Those dance styles that allow for the most split-second decisions are the most beneficial; those dance styles with the same, memorized patterns are the least beneficial.
The key for improving cognitive acuity is to create new neural connections to increase the complexity of our neuronal synapses. Another important consideration is that the frequency of dancing matters. The more frequent an individual dances, the greater the cognitive improvement. Furthermore, many cultures agree that there is a mind and body connection, and many cultures use dance to heal this often damaged connection.
During the African diaspora, individuals used dance therapy to treat the trauma that resided from their situations. There are various health risks of professional dance, as it can be very demanding. As well as sports injuries , repetitive strain injury , and chronic workplace stress. Dancers risk injury within the course of their career, many retiring from active performance in their mid to late 30s. Since dance is a performance art with emphasis on aesthetics , dancers are also at a higher risk of body image problems and eating disorders such as anorexia nervosa or bulimia.
Research shows that dancers in elite pre-professional companies have 1. The most common injury was to the lower extremities, with ankle being the most common. The injuries on average took about 7 days to heal with foot injuries taking the longest at 14 days and thigh injuries being the lowest at 2 days.
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They are constantly judged based on their looks and expected to have toned, slim bodies. This can lead to a lot of health risks.
Many dance movements , and particularly ballet techniques , such as the turnout of the hips and rising on the toes en pointe , test the limits of the range of movement of the human body. Dance movements can place stress on the body when not performed correctly; even if perfect form is used, over-repetition can cause repetitive strain injury. The most common injuries for ballet dancers is snapping hip syndrome and foot and ankle injuries.
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Much of this is due to not only the emphasis of footwork in dance but also the foot wear. Dancers either wear pointe shoes, bare feet, a soft shoe of some kind or heels, all of which offer no support. Shoulder injuries can be common in male dancers due to lifting, partnering and floor work that is commonly seen in modern dance.
The periscapular muscles assist in keeping the shoulder still and steady, these muscles are at greater risk for injuries among dancers. Examined in the Journal of Dance Medicine and Science , dancers often put off consultation from doctors or physical therapists in the effort to stay employed by a dance company or to stay in rehearsals. When in fact those dancers that "work through" their pain more often than not end up worsening their symptoms and prolonging their recovery.
Eighty percent of professional dancers will be injured in some way during their careers; 50 percent of dancers from large ballet companies and 40 percent from small companies will miss performances due to injury. Overwork and poor occupational health and safety conditions, a non- sprung hard floor, a cold studio or theater, or dancing without sufficient warm up also increases risk of injury. To minimize injury, dance training emphasizes strength building and forming appropriate habits.
Choreographers and dance instructors will often put certain demands on their students and dancers without taking into consideration that each dancer is faced with different anatomical limitations. Dancers will strive to achieve the ideal aesthetic in their respective dance technique by over compensating for their limitations and thus presenting themselves with a higher risk for injury. Damage may also result from having a student perform movements for which they are not prepared, care must be taken that the student is not "pushed" inappropriately.
A dancer put en pointe at an age where his or her bones have not completely ossified may develop permanent damage; even past the point of ossification, ankle injuries can result if a dancer goes en pointe without sufficient strength. Rachele Quested and Anna Brodrick, the lower extremities are the vulnerable to injury.
The most common injury is to the ankle, then leg, foot, knee, hip and finally the thigh. Dancers are trained from a very young age to avoid injury by using plie, turn out, and other means to protect their bodies. Keeping dancers free of injury is a crucial aspect and will help a lifetime of healthy physical activity and can prevent injuries in the future.
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By being taught a few simple techniques by parents, teachers, and medical professionals can avert injuries from occurring. Following are a few advice's on preventing injuries. Many types of dance, especially folk dances , have hops in the steps where the impact of landing can be reduced by slightly bending the knee. Warming up and cooling down exercises are recommended before and after exercises to avoid strain, muscle pains, and possible injury.
RICE Rest, Ice, Compression, Elevation is generally regarded as a good first aid therapy for most dance injuries before the ambulance comes, or even for what may be thought of as minor injuries. Note, however, that masking pain to continue dancing is dangerous as it can easily make an injury worse. Professional dancers may experience chronic workplace stress with an uncertain work situation.
The average income for a ballet dancer is low,  and competition for jobs is very high. In addition to the stress that may be caused by this, dancers also may experience the psychological distress from technical and physical " perfectionism ". As with other activities such as horse jockeying where weight is a factor, dancers are at a higher risk for developing eating disorders such as anorexia and bulimia.
It is also highly relevant that inadequate nutrition in adolescent females has been linked to development of scoliosis, due to decreased oestrogen production and subsequent reduced bone density. A dancer with poor nutrition is at a higher risk for injuries and long-term health problems. A malnourished dancer's performance will be altered and weaken as his or her body starts to break down muscle and bone in order to fuel itself.
