4dancers – Page 2

A Dancer’s Reflections: COVID-19, Social Media and Art

June 23, 2020 by 4dancers

by Luis Gonzalez

Luis Gonzalez dancing — Luis Gonzales. Photo by Luis Coronas.

It’s hard to put into words how it feels to be an artist during this time. There is so much that we are undergoing that no one was prepared for. Globally people are dying, economies are on the verge of collapse, theatres are closed, ballet companies can’t perform or rehearse, dancers all over the world are going unpaid–with no promise of upcoming paychecks. Careers in the arts are decidedly of an uncertain nature, and so in that sense I suppose the lifestyles we’ve led have in some ways provided insight into what it takes to navigate chaos; and maybe sometimes to even thrive in it.

The enterprise of abrupt change bleeding into our lives can feel like a merciless, consistent and destructive threat as it does to many of our livelihoods and mediums for expression right now. Still all one has to do is look around and see where people are finding shelter from the anxiety and where they find the ability to still be exposed to growth from different perspectives. Art, music, dance, movies, and television shows. Stories are being told through many different mediums that make life within our bland confinements have color. If anything, the global pandemic has shown us all the level of resilience that the art within us can provide.

I am no stranger to anxiety, and as I write I know that this is one of the many generous mediums I frequent whenever I find myself in need of the kind of peace that is only rendered through the process making a thing. I’m sitting at my desk with a cup of hot black coffee, looking out on to a rainy Georgia morning–just trying to process the fact the state of the world as it was when I went to bed just a few weeks ago was stripped out from under us. The one we woke up to was sick and uncertain and lonely, and – although some of them tried to convince us otherwise – no mentor, no politician, no figure of authority had any of the answers.

Luis dancing the Jester in Victoria Morgan’s *Cinderella* for Orlando Ballet.
Picture by Michael Cairns

I remember having the feeling for the first time in a long time of not knowing what to do with myself. My season had dropped off at a time when I was probably in the best shape I’ve been in my entire career. I had come off doing a full length classical ballet where I was pushed to dance dynamic virtuoso steps that were outside of my comfort zone as the Jester in Victoria Morgan’s Cinderella, and we were going full speed ahead into the next triple bill which included Jessica Lang’s Lyric Pieces, Robert’s Visions, and Val Caniparoli’s Lambarena. My body, my heart, and my art felt in sync. In my experience, as well as experiences that have been shared with me, no career gives you that feeling all the time, and some don’t have it at all, but when it happens in dance it’s one of the most euphoric states one can experience. In many ways an abrupt drop-off from that can feel like withdrawal.

[Read more…]

COVID-19 and the Love of Dance Challenge…

June 18, 2020 by 4dancers

I so glad to be able to let you know about a just-launched charity effort to benefit the dance community, specifically dance studios – The Love of Dance Challenge. As we all know, the COVID-19 crisis has devastated the dance community, especially studios — which are the foundation of our training, and create a springboard for the art. Like so many in our community, studio owners are facing financial challenges, and many are facing the reality of potentially closing their doors for good.

The Love of Dance Challenge is the brainchild of Kaycee Cope Jones and Bri Zborowski, co-founders and co-owners of Apolla Performance Footwear. Here’s how it works:
-Donations are being given by industry leaders — each donor then will “challenge” three more friends / colleagues to also donate, all for the love of dance. (Think of the Water Bucket Challenge for just dance!)
-Anyone can enter to win experiences that they may never have again – with just a starting donation of $10, you can choose which prize(s) you will be entered to win. You can also donate cash, if you don’t want to enter to win anything. All donations / proceeds go towards helping dance studios survive this crisis, and allow the dance world to come together for the Love of Dance Challenge.
-Dance studios from all over the world can apply to be considered for a monetary gift raised by this effort. All applicants will be vetted thoroughly and are required to complete the StEPS 2020 Initiative (see below). A lottery then selects the qualified applicants who will receive the financial gift.

ALL monies raised goes completely to dance studios, to help them survive and keep going.

The StEPS 2020 Initiative is a major part of this Challenge:
It stands for Studios for Equity, Prevention, and Science. StEPS is a brief online course that involves education for studio owners in:
1) Racism in Dance

2) Sexual Abuse Awareness, Prevention, and Response

3) Bringing Dance Science to the Studio4) Gender, Inclusion and Integration in Dance
Further information can be found he re.

I hope everyone gets involved with this wonderful effort, and passes it on to as many dance colleagues as you can. I am so proud to be involved in it (as part of #3 above — Bringing Dance Science to the Studio) –and we can all be proud of becoming part of this industry-wide effort to help our hurting dance world.

Thank you –with Love– Jan Dunn, Editor, Dance Wellness

Rediscovering the Body-Mind Connection in Dance – Thoughts Become Things

June 17, 2020 by 4dancers

We’re pleased to be able to bring you an article by Terry Hyde, psychotherapist and counselor. He is well known in the UK / EU, as a former Royal Ballet dancer who went into the psychology field after retiring from performing. I met him several years ago, through IADMS, and realized his knowledge and insights could be valuable to our readers at 4dancers.org. Please pass it on!
Take care, Jan Dunn, Editor, Dance Wellness

by Terry Hyde MA MBACP, Psychotherapist/counsellor

The power of the human mind is extraordinary – look around for a moment and notice that almost every single thing you can see was once just a thought that someone had. The place you live in, clothes you wear, music you dance to, even the food you eat. They’ve all emerged from a thought or an idea. However, without being able to actually bring these thoughts to life in the physical world, what use would any of them be? Thoughts become things.

Dancers and Mental Health

The power of the mind also enables people to achieve incredible feats of skill and endurance – from running the first four-minute mile, to dancing a technically and physically demanding solo like the Sugar Plum Fairy. Everyone who has excelled has found ways to drive themselves to greater levels of physical achievement. This always starts with a person believing that these things are possible. In every case, we need our physical bodies to carry out the feats that we are inspired to imagine.

As a dancer taking care of your body and mind, mental health is easily overlooked as you focus on perfecting your abilities as a performer. As someone who’s chosen to devote their life to dance, you will have learned many skills and developed great self-discipline to maintain the demanding regime necessary to succeed.

This demonstrates great strength of mind – but unfortunately, your mind can sometimes get in the way of achieving your goals. For example, if you struggle with fear and anxiety, this will hinder your progress towards your goal.

The Stress Response

As a dancer, your body is your artistic instrument – like a great painter’s brush or Mozart’s violin, with one vital difference:

The medium through which you express yourself is a complex, dynamic ever-changing, conscious living organism, controlled by both your brain but also your body – which responds to your thoughts by creating and responding to emotions. Think for a moment when you have felt afraid – the sensations of fear are powerful, physical responses to the stress hormones that your body releases in times of danger.

The sympathetic nervous system’s “fight, flight, or freeze” responses are linked with our most ancient feelings; essential for our very survival. Fortunately, we don’t live in an environment where predators are likely to eat us – but if you have ever been really frightened, you’ll know that the emotion is an extremely powerful physical sensation. You may have experienced it yourself in the form of “stage-fright”, or exam nerves when your heart races, your palms sweat, and your mind goes blank.

At these times your body has actually taken over from your conscious mind, as it processes what it needs to do to ensure that you respond in the best way that will ensure your survival. If you are just about to go on stage, freezing or running away might not be the best reaction – and this is when being able to manage your emotional responses becomes a very useful skill.

Compare the sensations called “fear” and “excitement”, and you’ll discover they’re almost identical. Your heart rate increases, your pupils dilate, you become more alert and very focused in the present moment. Just try thinking back to a time when you were feeling very excited about something, like a roller-coaster ride, or on Christmas eve. Do this, and you will start to see that the only real difference is the name we give the feeling we are experiencing.

By changing your internal description of the sensation you’re feeling from fear to excitement, it is possible to change how you view a situation in just a few moments – and that can make all the difference between freezing and excelling.

This is known as “re-framing”, and it is a powerful skill, that can help you literally “change your mind” in a moment, and see something in a completely different way.

How to Re-frame a Situation

One of the most important principles of this technique is to make sure that your re-framing feels like the absolute truth to you. It is even more effective if the new thought makes you laugh!

For example, when you are experiencing the sensation of FEAR it can be looked at as one of two things, either:

“Forget Everything And Run” or

“False Evidence Appearing Real”

If your life really is in danger, then the first one is the truth and you can respond by running away. However, in most situations where we experience fear, the second definition is often true. In this case, it is important to be able to take a moment and recognise the sensations you are feeling, perhaps by taking a deep breath and then giving a name to what you are experiencing.

