Community Support 2011
The Norwich Dance Club celebrated its fourth year of dancing and community involvement. In their community support profile, the club gather key activities to share with the community information about the many contributions dance club members make to the community. In 2011, the Norwich Dance Club raised over $1,000 for their Relay for Life Team to support the American Cancer Society, The organization also delivered a community dance in September and secured funds to give free access to local senior citizens. The year wrapped up with a successful winter attire donations to the Pink Door, a effort of the Chenango Memorial Hospital Auxiliary, Donated gift certificates to Hospice and The Chenango Memorial Auxiliary and to other local fundraising events. The club gather in December the largest ever donation of toys for Toys for Tots. Members of the Dance Club are active at Senior Citizen's homes with dance demonstrations and in 2011 the organization contributed with the Chenango County Historical Society to deliver a Ballroom Dance History Exhibit. Volunteers and dance club members are always welcome. To explore opportunities to serve the community contact us.
Norwich Dance Club celebrates Chenango County Ballroom Dance History and Honors Organization's co-founder Bob Arnell.
A Ballroom Dance Exhibit opens at the Chenango County Historical Society Museum in Norwich New York this month. The exhibit opens officially with a gala event on November 10, 2011. The exhibit has been dedicated to the memory of Norwich Dance Club co-founder and musical profesional Bob Arnell.
The
primary reason for the Norwich Dance Club's Ballroom Dance and Art
Exhibit is to explore the origins of Ballroom Dance in Chenango County,
and to celebrate the many ways that ballroom dance has contributed to
society from the earliest days of our Republic. It is our hope that as
you explore the different facets of the exhibit you will gain an
appreciation for the period attire, the incredible assortment of artwork
on display, and the music and grace of ballroom dance itself.
We also hope to give a glimpse of one man who quite unknowingly was a
major catalyst for the creation of this exhibit. It would be fair to say
that without the serendipitous introduction to Bob Arnell and his Big
Band 'the Chenangoans,' the Norwich Dance Club would not exist; and the
exhibit you see before you would never have been conceived or brought to
fruition.
One of the first things one should know about Bob Arnell was that he was
a Veteran of World War II. He served his country with distinction aboard
the Battleship Alabama. Bob Arnell was a product of a generation that
prized hard-work, patriotism and service to country. Bob Arnell was an
American.
The second thing one should know about Bob Arnell was that he was a
musician of the highest order. He was a graduate of the Julliard School
of Music. Julliard is perhaps the most prestigious school of music in
the United States. Julliard is an institution that prizes classical
training. Bob Arnell was a saxophonist, which has always been considered
a jazz instrument. It is indeed a credit to his musical talents that Bob
Arnell was one of only fifty-two saxophone players who have ever been
accepted into the Julliard School of Music.
Bob was also a graduate of the State University at Albany where he
earned a Bachelor of Arts Degree in Music. He taught in the Otselic
Valley School system for twenty-three years where he was Director of
Bands.
When he retired from teaching Bob redirected his prodigious musical
talents towards new endeavors. He became a master at repairing musical
instruments and in 1984 opened up Arnell's Music Store. Arnell's Music
Store rents, sells and repairs band instruments.
Bob's love of music never strayed beyond the tips of his fingers or the
very breath that he took. After retiring from teaching, Bob formed the
'Chenangoans.' The Chenangoans were and are a group of professional
musicians who performed under the outwardly grumpy but always benevolent
umbrella of Bob Arnell. He treated his musicians well and the group is
still performing at the Norwich Dance Club functions.
In his desire to spread culture Bob created an oasis of creativity in
downtown Norwich, in a beautifully restored building fittingly named the
Renaissance Building. One of the first things Bob did was build a
Ballroom that is the equal of any that might be found in larger cities.
The Renaissance Building is the home of artists and musicians.
It was in the Renaissance Building, with the blessing of Bob Arnell,
that the Norwich Dance Club was created. Bob Arnell was taken from us
last year but his memory lives on, and will continue to do so…in the
soulful notes of a saxophone solo, the rustle of music sheets being
turned, the banter of musicians between songs, the gliding of feet
across a Ballroom floor and in the end…the sound of applause for a job
well done and a life well lived.
Norwich Dance Club is Four Years Old
Formed in 2008, The Norwich Dance Club is a diverse community group that gathers in downtown Norwich every Friday to learn, practice and enjoy the art of ballroom dance. Members of the Norwich Dance Club will celebrate their third Anniversary, which coincides with National Ballroom Dance Week. The Norwich Dance Club has gathered information about multiple ballroom dance activities to be held in our region this month including events from Dance USA, a renowned dance organization. About the anniversary celebration, Club Coordinator Martha Ryan said; “This anniversary is the most meaningful. We have seen a core group take leadership roles and this is very rewarding. According to Ryan, The Norwich Dance Club will continue to expand their community support mission and intends to expand their involvement in community events. The organization is actively seeking opportunities to dance and teach others the beautiful art of ballroom dance. Organizations interested on hosting a dance demonstration are encouraged to contact the Norwich Dance Club.
