Overtraining...

I have been looking further into the issues around overtraining and its impact on dancers. Liederbach (2008) explains that overtraining arises when,

‘…An individual ceases to adapt positively to training stress when it is imposed in a sustained, long-term, and highly intense manner. Dancers are at risk for developing overtraining syndrome. Overtraining syndrome is defined as an unexpected drop in performance that cannot be attributed to illness or injury.’ (Liederbach, 2008, p.11)

This week I decided to reduce the intensity and duration of my regular fitness training due to having an audition at the end of the week. I made this decision in order to ensure that my muscles were not sore and that I was not fatigued ahead of the audition so that I could perform to the best of my ability.

Koutedakis (2000) notes that disproportional increases in either frequency or intensity of physical work, in conjunction with insufficient recovery, may overload the body. He observes that overtraining…

‘…tends to occur in dancers during periods of increased commitments either in class or on stage and in individuals whose daily practices produce an imbalance between physical activity and recovery from it.’ (Koutedakis, 2000, p.122)

It is important that a balance is struck between a fitness programme, dance class, rehearsals, auditions and performances in order for a dancers peak performance to be maintained. 

Next week I will resume my normal training regime and increase the intensity of my exercises to continue to build my strength and endurance. 

References:

Koutedakis, Y. (2000) “Burnout” in Dance. The Physiological Viewpoint. Journal of Dance Medicine and Science4(4), 122 – 127

Liederbach, M (2008), Dance Medicine: Strategies for the Prevention and Care of Injuries to Dancers, Epidemiology of Dance Injuries: Biopsychosocial Considerations in the Management of
Dancer Health.Orthopaedic Section, APTA, Inc. (p.11)

Fitness training for dancers...

I have been looking further into a range of literature relating to my inquiry topic which is about fitness and enhanced dance performance. I have found it really interesting reading the various views and it has sparked a lot of new thoughts. 

This particular article resonated with me as it acknowledges the increasing choreographic demands of the current dance industry along with an evaluation of the need for supplementary fitness training alongside dancers class and rehearsals. 

https://cdn.ymaws.com/www.iadms.org/resource/resmgr/Public/Bull_4-1_pp15-17_Kozai.pdf

During my time at Northern Ballet School I did not attend a gym or undergo any form of fitness training outside of the structured timetabled classes. As soon as I began dancing professionally I created myself a fitness regime and planned my sessions around rehearsals and performances. I felt that this was essential for me in order to continue to develop my skill as a dancer, feel confident in costumes and perform to the best of my ability. Upon reflection, I wish that I had began my fitness training earlier whilst I was attending vocational school, as this would have prepared my body for the demands of choreography and the intense nature of the dance industry. 

However there is a tension here between achieving peak fitness and overtraining. Overtraining syndrome (Liederbach and Compagno, 2001) is something that dancers can suffer from by not allowing their bodies time to rest and recover.

The aesthetic demands of the industry may be a motivation as well as an added pressure for dancers to train their bodies even harder as there are various audition posts online looking for ‘toned dancers’. It is so important to strike the right balance between training and rest to ensure that overtraining syndrome is avoided and the optimum level of fitness is achieved. 

References:

Kozai, A (2012) Supplementary Muscular Fitness Training for Dancers, International Association for Dance Medicine & Science

Liederbach, M. & Compagno, J. M. (2001). Psychological aspects of fatigue-related injuries in dancers. Journal of Dance Medicine in Science, 5(4), 116 – 120