STRENGTH AND CONDITIONING FOR THE PERFORMING ARTS

Push!  Pull! Get down! … you may be familiar with these three terms  if you’ve ever attended one of our Strength & Conditioning or HIIT classes in the Conditioning Studio here at Trinity Laban. These free classes are beneficial and open to ALL Trinity Laban students which can support your practice as a dancer, musician, or musical theatre student.

Are you thinking strength and conditioning doesn’t apply to you and your practice? Never trained for strength or conditioning and don’t know how to start?

Read on to learn more about supporting your individual practice and how Trinity Laban is here to support you.

#KickStartSC IS for You!

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Image: Chris Nash Photography and Random Dance

What the science says:

Whether you’re a music student, dance student, or musical theatre student, maintaining physical fitness is important for performance enhancement and injury prevention. Numerous studies on the physical demands of dance have shown that the cardiorespiratory requirements of dance classes are significantly lower than dance performance. This gap between the demands of class and performance leave dancers unprepared for the rigor of performance, resulting in fatigue and in some cases, injury. Further, a high frequency of injury in dancers has been linked to insufficient levels of strength and endurance. It has been recommended that dancers train strength, especially for areas of the body that receive extra load during training, and High Intensity Interval Training (HIIT), which most closely simulates a dance performance setting.

Training in music presents a different set of physical demands on the body. A study examining the physiological demands of music found that music is an intermittent activity with fluctuating cardiorespiratory demands. It was suggested that interval training, such as HIIT, would be a beneficial form of supplementary training to support a musician’s training.  Other studies highlight the high occurrence of overuse injuries in musicians, as well as injuries caused by bad technique habits, and postural misalignments. Strength—especially in areas such as the core or the limbs required to hold or play the musician’s instrument—is needed to support a musicians’ performance without injury.

According to a study from Medical Problems of Performing Artists, musical theatre performers are the “triathletes” of the performing arts. This field of the performing arts involves elements of both dance and music and therefore requires the physical demands of both fields. Additionally, singing while dancing proposes unique demands on the performers’ breathing patterns. Like in dance, it was found that in-class training does not meet the demands of performance in musical theatre. One study found that 46% of their participants reported receiving two injuries per year and 30% receiving three or four per year, with the most common being injuries of the lower extremities.  Based on these findings, it is important for musical theatre performers to engage in supplementary fitness training to prepare for performance conditions.

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Image: Conditioning Studio at TL, JK Photography.

#KickStartSC:

For the first time, the Trinity Laban Conditioning Studio will be putting on a Kick-Start series of strength and conditioning classes taught by Trinity Laban alumni Khyle Eccles, MSc Dance Science, specializing in strength and conditioning for performing artists. This series, which will take place during the first week of Term One, will focus on introducing students to using the Conditioning Studio for supplementary strength and conditioning training.

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Image: Khyle Eccles

Over the previous year, the Strength & Conditioning and HIIT classes taught by Khyle have helped students from all programs to increase their fitness levels and aid them in training and performance. These classes are also great resources for learning principles of strength and conditioning that can be applied to one’s own practice. In the past, students have learned the importance of warm-up and ways to incorporate a sufficient warm up into their practice, how to use all of the various pieces of equipment that exist in the conditioning studio, and that strength and conditioning can be fun and exciting! If Khyle’s enthusiasm and great dance moves don’t get you hooked on these classes, then the benefits on your training will. Each class targets different aspects of training, so attendance at these classes will always apply to you and could result in increased jump height for all the dancing needs, increased endurance for long performances, or increased upper body strength for holding up those instruments day after day.

Come join us this coming week for #KickStartSC and see what this is all about!

Written by Elizabeth Yutzey

Dance Science Graduate Intern

Beyond The Walls

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Image: Age Exchange July 2016 

Beyond The Walls was a multi-sensory interactive arts performance from Age UK and Trinity Laban, utilizing cutting-edge research to improve the wellbeing of people living with dementia. The project was led by Lucy Evans and Stella Howard, two Trinity Laban alumni currently working in our Learning and Participation (Dance) department. Lucy reflects here on their experiences…

The ‘Beyond The Walls’ project followed from on charity Age Exchange’s three year’s research entitled ‘Radiql’, which investigated improvements in the wellbeing of people living with dementia when they engaged with visual and movement arts.

In spring 2016, Stella Howard and I were commissioned by Age Exchange and Trinity Laban’s Learning and Participation Team to undertake further research, the outcome of which would not be an academic paper but an actual dance performance.

