Contact Us   |   Sign In   |   Register
General
Blog Home All Blogs

IADMS Seeks Nominations for the 2017 Dance Educators Award

Posted By IADMS Education Committee, Thursday, March 2, 2017

The Educators Committee of IADMS promotes communication and education for dance teachers, dance students, parents, dancers, and the medical and other health practitioners who provide their care.

The Committee also seeks to recognize teachers who integrate principles of dance science in their teaching and is seeking nominations for the 2017 IADMS Dance Educators Award from around the world

The recipient of this recognition shows evidence of substantial impact through teaching dance and has influenced future dance teachers. Additional evidence for the award comes from service to the field of dance medicine and science as well as mentoring students participating in dance medicine and science events and conferences. 

 

 

The 2016 IADMS Education Committee Dance Educator Award is presented to Dr. Tom Welsh, Professor at Florida State University. Tom joins Dr. Janice Plastino, recipient of the 1st IADMS Dance Educator Award and Janet Karin, recipient of the award in 2015 in receiving this honor from the IADMS Education committee.

 

 An initial letter of nomination will be used to address the candidate’s eligibility, and additional letters of support will be solicited from parents, school directors, and/or former students. Nomination submissions will be due May 1, 2017. The candidate will be selected by the Educators Committee and will be recognized at the Annual Meeting in October.

 

The criteria for the award describe a dance educator who:

 

· Demonstrates long standing support for the integration and implementation of dance science in the classroom and technique studio;

 

· Has developed a system of training based on sound knowledge of human anatomy, physiology, and/or psychology;

 

· Understands and effectively communicates the biomechanical components of movement and dance training principles, both intuitively and based on research, to augment artistic performance;

 

· Can address artistic and pedagogical priorities within a scientific context to help researchers understand the art of dance and dance teaching;

 

· Demonstrates innovative thinking in teaching, is not afraid to challenge myths and historical methods;

 

· Demonstrates attention to physical development and emotional welfare of the student, working to train and educate independent artists fully able in mind, body, and spirit;

 

· Has students who embody and practice the principles that underpin the teacher’s philosophy;

 

· Demonstrates an ongoing commitment to furthering the field of dance and dance science and IADMS as an organization.

 

Please send in your nominations to Education@iadms.org.

 

 

 

Tags:  IADMS Dance Educator Award 

PermalinkComments (0)
 

Bunions in Ballerinas: it’s not really the shoes!

Posted By Megan Maddocks, Monday, February 27, 2017

I have bunions, two in fact. They were never a problem while I danced, but they got worse when I stopped. As a podiatrist, this made me curious about the relationship between pointe shoes and bunions (more accurately called hallux valgus). Below is a brief summary of a literature review I presented at the 2016 annual IADMS conference in Hong Kong, outlining some extrinsic risk factors unique to female ballet dancers.

 

Hallux valgus (HV) is a common1 and complex deformity2. Being particularly common to dancers 3–9, it is believed that dancing plays a role in the cause and development of HV 10–12, however much research suggests that dancing is not a likely cause of HV 11–13.

 

COMMON MISCONCEPTIONS

It has been shown that the average number of dancing hours per week 3,14, hours of pointe work per week 3,14, total years of doing pointe work3 and the age of starting pointe3 are not significantly associated with HV in the dancer 3. Also, the intensity of practice (professional vs recreational) is not predicting variable for HV 3 and an increased Beighton (hypermobility) score, which most dancers have, has not been associated with HV10.

 

HV is mostly related to anatomical hereditary factors and to incorrect technical execution, rather than to the amount of dancing hours, with or without pointe shoes. 3,14

 

TRAUMA

Apart from rupture of the medial ligament of the big toe joint (first metatarsophalangeal joint – 1st MTPJ)3,14 from an incorrect landing or unexpected accident, there is substantial microtrauma to the joint from the hard pointe shoe box15.

 

FOOTWEAR

Constrictive Footwear

There is currently not enough evidence to implicate footwear in the development of HV 1,16. HV has been reported in populations that don’t wear shoes 1,17.         

 

Dance Footwear:

Ballet Flats

Ballet pumps are chosen to fit tighter and tighter as girls get older, eventually fitting more like a glove than a shoe18. They are fitted, like pointe shoes, when the foot is non-weight bearing and pointed 18, ignoring the fact that the foot expands on weight bearing, resulting in the toes being squished together and increasing the tension on the inside of the big toe joint (1st MTPJ).

 

The Pointe Shoe

The bottom end of the box (block), on which the dancers bear weight, is flat, whereas the pointed toes do not form a straight line, resulting in the longest toe, usually the big toe (hallux), supporting the majority of the body’s weight when en pointe19.

                                                                                                              

Inappropriate pointe shoe fit could exacerbate HV formation1,19: an overly narrow, short or soft toe box, results in the toes being squashed, increased tension on the big toe joint (1st MTPJ) and a general lack of support of the foot, (Fig.1). Proper pointe shoe fit is recommended to prevent or delay HV deformity, especially in the predisposed dancer1.

