As a dancer goes through any period of growth, some pain and stiffness may be noticeable. Unfortunately as we grow, all the action takes place at the growth plates in our bones, and it does take some time for the muscles, ligaments and nerves to adjust to their new positions. This article explains the reason for growth pains and offers advice to those dancers who may be experiencing a decrease in flexibility.
What is Osgood Schlatters Disease?
As a dancer goes through any period of growth, some pain and stiffness may be noticeable. Unfortunately as we grow, all the action takes place at the growth plates in our bones, and it does take some time for the muscles, ligaments and nerves to adjust to their new positions. This article explains the reason for growth pains focusing on the area of the knees and offers advice to those dancers who may be experiencing pain in this area.
The importance of balance retraining exercises for the dance student.
There are many things that can influence your ability to balance. Poor balance may cause your supporting foot to wobble and make it hard to stabilise en demi-pointe, putting you at risk of injury. In this article Lisa Howell discusses some test and exercises that are aimed at improving balance.
Pointe vs. Weight. How heavy is too heavy to be dancing en pointe?
It is possible that a dancer who is slightly heavier does has enough strength to hold their weight en pointe, however how heavy is too heavy to dance en pointe? This article, from Lisa Howell, discusses the issue of pointe work with heavier girls and offers some suggestion to a sensible diet and exercise programme to maintain whilst dancing.
How to Treat Achilles Tendon Injuries in a dancer
Problems in the Achilles tendon are common in dancers and it is a generally poorly understood injury in many dance circles. Lisa Howell in this article summarises the key steps to a successful rehabilitation programme, focusing on an eccentric loading principle. Predisposing factors to Achilles tendonopathy and advice about returning back to dancing are also mentioned. It is important to note that information given in this article is generalised in nature and must not be used to diagnose or tre
Improving the height of demi-pointe in a dancer.
An essential component of Classical Ballet is having ample strength in the feet to get into a high demi-pointe (or ¾ pointe) position. Gaining this position is essential for correct technique and balance. Some dancers have excellent pointe range on testing, yet struggle to achieve this height when rising. Lisa Howell offers some exercises and tips to improve range and height of the demi-pointe position.
How Do You Fit Pointe Shoes Properly?
Having pointe shoes that fit well can make all the difference in you loving or hating pointe work, so it is important to get it right from the beginning. Ill fitting shoes can result in not only pain and discomfort while dancing, but also black toenails, blisters and stress fractures in the toes.
How to improve your flexibility safely in to the splits.
Dancers are constantly striving for perfection and are as a result always trying to improve their flexibility. To improve flexibility stretching should be effective, efficient and safe. Lisa Howell offers some helpful hints and her own stretch programme to improve flexibility into the splits.
Developing effective abdominal control and core strength in dancers.
The deep abdominal and back muscles are critical for a dancer to maintain good posture and strength throughout class and performance. Lisa Howell, dance physiotherapist, outlines the need for activation of the Transverse Abdominis, Pelvic Floor and Multifidus muscles and offers a guide to initiating and training these muscles.
Developing strength and improving the height of leg in a developpé.
Many dancers have amazing flexibility when stretching, but find it hard to use this when dancing, especially with a developpé. This article outlines a simple floor exercise aimed at increasing the height of you leg as well as building the strength to hold it in these positions.
Correct activation and use of the gluteal muscles in a dancer.
It is often asked in regards to ballet training how hard the bottom muscles should be working. This article makes a distinction between the turn-out and gluteal muscles and endeavours to make clear when and when not the gluteal muscles should be activated when dancing. A test for the gluteal muscles is included. Correct use of these muscles will help you in everything from jumps, to your work en fondu, your arabesque line, your back, and even your flexibility into the splits.
Dealing with Bunions En Pointe
Many girls who start on pointe are scared that they will get bunions from doing pointe work. If a bunion is present it can cause real problems with fitting pointe shoes and dancing en pointe. Dance Physiotherapist Lisa Howell discusses the reality of dancing with bunions and offers practical solutions to working en pointe more comfortably.