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How principles of dance science inform a student’s training and performance: A student dancer’s perspective

Posted By Gemma Harman on behalf of the IADMS Dance Educators’ Committee, Sunday, August 6, 2017

This is the second of Gemma’s posts in which she explores the notion of performance enhancement.  Find the first installment here.  In this second post, Gemma summarizes her own research and suggests how students view the principles of dance science in enhancing their training and performance.

What do we know?

The ideas and principles within dance science are frequently used to support the dancer in a number of domains; injury prevention, the improvement of training and performance and the potential for new artistic possibilities, to name but a few. The term ‘dance science principles’ is commonly used by educators and refers to physical, psychological, biomechanical and somatic principles.  In recent years, developments in vocational and professional dance settings have seen dance science principles incorporated in the technical and performance aspects of dance students’ training.  For instance, principles are frequently included in dance science, health related modules and safe dance practice modules within dance student training.  Edel Quin’s minimizing injury blog post is an example of how these principles can be effectively applied to dance teaching and dance making.  

The knowledge of dance science principles are also made available through the IADMS Education sources such as the Resource Papers and the Bulletin for Dancers and Teachers. These resources are comprehensive in informing and inspiring the application of dance science practice within dance training and performance settings.

 

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This blog post will present student reflections on the inclusion of dance science principles in their dance training. These reflections are taken from current dance students at the University of Chichester, UK. 
  
Q1: How has the inclusion of dance science principles supported you in your dance training? 

Dancer 1: Having an understanding of dance science principles has allowed me to become better equipped. It has helped bring knowledge and awareness to what I can and can’t do.  

Dancer 2: I can truthfully say that as a result of exploring these principles, I have been able to better evaluate and compare where I am as to where I should be. I can now also take risks without being fearful. 

Dancer 3: I have learnt so much by incorporating these principles within my training. I have seen the benefits in my body, training and performance.  It’s quite simply made me a better dancer.

Q2: How might dance science principles continue to be effectively embedded in a dancer’s training? 

Dancer 1: It’s really very clear to me, all dancers and teachers need to have an awareness of these principles, whatever their background or ability. The most effective thing that can be done is to ensure everyone knows about them! Teachers need to consider creative ways of sharing this knowledge. 

Dancer 2: Instead of having separate classes or modules on these areas, the knowledge needs to be better incorporated into all aspects of dance training. Everything we do should come from these principles as our goal in training is to be the best we can. 

Dancer 3: Instead of being taught how to apply dance science principles, we should be given the opportunity to experiment and explore how we as dancers can apply the knowledge learnt to what it is we do. Only then can the knowledge shared be a two-way relationship. 

What is the take home message from this post?


While dance science is undeniably developing as a field of study and research, it is apparent from the student reflections included in this blog that the use of dance science principles can aid a dancer’s development and bring awareness in their training and performance. What can educators specifically take home from this blog post? They can be reminded that knowledge and application of dance science principles can play a part in supporting the dancer to reach their full potential.

 

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For further information take a look at these websites  

1. Safe in Dance International 
2. One Dance UK ‘Healthier Dancer Programme' 
3. International Association for Dance Medicine and Science

 

Gemma Harman, PhD Candidate, MSc, FHEA is Senior Lecturer in Dance and Acting Programme Leader BSc Dance Science at the University of Chichester. Gemma is also a lecturer at Trinity Laban Conservatoire of Music and Dance and is an Academic Tutor at Bird College of Dance. 

Tags:  dancers  performance  teachers  training 

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What is ‘Performance Enhancement’ in an artistic context?

Posted By Gemma Harman on behalf of the IADMS Dance Educators’ Committee, Friday, July 28, 2017

Our next two posts from the IADMS Dance Educators’ Committee question what we really know about performance enhancement from a dance science perspective and from the individual dance artist’s point of view.

What do we know?


An awareness of how the term ‘performance enhancement’ operates in the activities of athletes is well understood in the field of sport and exercise.  In recent years, there has been a move amongst educators using the term performance enhancement within an artistic setting (i.e. through the teaching of dance science and health related education classes as part of a students’ training).  Whilst educators advocate the need to enhance the learning, performance and artistry of the performer, very little is known about performance enhancement from the perspective of the individual performer.  

As an educator and researcher, I often refer to the term performance enhancement through teaching specifically devised Safe Dance Practice and performance enhancement modules.  However, I am aware that I use the term without really considering its meaning and significance in an artistic context, and rarely from the artist’s point of view. With this in mind, I have arrived at the following questions:

 


 

This blog post will share findings from a pilot study I undertook with ten professional performers (6 dancers and 4 musicians).  The pilot study used a qualitative research approach and interviewed performers to find out their thoughts and views on performance enhancement.  By gaining an insight into what we know about performance enhancement from the individual dance artist’s point of view, it is hoped educators can provided an informed approach to enhancing an individual’s artistic practice.

Findings 

My findings from the pilot study reveal three factors that need to be considered when seeking to understand the idea of performance enhancement in an artistic setting.

 


 

Other findings of interest 

The views of performers can be separated into two groups: (1) those who do not use the term and associate it to external factors (i.e clothing and stage lighting) rather than the performance itself, (2) those who perceive it to be a set of strategies that can be applied to help enhance a performance (i.e warming-up or mental preparation). 

The views of performers imply that performance enhancement is about human excellence, achieved through the attributes they have as individuals rather than sole changes in the preparation and/or enhancement of training.

 

 

What can I do?

Educators: 

When using the term performance enhancement in your teaching, consider whether your understanding is the same when applied to the ‘performer’ or a ‘performance’. Such consideration will provide you with an informed awareness as to what you are wanting to enhance and how you might go about achieving it.  

Give your students an opportunity to have a voice! In turn, this will generate a broader and more consistent use of the term and contribute to our understanding of the concept in an artistic setting more generally. 

Through your teaching consider whether you are delivering the principles of performance enhancement to your students, or the skills for your students to apply and then enhance their own practice (or perhaps both). This will help your students to differentiate between theory and practice and importantly, how such knowledge can be applied to what it is they do. 

Where next? 

Given the emphasis placed on delivering ideas relating to performance enhancement as part of a students’ training, it is crucial that we continue to give our students a voice and to understand more about performance enhancement from the individual dance artist.  As educators, we also need to place greater emphasis on considering what part the performer plays in the enhancement of their training and performance.  This is captured by one performer who shared with me: 

‘‘Performance enhancement is anything that allows you to develop, it can be physical, mental or psychological……. it doesn’t make you a better performer, but it gives you more access to being a better performer, it’s about enhancing who you are and what it is you do’’. 

