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Hip-hop Health Moves in the UK

October 2, 2019 by 4dancers

I am pleased to bring you a 2nd article by Nefeli Tsiouti, MA, MSc, one of the young leaders in the dance medicine world, who has been bringing attention to the injuries of dancers in the Breakin’ world. Her first article discussed how she started working in this field, and formed Project Breakalign.  In this one, she talks about the annual Breakin’ Convention held in London each year, and how she has been integrating her work into the conference. Please pass it on! – Jan Dunn, Dance Wellness Editor


by Nefeli Tsiouti, MA, MSc

In 2013, I decided to bring together a group of dance medicine and science specialists, sports coaches, doctors, physical therapists—people that are involved with health and Breaking, to decide how to save the world of Breakers from injuries. That was the beginning of the creation of the Project Breakalign team. We then started working in association with One Dance UK’s Healthier Dancer Programme, at the time managed by Erin Sanchez, another dance scientist who had also joined our new-born team.

In 2014, we embarked on an annual journey with the Breakin’ Convention International Festival of hip-hop theatre, which takes place every May at Sadler’s Wells in London, UK. Together with Breakin’ Convention, One Dance UK (ODU), and the Project Breakalign team, we began providing—for the first time in such an established international hip-hop festival—workshops from specialists that can speak the hip-hop language. That is a very important trait to have when dealing with a group of people from such diverse cultural and movement backgrounds—a very interesting place to be as an educator–but also as a therapist!

Erin Sanchez, Nefeli Tsiouti, Karolin Krell, and Claire Farmer

From 2014-2019, we provided a Project Breakalign workshop in association with ODU, which usually consisted of conditioning strategies for Breakers and hip-hop dancers in general. I was teaching the workshop alongside one more team members each year, including: Mark Archer (Physical Therapist), Marius Mates (Bboy Marius from Romania), Johannes Hattunen (Bboy Hatsolo from Finland), and in 2017, 2018 and 2019, I took the lead by myself. What was special in these last three years was a new initiative of Project Breakalign and One Dance UK to bring education and treatments at the festival, for the performers of this big international dance gathering. This would not have been possible without the support of Erin Sanchez and Sarah Needham-Beck, at One Dance UK / The Healthier Dancer Programme.

So, on the days of the festival, myself as a sports massage therapist, alongside a physical therapist or osteopath, shared two rooms for treatments for the performers of Breakin’ Convention. The dancers had the opportunity to book free 30-minute slots for physical therapy or sports massage, and not only to receive treatment, but to also receive advice about their injuries and injury management. Most of the performers had also flown in or used trains to arrive in London, therefore their bodies definitely needed the hands of a specialist, to ensure their dance wellness – as well as their best performance for the evening shows of the festival.

The 2018 convention poster

What is amazing about Breakin’ Convention is that in a little area in the heart of London, all these spectacles, activities, social gatherings, educational workshops, and now also health treatments take place, and they are all tailored not only for the performers, but also for the supporters and fans of the hip-hop artforms. Jonzi D, director of Breakin’ Convention and his team, have been caring for the health of performers since the initial proposal we offered them for collaboration, and they have allowed the hip-hop dancers the opportunity to welcome awareness for prevention of injuries, in the heart of such an established and prestigious Festival.

And the journey continues…see you at Breakin’ Convention London 2020!

Learn more:

Visit Project Breakalign

Visit One Dance UK


Bio: Nefeli was born in Australia. She started dance in 1995 at Motion Art Studio and danced professionally in Greece & UK (2006-16). She studied: BA French Literature (University of Athens), MA Choreography (Middlesex University), MSc Dance Science (Trinity Laban Conservatoire of Music & Dance), Sports Massage Therapy Diploma (Sports Therapy UK) and is a BSc Physiotherapy student at European University Cyprus. Currently she is Associate Researcher at the Cyprus Musculoskeletal & Sports Trauma Research Centre & CEO of Breakalign Ltd, a prevention of injuries project for dancers. Moreover, she is a dancer & Choreographer, Member of the International Federation of Holistic therapists, from which she received the award Sports Therapist of the Year 2018. She won 1st Prize and Most Innovative idea Prize at the EUC-Peak entrepreneurship competition for start-ups in 2018. Her dance training has spread from ballet to hip-hop/Breaking. She has taught in dance schools and Universities since 2006 in Greece, UK, Cyprus and provided guest lectures across Europe, USA, Canada & Hong-Kong. Nefeli has a mission of preventing injuries for dancers and has been awarded many scholarships to support this vision. She is the organiser of the Dance Science Symposium in Cyprus since 2018.

Filed Under: Uncategorized Tagged With: Healthier Dancer Programme, hip hop dancers, hip-hop dance, Nefeli Tsiouti, One Dance UK, physical therapy, Project Breakalign

“Mr. Fix It” – Meet PNB’s Director of Physical Therapy, Boyd Bender

April 30, 2018 by 4dancers

PNB Forsythe
Pacific Northwest Ballet dances Forsythe’s “One Flat Thing, reproduced”. Photo by Angela Sterling.

by Emma Love Suddarth

“My ankle is jammed.”

