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On The Marley Floor…

October 1, 2015 by 4dancers

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…]

Filed Under: 4dancers, Injuries Tagged With: balanchine, Ballet, dance injuries, injury, jessika anspach, Jessika Anspach McEliece, Maria Chapman, pacific northwest ballet, PNB, pointe shoes, recovering from injury, seranade

Review: Paradice Pack

March 1, 2012 by 4dancers

Paradice Pack

You know how a bag of frozen vegetables works wonders in terms of being able to wrap it around an injury and take down the swelling? So does a Paradice Pack–but you don’t have to worry about the food inside going bad.

This handy pack has little fluid-filled balls inside it (kind of like peas) that stay cold, yet allow the pack to mold to the shape that you need. There are several different models–choose from “cuff” style or a flat pack, depending on what you need. I used the flat pack (see photo) and thought it was great.

The Paradice Pack has a soft fabric shell which eliminates the need for a towel or cloth, which you need to use for a gel pack or frozen veggies to protect the skin from damage. This was one of the best parts about the pack in my opinion, and I really can’t imagine why nobody did this before. (At least I’ve never seen it.)

Dancers often need to use an ice pack for one reason or another, and this one is a good pick. Plus it’s a family business, so you can feel good about supporting it. If you’re interested in learning more about these unique ice packs or purchasing one for yourself, visit their website.

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Filed Under: 4dancers, Dance Wellness, Reviews Tagged With: Ballet, dance, dancer, ice pack, injury, paradice pack

Dance Wellness: Causes of Dance Injuries (Risk Factors) Part I

February 1, 2012 by 4dancers

KEEPING DANCERS DANCING

by Jan Dunn, MS

Jan Dunn, MS

This month’s topic in our ongoing Dance Wellness series is “Causes of Dance Injuries” (also called “risk factors” in the dance medicine world).  We all know that dance is a risky business – injuries do happen.  But learning what causes them can go a long way in helping to reduce that risk, and keep you “Dancing Longer / Dancing Stronger” (actually the title of an excellent dance medicine books for dancers!).  All of the information in this article is supported by dance medicine research over the last thirty years.

The risk factors discussed below are NOT listed in any order of importance!  In many dance injury situations, more often it is a combination of “causes” that may result in injury (I will explain what I mean by at the end !). We’ll cover five today, and five tomorrow:

1)  Poor alignment and faulty technique:

While it is true that many injuries result from a combination of factors, this one is usually agreed to be one of the most important.  Dr. Justin Howse, longtime physician to The Royal Ballet in England (now retired) and one of the early pioneers in Dance Medicine, went so far as to say that all injuries were the result of faulty technique. Most current experts would agree that while faulty technique is a major component of injuries, they would not necessarily concur that it is the only factor.

By “Alignment problems” we mean such postural patterns as:

-forward head (the head not in good alignment with the spine and torso)

-forward shoulders (rounded shoulders)

-lumbar lordosis (“swayback”)

-thoracic hyperextension (protruding ribcage)

-hyperextended knees (knees straightened beyond 180)

– foot pronation or supination (rolling in or out)

A dancer who has good alignment is more likely to have “efficient movement” (using only the muscles and amount of energy necessary to accomplish the movement), and is less likely to be putting strain and tension on soft tissue (ligaments / tendons / muscles) around the joint, thus resulting in less possibility of injury.

An example:

A young dancer complains of knee pain. The dance medicine physical therapist or physician gives a diagnosis of patellofemoral syndrome, which frequently involves the patella (kneecap) not tracking properly in the patellar femoral groove (the groove in the femur through which the patella glides, on knee flexion and extension).  Looking at the dancer’s plie in first, the medical specialist and the dance trainer note that the dancer’s feet are turned out to 65 degrees, and the knees are not aligning over the toes, but falling instead in front of the great toe.  Foot pronation (rolling in) and lumbar lordosis (“swayback”) is also noted. The dancer’s external rotation (turn-out) in the hip joint is then tested lying prone (on the stomach), and is found to be 48 degrees – so she is “forcing her turn-out”, which can cause knee pain (and possibly other problems).  Recommendations are given for medical treatment for the knee pain, and she is also given cueing for proper plie technique, using her natural turn-out of 48 degrees, and not forcing at the knee and ankle.

The crucial point here is that ALL injuries in dance need to be evaluated for technique concerns, to see if this may have played a causative part.  If the dancer rehabs the injury without knowing if faulty technique is involved, the injury is more likely to re-occur when returning to full dance activity.