The first stage of the process was a great privilege; we were invited to participate in 24 workshops with a group of older people in a Wandsworth care home.  The workshops were co-led by visual artist Mathew and movement therapist Christina.

As the weeks progressed – and as we observed the approaches and also the relationships facilitated by Matthew and Christina – we were able to interact more meaningfully with both the methodology itself, and also with the new people we were getting to know. In the later weeks, when I approached the residents, I experienced them taking my hand and warmly moving it to their cheek. We jived, sang and painted together, and shared memories (at one point a lovely lady turning to me and started to recite a verse about sowing seeds and growth – a precious moment indeed).

Of course we also met with some more emotionally challenging moments. We saw feelings of isolation and anxiety, a side to living with dementia not often evident in participatory activities. And we were occasionally told in no uncertain terms ‘I’ve grown out of this a long time ago!”.

Following the research phase, we moved to the studio to begin developing our observations and at first fragmented conclusions into movement and dance.

Initially, we worked a lot with improvisation to embody the shifting relationships and levels of engagement we had experienced and witnessed. We set up scores which enabled us to explore a variety of ways in which one could feel engaged or disengaged. We explored issues of whom or what we might choose to engage with (or not), and questioned the idea of agency: when and how did the participants exercise choice around engaging in relationships in the arts practice? There was something special for us about investigating this at Laurie Grove studio, away from our roles as practitioners at Trinity Laban, with a view of Goldsmiths and the sunlight painting patterns on the studio floor.

A further exciting element of this stage of the work was the commissioning of several artists: composer Eliot Lloyd-Short, who created an original live and recorded score; prop-maker Andy Pilbeam-Brown, who made nine cardboard suitcases which displayed artwork made by the workshop participants; and filmmaker Roswitha Chesher, who documented the workshops, the devising process and the final performance.

Throughout the process we were determined that our decisions should truthfully reflect the context, practice and its outcomes; that we should face not only the joyous but also the difficult moments. We referred to and quoted movement we had observed, whilst being completely clear we did not want to mimic or re-enact the people we had met.

We set up the stage space in the round and used multi-sensory ideas (tastes, smells and textures) to further bring the audience into the world of the workshops. Musically, Eliot used sound samples from nature (suggesting the imagined themes of the workshops), radio extracts (reflecting the more realistic sounds of the care home), and also played live guitar and viola. The majority of the composition happened in the studio, resulting in a music and dance relationship that was invested and complex. The structure of the work gave both art forms space to react to one another and improvise whilst also charting the shifts in engagement and relationships we witnessed over the 24 workshops.

Mid-process we shared our work with the most truthful and well-informed people we know: the Trinity Laban Boundless over 60’s dance group. It was nerve-wracking to test our interactive ideas on a live audience! But finding out they were both appropriate and effective in evoking an emotional response in our audience was a relief, and spurred us on to push this element of our work further.

The work was presented at Battersea Arts Centre on 2 February, following a panel discussion by leading academics in the field of dementia and wellbeing. It was fantastic to be part of a platform where music and dance, as a means of explanation and communication, held a level pegging with statistical documents.

If you are interested in seeing the work it will be shared again at Trinity Laban on the 14 June, and we’ll let you in on a secret, there’s chocolate involved!

Reflection on placement with Trinity Laban Dance Science

Recently I completed a 40 hour placement with Trinity Laban in the Dance Science and Health departments. I gained an insight into the research that takes place at Trinity Laban, the MSc Dance Science programme, and the busy lives of everyone involved in making it such a wonderful and inspiring place to be.

I’m currently a third year student on the undergraduate Dance course at Kingston University and planned to do this placement in the hope of finding out more about the Dance Science world and what career paths I could take in this area. Let’s not forget that Trinity Laban offered the first Dance Science Master’s degree in the world, so it really felt like I was at the heart of all the action, at the number one place to be! It was really interesting to talk to the likes of Dr Emma Redding (Head of Dance Science at Trinity Laban) and Edel Quin (Programme Leader MSc Dance Science at Trinity Laban), who both have a lot of experience in Dance Science and have developed the Dance Science course at Trinity Laban. But it was equally fascinating to talk to the Graduate Interns (who had completed the MSc at Trinity Laban), and everyone in between, to discover everyone’s plans for the future.

