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It was found that the level of experience in ballet makes for better balance. However, there are indications that classical ballet dancers become more dependent on vision to control balance compared to non-dancers.Competitive Latin formation dance, a form of dancesport, places extreme physical demands on dancers that can cause pain. Due to the sex-specific requirements of dancesport, sex-specific differences in pain are probable. The aim of this study was to analyze pain with regard to prevalence, localization, perception, assessment, and related behavior in male and female Latin formation dancers. The quantitative cross-sectional observational study was carried out with 41 female and 31 male dancers of a national premier league by use of an anonymous online survey, with 3- and 12-month pain intervals being recorded. Of all participating subjects, 33 females and 26 males confirmed having been in pain during the most recent 3 months and provided detailed information on the pain factors being studied. In order to operationalize pain characteristics, existing pain assessment measures were adapted for dancers. For the most painful body regions, accompanying symptoms, pain intensity, pain perception, and pain evaluation were surveyed. The pain behavior section included questions about trusted persons and dancing despite pain, as well as pain management strategies. As to pain localization, several parts of the lower extremity (hip joint, groin, ankle joint, forefoot, and toes) were significantly more affected in females than in males (p less then 0.05). Sensory and affective pain perception ranged from “hardly” to “moderate,” with female dancers being more severely affected. Almost 80% of each sex continued dancing despite pain. Intrinsic motives and solidarity with the dance team were most often given as reasons for this behavior. Primarily, sex-specific physical requirements seemed to be most relevant in the occurrence of pain; in addition, pain assessment characteristics and personal behavior were related to attitudes regarding pain and injury. Therefore, in addition to sex, motivational and socio-cultural factors should be considered in future studies of this subject.Indian classical dance involves a constant change of the base of support from stance to low jumps and spins along with intricate footwork. Graceful movement of the torso, shifting from side to side and turning around the axis of the spine, challenges balance. Yet, balance performance remains unexplored in Indian classical dancers. Therefore, the present study aimed to compare the standing balance of 36 active female dancers (18 to 25 years of age) who had performed Indian classical dance for a minimum of 10 years with 36 healthy age-matched women not involved in regular physical activity. Balance was evaluated in static and dynamic conditions of single and dual-limb stance on a force plate using center-of-pressure trajectory and the Star Excursion Balance Test (SEBT). Dancers demonstrated better balance on both instrumented and non-instrumented outcome variables wide base of support with eyes open and with eyes closed; for 30-second single limb stance with eyes open and with eyes closed; for 13-second dual task in single limb stance; and for 22-second dual task in wide base of support. The SEBT revealed significantly better balance performance of dancers in the three directions tested anterior, posteromedial, and posterolateral. There was also a strength component of the study on which the dancers achieved significantly higher scores than controls for the three muscle groups tested (gastrocsoleus, gluteus medius, and quadriceps), which can be attributed to their training. These findings can be used to recommend classical dance training to achieve the dual purpose of deriving better balance and stronger bodies and maintaining the Indian dance heritage.This study aimed to investigate the bio- mechanical response of the hamstring muscles to acute stretching in dancers (D) compared to non-dancers (ND). Maximal range of motion (ROMMax) and stiffness of the hamstrings were assessed in 46 young males, 23 undergraduate students (ND) and 23 professional dancers (D). Ages of the two groups were D 21.5 ± 0.60 years; ND 27.5 ± 0.98 years). Testing was performed in two sessions, familiarization with procedures in the first session and the tests themselves (pre- and post-test and intervention) in the second, with a 24- to 48-hour interval between. The pre-test consisted of three trials of passive knee extension to the point of increased tension in the hamstrings, defined as ROMMax. The resistance torque recorded at ROMMax was defined as torqueMax. Six 30-second constant torque stretches were performed at 100% of the torqueMaxreached in the pre-test in one lower limb only (intervention), with the contralateral limb used as control. The torque measured at an identical ROther adaptations are. Meanwhile, coaches and physical therapists should be aware that dancers may require different stretch training protocols than non-dancers.Inconsistency exists in research findings regarding the use and efficacy of screening assessments for elite-level dancers. The purpose of this study was to gain an understanding of physical therapists’ perspectives on the use and value of screening assessments and preventative measures in this population in order to inform future research and clinical care. Semi-structured interviews were conducted with nine physical therapists with a caseload of at least 25% dancers aged ≥ 14 years and enrolled in a professional or pre-professional program (i. e., elite- level dancers). Transcribed interviews were analyzed using an Interpretive Description framework. Paeoniflorin order A constant comparative analysis was used to identify similarities and differences among and within the data. Themes and categories were finalized after consensus among research team members. Resulting themes included the values, challenges, barriers, and opportunities of screening and preventative programs. Values extended beyond injury prevention to such matters as performance optimization, development of rapport, communication, and education. Challenges included a lack of research and support from dancers, artistic staff, and the traditional dance culture. Opportunities were seen for improved standardization and innovation of screening procedures. Recommendations to guide clinical practice and research represent an initial step toward improving implementation of screening and preventative programs, which may provide benefits to dancers’ health and performance.