2). Anatomical limitations: [Read more…]

Filed Under: 4dancers, Dance Wellness, Injuries Tagged With: ballet injuries, causes of injury in dance, dance injuries, dance medicine, dancer, dancer wellness, injury, injury in the dancer, jan dunn, the royal ballet

10 Questions With…Liz Bayley

September 27, 2010 by 4dancers

1.      Can you tell readers a bit about your background in dance?

Like many other little girls, I started dancing aged 3 and trained almost exclusively in ballet for 16 years, but also studied modern jazz and contemporary and now specialise in Latin, Ballroom, Salsa and Argentine Tango. After gaining a degree in Psychology, I started auditioning in London because I ‘wanted to see what would happen’. I’m happy to say that I didn’t look back and have been dancing professionally for over 10 years. I have worked all around Europe, including the most famous cabaret in the world – the ‘Moulin Rouge’.

My husband and I met on a contract, when we came together through our love of partner dance and have been working together as a Show Dance Team ever since. I still perform from time to time and teach at ‘Danceworks’ in London. Having an eclectic dance background provides me with a good knowledge base when working with dancers from various genres.

 

Liz Bayley

2.      How did you get the idea for Sports Therapy 4 Dancers?

 

Before I became a Sports Therapist, I was always interested in injuries, anatomy and posture. Whenever I was laid out on a treatment table, I would ask the therapist question after question and pay close attention to what they were doing. I was just very aware that while working with my body every day, I had absolutely no knowledge about how it functioned or what I should do if I sustained an injury.

On occasions when I was injured, I wished I could find someone to treat me who had a background in dance and would be able to understand me and my body from a dancers’ perspective. I thought that if I felt like this, then other dancers must as well and so Sports Therapy 4 Dancers was born.

3.      Can you talk a bit about the work you do with dancers?

I treat dance professionals, students and teachers from various backgrounds, who usually come to me with sub-acute or chronic injuries. An injury is classed as sub-acute after 3-5 days, when the initial inflammation has reduced and the soft tissues start to repair. Chronic injuries continue after about 3 weeks, but can still cause dysfunction years after they originally occurred.

I use various techniques to address muscle tension, stretch the soft tissues and re-align scar tissue, in order to restore normal function or enhance performance. I also prescribe Pilates based exercise for rehabilitation and conditioning. This forms the base of my job, but I have also worked at events to provide first aid in case of accidents on stage. In these circumstances, I deal directly with acute injuries such as sprained ankles, rotator cuff strains, back spasms and torn hamstrings. Although this can be quite stressful, I enjoy it for the fact that effective first contact management can aid a faster recovery. I also provide pre and post event massage to dancers.

Another part of my job is education and advice. I have a ST4D Facebook page where I regularly post advice, quotations and information relating to injury prevention and management in dancers. All members are welcome to ask me questions and often do. I’ve been asked about back strains, foot fractures and even for advice on academic papers!

4.      Are there any “common” injuries that you find in dancers?

The most common chronic injury that I come across is tendonitis, whether it affects the hamstrings, rotator cuff or lower leg and foot. This is because it is an overuse injury, which is brought on mostly by over training and not getting sufficient rest in between sessions. If you are in a show, performing every night, this can be a recipe for disaster as the movement that originally caused the injury must be performed continuously. In cases like these, modification of movement can be vital if the dancer is to continue to perform and avoid aggravating an injury.

One of the best examples of an overuse injury is in the dancers in Paris who perform a ‘Can Can’ twice a night. This is a powerful and fast dance that can wreak havoc on the performer’s bodies. Tendonitis at the origin of the hamstring, which is felt at the very top of the leg, just underneath the gluteal muscle is THE most common injury I have to deal with when I work in Paris.

Ballet dancers tend to experience tendonitis of the flexor muscles that point the toes and male dancers who lift their partners often battle with biceps tendonitis, which is felt at the top of the arm, underneath the deltoid and inflammation of the rotator cuff. Shin splints are quite common, especially in student dancers who have just started a new training schedule or are still growing.

5.      What is the most difficult thing about treating dancers?

When dancers work professionally, their bodies are their income, so asking them to take 2-3 weeks or even months off isn’t always easy or realistic. Trying to treat an injury, but allow a dancer to continue to work can be difficult. As I mentioned before, sometimes movements can be modified, for example by kicking on the other leg, or marking a back bend, but not always.

Seeing the emotional affects of injury is also difficult. Dancers are usually quite resilient to physical pain, but I have had more than one case of tears where I thought the discomfort of the injury had overcome the dancer, but in actual fact they were just very anxious about the seriousness of the injury and what it would mean to their career.

6. What is the most rewarding thing about treating dancers?

Being aware that knowledge is power and by sharing quite basic information, I can make a difference to performers all over the world. I can’t remember the amount of times that I used to be with a whole group of dancers who would discuss whether to use heat or ice on an injury, but not really know what the answer was or why (it’s ICE by the way, to restrict inflammation and bleeding). Whenever I treat anyone, I always give them information about their injury – which muscles are affected, what this means, how to look after the area and what to do in the future.

I once received an email from a dancer in New Zealand who said that because she’d read something on the ST4D Facebook page, she knew to put ice on a sprained ankle and her prognosis was better for it – what could be better than that!? It’s very satisfying when someone feels immediate benefit after seeing me.

One dancer, who is currently in Chicago in the West End, had more mobility in her hamstring than she’d had for year after just one session of STR (Soft Tissue Release) and deep tissue massage. Cases such as these confirm to me that the work I do can really make a difference to a dancer’s performance.

7.      Can you share a highlight or two from your career thus far?

I regularly travel to France to treat the dancers who work in the cabarets of Paris. I see ‘Doris Girls’ from the Moulin Rouge, ‘Bluebells’ from the Lido and also dancers from other cabarets such as La Novelle Eve and Crazy Horse. Many of the dancers who work in Paris are actually from Australia, England or America and really value being able to see an English speaking therapist. The fact that I danced at the Moulin Rouge myself is a real bonus, because I know how hard their job is!

As an expert consultant for dance injuries, I have been quoted in publications such as ‘Dance Today’, which is a British (also sold internationally) Social Dance magazine. In a recent article, I discussed shoulder injuries in Ballroom and Latin Dancers.

8. Would you comment on the importance of prevention in terms of dance injuries?

‘An ounce of prevention is worth a pound of cure’. In a split second, a dance career can be put on hold for 6 months. I’ve seen it happen, when someone ruptures their ACL (anterior cruciate ligament in the knee). Usually, injuries occur when the dancer is tired and overworked, so performers, choreographers and directors should be aware of this and work within reasonable limits. Of course, dancers must work hard, but they should be fit to do so. Before embarking on a tough rehearsal period, a new term at college, important audition or different style of class, dancers should have cross trained in the gym or by using Pilates or Yoga so that they are in condition for the work ahead. However, cross training should be reduced if an individual is dancing for long hours each day, in order to minimise the chance of overuse injuries and give the body an opportunity to rest.

Most importantly, many injuries will show warning signs – pain, redness, stiffness or limited range of motion – before they become very serious and changes such as these should not be ignored. Sports massage can be very beneficial as a preventative measure. A good therapist will be able to identify potential problem areas and restore balance to the body.

9. If you could give dancers one piece of advice, what would it be and why?

Prevention is better than cure, but if you do get injured, early treatment in the acute and sub-acute stages can make a real difference in the outcome of an injury. For example, introducing RICE procedures (Rest, Ice, Compression, and Elevation) can significantly reduce recovery time. All dancers should have a bag of frozen peas in the freezer that can be reused, but never eaten. Peas are great as they are the right temperature (not too cold) and mould to the shape of the body. Use them for about 15-20 mins per hour, depending on the area. If it’s a fleshy area such as the thigh, ice can be left longer than on a bony area like the ankle. Don’t allow the skin to go red as this signifies blood going to the area, which is what you are trying to prevent. Ice is also particularly helpful for muscle spasms, which seems contradictory, but is true nevertheless!

10. What is next for you?

My vision is to make ST4D the first point of contact for dancers in London and Paris when it comes to injury prevention and rehabilitation. I am often surprised by how little basic knowledge dancers have and for this reason; I am particularly interested in providing education to young dancers who are still in college about how to prevent and treat injuries, including teaching anatomy. I believe an understanding of functional anatomy is essential when working with the body every day – it is the dancers’ instrument after all! I’d very much like to implement a short ‘Injury Prevention 4 Dancers’ course into diploma and degree syllabuses around London.

BIO: Liz has been a professional dancer for over 10 years, having worked in Portugal, Italy, Paris and Spain. She was the Dance Captain and Production Manager for FJM Productions in the USA and has appeared on television in Paris, Venezuela and the UK. After training exclusively in ballet for 16 years, she now specialises in Ballroom, Latin, Salsa and Argentine Tango and performs with her husband and dance partner as a Show Dance Team. She currently teaches at Danceworks in London. Liz is a qualified Sports Therapist and treats sports, dance and occupational injuries, in addition to correcting postural imbalances and prescribing Pilates based exercise for rehabilitation and conditioning. She is the founder of ‘Sports Therapy 4 Dancers’, which is based in London. She also visits France once a month, treating the dancers of the Moulin Rouge and Lido in Paris. Liz is available as a therapist for special events (First Aid and First Contact Management), as an expert consultant, or for individual treatment in various locations around London. www.SportsTherapy4Dancers.com

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Dance in the UK, Editorial, Online Dance Resources, Studios Tagged With: injury, liz bayley, moulin rouge, sports therapist, sports therapy4dancers, st4d, tendonitis

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