Useful references 

Hays, K.F. The Enhancement of Performance Excellence Among Performing Artists. Journal of Applied Sport Psychology. 2002; 14, 299-312. 

Krasnow, D.H., Chatfield, S.J. Dance Science and the Dance Technique Class. Impulse. 1996; 4, 162-172.

Orlick, T. (2007). In Pursuit of Excellence. Champaign, Illinois, USA: Human Kinetics. 



Gemma Harman, PhD Candidate, MSc, FHEA is Senior Lecturer in Dance and Acting Programme Leader BSc Dance Science at the University of Chichester. Gemma is also a lecturer at Trinity Laban Conservatoire of Music and Dance and is an Academic Tutor at Bird College of Dance. 

Tags:  performance  teachers 

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What I Learned About Fueling My Dancing from Cross-Training

Posted By Stevie Oakes on behalf of the IADMS Dance Educators’ Committee, Friday, June 23, 2017

Preparing myself nutritionally for a long dance day has always been a little tricky. As a contemporary modern dancer, rehearsals alternately require endurance or short bursts of power (usually both, in my experience, throughout the course of the process); the “right” combination of preparing with solid meals before hand with adequate and healthy snack options while not feeling too full seemed elusive. And while my education and interest in wellbeing – plus lots of resources and publications from the IADMS team - gave me a starting off point for balanced meals, energetic needs, and nutritional considerations, I found out the most from tuning in to sensation. Challenging myself physically and meeting those needs with good eating habits. And, by knowing what good fueling for me FELT like after applying the evidence-based information I was able to continue to commit to a viable and sustainable balance of macronutrients (carbohydrates, proteins, and fats) for energy along with good hydration and a plethora of micronutrients (vitamins and minerals). No surprise that I might learn bigger lessons from listening to my body, but I’m so glad that I did! Good fueling feels good.

 



I started running over the summer – I had dabbled before, cautious to avoid pushing too hard, but decided that I could prove to myself that a step-wise, science-based training protocol could prepare me for a half marathon. While various organizations that facilitate races have a variety of resources and tools like the Nike + Run Club App certainly helped me track my training, a reliable resource like Runner’s World can help anyone pick the right training program. (I’m sure I should also acknowledge that Western concert dance professionals often demonstrate an interest in more extreme athletic feats…a need to which I am not immune.) I planned my approach around a calendar that also overlapped mindfully with the beginning of my semester – I would be returning back to dancing, teaching and rehearsing while continuing to train. The challenge was not – as I’d anticipated – the time management, or even the additional musculoskeletal impact (actually, I couldn’t have imagined the kind of power and strength increases I noticed in my dancing…but that’s for another day). Nope. What really required my full attention was my FUELING.  In order to maintain even the beginnings of my training regimen, I had to learn much more about macronutrient intake for energy balance, the timing of my eating, and better hydration strategies. The IADMS Nutrition Resource Paper was a perfect place for me to start!


The energy demands of this aerobic training were all new – as a dancer, most of my physical activity takes place in shorter bursts and so my body may rely on anaerobic pathways – think intervals, which require a different kind of energy production in the muscle cells – with muscular endurance rather than full-bodied, increased heart rate, sweaty, long lasting workouts. I’ve enjoyed reading the newly published book Dancer Wellness, by Wilmerding, Krasnow, and the IADMS team to refresh and revise my understanding of overall healthy dance practice. The challenges were foreign with respect to the elements of Frequency, Intensity, Time and Type (FITT Principle). For more details on how changing up your exercise plan with these factors in mind, be sure to check out the IADMS Dance Fitness Resource Paper and a few other references at the end of this post! Not only did I need more overall calories to fuel the increased energy expenditure, but I immediately discovered that the kind of calories really mattered in order to FEEL my best. I knew that. At least from a textbook, studied perspective. But, I am ultimately a kinesthetic learner…an experiential learner. I understand the world most by feeling and sensing in my own body. And so I quickly noticed that the integration of a revised balance of carbohydrates and fats to support the running made the increasing mileage possible. Whole wheat pasta dinners topped with a mix of brightly colored vegetables and a bit of mozzarella cheese made for an awesome night-before meal.


 

 

 

 

Fruit smoothies laced with spinach and a touch of almond butter were life-saving morning rituals to prepare me for longer runs. For more ideas and meal-planning brainstorms, I often consulted Livestrong. Without these foods – these combinations of nutrient dense, minimally processed fuels – my body simply didn’t feel fully capable of continuing through my run and the rest of my active day. The easily accessed sugars in fruits and veggies gave me energy quickly to start (and maintain my blood sugar); then my body could rely on the complex carbohydrates (CHO) found in the almond butter to hang tough for availability throughout the workout, stored away efficiently in my muscles and liver. Predominantly unsaturated fat, -  again, from almond butter in the shakes or avocado on my toast -  added a healthy energy source that allows access to aerobic pathways and fat-burning in the body for additional fuel. Protein sources were also crucial. While the CHO and fatty acids predominantly supported my aerobic energetic needs, I was also building and repairing muscle (despite my belief that my legs were already maximally mighty and sculpted from dance, running gave me a new kind of power!). I had to be sure that my proteins were high quality – chalk full of each of the essential amino acids (the ones the human body cannot self-produce) while also serving as an energy resource as I continued to train with higher mileage. The notion of a balanced plate was tricky to master each time, but critical to my success.

During my pre-running dancing days, I had not yet encountered this kind of consistent endurance challenge. I ate well enough – I’d read and studied and practiced healthy eating – but truly FEELING this need for more energy was something new, and GIVING my body what it needed also felt more magical than I could have expected! In addition to noting the need for consistently thoughtful food choices, I had to keep up with my eating. While historically I may have been a bit more lax about attending to every meal and snack – now it wasn’t an option. I felt the effects of a big gap in fueling. I believed – I’d read – that replenishing my body with carbohydrates to build muscle glycogen (energy stores) as essential and could be maximized if I ate within a three-hour window after my workout. For more information on nutrient timing for optimal recovery, this article aimed at runners is totally user-friendly.  I also understood, scientifically, why the immediate availability of some carbohydrates in my system to jumpstart my workout was just as critical as ensuring digestion time so that blood flow could be directed appropriately and I didn’t have to navigate an overly ‘full’ sensation. But now, I felt the difference in my training and subsequently my dancing when I made sure to spread out my eating throughout the day. I noticed that a quinoa salad with roasted sweet potatoes and kale was a perfect replenishing lunch. 