I was also lucky enough to undertake my placement the same week that the Dance Science department had their Health Interdisciplinary Day, and so I learnt the difficulties of ‘measuring’ results in research studies. I also learnt the difference dance can make in community settings, and the wide range of participants the department work with, whether school children or hospital patients. What I found most valuable, not only on this day but throughout the whole week, was the impact that qualitative data has. Before I started my placement I had only thought about the importance and relevance of quantitative data. Over the week, I learnt that deciding what to measure and recording qualitative changes is really hard, as in the dance field researchers are dealing with the complexity of the human body and not just a ‘lab rat’. The problem the Dance Science world then face is that, given how new and evolving the field is, it is a challenge to guess what kind of research will be awarded funding.

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It was also exciting working with Lucie Clements (PhD Candidate and Guest Lecturer), getting a sneak peek into the psychological work the department are currently doing with international colleagues on the motivational environments dancers work in and the type of environment dancers would prefer. This allowed me to learn more about the psychological side of Dance Science.  When I arrived at Trinity Laban I only really had basic knowledge on the physiological side of the field and this is what attracted me towards the area. I left Trinity Laban having more knowledge on both physical and mental aspects, and if anything being more interested into how psychological research in Dance Science can help not only dancers but also other communities.

Overall I can say that I really enjoyed my week long placement in the Dance Science and Health departments at Trinity Laban. All the staff and students were really welcoming, which made every activity enjoyable whether interviewing staff, learning about the equipment in the science lab and conditioning studio, or even formatting documents! Now I have completed my placement I can say I’m even more eager to have a career within Dance Science and so I would like to thank everyone who helped or talked to me during the week.

 

I hope to see you all soon!

 

Rhiannon Bromley, BA Dance student, Kingston University.

Performance Anxiety

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Stage fright, the heebie jeebies, a bad case of the willies. Call it what you will, but one thing is for sure, performance anxiety is the cruel mistress of many performing artists.

According to a recent survey conducted by Help Musicians UK, 75% of musicians said they had suffered from performance anxiety. Similarly, research from One Dance UK demonstrated that 92% of dancers had experienced psychological difficulty in the last 12 months, with over 30% experiencing performance anxiety. But what exactly is performance anxiety, why does it happen, and the big one we all want the answer to; how on earth do we get a grip of it?

Lets get down to the science-y bit. Psychologists seem to agree that anxiety manifests in two key ways; somatically and cognitively. Somatic symptoms are those we experience physically, such as sweating, racing hearts and needing the bathroom, causing us to feel agitated and uncomfortable. They’re all signs that our body is out of sync with its neutral state, signs of physiological arousal. These experiences are common in all pressurised situations, from test-taking, public speaking and sport, to the performing arts, dance and music. For some, symptoms occur long before performance, from early days in rehearsal. For others, symptoms hit us like a tonne of bricks, right out of the blue, when we’re standing in the wings.

Now here’s the interesting stuff. All of these symptoms have something else in common, something which differs vastly from anxiety. They’re all symptoms of excitement. Just like that feeling of waking up on your birthday, or falling in love, they are symptoms that are telling us that we are energised, ready for action, and prepared to experience something deeply rewarding, of great value.

But what about those cognitive symptoms, those we experience mentally such as worry, apprehension and nerves that ultimately can lead us to a mental block? There’s pretty solid evidence that performance anxiety occurs when an individual perceives an imbalance between the demands made, and their capacity to meet the demands. The key word here is perceived. What if we changed our perceptions of our symptoms, and our perceptions of performance? What if we changed up our mind-set and tried interpreting those symptoms as a sign of preparedness, and positive anticipation. Research we’ve carried out both here at Trinity Laban, and research by international colleagues, demonstrated that perceiving an upcoming performance as a challenge (a chance to thrive and demonstrate competency) rather than a threat (a chance to fail) lead to decreased anxiety experiences in both the days leading up to and very moments prior to performance.

Next time you have an assessment, performance or audition coming up, notice your immediate somatic response. Your interpretation is key. Is this related to a threat? Or actually, is this an optimal challenge? Is your mental investment really worry, or is thinking about an upcoming audition merely a sign that this is something of real value to you, an exciting experience? Learning to change mental habits is by no means an easy process, but a process it certainly is – which means time, patience and trial and error are key. Reframing your thoughts about your next performance may be the first steps towards managing your performance anxiety, and developing healthy techniques for looking after your psychological wellbeing is just as important as nurturing your dance or music technique.

 

Lucie Clements, PhD candidate Dance Science & Lecturer in Performance Psychology.

Cooldown

The term cool down is frequently referenced within our dance practice, it’s seldom incorporated into our dance sessions by practitioners and is often expected to be a component of our personal structure.

