10 Volume 11, Number 1, 2007 • Journal of Dance Medicine & Science is the mechanism of injury: a rapid, ballistic side split movement in the coronal plane during floor work. he hips were in neutral rotation (parallel) while abducting, and the patient was supine. A musculo-tendinous lesion at the level of the femoral head was diag- nosed using MRI. Significant hemorrhage extending over a length of approximately 9 cm was also noted. he iliacus and psoas tendons remained intact. he patient presented with an acute onset of anterior hip pain and had difficulty walking. Pain and weakness were noted with a resisted straight leg raise test. he pain and weakness were significantly greater when the straight leg raise test was performed in a position of hip external rotation (turn-out). Resisted hip flexion at 90 degrees revealed only a minor loss of strength and minimal pain. Combined flexion/adduction of the hip reproduced anterior hip pain. Combined flexion/abduction/external rotation (FABER’s test) was unremarkable. he dancer has a past history of adductor longus tendinopathy, with marked residual weakness of his adductors. his report will discuss the mechanism of injury and outline the graduated rehabilitation program of this elite male ballet dancer. 9. Beyond ballet technique: he ‘emotional voice’: Personality typographies of student ballet dancers at elite dance conservatories hom Hecht, MA, London Contemporary Dance School, London, UK his study traces the emotional experience of eighteen student bal- let dancers over one academic term (twelve weeks) at an elite dance conservatory in the UK. he primary aim is to establish personal- ity typographies of student dancers, and the study highlights the importance of giving consideration to personality traits as a tool to improve ballet training at elite dance conservatories. Using the lenses of Personal Construct Psychology theory (Kelly), issues relating to occupational stress of individual student dancers were analyzed. Practice-as-research represented a vital approach; i.e., the researcher joined the ballet classes with the participating student danc- ers on a regular basis. his multidisciplinary approach of observatory as well as participatory nature was used to maximize the perspective of an “insider doctrine with an outside eye.” Research data were collated over a period of one year in the form of (a) individual interviews at two different points (week one and week ten) during the academic term, (b) video-recording of ballet classes at two different points (week one and week ten) during the term, and (c) the analysis of an “emotion journal” that students kept for the duration of the study. Research data have been transcribed to a large extent. he establishment of character and personality typographies will demonstrate the imbalance between the teaching of purely technical skills and the lack of emotional learning (Emotional Intelligence) in ballet classes. his paper will conclude with is- sues of validity and implications for teaching ballet at elite dance conservatories. 10. Arthroscopic debridement of hip labral tears in dancers Mininder S. Kocher, MD, MPH, Children’s Hospital Boston, Division of Sports Medicine, Harvard Medical School, Boston, MA; Ruth Solomon, Professor Emerita, University of California, Santa Cruz, CA; B. Minsuk Lee, BA, Children’s Hospital Boston, Harvard Medical School, Boston, MA; Lyle J. Micheli, MD, Division of Sports Medicine, Harvard Medical School, Boston, MA; John Solomon, PhD, Freelance Editor, Santa Cruz, CA; Allston J. Stubbs, MD, Children’s Hospital Boston, Division of Sports Medicine, Harvard Medical School, Boston, MA, USA Experience in our clinical practice suggests that tearing of the hip labrum occurs quite frequently in dancers. he purpose of this presentation is to demystify this injury and the surgical procedure commonly used to correct it, and to assess dancers’ prospects for full post-operative recovery. We reviewed the outcomes of 30 danc- ers, median age 20.1 years (range: 14.1–38 years), who underwent arthroscopic debridement of a hip labral tear at least five months prior to follow-up (range: 5–51 months), and completed two questionnaires, the modified Harris Hip Score and a Dance Ques- tionnaire devised specifically for this occasion. he questionnaire results demonstrate significant pain reduction and restoration of function. Fifteen patients had returned at follow-up to full func- tionality. Close examination of the cases of the other 15 patients suggests that most would also have been dancing at full capacity but for factors extraneous to the surgery and/or related to the ex- treme demands of the discipline. It is concluded that, while labral tears and the operation required to correct them are particularly debilitating in this population, most dancers with this injury can anticipate an acceptable outcome of surgical intervention. 11. ‘It’s something that I wasn’t aware was a skill’: he development of imagery in dance Sanna M. Nordin, PhD, London Sport Institute, Middlesex University, London, UK; Jennifer Cumming, PhD, he University of Birmingham, Birmingham, UK his study investigated the development of imagery among dancers. Both qualitative and quantitative methods were employed. In Study 1, in-depth semi-structured interviews were conducted with 14 female (n = 9) and male (n = 5) professional dancers from a variety of dance forms. he recorded interviews were transcribed verbatim and content analyzed with NVivo 4.0. In Study 2, the main topics emerging from the interviews were investigated quantitatively with 245 female (n = 218) and male (n = 27) dancers. he variables of interest reflected imagery quality and quantity. he role of teachers in imagery development was also explored. For Study 1, results fell into three categories: Early Experiences, Teachers, and Imagery Changes. Findings indicated that few dancers were taught explicitly how to use imagery, and that they preferred teachers who gave plenty of images. he dancers also reported gradual changes toward more frequent, complex, and kinesthetic images as they became more experienced. In Study 2, the dancers perceived their images to have improved both in terms of quantity and quality across their years in dance. Better dancers perceived greater improvements in their imagery, received more encouragement to image from their teachers, and had been given more images in class. In conclusion, it appears that imagery improves as a dancer improves, but that teachers can play a crucial role in enhancing the awareness of this important psychological skill. 12. Talent identification in dance, and considerations in training exceptionally talented young dancers: A literature review Sarah Irvine, MSc; Emma Redding, MSc, Laban, London, UK he aim of this study was twofold; to review the various criteria that have been used to identify talent in dance, and to undertake a comprehensive literature review of previous studies that have examined the physiological and psychological issues of training young exceptionally talented dancers in relation to their gender. Research suggests that raw talent is difficult to identify, and that some talented dancers do not immediately stand out because of a desire to hide their talents. he environment in which talented dancers learn most effectively has also been defined in that higher learning curves occur when learners are able to exert control over their learning environment. Although there are physiological and psychological issues that are generic to all young people training in physical activity, there do appear to be issues that warrant particu- lar consideration when dealing with adolescent boys versus girls. here may be some differences between genders in skill acquisition; however, there are clear fundamental differences in relation to their basic physical and training requirements. For example, in terms of their motivation to participate, boys prefer more structure and