Functional Balance Measurements in Ballet Dancers With Varying Visual Input

Abstract

Ballet dancers have been found to exhibit superior balance when compared to non-dancers. However, many believe this heightened balance is achieved by reliance on vision. Ballet dancers spend most of their time rehearsing in a studio with mirrors, providing consistent visual input. After a brief transition to the stage environment, which alters visual information, dancers perform in front of an audience. The purpose of this study was to test if varying environmental factors diminished functional performance in ballet dancers. Healthy college-aged female dancers majoring in ballet performance in a Bachelor of Science program from a large Midwestern university volunteered to participate in this study. A repeated measures design was utilized. The independent variable was environment at three levels: studio facing the mirror, studio facing away from the mirror, and stage. The dependent variables were time in balance during a passé en relevé (seconds), 95% ellipse area (cm2) during a double pirouette, and number of maximum fouetté rotations. Change in environment elicited statistically significant changes in all dependent variables. Tukey post hoc testing revealed that performing on stage negatively impacted balance time, ellipse area and fouetté rotations. Time in balance during the passé en relevé decreased on the stage compared to both studio conditions (0.61 and 0.72 seconds). 95% Ellipse area during the double pirouette was larger on the stage compared to the studio without mirror (3.86 cm2 larger). Number of fouetté rotations decreased on the stage compared to the studio with mirror (1.43 rotations fewer). This study identified decreased balance and turning performance of ballet dancers on the stage in comparison to the studio. This may be due to the dramatic transition between studio and stage environments without allowing proper acclimation for ballet dancers to alter their performance or balance strategies with different visual input. It is important to recognize this deficit and to adapt training strategies to maximize performance abilities on stage. To do this, increased training opportunities on the stage should be integrated into daily schedules and prior to performances.