So what is it all about? This article aims to provide you with a background on the subject and to offer suggestions as how to implement informed strategies into your daily dance practice.

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Here’s the science bit:

Cool down is also referred to as ‘active recovery’, this involves reducing the heart rate slowly after exercise. The intention is to avoid a sharp decline in heart rate which in turn will facilitate circulation, the removal of waste products, avoiding muscle soreness and cramping.

Some extra information:

During exercise that is predominately focused on your legs, your heart will send blood to those muscles to ensure that you are able to fulfill those movements. This means that there will be a lack of blood circulating from your heart to your legs and back to your heart.

If you were to sit down straight after your dance session your heart rate will plummet and the blood will not effectively circulate back to the heart. The burning sensation that you may often feel after leg intensive exercise is caused by blood lactate, some level of this is beneficial, but if it remains present in your leg muscles after class, it may result in muscle soreness, cramping and poor recovery.

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You could instead try the following:

  • 10 minutes of slowed down dance specific movements from the choreography you were performing, followed by 5 minutes of your favourite stretches
  • If you have just done a workout of weights/ running, cool-down with 5-10 minutes of light jogging on the treadmill/ cross-trainer/ exercise bike
  • Do this at 60-70% of your maximum heart rate (use fitbits, apple watches or the heart rate monitor on gym equipment to help you calculate this)

Here’s an example:

If you are 18 years old

  • Subtract 18 from 220

220-18= 202

  • 202 beats per minute (bpm) is your maximum heart rate for intense exercise/ dance

 

To work out the your heart rate for optimal cool-down benefits (60-70%)

  • 60% of 202 bpm= 0.60 x 202= 121 bpm
  • 70% of 202 bpm= 0.70 x 202= 141 bpm

 

So as an 18 year old if you reduce your heart rate to between 121 and 141 beats per minute, you will have the best chance of reducing blood lactate and heart rate.

Your benefits:

  • Following this process will help you to recover properly from your dance classes
  • It will optimise your next performance level
  • Make your body feel more energised and less achy
  • Make you feel less tired and feint after classes

 

Common issues:

“I don’t have time between classes”

If you are heading across to another class your heart rate will reduce anyway. The important thing to remember is to stay lightly active for 15 minutes, this is preferable to sitting or collapsing on the floor.

“But I stretch after my class, isn’t that cooling down?”

Stretching is part of the cooling down process but not the entirety of it. Try to follow this rule:

  1. Light activity at 60-70% of your maximum heart rate
  2. Dynamic stretching
  3. Static stretching

In conclusion, developing a better understanding of the cool down process will help you to understand your body. You will be able to control your recovery better during those busy times at university and take care of those dancing legs.

 

Seema De Jorge-Chopra MSc

Dance Science Graduate Intern

 

Vibrancy and Transparency: Fascinations of a Fulbright Scholar

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Image by Megan Moore

Madison McGrew, a student from the University of South Florida, has received a US Student Fulbright Award to enable her to study MSc Dance Science at Trinity Laban. Here she talks of her journey as a dancer and her dreams in osteopathy.

What attracted you to study at Trinity Laban?

It is hard to say what first attracted me to study at Trinity Laban, but I think dance injuries had a lot to do with it. I accrued nine musculoskeletal injuries throughout my time training at a dance studio in small-town Florida. Side-lined, I often read articles from the Harkness Center for Dance Injuries and the International Association of Dance Medicine and Science (IADMS), and I noted that most of the research informing those articles came out of Trinity Laban.

Later in undergraduate school, I visited the Harkness Center in New York City where I met Leigh Heflin, alumnus of the MSc Dance Science programme; I was in awe of her vast knowledge-base and ability to cohesively communicate dance and science.

Not long after, I attended Performing Arts Medicine Association conferences where I met other notable scholars in the field of dance science who spoke very highly of the opportunities at Trinity Laban—and with it being the first institution in the world to offer a degree in dance science and subsequently contribute the most to dance science research, publications, and conference presentations—I could not dispute them!

I remember when I first visited the Laban Building in 2015, there were two themes quite literally built into its architecture: vibrancy and transparency—which not ironically, I find are values that streamline the conversation between dance and science and have been pivotal in my learning journey thus far. Moreover, with Trinity Laban situated in London, a pulsating, centralized hub of culture and innovation, there is no room for lag in applying scientific theory to community dance practice, and that is equally exciting!

What was your reaction to finding out you would receive the Fulbright Scholarship?

