2.50
Hdl Handle:
http://hdl.handle.net/2436/313451
Title:
SportEX medicine
Authors:
Wyon, Matthew A.
Abstract:
Sports medicine is a continually expanding discipline. Buckner & Khan (1), in defining sports medicine, move away from it relating solely to the management of sporting injuries, to a broader definition of „the medicine of exercise‟ or „the total core of the exercising individual‟. Dance is often described as the embodiment of both artist and athlete (2), and yet a disparity exists between sport and dance, which can lead to resistance of the implementation of sports medicine principals within the dance world as the dancer often see themselves as primarily an artist. By adopting the definition of “the exercising individual” it is clear to see where sports medicine has a role to play in the management of dancers, but the need to differentiate between dance and sport is as pertinent as differentiating between individual sports. The management of an elite level marathon runner may be distinctly different to that of an international rugby player. The key to optimal management is underpinned by the needs of the discipline and its demands, and this is certainly true of dance. Whilst it may not be unusual to hear of an athlete undergoing a „return from injury fitness test‟ as late as the day of competition, the nature of dance makes this largely impossible. Rehearsals for shows can begin 4-6 weeks prior to performance (sometimes while performing another show). A dancer generally needs to have participated in most, if not all of the rehearsals, not only for the expected benefits of skill acquisition, which is an integral part of a dancer‟s armoury in injury prevention, but also 2 because of the interaction with other cast members and props. Injury to one dancer can result in entire cast changes. This can be made even more complicated if dancers are cast in more than one role. This paper aims to introduce the concepts of dance and dance medicine and to look at particular issues involved with the management of dancers, using the results of our own epidemiological study.
Publisher:
Centor Publishing Ltd
Journal:
SportEx Medicine 35 : 6-9
Issue Date:
2008
URI:
http://hdl.handle.net/2436/313451
Type:
Article
Language:
en
ISSN:
1471-8138
Appears in Collections:
Plant and Environmental Research Group

Full metadata record

DC FieldValue Language
dc.contributor.authorWyon, Matthew A.en_GB
dc.date.accessioned2014-02-27T11:53:16Z-
dc.date.available2014-02-27T11:53:16Z-
dc.date.issued2008-
dc.identifier.issn1471-8138-
dc.identifier.urihttp://hdl.handle.net/2436/313451-
dc.description.abstractSports medicine is a continually expanding discipline. Buckner & Khan (1), in defining sports medicine, move away from it relating solely to the management of sporting injuries, to a broader definition of „the medicine of exercise‟ or „the total core of the exercising individual‟. Dance is often described as the embodiment of both artist and athlete (2), and yet a disparity exists between sport and dance, which can lead to resistance of the implementation of sports medicine principals within the dance world as the dancer often see themselves as primarily an artist. By adopting the definition of “the exercising individual” it is clear to see where sports medicine has a role to play in the management of dancers, but the need to differentiate between dance and sport is as pertinent as differentiating between individual sports. The management of an elite level marathon runner may be distinctly different to that of an international rugby player. The key to optimal management is underpinned by the needs of the discipline and its demands, and this is certainly true of dance. Whilst it may not be unusual to hear of an athlete undergoing a „return from injury fitness test‟ as late as the day of competition, the nature of dance makes this largely impossible. Rehearsals for shows can begin 4-6 weeks prior to performance (sometimes while performing another show). A dancer generally needs to have participated in most, if not all of the rehearsals, not only for the expected benefits of skill acquisition, which is an integral part of a dancer‟s armoury in injury prevention, but also 2 because of the interaction with other cast members and props. Injury to one dancer can result in entire cast changes. This can be made even more complicated if dancers are cast in more than one role. This paper aims to introduce the concepts of dance and dance medicine and to look at particular issues involved with the management of dancers, using the results of our own epidemiological study.en_GB
dc.language.isoenen
dc.publisherCentor Publishing Ltden_GB
dc.titleSportEX medicineen
dc.typeArticleen
dc.identifier.journalSportEx Medicine 35 : 6-9en_GB
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