 

 

 

 

Or avocado toast with some honey and feta cheese could provide an ideal pick-me-up after any activity – a yoga class, a rehearsal, or teaching a technique class. Trail mix was a staple in my bag at all times for quick bites of nuts and dried fruit (and maybe even a dark chocolate morsel or two). 

 

 

 

 

Another key element of my fueling and care-taking: hydration. I thought I would simply develop more thirst as I needed it…and I would drink enough water to match. 

 

 

 

 

But I learned to be mindful of the sensations before I got behind. The National Association for Athletic Trainers has a great position paper that discusses the scientifically supported do’s and don’t’s of hydration for athletes. Water to start my day (along with a cup of coffee, because I just love it) and spread carefully throughout my workouts, no longer tied to how sweaty and slippery I felt. BUT, I also noted the difference in how I felt – more energized, clear-headed, and ready – when I kept drinking fluids into the rest of my day to help regulate my metabolism and rehydration. While this could, in itself, be a whole discussion, I also noticed what worked best for me varied a bit from day to day. I had to check in. To keep track of how I was feeling and assess whether hydration status might be playing an important role in continuing on with my daily plan and my training.

What is most exciting about this sort of nutritious and energizing personal revolution, however, is that as I move in and out of running as a cross-training mechanism, I am able to continue to FEEL what my body needs. And, while I often still refer to the IADMS Nutrition Resource Paper for reminders, I now have the memories of satiation and power that came from balanced, well-timed eating habits and I am able to return to that healthy motivation to fuel my daily activities in dance and in teaching. It isn’t always perfect, and I am aware of the micro-adjustments I need to remain in dynamic alignment with my energy and nutrient requirements. But, to be able to return to a physical sensation as a mover, grounded in my body’s knowledge, I’m happy to know that the science can also be experienced, felt.


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Stevie Oakes is an Assistant Professor of Dance at the College at Brockport, SUNY near Rochester, New York. With an MFA in Dance from New York University’s Tisch School of the Arts, Stevie continues to perform professionally for a variety of New York-based choreographers. As a member of the team at the Harkness Center for Dance Injuries, Stevie had the distinct privilege of honing her expertise in dance science. She blends these two passions of art and science in her teaching, paying specific attention to the application of research in the dance studio. 


A few additional resources and links – 

FITT Principle in Training: 
http://www.ode.state.or.us/teachlearn/subjects/pe/curriculum/fittprinciple.pdf

Cross-training design help:
http://www.active.com/running/articles/how-you-can-create-your-own-training-plan

More Meal-Planning Brainstorms:
http://www.livestrong.com/cat/food-and-drink/
http://www.livestrong.com/myplate/
http://www.mayoclinic.org/healthy-lifestyle/nutrition-and-healthy-eating/basics/nutrition-basics/hlv-20049477



Tags:  cross-training  nutrition 

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5 Research Insights on Technique Proficiency for Busy Dance Teachers

Posted By Clara Fischer Gam on behalf of the IADMS Promotion Committee, Monday, May 22, 2017

Dance teaching is a daily challenge. Being in the studio for long working hours, preparing different classes for the term and dealing with the individualities within a group of students are some of the struggles and joys of the teaching practice. As we work against the clock with dancers to keep up with the timetable and achieve aesthetic quality and mastery of technique, the time for reflecting upon experience and investigating new pathways for student learning becomes scarce.

 

 

 

How can we keep an exploratory process alive whilst still being time-efficient to meet the demands of the curriculum and nourish dancers’ development of artistry? 

 

Over the years, the International Association for Dance Medicine & Science (IADMS) community has developed a comprehensive collection of resources for informing and inspiring your teaching practice. Accessing our resources, you will discover content specially designed for dance teachers that bring exciting research findings into the studio context. At this post, you will find a brief preview of 5 selected resources that bring evidence-based insights to support your teaching practice. Just click on each title below and it will take you to the full text. Always remember that IADMS website provides a vast number of resource papers (http://www.iadms.org/?page=186) and bulletins for dancers and teachers (http://www.iadms.org/?page=243) that you can access at any given time!

 

 1-      Body alignment, jumping and barre work:

 Can we keep upright alignment throughout the entire dance sequence? Do deeper pliés elicit higher elevations? Does barre work prepare the body for center work? …. Recognise underlying concepts of these key elements of dance skill and teaching cues that can facilitate student learning.

 

 2-      Energy storing and timing of dance movement:

 What is the role of the gesture leg during a fouetté turn sequence? Does winding up with the arms affect a pirouette? Understand how the forces work during particular dance movements and important things to spot when your dancers are struggling to learn them.

 

 3-      Balance in dance:

 When teaching novice dancers, to what extent does demanding perfect placement of the body help learning balance strategies? Explore postural control and automatic balance mechanisms and how to make the most of these processes for student growth and development of artistry.

 

 4-      Dance technique steps:

 During class, when is the best time for performing grand plié sequences? Whilst keeping the gesture leg in balance, are we really holding it from the core? Does the upper body contribute to take-off and lading from jumps? Identify the mechanical principles of some the main steps of dance technique and how to apply them to your studio practice.

 

 5-       Lateral preferences in dance:

 Could having a dominant gesture leg impact performance? Discover what to consider regarding student’s preference for learning and performing in one side of the body and what can you do to foster your dancers’ potential. 

 

 

 

In order to face the challenges of a dance teaching career, it can be of great worth to save a bit of time to investigate evidence-based information that relates to your studio practice as to keep building up the blocks for student’s mastery. Remember that you have got full support from IADMS public access resources throughout the process!

 

Keep investigating your teaching practice by exploring other core topics in dance at IADMS resource papers and bulletins for dancers and teachers, enjoy!

 

Clara Fischer Gam, MS (clarafischergam.com)

MSc Dance Science | BEd Dance Education

Certified Functional Strength Coach

Rio de Janeiro – Brazil

Dance Science Brasil Group

Corpos Aptos, Gestos Livres Project

Tags:  dancers  resource papers  teachers  technique 

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5 Questions With…K. Michael Rowley

Posted By IADMS Student Committee, Monday, May 8, 2017

This month’s featured member is K. Michael Rowley of the University of Southern California. Michael is a PhD candidate working in the Jacquelin Perry Musculoskeletal Biomechanics Research Lab in the Division of Biokinesiology and Physical Therapy studying recurrent pain. His areas of interest include postural control, cognitive contributions to posture, dance injury prevention and recurrent low back pain.

-How did you first get interested in dance science/medicine?