I was speechless. I held off telling anyone for a couple days for fear it was all a dream. Even today, it remains unfathomable. Sylvia Plath, Linus Pauling, James D. Watson…they were all Fulbrighters. And now I am one too? I cannot believe it.

How do you feel the Scholarship will change your life?

I feel it already has. I have always felt a sense of civic and global responsibility, but now with a Fulbright Scholarship and the support of two nations, the responsibility has only grown. In short, I feel empowered because someone out there believes I can make a difference.

The almost year-long application process alone changed my life. I was challenged to reflect on my experiences and examine how I can use those experiences to benefit others; it made succinct my views of the world and my purpose within it.

The Scholarship will allow me to uniquely explore, side by side, two research areas that are important to me but have long been remarked as being at completely opposite ends of the spectrum. Dance science as a field is largely unfledged in the US. While there are certainly pioneers and providers dedicated to dancer health and performance, nothing quite like Trinity Laban exists in the States.

But perhaps the most life-changing will be the people I meet. With this opportunity, there is a strong promise of friendship. At Trinity Laban, I will be surrounded by a diverse group of individuals all working toward the common goals of enhancing dancer potential and investigating the means in which dance impacts populations. And through the Fulbright Commission, I will join like-minded students called and inspired to increase mutual understanding between countries, cultures, and peoples in their own creative, thought-provoking ways. I cannot wait to exchange ideas and shape these relationships.

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Image by Kyle Scharf

What do you wish to achieve while studying here?

Beyond the curriculum of the Dance Science programme, I hope to use my independent time to get involved in other research and community initiatives. Recently, I worked with a ballet professor on a film using movement themes to raise awareness for human sex trafficking. The project helped me realize that as many times as I have relied on healthcare for my dance injuries, I have conceivably relied on dance as a form of healing far more.

How might you use your degree to further your career?

Witnessing my own relationship with dance, a healthcare system, and healing, I became interested in pain tolerance. Just as dance is a crucial line of communication, so too is pain. It has been said that dance artists experience the world differently, but perchance they perceive pain differently. I think dancers, and myself included, use pain as a behavioural motivator. Dance is so intimately linked to our self-identity that pain becomes an identifier by proxy. A constant subjugation to pain, however, alters our internal points for pain evaluation. Therefore, when medical intervention becomes necessary, the line of communication between dancer and practitioner can get altered as well.

I recently read an article online in which Marijn Rademaker of the Dutch National Ballet recounted being asked by a nurse: “Don’t you think it’s time to find another job? I don’t think your knees are going to be okay for this line of work.” I do not believe this sort of exchange should be encouraged between any individuals, much less between practitioner and dancer; but it’s this sort of dialogue that perpetuates miscommunication. While at Trinity Laban, I want to look at the psychological and physiological bases for pain tolerance in dancers, and evaluate the role these factors play in communicating pain. It is my greatest hope that upon completion of my degree, I will be able to contribute to the conversation on effective pain communication and treatment straight away.

In undergraduate school, I took all of the prerequisites (apart from taking the MCAT examination) to progress to medical school in the United States. I shadowed a great deal of osteopaths during that time and I believe their holistic approach to medicine echoes a dance science view of the integrated self—the mind, body, and spirit. The MSc Dance Science will provide me the keys to unlock a career as a judicious doctor of osteopathic medicine specializing in dancer care. I hope to continue to help build the dance science community in the States, and I hope that by being a physician housed under the Western model of healthcare, I can encourage others outside the field of dance science to embrace dance as a powerful tool of expressing and assessing sensation that bridges demographic divides.

Charlotte Constable

Graduate Intern – Press & PR

Internship Experience: Harkness Center for Dance Injuries

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MSc Dance Science student Anna Williams (pictured) tells us all about her insightful experience at the Harkness Center for Dance Injuries

Last year I was granted the wonderful opportunity to take up an internship at the Harkness Center for Dance Injuries in New York, USA. As a part-time student of the MSc Dance Science programme, I was on a ‘gap year’ and was looking for relevant work experience and productive ways to fill my time off. With very little industry experience at the time, and being based 5000km away, it was a very pleasant surprise to receive an email of invitation. Some people asked me why I resigned from my full-time job to head to the US for an unpaid internship, but I assured them that it was worth it. I hope to enlighten you as to why this experience was worth the sacrifices, how it has prepared me for further study towards my masters and into my career in the dance science sector.

