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Dance Teacher Resources and A Day for Teachers 2018

Posted By Gemma Harman on behalf of the IADMS Dance Educators’ Committee, Wednesday, July 11, 2018

Embed from Getty Images

 

With the next annual conference in Helsinki fast approaching, it seems timely to reflect back on the Dance Educators’ Committee’s blog posts that have been shared since last year’s meeting in Houston, Texas.  This year has seen a vast array of posts created by dancers, educators, researchers and clinicians on sharing the current happenings in the field of dance medicine and science specifically aimed at educators and teachers.  These have included blog posts on the use of imagery in creative practice, measuring creativity and the use of attentional focus and constructive feedback on a dancers’ training and performance. 

 

Starting in January of this year, there were a series of blog posts by experts in dance imagery and creativity.  The first post by Katie Pavlik introduced simple and immediately usable ways for us to embed the use of imagery in our classes from both teaching and dancing perspectives.  Klara Łucznik and Rebecca Weber blog on Mental Imagery and Creativity then offered ways to start practicing thinking creatively and presented ways to increase our awareness of the types of forms of mental imagery that we engage with in creative practice. As part of the In The Dancer’s Mind research project into creativity, novelty, and the imagination, the project has developed a set of workshop materials for use by higher education choreography teachers, which you can download here.  The next blog post was written by Lucie Clements and discussed the measurement of creativity.  In this blog Lucie discusses her research that set out to validate a new questionnaire that removes the emphasis on measurement of ‘creative’ or ‘not creative’ and instead emphasises engagement in the process, to give a more holistic view of dance creativity.  A second post on creativity recreated a discussion between Kerry Chappell and Jon May derived from a duel held at the symposium for the In the Dancers’ Mind project at Trinity Laban Conservatoire of Music and Dance on December 7, 2017. Details of the In the Dancers’ Mind project can be found here.

 

In May, Karine Rathle’s blog post explored the use of constructive feedback in optimizing dancers’ performance and learning, highlighting how knowing more about how to cue and provide feedback to dancers is an important aspect of teaching practice.   In a second blog post on feedback, Claire Guss-West provides a brief introduction to attentional focus and its potential impact on dance training and performance.  The most recent blog in June was by Martha Wiekens, introducing a brilliant new resource paper on the shoulder complex, which has been written by Lisa Donegan Shoaf and Judith Steel.  You can get the full resource paper here. Keep an eye on up and coming blog posts in the coming months – there are some great ones planned for teachers!

 

For those of you coming to Helsinki, Jarmo Ahonen, Host Committee Member has provided a great blog to give you some insight on Finland as a country and Helsinki as the capital. You can read this blog here. A Day for Teachers looks set to be a great day of informative sessions and food for thought to take back to your studio. You can see the schedule here and book here. Here's to a great conference– see you all there!

 

 

Gemma Harman, PhD, FHEA is a Senior Lecturer in Dance and Dance Science at the University of Chichester, UK.  Gemma is also an Academic Tutor at Bird College of Dance, UK and a Lecturer at Trinity Laban Conservatoire of Music and Dance, UK.

Tags:  A Day for Teachers  Annual Conference 

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Introducing Helsinki as the next IADMS host city in October 2018!

Posted By Host Committee Member - Jarmo Ahonen, DHF, Wednesday, June 20, 2018

A little piece of history

 
This blog is to give you some insight on Finland as a country and Helsinki as the capital. Historic events went on last year and this year. Finland became independent from Russian rule 1917 just about the same time as there was the big revolution in Russia that eventually changed that huge country in to something that was later known as Soviet Union. Thus, Finland has almost 1000 miles country to country border with Russia and it only takes 4 hours by car to travel from Helsinki to St. Petersburg. Year 2017 was a big celebration of 100 years of independence. There were enmities between the countries Soviet Union and Finland from 1939 to 1944 but the border has been peaceful ever since. Finland has gravitated towards western Europe all these years and is today considered the safest and most peaceful country in the world.


This year, 2018, is a memorial year of 1918 when there was a civil war fought by the poor factory workers as well as hard labored farm workers against the land owners and factory lords. That ended up very unhappy for the poor people. However, during the same year the two opposing sides were able to sit down around the same table and start to manifest the grounds and rules for one of the best democracies in the world where we live now.


