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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

Book Excerpt: Dancing Longer, Dancing Stronger

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Dancing Longer, Dancing Stronger book cover

I’m very pleased to be able to let you know about a new dance medicine book just published by Princeton Books, Princeton, NJ. This is a 2nd edition of one of the classics of dancer medicine literature — “Dancing Longer, Dancing Stronger“, originally written by Priscilla Clarkson and Andrea Watkins, published by Princeton Books in 1990. This new, updated version has been written by two IADMS (International Association for Dance Medicine and Science) colleagues of mine, Robin Kish, MFA, who has written previous articles for 4dancers.org, and Jennie Morten, BS, MS. This resource is again published by Princeton Books, in Princeton, NJ.

Robin has a strong background in physiology and biomechanics, and is currently Associate Professor of Dance at Chapman University in CA, where she teaches Dance Kinesiology, Injury Prevention, Movement Anatomy, and Exercise Physiology and Conditioning. Jennie is a classically trained ballet dancer, with degrees in Osteopathy and Psychology, and is lecturer at the University College, London – Division of Surgery and Interventional Science, and also wellness professor at the Colburn School, Los Angeles, CA. 

The original DLDS was one of the early (and comprehensive) books about conditioning / avoiding injury written for dancers, and was an invaluable aid for dancers and teachers over many years. Robin and Jennie have done an excellent job in updating the information and adding new segments to the book. It is full of specific conditioning exercises, and is something dancers should carry in their dance bag or have on their devices, for quick reference. This is a must have for every dancer / teacher –  I encourage you to bring it into your dance library.  

Below is a brief segment from the new book, on the importance of cardiovascular fitness for dancers — an important ingredient in lowering one’s injury rate, and something we often forget. Enjoy, and Pass It On!

– Jan Dunn, Dance Wellness Editor

Cardiovascular Fitness (Princeton Book Company, Publishers, © 2019, excerpt below courtesy of the publisher)

Research has shown that although dancers perform slightly better than non- dancers in terms of their cardiovascular fitness, they lag significantly behind other athletes (Rodrigues-Krause, Krause, and Reischak-Oliveira 2015). Dance classes typically have a stop/start nature involving short exercises with rests in between. This primarily works the body anaerobically and trains it for short bursts of activity—the equivalent of being a short-distance sprinter. However, the choreographic demands of performance often require dancers to sustain activity for 15 to 20 minutes, or perhaps even longer. This requires aerobic fitness—the equivalent of being an endurance athlete. If this is not being trained during a dance class, then it is essential to have a supplemental training routine that pro- vides aerobic training. Fatigue is a significant risk factor for injury. Therefore, having a cardiovascular system that can meet both the aerobic and anaerobic requirements of a dance career means that you will have improved endurance, will not tire as easily, and will have a reduced risk of injury. Cardiovascular fitness also plays an important role in injury recovery—the fitter you are, the quicker you will heal.

To improve your aerobic fitness capacity, it is recommended that you undertake exercise that elevates your heart rate to 70–90 percent (depending on your fitness levels) of its maximal capacity for 20–30 minutes, 2 to 3 times a week (Wyon 2005). To calculate your maximal heart rate (MHR), you use the simple equation of 220 beats per minute (bpm) minus your age. Then calculate 70 percent of this to find your target heart rate (THR) for starting these exer- cises. Here is an example for an 18-year-old dancer:

220 – 18 = 202 bpm (MHR)
202 x 0.70 = 141 bpm (THR)—70 percent of your MHR 202 x 0.90 = 182 bpm (THR)—90 percent of your MHR

You may want to start your aerobic training program at the 70 percent end of the range, so for the first week, work at a heart rate of 141 bpm; then the next week, move up to 75 percent and so on until you reach the 90 percent mark.

There are many options you can choose for your aerobic training. These include a static exercise bike, elliptical machine, swimming, skipping, or running on a treadmill. You may want to take into consideration the impact on your joints of some of these activities. For instance, you may wish to choose cycling, elliptical machine, or swimming to avoid loading the joints of the feet, knees, and spine. You can measure your heart rate using a fitness-tracker watch or by using one of the free heart-rate apps available for smartphones. Additionally, some exercise equipment in gyms, such as static bikes and elliptical machines, have built-in heart-rate monitors on the handlebars.

While supplemental cardiovascular training is recommended, it is also considered good practice to include some dance-specific endurance training into dance class itself. Teachers could design this into the class perhaps once a week so that the dancers only need to undertake supplemental training another two times outside of class. This could involve either a high intensity warm-up that is continuous over 20–30 minutes or a center combination that is learned incrementally, then performed for the purpose of continuous repetition over a similar time period (Rafferty 2010). In this way, the endurance requirements for a dancer’s fitness can be addressed within the artistic environment of a dance setting, and not just relegated to a supplemental training routine in a more athletic environment.