The next step is to ask yourself what it is that you are afraid of? Is it rejection, performing a certain technique badly, or perhaps even worse – forgetting your steps?

At this point ask what will happen if things don’t work out the way you want on this occasion. You might not be cast in a role you are auditioning for—but remind yourself that there were probably numerous other people who auditioned, but also didn’t get the role—because they (and you) didn’t fit the AD’s specific requirements. Remind yourself that there are other, better roles waiting out there for you.

If you are struggling with a certain jump or pirouette, think about how many other steps or techniques you can already do really well, or even better than other dancers. Focus on the feelings of satisfaction that you experienced when you first mastered them, and imagine yourself feeling the same sense of achievement when you do this new jump or technique really well. If you are afraid that you will forget your steps, think about all the other performers who have forgotten their steps – I’m guessing you can name at least one!

Sometimes a “mistake” becomes the inspiration for something new and innovative:

In a recent programme during the rehearsals of the Royal Ballet’s “Nutcracker,” one of the dancers rehearsing the Chinese Dance fell over and performed a backwards roll in the splits to recover. The move came from an apparent “mistake,” but was so original that the choreographer incorporated it into the ballet.

Re-framing can seem like a magic trick, but it can be used in as many ways as you can think of. Use it as much as possible, and learn to re-frame the way you talk to yourself, changing “I’m not good enough” to “I’m definitely getting better, or “this is so difficult” to “this is a really exciting challenge” – and see how things change for you. Most importantly, make the process fun, be creative and enjoy finding new ways to change your mind–and become the best performer you can be.

Terry Hyde MA MBACP, Psychotherapist/counsellor

Terry started dancing at age 6, won a 5-year scholarship to the RAD, afterwards attending the Royal Ballet Upper School, joining the Royal Ballet at age 18. He then joined London’s Festival Ballet (now ENB) as a soloist, performed in musicals in London’s West End, in Film, and on TV.

On retiring from performing, Terry set up a Business Manager for people in show business. On selling the business 15 years later, he retrained as a psychotherapist attaining a Masters Degree in Psychotherapy & Healing Practice validated by Middlesex University in 2012.

Terry combined his two passions, dance and psychotherapy, when he set up www.counsellingfordancers.com in 2017. He wanted to help dancers with their emotional and mental health issues. Having had a career as a dancer, Terry has a great understanding of the needs of dancers’ mental health issues. Terry presents interactive Mental Health Self-Care Workshops for Dancers. These proactive workshops are to help support dancers’ mental wellbeing teaching them resilience and how to be mentally fit and emotionally strong.

One to one therapy sessions can be via Skype, phone or face to face at one of his practices on the south coast (UK).

Aerobic Fitness for Dancers

June 10, 2020 by 4dancers

Dr. Emma Redding, PhD is a longtime colleague in the dance medicine world. She is a dancer, educator, and currently Head of Dance Science at Trinity-Laban Conservatoire of Music and Dance, in London. A former president of IADMS, and on our 4dancers.org Advisory Board, Emma is also one of the foremost researchers in the field. One of the many areas she has looked into over the years is the need for aerobic conditioning for dancers, and how dancers who are well conditioned in that particular area can lower their injury risk. Here is an excellent article on that topic — please pass it on!
Take care, Jan Dunn, Editor, Dance Wellness

by Emma Redding, PhD

As a dancer, I often wondered why technique classes were not sufficiently providing me with all the conditioning and skills needed to meet the demands of my dance performances. I knew intuitively, that I couldn’t rely solely on technique – however I wasn’t exactly sure what I needed to do to train better. It’s because of these answered questions, that I decided to pursue a career that allows me to understand the science of dance.

I’m now Professor of Performance Science at Trinity Laban Conservatoire of Music and Dance in London, England where I lead the department of Dance Science. My colleagues and I wrote the first ever Masters degree in Dance Science in 2001 and since then, we have witnessed an exponential growth in the number of opportunities to study Dance Science at University level, in the UK / USA / and many other countries. Through my research into the physiological demands of dance and as a founding partner of the National Institute for Dance Medicine and Science and Past-President of the International Association for Dance Medicine and Science, I have become an advocate for increasing awareness among dancers and dance educators of the importance of fitness conditioning for dancers.

