One of the most important things you can do to better yourself is to talk to a lot of people that are way smarter than you. Be the stupidest one in the room every once in a while (but not all the time…).
That’s exactly what I set out to do when I contacted Donna Krasnow. We sat down in her hotel room discussed things to do with training dancers. It was great.
Donna Krasnow is a former professional dancer, full professor at
York University’s Dance Department, choreographer, and creator of C-I Training
(Conditioning With Imagery for Dancers). She is the co-author of the new book
Conditioning with Imagery for Dancers, with professional dancer Jordana Deveau. Visit her website here for more info.
Krasnow specializes in dance science research, concentrating on injury prevention, conditioning for dancers, and motor learning and motor control. Her most recent research focus has been the adolescent dancer, psychological issues surrounding injury and dance training, and motor control in elite dancers. She received her M.S. degree in Dance Science in 1994 from the University of Oregon and is a Level I Certified GYROTONIC® Trainer . Her articles have been published in Medical Problems of Performing Artists; Journal of Dance Medicine & Science; Impulse: the International Journal of Dance Science, Medicine, and Education; Journal of Dance Education; Bulletin of Osaka University of Health and Sport Sciences; Medecine des Arts; and Dance Research Journal.
If you haven’t gathered, Donna is way smarter than me, and chances are way smarter than the majority of you reading this too.
She was in Toronto this week teaching the Conditioning With Imagery teacher training course. This course teaches other dance science enthusiasts and teachers her training method, which she has used to help countless dancers improve their technique and understanding of the moving body, as well as to prevent unnecessary injuries. Though I only had an hour to speak with her, it was enlightening, to say the least.
Here now is a summary of our chat:
What caused her to first become interested in the physiology and science of dancing?
Donna told me that her reason was actually kind of selfish- She, like many dancers, was tired of getting injured! She has a list of injuries that could go on and on, but her back was a big issue for her in the past.
This led her to start reading and learning about new methods of training the body to make it more resilient. She studied in yoga, pilates, floor-barre classes, Qi Gong and somatic practices, among other things, and eventually began to put it all together which created the foundations of what is now her Conditioning with Imagery philosophy.
So what is “Conditioning with Imagery”?
Donna explained that conditioning with imagery is a blending of science with somatics. It borrows from the best of several techniques.
She retold to me the story of being in Philadelphia for a convention and having the opportunity to experience presentations of many different training methods, one of which was by Sally Fitt (author of Dance Kinesiology) and was all about the science side of training, and another was an Alexander technique presentation, which is all about using imagery to reprogram the body.
This got her to thinking, why must the two- science and imagery- be separate? Hence the creation of conditioning with imagery
For those of you who don’t care much for the science side of dance, the rest of this article may not be for you, so skim at your leisure, as I press forward into more specific aspects of training dancers.
I asked Donna what she thought of training hip drive and posterior chain power. Did she think it was useful, as it often is for other athletes? Olympic style lifting or plyometric training in particular.
“Yes. If the dancer has a need for it.”
She explained to me that many dancers are naturally good jumpers and it would not be a productive use of their time to work on something they are already good at. Hip drive power does help with vertical jump height, which is of importance to dancers, but if they don’t need much extra help in that regard, it is not necessary.
She states that the training must be specific to dancing. For this very reason, she is not in favour of ballet dancers doing much plyometric training. Her experience is that it will not transfer over to a dance setting as one would like it to, for the feet are in a parallel position which is not very helpful for dancers who work in turn-out.
I asked about doing plyometric work in a turned out position, and we both agreed that it would probably not be safe for the knees.
Olympic lifting could however be quite beneficial for dancers needing help with their jumps.
There is still much research to do in this area. Perhaps I’ll do some more reading of my own and see what I can find. Stay tuned for that.
Can you guess what Donna thinks about dancers developing upper body strength?
She’s all for it! Donna points out that dancers often need arm strength for lifts and to fall safely to the floor, among other choreographic elements.
However, she explained how the traditional methods of upper body training are not appropriate for dancers. That is to say, the traditional method is aimed towards male trainees who want to build muscle (hypertrophy) without any kind of functional end-goal.