Since grade school, I’ve been interested in the human body, biology, and movement. Separate from that, I pursued dance as a hobby in high school and minored in it at the University of Delaware (UD). It was there that Dr. Lynette Overby, a faculty member in the Dance Minor Program at UD, introduced me to the intersection of my two interests – dance and science. She recommended I look into IADMS, and I attended my first conference that year in Washington, D.C., USA. Dance is such a fruitful and rich field in which to observe, practice, and study concepts of human movement.

Pictured: Michael Rowley, Jeff Grimaldo, and Anne Grimaldo
of the Rudy Perez Ensemble in Santa Monica, CA.
Photo by Ben Licera.

-Are you currently participating in research? Can you give us your elevator pitch about your research area?

In the Jacquelin Perry Musculoskeletal Biomechanics Research Lab, working under my advisor Dr. Kulig, we study problems of recurrent pain. One specific group of patients we investigate are dancers with flexor hallucis longus tendinopathy, a condition sometimes called “dancer’s tendinitis”. We test different modifications to relevé exercises as potential prevention or non-surgical treatment interventions. This research was funded by the American Physical Therapy Association Orthopaedic Section's Performing Arts Special Interest Group. Another population we study is persons suffering from recurrent low back pain. We investigate different mechanisms that may contribute to altered postural control in these persons even during periods of pain remission.


-What are your plans after graduation?

After graduation, I plan to pursue a post-doc in order to expand my research knowledge and skills. After that, I’ll begin looking for a faculty position at a university where I can work closely with both a kinesiology or biomechanics department and a dance program. It’s a passion of mine to keep these two areas communicating and connecting so we can (a) learn how to improve dancer health and performance, (b) investigate general principles of movement and motor control by studying dancers, and (c) develop dance-like interventions for other populations and patient groups.

-Which annual meeting has been your favorite so far and why?

 

 Pittsburgh was my favorite annual meeting. Being my fourth meeting, professionals began recognizing me, saying hello, and asking about my work. It was very cool to start feeling part of the community. Also, my sister was in her senior year at the University of Pittsburgh studying Athletic Training. She also attended the meeting to learn about how to better treat dancers. We had so much fun being in a professional setting and learning together! I am very grateful for this experience that I know most siblings with diverse interests do not get to share. My sister, Whitney, has since graduated and is now an Athletic Trainer employed by UPMC and working with the dance students at Point Park University – using knowledge she gained from the IADMS meeting on a pretty-much-daily basis. We still chat often about what she’s learning while helping these dancers perform at their best and prevent and recover from injury.

 

Pictured: Michael Rowley and Whitney Rowley at IADMS2015 in Pittsburgh, PA, USA.

-In which ways has IADMS helped you grow in your field of study and what would you say to a student thinking of joining IADMS?

 

 IADMS has provided invaluable networking opportunities. Some of these have already begun paying off as we at USC have been able to collaborate with other dance science and health researchers in the area and internationally. As we’ve moved forward on our tendinopathy research, I’ve reached out to IADMS experts for help and advice from something as simple as “How do you quantify and define dance volume/exposure on your questionnaires?” to something as cool as being able to send ultrasound images and videos of the flexor hallucis longus tendon to international foot and ankle surgeons and experts to discuss potential abnormalities in the images. Other networking benefits I’m sure will continue to pay off as I look for post-doc and faculty positions. Not to mention simply how fun and friendly most of the dance medicine and science community is.

 

 If you’re interested, give it an honest shot. I think it’s easy to join for one year and attend the annual meeting when it’s near you. While that’s a great start and I’m sure you will benefit immensely from attending, to get the most out of IADMS it takes a commitment to the community. After two or three years attending and networking, you will start to see the community giving back. After the meeting, reach out to speakers and professionals you learned something from – introduce yourself, share your interests and goals, and thank them for the work they do. Pretty quickly, you’ll be able to express for yourself the benefits of being a part of the international dance medicine and science community.

 

Pictured: Michael Rowley and Pamela Oppenheimer.
Photo by Dan Dunlap.

 

If you’d like to share your experiences, email us at student@iadms.org

 

 

Tags:  5 Questions With  students 

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Ipswich IADMS Regional Meeting: A Healthier Dancer Day on The Adolescent Dancer

Posted By DanceEast in partnership with One Dance UK, Monday, May 1, 2017

 Are you a dance educator, private school dance teacher, community artist, a parent, or involved in dance teaching and learning of children and young people?
 
 If so, then this day-long IADMS Regional Meeting is exactly for you!

 

 
 A blend of practical and discursive workshops, as well as keynote presentations, this day draws from the most recent research and practice in dance medicine and science to offer up-to-date information on the physiology and psychology of working with children and young people in an applied dance learning context.
 
 Workshops include: Working with Adolescent Dancers: The Physiology and Psychology of Children and Young People, Pointe work readiness Resilience and Mental Health, Supporting the Adolescent Dancer Growing up as a dancer and The Role of the Dance Teacher.
 
 Dance teachers will be able to claim continuing professional development hours for their portfolio.
 
 The schedule of the day, including key note speakers can be found here.
 
Friday 26th May 2017
10am – 6pm 
Jerwood DanceHouse, Ipswich
£80, £65 concessions
 
To book, call DanceEast Box Office on 01473 295230 or visit www.danceeast.co.uk

 

Tags:  dancers  regional meeting  UK 

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The Importance of Vitamin D for Dancers

Posted By Derrick D. Brown on behalf of the IADMS Dance Educators’ Committee, Wednesday, April 26, 2017

Vitamin D has received a great deal of attention in the last 5 years both in popular media and in dance medicine and science research, and with good reason. While much emphasis is placed on its role in bone health, a key question revealed from the research is whether it also can provide other benefits for pre- and professional dancers.  The purpose of the post is to highlight some of the research done on dancers and discuss why it might be important to keep an eye on your Vitamin D levels.

 

 We could say, that ‘if vitamins had a prima ballerina assoluta , Vitamin D (Vit-D) would almost certainly receive that rare and prestigious honour. Such a unique status usually reveals a high level of complexity, which fully describes this vitamin, as D appears to be one of the few organic substances that the human body processes both via our food and from the sun. Two major forms you might have heard of, are vitamin D2 and vitamin D3.  Both D2 and D3 are found in dietary supplements and fortified foods. While there are differences, they do not greatly influence metabolism or activation in the body. You might have seen many confusing letters/ numbers combinations that describe Vit-D. The table below offers an overview of the many ways in which Vit-D is characterized in popular and health-based media.

