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There are 3 images of different dance styles clothing attire. these are all suitable to the specific style to help prevention of injuries and give the dance the best range of movement

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjUxq-04p_fAhXXSRUIHWNQDxIQjRx6BAgBEAU&url=https%3A%2F%2Fwww.ebay.co.uk%2Fitm%2FGirls-Kids-Black-Jazz-Dance-Pants-Dancewear-Stretchy-Breathable-Yoga-Trousers%2F163084287241&psig=AOvVaw1NdG2MOQWShmeevUqANlS9&ust=1544892285900933. [Accessed 14 December 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiCgsuN4p_fAhXhVBUIHfIrChYQjRx6BAgBEAU&url=https%3A%2F%2Fwww.pinterest.com%2Fpin%2F470837336028243855%2F&psig=AOvVaw19XGUyO_wPuywDUv9HNFZb&ust=1544892132351520. [Accessed 14 December 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi74ceI3p_fAhXO4IUKHSkVCI8QjRx6BAgBEAU&url=http%3A%2F%2Fwww.dance10.org%2Fdresscode.htm&psig=AOvVaw20HiVvO8XVS5i4GAxyLk1Y&ust=1544890968627643. [Accessed 14 December 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjUze642J_fAhUyyYUKHXwbB3wQjRx6BAgBEAU&url=https%3A%2F%2Fwww.teachingideas.co.uk%2Fhealthy-lifestyles%2Ffood-groups-poster&psig=AOvVaw3m5ai6gjgRPAfeHjwIOgJ5&ust=1544889600686706. [Accessed 14 December 2018].

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"Helping the body promote heat loss when dancing full out will improve athletic performance and aid in recovery."
This article explains how dancers need to ensure they are taking regular sips during physical activity.

Dance Informa Magazine. 2018. Hydration for Dancers - Dance Informa Magazine. [ONLINE] Available at: https://dancemagazine.com.au/2012/07/hydration-for-dancers-2/. [Accessed 11 December 2018].

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Even mild dehydration can affect performance. Staying hydrated is extremely important to a dancer's performance because the first signs of dehydration are fatigue and poor balance. Thirst actually only kicks in after the body has lost 1-2 litres of water. If you are thirsty then you are already dehydrated.

Water makes up approximately 60% of body weight and is the largest component of the human body. The muscles we work so hard to develop as dancers (skeletal muscles) are about 73% water, your blood is about 93% water and even bones and teeth contain some water. Water is critical for maintaining homeostasis within the body and important in the thousands of biochemical and physiological functions our bodies go through every day. Water aids in digestion and is important in the transport and elimination systems of the body.

Overheating and performance

It's important for dancers to know that being properly hydrated helps keep the body from overheating. Helping the body promote heat loss when dancing full out will improve athletic performance and aid in recovery. This is especially important for dancers wearing hot costumes and performing under stage lights. Sweat losses during performance can be significantly more than during rehearsal of the same piece. This is why drinking regularly (even small, regular sips) is an important habit during a show.

How much is really needed? Can a dancer get fluids from other things besides water?

The American College of Sports Medicine recommends that athletes (we all know that dancers are athletes) start their exercise already hydrated with about 500ml of beverage taken before you begin. Then drink 150-300ml every 20 minutes or so. This means that your reusable water bottle should be your constant companion in the studio or backstage. Every dancer is a little different but pre-professional and professional level dancers should aim for about 2800-3500ml of fluids every day. That's about 12 - 15 cups. About 20-25% will come from foods like fruits and veggies, but about 80% comes from what you drink. Aim to get most of your fluids through water, but juices, sports drinks, and even tea and coffee can be counted toward that goal. Some dancers find that mixing 50% sports drink with 50% water in their reusable bottles helps them get through long rehearsals or classes. This is because sports beverages contain a source of readily available energy (calories) and electrolytes that are lost in sweat.

But I want something besides just water.....

Prevent dehydration by eating lots of fruits and veggies. Consider melon, squash, oranges, apples, pears, grapes, leafy greens and salads in addition to beverages like tea, whole fruit ice-blocks, sports drinks, smoothies, soy milk, almond milk, and yoghurts.

Caffeine makes us more awake and is known to enhance athletic performance. But there can be too much of a "good" thing. Caffeine is a central nervous system stimulant, not a source of energy. Yes, caffeine can also promote water loss and dancers should limit caffeine, but those beverages can still count toward your daily intake. I always recommend limiting or avoiding soft drinks. They are empty calorie bombs and can make bones weaker. One cup of coffee is fine, but being overly jittery doesn't help your dancing.

So be good to your body and good to the earth by taking your reusable water bottle with you everywhere and refilling it often!

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor's and master's degree in nutrition from Georgia State University, USA. Her master's thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

dance, dance Australia, dance diet, dance dietician, dance nutrition, dance training, dancer advice, dancer health, dehydration, health advice for dancers, hydration, water consumption, water intake

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Hydration for Dancers - Dance Informa Magazine

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By Emily C. Harrison MS, RD, LD. Even mild dehydration can affect performance. Staying hydrated is extremely important to a dancer's performance because the first signs of dehydration are fatigue and poor balance. Thirst actually only kicks in after the body has lost 1-2 litres of water.

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Dance Science | Trinity Laban. 2018. Dance Science | Trinity Laban. [ONLINE] Available at: https://www.trinitylaban.ac.uk/study/dance/dance-science. [Accessed 11 December 2018].

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This article shows how it is important for dancers to have individual training plans in order to increase career longevity.

Training for dancers, coaching, training plan, training programme - Fit for Dance. 2018. Training for dancers, coaching, training plan, training programme - Fit for Dance. [ONLINE] Available at: http://www.fitfordance.de/betreuen_EN.html. [Accessed 11 December 2018].

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The 3 main types stretching are:
- Dynamic~ Moving through the stretch
- Static~ Holding the stretch
- Ballistic~ Bouncing- this is the least useful as it can result in injury and soreness.
- Proprioceptive neuromuscular facilitation (PNF) ~ utilising alteration contraction and relaxation

Resource Papers - International Association for Dance Medicine & Science. 2018. Resource Papers - International Association for Dance Medicine & Science. [ONLINE] Available at: https://www.iadms.org/page/186. [Accessed 06 December 2018].
https://www.iadms.org/resource/resmgr/resource_papers/stretching.pdf. (2012)

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"Based on the current evidence, dancers' reactions to injury involve initial negative affects that may become more positive as the injury heals."
This shows how when dancers become injured it not only effects them physically but can also affect them psychologically.

