4dancers – Page 19

Dance Wellness Links And More…

January 9, 2016 by 4dancers

Aloha and Happy New Year !

I hope everyone had a wonderful holiday season, and you are back in full swing with your dance life. This month marks 4 years that I have been associated with 4dancers.org, and so I felt it was an appropriate time to comment – and to encourage you to keep “spreading the word” about dance medicine and science / aka Dance Wellness!

So, how did the Dance Wellness segment of 4dancers.org get here?

In the fall of 2011, Catherine Tully, editor of the site, approached me about writing an article about Dance Medicine and Science, to introduce that topic to the readership. She and I had never met, or communicated, before that –i.e., it was a “cold contact”. I said “of course” and wrote that first post–which was supposed to be a one-time thing. But–the readership response was so positive that Catherine asked me to keep going…..and so our Dance Wellness segment became official.

Over time I started asking other colleagues in the field to also contribute, and things just kept growing. This past year, we added our Dance Wellness Panel of experts–all long-time experienced professionals, each focusing on different aspects of dance medicine and science.

From a personal perspective, 4dancers.org has been one of the most fulfilling things that has ever happened in my professional dance life–and I say that coming from many years of very fulfilling experiences! Since the beginning of my work in the dance medicine field, 35 years ago, my #1 goal has always been to reach out to the thousands of dancers and teachers who don’t normally have a chance to access this kind of information. I was given different opportunities, in that respect, over the years–such as helping to form IADMS (International Association for Dance Medicine and Science), and starting Dance Wellness programs in university settings. And all of that was wonderful–but it still didn’t reach out on the “grassroots” level, which was my original goal.

4dancers.org, and Catherine Tully, changed all of that, and I will be eternally grateful both to her, and to you, the readership, for the opportunity I was given, and for the way you have embraced the information we have put out there for you, and “passed it on”!

Some of you reading this probably have been with 4dancers for a long time, maybe all of the past 4 years, but many of you may have not. So with this post, I am sharing our full list of dance wellness articles, so that if you missed any, you can read and catch up–and maybe learn one or two new things you didn’t know before…..and that’s the whole point, isn’t it?

Mahalo Nui Loa (thank you from the heart), and–
Pass it on!

Jan

Jan Dunn, MS
Dance Wellness Editor – 4dancers.org

4dancers.org – Dance Wellness posts 1/1/12 to present

2012

1/2/12 – Keeping Dancers Dancing: An Introduction to Dance Wellness in 2012 – Jan Dunn, MS

1/19/12 – “The Perfect Arch” – Frank Sinkoe, DPM

1/26/12 – Blisters And Corns Between The Toes (Interdigital Lesions) – Frank Sinkoe, DPM

2/1/12 – Dance Wellness: Causes of Injuries (Risk Factors) – Part 1 – Jan Dunn, MS

2/9/12 – Treatment Of Warts In The Dancer – Frank Sinkoe, DPM

2/12/12 – Dance Wellness: Causes of Injuries (Risk Factors)- Part II – Jan Dunn, MS

2/14/12 – Nutrition for the Dancer: Emily’s Apples and Pumpkin Oatcakes – Emily Harrison, MS

2/16/12 – Toenail Injuries in the Dancer: Bruised Nail – Frank Sinkoe, DPM

2/18/12 – Dancers and Hydration – Emily Harrison, MS

2/23/12 – Toenail Injuries of the Dancer: Ingrown Toenail / Infection – Frank Sinkoe, DPM

3/8/12 – Keeping Dancers Dancing: “Help! – I have an Injury- What Do I Do?” – Jan Dunn, MS

4/3/12 – Keeping Dancers Dancing: Conditioning – Jan Dunn, MS

5/4/12 – Keeping Dancers Dancing: Conditioning – Pilates – Jan Dunn, MS

5/13/12 – Keeping Dancers Dancing: Conditioning Gyrotonics and Gyrokinesis – Jan Dunn, MS

