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Aerobic Fitness for Dancers

June 10, 2020 by 4dancers

Aerobic conditioning for dancers

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!


Emma Redding, PhD
Emma Redding, PhD

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.

Filed Under: conditioning Tagged With: Aerobic Fitness for Dancers, dance aerobic, dance training, Emma Redding, iadms, National Institute for Dance Medicine and Science, Trinity Laban Conservatorie of Music and Dance

Book Excerpt: Dancing Longer, Dancing Stronger

September 17, 2019 by 4dancers

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.

Filed Under: conditioning Tagged With: dance medicine, iadms, Princeton Books, robin kish

Coverage: Performing Arts Medicine Association (PAMA) Symposium 2017

November 11, 2017 by 4dancers

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.

Filed Under: Dance Conferences Tagged With: CO, dance conferences, dance medicine, dance medicine and science, dance wellness, dancer health, iadms, pama, Performing Arts Medicine Association, Snowmass, Westin

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

August 30, 2017 by 4dancers

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

Filed Under: Uncategorized Tagged With: BAPAM, Canadian Centre of Performance Psychology, Claire Farmer, Dance Healthcare Specialist, Dance Longer Dance Stronger, dance medicine, dance wellness, dancer injury, iadms, NIDMS, Once Dance UK, Performers Health Hub App, quality healthcare, Safe In Dance International

Dance Medicine & Science In the UK

August 8, 2017 by 4dancers

Aloha to all!

Erin Sanchez is our guest contributor for the article below, and we are so pleased to post the information she has to offer. Erin is one of the strong voices in the current younger generation of dance medicine and science (DM&S) leaders. A US dancer who received her undergraduate degree in dance at the University of New Mexico, she then went to London to pursue her MsC in Dance Science at Trinity Laban Conservatoire of Music and Dance. She has remained in the UK, and currently is the Healthier Dancer Programme Manager at One Dance UK, and is also affiliated with the National Institute of Dance Medicine and Science (NIDMS). It has been my pleasure to get to know her, and her work, over the last five years.

The UK has become a leader in the dance medicine field internationally, and organizations such as One Dance UK and NIDMS have greatly advanced the efforts to bring DM&S information to the nationwide dance community. I know you will enjoy reading what they have accomplished in a relatively short amount of time…….Pass it on!!

(And a side note — you may see a few unfamiliar spellings of familiar words — that is British English, a slightly different version than what we use here in the US !)

Aloha -Jan

Jan Dunn, MS – Dance Wellness Editor


Healthier Dance Program Staff and NIDMS Staff
NIDMS/HDP Road Trip!

by Erin Sanchez, MSc

One Dance UK’s Healthier Dancer Programme and the National Institute of Dance Medicine and Science

 

 

 

What is the Healthier Dancer Programme?

The Healthier Dancer Programme (HDP) was launched by One Dance UK in 1993 and is dedicated to improving the performance and physical and psychological health and wellbeing of dancers. We connect with dancers, teachers, choreographers, directors, administrators, healthcare practitioners (both medical and complimentary therapists), fitness professionals, researchers, academics, policy makers, (and anyone else who will listen!) in order to encourage open dialogue and collaborative working.

The National Institute of Dance Medicine and Science and a brief history of the HDP

The Healthier Dancer Programme is a part of the National Institute of Dance Medicine and Science (NIDMS). NIDMS was launched in 2012, and works to provide three key resources for the dance sector in the UK:

  1. Affordable access for all dancers to high quality, evidence-based, dance-specific health care and dance science support services.
  2. Research in dance to provide an evidence base for training, rehabilitation and healthcare in dance.
  3. Education for dance, healthcare and research professionals.

NIDMS has successfully opened three free dance injury clinics within the UK’s National Health Service in London, Birmingham, and Bath. Research undertaken by NIDMS partners ranges across many subject areas including psychology, talent development, physiology, biomechanics, and strength and conditioning.

NIDMS Partners

NIDMS is a consortium of seven partners: The Royal Ballet, Birmingham Royal Ballet, One Dance UK, the Royal National Orthopaedic Hospital, Trinity Laban Conservatoire of Music and Dance, University of Birmingham, and University of Wolverhampton. It was conceived by Helen Laws, who began her work with One Dance UK’s HDP in 1997. Helen undertook the second national enquiry into dancers’ health and injury in the UK, and published the findings in Fit to Dance 2. Based on the findings regarding the rates and causes of injury and access to injury care, she then began a programme of educational ‘road shows,’ information sheets and books, all aimed at providing information for professional and student dancers and teachers which could hopefully reduce preventable injuries. Helen also initiated an online listing of qualified, dance-specific healthcare practitioners across the UK, our Healthcare Practitioners Directory.

