# data[].attributes.headline
Introduction to Professional Practice Essay

# data[].attributes.subject
Introduction to Professional Practice Essay

# data[].attributes.attachment_link.title
Health and Wellbeing in the Dance Industry Final

# data[].attributes.body
Below mentions all facilities and care that Urdang offer  for their students in order to assist in their health and wellbeing.

Urdang Academy. 2018. Health And Wellbeing. [ONLINE] Available at: https://theurdang.london/life-at-urdang/health-and-wellbeing/. [Accessed 11 December 2018].

# data[].attributes.attachment_link.readable_text
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.

# data[].attributes.attachment_link.description
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.

# data[].attributes.body
Below is an article I read which explains the problems it can produce on dancers and how it can affect their training.

Howell. L, The Ballet Blog.. 2015. Is Overstretching Bad?. [ONLINE] Available at: https://www.theballetblog.com/portfolio/is-over-stretching-bad/. [Accessed 11 December 2018].

# data[].attributes.attachment_link.readable_text
I have kept quiet about this particular issue for some time because I have always tried to focus on the positive rather than criticise anyone else's training, but some of the things I have seen recently online are getting ridiculous. I am also being asked more and more frequently for a post that teachers can direct the parents of their students to, to explain the reasons why this type of training must be done very carefully. So, with huge thanks to my dad Mike Howell for the cartoons, here goes!! For information on the cartoon book that has been created with these images CLICK HERE

The mere fact that so many people ask me this question seems to indicate that they know that it is... But why is it bad? And what can we do to still achieve amazing mobility without unnecessary risk of damage?

Just to clarify - I have no issues with extreme mobility when achieved safely, and combined with the appropriate control. In fact, much of the work I do with the high level, truly elite children is focused exactly on this. Our Level One Teacher Training workshop focuses on how to train each type of body and work with specific restrictions to develop optimal mobility and control in all dancers. However we focus on achieving this through educated and intelligent, up to date, smart ways, to avoid any potential issues, and the students are educated to manage their own bodies.

The level of performance in all styles of dance has accelerated massively in the last few years, and as such the training techniques to support this have changed dramatically. Unfortunately this means that we have limited knowledge as to the long term effects of these techniques and many people are quite rightly concerned at what is going on under the surface. While other disciplines such as Rhythmic Gymnastics and Contortion have been over stretching and training in extreme ranges for years, there is still little formal research on the long term effects of this kind of training on the individuals involved.

While it is true that there are some bodies that survive training like this, there is a huge attrition rate along the way, and many people advocating extreme training have no idea of the long term trouble they may be causing.

Every day in my role as a Physiotherapist I see people suffering from old injuries sustained by over stretching, repeated extensions and excessively mobile and unstable jo ints from early training. Unfortunately the slow and hard rehab that so many people have to go through to just be able to live a normal, pain free life is not so dramatically entertaining so doesn't get the coverage that dramatic photos and videos of performances involving extreme flexibility do.

The general view is that over stretching is taking any joint past its natural physiological range, and especially stretching the ligaments that normally help support the joint, so that it becomes more mobile. Over stretching may also be where the individual is forced into position resulting in traumatic damage to the tissues that previously restricted range.

Many young students, especially those who already have hypermobility, are being put in ranges that overload one particular area, in their desire to achieve dramatic ranges of flexibility. I feel so sad that so many people are thinking that this is a good idea, and great entertainment, when they have no idea what the true cost is.

To answer these questions as clearly as possible, I have put some brief pointers below, but am also putting together a series of more comprehensive posts, each one dealing with a different position or issue, combined with some fabulous cartoons (courtesy of my amazing Dad - Mike Howell) to illustrate the potential dangers dangers and considerations of over stretching. Keep an eye out for each one as it is released:

6. What is the long term effect on these students hips, back and knees as they move from being a passionate young dancer into either a professional dance career, a teacher, or a 'normal' person trying to live a healthy life?