If you ask Boyd Bender, the Pacific Northwest Ballet’s Director of Physical Therapy Services (and physical therapist), how many times over his years with the company he has heard that sentence, his answer would be in the thousands. He’s a wizard when it comes to mending those ankles that suddenly feel stuck, restricted, or “out of place” from a hard landing or a sudden torque. However, Bender didn’t acquire 30 years of thankful dancers based solely on ankle pulls.

If you walked into the PNB studios on an average Tuesday and felt the need to address that acute back pain that came on yesterday, or that chronic tendonitis that has intensified over a long rehearsal period, you would head straight for the sign-up sheet on the PT board. Bender and his fellow PTs’ hours vary depending on the day of the week, and any dancer can sign up for a 15-minute slot within that period.

The system at the theater during performance time is different; it consists of a dry erase board and markers (which festively turn red and green over Nutcracker season) and a first-come-first-serve type of sign up. The schedule fills up fast in both settings—and the battles over the pen or marker to get your name down first are frequent. While the session time allotment may seem brief, it is only a part of ongoing, continual care. While Bender’s treatment begins at the onset, sudden or not, of the problem, it is rarely a “one-visit” fix and requires regular visits to his table for repeated care. He even acts as frequent liaison between dancers and the sports medicine doctor, massage therapists, or outside PTs (to name a few). The time spent with the company PT is both extremely necessary and immeasurably valuable—one of the most essential elements in a dancer’s career.

Boyd Bender Director of Physical Therapy Services & Physical Therapist at Pacific Northwest Ballet
Director of Physical Therapy Services and Physical Therapist Boyd Bender at work at PNB. Photo by Emma Love Suddarth

In PNB’s case, there are numerous generations of dancers who swear by Boyd Bender’s care. His breadth of knowledge is not just incredibly vast, but also constantly expanding. Not only must his know-how encompass the entirety of the human body, but it also must address the variety of situations that a dance career might require that body to end up in. The physical issues that arise from Kent Stowell’s Swan Lake are very different than those from William Forsythe’s One Flat Thing, reproduced; and, when the transition time between the reps spans only two days, Bender must be immediately ready to address the new problems that the dancers bring in to him.

Bender, his fellow PTs, the company sports medicine doctor, the massage therapists, the company manager, and the artistic director—Peter Boal, who also offers a dancer’s perspective on each work— routinely meet in order to discuss the physical requirements of the specific reps, as well as to keep track of the overall health of the company. On top of that, Bender sometimes watches videos of the pieces prior to the rep as to get a feel for issues that might arise. He compares this practice to a similar one in football—where PTs will also study videos of upcoming competitors to see how and where they hit, in order to prepare as best they can to address the players’ physical needs. However, most of all he prefers to rely heavily on the information the dancers bring to him in the beginning of the process in order to gauge what to expect. While each dancer’s body is different, and predisposed to varying pains and problems, specific trends oftentimes surface over the course of a single rep.

PNB Swan Lake
Pacific Northwest Ballet dancing Kent Stowell’s Swan Lake. Photo by Angela Sterling

During Swan Lake, his table was occupied by a never-ending stream of swans with any number of lower leg problems—a common one being a bad calf. The audience might likely never think of it, but those swans encircling the stage, standing motionless on one leg for the entirety of the 2nd and 4th act pas de deux, are aching and sweating more than if they were dancing. By the end of the run almost every swan had a bad right or left calf, depending on which side of the stage she stood. However, three days later, one of those same swans is back on Bender’s table at the studios, attempting to put words to the intense neck pain she is experiencing due to a certain motion of One Flat Thing, which she then gingerly, very cautiously demonstrates. Boyd is ready for all of it.

Thirty seconds after a horrific ankle sprain, Bender is in the room ready to help. Ten years of on-and-off Achilles tendonitis, Bender is still finding new ways of caring for it. His arsenal of tools and skills is immeasurable; whether he is adjusting, lasering, ultra-sounding, taping, massaging, scraping, or even exercising (that’s right, it’s not all passive!) the problematic area, he’s thoroughly monitoring, addressing, and protecting the entirety of the dancer’s physical well-being. I, and numerous others, can easily name more than one instance that I likely wouldn’t have been back on stage that evening if it wasn’t for Bender’s care. You might never realize that one vertebra on your back being out of place is the reason for the shooting nerve pain in the back of your knee—but Bender knows.

And he’ll fix it too.


Pacific Northwest Ballet’s season resumes in June with their “Love & Ballet” program. Get more details by visiting the PNB website.


Emma Love Suddarth
Pacific Northwest Ballet’s Emma Love Suddarth. photo by Lindsay Thomas.

Contributor Emma Love Suddarth is from Wichita, Kansas. She studied with Sharon Rogers and on scholarship at Pacific Northwest Ballet School, and attended summer courses at Central Pennsylvania Youth Ballet, Ballet Academy East, and Pacific Northwest Ballet School. She was first recipient of the Flemming Halby Exchange with the Royal Danish Ballet School and was also a 2004 and 2005 recipient of a Kansas Cultural Trust Grant. She joined Pacific Northwest Ballet as an apprentice in 2008 and was promoted to corps de ballet in 2009.

