Dance Medicine & Science Guide E-Book

Adriano Bittar

• Herausgeber: Editora Kelps
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 427

Veröffentlichungsjahr: 2021

Beschreibung

The inaugural actions of the Brazil-United Kingdom Dance Medicine & Science Network (BRUK NET) emerged through the organization of the symposium "The Potentials and Challenges of Research in Dance Medicine & Science: building innovation collaborations between the United Kingdom and Brazil" held in Goiânia, in 2016. In this bilingual Portuguese-English book, 23 leading researchers/authors from the BRUK NET write about their experiences in this field. The idea of the book is to share part of their knowledge and to build paths and theoretical, conceptual and methodological constructs around DMS, from where visibility, access and sustainability could develop. The desire for an interinstitutional, interdisciplinary, collective and supportive cooperation has enabled us to create a book of cross-cutting contexts and diverse views. The demand for DMS services and knowledge is growing. It requires that professionals from different backgrounds; dance, health, education and many others, ethically reflect and debate over the breadth and rigor necessary for the growth and valorization of this field of study.

Leseprobe

Editors

Adriano Bittar

Matthew Wyon

Valéria Figueiredo

Derrick Brown

Aline Haas

Goiânia-GOKelps, 2020

Copyright © 2020 by Dance Medicine & Science Guide - From the Brazil-United Kingdom Dms Network

Editora Kelps

Rua 19 n 100 – St. Marechal Rondon

CEP 74.560-460 – Goiânia-GO

Fone: (62) 3211-1616

E-mail: [email protected]

homepage: www.kelps.com.br

GUEST EDITOR CHAPTER 7

PhD Karen Wood

TRANSLATION ENGLISH-PORTUGUESE AND PORTUGUESE-ENGLISH

Adriano Bittar

REFERENCES EDITING

Isadora Sbeghen Vitória Gomes

VISUAL PROGRAMMING

Victor Marques

CIP – Brasil – Catalogação na Fonte

Dartony Diocen T. Santos CRB-1 (1º Região)3294

D173

Dance Medicine & Science Guide: From the Brasil-United Kingdom DMS Network. / Adriano Bittar, Matthew Wyon, Valéria Figueiredo, Derrick Brown, Aline Haas (Editors.). – Goiânia: Kelps, 2020.

380 p.

ISBN: 978-65-5859-096-5

1. Medicine. 2. Dance. 3. Dance science. 4. Art. I. Titulo.

CDU: 793+61(111.1)

Copyright

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Further information about how to seek permission please contact [email protected]

EDITORIAL BOARD

President

Antonio Almeida (in memoriam)

Coordinators Kelps

Ademar Barros

Waldeci Barros

Leandro Almeida

Editorial Board

Prof. PhD Angel Marcos Dios (Universidad Salamanca – Espanha)

Prof. PhD Antonio Donizeti Cruz (UNIOESTE, PR)

Prof. PhD Bertha Roja Lopez (Universidade Nacional do Peru)

Prof. PhD Berta Leni Costa Cardoso (UNEB)

Writter Brasigóis Felício (AGL)

Prof. PhD Divino José Pinto (PUC Goiás)

Prof. PhD Catherine Dumas (Sorbonne Paris 3)

Prof. PhD Francisco Itami Campos (UniEVANGÉLICA, AGL)

Prof. PhD Iêdo Oliveira (UFPE)

Prof. PhD Ivonete Coutinho (Universidade Federal do Pará)

Prof. PhD Lacy Guaraciaba Machado (PUC Goiás)

Prof. PhD Maria de Fátima Gonçalves Lima (PUC Goiás, AGL)

Prof. PhD Maria Isabel do Amaral Antunes Vaz Ponce de Leão

(Universidade Fernando Pessoa. PT)

Writter Sandra Rosa (AGNL)

Prof. PhD Simone Gorete Machado (USP)

Writter Ubirajara Galli (AGL)

Writter and Final Editing Prof. Me. Antônio C. M. Lopes

Notice

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds or experiments described herein. Due to rapid advancement of scientific and applied information in the medical sciences, in particular in Dance Medicine & Science, independent verification of all written on this book should be made. To the fullest extent of the law, no responsibility is assumed by Kelps, authors, editors or contributors for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein.

Guest Collaborators (in alphabetical order)

1. Ana Carolina Quireze Rosa – guest author

Certified Nutritionist and former Ballet Dancer, specialist in Enteral and Parenteral Clinical Nutrition (GANEP), International Society for the Advancement of Kinanthropometry -ISAK level 1. Works for Quasar Cia de Dança (2006-), at the Gastroenterology Institute of Goiânia (2006-), at Solo Espaço Pilates (2015-) and at the Liver and Bile Duct Clinic (2019-), in Brazil.

2. Emma Redding – guest author

PhD, Head of Dance Science at Trinity Laban Conservatoire of Music and Dance, in the UK. Trained originally as a Contemporary Dancer. Wrote the first Master’s degree in Dance Science, playing a key role in developing Dance Science as a recognised field of study. Founding partner of the National Institute for Dance Medicine and Science and member of the Board of Directors and Past President of the International Association for Dance Medicine and Science.

3.Helen Laws – guest author

BA (Hons) Dance, Diploma Arts Management from Roehampton University. Experienced dance manager, instrumental in shaping One Dance UK’s Healthier Dancer Programme and in bringing together UK leaders for the formation of the National Institute of Dance Medicine and Science in 2012, establishing the first National Health Service (NHS) dance injury clinics, for which she was recognised in the 2014 Evening Standard’s 1000 most influential Londoners. Author of “Fit to Dance 2 – The report of the second national inquiry into dancers’ health and injury in the UK”. Served as a member of the International Association for Dance Medicine and Science board, 2005-2013.

4. Fernando Zikan – guest author

PhD Public Health (Federal University of Rio de Janeiro – UFRJ), Physiotherapist, specialised in Traumatology-Orthopaedics and Osteopathy. Adjunct Professor of the Department of Physiotherapy/Faculty of Medicine/UFRJ. Guest lecturer of the Dance School at the Municipal Theatre of Rio de Janeiro (TMRJ). TMRJ Physiotherapist from 2005-2010, acting as a guest PT since then. Head of Education of the Brazilian Association of Physiotherapy in Traumatology-Orthopaedics (ABRAFITO). Guest professor of Postgraduate courses and of workshops in Brazilian Dance Festivals.

