Dance Wellness – Page 14

Competition Dance: Maximizing Peak Performance Part I

August 9, 2012 by 4dancers

This month’s guest contributor to the Dance Wellness column is Robin Kish, MS, MFA, who is on the dance faculty at Chapman University in Orange County, CA. She is a leader in the field of dance medicine, and is especially focused on competition dance.

Robin comes from that background herself, and most of the students she trains come from competition studios as well. Many of them graduate to teach in that same environment. Others have become professional dancers in shows such as “Wicked”, competed at the highest levels of “So You Think You Can Dance”, and joined such top notch companies as Momix.

Robin’s passion is to help competition dancers look for ways to be able to dance / compete / teach without feeling broken. We are so pleased she has joined us here on 4dancers.org, sharing information especially for this important segment of our dance community.

– Jan Dunn, Editor, Dance Wellness

by Robin Kish, MS, MFA

Olympians, professional athletes, and even collegiate athletic programs have something in common….they all provide a team of medical health professionals to promote wellness and maximize peak performance.

Where is there anything similar for competition dance?

Choreography, music, costumes, hair, make up, technique class and 100’s of hours of rehearsing make up the day to day life of young competition dancers. The bread and butter of private studios today are competition teams, with students ranging from ages 5-18.

Competition organizations have been around for a while, however; in the last decade the level and interest in competitions have reached an all-time high. In addition to the increased opportunities to compete, there is also a continuous stream of conventions and workshops available for dancers to take technique class and learn choreography from the latest and greatest artists. Reality TV shows such as “So You Think You Can Dance” and “America’s Best Dance Crew” have helped promote dance in the public arena. That said, the missing factor supporting a dancer’s longevity and maximal performance is wellness…i.e, what this column is all about!

Beyond the rhinestones and sequins, the most important instrument the dancer has is their body. The hours of hard work take a toll on the body and sensations of pain may increase; therefore, a decrease in performance may develop. Since the focus of training frequently is toward the final product and the tricks necessary to score big at each competition, dancers forget to listen to their bodies along the way. [Read more…]

Dance Wellness: Healthy Approaches in the Training of Dancers: Maximizing Peak Performance

August 1, 2012 by 4dancers

Happy August! Everyone is hopefully enjoying the last few weeks of summer, and gearing up for the fall…..especially dance teachers!

If you are in the Southern California area, here’s information about a one day conference you won’t want to miss:

“Healthy Approaches in the Training of Dancers: Maximizing Peak Performance”

The event is co-sponsored by Chapman University College of Performing Arts and the Performing Arts Medicine Association (PAMA – www.artsmed.org), and organized by two of my Dance Medicine Colleagues – Robin Kish, MS, MFA, who is Dance Faculty at Chapman University, and Dr. Janice Plastino, PhD, Professor Emeritus at University of CA-Irvine – and one of the founders of dance medicine. It is aimed especially at teachers (but dancers and students are welcome as well!), and will be a not-to-be-missed opportunity to learn new information to integrate into your program this fall, and to connect with other professionals in the dance / dance medicine world. The fee is $50 or $25 Student.

Some specifics on what will be offered:

“This gathering will focus on healthy training, awareness and care of injuries. The information will be based upon proven principles and methodologies gathered from current research. This conference is geared toward educating teachers to improve teaching skills and safe practices. All levels and types of dance education will be targeted including the private studio, public and school dance programs, community college and university programs.

The keynote speaker is the noted psychiatrist, Dr. Bobbie Robinson, M.D., DPsych., DCP, ,FRCP(C) from Canada, an expert in the psychological issues of dancers. She is joined by special invited faculty Larry Rosenberg, Artistic Director of the Anaheim Ballet; Leann Alduenda, Artistic Director of the DeFore Dance Center; Robyn Moss, M.S., R.D., O.C., Nutritionist, and Brooke Winder, P.T.

We will be offering lecture and movement sessions which include teaching safe advanced ballet and jazz techniques and specified time devoted to good dance nutrition, fitness, stretching techniques, and discussion on when referrals to medical professionals are necessary. A question and answer session is included.”

For additional information on the conference, contact Robin, at kish(at)chapman.edu, or call 714-744-7067 (Side Note: Robin will be one of our upcoming featured Guest Contributors to the Dance Wellness Column :):)

Enjoy the rest of your summer, and don’t miss this one-day conference !! “Talk” to you soon 🙂 —

Jan

Jan Dunn, Editor, Dance Wellness

Dancer Health Day

July 19, 2012 by 4dancers

by Emily Kate Long

I had the privilege last week of attending Dancer Health Day 2012, held July 9 at the National Museum of Dance in Saratoga Springs, New York. The event featured a panel of presenters who addressed a wide range of health issues for dancers: psychology, nutrition, foot health, injury rehab, and cross training, to name a few. The speakers present were Dr Linda Hamilton, Ph.D.; Eliza Minden, creator of Gaynor-Minden pointe shoes; Julia Erickson, co-owner/co-developer of Barre—a real food barre; Meghan Del Prete, a Pilates studio owner and Skidmore College dance faculty member; and Kim Teter, a physical therapist and former member of American Ballet Theatre. These women’s stories were spot on—they’ve been through all the struggles of a life in dance and are now focusing their talents to alleviate some of those difficulties for future generations of dancers. [Read more…]

Staying On Your Toes with a Physical Therapist

July 12, 2012 by 4dancers

Today’s post is the first of our Guest Writer contributions in Dance Wellness. Sarah Graham, PT, is a dance medicine provider working in Denver, CO, where she is Co-Director of Denver Dance Medicine Associates. Her article on working with a dance medicine PT is meant to give you information on what to expect when working with a physical therapist who specializes in dance medicine.

It could also be useful if you have a good PT who is interested in working with dancers, but does not have the background or dance knowledge base. You could give that person Sarah’s article, along with information on IADMS (International Association for Dance Medicine and Science), and that could help them get started. Many dance medicine PT’s are not former dancers themselves, but through a love of dance and dancers, became specialists by a dancer connecting them to the field in that way.

Jan Dunn, MS – 4dancers Dance Wellness Editor

Scan1 — Sarah Graham, PT & Co-Director of Denver Dance Medicine Associates

by Sarah Graham, PT

Since dancers’ bodies endure more than their fair share of physical use, working with a physical therapist is a natural partnership. Many companies have a PT on staff to regularly treat the dancers and provide care prior to and after performances. For those without a PT, finding a dance familiar physical therapist can impact how quickly a dancer returns to dancing as well as provide valuable education to prevent future episodes of an injury.

Most outpatient orthopedic physical therapists with strong manual therapy skills will be able to help a dancer with an injury. Manual therapy is a clinical approach using skilled hands-on techniques, including but not limited to manipulation/ mobilization to diagnose and treat soft tissues and joint structures to increase range of motion in the joint, decrease pain, facilitate movement and improve function. However, two important elements that an outpatient PT who is familiar with dance will bring are:

-an understanding of the physical demands on a dancer

– the ability to assess dance technique for alignment/technique errors which may be contributing to the injury

Often when an injury is sustained, a patient will need to avoid aggravating activities or take time off from certain aspects of their exercise routine. That works well for mere mortals who have a desk job, but won’t get a professional dancer ready for an upcoming show! A PT needs to understand the psyche of a dancer in order to effectively work with them. Most of the dancers I work with dance because they have to. Dancing is ingrained in them as part of their soul, and the need to dance is as natural and necessary as breathing is. [Read more…]

Keeping Dancers Dancing: Outside Conditioning – The Franklin Method Part II

June 15, 2012 by 4dancers

by Jan Dunn, MS

Today we continue our focus on the Franklin Method, with part II of thist series by Jan Dunn…

In the dance world, there is a long list of institutions / companies where the FM has been used and acclaimed– below are only a few of them:

-The Julliard School (NYC)

-Trinity Laban Conservatoire of Music and Dance (London)

-The Royal Ballet School (London)

-The Royal Danish Ballet

-“A Chorus Line” national touring company

-Cirque de Soleil

-Paris Opera Ballet

-Frankfort Ballet

-Hong Kong Modern Dance Academy

-The American Dance Festival

Articles about the FM have been in several dance publications over the years, such as Dance Teacher, Pointe, and Dance Magazine. These can all be found on the Franklin website www.franklinmethod.com, along with articles in other areas such as fitness and Pilates.

The FM is based on practical applications of neuroplasticity, and uses imagery as the primary tool to achieve positive changes in our bodies. There is much research to validate the use of imagery in teaching movement, especially in the sports world (there is research in dance as well, but only recently – whereas in sports, studies involving imagery go back many years). Experiential anatomy is also a major part of learning the FM. That means not only learning anatomy from a book perspective, but taking the knowledge into your body with movement – “embodying” it is a term often used for this, in Franklin as well as other movement education systems. Embodiment gives you direct physical awareness of the body’s function and design.

If you have never experienced working with the Franklin Method, the best way to start is by taking a workshop with a certified instructor. The FM is relatively new to the US – while the teacher training has been in Europe for over 20 years, here in the States it only started 8 years ago. There are still less than 200 instructors in the US, and as yet only a small percentage are also professionals in the dance world. You can find the list of certified teachers / their locations on the Franklin website, and also on the website www.franklin-method.us. I encourage you to take a workshop with whomever you find in your area, regardless of whether or not they are a dance person. Dancers usually relate instantly to FM, as it incorporates many concepts they have already had exposure to in their dance lives (Eric Franklin was, after all, first and foremost a dancer and choreographer J). Franklin himself gives several workshops a year in the US, so if you can locate one that works geographically for you, do it! You will most likely love it, and it will open your eyes to a whole new way of thinking about your body and movement.

If you do not have access to any workshops or certified teachers, there are still ways to experience the FM. All of Franklin’s books and videos are available through OPTP, a physical therapy supply house – www.optp.com. Two of his many books are especially useful for a dancer new to the FM, and are ones I recommended immediately:

-“Dynamic Alignment Through Imagery”

-“Dance Conditioning”

The second book has many actual conditioning exercises that dancers usually find very useful, and that will help give you that overall balance and strength that you need to avoid injury –something we’ve talked about before in this column!

If you are interested in becoming a Franklin-certified teacher, that information can also be found on the www.franklinmethod.com website. There are 3 levels of training, but you do not have to do all 3 in order to teach. You are allowed to teach whatever material is contained in each level that you complete, even if you do not go on to the next one. There are usually at least one or two Level One courses taught in the US each year.

Our next posting will continue with our topic of “conditioning”, only this time it will all about the importance of aerobic conditioning for dancers. Our guest author will be Emma Redding, PhD, who is head of Dance Science at Trinity Laban Conservatoire of Music and Dance, and current President of IADMS (International Association of Dance Medicine and Science).

Editor Jan Dunn is a dance medicine specialist currently based on the island of Kauai, Hawaii, where she is affiliated with Pilates Kauai. She is also a Pilates rehabilitation specialist and Franklin Educator.

Originally a dancer / choreographer, she became 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 will be writing a new column, “Dance Wellness” for 4dancers in 2012 and will also be bringing in voices from the dance wellness/dance medicine field to share their expertise with readers.

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