6/14/12 – Keeping Dancers Dancing: Conditioning – The Franklin Method, Part I – Jan Dunn, MS

6/15/12 – Keeping Dancers Dancing: Conditioning – The Franklin Method, Part II – Jan Dunn, MS

7/12/12 – Staying on Your Toes with a Physical Therapist – Sarah Graham, PT

8/9/12 – Competition Dance: Maximizing Peak Performance, Part I – Robin Kish, MA

8/21/12 – Competition Dance: Maximizing Peak Performance, Part II – Robin Kish, MS

9/6/12 – Dance Wellness Update – Jan Dunn, MS

10/25/12 – Nutrition for Your Dancer Body: Understanding the Fundamentals of Making Good Food Choices – Diana Clanin, MS

11/29/12 – Dance Wellness: Phases of Healing – Marika Baxter, PT

2013

1/10/13 – Motor Learning in Dance – Donna Krasnow, PhD

1/24/13 – Dance Wellness: Preparing for the Summer Intensive – Jan Dunn, MS

3/21/13 – Dancing Through the Adolescent Growth Spurt – Jan Dunn, MS

5/7/13 – Ballet: How Hard Should It Be? – Janet Karin, OAM

5/9/13 – “Older Dancers” – Gigi Berardi, PhD

8/23/13 – Dance: The Importance of a Good Warm-Up – Jan Dunn, MS

10/2/13 – Book Review: Dance Medicine Head To Toe: A Dancer’s Guide To Health – Emily Kate Long

11/10/13 – Healthy Dance Practice Certification Course – Jan Dunn, MS

12/2/13 – Supplemental Fitness Training Can Improve the Artistic Element of Dance Performance – Matthew Wyon, PhD

12/26/13 – Dancing in the Dark: Dancers Need Vitamin D – Matthew Wyon, PhD

2014

1/22/14 – The Healthy Dance Practice Certificate – Jan Dunn, MS

2/14/14 – Stretching Healthy: A Primer for Dancers – Jan Dunn, MS

2/27/14 – Mirror Use in the Classroom: How Much is Too Much? – Sally Radell, MFA

3/10/14 – Mirror Mirror on the Wall: A Dance Teacher’s Perspective – Sally Radel, MFA

5/27/14 – Thoughts on Starting a Dance Screening Program – Jan Dunn, MS

6/9/14 – Integrating Best Practices From Dance Medicine And Science To The Faculty Of A Professional Dance Conservatorie – Rachel Rist, MA

7/4/14 – The Hypermobile Dancer – Moira McCormack, MSc

8/7/14 – A Somatic Update for Dancers – Nancy Wozny

11/19/14 – Turn-out and the Dancer: A Closer Look – Jan Dunn, MS

2015

1/2/15 – Dancers and Stretching: How Hard Should You Push? – Matthew Wyon, PhD

1/22/15 – Are You Ready For Pointe? – Selina Shah, MD

3/11/15 – A Franklin Method Foot Warm-Up for Dancers – Jan Dunn, MS

5/13/15 – Introducing Our Dance Wellness Panel – Catherine L. Tully

5/20/15 – Franklin Method Foot Warm-Up: Part II – Jan Dunn, MS

6/25/15 – An Easy Guide to Portion Sizes – Catherine L. Tully

8/5/15 – Let’s Talk “Core Control” – Jan Dunn, MS

8/31/15 – Let’s Talk “Core Control” II – Jan Dunn, MS

9/1/15 – Let’s Talk “Core Control” III – Jan Dunn, MS

10/1/15 – On the Marley Floor – Jessica Anspach McEliece

10/24/15 – IADMS 25^th Annual Meeting – Catherine Tully

10/29/15 – Flash Feldenkrais for the Busy Dancer: Part I – Nancy Wozny

11/10/15 – Book: Anatomy, Movement Analysis, Conditioning – Gayanne Grossman, PT

12/6/15 – About That Ice Pack…… – Jan Dunn, MS

Flash Feldenkrais for the Busy Dancer: Part II

December 28, 2015 by 4dancers

STREB FORCES at Miller Outdoor Theater in Houston, Texas. Photo by Amitava Sarkar. — STREB FORCES at Miller Outdoor Theater in Houston, Texas.
Photo by Amitava Sarkar.

