Abstract The forced turnout has a perceived risk of development of hallux valgus (HV) in ballet dancers. We determined how the forced turnout affects the sagittal mobility of the first ...tarsometatarsal (TMT) joint, which is one of the pathogenic factors of HV development. Seventeen female ballet dancers (body mass index: 18.2 ± 1.8 kg/m 2 ) were included and performed demi-plié in control, functional turnout, and forced turnout conditions. Ultrasound imaging synchronized with a three-dimensional motion analysis system was used for measuring the vertical locations of the first metatarsal and medial cuneiform (MC) to evaluate the first TMT joint mobility. Plantar displacement of MC and the first TMT joint mobility in the forced turnout were the greatest among the 3 conditions. Multiple regression analysis indicated that the greater extent of the forcing angle might increase the displacement of MC and the first TMT joint mobility. Evaluating the sagittal mobility of the first TMT joint in the forced turnout can assist in understanding the association between inappropriate techniques including the forced turnout and HV development in ballet dancers. Since the excessive mobility of the first TMT joint is a factor in HV development, the acquirement of adequate active turnout may have the potential to prevent HV development in ballet dancers.
Celem artykułu jest omówienie twórczości baletowej Stanisława Moniuszki i jej recepcji scenicznej w XX i XXI wieku. Podstawą analizy są balety kompozytora w oparciu o zachowane partytury, recenzje i ...wypowiedzi realizatorów towarzyszące premierom oraz zapisy wideo spektakli. W pierwszej części artykułu zostały omówione prapremiery. Z analizy wynika, że nie wszystkie dzieła odniosły sukces za życia kompozytora, ponieważ on traktował tę twórczość w dużej mierze jako użytkową albo nie spotkała się ona z zainteresowaniem wybitnych choreografów jemu współczesnych. W drugiej części artykułu została przeprowadzona analiza scenicznych realizacji muzyki baletowej Moniuszki w drugiej połowie XX wieku i pierwszych dwóch dekadach XXI wieku, z której wynika, że jego balety, zachowane głównie we fragmentach, nadają się do nowych technik teatralnych, takich jak adaptacja, przepisanie i remiks.
Abstract
In the recent decade, we have seen major progress in quantifying the behaviors and the impact of scientists, resulting in a quantitative toolset capable of monitoring and predicting the ...career patterns of the profession. It is unclear, however, if this toolset applies to other creative domains beyond the sciences. In particular, while performance in the arts has long been difficult to quantify objectively, research suggests that professional networks and prestige of affiliations play a similar role to those observed in science, hence they can reveal patterns underlying successful careers. To test this hypothesis, here we focus on ballet, as it allows us to investigate in a quantitative fashion the interplay of individual performance, institutional prestige, and network effects. We analyze data on competition outcomes from 6363 ballet students affiliated with 1603 schools in the United States, who participated in the Youth America Grand Prix (YAGP) between 2000 and 2021. Through multiple logit models and matching experiments, we provide evidence that schools’ strategic network position bridging between communities captures social prestige and predicts the placement of students into jobs in ballet companies. This work reveals the importance of institutional prestige on career success in ballet and showcases the potential of network science approaches to provide quantitative viewpoints for the professional development of careers beyond science.
Throughout the centuries, ballet has had a rich and ever-evolving role in the humanities. Renowned choreographers, composers, and performers have contributed to this unique art form, staging enduring ...works of beauty. Significant productions by major companies embrace innovations and adaptations, enabling ballet to thrive and delight audiences all over the globe. In The Encyclopedia of World Ballet, Mary Ellen Snodgrass surveys the emergence of ballet from ancient Asian models to the present, providing overviews of rhythmic movement as a subject of art, photography, and cinema. Entries in this volume reveal the nature and purpose of ballet, detailing specifics about leaders in classic design and style, influential costumers and companies, and trends in technique, partnering, variation, and liturgical execution. This reference work of more than 160 entries focuses on the uniqueness of ballet in the arts and its contribution to the study and appreciation of rhythmic control and the body in motion.
As a charter member of Boston Ballet and its predecessor, New England Civic Ballet, Laura Young has been affiliated with the company longer than any other dancer in its history. This book is both a ...memoir of her personal journey and a fascinating account of Boston Ballet's rise from a regional troupe to the internationally recognized company that it is today. It is interspersed with ruminations on the history of ballet, stories from the company's Balanchine-influenced early years under founder E. Virginia Williams, and recollections from noteworthy tours, including those featuring the legendary Rudolf Nureyev, with whom Young was frequently paired. After retiring from the stage, Young has continued her affiliation with Boston Ballet, both as an administrator and a teacher. Working in collaboration with Janine Parker, Young has written a lively, informed, and entertaining memoir.
"Russian Ballet" still remain an emotional and exciting point in the world of ballet art. The ballet world created by Sergei Diaghilev is still hard to beat. After his death, a new generation of ...artists appeared from Monte Carlo in 1932, which created a new future for Russian ballet. It was based on three especially gifted girls, “Baby Ballerinas”, as they were called, because of their age: Irina Baronova (12 years old), Tatyana Ryabushinskaya (14 years old) and Tamara Tumanova (12 years old). This idea belonged to the visionary choreographer George Balanchine, who wanted to create a new ballet independent of the past Russian imperial ballet style. This name was coined by the English ballet critic Arnold Haskell, who by doing so wanted to draw more attention to the ballet and its advertising. This was used during the ballet's tour of the United States in 1933. In this publication, the author will refer to the youngest of this amazing trinity of stars - Irina Baronova.
IntroductionThe aim was to study whether six weeks of intensive dance exposure (Swan Lake rehearsals) is a significant contributor to structural changes, symptoms, clinical signs and pain in the ...Achilles tendon (AT).Materials and methodsBallet dancers from The Royal Danish Ballet Company (aged 18–41) were invited (n=79) of which sixty-three (80%) dancers participated. Baseline scans were collected with follow-up scans at six weeks. The primary outcome was quantification of AT structure with Ultrasound Tissue Characteristics (UTC) (echo-type I–IV). Secondary outcomes of interest were clinical signs and symptoms gathered from a clinical examination, self-reported symptoms, VISA-A questionnaire and pain during single-legged heel raise. UTC has previously shown to have satisfactory reproducibility and validity. Separate multilevel linear and logistic regression models were performed including time and demographic variables as covariates.ResultFrom baseline to follow-up there was significant decrease in distribution of UTC echo-type I (β=−3.6,p=0.001;95% CI:−5.8;−1.5) with significant increase in echo-type II (β=3.2,p<0.0001;95% CI:1.6;4.8). Significant effects were also seen, of limb (type I+III) and gender (type I+II). No significant changes were found in clinical outcomes/clinical signs and symptoms.ConclusionThe cohort of ballet dancers showed significant UTC changes, mainly a reduction of echo-type I distribution after six-weeks pre-season period rehearsing Swan Lake ballet. No changes were found in clinical outcomes/clinical signs and symptoms. However, early structural changes seem important to follow longitudinally for potential planning of secondary prevention strategies.
"Under glittering lights in the Louvre palace, the French court ballets danced by Queen Marie de Médicis prior to Henri IV's assassination in 1610 attracted thousands of spectators ranging from ...pickpockets to ambassadors from across Europe. Drawing on newly discovered primary sources as well as theories and methodologies derived from literary studies, political history, musicology, dance studies, and women's and gender studies, Dancing Queen traces how Marie's ballets authorized her incipient political authority through innovative verbal and visual imagery, avant-garde musical developments, and ceremonial arrangements of objects and bodies in space. Making use of women's "semi-official" status as political agents, Marie's ballets also manipulated the subtle social and cultural codes of international courtly society in order to more deftly navigate rivalries and alliances both at home and abroad. At times the queen's productions could challenge Henri IV's immediate interests, contesting the influence enjoyed by his mistresses or giving space to implied critiques of official foreign policy, for example. Such defenses of Marie's own position, though, took shape as part of a larger governmental program designed to promote the French consort queen's political authority not in its own right but as a means of maintaining power for the new Bourbon monarchy in the event of Henri IV's untimely death."--
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