In 2024, the number of participants in dance, step, and other choreographed exercise to music in the United States amounted to approximately **** million. This showed growth over the previous year's figure of **** million.

The statistic displays the results of a survey on the share of people who have seen a ballet, a dance performance or an opera at least once in the past year in Europe in 2013, by country. In 2013, it was found that ** percent of respondents from Sweden stated that they saw a ballet, a dance performance or an opera at least once in the past 12 months.

Abstract

Flow, first identified by Mihaly Csikszentmihalyi from narratives of optimal experiences, describes an altered state of consciousness in people’s enjoyment. Over the last five decades, flow has been studied with human motivation and well-being among disciplinaries like sports, arts, work, and education. Although professional ballet dancing incorporates natures of elite sports, artistic expressions, and collective occupational setting, flow studies in this context were minimal. Like most flow studies, a cross-sectional deductive approach on flow’s dimensions was adopted overlooking its mechanism, resulting in limited account of the dynamic process of consciousness alternations in flow interventions.

After Keith Sawyer’s studies of group flow – a shared flow among jazz musicians, later studies, limiting to team sports, music, and art-making, had biased on the social antecedents instead of individual or situational ones. Flow experiences from the viewers’ perspective, as revealed in this study, and its interplay with other forms of flow were yet to be uncovered. Beyond the narrowed perspective of flow experiences in certain moments, the evolving meaning of flow across one’s life deserves further investigation.

Integrating the radical embodiment perspective of consciousness and the multi-level model of flow, this ethnographic study aims to explore 1. professional ballet dancers’ lived experience of the dynamic interaction of their body, brain, and the environment in the process of flow, 2. their experience of flow as movers and witnesses on the collective relational level as well as the interplay among different forms of flow, and 3. their evolving relationship with ballet and flow across the career. As the participant-as-observer, the ethnographer took part in professional ballet dancing and performances for one and a half years with the Hong Kong Ballet, while observing, conducting individual in-depth interviews, and writing fieldnotes. The qualitative iterative approach was adopted in data analysis and validation through follow-up interviews and Authentic Movement practices with dancers.

Apart from rich narratives of professional ballet dancers’ flow experiences on both the individual and collective relational level as movers and witnesses, major findings of this study include: 1. The mechanism of underflow, flow, and overflow in a four-phase flow cycle, 2. Contributors of group flow both on the interpersonal and individual level, 3. The phenomenon of flow from the viewer’s perspective – the witness flow and its interplay with other forms of flow on the spatial dimension, 4. Professional ballet dancers’ relationship with flow and its evolution across dancers’ career on the temporal dimension. The perspective of dissemination is gradually broadened, inspiring discussions from the role of embodiment in the flow cycle, the value of reciprocity and kinesthetic empathy in flow on the collective relational level, to the evolutional and overlapping nature of flow cycles in life.

The findings inform the relevance of organic processes in the flow cycle to well-being and career development, not limited merely among dancers. The iterative ethnographic process involving the ethnographer as both the participating-dancer and observing-researcher has allowed empirical discoveries of the phenomenon of witness flow and metaphors of dancers’ relationships with flow across their career.