And the Dance Goes On Psychological Impact of Injury: Ingenta Connect. 2018. And the Dance Goes On Psychological Impact of Injury: Ingenta Connect. [ONLINE] Available at: https://www.ingentaconnect.com/content/jmrp/jdms/2001/00000005/00000004/art00002. [Accessed 06 December 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwj8qsao8YXfAhUHyYUKHR8LB70QjRx6BAgBEAU&url=https%3A%2F%2Fwww.achecenter.com%2Fwhat-does-rice-mean-in-first-aid%2F&psig=AOvVaw1z9-1r5Sih2GABD5-vJSEt&ust=1544002931401871. [Accessed 04 December 2018].

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Some benefits of dance which helps a dancer for career longevity is...
- Increased muscular strength, endurance and motor fitness
- Increased aerobic fitness
- Improved muscle tone and strength
- Helps weight management
- Stronger bones and reduced risk of osteoporosis
- Better coordination, agility and flexibility
- Improved balance and spatial awareness
- Increased physical confidence
- Improved mental functioning
- Improved general and psychological wellbeing
- Greater self-confidence and self-esteem

Dance - health benefits - Better Health Channel. 2018. Dance - health benefits - Better Health Channel. [ONLINE] Available at: https://www.betterhealth.vic.gov.au/health/healthyliving/dance-health-benefits. [Accessed 03 December 2018].

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This explains why warming up and cooling down are important before any physical activity. This is to help prevent injuries and muscle fatigue
Â . 2018. Aerobic exercise: How to warm up and cool down - Mayo Clinic . [ONLINE] Available at: https://www.mayoclinic.org/healthy-lifestyle/fitness/in-depth/exercise/art-20045517. [Accessed 03 December 2018].

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Aerobic exercise: How to warm up and cool down

Done correctly, warming up and cooling down may offer help in reducing your risk of injury and improving your athletic performance.
By Mayo Clinic Staff
Before you jump on the elliptical machine or hit the running trails, consider doing a brief warm-up first. And, think about following your workout with a quick cool-down session. Sure, a warm-up and cool-down may add a few minutes to your exercise routine, but they also might reduce stress on your heart and other muscles.

Why warm up and cool down

Warm-ups and cool-downs generally involve doing your activity at a slower pace and reduced intensity.

Warming up helps prepare your body for aerobic activity. A warm-up gradually revs up your cardiovascular system by raising your body temperature and increasing blood flow to your muscles. Warming up may also help reduce muscle soreness and lessen your risk of injury.

Cooling down after your workout allows for a gradual recovery of pre-exercise heart rate and blood pressure. Cooling down may be most important for competitive endurance athletes, such as marathoners, because it helps regulate blood flow. Cooling down doesn't appear to help reduce muscle stiffness and soreness after exercise, but more research is needed.

Although there's controversy about whether warming up and cooling down can prevent injuries, proper warm-ups and cool-downs pose little risk. Plus, they seem to give your heart and blood vessels a chance to ease into - and out of - an exercise session. So if you have the time, consider including a warm-up and cool-down in your workout routine.

How to warm up

Warm up right before you plan to start your workout. In general, warm up by focusing first on large muscle groups, such as your hamstrings. Then you can do exercises more specific to your sport or activity, if necessary.

Begin by doing the activity and movement patterns of your chosen exercise, but at a low, slow pace that gradually increases in speed and intensity. This is called a dynamic warm-up. A warm-up may produce mild sweating, but generally won't leave you fatigued.

Here are some examples of warm-up activities:

To warm up for a brisk walk, walk slowly for five to 10 minutes.

To warm up for a run, walk briskly for five to 10 minutes.

To warm up for swimming, swim slowly at first and then pick up the tempo as you're able.

How to cool down

Cooling down is similar to warming up. You generally continue your workout session for five minutes or so, but at a slower pace and reduced intensity.

Here are some examples of cool-down activities:

To cool down after a brisk walk, walk slowly for five to 10 minutes.

To cool down after a run, walk briskly for five to 10 minutes.

To cool down after swimming, swim some leisure laps for five to 10 minutes.

A word about stretching

If stretching exercises are part of your workout routine, it's best to do them after the warm-up or cool-down phase, when your muscles are already warm.

Stretching can improve range of motion about a joint and flexibility. Stretching may also help improve your performance in some activities by allowing your joints to move through their full range of motion. However, studies haven't consistently shown that stretching helps prevent muscle soreness or injury.

Be kind to your body

Finding time for regular aerobic workouts - plus warming up and cooling down - can be challenging. But, with a little creativity, you can probably fit it in. For example, walking to and from the gym can be your warm-up and cool-down.

See more In-depth

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Done correctly, warming up and cooling down may offer help in reducing your risk of injury and improving your athletic performance. By Mayo Clinic Staff Before you jump on the elliptical machine or hit the running trails, consider doing a brief warm-up first. And, think about following your workout with a quick cool-down session.

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This looks at what the benefits of cardiovascular endurance is and how dancer lack the fitness.

Laura Stanyer: The Importance of Cardiovascular Endurance for the Dancer. 2018. Laura Stanyer: The Importance of Cardiovascular Endurance for the Dancer. [ONLINE] Available at: http://laurastanyer.blogspot.com/2011/07/importance-of-cardiovascular-endurance.html. [Accessed 03 December 2018].

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There is a misconception that the majority of dancers are physically fit and have strong cardiovascular endurance. Dance activity generally stops and starts utilising the anaerobic system therefore the aerobic system is not engaged. Generally dancers lack cardiovascular fitness this can lead to injury. Ideally cardiovascular training needs to be incorporated into the dance technique class to enhance your dance ability as well as your fitness, health and wellbeing.

