Introduction: Unlike sports, where performance is measured quantitatively, ballet performance is assessed by viewers depending on their aesthetic perspective of view. Previous research on pirouettes has primarily examined biomechanical parameters, such as comparing ground reaction forces and rotational axis across different skill levels, as well as investigating angular momentum and spotting techniques in relation to the number of turns. However, it remains unclear whether these biomechanical indicators correspond to dancers’ perception of beauty during rotation movements, as their perception of aesthetically competent performance and their body consciousness during rotation remain unknown. Exploring both dancers’ and teachers’ perspectives on how they evaluate aesthetics and on which body regions they consciously focus to refine their movements may reveal key elements of aesthetically competent performance, thereby contributing to a deeper understanding of aesthetic movement in ballet. In this study, “perception of beauty” refers to the overall impression of aesthetic quality as judged by observers, whereas “body consciousness” denotes the specific body parts that dancers themselves attend to when executing movements. Here, we aimed to investigate the elements of the aesthetically competent pirouette from the dancer’s aesthetic perception and explore their body consciousness. Methods: In an online questionnaire survey, 108 dancers answered the following questions regarding pirouette en dehors and en dedans ; (1) definition of the beautiful pirouette, (2) attention during turn, (3) attention in turn axis, (4) teaching point only for teacher, and (5) turn axis image. Answers (1) to (4) were collected through open-ended questions and (5) were selected from the illustration. Open-ended questions were processed using frequency word analysis and co-occurrence network analysis. Results: The results showed that both amateur and professional dancers focussed on stable axis and passé positions, and professionals were more conscious of standardized skills in ballet, such as “turn-out” or “position,” to determine aesthetically competent pirouettes. Amateurs and professionals had several different viewpoints they were conscious of when executing movements in 2 directions of turning. Moreover, their consciousness of the turn axis could be described as the line from the toe to the head, although it is from the centre of pressure to the centre of the mass in most previous biomechanics studies. Conclusion: This study suggested the elements of aesthetics during pirouette from the dancer’s perspective can be the stable axis, height of passe, turn-out of both legs, arm position, spotting, and smoothness of finishing (landing).
Tsubaki et al. (Wed,) studied this question.