinas."
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Ella Bella ballerina and Cinderella
When Ella Bella loses one of her ballet slippers, Madame Rosa loans her another pair and then relates the story of Cinderella and the lost shoe. As soon as a tune from a mysterious music box begins to play, Ella Bella finds herself dancing into the world of the Cinderella ballet. But can Ella Bella help Cinderella attend the royal ball?
Book
Untold. 35, Maria Tallchief : Native American prima ballerina
In a world dominated by mainly caucasian dancers, Native American Maria Tallchief overcame discrimination to become the United States' first prima ballerina.
Streaming Video
Ballerina project
\"With over one million followers on Instagram, Ballerina Project has the largest network of followers in the world for ballet and has become an online phenomenon. Created by New York City-based photographer Dane Shitagi over the span of eighteen years, Ballerina Project has become the most significant, unique, and creative photographic archive of renowned ballerinas in the world. The artistry, strength, and dedication of over fifty accomplished ballerinas are beautifully captured here with over 170 inspiring photographs in both black-and-white and full color. Iconic locations across the globe including New York, Los Angeles, San Francisco, Buenos Aires, London, Rome, and Paris create a timeless backdrop to these remarkable portraits. Introductions by renowned principal ballerinas Isabella Boylston and Francesca Hayward are included.\"--Publisher's website.
Book
Alignment of the metatarsal heads affects foot inversion/eversion during tiptoe standing on one leg in demi–pointe position: A cross–sectional study on recreational dancers
Classical ballet dancers stand on tiptoe in the demi–pointe position where the ankle is plantarflexed, and the toes extend around a mediolateral axis passing through the second metatarsal head. Foot sickling, the foot inversion/eversion when the forefoot is grounded, should be avoided to achieve esthetics and prevent injuries during tiptoe standing. The foot inversion/eversion angle may change depending on the metatarsal heads through which the toe extension axis passes. This study investigated the relationship between metatarsal alignment in both load positions and foot inversion/eversion angle during tiptoe standing. Nine recreational female ballet dancers performed tiptoe standing on a single leg in the demi–pointe position. The foot inversion/eversion angle, the centre of pressure (COP) positions, and angles between adjacent metatarsal heads in the horizontal plane were investigated using motion–capture data and magnetic resonance imaging of the forefoot. As the angle between the second and adjacent metatarsal heads became more acute during tiptoe standing on the non-dominant leg, the dancers everted the foot more and significantly loaded the first toe–side more, and vice versa ( r = −0.85 and −0.82, respectively). Then, the load positions were distributed on the distal side of the second metatarsal head. These were not seen during standing on the dominant leg with COPs more proximal to the second metatarsal head. In conclusion, dancers load the distal part of the second metatarsal head during tiptoe standing on the non–dominant leg. When the angle at the second metatarsal head was acute, within the triangle formed by the first, second, and third metatarsal heads, even slight mediolateral shifts of load positions altered the toe extension axis around that metatarsal head; the dancers loaded medial to the second metatarsal head and everted the foot and vice versa. Therefore, the angle between the second and adjacent metatarsal heads influenced the foot inversion/eversion angle.
Journal Article
Today's ballet
\"Get to know the plie, arabesque, and other basic steps, and see how ballet has changed over the years. From Anna Pavlova to Mikhail Baryshnikov to Misty Copeland, discover the dancers who added their signature style to this graceful dance form. Go behind the curtain to see what it takes to become a prima ballerina and how a performance comes together\"-- Provided by publisher.
Book
Musculoskeletal characteristics of the lower limbs of students at a vocational ballet institution – retrospective analysis of cross-sectional data
Background
The existing literature on pre-professional ballet students mostly reports on injury patterns, eating disorders, hormonal paramenters or other singular items whereas an overall description of anthropometric and orthopedic values of this particular study population can rarely be found. The aim of the present article was to anthropometrically and orthopedically describe the lower extremity of the typical vocational ballet student, establish a database and enable future comparisons.
Methods
In this study,
n
= 606 students (414 female, 192 male) of a governmental institution for vocational ballet in Germany, between the ages of 5 and 22 (Mean ±SD: 13.9 ±3.5) were examined by an experienced orthopedist and dance physician.
