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https://search-proquest-com.ezproxy.bolton.ac.uk/docview/1017884396?pq-origsite=summon

https://search-proquest-com.ezproxy.bolton.ac.uk/docview/346116344?pq-origsite=summon. Uses examples. Brilliant source

https://search-proquest-com.ezproxy.bolton.ac.uk/docview/753500609?pq-origsite=summon

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What is burnout
symptoms

https://dancingopportunities.com/how-much-is-too-much-dancers-and-the-risks-of-burnout/

List short term and long term burnout issues for dancers

management

conclusion: If Dancers are aware of the signs and symptoms of burnout then they can prevent it much quicker. This can then result in them not having to recover from the full burnout itself. to prevent or 'reverse' burnout will then not disturb the bodies function in performances and rehearsals or affect the immune function.

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Abstract

The ankle is an important joint to un- derstand in the context of dance because it is the connection between the leg and the foot that establishes lower extremity stability. Its function coordinates with the leg and foot and, thus, it is crucial to the dancer’s ability to perform. Fur- thermore, the ankle is one of the most commonly injured body regions in dance. An understanding of ankle anatomy and biomechanics is not only important for healthcare providers working with danc- ers, but for dance scientists, dance instruc- tors, and dancers themselves. The bony architecture, the soft tissue restraints, and the locomotive structures all integrate to allow the athletic artistry of dance. Yet, there is still much research to be carried out in order to more completely under- stand the ankle of the dancer.

Conclusion

A properly functioning ankle is fun- damental to success in dance. While the ankle injury rate in dance is high, it may be surprising that it is not even higher given the long hours of rehearsing and performing. Studying clinically-oriented anatomy and bio- mechanics of the ankle will help dance medicine practitioners, dance scien- tists, dance instructors, and dancers understand the intricacies of the ankle in this art form. The bones, ligaments, muscles, and tendons, along with the nervous and cardiovascular systems, provide the functional framework for the beauty, artistry, and athleticism of the various genres of dance. There is ample fertile ground for future research into the ankle function of dancers. Particularly in classical bal- let, the only physical activity in the world requiring repetitive movement from maximum forced dorsiflexion to maximum forced plantar flexion, there is much knowledge still to be gained beyond the currently available investigations of the ankle in non- dancers and sports participants.

https://wlv.openrepository.com/bitstream/handle/2436/106627/Dance-Russell+et+al_Anatomy+&+Biomechanics+of+the+Ankle_JDMS+2008.pdf;jsessionid=394AA71875EEFB534C8C618DCE4039CE?sequence=1

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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5455185/

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https://youtu.be/afHUpzMmaUk

One Dance UK is the sector support organisation leading the way to a stronger, more vibrant and diverse dance sector.  We provide one clear voice to:

Support all those working in the sector to achieve excellence in dance performance, education and management

Advocate for the increased profile and importance of dance in all its diverse forms and settings

Enhance dancers’ health, well-being and performance

Identify gaps, provide opportunities and improve conditions for dance to be learnt, discussed and seen

We provide membership packages for a range of individuals and organisations to support, advise and connect people across the dance sector.

Our aim is to create a workforce that is well-equipped to secure dance’s prominence in the cultural landscape of the future. We do this by providing services, information and opportunities for:

Dance organisations

All dance professionals including:

Dance artists and choreographers

Dance teachers, educators and practitioners

Dance managers and producers

Dance medicine and science/research professionals

All children and young people

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Myths and facts about dance and the body

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Myths and facts about dance and the body

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MYTH:
"Warming up before classes/rehearsals is the same as being warm"
FACT:
'Warming up involves physically preparing the body for increased physical exertion such as class, performance or rehearsal. In a 'warmed up body', blood flow to muscles and joints is increased, thus improving their performance ability'.

MYTH: “Better dancing comes from doing more classes”
FACT: Repetition and over-use are common risk factors in certain types of injury.

By diversifying your physical activities, you bring benefits of increased aerobic activity, strength and muscle balance to your dancing ability. If an injury does occur, training can still continue using the concept of “relative rest.” This means resting the injured part while maintaining fitness with some appropriate activity.

MYTH: “You can’t be too flexible”FACT: Flexible joints which are not protected by adequate muscle strength are liable to injury.

Strength comes from high loads not extra repetitions. Regular guided use of a gymnasium can improve and balance strength while maintaining flexibility.

MYTH: “No pain no gain”FACT: Pain signals can only be interpreted by the person experiencing them.

Be aware of your own level and tolerance of pain and use them as a guide to avoid injury when increasing workload, or re-injury after a class. There is no gain to be made by working through pain, fatigue, illness or injury. During class and when learning a new technique, start slowly and progress gradually.

MYTH:
"dancers shouldn't run"
FACT:
"running is an excellent method of training the cardiovascular system....."

http://www.mygroupfit.com/printeducationarticle.aspx?article=3415

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One Dance Uk, Represent dancers at all different levels of the industry, and advocates excellence in dance technique education, performance, health, youth dance, overall well-being, management, leadership and career development.

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‘NIDMS’ (National Institute of Dance Medicine and Science), is an association thats aim is to enhance “dancers health, wellbeing and performance” (2017 National Institute of Dance Medicine and Science) through the research of dance medicine and science. There findings and work is disseminated across the dance sector and health community through acts in the form of educational workshops, conferences and also publications.

The information that is supplied is crucial for dancers and teachers/instructors to remain up to date with the latest dance science research. If more dancers and instructors were aware of the knowledge and practise of these associations, then dancers health, wellbeing and performance could be improved, impacting the career longevity of dancers.

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The physics of the "hardest move" in ballet - Arleen Sugano

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The physics of the "hardest move" in ballet - Arleen Sugano

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The physics of the "hardest move" in ballet - Arleen Sugano

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Biomechanics of Dance with Margaret Wilson

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Biomechanics of Dance with Margaret Wilson

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Biomechanics of Dance with Margaret Wilson

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It is a medium that plots motion, usually human motion, converting it into data that can be represented visually and spatially in limitless projected forms. Major motionof the body such as the movement of limbs, head and torso are tracked using sensors or markers attached at strategic points on the body.

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Motion capture cameras will be used to document and resource dance movements in an upcoming EU-funded project, bringing the industry a new form of immersive teaching materials and documentation of the beauty of the sport.

Wholodance

The Wholodance project is part of the Horizon 2020 programme that takes place from January 2016 for 36 months, using a EU contribution of more than €3 million.

It aims to apply new technologies to dance to help in the areas of research and investigation, preserving the cultural heritage of dance genres, enhancing dance teaching and widening its accessibility and practise.

This aims to help breakthrough learning to dance researchers, professionals and students.

A stage built by Schram Studios has been kitted out with Vicon cameras to track and capture the dancers - providing the research team with real-time information as well as encouraging the dancers to move around as much as possible, experimenting with new movements.

A life-size volumetric display will let students step inside the dance master's body through the use of motion-capture data; responsive through the mix of physical and virtual bodies.

Investigate Bodily Knowledge and Enhance Dance Teaching

A motion capture dance library is also in the pipeline, with choreographers and teachers given access to the tool allowing an infinite number of dance compositions.

The idea is for the digital catalog of movements to be created and built upon, as a heightened way to share ideas and work together on new concepts.

Preserve cultural heritage

The research will investigate the movements of ballet, flamenco, Greek folk and contemporary dance and transfer these movements into digital art.

By documenting sequences of steps particular to each dance form, the project aims to preserve the cultural heritage of each genre.

Widen Access of Dance

The holograms are expected to be accessible through a dance database commercially available to consumer grade motion capture devices, such as Intel's Real Sense.

Vicon

Vicon supplies motion-tracking systems and match-moving software in areas such as sports performance, research and biomechanics, as well as robotics, film, gaming and visual arts.

In 2013 they launched Cara, a head-mounted 3D facial motion capture system.

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See How Cool Motion Capture Is When It's Used for Dance

# data[].attributes.attachment_link.description
Motion capture cameras will be used to document and resource dance movements in an upcoming EU-funded project, bringing the industry a new form of immersive teaching materials and documentation of the beauty of the sport. The Wholodance project is part of the Horizon 2020 programme that takes place from January 2016 for 36 months, using a EU contribution of more than €3 million.

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Association for Computing Machinery (ACM)

# data[].attributes.attachment_link.title
Is Motion Capture-Based Biomechanical Simulation Valid for HCI Studies? Study and Implications

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Electromyographic analysis of grand-plié in ballet and modern dancers.

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Electromyographic analysis of grand-plié in ballet and modern dancers.

# data[].attributes.attachment_link.title
Electromyographic analysis of grand-plié in ballet and modern dancers. - PubMed - NCBI

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Med Sci Sports Exerc. 1998 Dec;30(12):1708-20. Comparative Study; Research Support, Non-U.S. Gov't

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Teacher at Shockout Arts. Professional dancer. 

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Teacher at Shockout Arts. Professional dancer. 

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NOTES ON ANSWERS

1. How often do you talk about the different muscle groups, bones and the mechanics of breathing and core stability within your classes?

A: I try to talk about it in every lesson. I have different focuses in every lesson with different people that I teach. In terms of those things I think that their very important to learn. Etc

I give them those visual queues, like that saying “teach a man to fish, and he will learn that for the rest of his life” similar concept with injury prevention and anatomy. They will more like improve in a safe way by understanding their bodies. In saying that I am limited for time. I can’t go through every single student though every single thing because the time will run. So I must make a little bit of sacrifces here and there but when i do hint it here and there.

1. Do you encourage students to know the anatomy and biomechanics of their bodies as dancers?

A: As A professional dancer in the industry I have had injuries, I have been injured on jobs, so that kind of information is so vital for when you hurt yourself in these situation, knowing how to handle your body without doing further damage and get through it.

1. Do you talk about the importance for dancers to warm up and cool down efficiently to your students?

X

1. Do you know much about injury prevention?

A: What i know about injury prevention is what I have learnt from my own injuries. I did safeguard practise in 2016. This training gets updated every 2 years however if my employers aren’t paying me to update it then I won’t. This should be implemented by the educational systems, to have a strong vision about injury prevention. To have update knowledge because things change in science all the time how balistic bouncing became illegal in austrilia in the 80’s and 90’s and how we still have some old school teacher still teaching it and they are not aware that its bad on the body and its the wrong thing.

Worked in Frame where we studied teaching and learning methods, and injury prevention. (Somatic) barre fitness.

1. Do you know what are the most common dance injuries and common dancer issues, for e.g ‘Burnout’?

A: Not much.

1. Do you encourage your students to undertake their own research from dance associations like ‘One Dance UK’ or ‘NIDMS’ to help themselves understand injury prevention?

A: No. not familiar. However other anatomical research.

1. Do you know what ‘The healthier dancer project’ run by One dance UK (HDP) is?

A: no

1. Have you ever attended a dance event that was purely to give information on dancers health, networking, or professional development for dance students?

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INTERVIEW ON NURSE IN REHABILITION SECTOR

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INTERVIEW ON NURSE IN REHABILITION SECTOR

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