Reasons why dancers do not have cardiovascular fitness:

Technique class stops and starts does not engage the aerobic system

Dancers are often overworked with too much time spent in class, rehearsal and performance

Dancers do not engage in enough rest, leisure time and relaxation

Benefits of Cardiovascular Endurance Exercise for dancers:

Improves your posture and health

Enhances stamina which improves your performance ability

Increases oxygen supply to muscles - efficient functioning Improves your anaerobic ability

Reduces the risk of fatigue, enhances concentration and reduces stress levels

Boosts your immune system and reduces the risk of injury

Understanding the Cardiovascular System

Cardiovascular endurance depends on the ability of the heart and lungs to deliver oxygen to where it is needed and to continue for long periods of time under stress.
In reality most types of dance training involves stopping and starting; performing short movement sequences with intermittent periods of no activity where you observe the next sequence, this way of working only develops your anaerobic system it does not develop your aerobic capacity.

Anaerobic and Aerobic Systems

Anaerobic System

Anaerobic simply means without oxygen.
As you begin physical activity there is a sudden demand for energy, the body will use up its first energy store then go onto to use up the stores of glycogen (broken down from carbohydrates) stored in the muscles as the energy is not available in the form of oxygen. This is because the body is working so hard that the demands for oxygen exceed the rate of supply.

Lactic Acid

During anaerobic activity the waste product lactic acid is produced. As there is no oxygen supply to the muscles the lactic acid will build up and can be the cause of muscle soreness and you will be forced to ease of or stop. You will be unable to return to activity until the lactic acid is removed. As you rest oxygen is supplied to the muscles replenishing the energy stores and you soon will be able to return.
When you start any physical activity you will use the anaerobic system, however, if the activity is low in intensity your body will be able to supply oxygen to your muscles and continue as you engage in the aerobic system.

Anaerobic Exercise

Anaerobic exercise is intense exercise lasting approximately one to three minutes (Lactic System) the demand is sudden or large that the heart is unable to pump enough oxygen to the working muscles.

High intensity, short duration:

Running up the stairs

Sprinting

Dance - centre work e.g. short jump sequence

Dance - short sequence across the room

Aerobic System

Aerobic simply means with oxygen
Oxygen is delivered around the body via the blood stream and pumped by the heart. The aerobic system can only work when the energy demand is low intensity for the heart to provide the muscles with sufficient supply of oxygen. In aerobic activity the body is working at a level in which the supply of oxygen is sufficient to the body's demands for oxygen.

The aerobic system breaks down glycogen (carbohydrates) as energy and if you continue over thirty minutes of aerobic activity at low intensity you will begin to break down fats. The only waste products formed are carbon dioxide and water. These are removed as you sweat and by breathing out.

Aerobic Exercise

The oxygen is delivered around the body; the aerobic system can only function when the energy demand is low enough for the heart to supply the muscles with sufficient oxygen.

Low to moderate intensity, long duration activities:

Walking or jogging

Cycling

Swimming

Continuous low intensity dance (such as the five rhythms)

Aerobic Endurance Exercise

This variation is when exercise continues at a low level over a long period of time to build cardiovascular fitness.

Low intensity activities over half an hour:

An hour's walk

30 minute swim

30 minute cycle (stationary bike)

Continuous low intensity dance (such as the five rhythms)

Aerobic Endurance Training

Aerobic endurance is developed through the use of continuous rhythmical activity to improve maximum oxygen uptake (VO2max).

VO2 max is the maximum amount of oxygen that you can use to produce the energy you require for any physical activity.
It is important for dancers to progressively improve their cardiovascular endurance, training only occurs after thirty minutes of continuous activity where the pulse rate is sufficiently increased to improve your maximum aerobic capacity (V02 max). Aerobic exercise strengthens the heart and lungs, (cardiovascular) system. An aerobically fit dancer can rehearse or perform for longer, more vigorously and achieve a quicker recovery. It is beneficial to participate in cardiovascular endurance activities 3 to 5 times per week.

Aims of aerobic endurance training:

Improve the heart and cardiovascular system so blood (and oxygen) can be delivered around the body more efficiently

Increase the body's ability to utilise oxygen

Increase the body's ability to recover from heavy bouts of intense exercise (dance).

Training Intensity

It is important to work out how hard you are working by measuring your heart rate. During exercise your heart rate goes up; the harder you work, the faster the heart beats. Everyone has a maximum heart rate, calculating how close your heart rate is to its maximum during exercise enable you to check the intensity of your workout.

When participating in cardiovascular endurance training, the most efficient way to strengthen the heart is to aim for a training threshold. This is a percentage of your maximum heart rate, and should be the level your heart is working on for 20-30 minutes at least.

Heart Rate Monitoring

Resting heart rate

Find your pulse in your wrist or neck, and count the number of beats for 6 seconds then multiply the number of beats by 10 e.g. you count 12 (12 x 10 = 120) your heart rate is 120 beats per minute (BPM).

Or for 15 seconds and multiply the number of beats by 4

Maximum heart rate

The maximum heart rate is estimated by taking your age away from 220. e.g. 220 take away (your age) 20 = 200 BPM.

Target heart rate for exercise

A target heart rate would be at least 60% or at the most 85% of your maximum heart rate. When you first start a cardiovascular fitness programme, your target heart rate, during exercise, should be 60% of the predicted maximum heart rate. It is optimum to build up to 30 minutes working at 75% of your maximum heart rate.

Cardiovascular Endurance in Dance

Ideally cardiovascular training is incorporated within the dance training itself with the later part of a technique class training the cardio vascular system. For example, travel and jump combinations lasting at least 32 to 48 bars in duration and including longer dance combinations dividing the class so the dancers receive adequate rest period to recover from the cardiovascular workout.

In my personal experience I found African dance training incorporates both the aerobic and anaerobic systems with appropriate rest and recovery periods maybe other dance technique classes can learn from this model.

If cardiovascular training is not an integral part of your dance training it is important that dancers find an appropriate cardiovascular routine to compliment your dance training, rehearsal or performance also allowing for adequate rest periods.

Enhanced cardiovascular endurance can enhance you dance skill, fitness and can prevent injury from occurring due to fatigue. With all dance training a warm up and cool down sequence is required to maintain health and well being and enhance recovery. Improved cardiovascular fitness can enhance you dance ability and help you reach your true potential in dance performance.

