Verbal Cognitive stage (initial)

Motor stage (familiarisation)

The Autonomous stage (automatic)

Fitts and Posner three-stage model of learning theory contains the demands of what happens when learning a new skill Shaw (2020).

Shaw continues to explain that during the first stage, Cognitive, the performer is working out what to do. During the associative stage, the performer is learning how to execute the skill well. This accompanies less self talk and thought. Autonomous stage contains reduced attentional demands, the skill becomes automatic with minimal thought Shaw (2020).

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. "Alignment is the placement of the joints in anatomically correct positions." Butler (n.d)

.Butler explains that experts in anatomy, fitness and dance say that there are four key building blocks to alignment these are ;

Arches of the feet

Knees over centre of feet

front of the pelvis vertical

ribcage vertical over pelvis

Butler, (n.d)

Terms such as sickling and rolling in are used often in dance. Most students do not understand the actions of their ankle and foot so do not know how to correct these mistakes.Suzanne suggests that sickling, known as supination, is the action of the tarsus. Supination is more common when a dancer is training in relevé due to more flexibly and the tendons on the outside of their foot

Suzanne (2008). "The top of the arch falls to the outside of the base of the big toe and the heel" Butler (n.d)

Neutral pelvic alignment allows the muscles to be effective in movement execution. Butler explains that a ballet dancer having a stable aligned pelvis will help the supporting leg while the working leg relaxes in their hip socket (n.d)

They further explain the Anterior superior iliac spines and the pubic symphysis are on the same vertical plane. Butler, (n.d)

The anterior pelvic tilt is where the pelvis is tilting forward, this is common alignment issue in ballet and non ballet dancers. It pulls the body out of the correct alignment this results in impaired performance. Atlanta, (2013)

They further paint us with knowledge that a dancers lower abdomen will protrude and stick out. This can cause hip pain, back pain, flat feet and knee pain. exercises such as weights flute bridges are a great way to train a dancer to neautralizs their pelvis. Atlanta, (2013)

Posterior pelvic tilt is a flat back like deviation that is associated with gluteal muscles and tight hamstrings, weak quadriceps, spinal erectors and hip flexors. Gam and Urmston, (2015)

Quin et al explain these are:

concave cervical curve

convex thoracic curve

concave lumbar curve

convex rigid sacral curve

They are constructed with vertebrae and vary in shape with each section. They have intervertebral discs between them which act as cushion support (2015:44).

RESEARCH:

"One Dance UK previously carried out national scale research in the UK called Fit to Dance. These studies, carried out in 1992 and 2005, investigated the incidence of health and injury among dancers. Self-reported questionnaires indicated that 80 percent of dancers reported sustaining an injury in the past 12 months, but 92 percent of dancers reported having a mental health concern in the same period" Wiederholt (2021).

In society there are unrealistic standards of what the "perfect" body is like. Many are not able to cope with the stress at a young age due to pressures of ballet increasing the strong presence of anxiety Lau, (2023). Lau further explains that once you reach a certain level in ballet training the need for numerous hours of training and commitment can become over bearing. Ballet requires athleticism, stamina strength and flexibility ballet dancers get injured just as much as other athletes however, the mentality is to push through the pain (2023).

To conclude, ballet dancers unrealistic aesthetic standards for themselves (body dysmorphia) can have a direct impact on their dance performance and mental wellbeing. This could range from insufficient preparation and lack of support from their community. Additionally, dancers committing to long hours of rehearsal and not balancing their social life and mental health efficiently.

Lastly, the automatic stage dancers begin to enhance their stamina and strength through other work. This will begin to show naturally in their movement.

Gill (2023) Adds that As humans our distribution of weight is 60% hind foot, 8%mid foot and 28% forefoot. This different for ballet dancers as there is a need to shift our weight forwards to the mid foot. Therefore, implying the need for a strong arch.

Suzanne(2008) explains that dancers are able to correct their ankle alignment when it is addressed in class. Dancers from the ages 7 are able to improve due to knowing and feeling the difference between a sickled or pronated foot compared to neutral alignment. Additionally, continuousness reminders.

Jamie was interested in understanding through a reliability study to measure and monitor strength, power and muscular endurance. Cook, H (2024)

Cook further explains, Jamies third study investigates the physical performance of their dancers through out the year at the royal ballet school (2024).

"I am still looking at the performance data, but it seems that these physical qualities fluctuate throughout the year; the level of strength, power and muscular endurance we expected the dancers to have at their physical peak with optimal levels of strength, power and muscular endurance was in some cases when dancers were at their most tired. We want to ensure the dancers are at their physical peak when they need to be, and if it is the case that dancers are physically fatigued when they need to be at their best, then we can identify and address this at an individual level to ensure dancer peak performance" quote from Jamie cited in Cook, H (2024).

Micro dosing strength and conditioning?

Jamie and his healthcare team found that one 45 minute gym session often was no sucessful in enhanced performance due to dancer fatigue. He suggesed breaking the training into more bite-sized chunks in the week 'micro dosage' of strength training Cook, H (2024)

Furthermore, Jamie explains he split the dancers into three groups using their results from previous training. One group doing 45 minute strength and conditioning; another doing three 15 minute sessions in the week and the last doing the same format but with 50% more training volume Cook, H (2024).

Feedback shows that dancers prefer the more freuqent sessions as they feel more prepared for the next days training as compared to a bigger training sessions. Cook, H (2024).

7 ballet dancers trained for three a week for 9 weeks and 7 others were a control group the weight training group showed improvement in adductor strength, anaerobic power, ballet precision, lateral; hip flexibility and overall in ballet technique.

This concludes that weight training programme for ballet dancer can improve balance, endurance and leg strength

Stadler et al 95-96 (1990).