Fig. 1 – Foot structure change in a pointe shoe that is too narrow, created by M Maddocks

 

DANCE TECHNIQUE

All turnout must be from the hip 6,18, however, it may be augmented at the knee, ankle, and foot 1,6,15,20. These forced turn out positions may result in pronation of the foot, with abduction of the big toe (points toward 2nd toe) and an increase valgus force on the joint 1,3,6,7,13–15,20, (Fig. 2). When the foot is frequently forced into exaggerated “turnout”, the supporting ligaments and tendons on the bottom and medial side of the foot and ankle may be lengthened and cause them to lose their ability to support the ankle joint and the arch of the foot 3,14,15,21

Fig.2 – Hyperpronation / Rolling in : foot compensation for poor turnout at the hip, From Davenport1

 

It has been show that ankle plantarflexion is associated with HV3, and the average ankle plantarflexion (pointed foot) in professional female ballet dancers is 113°, which is more than twice the normal value of 50° 22. The combination of maximal ankle plantar flexion and an “over-pointed” foot may accelerate the progression of hallux valgus and exacerbate the symptoms 3.

 

 A small degree of ‘‘winging’’ (Fig. 3) can add to the aesthetic alignment of the line of the leg, however, an excess of pressure is applied through the first toe, particularly in a pronated foot 1,13. Hyperpronation or excessive “winging” of the foot while en pointe or demi-pointe may also result in microtrauma of the big toe joint (1st MTPJ)1.

 

 Proper technique may prevent excessive loads on the big toe joint (1st MTPJ), which in turn may reduce the incidence of bunions.13

 

Fig. 3 – Winging: a technique fault in which the feet are forced outward or abducted at the ankles (Photographer: Darian Volkova)

 

Teacher Influence

Teachers should constantly strive to see that the leg and foot turn out as a unit from the hip18,21. Every effort should be made to control or avoid compensatory foot hyperpronation, as well as excessive winging, as it may increase the risk of hallux valgus development 1,6,18,21.

 

CONCLUSIONS

The unique positions and postures used in classical ballet are all potentially dangerous for the foot and leg6,18, with unique and increased forces through the big toe joint (1st MTPJ) and the foot while in extreme positions 1,3,5.

If that isn’t bad enough, the pointe shoe is the antithesis of everything that we, as podiatrists, know about footwear 18. Shoes for ballet dancers are not made for health 18, yet “dancer’s feet are the instruments on which their art depends”13.

Pointe shoes are definitely not protective of HV development 1, and it is almost impossible to prevent HV formation in an individual who is genetically predisposed18, but the evidence is not sufficient to conclude that pointe work causes HV1.

Dancers, like the rest of the population, are either prone to developing bunions or not 10,13,20. However, dancers are at high risk of developing hallux valgus as they have increased exposure to risk factors. Dancer’s at risk of developing HV need to be identified as early as possible and need to be managed conservatively with focus on good technique to reduce dance and non-dance biomechanical risk factors 3,6,13,23.

 

Megan Maddocks – Promotions Committee

Podiatrist – South Africa

 

 

REFERENCES

1.        Davenport KL, Simmel L, Kadel N. Hallux Valgus in Dancers: a closer look at dance technique and its impact on dancers’ feet. J Danc Med Sci. 2014;18(2):86-93.

2.        Dayton P, Feilmeier M, Kauwe M, Hirschi J. Relationship of frontal plane rotation of first metatarsal to proximal articular set angle and hallux alignment in patients undergoing tarsometatarsal arthrodesis for hallux abducto valgus: a case series and critical review of the literature. J Foot Ankle Surg. 2013;52(3):348-54. doi:10.1053/j.jfas.2013.01.006.

3.        Steinberg N, Zeev A, Dar G, et al. The Association between Hallux Valgus and Proximal Joint Alignment in Young Female Dancers. Int J Sports Med. 2015;36:67-74.

4.        Clippinger K. Dance Anatomy and Kinesiology.; 2007.

5.        Miller H, Schneider HJ, Bronson JL, McLain D. A New Consideration in Athletic Injuries: THe Classical Ballet Dancer. Clin Orthop Relat Res. 1975;(111):181-191.

6.        Kravitz SR, Huber S, Murgia C, Fink KL, Shaffer M, Varela L. Biomechanical Study of Bunion Development and Stress Produced in Classical Ballet. 1Journal Am Podiatr Med Assoc. 1985;75(7):338-345.

7.        Howse J. Disorders of the Great Toe in Dancers. Clin Sports Med. 1983;2(3):499-505.

8.        Baxter DE. Treatment of Bunion Deformity in the Athlete. Orthop Clin North Am. 1994;25(1):33-39.

9.        Schneider HJ, King AY, Bronson JL, Miller EH. Stress Injuries and Developmental Change of Lower Extremities in Ballet Dancers. Radiology. 1974;(113):627-632.

10.      Prisk VR, Loughlin PF, Kennedy JG. Forefoot Injuries in Dancers. Clin Sports Med. 2008;27:305-320. doi:10.1016/j.csm.2007.12.005.

11.      Einarsdottir H, Treoll S, Wykman A. Hallux Valgus in Ballet Dancers: A Myth? Foot Ankle Int. 1995;16(2):92-94.

12.      Kennedy JG, Hodgkins CW, Colombier J, Guyette S, Hamilton WG. Foot and ankle injuries in dancers. Int Sport J. 2007;8(3):141-165.