Disclaimer: The information contained on this web page is intended as general guidance and information only. Power Dance System and its authors accept no liability for any loss, injury or damage however incurred as a consequence, whether directly or indirectly, of the use this information. All advice on this web page should only be used under the supervision of a qualified dance / fitness / healthcare professional.

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The Importance of Cardiovascular Endurance for the Dancer

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There is a misconception that the majority of dancers are physically fit and have strong cardiovascular endurance. Dance activity generally stops and starts utilising the anaerobic system therefore the aerobic system is not engaged. Generally dancers lack cardiovascular fitness this can lead to injury.

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Common joint injuries in ballet dancers 

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Common joint injuries in ballet dancers 

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ABC Clinique Santé. 2018. Dancers’ injuries - ABC Clinique Santé. [ONLINE] Available at: https://www.abccliniquesante.com/en/dancers-injuries/. [Accessed 03 December 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=2ahUKEwjy5bqThP_eAhXnzIUKHa--D5kQjRx6BAgBEAU&url=https%3A%2F%2Fwww.pinterest.com%2Fpin%2F575264552385694299%2F&psig=AOvVaw0bQlcVA7EUpEOcAEeK4jTN&ust=1543767476686742. [Accessed 01 December 2018].

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This is an article on the types of stretching and why its important for flexibility.
Dance Informa Magazine. 2018. Stretching for Dancers. [ONLINE] Available at: https://dancemagazine.com.au/2014/01/stretching-truths-2/. [Accessed 03 December 2018].

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By Rain Francis of Dance Informa.

Do you stretch extensively before class? Do you often sit in a stretch for a few minutes or more? Do you stretch every single day?

As dancers, most of us would probably answer "yes" to at least one of the above questions - which would mean that we might have been practicing unsafely, and could be doing our bodies more harm than good. It's time to get wise about the correct, safe and effective way to stretch.

Flexibility is important for injury prevention, physical fitness and mental and physical relaxation. Since all bodies are different, there is little point in comparing your flexibility to another dancers; flexibility is determined by genetics. However, stretching, when practiced correctly, can increase your flexibility and improve your performance.

The most crucial factor in regards to stretching is to always warm up first. As much as we may be used to it, this means not sitting in stretches before barre! A proper warm-up should start with some light aerobic activity (such as a gentle jog around the studio) to increase your core temperature. When you produce a light sweat, it's time to engage in some dynamic stretches. Dynamic stretching should start slowly and gradually increase in the speed and power of the movement. (See below for an explanation on the different types of stretching). Many Pilates exercises incorporate dynamic stretching, so before class is a good time to do your Pilates routine.

At the end of your cool down after class - when the activity that requires you to be strong and stable has ceased - is a good time to do your static stretches. Believe it or not, stretching to your end-range before class actually reduces strength and stability, as well as increases your risk of injury, so it should be avoided at all costs.

It may feel good to practice the stretches that are comfortable for you, but it's important to stretch the muscles that need to be stretched, not just the ones that are already flexible. Stretch both sides of a joint, in order to not develop an imbalance that could lead to injury. Practice stretches that only target the muscles you are trying to lengthen. Isolating a muscle group gives you greater control and means you are able to vary the intensity of the stretch.

How to Increase Flexibility

In order to maintain your range of motion, a weekly stretch session is sufficient. However, if your goal is to increase your flexibility, you need to stretch three to five times per week, and you need to be consistent. It may take several months for certain stretches to become comfortable, but perseverance is key (just make sure you are not pushing yourself to the point of pain.)

As it takes time for your muscles to adapt and adjust, you must give them time to heal, rest and repair themselves. This means mixing up your stretching programme by alternating light days, heavy days and rest days. Any gym bunny knows the importance of working and resting different muscle groups on different days, and making gains in flexibility follows the same principles.

Though it may be tempting, over-stretching increases the risk of injury and can just push your goals even further away.

Stretches should be slow and gentle, and should never create a sharp or painful feeling. Use your breath to assist you, and do not bounce!

How Long to Hold Stretches

Hold your static stretch (but not your breath) for 30 seconds, then relax. After a brief rest, repeat the stretch two or three times. The changes in your flexibility from stretching in this way will only last less than an hour. However, when performed consistently, as explained above, flexibility gains can be maintained. If you are a child or young adult whose bones are still growing keep stretches to 10 seconds or less.

Contrary to what you may believe, prolonged stretching should only be used by medical professionals and is not appropriate for dancers. Rather than simply stretching muscles and their connective tissues, stretching for extended periods of time can elongate joints and ligaments, which are there to keep your joints stable. You may think that lying in second while watching TV is doing you good, but this can actually lead to loss of stability and serious injury, whether in the short-term or further down the track.

The Importance of Breath

There is a reason why yoga and Pilates place so much emphasis on the incorporation of the breath. Correct breath control is essential to getting the most out of your flexibility training. It helps relax the body, improve muscular elasticity, increase blood flow and remove lactic acid, which reduces muscle soreness and the risk of injury.

When stretching during your cool-down, keep your breath fluid, not forced. Use slow, relaxed breathing, with an emphasis on exhalation through the mouth or nose. Inhale through the nose, which will filter and warm the air you inhale and allow more oxygen into your lungs (just ask any yogi!)

There are several different techniques for stretching muscles, each with advantages and disadvantages. You should consult an experienced teacher or health care professional to find the best technique for your physique.

There are two main types of stretching: static and dynamic.

Static stretching is a stretch that is held in a particular position. For example, lying on your back with one leg raised in the air and gently easing the leg in toward the chest to stretch the hamstrings. Static stretching is more effective than dynamic stretching for producing long-term flexibility, but should only be practiced when the body is fully prepared.

Dynamic stretching is a stretch that is an active movement as a result of muscle contraction. For example, circling the ankle or shoulders, or controlled leg and arm swings. This type of stretching takes you to the limits of your range of motion, with no bouncing or jerking. A good dynamic stretch is one that reproduces the movement patterns required for the exercise you are about to undertake. For dance, an example is a controlled développé to the front or side, which dynamically stretches the hamstrings. Dynamic stretching should be performed only after a proper warm-up.

