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Jenna Earnshaw 1801145 PCD4009-Introduction to Professional Practice

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from this website I learnt what the treatment method RICE is (Rest Ice Compression Elevation) and why it is an effective treatment.

Michigan Medicine, 2018, Rest, Ice, Compression, and Elevation (RICE) [ONLINE], Available at: https://www.uofmhealth.org/health-library/tw4354spec, [Accessed 8 December 2018].

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compression and elevation treatment program

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compression and elevation treatment program (regime/therapy)

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compression and elevation treatment programme

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compression and elevation treatment program

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Rest, Ice, Compression, and Elevation (RICE) | Michigan Medicine

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I learnt from this article which injuries are most common for dancers along with their symptoms, how to prevent them and treatments.

Neuro Tour - Physical Therapy. Inc., 2017, 7 Common DanceInjuries (and How to Prevent Them) [ONLINE], Available at: https://www.neurotour.com/blog/7-common-dance-injuries, [Accessed 4 December 2018].

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Dance requires incredible strength, stamina, and flexibility. Broadway and touring performing artists dance an average of eight shows a week. Add to that, the countless hours in rehearsals. Their exertion level rivals, if not exceeds, that of professional athletes! Therefore, it's not uncommon for dancers to experience pain.

Performing repetitive movements for hours a day coupled with a low amount of recovery time in between shows, increases the performer's risk for chronic overuse injuries (in addition to the ever-present risk of an acute injury). In most cases, pain is due to muscle soreness that resolves in a day or two. However, sometimes there is something more to blame-that's when you should see a physician or your physical therapist!
Here are some common dance injuries, including the pain associated, how to prevent and how to treat them if it occurs: 1. Ankle Sprains
Ankle sprains are the most common traumatic (or acute) injury in dancers. Most dancers will experience their first sprain by age 13. This injury is caused by any movement that forces the ankle outside of the normal range of motion, resulting in an overstretching or in tears to the ligaments of the ankle.

Pain: acute onset with pain on the inside or outside of the ankle, swelling and bruising may be present in more severe cases

Prevention: 4-way ankle exercises, hip strengthening

Treatment: RICE, joint protection, early mobility, physical therapy
PT is extremely important because the ligaments will never heal back to the pre-injury level. Therefore, strength and motor control must be improved in order to avoid re-injury.

2. Achilles Tendonitis
Achilles tendonitis is an inflammation of the tendon in the back of the ankle that connects the prime mover for pointing to your foot. As the Achilles is active during relevé and pointing the foot, this overuse injury is quite common in dancers, especially those utilizing improper technique or participating in excessive training.

Pain: gradual onset of pain and tenderness just above the heel which may feel better when warmed up, but worse with jumping, relevé, or pointe work

Prevention: stretching your Achilles with your foot in parallel, quadriceps/hip/core strengthening to decrease force absorption at the ankle

Treatment: Physical therapy focused on correct training technique, modalities to decrease inflammation, calf stretching, and soft tissue to calf and surrounding musculature
It's important to treat early as to prevent tendon rupture!

3. "Trigger Toe" (Flexor Hallucis Longus Tenosynovitis)
Trigger toe is another overuse injury that causes inflammation and damage to muscle that is active during pointing the big toe.

Pain: gradual onset of pain along inside of ankle and under the foot while pointing the big toe which may also feel like big toe is "stuck"

Prevention: good form with your relevés and not crunching your toes to force a pointe, rolling out the arch of your foot with a ball (but not to the point of pain)

Treatment: physical therapy (correct technique, modalities to decrease inflammation, stretching, massage), surgery to release tendon from surrounding tissues if symptoms do not resolve

4. Ankle Impingement
Ankle impingement is the pinching of tissues at ankle (tibia and talus) at either the front or the back of the ankle

Prevention: stretching your Achilles and stretching (but not forcing) your pointe

Anterior (front) Pain: pain at the front of the ankle with plie and landing
Treatment: PT to improve mechanics and technique (manual therapy)

Posterior (back) Pain: pain at the back of the ankle with tendu or relevé
Treatment: PT to improve ankle mechanics and technique (manual therapy), surgery if there is a bone spur or "extra bone" between heel and back of tibia

5. Snapping Hip
Snapping hip syndrome often starts as an annoying snapping sound in the front of the hip with developpé or battements. However, over time, iliotibial band (IT band) tightness and weakness of the outside of the hip can cause the snapping to become painful.

Pain: snapping/clicking sound in front of the hip with developpé and battements

Prevention: foam rolling your hip flexors, quadriceps, IT band, and glutes as well as strengthening your glutes

Treatment: PT with core strengthening, pelvic stabilization, modification of class and rehearsal work until symptoms resolve

6. Hip Impingement
Hip impingement can be caused by many different factors from arthritis, labral tear, stress fracture, muscle strain, snapping hip syndrome, sacroiliac joint dysfunction, to piriformis syndrome. It is extremely common in dancers due to the imbalance between the amount of external rotation (turn out) they have compared to the amount of internal rotation (turn in).

Pain: passé, developpé a la seconde, pain with flexion and internal rotation (turning in)

Prevention: foam rolling your hip flexors, quadriceps, IT band, and glutes as well as strengthening your glutes

Treatment: PT with stretching, hip/core strengthening, pelvic stabilization, dance modification and rehearsals; may result in surgical intervention as needed

7. Patellofemoral Pain Syndrome

Patellofemoral Pain Syndrome, also known as "jumper's knee," results from the kneecap "tracking" incorrectly due to muscle imbalances like tight hamstrings and calves coupled with weak quads. The placement of repetitive forces on the patella, like through performing jumps or plies without proper form puts a dancer at increased risk.

Pain: pain in the front of the knee with jumping, plie, or stair negotiation

Prevention: core and hip strengthening; foam rolling hip flexors, quadriceps, IT band, and glutes

Treatment: physical therapy with focus on core and hip strengthening, IT band stretching, and re-education of dysfunctional movement patterns

When should you be concerned that the pain you are experiencing is something that you should get checked out by a healthcare professional?
If you experience pain at night, pain at the start of your activity, pain that increases with activity or pain that causes compensations and changes in mechanics while dancing (or in day-to-day life), you should check in with your physical therapist or physician.

In the meantime, try to stay healthy by staying hydrated, eating a well-balanced diet, avoiding overtraining, allowing for rest days, participating in proper cross-training, making sure you are wearing well-fitted shoes and listening to your body!

If you do experience an injury, it's better to address it sooner rather than later, so that you can take care of it and get back on stage. The sooner you address injuries, the less severe the complications may be and therefore, the less time (if any) you'll have to spend away from dance!
Sources:
Dance Injuries: Diagnosis, Treatment, and Prevention Webcast

Johns Hopkins Medicine

Rajwinder Deu, MD; Amanda Green, DPT, COMT; Andrea Lasner, MSPT, PMA-CPT

http://webcast.jhu.edu/Mediasite/Play/e8683d13bc3d4ca6991387a16674df701d

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7 Common Dance Injuries (and How to Prevent Them)

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Dance requires incredible strength, stamina, and flexibility. Broadway and touring performing artists dance an average of eight shows a week. Add to that, the countless hours in rehearsals. Their exertion level rivals, if not exceeds, that of professional athletes! Therefore, it's not uncommon for dancers to experience pain.

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I learnt from this article about the dance aesthetics and why they are as they are.

Graham McFee, 2018, Aesthetics of Dance [ONLINE], Available at: https://www.rep.routledge.com/articles/thematic/dance-aesthetics-of/v-1, [Accessed 6 December 2018].