About the authors of this completely new edition: Robin Kish received an MFA in Dance from the University of California, Irvine, and an MS in Kinesiology specializing in physiology and biomechanics from California State University, Fullerton. Robin is Associate Professor at Chapman University where she teaches Dance Kinesiology and Injury Prevention, Movement Anatomy, and Exercise Physiology and Conditioning. Jennie Morton is a classically-trained ballet dancer who received a BS with Honors in Osteopathy and MS in Psychology. She is a lecturer at the University College, London, Division of Surgery and Interventional Science, and wellness professor, the Colburn School. She is certified as a Clinical Anxiety Treatment professional and a Mental Health Integrative Medicine provider. Jennie has many years of experience in training and treating dancers, from students to Broadway professionals.

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

Coverage: Performing Arts Medicine Association (PAMA) Symposium 2017

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Performing Arts Medicine Association Symposium, Poster Presentation

by Catherine L. Tully

Each type of conference has it’s own unique atmosphere, and each has it’s own sense of purpose and direction. The Performing Arts Medicine Association‘s 2017 Symposium is no exception, and since this was our first time attending, we’d like to give an overall picture of what this gathering is like, and who typically attends. This way, if you aren’t already familiar with the organization, you’ll get a better picture of what they are all about.

Let’s begin with a basic overview of the organization, and it’s mission statement.

What Is PAMA?

Founded in 1989, the Performing Arts Medicine Association, also known as PAMA, is an organization made up of educators, artists, medical professionals, and administrators that share a common goal – improving the healthcare of the performing artist. Unlike the International Association of Dance Medicine and Science (IADMS), PAMA is not just dedicated to the art of dance, but rather includes all performing artists – such as musicians, dancers, and actors.

Originally founded as an organization for medical professionals, membership expanded over the years to include others who were becoming more and more interested in the health and well-being of this sector of the arts. Approximately 20% of the organization is currently from outside of the US. PAMA holds a yearly symposium as a gathering place for members and others that serves to share information about the field, provide networking opportunities, and more.

PAMA’s mission is stated as follows:

The Performing Arts Medicine Association is committed to:

  • Promoting the highest quality of care to all performing artists and bringing to that care an appreciation of the special needs of performing artists.
  • Developing educational programs designed to enhance the understanding and prevention of medical problems related to the performing arts.
  • Promoting communication among all those involved in the health care and well being of performing artists.
  • Fostering research into the etiology, prevention, treatment, and rehabilitation of medical problems of performing artists.

The Symposium

PAMA Symposium
Registration desk at the Westin in Snowmass – PAMA Symposium, 2017

This year the symposium took place in Snowmass – a lovely setting up in the mountains of Colorado. The Westin provided a home base for the event, as well as space for the sessions that took place throughout. For those interested in dance/dancers, there were a number of different presentations to choose from.

Westin Snowmass
The Westin, Snowmass, CO

Here are some examples:

  • Investigation of the Cardiovascular Endurance of Dance Majors
  • Risk for Hearing Loss due to Noise Exposure in Competition Dancers
  • The First Step: Creating a Dancer Wellness Program That Will Engage and Empower
  • Gaze Behaviour in Dance – the Relevance of Spotting in Pirouettes
  • Injury Prevention and Optimal Performance Training in Dancers

This should give you an idea of the types of presentations there are for people who are invested in the care of dancers and their bodies. There were also poster presentations, and informal gatherings during the course of the symposium.

As with most conferences, the chance to network and make new associations during the span of the event is an important facet when it comes to attending. We connected with a wide range of people during our time there, including authors, medical practitioners, a clinical and performance psychologist, and people from all over the world with an interest in dancer health and wellness. There is no doubt that these people are passionate about the work they do, and it’s wonderful to have some space created for them to come together like this and share what they are working on, and what they have learned with one another.

PAMA poster presentation
Poster Presentation at PAMA

It is our hope that with the growth of the dance wellness section of this site, we will be able to continue sharing information about conferences and symposiums such as PAMA (and others), and that our outreach will help create more pathways for dancers and dance teachers to connect with the important information and research that is taking place all over the world.

Those interested in attending the 36th Annual PAMA International Symposium can view more information about the gathering in Orange, CA here. It takes place from June 30th to July 3rd.

Learn more about PAMA membership levels and benefits on their website.

Disclosure: This author is the editor/owner of 4dancers. She attended the PAMA Symposium on a press pass granted by the organization, but no monetary compensation was received for her coverage of the event. All transportation, lodging, and meals were paid for by 4dancers.

Need A Dance Healthcare Specialist? There’s An App For That!

