How to Dance at Home Safely During a Pandemic

"Life isn't about waiting for the storm to pass. It's about learning how to dance in the rain." - Vivian Greene

Dance studios have closed…

We’ve entered the virtual world…

Classes have moved online…

EVERYONE is offering dance classes…

So, what do dancers need to know to continue to train safely?

First and foremost, dancers should NOT assume that every dance class posted online presents a safe and healthy way to train.

Dancers need to trust in their past training, use the knowledge they’ve gained and remember what they’ve been taught. Classes need to include a proper warm-up, need to acknowledge that everyone’s body is different, and need to present material in a way that makes sense. If an exercise presented on screen does not feel right or hurts, DON’T DO IT!! Attempting a difficult step without the training that prepares the body for it is a sure way to increase the risk of injury. If it looks too tricky, now is not the time to try it! When dancers are in a studio, teachers are constantly determining what steps and exercises students are ready for and can provide personalized guidance for performing them correctly and  safely. When dancers are on their own, that safety net disappears.

Finding a safe space to train 

Dancers are now dancing in bedrooms, living rooms, kitchens and even outside. A dance studio is designed to provide a safe space in which the body can train. At home there are obstacles like couches, lamps, chairs, beds, stoves and railings. It is usually the teacher’s job to make sure the studio is a safe space with obstacles removed and floors swept and cleaned.  It is now the dancer’s job to look at the space in which they are training and determine if it is safe and how dancing might need to be adapted. Some furniture might need to be moved or movements might need to be smaller to avoid kicking a couch or smacking a foot or arm on a railing.

Evaluating the dance surface 

The best surface for dancers is a sprung wood floor, but homes do not normally have those. Dancers are now training on rugs, floors covered by ceramic or vinyl tiles or the ground. It is important that dancers realize that turning on a carpeted or sticky floor or an uneven surface could increase the risk of twisting an ankle or knee. 

Dancers might need to  limit the turns they are doing, substituting balancing in the turning position instead - they will still be developing strength and gaining something from the exercise. Also, dancers might consider wearing a dance sneaker or regular sneaker to decrease the impact on the body during jumps. In general, it might be best to limit the amount of jumping done in our home studios and work on relevés instead - again, dancers will still be gaining something from the exercise.

Warming up 

The tendency when we’re training at home is to simply turn on the computer, phone or tv and begin our dance class. We lack the transition time we usually have as we move between activities in our day. It is important for dancers to warm up before a home class just as they would when taking class in a studio. A quick cardio warm-up or some dynamic stretching will prepare the dancer’s body as well as mind for what is coming next.

Cooling Down 

Lastly, it’s important for dancers to take some time to cool-down and transition back into life after an online class. This time is perfect for static stretching. Dancers can use the time to increase flexibility, help decrease muscle soreness and slow down heart rates before dancers return to re-join their new lives.

Improving the Dancer's Arch: Do Foot Stretchers Work?

"The human foot is a masterpiece of engineering and a work of art." - Leonardo da Vinci

Dancers spend hours in the studio critiquing their bodies and comparing them to those of other dancers. One body part that receives considerable attention for obvious reasons is the dancer's foot. My last post spoke of the anatomy of the arches of the foot and the three most common types of feet - those with a high arch, those with a medium arch, and those with a flat foot and the implications that each of these have for dancers.

As each dancer works to create aesthetically pleasing lines, he or she often tries to find ways to stretch or increase the arch of the foot. A foot stretcher is a device that stretches a dancer's foot. The dancer places his or her foot inside the device which holds the foot in an arched position while stretching the ligaments of the foot to increase range of motion and presumably increase the dancer's arch.

There are some dancers who have a limited range of motion in their feet because of the bone structure. These dancers will not benefit from a foot stretcher since, no matter how much the foot is stretched, the bone structure cannot be changed.

For those who have a limited range of motion due to tight ligaments, it would seem that this type of device would be ideal. Unfortunately, foot stretchers work in a passive manner. Although range of motion may be increased, strength is not being developed at the same time. An increased range of motion may allow the foot to be placed in a new position, but if the dancer does not have the corresponding strength to move the foot into or hold it in such a position, it will be of no use.

It is important to remember two things about ligaments - their jobs are to hold bones together and to limit certain movements, and they are non-elastic; once they are stretched out, they will not return to their original lengths. If feet are overstretched with the use of a device like a foot stretcher, ligaments will become lax and will not be able to do their jobs effectively, and the dancer will no longer have the same joint stability that he or she once did. Overstretching the ligaments of the foot could lead to a greater chance of injury in the foot and ankle joints when the dancer's foot needs to bear weight in balances or when landing from jumps.