Community Involvement
The Norwich Dance Club has a community involvement component. We
educate and inspire people to dance. As a group, we also pull together
financial resources to help other organizations. The following are some
of the many endeavors we have done in the past few years:
(Pictured above are Storm Hammons, Artist who donated art cookie award jars for the Chidren's Center Fundraising Event, Fran Roberst who was chosen as the 2010 Golden Cookie Award recipient for the most money raised for the event, Jenny Roman, volunteer and Martha Ryan, fundraising committee chairperson.
Nursing Homes Dance Performances
- Members of the Norwich Dance Club make time to prepare
and dance for area senior citizens. They remember the ballroom era. And
now that their physical condition keep many of them confined to wheel
chairs and nursing home rooms, we bring music and dance to their homes.
Children Ballroom Education
- Members of the group have performed at many children events. Two of
the events we support at the Norwich YMCA Healthy Day (we provide a mini
dance lesson to children) and the Norwich YMCA After Hours Program (we
provide a week long ballroom dance class program to kids during the
spring break camp). We have also performed at the Gibson Elementary
School (Healthy Activities Program) and shared the many healthy benefits
of ballroom dancing.
Fundraising - Our
November Big Band Dance is called “Charity Ball” Every year we collect
money from our members to donate to a worthy cause. In 2009 we raised
money for Roots and Wings Program, we donated winter clothing to the
Pink Door, we collected toys for the Toys for Tots program. n 2010 the
Dance Gang (Tuesday Adult dance group) performed at the Relay for Life
event. In 2011, we formed our our Relay for Life Team and will raise
over $1,000 towards the American Cancer Society efforts.
Community- In 2010 the
Norwich Library hosted a Ballroom Dance Day. We invited Senior Citizens
from area nursing homes to join us for a simple ballroom dance and
refreshments. This event inspired a grant application to celebrate
Ballroom Week and bring back the magic of ballroom dancing to the
community.
Ballroom Dance Ready for the Olympics
What's the big deal about ballroom? Dance Channel TV attends the 2010 USA Dance National DanceSport Championships to find out why ballroom and social dancing is gaining such a buzz, and pushing to be included in the Olympics. Interviews include Carrie Ann Inaba, celebrity judge of Dancing With the Stars, and Ken Richards Vice President of DanceSport with USADance CLICK HERE TO VIEW REPORT
RESOURCE INFORMATION
Compiled by Vaughan Liddicoat, Founder of Onestepdanceshop.com
Free
E-Book
Ballroom &
Latin American Dancing
Hints &
Tips
Visit:
http://www.onestepdanceshop.com
Twitter:
@1stepdanceshop
Facebook:
Onestepdanceshop Fan Page
LinkedIn:
Onestepdanceshop.com Compiled by Vaughan Liddicoat, Founder of
Onestepdanceshop.com 2 | P a g e
Contents
Brief
History of Ballroom Dancing Page 3
Dance
Sport Competition Guide Page 4
What to
Wear for Your Competition
What Are
the Judges Looking For?
Dance
Floor Etiquette & Floor Craft Page 7
Before the
Dance
At the
Dance
How to
Develop Your Posture Page 8
Posture
Tips
Sitting
Standing
Walking
Driving
Sleeping
Health &
Fitness Benefits of Dancing Page 11
Research
How ‘Good’
of a Workout is Dancing?
Dancing
Off Those Calories
Ballroom &
Latin American Benefits
Salsa
Dancing Benefits
Injuries
Page 12
Injury
Responses
Pain
Injury
Management
The
‘RICED’ Guideline
The ‘HARM’
Factors
Resources
Page 15
Thank You
for taking the time to visit our site, we look forward to putting you
one step closer to becoming a better dancer. Compiled
by Vaughan Liddicoat, Founder of Onestepdanceshop.com 3 | P a g e
Brief History of Ballroom Dancing
Ballroom
Dancing is when a couple performs any of the various social dances that
follow a pattern of predictable steps. Examples of these dances are the
tango, waltz, slow foxtrot and quick step. It has an immensely amplified
popularity spreading across Europe, the Americas and Asia. Ballroom
dancing has had a relatively short but interesting history and has
evolved from a recreational activity to a worldwide sporting event.
Ballroom
dancing originated in England in the late 18th and early 19th centuries
in which these dances, such as the waltz, were performed by the upper
and elite classes of society in balls and parties. During the late 19th
to the early 20th centuries, it became a trend among the working and
middle class where they would go to gatherings and events in public
dance halls. In the early 1920s, ballroom dancing competitions started
to boom that in 1924, an organization was formed called the Ballroom
Branch of the Imperial Society of Teachers of Dancing. The objective of
this organization was to standardize and formalize ballroom dancing
techniques, sets of steps and music to which it was danced to.