Excessive mobility in any joint requires more fine, co-ordinated control of the stabilising muscles around it and will require a huge amount of dedication to 'rehab' style exercises to remain pain free. It is essential that dancers have good postural control and endurance, and spend time keeping each joint healthy to avoid the pain associated with excessive mobility and joint degeneration. Without this strength and articulation, individuals are often plagued with long term back and hip pain that can be very hard to treat due to the instability of the joints.

7. Is there another way of achieving the same level of mobility safely?

Simply put, I consider stretching into the direction you want to go the slowest and most dangerous way of actually getting there. Pushing into a restriction often engages a reflex contraction of the tissues which will have to be pushed through, potentially causing soft tissue (or ligament/capsular) damage. Instead of over stretching and forcing young bodies into the direction that they are trying to achieve, I focus on using that 'stretch' as a test, analysing what is actually causing the restriction, then performing calculated, specific mobilisations, and releases of those individual structures. Then, when the movement is tried again, it is much easier. This can all be done without pain or the risk of damaging muscles or ligaments.

Working correctly with the fascial system can also give enormous increases in mobility with no risk of damage. Our understanding of the nature of fascia has exploded exponentially in the last 20 years, and it no longer means aggressively using a Foam Roller or Deep Tissue Massage. Fascial mobilizations such as the Thoracic Mobilisers and Hamstring Mobilisers may feel very easy to do, but can have a profound effect on your mobility.

For instance; a Google search on the word "Fascia" in 2001 gave approximately 1500 entries. Search for that word now and you will get "approx 48,000,000"....! It is essential that we upgrade our training techniques to "move with the times" and use this amazing new research in the best possible ways.

Students must learn to work with their own body, and how to be sympathetic with its quirks rather than fighting it, resulting in greater, more usable flexibility, with far less risk of injury. I have turned my attention to training teachers and health professionals safer ways to work with their dancing students to make dance training safer world wide. For detail on the Level Two Flexibility course,

While many adults find PNF or Contract / Relax stretching an effective way to increases their mobility, I do not believe that this technique should be used in students under the age of 16. Many major muscles, including the hamstrings and quadriceps attach onto major growth plates. Aggressive stretching during periods of growth may result in Avulsion Fractures (where a fragment of bone is torn away from the main bone). These injuries are often hard to rehab and often require a long time off dancing to do so.

9. Why can some people do it easily and others can't?

Physiologically, we are all different. Some people naturally have more mobility in their ligaments than others and will find it easy to go into some positions. Often the ones who find it easy need the most care, as their ligaments will be less resilient long term. I have seen many students posting photos of their excessive mobility online who I suspect have undiagnosed Ehlers-Dalos Syndrome. If a student has this condition, it is even more important to ensure that their training does not over stretch their already weak tissues.

Classifications vary, but it is important for all teachers to know the differences between the following:

Individuals with more mobility in their joints will often also find it harder to sustain a good postural position, resulting in constantly sore lower back and neck muscles. Those with Joint Hypermobility Syndrome or Ehlers Danlos Syndrome may also have issues with their bladder and bowel as all of their connective tissue is affected.

If you are involved in training young students it is very important to be aware of the possible dangers that exist, and to understand that training young adolescents is different than training adults. It is our responsibility to learn the safest possible ways for them to achieve their goals, as well as educating them on the appropriateness of their goals to their chosen career. This is why I am putting so much effort into developing comprehensive teacher training courses to give teachers and health professionals the skills to help students do amazing things safely.

I am very worried about what is going on in some "master classes" and workshops where average kids are being forced into positions, with the promise that it will make them famous - when in reality it is more likely to injure them. Forceful over stretching in one session is not the way to get more mobile.

Over stretching excessive joint mobility is different to excellent flexibility and is not a requirement for success as a professional dancer. We need to be thinking of our students as human beings with so much potential, not just disposable performing ponies. I can say for sure that if I am ever blessed with a daughter I will certainly not be letting her put her body at such risk for the sake of someone else's entertainment. There will always be someone who is willing to do this - but I anticipate a very long life and I would rather she enjoy all of it!

I also do not subscribe to the suggestion that performing at an elite level has to result in long term damage! My focus is on giving athletes long, sustainable careers, where their body is continually honed, refined, and specifically trained to achieve the ultimate level of performance. This in turn makes them an exceptionally high functioning human being beyond their performing career. This does take time and effort, but the results are well worth it.

I hope this all makes sense, and answers all of the questions that have been put forward. I will continue adding articles on this topic, so keen to hear your feedback, and anything I may have missed!

Lisa Howell

Flexibility Resources

If you are looking to delve deeper into this topic, check out the following programs:

Front Splits Fast Program: This program translates therapeutic techniques for improving Fascial Mobility and Neural Tension into easy to do exercises that can enable instant changes in your flexibility without the risk of damage through over stretching.

Level Two Online Flexibility Intensive: If you are a dance teacher, this is the perfect continued education course for you. During this course you will understand the multifactorial nature to flexibility training. You will also explore safe ways of assessing exactly where each individual is restricted in order to create the most effective program.

Level Three Online Flexibility Intensive on 'How to Train Extreme Mobility Safely': This workshop will help you assess your students in detail and be able to offer them effective techniques in a logical clear order to get them on the way to achieving THEIR optimal flexibility. It is also for teachers who are concerned at the extreme positions young dancers are wanting to work into, as it gives you safe guidelines on how to guide their development.

# data[].attributes.attachment_link.title
Is Over Stretching Bad? - The Ballet Blog

# data[].attributes.attachment_link.description
I have kept quiet about this particular issue for some time because I have always tried to focus on the positive rather than criticise anyone else's training, but some of the things I have seen recently online are getting ridiculous.

# data[].attributes.body
Below is an image of myself performing an overstretch, which is seen through the way in which I have placed my right foot which is not touching the wall however it is brought forward while I push against the wall to try and deepen the stretch, adding pressure to the ligaments in my knee.

# data[].attributes.body
Below is an Article I read , that mentions how Dance Medecine and Science colleagues are continuously ensuring there are several strategies of injury prevention in today's industry.

Elsa Urmston. 2015. An Introduction To Dance Injury. [ONLINE] Available at: https://www.iadms.org/blogpost/1177934/218813/An-Introduction-to-Dance Injury. [Accessed 27 November 2018].

# data[].attributes.attachment_link.readable_text
Well, it's the moment that all dancers and their teachers dread. Sustaining an injury in dance can be at best, a 'momentary' interruption to dance training and performance, at worst a career-ending catastrophe. Thankfully, dance medicine and science colleagues have produced a vast range of conditioning and injury prevention strategies to enable dancers to be stronger and ever more versatile, as well as take ownership over injury if, as and when it might occur. Yet of course, by just looking at the repertoire of our modern dance and ballet companies, we can see that choreographers and audiences have increased their expectations of what the human body can achieve. Injury remains a very real possibility.

Improving awareness of dance injury, in terms of how and when it might occur, and ensuring dancers know about injury care, can play a large part in the successful rehabilitation and timely return to dancing. This blog post is one in a series which introduces dance injury. Subsequent posts will focus on how we might be able to prevent dance injury in the first place, through screening for dancer health and wellness, and by ensuring dance educators' practice is safe and effective for all involved.