13.      Kennedy JG, Collumbier JA. Bunions in Dancers. Clin Sports Med. 2008;27:321-328. doi:10.1016/j.csm.2007.12.004.

14.      Biz C, Favero L, Stecco C, Aldegheri R. Hypermobility of the first ray in ballet dancer. Muscles Ligaments Tendons J. 2012;2(4):282-288.

15.      van Dijk C, Lim L, Poortman A, Al. E. Degenerative joint disease in female ballet dancers. Am J Sport Med. 1995;23(3):295-300.

16.      Nix SE, Vicenzino BT, Collins NJ, Smith MD. Characteristics of foot structure and footwear associated with hallux valgus: A systematic review. Osteoarthr Cartil. 2012;20(10):1059-1074. doi:10.1016/j.joca.2012.06.007.

17.      Zipfel B, Berger LR. Shod versus unshod: The emergence of forefoot pathology in modern humans? Foot. 2007;17:205-213. doi:10.1016/j.foot.2007.06.002.

18.      Tax H. Ballet. In: Podopaediatrics. 2nd ed. Baltimore: Williams & Wilkins; 1985:401-419.

19.      Colucci LA, Klein DE. Development of an Innovative Pointe Shoe. Ergon Des. 2008.

20.      Shrader KE. Biomechanical evaluation of the Dancer. Orthop Phys Ther Clin North Am. 1996;5(4):455-475.

21.      Ahonen J. Biomechanics ofthe Foot in Dance: A Literature Review. 2Journal Danc Med Sci. 2008;12(3):99-108.

22.      Russell J a, Shave RM, Kruse DW, Koutedakis Y, Wyon M a. Ankle and foot contributions to extreme plantar- and dorsiflexion in female ballet dancers. Foot ankle Int / Am Orthop Foot Ankle Soc [and] Swiss Foot Ankle Soc. 2011;32(2):183-188. doi:10.3113/FAI.2011.0183.

23.      Weiss DS, Rist RA, Grossman G, Ed M. When Can I Start Pointe Work? Guidelines for Initiating Pointe Training. J Danc Med Sci. 2009;133:90-92.

Tags:  bunions  dancers  foot 

PermalinkComments (1)
 

5 Questions With…Gabriel Gonzales

Posted By IADMS Student Committee, Monday, February 13, 2017

This month’s featured member is our newest Student Committee member, Gabriel Gonzales of University of New Mexico. Gabriel is a pre-med student with an interest in dance medicine. His areas of interest include biochemistry, exercise science and dance (ballet).

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

My high school dance teacher doubled as my ballet teacher and my inspiration to pursue a career in dance medicine. Her knowledge of the human body astonished me, sparking my interest in learning about the human body and the ability it possesses in dance.


-
If you were not studying dance medicine/science, what would you be doing or what would your career be?

My alternative career would be a professional dancer, I love and respect the art immensely; but to study it with a scientific approach is my true goal.


-What are your plans after graduation?

After graduation, I plan on applying to medical schools with a focus in sports medicine, I also have plans to audition for ballet and modern dance companies.


-What would you say to a student thinking of joining IADMS?

Jump in! I would encourage students considering a career in sports wellness, dance, and dance science/medicine as students are exposed and continually kept up to date with the latest of dance research provided by well-established and respected members of the community.

 

-What made you apply to join the student committee?

My decision to apply to the IADMS student committee was clear when considering what I aspire to become in my future. Being a part of this committee grants the opportunity of sharing thoughts and gaining knowledge from professionals in the two fields I am interested in, dance and science. 

 

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

Tags:  5 Questions With 

PermalinkComments (0)
 

Developing a Personal Dancer Wellness Plan

Posted By Donna Krasnow and Ginny Wilmerding on behalf of the IADMS Education Committee, Monday, January 30, 2017

Our focus for this blog post is on a new IADMS and Human Kinetics publication, edited by renowned dance educators and IADMS members, Ginny Wilmerding and Donna Krasnow.  Dancer Wellness is a useful, one-stop resource for all dance teachers interested in embedding dance medicine and science principles into their practice and ensuring the long-term health and wellbeing of the dancers with whom they work.  Here, Ginny and Donna give us a taste of how to design a personal dancer wellness plan as a foundation for long and effective dance practice.

 

Photo by Jake Pett, image reproduced with permission by Human Kinetics:
http://www.humankinetics.com/products/all-products/Dancer-Wellness-With-Web-Resource

 

As a dancer, you will face many challenges to your health and wellness. Every aspect of your training, from the environment and what you eat to your technical work and possible injuries affect your health. You can design your own personal dancer wellness plan and continue to develop it for many years. You can seek the assistance of teachers, health care professionals, and others in your support network to help you create your personalized plan.

