Tag: Health

Stretching Sufficiently

Edgar Degas - Dancer Stretching at the Barre

Despite the fact that stretching out dancers’ muscles is vital, there are many points to heed as you work towards a more supple, flexible body. In order to stretch safely and successfully, the body and muscles must be sufficiently warm: don’t hold static stretches (those held for longer than 30 seconds) before warming up. The stretches do increase flexibility but only once the body is warm. Stretching cold muscles achieves nothing and often leads to overstretching ligaments and tendons, increasing instability and resulting in pain. It also decreases the muscle’s ability to contract, resulting in less power and available strength once you start dancing.

The key to stretching effectively is to be incredibly warm, by first activating the muscles and getting blood flowing through the body before working toward greater flexibility and a more balanced body. Unfortunately, in a constant pursuit of greater flexibility, dancers have a tendency to favour extreme, and sometimes dangerous stretches, instead of following a gradual approach, creating weaknesses in their bodies. The first step in switching over to a safe stretching regime that increases muscle flexibility without sacrificing the stability needed for balances and the power needed for jumps is losing bad habits.

Often dancers get caught up with stretching one area of the body that they forget about the other muscles: if you stretch your hamstrings make sure you equate this when stretching your quadriceps. This means that creating imbalances in the body is less likely to happen. An additional method of countering this is by using a foam roller. This can be used when dancers are feeling tight in order to free up the connective tissue muscles before stretching them, decreasing muscles tension and pain. Foam rolling can be done prior to activity, even on cold muscles, or post-activity to release inhibited muscles and allows more freedom in a muscle that was otherwise restricted.

Image courtesy of Wikimedia Commons.

The Art of Food

Nutrition PyramidFollowing injuries, it is paramount that dancers recover as quickly as possible, and diet can particularly aid this. And it’s not just about what you eat, it’s about what you shouldn’t eat too; junk food fills holes without providing any nutrients, just empty calories, and caffeine reduces bone-mineral density and increase fluid loss.

In order to promote healing, the following foods are of particular benefit: produce, dairy and meat aisles, rather than pre-packaged goods. Every nutrient plays a part in recovering from injuries, particularly protein, vitamin D and vitamin C. For calcium choose milk, yogurt, low-fat cheese and almonds; for vitamin A try sweet potato, carrots, blue/orange/purple fruits and vegetables; gain vitamin C with broccoli, citrus fruits and berries; to increase magnesium have almonds, spinach, pumpkin and ground flaxseeds; for omega-3 fatty acids: walnuts, ground flaxseeds, beans, wild salmon; and for protein: milk, eggs, tofu, beans and lean meat.

To ensure strong bones, rather than gorging on milk and other calcium-filled products, try adding a little more virgin olive oil to you meals, such as salad or pasta. The Journal of Clinical Endocrinology & Metabolism reports that men put on diets that included the Mediterranean staple showed a significant increase in levels of osteocalcin, a marker of healthy bone formation.

Another unexpected food tip is to use juice to stay slim. Juice is usually associated with ‘bad foods’ due to its high sugar content, however if you’re craving a fruity drink, try watermelon juice. A recent study published in The Journal of Nutritional Biochemistry found that an amino acid in watermelon juice called citrulline might help with weight maintenance.

Injury Diet

Shin SplintsWith injuries perhaps the most feared aspect of a performer’s life, it is important that your diet is aiding recovery, aside from other treatments you may be using such as ice, physiotherapy and rest. Ensuring you are providing your body with good nutrition will reduce recovery times, which is paramount for getting back in the studio. It is said that there are three key nutrients to get you back on top form.

Protein is essential for both building and healing muscle, in addition to repairing bones and improving muscle contraction. Despite this, too much protein can be detrimental; it is important to eat protein intelligently in order to maximise its impact, which does not mean simply eating more protein. Many dancers already consume enough, so it is perhaps best to eat small amounts of high-quality protein with each meal for rebuilding tissue, such as yogurt, cheese, lean meat, beans, rice, quinoa, nuts and seeds. Too much protein forces the body to release calcium from the bones to balance it, which could slow recovery time.

Dancers must also get enough Vitamin D, due to the fact they spend long hours inside. Calcium is another vitamin that dancers tend to not get much of, both of which are vital for the repairing of stress fractures, for example. Vitamin D allows bones to absorb calcium and use it to repair stresses, hairline fractures and breaks: it also strengthens the immune system and helps reduce inflammation throughout the body. Just 15 minutes of sun exposure a day, even when it’s overcast outside, can help increase your levels for better healing. Other sources of vitamin D include yoghurt, fortified milk, tuna, salmon, and the yolks of eggs.

Vitamin C is also a great healer, from rebuilding ligaments to repairing blisters, however an excess amount becomes similar to excess protein. Because vitamin C is acidic the body will use calcium to neutralise the large amounts found in supplements, causing a weakening of the bones. The daily requirement is just 45–100 milligrams, which is around two oranges.

Strictly-Themed Workout Programme From Bristol

FitStepsA Bristol fitness instructor and diet adviser Sarah Buscemi has added a new Strictly-themed exercise regime to her usual repertoire to enable clients to dance their way to fitness with a new Strictly-themed workout programme. Sarah has joined other Rosemary Conley consultants around the country to train in FitSteps, which was launched earlier this year by Strictly stars Natalie Lowe and Ian Waite.

The programme is based on some of most popular Latin and ballroom dances, also seen on the hit television show Strictly Come Dancing, including the jive, cha cha, samba, tango, waltz and quickstep, but for FitSteps it is broken down into easy sections. As a result FitSteps has been made suitable for dancers of all abilities, even if you have never danced before

Sarah runs 10 Rosemary Conley classes each week in Bristol and South Gloucestershire, with the 90-minute session including a 45-minute exercise session, and now FitSteps. Like all FitSteps instructors, Sarah was personally introduced to the moves by Natalie and Ian, and can download new dances to teach her clients from the FitSteps website, keeping the programme both fresh and up to date.

With television shows such as Strictly growing in popularity, it is no wonder that FitSteps is appealing: it is around 50% dance and 50% aerobic moves, but the combination of the two makes for an intense workout. With FitSteps there is no need for a partner, and supports all levels and abilities, whether they work out often, or can’t remember the last time they put on their fitness shoes.

If you would like to try your hand (and feet!) at FitSteps, visit fitsteps.co.uk to find a class near you.

The Achilles Heel

Achilles HeelHistorically, the term ‘Achilles Heel’ referred to the greatest weakness of an individual: Achilles was a figure of Greek Mythology, a hero of the Trojan War killed by a small injury to his heel. Today, following this tale, the Achilles is the small tendon connecting the calf muscle to the heel bone. The tendon is still a weakness for many dancers, most notable recently was the snapping of the tendon of a Bolshoi dancer during a performance. This was a result of tendonosis, a chronic and more serious condition where bouts of tendonitis are not treated properly or the dancer does not take adequate time to rest.

The job of the elastic structures of tendons at the end of each muscle is to connect muscles to bones. However, dancing places stress on the Achilles tendon and Achilles tendonitis occurs when the tendon becomes inflamed due to overuse, excessive pronation, bowlegs, tight or short Achilles tendons, or abnormally shaped heel bones. Without correct technique, dancers increase their likelihood of developing Achilles tendonitis, making it imperative that dancers maintain their technique and do not develop bad habits. Forcing turnout, failing to press the heels into the ground in landing from jumps and failing to rise to a full three quarter pointe also puts dancers at further risk.

Achilles tendonitis can be prevented by ensuring you are not forcing the feet further outwards in turnout and landing properly from jumps. Make sure shoes and ribbons are not too tight across the tendon and try to avoid using hard, unsprung floors, raked stages, or dancing in cold temperatures. If Achilles tendonitis does occur, it can be resolved through proper treatment including rest, ice, strapping the tendon up and anti-inflammatory tablets, and taking additional steps to ensure it does not return. By making sure you are warmed up, tendons are less likely to become inflammed and injured under repeated stress.

Moving and Experiencing: Somatics In Theory And Practice

University Of ChichesterThe University of Chichester, renowned for its dance course, is holding a day of talks, workshops and performances on 9 November, named Moving and Experiencing: Somatics in theory and practice.

Somatic practice in relation to dance is an alternative movement method to rigorous techniques studied in order to both oppose and balance these. Techniques such as Release, the Feldenkrais method and alternatives such as Tai Chi all promote a very different approach to dance and the body-mind connection, emphasising this use of the body as the basis for movement.

The day promises to bring together a range of professionals working in the field of somatic practice and arts-making in a series of research events to deepen knowledge and practice, enabling new possibilities. There will also be taster workshops, new dance performance research and a keynote talk for somatic practices. Each workshop will be an introduction to a particular way of a working, facilitating a deep and embodied awareness of the connections embedded in these practices.

For dance artists working in any aspect of the dance industry, the day is hoped to give way to deeper understandings amongst the respective somatic practices as well as providing a meaningful experience. The day’s practitioners will make an initial offering to a further enquiry into the depth and breadth of dance and somatic practices both in and beyond Higher Education. Those involved include Professor Jane Bacon, University of Chichester, Linda Hartley, Institute of Integrative Bodywork and Movement Therapy, Sharna Travers Smith, University of Chichester (Body-Mind Centering), Dr Jill Hayes, University of Chichester, (Dance Movement Psychotherapy) and Amanda Williamson, Visiting Fellow, University of Chichester (Mystical/Spiritual in Somatic Practices).

It is hoped that the University of Chichester will run a series of events similar to this.

Nutrition In Winter

Nutrition PyramidFor dancers, the body is not just ‘the body’ but the means to achieve. Maintaining your optimum health and ensuring you are always at your peak is a constant thought in a dancer’s life at the best of times, but with the colder months ahead of us, it is something that requires even more attention.

In terms of general wellbeing, the winter brings cold studios and difficult warm ups in order to prepare the body sufficiently. Dancers must be particularly aware of chilblains (from resting parts of the body on heat for prolonged periods of time) and stress to joints in the cold: your body must be suitably warm for the dance class, rehearsal or performance ahead.

What a dancer puts into their body during winter is also highly important. It is much easier to eat healthily during summer when salads and light dishes are most appealing. However, when the cold comes it is all too easy to ‘treat’ ourselves (treat being the operative word) to a hot chocolate or chips. A treat once in a while does no harm, but lots of unhealthy choices can cause problems. It is easier to think of your body like a car. A petrol car cannot run on diesel: you have to fuel your body with the right things, as it won’t work sufficiently if you fuel it with with things such as processed food, which won’t aid your overall performance.

It is also important to eat to maintain a healthy immune system, which will fight germs and mean you can dance properly, sooner. Multivitamins can help, but best is the consumption of cereals, protein, dairy and lots of fruit and vegetables, full of antioxidants. Soups can be a great way to have a hot, nutritious meal whilst dancing all day. Regular meals containing all 5 food groups will maintain a healthy balance meaning your body will be ready to face the winter!

Fit to Dance?

Dance Fitness

Dancers are renowned for their slick technique, exquisite muscle tone and fantastic ability to perform convincingly in front of an audience. Particularly for ballet and contemporary dancers, they are used to the demand of lengthy and extensive choreographed pieces which can last for any given length of time! As a result, their aerobic fitness levels must be adequate to deal with these demands and work the body effectively through the performance.

Despite the high levels of fitness required by dance, most dance techniques require short bursts of energy, rather than prolonged ones: a sprinter in comparison to a marathon runner. By default this means that dancers will perform anaerobically, meaning the oxygen used in an aerobic sense is not transferred to the muscles and red blood cells, dancers are dancing on reserves.

In addition to this, dancers are becoming increasingly aware that they are only fit to dance, rather than fit to run long distances, for example. Many dance companies now complement their dancers training with body conditioning and alternative fitness classes, even encouraging the dancers to use a gym to build up cardiovascular fitness. Although dancers are described as being “fit” in their ability to dance through incredibly long days and strenuous performances, it seems they are now required to ensure they are fit and versatile, able to cope with extreme demands and engage as “artistic athletes”.

There is consequently much debate as to whether dance is an art, a sport, or even a combination of the two. Naturally dancers will argue that dance is not a sport, due to the aesthetic demands and specific artistic performance quality which is lacking from sport. However it is a disservice not to refer to dancers as athletes in their ability to soar above the stage and perform great works, and as Albert Einstein and Martha Graham separately declared, they are ‘athletes of God’.

Image courtesy of Wikimedia Commons.

The Dreaded DOMS

Delayed Onset Muscle SorenessDOMS: a common ailment for dancers, athletes and sports players. As much as it is common, the meaning of the each letter and its cause is not often known, especially by those who are younger and just beginning to train harder in their chosen area.

For dancers, the beginning of the attempt to pursue a performance career can start very young, throughout teens or perhaps post-20 years old. However, in deciding in this goal, dancers are inspired to push their bodies harder, take more class and learn new things. DOMS then come into play. Also known as Delayed Onset Muscle Soreness, DOMS occur when muscles have been used to a greater extent than they are day to day. For example, DOMS are most likely to occur in the new academic year when the body has not been used as much throughout the summer.

Dancers are likely to feel varying degrees of stiffness in their muscles during DOMS, usually in their quads and hamstrings which are worked hard in all dance techniques. The following morning it may be a struggle to get out of bed and even walk down stairs, depending on the extent of the DOMS. Some dancers may not even feel their DOMS the next day – being delayed the soreness may come into play 24-72 hours later and may be a complete surprise with the stiffness of the muscles seemingly coming from nowhere.

For many dance students in higher or vocational education, DOMS are a regular part of life. Long days mean that the students must get up and train again the next day, working through the stiffness and discomfort knowing they will usually wake up with DOMS again the next day. However a high protein diet rich with nutrients can help to work against DOMS, repairing the muscles tears and making them stronger.

Image courtesy of Wikimedia Commons.

The Uses Of Swiss Balls

Pineapple Fitness BallSwiss balls, known by a number of different names, are large, heavy-duty inflatable balls used for aiding core strength in dance technique. The balls offer a fun, safe and highly effective way to exercise, and are relatively inexpensive compared to other exercise equipment. Stocked by Dance Direct, for example, the Pineapple ball is burst resistant, and works to keep the entire body in shape, targeting all the major muscle groups and supporting dance work.

The Swiss ball was used as early as the 1960s, originally used by physical therapists and chiropractors in Switzerland to assist with rehabilitation and became known as the Swiss Ball. Through seminars and classes the Swiss Ball was introduced to the USA in the early 1980s and became known as extremely versatile and valuable in terms of dance. In the late 1980s coaches, athletic trainers and personal trainers also realised the effectiveness of the Swiss Ball in developing balance and core strength, and since then the fitness balls have been reported as the most effective method for core conditioning.

Using a Swiss ball will improve the strength of the abs and the lower back, as well as improving balance, proprioception and flexibility. Alignment is improved by the use of additional muscles to maintain stability and balance, abs are worked simultaneously with the back muscles through abdominal crunches on the fitness ball (which have been scientifically proven to work the abs more than the regular crunch), muscle strength, tone and endurance are improved in all of the major muscle groups, core stability is built up through the use of the major and deep muscles which helps stabilise and support the body’s movements, and stretching exercises using the ball as a tool are all fantastic uses of the Swiss ball to aid dance training and beyond to maintain the dancers’ body.