5. Karen Wood – guest editor

PhD, Dance practitioner/researcher/educator, Research Associate at the Centre for Dance Research at Coventry University. Worked on two large funded projects – AHRC Invisible Difference: Dance, Disability and Law and EU Horizon 2020 Wholodance: Whole-Body Interaction for Dance Learning and Education. Karen’s research focusses on phenomenology, particularly perception and embodiment, digital technology, screendance and choreographic practice. Karen is passionate about working with artists to expand professional practice. She sees the value in artist-led initiatives and how they can create opportunity and encourage risk taking for dance making practices. Recently, her research explores using embodied research methods for understanding issues in post-conflict societies.

6. Nico Kolokythas – guest author

PhD Dance Science, experienced accredited coach (UKSCA) working in the athletic development of the adolescent in elite performance in a variety of sports (Judo, Netball, Basketball, Football, Taekwondo, Tennis). Strength and conditioning coach for professional martial artists in Muay Thai and Mixed Martial Arts. Based at Elmhurst Ballet School, UK, also works as a consultant for Birmingham Royal Ballet. Developed an injury prevention intervention called “11+Dance”. Visiting lecturer at the University of Wolverhampton, in Science in Coaching, Motor Learning & Control and in the MSc in Dance Science.

Collaborators (in alphabetical order)

1. Adriano Bittar – editor, author, coordinator Brazil-United Kingdom Dance Medicine & Science Network

PhD Art, Physiotherapist, Craniosacral Therapist, Contemporary Dancer and Pilates teacher. Adjunct Professor at the State University of Goiás/School of Physical Education and Physiotherapy, coordinator Post-graduate course in Pilates at CEAFI Faculty, Fletcher Faculty and representative Fletcher Pilates in Brazil. Worked at Quasar Cia de Dança (2000-2016) and currently at Basileu França (2015-). Researcher, frequent international speaker on events about Pilates and Dance Medicine, owner and Physiotherapist of Studio Adriano Bittar. Member International Association for Dance Medicine & Science (IADMS).

2. Aline Haas – editor, author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Sports Science, BA Physical Education. Dance and Pilates practitioner/researcher and educator. Associate Professor at the School of Physical Education, Physiotherapy and Dance and the Postgraduate Programme in Movement Science, at the Federal University of Rio Grande do Sul (UFRGS), in Brazil. Postdoctoral research in Dance Science at the University of Wolverhampton, UK. Member of the Research Committee at the International Association for Dance Medicine and Science (IADMS); leader of the “Research Group in Arts, Body and Education” (GRACE). Aline’s research focusses on Dance Science, Dance and Health and Pilates.

3. Andreja Paley Picon – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Sciences, BSc Biological Sciences and Physical Education. Post-doctorate in Biomedical Engineering, and Biomechanics. Coordinator of the Physical Education Course, UNINOVE, in Brazil. Associate Professor and advisor, Postgraduate Program in Rehabilitation Sciences, Faculty of Medicine, University of São Paulo. Registered teacher at the Royal Academy of Dance. Coordinated a line of research in dance biomechanics at the Laboratory of Biomechanics of Movement and Human Posture – University of São Paulo.

4.Bárbara Pessali Marques – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Exercise and Sport Science (emphasis in Dance), Manchester Metropolitan University, UK, Diploma Arts/Dance, BSc (Hons) Physical Education. Dance practitioner/researcher/educator, Director of Multiart Ltd and founder/president of Organisation for Arts and Sport – ONG ComCiência, Coordinator of Espaço Viverde and Director of Bastidores – Dance, Research & Training, in Brazil. Developed and patented “Best Performance and Movement” a training method specific for dancers as well as specialised equipment for measuring and training flexibility in dancers. Guest researcher in the research group Sports Psychology at the State University of Minas Gerais (UEMG) Ibirité and in the Group of Conceptions in Contemporary Dances at the Federal University of Minas Gerais (UFMG), both in Brazil.

5. Cláudia Daronch – author, member Brazil-United Kingdom Dance Medicine & Science Network

MSc Human Movement Sciences, BA and Licensed in Dance, Specialist in Kinesiology. Dance practitioner/researcher/educator graduated from the classical dance school of Teatro Guaíra, and Pilates Teacher. Assistant Professor of the Dance Course, Federal University of Rio Grande do Sul (UFRGS). Former ballet master and/or rehearsal director of Ballet Teatro Guaíra, Cia de Danças de Minas Gerais and Quasar Cia de Dança. Choreographer, Teacher of classical and contemporary dance workshops in Brazil and abroad, in addition to workshops on body conditioning for dancers. She is currently pursuing a PhD in Neuroscience at UFRGS, investigating the influence of the differentiated use of emotion in dance.

6. Debora Cantergi – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD in Human Movement Sciences from the Federal University of Rio Grande do Sul (UFRGS) and Coventry University (UK), BSc Physical Education. Assistant Professor at the Faculty of Education and Technology Iracema, in Brazil. Post-doctorate at the Laboratory of Movement and Human Posture Biomechanics at the University of São Paulo (USP). She has experience in Physical Education, with an emphasis on Biomechanics and focuses on dance and Pilates, acting mainly on the following themes: loads, spine, model, and inverse dynamics.

7. Derrick Brown – editor, member Brazil-United Kingdom Dance Medicine & Science Network

MSc Dance Science (Dist. – Uni of Wolverhampton), Certified Sport/Performance Nutritionist (CISSN). Co-program Manager and Lecturer in Dance Science at the University of Bern, Institute for Sport Science, in Switzerland. Research fellow at the National Centre for the Performing Arts, Guest Lecturer in health at ArtEZ University of the Arts and the Coronel Institute of Occupational Health, People and Work – Academic Medical Center Amsterdam, both in the Netherlands. Peer reviewer for several international journals, currently an editorial board member for the Journal of Dance Medicine & Science. Co-author of numerous peer-reviewed articles, book chapters and books on dance education and performance. Former Dancer, Teacher and Rehearsal Director, having danced and taught ballet for classical and contemporary dancers in numerous dance companies and universities in Europe. Derrick is currently a doctoral candidate at Radboud University, Donders Institute for Brain, Cognition and Behaviour (the Netherlands), where his research crosses empirical theories in cognition and experimental psychology with queries in dance and performance science research.

8. Diego Pizarro – author, member Brazil-United Kingdom Dance Medicine & Science Network

MA Contemporary Art (University of Brasília), Assistant Professor at the Dance Course of the Federal Institute of Brasília (IFB). Dance practitioner/researcher/educator/choreographer, trained in Modern Theatre Dance at Amsterdam University of The Arts. Registered Somatic Movement Educator (ISMETA) certified as Teacher of Body-Mind Centering®, Practitioner of Articulation and Muscle Chains Method GDS®, Gyrotonic® and Gyrokinesis® trainer. Director Coletivo de Estudos em Dança, Educação Somática e Improvisação/Group of Studies in Dance, Somatic Education and Improvisation – CEDA-SI. One of the main organizers and creators of the International Encounter of Somatic Practices and Dance, held in Brasília, Brazil. Editorial and Advisory board member of Journal of Dance and Somatic Practices. Doctoral candidate in Performing Arts at the Federal University of Bahia (UFBa).

9. Erin Sanchez – author, member Brazil-United Kingdom Dance Medicine & Science Network

MSc Dance Science, BA (Hons) in Dance and Sociology, and qualified in Safe and Effective Dance Practice. She is an advocate, educator, and researcher supporting dancers’ physical and mental health. Manager of Dancers’ Health, Wellbeing, and Performance, at One Dance UK, Manager of the National Institute of Dance Medicine and Science (NIDMS). Member of the International Association for Dance Medicine & Science. Pursuing her PhD from the University of Edinburgh.

10. Flora Pitta – author, member Brazil-United Kingdom Dance Medicine & Science Network

Master in Rehabilitation Sciences from the Faculty of Medicine at the University of São Paulo (USP, Physiotherapy, Speech Therapy and Occupational Therapy Department), BSc in Physiotherapy. Dance practitioner/researcher/educator, specialist in Rehabilitation Applied to Sport. Member of the International Association for Dance Medicine & Science and Associate Researcher of the National Association of Dance Researchers. Physiotherapist and Researcher at Adam Center – Cia. Alvin Ailey, NY/USA.

11. Frances Clarke – author, member Brazil-United Kingdom Dance Medicine & Science Network

MSc, is Dean of the Faculty of Dance at Trinity Laban Conservatoire of Music and Dance, in the UK. Previously, she was Artistic Director for Springs Dance Company prior to leadership roles in Further and Higher Education, including programme leading three degree courses at the University of Wolverhampton. Her field of research is in Dance Science and she is completing her PhD on balance and dance performance. She regularly publishes academic papers, presents at international conferences and is Chair of the International Association for Dance Medicine & Science (IADMS) Publications Committee. She is Chair of Rosie Kay Dance Company, a Board member of DanceHE, UK, and an advisor for a dance scholarship at Cambridge University.

12. Izabela Lucchese Gavioli – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Performing Arts from the Federal University of Rio Grande do Sul (UFRGS), BSc Medicine, Specialist in Internal Medicine, Rheumatology and Sports Medicine. Dance practitioner/researcher/educator, Assistant Professor at the Dance Course of UFRGS, also teaching Dance Medicine in the Dance Specialization Course at Pontifical Catholic University. Member of the International Association for Dance Medicine and Science (IADMS).

13. Janine Bryant – author, member Brazil-United Kingdom Dance Medicine & Science Network

Dance Educator in Higher Education, Dance practitioner/researcher. Former Senior Lecturer, Faculty of Performing Arts, University of Wolverhampton. Former Chair of Dance and Theater, Director of Dance Programs and Assistant Professor of Dance and Kinesiology at Eastern University, St. Davids, PA. Specialties include classical ballet, pointe and variations, Graham-based modern dance technique, dance anatomy and kinesiology, and conditioning for dancers. PhD Candidate, Wolverhampton University, UK, researching aging and range of motion.

14. Luciana Ribeiro – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD History, BA Physical Education. Dance practitioner/researcher/educator and activist. Adjunct Professor of the Dance Course at the Federal Institute of Education, Science and Technology of Goiás (IFG), Aparecida de Goiânia Campus. Author of the book “Breves Danças à Margem: aesthetic explosions of dance in the 1980s in the city of Goiânia”.

15. Lucie Clements – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Dance Science from the Trinity Laban Conservatoire of Music and Dance, in the UK, Chartered Psychologist of the British Psychological Society. Senior Lecturer in Psychology at the University of Chichester. Author of a number of publications in the area of dance psychology, focusing on the psychosocial underpinnings of optimal performance, including the training environment and significant individuals (such as the teachers/parents) in nurturing healthy dance engagement, and on creativity in the life of a dancer. She also delivers dance psychology workshops to dancers, teachers and parents.

16. Matthew Wyon – editor, author, coordinator Brazil-United Kingdom Dance Medicine & Science Network

PhD, Professor in Dance Science at the University of Wolverhampton, in the UK.  Course leader for the MSc in Dance Science and Director of Studies for a number of Dance Science and Medicine doctoral candidates. Founding partner of the National Institute of Dance Medicine and Science, UK, and former President of the International Association for Dance Medicine & Science between 2015-17. Applied physiologist in numerous dance companies. Published extensively on injury epidemiology and performance enhancement.

17. Moira McCormack – author, member Brazil-United Kingdom Dance Medicine & Science Network

MSc, BSc Physiotherapy, specialised in Dance. Physiotherapist for the Royal Ballet Company. Former professional dancer, trained at the Royal Ballet School and danced with the Royal Ballet Company, National Ballet of Canada and London Festival Ballet. Qualified ballet teacher with an interest in the relationship of physique, technique and injury prevention. Assessment of joint laxity and the control required by the hypermobile physique is a driving interest and one that she feels warrants further research and dissemination of knowledge in professional dance. Currently, she is concluding her PhD thesis at University College London.

18. Ross Armstrong – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Musculoskeletal Screening at Edge Hill University, UK, Qualified Chartered Physiotherapist, BSc (Hons) Sports Science and Physiology at the University of Leeds. University Senior Lecturer and author of several publications in the area of Dance Medicine and considerable clinical experience working in the National Health Service, private practice, with the military and in professional sport and dance.

19. Sarah Needham-Beck – author, member Brazil-United Kingdom Dance Medicine & Science Network

PhD Dance Science from Trinity Laban Conservatoire of Music and Dance, in the UK, BSc (Hons) in Exercise and Sport Sciences. Research Fellow with the Occupational Performance Research Group at the University of Chichester. Former researcher, guest lecturer, and manager of the Healthier Dancer Programme at One Dance UK. Her research focusses on the cardiorespiratory demands of contemporary dance training and performance and appropriate methods for documenting this. Sarah currently serves on the Promotion Committee for the International Association for Dance Medicine and Science (IADMS).

20. Valéria Maria Chaves de Figueiredo – editor, author, member Brazil– United Kingdom Dance Medicine & Science Network

PhD Education from the Faculty of Education at Unicamp, in Brazil, BA Physical Education from Gama Filho University, Diploma in Contemporary Dance and Somatic Education from the current Faculty Angel Vianna, in Rio de Janeiro. Associate Professor at the Dance Course of the Federal University of Goiás (UFG). Founding member of the Goiás Dance Forum, editor of “Revista Pensar a Prática” (UFG). Coordinator of dance internships, scholarships and pedagogical residency in the UFG Dance Course. Coordinator of the Interdisciplinary Research Laboratory in Performing Arts (LAPIAC). Operates in graduate and postgraduate courses in Dance and Theater. Develops extension and research projects that link educational processes to student and community creation processes in formal and non-formal spaces.

Forward

As a dance practitioner, educator and researcher, I was honoured to be asked to write the Foreword for this book. I have known Matthew Wyon for more than 20 years and I remember our shared conversations about the need for more research into the science of dance. Back then, we couldn’t have imagined how quickly the field was to develop as we spoke, on the cusp of something substantial and significant. I have a great deal of respect for the editors and all of the contributing authors of this book, many of whom I consider both colleagues and friends.

When I met Adriano Bittar a few years back, I knew immediately that he was someone with drive, passion and an unwavering commitment to the field. He explained his ambition to fly a group of researchers from the UK to Brazil for a week-long residency of discussion and debate and I realise now, how significant that trip really was. The visit served to establish the Brazil-United Kingdom Dance Medicine & Science Network and this was a turning point.

Dance medicine and science is a field that has been taking shape over the last 30 or so years. It incorporates expertise and inquiry through a set of common objectives and methodologies. It is multi-disciplinary and inter-disciplinary, driven by passionate and curious people from dance, therapy, medicine, science, research and education.

Teaching methods in dance have typically evolved through experience, intuition and practitioner wisdom rather than from movement and exercise sciences. Perhaps this is why so many dancers sustain a debilitating injury at some point in their careers. Dancers tend to view themselves as artists not athletes even though their highly trained physical skills through which they express their ideas in choreographic work have much in common with athletes. Fortunately, there has been a shift in thinking in recent years as a result of the growing influence of sport and exercise science and its application to dance.

However, the years of having to rely solely on the advice of sport and exercise science are over. While we have witnessed a growing number of dance medicine and science articles published in reputable journals, we now have textbooks!

To me, the emergence of textbooks in dance medicine and science, demonstrates wholeheartedly, that the field of dance medicine and science is sufficiently mature to support programmes of study in Higher Education and is one that is here to stay.

The book begins with an informative account of the history of Dance Medicine and Science and a focus on the important early milestones in the UK and Brazil acknowledging some of the key pioneers - trailblazers who bravely suggested a new way of thinking. There are excellent chapters detailing the physiological and biomechanical demands of dance and capacities of dancers calling into question, the extent to which current dance training is fit for purpose. We then learn of the relevance of assessment techniques and standardisation with helpful protocols and instructions for testing dancers. The authors tackle the pitfalls of various assessments as well as the lab versus field test conundrum. The chapter on supplementary training explains the how and why to apply principles of training and periodisation to create a well-designed safe and effective programme. This section concludes with an informative chapter on Pilates and Somatics to underpin the proposition that dancers benefit from engaging with specific motor-sensory integrative work to re-align, re-pattern and encourage subtle attention from within onself. Section III of the book provides robust writing on dance injuries and offers a comprehensive review of previous research including rates and risk factors. This is followed by an insightful chapter on medical care and the importance of considering the whole dancer when diagnosing and treating injury. The role of physiotherapy and psychological factors in ensuring dancer health and well-being is discussed in the following chapter highlighting not only related published research but offering helpful recommendations for applying many of the ideas discussed.

Collating writings from a collection of authors is hard even when the authors are from the same country. This bilingual Portuguese-English book draws together 23 of the most well-known researchers from across the globe. It celebrates and communicates the collaborative work arising from the Brazil-UK Dance Medicine and Science Network. And I suspect there is more to come!

What I appreciate most about this book is that it integrates disciplines that are often dealt with on their own. It combines theory with practice, research with opinion and provides context and practical suggestions.

I am vouching for the importance of this book for dance practitioners, therapists and teachers, for the integrity of this book for Dance Medicine and Science lecturers and researchers and for the value of this book to the wider academy.

It’s interestingly difficult to predict the way in which this field will grow. However, this book goes some way to furthering the importance of its multi-disciplinarily nature. Dance Medicine and Science is a collaborative endeavour and this book exemplifies this statement beautifully.

Professor Emma Redding, PhD

Head of Dance Science

Trinity Laban Conservatoire of Music and Dance, London UK

President (2011-13), International Association for Dance Medicine and Science

Preface

Adriano Bittar / Valéria FigueiredoAline Haas / Matthew Wyon

“Only when we are instructed by reality can we change it.” (Bertolt Brecht )

The inaugural actions of the Brazil-United Kingdom Dance Medicine & Science Network (BRUK NET) emerged through the organisation of the international symposium “The Potential and Challenges of Research in Dance Medicine & Science: building collaborations between the United Kingdom and Brazil”, held in Goiânia/Goiás, Brazil, from 27 to 31 of August, 2016. The BRUK NET was conceived and initially organized by Adriano Bittar, adjunct teacher at the State University of Goiás/Faculty of Physical Education and Physiotherapy of Goiás (UEG/ ESEFFEGO), that invited Professor Matthew Wyon to coordinate this Network along his side.

This event was co-financed by the British Council, through the Newton Fund, and by the Research Support Foundation of the State of Goiás (FAPEG). It was held by UEG/ESEFFEGO/Coordination of Projects (PRE), University of Wolverhampton and National Institute of Dance Medicine and Science (NIDMS) which is a consortium of the University of Wolverhampton, University of Birmingham, Trinity Laban Conservatoire of Music and Dance, One Dance UK, Royal National Orthopedic Hospital, Royal Ballet and Birmingham Royal Ballet. Partners of this event were the Dance Courses from the Federal University of Goiás (UFG)/Faculty of Physical Education and Dance (FEFD), and from the Federal Institute of Goiás (IFG)/Câmpus Aparecida de Goiânia. The UFG Cultural Center/Coordination of Projects and Culture (PROEC), where the event was held, participated as an institutional supporter. The cultural supporters were: Quasar Cia de Dança, Dança Basileu França, Casa Corpo (por quá grupo de dança, e Vida Seca); Quadrilha Arraiá Chapéu do Vovô and singer Grace Carvalho.

In order to have this symposium organized, different leading researchers from this field of study were contacted in Brazil and the United Kingdom, such as Professor Matthew Wyon, from the University of Wolverhampton, Valéria Figueiredo, from UFG/FEFD, Luciana Ribeiro, from IFG, Aline Haas, from the Federal University of Rio Grande do Sul (UFRGS)/Faculty of Physical Education, Physiotherapy and Dance (FEFID), Prof. Márcia Strazzacappa, from the State University of Campinas (UNICAMP)/Faculty of Education, Andreja Picon, from the University of São Paulo (USP)/Faculty of Medicine (FM) and Prof. Isabel Sacco, also from USP/FM. This collective of researchers with different experiences in the area of Dance Medicine & Science (DMS) and with the same desire to develop innovative collaborations, exchanged several ideas about the creation of this Network and refined them to really be able to collaborate, in face of the enormous potential available and so many challenges.

Since the inaugural event in 2016, and through the progress of sharing that took more than four years of intense e-mail exchanges, face-to-face or online meetings, and a lot of dedication, this bilingual publication was born, with the perspective of presenting our efforts for growth and consolidation of DMS, expanding the possibility of democratizing the knowledge produced. This publication is a small sample of an extensive work performed by several research groups and a presentation of a trajectory built together. The expectation is that this book approaches current and complex issues in DMS that indicate the ethical and scientific growth this field of study has endured in the past years, whether in Brazil or in the United Kingdom.

Each of the 6 editors, 23 authors, and many contributers who participated of the writings of this book shared their effort, their concern and their reflection, which we are grateful for.

Therefore, the book is presented in four versions: two physical variants, one in Portuguese and another in English; and two online editions in the same languages. All versions are composed of texts produced by authors who are scholars and whose contributions were organized along three axes: Part I - Introducing Dance Medicine and Science and the BRUK NET, which focuses on presenting DMS to the reader and parts of its history, moving between the particularities of England and Brazil; Part II - Dance Science, presents in four texts written by experienced researchers, which lay out specific knowledge about the physiological and biomechanical responses of pre-professional and professional dancers, also developing topics such as dance assessments, supplementary training for dancers, and notes on Somatics and Pilates in dance; and, finally, Part III - Treating Dancers, consists of texts that address injuries in dance, medical treatment, physiotherapy and psychological well-being.

The idea behind this book is that it builds constructs around DMS, from where visibility, access and sustainability could develop. The desire for an interinstitutional, interdisciplinary, collective and supportive cooperation has enabled us to create a book of cross-cutting contexts and diverse views. The demand for DMS services and knowledge is growing. It requires that professionals from different backgrounds; dance, health, education, and many others, ethically reflect and debate over the breadth and rigor necessary for the growth and valorization of this field of study.

TABLE OF CONTENTS

SECTION I – INTRODUCING DANCE MEDICINE & SCIENCE AND THE BRAZIL-UNITED KINGDOM DANCE MEDICINE & SCIENCE NETWORK

1 – What is Dance Medicine & Science and the Brazil-United Kingdom Dance Medicine & Science Network?

Valéria Figueiredo / Matthew Wyon

Introduction

1. What is Dance Medicine & Science?

2. Brazil-United Kingdom Dance Medicine & Science Network

Conclusion

References

2 – The History of Dance Medicine and Science in the United Kingdom: Research, Education and Practice

Erin Sanchez / Helen Laws

Introduction

1. Milestones and trailblazers: research, education and applied practice in dance medicine and science in the uk

2. Theme 1: a united but diverse voice to advocate for dancers’ health

3. Theme 2: the value of evidence informed approaches

4. Theme 3: a shared responsibility for dancers’ health

Conclusion

References

3 – Historical Aspects of Dance Medicine & Science in Brazil

Adriano Bittar / Valéria Figueiredo / Luciana Ribeiro

Introduction

1. Dance Medicine & Science in Brazil

2. Theme 1: Constitutions and Traces of DMS in Brazil

3. Theme 2: DMS in Brazilian Universities

4. Theme 3: Further Development and Growth

5. Conclusions

Additional Notes - Timeline

References

SECTION II – DANCE SCIENCE

4 – Dance Medicine and Science: Physiological and Biomechanical Aspects

Matthew Wyon / Andreja Picon / Debora Cantergi / Sarah Needham-Beck

Introduction

1. Physiological Aspects of Dance

1.1 - Body Composition

1.2 - Muscle Strength

1.3 - Cardiorespiratory Capacity

1.4 - Flexibility

1.5 - Supplemental Training

1.6 - Vitamin D

2. Biomechanical Aspects of Dance

2.1 - Turnout Kinematics

2.2 - Joint moments in elevé and sauté

2.3 - Dance shoes

2.4 - Flooring

Conclusions

References

5 – Assessing Dancers in Applied and Research Settings

Bárbara Pessali-Marques / Frances Clarke / Moira McCormack / Adriano Bittar / Matthew Wyon / Nico Kolokythas

Introduction

1. Assessing Dancers

1.1 - Assessment Protocols

1.2 - Physical Activity Readiness

1.3 - Anthropometric Assessments

1.3.1 - Body Segmentation

1.3.2 - Body Mass

1.3.3 - Caliper Testing

1.4 - Muscle Assessments

1.5 - Flexibility Assessments

1.6 - Aerobic And Anaerobic Assessments

1.7 - Functional Assessments

1.7.1 - Static Postural Assessment

1.7.2 - Dynamic Postural, Movement-Based and Technique Assessments

2. The Reality of Dance Assessment in Brazil and the United Kingdom

References

6 – Supplemental Training for Dancers

Matthew Wyon / Adriano Bittar / Janine Bryant

Introduction

1. Conditioning

2. Supplemental Training Concepts for Dancers

2.1 - Principles of Individuality, Specificity, Progressive Overload and Periodization

2.2 - Cardiorespiratory Training

2.3 - Muscular Training

2.4 - Core Training

2.5 - Range of Motion and Flexibility Trainings

Conclusions

References

7 – Related Topics: Somatics and Pilates in Dance

Adriano Bittar / Aline Haas / Janine Bryant / Diego Pizarro / Cláudia Daronch / Guest Editor: Karen Wood

Introduction

1. Somatics and Dance

2. Pilates for Dancers

2.1 - Powerhouse or whole-body training?

2.2 - Scientific data

Conclusions: Is it Time to Rethink Dance Training?

References

SECTION III – TREATING DANCERS

8 – Injuries in Dance: Definitions, Severity, Rates, Prevalence, Types And Risk Factors

Ross Armstrong / Adriano Bittar

Introduction

1. Injury Definitions and Severity

2. Injury Rates, Prevalence and Types

3. Injury Risk Factors

Conclusions

References

9 – Medical Care, Screening and Medication in Dance

Izabela Gavioli / Adriano Bittar

Introduction

1 - Medical Care, Screening And Medication In Dance

1.1 - Medical Care for Dancers in Brazil and United Kingdom

Conclusions

References

10 – Physiotherapy and Psychological Well-Being in Dance

Adriano Bittar / Ana Rosa / Lucie Clements / Moira McCormack / Ross ArmstrongFlora Pitta / Fernando Zikan

Introduction

1. Physiotherapy in Dance

1.1 - An Overview of the Brazilian and British Physiotherapy in Dance

2 - Psychological Well-Being in Dance

Conclusions

References

SECTION I

INTRODUCING DANCE MEDICINE & SCIENCE AND THE BRAZIL-UNITED KINGDOM DANCE MEDICINE & SCIENCE NETWORK

CHAPTER 1

WHAT IS DANCE MEDICINE & SCIENCE AND THE BRAZIL-UNITED KINGDOM DANCE MEDICINE & SCIENCE NETWORK?

Valéria Figueiredo / Matthew Wyon

INTRODUCTION

This chapter’s objective is to make Dance Medicine & Science (DMS) known as a complex established inter and multidisciplinary field of study. Furthermore, it also aims to present the Brazil-United Kingdom DMS Network (BRUK DMS NET) to the reader. Since its inception, in 2016, it has been instrumental to remarkable achievements.

1. WHAT IS DANCE MEDICINE & SCIENCE?

Dance Medicine & Science (DMS) can be defined as the art of preventing or alleviating diseases that affect dancers. As a discipline, it investigates the causes of dance injuries, promotes their care, prevention and post-rehabilitation, following through until the dancer fully returns to dancing. It also looks at how dance performance can be enhanced, through improvements in physical fitness, psychological and motor skills. To do so, it investigates how dancers can best dance, reflecting on the biomechanical, physiological, neuromotor, psychic, pedagogical and educational aspects as they relate to nutrition, physical conditioning, body therapies and Somatics (International Association of Dance Medicine & Science [IADMS], 2015).

Dance Medicine and Science emerged in the 1970s and 1980s, from the awareness of the demands placed on dance professionals. A key realization was the frequency and severity of injuries in classical ballet schools and companies as a result of these demands (Ryan, 1997).

Juan Bosco Calvo (2000), a Spanish medical doctor (MD) and one of the pioneers in this field, suggested that the connection between Dance and Medicine was very ancient, dating back to before Christ, when healing rituals were performed to the rhythmic movement of the bodies, or even later in Dance Movement Therapy.

In addition to Ryan (1997) and Calvo (2000), according to Izabela Gavioli, a Brazilian MD, dancer, DMS researcher and BRUK NET member:

[…] the subspecialty Dance Medicine, although not yet with this name, began in 1960, through the professionalization of Eastern Europe dance companies. In them, it was designated an exclusive medical doctor to take care of the cast, so that this health professional could get to know the “dance code”, understand its peculiarities and give the bodies of dancers a differentiated attention. (Gavioli, 2016, p. 184)

In this way, this hybrid field guided by Human Movement Science involves areas that study dance in an integrative and complimentary way: Health, Physical Education, Biomechanics, Nutrition, Somatic, Physiotherapy, Dance, Anthropometry, Psychology, and Exercise Science, just to name a few. In recent years, the therapeutic aspects of various dance styles have started to be discussed as well: tango being used with Parkinson’s (Lötzke, Ostermann, & Büssing, 2015), ballroom dancing in the elderly (Lazarou et al., 2017) and belly dancing in adult women (Hernandes, 2018). Research on poetry and creativity (Clements & Weber, 2018), and in neuroscience and biology, has grown in recent decades (Koch & Fischman, 2011).

Historically, DMS-related areas began to formalize their findings around the eighteenth century. Occupational Health, for example, first recorded injuries to bodily practices around 1713 in Bernardino Ramazzini’s book “Diseases of the Workers”. Already in the nineteenth century, the diseases of athletes began to be widely described, and in 1928 the term Sports Medicine was firstly used in the second Olympic Winter Games, in Switzerland. Also, that same year, the first international congress of Sports Medicine was held in Amsterdam (Ryan, 1997).

In 1948, the first injuries identified with dance were officially reported in Francesco Ronchese’s “Occupational Marks and Other Physical Signs”, and other articles dealing with this subject were published mainly by French, Russian and Belgian investigators (Calvo, 2000). In 1979, the term Dance Medicine was used at the first International Symposium on Medical and Orthopedic Aspects of Dance, held in New York, and in 1982 two important medical symposia on Dance were held in Paris.

With respect to the education and organisation of professionals in specialised courses or a category association, it was only in 1985 that the first course in Dance Medicine was created in Alicante, Spain, coordinated by Dr. Juan Bosco Calvo. This course strengthened the area and promoted the formation of the Spanish Dance Medicine Association (ASAMEDA) (Calvo, 2000), which in 1990, together with other professionals from the area - dancers, dance medicine professionals, dance teachers, dance scientists - from the United States of America (USA), Spain, England and Belgium, formed the International Association for Dance Medicine & Science (IADMS1) (Figures 1 and 2). Other class associations, such as the American Performing Arts Medicine Association (PAMA2), also came to be around the same time.

Figure 1 - Aline Haas, BRUK NET member, and Juan Bosco Calvo, at the IADMS Conference, in Helsinki, Finland [Digital media]. (2018). Helsinki, Finland: Aline Haas’ personal archives, printed with permission.

Figure 2 - At the reception of the IADMS Conference in New York [Digital media]. (2008). New York, USA: Adriano Bittar’s personal archives, printed with permission. (From L to R: Rosa Pasarin, Adriano Bittar (BRUK DMS member), Marilyn Mardini, Juan Bosco Calvo and Giu Bergamo).

Dance Medicine & Science as an academic discipline has made great strides in countries such as the UK and the USA, as well as Australia, Japan, China, Canada, Germany and Switzerland (IADMS, 2015). In 2001, Trinity Laban Conservatoire of Music and Dance, in London, was the first dance education institution in the world to offer a Masters in Dance Science. The University of Wolverhampton, in the north of England, has a Bachelor of Science (BSc) degree, a Masters and doctoral programs in Dance Science, and in the USA, Texas A & M University and the University of Oregon accommodate undergraduate or graduate studies focusing on DMS.

In practice, dance scientists work in companies and dance schools, universities (in graduate courses such as dance, physiotherapy and physical education, or in postgraduate courses in DMS, etc.), in dance supportive industries (dancewear, floors, shoes) in hospitals, private clinics, and community dance centers, among others (One Dance UK, 2017).

2. BRAZIL-UNITED KINGDOM DANCE MEDICINE & SCIENCE NETWORK

A collective effort in 2016 proved promising for the expansion of DMS in BR and the UK. It started as a contact established between research professors from the State University of Goiás (UEG), and the University of Wolverhampton. From this contact, a joint proposal for the formation of the BRUK NET3 was agreed upon, with the objective of developing research and collaborative services over a period of 15 years.

From this agreement and already as an initial action of the BRUK NET (Figure 3; Cabral, 2016), a dialogue was initiated between some UK institutions, including the University of Wolverhampton and other participants of the National Institute of Dance Medicine and Science (NIDMS4), such as Birmingham Royal Ballet, University of Birmingham, One Dance UK, Royal Ballet and Royal National Orthopaedic Hospital; and from BR, UEG - Câmpus Goiânia, State University of Campinas (UNICAMP), Federal Institute of Goiás (IFG), Federal Institute of Brasília (IFB), University of São Paulo (USP), Universidade Salgado de Oliveira (UNIVERSO), Federal University of Goiás (UFG) and Federal University of Rio Grande do Sul (UFRGS), to promote cooperation among these institutions, as well as other private sector stakeholders and individuals.

Figure 3 - Cabral, U. (Artist). (2016). BRUK DMS NET logos in English and Portuguese [Digital images]. Goiânia, Brazil: BRUK DMS NET, printed with permission.

The first opening action of this Network was an inaugural international symposium in August 2016, which took place at the UFG Cultural Center (CCUFG) in Goiânia, Goiás, BR (Figures 4, 5 and 6). This event was co-financed by the British Council, through the Newton Fund, and the Foundation for Research Support of the State of Goiás (FAPEG), and carried out by UEG, University of Wolverhampton and NIDMS. Through an open call, intended to invite early-career DMS PhDs and other senior professors from the area to attend the conference in Brazil and to be part of the BRUK NET, 15 Britons and 21 Brazilians were selected. The different profiles of those who arrived in BR and the Brazilians who participated in the creation of the Network in 2016 clearly highlight the diversity and breadth of the area, being these professionals from diverse backgrounds: Dance, Physical Education, Medicine, Psychology, Physiotherapy, Biology, Exercise Physiology, Somatic and Education (Figueiredo, Bittar & Ferreira, 2017). From BR, most of them were residents from Goiânia, Porto Alegre or São Paulo. The British, so called because they have lived in Britain for some time while studying or working with Professor Matthew Wyon, member of the BRUK NET, were from different locations in the world, including the USA, Holland and Great Britain.

Figure 4 - Abreu, Audinã. (Photographer). (2016). BRUK NET members at the symposium in Goiânia. [Digital image]. (Back row, L to R: Ross Armstrong, Derrick Brown, Matthew Wyon and Cláudia Daronch; front row, L to R: Clara Fischer-Gam and Aline Haas). Goiânia, Brazil: BRUK DMS NET, printed with permission.

Figures 5 and 6 - Abreu, Audinã. (Photographer). (2016). BRUK DMS NET symposium and Erin Sanchez at the symposium in Goiânia. [Digital images]. Goiânia, Brazil: BRUK DMS NET, printed with permission.

Following the creation of the BRUK NET, the perception is that it fostered a discussion in the regions involved, regarding the promotion of activities, plans and strategies derived from interdisciplinary initiatives aimed at the well-being of dancers and on Dance and Science, contributing to more than the medical aspects in dance (Bittar & Wyon, 2017). This was only possible by organizing new research groups between BR and the UK to consolidate knowledge production, publication of results and the creation of services in this area.

In 15 years from 2016, the intentions are to: create effective partnerships between related groups; request funding for student exchanges, for multi-center thematic research, purchase of equipment and materials; create an effective calendar of events/workshops/conferences and congresses; define educational by-products; publicize educational actions and promote courses and training; promote social inclusion actions for people in social vulnerability; promote functional metric evaluations and formalize the periodization of descriptive reports of the Network actions (Figure 7).

Figure 7 - Abreu, Audinã. (Photographer). (2016). BRUK DMS NET members. [Digital image]. (Top to bottom, L to R: Row 1 - Andreja Picon, Christine Bergeron and Julia Ziviani; Row 2 - Lucie Clements, Sarah Needham-Beck, Moira McCormack, Debora Cantergi, Isabel Sacco, Marcia Strazzacappa, Prof. Matthew Wyon (coordinator), Ross Armstrong, Clara Fischer, Cláudia Daronch and Tassiana Stacciarini (guest); Row 3 - Nefeli Tsiouti, Liliana Araújo, Aline Haas, Rina Magnani (guest), Ana de Pellegrin and Fernanda Nora (guest); Row 4 - Janine Bryant, Derrick Brown, Flora Pitta, Maria Eugênia Ghizellini, Bárbara Pessali-Marques, Janete Hernandes and Frances Clarke; Row 5 - Izabela Gavioli, Erin Sanchez, Luciana Ribeiro (mentor), Alexandre Ferreira, Adriano Bittar (coordinator), Valéria Figueiredo (mentor), Cibelle Formiga, Flavia Gervasio, Tânia Hamu and Diego Pizarro). Goiânia, Brazil: BRUK DMS NET, printed with permission.

CONCLUSION

Dance Medicine & Science is a dynamically developing field of study. In general, the ideas put forth by the BRUK DMS NET satisfies the participants, since this organisational system is able to bring together individuals and institutions around related causes, in a democratic, flexible and participative way, sustained by the will and affinity of its members. Since its inception, the BRUK NET seems to have fostered organisation of its members through the exercise of citizenship, having the opportunity to make them stronger and more cohesive (Olivieri, 2003).

REFERENCES

Abreu, Audinã. (Photographer). (2016). BR UK DMS NET members at the symposium in Goiânia. Goiânia, Brazil: BRUK DMS NET.

Abreu, Audinã. (Photographer). (2016). BRUK DMS NET symposium and Erin Sanchez at the symposium in Goiânia. [Digital image]. Goiânia, Brazil: BRUK DMS NET.

Abreu, Audinã. (Photographer). (2016). BRUK DMS NET members. [Digital image]. Goiânia, Brazil: BRUK DMS NET.

Bittar, A., & Wyon, M. (2017). The potential and challenges of the Brazil-United Kingdom Dance Medicine & Science Network. In: IADMS 27th Annual Conference (p. 256). Houston, TX, USA: International Association of Dance Medicine & Science.

Cabral, U. (Artist). (2016). BRUK DMS NET logos in English and Portuguese [Digital image]. Goiás, Brazil: BRUK DMS NET.

Calvo, J. (2000). Danza y Medicina: una relación interesada, dificil y apasionada. Cairon: Revista de Ciencias de la Danza, 6, 35-55. (In Spanish)

Clements, L., & Weber, R. (2018). Making Space for the Psychology of Creativity in Dance Science. International Journal of Art, Culture and Design Technologies, 7 (1), 30-45.

Figueiredo, V., Bittar, A., & Ferreira, A. A criação da Rede Brasil-Reino Unido em Medicina & Ciência da Dança como um lugar potencial de relações entre pesquisas poético-criacionais. OUVIROUVER (UBERLÂNDIA. IMPRESSO), 13, 78-90, 2017. (In Portuguese).

Gavioli, I. (2016). Medicina da Dança em Porto Alegre. In: Tomazzoni, A., Dantas, M., Ferraz, W. (Org.), Olhares da Dança em Porto Alegre. Porto Alegre: Canto - Cultura e Arte, 182-195. (In Portuguese)

Hernandes, J. (2018). Qualidade de vida e imagem corporal de mulheres que praticam dança do ventre. [Doctoral Theses, Universidade Federal de Goiás]. Institutional Repository of the Health Sciences Post-graduate Program of the Universidade Federal de Goiás. http://repositorio.bc.ufg.br/tede/handle/tede/9105 (In Portuguese)

International Association of Dance Medicine & Science. (2015). Educational Opportunities in Dance Medicine and Science. Compiled and updated by the IADMS Student Committee. Amanda Clark, Committee Chair.

Koch, S., & Fischman, D. (2011). Embodied enactive dance/movement therapy. American Journal of Dance Therapy, 33 (1), 57.

Lazarou, I., Parastatidis, T., Tsolaki, A., Gkioka, M., Karakostas, A., Douka, S., & Tsolaki, M. (2017). International ballroom dancing against neurodegeneration: A randomized controlled trial in Greek community- dwelling elders with mild cognitive impairment. American Journal of Alzheimer’s Disease & Other Dementias, 32 (8), 489-499.

Lötzke, D., Ostermann, T., & Büssing, A. (2015). Argentine Tango in Parkinson’s disease: A systematic review and meta-analysis. BMC Neurology, 15 (1), 226.

Olivieri, L. (2003). A importância histórico-social das Redes. Revista do Terceiro Setor. Retrieved from http//www.rits.org.br (In Portuguese)

One Dance UK. (2017). Studying and working within Dance Medicine and Science FAQs. Retrieved from http://www.onedanceuk.org/wp-content/uploads/2017/04/Education-and-Careers-in-Dance-Medicine-and- Science-FAQs.pdf

Ryan, A. Early History of Dance Medicine. (1997). Journal of Dance Medicine & Science, 1 (1), 30-34.

1 More information about the International Association for Dance Medicine & Science at: www.iadms.org

2 Details on the Performing Arts Medicine Association, at: www.artsmed.org

3 BRUK DMS NET information at: www.brukdms.blogspot.com.br

4 For National Institute of DMS, please see: www.nidms.com.uk

CHAPTER 2

THE HISTORY OF DANCE MEDICINE AND SCIENCE IN THE UNITED KINGDOM: RESEARCH, EDUCATION AND PRACTICE

Erin Sanchez / Helen Laws

INTRODUCTION

The development of Dance Medicine & Science (DMS) in the United Kingdom (UK) is a history of mentorship, partnership, and interdisciplinary and international collaboration. This chapter will focus on the key milestones of change in this field in the UK and the unique leaders and visionaries who made these developments possible.

What is included in this chapter is, by necessity of space, an annotated history largely focused on applied practices and drawing examples from the 1940s through to the present day5. Examples show the development of healthcare and research into dancers’ performance and wellbeing and its dissemination in studios and onstage. Key to the development of dancers’ health initiatives and DMS in the UK are three overarching themes: 1) a united but diverse voice to advocate for dancers’ health, 2) the value of evidence informed approaches, and 3) a shared responsibility for dancers’ health.

1. MILESTONES AND TRAILBLAZERS: RESEARCH, EDUCATION AND APPLIED PRACTICE IN DANCE MEDICINE AND SCIENCE IN THE UK

2. THEME 1: A UNITED BUT DIVERSE VOICE TO ADVOCATE FOR DANCERS’ HEALTH

The UK’s approach to DMS has, from its beginning, been informed by many diverse voices. Voices in this field came from supportive organisations, healthcare professionals and academics, and dancers themselves.

Activities to support dancers’ health in the 1940s included support from charitable organisations such as the Vic Wells Ballet Fund, founded in 1936 by Dame Ninette de Valois6, Sir Donald Albery and Arnold Haskell, CBE7. Although its first purpose was to support the production of ballets for the company of the same name, in the early 1940s the re-named Sadler’s Wells Benevolent Fund began granting funding to dancers serving in the World War II overseas, and, in 1943, for the first time to a dancer in the Sadler’s Wells Ballet who couldn’t work following a knee injury (Dance Professionals Fund, 2018).

In 1973, the Dancers’ Resettlement Fund (later renamed Dancers’ Career Development) was founded by dance critic Peter Williams to support and fund professional dancers in government funded dance companies to retrain in new careers in the first three years following their retirement from dance. Over the course of their development, they expanded services to encompass support for all professional dancers regardless of the stage of their career (Dancers Career Development [DCD], 2018).

Records suggest that by the 1960s medical professionals were involved with the care of professional and vocational student dancers who suffered injuries. When Dr. Justin Howse took over from Mr. Ivor Robertson in 1966 to become the orthopaedic consultant to the Royal Ballet and the Royal Ballet School (International Association of Dance Medicine & Science [IADMS], 2010), he joined an existing interdisciplinary team of physiotherapists and dance teachers. Moira McCormack, one of Howse’s patients as a dance student and professional dancer, and a protégé when she later became a physiotherapist for dancers, commented:

(Dr. Howse) felt that dancers needed specialist knowledge and treatment, and was the first in this country to attempt to provide it. […] He felt that prevention of injury was paramount and firmly supported the contribution that physiotherapists could make to this (Stafford, 2013)

Dr. Howse’s influence extended beyond the UK not only based on his direct treatment of many dancers, but also on his interactions and mentorship of many healthcare professionals, including surgeons David Weiss, Donald Rose and Boni Reitveld. He also began publishing on dancers’ medical support needs in 1972 with the article, “Orthopaedists Aid Ballet”. Following on from a short article entitled “Ballet Injuries” written by Mr. Ivor Robertson in 1967, Howse sets out an impressive and concise explanation of the need for physical fitness and athletic training, injury prevention, special classes for injured students to develop strength and address technical faults, healthcare screening, and a listing of common dance injuries (Howse, 1972). Howse’s articles are still both applicable and insightful today, discussing the need for periodization, and recommendations for regular training to build and maintain fitness to prolong performing careers. Perhaps the most prominent legacy he contributed to dancers’ health was his commitment to the prevention of injuries through correct dance technique and dance teachers’ knowledge of the human body: