Introduction: Musculoskeletal injuries are common among adolescent pre-professional dancers, who face increasing technical demands during periods of rapid growth. Understanding how these injuries affect function, differ across training levels and vary by dance modality is essential for improving health and performance in elite training environments. The purposes of this study were to characterize the functional impact and clinical profile of dance-related musculoskeletal injuries in pre-professional adolescent dancers using the Self-Estimated Functional Inability because of Pain (SEFIP) questionnaire, examine the association between SEFIP and pain intensity measured with the Numeric Pain Rating Scale (NPRS), and explore differences according to sex, age, training level and dance modality. Methods: This prospective observational study was conducted over four academic semesters in an elite pre-professional dance school. Pre-professional dance students aged 9 to 19 years presenting with dance-related injuries were consecutively recruited from the school’s clinical department. Data collected included demographics, injury mechanism and onset. Functional impact was measured using the SEFIP questionnaire, and pain intensity using the NPRS. Statistical analyses included t -tests, Chi-square tests, Mann-Whitney U , Kruskal-Wallis tests and Spearman correlations. Results: A total of 437 injury episodes were recorded. Most injuries were overuse-related (59.0%) and insidious in onset (62.6%). SEFIP scores (median = 2 (IQR 1-3)) showed no sex differences, but correlated strongly with the NPRS ( r = .71). Lower limbs and the lumbar spine were most frequently affected. Ballet accounted for the highest number of injuries overall, consistent with its greater representation in the training curriculum. Conclusion: Overuse injuries predominate in adolescent dancers and are shaped by training load, growth-related vulnerability and stylistic demands. These findings support the need for age-specific monitoring, functional screening and improved load management. These findings suggest that the SEFIP score may represent a useful and context-appropriate tool for assessing functional impact of injuries in pre-professional dance populations.
Introduction: Dance is a popular physical activity in Australia, but participation drops in later adolescence, and injuries, eating disorders, poor sleeping habits, and mental health issues exist. Health literacy is important for improving health, and the beliefs of stakeholders can guide health interventions. Methods: This cross-sectional study surveyed Australian non-professional dancers 18 years and over (n = 84); parents/guardians of dancers under 18 (n = 31), and; dance teachers (n = 27), and aimed to investigate qualitatively: (1) beliefs of what makes a healthy dancer; and quantitatively; (2) what participants would like to know about health to support their dancing; (3) where or from whom participants accessed health information, and the factors that determine information quality; and (4) what perceived barriers exist to engagement with information in Australian non-professional dance. Thematic analyses of the qualitative data, and frequency of responses per participant of the quantitative data were conducted. The University of New South Wales Human Research Ethics Committee approved this study. Results: Qualitative themes were broader environmental and cultural aspects, as well as individual dancer aspects. Participants wanted to know more about recovery practices, fatigue management, nutrition, training planning, and mental health. Participants accessed health information from dance teachers, and physiotherapists, and all participant groups recognised financial expense and limited time as barriers to engagement in dance health education resources. Conclusion: Australian non-professional dancers, parents, and teachers recognised aspects that influenced what makes a healthy dancer. Most participants sought health information from dance teachers and physiotherapists. Future research could explore the appropriateness of, and how to prepare, dance teachers to provide high-quality health education to dancers and parents. Physiotherapists with existing dance knowledge may be well placed to deliver dance specific health education, to help inform dancers, parents, and teachers in a time efficient, easily understood and inexpensive manner.
INTRODUCTION:Dance is a multimodal experience, integrating movement and music, with cognitive and psychosocial effects, potentially providing a non-pharmacological care approach for persons with Parkinson's disease (PwPD). While numerous studies have investigated motor outcomes following dance interventions, less is known about the degree to which cognitive and non-motor outcomes are explored. The objective of this scoping review was to explore the scope and characteristics of dance-based interventions for PD, focusing on how cognitive and non-motor domains are represented relative to motor outcomes. METHODS:Guided by the Joanna Briggs Institute (JBI) methodological framework for scoping reviews, the PubMed, PsycINFO, and Web of Science databases were searched to identify relevant literature, followed by title, abstract, and full text screening by three independent reviewers. Studies reporting the effects of dance on motor, non-motor, or cognitive health of PwPD were included. Data were extracted on study and intervention characteristics, as well as outcome domains and measurement tools. RESULTS:Thirty-eight studies met the inclusion criteria. The most used interventions were tango and Dance for Parkinson's Disease (DfPD) programs, typically delivered in community settings, twice weekly, for approximately 60 minutes per session. Motor symptoms were assessed most frequently (89%), followed by non-motor (76%) and cognitive domains (47%). Collectively, non-motor and cognitive outcomes were increasingly assessed within the last decade. CONCLUSION:While cognitive and non-motor symptoms contribute significantly to disease burden, motor outcomes continue to dominate dance-based literature in PD. Future research should continue to explore symptomatology beyond motor outcomes within dance-based literature in PD.
INTRODUCTION:Indian classical dance (ICD) is a popular and highly structured art form that encompasses mime, choreographed movements, and rhythmic footwork along with traditionally influenced cultural practices which affect the overall psychological health of dancers. Although it is known that dance enhances emotional well-being, the literature investigating the mental health of ICD practitioners (ie, resilience, challenges, and coping) is scarce. This research studies how ICD influences dancers' emotional well-being and resilience, the mental health challenges they face, and the coping mechanisms they use. It also examines various cultural and training practices which shape the above factors. METHODS:Guided by an interpretivist paradigm and inspired by the Biopsychosocial Model and Resilience Theory, this qualitative study used semi-structured interviews to gather in-depth narratives from 12 Indian classical dancers aged 18 and above. Participants were from different ICD styles identified through purposive sampling. Interviews were audio-recorded, transcribed, and analyzed using Braun and Clarke's reflexive thematic analysis. RESULTS:Dancers described ICD as enhancing their emotional expression and regulation, inner balance, and resilience through disciplined practices and a continuous cycle of practice and performance. But they also described serious mental health challenges, including pressure to perform and be perfect, power battles for control and inadequate support in balancing dance with other aspects of their lives. Cultural expectations and practice of devotional acts provided both support and added pressure. Participants used a range of coping mechanisms, such as expressive movement, spiritual engagement, community and teacher support, reflective practices, and personal regulatory strategies. CONCLUSIONS:ICD works as a system that affects the dancers in a dual manner, as its rigorous training and cultural expectations can cause psychological and physical stress, but its expressive, spiritual, and community-supporting aspects serve as significant tools for emotional regulation, resilience, and emotional well-being.
INTRODUCTION:While the performing arts are often considered a safe space for LGBTQ+ individuals, classical ballet reflects gender disparities, with gay men highly visible and others comparatively underrecognised. Empirical research on LGBTQ+ ballet dancers remains limited. This study explored sexual orientation and gender identity (SOGI) demographics in an international sample of professional ballet dancers and examined differences in wellbeing by LGBTQ+ status using measures of workplace authenticity and wellbeing. METHODS:Professional ballet dancers (N = 158) across 23 countries completed an online questionnaire. Descriptive statistics examined SOGI distribution. Independent-sample t-tests compared psychological distress, flourishing, disordered eating symptoms, holistic wellbeing, and authenticity between LGBTQ+ (n = 89) and non-LGBTQ+ participants (n = 69).Additional t-tests and mediation analyses compared outcomes in LGBTQ+ men (n = 21) and LGBTQ+ non-men (n = 68). RESULTS:Overall, 68% of men and 48% of women identified as LGBTQ+; 18% of participants identified outside traditional binary genders. No significant differences in wellbeing emerged between LGBTQ+ and non-LGBTQ+ participants. Within the LGBTQ+ subgroup, men reported significantly lower psychological distress and disordered eating, and significantly higher workplace authenticity than non-men; and authenticity mediated the relationship between gender and wellbeing. CONCLUSION:LGBTQ+ representation in ballet is substantial, but findings suggest that visibility remains skewed toward men. Gender-based disparities in wellbeing and authenticity highlight systemic dynamics that privilege men over women and non-binary dancers. The term rainbow rift is proposed to describe this divide. Further research and interventions are recommended to foster a more inclusive ballet industry that embraces SOGI diversity.