Finland is now home of 5,538,221 people, Finnish spoken as the main language and Swedish being the second official language mainly spoken on the west coast areas, across the bay from Sweden. The original cause of having two languages is based on the fact that before Russia started to rule over Finland, the country belonged to Sweden.


Education has always been considered important and Finland has 100% literacy and free education from the elementary school all the way to the university. So – everybody no matter what your back ground or financial status is, has access to high quality education and may aim as high in life as possible.



The capital city – Helsinki

 
Helsinki was established in 1550 by the delta of river Vantaa. It was maintained as a small city during the Swedish rulership, and Turku was considered as the capital because it was closer to Stockholm, the capital of Sweden. Today there are 630,000 people living in this old city which has grown from the firm land to the islands surrounding the city. Helsinki is located on a peninsula and is surrounded by three other cities, Espoo, Kauniainen and Vantaa making the whole metropolitan area larger and inhabiting 1.4 million people all together.


The official languages of Helsinki are Finnish and Swedish, with the majority of the population (81.9%) speaking Finnish as their mother tongue. 5.9% of those living in the city speak Swedish and 12.2% speak a native language that's neither Finnish or Swedish. Today, Helsinki slang mainly combines influences from Finnish and English, but it traditionally had strong Russian and Swedish influences. It wasn't until 1890 that Finnish speakers overtook Swedish speakers as the majority of the city's population.


Helsinki has the highest number of immigrants in Finland, with as many as 140 nationalities represented in the city. The largest group (as of 2013) is from Sweden, followed by Russia, Estonia, China, Somalia,  Kurdistan, Germany, Spain, Vietnam, France and Turkey. Helsinki was already home to many different nationalities as far back as the 19th century, with many people from Sweden, Finland, Russia and Germany, even China. Today, foreign citizens account for 8% of the population.


Weather in Helsinki in October

 
Average temperature in October is 6 degrees (42 Fahrenheit), High 8deg (46) and Low 3deg (37). Rainfall is around 70 mm and rainy days add up to even 20 / October. So, bring your raincoat / umbrella and a warm jacket. It may still very nice autumn colors in forests and parks and on sunny days the view may be spectacular. Sea water is around 7 degrees (44) but who wants to swim in the sea when there are nice heated seawater pools right outside of the presidential castle in the heart of the city.


So please, feel yourself welcome to join us in Helsinki for IADMS Annual Conference.

REGISTRATION IS NOW OPEN! Register at www.iadms.org/2018

Tags:  Annual Conference  Helsinki  IADMS2018 

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Irene Dowd: The relationship of the scapulae and thorax whilst dancing. Reflections from the IADMS Annual Meeting, Houston, 2017

Posted By Elsa Urmston on behalf of the IADMS Dance Educators’ Committee, Monday, November 20, 2017

This is the first in a series of blog posts about the shoulder. The IADMS Dance Educators’ Committee will soon be publishing a new resource paper to help dance teachers, educators and students to understand the complex anatomy, function and mechanics of the shoulder girdle.  We will include activities to aid your understanding in an applied context.  Keep an eye out for our next post.  Meanwhile, after attending a workshop focussed on optimising shoulder mechanics, specifically focussed on the relationship between the rib cage and shoulder blades, Elsa shares some of the outcomes of the session led by Irene Dowd.

 


     One of the invited speakers to the 2017 Annual Meeting in Houston was the acclaimed Irene Dowd, a respected teacher on the faculty at Juilliard teaching dance, composition, functional and kinesthetic anatomy, and neuromuscular re-education for dancers and movement teachers throughout the U.S., Canada, and Europe.  Irene is author of Taking Root to Fly, now in its third edition and also writes for various dance and sports journals.  She has also recently published a useful, online resource titled From Spirals to Horizons: Choreographic teachings created by Irene Dowd, a digital archive of a number of her choreographies, created as fine-tuning and conditioning warm-up dances.  This is a really valuable and user-friendly resource which highlights how anatomical knowledge and awareness can be integrated into movement, and provides free access to Irene Dowd’s teachings, great for teachers and dancers alike.  It is an excellent example of the integration of research into practice and practice-as-research within a dance medicine and science domain.