 


 

Vit-D exerts considerable influence on the metabolism of micronutrients calcium and phosphorus, as well as key bodily organs: intestine, bone, and kidney.  The image below provides a schematic of Vit-D metabolism as it occurs naturally due to sun exposure. Oral forms of  Vit-D follow similar metabolic pathways through organs.

 


Fig.1 Metabolism processes of Vitamin D

© Designua | Dreamstime.com

 

 As mentioned above, thanks to the photochemical processes from ultraviolet B (UVB) light, our bodies can produce significant levels of Vit-D from the sun. As with most rules there is an exception. The amount of D3 that your body can convert from UVB depends on your skin pigment. So naturally dark-skinned individuals may block UV light and prevent D3 synthesis. Geography also plays a role; more Northern countries, including, Scandinavia, the Netherlands, the UK and Germany, receive less sunlight than, say, Mexico. Sunscreen, once considered a ‘must’ is now cautioned for some; and should be used after sufficient time in the sun to allow for Vit-D synthesis, but not at the risk of sunburn (see practical recommendations below).

 


© Hanna Monika Cybulko, Dreamstime.com

 

 Vitamin D and Dancing

Wolman et al (2013) studied a group of 19 UK based elite classical ballet dancers over a six month period for vitamin D levels.  During the winter, all 19 dancers were either insufficient or deficient, and even in the summer months only three dancers had normal levels of the vitamin.  Similarly, Dulcher and colleagues (2011) found similar results and whilst such small cohorts are not generalisable, they do provide a glimpse of the challenges that young dancers may face. Notable in both studies are the similar findings made across genders and, importantly, in different geographic locations. A possible reason for Vitamin D deficiency in young dancers, is that while studying at pre-professional academies most dancers spend considerable time in the dance studio, upwards of 5-6 hours a day, and so receive little exposure to sunlight, particularly in the northern latitudes during winter months.

 

 Vitamin D and diet.

Even with the complexity of skin type, geography and adequate healthy exposure to the sun (see practical recommendations below), we can also receive some of our D from the diet. Those who opt for an omnivore diet that is well balanced should have no trouble with additional Vitamin D sources from some dairy products, fatty fish and egg yolks, as well as fortified foods. However, vegans and vegetarians might need to work a bit harder to find significant dietary Vit-D. Larsson and Johansson, (2002) in a comparative study which assessed the dietary intake and nutritional status of young Swedish vegans and omnivores. All youths had dietary intakes lower than average of Vit-D with female vegans particular low even with Vit-D production via skin exposed to ultraviolet B (UVB) light. Similar results have been seen in Danish (Kristensen, 2015) and Finnish vegans. Together with the aforementioned studies on vegetarians and vegans from Nordic countries, it is reasonable to presume that some vegan dancers may also have low levels of this nutrient.  Vegetarians and vegans can find many products fortified with Vit-D. Many alternatives to milk (oat, almond, rice) are now fortified with Vit-D.  Even certain mushrooms (Portabella and Cremini) are exposed to large doses of UVB during growth increasing Vit-D levels dramatically, although due to the complex process mentioned above don’t expect to receive adequate amounts of usable (bioavailable) D by eating multiple servings of mushroom ragout!

 

 Supplementing Vitamin D

Given much that was mentioned, one might conclude that the easy route would simply be to take a supplement. But before you run out, buy up and start popping Vit-D, it is important to caution that for athletes (dancers being a type of athlete) there may be complications. Multiple studies suggest that taking more than 5,000 IU (125mcg)/day could actually negatively impact your performance. And then quality of supplements is equally important so that no undue toxins from inferior supplements are ingested. If extremely low levels are suspected, seek the advice of a suitable medical professional/ clinical dietician who can assess serum (blood) Vitamin D levels and discuss if supplementation is right for your individual needs. A more comprehensive overview of the process and interactions can be found in the newly published book Dancer Wellness or via the nutrition resource paper, both under the auspices of IADMS.

 


 

Further Resources

 

 Brown DD, Challis J.  Optimal  Nutrition for Dancers. In: Wilmerding V, Krasnow D, eds. Dancer Wellness. 1st ed.; 2017:163-191.

 

 Challis J, Stevens A, Wilson MA. IADMS Nutrition Resource Paper 2016. 2016:1-36.

 

 Ducher G, Kukuljan S, Hill B, et al. Vitamin D status and musculoskeletal health in adolescent male ballet dancers a pilot study. J Dance Med Sci. 2011;15(3):99-107.

 

 Kristensen NB, Madsen ML, Hansen TH, et al. Intake of macro- and micronutrients in Danish vegans. Nutrition Journal. 2015;14(1):1-10.

 

 Larsson CL, Johansson GK. Dietary intake and nutritional status of young vegans and omnivores in Sweden. Am J Clin Nutr. 2002;76(1):100-106.

 

 Wolman R, Wyon MA, Koutedakis Y, Nevill AM, Eastell R, Allen N. Vitamin D status in professional ballet dancers: winter vs. summer. J Sci Med Sport. 2013;16(5):388-391.         

 

 

 Derrick D. Brown is Programme Manager and Lecturer at Bern University Masters of Advance Studies in Dance Science, Bern Switzerland. Associate researcher/ lecturer at the ArtEZ Institute of the Arts , Arnhem, The Netherlands. He is also a Doctoral candidate in neurocognition and motor control at Donders Institute for Brain Cognition and Behaviour; Radboud University, Nijmegen, the Netherlands. 

 

 

 

Tags:  dancers  health  nutrition  sun  teachers 

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Not “IF” but “WHEN”: Rehearsing for medical emergencies in dance

Posted By Carina M. Nasrallah, MSAT, ATC, CISSN, Thursday, April 13, 2017

He was only 18 years old - healthy, strong and a beautiful performer. It was just a typical day of class and rehearsals. Everything seemed normal.  No one knew that he had a congenital heart condition that would cause his heart to stop unexpectedly in the middle of rehearsal.  He simply collapsed.

 

 

Catastrophic injuries and life-threatening medical emergencies are not common in the dance studio or theater.  Ankle sprains, bruised toenails and sore backs are more the “bread and butter” of dancers’ woes, and as a result it is easy to develop a false sense of security - the mentality that “it would never happen to us”.  But it is critical to remember that dancers are elite athletes and not immune to catastrophic injury.  Therefore, having a plan for handling emergency situations is not a recommendation - it is necessity.

 

What is an emergency action plan (EAP)?