When researching for this article the author consulted the following resources: -
- Stretching - a vital part of dancers training and practice, by Tania Huddart for DANZ ©. www.danz.org.nz/Magazines/DQ/April2012/stretching.php Stretching rules for dancers, by Ausdance. www.ausdance.org.au/articles/details/stretching-rules-for-dancers

- Stretching for dancers, by Brenda Critchfield, MS, ATC, under the auspices of the Education and Media Committees of the International Association for Dance Medicine and Science. www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=353

Photo: © Candybox Images | Dreamstime.com

active stretching, ballistic stretching, breathing, breathing exercise, breathing techniques, core strength, core strength for dancers, dance exercises, dance stretches, dancer health, dynamic stretching, flexibility, isometric stretching, muscles, PNF stretching, proprioceptive neuromuscular facilitation stretching, static stretch, static stretching, stretching, warming up

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BEST OF 2013: A favourite article from the February Edition By Rain Francis of Dance Informa. Do you stretch extensively before class? Do you often sit in a stretch for a few minutes or more? Do you stretch every single day? As dancers, most of us would probably answer "yes" to at least one of [...]

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Practitioner - Sports Physician
What they do - Sports physicians are specialist medical practitioners in the field of sports medicine.
How they support us - They are able to :
~ Diagnose injury
~  Help plan rehabilitation
~ Provide medication
~ Give advice
For a dancer sports physicians help to put together rehabilitation plans meaning they are able to recover quicker, which is important for their career longevity.

Queensland Sports Medicine Centre Brisbane. 2018. Sports Physicians - Queensland Sports Medicine Centre Brisbane. [ONLINE] Available at: http://qsmc.net.au/our-team/sports-physicians/. [Accessed 30 November 2018].

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Redirect Notice. 2018. Redirect Notice. [ONLINE] Available at: https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiu_pSh9_veAhVJURoKHYuQCv8QjRx6BAgBEAU&url=https%3A%2F%2Fwww.physiciansweekly.com%2Frecommendations-for-sleep-duration%2F&psig=AOvVaw12YyjtEA8f7W1xLr76PBZc&ust=1543660935587966. [Accessed 30 November 2018].

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Injury - Sprain, this is stretching or tearing of ligament, most common in the ankle.
Effect- limited mobility which decreases flexibility.
- pain, swelling, inflammation therefore unable to take part. this causes decrease in fitness, lose training and cause psychological factors.
Treatment - RICE ( Rest, Ice, Compress, Elevate) mild
or surgery - sever

2018. Sprains and strains - Symptoms and causes - Mayo Clinic. [ONLINE] Available at: https://www.mayoclinic.org/diseases-conditions/sprains-and-strains/symptoms-causes/syc-20377938. [Accessed 30 November 2018].

Healthline. 2018. Ankle Sprain: Causes, Symptoms, and Diagnosis. [ONLINE] Available at: https://www.healthline.com/health/ankle-sprain. [Accessed 30 November 2018].

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The IADMS Bulletin for Teachers • Volume 2, Number 1, 2010

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This is a plie exercise which uses aerobic fitness. During a plie we are using oxygen but are still working the muscles. Type 1 /slow twitch muscle fibres are being used in a plie, This is resistant to fatigue and help to produce large amounts of ATP.  In the movement of a plie going down the muscles have a eccentric contraction and when extending the legs to come up it is a concentric contraction.

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This website explains the different types of muscle fibres there and gives a wider understanding of them.

Muscle Fibre Types. 2018. Muscle Fibre Types. [ONLINE] Available at: https://www.teachpe.com/anatomy/fibre_types.php. [Accessed 27 November 2018].

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Within skeletal muscles there are three types of fibre. Type one (I), type two A (IIa) and type two B (IIb). Each fibre types has different qualities in the way...

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Practitioners within The Royal Ballet School

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Practitioners within The Royal Ballet School

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This is the Royal Ballet School's Healthy Dancer Programme. Within this it gives a list of all the practitioners which are available for the students for support and help. Demonstrating how dance science has helped the school to understand that dancers need support and practitioners which are able to help with the prevention of physical or mental injuries.

The Royal Ballet School. 2018. Healthy Dancer Programme - The Royal Ballet School. [ONLINE] Available at: https://www.royalballetschool.org.uk/train/dancer-training/healthy-dancer-programme/. [Accessed 26 November 2018].

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Health screening and profiling

As part of this integrated approach to healthcare, students throughout the whole school undergo termly screening and profiling exercises, to gather research data and create individual conditioning programmes to support them in their training.

Sports science research

The school now uses a research database called Smartabase, to underpin the work of the Healthy Dancer Programme. Smartabase is used by healthcare teams at both The Royal Ballet and Birmingham Royal Ballet, which means our three organisations can collaborate, sharing research to contribute invaluable insights and expertise to the wider dance community.

We work with leading renowned institutions, such as Queen Mary University of London and St Mary's University, Twickenham, to achieve our aim to bring dance to the forefront of sports science.

The school is embedding research within its programme, including through a resident PhD in Sports Science. Fully understanding dancers' needs through this work means we can offer the best possible support.

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Healthy Dancer Programme - The Royal Ballet School

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Health screening and profiling As part of this integrated approach to healthcare, students throughout the whole school undergo termly screening and profiling exercises, to gather research data and create individual conditioning programmes to support them in their training. Sports science research The school now uses a research database called Smartabase, to underpin the work of the Healthy Dancer Programme.

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This article supports how dance can be both aerobic and anaerobic exercise.
Is Dance Aerobic or Anaerobic? - Woman. 2018. Is Dance Aerobic or Anaerobic? - Woman. [ONLINE] Available at: https://woman.thenest.com/dance-aerobic-anaerobic-15312.html. [Accessed 03 December 2018].

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Overall ballet is aerobic, with its leaps, twirls and jumps, but many of the individual steps are anaerobic.

It's a Friday night, and your girls' night out has turned into a dance extravaganza. If you wake up the next day wondering just what kind of a workout you got, don't be confused, as there are many types of dancing. Certain kinds of structured dance can be both aerobic and anaerobic -- busting a move at a club, however, is likely just aerobic.