Another concern with foot stretchers is that they force the foot into an exaggerated pointed position. This position can lead to posterior impingement of the ankle. In this position the calcaneus, or heel bone, is forced against the tibia, or large shine bone, and pinches all of the soft tissue at the back of the ankle. Posterior impingement syndrome results in pain and irritation when doing almost anything. This irritation can also lead to tendonitis.

Avoiding exercises and devices that passively stretch the foot will contribute to healthy dancing. There are ways to actively stretch the arch of the foot while simultaneously strengthening the foot that will create an aesthetically pleasing line without sacrificing ankle stability or injuring soft tissue. My next post will offer examples of those exercises so that dancers can improve their arches in a healthy way.

The Ideal Dancer's Arch

"The human foot is a masterpiece of engineering and a work of art." - Leonardo da Vinci

Dancers use their entire bodies, but their feet are what ground them, move them through space, allow them to rise up toward the heavens, and complete the lines of energy that extend out from their bodies through their legs. Having a "good"arch is often a discussion among dancers - it is believed that higher arches are the best arches because of the way they look, but what is most important is that the arches provide necessary support for weight bearing and effective landings, as well as aesthetically pleasing lines.

This series of posts will discuss the anatomy of the foot, the "ideal dancer's foot", the determinants of a dancer's arch, the best ways for dancers to improve their arches, and what methods should be avoided and why.

Basic Anatomy of the Foot and the Arches

The bones of the foot fit together to form the ankle joint, the arches of the foot and the toe, or phalangeal, joints. 

The primary ankle joint is formed where the tibia and and the fibula meet the talus.   The tibia is the large bone of the lower leg that is located on the inside of the shin while the fibula is the narrow bone that is found on the outside of the shin.  The talus is the bone located on the top of the arch of the foot where the lower leg and foot meet.  This joint is a hinge joint that is responsible for the ability to plantar flex (point) and dorsiflex (flex) the foot.

The bone beneath the talus is the calcaneus, or heel bone. The meeting of the talus and the calcaneus form the secondary ankle joint, a sliding joint, which allows the foot to move from side to side.

The bones that make up the arch of the foot are the talus, the navicular, the cuboid and the cuneiforms and those that make up the toes are the metatarsals and phalanges.

There are three arches in the foot. The arch that can be see on the inside of the foot is the medial longitudinal arch, the arch that runs along the outside of the foot is the lateral

longitudinal arch, and the arch that runs across the top of the foot from one side to the other is the transverse arch. All arches are important since they provide stability.

Everyone's body is different and no two people have the same foot structure. The height of the arches of the foot are determined largely by bone structure and also influenced by muscles and the flexibility of ligaments. There are three types of arches: 

 - the high arch This arch is characterized by its bony structure and strong ligaments that keep the bones held firmly in place. These type of feet are often rigid and inflexible, and do not absorb impact very well since only the ball of the foot and the heel touch the ground - about 20% of the general population.

- the medium arch This arch is ideal in that it provides for better shock absorption, and although the ligaments are not as tight, they do a great job of holding the bones in place while allowing for flexibility - about 60% of the general population.

 - the flat foot  While there is an arch apparent when a dancer is pointing his or her foot in the air, the arch disappears when the foot must bear weight because of the laxity in the ligaments - about 20% of the general population.

    

                                        

The ideal foot for a dancer is the medium arch since its natural bone structure provides an aesthetically pleasing image when the foot is pointed, and the strong  ligaments provide the stability and flexibility a dancer needs when dancing, balancing, and landing from jumps and lifts. These dancers excel at ballet, do well when dancing en pointe and are less apt to sprain an ankle.

Although they do not have "ideal dancer feet", those with high arches and flat feet can still excel at dance but would need to spend some time stretching and/or strengthening the arches for both aesthetic and stability reasons. 

Next week's post will provide some insight as to what dancers should and should not do to improve their arches in a healthy manner.

           

Stretching Is Good for Dancers, Isn't It?

“Blessed are the flexible for they will not allow themselves to become bent out of shape.” – Robert Ludlum

        Dancers need to be able to raise their legs as high as possible, split their legs 180° apart in a leap, and turn them out as far as possible when necessary. When all of that is considered, there is no mystery in the fact that dancers spend an inordinate amount of time stretching, working on flexibility, and trying to increase range of motion in most of their joints.

                        How then, could stretching be bad?

        There is a right way and a wrong way to stretch. Knowing the difference between the two and listening to the body will mean the difference between improving dance performance and setting a body up for injury.