Advisory groups of expert medical practitioners and physiotherapists working in dance companies and professional training programmes were assembled to inform the work of the HDP, and now form our Dance Medicine and Science Expert Panel. Partnerships were developed with dance teacher training organisations, medical and research institutions, and dance companies and schools, to help disseminate key research in dance medicine and science.

However, during this time the lack of affordable options for dance-specific health services became more and more obvious. Ms. Laws began fundraising for NIDMS in response to this need in 2007. Since 2012, NIDMS has successfully opened three free dance injury clinics within the UK’s National Health Service in London, Birmingham, and Bath. Research underpinning both training and healthcare undertaken by NIDMS partners ranges across many subject areas including psychology, talent development, physiology, biomechanics, and strength and conditioning.

Key moments in the development of the HDP

The HDP has become the education and dance sector advocacy arm of NIDMS’ work. Specifically, the HDP provides dissemination of advice and information, delivery of workshops, and talks and conferences aimed at those working in the training and professional dance sector. Our work exists solely to educate and empower dancers and those working with dancers at every level. Further education work is carried out in partnership with Trinity Laban Conservatoire for Music and Dance (London), and the Universities of Wolverhampton and Birmingham, who provide master’s and PhD level studies in dance science.

The Team

Dance Medicine Staff UK

The current team in the HDP is overseen by Helen Laws, the Head of Industry and Artist Support / NIDMS, and includes 3 team members: Claire Farmer and Stephanie De’ath, who are the Managers of NIDMS, and Erin Sanchez, the Manager of the Healthier Dancer Programme. There are also two emeritus team members, Dr Sarah Needham-Beck, who has just moved on to pursue a new position as a Research Fellow in the Occupational Performance Research Group at the University of Chichester, and Niamh Morrin, who is currently undertaking her PhD at Bucks New University.

Resources and information

NIDMS provides clinical care and strengthens the evidence base of dance medicine and science through research activities, as well as by taking a leadership role on postgraduate education in dance science. Dancers in the UK can access specialist dance injury clinics, which are entirely free, and provide for dancers’ medical needs throughout their injuries – this includes physiotherapy, MRI and bone scans and surgery, if necessary. NIDMS also provides preventative musculoskeletal and fitness screening and a health cash plan that provides up to £800 of injury care treatments, dental and optical cover, and GP, medical, counselling and legal helplines. Details on these services are available here.

One of the key activities of the HDP is Healthier Dancer Talks. These are educational workshops delivered to professional dancers, students, teachers and artistic and support professionals, and cover a broad range of topics – for example:

  • Nutrition and hydration
  • Rest
  • Overtraining
  • Psychology of injury
  • Dance specific conditioning
  • Interval and circuit training
  • Safe dance practice for teachers

In particular, the HDP has partnered with Safe in Dance International (SIDI) as a Registered Provider of courses leading to their Certificates for dancers and dance leaders. In addition, they have partnered with the University of Birmingham to provide training in developing healthy motivational climates, through the Empowering Dance training. To learn more about all our talks, visit this page.

Healthier Dancer Conferences

Another of our focused activities is an annual conference on a particular topic in dancers’ health. Our healthier dancer conferences are filmed and highlights, clips, interviews, and more are available via our YouTube channel. Our next conference in November 2017 will be a part of a conference season; 3 conferences, 2 days, 1 venue, and will feature specialist days for teachers, choreographers and health. The focus will be on mental health and the psychological and social aspects of injury.


Erin Sanchez

Erin Sanchez is the Healthier Dancer Programme Manager at One Dance UK in London, and with her colleagues within the National Institute of Dance Medicine and Science, organises dance science and medicine focused conferences and workshops for dance professional and students, as well as researchers and healthcare practitioners; advocates to government, employers and stakeholders in the dance sector; and develops resources to support dancers’ knowledge of physical and psychological strategies for health, wellbeing and performance enhancement.

Erin’s main interests in dance medicine and science are psychology, talent development and mental health. She pursued a BA (Hons) in Dance and Sociology from the University of New Mexico while training as a dancer. She moved from the US to the UK in 2009 to pursue an MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in London.

She is a registered provider for Safe in Dance International (www.safeindance.com), a member of the International Association for Dance Medicine and Science (www.iadms.org), and holds the qualification in Safe and Effective Dance Practice. She also manages the Dance Psychology Network.

Filed Under: Dance Wellness Tagged With: Birmingham Royal Ballet, Claire Farmer, dance medicine, Dance Psychology Network, dance wellness, Dr Sarah Needham-Beck, Erin Sanchez, Healthier Dancer Programme, helen laws, iadms, National Institute of Dance Medicine and Science, NIDMS, Once Dance UK, Royal National Orthopaedic Hospital, Safe In Dance International, Stephanie De’ath, Trinity Laban Conservatorie of Music and Dance, University of Wolverhampton

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