An emergency action plan (EAP) is a written document that outlines how medical emergencies will be managed within a dance institution or performance venue.  The plan should be clear, comprehensive, and adaptable to a variety of scenarios.  Many facilities may already have a barebones EAP - a paragraph or two discussing what to do in the case of fire, flood, medical emergency, etc.  But a detailed and comprehensive EAP should read more like the choreography notes for a Balanchine ballet.  The reader should be able to visualize how the scene would unfold, which characters will emerge from the wings, the sequence of steps, and the location of props.

 

 

 

Who should be involved?

In the case of an emergency roles need to be delegated and the parties should know their responsibilities in advance. Instructors, staff, administrators, any on-site or off-site medical personnel (i.e. athletic trainers, physical therapists, attending physicians), and the local EMS team should be familiar with the venue-specific EAP.  The plan should answer the following: Who will call EMS? Perform the initial evaluation? Retrieve the emergency contact card? Fetch emergency equipment? Escort EMS into the facility? Keep in mind qualifications, location, and availability. When working with minors a staff member needs to be designated to accompany the child to the emergency department and/or make treatment decisions if a guardian is not present.  A list of key administrative and medical personnel along with contact information should be included in the EAP. Clear lines of communication should be established along with any special instructions (i.e. dialing “9” first from a landline, information to given to EMS, name/address of the receiving emergency facility, etc).

 

 

Plan, prepare, and plot it out

Often a qualified medical professional may not be available to perform the initial evaluation in a medical emergency.  Therefore the EAP should outline scenarios in which EMS needs to be activated and when it is unsafe to move an injured dancer depending on level of consciousness, type and location of injury, etc. A healthcare professional trained in emergency care services should assist with developing these guidelines using easily understood language and terminology.  Additionally all instructors and staff should be trained in automatic external defibrillation (AED) use, cardiopulmonary resuscitation (CPR), and first aid. Emergency contact cards for each dancer should always include a “consent to treat” signed by the dancer or parent/guardian (if a minor).

  

 

Locating and setting up emergency equipment can cost precious minutes in situations when seconds can mean the difference of life or death.  Automated external defibrillators are a life-saving investment that all companies and studios should consider making.  They can be easily mounted on a wall in a studio or carried on tour without even requiring a “per diem”! The EAP should include a detailed description of the location of automated external defibrillators (AEDs) and first aid kits. Someone not familiar with the facility’s layout should be able to locate any emergency equipment by following the EAP.  Similarly, the plan should establish an entry and route for emergency care personnel to approach the venue and access the injured person quickly. Floor plans or diagrams may be beneficial for clearly designating routes and locations of emergency equipment. These should be specific to each venue.

 

The performance should never be a rehearsal

As any dance patron knows, seeing a show that has never been rehearsed is not worth paying for.  Similarly, implementing the action plan in an emergency situation should never be the first time it is rehearsed.  This only invites disaster. An EAP should be reviewed and revised as needed at least once a year with staff, administrators, and medical personnel.  Practicing scenarios to drill the EAP is the best way to reinforce the action steps. Then when the unthinkable happens and the adrenaline kicks in chaos does not ensue. A well-designed and rehearsed EAP will reduce time-costly errors and ensures that communication and order are maintained in an emergency situation.  Being unprepared could cost everything.

 

So returning to the young dancer above - what was the end of his story?
That is for you to determine. What is your plan?

 

 

 

Additional Resources

1. Andersen J, Courson RW, Kleiner DM, McLoda TA. National Athletic Trainers' Association Position Statement: Emergency Planning in Athletics. J Athl Train. 2002 Mar;37(1):99-104. PubMed PMID: 12937447; PubMed Central PMCID: PMC164314.

 

2. Emergency action plan (template). National Institute for Occupational Safety & Health. October 2003.

 

3. Casa DJ, Guskiewicz KM, Anderson SA, Courson RW, Heck JF, Jimenez CC, McDermott BP,
Miller MG, Stearns RL, Swartz EE, Walsh KM. National Athletic Trainers' Association Position Statement:
Preventing Sudden Death in Sports.
 J Athl Train 2012Jan-Feb 47(1):96-118.

 

4. Gates R. Be Prepared for Disaster. Occupational Health & Safety. May 

Tags:  dancers  emergency  injury  teachers 

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Are You Warm Enough to Start Dancing?

Posted By Brenton Surgenor and Andrea Kozai on behalf of the IADMS Dance Educators’ Committee, Monday, April 3, 2017

 

Warming up is essential before taking part in any type of dance activity, but it’s not always clear how to warm up effectively.  This blog post sets out the what, why and some of the how-to’s of an effective dance-specific warm-up.  This prefaces our new, upcoming Resource Paper on effective warm-up for dancers, which has much more information and advice on how to prepare the body for dancing.

 

Firstly, an effective warm-up will prepare you (or your dancers) mentally and physically to meet the challenges and physical requirements of a class, rehearsal, or performance.  As the name suggests, a warm-up should increase your core body temperature, which prepares your muscles and joints to function effectively during dancing as well as reduces injury risk.

 

During the warm-up there is an increase in the amount of energy required by your working muscles.  This means your body needs to consume more oxygen and fuel (glucose) to generate energy to power your muscles.  A byproduct of all this extra energy production is the increase in body temperature that gives the warm-up its name, so the cardiovascular section of a warm up is vital in ensuring your body is ready to go.  Therefore, sitting in the sun enjoying a hot coffee will not have the same benefits as a physical warm-up, as a warm-up ensures that your cardiovascular system, breathing rate, and energy-producing systems gradually increase to meet the higher demand for energy when you begin dancing.

 

A warm-up will have a number of other beneficial effects. These include: increasing the flow of synovial fluid (the lubricant in the joints), which allow your bones to slide more freely; improving the elasticity of your muscles, joints and ligaments for increased range of movement; and increasing the speed that signals travel through your nerves, which improves your overall balance, coordination and proprioception (your body’s ability to understand its orientation). For more information about proprioception see IADMS Resource Paper “Proprioception”. 

 

 

Whilst it’s good to include some stretching as part of your warm-up, not all types of stretching are beneficial before dancing.  The role of stretching during a warm-up is to mobilize muscles and prepare them safely to carry out the range of motion required of dance activities, not to increase flexibility. Stretching should happen after the activation of the cardiovascular system and when core body temperature is raised.  Dynamic stretching (taking the joint through a full range of motion in a slow and controlled way) is the best form of stretching in a warm-up.  This is because research suggests static stretching (stretches held in one position for longer than 15 seconds) can have a negative effect on balance, proprioception (knowing where your body is in space) and the muscles’ ability to produce powerful quick movements like jumps (Morrin and Redding, 2013). While static stretching can be an important part of flexibility training it is not an appropriate method of warming up; on the contrary, the purpose of dynamic stretching is to ready the body for full range, dynamic motion (Quin, Rafferty and Tomlinson, 2015).  For more about stretching, see IADMS Resource Paper “Stretching for Dancers”.