In legitimate
Dance Sport competitions and in social events, there are five standard
dances. These are the Modern and the Viennese Waltz, the Tango, the Slow
Foxtrot and the Quickstep. These dances are standardized and categorized
into segregated teaching levels and utilize vocabulary, rhythm and tempo
and techniques which are accepted internationally.
Although
these dances come from very different backgrounds and have special
techniques, aesthetics, rhythms and tempos, they do share common
qualities. All ballroom dances, as with all forms of dance, are
expressions of feelings, thoughts and emotions. These dances may be
stricter than other forms of dance and may limit the range of steps and
body movement involved, but it is still one of the best expressions of
love, joy and pain between two people.
Also, all
ballroom dances are performed by only two people, usually a man and a
woman. These dances are performed in a certain position termed as the
"Closed Hold". In this position, the couple strictly remains in contact
in five different points or places. These five points consists of three
hand contacts, one elbow contact and one chest contact.
The first
hand contact occurs when the man's left hand holds the lady's right
hand. Second is when the lady's left hand is placed at the top of the
man's right upper arm. In the tango, the lady's left hand is placed
behind the man's arm, not on top of it. The third contact is when the
man's right hand is placed under the left shoulder blade on the lady's
back. The fourth contact is when the lady's left elbow rests on the
man's right elbow and both arms are kept in a horizontal line. The
lady's arms are held comfortably by the man's and permit her to follow
the man's lead with ease. This also gives the couple the appearance of
having a bearing of royalty. This is an important characteristic in the
ballroom dances that came from Western Europe because these dances were
performed in the royal courts. The last point of contact is where the
right area of the chest of one touches the right area of his partner.
This closeness allows very little room between the partners' faces thus
contributing to the dance's romantic appeal. Compiled by Vaughan
Liddicoat, Founder of Onestepdanceshop.com 4 | P a g e
DanceSport Competition Guide
What to
Wear for Your Competition
Ballroom
dancing is, to a large extent, as much about appearance as about
dancing. It can be, and often is, a very superficial sport, but
obviously is still extremely fun. As a ballroom dancer, there are
certain expectations regarding your presentation. Often judges depend on
appearance –confidence, posture, and how you look – to separate the
final six couples. Newcomers, Beginners and Intermediates: the
expectations are in accord with your level. Full-out costumes are not
necessary and often are not allowed.
So here‘s
what you can do to give yourself as much of a boost as possible:
MEN
Standard Ballroom
Hair:
Long hair should be pulled back with hair gel, looking
neat. Go for a slicker, refined look, with no wisps or strands of hair
hanging out. A clean-cut
appearance is
a must. Goatees, beards, and sideburns are strongly discouraged.
Shirt:
White or black long-sleeved dress shirt and tie, or
even better, tuxedo shirt & black bow tie. Be careful not to wear a
shirt that is too loose. Advanced and up wear tuxedo tails especially
made for dancing.
Pants:
Black dress slacks or tux pants. Again, no baggy pants.
Accessories: Black vest or buttoned sweater that
perpetuates the formal look. No watches. You may also wear a tie or
bowtie that tastefully matches your partner‘s dress (for instance, a
dark green bowtie if your partner is wearing a dark green dress etc)
International Latin American
Hair:
Sleek, refined look is again required. Long hair pulled
back, shorter hair should be kept down, no spiky hair! Goatees, beards,
and sideburns are strongly discouraged.
Shirt:
Black or white shirt. Dress shirt or club shirt will
suffice. Definitely no loose clothing here, you need to show your line
in your dancing. Consider wearing a very tight-fitting black T-shirt
(―muscle‖ shirt). Advanced and up wear custom outfits.
Pants:
Again, fitting black dress slacks. (A narrow cut is
complimentary to the dances.) Make sure they allow a free range of
motion.
Accessories: Belts with shiny accents attract attention
to hips, but be careful to not look tacky. No watches.
WOMEN
Standard Ballroom
Hair:
Long hair should be put up neatly – in a bun, French
braid or twist, etc. Use lots of gel/hairspray and bobby pins. Shorter
hair should be gelled down. No loose hair.
Makeup:
Stage makeup – wear more than usual, especially on eyes
and lips. Consider fake eyelashes– they really make your eyes pop, and
are very affordable/pretty easy to put on.
Dress:
More formal. You want something that is above your
ankles. Be aware that most prom/formal type dresses are too long, and if
you want to wear one dancing you must shorten it (to avoid tripping, and
to allow judges to see your feet).
Many girls
wear a skirt (at least knee-length, preferably mid-calf or longer) &
blouse, though this is a casual look and tends to make you look less
competitive. The main thing is that you can move easily. Remember your
partner steps between your feet! (Advanced dancers wear custom made
gowns, often with ―wings‖, feathers, etc.)
Accessories: Nice, elegant jewellery – pearls,
rhinestone pieces etc that will attract attention. Compiled by Vaughan
Liddicoat, Founder of Onestepdanceshop.com 5 | P a g e
International Latin American
Hair:
Neat & slicked back, tight ponytail/braid, bun or
French twist etc.