Dance is an intermittent ‘stop/start’ form of activity. In a performance, a dancer may go from performing an explosive lift, or series of jumps, to a more sustained, continuous – or smaller movement phrase, and this repeats over the course of a dance piece. As such, dancing demands the kind of energy that is derived from both the slow aerobic and fast anaerobic pathways.

Unfortunately, dancers cannot rely solely on technique classes to provide them with all the training they need to meet the demands of performance. This is because a technique class typically includes highly skilled exercises that are often quite short, teacher feedback, corrections and discussion – and often, a good deal of standing around. The technique class is invariably taught at a lower intensity than a performance, and focuses on technical skill and artistry over fundamental physiological development.

Research shows that dancers can train more effectively by supplementing their technical training with fitness conditioning. Aerobic conditioning enhances stamina and endurance improving your ability to dance at moderate intensities for longer periods of time without experiencing early fatigue. Interval, circuit-type conditioning enhancing your ability to work at high intensities, and this sort of training more closely mimics the work-to-rest ratios and intensities seen in dance.

Aerobic Conditioning

To improve your aerobic capacity, you should engage in continuous and repeated exercise for at least 10 minutes (preferably 10-20 min). Swimming, jogging and cycling at a steady pace for are examples of aerobic exercise. However, any form of physical activity which engages the larger muscle groups and can be repeated over a period of time is likely to be training the aerobic energy system. You may want to keep in mind that running is impactful like dance, while swimming is non-impact, but particularly useful if you have a lower limb injury.

Interval-Circuit Training

To improve your anaerobic fitness and ability to work at high intensities, you should engage in interval-circuit training which involves a series of exercise lasting between 30 sec and 2 min. The exercises vary in intensity as well as duration and can involve short rest periods. Examples of exercises include sprints on the spot for 30 seconds, moving in and off of the floor very quickly for say 45 seconds, jumping and burpee-type movements whereby the body weight is shifted from hands to feet repeatedly.

These exercises are short in duration and can be near-maximal intensity. It would be beneficial to experiment with the length of rest periods in-between the high intensity bouts as this would help prepare for the varied length of recovery periods on stage. Sometimes, substitute the rest periods with moderate intensity work, then go back to high intensity again to mimic the changing nature of dance.

Summary

Dancers are not given much opportunity to train for the physiological demands of performance. While they may well be technically skilled enough, they are less likely to be fit to perform.

Ideally, the making of a new performance piece should be set several weeks before the first performance. This is so that dancers can run the piece over and over to become ‘match-fit’ to perform. With funding restrictions as they are, however, this is unlikely – particularly for project-based companies and freelance dancers with short rehearsal periods.

To prepare themselves physiologically to meet the demands of performance, dancers should do supplementary training outside of their class and rehearsals – and if possible, consider the specific physiological requirements of the piece, as a way of preparing themselves physically. (EDITOR’S NOTE: Emma Faulkner, DPT with Atlanta Ballet, recently devised a choreographic-specific pre-performance training program, to better prepare the dancers for that particular piece. This resulted in fewer injuries overall. Dance Magazine highlighted this in the article “Why You Should Tailor Your Cross-Training to Your Rep“)

This could mean acknowledging any unusual lifting required, body-part usage, work-to-rest ratios, jumping and so on, and from there, design a supplementary conditioning program, which incorporates progressive training in those areas of fitness.

Meanwhile, the debate around dancer fitness will continue. It is not certain whether the recommendations arising from the findings thus far apply to dancers of all genres, and much more research is needed. What is clear is that dancers are now working in eclectic styles of choreographic work, and facing increasing physiological demand. These dancers need fitness conditioning more than ever before.

Research findings do at least show that for now, dancers should not rely solely on technique classes to provide them with everything they need to meet the demands of performing. Happy training!