Aloha! Nancy Wozny, our Somatics specialist on the 4dancers Dance Wellness Panel recently gave us Part I of “Flash Feldenkrais for the Busy Dancer” – here is Part II. This one is focused on what to do after a trauma, like a fall, or a disorienting movement experience (like a hectic, packed rehearsal day!). Thanks again to Nancy, and Happy Holidays to All! – Jan Dunn, Dance Wellness Editor

by Nancy Wozny

I scampered to the edge of my seat to watch Cassandre Joseph fall from a great height as part of the kinetic pyrotechnics of STREB FORCES. She falls (or flies) and crash lands unharmed, as all of the STREB’s super action heroes do during their recent show at Miller Outdoor Theatre in Houston. Part of Elizabeth Streb’s brilliance is her meticulous methodology of falling, flying and crash landing in a way that we feel the visceral excitement of the motion.

Falling, jumping, unusual landings and the like, are all part of the contemporary dance landscape now, as dancers need to be fluid movers on the ground and in the air. Even partnering has evolved to include fabulous eye candy lifts and maneuvers. But there are times when dancers take a tumble when it wasn’t in the choreography. Most often, you stand up without any apparent injury, just feeling little stunned. Whether one sustains injury or not, unintentional forces have entered our systems, and we may feel discombobulated for a while. We’ve taken a blow, and that has an impact whether or not there are any visible scars.

All of this leads us to the continuation of my Flash Feldenkrais for the Busy Dancer. During Part I, we focused on coming back to neutral in the joints. This next lesson addresses how we organize ourselves for action, and is especially aimed to help us regain a neutral organization after a tumble or trauma. Even a minor trip can have somatic repercussions and lead to unnecessary holding patterns. The lesson is also great at just calming us down, and who doesn’t need a little bit of that now and then in the dance biz?

Flash Feldenkrais Lesson #2: Organizing the Spine in Side Lying

When to do this lesson: After any form of trauma or disorientating movement experience.

Why do this lesson: The lesson will help you return to a more neutral organization, calm down, and improve well being, if you feel a bit shaken up from a minor fall or a hectic day of rehearsal. If post injury, check with your doctor first.

What you need to do this lesson: You will need about 20 minutes of uninterrupted time, a soft mat or blanket and a towel to support your head during this lesson.

Remember: Rest between each step and before you fatigue. Do each instruction just a few times. Make the movement as easy as possible.

Rest on your back and notice your contact. Determine your favorite side. You will be lying on that side during the lesson. Turn to the preferred side so that your arms and legs are at a right angle to your torso. Your knees are bent at right angles but your arms will be straight and not bent at the elbows. Your palms rest on top of each other.

Move your top arm forward in the direction of your fingers passed the lower hand and then back to your starting place, remembering to keep the top arm straight. Notice the shape of your back changing and your head rolling toward the floor in front of you. Rest on your side.

Now move your top shoulder backwards in the direction of the floor behind you. Your top hand will glide toward the elbow of your lower arm. Your top shoulder blade moves behind you toward the floor. Turn your head toward the ceiling as you roll backward. Rest on your side.

Combine both movements, so that your top hand is moving forward and back. Feel the movement go through your spine. Your head will also be rolling toward the floor in front of you and toward the ceiling. Rest on your back and notice the contact of the working side.

Return to your preferred side. Move your top knee further forward, so that it passes the lower knee. You should feel the top ribs articulating. It’s a small movement. Make sure to move the knee directly forward in the direction it is already pointing. Think of your knee as a headlight so keep the light going the same direction as you glide the knee forward in space. Rest.

Now move the knee backwards so that the top hip moves toward the floor behind you. Put both of these movements together so that the knee moves forward and backward in space. Rest on your back. Notice how the contact of the working side.