 

     The focus of Irene’s workshop was on the relationship between the scapulae, or shoulder blades, and the thorax whilst dancing, a wonderful opportunity to apply our anatomical knowledge and awareness in practice, and aid full range of motion dancing in the upper limbs and trunk.  The session was built on the premise that by maintaining appropriate contact between the scapulae and outer surfaces of the rib cage during the performance of arm gestures, we can find ease and control in port de bras and partnering, and aid in the speed and power of upper limb actions. When weight bearing on the hands, the thorax spins within the "embrace" of the scapulae, so forces transmitted through the supporting hand/arm can be spread over a larger surface area of the thorax, and more directly onto the trunk.  Whether moving scapulae on thorax, or thorax on scapulae, an aesthetic desire for the audience to see the "line of the back" uninterrupted by the appearance of "winging" scapulae is served. In addition, by avoiding scapular winging the mechanics of the shoulder itself are optimized.  No bony relationship exists between the scapulae and the back, and it is this that helps to provide such a large range of motion at the shoulder. When the shoulder is stabilized, the positions of the glenoid cavity (the socket of the joint) and the head of the humerus, or upper arm bone, (the ball of the joint) are optimized for maximum efficiency in the full range of movement of the arm.  More on the anatomy and mechanics of the shoulder joint in later posts, although see the list of further resources below for more scientific explanations on the role of the scapulae and associated musculature.

 

     Our workshop began with a gentle raising of our awareness of the bones comprising the shoulder girdle by looking at models of the scapulae and humerus, to remind ourselves of the movement mechanics at the gleno-humeral joint.  By observing and feeling a partner’s scapulae, we were able to notice the differences between us, how big or small this flat, irregular bone can be, and also the differences we have within our own bodies from right to left side.  This multi-directional engraved image of a scapula helps to conceptualise the bone from numerous angles.  Whilst looking at the image, have someone find the outside edges of one of your scapula, notice its inferior (lowest), sharp angle pointing down to the waist; trace the edge into the armpit area and upwards on the side nearest the spine; and find the top line of the scapula.  What angle do you notice the scapula resting on your rib cage; and can you sense the scapula resting on the outer surface of the ribcage itself?

 

Embed from Getty Images

 

     Of course, as a dancer the trouble we have, is that we never see our own scapulae, we feel them, and more often than not the knots which can accumulate in the trapezius and subscapularis!  By noticing our own shoulder blades through the touch from a partner, and seeing and feeling other’s scapulae, an immediate awareness to that area of the body was enabled.  Irene was aiming to enhance our proprioception of when we are accurately achieving and sustaining scapular approximation with the thorax as it "orbits" around the rib cage, despite our inability to see.  We have a really useful resource paper on proprioception if you want to learn more.

Finding length and breadth
We found length through the spine by placing our hands onto our partner’s head, gently resting and noticing the curvature of the skull beneath our palms.  As the hands lifted away, the sensation of release through the trunk brought about a feeling of lengthening and opening, and by placing the backs of the hands on the sides of the ribcage and releasing a low hum through gently pursed lips, we felt the ribcage widen and reverberate.  These activities brought about an awareness of the outside surface of the ribcage itself, but also for me a sense of its volume too, rotating and encircling around the length of the spine.

Getting the arms to 5th
Irene talked about rotating the scapulae down and under, especially when taking the arms up to 5th, envisioning the outside edge of the humerus dropping downwards, rather like the greater trochanter of the femur dropping down when we lift the leg to second position.  By placing the partner’s hands on the scapulae as you perform this motion, the shoulders fall downwards implicitly, and the scapulae widen across the back rather than pinch together.

Widening the scapulae to open the arms
A number of tasks helped to find breadth across the back and enabled the scapulae to widen, rather than pinch together, especially when raising the arms to second position.  Again, we drew on our growing awareness of different bony landmarks and musculature through imagery cues and hands-on activity.  This helped us to engage in open- and closed-chain movement of the scapulae on the thorax and the thorax on the scapulae, whilst enabling spine stabilisation and in particular, ‘wake-up’ the serratus anterior muscle.  The aim throughout was to avoid the scapulae winging backwards and interrupting the line of the spine.  

1.    With our hands on our shoulders and elbows out to the side and slightly forwards, our partners pressed on the edges of the elbow joint for a short time; the effect was that when the lower arms opened to second from the shoulders, the support was felt very firmly from the back and the arms felt broad and wide as the scapulae glided across the ribcage.  