While at PNB, she has performed featured roles in works by George Balanchine, Peter Boal, David Dawson, Ulysses Dove, William Forsythe, Jiri Kylian, Mark Morris, Margaret Mullin, Crystal Pite, Alexei Ratmansky, Kent Stowell, Susan Stroman, and Price Suddarth. Some of her favorites include the Siren in Balanchine’s The Prodigal Son, Jiri Kylian’s Petit Mort, David Dawson’s A Million Kisses to My Skin, William Forsythe’s New Suite, and Price Suddarth’s Signature.

She is a contributor to Pacific Northwest Ballet’s blog. She is married to fellow PNB dancer Price Suddarth.

Filed Under: 4dancers Tagged With: boyd bender, dancer injury, Forsythe, Kent Stowell, massage therapists, One Flat Thing, pacific northwest ballet, Peter Boal, physical therapist, physical therapy, PNB, reproduced, swan lake

Battling Injury As A Dancer…

February 14, 2017 by 4dancers

Joffrey dancers
Cara Marie Gary with partners Fernando Duarte and Edson Barbosa. Photo credit: Cheryl Mann.

by Cara Marie Gary

My career as a professional dancer has been an incredible journey–and it has taught me many life lessons about discipline, commitment, sacrifice, and patience. Dance has always been my outlet for creativity and expression. I’ve gathered a variety of special moments throughout the years. For example, I still remember the exhilarating feeling I had after nailing my first challenging sequence of fouettes on stage. I’ve been blessed to travel and perform in incredible theaters all over the world, one of my favorite moments was performing at the Kennedy Center as Clara in Robert Joffrey’s The Nutcracker. I’ve also had stressful hair situations; in Christopher Wheeldon’s rendition of Swan Lake it was choreographed for me to entered the stage with my hair completely down and in a few seconds style it into a french twist that had to last throughout Four Little Swans and the entire ballet! I’ve had crazy things happen at gala performances like music stopping in the middle of a pas de deux and having to exit the stage and start completely over. As a dancer, you learn to be “ready for anything” and to be able to improvise if something doesn’t go exactly the way you rehearsed it.

However, what I wasn’t prepared for was an injury. [Read more…]

Filed Under: 4dancers Tagged With: cara marie gary, dance injury, dancer injury, joffrey, physical therapist, physical therapy, physical therapy exercises, professional dancer, rehabilitation, the joffrey, the joffrey ballet

Staying On Your Toes with a Physical Therapist

July 12, 2012 by 4dancers

Today’s post is the first of our Guest Writer contributions in Dance Wellness.  Sarah Graham, PT, is a dance medicine provider working in Denver, CO, where she is Co-Director of Denver Dance Medicine Associates.  Her article on working with a dance medicine PT is meant to give you information on what to expect when working with a physical therapist who specializes in dance medicine.  

It could also be useful if you have a good PT who is interested in working with dancers, but does not have the background or dance knowledge base.  You could give that person Sarah’s article, along with information on IADMS (International Association for Dance Medicine and Science), and that could help them get started.  Many dance medicine PT’s are not former dancers themselves, but through a love of dance and dancers, became specialists by a dancer connecting them to the field in that way.

Jan Dunn, MS – 4dancers Dance Wellness Editor

Sarah Graham, PT & Co-Director of Denver Dance Medicine Associates

by Sarah Graham, PT

Since dancers’ bodies endure more than their fair share of physical use, working with a physical therapist is a natural partnership.  Many companies have a PT on staff to regularly treat the dancers and provide care prior to and after performances.  For those without a PT, finding a dance familiar physical therapist can impact how quickly a dancer returns to dancing as well as provide valuable education to prevent future episodes of an injury.

Most outpatient orthopedic physical therapists with strong manual therapy skills will be able to help a dancer with an injury.  Manual therapy is a clinical approach using skilled hands-on techniques, including but not limited to manipulation/ mobilization to diagnose and treat soft tissues and joint structures to increase range of motion in the joint, decrease pain, facilitate movement and improve function.  However, two important elements that an outpatient PT who is familiar with dance will bring are:

-an understanding of the physical demands on a dancer

– the ability to assess dance technique for alignment/technique errors which may be contributing to the injury

Often when an injury is sustained, a patient will need to avoid aggravating activities or take time off from certain aspects of their exercise routine.  That works well for mere mortals who have a desk job, but won’t get a professional dancer ready for an upcoming show!   A PT needs to understand the psyche of a dancer in order to effectively work with them.  Most of the dancers I work with dance because they have to.  Dancing is ingrained in them as part of their soul, and the need to dance is as natural and necessary as breathing is. [Read more…]

Filed Under: 4dancers, Dance Wellness, Injuries Tagged With: dance injury, dance pt, dance therapy, dance wellness, denver dance medicine associates, iadms, physical therapy, rudolph nureyev foundation, sarah graham

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