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Running head: OCCUPATIONAL ANALYSIS OF BALLET

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Occupational Analysis of Ballet
Breanna Dickson
Touro University Nevada


OCCUPATIONAL ANALYSIS OF BALLET 2
I chose ballet as an occupation that is meaningful to me. Dancing ballet can range from a
hobby that one does on weekends to a profession that one devotes their entire life to. I have been
a dancer for most of my life and I continued dancing as an undergraduate at UNLV, not because
I wanted to be professional, but because being in the studio was a way for me relieve stress and
express myself. Ballet is both an art and discipline and I found comfort in the consistent structure
it offered. In ballet, only female dancers go on pointe and since I discuss pointe in this analysis,
the dancer will be referred to as female although both sexes can be dancers. The areas of
occupation ballet would fall under could be job performance for professional ballerinas or leisure
participation for those who dance as hobby. Dancing requires a range of motor skills,
proprioception, and emotional regulation which is why Im analyzing ballet in its context as both
a profession and hobby.
OCCUPATIONAL ANALYSIS OF BALLET 3
Client Factors
Values, Beliefs and Spirituality
Values Person: Ballet requires dancers to value hard work, patience and
ambition since this type of dance is mentally and physically
strenuous.
Organization: Serving members of the community.
Population: Embracing the arts.
Beliefs Person: It is important ballet dancers hold the belief that hard
work pays off since often it takes years of practice for a dancer to
get promoted from slippers to pointe shoes.
Organization: Providing discipline to young people will help
them be more successful later on.
Population: Embracing the arts provides a more fulfilled life.
Spirituality Person: For professional ballet dancers, dancing can feel like
their lifes purpose and for others, just being in the dance studio
can bring a sense of well-being to their life.
Organization/ Population: No defined spirituality, just promoting
the embracement of song and dance.
Body Functions
Judgment The dancer would use judgment in helping them determine if
they are capable of pulling off a more advanced move.
Concept Formation The dancer needs to ability to know how to move her body in
relation to the tempo of the piano.
Metacognition Ballet involved metacognition because the dancer needs think of
steps as she dancing and be able to reflect on the steps and how
they coordinate with the music and counts.
Cognitive Flexibility The dancer needs cognitive flexibility to plan her movements in
the case she forgets a step so that performance will not appear
flawed to the audience.
Insight/Awareness The dancer must know her strengths and weaknesses to
determine what roles in the ballet she should audition for.
Sustained Attention The ability to maintain sustained attention is especially important
during class when there are few breaks between warm ups and
exercises.
Selective Attention Selective attention is necessary when the dancer is on stage with
a cheering audience, standing still until she hears her cue in the
music to begin dancing.
Divided Attention Ballet requires divided attention in class while focusing on your
movements in the mirror, watching other dancers, and listening to
feedback from the instructor.
Short-Term Memory It is important the ballet dancer knows which move she just did.
OCCUPATIONAL ANALYSIS OF BALLET 4
Working Memory The dancer has to be able to think of the counts of the movements
while she is dancing to ensure she is on tempo.
Long-Term Memory It is important the dancer remember how to wrap her toes and
ankles and how to lace her pointe shoes.
Discrimination of
Senses: Auditory
The dancer must be able to hear the piano and her instructor.
Discrimination of
Senses: Tactile
The dancer should be able to feel the material covering the toe of
shoes in order to know to replace them when the material is torn
and tattered.
Discrimination of
Senses:
Visual
Having good vision is important so the dancer can see herself in
the mirror and see her cast members next to her.
Discrimination of
Senses:
Olfactory
Although it is not necessary, being able to smell her leotard and
shoes would be a good indicator of how often to replace them.
Discrimination of
Senses: Vestibular-
Proprioception