After an eight-hour flight and two days of settling into my home for the next two months, the first day of the internship arrived. Receiving clearance from the medical and immigration departments at the NYU Hospital for Joint Diseases, I was ready to meet the Harkness team. On arrival I was warmly greeted by Trinity Laban graduate Leigh Heflin, who now works as Programme Coordinator at the Harkness. We had an informal meet and greet, spoke about my interests in dance medicine, and created my schedule for the next six weeks.

The internship mainly consisted of observing and shadowing many of the practitioners working at the organisation. I spent a lot of time at the Harkness’ Physical Therapy Department, where I shadowed many physiotherapists who were treating dancers following a variety of complaints and injuries. Some dancers had chronic, long term injuries, and others were in rehabilitation following surgical repair. Every therapist I worked with was friendly, ensured to involved me in the conversations with the patient, and were all happy to answer any questions that I had. As an intern, my additional duties in the clinic involved maintaining the general upkeep and cleanliness of the studio and ensuring that all equipment and resources were ready for use. I was always pleasantly greeted every day by everyone at the organisation, from therapists to reception staff; I felt at home almost immediately.

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I had the opportunity to sit in and observe many Injury Prevention Assessments; a service offered by the Harkness which involves an evaluation of dance technique, strength, flexibility and a review of injury history. These allowed the dancer to learn more about their strengths and weaknesses with the aim to prevent them from injury in the future. At the end of the session, the dancer is given an educational hand-out, detailing an individually specific exercise program. Upon completion of my internship, I had the opportunity to take part in an Injury Prevention Assessment myself, kindly offered by Athletic Trainer, Megan.

The internship allowed me to travel around New York and meet dancers from external organisations. I accompanied two of the Harkness’ Athletic Trainers to visit Dance Theatre of Harlem. As well as having the great opportunity to meet the company dancers (and get a sneaky peek of them in rehearsal!), I learned about the role of the Athletic Trainers on their twice-weekly visit to the company studios, providing immediate care to company dancers with a wide range of complaints. I also accompanied another member of staff to PACE University, to meet their dance students and observe a lecture and practical workshop on dance injury prevention. As well as visiting various locations around the city, I had the pleasure to take a picturesque train ride out of the city, and travel up-state to SUNY Purchase College, where I observed Athletic Trainer Lauren work with student dancers.

Another fascinating part of my experience was shadowing at the dance clinic. Most of the patients had been referred to see one of the orthopaedic physicians for an array of reasons, including diagnosis of symptoms, X-rays, MRI scans and also for surgical procedures. Likewise with the physiotherapists, all of the doctors I met were extremely friendly and happy to answer my questions. This part of the internship was particularly educational, as I had the chance to see some X-rays and scans, and to discover what injuries physically look like from the inside. It also taught me so many new anatomical terms, and educated me on several injuries that I had never heard of. A personal highlight was observing a patient successfully walking unaided for the first time after reconstructive knee surgery. Through the dance clinic I also met the Harkness research team, and learned more about their injury tracking research project, of which I got to assist with some data collection and data entry.

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Throughout the experience I met dancers of all ages, ranging from childhood to retired adults. They were from all dance disciplines, from classical and contemporary to hip-hop and breakdance. Every dancer had a different story; some were in full-time training hoping to dance professionally or were already performing in New York dance companies, some were teachers and others just danced recreationally. Some dancers I would only meet the once, others on a weekly basis, getting to know them quite well over the course of my visit. I loved the variety of the internship, I was learning something different and meeting new people almost every day. I liked making my journey on the subway every morning not knowing what to expect from the day ahead.

I would thoroughly recommend the experience to any student interested in progressing into or already studying dance science; or to anyone from other related fields such as physiotherapy or sports therapy who are interested in working with dancers. It was a highly insightful experience to learn more about and be part of the dance medicine field in the US – which further convinced me to continue my work in this rapidly growing field back home in London. I came home very excited for what my future career holds, looking forward to returning to Trinity Laban and diving back in to my MSc programme.

Working life abroad was an experience I enjoyed enormously, and would recommend to anyone. I had visited New York previously so was somewhat familiar with the city itself – but needless to say it wasn’t any less exciting! Although travelling so far completely alone was a daunting and apprehensive experience to begin with, I very quickly settled into the New York lifestyle, and made great friends with the people I lived with as well as great contacts in the field. I had the privilege to enjoy living in a fantastic city, all while participating in one of the most rewarding, educational and insightful experiences of my career thus far. I would do it again in a heartbeat!

To find out more about MSc Dance Science, please visit the Trinity Laban website.