Musicality is one of the most essential aspects of dance performance: Dancers control their bodies to the music, and audiences appreciate dances beautifully harmonized with music. The present study explores this problem from the perspective of synchronization between music beats and body movements. Specifically, we investigated the temporal relationship between dancer’s body movements and metronome beats when a dancer performed four basic classical ballet movements (i.e., changement, passé, jeté, and tendu) to the metronome. We measured body movements of 10 ballet dancers using an optical motion capture system and force plates, and analyzed what movement reference points of dancer’s body motion (e.g., movement endpoints and ground reaction force peaks) occurred on or close to the beat and backbeat. Specific reference points coincided with the beat timing common to most dancers, but the different reference points were synchronized with the beat depending on the movements. These reference..., Appratus and signal processing We measured the dancer’s body movement using an optical motion capture system (Vicon Nexus) at a frame rate of 250 Hz. Retroreflective markers were attached to 35 body sites using a plug-in full-body gait model. Ground reaction force (GRF) was measured using a force plate (Kistler Instruments) at a sampling rate of 1 KHz via external analog inputs to the Vicon system. Motion data were filtered with a 4th-order zero-phase low-pass filter (cutoff frequency: 50 Hz), and velocity and acceleration were calculated using numerical derivatives. GRF data were filtered with a 4th-order zero-phase low-pass filter (cutoff frequency: 400 Hz). Positional data are expressed in xyz coordinates, where the x-axis represents the front-back direction (positive towards the back), the y-axis represents the left-right direction (positive towards the right), and the z-axis represents the up-down direction (positive upwards). Task and procedure The participant’s task was to perfo..., , # Temporal Relationship between Dancer’s Body Movements and Music Beats in Classical Ballet

https://doi.org/10.5061/dryad.dncjsxm8v

Summary of experiment

The purpose of this experiment is to analyze the temporal relationship between the dancer's body movement and musical beats when a dancer dance to music. To this end, we measured the body movement of classical ballet dancers using an optical motion capture system (Vicon Nexus) and a force plate (Kistler Instruments). The participant’s task was to perform the specified ballet movements in sync with the metronome’s rhythm. The target movements were changement, passé, jeté (outward), and tendu (outward).

In order to examine the temporal relation between body movement and metronome beats, we defined several “movement reference points†(i.e., distinctive perceptual events that can be used to synchronize body movements with the metronome beats) for each movement. We analyzed the time ...

The market size of the dance studio industry in the United States amounted to roughly *** billion U.S. dollars in 2023. This figure was expected to increase by *** percent in 2024, reaching an estimated *** billion U.S. dollars.

This data contains aggregated competition outcomes from 6,363 ballet students affiliated with 1,603 schools in the United States, who participated in the Youth America Grand Prix (YAGP) between 2000 and 2021.

We adopt a network science and science of science approach that empowers logistic regression models and matching experiments to quantify social prestige and its influence on dancers' careers. The analysis of career success in the performing arts, like ballet, in the context of a competition setting offers a unique opportunity to investigate the social influences on success while controlling for competition performance.

Our 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.

Historical Dataset of Ballet Tech/nyc Public School For Dance is provided by PublicSchoolReview and contain statistics on metrics:Total Students Trends Over Years (2007-2023),Total Classroom Teachers Trends Over Years (2007-2023),Distribution of Students By Grade Trends,Student-Teacher Ratio Comparison Over Years (2007-2023),American Indian Student Percentage Comparison Over Years (2012-2023),Asian Student Percentage Comparison Over Years (2007-2023),Hispanic Student Percentage Comparison Over Years (2007-2023),Black Student Percentage Comparison Over Years (2007-2023),White Student Percentage Comparison Over Years (2007-2023),Two or More Races Student Percentage Comparison Over Years (2014-2023),Diversity Score Comparison Over Years (2007-2023),Free Lunch Eligibility Comparison Over Years (2006-2023),Reduced-Price Lunch Eligibility Comparison Over Years (2006-2023),Reading and Language Arts Proficiency Comparison Over Years (2011-2022),Math Proficiency Comparison Over Years (2011-2022),Science Proficiency Comparison Over Years (2021-2022),Overall School Rank Trends Over Years (2011-2022)

Comprehensive dataset of 3,193 Ballet schools in United States as of July, 2025. Includes verified contact information (email, phone), geocoded addresses, customer ratings, reviews, business categories, and operational details. Perfect for market research, lead generation, competitive analysis, and business intelligence. Download a complimentary sample to evaluate data quality and completeness.

The statistic displays the number of people who participated in creative or artistic dance for more than 150 minutes a week in England from 2017 to 2018, by gender. As of May 2018, approximately 121 thousand male respondents and 422 thousand female respondents in England participated in creative or artistic dance with at least moderate intensity for more than 150 minutes a week.