Research suggests that the most commonly perceived causes of injury were cited as 'fatigue' and 'overwork', along with repetitive movements amongst dancers and managers alike. Organisations such as IADMS, Dance UK and Harkness Center for Dance Injury amongst many other dancer wellness initiatives, all advocate for optimising dancers' training and performance through supporting dancer fitness and conditioning, ensuring sound biomechanical function in dancing and promoting an autonomy supportive environment for dancers to flourish. New research from ArtEZ Institute for the Arts in Arnhem, Holland has sought to reconceptualise how the undergraduate dance curriculum is shaped to maximise performance through the principles of periodisation. The programme year is designed as a series of macro- and micro-cycles in which the training intensity alternately increases and decreases, ensuring that the dancer develops and recovers without causing staleness or overtraining. The approach has seen a significant reduction in injuries and less course dropout since the instigation of this system. Take a look at this easy-read overview of the project at ArtEZ here.

So what actually happens when I sprain my ankle or strain a muscle?

Essentially, if cells become damaged, the body releases a number of chemicals that create an inflammatory response, usually resulting in swelling, redness, heat, pain and loss of function. Inflammation is the body's natural response in promoting new cell growth, and is a necessary stage of the healing process. The injury process can be conceptualised like this:

How can we help our dancers manage injury in the short-term?

Try and help your dancers remember the acronym PRICED - it's an invaluable first aid guide to immediate treatment which can be self-administered, and when used in the first minutes and hours after injury can help in controlling pain and inflammation and assist in the safe return to dancing.

And in the first few days after injury, help them to avoid HARM too.

And what about managing injury more long-term?

Drawing on some of the most recent research findings about injury, such as the periodisation work at ArtEZ, the growing body of research-informed practice around screening dancers and the importance of safe dance practice, we should be seeking ways to embed these examples of best practice in our work to minimise the likelihood of injury first and foremost. But in managing injury more long-term, we should aim to reduce swelling, restore proprioception (awareness of where the body is in space without relying on the visual system), maintain cardiovascular health and ensure a healthy, balanced and varied diet to facilitate healing. IADMS have a very accessible resource paper full of practical ideas about First Aid for Dancers here.

In the UK the establishment of the National Institute of Dance Medicine and Science means that through shared expertise and a network of multidisciplinary partners, better and more affordable, high quality, evidence-based, dance specific health care and dance science support services are being offered to dancers across the sector. Please check out their website.

In the USA the Harkness Center for Dance Injury is dedicated to providing the dance community with the highest quality injury care and preventative resources. Harkness offers many subsidized and free services including orthopaedic and sports medicine clinics, physical therapy and athletic training services, and injury prevention lectures and workshops. Please check out their website.

If there are other support services in your locality not listed here, please do add them in the comments box below.

For information about dance injury and treatment have a look at the following recommendations:

Laws, Helen. Fit to Dance 2-Report of the second national inquiry into dancers' health and injury in the UK, 2005.

Solomon, Ruth L., John Solomon, and Sandra Cerny Minton, eds. Preventing dance injuries. Elsevier, 2005.

For more information about optimising dancers' fitness have a look at these texts too:

Welsh, Tom. Conditioning for dancers. University Press of Florida, 2009.

Krasnow, Donna and Jordana Deveau. Conditioning with imagery for dancers. Thompson Educational Publishing, 2010. Additionally there are some useful introductory videos on Krasnow and Deveau's approach here.

Don't forget to watch out for our forthcoming posts continuing this series about preventing dance injury.

Elsa Urmston MSc PGCAP AFHEA is the DanceEast Centre for Advanced Training Manager, Ipswich, UK and a member of the IADMS Education Committee.

Email: elsa.urmston@danceeast.co.uk

# data[].attributes.attachment_link.authors[].name
International Association for Dance Medicine & Science

# data[].attributes.attachment_link.title
An Introduction to Dance Injury - International Association for Dance Medicine & Science

# data[].attributes.attachment_link.description
Well, it's the moment that all dancers and their teachers dread. Sustaining an injury in dance can be at best, a 'momentary' interruption to dance training and performance, at worst a career-ending catastrophe.

# data[].attributes.headline
Rehabilitation and Injury Prevention Exercises

# data[].attributes.subject
Rehabilitation and Injury Prevention Exercises

# data[].attributes.body
Below is a video that portrays how simple exercises after an injury can strengthen certain parts of the body for the future, preventing more injuries, and again linking back to the topic of career longevity

IUHealth. (2013). How To Treat an Ankle Sprain. [Online Video]. 27 September 2013. Available from: https://www.youtube.com/watch?v=8ncPlR_2_Lg. [Accessed: 27 November 2018].

# data[].attributes.attachment_link.title
How to Treat an Ankle Sprain - IU Health

# data[].attributes.body
Below is an Article I found, that focuses around the physical demands of a dancer, and what is required of them to become both athlete and artist.

Dance Consortium. 2014. Dancers as Athletes. [ONLINE] Available at: http://www.danceconsortium.com/features/article/dancers-as-athletes/. [Accessed 27 November 2018].

# data[].attributes.attachment_link.readable_text
As knowledge about the body increases, dance training improves and the competition for excellence paired with innovation is greater, dancers bodies are pushed to the limits. The physical ability and disciplines expected of a dancer can be easily related to those of an athlete and increasingly, dance critics are describing dancers as athletic.

So, can we consider dancers as athletes? Why might some people in the dance profession and in sport be unwillingly to accept this concept?

Firstly, let us consider the definition of athlete; a person trained or gifted in exercises or contests involving physical agility, stamina, or strength; a participant in a sport, exercise, or game requiring physical skill. A dancer must certainly achieve physical agility, stamina and strength in their profession and physical skill must be mastered. Daily training involves repetition of exercises to achieve the physical attributes necessary to execute movements required of a dancer, however the focus is not on sport or games. Whilst many dancers will compete in contests and will audition against other dancers for a place in a company the real emphasis in dance is on the performance itself. There is an element of competition across the dance profession but the reward is a particular role in a company or a promotion from chorus to soloist rather than a gold medal.

Dance critics have described dancers of Rambert Dance Company as 'elegant and athletic', Alvin Ailey's dancers as having 'athletic beauty' and the moves of Company Kafig as 'athletic feats'. Each company mentioned is known for their very different styles however the common thread here is athleticism which in these instances is seen to refer to physical skill and fitness. The term athletic when associated with a company will always form an image alongside other adjectives used, as well as the company's past history. For example Rambert's Dancers as elegant and athletic reflects their classical ballet past but still indicates their extreme physical ability.

One might compare the life styles of athletes and dancers and the similarities may be surprising to some. Due to the physical demands placed on the body health, diet and self-discipline are all crucial to both dance and athletics.

The careers of both dancers and athletes are threatened by injury and therefore the conditioning and care for the body are similar. Exercise models such as Pilates are designed to complement the needs of athletes and dancers alike without making a distinction. A career in either profession is likely to begin at a young age and end by the time they are 40 due to the extreme physical nature.

The thrust of dance as fitness into mainstream media has made dance popular as a means of keeping in shape. When an audience member who has experienced dance goes to see a professional company they may appreciate better the skill and physical fitness required to achieve such feats. When dance critics describe companies as athletic readers may relate to the concept through experience of athleticism at the gym or on the football field. Dance companies who promote themselves as athletic such as Australian Dance Theatre may find that this connects then to their target market and they draw in new audiences.

With hip hop dance hitting the major theatres it becomes apparent that the 'athletic feats' referred to are what make this dance so popular. It could be argues that the moves that receive cheers from the audience are all about physical virtuoso and little to do with artistry. However, the hip hop culture demands a certain confidence and flair alongside the physical skill and it is these qualities that make the movements impressive.

Often dancers described as athletic such as Australian Dance Theatre have trained in many different genres giving them powerful muscular physiques and an element of attack in their movement. In the case of ADT the Artistic Director encourages his dancers to train in capoeira and martial arts alongside dance in order to increase their physical strength and breadth of movement to accomplish the daring physical feats prevalent in the choreography.

Whilst it is clear that the physical attributes of a dancer are similar to those of an athlete, dance is considered an art form and there is much more to the art than physical skill and virtuosity. Musicality, expression and creativity are often included in the criteria of what makes a good dancer. In auditions and competitions the technical skill of a dancer can be near to perfect but if they do not have the ability to evoke the viewers and dance with the music then they will not necessarily fulfil the criteria. Dancers may be feel that if they are described as athletic their ability is being reduced to their physical skill alone whereas it is the joy of dance that will drive a dancer to continue their training at such a pace for so many years.

In many respects dancers are athletes but they are also artists and it is this combination that makes for a stunning emotional and physical performance.

# data[].attributes.attachment_link.description
Touring the best international dance around the UK

# data[].attributes.headline
Pie Chart of The Correct Food Consumption of A Dancer

# data[].attributes.subject
Pie Chart of The Correct Food Consumption of A Dancer

# data[].attributes.body
Anne, (2009), Pie Chart [ONLINE]. Available at: https://www.fannetasticfood.com/ [Accessed 20 November 2018].

# data[].attributes.headline
Video 1 - A Comparison of Strength Training Past vs Present: Past

# data[].attributes.subject
Video 1 - A Comparison of Strength Training Past vs Present: Past

# data[].attributes.body
Fahriye Demir. (2018). Natalia Osipova Warm-Up Royal Ballet. [Online Video]. 10 May 2018. Available from: https://www.youtube.com/watch?v=jblxjViguWs. [Accessed: 6 November 2018].

# data[].attributes.attachment_link.title
Natalia Osipova (Наталья Осипова) Warm-Up Royal Ballet

# data[].attributes.headline
Video 2 - A Comparison of Strength Training Past vs Present: Present

# data[].attributes.subject
Video 2 - A Comparison of Strength Training Past vs Present: Present

# data[].attributes.body
Caspar Stadler. (2017). The Ballerina Workouts - Episode 1 Strength. [Online Video]. 6 February 2017. Available from: https://www.youtube.com/watch?v=wofPbxSqHfg&t=555s. [Accessed: 6 November 2018]

# data[].attributes.attachment_link.title
The Ballerina Workouts - Episode 1 Strength

# data[].attributes.body
Enchanted Learning, (2018). Human Skeleton [ONLINE]. Available at: https://www.enchantedlearning.com/subjects/anatomy/skeleton/Skelprintout.shtml  [Accessed 12 November 2018].

# data[].attributes.headline
Image 2: A Commercial Dancer Compared to A Ballet Dancer

# data[].attributes.subject
Image 2: A Commercial Dancer Compared to A Ballet Dancer

# data[].attributes.body
Katie Fitzpatrick, (2015), Review: Nicki Minaj @ Manchester Arena, Saturday April 4, 2015 [ONLINE]. Available from: https://www.manchestereveningnews.co.uk/whats-on/music-nightlife-news/review-nicki-minaj--manchester-8983279 [Accessed 7 November 2018].

# data[].attributes.attachment_link.readable_text
Sometimes the diva that is Nicki Minaj, with her brightly coloured wigs and outlandish wardrobe, can appear more cartoon than pop star.

But rest assured, standing in front of us in her full glory here in Manchester, she is very much real and larger than life.

Dressed in a black bra and flowing black lace skirt, the Trinidadian rap queen starts powerfully with a selection of slow jams including All Things Go, I Lied and a The Crying Game, and her rapping is on fire.

Scroll down for a picture gallery of Nicki Minaj in action on her tour...

Then she breaks into a megawatt grin and launches into a Drake collaboration mega mix, but without Drake - the astoundingly saucy Truffle Butter and then the poignant Moment 4 Life, bringing everyone to their feet.

