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Introducing: The Bridge Dance Project

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by Jan Dunn

I’m pleased to be able to tell you about The Bridge Dance Project (BDP), a newly launched cooperative endeavor between leaders in the dance medicine and science field, and the competition / commercial dance field.

The Project began as an outgrowth of conversations between myself, and Kaycee Cope Jones, MS (COO of Apolla Performance Footwear,) in the fall of 2019, following the release of the Apolla Mia Michaels video series on injury prevention in dance. Michaels is an Emmy-award winning choreographer based in Los Angeles, CA, USA.

There has been a growing concern about the increasing number of injuries to young dancers — about the body potentially being “pushed too hard / too far”.  In Mia Michael’s video #3, she mentions as an example — a 16-year old dancer with a double hip replacement. The field of Dance Medicine and Science has been in existence for 40 years, and up to this point, has positively influenced primarily the professional ballet and the academic dance communities. Unfortunately, this has had very little crossover into the commercial and competition dance areas.

There have been some efforts to help integrate this work into this dance communities (such as the Artists and Athletes Initiative – AAI – which debuted at the June 2019 National Dance Honors convention in Las Vegas), and overall, there is a strong need for this type of effort to increase.

The goal of the Bridge Dance Project is to build a bridge between the current realm of dance medicine and science and the commercial / competition areas of dance — to bring more information, working collaboratively together, into the daily lives of dancers working in this area. 

Although this project was started as an outgrowth of the Mia Michaels / Apolla videos, it is not about endorsing any particular product / project / or endeavor. The BDP is about leaders in both fields coming together to address a specific need in a specific segment of the dance community, independent of any organizations or companies we may otherwise be involved with. Here is what BDP is all about:

Vision Statement – The Bridge Dance Project is a grassroots network supporting the whole-person health and wellness of competition and commercial dancers and teachers by providing current dance medicine and science information.

Mission Statement – The Bridge Dance Project builds bridges between the competition and commercial dance community and the dance medicine and science community by providing easily accessible, readily applicable, and personally empowering information. 

The Significance of Our Work – The knowledge we communicate and transfer can contribute to increasing the longevity of dancers’ careers and help them navigate the demands of dance with a 360-degree view of the dancer. We are passionate about our efforts because properly applied education is powerful and will lead to positive and healthy changes for the current and future generations of dancers.

A Board of dance and dance medicine professionals was created to begin the work which we are all envisioning:

  • Katie Schaar — Founder of Sugarfoot Therapy / co-founder of MOTI Physical Therapy in Los Angeles / commercial choreographer and convention teacher / AAI team
  • Gayanne Grossman, PT —Director of Dance Wellness, Muhlenberg College (PA) / PT for Lehigh Valley Network Performing Arts Wellness Program / BOD of IADMS / author of “Dance Science: Anatomy, Movement Analysis, and Conditioning”
  • Selina Shah, MD — Sports and Dance Medicine, BASS Medical Group, / Team Physician – Axis Dance Company, Diablo Ballet Company, Oakland Ballet, San Francisco Ballet School / Healthy Dancers’ Clinic, Mills College / Treasurer and Board of Directors, IADMS / Dance USA Taskforce on Dancer Heath / 4dancers.org Dance Wellness Panel
  • Jeff Russell, PhD, ATC, FIADMS –Associate Professor, Athletic Training and Director, Science and Health in Artistic Performance – Ohio University / dance medicine and science researcher / Research Advisory Group – Cirque de Soleil
  • Bonnie Robson, MD — Psychiatry / dance medicine in Toronto, CA — formerly with National Ballet School / currently on Dance Wellness Team – Ballet Jorgen / Dance USA Taskforce on Dancer Health
  • Robin Kish, MS, MFA — Chapman University Dance Faculty, in Orange, CA / strong background and connections in competition dance / dance science researcher / co -author of recently published second edition of “Dancing Longer Dancing Stronger”
  • Teri Rowe, MS – Executive Director, National Dance Coaches Association, based in LeClerc, ID
  • Jasmine Challis, BSc – Freelance Registered Dietitian and Eating Disorder Specialist, One Dance UK (London, UK)
  • Caroline Lewis-Jones:  Health Made Simple PRO, Certified Holistic Health Coach / Institute of Integrative Nutrition, Professional Dancer/Choreographer, Mom on a Mission, Adrenaline Dance Convention Senior Faculty, AAI Team – Columbia, SC
  • Heather Southwick, PT, MSPT – Director of Physical Therapy, Boston Ballet / Dance USA Taskforce on Dancer Health 
  • Jennifer DePaola – Founder, Doctors for Dancers
  • Steve Karageanes, DO, FAOSM – Medical Director, St. Mary Mercy Hospital Elite Sports Medicine and Sports Performance / Advisory Board – YPAD
  • Jan Dunn, MS / Kaycee Cope Jones, MS – Co-Chairs