This statistic displays the tresults of a survey on the share of people who have seen a ballet, a dance performance or an opera from another European country at least once in the past year in Europe in 2013, by country. In 2013, it was found that 14 percent of respondents from Sweden stated that they have seen a ballet, a dance performance or an opera from another European country on at least one occasion in the past year.

Financial overview and grant giving statistics of Mid Atlantic Youth Ballet And Center For Dance Education Inc

Comprehensive dataset of 5 Ballet schools in Province of Ferrara, Italy as of July, 2025. Includes verified contact information (email, phone), geocoded addresses, customer ratings, reviews, business categories, and operational details. Perfect for market research, lead generation, competitive analysis, and business intelligence. Download a complimentary sample to evaluate data quality and completeness.

Comprehensive dataset of 1 Ballet schools in Ryazan Oblast, Russia as of June, 2025. Includes verified contact information (email, phone), geocoded addresses, customer ratings, reviews, business categories, and operational details. Perfect for market research, lead generation, competitive analysis, and business intelligence. Download a complimentary sample to evaluate data quality and completeness.

Comprehensive dataset of 4 Ballet schools in Province of Viterbo, Italy as of July, 2025. Includes verified contact information (email, phone), geocoded addresses, customer ratings, reviews, business categories, and operational details. Perfect for market research, lead generation, competitive analysis, and business intelligence. Download a complimentary sample to evaluate data quality and completeness.

The Check-In Dataset is the second public-use dataset in the Dunham's Data series, a unique data collection created by Kate Elswit (Royal Central School of Speech and Drama, University of London) and Harmony Bench (The Ohio State University) to explore questions and problems that make the analysis and visualization of data meaningful for dance history through the case study of choreographer Katherine Dunham. The Check-In Dataset accounts for the comings and goings of Dunham's nearly 200 dancers, drummers, and singers and discerns who among them were working in the studio and theatre together over the years from 1937 to 1962. As with the Everyday Itinerary Dataset, the first public-use dataset from Dunham's Data, data on check-ins come from scattered sources. Due to information available, it has a greater level of ambiguity as many dates are approximated in order to achieve accurate chronological sequence. By showing who shared time and space together, the Check-In Dataset can be used to trace potential lines of transmission of embodied knowledge within and beyond the Dunham Company. Dunham's Data: Digital Methods for Dance Historical Inquiry is funded by the United Kingdom Arts and Humanities Research Council (AHRC AH/R012989/1, 2018-2022) and is part of a larger suite of ongoing digital collaborations by Bench and Elswit, Movement on the Move. The Dunham's Data team also includes digital humanities postdoctoral research assistant Antonio Jiménez-Mavillard and dance history postdoctoral research assistants Takiyah Nur Amin and Tia-Monique Uzor. For more information about Dunham's Data, please see the Dunham's Data website. Also, visit the Dunham's Data research blog to view the interactive visualizations based on the Dunham's Data.

Financial overview and grant giving statistics of Texture Contemporary Ballet

Financial overview and grant giving statistics of State Street Ballet

This statistic displays the results of a survey on the share of people who have not seen a ballet, a dance performance or an opera in the past year in Europe in 2013, by age group. In 2013, it was found that 11 percent of respondents between the age of 15 and 24 years, stated that they have not gone, or not gone more often, to see a ballet, a dance performance or an opera because it is too expensive.

Data contains node list of company artists and their artist type and gender. Edge list provides collaboration network of each company.

Null model data provides metrics obtained from null models where assortativity preferences are removed by shuffling collaborations (edges) or artists' attributes (gender) in the collaboration network.

For more details, please see documentation in Ballet_data_dict.rtf

For company abbreviations:

ABT: American Ballet Theater; NYBC: New York City Ballet; NBC: National Ballet of Canada; ROH: The Royal Ballet of The Royal Opera House.

This dataset provides information about the number of properties, residents, and average property values for Ballet Way cross streets in Burtonsville, MD.