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.

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

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:

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.

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. 

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.  

X

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. 

A: Not much. 

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

A: no

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....."



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