BIO: Professor Emma Redding, PhD Head of Dance Science, Trinity Laban originally trained as a contemporary dancer performing for Tranz Dance Company in Hungary and for Rosalind Newman in Hong Kong. She is now Head of Dance Science at Trinity Laban Conservatoire of Music and Dance, London, England. Emma has played a major role in developing dance science as a recognised field of study at university level, through her research, and through teaching internationally, as a founding partner of the National Institute for Dance Medicine and Science and a past-member of the Board of Directors and Past-President of the International Association for Dance Medicine and Science. Emma teaches Exercise Physiology and Contemporary Dance Technique at Trinity Laban alongside her management and research work. She supervises undergraduate and graduate student projects as well as PhDs in areas such as dancer health, physiology, talent development, dance training and creativity. She has led and co-led several large cross-institutional projects including most recently, a Conservatoires UK study into musician health funded by the Arts and Humanities Research Council and a creativity and mental imagery study, in collaboration with Plymouth University and Coventry University, UK.

Taking Dance Classes Online – Adapting Expectations

April 9, 2020 by 4dancers

We’re pleased to bring you a timely article revolving around the current COVID-19 crisis / quarantine, and the many online dance classes that we are now seeing on social media. It is wonderful that we have these online resources for our dancers–however, we need to continually be mindful of how best to safely bring online dance classes to homebound students.

Our guest contributor is Sutton Anker, MSc. Sutton has a strong background in dance medicine and science, having done her BFA (concentration in dance science) at University of Wyoming, with Margaret Wilson, PhD and Jennifer Deckert, MFA–two prominent researchers in the field. She went on to obtain her MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in London, and remained in the UK for two years. While in the UK, she completed her Safe in Dance International (SiDI) Certification, and also became a SiDI Provider (meaning she can teach courses for certification), one of only two in the USA. She is based in Denver, CO, USA, where she is affiliated with Denver Dance Medicine Associates, and teaches at a competition dance studio. She is also a BASI Pilates instructor, and works for IADMS (International Association for Dance Medicine and Science).
Enjoy the article, and please pass it on.

Take care / stay healthy / stay safe — Jan Dunn, Dance Wellness Editor

Almost overnight, due to the COVID-19 pandemic, some elements of our lives have turned upside down, including many activities moving to virtual platforms. From work meetings and coffee dates to game nights and dance classes, our activities are now largely mediated by a screen. My partner’s workspace used to be a corporate office, sitting at a desk, with a computer screen in front of him, talking to people. The only thing that has changed now for him is no more corporate office, but instead a bedroom office and our cat is able to cuddle up next to him.

In comparison, my workspace used to be a vast open room, with a marley sprung floor, a surround sound system, and barres along the perimeter. My workspace is now my 6ft by 6ft carpeted living room, with no overhead lights, a couch, and a coffee table I have to move into the dining area before every class. Luckily, cat is also included.

My dance students are dancing in their bedrooms, because their family is occupying other parts of the house. Their only option is a 3ft by 4ft (if that) carpeted area next to a bed and a cluttered desk, with a lamp as their only light source. Or, they’re dancing in their family living room where the dog won’t let them successfully hold a plank and thinks it’s play time, and you hear a parent talking in the background! Distraction much? This dark, small, cluttered bedroom might be ideal to a teenager when they can use this space as their getaway sleeping nook–but suddenly it has become their classroom, bedroom, social hangout, and now dance studio.

Social media is booming with virtual class offerings from local studios, professional companies, and individual dance artists. This provides dancers an exciting opportunity to stay connected to a community and to keep their bodies active during these uncertain times. As I see young students taking classes and videos of dancers popping up on all of my social media pages, I can’t help but think, “Is this safe?” Although there are several benefits to offering online classes–financially, socially, and personally–it is our duty as dance teachers, parents, students, and professionals to safeguard these artists in these changing contexts. Both teachers and dancers must adapt our expectations to meet the change in environment and mental wellbeing.

It is normal to feel sad, unsure, scared, and angry during this time of quarantine. This time is not, and should not be social isolation, but a physical isolation. Fortunately, the virus cannot spread from one screen to another–so aren’t we lucky to have a way to connect? As advised by the World Health Organization, during this time we should stay connected to our family, friends, community, and arts to maintain a healthy mental wellbeing.

Teaching a dance class virtually has allowed us to see our students, maintain our sense of dance community and teachers can continue sharing their passion. But, to what extent? What should we be expecting of them? Should our class flow and demands shift as their dance environment has had to shift? The short answer? Absolutely!