 

 

Warming up your mind is just as important as warming up your body.  A good warm-up will give you an opportunity to check how you are feeling, to notice your posture and any unnecessary physical tension or pain.  It can also help you concentrate and focus, which should contribute to technically better dancing and reduced risk of injury (Laws, 2005; Malliou et al., 2007).

 

Although a thorough and effective warm-up should take about 20 minutes, the time required is dependent on a number of factors including, but not limited to: whether the dancer has participated in any physical activity that day (is it the first class of the day or has the dancer recently completed another class); how warm or cold the environment is; and how much space and time is available for the warm-up. This should include a general physiological warm-up that prepares the core body temperature for physical activity.  Importantly too, the warm-up should include specific activities that relate to the style of the dance to follow (Quin, Rafferty and Tomlinson, 2015).

 

A warm-up generally consists of three or four sections: a gentle pulse-raising section, a joint mobilizing section, a muscle lengthening section, and sometimes a second pulse-raising section (Quin, Rafferty and Tomlinson, 2015). The pulse-raising sections aim to increase cardiorespiratory and metabolic rates; these are the prerequisite to all further activity. The joint mobilizing section consists of gently moving the various joints through their ranges of motion, and the purpose of the muscle lengthening section is to prepare the muscles for the demands to come through the use of dynamic stretching (Wilmerding and Krasnow, 2017). It is also appropriate to include remedial exercises for injury prevention purposes at the end of the warm-up (Volianitis et al, 2001), and mental skills and preparation can be included at any stage.

 

Remember the benefits of a warm-up will be reduced or even lost once the body returns to its resting states of heart rate, respiration, and body temperature, so try to keep the time between the end of the warm-up and the dancing a minimum. Warm clothing and continued movement (but not static stretching) will help keep the body’s core temperature elevated. However, this is dependent on what happens after the warm-up (does the dancer keep moving or do they sit down and rest) and environmental elements such the ambient temperature. Cooler temperatures and the lack of movement may cause the effects of the warm-up to dissipate more rapidly.

 

Unfortunately, there is no magic recipe for warming up and the most important thing to remember is that the warm-up should be specific to the type of dance activity to follow (in other words a ballet warm-up will be different from a jazz warm-up). However, with an understanding of a few basic principles, it should be safe and easy for you to design a warm-up that works for you. 

 

 

Here are some suggestions to help you design your perfect dance warm-up.

1.      Involve your mind and take a moment to center yourself.  Check in with how you are feeling; notice any areas where you need to give special attention. 

2.      Make your warm-up dance (and type of dance) specific.

3.      Introduce an activity to gradually increase your heart rate.

4.      Keep the movement simple to begin then progress to more complex and challenging movement patterns.

5.      Mobilize all the joints in your body and don’t forget about your spine and upper body, especially if your dance style includes upper-body weight bearing or/and partnering work.

6.      Give yourself a goal or try some positive self-talk.

7.      Use dynamic stretching and take your body carefully through full ranges of motion saving the static stretching for the cool-down or the end of the day.

8.      Wake up your nervous system by incorporating quick changes in direction and stopping to balance on one leg – this will engage your proprioceptors. 

9.      Once you are feeling warm and just a little bit sweaty, introduce some power movements like small jumps followed by some bigger ones.

10.  Towards the end of the warm-up, pick the pace and progress your movement to speeds nearer the pace of the following dance activity.

 

Whatever you choose to include, by the end of the warm-up you should feel ready to meet the mental and physical challenges of dancing. For more detailed information, check out the new IADMS resource paper on warming up for dancers.

 

 

For more information about warming up see the following resources.

1.      Harris J, Elbourn J. Warming up and cooling down. Champaign, IL: Human Kinetics, 2002.

2.      Laws, H., & Apps, J. (2005). Fit to Dance 2: Report of the second national Inquiry into dancers' health and injury in the UK. Dance UK.

3.      Malliou, P., Rokka, S., Beneka, A., Mavridis, G., & Godolias, G. (2007). Reducing risk of injury due to warm up and cool down in dance aerobic instructors. Journal of Back and Musculoskeletal Rehabilitation, 20(1), 29-35.

4.      Morrin, N., & Redding, E. (2013). Acute effects of warm-up stretch protocols on balance, vertical jump height, and range of motion in dancers. Journal of Dance Medicine & Science, 17(1), 34-40.

5.      Quin E, Rafferty S, Tomlinson C. Safe Dance Practice. Champaign, IL: Human Kinetics, 2015.

6.      Volianitis S, Koutedakis Y, Carson R. Warm Up: A Brief Review. Journal of Dance Medicine and Science 2001; 5(3): 75-79.

7.      Wilmerding MV, Krasnow DH (eds). Dancer Wellness. Champaign, IL: Human Kinetics, 2017.

 

 

Written by Brenton Surgenor (BPhEd, MA, MSc), Hong Kong Academy for Performing Arts and Andrea Kozai (MSc, CSCS), Virtuoso Fitness

Tags:  dancers  teachers  warmup  warm-up  wellness 

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2017 Regional Meetings - All the info!

Posted By Elsa Urmston on behalf of the IADMS Dance Educators’ Committee, Monday, March 27, 2017

This year we are working hard to reach new audiences through a range of international regional meetings, arranged by key members of the IADMS Dance Educators’ Committee.  The aim of these events is always to widen our reach and ensure that information about dance medicine and science is broadly disseminated, especially amongst artists, practitioners, teachers, educators, clinicians, students and parents for whom these ideas are relatively new.  This year we have events lined up in Australia, the USA and the UK, which seek to present ways in which dance medicine and science principles can be transferred to the classroom and applied in practice.

 

REGIONAL MEETING #1 - iadms.org/melbourne

 

 

FRIDAY APRIL 7, 2017

 

8.15 – 9.00      Registration; Tea and Coffee  FOYER

 

9.00 – 9.10      Opening Performance

 

Maggie Lorraine, Tim Storey

Welcome Address and Acknowledgement of Country

 

9.10 – 9.15      David McAllister, Artistic Director, The Australian Ballet (video)

Welcome

 

9.15 – 11.15    Susan Mayes, Paula Baird-Colt, Megan Connelly     

Posterior ankle impingement syndrome

 

11.15 – 11.45  Refreshment Break                FOYER

 

11.45 – 1.15    Dana Rader and Debbi Fretus

Mobilizing and conditioning the upper body using GYROTONIC® Methodology

 

1:15-2:00         Lunch                                      FOYER

 

2:00-2:30         Janet Karin

Variability and the stability myth

 

2.30-3.00         Chris Swain and Sela Kiek

Research and teaching perspectives on spine health in adolescent dancers

 

3.00-3.45         Fiona Sutherland

Body Positive Nutrition for Dancers

 

3.45 -4.15        Afternoon Tea                                   FOYER

 

4.15- 5.15 app.Performance   Details to follow         

 

 

SATURDAY APRIL 8, 2017

 

8:30-9:00         Tea and Coffee                       FOYER

 

9.00 – 9.05      Maggie Lorraine/Tim Storey

            Welcome to day two and Information session

 

9.05 – 9.45      Jill Cook

Jumping your way to knee injuries: Tendon problems in young dancers

 

9.45 – 10.15    Melanie Fuller

Understanding changes in training load related to injuries in dance

 

10.15 – 10.45  Refreshment Break    FOYER

 

10:45- 11:25    Gene Moyle

The curse of being highly gifted: The ethical intricacies of injury rehabilitation in an elite ballet setting

 

11.25 – 12.00  Janet Karin

The curse of being highly gifted: Restoring the body, restoring the dancer

 

12.00 -12.45    Susan Mayes

Healthy ballet hips

 

12.45 – 1.30    Lunch                          FOYER

 

1:30-2:30         Maggie Lorraine

Enhancing and strengthening the range of movement in young dancers’ hips through the GYROTONIC® Hamstring Series.

 

2.30 – 3.15      Paula Baird-Colt

Intrinsic foot muscle activation and strengthening exercises with the assistance of real time ultrasound imaging

 

3.15 – 3.45      Liz Hewett

Beyond Dance: Is dance alone enough to develop the young dancer?

 

3.45– 4.15       Q & A and conclusion

 


Location: Victorian College of the Arts Secondary School, 57 Miles Street, Southbank, Victoria, Australia 3006
Click for map of location

Contact: Maggie Lorraine mlorraine@internode.on.net

Booking can be found here

 

 

 

REGIONAL MEETING #2 - iadms.org/texas

 

 

SATURDAY MAY 6, 2017

 

8:00 – 8:45am             Welcome: Registration and Breakfast

 

8:45 – 8:55pm             Opening remarks

 

8:55 – 9:40am             Dancer as Athlete

Vanessa Muncrief, PT; Ballet Austin

9:40 - 9:50am              Q & A

 

9:55 – 10:40am           Using Rotator Discs to Increase Strength and Endurance in External Rotation in Dancer

 Carisa Armstrong, MFA and Christine Bergeron, MFA; Texas A&M University

10:40-10:50am            Q & A

 

10:55-11:40am            Motor Control Training for the Dancer’s Hip

Sally Donaubauer, PT, DPT, OCS; Pittsburgh, PA

11:40am-11:50am      Q & A

 

11:50 – 1:15pm           LUNCH BREAK

 

1:15 – 1:45pm             Research in Dance

                                    Amanda Clark Tanruther, MFA; Cleveland, OH

Margaret Wilson, PhD; University of Wyoming

 

1:50-2:30pm                Warming Up in Technique Class

Amanda Clark Tanruther, MFA; Cleveland, OH

2:30-2:40pm                Q&A

 

2:45 – 3:30pm             Movement Session

Margaret Wilson, PhD; University of Wyoming

3:30 – 3:40pm Q & A

 

3:45 – 4:30pm             Using a Roller for Myofascial Release

                                    Melissa Hausman, MS, ATC, LAT; Texas A&M University

4:30 – 4:40pm             Q & A

 

4:40-5:00pm                Closing Remarks

 

Date: May 6, 2017
Location: Texas A&M University, PEAP Building, College Station, Texas 77843-425, USA

Contact: Christine Bergeron; cbergeron@tamu.edu; 979-845-5025

Booking can be found here

 

 

 

REGIONAL MEETING #3 - iadms.org/ipswich

 

 

FRIDAY 26TH MAY 2017

 

10.00 – 10.30am:        Arrival and Coffee

 

10.30 – 11.00am:         Keynote Presentation - Speaker to be confirmed

 

 11.00 – 12.00noon:     Training the Adolescent Dancer: Physiological and Psychological Perspectives

                                         Siobhan Mitchell, University of Bath

 

12.00 – 12.30pm:         Coffee

 

12.30 – 1.30pm:           Parallel Sessions:  

                                   Pointework Readiness

                                              Katy Chambers, Royal Academy of Dance  

                                   OR 

                                   Resilience and Mental Health

                                               Stella Howard, Trinity Laban Conservatoire of Music and Dance

 

1.30 – 2.15pm:                                   Lunch

 

2.15 – 2.30pm:              Creating a safe environment for dance

                                                Mark Rasmussen, Harlequin Floors

 

 2.30 – 3.30pm:              Panel Discussion – How Do We Support Adolescent Dancers to Dance

                                                Chair:  Rachel Rist, Tring Park School for Performing Arts

Panellists:  Sujata Banerjee (Classical Indian Dance Artist); Hakeem Onibudo (Impact Dance and Changemaker at The Place);

Sarah Lewis (Glass House Dance and DanceEast Centre for Advanced Training);

Tracy Witney (Head of Learning and Participation, Northern School of Contemporary Dance)

 

3.30 – 4.30pm:                Parallel Sessions:  

                                      Nutrition for the Young Dancer 

Zerlina Mastin, Dance Dietitian and Author of Nutrition for the Dancer

                                      OR 

                                      The Widening Role of the Dance Teacher

Tom Hobden, UNIT and DanceEast Centre for Advanced Training

 

4.30 – 5.00pm:                                   Tea

 

5.00 – 6.00pm:                Children and Young People Dance Performance


Location: DanceEast, Jerwood Dancehouse, Foundry Lane, Ipswich IP4 3DW, United Kingdom
Click for map of location or Click for DanceEast's info page

Contact: Elsa Urmston elsa.urmston@gmail.com
Booking: 01473 295230 or via DanceEast website

 

 

Elsa Urmston is Chair of the the IADMS Dance Educators’ Committee and a Member of the One Dance UK Expert Panel for Children and Young People.  She is a freelance Dance Educator, based in the UK.

Tags:  regional conference  regional meeting 

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