Results
The average passive external rotation of the hip (ER) was 60° (±7.5) and 43.5° (±11.3) for the internal rotation (IR). The calculated range of motion (ROM) was 103.3° (±10.4). The mean tibial torsion (TT) was 22.4° (±6.3). The average calculated turnout (ER + TT) was 83.3° (±9.9) per leg. The passive dorsiflexion (DF) of the ankle was 23.6° (±4.7) and 70.1° (±7.5) for plantarflexion (PF). 52.5% of the examinees showed a splay foot. The passive DF of the metatarsophalangeal (MTP) joint was 88.9° (±6.3) and 62.3° (±5.2) for PF. The Pearson’s correlation coefficient for age was
r
=.237/0.302 (right/left) with hip ER,
r
= -.634/0.537 (right/left) with hip IR,
r
=.11 (both sides) with ankle PF and
r
= −.0.253/-0.264 (right/left) with MTP joint DF of the big toe.
Conclusions
The typical vocational ballet student of our study showed a large ROM for hip ER, ankle PF and MTP joint DF of the big toe. Students were more flexible than examinees of previous studies and often achieved ballet-specific ideal values. Hence, it is very likely that a ballet-specific selection favours the generally large ROMs found in the present study. The data collected over the long period of twenty years can be seen as a limitation of the present study, as students selected at the beginning of that period might be very different to selected students at the end it. Furthermore, this study measured passive joint range of motion only.
Journal Article
Ballet stars
Two friends get ready and then dance with their ballet class at a performance--where they're the stars of the show.
Book
Fatigue and recovery in ballet: Exploring the experiences of professional South African ballet dancers
Background
Professional South African ballet dancers face a higher risk of overuse injuries and overtraining syndrome as compared to dancers from other countries; especially towards the end of a ballet season. Fatigue is a major factor leading to overtraining syndrome and injuries in professional ballet dancers. The study aimed to explore the fatigue and recovery experiences of South African ballet dancers, highlighting how they navigate these aspects and the strategies they employ for recovery.
Methods
Snowball sampling was employed to recruit ten professional South African ballet dancers. Between March and June 2023, individual semi-structured interviews were conducted online using Microsoft Teams. The interview schedule, informed by previous research, delved into the dancers’ fatigue and recovery experiences. Interviews were recorded, transcribed, and analysed using inductive thematic analysis.
Results
Seven main themes were developed from the data. Participants distinguished between mental and physical fatigue, highlighting the impact of mental fatigue on their well-being. They identified factors contributing to fatigue, including high external pressure, motivated behaviours, and expectations from audiences and management. These contributors often resulted in injuries, mandatory breaks, and sub-optimal performance. Participants accepted fatigue as inherent to their profession, emphasising mental resilience. Recovery practices included psychological, nutritional, and active strategies. The COVID-19 lockdown provided a respite from external pressures, allowing for improved recovery, but participants faced challenges upon returning to work. Gradually increasing practice time and exposure to external pressures assisted ballet dancers in effectively managing fatigue and enhancing their recovery as they returned to work.
Conclusion
This study offers a perspective of fatigue and recovery in a sample of professional ballet dancers in South Africa. It emphasises the ongoing significance of fatigue and recovery and the necessity for effective strategies by arts organisations, mental health professionals, and academic researchers to support artists. The insights gained from this research could be crucial in redesigning training programs for dancers, adjusting training intensity and volume to enhance performance, and promoting recovery. Furthermore, this information serves as a strong rationale for adopting a holistic approach to fatigue and recovery, emphasising the importance of a collaborative effort to address these aspects effectively.
Journal Article
Miss Lina's ballerinas
Ballet instructor Miss Lina has a solution when her eight students, who always dance in pairs, are distraught when a ninth girl joins the class.
Book
Behind the Curtain: Ballet Dancers' Mental Health
Using Moustakas's modification of Van Kaam's systematic procedures for conducting transcendental phenomenological research, we explored ballet culture and identity and their impact on ballet dancers' mental health. Participants included four current professional ballet dancers and four previous professionals. Four main themes emerged: (a) ballet culture--\"if s not all tutus and tiaras\"; (b) professional ballet dancers' identity--\"it is a part of me\"; (c) mental health experiences--\"you have to compartmentalize\"; and (d) counseling and advocacy--\"the dance population is unique.\" Suggestions for counselors when working with professional ballet dancers and professional athletes, such as fostering awareness about ballet culture and its impact on ballet dancers' identity and mental health, are provided. We also discuss recommendations to develop future research focusing on mental health treatment for this population.
Journal Article