In for the long haul 8 dancers share their injury-prevention tips

Dance Magazine, July, 2006 by Gigi Berardi

LET'S BE HONEST. NO MATTER HOW MUCH YOU LOVE DANCING, YOUR BODY FINDS WAYS TO DISAGREE. SPRAINED ANKLES, MUSCLE TEARS, STRESS FRACTURES, BACK PAINS--WE'VE ALL BEEN THERE. SO HOW DO PROFESSIONALS TALK THEIR BODIES INTO STICKING AROUND THROUGH THEIR 30S AND 40S? LUCK MAY PLAY A ROLE, BUT DANCERS LIKE HOUSTON BALLET'S BARBARA BEARS AND DAYTON CONTEMPORARY DANCE COMPANY'S SHERI "SPARKLE" WILLIAMS DON'T LEAVE THEIR CAREERS TO CHANCE. HERE, BEARS AND WILLIAMS, ALONG WITH DANCERS FROM FIVE OTHER COMPANIES, SHARE TIPS LEARNED FROM YEARS OF PERFORMING THAT GIVE THEM THEIR SUPERHUMAN ENDURANCE.

PACE YOURSELF

BARBARA BEARS, a principal with the Houston Ballet, believes in pacing yourself. "I think it takes years of experience to know when you need to push. You have to know when to work on the physical, and when to work on other things."

Bears has had several foot injuries and surgeries, one of them requiring a whole year off. "When you're young," she says, "you think, 'If I don't do class full out, or do this part full out, I won't be promoted.' But, really, dancers need to take time off if necessary, which is the quickest way to heal."

SOMATIC PRACTICES AND THERAPIES

RENEE ROBINSON, who celebrates her 25th anniversary this year with the Alvin Ailey American Dance Theater, recalled her early years when her muscles would get overworked, and then tight and weak. This can pull the bones out of alignment and lead to injury. "Now, I take care of my body before I have an injury," says Robinson, "especially when our rep is a little more aggressive." She does Pilates, Zena Rommett Floor Barre, Gyrokinesis, and Gyrotonic.

JEFFREY STANTON, a principal with Pacific Northwest Ballet, has had very few injuries in his 17-year career other than minor foot problems and a shoulder injury. Says Stanton, "After you've danced for a while, you are better able to recognize the warning signs of possible injury, and check yourself that you are working correctly." He has a daily stretching routine that includes yoga. In order to address anatomical limitations, he sometimes takes extra time to warm up for performance. "I may focus on external rotation in my hips, or flexibility in my lower back," he says. "It's about becoming a more intelligent dancer."

ARIANA LALLONE, also a principal with Pacific Northwest Ballet, can only recall a minor back strain in her 19 years with the company. Says Lallone, "Taking class every day, and supplementing with Pilates and yoga for me are key to developing inner core strength." She finds that yoga helps her to relax and stretch over-worked muscles. "I'm fascinated with how yoga can correct a muscle imbalance in my hip rotators or lower back," says Lallone. "Dancers tend to fidget so much in class, correcting themselves constantly. But in yoga, you need to hold the pose and not fuss--you can't possibly get all these things out of one ballet class."

PAY ATTENTION TO ALIGNMENT AND TECHNIQUE

A few years ago, MOISES MARTIN, a soloist with San Francisco Ballet, would suffer the odd ankle sprain or minor back pain. But lately he's been injury free. He claims that paying attention to alignment and technique makes the difference.

"I try to keep in shape with core and upper-body strengthening," says Martin. "But I have to always remember, 'Hips over knees, knees over feet.' The exercises I do, especially at the barre, are really good for placement."

PATRICK SIMONIELLO, with Hubbard Street Dance Chicago, feels much the same way. "There's no substitute for a good class, one that emphasizes placement and alignment," says Simoniello. "I find that being squared, staying true to all positions, is the key to preventing injuries. When you compromise a position, then you get injuries."

NEVER STOP LEARNING

HOLLY CRUIKSHANK, currently performing in the London company of Movin' Out, has had only one serious injury--a cartilage tear six months into the New York run of Movin' Out. To stay healthy, Cruikshank swears by getting a good night's sleep, eating healthily, and conditioning (taking power walks and yoga).

But her strongest advice is, "Never stop learning."

"Dance is not like most professions where, when you're finished with school, you're done learning," says Cruikshank. "Your body doesn't get younger and your muscles don't work out by themselves. Keeping active and taking classes keeps your mind going. It makes auditions easier too!"

STAY CHALLENGED, ENJOYING DANCING

SHERI "SPARKLE" WILLIAMS, the small powerhouse of a dancer who is the centerpiece of Dayton Contemporary Dance Company, had just one inguinal ligament sprain and an ankle sprain in her 32 seasons with the company. For Williams, staying challenged and enjoying the repertory is key to healthy dancing--"allowing your movement to be full of breath and full of life."

"Our repertory can be grueling, but it's so excellent. Without embracing the challenge of the rep and working with the choreographers we do, I couldn't have danced that long. I set a standard for myself--to really live in the moment, and truly enjoy my dancing." She has become certified as a fitness professional and personal trainer. "This conditioning complements my dance," says Williams. "I also eat as a vegetarian, and use nutritional supplements. It's all part of my lifelong plan to stay healthy."