When the dancer is not in front of a mirror, she needs to be able
to know she is spinning or being held upside down by her duet
partner.
Multi-Sensory
Processing
She needs to be able to know she is spinning, while listening to
her instructors feedback, and be able to grab onto the barre if
she were to lose balance.
Sensory Memory The dancer needs to be able to remember the slickness of the
wood floor.
Spatial Relationships When stretching at the barre, the dancer needs to know how far
away from it she is so she know how far to lift her leg over the
barre. She also needs to be aware of her fellow dancers while
warming up on the floor.
Temporal Relationships It is important the dancer be able to gauge how much time has
passing as she changes costumes backstage between songs.
Recognition It is important the dancer be able to distinguish which tutu
hanging up backstage belongs to her and not another dancer.
Categorization Categorization is necessary when the dancer is packing her gym
back to take to class so she knows her hair elastics, tights,
leotards, and leg warmers are things needed for ballet class.
Generalization It is important the dancer be able to generalize how dance on
stage to the next since stages often vary in material, shape, and
size.
Awareness of Reality Although not necessary, it is important the dancer doesnt get so
wrapped up in the music that she thinks she is dancing on the
Julliard stage when in reality shes only in the studio.
Logical/Coherent
Thought
Although not necessary, having coherent thought is necessary
when communicating with your instructor and other dancers so
they understand you.
OCCUPATIONAL ANALYSIS OF BALLET 5
Appropriate Thought
Content
The dancer could be reprimanded if she were to let her mind
wander as her instructor is critiquing her.
Execution of Learned
Movements
Ballet is based on the execution of learned movements and the
dancer should practice daily to improve upon her execution of
movements.
Coping If the dancer doesnt get picked from an audition for a show she
really wanted, it is important she has the coping skills to help her
deal with it.
Behavioral Regulation Behavioral regulation is necessary if a dancer lost the lead role to
another dancer, that she is still happy and congratulates the other
dancer.
Body Image Since ballet places an emphasis on long and lean bodies,
anorexia is common. It is important the dancer is able to
maintain a healthy body image so she can avoid unhealthy
weight loss.
Self-Concept For many dancers, ballet is a way to define themselves. Dancers
usually think of themselves as dancers in addition to any other
roles they may have.
Self-Esteem Dancers are critiqued and criticized on a regular basis, so it is
important they maintain a high level of self-esteem so they wont
become depressed or want to stop dancing.
Arousal The dancer must be alert to other dancers and objects on the
stage to avoid injury.
Consciousness The dancer must be conscious enough to be able to move on the
dance floor.
Orientation to Self A dancer must know she is a ballet dancer.
Orientation to Place A dancer must know she is in her dance studio or on stage.
Orientation to Time A dancer must be aware of the date so if they have a performance
that night or not.
Orientation to Others A dancer must know that the other people around her are fellow
dancers.
Emotional Stability A dancer needs to be able to remain calm and composed while
performing regardless of how nervous she may be.
Motivation Dancers need to have the drive to put on a great performance
since it requires a lot of hard work and practice.
Impulse Control It could be tempting for a dancer to skip practice and relax at
home but she needs the impulse control to make the better
choice.
Appetite The dancer does not require an appetite.
Sleep The dancer needs to be able to sleep well to allow for recovery
since dancing is strenuous on the body.
Detection/Registration The dancer should see all objects in the studio.
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Visual Modulation The dancer needs to be able to focus on herself in the mirror.
Integration of Senses The dancer needs to be able to see herself in the mirror while
feeling the muscles in leg being activated when she is in
arabesque.
Awareness at Distances The dancer should be able to see the audience, her fellow
dancers, and the side of the stage as she performs.
Tolerance of Ambient
Sounds
The dancer needs to remain composed when she hears the chatter