2.    By gently pressing on our partner’s acromion process at the superior, lateral edge of the scapulae, we were encouraged to expand into the touch we felt; for me this was the most powerful image of the day, the widening of the front and back surfaces of the trunk, and rooting of the scapulae down and wide was very tangible.  You can feel for your own acromion process - on many people it is quite prominent as the bony protrusion on top of the shoulder.

Embed from Getty Images

 

3.     By facing our partner and gently pressing our fingertips together, we were encouraged first to notice the subtle changes in pressure, warmth and constancy of touch. It was important to allow time for this tuning in to occur. We brought our arms up towards 5th position and gently opened the arms to 2nd, lightly pressing throughout. This time by focussing on the motion of the end of the limb, rather than the shoulder joint or scapulae/thorax relationship per se, again a widening sensation across the back was achieved.

When the scapulae pinch together, or ‘wing’ it is often the serratus anterior which lacks strength or control and this can affect the line of the back especially when weight bearing or lifting.

Embed from Getty Images

 

Strengthening the serratus anterior
By facing our partner again and placing both hands together, we stood arms length from each other.  We let the elbows soften slowly and under control, rather like a standing press-up.  My elbows touched my partner’s elbows, and all the time we focussed on the scapulae widening.  The challenge was to try and maintain this width as we pushed away from one another with control.  An advancement of the activity was to repeat the exercise with only our right hands touching, softening the elbow once more and aiming the elbow towards our hearts.  Not only did this support the focus of the scapulae/ thorax relationship and begin to strengthen the serratus anterior, it also required trunk stabilisation and control.

By introducing and consolidating our anatomical awareness, drawing on proprioception cues through our own touch or that of others, and offering imagery-based instructions, Irene demonstrated the importance of scapulae/thorax relationships in the effective mechanics of the shoulder girdle.  Irene’s publications are an invaluable resource to draw upon in lesson planning, rehearsal and the creation of movement ideas, to be able to experience her wisdom in a workshop setting added a multi-dimensional and applied perspective to embedding the principles of anatomy and kinesiology to dance-based movement.
This is the first in a series of blog posts about the shoulder girdle.  The IADMS Dance Educators’ Committee will soon be publishing a new resource paper on the shoulder, to help dance teachers, educators and students to understand the complex anatomy of the shoulder girdle.  We will include activities to aid your understanding in an applied context.  Keep an eye out for our next post.

Further Resources
Dowd, I. (1990). Taking root to fly. Northampton, MA: Contact Editions.

Dowd, I. (2016).  From spirals to horizons: Choreographic teachings created by Irene Dowd.

Martin, R. M., & Fish, D. E. (2008). Scapular winging: anatomical review, diagnosis, and treatments. Current Reviews in Musculoskeletal Medicine, 1(1), 1–11.


Paine, R., & Voight, M. L. (2013). THE ROLE OF THE SCAPULA. International Journal of Sports Physical Therapy, 8(5), 617–629.

Sweigard, L. E. (1974). Human Movement Potential: Its Ideokinetic Facilitation. New York: Allegro Editions.

The Thinking Body website provides a range of information about Irene Dowd’s work specifically and other practitioners working in this field.  It also charts the development of the work which informs much of Irene’s practice from Mabel Todd and Lulu Sweigard.  A comprehensive bibliography of Irene’s writings is also annotated here.

There are numerous clips of Dowd’s work on youtube as well.

Elsa Urmston MSc, PGCAP, AFHEA is a Dance Educator based in the UK.  She is the Chair of the IADMS Dance Educators’ Committee and sits on the One Dance UK expert panel for Children and Young People.  She works with a wide range of institutions including Trinity Laban Conservatoire for Music and Dance, London Contemporary Dance School and Bird College.
Elsa's Wordpress





Tags:  Annual Conference  movement session  shoulder 

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IADMS 2017 DUEL: Cryotherapy - help or harm?

Posted By IADMS Promotion Committee, Wednesday, October 11, 2017

This year's Annual Conference will host a few IADMS DUELS!

Here, we will introduce you to the two duelists debating CRYOTHERAPY - HELP OR HARM?

 

Speaking for the HELP of cryotherapy:

Valerie Williams, PT, PhD, Brunel University, London, United Kingdom

 


Photographer: Neil Graveney

 

 

1.          Could you tell us about your presentation theme at the 27th IADMS Annual Conference?  

My presentation is part of a the IADMS "duels" series. My colleague and I are debating the benefits and risks of cryotherapy using the available evidence on both sides. I am advocating the "help" of using ice in therapy, while she is arguing the "harm".    

 

 

2.          Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?    

This topic is important because there is evidence to support to use of ice in therapy and evidence against it. We are presenting research and recommendations on both sides to help clinicians make informed decisions in their practice and education of dancers.  

 

3.          What are your thoughts on IADMS relevance for your field of work? 

 IADMS is very relevant to my field of work because it connects me with other clinicians and academics who work with dancers.   

 

4.          Personally, what is the importance of attending to IADMS annual conferences? 

Attending IADMS annual conference is important to me because to provides an opportunity for me to meet with and listed to presentations of professionals from around the world. It helps to keep me up to date on research, and it also motivates me to continue working on my own projects to present and share.   

 

5.          What do you think you are most looking forward to on this year’s conference? 

This year I am most looking forward to the opening symposium on what dance medicine and science can learn from sport.

 

Speaking for the HARM of cryotherapy:

Rosie C. Canizares, PT DPT, SCS, Duke University, Durham, NC, United States, PASIG, Orthopaedic section, American Physical Therapy Association

 


Photographer: Duke Photography

 

1.      Could you tell us about your presentation theme at the 27th IADMS Annual Conference? 

I am presenting in the IADMS 'Duel' called "Cryotherapy- help or harm?"  Additionally, I am a co-author of the posters "Associations among age, experience, and injuries of dancers presenting to a dancer wellness clinic" and "Musculoskeletal effects and injury risk in collegiate Indian classical and ballet dancers."  

 

2.      Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?   

It is important to discuss cryotherapy with the IADMS community because many dancers use ice when they are in pain or injured whether they know why they are doing so or not.  Dancers and the health care professionals who treat them should understand they why behind this intervention so that it can be used safely and most effectively so that it is helpful and not harmful.  

 

3.      What are your thoughts on IADMS relevance for your field of work?  

I am so excited that IADMS exists as an organization!  It is great to know that there are so many people in the world who share my interests and are committed to the health and wellness of dancers.  It is also reassuring to be able to refer my dancer patients to other health care professionals that understand their unique needs, and it gives my physical therapy students an avenue to pursue their passion for dance medicine. 

 

4.     Personally, what is the importance of attending to IADMS annual conferences?  For me personally, the IADMS annual conference is a fantastic opportunity to network as well as stay on top of the research in the dance medicine world.  I am also pleased to represent the Performing Arts Special Interest Group of the American Physical Therapy Association to the larger world-wide dance medicine community. 

 

4.      What do you think you are most looking forward to on this year’s conference?  

I am most looking forward to seeing my dance medicine colleagues in person, particularly those members of the APTA's PASIG, and I anticipate meeting new colleagues and expanding my network. 

 

 

Tags:  Annual Conference  cryotherapy  duel 

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IADMS2017: Top 10 Things to do in Houston, Texas

Posted By IADMS Student Committee, Sunday, October 8, 2017

Top 10 Things to do in Houston

 

 

1.       Houston Zoo-  The Houston Zoo is one of the top attractions in Houston, and the Number 2 most visited zoo in the country!  Come see some awesome exhibits, and even feed giraffes!

 

 

 

2.       The Galleria - If you want to shop, this is definitely the place to do it! There are over 375 stores in this mall making it the largest one in Texas!! There is even an ice skating rink in the middle of it!

 

 

 

3.       Museum of Fine Arts Houston - They say that art is truly meaningful only when it is shared.  Come check out the 63,000 different artworks in this museum!

 

 

4.       UPDATE! Wortham Center was damaged in the Hurricane Harvey floods Houston experienced last month and will not reopen until Summer 2018.

Wortham Center - A beautiful theatre that is home to the Houston Ballet and the Houston Grand Opera. 

 

 

5.       Discovery Green Park -  The “Central Park” of Houston! Relax at the park after a busy afternoon of being in the city!

 

 

 

6.       Houston Arboretum and Nature Center - The Arboretum is a nature sanctuary for the native plants and animals of Houston!

 

 

 

7.       Cockrell Butterfly Center - A glass enclosed butterfly habitat, with a 50- foot waterfall! Houston’s very own rainforest!

 

 

8.       The Miller Outdoor Theatre – A huge performance space where audience members can enjoy the fresh air and a show almost every night of the week!

 

 

 

9.       NASA Space Center Houston - You can take a tram tour of the space center. The space center in Houston has served as “mission control” in many past space expeditions, most famously, the Apollo 13 expedition! 

 

 

10.   Houston Museum of Natural Science - One of the most visited museums in the country! You will be amazed at all the cool archeological finds that are here!

 

IADMS Student Committee

 

Tags:  Annual Conference 

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IADMS 2017: Student Events!

Posted By IADMS Student Committee, Sunday, October 8, 2017

The Annual Meeting is upon us and there are some exciting student events this year!

 

Our student social is a great way to meet new faces during the conference and to network with Dance Science students from across the globe! This years’ student social will take place on the Friday night of the conference - meet us at 7.30pm in the conference hotel lobby and we will go from there!

 

Student committee members will be present throughout the meeting - look out for us at registration and in the Lamar room where we are setting up an interactive Q&A board - here you can post your questions to professionals and they will respond!

 

Other student events and sessions include our student and young professionals networking event and a panel discussion on building your career in dance medicine and science – see details below!

 

 

Student and young professional networking workshop

An opportunity for students to connect with professionals and to build networks in their area of interest.

What?

You will meet professionals from a variety of fields including education, research, medicine, athletic training, nutrition, and massage therapy in a fun speed-networking style session!

When?

Thursday 12th October, 5:30 - 6:20pm

Where?

Sam Houston Room

 

Student Social

Our student social is a great way to meet new faces at the meeting in an informal setting and to network with Dance Science students from across the globe!

What?

Networking and drinks (and possibly some ice cream…) with IADMS student members

When?

Friday 13th October, 7.30pm

Where?

Meeting in the lobby of the conference hotel - look out for members of the student committee there!

 

Building your career: a panel discussion on avenues to careers in dance medicine and science

What?

We will be hearing from experts in research, medicine, physical therapy, athletic training, and education. Please contribute to the discussion by submitting questions to the student committee located at registration!

When?

Sunday October 15th, 12:30-1:15pm.

Where?

Navarro/Hidalgo room

 

We look forward to welcoming you to the conference next week!

 

Your Student Committee

 

Tags:  Annual Conference  students 

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IADMS 2017: Speaker Brooke Winder

Posted By IADMS Promotion Committee, Monday, October 2, 2017

Introducing a featured speaker at this year's IADMS Annual Conference - Brooke Winder, PT, DPT, OCS. Brooke is faculty at Cal State Long Beach and serves as a committee member in the American Physical Therapy Association's Performing Arts Special Interest Group!

 

 

1.      Could you tell us about your presentation theme at the 27th IADMS Annual Conference?

 

The focus of my presentation is a synthesis of current research regarding pelvic floor dysfunction, including varied diagnoses such as incontinence and pelvic pain, in dancers. The goal of this presentation is to present hypothesized risk factors for pelvic floor dysfunction in the dance population and to highlight needs for future research and clinical screening.

 

2.      Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?

 

This topic is important because pelvic floor dysfunction imposes significant limitations in the quality of life of performers who experience symptoms. These symptoms are often underreported due to their sensitive nature. If knowledge in this area can be expanded within the dance community I believe we can become even better equipped to educate dancers and help healthcare professionals spot and take care of these issues more frequently.

 

3.      What are your thoughts on IADMS relevance for your field of work?

 

 As a Doctor of Physical Therapy and professor of Dance Science at California State University, Long Beach, I think IADMS is an extremely important organization in my field. Through IADMS I can stay connected to current research and clinical trends in dance science with perspectives drawn from an incredibly wide range of locations and experiences. I can also help bring the most current information to my undergraduate and graduate students and help them to become more involved in the dance science community.

 

4.      Personally, what is the importance of attending to IADMS annual conferences?

 

 I feel that attending the IADMS annual conference is important for me in many ways. The research, clinical pearls and movement experiences at IADMS annual conferences help me to feel inspired by those around me doing great work and advocating so well for performers’ health and well-being. It helps me to widen my vision about where my own research can go and how I can more creatively and effectively help my patients and my students.

 

5.      What do you think you are most looking forward to on this year’s conference?

 

 I am looking forward to dialoging face to face with others who share the same passion as I do for the field of dance science. I look forward to connecting with the faculty from other dance science programs and other dance physical therapists to share ideas. And, in general, I am excited to learn from this year’s varied programming.

 


Tags:  Annual Conference 

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IADMS 2017 A Day for Teachers PANEL: Gaby Allard

Posted By IADMS Promotion Committee, Monday, October 2, 2017

Gaby Allard, ArtEZ School of Dance, Arnhem, The Netherlands, Faculty of Dance and Theatre Director, will be part of a panel of speakers on A Day for Teachers - part of the IADMS 2017 Annual Conference. Check out this brief interview with her here!

 


Photographer: Ron Steemers

 

1.      Could you tell us about your presentation theme at the 27th IADMS Annual Conference?

As a member of a panel discussing the challenges of implementing dance science and medicine, I aim to contribute to the awareness and importance of the need to form interdisciplinary teams around research implementation trajectories. I offer discourse around the notion of circulair valorization, a product of the research I have been conducting with several ass professors within my research projects. (M.Wyon, H.Oosterling)  

 

2.      Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?

I frequently experience the challenges practitioners and researchers undergo in understanding how to go about connecting their practice, terminology, methods and standards. When it really starts to matter, deep deep into the actual practice of connecting/ bridging knowledge, we still have some work to do. It will influence how we look at valorization and dissemination.   

 

3.      What are your thoughts on IADMS relevance for your field of work?

 As a school director, my main focus is to provide excellent education for all our students. As a Practice Based researcher, my main driver is distill relevant questions from our practice and transit them to diverse research practices. As the director of The National Centre Performing Arts my main concern is to connect performing arts knowledge and research output from and to other domains. I think it is in the bridging that takes place between my own roles and these domains that I feel and experience IADMS and the IADMS network does play an important role.   

 

4.      Personally, what is the importance of attending to IADMS annual conferences?

Check, balance, connect.  To get insight in the latest research, test my ideas on possible interest and research relevance of pending questions from the practice, (re)connect with my peers. Get inspired and motivated to turn back a few days later to the position of 'lonely ambassador' in my daily practice.  

 

5.      What do you think you are most looking forward to on this year’s conference?

The openness to test ideas with experts and the increasing focus on bridging practice and research.

 

 

Tags:  Annual Conference 

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IADMS 2017: Speaker Jatin Ambegaonkar

Posted By IADMS Promotion Committee, Tuesday, September 26, 2017

Introducing Jatin Ambegaonkar - a featured speaker at this year's Annual Conference and the Chair of the IADMS Research Committee. Check out an interview with Jatin here.

 

 

1.          Could you tell us about your presentation theme at the 27th IADMS Annual Conference? 

 

Dancers often perform hop, jump, and land motions to achieve a graceful performance aesthetic. Dance training may lead to dancers using one leg preferentially over the other(i.e. LE asymmetry). Little research has examined LE symmetry in dancers. We examined single-leg horizontal work, balance, and LE symmetry in female collegiate dancers and found  that lower extremity single-leg horizontal work and balance are symmetrical in healthy female collegiate dancers. 

 

 

2.          Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?

 

 Over 50% of dancers’ landings involve a single leg. Dancers thus need adequate single-leg Lower Extremity(LE) horizontal work(i.e. horizontal hopping) and balance to perform these motions. Clinicians also often use performance on one leg as compared to the other to determine return-to-activity post injury(e.g.>85% performance on injured vs. non-injured leg).   Educators can design dance routines that require single-leg motions on either leg without worrying about whether female collegiate dancers’ single leg hops or balance differs across legs. Clinicians can also use uninjured leg’s hop and balance as baselines to determine return-to-activity values for the injured leg    

 

 

3.          What are your thoughts on IADMS relevance for your field of work?  

 

Very relevant -  IADMS is a multi-disciplinary platform for all those interested in reducing injury risk and improving performance in dancers

 

 

4.          Personally, what is the importance of attending to IADMS annual conferences? 

 

 I enjoy meeting and learning from multi-disciplinary experts about how to reduce injury risk and improve performance in dancers  

 

 

5.          What do you think you are most looking forward to on this year’s conference?  

 

The Duels and the research presentations.

Tags:  Annual Conference  research 

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IADMS 2017 DUEL: Should dancers run?

Posted By IADMS Promotion Committee, Tuesday, September 26, 2017

This year's Annual Conference will host a few IADMS DUELS!

Here, we will introduce you to the two duelists debating SHOULD DANCERS RUN?

 

Speaking for the AFFIRMATIVE:

Andrea Kozai, IADMS Development Committee Chair from Pittsburgh, PA, USA.


Photographer: Amy Leipziger

1.      Could you tell us about your presentation theme at the 27th IADMS Annual Conference?

I will be participating in a duel titled "Should dancers run?" I will be arguing that running is an excellent method of cross-conditioning that dancers need not fear. It can be safely added to most dancers' training regimens as long as attention is paid to certain principles. 

 

2.      Why is it import to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?  

In my research into this question, I came across many sources of inaccurate and fear-inducing information. There is a pervasive stereotype within the dance community that running is harmful for dancers; many worry that it will cause unsightly muscle bulk or lost flexibility, or is too high-impact. It is important for the dance sector to have a source of scientifically-based information from which to draw when making cross-training decisions, and IADMS fulfills this role beautifully.      

 

3.      What are your thoughts on IADMS relevance for your field of work? 

The work of IADMS has influenced my personal dance practice, my understanding of the health needs of dancers, and my interest in conducting more research to bolster the knowledge that already exists.    

 

4.      Personally, what is the importance of attending to IADMS annual conferences? 

I currently chair the Development Committee, so it is very important to me to be able to meet with my colleagues in person whenever possible. But more than that, the friendships I have been able to develop, the phenomenal places in the world I've been able to visit, and the primordial soup of ideas that IADMS Annual Conferences continually provide mean I plan my year around attending.   

 

5.      What do you think you are most looking forward to on this year’s conference? 

There's a lot of great stuff this year! I'm looking forward to the many presentations about cross training, of course, but I think I'm most excited to see the session offered by Risa Steinberg on Friday. She is one of the best teachers I've had the good fortune to study with, and I think she will have some great ideas to share!

 

 

Speaking for the NEGATIVE:

Melanie Fuller, from Queensland University of Technology – Dance, Creative Industries Faculty, Brisbane, Queensland, Australia.


Photographer: Cameron Shackell

1.      Could you tell us about your presentation theme at the 27th IADMS Annual Conference?

I am presenting a systematic review on dancers’ susceptibility to injury when transitioning to full-time training and professional companies, and discussing this in relation to transitions in training load. I have also been invited to participate in a duel. It’s been great to explore a broader research base around my allocated side of the topic, “Should dancers run?” I think it’s useful to look outside of dance to see what evidence from other sports could inform our dance practices, not only to prevent injury, but also to promote performance. I believe the two can complement each other.

 

2.      Why is it important to discuss this topic with the IADMS community? What are the implications of this topic to the dance sector/dance health professionals?

I want to explore ways to help dancers perform better, whilst reducing the risk of injury. If dancers are not having time off due to injury, it gives them more time to train hard and achieve new highs in their artistic (and athletic) development.

 

3.      What are your thoughts on IADMS relevance for your field of work?

As a physiotherapist and PhD candidate, the IADMS conference, the Journal of Dance Medicine & Science, and the wealth of IADMS resources inform my clinical practice, as well as shape my research questions and enthusiasm for dance.

 

4.      Personally, what is the importance of attending IADMS annual conferences?

I embrace the opportunity to develop ideas, and share experiences with colleagues from other parts of the world with a common passion for dance. I enjoy hearing practitioner’s intuitions, and researcher’s findings, to inform my practice in the context I work in. I often come away with new questions that inspire me to look for answers, and renew my eagerness to continue to better my work with dancers.

 

5.      What do you think you are most looking forward to on this year’s conference?

I am looking forward to hearing the many intriguing presentations I see on the schedule, but also meeting new colleagues, and catching up with old friends. In particular, I look forward to meeting the other presenters in the session I am presenting in, and discussing our common research interests.

Tags:  Annual Conference  cross-training  running 

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