“Education is the key to injury prevention”

As a dancer and dance teacher there have been  similar patterns to my thoughts over the years at this time. I vow to decrease my sugar intake, increase my exercise and spend more time with the people I really care about – quality time – not just quantity.

Within a few weeks life gets busy and somehow my good intentions are pushed to the back recesses of my mind.  I forget the importance of those simple goals… after all if you aren’t healthy you can’t be at the top of your game physically, mentally, emotionally.  When your body doesn’t feel good – you don’t feel good.

It’s a challenge to keep focused on a daily basis and decide that there is nothing more important than to feel good.   We know that when we feel good life works better and when we feel badly about ourselves nothing works quite as well.  We forget (at least I forget) that no one else is in charge of my perspective besides myself.

I blame life…. if only I had more money… if only I didn’t have to work so many hours… if only I had more time to focus on myself.

I forget that success at anything is an inside job – that then gets reflected into the outer world of my life.  It is my commitment to myself to make 2012 my healthiest and happiest year yet.  Not a resolution…. a commitment.

Every now and then I’m going to use the blog to update you on my progress.  Nothing like public accountability to get the juices going:)  I’ve got a few different strategies that I have already begun.  One is a new way to do some high intensity fitness training – easily – with my 10 pound kettle bell.

The article that inspired me can be found here. I’m all for ways to exercise and maintain health that are efficient and don’t require an hour or more out of my day.  Who has time for that!

After reading the article, come back to read the rest of the post… otherwise it won’t make sense.

Here are the modifications I made since I don’t have a bench to do the various presses that are talked about in this article.  I do 3 of the 5 recommended exercises. My modifications for the chest and overhead press are to take my 10 pound weight lie down on the floor for the chest press and do the very, very, very slow straightening of one arm (with weight) towards the ceiling and a very, very slow descent back down.  You only need to do 4-5 reps before your arm is very, very tired!  (how many times can I use very in this post?)

Then do it with the other arm.

For the overhead press I do the same thing one arm at a time either sitting or standing, slowly pressing the 1o pound weight towards the ceiling.

You can do it with whatever amount of weight seems appropriate to your level of strength – start light – you can always increase.  The tempo of the action is more important than the amount of weight in the beginning.

For the leg press I came up with a nifty variation: standing on 1 leg, in parallel, doing the slowest demi plie you have ever seen.  It was amazing to me how quickly my thigh muscles felt like they were burning as I did my 4 reps on each leg.

I can then change it up and do a couple of more active interval trainings like jumping jacks as quickly as I can for up to a minute, then walking around until my heart rate has come back down to normal.

I’m curious to hear other’s responses if they try the super slow movement sequences.  Feel free to post your comments below.  Next week I’ll get back to answering your questions.

Hope everyone is having a good start to the new year!

Best regards,

Deborah

“Education is the key to injury prevention”

As time allows, I contribute to Dance.net. A question just came up regarding splits and young dance students. When is it safe to start doing splits with young children, and why? Most of us start at about 7 years of age, for a variety of reasons. None of this is based on any research we can find. Also mentioned was the fact that in gymnastics, splits are started earlier.

Do you have any opinion on this, or would you be able to head me in the right direction to find the science we need to back up our practice?  I very much appreciate your time and consideration. Thank you so much!

Yours truly,

Nancy

This is a great question, Nancy!  And you are right there isn’t much research on this.  What we know is that children’s bodies generally begin to lose flexibility as they come into their adolescent years. Being introduced to effective stretching at an early age will certainly help set in the practice of working their joints through a full range of motion and understanding that a strong and flexible body is what you want – especially as you age!

When I was teaching very young children (5-7 years of age) my focus was on building better coordination and control over their body.  Are they developing the ability to balance on one leg?  Do they understand what efficient alignment is?  Can they follow your verbal directions? (Beyond just doing what you are demonstrating and not paying any attention to what is happening in their own body)

These are all important pieces of the stretching puzzle by teaching young dancers learn how to stretch safely and effectively.  These attributes are more important than a strict age designation for a formalized stretching program.