of the audience before the curtain goes up.
Location & Distance of
Sounds
The dancer is not required to know the location and distance of
sounds.
Moving Against
Gravity
It is very important that the dancer be aware when she is upright
and it is important that she spots while spinning to avoid
feeling dizzy.
Taste Taste isnt required for dancing.
Smell Smell isnt required but since dancing often involved being close
to other dancers in sweaty conditions, it would be helpful if the
dancer could smell herself to check for proper hygiene.
Body in Space When in arabesque, the dancer must know her leg is lifted behind
her.
Touch A ballet dancer should be comfortable with being touched by her
instructor and fellow dance members since dance is interactive.
Localizing Pain A dancer needs to be able to localize pain since pain the ankle
could indicate a sprain.
Thermal Awareness A dancer needs to be able to feel her own body heat to know
when she should take a cool down break.
Joint Range of Motion Arabesques, turns, and leaps all require the dancer to have full
range of joint motion.
Joint Stability/
Alignment
Having good joint stability is important because the dancer will
often have to hold releve, or standing on pointe, for long
periods of time.
Strength When standing on pointe, is important the dancer have enough
strength in her legs to take the weight and pressure off her toes.
Muscle Tone Ballet requires a dancer to be able to hold the weight of her body
on pointe, on one leg, so it is important the dancer has good
muscle tone.
Muscle Endurance When on releve on one foot, the dancer must maintain
contraction of her leg and abdominal muscles to keep her
balance.
Stretch Reflex The dancer needs stretch reflex when she is doing a grande
battement or high kick.
ATNR This does not apply to ballet dancing.
STNR This does not apply to ballet dancing.
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Righting and
Supporting Reflex
If the dancer is practice pirouettes as the barre, she needs to be
able to catch herself if she loses balance.
Eye-Hand/Foot
Coordination
Both eye-hand and eye-foot coordination are used when the
dancer laces up her pointe shoes.
Bilateral Coordination In ballet, position des bras or position of the arms must be
maintained at all times.
Crossing Midline In many moves, the dancer crosses midline with her arms as part
of movements that make her look graceful.
Fine Motor Control This is needed when the dancer is using elastics and bobby pins
to secure her hair in a bun.
Gross Motor Control The dancer would need gross motor control in her leaps, kicks,
and jumps.
Oculomotor Control The dancer would need oculomotor control to regain focus after
spinning.
Gait Patterns Although not necessary, having a normal gait pattern would help
the dancer prepare for leaps and jumps.
Blood Pressure Dancing could be too strenuous for someone with high blood
pressure.
Heart-Rate Heart should be normal since it will increase while dancing since
that is exercise for the heart.
Respiratory Rate It is important dancers have a normal respiratory rate since
respiration will increase while dancing.
Respiratory Rhythm A dancer needs stable respiratory rhythm to deliver oxygen to
her muscles.
Respiratory Depth A dancer should be able to take deep breathes when she feels
winded.
Physical Endurance/
Aerobic Capacity
A dancer needs to have a great deal of physical endurance,
especially during the warm up part of class since that usually
involved high energy work outs.
Voice Functions Although not necessary, having voice functions may be helpful
in communicating with her instructor.
Voice Rhythm/
Fluency
This should have little effect on the dancers ability to perform.
Alternative
Vocalization
Things like yelling, singing, and humming are not required to be
a ballet dancer.
Digestive System Not required.
Metabolic System It is necessary for a dancers body to get energy from the food
she eats.
Endocrine System This would not be necessary for being a dancer.
Urinary Functions Not required
Genital and
Reproductive Functions
Not required.
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Protective Functions of
Skin
This is necessary when the dance moves require her roll on hard
ground.
Repair Functions of
Skin
This would be necessary since dance has a lot of slipping which
could scrape the skin.
Body Structures
Structure of Nervous
System
This would need to be intact to facilitate reflexes.

Eyes, Ear, and Related
Structures
The dancer would need eyes to see the mirror and ears to be able
to hear the music.
Structures Involved in
Voice & Speech
Dancer would not need a voice or speech.

Structures of
Cardiovascular,
Immunological, &
Respiratory Structures
The dancer would need an intact cardiovascular system and
respiratory system since dancing is vigorous exercise that
requires oxygen.

Structures Related to
the Digestive,
Metabolic, &
Endocrine Systems
An efficient metabolic system would be used in helping the
dancer maintain the preferred physique but she would not need
the other systems to dance.
Structure Related to the
Genitourinary and
Reproductive Systems
These systems would not be required for dancing.


Structures Related to
Movement
The dancer would need all structures related to movement intact
since dancing encompasses a variety of movements.
Skin & Related
Structures
The dancer would need skin to be intact as a protection measure.
Activity Demands
Tools Leather split sole ballet slippers or pointe shoes
Materials Silk ties for lacing shoes
Equipment At least one barre
Space Demands A large studio with mirror and room to move around freely
Social Demands It is expected that a dancer will share her barre with the other
dancers.
Sequence and Timing A dancer would first warm up at the barre for 15 minutes, then
practice techniques across the floor for 30 minutes, and finally
begin practicing her choreography for the 30 minutes remaining
in class.
Required Actions and
Performance Skills
A dancer needs to be able to grip the barre, determine how to
move her feet into the right position.
Required Body
Functions
A dancer needs to be conscious and alert as well as have full
joint range of motion.
Required Body It is best for a dancer to have eyes, ears, arms and legs.
OCCUPATIONAL ANALYSIS OF BALLET 9
Structure
Performance Skills
Motor & Praxis Skills The dancer would have to lift her leg, keeping it turned out from
the hip, to the top of the barre for stretching.
Sensory-perceptual
Skills
The dancer needs to time her leaps to the appropriate beat in the
music.
Emotional Regulation
Skills
The dancer needs to be able to recover from a disappointing
performance without lashing out at those who try to comfort her.
Cognitive Skills If the dancer is struggling with her pirouettes and chans but
only has 10 minutes of class time left, she would need to
prioritize which one to get help with first.
Communication &
Social Skills
The dancer needs to take turns with other dancers sharing center
stage.
Performance Patterns- Person
Habits A dancer always tends to walk with her feet turned out.
Routines A dancer follows a certain sequence of stretches regardless if
shes the in the studio, gym, or home.
Rituals Many dancers have a photo of a dancer they aspire to be like,
such as Misty Copeland, hanging in their room that they look at
before bed.
Roles Many dancers main role is being a dancer and they base their
exercise, food, and social choices around that.
Performance Patterns- Organization
Routines The dance studio has a desired dress code of pink tights and
shoes with a black leotard.
Rituals A dance studio will hold monthly dance performances
Role A ballet studio will serve as an art enrichment program for
community members
Performance Patterns- Population
Routines The population of dancers follows health practices such as
regular stretching and exercise.
Rituals Dancers, no matter what their genre, make it a point to watch and
support other dance performances.
Roles In society, the populations of dancers are seen as artists and often
sources of creative inspiration.
Context and Environment
Cultural Person: Bowing to dance instructor
Organization: The studio employs a live piano player for
authenticity
Population: Different cultures have different types of dance
Personal Person: Young college student that dances part time
Organization: Members of the studio fundraising for
performances
OCCUPATIONAL ANALYSIS OF BALLET 10
Population: Ballet dancers that are women in their early 20s
Temporal Person: A woman who has been dancing for 10 years
Organization: Hosting monthly performances
Population: Dancing at yearly Kwanza celebrations
Virtual Person: Sending a picture of new pointe shoes to a friend via text
Organization: A studio uploading videos of dance practice to
YouTube
Population: Virtual community of dancers in a blogging system
network
Physical Person: A dancers apartment
Organization: Dance studio
Population: Theaters and venues
Social Person: Fellow dancers
Organization: Judging panel at auditions
Population: American Ballet Theatre
















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References

American Occupational Therapy Association (2008). Occupational therapy practice framework:
Domain and Process (2nd ed.). American Journal of Occupational Therapy

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