 

Let’s start with the basic foundations of the dancer’s life. You can learn about your dance studio floors and other environmental aspects such as temperature, ventilation, lighting and sound, and make sure that you are working in a studio that meets certain requirements. You can speak to the school director and your teachers if you find problems in these areas. You may feel more confident if you have others such as parents or other dancers join you in these discussions. Next, you can study anatomy and physics. You can make sure that you are dancing in the best possible alignment, and that you understand scientific principles of movement. You can pair up with a friend from class and do partner assessments. You can also examine your learning strategies so that you have multiple ways to learn new technical skills in class. Finally, think about ways to supplement your class work with outside conditioning, and consider what areas of conditioning need the most focus, whether that is muscular strength, flexibility, or cardio-respiratory endurance. Conditioning can decrease fatigue and improve your confidence.

 

Next, let’s look at the mental components of dancer wellness. In terms of your mental training, you can consider how reliant you are on the mirror, and shift your emphasis to physical sensation and developing your kinesthetic sense of movement. You can use your teachers’ images and create your own images to enhance your dancing, especially in areas where you need improvement. Dance psychology can provide important tools for motivation, and help you deal with a wide range of views about yourself, including self-concept, self-awareness, self-esteem, self-confidence, and self-compassion. Rest and recovery are crucial for your health, and may be the most overlooked aspects of wellness. Consider your sleep habits, and also look at ways to cope with stress and anxiety, especially near performances. Finally, you can find alternate ways to rest, such as mentally practicing choreography.

 

Last, let’s consider the physical components of the dancer’s health. Make sure you are getting all the nutrients you need, such as carbohydrates, protein, fats, vitamins and minerals, and water. See if there are ways to eat fewer foods that have little nutrition, and add foods such as fruits and vegetables. If you smoke, design a plan to stop, and make sure you are physically active during periods of time that you are not dancing. For bone health, it is important to include weight-bearing exercise in your activities. Through your conditioning work, make sure you understand how methods of gaining strength, flexibility, and core support can give you knowledge you need to prevent injuries and sustain long hours of dancing and rehearsing. If you add a new technique to your training, you may need to add different conditioning exercises that prepare for those demands.

 

By developing your personal dancer wellness plan, you can improve your health and have many years of rewarding dancing. Good health contributes to dance injury prevention, less fatigue, better nutrition to fuel your energy needs, and enhanced self-esteem. You can find out much more about the principles discussed here in the new Dancer Wellness book.  You can purchase a copy with accompanying e-resources here. Happy reading!

Tags:  Dancer Wellness  dancers  teachers  wellness 

PermalinkComments (0)
 

Presenters at Australia's IADMS Regional Meeting April 2017

Posted By Maggie Lorraine, Thursday, January 26, 2017

 

The topics presented at the meeting will convey anatomical and medical information to the attendees. Presenters and practitioners will share anatomical and medical information as well as demonstrate potential methods of working with and helping students.

 

The Regional Meeting will be tailored toward the dance teaching community but it is envisaged that it will also stimulate interest with medical practitioners. The event will be hosted at the Victorian College of the Arts Secondary School (VCASS) which is the education provider to the Australian Ballet School.

 

Both of these schools attract dance students nationally and internationally.

 

Confirmed Presenters:

 

The Australian Ballet Health Team

Sue Mayes      Principal Physiotherapist.   

Susan Mayes has been the Principal Physiotherapist of The Australian Ballet since 1997. She manages the medical department of The Australian Ballet and treats the diverse injuries of the professional ballet dancer, as well as musicians of Orchestra Victoria. Susan graduated from La Trobe University in 1990 with a Bachelor of Science (Physiotherapy) and completed a Graduate Diploma in Sports Physiotherapy in 1996. She has been a collaborator or co-investigator in several ballet-related research projects and published the findings from her research on the hip in ballet dancers as part of her PhD

 

Paula Baird-Colt        Body Conditioning Specialist.         

Paula Baird-Colt graduated from the Victorian College of the Arts Secondary School, beginning her professional dance career with the West Australian Ballet before joining The Australian Ballet in 1987. After retiring in 2000, Paula retrained in the Pilates Method. From 2001 – 2007 she taught a dance-specific conditioning program at The Australian Ballet School. She is the co-author of the book Body wise: Discover a new connection with your ballet. A member of The Australian Ballet’s medical team since 2007, she works with dancers to help them understand and improve their body management and has developed an innovative approach to conditioning.

 

Megan Connolly        Ballet Mistress and Rehabilitation Specialist.        

Megan Connelly joined The Australian Ballet in 1991, performing in works such as The Sleeping Beauty, Don Quixote, Giselle and Symphony in C. She later followed her passion for teaching and was appointed Assistant to the Ballet Staff. In 1995 Megan left the Australian Ballet but returned to the Company in 2001 as Assistant to Artistic Director and Ballet Coach. In 2009 she was appointed Ballet Technique & Rehabilitation Specialist. Since 2010 Megan has been on the teaching faculty of The Australian Ballet School, and has completed a Vocational Graduate Certificate in Elite Dance Instruction.

                        _______________________________________________________________________

Janet Karin              

A former Principal Dancer of The Australian Ballet, Janet Karin established her teaching career in Canberra, devising her own teaching system and training many outstanding dancers, choreographers and teachers. Ms. Karin’s publications include a variety of papers and studies in dance training, dance education and cultural development. She has received awards for direction, teaching and services to dance, including the Medal of the Order of Australia. Dance science research is an important aspect of Ms Karin’s work as Kinetic Educator at The Australian Ballet School. In 2010 she was awarded a Centre of Clinical Research Excellence grant to carry out a study into imagery and dynamic pelvic stability with Professor Paul Hodges, international expert in spine health. This year she is investigating the neuroscience and management of pain, and also the development of movement efficiency in adolescents.

 

 

Liz Hewett    Absolute Health & Performance

Strength and Conditioning Coordinator/Exercise Physiologist

Imbalance Massage and Pilates, Pilates Teacher / Exercise Physiologist, Exercise Therapy Consulting Australia, Exercise Physiologist

 

Fiona Sutherland    Director, Body Positive Australia & The Mindful Dietitian

Fiona Sutherland is an Accredited Practising Dietitian & Nutritionist with a diverse working background including international clinical work, private practice, sports nutrition, corporate consultancy, research & working extensively in dietetic training. Fiona is also an Accredited Sports Dietitian, working with elite athletes, including the young dancers at the Australian Ballet School in Melbourne.

 

Gene Moyle  Head of Dance QUT, Associate Professor

Creative Industries Faculty, School of Media, Entertainment and Creative Arts, Dance

Gene Moyle graduated from the Australian Ballet School and QUT Dance. After having danced with the Australian Ballet Dancers Company and Queensland Ballet, Gene completed a Masters and Doctorate in Sport and Exercise Psychology.

 

Dana Rader GYROTONIC® Melbourne,             

Grad Dip Exercise Science (Rehab), Accredited Exercise Physiologist (ESSA), GYROTONIC® and GYROKINESIS® Specialized International Master Trainer, Diploma of Contemporary Pilates and Teaching Methodology,

 

Debbi Fretus                        Innovative Physio,

Advanced Diploma of Myotherapy (MIMT) (AAMT), Level 4 Pilates Practitioner (APMA), Diploma of Contemporary Pilates and Teaching Methodology. GYROTONIC® and GYROKINESIS® Level 1 Certified Instructor.

Debbi has a vast and varied dance background, from Ballet, Contemporary Jazz, Tap and Character. She has been employed as a professional dancer, teacher, adjudicator and choreographer nationally and internationally having danced with Sydney Festival Ballet, Athens City Ballet, Greece, and CH Tanzteater Zurich, Switzerland. Debbi has taught as a freelance ballet/dance teacher as well as having run her own ballet/dance school in Queensland. 

 

Professor Jill Cook

Professor in musculoskeletal health in the La Trobe Sport and Exercise Medicine Research Centre at La Trobe University in Melbourne Australia. PhD, Grad Cert Higher Ed, PG Dip Manips, BAppSci (Phty)

Professor, Deputy Director Australian Centre for Research in Injury in Sport and its Prevention

Jill’s research areas include sports medicine and tendon injury. After completing her PhD in 2000, she has investigated tendon pathology, treatment options and risk factors for tendon injury. Jill currently supplements her research by conducting a specialist tendon practice and by lecturing and presenting workshops both in Australia and overseas. 

 

Chris Swain, Australian Catholic University. Current research: Lower Back Pain in Adolescents

Chris Swain is a graduate of Trinity Laban and has presented at IADMS International Conferences, most recently at the IADMS Conference in Hong Kong.

 

Dr Sela Kiek-Callan     Contemporary Studies, VCE DANCE, Victorian College of the Arts Secondary School (VCASS)

Sela completed a Master of Philosophy researching site specific performance in 2003 through Coventry and Middlesex Universities in England. Sela is also a sessional lecturer on the dance degree programs at The Victorian College of the Arts and Deakin University. She completed a practice based PhD in Dance in 2011 through Deakin University and remains passionate about her area of research, architecture, the body and dance.

 

Maggie Lorraine

Vice Chair of the IADMS Dance Educators Committee. Leading Teacher in Ballet, Victorian College of the Arts Secondary School (VCASS). Certified Trainer of GYROTONIC® Level 2, and GYROKINESIS® Maggie joined the Ballet Rambert aged 16 years. Later she danced with The Royal Ballet Company, working with the Covent Garden Company and Touring Companies, London Festival Ballet, P.A.C.T. Ballet (South Africa), New Zealand Ballet and West Australian Ballet Company. On retiring as a dancer Maggie moved smoothly into a full time teaching position at Ecole Classique in Sydney, then later joining the faculty at the Victorian College of the Arts (VCA) and the Victorian College of the Arts Secondary School (VCASS) in Melbourne. Maggie has been involved in the accreditation and course review of numerous tertiary institutions both nationally and internationally. In 2007 the Hong Kong Council appointed her as a Subject Specialist for Accreditation of Academic and Vocational Qualifications. Maggie is passionate in her position on the IADMS Dance Educators Committee, with the aspiration of bring the research and knowledge provided by IADMS to the dance community.

 

For further information please contact: mlorraine@internode.on.net

Tags:  Australia Regional Meeting 2017  regional conference 

PermalinkComments (3)
 

Wayne McGregor on John Travolta, technology and why everyone can dance

Posted By Maggie Lorraine, Monday, January 23, 2017

“Everyone has a personal physical signature”   Wayne McGregor

 

This interview with Wayne McGregor is not the usual dance medicine and science post, however McGregor makes some interesting comments which refer to science and which imply how strongly science relates to art. McGregor makes reference to neuroscience (3:05) and specifically how he works with neuroscientists (3:32). He uses sound to shape action in his choreography (5:54) There are other choreographers who also use their voices to create sounds to achieve a movement quality from their dancers and dance teachers sometimes use verbal sounds to trigger a particular movement dynamic when teaching.

 

He also makes observations on personal habits and neuroplasticity (23:05), suggesting that we challenge ourselves to break our own movement patterns.

 

This is an inspiring interview for dancers and creators of dance.

 

Tags:  choreography  dancers  neuroscience 

PermalinkComments (1)
 

Adding Fitness to your Dance Agenda: Where to start?

Posted By Clara Fischer Gam on behalf of the IADMS Promotion Committee, Wednesday, January 18, 2017
So you came to the understanding that it is not all about dancing: in order to nourish your body for greater freedom of artistic expression, other elements have to be added to the equation. You have already done the reading about reducing the risk of injuries and enhancing performance. Then you came across supplementary fitness training and its role in supporting your career goals and longevityFeeling more responsible for your body and empowered to take care of yourself, you are now craving for putting it into practice – what then?

 

Signing up at the local gym? Trying yoga? Going for a run? – Practically speaking, where do you start?

 

 

 

To be responsible for your body means not only to get informed and up to date but also to know when to look for professional support. Having a certified health and fitness professional to guide you through supplementary fitness training is imperative. As Dance Medicine and Science is an emerging field, many of these professionals, however may not be familiar with the needs and aims of dancers, neither with the demands of the art form. Whilst it is always best to look for specialists from the field, we know that is not often feasible. It might be the case that you cannot find one locally, however it is much more likely that there will be good certified professionals working in your neighbourhood. This is when “being responsible for your body” comes into play again: Work together with your health/fitness professional as a team for your health by sharing with him the information you now hold and including  dancers’ health resourcesSupport him to support you.

 

Where to start?

 

  • Learn about the demands of your dance career: Are you a ballet dancer? Or are you training in Breaking? Kathak? Contemporary? Dance styles have their particularities; therefore, physical demands may likely vary. Besides, career level may also result in different requirements to your body. All of that has to be taken into account when preparing to perform. There is a lot of discussion and interesting findings concerning dance physical demands and to what extent styles and levels would differ in terms of elements of fitness being stressed. Find a well-rounded summary and good resources to start here.
  • Identify your own needs: At the moment, what are you aiming for in your career? Where can you spot that there is room for improvement? Have you got any injuries currently? Getting a screening session is the starting point for building up a fitness programme that supports your dance goals truly from inside out.
  • Understand your dance calendar: What are you preparing for? When? Keep track of your dance routine, daily schedules and performance calendar. Have you got a packed day of classes in school? If you are dancing in a company, when are you touring? Or will you be performing mostly one-offs? We know that in the dance world it can be very hard to predict in advance your dance curriculum or performances, specially if you are a freelance dancer. Likewise, you might not be in control of your rehearsals and classes schedules to adapt them to a better fitHowever, by estimating your workload, your fitness professional will be able to design a more suitable programme for you.

Image: Clara Fischer Gam

 

By having access to information about your needs, routine and dance demands, a fitness professional can more readily apply their expertise of training principles and methodologies to support you in your career journey.

 

Clara Fischer Gam, MS

MSc Dance Science | BEd Dance Education

Rio de Janeiro – Brazil

Dance Science Brasil Group

Corpos Aptos, Gestos Livres Project

 

Tags:  cross-training  dancers  fitness 

PermalinkComments (0)
 

Book Review: Dancer Wellness Textbook

Posted By K. Michael Rowley on behalf of IADMS Promotion Committee, Wednesday, January 11, 2017

This phenomenal Dancer Wellness textbook is like a who’s who of the dance medicine and science world. A quick scan of the Table of Contents will toss up well-known names in the community like Luke Hopper of Australia, Emma Redding of the UK, Derrick Brown of the Netherlands, and Margaret Wilson of the US among many many more. This textbook embodies what I personally have wanted from IADMS for the entire time I’ve been aware of the organization – a reference textbook combining the best of the best in contributors, scientifically and clinically rigorous information, and accessibility to multiple audiences.

 

 

Editors M. Virginia Wilmerding and Donna H. Krasnow have done a superb job compiling everything a dancer, dance teacher, or dance practitioner needs to know about dancer health and wellness. These two have even included chapters on Psychological Wellness (authored by Lynda Mainwaring of Toronto, Canada, and Imogen Aujla of the UK) and Optimal Nutrition for Dancers (authored by Derrick Brown of the Netherlands and Jasmine Challis of the UK). These two topics are frequently cited as overlooked or under-acknowledged. Well, not for these two star editors who clearly made every effort to give readers this important information.

 

A highlight of the textbook design is the Application Activity found at the end of each chapter. This takes information from the chapter and helps readers incorporate the main points into their practice or their wellness plan. In addition, the supplemental resources found on Human Kinetics webpage would be quite useful for students and teachers. Here, readers can find sample syllabi, slides, tests and quizzes, as well as learning activities for inside and outside the classroom.

 

I’ll end this short review by highly recommending this textbook. Whether you’re already plugged in to IADMS and the dance medicine and science community or not, this textbook is a great up-to-date summary of where the field stands. It delivers only the best to students, teachers, and practitioners who take advantage of it. You can order the textbook at Human Kinetics, here.

 

Editors M. Virginia Wilmerding (left) and Donna H. Krasnow (right)

Tags:  dancers  review  teachers  wellness 

PermalinkComments (1)
 

IADMS Dance Educator Award Update

Posted By IADMS Education Committee, Tuesday, January 3, 2017

 

The 2016 IADMS Education Committee Dance Educator Award is presented to Dr. Tom Welsh, Professor at Florida State University.  Tom’s direct and indirect influence on dance pedagogy and training has been profound.  He carefully thinks about how research informs practice and how research needs to reflect practice.  The many colleagues and students he works with are challenged and invigorated by his thoughtful questions, carefully worded concerns and unique solutions to difficult problems.  The students and colleagues he mentors are directly impacting the field of dance, from the smallest studio to college programs.  He has written several papers for the Journal of Dance Medicine and Science, Journal of Dance Education and his book, Conditioning for Dancers, is a foundational text in many dance programs and studios around the country. A founding members of the Dance Kinesiology Teacher’s group (now the Dance Science and Somatic Educators Group), Tom also served on the IADMS board of directors and was the President of IADMS from 2009-2011.  Tom joins Dr. Janice Plastino, recipient of the 1st IADMS Dance Educator Award and Janet Karin, recipient of the award in 2015 in receiving this honor from the IADMS Education committee.  More information on the Dance Educator Award can be found at Education@IADMS.org.

Tags:  IADMS Dance Educator Award 

PermalinkComments (1)
 

Introducing the knee: Anatomy and biomechanics

Posted By Elsa Urmston and Jonathan George on behalf of the IADMS Education Committee, Monday, November 28, 2016

As dancers, educators and clinicians, we know that knees cope with a lot!  Over the last decade or so, the demands placed on the dancer’s body has increased exponentially and ever more complexly.  Acrobatic movement is becoming evident and the effect to the joints of the limbs can often mean greater incidence of injury.  As Liane Simmel points out “pirouettes on the knees, knee drops, and even a plié in fourth position require particular leg stability and optimal mobility in the knee.”1  In reviewing the literature, Russell2 identifies the lower extremity to repeatedly be the most commonly injured region of the body amongst dancers.

 

 

The knee joint is hugely complex and as Teitz (in Solomon et al, 2005)3 explain there is no bony stability in its structure.  A modified hinge joint, the knee comprises articulations between the femur and tibia, and the patella and femur, held together by a fibrous capsule and connected via a network of ligaments.  It’s this lack of potential stability which makes the knee prone to injury, often through misalignment and poor mechanics, although as well through sudden trauma or overuse.  Over the next couple of weeks we have a series of posts which focus on the knee; today we zone in on the structure, anatomy and mechanics of the knee itself.  Part 2 provides an overview of common knee injuries amongst dancing populations, and in Part 3 we focus on two case studies of young men who have experienced knee issues during their training and have been successfully rehabilitated to class and performance via a joined-up clinical and educative rehab programme.

 

 

The tibio-femoral joint is a hinge joint, capable of flexion (bending) and extension (straightening).  The screw-home mechanism allows the knee to slightly internally and externally rotate too.  During the last 30° of knee extension, the tibia (open-chain movement such as rond de jambe en l’air) or femur (closed-chain movements such as ascending from a demi-plié) must externally or internally rotate respectively by about 10°.  This determines the knee as a modified hinge joint.  You can see Rosalie O’Connor from American Ballet Theater demonstrating the screw-home mechanism in a rond de jambe action here!

 

The patellar-femoral joint serves to heighten stability in the joint.  The patella (knee cap) is a sesamoid bone which sits in the quadriceps muscle, and during flexion and extension undergoes complex gliding movements. The fairly unanimous consensus as to the function of the patella is to effectively increase the movement arm of the patella tendon about the tibio-femoral joint, thereby magnifying the movement and force of the quadriceps muscle group about the knee.4

 

 

The stability offered by the joint capsule is complemented by numerous, strong ligaments and more than any other joint in the body, these ligaments are vital in guiding the aligned movements of the bones as they come together to form the joint.  Yet, they are arranged in such a way that the stability is not always constant; some remain taut to ensure stability when the knee is extended and others slacken to ensure mobility when the knee is flexed5.

 

The medial and lateral collateral ligaments

The collateral ligaments are located on either side of the knee joint (collateral means side by side).  The medial collateral ligament – the one on the inside of the knee – is taut in knee extension and external rotation.  It controls the knee if the knee rotates inwards and in fact when the knee bends in a demi-plie, it controls approximately 80% of the medial stress on the knee (Besier et al, 2001)6.  The lateral collateral ligament – located on the outside of the knee – becomes taut with knee extension and provides lateral stability to the knee.  It controls approximately 70% of the lateral stress of the knee for example when the knees bow out on flexion and cause the feet to roll outwards (Besier et al).

 

The cruciate ligaments

The cruciate ligaments join the tibia and femur to one another within the internal structure of the knee.  The cruciate ligaments prevent any forward/ backward motion of the femur and tibia in relation to one another.  The anterior cruciate ligament also has another role in aiding rotation of the knee and controlling hyperextension in the joint.  It also plays a role when deceleration from jumping, floor work and quick changes of direction are required. It is now also widely accepted that the anterior cruciate ligament provides up to 40% of medial knee stability7.

 

The menisci

The medial and lateral meniscus are two cartilaginous discs which sit on the tibia and deepen the articular surface of the knee joint – they provide a kind of collar in which the bony ends of the femur sit, thereby improving the congruency and stability of the knee joint.  They assist with shock absorption and help to friction thus aiding smooth knee movement. The menisci are critical in the production of synovial fluid-‘the oil’- around the knee joint.

 

Bursae

The knee has the most extensive distribution of bursae in the body. More than 20 bursae are thought to be within the knee joint, with the primary role of reducing friction amongst the structures of the knee joint.  Many are located around the patella to aid its gliding function within the muscle and over the top of the joint itself.

 

Iliotibial Band

The iliotibial band is an adaptation of erect posture and provides key lateral support to the knee and hip; it runs down the side of the upper leg from the rim of the pelvis, to the outer edge of the femur and tibia.

 

This super video really provides a great introduction to the anatomy and ligament structure of the knee joint – take a look!

 

 

The musculature

As with the skeletal anatomy of the knee, the muscles which act on the knee are complex!  Because the muscles of the thigh also act on the hips, they often have a dual purpose –hip movement is included in brackets for ease of understanding here!  We have provided a simple table of the main muscles which act on the knee to produce movement.

 

Muscle

Action

Anterior/ front of the thigh

Rectus femoris

Knee extension (hip flexion)

Vastus medialis

Knee extension

Vastus intermedius

Knee extension

Vastus lateralis

Knee extension

Sartorius

Knee flexion (hip flexion, hip abduction and hip external rotation)

Posterior/ back of the thigh

Biceps femoris

Knee flexion and external rotation (hip extension and hip external rotation)

Semitendinosus

Knee flexion and internal rotation (hip extension and hip internal rotation)

Semimembranosus

Knee flexion and internal rotation (hip extension and hip internal rotation)

Popliteus

External rotation of femur when foot fixed; internal rotation of tibia when foot free

Medial surface of thigh

Gracilis

Knee flexion (hip adduction and hip flexion)

Posterior/ back of calf

Gastrocnemius

Knee flexion (ankle plantarflexion (pointing))

 

 

As you can see muscles often have more than one role in creating the movement of the limbs – we separate them out to learn about them, but of course they should be seen in their entirety to understand the complexity of the muscular system.  This video really helps us to see the wholeness of this system but understand each individual muscle’s location in relation to each other – take a look.

 

 

 

 

1.    Simmel, L.Alignment of the leg and its impact on the dancer's knee: Clips from the 2014 Annual Meeting
2.    Russell, J. Preventing dance injuries: Current perspectives, Journal of Sports Medicine, 4, 199-210.
3.    Solomon, R., Solomon, J. & Cerny Minton, S. Preventing Dance Injuries.  Champaign, IL: Human Kinetics, 2005.

4.      DeFrate LE, Nha KW, Papannagari R, Moses JM, Gill TJ, et al. The biomechanical function of the patellar tendon during in-vivo weight-bearing flexion. Journal of Biomechanics 40:1716–1722, 2007.

5.      Clippinger, K. Dance anatomy and kinesiology.  Champaign, IL: Human Kinetics, 2016.

6.      Besier, TF., Lloyd, DG.,  Cochrane, JL. and Ackland. TR. External loading of the knee joint during running and cutting maneuvers. Medicine and science in sports and exercise33, no. 7:1168-1175, 2001.

7.      Quatman CE, Kiapour AM, Demetropoulos CK, et al. Preferential loading of the ACL compared with the MCL during landing: a novel in sim approach yields the multiplanar mechanism of dynamic valgus during ACL injuries. American Journal of Sports Medicine, 42:177–186, 2014.

 

More information about the knee’s structure can be found in a variety of dance specific dance anatomy, kinesiology and safe practice books.

 

Elsa Urmston is the Centre for Advanced Training Manager at DanceEast, Ipswich, UK as well as Chair of the IADMS Education Committee and a member of the One Dance UK Expert Panel for Children and Young People.  Jonathan George is a Chartered Physiotherapist at the DanceEast Centre for Advanced Training.

Tags:  anatomy  biomechanics  dancers  knee  teachers 

PermalinkComments (1)
 
Page 7 of 15
1  |  2  |  3  |  4  |  5  |  6  |  7  |  8  |  9  |  10  |  11  |  12  >   >>   >| 
Association Management Software Powered by YourMembership  ::  Legal