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The medial subchondral bone distance was found to be significantly larger in female dancers than female non-dancers (4.05 mm vs. 2.75 mm, p less then 0.05), whereas there were no significant differences in LSBD (2.63 mm vs. 2.63 mm, p = 0.87). Axial navicular talus angles in female dancers were significantly larger than those in female non-dancers (38.9° vs. 24.3°, p less then 0.05). There was a tendency for the TN angle to be smaller and navicular curvature (NC) to be larger in female dancers compared to female non-dancers, though the differences were not significant (TN angle 16.6° vs. 22.3°, p = 0.09, and NC 0.186 vs. 0.165, p = 0.28). There were no significant differences in T1rho or T2 values of talonavicular joint cartilage. These results show that the bony anatomy of dancers' ankles may adapt to the stresses placed on them by ballet.Irish dance has evolved in aesthetics that lead to greater physical demands on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large forces to be absorbed by the body. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The purpose of this study was to determine loads on the body of female Irish dancers, including peak force, rise rate of force, and impulse, in eight common Irish hard shoe and soft shoe dance movements. It was hypothesized that these movements would produce different ground reac- tion force (GRF) characteristics. Sixteen female Irish dancers were recruited from the three highest competitive levels. Each performed a warm-up, reviewed the eight movements, and then performed each movement three times on a force plate, four in soft shoes and four in hard shoes. Ground reaction forces were measured using a three-dimensional force plate recording at 1,000 Hz. Peak force, rise rate, and vertical impulse were calculated. Peak forces normalized by each dancer's body weight for each of these variables were significantly different between move- ments and shoe types [F(15, 15)= 65.4, p 0.40). It is concluded that there was a large range in GRF characteristics among the eight movements studied. Understanding the force of each dance step will allow instructors to develop training routines that help dancers adapt gradually to the high forces experienced in Irish dance training and competitions, thereby limiting the potential for overuse injuries.Posterior ankle impingement syndrome (PAIS) involves pain at the posterior as- pect of the ankle, due in dancers largely to repetitive hyperplantarflexion. In daily practice, corticosteroid injection is often used to relieve the pain of PAIS, but little has been recorded with regard to its effectiveness. The primary objective of this study was to determine the ef- fect on pain of corticosteroid injections in professional and elite student ballet dancers with PAIS. The secondary ob- jectives were to evaluate the prevalence of PAIS, the duration of the effect of injection, patient satisfaction with the effect of injection, time to return to class and performance, and ability to dance after injection. All members of the Dutch National Ballet and the National Ballet Academy Amsterdam received a self-administered questionnaire focused on the use and effect of corticosteroid injections in the treatment of PAIS. The response rate was 61% (77 of 126). Of the included dancers, 38% (29 of 77) had suffered from PAIS, and 38% (11 of 29) had received at least one injection. The numeric rating scale (NRS) was used to assess the severity of pain before and 2 and 6 weeks after injections. The median NRS pain before injection was 9.0 (IQR 8.0-9.5), 3.0 (IQR 0.5-6.5) 2 weeks after injection, and 3.0 (IQR 0.5-6.0) 6 weeks after injection. Overall median NRS satisfaction with the effect of injection was 7.0 (IQR 0-10), and satisfaction with the duration of the effect was 5.0 (IQR 2.0-10). It is concluded that there is a high prevalence of PAIS in ballet dancers and corticosteroid injections are regularly used for pain reduction with good results.The search for movement plasticity causes dancers to seek to achieve and maintain low body weight, which can lead to dissatisfaction with their body image and to eating disorders. The purpose of this study was to analyze body image satisfaction and the presence of eating disorders and associated factors in professional ballroom dancers in Brazil. Three hundred and twenty dancers took part via a self-reported questionnaire. The majority of the dancers proved to be dissatisfied with their body image; the increase with age of body mass index (BMI) influenced the dissatisfaction due to excess weight. Senaparib ic50 It is concluded that body image is associated with eating disorders, age, and BMI in ballroom dancers.The Dance Functional Outcome Survey (DFOS) is a dance-specific questionnaire developed for use with ballet and modern dancers at all training levels. To date, no study has assessed the psychometric properties of the DFOS in pediatric dancers. The purposes of this study were to determine 1. the reliability of the DFOS when used with healthy and injured pediatric dancers; 2. the validity of the DFOS com- pared to a well-established generic scale, the Pediatric Quality of Life Inventory Physical Function Scale (PedsQL-PFS); and 3. the sensitivity and responsiveness to change of the DFOS in injured dancers. One hundred and two dancers completed the DFOS twice within 10 days. Intra-class correlation coefficients (ICCs) were used to assess test-retest reliability. In a sample of 148 dancers, construct validity was explored by comparing the DFOS to the PedsQL-PFS using Pearson correlations, and Exploratory Factor Analysis (EFA) and Cronbach's alpha were used for internal consistency analyses. A sub-set of 22 injured dancers was employed to examine responsiveness using repeated measures analysis of variance (p less then 0.05). The DFOS demonstrated high test-retest reliability (ICC ≥ 0.90). The DFOS total score, activities of daily living (ADL), and dance technique sub-scores had strong construct validity compared to the PedsQL-PFS (r ≥ 0.79). Cronbach's alpha was high ( α = 0.92), indicating excellent internal consistency. There were significant differences across time in DFOS scores (p less then 0.001), demonstrating responsiveness to change. There were no floor or ceiling effects. Thus, the DFOS demonstrates excellent reliability, strong validity, and good responsiveness over time and is a viable tool for assessing function in pediatric dancers.
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