Since the BDP was formed, we have created partnerships with dance organizations with whom we share similar goals:

BDP Research Projects, under the direction of Board member Dr. Jeff Russell, PHD, AT, FIDAMS are underway, on several topics related to competition / commercial dance.

There are now BDP chapters, both in the USA and EU, including:

  • Los Angeles, CA
  • Orange County, CA
  • San Francisco, CA
  • Portland, OR
  • Denver, CO
  • Detroit / Ann Arbor, MI
  • Chicago, IL
  • Central New Jersey
  • Cincinnati, OH
  • Tallahassee, FL
  • Philadelphia, PA
  • Washington, DC
  • UK
  • Barcelona, Spain

If you are interested in contacting one of these local chapters, contact the Team Leader (information available on the BDP website).

If you are interested in potentially forming a new group in the USA, contact Jan Dunn at jddanmed@aol.com.

If you are out of the USA, and interested in forming a new chapter, contact Nefeli Tsiouti, MSc, at projectbreakalign@gmail.com.

Current Projects:

  • The above-mentioned research, under the direction of Jeff Russell.
  • Helping NDCA (National Dance Coaches Asso.) develop national standards for dance team coaches.
  • A video on stress in competition dancers, being developed by the Cincinnati chapter.
  • Developing a Teachers Handbook in collaboration with I-Path (International Performing Arts and Theatre), for use in their training curriculum.
  • Partnering with YPAD (Youth Protection Advocates in Dance), to help increase awareness of sexual abuse issues in dance.
  • Developing a workshop in Los Angeles, in collaboration with IADMS (International Asso. for Dance Medicine and Science) and Ballet Beyond Borders, to be held in January (details TBA).

BDP Social Media Information:

Website: https://thebridgedanceproject.com/

Instagram: @thebridgedanceproject

Facebook: https://www.facebook.com / informationBDP/

Dance Spirit magazine article:  https://www.dancespirit.com/bridge-dance-project-dance-injury-2641177786.html

Sign up to be on our mailing list at:

https://forms.gle/wrBYdjZBjxLLQzES6

OR you can contact one of the chairs.:  Jan Dunn, jddanmed@aol.com / Kaycee Cope Jones, kaycee@apollaperformance.com

The Dance/USA Taskforce for Dancer Health – An Introduction

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Recently I was given the opportunity to serve on the Dance/USA Taskforce for Dancer Health, and attended the group’s semi-annual meeting in New York City. The Taskforce is the dance medicine arm of Dance/USA, an organization that serves the professional dance community in the USA. It is a small group, numbering about 100 nationwide — and there were 38 of us at the meeting. I have known a number of these dedicated professionals for several years, including the current Executive Committee:

Co-chair: Nancy Kadel, MD (Seattle)
Co-chair, Treasurer, Screening Co-chair: Heather Herod Cole, PT, COMT, CPI (Nashville)
Secretary: Kathleen Davenport, MD (Miami)
Screening Co-chair: Mandy Blackmon, PT, DPT – (Atlanta)

I’m pleased to be able to share information about the Taskforce and their work in dance medicine — please pass it on!  – Jan Dunn, MS, Dance Wellness Editor

Dance/USA is a national service organization for professional dance – membership is open to dance company directors / managers / agents / producers and presenters / service organizations, as well as individual dance artists and students. The website’s home pages gives the Vision and Mission Statement:

Vision:

Propelled by our belief that dance can inspire a more just and humane world, Dance/USA will amplify the power of dance to inform and inspire a nation where creativity and the field thrive.

Mission:

Dance/USA champions an inclusive and equitable dance field by leading, convening, advocating, and supporting individuals and organizations. Dance/USA’s core programs are focused in the areas of engagement, advocacy, research and preservation.

  • Engagement: Dance/USDA engages and activates its network through meaningful programs, convening, and educational opportunities.
  • Advocacy: Dance/USA advocates for the increased visibility of, and engagement in, dance and for government policies that positively impact the dance field on a national, regional, and local level. In this area, the organization maintains an office in Washington, DC, to represent and advocate for the field of dance in Congress.
  • Research: Dance/USA provides rigorous, relevant, and accessible research for the dance field.
  • Preservation: Dance/USA provides resources and programs to advance the archiving and preservation of America’s dance legacy.

The Taskforce on Dancer Health is composed of medical professionals, all volunteer, who work directly with professional dance companies and professional dancers across the USA and Canada. Their mission is to maintain the health, safety, and well being of professional dancers, and it was formed in the winter of 2005 at the request of the Council of Managers for Dance/USA.

The Goals of the Taskforce are to provide experienced and expert health information and support to professional dance companies of all sizes and budgets (and genres). Two of their major efforts are in helping companies establish an Annual Post-Hire Health Screen, and a three-year project to track injury patterns in professional dance companies.

The Screening’s primary purpose is designed to detect potentially life-threatening or disabling medical or musculoskeletal conditions that might limit the dancer’s safe participation in their dance work. In addition, it is designed to determine the general overall health and fitness level, and to make recommendations based on the information gleaned in the Screen. On this website, 4dancers.org, we have had previous articles on screening and why it is an important tool for all dancers–professional or not. Currently there are over 30 professional companies which participate in the Dance/USA Screening Program.

Informational Papers:

An additional goal of the Taskforce is to serve as a resource for information on health and wellness. To that end, there are free informational papers available on the website. They are not meant to take the place of the advice of a medical professional. These papers are brief overviews of different topics, all written in everyday language — current papers are:

  • Vitamin D and Calcium: Tips for Dancers
  • Dancer Health Tips: Heat Illness and Hydration
  • Dancer Health Tips: Backstage First Aid Kit Necessities
  • Dancer Health Tips: Staying Healthy on Tour
  • Tips for Dancers on Anxiety
  • Tips on Depressive Illness for Dancers
  • Tips on Concussions for Dancers

New papers are released on the website and updated throughout the year, so it’s a good idea to check back periodically and see if there is new information to be found.

Dance/USA and the Taskforce on Dancer Health provide excellent resources for the dance world. Clearly it is aimed at professional dancers, but the information provided is valuable to studio teachers as well – especially in terms of the screens and informational papers. If you are not already familiar with it, I encourage you to take a look.

Here is a direct link to this section of the website.

For further questions contact: dancerhealth@danceusa.org

Sidelined?

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By Samantha Hope Galler

Louise in Kenneth MacMillan’s “Carousel” with Miami City Ballet. Daniel Azoulay.

Understanding Injuries

Since I began my career nearly 10 years ago, I have discovered that professional ballet dancers are among the strongest human beings. When I was 5 years in to my professional career, I met with a sports medicine doctor. During our conversation he said to me, “Well, it’s not like you are playing tackle football.” I could not believe it. His comment opened my eyes to how little people understood the dance world and the risks that come with it. Dancers put their careers on the line every day. We must deal with disappointments, but, most of all, we must deal with injuries. Discovering mental stamina while sidelined is the biggest challenge.

The Worst News

The worst news a dancer can receive is that she or he must hold off on what they live and breathe. Dance injuries come when you least expect them. Performing and rehearsing is going along so well and then all of a sudden things come to a screeching halt. It is a complete shock. Many injuries will take weeks, months, or even years to come back from. Emotional attitudes are compromised and difficulties arise from being sidelined. Fortunately, dancers today have access to advanced dance and sports medicine doctors who will answer any questions they have regarding their path to recovery. Depending on the severity of an injury, movement may be limited. This can force a dancer to be away from the studio for quite some time. Other injuries may allow a dancer to continue some normal activity like watching rehearsals or marking in the back of the studio. It is common to find a young dancer joining a company and sidelined early on from an overuse injury. A professional dancer’s schedule can be drastically different from that of a student and they may not be used to it. I have learned that a dancer’s first injury is a crucial learning experience. It was for me. It is the first time a dancer is forced to sit out, cross train, and build back mental and physical strength. There is a significant amount of time to reflect on yourself and any recent experiences. Reflection can be a positive experience, especially when the person is in their most vulnerable state. Reflecting can build a dancer’s confidence while they discover new ways to approach goals. This is when a dancer finds their deepest strength to pull through.

Learning to Cope

Mental stamina and mental clarity are two crucial elements dancers require to tackle their careers. Interestingly enough, our training prepares us for injuries in more ways than one. It is a matter of finding the patience we need to keep our head in the game. Most professional dancers are accustomed to spending 7-8 hours a day rehearsing. It can be quite a shock when all of a sudden you do not have that schedule anymore. Time seems to go by more slowly because the schedule is quieter. It is important to fill that schedule with activities that keep the mind and body alert.  A portion of time can be spent working with a sports psychologist to learn how to compartmentalize, gain focus, and grasp the situation. Feeding the mind with positive thoughts and meditating has helped me find trust and confidence. I really have to believe there is a master plan behind it all.

Back to Work

Photo by Samantha Hope Galler.

Visualization plays a key role in my return. As I approach the weeks before returning to the studio, I begin to visualize my pirouettes and jumps. Sometimes I watch rehearsals just to become accustomed to the sounds of the pointe shoe hitting the floor. In addition, I find time to research and study ballet videos.  Even though injuries stop us from being able to physically practice, we can still keep our minds going. Watching these videos reminds the mind what the movements feel like without actually doing them. All of these practices guide us in the right direction. When the chance comes to finally step back into the studio, it is important to feel ready. I find comfort in knowing what muscles I can and cannot move. This helps me narrow down a productive workout routine to stay into shape.  Although it is not easy to work out equivalently to a daily rehearsal schedule, two or three hours in the gym can make a huge difference. The more I do while recovering the more I can focus on the main issue once I am given the ok to move on. My workouts typically include reformer sessions, gyrotonics, biking, and swimming as permitted. My advice for those coming back from an injury is to try all different forms of cross training. If you do Pilates all the time, make sure to throw in a few sessions of swimming to build stamina in a different way. This career is first and foremost visual so it is important to understand how to make an appropriate comeback so that you can feel confident with your progress once you are in the studio or on stage. Be ready to face anything that comes your way.

Dance Injuries – About That Ice Pack…

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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!

 

icecubes-643144_640by 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.

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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

Jan Dunn
Jan Dunn

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.

On The Marley Floor…

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IMG_0536
Maria Chapman of Pacific Northwest Ballet. Photo by Angela Sterling Photography.

by Jessika Anspach McEliece

 Her deafening scream reverberated through the studio.

Remembering it and my stomach still curdles. One moment she was doing petit allegro, the next writhing on the Marley floor in animalistic agony.

There are just some moments you never forget.

Moments you wish you could.

And yet these terrifying incidents are ones rarely thought of, let alone mentioned. It must be human nature to sweep the scary under the rug. Like those cheesy ceramic monkeys I often see in vintage shops, we choose to “see no evil, hear no evil, speak no evil,” superstitiously (and aren’t we dancers the worst?) believing that if we don’t speak it, acknowledge it, then it doesn’t exist. Injury won’t happen to us. We keep the lights on and those monsters “safely” under the bed.

But sometimes, no matter our diligence – how often we ice, how much we stretch or see the P.T., no matter how many “Zzz’s” we get, the monsters rear their frightening faces. And sometimes we end up on the Marley floor.

My “Marley moment” came May 15th, 2015. And I actually was on the floor. [Read more…]

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