Dancers do not need to hypertrophy their upper body muscles, but rather need endurance and strength. She pointed out the common misconception that women dancers shy from strength training in the fear of becoming bulky, but this is only because they look at male bodybuilders who follow a set and rep scheme with the aim of getting bigger muscles.
Donna suggests that for dancers it is optimal to use a rep range geared toward muscle endurance (12-15 reps), with a lower weight, and to do 2 sets.
The arms need strength, endurance and control. To avoid upper body training is a common mistake.
Other imbalances that are prominent in dancers, and which Donna stresses should be addressed include:
- The spine and core
- Lateral quads dominant over medial quads
- Excessive foot pronation
- Weak adductors and gluteus medius
I then selfishly asked:
What is your favourite core strengthening/motor control exercise?
Her reply: “I don’t have a single favourite!” (rats…)
She explained that she is in her third day of teaching the CI Training course (and intensive course which runs for 6 days), and she’s aleady gone through about 7 core exercises. She states there has to be versatility, because that is the nature of dance. You must have a range of movements.
Not only that, but “core training” has to be always happening. Even if it is not a “core” exercise, the core must be cued to work. A good core exercise is one that transfers over to the dance setting.
So what about Crunches? Crunches are fine if done correctly, but by themselves are not sufficient for dancers’ needs. They need a variety of exercises that deal with core support, trunk stabilization, and balance control. Perhaps not the most efficient use of your time.
We got to talking more about core conditioning, and Stuart McGill’s name came up (to whom she refers fondly as Stu. They’ve met, and I’m a little jealous). McGill is a big name in the athletic performance training, and lower back pain prevention and rehabilitation game.
I have dabbled in implementing his method of “abdominal bracing” to prevent lower back injuries while training training my own dancers.
I asked her what she thought of the idea of abdominal bracing, and if it was effective for dancers.
In her mind, bracing the abdominals is actually counterproductive for dancers early in their training, and they should rather be instructed to lengthen. This simple use of imagining the spine elongating, and the narrowing of the waist, she states, has been much more effective in her experience.
She explains that you must look at the function of the spine for the dance population: The spine does a lot of moving through all planes, and this motion often needs to be fluid. It makes sense that bracing the abdominals without understanding how to control it segmentally would hinder a dancer’s ability to control his/her body effectively.
Donna talked about how many of the athletes McGill is training do not require the fluidity of the spine that dancers do, and so for a shot-putter, for example, bracing the spine would be highly effective.
There is a place for bracing the abdominals in dance training, however it should be learned after the dancer first understands how to control the spine’s individual segments. She refers to the work of Australian, Paul Hodges, which focuses on deep segmental stability and “hollowing” of the abdominals, rather than bracing them.
Her method is to start by training the deep muscles that control and stabilize the spine as it curves and arches, and then do more McGill type things, like planks and birddogs.
Thanks for that tip, Donna!
At the gym I work at, they have one of those full body vibration plates that supposedly give faster results by exercising on a vibrating surface. I asked Donna if she knew anything of the science behind these contraptions.
To which she replied: “I have no comment until I see the research.”
Donna is the kind of person who needs to see concrete evidence before she jumps on a bandwagon. This is a good quality to have in order to avoid a lot of the bull-shit that marketed to us these days. Remember when we thought this was a good idea?
I mentioned to Donna that I had read the abstract of a study which used the vibration plate in a training protocol for dancers and found that they were able to increase their ankle stability to a higher degree than a group of dancers who did conventional exercises, not vibrating. She replied to this that she could see how it may have some benefits in terms of proprioceptive issues, as the vibrations create a more unstable surface.
Here’s another study that found dancers could improve their vertical jump height by using the vibrating plate in their training…
Perhaps I will read more on this topic, seeing as I have access to one of these (expensive) machines. Are they worth it? Who knows. I’m still sceptical, and my opinion is that this machine was created by people who are lazy and don’t like hard work. But who knows!
Like Donna said, “I don’t know until I see the research”.
I asked Donna if she could describe a particular “a-ha!” moment on her journey to understanding movement.
She exhaled deeply and replied that there were too many to even mention. One in particular that she shared with me was the realization of the “neuromuscular”, and just how important motor control was.
It is not simply enough to strengthen the weak muscle, or stretch the tight ones. That’s only part of the picture. Donna expressed that it is equally important to make changes to habitual movement patterns. Retrain the way you move in everyday life, as well as in a dance setting.
As she put it, in class, you work hard to do good for your body for 3 hours a day. But if for the rest of the day you’re slumped over, in awkward positions, walking strangely and adopting a generally poor posture, you’re not helping yourself, and you’re undoing any of the positive work you did in class.
In recent months, I’ve discovered how much the mind needs to make changes as well as the body. Many dancers are in a less than optimal emotional and psychological state which does not allow them to perform physically at their highest potential. I asked Donna what role she thought psychology and emotional health played in dance training, and if she felt it deserved more attention.
She agreed, but said that the emotional health of a dancer must be approached indirectly. It’s in how you relate to your dancers or clients that will affect them psychologically.
Donna expressed how she felt that many dance teachers do a bad job of this. The learning environment is created through the language used by the teacher, and often this language is one that is critical, and negative. For example, she told me story of how a young girl she was coaching had quite a pronounced pelvic tilt that caused her stomach to protrude slightly. What did her previous teachers tell her? Push your stomach in! Push your bum in!
According to Donna, the language you use should not ask the dancer to hide any part of them. Don’t ask the dancer to hold in their stomach, this is counterproductive not only physically, but it will foster a negative emotional environment. Instead, she suggested the image of lengthening the body.
She also explained that many dancers have “issues of beauty”. What this means is that they are so stuck to notions that for a position, such as a perfectly turned out 5th, to be beautiful, they need to crank their bodies in unnatural ways, and this is more important than being safe and protecting their bodies. This notion needs to be retaught. As I mentioned earlier in this post, you mustn’t be stuck to the idea that you need 180 degree turnout, most of us can never obtain this safely and it’s just not worth it.
Donna stated that many postural dysfunctions are in fact rooted in emotional trauma, and that she found many were able to change emotionally by changing the way their bodies move. This rang 100% true to me. If you want to test this theory, try walking around all week with absolutely perfect posture. Really focus on it. I challenge you to tell me you don’t feel like a whole new person by the end of the week.
Donna also stressed the importance of the spiritual aspect of dance. Many of us have lost this. Dance began as a spiritual practice, and it should always have that same importance. Again, we have issues with beauty. Actually expressing the spirit through dance will always be more moving that a perfectly executed triple pirouette.
What Donna felt was most lacking in dancers, and what could be considered their biggest issue, is that they lack education on the things that really matter. They have tons of skill acquisition, but very little knowledge. I asked her to share what she felt were the 3 best pieces of advice she could give dancers wishing for longevity in their careers, and here they are, just for you:
- Be vigilant about warm-up and conditioning.
- Work only with people who honour the body.
- Never put aesthetics and fashion above health.
This post is once again becoming lengthy, and so I want to wind things down by sharing with you what Donna said to be the most rewarding part of her career so far (and she’s done a lot, from choreography, to performance, to teaching, to conditioning, to research, creating her own training method, writing a book, and more…)
For her, it was not the material accomplishments that were most rewarding, but the giving and the receiving, in both directions, that has taken place throughout her career. The science aspect of things combined with the beauty of performing and choreographing was what she felt was the most fulfilling.
I will close with what I think is a recurring theme of this blog, and which Donna stresses as extremely important: The art of dance is just as important as the science.
If you want to learn more about Donna, her teacher training course, or read her book, head to her website for more information.
I want to thank Donna graciously for taking time out of her busy schedule to speak with me. It was fantastic.
I urge you all strongly now to check out Julien Smith’s blog . Take cold showers daily, talk to strangers, do things that scare the crap out of you, and hang out with people that are way smarter than you.
Oh, and like me on facebook .