Makeup:
Stage makeup. Dramatic is a good adjective, as are
bold, daring, and sexy. False eyelashes are a fantastic idea. Accentuate
the eyesand lips.
Dress:
Cocktail/party dress or two piece outfit. Shorter (very
short is good, though be aware that showing your actual butt is not
considered tasteful in the slightest) skirts with flare or fringe for
spinning. Avoid restrictive clothing. Also, black, while convenient and
slimming, also tends to drown you in a sea of other people wearing
black, so consider wearing colour, as in, pink, red etc. Advanced
dancers will wear pre-made or designed Latin dresses with stones etc.
Age appropriate!
Accessories: Sparkle on the floor! Large glittery
earrings/bracelets/necklaces/rings are good. Get creative! Nude,
flesh-tone, fishnet stockings can elongate your legs. Overall, be sexy
and comfortable.
What Are
the Judges Looking For?
Now that you
are at the comp, you are looking good, you know what dance is
forthcoming and the steps associated, what does it take to succeed? The
following is by Dan Radler, L.I.S.T.D. Ballroom and Latin, and a
Registered World Class Adjudicator. He is a former North American,
United States, and Eastern U.S. Champion, as well as United States
Ten-Dance Champion.
The criteria
that a judge might choose to consider are actually too numerous to
examine individually in the brief time allotted, since at least six
couples are being judged simultaneously. Therefore, the judge must rely
on the impression each couple makes relative to the others. The
experienced judge, having seen and studied dancing at all levels, can
quickly assess these factors collectively:
Posture
- one of the most important aspects. Good posture makes
you look elegant and exude confidence. It improves balance and control,
and allows your partner to connect well to your body in the smooth
dances. One's competition result is often directly proportional to one's
postural correctness. "Persistent practice of postural principles
promises perfection."
Timing
- if a couple is not dancing on time with the music, no
amount of proficiency in any other aspect can overcome this. The music
is boss.
Line
- by this we mean the length and stretch of the body
from head to toe. Attractive and well executed lines, either curved or
straight, enhance the shapes of the figures.
Hold
- the correct and unaffected positioning of the body
parts when in closed dancing position. For instance, the line of the
man's arms should be unbroken from elbow to elbow. Also, there should be
symmetry of the man's and woman's arms coming together to form a circle,
which, although changing in size, should remain constant in shape so
that the dancers remain in correct body position relative to each other.
The silhouette of the couple should always be pleasing.
Poise
- in smooth dancing, the stretch of the woman's body
upwards and outwards and leftwards into the man's right arm to achieve
balance and connection with his frame, as well as to project outward to
the audience.
Togetherness - the melding of two people's body weights
into one, so that leading and following appear effortless, and the
dancers are totally in synchronization with each other.
Musicality
and Expression - the basic characterization of the
dance to the particular music being played and the choreographic
adherence to musical phrasings and accents; also the use of light and
shade to create interest value in response to these accents and phrases.
For instance, in foxtrot, the stealing of time from one step to allow
another to hover; or a quick speed of turn in an Compiled by Vaughan
Liddicoat, Founder of Onestepdanceshop.com 6 | P a g e
otherwise slow rumba; or the snap of a head to suddenly freeze and
then melt into slowness in tango.
Presentation - Does the couple sell their dancing to
the audience? Do they dance outwardly, with enthusiasm, exuding their
joy of dancing and confidence in their performance? Or do they show
strain and introversion?
Power
- Energy is exciting to watch. I've noticed that, in a
jive, it always seems to be the most energetic couple that wins this
dance. But the energy must be controlled, not wild. For instance,
powerful movement is an asset in waltz or foxtrot, but only if it is
channelled into the correct swing of the body, and not just by taking
big steps. The lilt of the music must be matched by the action of the
body. In a waltz for instance, the dancers' body action must clearly
show the influence of the
one down beat
and two up beats. So the release of power into the beginning of a figure
must be controlled and sustained during the rise at the end of the
figure.
Foot and
Leg Action - the stroking of the feet across the floor
in foxtrot to achieve smoothness and softness; the deliberate lifting
and placing of the feet in tango to achieve a staccato action; the
correct bending and straightening of the knees in rumba to create hip
motion; the extension of the ankles and the pointing of the toes of the
non-supporting foot to enhance the line of figure; the sequential use of
the four joints (hip, knee, ankle, and toes) to achieve fullness of
action and optimal power; the bending and straightening of knees and
ankles in waltz to create rise and fall; the use of inside and outside
edges of feet to create style and line -- all fall under this most
important of categories.
Shape
- Shape is the combination of turn and sway to create a
look or a position. For instance, in Paso Doble, does the man create the
visual appearance of manoeuvring this cape? Does the lady simulate the
billowing flow of the cape through space? In foxtrot, does the man use
the appropriate shape on outside partner steps to enable body contact to
be maintained?
Lead and
Follow - Does the man lead with his whole body instead
of just his arms? Does the lady follow effortlessly or does the man have
to assist her?
