Example 1: Balance & Control in Relevé

1. Overuse of “gripping” the toes to help with balance
2. Discussion of anatomy of the lower leg/foot
3. Exercise: Dancer heel raises

Example: Controlling knee position/hyperextension

1. Instructor cue of “lifting through the knees” or “engaging the quad”
2. Discussion of anatomy of the knee joint & quadriceps group
3. Exercise: Quad sets or Hypermobility drill

Thank you to everyone who stopped by to discuss this project. I’ve summarized common questions or discussions that came up during the IADMS 2023 Poster Session Q&A.

1. How was this utilized?
   • I use this both 1:1 with clients in the clinic, whether they’re being seen for rehab or prevention/wellness services, as well as in group classes in the studio.
   • The format has been applied to a variety of dance styles, including ballet, tap, hip hop, and West Coast Swing. Ages have ranged 12 to adult with competitive ad0lescents through professionals and dance educators.
   • When taught in the group class, I will either give the dancers some brief choreography or I will watch them in the class just before I teach. Based off of what I see, I choose items I think the group would most benefit from.
2. What anatomy do you cover?
   • If used in clinic, I will choose 1-2 items per 1-2 sessions that apply to the dancer I’m working with, slowly adding the depth and/or breadth of their knowledge oveertime.
   • In the studio, I typically spend 45-90 minutes in the class. I will select 3-5 items to cover at that time, tailored to what the group would most benefit from, their age group, and their dance style.
3. What are the benefits of using this method?
   • Student get real-time feedback for movements that directly apply to what they’re practicing in class. This helps with their buy-in to continue learning the information.
   • In addition, it can open the gateway to discussing the benefits of cross-training for dancers. They’ve gotten to see how an often “non-dance” exercise directly benefits their dance.
   • A long-term benefit I recently experienced: One particular dancer has worked with me off and on over the past 5 years. These educational methods were often used during our time working together. She is now 18 and dancing in a company out of state, recently got injured and had to go to urgent care, where she worked with a physician who was not familiar with dance. She told me that she was able to use things she learned from me to better advocate for herself in that encounter, especially when she felt she wasn’t being heard or was unsure of their recommendations.
4. Why don’t you have data to present on this?
   • As a solo clinician in private practice, part-time faculty, and current dancer/competitor, it is difficult to find adequate time to develop & complete a study. That said, my new part-time faculty position will be including a research component. With the new access to resources & support, I will now have the opportunity to create a study around this concept.
   • Future studies could include:
     • Carry-over of knowledge over time
     • Change in quality of movement or dancers’ perception of differences
     • Ability of dance educators to accurately use a version of this method in the studio
     • Survey dancers on their knowledge & understanding of application before & after the education session

Dr. Alyssa Arms, PT, DPT, OCS is the owner of Back in Step Physical Therapy, located in Centennial, Colorado. In her clinic, she specializes in working with dancers and other performing artists, providing services in injury prevention/reduction, rehabilitation, and performance programming. She is also active in the community, providing seminars on-site at various dance studios, providing on-site care at dance competition and/or convention weekends, and presenting at conferences, including at the international level.

In addition to her training and expertise as a physical therapist, Dr. Arms has 35 years of dance training across multiple genres, including ballet and pointe, jazz, tap, hip hop, salsa, and more. She continues to regularly train in a variety of styles and has been a national-circuit competitor in West Coast Swing since 2010.

Dr. Arms is the Denver Team Lead for the Bridge Dance Project, as well as a member of the International Association for Dance Medicine & Science (IADMS), Doctors for Dancers, DanseMedica, and the Performing Arts Medical Association (PAMA). She is also the host of Dance Med Spotlight, a podcast about all things dance medicine and dance science.