There are 5 and 6 year old students who are very coordinated and can follow directions easily and who know where their knees are facing, or if their knees are bent.  Those students are the best candidates for more focused split training.

So let’s talk about one could approach the splits with very young children.  I’m going to stick with talking about the front splits for this post.  In the front splits there are 2 primary muscle areas that are involved. The front leg needs hamstring flexibility and the back leg needs hip flexor flexibility.

These 2 areas are key for good alignment and separating the 2 areas and working on flexibility training can start as early as the child shows the appropriate coordination as talked about above.  What I mean by this is I would do hamstring stretches separate from practicing the splits.  Sitting on the floor where they can see whether or not their legs are straight and then rolling back on their pelvis (slumping) then sitting up straight and tall is a good quick test to see where they are with their hamstring flexibility.  They should be able to sit on their sits bones ideally without a lot of strain at the hamstrings or bending their knees.

Even with the younger students I like teaching them how to put their leg up on a low chair or stool and doing single leg hamstring stretching.  By doing one leg at a time even a young student will become aware if one leg is tighter – and can be guided to do more stretches on the tighter side.  For the student who can go for extra stretch you can have them sit on a yoga block or cushion and extend one leg forward while having the other one bent.

Lunge stretching for the hip flexors can be done in the runners lunge position as well as in a standing lunge, or one with your foot up on a low surface and leaning forward.  If they are able to go for more range in the hip flexors have them sit on the yoga block or cushion (or

anything that gets them slightly off the floor) and extend the back leg while keeping the front leg bent.

What I would NEVER do is to push a young students legs straight or physically adjust them too much (meaning with pressure or pushing) them into a specific position.  You run a risk that by doing so you are placing them in a position that their body isn’t ready for. While the stretching practices that some gymnastic coaches give to their young students can be successful (like taking the leg and passively stretching the leg) it can also be painful and potentially stretches ligaments and joint structures in ways that can be injurious.  (Image on right is a no no!)

A young dancer will automatically keep themselves out of painful stretching – and should be encouraged to not do anything that is painful.  We need to teach them to listen to their bodies from a very early age.

I like using props to help them move into practicing splits – starting them sitting up on an appropriate surface and stretching long and straight the front and back legs.  This way they can release their weight into the stretch without putting themselves in a funky or weird position.  (Think of someone reaching to the floor awkwardly with one or both of the legs bent because they don’t have enough flexibility to easily put their hands on the ground – not an effective way to stretch!)  I’m sitting on low stool in the picture below to stretch both the front and back legs equally while keeping my body upright.  I am not in favor of over-stretching for the very young dancer.  Generally, they have not developed enough strength to be put in such an extreme position.

Bottom line is they need an adequate amount of flexibility in both the hip flexors and hamstrings before they ever try a true split.  Working on the different muscle groups individually, though, can start as soon as they are able to work with guidance in effective stretching practices.

I’m not sure if my following statement is a true one – but it appears to me that children are less flexible than they used to be. I wonder if there is a correlation between less time spent in playing on the playground and in the yard as many of us teachers grew up doing.  In a nutshell, less physical activity and physical play going hand in hand with tighter and less flexible young people.

Good stretching practices are important to set into early in life.  While I don’t think it is imperative that a young dancer has to have their splits by age 8 or 9, I do know that as they become pre-teens and teenagers they decrease their injury potential by keeping their muscles flexible and strong as they grow into their adult bodies.  And of course… the same is true as we mature into and beyond our 20′s.

And with that thought…. I’m off to stretch!

Hoping everyone has a wonderful holiday break!

Warmest regards,

Deborah

“Education is the key to injury prevention”

The way this contest works is the blogs with the most comments will win in their category and this is where I need your help!  Please comment below this post with a brief comment of either why you like the Dancing Smart blog, or even simply wish me good luck in the contest.  Nichelle will check this post by the end of 12/20 – which is tomorrow (I know… I know… I’m slipping in just under the wire – but the end of the semester has been kind of brutal:)

If you can spare the time to comment I would be most appreciative!  I’m working on this week’s post which is on what age should flexibility training for splits take place.  Watch your inbox over the next few days for when it’s up.  Will be a good one!