Floorcraft
- This refers not only to avoiding bumping into other
couples, but the ability to continue dancing without pause when boxed
in. It shows the command of the couple over their choreography and the
ability of the man to choose and lead figures extrinsic to their usual
work when the necessity presents itself.
Intangibles - such as how a couple "look" together,
whether they "fit" emotionally, their neatness of appearance, costuming,
the flow of their choreography, and basically whether they look like
"dancers"; all have an affect on a judge's perception and therefore on
his markings.
Different
judges have different predilections in what they want to see, and weight
these factors differently. One judge, for instance, might be especially
interested in technique, while another wants to be moved by musicality
and expression. While both factors are obviously important and need to
be considered, it can result in couples getting widely disparate
markings. Couples wondering what a judge saw to give them a particularly
high or low mark should know that any one of the many factors listed in
this article could be responsible. The use of a heel when a toe is
warranted can just as easily hurt you in a judge's eyes as a meticulous
closing of feet can help. Because the judge sees each couple for only a
few seconds, anything that draws the attention, either positively or
negatively, could very well be the deciding factor on how you are
marked. Compiled by Vaughan Liddicoat, Founder of Onestepdanceshop.com 7
| P a g e
Dance Floor Etiquette and Floor Craft
All social &
competitive activities have rules of etiquette. There are general rules
of etiquette that apply to all forms of dancing. These rules will make
the dance floor experience enjoyable for everyone.
Before the
Dance
Please
practice good hygiene. Offensive body odours and bad breath are frowned
upon on the dance floor. Many dance aficionados will go so far as to
avoid eating certain strong foods on the days they are planning to
dance. At the very least, a good shower, deodorant, and a swig of
mouthwash will ensure that you dance the night away without offending
your partner.
Clothing
will vary by the type of event – formal, semi-formal, dressy casual —
but can also vary by the type of dance. You may choose to wear western
wear for country line dancing, or dark themed clothing for Tango. This
is not required but if you are a novice it is great way to get accepted
into a new dance community.
Avoid big
accessories that can get caught in your partner‘s clothing or, worse,
scratch or bruise someone.
It is
advisable to avoid tennis shoes or any rubber soled, spongy type shoe.
These shoes tend to stick to the floor (as they are intended to); if you
are executing spins and turns, you can injure an ankle or knee.
Remember
that dancing will require a partner. It is not pleasant to touch
someone‘s damp, sticky skin, so avoid sleeveless shirts and dresses.
Women or
men with long hair should consider wearing it up or in a ponytail to
avoid hitting a partner in the face during a spin or having your
partner‘s hand get caught in it.
At the
Dance
Before you
hit the dance floor, you will need a partner. It is considered rude to
dance with the same partner all night, even if it happens to be your
spouse! If you came with a partner it is generally accepted that they
shall have the first and last dance. It is also considered rude to dance
more than two songs in a row with the same person.
When asking
someone to dance, you should do so politely and accept a refusal just as
politely. These days it is acceptable for men and women to ask someone
to dance. If you are on the receiving end of an invitation, remember
that it is rude to turn down a dance with someone and then accept an
invitation from another partner during the same song.
Once a song
is over, men should escort women back to their seats or to wherever they
were standing prior to the dance. If someone has just finished dancing,
wait until they are completely off the dance floor before inviting them
back out again. Do not pounce on someone as they are leaving the dance
floor.
Do not
block access to the dance floor by standing and talking or moving chairs
into pathways. Dance spaces are usually crowded so be considerate of
others‘ space.
Social
dances are categorized into two types – progressive and semi-progressive
dances. Progressive dances travel around the floor, like most Ballroom
dances. Semi-progressive dances are typically danced in one spot or move
slightly as in most Latin American dances. Dancers move
counter-clockwise around the floor, following a Line of Dance.
Avoid
hitting other couples, even if they are in the area you want to dance
in. Learn and use Floor Craft. Floor Craft is your knowledge of using
basic steps, in any dance, to navigate around couples, change direction
or alter routines for smaller floors.
If you
accidently bump into another couple, apologize to them at that moment
and do your best not to do it again!
By following
these simple rules of dance etiquette, you are sure to have a great time
dancing the night away. Compiled by Vaughan Liddicoat, Founder of
Onestepdanceshop.com 8 | P a g e
Posture
How to
Develop Your Posture
1) Know what
good posture is. Most people think that to "stand up straight" means
tensing your back to heave your chest 'in and up', and pulling your head
back in to your chest. This is not so. The spine has two natural curves
that you need to maintain called the 'double C' or 'S' curves, these are
the curves found from the base of your head to your shoulders and the
curve from the upper back to the base of the spine. When standing
straight up, make sure that your weight is evenly distributed on your
feet. You might feel like you are leaning forward, and look stupid, but
you don't.
2) Using a
mirror, align your ears, shoulders, and hips. Proper alignment places
your ears loosely above your shoulders, above your hips. Again, these
points make a straight line, but the spine itself curves in a slight
'S'. You'll find that this doesn't hurt at all. If you do experience
pain, look at your side view in a mirror to see if you're forcing your
back into an unnatural position. If so, stop it!
3) Do
exercises that strengthen the muscles across your upper back and
shoulders. These do not have to be strenuous! Try the following, with or
without hand weights:
Align
your ears over your shoulders. Raise both arms straight up, alongside
your ears. Remember to keep your ears aligned! Bend forearms toward
shoulders to touch your shoulder blades. Do 10 repetitions with both
arms, then alternate 10 reps for each arm singularly.
Align
ears with shoulders. Raise both arms out to sides at shoulder height.
Hold for a slow count of ten. Slowly lower arms to sides, counting ten
as you lower. Slowly raise arms back to shoulder height, counting to ten
as you raise arms. Do ten reps, constantly checking your alignment! If
ten reps are too many to start, do as many as you can. You should at
least feel a slight fatigue in the shoulder muscles.
Be a
penguin. While you wait for a web page to load, toast to pop, or the
microwave to beep, place elbows at your side, and touch your shoulders
with your hands. Keeping your hands on your shoulders and your ears
aligned, raise both elbows (count one, two) and lower them back to your
waist (count one, two). Do as many reps as your wait allows. You'll be
surprised how much exercise fits into 30 seconds.
4) Do
stretches. This can greatly help if you find that you have a sore back
or neck after a while.
5) Tilt
(stretch) your head in all four directions over your shoulders (forward,
back, left, right), and gently massage your neck. Avoid rolling in a
circle, as it may cause further strain. On your hands and knees, curl
your back upwards, like a cat, and then the opposite. Think about being
able to place a bowl in the hollow of your back.
6) Repeat the
exercises a few times each day. Doing them in the morning helps your
body stretch out the muscle lethargy of sleep, and periodically
throughout the day helps raise your energy level without a heavy
workout.
7) Take
Ballet and Yoga classes
SITTING
1) Sit in an
office chair.
2) Align your
back with the back of the office chair. Avoid slouching or leaning
forward, especially when tired from sitting in the office chair for long
periods. Keep your shoulders straight.
3) Flex your
arms at a 75- to 90-degree angle at the elbows. You may have to adjust
the office chair.
4) Make sure
your neck, back, and heels are all aligned.
5) Keep both
feet flat on the floor. If there's a problem with feet reaching the
floor comfortably, a footrest can be used along with the office chair.
Compiled by
Vaughan Liddicoat, Founder of Onestepdanceshop.com 9 | P a g e
STANDING
1) Stand with
weight mostly on the balls of the feet, not with weight on the heels.
Avoid locking your knees.
2) Keep feet
slightly apart, about shoulder-width.
3) Let arms
hang naturally down the sides of the body.
4) Tuck the
chin in a little to keep the head level. Be sure the head is square on
top of the neck and spine, not pushed out forward
5) Stand
straight and tall, with shoulders upright.
6) Stand
against a wall with shoulders and bottom touching wall. In this
position, the back of the head should also touch the wall - if it does
not, the head is carried too far forward (anterior head carriage).
WALKING
1) Keep the
head up and eyes looking straight ahead. Avoid pushing your head
forward.
2) Keep
shoulders properly aligned with the rest of the body.
DRIVING
1) Sit with
the back firmly against the seat for proper back support. The seat
should be a proper distance from the pedals and steering wheel to avoid
leaning forward or reaching.
2) The
headrest should support the middle of the head to keep it upright. Tilt
the headrest forward if possible to make sure that the head-to-headrest
distance is not more than four inches.
SLEEPING
1) Use a firm
mattress for proper back support, but remember that individual
preference is very important.
2) Try to
sleep on your back. Sleeping on the side will damage your posture after
enough repetitions. Sleeping on your back will help straighten your
shoulders, and it is usually more comfortable for the back than sleeping
on the stomach.
3) Use a
pillow to provide proper support and alignment for the head and
shoulders.
4) Consider
putting a rolled-up towel under the neck and a pillow under the knees to
better support the spine.
5) If
sleeping on the side, a relatively flat pillow placed between the legs
will help keep the spine aligned and straight.
Compiled by
Vaughan Liddicoat, Founder of Onestepdanceshop.com 10 | P a g e
Health & Fitness Benefits of Dancing
Research
If you
secretly chasse across your living room when you're home alone, cha-cha
with your significant other, or compete in Dance Sport you're in luck!
Not only is dancing an exceptional way to let loose and have fun, but it
also provides some terrific benefits for your health.
In fact, Mayo
Clinic researchers reported that social dancing helps to:
Reduce
stress
Increase
energy
Improve
strength
Increase
muscle tone and coordination
It really
doesn‘t matter what style of dance you choose, the National Heart, Lung
and Blood Institute (NHLBI) says that dancing can:
Lower your
risk of coronary heart disease
Decrease
blood pressure
Help you
manage your weight
Strengthen
the bones of your legs and hips
Dancing is a
unique form of exercise because it provides the heart-healthy benefits
of an aerobic exercise while also allowing you to engage in a social
activity. This is especially stimulating to the mind, and one 21-year
study published in the New England Journal of Medicine even found
dancing can reduce the risk of Alzheimer's disease and other forms of
dementia in the elderly.