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Dance, aesthetics of - Routledge Encyclopedia of Philosophy

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Access to the full content is only available to members of institutions that have purchased access. If you belong to such an institution, please log in or find out more about how to order.

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This article taught me the percentage of intake a dancer should have from each food group for optimum fitness (55-60% carbohydrates, 12-15% protein, 20-30% fat).

Nichelle Suzanne, 2010, Nutrition for Dancers, [ONLINE], Available at: http://www.danceadvantage.net/nutrition-for-dancers, [Accessed 17 October 2018].

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Whether the goal is losing or maintaining a healthy weight, dancers are concerned about their silhouette and their nutrition.

A reader asks:

"I eat very well, everything's healthy and not much candies, but I want to know your opinion. What is proper for a dancer? Any diet and nutrition that will help me both lose kilos or maintain my silhouette? I don't mean an exhaustive diet, I just mean what to eat or not etc..

Losing Weight

If you take several dance classes per week and find you are still struggling to maintain an appropriate, healthy weight for your height and age, it is important to talk with your doctor or other health professional before taking steps to lose weight ( see the Food and Nutrition Information Center for more on weight management).

While some swear that there are secrets to how or when you eat, in the end it still all comes down to mathematics. To lose, what you put in has to be less than what you burn. And to maintain, requires balanced nutrition. In either circumstance, an intake of quality nutrients is important, as is keeping an eye on portion size.

Different methods of change (I'm avoiding the word diet because to me this word does not imply lasting lifestyle change) work for different people - some find it best to completely avoid certain foods. Others prefer to replace the ingredients of foods they love with healthier alternatives. Sometimes a bit of trial and error is necessary to determine what works best for each individual. Also, don't forget the mind and emotions can often play a big role in supporting or sabotaging one's healthy intentions.

Simple Start

Often we don't realize how much salt and sugar is in our food but cutting down can yield lasting results for health and weight-loss. For many this is a good place to start. (this article from Harvard School of Public Health covers the war on sugary drinks and processed foods)

Cross-training for strength and endurance is also a good idea for any dancer. In particular, dancers who aren't training heavily, keeping the heart rate up or working up a sweat for 20-minutes or longer during class or rehearsal multiple times per week, may need to add cross-training activities to their schedule.

Balanced Nutrition

The guidelines for creating a healthy balance of nutrition are constantly under scrutiny by the medical field and new discoveries about the body may reveal new methods, suggestions, or recommendations. It can get pretty confusing.

It is well-recognized that humans would do well to lower their intake of "bad" fats (saturated fats mainly found in animal products and trans fats in pre-packaged foods) and increase, or exchange some of these for "good" fats like those that come from nuts, avocados, and fish. But even this can get confusing.
Some simple guidelines:

In our pre-packaged fast-food world remember that fresh is always best!

Enjoy many different kinds of foods!

Cook more, eat out less!

What the Experts Say...

Admittedly, I struggle as much as any dancer to strike that perfect balance and to stay on top of the latest health information. I have no formal expertise on the subject of nutrition. Therefore, I rely on what the experts say. For dancers, a great resource is the International Association for Dance Medicine & Science. They are the publishers of the Journal of Dance Medicine & Science and the associations members and directors are among the top in this field.

Here are a few excerpts from their Nutrition Fact Sheet:

The first step in planning a high performance diet* is to be sure that the dancer is obtaining adequate caloric intake. The easiest rough estimate of how many calories a dancer requires during heavy training is 45-50 calories per kilogram of body weight for females and 50-55 calories per kilogram of body weight for males. For a more accurate assessment, dancers should consult a dietitian.
The kilogram to pound conversion is 1kg = 2.2lbs. For example: 115lbs = 52.27kg. 50 calories per kilo for a 115lb female equals about 2600 calories for a dancer that is training heavily.

A dancer's diet should be composed of about 55-60% carbohydrate, 12-15% protein, and 20-30% fat. During heavy training and rehearsals the amount of carbohydrate should be increased to about 65%. The reason is that carbohydrate is the major energy source in muscles.

In addition to meals, other times when carbohydrate ingestion is important are before, during, and after class, rehearsal, or performance. About 1-2 hours prior to these activities, a small carbohydrate snack should be consumed. This will increase glucose levels in the circulation and "top-off" muscle glycogen stores. A carbohydrate snack, such as a bagel or commercially available "energy" bars, can provide the added boost needed for optimal performance.

The estimated grams of fat in the diet are about 1.2 gm per kilogram of body weight. Because ingestion of high amounts of saturated fats is associated with chronic disease, the recommended amount of saturated fat in the diet should be less than 10%.

For non-vegetarians, chicken or turkey without the skin are excellent low fat protein sources. For vegetarians, tofu, seitan (wheat gluten), and mixtures of beans and rice are good protein choices. Protein powders are not necessary, even for male dancers, if they are following the recommendations above. If a protein supplement is warranted, the best choice is milk powder. The high tech and expensive protein supplements on the market are not any better than simple dry milk.

To obtain all important micronutrients, dancers should increase the amount of fresh fruit and vegetables (recommended 5 servings of fruit or vegetables per day), whole grains, dairy products, and lean red meat. Because not all vitamins or minerals occur in all foods, dancers should ingest a wide variety of foods.

Fluid loss results in dehydration that can impair performance and mental functioning, such as the ability to quickly pick up complicated choreographic combinations and execute them effectively. A cup (8 ounces or 250 ml) of fluid every 15 minutes is recommended. Whenever there is a break in class or rehearsal, the dancer should have ready access to fluid, and they should be encouraged to drink because the thirst mechanism does not keep up with the body's need for fluid. A water bottle or sport drink should be part of a dancer's "gear," and, if possible, the dancer should be able to bring the bottle into the studio for frequent drinks. Following class and rehearsal, dancers should continue to increase fluid consumption for the next few hours. Avoid carbonated drinks and large quantities of fruit juice.

*A high performance diet is for dancers that are training or performing at a high level. These recommendations reflect that. For those dancing less, it is important to adjust accordingly. It is a good idea to consult a dietitian for individualized assessment of your dietary needs.

IADMS offers a number of Teacher Resources, including a . You can signup at no cost to receive notification when new bulletins are published.
Additonal reading: I welcome your thoughts!
How do you maintain a healthy balance?

What are your biggest nutrition concerns?

Kindly follow, like or share:

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Whether the goal is losing or maintaining a healthy weight, dancers are concerned about their silhouette and their nutrition. A reader asks: "I eat very well, everything's healthy and not much candies, but I want to know your opinion. What is proper for a dancer?

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This website taught me more about what an individual training plan is and the best way to create one such as setting realistic goals.

PT Direct, 2018, Why is an Exercise Plan Important? [ONLINE], Available at: https://www.ptdirect.com/unused-content/from-training-delivery-folder/generating-effective-exercise-plans/why-is-an-exercise-plan-so-important, [Accessed 5 December 2018].

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Cardiovascular health benefits for dancers

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Cardiovascular health benefits for dancers

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From this website i learnt all the reason why dancing is beneficial for your health.

Better Health Channel, 2013, Dance - health benefits [ONLINE], Available at: https://www.betterhealth.vic.gov.au/health/HealthyLiving/dance-health-benefits, [Accessed 9 December 2018].

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There are many forms of dance, from ballroom to barn dancing and disco to Morris dancing. Dance has always been a part of human culture, rituals and celebrations. Today, most dancing is about recreation and self-expression, although it can also be done as a competitive activity. Dancing is an enjoyable way to be more physically active and stay fit.

Health benefits of dancing

Dancing can be a way to stay fit for people of all ages, shapes and sizes. It has a wide range of physical and mental benefits including:

improved condition of your heart and lungs

increased muscular strength, endurance and motor fitness

increased aerobic fitness

improved muscle tone and strength

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

better social skills.

Getting started with dancing

You can dance in a group, with a partner, or on your own. There are lots of different places where you can enjoy dancing, for example, at dance schools, social venues, community halls and in your own home. Dancing has become such a popular way to be active and keep fit, that most fitness clubs now offer dance classes in their group exercise programs.

Dancing can be done both competitively and socially. It can be a great recreational and sporting choice, because anyone of any age can take part. It doesn't matter whether it is cold or raining, as dancing is usually done indoors.

The gear you need for dancing will depend on the style of dancing you choose. For example, tap dancing will involve buying tap shoes, whereas ballet will need ballet slippers and ballet clothing. To get started, simply choose a style you enjoy, or would like to try, look in the Yellow Pages or online for dance schools in your local area and join a class.

Types of dance

There are many styles of dance to choose from, each with its own attractions. Popular styles of dancing include:

Ballet - mostly performed to classical music, this dance style focuses on strength, technique and flexibility.

Ballroom dancing - this involves a number of partner-dancing styles such as the waltz, swing, foxtrot, rumba and tango.

Belly dancing - originating in the Middle East, this dance style is a fun way to exercise.

Hip-hop - performed mostly to hip-hop music, this urban dance style can involve breaking, popping, locking and freestyling.

Jazz - a high-energy dance style involving kicks, leaps and turns to the beat of the music.

Pole dancing - has become increasingly popular as a form of exercise. It involves sensual dancing with a vertical pole, and requires muscle endurance, coordination, and upper- and lower-body strength.

Salsa - involving a mixture of Caribbean, Latin American and African influences, salsa is usually a partner dance and emphasises rhythms and sensuality.

Square-dancing - a type of folk dancing where four couples dance in a square pattern, moving around each other and changing partners.

Tap dancing - focuses on timing and beats. The name originates from the tapping sounds made when the small metal plates on the dancer's shoes touch the ground

Choosing a dance style

When choosing a dance style, ask yourself questions such as:

Do I want to dance to improve my fitness?

Am I trying to improve my flexibility and coordination?

Do I prefer fast dancing or slow dancing?

Do I want to dance with a partner, or on my own?

Do I want to join a group, or have private lessons?

Will I enjoy competitions, or do I want to dance just for fun?

General tips for dancing

If you are thinking of taking up dancing, suggestions include:

See your doctor for a check-up if you have a medical condition, are overweight, are over 40 years of age or are unfit.

Wear layers of clothing that you can take off as your body warms up.

Do warm-up stretches or activities before you begin a dance session.

Drink plenty of water before, during and after dancing.

Make sure you rest between dance sessions.

Don't push yourself too far or too fast, especially if you are a beginner.

Wear professionally fitted shoes appropriate to your style of dance.

Check with your dance instructor that you are holding the correct form.

Sit and watch new dance moves first. Learning new moves increases your risk of injury, especially if you are already tired.

Perform regular leg-strengthening exercises.

Move as fluidly and gracefully as you can.

Cool down after a dance session, including stretching.

Where to get help

Your local council

Victorian Square Dancing Association Tel. 1800 643 277

Dancesport Victoria (ballroom and competitive dancing) Tel. (03) 9467 6565

Smartplay Tel. (03) 9674 8777

Things to remember

Dancing can be a way to stay fit for people of all ages, shapes and sizes.

Dancing can improve your muscle tone, strength, endurance and fitness.

Dancing is a great way to meet new friends.

See your doctor for a check-up if you have a medical condition, are overweight, are over 40 years of age or are unfit.

Content Partner

This page has been produced in consultation with and approved by: Smartplay

Page content currently being reviewed.

Content on this website is provided for information purposes only. Information about a therapy, service, product or treatment does not in any way endorse or support such therapy, service, product or treatment and is not intended to replace advice from your doctor or other registered health professional. The information and materials contained on this website are not intended to constitute a comprehensive guide concerning all aspects of the therapy, product or treatment described on the website. All users are urged to always seek advice from a registered health care professional for diagnosis and answers to their medical questions and to ascertain whether the particular therapy, service, product or treatment described on the website is suitable in their circumstances. The State of Victoria and the Department of Health & Human Services shall not bear any liability for reliance by any user on the materials contained on this website.

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There are many forms of dance, from ballroom to barn dancing and disco to Morris dancing. Dance has always been a part of human culture, rituals and celebrations. Today, most dancing is about recreation and self-expression, although it can also be done as a competitive activity.

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I learnt from this article the two main teaching methods (Teacher-Centred and Student Centred) and both their advantages and disadvantages for the students.

Room 241, 2012, Which is Best: Teacher-Centered or Student-Centered Education? [ONLINE], Available at: https://education.cu-portland.edu/blog/classroom-resources/which-is-best-teacher-centered-or-student-centered-education/, [Accessed 9 December 2018]

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From this I learnt the different physical and psychological elements to ensure safe dance practice such as warming up and cooling down effectively and promoting positive attitudes.

Rachel Hellwig, 2016, Safe Dance Practice: What Is It And Why Do We Need It? [ONLINE], Available at: http://www.4dancers.org/2016/04/safe-dance-practice-what-is-it-and-why-do-we-need-it/, [Accessed 8 December 2018].

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Safe Dance Practice: What Is It And Why Do We Need It?

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This article taught me that over-stretching can be bad for the body because it lengthens the muscles to a point where they will not go back to their original form making the muscles around the joint weak and resulting in joint pain.

Jill Miller, 2018, Is Too Much Stretching Bad for You? One Yogini's Story from Floppy to Fit [ONLINE], Available at: https://www.gaiam.com/blogs/discover/is-too-much-stretching-bad-for-you-one-yogini-s-story-from-floppy-to-fit, [Accessed 8 December 2018].

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By: Jill Miller
I began practicing yoga at age 11. My mom brought home the Jane Fonda workout and Raquel Welch Yoga videos and I became obsessed ... especially with the yoga. At first I wasn't very flexible, couldn't touch my toes, and was extremely weak in my shoulders and core.

In my early 20s, I moved to L.A. and began practicing Ashtanga Yoga and Power Yoga, and I watched as my flexibility continued to improve. I was "that contortionist girl" in classes, the one who could do ALL of the really difficult bendy poses. Teachers loved using me as a demo and would twist me into origami and balloon puppets with great ease. I loved my exceptional flexibility and its "specialness." I thought that yoga and stretching were healthy, but I didn't realize that I was actually overdoing it and creating serious problems in some of my tissues.

My practice and my stretching were bordering on compulsive. My body did not feel good if I didn't stretch, AND I was fidgety while trying to sit still in a car or airplane seat. I was endlessly shifting around, never quite feeling comfortable.

How can overstretching harm the body?

When a muscle is being lengthened, it's not just the actual muscle cells being elongated, but also the fascia or connective tissues that surround, encase and penetrate throughout the muscle. These connective tissues comprise 30 percent of the bulk of a muscle. When we stretch a muscle, upwards of 40 percent of the actual stretch is coming from the elongation of its fascia! With too much stretching, the fascial tissues lose their ability to recoil and the inherent elasticity of these connective tissues disintegrates and becomes less functional as a result.