Aerobic Exercise

According to the Mayo Clinic website, dance can count toward your 150-minute per week aerobic exercise goal. Most forms of dance keep you constantly moving for long periods of time, elevating your heart rate and bringing oxygen to your heart. Other exercises that are aerobic, or "of oxygen," as the term means, include walking, swimming or running. Dance styles that include lots of jumping or turning, like tap dance or salsa, are vigorous aerobic exercise - the CDC says you need only 75 minutes per week of this level of aerobic activity. Any form of aerobic activity, including dance, needs to be done for at least 10 minutes at a time to reap any health rewards.

Anaerobic Exercise

Anaerobic, or "without oxygen," exercise strengthens muscle groups. Unlike running or walking, dancing doesn't repeat the same motion over and over. In fact, some dance steps are anaerobic in nature -- plies in ballet are similar to squats, and most jazz classes include crunches. The CDC recommends muscle-strengthening workouts, which are anaerobic, at least two days a week. While most of the anaerobic workout from dance targets your legs or core, hip-hop dance uses handstands as the base of many moves and can tone your arms. Male ballet dancers also often get an anaerobic workout when they lift ballerinas in partner work.

Learning to Dance

Nearly every culture in the world has developed their own style of dance, giving you a variety of choices. You even have choice in how you learn to dance -- you can go to classes, buy instructional DVDs for your home or just have a dance party with friends. If you are spending more time in class standing and watching an instructor demonstrate than actually moving, however, you aren't getting an aerobic workout. According to the Cleveland Clinic, there is no best form of aerobic exercise -- you just have to enjoy doing it. Find the style of dance that excites you most, and you'll be pushing yourself harder at each class.

Benefits

As an aerobic exercise, dance can increase your levels of "good" cholesterol and decrease your risk of heart disease. According to the Cleveland Clinic, it can also improve your lung function and lower your blood pressure. Aerobic exercise is the best choice for weight loss, as it is efficient for burning fat. Anaerobic exercise from dance, however, builds muscle mass, which pound-for-pound burns more calories at rest than fat. As you age, your muscles begin to deteriorate -- aerobic exercise, including some dance steps, can help slow that process.

About the Author

Kelly MacGregor holds bachelor's degrees in news-editorial journalism and ecology/evolutionary biology from the University of Colorado at Boulder. In addition to writing for the "Colorado Engineer Magazine," the "Boulder Daily Camera" and EdNews Parent, MacGregor's work has been picked up by the "Colorado Daily," EdNews Colorado and the "Denver Post."

Photo Credits

Jupiterimages/Brand X Pictures/Getty Images

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It's a Friday night, and your girls' night out has turned into a dance extravaganza. If you wake up the next day wondering just what kind of a workout you got, don't be confused, as there are many types of dancing.

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Pinterest. 2018. I personally have had at least 5 of these, and I have mainly been an intensive recreational dancer at most!! | Sports Injuries | Pinterest | Dance, Dancer and …. [ONLINE] Available at: https://in.pinterest.com/pin/686236061942289962/. [Accessed 27 November 2018].

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Here is a corner exercise being demonstrated. This uses anaerobic fitness and is using type 2b muscle fibres. Type 2b exercises can be very quick and use short, fast bursts of energy.

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"Research suggests 36% of professional dancers retire due to a musculoskeletal injury, with 91% suffering pain in later life."
"The strength-training sessions help to boost bone-mineral density and reduce muscle injuries."

This article is about how dance science research has helped dancers to improve their career longevity, through providing useful information to them. The info allows them to understand the dancers needs, demands and limits.

The Guardian. 2018. Raising the barre: how science is saving ballet dancers | Stage | The Guardian. [ONLINE] Available at: https://www.theguardian.com/stage/2018/jul/15/raising-the-barre-how-science-is-saving-ballet-dancers. [Accessed 26 November 2018].

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At the Royal Opera House in London, home of the Royal Ballet, art is fusing with science to revolutionise the way dancers prepare. In the glass-panelled healthcare suite, ballerinas are standing on high-tech force platforms which analyse their leg power, and gripping barbells fitted with linear encoders to track their lifting velocity. This is how modern dancers fortify their joints and boost the dazzling height of their grands jetés. With their hair in buns and pink pointe shoes poking out of their gym bags, the ballerinas shift weights with such power that staff have installed padding to spare the nerves of the costume department below.

Our facilities are now similar to those of a Premier League club

Principal dancers Marianela Nuñez and Alexander Campbell glide past. More arrive in white tutus, fresh from rehearsals for Swan Lake; a graceful, giggling wave of youthful energy, chatting about barbecues and Instagram. Some complete bespoke cardio drills, calibrated using oxygen-uptake tests, to get fit for quick-tempo allegro routines. Others strengthen their soleus calf muscles, which on-site electromyography (EMG) analysis suggests can help stabilise their ankles. Every workout is uploaded to Smartabase, a data-analysis platform also used by the US military. Meanwhile, fatigued dancers apply Game Ready leg wraps, which harness Nasa space-suit technology to deliver tissue-repairing cold therapy, and learn how adding omega-3-rich anchovies to their salads can reduce muscle inflammation.

The Royal Ballet is rich in tradition, but the company's 97 dancers are now supported by a 17-strong team of sports science and healthcare experts. "Our facilities are now similar to those of a Premier League football club," explains Gregory Retter, clinical director of ballet healthcare. "Strength, jumping, force attenuation, cardiovascular fitness, psychological wellbeing and nutrition; all support the dancer to be free to create artistic excellence. This is a completely new concept in dance."

Many of the Royal Ballet's innovations are inspired by a wave of game-changing new research overseen by the National Institute of Dance Medicine and Science (NIDMS). Launched in 2012, this collaboration of UK dance institutions and universities examines everything from dancers' ankle mechanics to performance anxiety. Professor Emma Redding, head of dance science at Trinity Laban Conservatoire of Music & Dance in south-east London, is a founding partner of NIDMS. "Dance has always been based on tradition and anecdote, but we started using words like 'measure' and 'evaluate', which are frowned upon in the arts world," explains Redding, a former dancer. "People thought science might dilute the art. But we started asking, can't we get dancers' bodies and minds even stronger? Or even extend their capacities?"

Trinity Laban's Dance Science lab features wireless EMG equipment and face masks that can measure dancers' muscle activity and oxygen uptake; an Optojump system, which uses infrared LED lights to analyse jumps; and a Tekscan pressure sensor, which gauges postural sway during pliés and pirouettes. This is where many ballet innovations are tested. "We have worked with choreographers like Wayne McGregor, but if you are paying to watch a professional ballet, you don't want to see people with masks on," smiles Redding. However, her findings are disseminated through journals and conferences to companies such as the Royal Ballet, which joined NIDMS last year. Research by current guest lecturer Kim Hutt, supervised by Redding, has shown how eyes-closed training can boost a dancer's proprioception - a kind of "sixth sense" which helps them understand the relative position of their limbs on darkened stages.

Ballet's old regime didn't cater to the type of dancers we have become

"Our challenge is to apply these new insights into a busy company," says Retter, guiding me into a light-drenched rehearsal studio at the Royal Opera House where principals Sarah Lamb, Yasmine Naghdi and Federico Bonelli are painting elegant arcs with their bodies to the sound of a live piano. Dancers face relentless workloads, with a 75-minute class and five to six hours of rehearsals every day, six days a week, and typically three to four performances every week. That's why Retter's main priority is to reduce injuries. Dancers suffer an injury rate comparable to American football, with a mean of 6.8 injuries per year. "The guys suffer shoulder, patella [knee] and Achilles injuries from the lifts and jumps, and the females suffer foot injuries from pointe work, but generally 60-70% of injuries are below the knee. We're working to protect them from this huge workload."

To achieve this, Retter's team combines external insights from NIDMS with in-house research. Strength coach Adam Mattiussi opens his laptop to show me a series of charts. "We are starting to quantify ballet," he explains. "What are the dancers' physical requirements? How many jumps will they do? What are their rest intervals?" As well as force platforms, EMG units, oxygen-uptake masks and heart-rate monitors, extra tools are accessible through their partnership with St Mary's University, London, including a Vicon motion capture system used in Hollywood special effects studios. Data is allied to "difficulty scores" for each role, provided by the artistic staff.

The mission is to build a digital bible of the Royal Ballet's entire repertoire, enabling dancers to tailor their physical training for upcoming roles. The data has already yielded surprises. In The Nutcracker, Clara must complete 196 jumps, while Hans-Peter executes 18 lifts. Some male dancers land with 6,000N of force - the equivalent of eight times their body weight. These stats are now transforming the way dancers prepare. "The biggest change is the strength training," explains Royal Ballet sports scientist Gregor Rosenkranz, pointing out the barbells, kettlebells and heavy sandbags. "It helps dancers attenuate those landing forces and avoid muscle injuries. But squats also influence jump height and balance, which helps create buy-in from the dancers." A study by NIDMS confirmed that a year of conditioning can slash the injuries suffered by female dancers from 4.14 per 1,000 hours of dancing to 1.71.

Dancers' career longevity and post-retirement health are also factors. Research suggests 36% of professional dancers retire due to a musculoskeletal injury, with 91% suffering pain in later life. Dancers are also more prone to low bone-mineral density, which is linked to osteoporosis. The strength-training sessions help to boost bone-mineral density and reduce muscle injuries. But Redding speculates that dancers' growing scientific education may even influence choreography in the future: "The culture of ballet is that you don't ask many questions, but when a movement isn't good for them they may start to say something."

Retter had to "convince and cajole" dancers when the suite first opened in 2013. "Dancers see themselves as artists whose job is to perform complex choreography and convey emotion to the audience and I am trying to gently say, actually, you are athletic artists," he explains. "If we make dancers jump higher and land more softly, they should perform better aesthetically, too." One study published by NIDMS confirmed that strength, aerobic and power training can increase dancers' aesthetic performances by developing better timing and rhythmical accuracy.

First soloist Claire Calvert's knee surgery in 2013 was her catalyst for experimentation. "A year off can send you into a black hole, but I thought about how I wanted to come back even better," she says. "Suddenly, if I wanted to spend eight hours in the gym, I could." At the peak of her rehab her squat one-rep max was 100kg. "It is my claim to fame," she chuckles. That gives her a higher strength to weight ratio than 6ft 7in, 111kg England rugby star Courtney Lawes, whose one-rep max is 180kg.

"Ballet's old-school regime didn't cater for the type of dancers we have become," she explains, citing the relentless programme and high scrutiny. "Now we have higher demands of physicality, a more diverse repertoire, so many shows, and little recovery time. On stage, I now have the strength and confidence to keep pushing through and perform steps better. When productions return every few years I realise they feel easier."

First artist Gemma Pitchley-Gale once deadlifted 97.5kg. "I was shocked when the staff said, 'You know it is not normal to lift more than double your bodyweight.' But the squats and deadlifts have alleviated my back and hip pain and I find jumps much easier." During workouts between shows, the dancers lift lower weights but the maximal figures reveal their huge physical capacity: most can lift 2.5 times their bodyweight using just their calf muscles.

Dancers are artists, not gymnasts, and value emotional storytelling over raw athleticism, but science is supporting their aesthetic endeavours in surprising ways. Tests have shown how dancers can soften their landings by ironing out muscle imbalances. EMG analysis has even suggested technical improvements. "By priming their leg muscles in the 'flight phase', dancers can attenuate landing forces using tendons and muscles, instead of relying on bone and cartilage, which causes stress and injury," says Rosenkranz. Fitness tests also revealed that dancers' heart rates never got as high during rehearsals as in front of audiences, when adrenaline kicks in. "If you only dance, without extra fitness sessions, you can't perform at your best," insists Rosenkranz. Dancers now bolster their fitness with bespoke cardio drills on rowers and stationary bikes. "I am no longer afraid of running out of breath," says Campbell.

Finding the time is not so easy. "We have to be respectful of rehearsal because this is where the real artistic excellence is created," says Retter. His team uses strategic planning to avoid interfering with the sacrosanct work of the choreographers and artistic staff. "We map dancers' workloads and do tests throughout the year to identify how best to use our limited time," says Mattiussi. "We might say: let's use that six-week gap before The Nutcracker for some big training, then back off during the shows."

The relentless schedule also plays havoc with the work of dietitian Jacqueline Birtwisle. "For dancers, it's a constant battle between quality, bulk, availability and speed of digestion," she says, shaking her head in mock-horror at the challenges. "And, of course, aesthetics are important. They work in front of a mirror all day and in front of an audience at night."

Drawing on nutritional science, she encourages dancers to drip-feed their bodies with easily digestible fuel, such as softened bircher muesli with milk and berries for breakfast; a tuna salad for lunch, eaten at intervals between rehearsals and topped up with snacks of rice cakes, popcorn or malt loaf; and a light risotto before a show. Dancers eat oily fish to fight muscle inflammation and use flaxseed to take in fibre without the bloating caused by heavier foods like potatoes. They also supplement with vitamin D, which research by NIDMS has shown can boost jump performances by 7.1%. Nutritional science is proving popular. "Federico [Bonelli] quizzes me all the time and Yasmine, Frankie Hayward and Sarah Lamb are very diligent," says Birtwisle. Dancers can also download an app which enables her to give live feedback on their food choices.

Ballerinas have long been vulnerable to the "female athlete triad" of anorexia, amenorrhoea and osteoporosis - interrelated conditions caused by insufficient calorie intake - but Birtwisle says this is normally the result of "unintentional underfuelling", and improved awareness is reducing the threat. Retter has noticed a cultural shift: "When I arrived, the nutritionist was seen as the person you visited if you had a disordered eating issue. Now she is the person dancers ask about how best to fuel their day."

Professional ballet is riddled with pressures and anxieties, which is why occupational psychologist Britt Tajet-Foxell likens her work to The Princess and the Pea. "A psychological issue may be hidden under a hundred mattresses but it's my job to find it," she says. "I tell dancers, you get goblins in your mind that chew and get fat, but you can have warfare with them when you know how."

Injured dancers learn to create a mental video reel of positive associations - memories of good performances, safe places, or positive colours like red or yellow - to break negative reinforcement loops and boost self-esteem. "The subconscious says, 'I will miss that role in Swan Lake, people think I am unreliable.' Those dysfunctional thoughts wear you down. I collect those shattered fragments of confidence and create a positive framework to tap into." Nervous performers learn to change focus, like switching camera lenses: "You must focus on the here and now, not 'I hope I don't wobble on that pirouette.' Consequence-land is not a good place to be." Tajet-Foxell also rewires signs of perfectionism - a trait linked to disordered eating and anxiety. "A perfectionist's mindset is: 'I must do it perfectly.' That's not possible. But if you say: 'I am pursuing excellence,' you always have somewhere to go."

Other wellbeing services range from expert tuition in the pilates studio to massage therapy in the recovery suite. Science is making its mark here, too, with those Nasa-inspired leg wraps, as well as Recovery Boots, which use sequential pneumatic pressure to squeeze out metabolic waste after exercise. An advanced system of pulleys known as a Gyrotonic station helps develop flexibility through fluid, dance-specific movements. Thanks to this mix of expertise and innovation, performance time lost to injuries has fallen over the past four years. And skilled ballet rehab coaches are getting dancers back on stage quicker than ever. "One dancer is jumping in the gym four weeks post-op, whereas 10 years ago he would still be on the sofa," says Calvert.

Performance science is even quietly shaping how some dancers manage their bodies on stage. Pitchley-Gale now combines her intuitive ballet mind, honed over decades of disciplined training, with detailed anatomical thinking. "The lower-leg footwork in Swan Lake makes you fatigue rapidly but - thanks to the squats and deadlifts - when I am jumping I now use my more dominant glutes and hamstrings higher up the chain to alleviate the strain on my lower-leg muscles, so my feet last longer," she says. During pointe work, she consciously activates her core to optimise her posture and reduce the pressure on her foot bones. This example of aesthetic instinct underpinned by intelligent athleticism is, in many ways, the ultimate expression of Retter's project: "Gemma is an amazing dancer who absolutely gets that this is all about freeing her to produce a brilliant artistic performance."

Days later, I watch a performance of Swan Lake, attended by 2,256 spectators at the Royal Opera House and beamed to 1,084 cinemas in 29 countries worldwide. Memories of EMG graphs and pneumatic boots dissolve from my mind as the dancers enchant the audience with their ethereal talent, every gesture electrified with raw emotion, every limb flowing like shimmering silk. Science may be silently ushering ballet into the future, but dancers' centuries-old talent for conjuring movements of impossible beauty with such effortless grace will forever remain ballet's grand, unquantifiable mystery - and its greatest gift.

This article was ammended on 17 July to reflect the fact that Dr Redding was Kim Hutt's supervisor while researching training with eyes closed to improve balance. She currently works at London Contemporary Dance School.

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Raising the barre: how science is saving ballet dancers

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At the Royal Opera House in London, home of the Royal Ballet, art is fusing with science to revolutionise the way dancers prepare. In the glass-panelled healthcare suite, ballerinas are standing on high-tech force platforms which analyse their leg power, and gripping barbells fitted with linear encoders to track their lifting velocity.

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Great work and positivity 1 week post... - Science in Dance. 2018. Great work and positivity 1 week post... - Science in Dance. [ONLINE] Available at: https://www.facebook.com/ScienceinDance/videos/1857121234351606/. [Accessed 26 November 2018].

Here is a link to a video from science in dance showing an exercise to help with rehabilitation on a post broken ankle. It states how the dancer has progressed and is now able to tolerate the weight. Therefore meaning that rehabilitation is still necessary after an injury in order to ensure that the injury does not reoccur and to help the ankle to regain the strength and flexibilty it has lost.

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Great work and positivity 1 week post ankle sprain. Rehab does not just involve rest it involves progressing the ability of tissues to accept and transfer load progressively. The Dancer can tolerate...

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This pie chart shows the recommended daily amount of the food groups which needs to be consumed. The chart is specific to dancers. This pie chart therefore supports in my essay how dancers need to ensure they consume all food groups, and have the right intake for all as it is different for dancers.

DVDs & Resources | Richard Alston Dance Company. 2018. DVDs & Resources | Richard Alston Dance Company. [ONLINE] Available at: https://www.richardalstondance.com/resources. https://www.richardalstondance.com/sites/default/files/downloads/RADC%20Nutrition%20&%20Hydration%20Advice%20for%20Dancers_0.pdf [Accessed 25 November 2018].