This puts the dancer at risk for injury and slows the healing of chronic injuries. Dance science is the scientific study of dance and dancers, as well as the practical application of scientific principles to dance. Section 1: Dance Health and Safety. Section 2: Theoretical Knowledge. Three questions chosen from a selection, related to safe dance practice. Section 3: Application. Further detail guidance on how to complete the HDPC is available in the Candidate pack provided on registration. Working towards this Certificate will improve your understanding of the inter-related factors that contribute to and enhance healthy dance practice and support the physical and mental wellbeing of participants.
Interested in setting up your own personal course? Powered by Create your own unique website with customizable templates. Get Started. In elite professional ballet dancers, smaller cross-sectional area of the multifidus muscles have been correlated with lower back pain. Low levels of muscular strength and power also have been suggested as predictive of dance injuries. In support of the need for physical training by dancers, a 6-week program of circuit and vibration training of contemporary dancers led to improvement in lower body muscular power, upper body muscular endurance, aerobic fitness, and aesthetic competence.
Ambegaonkar et al 33 studied upper body muscular endurance in university modern dancers, finding no difference between dancers and non-dancers in spite of modern dance requiring more consistent work with the upper body than ballet, especially in females. In a sample of female professional ballet dancers compared to a control group, Koutedakis and Sharp reported significant improvements in quadriceps and hamstring torque output, as well as improvement in thigh muscle fatigability during dance, as a result of 12 weeks of strength training for these muscles.
The improvements were particularly noteworthy in dancers who were weaker at the beginning of the study. As the control group dancers did not exhibit strength increases, the authors suggested that dance technical training alone is incapable of eliciting strength gains. Undesirable increases in muscle bulk are a concern for many female dancers because of the importance of anatomical aesthetic contours in dance.
However, importantly for females, the increases in thigh strength seen in this study occurred without a concomitant alteration of thigh circumference, a finding the researchers offer as an indicator that the aesthetic characteristics of the lower extremities can be preserved when female ballet dancers participate in weight training.
In view of the research evidence, it seems wise to recommend that dancers take part in general fitness training, not only as a helpful supplement to their technical training and performance, but as a means to reduce their chance of injury. Suboptimal nutrition has been associated with injury in dancers. Many dancers may not follow sound research-based nutritional practices; thus, health care practitioners should utilize well-documented advice in encouraging dancers toward a healthy energy and fluid intake.
Excellent resources for this purpose include the joint position statement on nutrition for sports performance developed by the American Dietetic Association, Dietitians of Canada, and the American College of Sports Medicine. Fatigue has been proposed as a risk factor for injuries in physical activity. Also, dance seasons may not incorporate as much off-season recovery time as most sports seasons do.
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University dance students especially might be at risk of not receiving necessary rest because of the combination of their dance practice, the requirements of their non-dance academic work, and, often, their need to maintain employment to cover their personal expenses. Ninety percent of the dancers took less than 60 consecutive minutes of rest, and one-third took less than 20 minutes rest during the day. In a 5-year prospective study of both ballet and modern dancers, more injuries tended to occur in the evening, toward the end of the season, and during performances; these all suggest fatigue as a contributing factor.
Sprung floors are typically manufactured from wood and are set on a subfloor by means of a framework of dense foam blocks or other resilient material that effectively suspends the wood floor above the hard subfloor. The suspended, or sprung, nature of the floor allows it to disperse some of the forces associated with dance, particularly in jumping and landing. Hopper et al found great variability in force reduction capability amongst different professional ballet venues, concluding that none of the floors met suggested standards for force reduction and that the floor with the greatest intra-surface variability in force reduction was the floor on which the most injuries occurred.
The shock absorptive quality of the surface may not be the only floor-related hazard associated with dance injuries, however. Wanke et al attributed In response to these data, optimal maintenance practices are essential to ensuring a surface properly prepared for the type of dance to be performed on the floor and the footwear to be worn or the lack of footwear for some genres.
However, this responsibility rests with the dance facility and, therefore, hazardous conditions may be outside the influence of a health care provider unless he or she is employed by the responsible dance company or university. Unshod dancers are especially challenging when foot orthotics are indicated for treatment or prevention of injury. Dance shoes in genres that require them eg, ballet, jazz, tap, flamenco, Irish are minimally force dispersive by nature of their construction. Ballet slippers, jazz shoes, and Irish dance shoes are little more than a layer or two of leather or microfiber material.
Flamenco shoes have high heels suggested to be a cause of injuries to the feet and lower back. Pointe shoes in ballet are supportive of the foot, having been shown to provide stiffness with compromise of the midfoot ligaments. Certainly, research on footwear in dance is insufficient at present.
Dancing en pointe is a specific type of ballet that can give rise to numerous injuries in young dancers if proper care is not exercised in deciding when a dancer is ready to begin pointe training.
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The dancer stands on one leg while bending over at the waist and extending the other leg backward such that it and the trunk are parallel to the floor. In this position, then, the dancer is facing downward at the floor.
The upper extremities are extended outward from the shoulders, also parallel to the floor. The dancer then lowers herself by flexing the knee of the support leg, simultaneously keeping the trunk and nonsupport leg parallel to the floor and bringing the fingertips of both hands downward, while maintaining extended elbows, to touch the floor in front of the face.
The dancer then extends the knee and upper extremities to return to the starting position.