Every year hundreds of dancers are asked to comply with a physio examination as a part of their application form. For some this can be an extremely sensitive time, Debra Crookshanks from The Dancers Clinic talks us through the examination to help alleviate confusion.

Q1: Many dance schools and companies screen their dancers through a physiotherapist. Can you talk us through what such an examination would entail and what is the purpose?
A: The purpose is to gain some information about each dancer’s abilities and limitations. This allows dance schools & tertiary institutions to select students who are best suited to the style and level of training of each institution as well as allowing teachers to programme suitable introductory classes aimed at specific strengths & weaknesses in the new students to maximise performance while minimising risk of injury.
There is a move towards post-acceptance screening in many tertiary institutions now which means only those students who have been accepted through the audition process are required to be screened, saving dancers time & money and making the screening process much less stressful.
The screening takes about one hour and includes assessment of general posture eg presence of a leg length difference, scoliosis, low back flexibility & alignment; lower limb assessment eg hip flexibility (turnout), hamstrings flexibility, knee cap alignment, calf flexibility & plie range, pointe range, foot posture (pronation, bunions); motor control eg hip and lower limb alignment while hopping or during repeated rises, abdominal strength and control while performing pilates types leg work.
Screening students before they commence pointe work is also very important to identify strengths & weaknesses and to assist the student in correcting any problems early.
 
Q2. Are there any physical attributes of a dancer’s body that would prevent a professional career that could be seen in such an examination and if so what are the most common?
A: If a student is looking to join a classical ballet school or company they must have good turnout range, good big toe flexibility to allow effortless, aligned rises to demi-pointe and good plantarflexion or pointing range at the ankle (180o) to be able to rise to pointe efficiently. (Try the pencil test - when you pointe your foot a pencil should balance along the top of the foot and be in a straight line with your shin). If there are major restrictions in these areas the student will sustain injuries which are not acceptable to either the school or the student.
If a student is looking to a career in a contemporary company a structural scoliosis (spinal curvature) may prevent their selection as any deviation from normal alignment in the spine may result in severe back injuries.
 
Q3. Many dancers can feel quite threatened at the prospect of such an examination, what advice would you offer to soothe their nerves?
A: Dancers should only apply to those institutions which they feel suit them as screening for a place you don’t really want is a waste of energy, time & money. Read through the assessment form before you come to the physio so you have a bit of an idea what is expected of you – it is really not that bad! Select a dance physio for the screening (02 9948 6188) as they are familiar with the process and will explain why each measurement is required. Dress appropriately – we cannot assess you in jeans or a tight mini skirt – and you will have to remove them and put a towel around you which makes a dancer feel uncomfortable right from the beginning. Try not to be nervous – if you have reasonable flexibility, strength & control you will go ok!
Lots of luck for success in your applications,

DEBRA

power arms with
Pilates Plank
This is a great exercise for strengthening the upper body, arms and shoulder girdle. The wrists, elbows and shoulders when strong and flexible allow the hands to move with great ease and skill which provides the hands with the ability to move in the most delicate way.

Using the wrists, elbows and shoulders to move the arms in a coordinated and seamless manner helps centre the entire body, which is paramount to improving dance technique.

As a dancer we mainly focus on strengthening our legs and forget about our arms. If you haven’t done a ballet class for a long time, half way through port de bra you may find your arms tiring. A dancers arms need to be strong for lifts and gesturing. In contemporary and funk styles you may be required to do upper body weight bearing moves. Developing arm and shoulder girdle strength not only improves all dance techniques, but also helps to rebalance the strength between the upper and lower body.

Dance is a finely tuned form of movement and to support that, the workout you do should be of the same genre. Pilates was originally taught to dancers and actors by Joseph Pilates, which he called contrology. Well-known dancers such as Martha Graham and George Balanchine were soon hooked and began sending there their own students to Joseph for training. Later on, athletes and other performing artists studied under his method and now all walks of life do Pilates for general toning and fitness, rehab and pregnancy, the list of reasons goes on.

Try this upper body exercise and feel your strength improve. All care of course should be taken. If you suffer from a sore neck and shoulders wait till it has settled down before trying it, chances are you will only upset it more.
Good luck
Navel to spine
Melissa

BI=breathe in BO=breathe out

>Start on your hands and knees with your hands shoulder width apart under your shoulders and your knees under your hips, hip width apart.
Find a neutral spine, that is, without flattening out the lower back or making the curve to big. Draw the shoulders down away from the ears and press the floor away from you so you don’t let the head sag and the shoulders wing.
>BI and press one foot back onto the ball
>BO and engage pelvic floor muscles and draw the navel to the spine as you press the other foot back
>Hold position for 3 breaths. On each out breath check the pelvic floor and abbs are still engaged. Keep pushing the floor away from you, draw the armpits in and visualise them looking at each other.