        The dancer’s goal is to stretch muscles. Flexible muscles improve posture, increase a dancer’s ability to move freely, help prevent injuries, and provide increased blood circulation throughout the body. Tight muscles tend to pull on the skeleton and force the body into unnatural positions. Tight muscles prevent movement, and are more apt to tear during quick movements. They also tend to constrict blood vessels and decrease blood flow.

         One important quality of muscles is that they are elastic. When a muscle is stretched, although it becomes more flexible, the muscle fibers do not lose their elasticity and become lax. Ligaments are the fibrous strands that connect bones to each other. In addition to holding the skeleton together in correct alignment, they also prevent the body from moving in ways that it is not designed to move. Unlike muscles, they are not elastic. When they become stretched out, they cannot do their jobs; the body is allowed to move in ways that can cause injuries like bone dislocations, and the body’s alignment becomes distorted. For these reasons, dancers need to be sure to concentrate on stretching muscles and not ligaments.

        Ligaments are found at the joints. Any stretches that pull on the joints or focus on those areas stretch ligaments and could be causing more harm than good. 

The "frog stretch", pictured above, pulls on the ligaments surrounding the hip and the knee and could be setting the dancer up for injury. 

This lunge position which is often suggested for stretching the quadriceps muscle group also pulls on the ligaments of the hip. 

        Dancers need to focus on stretching exercises that stretch the center of the muscles. When stretching correctly, the dancer should feel a gentle pull in the belly of the muscle. If any pulling is felt at the joint, the dancer could be performing the stretch incorrectly, or the stretch may not be a good one because it is stretching parts of the body that should not be stretched and will not increase flexibility.

        The lunge pictured above can be replaced with a lunge with a bent back knee that will focus on the actual quadricep muscles instead of straining the ligaments of the hip.

        Dancers need to be aware of these differences and take time to listen to their bodies. By doing so, they will be able to choose stretches that are safe and effective at increasing flexibility.

Using Breath to Enhance Stretching

         "Conscious breathing is my anchor.” ― Thích Nhất Hạnh

          Breathing is a function of the autonomic nervous system and occurs naturally and efficiently without any conscious help from us. However, being aware of our breathing patterns and allowing them to work in tandem with our actions, can enhance our dancing as was discussed in the post, Reminding Dancers to Breathe. Breathing can also be used to help dancers stretch effectively.

          Dancers spend a good deal of time trying to increase muscle flexibility and joint range of motion. There are different ways to stretch, and some are more effective than other as has been discussed in the posts: Stretching - When Not to Do It, Stretching - Working With Your Body Type, and Stretching - Ballistic, Dynamic & Static - Which is Most Effective.

          While dynamic stretching should be used during the warm-up, static stretching can be used at the end of classes, rehearsals, and performances as part of a cool-down and can increase flexibility while releasing any muscular tension that may have developed. Being aware of our breathing and how it affects our muscles, can help us create effective stretching strategies.

          As we inhale, our diaphragm contracts to make room for the intake of air. As the air floods in, our lungs expand, and blood pools there for a short time. Since the blood is pooling and not circulating as quickly, the heart receives a message to pump faster to increase circulation. When we exhale, the blood quickly moves back into the heart. A large amount of blood in the heart means that each heart beat can circulate a substantial amount of blood and the heart can slow down. As the heart rate slows, the entire body relaxes and releases tension. It is for these reasons that when we stretch we should use the inhale to prepare for the stretch and move into the stretch on the exhale.

          As we inhale, we should focus on lengthening and aligning our skeletons, and we should begin to release into the stretch as we exhale. As we inhale again, we should come out of the stretch slightly and re-lengthen before we move into the stretch a bit deeper on the next exhale. This process can be repeated several times to increase the depth of the stretch. By using our breath, we also keep the stretch reflex from occurring.

          The stretch reflex is a built-in safety mechanism that the body uses to help avoid muscles damage. When a muscle is elongated too far, the brain senses it might tear and sends a message to the muscle fibers to contract to prevent the tear from happening. A muscle contraction tightens the muscle and prevents it from stretching any further. By relaxing into the stretch and then coming out of it slightly before stretching deeper, we are able to prevent this reflex from occurring.

          It is also important to be sure we are never holding our breath as we stretch. Holding our breath causes all of our muscles to tighten and contract. If you find yourself holding your breath while stretching, it may mean that you are pushing too far into the stretch for your body.

          Although dancers tend to focus on increasing flexibility and joint range of motion when stretching, they need

to remember that stretching can also relieve tension and relax the body after a class, rehearsal, or performance.

          Being aware of our breathing and using it in tandem with stretching, can help us increase flexibility while relieving muscle tension rather than fighting against ourselves and locking more tension into the body.

Ballet Glider Giveaway!

            “Where a new invention promises to be useful, it ought to be tried.” – Thomas Jefferson

           A pointed foot, a high relevé, a fully stretched foot in a jump – these are all sought after in dance.  Whether dancers study ballet and are constantly on their toes, study tap and dance on the balls of their feet, study Irish dance and are always in a relevé, or study modern and jazz and are stretching their feet in jumps, they demand a lot from their calf muscles.

            Since these muscles are constantly worked, they tend to grow very tight in dancers. The calf muscles are connected to the calcaneous, or heel bone, by the Achilles tendon, and when the muscles are tight, the pull on the Achilles tendon increases. As a result of this increased pull, the tendon becomes irritated and inflamed, and dancers often develop Achilles tendonitis. The Achilles tendon can be irritated further when a dancer partakes in a barre stretch. In a barre stretch, the ankle of the leg is placed upon the barre, putting additional pressure upon the Achilles tendon and possibly irritating it further.

            Often dancers drape towels or folded sweaters or legwarmers over the barre to act as a cushion for the Achilles tendon and to decrease any friction that might be caused as the dancer slides his or her leg along the barre.

            After watching dancers do this during her 25 years of teaching, Kathryn Sullivan designed a dance accessory for dancers called the Ballet Glider. The Ballet Glider is made of plush fleece, fits around the barre, and is held in place by velcro. Although Kathryn’s original goals were to reduce friction and pressure on the Achilles tendon during barre stretches, dancers have developed other uses for the Ballet Glider as well. In Kathryn’s classes at Steps on Broadway, Peridance Capezio Center, and Barnard College at the Columbia University, dancers have begun using them to hold their places at the barre, to help remind them to hold the barre lightly without gripping it, to cue placement of the hand on the barre after a turn, and to help eliminate germ transfer on barres that are used by many dancers in the same day.

            The Ballet Glider can be purchased through Kathryn’s website and will also be available soon through Discount Dance Supply. The Healthy Dancer is also giving away 2 Ballet Gliders this week. To enter the giveaway, simply comment on this post by 11:59 PM on Thursday, April 10, 2014. I will be in touch with the winners on Friday, April 11, to find out where to send your Ballet Gliders!

Caring for Muscles During the Performance Season

            "Take care of your body.  It's the only place you have to live." - Jim Rohn

          With the Nutcracker performance season upon us, dancers will be spending extra hours in rehearsals, numerous hours in theaters, and will be expending tons of energy entertaining countless audience members.  While performing is the ultimate goal of dance training, it still takes a toll on the body.  My last post addressed the risk of injuries that result from overused and fatigued muscles.  Over the long term, cross-training and periodic training can help prepare dancers for the stress of performance, but it is also important for dancers to know how to care for their muscles during the performance season.

            It is extremely important for dancers to warm-up before all rehearsals and performances.  Warming-up increases blood flow to the muscles, which ensures the delivery of oxygen and fuel, and raises the internal temperature of the muscles, which leads to the increased flexibility necessary to perform beautiful grand jetés and développés.  Most companies will hold a formal warm-up class before rehearsals and performances, but if there is not one available, it is each dancer’s responsibility to take the time to sufficiently warm-up his or her body to reduce the risk of injury.

            After the warm-up is complete and while the dancers are waiting for their turns on stage, is the perfect time to don all those fashionable sweaters and leg warmers that dancers always carry around in their bags.  Many dancers mistakenly wear these clothes at the beginning of class and peel them off as the body grows warm.  Their intended purpose is to keep already warmed-up muscles from growing cold while waiting.

 

            Drinking water is also a necessity to keep muscles working well.  Hydration is extremely important when trying to avoid muscle cramps.  Muscles are 70% water, which is why the fibers can move freely against each other.  When muscles are dehydrated, the lubrication decreases and movement becomes painful.

            Muscles should definitely be stretched once a performance and/or rehearsal are completed.  Static stretching in the wings before an entrance will not help a performance.  Instead it may hinder it!  My post on different types of stretching will help you understand why static stretching before a performing may actually decrease a muscle’s ability to contract efficiently.  When static stretching follows a performance, however, it is a valuable part of the cool-down that keeps dancers flexible and allows time for the internal temperature of the muscles to gradually decrease.  Stretching and cooling down reduce the chance that muscles will cramp or go into spasm when leaving the studio or theater.  Being sure to wear warm clothes over dance clothes  will also help keep muscles from cramping when dancers leave a warm studio or theater and move out into colder air.   

 

            Finally, a snack that is high in protein will help repair any minor muscle damage that might have occurred while dancing and help ensure that the muscles will be ready for another several hours of rehearsing and/or performing the following day.