remove_filter ('the_content', 'wpautop'); Dancers Health | dancetrain magazine

Dancers Health

Each year dancetrain asks the leading group of performing arts healthcare professionals across Australia to talk about their expertise and experiences plus any new technological developments in the management & treatment of injuries.

This years Bodywise articles are a must read for any dancers who want a psychological and physical edge when the pressure is on.

The importance of seeing a healthcare professional that has experience and an understands the psychology of a performing artist, the pressure to keep performing and pushing yourself, even with injury, has a unique set of parameters that must be navigated and understood.

Bullying our Boys by Dr. Kate Fennessy
COMPETITIONS, How to survive by Jocelyn Penna
Dance Rehabilitation, A Dancers Journey by Madison Cronin & Georgina Barr
Flexibility by Michael Bellantonio
The Dancer’s Hip: Preventing injury by Katie Godwin
Dance Massage by Marina Bull
JUMPS, KICKS & WEIGHTS TOGETHER Why they do not help! by Joanne Maskrey
Decisions, Decisions by Dr. Kate Fennessy
danceScience by Dr. Luke Hopper
Dancing is good for kids by Dr. Kate Fennessy
Motivation by Katie Godwin
How much is too much? by Katie Godwin
The Port De Bras by Gabrielle Davidson and Bradley Smith
Over Stretching by Susan Bond
The Benefits of Cross-Training for Dancers by Natalie Orola
Living with a Dream with Uncertain Job Prospects by Jocelyn Penna
OVERLOAD Understanding the Trigger by Charissa Fermelis
Body Talk- Pain Train Your Brain by Louise Drysdale
Reduce injury and Promote Performance by Melanie Fuller
Garuda by Anna Tetlow
It Takes Two by Michael Bellantonio
The Benefits of Private Coaching by Natalie Orola
Dance screening & injuries on the rise by Holly McPaul
HSC Dance – how does it support a dance career? by Katelyn Boshell
Are injuries preventable? by Louisa McGinness
Dentist or Dance Physiotherapist? BOTH! by Susie Bond
Weight watching and your identity by Jocelyn Penna
Happy Hips by Deborah Chen
Turnout – what is it? by Samantha Jakelic
Remedial Coaching by Suzanne Way
The importance of dance-specific assessments by Shannon Trotter
Growth plates and pointe work by Louise Drysdal
Injectables by Andrew Cobb
Tips for exam and comp time by Charissa Fermelis
The Importance of intrinsic feet muscles by Gabrielle Davidson & Joanne Maskrey

Bullying our Boys by Dr. Kate Fennessy | | 02 9713 9265 | 0448 641 892

“Over 96% of boys face some sort of verbal or physical abuse when they choose to dance.”
Doug Risner, Professor of Dance at Wayne State University.

Let that sink in for a moment, almost every single boy or man who pursues dance receives abuse for making that choice. In recent documentary DANSEUR, which looks at the experience of male dancers, an overwhelming history of name-calling, physical intimidation, cyberbullying, ostracism, and sometimes even death threats throughout dancers training and careers emerges. Worryingly, the bullying is so rampant that it appears to have been accepted as a growing pain of becoming a male dancer.

Why is this still happening?
In Australia, dance is seen as an unusual hobby and less of a profession. Even while we strive for gender equality, a narrow view of gender roles persists when it comes to some professions. A choice such as a boy in ballet class can spark ignorance and fear, expressed as homophobia, stereotyping, harassment or ostracism. Matthew Lawrence, the Royal Academy of Dance’s Australian ambassador, has been quoted saying that his early life was, “not so much about bullying as isolation. The silent treatment.” No one wanted to sit near a ballet dancer. This can make for an unnecessarily difficult and even traumatic path for those boys who are brave enough to follow it.

If this is happening to you, remember:
1. This is the bullies’ problem, and never yours. People will pick on others because they act or appear different, to feel more important, popular, or in control. They are intimidated by what they don’t understand. They can misinterpret what sets someone apart as a weakness, when actually it is a strength.

“A lot of the kids who bully want some kind of essential quality that you have. They want the freedom that you already have to do what you love.” Dancer and choreographer Chris Bell, in DANSEUR.

2. Remember why you are dancing. Exploring your talent is an amazing thing. It would be the worst shame to stop doing what you love to do because of some random persons opinion. Find supportive friends and stick to them instead. Following your preferences can be hard to do, but it is also really important for a happy and fulfilled life.

3. The best way to defuse a confrontation is not to engage, not to take the bait and give the bully the response they want. You cannot control the perceptions of others but you can choose not to give them power by paying attention to them. Also, success is the best revenge.

4. If the bullying gets bad you need to tell someone before it gets worse. There is no need to cop it just because you are a boy. You can ask for help and you deserve to receive it. Sometimes this can be talking about it with someone you know and trust.

5. If it’s possible, be around other boys who dance, see professionals dancing, and see the audience responding to them. You could also watch movies and youtube to feel inspired and connected to your wider dance community.

How can parents and teachers help?
Doug Risner advocates educating yourself and others about ballet, particularly if you are a father. It takes a lot of power, strength, determination and artistry for men to be successful dancers. When others see this as weak or feminine that can be devastating, especially when the person is a parent or role model.

If your child is being bullied, listen to their experiences and work together on solutions. Teaching young people how to cope with hurt feelings, how to redirect frustration, and how to avoid being diminished by the behaviour of others is central to their growth and finding their identity. This comes to the fore in any sport, and is especially vital when trying to forge a path when you are in the minority.

Schools can help be introducing dance early just like any other sport. That way, people find it easier to learn about what dance can be, how it can be masculine, and what a cool choice it is. Dance after all, should be for everyone.

If you are 25 and younger and being bullied, or if you are a parent or teacher in Australia seeking guidance about bullying, access support through Kids Helpline 1800 551 800 or visit

Dr. Kate Fennessy is a clinical psychologist who works with adults and young people in a private practice in Sydney.

Back To Top

COMPETITIONS How to survive by Jocelyn Penna Sports Psychologist | 02 8011 4435 | |

In this time period more than any other, it seems dancers are competing for the solo, to win the competition and to get the highest exam mark. This competitive nature continues into the professional world, with dancers vying for coveted companies and roles. Whether we like it or not, we live in a competitive world and competition is inevitable.

Competition involves striving for external rewards, and although it’s possible to compete against one’s own achievements, competition usually encompasses achieving superiority over others. Many activities in society are based on competition: academic performance, job promotions, sporting endeavours, innovations and medical breakthroughs. As science, technology and analytical thought extend human limitations, society becomes more competitive. In dance, as we push the boundaries of what we thought was humanly possible and use sport medicine, sport psychology and sport science to assist in getting more out of ourselves, the standards continue to rise. A healthy competitive nature can encourage excellence, persistence and resilience.

Whether or not humans are innately competitive, it seems that many are driven to compete, and people enjoy watching competition. The positive feelings and affirmations that come from success drive the desire for further competition. An accolade leads to feelings of competency and desire for future accolades. Therefore, competition can be motivating if achievement is frequent.

Unhealthy competition, however, can be demotivating and demoralising. Performance evaluation always have element of subjectivity and we can never know how well another dancer will perform on competition day. Competition success can’t be guaranteed, so if achievement is the primary or sole focus, disappointment will eventually prevail. An unhealthy competitive nature focusses on what the outcome may be and what other people might think, rather than on what can be done. It can have potentially devastating effects by decreasing motivation, triggering anxiety, distracting from corrections and choreography and numbing artistic performance.

Frequent competition will heighten feelings of pressure, which can have physical and emotional consequences over time. Ongoing pressure may eventually lead to burnout or withdrawal from any activity. Some dancers become reluctant to participate in a competition if they don’t believe they will place. Moreover, young children do not understand competition and not meeting expectations, or comparing their performance to other dancers’, can affect their overall self-esteem.

The competitive nature of training flows into the professional world with dancers carry that competitive psyche with them. Dancers need to compete for selection into companies and performances. Although these are wonderful achievements, it appears that for many dancers, within a few years there is a renewed desire to climb the professional ladder and strive for solo positions and coveted roles.

Given that we can’t remove competition from society, it is wise to explore how to thrive in competitive environments.
There are several aspects to a healthy competitive nature. Firstly, most time and effort should be focussed on oneself. Staying focussed on self-progression and not engaging in comparison with others or with the past is the most adaptive and valuable approach to consistent improvement. Working relentlessly and wisely towards predetermined achievable mastery goals will increase focus on the task at hand and thereby enhance performance. Striving for excellence, rather than the unobtainable perfection produces an environment that is less inhibited by stress, enabling more consistent skill execution. When focussed on themselves, dancers can achieve a more engaging performance. Making self-reflection and self-improvement the primary focus will facilitate a productive environment for excelling.
When it is necessary to explore what other people are doing and achieving in order to become competitive for a position or role, consider the following:
o All dancers have different strengths and suit different companies and roles, so discover your strengths and showcase them.
o Don’t compare with others, for the sake of knowing who might be “better”. When exploring your competition, stay focussed on how it will assist you.
o Use the information you discover intelligently by setting realistic goals, working on identified needs and only focussing on things that are controllable and achievable.

Unhealthy comparison has a negative tune and often results in a negative mood. Although usually intended to motivate, it more often triggers a pattern of thought that decreases perceived ability, affects self-worth and may eventually lead to self-sabotage. One with an unhealthy competitive nature might say “I / you need to become as strong as James”.

Healthy competition is encouraging and associated with a positive mood. Personality and experiences will affect how people react to competitive environments. By monitoring mood, a dancer or teacher can determine if the environment or feedback is constructive for the dancer. A dancer or teacher with a healthy competitive nature might say “It seems the director is looking for strength. I will make it my focus to increase my leg strength this month”.

Competition is ingrained in society, and whilst a heathy competitive nature can be productive, an unhealthy competitive nature can be quite harmful. If you are struggling with competitive nature, contact a psychologist familiar with the demands of dance.

Jocelyn Penna from Focus Performance has 18 years experience working with professional and developing performing artists. She enjoyed a background in dance and now studies the psychological challenges and rewards of being involved in the field. Working from clinics at Turramurra and Homebush. Skype and phone consultations are also available. 

Back To Top

Dance Rehabilitation, A Dancers Journey by Madison Cronin & Georgina Barr

Dancers require a greater range in their joints than the average human. While this is a primary contributing factor to the beauty of dance, it can also significantly impact post-injury healing and rehabilitation.

The healing time period for an injured hyper-mobile joint can take considerably longer to stabilise. These joints require greater strength so as to support the greater ranges of motion. The dancer must be rehabbed back to activities of daily living and then to activities of specific dance technique.

The following story is an exploration of this issue.

Back To Top

Flexibility by Michael Bellantonio Physiotherapist, Titled APA Sports Physiotherapist | 02 6282 5010 | | Level 1, Canberra Healthpoint Building, 16 Wilbow Street, Woden ACT

To tweak a line from William Shakespeare – some are born flexible, some achieve flexibility and some have flexibility thrust upon them (don’t do this! Flexibility should never be forced).
Flexibility is the capacity of the soft tissues structures (muscles, tendons, ligaments, connective tissue) around a body part to lengthen smoothly through that body part’s available range of movement. There are two types of flexibility – dynamic and static. Dynamic flexibility is the ability to move a body part through a range of movement using your muscles (for example, how high you can lift your leg in a grande battement). Static flexibility is how much stretch of a body part is achieved passively, without the use of your muscles (for example, how high you can lift your leg if you use your arms to pull it up). Both are important in injury prevention and technique. As a general rule, females are more flexible than males, and this is no different in the dancing population.

Back To Top

The Dancer’s Hip: Preventing injury
by Katie Godwin Senior Physiotherapist , APA Titled Sports Physiotherapist, Physiotherapist for Dancers and Performers | | 02 9948 6188 | 410 Sydney Rd, Balgowlah and
87 Chandos St, St Leonards I

While every dancer’s hip is different, there are some injury prevention principles that are applicable to almost all dancers. We encourage you to give the below exercises a try, preferably under the guidance of your physio initially so that you can be assured that you are doing them properly. Remember none of the below exercises should cause pain. If you do experience pain, please stop and make a time to talk to your physiotherapist. Enjoy!

Back To Top

Dance Massage
by Marina Bull | | 0477 938 170 |

An addition to your training schedule that will enhance your performance beyond imagining

Marina joins our health care team this year to talk to you about the benefits of massage. It must be said that not all massages are equal and that dancers should always seek out an experienced massage therapist, like Marina, who have a history of treating dancers.

Marina trained at an elite level with Tanya Pearson Academy and Elmhurst Ballet School and went on to have a successful career performing with Birmingham Royal Ballet, The Paris Opera Ballet, The Croatian National Ballet, Ballet Manila, Moravian Theater of Olomouc (Czech Republic), The National Ballet of Romania and The State Ballet of Stara Zagora (Bulgaria).

Massage played an integral part in her ability to dance through the many demands placed on her, which included a broken pelvis for the entirety of her career! Inspired by the noticeable therapeutic effects of massage and a desire to assist dancers, Marina now runs a successful clinic in Sydney.

For a dancer, I do not think it gets any better than having a dancer tend to their bodies in this way. Marina’s experienced hands understand how the dancer moves and therefore which muscles gain the most benefit from her attention. She is inspired by connections, the one she has with her clients and the one her clients have with their bodies.

Back To Top

JUMPS, KICKS & WEIGHTS TOGETHER Why they do not help!
by Joanne Maskrey B.Phty from InSync Physiotherapy and Pilates | | 03 9813 2188 |

Picture the perfect grand jeté. You’re dancing across the room and you take flight, soaring through the air as if you were removed from the grasp of gravity. And then lightly, like a feather, you float back to earth before taking the next leap into the air. Weightless. Effortless. Graceful.

Back To Top

Decisions, Decisions
by Dr. Kate Fennessy | | 02 9713 9265 | 0448 641 892

It’s Audition Season! How to make decisions when the heat is on…
Choosing a dance school can be a challenging experience. The first of many difficult decisions for dancers is figuring out which opportunities are the right ones to pursue. Parents, teachers and peers will all weigh in, and the process can be more than a little overwhelming. Asking the right questions as you prepare to audition can help to steer you in the right direction.

Back To Top

by Dr. Luke Hopper WAAPA Lecturer | | 134 ECU (134 328)

What is ASPAH? How will teachers and students benefit from their work?
ASPAH, the Australian Society for Performing Arts Healthcare, was formed just over 10 years ago primarily by clinicians and researchers who predominantly worked with performing artists. They recognised that performers needs were different from the general population and sports people, and created a communication hub for a network of clinicians to swap information on performing arts heath. This has helped to improve awareness and the quality of care for performing artists.

Back To Top

Dancing is good for kids
by Dr. Kate Fennessy
0448 641 892
Children are natural dancers, moving for fun and to express themselves with their bodies before and during speech development, all the way into adulthood. Research has found that dance supports several key aspects of development for children and young people in several domains.

Back To Top

by Katie Godwin | | 02 9948 6188
Understanding how you work and what motivates you can get you to your goals faster. What you currently do with ease provides clues to what motivates you. The things that make you upset or angry can also point the way to what you care about. Asking yourself what it is that gets you going about a particular activity can help you to reach your goals, by setting up valued rewards for when the road gets tougher. Good luck!

Back To Top

How much is too much?
by Katie Godwin | | 02 9948 6188

There has often been discussion in the media regarding how much is too much when considering the level of exercise that young people engage in. Extreme examples of overtraining tend to make headlines, and can unnecessarily worry parents and teachers. No one wants to put any child or adolescent at risk of injury; that’s a given.

Back To Top

The Port De Bras
by Gabrielle Davidson and Bradley Smith | | 03 9813 2188

Understanding how your body is put together can help you understand and access the right muscles, joints and bones to allow you to perform with greater strength and artistry.

Whilst watching dance it is the legs and feet that appear to carry out the majority of athleticism and it is the port de bras that displays artistry and intention with fine, controlled movements paramount to helping an artist tell a story.

Back To Top

Over Stretching
by Susan Bond | | 02 9518 5009

Over stretching is where you stretch the muscle or hold a position for over 30 seconds at end of joint range limit.

Recently physiotherapists from The Australian Ballet medical team, have said they favour strengthening exercises rather than prolonged stretching on muscles. This has led to some confusion, as dancers cannot imagine going into class or performance without some sort of flexibility warm-up or back ground stretch training.

Back To Top

The Benefits of Cross-Training for Dancers
by Natalie Orola | | 0415 715 080

Traditionally, a dancer’s training has been restricted to building their technique and performance levels during a dance class. Whilst we can all appreciate the demanding impact that dance has on our bodies, the dance industry has been relatively slow on the uptake of exploring cross-training pursuits for dancers. For many, it is the fear of injury or the appearance of looking ‘too bulky’.

Back To Top

Living with a Dream with Uncertain Job Prospects
by Jocelyn Penna | | 02 8011 4435

Most people feel more secure when they know what is around the bend, but unfortunately life is full of uncertainties. Dancers in pre-performance years usually have an idea of their desired career path, however each company, school and director have their own criteria and preferences. Performance is subjective so even if a dancer met the required criteria their selection is still uncertain. They must also deal with uncontrollable factors including health, puberty and injury.

Back To Top

Understanding the Triggers

by Charissa Fermelis | 0438 020 167 |

Understanding when you are at risk of injury will help you better take care of yourself. Charissa offers some great advice on how to better understand you and gain a greater understanding of when you might be overloading.

Back To Top

Body Talk- Pain Train Your Brain
by Louise Drysdale | 07 3846 1488 |

As dancers, our bodies are the most important tools we have. We need them to be in peak physical condition. When an injury occurs, we panic. Firstly, we start to wonder what is wrong, then pour back over the past few days, hours or seconds to find the point in time when it started hurting. Why is this new pain here? Will it go away and be better tomorrow? Will it come back? Will it ever get better? Will I still be able to dance?

Back To Top

Reduce injury and Promote Performance
by Melanie Fuller | 07 3846 1488 |

Dance classes work on neuromuscular coordination, this relates to your technique and balance1. Training in other areas can have a positive impact on our performance and overall health, and may reduce injuries. But how can we use our time most efficiently to achieve these results?

Back To Top

by Anna Tetlow | 0438 595 792 |

When we think of techniques that work specifically well alongside dance and in particular classical ballet, we think of Joesph Pilates and The GYROTONIC® methods. I have a new technique to add to your repertoire and it is called Garuda. Creator of The Garuda Pilates Method, The Garuda Apparatus and founder of The Garuda Studio, James D’Silva was born and raised in Goa, India, before moving to England to become a professional dancer. I have worked with James for over 17 years and am the master trainer of Garuda in Australia. I am very excited to be be able to teach this wonderful method and to make it available ad a part of a dancers training as well being responsible for training Garuda teachers in Australia in the future.

Back To Top

It Takes Two
by Michael Bellantonio | 02 6282 5010 |

In the immortal words of Tina Turner and Rod Stewart: two can really ease the pain, like a perfect remedy.

As a male physiotherapist with a special interest in treating dancers, developing a good rapport with them is paramount. Most of my dance clients are young females, so they need to feel comfortable with me treating them. The importance of a good professional relationship and communication cannot be underestimated. It is as important as the interventions I provide to the dancer.

Back To Top

The Benefits of Private Coaching by Natalie Orola | | 0415 715 080 The importance of a regular dance class builds socialisation skills, develops 'team spirit', allows for easier pathways to group performances and concerts, and provides students with clear, real-time benchmarks at their level within the class environment. So, where does private coaching fit in?

Back To Top

Dance screening & injuries on the rise
by Holly McPaul | 02 4227 1990 |

What is a Dance Screen?
A dance screen is comparable to the appointments you make with your dentist or optometrist, except for the dancers body. We look at movement patterns, technique and dance movement control. Sometimes it is a simple thing that throws off the rest of the body or movement pattern and is easily corrected with exercises (that we call correctives). Your dance screen will be part of your dancer profile, allowing us to compare previous screens, and we can track changes to make sure that students continue to perform at their very best.
 The screen is also very beneficial for the students parents and teachers and supports the teaching of safe and correct technique ensuring the activities done in youth do not hurt the adults body later in life.

Back To Top

HSC Dance - how does it support a dance career?
by Katelyn Boshell | 0415 839 030

Maintaining a dancing body at peak performance level can be a struggle for dance students rehearsing for an eisteddfod, exams or even for their final NSW Higher School Certificate (H.S.C) practical examinations.

"Students often hear that they need to prepare their bodies both mentally and physically, but what does this really mean?"


Back To Top

Are Injuries Preventable
by Louisa McGinness | | 02 9389 2766

"Up to 75% of dance injuries are preventable – so how can I reduce the risk of getting injured?"

Research has estimated that up to 75% of all dancers’ injuries are due to overuse1, regardless of the age, gender or training level of the dancer2.

Back To Top

Dentist or Dance Physiotherapist? BOTH!
By Susie Bond | | 02 9518 5009

Would just two visits a year to a specialist dance physiotherapist make a significant impact to injury prevention?
Dance physiotherapists love to assist dancers achieve their top goals in dance. Everyone visits the dentist regularly to prevent dental problems. Regular visits to a specialist dance physio should be made, in the case for dancers going through rapid growth spurts. Simple core stability, joint strengthening and leg alignment exercises can make all the difference for injury prevention.

Back To Top

Weight Watching & Your Identity
by Jocelyn Penna |

People drawn to dance possess many amazing traits, beliefs and values that enable them to excel such as determination, emotional connection and focus. Yet, these same characteristics can place dancers at risk of suffering from stress and high pressure. Developing awareness of your strengths and vulnerabilities can help you keep a healthy, productive and enjoyable balance.

Back To Top

Happy Hips?
by Deborah Chen |

As dancers continue to push their body right to the extent of their flexibility I’m seeing an increase in hip pain complaints – particularly a pinching in the front of their hip when doing front kicks or developping leg to devant. Sometimes the pinch is only there with those particular activities and other times the pinch turns into a deep, dull ache that can last for a few hours and can eventually become constant.

Back To Top

Turnout - what is it?
by Samantha Jakelic | | 02 9948 6188

Dance teachers and students are constantly talking about and working on making the most of turnout. It is what makes Ballet fundamentally unique. Turnout is the ability to outwardly rotate the leg so that the knees and toes turn away from the midline. The “perfect” 180o turnout is often desired amongst dancers and choreographers because of its aesthetic appeal. However, did you know that turnout has also been shown to allow more efficient weight transfer, better control of extensions and reduce the risk of injury?1

Back To Top

Remedial Coaching
by Suzanne Way | | 0407 010 286

What is something dancers really struggle with when they get injured?
In my experience I have found dancers struggle with the time frame of their injury. How long will I be out of class and rehearsal? What opportunities will be missed? These questions immediately set up a stress reaction in the body and must be dealt with carefully.

Back To Top

The Importance of a Dance-Specific Musculoskeletal Assessment
by Shannon Trotter | | 02 9527 4099

A dance assessment carried out by a physiotherapist who specialises in treating dancers can be used to identify a dancers' strengths and weaknesses which in turn may decrease their risk of injury. It is also used to assess readiness for pointe work and for general improvement in technique and performance. Often, dancers will present to our clinic with injuries that could have been avoided with prior assessment and appropriate management programs. The long term benefits are immense with reduced risk of injury, less time off dancing and improved performance.

Back To Top

Starting Pointe Work
by Louise Drysdale | | 07 3846 1488

Do growth plates in the foot affect the ability for the dancer to commence pointe work and can commencing pointe work too early create long term negative side effects?
These are difficult questions to answer because there is a lack of research explicitly investigating this. Growth plates are a bit like elastic in pregnancy pants - in young dancers, they are not yet comprised of fully calcified bone, in fact they are cartilaginous and ready to expand and grow as a dancer gets taller. Growth plates (around the ankle) generally fuse at age 14 for girls and age 16 for boys. Most girls I see progress to pointe are 11.5- 16 years of age. The International Association of Dance Medicine and Science recommends age 12 as an appropriate age to start or start preparing for pointe work.

Back To Top

by Andrew Cobb | | 03 9878 8088

Osteoarthritis (OA) of the knee is quite common as you age but can develop much earlier when someone has suffered a significant knee injury. A classic example of this is when an athlete ruptures their anterior cruciate ligament (ACL), regardless of the treatment sought you can expect to see OA changes in the knee within 20 years. Quite often these athletes are still young and having major surgery like a partial knee replacement is best to be avoided for as long as possible. In these circumstances, there is a growing demand for injectables to delay the need for surgery. For all of these injections you need to discuss the appropriateness of them with your GP, sports physician or orthopaedic surgeon.

Back To Top

Tips To Help Your Body During Exam & Comp Time
by Charissa Fermelis | | 0438 020 167

The winter dance competition season has come and gone, and fast approaching is the spring exam timetable and soon enough, we will be in the midst of concert preparation. The yearly dance calendar can be quite a confronting routine, punctuated with extra rehearsals and private lessons; there are few opportunities for ‘down time’ or an ‘off season’ where rest and recuperation are allowed.

Back To Top

The Importance of the Intrinsic Muscles in the Feet
by Gabrielle Davidson & Joanne Maskrey | | 03 9813 2188

The humble foot is a highly mobile collection of joints, ligament and muscles that allow for flexibility of the ankle in demi-plies, the beautiful arc of the pointed foot, the explosive push off, and the light, quiet landing of allegro. Dancers are able to execute these movements precisely with the activation and control of highly trained intrinsic muscles of their feet.

Back To Top