Dance is a demanding profession. It is an activity which is not
usually regarded as a sport, yet the demands of a dancer are just as high as
those of Olympic athletes. Dancers require the psychological readiness, motor
control and aerobic and anaerobic capacity that is required of athletes, yet
dance is more complex. In addition, there is a required element of personal
artistry by which an individual dancer performs to achieve an aesthetic goal of
clean lines, high elevation, precision, poise and grace whilst maintaining the
endurance to perform anaerobically on-off for 30-60seconds (e.g. a series of
adagios). As well as requiring the strength to hold limbs against gravity and
the speed to move efficiently in a coordinated, effortless rhythmic manner.
Thus dancers must be physically ‘fit’, however only 40% of fitness may be
linked to genetics, leaving 60% to the dancer’s regular training, diet and
appropriate lifestyle. Research, however has indicated that dancers are
generally not as physically well-conditioned as sporting athletes by holding
lower anaerobic values. It is reported that aerobic fitness varies also within
the genres of dance as modern dancers hold higher anaerobic power outputs than
ballet dancers. However, anaerobic fitness of contemporary and ballet dancers
was found to be that of a similar level to a normal sporting population in a
review by Angioi et al. (2009).
Additional challenges for dancers may arise for those whose
company’s tour. The demands of traveling to new venues every few days, adapting
to different theatres, climates, cuisine and climates adds to the demands
placed on them. These are all challenges which professionals must learn to
cope, deal and adapt with.
The life of a student is organised differently to that of a
professional but still as demanding. Performances may be less regular, however
there are greater technical classes, projects and academic work. In addition to
dance studies, many students have an outside job to pay for their everyday
needs. Young dancers often rely on their teachers and their young bodies to
negotiate the physical stresses of dance. However dancers need take
responsibility for their own bodies if they are to have a long fruitful career
without injury.
Dancers must remember that their body is their instrument which
needs to be kept well-tuned to the demands of their profession.
In the next post I shall be looking at the essential skills
required of a dancer and his or her body.
Start strong, finish stronger!
References
Allen, N., Nevill, A., Brooks, J., Koutedakis, Y.,
& Wyon, M. (2012). Ballet injuries: injury incidence and severity over 1
year. journal of orthopaedic
& sports physical therapy, 42(9),
781-A1.
Baldari, C., & Guidetti, L. (2001). VO~ 2~ m~ a~
x, ventilatory and anaerobic thresholds in rhythmic gymnasts and young female
dancers. Journal of sports
medicine and physical fitness, 41(2),
177-182.
Brinson, P., & Dick, F. (1996). Fit to Dance?: The Report of the
National Inquiry Into Dancers' Health and Injury. Calouste Gulbenkian
Foundation.
Koutedakis, Y., & Jamurtas, A. (2004). The
dancer as a performing athlete. Sports
Medicine, 34(10),
651-661.
Russell, J. A. (2013). Preventing dance injuries:
current perspectives. Open
access journal of sports medicine, 4,
199.
Welsh, T. (2009). Conditioning
for dancers. University Press of Florida.