Return to your side. Move the hand and hip forward and backward. Notice the movement of your head. Make the movement as fluid as possible. Rest on your back and notice the difference between your sides.

Repeat the entire lesson on the other side.

Rest on your back and notice your contact. Come to standing and notice your posture.

Remember you can do these lessons any time, whether you’ve taken a tumble or just want to come back to a calm place. Enjoy the lesson and stay tuned for Flash Feldenkrais Part III.

Nancy Wozny is editor in chief of Arts + Culture Texas, reviews editor at Dance Source Houston and a contributor to Pointe Magazine, Dance Teacher and Dance Magazine, where she is also an contributing editor. She has taught and written about Feldenkrais and somatics in dance for two decades.

Two Decades At Colorado Ballet

December 17, 2015 by 4dancers

by Sharon Wehner

“What does it mean to you to be celebrating your 20th season with the Colorado Ballet?”

This is a question I have been asked over and over again since our season started this past July—a question asked by my colleagues, by board members, by our marketing department, and by numerous members of the media. I have spent hours pondering it, and each time I am asked, it seems I have a different answer.

It is a big question, and quite honestly, I dread it, because it sends me spinning into a myriad of memories and growth periods—both beautiful ones, and those that were, well, more challenging. My first response is to say that it feels like any milestone birthday. On the one hand, it’s could be viewed as just another number. From a pessimistic perspective, it could be seen as the inevitable passing of time—one year closer to the end. Dancers love to bemoan how old they are getting and how old their bodies feel, a tendency that starts about the age of puberty. But from another perspective, a milestone birthday could be an opportunity to feel blessed—one more year to be able to be and do what I love.

What does it mean to dance for twenty years in the same company? As every dancer knows, choosing this as one’s profession means accepting some unique parameters:

Dancing is a career with a limited lifespan—retirement does not mean turning 65.5 and collecting a pension. Longevity in one company may earn a small amount of seniority, but nothing like the retirement benefits of a company in the corporate world.
Being a professional dancer requires a particular lifestyle commitment. Because our body is our bread and butter, what we do outside the “office” affects our ability to be at the top of our game. Simple things like food, sleep, rest, exercise, and play are all intimately connected to our performance. And as the years pass, maintenance on the body becomes an increasingly refined and conscientious balance of these elements.
Dancing can be a very transient kind of lifestyle. Those who freelance must weave together a patchwork of gigs, supplemented by other kinds of work to pay the bills. They must be able to adapt quickly to new bosses, colleagues, an environments. Even those dancers who want the stability of a company, will often switch companies several times during the span of their careers, for a number of reasons.

Given all of these tendencies, why would someone commit the bulk of their dance career to one ballet company for 20-plus years? When I ask myself this question, there are a multitude of answers, which brings up the question “What are the advantages of such a commitment?” [Read more…]

Ballet Music: Backstage With Conductor Scott Speck

December 16, 2015 by 4dancers

Today we’re thrilled to take a look behind the scenes, as conductor Scott Speck walks us through what it’s like to work with the score at the Joffrey Ballet. Learn more about how often the orchestra rehearses with the dancers, what Mr. Speck’s routine is like as a conductor the night of a performance, and more…

by Scott Speck

When you conduct for Joffrey, is there a routine when it comes to your approach to the score?

It’s a joy to make music for the Joffrey Ballet. This is a company that truly appreciates and even cherishes the value of live music. I attribute this largely to Artistic Director Ashley Wheater, who had extensive musical training as a child and (it turns out) seems to have perfect pitch, as he always sings the music to me in the right key! A true rarity in the ballet world.

Since I am a symphonic conductor by training, I always approach the score first as pure music. Over several months leading up to the production, I learn the form and structure of the music. I prepare to conduct as if for an onstage symphonic performance. Then I spend weeks in the studio, learning what the dancers need. It’s very helpful to have the score internalized or even memorized, since I often have my eyes fixed on the stage. The best way to achieve that is repetition! (I’ve conducted The Nutcracker some 300 times already, and it’s fair to say that conducting that score is like breathing!)

Fabrice Calmels and Robert Everson — The world’s tallest professional ballet dancer, Fabrice Calmels, with (possibly) the world’s tallest timpanist, Robert Everson of the Chicago Philharmonic. Photo courtesy of Scott Speck.

How often do you rehearse with the musicians, and where?

The Chicago Philharmonic, which always plays for the Joffrey, is a superb ensemble. The orchestra and I work together frequently throughout the year, both onstage and in the orchestra pit. As a result, the musicians and I have learned to communicate with each other very efficiently — we can almost read each other’s minds at times. So the time that we actually spend together rehearsing is quite short. For a new ballet, the musicians first learn their music on their own, and then we get together four times — twice in a rehearsal hall, and then twice in the orchestra pit, with the dancers onstage.

Nutcracker backstage — Trombonist B.J. Hardesty and Trumpeter Chris Hasselbring of the Chicago Philharmonic, pianist Paul James Lewis, and a flock of angels. Photo courtesy of Scott Speck.

How often do you rehearse with the dancers? [Read more…]

Dance Injuries – About That Ice Pack…

December 6, 2015 by 4dancers

The web and social media can be wonderful places to get information – facts and news are able to be shared shared quickly and easily. Unfortunately, the same things that make these areas great for spreading information can also have a drawback. Too often something can get passed along without context, which can change the entire meaning…or information can be widely shared that may not have a solid foundation underneath it.

In the coming months our Dance Wellness team will be putting together some solid guidelines for readers on how to go about evaluating dance medicine and dance wellness information on the Internet. They will share specifics on what to look for when searching for, and reading dance wellness info on the web.

We’ll also be compiling and sharing a list of reputable sites that you can go to for information in this field.

In the meantime, our Dance Wellness editor, Jan Dunn, wanted to address some recent information that has been circulating around on social media about the use of ice for dance injuries to make sure that dancers know that indeed, the ice pack is still a useful tool!

by Jan Dunn, MS

This post is in response to discussions I recently became aware of online (primarily on Facebook) regarding the use of ice in treating injuries. Respected dance educators were advocating throwing away the ice pack, despite the many years where RICE (Rest / Ice / Compression / Elevation) has been advised, or more recently PRICE (Protection / Rest / Ice / Compression / Elevation).

I was not aware of any discussions, presentations, or articles on this topic in the dance wellness field – and so was cautious / skeptical, since some of what is seen or posted online is not necessarily true – or is not in line with current scientific / medical protocols. I started doing some research, and checking with various experts in dance medicine – including members of the 4dancers.org Dance Wellness Panel: James Garrick, MD; Moira McCormack, PT; Selina Shah, MD; Matt Wyon, PhD; Janice Plastino, PhD; Robin Kish, MA; Gigi Berardi, PhD; Emma Redding, PhD; Erin Sanchez, MS; and Nancy Wozny.

And what I learned is — well, please don’t jump on this particular bandwagon and throw away your ice packs!

Some basics

Ice can clearly be overused, and when it is, it’s not good. It can damage the tissue it’s meant to be helping if it’s kept on too long. It is usually advised the first 48-72 hours after an acute injury (like an ankle sprain). Some of the sites online are advising not using ice at all are saying that because inflammation is the body’s way of healing, and they imply that to use ice is to stop inflammation. But ice treats the symptoms of inflammation, it doesn’t get rid of it. Ice and compression (more on that in a moment) can reduce the amount of initial swelling –which speeds the healing process– and this is the whole point of post-injury care.

Why Ice Can Be Helpful

Ice is also very useful for helping decrease pain levels –another major symptom of inflammation. So another good reason not to throw away that ice pack.

There is also the issue of “secondary hypoxic injury” – this refers to tissue not damaged by the primary injury (such as the ligaments directly affected by an ankle sprain), but nearby, which can become damaged as a direct consequence of the physiologic response to the primary injury. Ice can slow down these metabolic processes and therefore save some tissue.

How to Use Ice

When you do use ice, go for at least 10 – 15 min. on a new injury (or until the area is numb, which vary slightly depending on how muscular or bony the area is), allowing at least 20 min. before re-applying. Try to go for at least 5 min. minimum on not-so-new areas, if you can’t do the full 10-15.* You have to also always be sure you have something between you and the ice itself – most icepacks come with a fabric covering, and that works fine. You just don’t want to put ice directly on the skin, without something to protect it (think “freezer burn”!). Never use heat on a new injury.

Compression

Now, let’s briefly go over Compression. Most people interpret this as (for example) wrapping an Ace bandage around a sprained ankle. Yes, all well and good – but, as Dr. James Garrick, MD (one of the founders of both the sports medicine and dance medicine fields) points out:

“The ‘hollowed out’ areas posterior (behind) the malleoli (ankle bones, on both inside and outside of the joint) and anterior (in front of) will have NO compression at all (with an Ace bandage), and those structures (the ligaments that were actually injured) will actually be encouraged to swell more.”

What is needed instead is focal compression (directly on those “hollowed out” areas)—which moves the bleeding away from the areas injured. Dr. Garrick gave the example of a dancer whose sprained ankle was treated with this protocol, and “the ankle actually looks like an ankle, not the polish sausage one sees if just an elastic wrap is used.” He noted that this dancer was able to walk with nearly full ankle motion 24 hours after the injury.

Some of the dance medicine medical and scientific colleagues (and non-dance as well) whom I contacted on this Ice / No Ice question, gave some pertinent thoughts that are worth passing on:

“There is no research that counters the practice of using ice to reduce swelling. On the contrary, there are studies that do show the benefits of ice as well as NSAIDS. Not using ice is not standard of care in sports medicine, and I don’t know of any research in dance medicine.” (orthopedic MD who specializes in sports and dance medicine).

“The articles being referenced (in some online sites advocating no ice) need to be referenced to determine their quality – most research in this area is pretty poor. I am also a great believer in using our years of clinical experience (on the beneficial aspects of using ice)”. ( PhD researcher in Sports Physiotherapy).

“Until I see some really solid physiological studies, over time, that ice is detrimental and actually damages the tissues, I will continue to use it as part of my treatment protocols.” (long-time sports medicine physical therapist).

So in conclusion – I hope this article / advice from dance (and sports) medicine experts (who keep up with the latest research) will help clarify this for you, and as I said at beginning – please don’t throw away your ice packs!

Happy Nutcracker and Holiday Season! – Jan Dunn, MS, Dance Wellness Editor

*Please note that this time has been adjusted from the recommendation of 5 minutes, along with a clarification to make it more applicable to a variety of injuries

Editor Jan Dunn is a dance medicine specialist currently based on the island of Kauai, Hawaii, where she is owner of Pilates Plus Kauai Wellness Center and co-founder of Kauai Dance Medicine. She is also a Pilates rehabilitation specialist and Franklin Educator. A lifelong dancer / choreographer, she spent many years as university dance faculty, most recently as Adjunct Faculty, University of Colorado Dept. of Theatre and Dance. Her 28 year background in dance medicine includes 23 years with the International Association of Dance Medicine and Science (IADMS) – as Board member / President / Executive Director – founding Denver Dance Medicine Associates, and establishing two university Dance Wellness Programs

Jan served as organizer and Co-Chair, International Dance Medicine Conference, Taiwan 2004, and was founding chair of the National Dance Association’s (USA) Committee on Dance Science and Medicine, 1989-1993. She originated The Dance Medicine/Science Resource Guide; and was co-founder of the Journal of Dance Medicine & Science. She has taught dance medicine, Pilates, and Franklin workshops for medical / dance and academic institutions in the USA / Europe / Middle East / and Asia, authored numerous articles in the field, and presented at many national and international conferences.

Ms. Dunn writes about dance wellness for 4dancers and also brings in voices from the dance wellness/dance medicine field to share their expertise with readers.