In the study,
participants over the age of 75 who engaged in reading, dancing and
playing musical instruments and board games once a week had a 7 percent
lower risk of dementia compared to those who did not. Those who engaged
in these activities at least 11 days a month had a 63 percent lower
risk!
Interestingly, dancing was the only physical activity out of 11 in the
study that was associated with a lower risk of dementia. Said Joe
Verghese, a neurologist at Albert Einstein College of Medicine and a
lead researcher of the study, "This is perhaps because dance music
engages the dancer's mind." Verghese says dancing may be a triple
benefit for the brain. Not only does the physical aspect of dancing
increase blood flow to the brain, but also the social aspect of the
activity leads to less stress, depression and loneliness. Further,
dancing requires memorizing steps and working with a partner, both of
which provide mental challenges that are crucial for brain health.
How ‘Good’
of a Workout is Dancing?
The amount of
benefit you get from dancing depends on, like most exercises, the type
of dancing you're doing, how strenuous it is, the duration and your
skill level. Says exercise physiologist Catherine Cram, MS, of
Comprehensive Fitness Consulting in Middleton, Wisconsin, "Once someone
gets to the point where they're getting their heart rate up, they're
actually getting a terrific workout. Dance is a weight-bearing activity,
which builds bones. It's also "wonderful" for your upper body and
strength." Compiled by Vaughan Liddicoat, Founder of
Onestepdanceshop.com 11 | P a g e
Plus, dancing requires using muscles that you may not even know
you had. "If you're dancing the foxtrot, you're taking long, sweeping
steps backwards. That's very different than walking forward on a
treadmill or taking a jog around the neighbourhood...Ballroom dancing
works the backs of the thighs and buttock muscles differently from many
other types of exercise," says Ken Richards, professional dancer and
spokesman for USA Dance, the national governing body of DanceSport
(competitive ballroom dancing).
Dancing
Off Those Calories
How many
calories will you burn while dancing? That depends on the type of
dancing. Here's a range of some of the most popular varieties, based on
a 150-pound person, per hour:
Swing
dancing: 235 calories/hour
Ballroom
dancing: 265 calories/hour
Ballet: 300
calories/hour
Belly
dancing: 380 calories/hour
Salsa
dancing: 420+ calories/hour
Ballroom &
Latin American Dancing Benefits
Conditions
the body
Helps keep
the heart in shape
Builds and
increases stamina
Develops
the circulatory system
Strengthens
and tones legs and body
Increases
flexibility and balance
Helps with
weight loss
Relieves
stress
Salsa
Dancing Benefits
Builds
endurance and stamina
Helps with
weight loss
Relieves
stress
Helps you
release toxins via sweating
May help
lower blood pressure and improve cholesterol levels
Can lead to
a reduced heart rate over time
Physical
benefits aside, dancing has a way of brightening up a person's day, says
ballroom owner and operator Karen Tebeau. Compiled by Vaughan Liddicoat,
Founder of Onestepdanceshop.com 12 | P a g e
Injuries
Injury
Responses
The body will
initially respond to injury with a physiological response. Localised
tissue damage causes mechanical and chemical changes in the tissue. This
is often followed by heat, redness, swelling and pain. Ignoring these
early warning signs by continuing to dance can result in further damage
to the tissue, increasing the severity of the injury and prolonging the
recovery time (and the return to dance activity).
It is often
difficult for the dancer to know whether it is ok to continue dancing.
Pain is the result of both sensory and emotional experiences and is
associated with tissue damage or the probability that damage will occur.
It serves as a warning sign for the body to withdraw from the painful
stimulus, e.g. continued dancing, and therefore serves to protect the
injured body part.
Pain
Pain can be
experienced in many different ways. A description of pain can help to
determine what structure may be involved (this is a guideline only):
Ache
inflammatory
Sharp
mechanical
Deep bony,
joint, referred e.g. neck referring to the shoulder
Superficial
muscular
Throbbing
vascular
Neural
constant, pins and needles, numbness, sharp shooting
In general,
pain that should not be ignored is that which occurs with an acute
(traumatic) injury, pain that recurs during dance activity, gets worse
and is still apparent after the activity ceases, night pain, or any pain
that you are worried about. Other types of pain, e.g. delayed onset of
muscle soreness or residual muscle pain which occurs 24/48 hours after
unaccustomed bouts of intense dance activity, may respond to continued
gentle dance activity, gentle stretching, and/or correct warm up and
warm down procedures.
Injury
Management
Immediate
management can reduce the severity of an injury and therefore shorten
the time away from dance. There are three main phases of Injury
Management:
Initial
Injury Phase: Week 1
In this phase
a combination of Rest, Ice, Compression and Elevation is applied.
Additionally, early intervention by a medical professional regarding
diagnosis, treatment and management advice is appropriate.
Early
Rehabilitation Phase: Weeks 2-6
Functional
treatment and supervised exercise plans are appropriate during this
phase.
Ongoing
Rehabilitation/Prevention Phase: Week 6 & Ongoing
Load control
and continued rehabilitation important at this stage to allow the dancer
to return to full pain free dance activity. The most common time that
injury recurs, is when the dancer feels 80-100% normal.
Of these we
are going to concentrate in particular on the initial phase of injury as
this is when you, the dancer, will begin management of your injury.
Compiled by Vaughan Liddicoat, Founder of Onestepdanceshop.com 13 | P a
g e
The ‘R I C E D’ Guideline
First contact
treatment from time of injury up to 48/72 hours should consist of:
R I C E D
Rest Ice Compression Elevation Diagnosis
Rest:
To protect the injured part from further injury you
should stop dancing immediately. Functional rest can occur once a
diagnosis is made, i.e. avoid activities which stress the injured
tissue, other activities are allowed.
Ice:
Ice should be applied preferably within 5-10 minutes of
the injury occurring, and be kept on for 20 minutes to get the best
physiological effect. The ice should then be reapplied every 2-3 hours
for the first 48 hours. Ice is used to cool the tissue (cold induced
analgesia, pain relief) and to reduce swelling, muscle spasm and
bleeding.
Tips on
applying ice:
Never
apply ice directly to the skin as this can cause an ice burn. Ice pack,
frozen peas, ice cubes or gel packs wrapped in a damp towel or ice cubes
in an insulated ice bag are best. If you do not have a towel, use damp
clothing.
Rub some
massage cream onto the skin, e.g. bees’ wax, to act as a sealant and
reduce the risk of ice burn if you do not have clothing or a towel.
Do not use deep heat, tiger balm or liniment as a sealant.
If
possible, try to remove ballet stockings or leggings before icing. Do
not remove clothing if this is too painful or if a more serious injury
is suspected.
Find a
comfortable position and make sure the ice pack contours aswell as
possible to the affected body part to get maximum benefit.
Compression: This is used with ice to reduce swelling,
e.g. bandaging, strapping, tubi grip, or air splinting. It should be
sufficiently tight to limit the formation of swelling in the tissue but
not to compromise blood flow to the area. Always check the skin colour
below the compression, e.g. for an ankle injury check toenail colour it
should go white if squeezed but normal pink colour should return in a
few seconds if no compromise.
Elevation:
This also reduces swelling and stops bleeding. Ideally
the limb needs to be elevated above the level of the heart. Gentle
exercise of the limb in a pain free range, e.g. ankle point and flex,
will help to stimulate the muscle pump
action aiding
venous blood return and lymphatic drainage.
Diagnosis:
If the pain or swelling gets worse, if you are unsure
about what you have done or if you are unsure about how to manage the
injury, consult a medical professional such as a doctor, physiotherapist
or osteopath for advice. In
particular,
to exclude serious injury, e.g. fracture, ask about appropriate pain
medication and which treatment would be most beneficial. Compiled by
Vaughan Liddicoat, Founder of Onestepdanceshop.com 14 | P a g e
The ‘H A R M’ Factors
In addition
to applying the RICED principle, it is also important to avoid the ‗H A
R M‘ factors in the first 48-72 hours following injury.
H A R M
Heat Alcohol Running Massage
Heat:
A common mistake dancers make is to heat rather than
ice an injured area. As described earlier, initial icing is important in
reducing swelling, muscle spasm and/or bleeding. Heat will increase
bleeding at the injured site and will
also increase
swelling. This means you should avoid hot water bottles, heat packs, hot
showers/baths and liniments, e.g. deep heat.
Alcohol:
Drinking alcohol will increase bleeding and swelling at
the injured site and this will ultimately delay the healing process. In
addition, it can mask the pain of your injury and its severity causing
you to damage the injured area further.
Running/Dancing: Continuing to dance with an injury can
increase its severity through further bleeding and tissue damage. Stop
dancing immediately upon injury, and only return to dance activity after
discussion with a medical
professional.
Massage:
Again, a common mistake that dancers make is to massage
the injured area immediately after the injury has occurred. Massage in
the first 48-72 hours will increase bleeding and swelling and delay the
healing process.
Applying the
RICED and HARM principles as soon as an injury occurs will help relieve
initial symptoms, speed recovery and ultimately shorten your time away
from dance. Compiled by Vaughan Liddicoat, Founder of
Onestepdanceshop.com 15 | P a g e
Resources
Brief History
of Ballroom Dancing: Michael Russell
Dance Sport
Competition Guide
Dance Floor
Etiquette & Floor Craft: http://www.e-how.com
Posture:
http://www.wikihow.com/Improve-Your-Posture
Health &
Fitness Benefits: http://www.sixwise.com
Injuries:
Susan Simpson DANZ 2006
Our Website: http://www.onestepdanceshop.com for additional resources