The costume changes are just as exciting as her rhymes - bras, knee-high boots and rarely anything to cover that famous derrière. And quite rightly so. I would stride around in hot pants constantly too if I was Ms Minaj. And she's in full twerking flow for Anaconda, which samples Baby Got Back by Sir Mix-a-Lot for a celebration of the curvy female form.

She calls a halt to all the high energy grinding to sing the soulful piano ballad Pills N Potions, Marilyn Monroe and Grand Piano wearing a flowing hot pink gown before sinking slowly through the floor.

Then she's back to hit us with her Super Bass, leading a feisty conga line of scantily dressed dancers in nude coloured tutus and sparkly bras.

There's a very cute moment when Nicki calls three gobsmacked fans, including an excited Abbie from Heywood, up to share stage time with her. And they can't believe their luck.

And there's more crowd interaction when she tries out her English accent on us to demand tea and scones. But she's best advised sticking to rapping and doing what she does best - shaking it with exuberance as demonstrated on the breathtaking jam of Trini Dem Girls.

The pocket rocket rapper has a serious moment when she pleads with her young fans to go to school. And she tells her 'Barbz' to 'never rely on a man to take care of you you're whole life. You're the boss.'

New song The Night Is Still Young is a melancholy-tinged party track and bangers Pound The Alarm and Turn Me On are irresistible fun. Her famous rapping moment on Bang Bang appears only on tape as her crew hurls souvenir T-shirts into the adoring crowd, but people still dance in the aisles.

She brings the show to an end on top form with Starships, which has us all leaving the arena still in full flight with joyous abandon.

Setlist

# data[].attributes.attachment_link.title
Review: Nicki Minaj @ Manchester Arena, Saturday April 4, 2015

# data[].attributes.attachment_link.description
The M.E.N's celebrity blogger Katie Fitzpatrick was at the arena as the Queen of rap headed up to Manchester on her UK tour

# data[].attributes.headline
Image 1 - A Ballet Dancer Compared to Commercial Dancer

# data[].attributes.subject
Image 1 - A Ballet Dancer Compared to Commercial Dancer

# data[].attributes.body
Ali Castro and Jennifer Stahl, (2015), Your Body Tips [ONLINE]. Available from: https://assets.rbl.ms/9659075/origin.jpg [Accessed 7 November 2018].

# data[].attributes.body
Examples of the foods a dancer should consume in their everday life, to gain energy which will eventually  impact their career longevity -

New Health Guide. 2018. The Eatwell Plate Percentages. [ONLINE] Available at: http://www.newhealthguide.org/The-Eatwell-Plate-Percentages.html. [Accessed 4 December 2018].

# data[].attributes.attachment_link.description
We're a group of food, farming, nutrition and environment experts who believe in a healthy, balanced and sustainable diet, where all foods have a role to play.

# data[].attributes.body
This video portrays the different style of clothing each dancer is wearing, portraying a more lenient side to the dance industry, in comparison to Ballet.

Astrid Figueroa-Lee. (2018). Commercial Dance Clothing. [Online Video]. 6 November 2018. Available from: https://www.facebook.com/. [Accessed: 12 November 2018].

# data[].attributes.headline
Video 3 - Demonstrating  Dance then vs Now

# data[].attributes.subject
Video 3 - Demonstrating  Dance then vs Now

# data[].attributes.body
thatislame. (2007). Nike JUST DO IT dancer vs ballerina ad. [Online Video]. 6 November 2007. Available from: https://www.youtube.com/watch?v=06ooGrzi0KU. [Accessed: 6 November 2018].

# data[].attributes.body
This image demonstrates the importance of staying hydrated, which is essential in a dancers diet, to ensure they stay healthy, providing them with career longevity.

Avni Kaul, (2018), Drink More Water [ONLINE]. Available at: http://www.isayorganic.com/blog/drink-water-avni-kaul/ [Accessed 20 November 2018].

# data[].attributes.body
Below is my weekly documented meal plan, as well as alternatives that can also be consumed as healthy meals: