Children have a fundamental right to be safe while involved in dance, sport or associated activities and teachers need to be aware of their legal obligations.
These safe dance practice guidelines include how to set up a safe learning environment, what makes a practice or performance venue safe, the importance of cater for physical different bodies and abilities, how movements might impact on the body, and simple injury prevention and management strategies.
What professional or serious dancers should be eating and drinking to train and perform at their best and minimise risks of injury and/or burnout.
Some general advice for studio teachers and/or managers about meeting OH&S requirements for maintaining a safe dance environment and for caring for the participants in a dance class.
How can dance teachers recognise students who might have an eating disorder, and how might they help them to acknowledge and deal with this complex and debilitating condition?
Traditionally, teaching and training concentrate on technique, alignment, flexibility and aesthetics. With advances in sports medicine and dance science research, there are easy-to-apply techniques to evaluate strengths and weaknesses.
Recommendations for what you should and should not do when you are stretching, and some different stretching techniques.
Simple first aid advice that is particularly relevant to dancers and dance teachers, whether in a social, recreational or professional environment.
A checklist of environmental considerations that you should be aware of before you teach a dance class, lead a social dance event or give a dance performance.
This information is especially for young female dancers who can do much to prevent or minimise a common condition called osteoporosis by eating plenty of calcium during the growth years.
What is the difference between ‘being warm’ and ‘warming up’? Why is warming up before dancing and cooling down afterwards important for avoiding injury or pain?
What you need to know about the floors that you are dancing and teaching on, and recommendations for installing a safe dance floor.
Professional or full-time dancers—and athletes—are at risk of burnout, so it is important to be aware of the warning signs and take action.
This report documents the recurrence of injury in Australia professional dancers. It follows the work of Tony Geeves which began 10 years earlier .
The second Safe Dance report presents research into adolescent health issues during intensive dance training.
This project was the first of its kind undertaken in Australia. The report is supported by statistics and extensive consultation with dance and health professionals.
Screening for dance readiness is an accepted practice used to identify risk factors to injury and minimise “down time” from performance. The results can be used to design and implement programs to help directors, teachers and choreographers better understand possible physical limitations rather than perceive technical fault. Screening is not considered to be a strict filtering tool for acceptance into companies or dance schools but rather to gain a baseline profile of an individual and a good opportunity to introduce the dancer to healthcare providers. This paper aims to arm dance practitioners with practical, research-based strategies to apply in the realm of traditional teaching procedures.
Lesley Graham (Queensland University of Technology, Brisbane) seeks to apply the findings of the Sport and Recreation Training Australia Draft Position Paper for the Australian Fitness Industry and the National Fitness Professional/Trainer Registration model, to the dance industry. The implications and appropriateness of these models are discussed with reference to a process of risk stratification in dance teaching.
Christine Babinskas (PhD Candidate Victoria University) has been developing a movement practice that draws on various dance techniques, movement work within a drama context, improvisation, and often involving artists from other disciplines. Her movement has shifted from the strictly codified aesthetic of classical ballet, to something more indeterminate, open and unique.
The key message of the paper is that while observing a person moving, somatic and sensory processes are elicited and these have an impact on both the observer and the mover. The recognition of these processes is important to assessment, observation and clinical therapy protocols. The paper describes embodied awareness, including methods used in Authentic Movement, Dance, Dance/Movement Therapy, Body Psychotherapy, Body-Mind Centring, Sensory Awareness and Jungian Analysis. Arts-based practices can inform clinical practices, and embodied interaction in clinical practice can also inspire artistic research. The methodology of kinaesthetic attunement weaves subjective and objective experiences and can inform clinical relationships, childcare and educational practices.
The Australian guidelines for teaching dance outlines codes of ethical and professional behaviour and emphasises the importance of safe dance practice and teaching methodology.
We designed it to help dance teachers and students by providing minimum standards, and by suggesting ways teachers can maintain or upgrade their teaching skills. Parents can use the Guidelines to help choose a dancing school or group for their children.
Information to help teachers make sure that students are dancing safely and responsibly.
Safe Dance reports volumes 1, 2 and 3 contain research into the areas of injury prevention and management, body therapies, rehearsal and management practices.
This interview with Dr Boni Rietveld of the Netherlands Medical Centre for Dancers and Musicans discusses advice for younger dancers on how to prevent injuries, prevent current injuries from getting worse and provides encouragement for dancers recovering from injury.
One of the key supporters of the Australian Dance Awards is Harlequin Dance Floors. Established in 1979, Harlequin supply dance floors around the world, so it was great to meet with them at the Harlequin HQ in Kent, England.
Mark Rasmussen, Global Group Marketing Manager, took the time to show me the main workshop and a presentation on how Harlequin are continually refining their knowledge and processes with the aim of ensuring dancers get the best support they can from a Harlequin dance floor. Harlequin supply a range of different floor types including portable and permanent floors. They have recently redone the stages at the Bolshi Ballet in Russia, and supply the floors for Sydney Dance Company and the Australian Ballet. Riverdance performances for the last ten years have been on a portable Harlequin floor.
Harlequin have been interested in research (being undertaken in the Netherlands, the United Kingdom and in Australia) looking at the scientific benefits and different impacts of floors on the dancers body. A lot has changed in the last few decades as dancers, teachers and choreographers have become more aware of safe dance practices. A good floor is just as vital to a dancer's wellbeing as a good diet and well-trained technique. Ten years ago research was based on sports floor models, but now we know what a basketballer is looking for out of a floor is significantly different to what a contemporary, classical or ballroom dancer needs. We have known for years that sports floors aren't ideal but research is still underway looking at what is right for dancers. And, of course one of the ongoing challenges is that what a classical dancer requires in a floor is different to what a hip-hop or tap dancer needs. While Harlequin have a growing range of floors available, studio owners, community dancers, performance facility directors and companies need to make an individual assessment about what will work best for their dancers.
Over the coming months DanceUK and Ausdance will be reviewing the recent research on dance floors and updating our dance floor information sheets.