Thank you in advance for supporting me – together we can spread the word about Dancing Smart and Teaching Smart!

If I make it to the finals – voting will take place after Christmas.  I’ll let you know how we do but in the meantime please post a brief comment below.

Warmest regards,

Deborah

“Without dance I cannot feel my soul, hear my heart, or see my dreams.”  Ninka

“Education is the key to injury prevention”

I created a mp3 file of guided imagery for my students.  As I talk about in the Inner Dance of Success ebook – your brain doesn’t know the difference between what is real and what is imagined. I first learned about ideokinesis (using imagery to change neuromuscular pathways) from Irene Dowd and it has guided my rehab work with clients since then. In order to make a real physical change you have to go back to the cortical or brain level and change the message that is being sent out.

The focus of this mp3 file is to simply release all unnecessary tension and to increase your physical state of well-being. When you listen to it you can either be in constructive rest position which is lying on your back with your legs supported over pillows or on a chair – or sitting easily upright, supported comfortably in a chair. (note: it is 26 minutes)

I hope you’ll take a break over your busy week and listen to this audio clip!    (click here)

Until next week,

Deborah

PS:  check out the holiday special!  $88 off!  You can pick out 3 dvds, receive the Essential Anatomy Multimedia Guide, Dancing Smart ebook, and the Kids Anatomy Coloring Pages.  Go to products, scroll down to specials for the details.

“Education is the key to injury prevention”

Today let’s look at some stretches that you could do to work with the side hip pops.  Let’s start with stretching out the back of the hip.  There are many different ways to work with the turnout and gluteal muscles, and I have shown you recently one of my favorite sitting stretches.  Let’s add another stretch into the mix and see if it works better for any of you.

  Begin lying down on the floor on your back, and crossing one leg over the other.  Lift your other knee up by grasping around the back of the thigh.  Now gently press the knee of the crossed leg away from your body (that would be the right leg in this picture) as you bring the left thigh slowly closer to your chest.

This is an active stretch.  You are actively contracting the turnout muscles on the right side, while you are stretching them by bringing the legs closer to your chest.  In essence, this is a variation on the sitting stretch that was demonstrated a few weeks ago.

It’s good to have many ways of stretching so you can figure out the best ways for you.  We aren’t all built the same – and what works for one person – doesn’t always for the next.

Stretching the muscles on the outside of the hip (the abductor) can be easily done inthe standing position.  The photo on the right shows the most popular way of stretching those lateral muscles.  I also encourage dancers to use a tennis ball or pinkie ball against the wall to release and massage those often tight muscles.

The muscle that usually needs stretching the most is that all important but now always acknowledged  turn-in muscle, the tensor fascia lata or TFL.  Curiously, this week I assisted 5 dancers in getting a good release and stretch of their TFL muscles and it was magical when they came back to standing on one leg.  They felt like they could stand up more easily and effortlessly and access their turnout muscles without strain.

To stretch the TFL – lets use the popular iliopsoas lunge stretch and then shift from stretching the front of the hip to feeling the stretch towards the outside of the front of the hip.  The picture on the left is stretching the front, and then as the dancers turn towards their front leg they can feel the stretch moving to the side and are now stretching the TFL muscle.  If you don’t feel a stretch in that area – no problem – typically means you aren’t tight there!  But if you do feel a strongish stretch it would be a good variation to add into your stretching repertoire.

These muscles aren’t going to change their tightness overnight – but you’ll know you are on the right track if you stretch (especially, the TFL) stand back up and see if there is any difference in your ‘popping’ action at the hip.  It will be a softer clunk – or perhaps not pop, click, snap, at all!  (Hmm…all of a sudden I have a sudden desire for rice krispies:)

I hope everyone has a glorious Thanksgiving week.  I am thankful and appreciative of having such a warm and welcoming dance community – thank you for being a part of my life!