Here is what the research says on the impact the dance environment and mental wellbeing has on safeguarding our students:

Dance floor: The quality, size, and characteristics of the dance floor directly relate to injury. Research has shown that that an unsuitable floor is associated with injury when jumping and turning (Quin et al, 2015). Experienced and novice dancers are susceptible to injury, particularly in the lower limb that takes the most impact (Laws, 2008). Injuries associated with jumping on hard or inadequate surfaces include patellar tendonitis, stress fractures in the feet, and shin splits (Simmel, 2009). When turning on an inadequate floor space, like carpet, this can cause a higher risk of injuries in the knee and ankle due to not having the proper foot mechanics. An ideal floor is flat, smooth, sprung to absorb impact, and vast in space.

Environment: Ensuring that a dance space is environmentally equipped and safe for dancers is key for overall safe dance practice (Quin et al, 2015). Environmental factors such as proper lighting, adequate space with no obstructions, and temperature can all relate to the safety and risk of injury. If any one of these components is not adequate, adaptations need to change for what can be expected of that dancer.

Psychological: Injuries can occur due to psychological factors, meaning when an individual’s mental wellbeing is poor, they are more prone to injury (Skvarla & Clement, 2019). For many of the students, their social and emotional needs are not currently being fully met due to the quarantine, causing their psychological wellbeing to have shifted. Additionally, many young students are adapting to a new schedule and new routine for school, family, and dance. In consideration to routine, adding more to the schedule is unnecessary and can lead to burnout or other harmful physical and psychological outcomes. All of these mental and emotional changes should be considered by student, parent, and teacher in regard to safeguarding during online dance sessions.

Expectations of the dance class should adapt to respond to the changes in workspace- flooring, environment, and mental shifts. Although some students or teachers might have access to large open rooms and a ballet barre, not everyone has that privilege. Student’s safety and health is a teacher’s highest priority. But asking them to jump, turn, and do everything “full out” is not safe during this time.

It is the duty of the dancer to communicate what is possible for them to do in their space, and the responsibility of the teacher to adapt their teaching plans and demands to safeguard their students.

How can we create classes so that they are effective, progress training, and are accessible for each student–regardless of the space? Here are some places to start:

Consider the flow of the class:

First, and foremost, always, warm-up and cool-down. This goes for both teacher and student. Have your bodies and minds ready for the space you are about to move in (Quin et al, 2015).

Avoid jumps. Without proper flooring, and adequate cueing from the teacher (which are both difficult in quarantine times), jumping could cause harm to the student and to the teacher demonstrating the movement.

Avoid turns, particularly for those on carpet. Implement balance exercises or discuss the mechanics of the turns instead.

Although it is recommended to have a peak stage in a class in regard to the demand or challenge of movement, consider how this stage can be reduced for safety or done in a different context than being met physically, like through discuss, research, or watching it done in video.

To continue training these elements, consider doing conditioning work and utilizing motor imagery. Have the dancers visualize themselves performing the task or the dance full-out, as this has been shown to be beneficial for the firing of the muscles and success of the movement (Krasnow & Wilmerding, 2015).

Change the content of the class

Emphasize to your dancers they do not have to take every class offered. The body needs a physical and mental rest. Try to stick to your typical dance or workout schedule, including dance styles – avoid adding more in and do not feel obligated to participate.

Play a game! This is a great way to keep them moving, thinking creatively, and connected to their fellow dancers. This can be something from your usual dance class transformed to the virtual world or create something new.

Let them create movement rather than setting movement on them. We need to adapt to where they are, with a different setting and space allowance. So instead of setting our expectations and making them come to us, let’s come to them.

Watch dance together. Find a YouTube video or other platform to watch dance and discuss it together. After watching, the students can create a piece using the film as inspiration.

Discuss and implement psychological skills such as meditation, imagery, mindfulness, goal setting, and positive self-talk. It has been shown that teachers who discuss, encourage, and apply psychological skills have a positive impact on dancers’ wellbeing and overall performance (Klockare et al., 2011).

Consider implementing Somatic practices taught by you or a Somatic professional.

Introduce conditioning and strength training classes. There are various platforms available for Pilates, conditioning, etc. Be sure to check the qualifications of the instructor to ensure you are receiving correct and research supported information.

Ask the experts!

There are many professionals in the dance and dance wellness world currently stuck in their homes eagerly wanting to share their knowledge. Reach out and invite them to your Zoom session and discuss their expertise with your dancers. This is a great opportunity to engage our students with the dance and dance wellness communities on a larger scale. For example:

Invite a dance medicine PT in to talk about injury reduction.

Invite a nutritionist in to inform them that as delicious as salty potato chips are in the midst of a quarantine, we should keep a balanced diet to fuel our bodies with proteins, starchy carbs, good amounts of veggies, and fruits (Challis & Stevens, 2016).*

Ask a Pilates instructors or a conditioning coach to provide exercises that can be done with little to no equipment in small spaces to keep dancer’s bodies strong and mobile.

Reach out to a professional dance company to see if one of their dancers will share their experiences.

Need some contacts? Here are some sites to start searching:
- 4dancers.org (we have plenty of great resources right here!)
- International Association for Dance Medicine and Science; IADMS Medicine and Education Organization Page
- Denver Dance Medicine Associates
- OneDance UK
- Safe in Dance International

Although we all desperately miss our vast studios and the energy of the dance space, the quarantine is a necessity for the wellbeing of our communities and our economy, locally and globally. We are creative by nature and are able to continue moving, creating, learning, and sharing during this. Let’s be sure we are doing so in a manner that facilitates the safety and wellbeing of ourselves and our students.

(*Updated 4/11 to be more inclusive of healthy eating specifics.)

Sutton Anker has a strong passion for teaching: dance technique, dance science/wellness, Pilates, and creative movement classes for all ages and abilities. Her interest in dance medicine and science began at the University of Wyoming where she earned her B.F.A. in 2013 in Dance concentration of Science. Throughout her time at Wyoming, Sutton participated in and co-coordinated various dance science research projects, while also spending time on the stage both during her four years and post-graduation.

In 2015, Sutton graduated with her Masters of Science in Dance Science from Trinity Laban Conservatoire of Music and Dance in London, U.K. Sutton has presented two of her mirror research studies including her Master’s thesis, An Investigation of Pedagogical Rationales for Current Mirror Use in a Ballet Technique Class at the 2016 IADMS conference in Hong Kong.

Sutton’s personal and academic interest in pedagogy and advocacy for safe dance practice is what drew her to be a Safe in Dance International (SiDI) Registered Provider, teaching safe dance practice to dancers, teachers, and parents throughout the U.S. Alongside teaching dance technique at a local studio, Sutton is a BASI Pilates instructor educating and working with individuals, and dancers, on their personal wellness. In 2019, Sutton joined IADMS as the Program and Marketing Specialist to assist teams across the organization to plan, coordinate, and implement successful conference programming and marketing campaigns. In addition to her teaching and IADMS role, Sutton teaches workshops on dance wellness and Pilates for dancers on behalf of SiDI and Denver Dance Medicine Associates.

References:

Cumming J, Duda JL. Profiles of perfectionism, body-related concerns, and indicators of psychological health in vocational dance students: An investigation of the 2× 2 model of perfectionism. Psychol Sport Exercise. 2012; 13(6).

Challis, J. & Stevens, A. (2016). Nutrition Resource Paper. International Associations for Dance Medicine and Science Resources Paper Online.

Laws, K. (2008). Physics and the art of dance: Understanding movement (2^nd ed). Oxford, England: Oxford University Press.

Klockare, E., Gustafsson, H., & Nordin-Bates, S. M. (2011). An interpretative phenomenological analysis of how professional dance teachers implement psychological skills training in practice. Research In Dance Education, 12(3). doi:10.1080/14647893.2011.614332

Krasnow, D., & Wilmerding, V. (2015) Motor Learning and Control for Dance. Champaign, IL: Human Kinetics.

Quin, E., Rafferty, S., & Tomlinson, C. (2015) Safe Dance Practice: An Applied Dance Science Perspective. Champaign, IL: Human Kinetics.

Skvarla, L. & Clement, D. (2019) The Delivery of a Short-Term Psychological Skills Training Program to College Dance Students. Journal of Dance Medicine and Science 23(4). https://doi.org/10.12678/1089-313X.23.4.159

Consider the flow of the class:

Change the content of the class

Ask the experts!

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