The Psychology of the Injured Dancer

"A setback is a setup for a comeback" - T.D. Jakes

          Dancers spend so much time taking class, rehearsing and performing that experiencing an injury at some point in their training or their careers is almost inevitable.

          Injury rates among dancers have been reported to be as high as 97%, yet less than 50% of those injuries are treated by medical professionals.  Dancers tend to dance through any pain they feel because they worry about missing class and losing technique, losing their roles to other dancers and losing pay due to missed rehearsals and performances.

          However, injuries do occur, and there are times when dancers may be forced to stop dancing for a period of time. It is important for everyone in the dance field to know and understand that there are some psychological effects a dancer may likely experience when injured.


          A dancer may feel shocked and frustrated to discover that this body that he/she has spent year's training has betrayed him/her. If the injury forces the dancer to take time off, the frustration may soon turn to depression as the dancer begins to miss classes and/or rehearsals. It is important to note that this depression may not only be psychological but may have some of its roots in the fact that when we dance our bodies naturally release endorphins which promote a sense of euphoria. When dancers are forced to stop, the endorphins are not released, and they will not experience the sense of euphoria which is a normal state for them.

          Standard practice within the dance community is that injured dancers should attend classes and rehearsal when injured and observe. Although dancers can certainly learn by observing (see my post, about mental rehearsal), a 1996 study determined that watching class was related to an increase in  the injured dancer's feelings of guilt, anger and distress over being injured.

          As the injury begins to heal, the dancer will grow optimistic but may soon become pessimistic as he/she grows impatient with the amount of time necessary for the body to heal.

          Dance directors, educators and parents can help dancers cope with injuries in several ways. Very few dancers have enough anatomical knowledge to understand the nature of an injury and the body's recovery process. By educating dancers before injuries occur, we can eliminate the fear that often accompanies an injury.

          Dancers need to be reassured by everyone around them that injuries are temporary and that they will eventually be able to return to the technical level at which they were performing prior to the injury.

          It is equally important for an injured dancer to see a medical professional who understands the mentality of dancers. The doctor or physical therapist should understand that the primary goal is to get the dancer back in the studio as soon as possible and provide realistic rehabilitation exercises. Quite often, the rehabilitation exercises that are prescribed are less challenging than the exercises dancers do on a daily basis.

          Lastly, it is important that injured dancers who sit through class or rehearsals feel they have a purpose. A dancer with a leg injury can sit in a chair and perform all of the upper body movements, or the dancer may be asked to take notes for the teacher or rehearsal director so that he/she feels valued.

          While it is inevitable that injuries will occur in dance, psychological feelings of depression, fear, and anxiety may be avoidable or alleviated by the approaches of those surrounding the dancer. Their reassurances and kind gestures can help keep the injured dancer in a healthy psychological state while the body is given the chance to heal.

___________________________________________________________

Bowling, A.  (1989) Injuries to dancers:  prevalence, treatment and perceptions of causes. BMJ. 298:731-34.

Kerr, G., Krasnow, D., Mainwaring, L.  (1992) The nature of dance injuries. Medical Problems of Performing Artists. 7:25-9.

Macchi R, Crossman J. (1996). After the Fall: Reflections of injured classical ballet dancers, Journal of Sport Behavior. 19(3): 221-234. 

A Workshop for Dancers, Dance Educators & Parents

The Healthy Dancer

invites you to a

Summer Workshop 

on

Anatomy

Body Awareness

and

Injury Prevention & Care

Come learn how to…

Understand anatomy
Train efficient dancers
Train strong, technically sound dancers
Work with dancers' strengths & limitations
Train intelligent dancers
Prevent & care for injuries
Cross-train dancers effectively

Join us 

Saturday, July 25

1 PM - 4 PM

in Guilford, Connecticut

for

lectures & participatory workshops

Click on this link to register!!

(Space is limited, so reserve your spot soon)

Learning About the Knee

            The knee is the largest joint in the body and one that everyone uses daily.  It is a hinge joint, which means it is only capable of flexing, or bending, and extending, yet dancers rely on it for almost every movement they execute and should, therefore, have a thorough understanding of it and how it works.

             

From Sci-eng.net

             The knee is made up of three bones – the tibia, which is the larger of the two shinbones; the femur, or thighbone; and the patella, or kneecap.  The joint is formed when the tibia and the femur meet to unite the upper leg with the lower leg.  The patella is a triangular shaped bone that covers and protects the surface of the joint so that we can kneel down without sacrificing the joint’s integrity.

            In between the tibia and the femur are two C-shaped pads of cartilage called the lateral meniscus and the medial meniscus.  Their job is to provide cushioning between the two bones and to absorb the shock that comes from the bones hitting against each other while walking, running, and jumping.

            The knee joint is surrounded by ligaments that provide stability and prevent unwanted movement that could harm the joint.  The collateral ligaments connect the tibia to the femur on the outside of the knee (the lateral collateral ligament) and on the inside of the knee (the medial collateral ligament).  These ligaments prevent sideways movement of the femur.  The anterior collateral ligament, or ACL, crosses the center of the joint, connects the tibia to the femur, and prevents the tibia from sliding forward during movement.  The posterior collateral ligament, or PCL, runs directly behind the ACL and prevents the tibia from sliding backward.

From web md

            The patella slides along a groove on the front of the femur and is held in place above by the quadriceps tendon which connects the thigh muscles to the joint and below by the patellar tendon which connects the patella to the tibia.

            The knee contains many fluid-filled sacs called bursae that help cushion the joint and keep the bones moving smoothly against each other.

            The four quadriceps muscles found on the front of the thigh – the rectus femoris, the vastus intermedius, the vastus lateralis, and the vastus medialis are responsible for extending the knee.

            The hamstring muscles which are found on the back of the thigh as well as the gastrocnemius, which is the major calf muscle, and the popliteus, which runs across the back of the knee, are responsible for bending, or flexing the knee.

            Next week’s post will focus on common knee injuries and concerns that dancers may have and how to prevent and care for them.