Deborah

“Dance is the hidden language of the soul”  Martha Graham

The hip popping that is being shown in this clip is being caused by a tight IT Band snapping over the greater trochanter of the femur.  Huh?… what muscles/where are those spots you might ask?

The greater trochanter is the bump that is on the outside upper part of the thigh bone right before it angles in towards the center of the hip joint.

The IT Band, otherwise known as the iliotibial band, crosses over that area.  The iliotibial band is the fascial band that runs down the side of your leg that the gluteus maximus and the tensor fascia lata (TFL) muscles connect into high on the leg, and the band connects then to the bones below your knee.

The gluteus medius and minimus don’t connect directly into the iliotibial band, but their tightness creates an imbalance around the hip that may lead to this snapping or popping hip problem.

When there is excessive pull or tightness from one or more of these muscles the IT band will ‘snap’ or ‘pop’ over the greater trochanter when you lean into or stick your hip out to the side.  that is what you are seeing as the clunk in the clip.  It’s pretty impressive, huh?  I’ve been asked by dancers if they are dislocating something because it is disconcerting to have such a significant pop, snap, clunk… however you want to describe it.

The good news is…. you can work to decrease the tightness around the area and the clunking, popping, and snapping will diminish.  The other benefit to addressing this?  As you decrease the tightness your range of motion should improve and consequently make movements of the hip joint, like développé, battements, ronde jambe, etc. easier and more efficient.

Stay tuned… next week we will look at the 3 different muscle areas and I’ll give you ways to release each area!  Have a productive and joyful week!

Deborah

“Education is the key to injury prevention”

I know I’m someone that always looks at this muscle carefully when I am assessing someone’s standing alignment.  It is such a major postural muscle and so strongly influences how the pelvis sits on the legs that deserves some extra attention.  When overly tight it can pull the lower back into a swayback. When it is overly weak it makes it hard to get the leg much over 90 degrees.  The quadriceps which also are hip flexor muscles like the iliopsoas (or psoas as many people shorten it to) are working hard, but they simply don’t have the leverage to get the leg up as high as what is necessary for dance today.

I was recently in Seattle working with students from the Allegro Performing Arts Academy and showed them a way to inconspicuously strengthen their iliopsoas while sitting in school waiting for class to begin.  By the way…. these students were wonderful!  So curious, open, and willing to work hard to improve their technique by understanding how the body really works!

The picture below shows them sitting on the front edge of their chairs, with their arms folded in front, keeping weight on both sits bones (or ischial tuberosities as they are called)  Without shifting backwards on the pelvis, or over to one hip they lifted one leg up and then lowered it to just touch the toe to the ground before repeating it 10 – 15 times.  Didn’t take very long to feel that very deep ‘tired’ feeling deep in the front of the hip.  That’s like practicing lifting the leg into the beginning stages of a développé before extending the leg (of course without dropping the knee… at least that’s the goal:)

It’s such an easy way to work strengthening the iliopsoas, and then you can simply swivel around and do a sitting lunge stretch to release the tightness form the iliopsoas.

A different way of strengthening was shown in a previous post and I’d like to repost that video in the newer format for all those who had trouble opening it.  You can use a theraband wrapped around the thighs and then slowly working to come more upright to simulate doing an extension to the front.  Of course the more you are upright – the harder it is!  Remember to slightly turnout the leg when practicing these as well as doing them in parallel.  It won’t take long…. just 3 or 4 weeks for you to see and sense improvement in the control and height of your extension.

Have a great week!

Deborah

“Education is the key to injury prevention”

First clip is about padding.

So many shoes… trying to find the right shape and box for your foot

First looking at the foot before you put the pointe shoe on

Evaluating the shoe once it is on the foot – you don’t want twisting at the heel!

Looking at the shape of the box from the inside the shoe

What is the crown of the shoe?

What’s your thoughts on fitting pointe shoes?  Your challenges and/or  successes…. feel free to comment below!