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Aloha! I hope everyone is getting back “intro the swing of things” as the new dance / academic year starts up!

Today we are pleased to offer you another piece of exciting information from the UK — we last posted Erin Sanchez’s article on One Dance UK / NIDMS (National Institute for Dance Medicine and Science), and all the good work going on in that country.

This post is from Claire Farmer, another one of the younger generation of dance medicine & science leaders in the UK. Claire is a dancer / Associate Lecturer at Roehampton University, and is also affiliated with One Dance UK. She initiated the website Dance Longer Dance Stronger, and in 2016 launched the Performers Health Hub mobile app, to allow those in the UK dance community to connect more easily with dance medicine healthcare and resources. She now working on eventually launching a USA version of the app.

Enjoy reading about all her good work, and pass it on!

Aloha,
Jan

Jan Dunn, MS, Dance Wellness Editor

by Claire Farmer, MSc

Have you ever felt a twinge, or something that didn’t feel quite right but you’ve also got a class in 10 minutes, followed by a rehearsal and then a million other things to do, so you’ll work out what to do later?

BUT WAIT – STOP!! Shouldn’t our body be our first priority, as our main tool for our work? We know that dancers are busy, but that they also need to be able to quickly access specialist healthcare and to find reliable information on how to care for their body. Luckily, there is a wealth of information available from experts in dancers’ health – but unfortunately this information often doesn’t always make its way to the dancer.

That’s where the Performers Health Hub App comes in. Launched in the UK in November 2016, the app is now expanding to the US. The aim of the app is to quickly connect dancers with reliable, evidence based information on a range of topics including warming up and cooling down, fitness, stretching, hypermobility and nutrition. The app has been developed in response to the high injury rate among dancers and the lack of time available due to the nature of their work, to conduct thorough research in locating top quality healthcare.

If you do experience an injury, the app will also help you to search for a dance medicine specialist near you – either private treatment, practitioners who accept your insurance, or one of the few specialized dance medicine centres scattered across the US – or if you’re in the UK, one of the few free ones. Making sure you receive the best care to ensure you reach your optimal potential as a dancer, and receive the best rehabilitation as a performer, is our top priority.

A study into injury rates in professional modern dancers concluded that a total of 82% of dancers experienced between 1 and 7 injuries within the previous 12 months(1). Of those that sought medical attention 47% were to physicians, 41% to physical therapists and 34% to chiropractors(1). Similar research in the UK reported that 80% of all dancers (professional and student) will suffer an injury each year through training, rehearsal of performance(2) or as a result of fatigue and overwork, insufficient warming-up or cooling-down, recurring injury or not being able to respond to the early warning signs of injury(3).

This highlights the need for dancers to quickly, and easily find the specialist care that will enable them to return to dance training and performance as soon as possible. Resources on the Performers Health Hub are drawn from a consortium of UK organisations at the forefront of dance medicine and science research and advocacy – including: National Institute of Dance Medicine and Science (NIDMS), One Dance UK, Safe in Dance International, British Association for Performing Arts Medicine (BAPAM), and also the International Association for Dance Medicine and Science (IADMS). It will now expand to include resources and clinics in the United States and Canada.

Experiencing an injury can be a very lonely and challenging time for a dancer, and it is hoped that the app will not only help the dancer seek specialist care and information, but to also reduce that feeling of isolation. There are many things we can do to support each other as a dance community internationally and the Performers Health Hub app aims to draw these connections closer, providing support for dancers wherever they are in the world and connecting them with others who have gone through similar experiences.

The app will continue to grow as resources expand and through feedback from dancers, with regular updates taking place to ensure the most up to date information is in the palm of your hand.

The Performers Health Hub is available to download for iOS and Android. For more information visit Dance Longer Dance Stronger, or download from the Google and Apple stores.

Dance Longer Dance Stronger

Dance Longer Dance Stronger was established in 2014, growing out of a need to encourage dancers to be more open about injuries and training, the struggles they face and the training methods they use. Dance Longer Dance Stronger aims to open communication between dancers, and between health professionals so there is a two-way dialogue and so that should a dancer face an injury, they don’t feel alone in dealing with it.

Dance Longer Dance Stronger aims to connect dancers with other dancers who have faced similar health related issues and help dancers find specialist healthcare and easy-to-digest, reliable resources as quickly and easily as possible.

(1)Shah, S,. Weiss, D,. & Burchette, R. (2012) Injuries in professional modern dancers: incidence, risk factors, and management

(2)Laws, H (2005) Fit to Dance 2, Dance UK, Newgate Press, UK: London

(3)Brinson, P & Dick, F (1996) Fit to Dance, Calouste Gulbenkian Foundation, UK: London

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