Wednesday 16 December 2015

A Dancers Christmas Gift Guide


It’s getting closer and closer to that day and I am still nowhere nearer to having finished my Christmas shopping for loved ones.

There are currently tonnes of fitness Gift Guides out there for the active female, but what about those dancers who want something a bit more specific? Well fear not, I have the answer to this! If you’re a family member, friend or partner needing some inspiration for your dancer then this guide can help.

 

1.       Life in Motion by Misty Copeland

This book is now one of my personal favourites. It tells the story Misty's struggles to become a professional dancer through family feuds, race and physical prejudice. This book motivates you in all aspects of life, not only dancing. Plus, it’s a cheap pressie!
 
http://www.amazon.co.uk/Life-Motion-An-Unlikely-Ballerina/dp/1476737983

 
2.       Activity Tracker

There are huge numbers of fitness trackers currently on the market. I personally don’t own one but have been looking into the Misfit Shine and Polar A300.

The Misfit Shine looks sleek and stylish, plus tracks sleep and gently lets you know when it is time to get moving. I would say due to its small design that it would be more suited to dancers.

The A300 by Polar is a HR monitor (with purchase of an additional strap) in addition to tracking daily activity such as steps, distance, calories and sleep. This activity tracker is bulkier than the Misfit Shine, which may be a put-off for dancers, or anyone using it 24/7. However, having owned a Polar HR monitor for 2 years I can confirm they are great, reliable, essential pieces of kit for training.

Both trackers sync to apps available for your phones where you are able to view your progress and interchangeable wristbands

Find more out about them here -
 
 

3.       Coconut oil

You can never go wrong with purchasing food for dancer, or fitness fanatics, or anyone really! Why not spend those last pennies on items such as coconut oil, their favourite protein snack bars or green tea. You could also purchase a pretty glass jar and fill it with goodies such as nuts and seeds. Then personalise it to make the gift even more special!

 

Photo: Pinterest

 
4.       Sweaty Betty Chaines leg warmers

What dancer doesn’t want, or need a new pair of leg warmers for class? My personal favourite are the Sweaty Betty Chaines leg warmers. These leg warmers are so soft that they can be worn straight on the skin, unlike some itchy ones I have owned before where I had to wear tights underneath. Buy them in the dance section online or instore.

 
 

5.       Foam roller

An essential tool for after hours in the studio! Give your muscles their own personal massage each day with this amazing gift by stretching muscle, releasing trigger points, enabling the muscle to return to normal function, meaning continued performance levels.

I always advise my clients to visit TKMAXX to find one for them however you can buy foam rollers from pretty much everywhere now. They range in style, price, size and weight making it so easy to pick up the right one for your loved ones needs!

 

6.       Reeboks Yoga Slouchy Pant

These Hareeem Style pants are perfect for dance class and lazing about the house. The material includes technology to whip sweat away to stay dry and comfortable. I particularly like the dark grey colour of these trousers. Head over to the Reebok website here to grab yourself a pair … http://www.reebok.co.uk/yoga-slouchy-pant/AJ1181.html. Order by the 17th December to get your bits before Christmas.
 
 

 

7.       Personalised Sweatshirt

In the Summer I purchased an amazing sweatshirt from Rock On Ruby. This online store offers you the option to personalise tops, sweatshirts, vests, shorts and more as well as purchasing already designed. As I am obsessed with bananas I ordered my own BANANA sweatshirt in the style of Beyonce’s KALE shirt. I am completely in love with this top and wear it all the time. The fit is amazing and still so soft inside despite its numerous washes. I am thinking about purchasing another with a different slogan on which I can wear for work.

I would recommend heading online to their store to order something special and unique for your loved one. However be cautious when using your own unique design as they can then sell this on.
 
 
 
I wish you all a Merry Christmas and a Happy New Year!


-ellieee x
 
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Tuesday 15 December 2015

Gym Etiquette

A few months ago I joined a new gym just outside of Newcastle. This gym, along with the usual gym stereotypes, includes one particular couple. This couple often train at the same time as me, so over the months I have been able to watch the efforts - no progress - of the pair. It is becoming a regular sight to see boyfriends training their other half when they have no clue about lifting themselves. The male of the pair in my gym clearly has a little lifting knowledge, however not on the side of correct form and biomechanics. And so, during a squat (performed by the girlfriend) the upwards phase has the poorest knee control I have ever seen. Her knees practically touch! As a sports therapist and S&C coach I wince each time I watch this happen. I am lucky to be aware of correct mechanics for lifts and so able to avoid injury myself. 

But what do I do as a professional? I feel it is my duty to prevent injury, whereas others I have spoken have had the opposite approach. These therapists have said they wouldn't intervene. Instead they would wait until the gym-goer visits them for treatment and recovery from injury. In my own professional opinion this is just not right as I do not wish harm on anyone, nor do I wish to take someones money if an injury can be prevented. Surely it is our duty of care to prevent such an injury?

However I am aware that it can be embarrassing for some to be approached in the gym and to then be corrected on technique or given general advice. Therefore it was an idea of mine to catch this girl in the changing room and voice my concern as a professional. I thought perhaps this might be less intimidating and a more friendly approach.

What do you think is this a suitable intervention as a therapist or S&C coach? I don't wish to cause embarrassment, only prevent injury.

What is your view on intervening in the gym? Do you have experience in this area as a professional? I would love to hear your stories and advice!     
- Ellieee x
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Tuesday 17 November 2015

Alignment


The Core is the foundation for all movements and the axis of power of the kinetic chain. It maintains strength, stability and mobility of the spine, in addition to stabilising the thoracic cage and pelvis during movement.


Good alignment and posture is essential for the dancer. This requires muscles, joints and motor components to work together to produce optimal results. Thus it is important to have correct static posture and movement efficiency prior to considering movement.

But what is good posture? Good posture is when there is an equilibrium within the body. That is, a balance of muscular control at each joint. For example, turnout for the classical dancer requires balanced muscular control through careful coaching. Incorrect posture or a misunderstanding of classical posture through bad coaching may lead to muscle imbalance, which is a common cause of injury within the dancing population.
 
 

Correct muscle balance is as important as having muscle strength. Without it, strength is of little value as ‘cheat’ movements may occur to reach the end goal. These imbalances must be ironed out. Muscular imbalances can be looked for between-

1.       One side of the body and the other. For example, you are able to single leg squat on the right leg 12 times but only 5 times on the left leg.

2.       One side of the limb and the other. For example, a hamstring tightness causing posterior pelvic tilt or tight hip flexors causing an anterior pelvic tilt.

3.       Between various muscle groups controlling the movement of a particular joint. For example, imbalance of the quadriceps can lead to patella maltraction and consequently anterior knee pain.
 
 
Dynamic alignment is important for the dancer and is created by balancing forces with minimal effort rather than compensating for a postural imbalance by increasing muscular tension. This therefore, requires the interaction of joints, muscles and the neural system to ensure efficient weight transfer through the desired movement. Indeed, alignment is not a fixation of body parts, rather it is a whole body sensation. Dancers should looked to be ‘centred’, meaning the body is in a physical sate where the body is able to move around freely without being forced out of position. This requires trunk stability and strength. For example, in a grand battement to second the dancer should not compensate the alignment of the trunk and pelvis for achieving height. Instead they should go to their limits and stop the hip from dropping onto the supporting leg.
 

 
The trunk, made up of the ribcage, spine and pelvis, is the basis for good posture and correct movement patterns. If this base is solid, in that it is well aligned, then the hips will move more efficiently and the shoulder girdle will also function more efficiently at the top. Everything has a cause and effect in the body’s kinetic chain.



There are many ways to build core strength and challenge alignment for the dancer. Come back to find out in the next post.
 
 
Start Strong, Finish Stronger
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Friday 13 November 2015

My NIKE Obsession


   
 
 

 



Oh my obsession with Nike Training kit is BADDD!

 

 

 

My collection is ever growing even though it really shouldn't as I have far too many sports clothes. I live so close to a Nike outlet store that each time I walk past I have to go in to see if I can find any bargains. I hardly wear normal clothes though due to my job so its ok right? To date I have found some great treats in there such as; a Black and Yellow Down jacket, a light support bra, several pairs of bright running shorts, a white cotton vest and a cropped black track and field hoody as well as a turquoise running top which I shall use for work.

 

 

 

I bought the cropped hoody in a xl, however due to the style I like the more relaxed fit, definitely more comfortable when you're hanging around the gym after a tough session. The back design saying
 
 
'FAST
 
/////////
 
FLY'

 

Is pretty cool and gives it a bit of an edge. In fact this would be a perfect transitional hoody to wear to gym and about town.

 

 

 

The running top is a beautiful turquoise colour with flecks of white. I found it for a bargain at £15 when its selling for around double online! The material is very soft and has dry-fit and stay warm technology. The body and sleeves are very long which I prefer when training and working as I don't have to constantly pull it down to stay decent. What really attracted me to the top was the thumb holes which are perfect for cold days working on the pitch side under a pair of gloves. This makes it different from other items I own. However, this past week I purchased a beautiful black ¾ zip thermal top with a similar sleeve design, another great addition to my outdoors workwear.

 

 

 

I just love Nike! It helps that their clothing fits me well. Being a curvy but athletic 5ft 11 it can sometimes be hard to get good fitting tights.  I have also never had a problem when washing the clothes. They stay in perfect shape, retain colour and remain to work as well as they state wash after wash. I own pieces from 6 years ago which are still like brand new. Must help that I treat them like gods but still, 6 years is pretty good considering how often I wear and wash the stuff!

 

 

 

You can imagine my excitement when in my final two years of University I was asked to be a Brand Ambassador for Nike through the University kit supplier Kitlocker. Here I worked as part of a small group at the University to publicise and promote the Nike Brand through the use of social media (Facebook, Twitter, Instagram) and connections with university sports teams. I also acted as a connection between students and Kitlocker for any queries regarding orders. And.....I got free kit! BONUS! But seriously, it is top quality stuff and its a shame it has Uni branding on it or I would wear it for work.

 

 

 

 

 

So far my Nike count stands at;

 

 

 

Tops/Vests- 15

 

Fleeces/Hoodies- 8

 

Sports Bras- 6

 

Trousers- 4

 

Leggings- 6

 

Shorts- 12

 

Jackets- 3

 

Bags- 2

 

Accessories- 1

 

Trainers- 4

 

Yoga Pumps- 1

 

Neck Gaiter- 1

 

 

 

And counting.....
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Thursday 15 October 2015

First Shoot

Early morning on the 8th October I joined Chris Rennison-Rae, a local North-East photographer at Cullercoats Bay, Whitley Bay. It was a surprisingly pleasant morning considering we on a Northern beach with the sun yet to come up. We were there to shoot some fitness photos in the setting of a beautiful autumnal sunrise.
Chris of Rennison-Rae Photography is based in Newcastle and is a master of varied areas of photography such as weddings, portraits and modelling shots. Take a look at his website here for more information - http://www.rennisonraephotography.com/home.html.
We had a great morning shooting in the bay, which houses varied settings, from two piers, to golden sand, rocks, and a grungy underpass. The aim of the shoot was to capture the beauty of the light from the morning sun, and in this stillness perform early morning yoga, then using the water, show the reflective nature of solitary exercise. Following this we moved to the underpass to achieve an edgy urban feel, contrasting the sharp lines of the environment with some delicate yet fierce dance like poses. Have a look at the photos below and decide for yourself whether we captured it!

 
 
 
 
 
 
 
 
 
 
 
 

                                                    
 
It was great fun working with Chris who was hilarious and made me feel at ease during my first real photo shoot. I am looking forward to working with him again next month, this time in a studio, where the focus is on dance – exciting!!
 
- ellie x
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Sunday 11 October 2015

Jump Height and the Dancer



Source: Pinterest
Jump height can be affected by various factors such as muscle mass, flexibility, isometric muscle strength, age, height, weight and level of expertise (Koutedakis and Jamurtas, 2004 and Rafferty, 2010). Indeed, even the muscular requirements vary between dance genres. This is seen in a systematic review by Angioi et al. (2009) who found contemporary dancers to have greater muscle endurance than their ballet counterparts. Additionally, recent literature found on-going regular dance classes for ballet dancers to be insufficient in increasing fitness or the levels of strength required in elite dance (Brown et al., 2007, Koutedakis et al., 2007 Koutedakis and Jamurtas, 2004) as well as being unspecific to jumping, despite the large occurrence within dance choreography (Wynon et al., 2006).

Strength, defined as the ‘ability to overcome external resistance or counter external forces using muscle’ (Koutedakis, 2005) is essential for slow controlled movements in dance such as a développé and grand rond de jambs. Additionally, power, the ability to perform movement using force and speed is all vital for jumps such as a pas de chat or batterie. Dancers remain subject to the same physical stresses as sporting athletes. However, although strength training has been part of a ballet dancers training for a great number of years, it has yet to be seen as an integral part of fitness training (Koutedakis et al., 2005). Views of this have been due to the caution of upsetting the aesthetics of dancer’s bodies by fears that hypertrophy may occur. This is due to the requirement for a lean, small body size (Koutedakis et al., 2005 and Twitchett, 2009). A cause for concern is illustrated in a study by Angioi et al. (2009) who found there to be an association between a reduced power in lower limbs and an increase in injury severity within contemporary dancers. In support of this Russell (2013) reported professional ballet dancers saw a decrease in injury incidence following physical training. And previous research has shown that power development such as used for achieving jump height becomes impaired if an athlete incorporates a moderate to high amount of sustained aerobic exercise within a training programme (Hennessy and Watson, 1994 and Kraemer et al., 1995) which may occur via neuromuscular and endocrine adaptions (Elliot et al., 2007).

Supplementary training in the forms of Pilates, Alexander technique, upper body weight lifting and yoga have been popular with dancers over the recent years (Koutedakis and Jamurtas, 2004 and Weiss et al., 2008). However the exercise Pilates has been found to be insignificant in improving strength and alignment within dancers (Bernado and Nagle, 2006). Yet, Russell (2013) believes that this physical exercise which is already popular should be encouraged with greater intensity and training volume in a wider fitness programme.
Plyometric exercises are often included in rehabilitation & regular training programmes to prepare athletes for the demands of their sport (Shiner et al., 2005) by training the muscle to reach maximal strength in a short period of time (Brewer, 2005), however it is uncommon to use within the dancing population. Recent literature, however has shown there to be a possibly beneficial effect of using plyometric and vibration training to develop the neuromuscular aspects of power training within dance, with no increase in muscle bulk (Wynon et al., 2006,. Brown et al., 2007 and Grossman and Wilmerding, 2000).

Extreme neuromuscular control is also required for aesthetically pleasing jumps and as such supplementary training should be pushed towards improving strength and power of the musculature required of jumping for improving the aesthetics (Brown et al., 2007 and Grossman and Wilmerding, 2000). Short term neuromuscular adaption via plyometric training has seen a positive increase in lower extremity strength, power and stretch-shortening cycle (SSC) muscle function within healthy individuals (Markovic and Mikulic,2010), thus suggesting an appropriateness to use as prehabilitation tool.

Repetitive jumping may lead to injury from the continuous trauma of landing (Ortega et al., 2010). Despite, bone mineral density being high within female ballet dancers due to high levels of weight bearing activity (Van Marken Lichtenbelt et al., 1995), fatigue has shown to be detrimental to performance within sport (Twittchett et al., 2011) and it is logical to apply this to dance. Due to the concerns that dancers do not have the same strength levels of athletes, it may be suggested that dancers are left at even greater risk of injury during times of fatigue (Twittchett et al., 2011 and Koutedakis et al., 1997). Indeed research by Koutedakis et al. (1997) has seen that low levels of thigh strength is associated with a higher severity of injury within dancers at the pelvis, leg and foot (Laws, 2005 and Turner et al., 2003). And many dancers have viewed fatigue as one of the leading causes in a decrease of performance ability in balance, poise, coordination and alignment, consequently leading to injury (Wyon, 2010). However, dynamic neuromuscular training has been found to reduce gender differences in force absorption, active joint stability, muscle imbalances and functional biomechanics causes of injury within the dancing population when weak (Bronner et al., 2003), whilst increasing structural tissue strength (Myer et al., 2005).

As such plyometric training could be used to enhance performance, prevent injury and rehabilitate injured dancing athletes as part of a multi-component physical conditioning programme (Markovic and Mikulic, 2010). Indeed, Allen et al., (2012) and Twittchett et al. (2010) calls for the need to introduce interventions to reduce injuries within classical and contemporary ballet to reduce hours lost from dancing. However, Wyon et al. (2006) and Brittenham (1992) advise that the use of plyometric training should be taken with care due to the high intensity nature of exercises that could cause injury in a fatigued participant. Thus, the effectiveness of a plyometric exercise should not be measured by the exhaustion of the athlete as this may lead to over training and possible overuse injuries (Shiner et al., 2005).

Thank you for reading. In my next blog post I shall be examining which Plyometric exercises to use with dancers. Please comment on this post with any of your own experiences in regards to plyometric training within dance or if you have any questions.

Start Strong, Finish Stronger.



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Wednesday 23 September 2015

42 juice


I recently visited Brighton and whilst there I stumbled across 42 Juice on Market Street. This raw juice bar was founded in 2013 by Coral and Natalie following their own personal journeys where they discovered the health benefits of juicing.

 
 
The juice bar offers a range of Raw Juices, Smoothies, Nut Mylks (not a miss-spell, this is their spelling), Hot drinks, Shots and various waters (some of which I definitely think are fads and a waste of money). A few of their drinks I had to research… I mean what on earth are activated almonds?! Well I am no nutritionist but apparently they are soaked almonds which cause the nuts to sprout producing nutrients which are more easily absorbed by the body…interesting…! This shops almond mylk supposedly contains roughly 40% more almonds than shop bought milk and is raw, thus containing all the natural nutrients and vitamins which almonds give making it a 'super mylk'!

 
 
On my visit I tried the Green Matcha almond mylk (£4.50) containing activated almonds, alkaline water, green matcha, dates, vanilla, coconut nectar and Himalayan sea salt. The initial taste was peculiar and I developed no super powers after drinking it but following the initial taste the drink was very enjoyable.

I loved the design of the store which is bright and fresh. Additionally, the staff were really friendly and ready to advice on what juice would suit you. Next time I am trying the Raw Juices!

Go grab a drink and see what you think!
-ellieee x
 

 
 
 

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