Connective tissues are full of nerves and blood vessels that help supply the muscles with nourishment. Fascia is also loaded with collagen and elastin molecules that help provide anchors for motion and cushions of protection for the muscle cells. If tissues are chronically overstretched, the muscles also become more vulnerable and under siege from the constant stretching. Muscles (and the soft tissues surrounding them, including tendons and ligaments) develop painful "micro-tears."

The "stretchaholic" signs were there

There were signs along the way that I was overstretching. I had lots of different types of pain; I just chose to ignore them. I wanted to keep practicing the way I was practicing.

1) My hamstrings ached all the time ... they were overstretched daily beyond their limit. Practicing always seemed to make them feel better, as the heat warmed them up and dulled the micro-tear pain signals.

2) I felt dull sciatic-related pain down the back of my left leg almost every day, caused by overstretching the sciatic nerve.

3) My shoulders constantly clicked and popped, and I was constantly cracking my neck ... true signs of unstable joints.

4) At age 25, I could not straighten my knees in the morning. Upon waking, I would roll out of bed and by the time I "made it" to the kitchen, my knees would crowbar themselves back open to "normal." A sure sign of overstretched ligaments!

Stretch intervention: strength training

I probably would have just kept stretching myself into oblivion had my yoga mentor and biomechanics expert Glenn Black not stepped in. His diagnosis:muscle weakness due to overstretching. He said that I needed to restore the power in my muscles to stabilize my joints. This explained why I could never quite find a comfortable position or "sit still" unless I was practicing. Stretching would give me a temporary feeling of release and relief, as it is truly beneficial for relaxing the nervous system, improving circulation, etc., but my overall muscle tone had been stretched to the point that I had become terribly unstable at many of my joints.

I had worked with him for four consecutive summers at the Omega Institute before moving to Los Angeles and becoming "Bendy Girl." After seven years without him, I needed his critical insight to help restore balance in my body. He told me that I needed to complement my yoga with resistance training like lifting weights, using more PNF (proprioceptive neuromuscular facilitated stretching) within my practice and even adding Kettlebells.

Adding resistance training to my movement practice has been a revelation. My body feels good. I can now sit still on a six-hour flight and walk away without needing to crack my hips or spine! So yogis, if you find yourself with odd aches and pains, I ask you to take a closer look at where you might have actually created weakness from overstretching.Since then, I have built my own Yoga Tune Up® format around this concept of galvanizing both the strength that muscles generate along with the lengthening and yielding of the connective tissues that surround them. This has given my body, and the thousands of students who practice with me, a dynamically powerful physique that is truly balanced.

Tissue are living: They heal

Tissues are living; they can change and heal if given the right stimulation, a disciplined approach and the correct exercises to balance them. For some this could mean more stretching; for others it might mean more strengthening, but always a combination of the two. You can consciously recondition your tissues. Just give it time, seek a skilled personal trainer or physical therapist, or join me at one of my events and your yoga practice will benefit more than ever!

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Is Too Much Stretching Bad for You? One Yogini's Story from Floppy to Fit

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By: Jill Miller I began practicing yoga at age 11. My mom brought home the Jane Fonda workout and Raquel Welch Yoga videos and I became obsessed ... especially with the yoga. At first I wasn't very flexible, couldn't touch my toes, and was extremely weak in my shoulders and core.

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From this website I learnt what hypermobility is (your joints easily moving past their range of movement) and some of the affects it can have (pain, dislocations and poor balance).

NHS, 2017, Joint hypermobility  syndrome - NHS [ONLINE], Available at: https://www.nhs.uk/conditions/joint-hypermobility-syndrome/, [Accessed 13 December 2018]

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Joint hypermobility syndrome is where you get pain and stiffness from having very flexible joints. Read more about how it’s diagnosed and managed.

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This article helped me better understand what a plateau in fitness is any why it may be happening (because you are not increasing the intensity and volume of your workout).

Jenny Lelwica Buttaccio, 2018, Why You Hit a Workout Plateau | Reader's Digest [ONLINE], Available at: https://www.rd.com/health/fitness/workout-plateau/, [Accessed 13 December 2018]

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View as slideshow

Fitness

If you're consistent with your workouts but stopped seeing results, you may have hit a workout plateau. Whatever you do, don't let that stop you! Here's how you can overcome your exercise plateau and take your fitness to the next level.

You're training too hard

Are you trying to push yourself from beginning to end during every workout? If so, you might be experiencing a workout plateau because of overtraining. Signs of overtraining include muscle and joint pain, fatigue, an overall lack of energy, frequently catching a cold or flu, and headaches (different from what you might normally get). Why does this happen? Strenuous exercise causes your muscle tissue to break down. Your body must have adequate rest in order to rebuild and repair your muscles and achieve optimal results from your fitness program. To avoid overtraining, give your body a full week of rest after four to six weeks of intense exercise. Yes, sometimes less exercise (not more) is best to overcoming a workout rut. Here's 12 times you should absolutely skip your workout.

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Exercise Plateau: Why You Hit a Workout Plateau | Reader's Digest

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View as slideshow Fitness If you're consistent with your workouts but stopped seeing results, you may have hit a workout plateau. Whatever you do, don't let that stop you! Here's how you can overcome your exercise plateau and take your fitness to the next level.

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This is an example of the sorts of practitioners that work at a conservatoire and what they do to help students recover, ensuring their career longevity.

Urdang Academy, 2018, Health and Wellbeing - Urdang Academy [ONLINE], Available at: https://theurdang.london/life-at-urdang/health-and-wellbeing/, [Accessed 12 December 2018].

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Urdang's high-quality training is fierce and challenging but our fierceness never comes at the cost of our students' health.

Our student care programme ensures that we target all aspects of our students' wellbeing, not just their development into strong, versatile performers.

Pastoral Care

Our reputation is built on an ethos of caring and nurturing individuals and this care has been recognised as outstanding by Ofsted.

Urdang places the utmost importance on the pastoral care of its students, conscious that for many this will be their first time living away from home, with many new to London. The Academy's pastoral team provides student support and advice in many practical areas and can offer advice on accommodation, finance and related issues.

Urdang operates an open door policy so students may have private interviews with the Principal, the Pastoral Liaison Officers or other staff members on request.

Treatment Department

A performer's body needs to be kept in peak physical condition in order to cope with the demanding nature of training in the performing arts. It is Urdang's mission to keep our students' injuries to an absolute minimum.

Our team of therapists can attend to student injuries quickly and efficiently so that time away from training is minimised. The majority of injuries and accidents can be treated on-site in our fully equipped treatment facilities.

Osteopathy, Acupuncture, Pilates, Sports Massage make up the treatments on offer to help support student rehabilitation from injury. Our Treatment Department boasts an on-site Pilates studio which has a clinical Reformer/Tower and other various pieces of equipment. From January each year, all students are also offered rehabilitation classes.

Students are strongly advised to take out the private insurance option, which is offered to all new students during induction. Referrals to specialists and private hospital treatment may be needed in certain circumstances and the insurance option allows for quick and efficient specialist care.

Finding a Doctor

Once students have decided where to live they are then required to register with a General Practitioner Doctor (GP) in their area. Names and addresses of GPs in your area can be obtained from your hostel or local library. Students can also log on to www.nhs.uk and use the 'Find and choose services' link.

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Our student care programme ensures that we target all aspects of our students' wellbeing, not just their development into strong, versatile performers. Pastoral Care Our reputation is built on an ethos of caring and nurturing individuals and this care has been recognised as outstanding by Ofsted.

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This article allowed me to understand that rest is important for the body as it 'allows the body time to repair and strengthen'.

Kris Swartzendruber, 2013,

The importance of rest and recovery for athletes [ONLINE], Available at: https://www.canr.msu.edu/news/the_importance_of_rest_and_recovery_for_athletes, [Accessed 12 December 2018].

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Rest and recovery is an important aspect of an exercise program, especially for high level athletes.

October 8, 2013 - Author: Kris Swartzendruber, Michigan State University Extension

Athletes understand the importance of exercise training for optimal performance and improvement. However, rest and recovery is also an important aspect of an exercise program because it allows the body time to repair and strengthen itself in between workouts. It also allows the athlete to recover, both physically and psychologically.

What happens during the recovery period? The body is allowed to adapt to the stress associated with exercise, replenishes muscle glycogen (energy stores) and provides time for the body tissue to repair.

There are two different categories of recovery:

1. Immediate or short-term recovery - This is the most common form of recovery and occurs within hours after an exercise session or event. Short-term recovery includes low intensity exercise after working out and during the cool down phase.

2. Long-term recovery - This refers to recovery periods that are built into a seasonal training schedule and may include days or weeks incorporated into an annual athletic program.

Sleep is another important aspect of rest and recovery when it comes to sports performance. Athletes who are sleep deprived are at risk of losing aerobic endurance and may experience subtle changes in hormone levels, which can lead to higher levels of cortisol (a stress hormone) as well as a decrease in human growth hormone, which is active during tissue repair.

If you are a high level athlete or have a family member that is involved in a sport that requires a higher level of fitness, Michigan State University Extension recommends that you monitor workouts with a training log. A training log can assist you in keeping track of how the body feels after an exercise session - this will help in determining recovery needs and whether or not the training program should be modified.

The following websites provide more information about rest and recovery after exercise:
ACE - Certified News
This article was published by Michigan State University Extension. For more information, visit http://www.msue.msu.edu. To have a digest of information delivered straight to your email inbox, visit http://www.msue.msu.edu/newsletters. To contact an expert in your area, visit http://expert.msue.msu.edu, or call 888-MSUE4MI (888-678-3464).

Tags: food & health, msu extension, physical activity

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The importance of rest and recovery for athletes

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Rest and recovery is an important aspect of an exercise program, especially for high level athletes. October 8, 2013 - Author: Kris Swartzendruber, Michigan State University Extension Athletes understand the importance of exercise training for optimal performance and improvement.

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This chapter helped me further understand synovial fluid and synovial joints and taught me that it 'reduces friction between the bones of the joint'.

Rice University, 2018, Anatomy and Physiology, first, [ONLINE], OpenStax, Available at: https://opentextbc.ca/anatomyandphysiology/chapter/9-4-synovial-joints/, [Accessed 11 December 2018].

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Learning Objectives

By the end of this section, you will be able to:

Describe the structural features of a synovial joint

Discuss the function of additional structures associated with synovial joints

List the six types of synovial joints and give an example of each

Synovial joints are the most common type of joint in the body ( Figure 1). A key structural characteristic for a synovial joint that is not seen at fibrous or cartilaginous joints is the presence of a joint cavity. This fluid-filled space is the site at which the articulating surfaces of the bones contact each other. Also unlike fibrous or cartilaginous joints, the articulating bone surfaces at a synovial joint are not directly connected to each other with fibrous connective tissue or cartilage. This gives the bones of a synovial joint the ability to move smoothly against each other, allowing for increased joint mobility.

Synovial joints are characterized by the presence of a joint cavity. The walls of this space are formed by the articular capsule, a fibrous connective tissue structure that is attached to each bone just outside the area of the bone's articulating surface. The bones of the joint articulate with each other within the joint cavity.

Friction between the bones at a synovial joint is prevented by the presence of the articular cartilage, a thin layer of hyaline cartilage that covers the entire articulating surface of each bone. However, unlike at a cartilaginous joint, the articular cartilages of each bone are not continuous with each other. Instead, the articular cartilage acts like a Teflon ® coating over the bone surface, allowing the articulating bones to move smoothly against each other without damaging the underlying bone tissue. Lining the inner surface of the articular capsule is a thin synovial membrane. The cells of this membrane secrete synovial fluid (synovia = "a thick fluid"), a thick, slimy fluid that provides lubrication to further reduce friction between the bones of the joint. This fluid also provides nourishment to the articular cartilage, which does not contain blood vessels. The ability of the bones to move smoothly against each other within the joint cavity, and the freedom of joint movement this provides, means that each synovial joint is functionally classified as a diarthrosis.

Outside of their articulating surfaces, the bones are connected together by ligaments, which are strong bands of fibrous connective tissue. These strengthen and support the joint by anchoring the bones together and preventing their separation. Ligaments allow for normal movements at a joint, but limit the range of these motions, thus preventing excessive or abnormal joint movements. Ligaments are classified based on their relationship to the fibrous articular capsule. An extrinsic ligament is located outside of the articular capsule, an intrinsic ligament is fused to or incorporated into the wall of the articular capsule, and an intracapsular ligament is located inside of the articular capsule.

At many synovial joints, additional support is provided by the muscles and their tendons that act across the joint. A tendon is the dense connective tissue structure that attaches a muscle to bone. As forces acting on a joint increase, the body will automatically increase the overall strength of contraction of the muscles crossing that joint, thus allowing the muscle and its tendon to serve as a "dynamic ligament" to resist forces and support the joint. This type of indirect support by muscles is very important at the shoulder joint, for example, where the ligaments are relatively weak.

A few synovial joints of the body have a fibrocartilage structure located between the articulating bones. This is called an articular disc, which is generally small and oval-shaped, or a meniscus, which is larger and C-shaped. These structures can serve several functions, depending on the specific joint. In some places, an articular disc may act to strongly unite the bones of the joint to each other. Examples of this include the articular discs found at the sternoclavicular joint or between the distal ends of the radius and ulna bones. At other synovial joints, the disc can provide shock absorption and cushioning between the bones, which is the function of each meniscus within the knee joint. Finally, an articular disc can serve to smooth the movements between the articulating bones, as seen at the temporomandibular joint. Some synovial joints also have a fat pad, which can serve as a cushion between the bones.

Additional structures located outside of a synovial joint serve to prevent friction between the bones of the joint and the overlying muscle tendons or skin. A bursa (plural = bursae) is a thin connective tissue sac filled with lubricating liquid. They are located in regions where skin, ligaments, muscles, or muscle tendons can rub against each other, usually near a body joint ( Figure 2). Bursae reduce friction by separating the adjacent structures, preventing them from rubbing directly against each other. Bursae are classified by their location. A subcutaneous bursa is located between the skin and an underlying bone. It allows skin to move smoothly over the bone. Examples include the prepatellar bursa located over the kneecap and the olecranon bursa at the tip of the elbow. A submuscular bursa is found between a muscle and an underlying bone, or between adjacent muscles. These prevent rubbing of the muscle during movements. A large submuscular bursa, the trochanteric bursa, is found at the lateral hip, between the greater trochanter of the femur and the overlying gluteus maximus muscle. A subtendinous bursa is found between a tendon and a bone. Examples include the subacromial bursa that protects the tendon of shoulder muscle as it passes under the acromion of the scapula, and the suprapatellar bursa that separates the tendon of the large anterior thigh muscle from the distal femur just above the knee.

A tendon sheath is similar in structure to a bursa, but smaller. It is a connective tissue sac that surrounds a muscle tendon at places where the tendon crosses a joint. It contains a lubricating fluid that allows for smooth motions of the tendon during muscle contraction and joint movements.

Bursitis
Bursitis is the inflammation of a bursa near a joint. This will cause pain, swelling, or tenderness of the bursa and surrounding area, and may also result in joint stiffness. Bursitis is most commonly associated with the bursae found at or near the shoulder, hip, knee, or elbow joints. At the shoulder, subacromial bursitis may occur in the bursa that separates the acromion of the scapula from the tendon of a shoulder muscle as it passes deep to the acromion. In the hip region, trochanteric bursitis can occur in the bursa that overlies the greater trochanter of the femur, just below the lateral side of the hip. Ischial bursitis occurs in the bursa that separates the skin from the ischial tuberosity of the pelvis, the bony structure that is weight bearing when sitting. At the knee, inflammation and swelling of the bursa located between the skin and patella bone is prepatellar bursitis ("housemaid's knee"), a condition more commonly seen today in roofers or floor and carpet installers who do not use knee pads. At the elbow, olecranon bursitis is inflammation of the bursa between the skin and olecranon process of the ulna. The olecranon forms the bony tip of the elbow, and bursitis here is also known as "student's elbow."

Bursitis can be either acute (lasting only a few days) or chronic. It can arise from muscle overuse, trauma, excessive or prolonged pressure on the skin, rheumatoid arthritis, gout, or infection of the joint. Repeated acute episodes of bursitis can result in a chronic condition. Treatments for the disorder include antibiotics if the bursitis is caused by an infection, or anti-inflammatory agents, such as nonsteroidal anti-inflammatory drugs (NSAIDs) or corticosteroids if the bursitis is due to trauma or overuse. Chronic bursitis may require that fluid be drained, but additional surgery is usually not required.

Synovial joints are subdivided based on the shapes of the articulating surfaces of the bones that form each joint. The six types of synovial joints are pivot, hinge, condyloid, saddle, plane, and ball-and socket-joints ( Figure 3).

Pivot Joint

At a pivot joint, a rounded portion of a bone is enclosed within a ring formed partially by the articulation with another bone and partially by a ligament (see Figure 3 a). The bone rotates within this ring. Since the rotation is around a single axis, pivot joints are functionally classified as a uniaxial diarthrosis type of joint. An example of a pivot joint is the atlantoaxial joint, found between the C1 (atlas) and C2 (axis) vertebrae. Here, the upward projecting dens of the axis articulates with the inner aspect of the atlas, where it is held in place by a ligament. Rotation at this joint allows you to turn your head from side to side. A second pivot joint is found at the proximal radioulnar joint. Here, the head of the radius is largely encircled by a ligament that holds it in place as it articulates with the radial notch of the ulna. Rotation of the radius allows for forearm movements.

Ball-and-Socket Joint

The joint with the greatest range of motion is the ball-and-socket joint. At these joints, the rounded head of one bone (the ball) fits into the concave articulation (the socket) of the adjacent bone (see Figure 3 f). The hip joint and the glenohumeral (shoulder) joint are the only ball-and-socket joints of the body. At the hip joint, the head of the femur articulates with the acetabulum of the hip bone, and at the shoulder joint, the head of the humerus articulates with the glenoid cavity of the scapula.

Ball-and-socket joints are classified functionally as multiaxial joints. The femur and the humerus are able to move in both anterior-posterior and medial-lateral directions and they can also rotate around their long axis. The shallow socket formed by the glenoid cavity allows the shoulder joint an extensive range of motion. In contrast, the deep socket of the acetabulum and the strong supporting ligaments of the hip joint serve to constrain movements of the femur, reflecting the need for stability and weight-bearing ability at the hip.

Synovial joints are the most common type of joints in the body. They are characterized by the presence of a joint cavity, inside of which the bones of the joint articulate with each other. The articulating surfaces of the bones at a synovial joint are not directly connected to each other by connective tissue or cartilage, which allows the bones to move freely against each other. The walls of the joint cavity are formed by the articular capsule. Friction between the bones is reduced by a thin layer of articular cartilage covering the surfaces of the bones, and by a lubricating synovial fluid, which is secreted by the synovial membrane.

Synovial joints are strengthened by the presence of ligaments, which hold the bones together and resist excessive or abnormal movements of the joint. Ligaments are classified as extrinsic ligaments if they are located outside of the articular capsule, intrinsic ligaments if they are fused to the wall of the articular capsule, or intracapsular ligaments if they are located inside the articular capsule. Some synovial joints also have an articular disc (meniscus), which can provide padding between the bones, smooth their movements, or strongly join the bones together to strengthen the joint. Muscles and their tendons acting across a joint can also increase their contractile strength when needed, thus providing indirect support for the joint.

Bursae contain a lubricating fluid that serves to reduce friction between structures. Subcutaneous bursae prevent friction between the skin and an underlying bone, submuscular bursae protect muscles from rubbing against a bone or another muscle, and a subtendinous bursa prevents friction between bone and a muscle tendon. Tendon sheaths contain a lubricating fluid and surround tendons to allow for smooth movement of the tendon as it crosses a joint.

Based on the shape of the articulating bone surfaces and the types of movement allowed, synovial joints are classified into six types. At a pivot joint, one bone is held within a ring by a ligament and its articulation with a second bone. Pivot joints only allow for rotation around a single axis. These are found at the articulation between the C1 (atlas) and the dens of the C2 (axis) vertebrae, which provides the side-to-side rotation of the head, or at the proximal radioulnar joint between the head of the radius and the radial notch of the ulna, which allows for rotation of the radius during forearm movements. Hinge joints, such as at the elbow, knee, ankle, or interphalangeal joints between phalanx bones of the fingers and toes, allow only for bending and straightening of the joint. Pivot and hinge joints are functionally classified as uniaxial joints.

Condyloid joints are found where the shallow depression of one bone receives a rounded bony area formed by one or two bones. Condyloid joints are found at the base of the fingers (metacarpophalangeal joints) and at the wrist (radiocarpal joint). At a saddle joint, the articulating bones fit together like a rider and a saddle. An example is the first carpometacarpal joint located at the base of the thumb. Both condyloid and saddle joints are functionally classified as biaxial joints.

Plane joints are formed between the small, flattened surfaces of adjacent bones. These joints allow the bones to slide or rotate against each other, but the range of motion is usually slight and tightly limited by ligaments or surrounding bones. This type of joint is found between the articular processes of adjacent vertebrae, at the acromioclavicular joint, or at the intercarpal joints of the hand and intertarsal joints of the foot. Ball-and-socket joints, in which the rounded head of a bone fits into a large depression or socket, are found at the shoulder and hip joints. Both plane and ball-and-sockets joints are classified functionally as multiaxial joints. However, ball-and-socket joints allow for large movements, while the motions between bones at a plane joint are small.

Review Questions

1. Which type of joint provides the greatest range of motion?

2. Which type of joint allows for only uniaxial movement?

3. Which of the following is a type of synovial joint?

4. A bursa ________.

5. At synovial joints, ________.

6. At a synovial joint, the synovial membrane ________.

7. Condyloid joints ________.

8. A meniscus is ________.

Critical Thinking Questions

1. Describe the characteristic structures found at all synovial joints.

2. Describe the structures that provide direct and indirect support for a synovial joint.

Glossary

articular capsule

connective tissue structure that encloses the joint cavity of a synovial joint

articular cartilage

thin layer of hyaline cartilage that covers the articulating surfaces of bones at a synovial joint

articular disc

meniscus; a fibrocartilage structure found between the bones of some synovial joints; provides padding or smooths movements between the bones; strongly unites the bones together

ball-and-socket joint

synovial joint formed between the spherical end of one bone (the ball) that fits into the depression of a second bone (the socket); found at the hip and shoulder joints; functionally classified as a multiaxial joint

bursa

connective tissue sac containing lubricating fluid that prevents friction between adjacent structures, such as skin and bone, tendons and bone, or between muscles

condyloid joint

synovial joint in which the shallow depression at the end of one bone receives a rounded end from a second bone or a rounded structure formed by two bones; found at the metacarpophalangeal joints of the fingers or the radiocarpal joint of the wrist; functionally classified as a biaxial joint

extrinsic ligament

ligament located outside of the articular capsule of a synovial joint

hinge joint

synovial joint at which the convex surface of one bone articulates with the concave surface of a second bone; includes the elbow, knee, ankle, and interphalangeal joints; functionally classified as a uniaxial joint

intracapsular ligament

ligament that is located within the articular capsule of a synovial joint

intrinsic ligament

ligament that is fused to or incorporated into the wall of the articular capsule of a synovial joint

meniscus

articular disc

pivot joint

synovial joint at which the rounded portion of a bone rotates within a ring formed by a ligament and an articulating bone; functionally classified as uniaxial joint

plane joint

synovial joint formed between the flattened articulating surfaces of adjacent bones; functionally classified as a multiaxial joint

proximal radioulnar joint

articulation between head of radius and radial notch of ulna; uniaxial pivot joint that allows for rotation of radius during pronation/supination of forearm

saddle joint

synovial joint in which the articulating ends of both bones are convex and concave in shape, such as at the first carpometacarpal joint at the base of the thumb; functionally classified as a biaxial joint

subcutaneous bursa

bursa that prevents friction between skin and an underlying bone

submuscular bursa

bursa that prevents friction between bone and a muscle or between adjacent muscles

subtendinous bursa

bursa that prevents friction between bone and a muscle tendon

synovial fluid

thick, lubricating fluid that fills the interior of a synovial joint

synovial membrane

thin layer that lines the inner surface of the joint cavity at a synovial joint; produces the synovial fluid

tendon

dense connective tissue structure that anchors a muscle to bone

tendon sheath

connective tissue that surrounds a tendon at places where the tendon crosses a joint; contains a lubricating fluid to prevent friction and allow smooth movements of the tendon

Solutions
Answers for Review Questions Answers for Critical Thinking Questions

1. All synovial joints have a joint cavity filled with synovial fluid that is the site at which the bones of the joint articulate with each other. The articulating surfaces of the bones are covered by articular cartilage, a thin layer of hyaline cartilage. The walls of the joint cavity are formed by the connective tissue of the articular capsule. The synovial membrane lines the interior surface of the joint cavity and secretes the synovial fluid. Synovial joints are directly supported by ligaments, which span between the bones of the joint. These may be located outside of the articular capsule (extrinsic ligaments), incorporated or fused to the wall of the articular capsule (intrinsic ligaments), or found inside of the articular capsule (intracapsular ligaments). Ligaments hold the bones together and also serve to resist or prevent excessive or abnormal movements of the joint.

2. Direct support for a synovial joint is provided by ligaments that strongly unite the bones of the joint and serve to resist excessive or abnormal movements. Some joints, such as the sternoclavicular joint, have an articular disc that is attached to both bones, where it provides direct support by holding the bones together. Indirect joint support is provided by the muscles and their tendons that act across a joint. Muscles will increase their contractile force to help support the joint by resisting forces acting on it.

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By the end of this section, you will be able to: Describe the structural features of a synovial joint Discuss the function of additional structures associated with synovial joints List the six types of synovial joints and give an example of each Synovial joints are the most common type of joint in the body ( Figure 1).

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This article informed me about why cardio vascular training is so important for dancers and examples of exercises. it is important as it increases endurance which reduces the risk of injury, resulting in better career longevity.

The Ballet Blog, 2018, Cardio Training For Dancers - The Ballet Blog, Available at: https://www.theballetblog.com/portfolio/cardio-training-for-dancers/, [Accessed 11 December 2018].

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Cardio Training for Dancers

Many teachers and students struggle to find an appropriate cardiovascular training regime to complement their dance training. This is a very common issue in the dance world and much more research into the area definitely needs to be done in this extremely important area.

Often the aim of cardio training for dancers is to increase endurance, or to reduce body without increasing muscle bulk and this goes for girls as well as boys.

However there are many other benefits to a good cardio program, and it should be an essential element of any dancers training regime, no matter what their body type. As injury rates increase with fatigue, potentially improving a dancer's endurance may help prevent many of those injuries occurring.

If a dancer thinks that she should, or has been told that she should, lose weight, the immediate response is often to stop eating, which unfortunately is actually the last thing a dancer with a high training load should do!

Suddenly dropping your food intake can send your metabolism into a stress response, raising your cortisol levels, which can actually have the reverse effect on your body! The optimal strategy is one that encompasses dietary considerations (lots of fresh vegetables, lower GI choices and lean protein) as well as a sensible cardiovascular training regime.

What type of exercise?

When looking at the type of cardiovascular exercise, we advocate using interval training and choosing an activity that requires major muscle groups than the ones you use for dancing. In the case of male dancers, who often describe losing strength and endurance in their legs after power walking or running, choosing an activity such as swimming will raise their heart rate without overtraining the legs.

Why use interval training?

"Fartlek" or interval training is a fabulous way for dancers to increase their endurance and fitness. There are many studies that outline the usefulness of this method and theoretically are most similar to how dancers perform.

Very rarely would a dancer continuously dance at a lower intensity for 30-40 minutes. So why go for a 30-45 min jog? Fartlek or interval training basically uses relatively short bursts of exercise measured by time or distance with recovery time between bursts of exercise. The aim is to take your heart rate up to its maximum (as it would when you are dancing full out) and then train yourself to recover your breath and your heart rate as quickly as possible ready to go again.

Always take into consideration other areas of weakness

If you have previous or current issues with the front of your hips, the repetitive flexion in cycling MAY be best avoided. If you have trouble with your knees or back, then breaststroke should be avoided. Similarly, if you have issues with your shoulders in high ranges/overhead, then freestyle should be avoided.

Technique is of utmost importance!

This means that if you are a weak swimmer, swimming will not be the best type of exercise for you. Any type of exercise that does not place a huge repetitive load on the legs can be substituted. For example, a stationary bike on a low resistance with high speed.

How to measure your fitness

The best and easiest way to measure how hard you're working is to use your heart rate (HR) and to keep an eye on it as you progress over time.

You can measure your heart rate by simply feeling your pulse under the angle of your jaw and count the number of beats in 15 seconds.

Multiply that by 4 and you have beats per minute.

Alternatively, you might want to invest in a heart rate monitor, or look for an App on your phone (not suggested for use in the pool!).

Before you start training you need to work out a few numbers to make the most of this technique

1. Take the heart rate at complete rest (sitting down). This is your Resting Heart Rate (RHR).

2. Do a few minutes of gentle activity. A gentle walk, or a slow 2 laps in the pool. Stop and take your heart rate again. This is your Gentle Exercise HR (GE HR).

3. After a good warm-up, perform a short (30 second) sprint as fast as you can go then take your pulse immediately. This is your Maximal HR (MX HR).

NB Many sports science texts will have calculations of MX HR based on your ages, however, we believe that this is actually quite dangerous as not all 17-year-olds are created equal!

In this type of training we are aiming to: decrease your RHR and GE HR, increase your MX HR and reduce the time taken to recover from MX HR to GE HR.

This process challenges the mind and body to work together to increase the rate of recovery from exertion. It also places you in control of your own body and demands that they become responsible for working at an appropriate pace. Many dancers will want to go full out in everything they do; however, this is not necessarily the best option for cardiovascular training.

Seeking the advice of an Exercise Physiologist or trained coach is optimal to take into consideration the needs of every individual. The above guide is purely based on my professional training and personal experience.

Remember to listen to your body, and take it gently at first. 3-4 sprints may be all that you can cope with initially, especially if you are not used to training this way. However, after a few weeks, of 3 sessions of this per week, you should really start to notice an improvement in your endurance and capacity.

I do hope that this process makes sense and is easy to understand! Remember that this is a guide for an example of cardio training for dancers only as each of you are so different from one another. I hope that this gives you a few options and provides an incentive to get off your feet (meaning fewer foot injuries) and increase your endurance in some other ways!

Happy Training!

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Cardio Training For Dancers - The Ballet Blog

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Cardio Training for Dancers Many teachers and students struggle to find an appropriate cardiovascular training regime to complement their dance training. This is a very common issue in the dance world and much more research into the area definitely needs to be done in this extremely important area.

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National Institute of Dance Medicine and Science (NIDMS)

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National Institute of Dance Medicine and Science (NIDMS)

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I used this website to discover the aims of NIDMS which is to enhance dancers’ health, well-being and performance. I also used to to look deeper in to the types of research they do such as epidemiological research.

NIDMS, 2018, healthcare and research NIDMS United Kingdom [ONLINE], Available at: https://www.nidms.co.uk, [Accessed 10 December 2018].

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Dancers' education, healthcare and research, NIDMS, United Kingdom

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The National Institute of Dance Medicine and Science (NIDMS) aims to enhance dancers' health, welbeing and performance through high quality scientific knowledge and by providing better, more affordable access to dance-specific healthcare.

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I used this article to better understand One Dance UK’s aims such as: support everyone in the dance industry, advocate for the increased profile and importance of dance, enhance dancers’ health, well-being and performance nd provide opportunities and improve conditions for dancer.

One Dance UK, 2018, One Dance UK | About Us - One Dance UK [ONLINE], Available at: https://www.onedanceuk.org/about-us/, [Accessed 10 December 2018]

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This article helped me better understand muscle fatigue and its causes and symptoms.

Daniel Bubnis, 2018, What Causes Muscle Fatigue?, [ONLINE], Available at: https://www.healthline.com/health/muscle-fatigue, [Accessed 24 November 2018].

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You can develop muscle fatigue after exercise, but you can also develop it due to some medications or health conditions like anemia, dehydration, depression, and hepatitis C, among others.

At the start of exercising or when performing tasks, your muscles feel strong and resilient. However, over time and after repeating movements, your muscles may begin to feel weaker and tired. This can be defined as muscle fatigue.

Muscle fatigue is a symptom that decreases your muscles' ability to perform over time. It can be associated with a state of exhaustion, often following strenuous activity or exercise. When you experience fatigue, the force behind your muscles' movements decrease, causing you to feel weaker.

While exercise is a common cause of muscle fatigue, this symptom can be the result of other health conditions, too.

Exercise and other physical activity are a common cause of muscle fatigue. Other possible causes of this symptom include:

Muscle fatigue can occur anywhere on the body. An initial sign of this condition is muscle weakness. Other symptoms associated with muscle fatigue include:

If you begin having difficulty performing daily tasks or if your symptoms worsen, seek immediate medical attention. This could be an indication of a more serious health condition.

Treatment depends on the underlying cause of your muscle fatigue and accompanying symptoms. If you've been experiencing muscle fatigue, especially if it's unrelated to exercise, call your doctor. Your doctor will evaluate your medical history and symptoms to rule out more serious health conditions.

In many cases, your muscle fatigue will improve with rest and recovery. Staying hydrated and maintaining a healthy diet can also improve your recovery time, protect against muscle fatigue and weakness, and ensure you have enough nutrients to promote healthy muscle function.

Be sure to stretch before and after strenuous activity. Warming up can loosen your muscles and protect against injury. If your muscle fatigue persists, hot and cold therapy are techniques that can reduce inflammation and discomfort.

Other cases of muscle fatigue may require medical attention. Depending on your diagnosis, your doctor may prescribe anti-inflammatory or antidepressant medications. If your muscle fatigue is more severe, you doctor may recommend physical therapy to increase your mobility and speed your recovery. Discuss your options with your doctor before pursuing treatment.

Muscle fatigue decreases the amount of force you use to perform muscle actions. This symptom is often considered no cause for alarm unless your fatigue doesn't improve with rest.

In more severe cases, muscle fatigue can be an indication of a more serious disorder. Left untreated, this condition can lead to overwork and increase your risk of injury. Do not self-diagnose. If your muscle fatigue is paired with other irregular symptoms or if your condition doesn't improve after a few days, schedule a visit with your doctor.

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Muscle Fatigue: Causes, Symptoms, and Treatment

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Muscle fatigue is a symptom that decreases your muscles' ability to perform over time. As you exercise, over time your muscles may begin to feel weaker and tired. This is muscle fatigue. But exercise isn't the only thing that can cause muscle fatigue. Learn the symptoms of muscle fatigue and its many causes.

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This imaged help me understand the different types of fractures.

Justin Howse, 2014, Dance Technique and Injury Prevention, third, [ONLINE], London, Routledge, Available at: https://ebookcentral.proquest.com/lib/bolton/reader.action?docID=1702057, [Accessed 14 December 2018].

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This diagram helped me better understand the symptoms and effects of the Female Athlete Triad.

Elizabeth A. Joy, 2014, 2014 female athlete triad coalition consensus statement on treatment and return to play of the female athlete triad, [ONLINE], Available at:https://www.semanticscholar.org/paper/2014-female-athlete-triad-coalition-consensus-on-to-Joy-Souza/85d528e73a1bf0246c011f03db73e32cdf2a253e, [Accessed 26 November 2018].

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This article gave me a better understanding of the different types of muscle fibres and when each of them are used.

TeachPE.com, 2018, Muscle Fibre Types [ONLINE], Available at:https://www.teachpe.com/anatomy/fibre_types.php, [Accessed8 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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This video helped me understand plyometric training and is an example for a good exercise to strengthen the power in the legs.

Brent Bishop, 2011, Body Fuel Brent Bishop Plyometric Box Jump [ONLINE], Available at:https://www.youtube.com/watch?time_continue=90&v=RxuE5OL2QQ8, [Accessed 5 November 2018].

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BODY FUEL   BRENT BISHOP   PLYOMETRIC BOX JUMP

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This diagram taught me  about the muscles in the legs which are used for jumping.

Leslie Samuel, 2018, The Muscular System: How We Move Around [ONLINE], Available at: http://www.interactive-biology.com/3373/the-muscular-system-how-we-move-around/, [Accessed 1 November 2018].

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This image helped me understand the names of the bones and where they are in the body so I can link them to my dance practice.

Warren Andrew, 2018, Human Skeletal System | Anatomy [ONLINE], Available at: https://www.britannica.com/science/human-skeletal-system, [Accessed 1 November 2018].

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I used this article to learn about which types of fitness are important for dancers and why.

International Association for Dance Medicine & Science, 2011, Resource Paper: Dance Fitness - International Association for Dance Medicine & Science [ONLINE], Available at:https://www.iadms.org/page/303, [Accessed 30 October 2018].

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International Association for Dance Medicine & Science

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404 | International Association for Dance Medicine & Science