Janey Griffith

English 201-05
Final Paper
How do Injuries Change the Way Dancers Use Their Muscles?
Discipline

The discipline that my paper will fall under is Sports Medicine. Human Anatomy is a
branch of science that deals with the structure of organisms and since I am connecting it with
dance it becomes a sports topic. It also falls under Kinesiology, which means the scientific study
of human movement. Dance is all about how the body moves and how each part works together
to create art. The physical activity required in most kinds of dance is as intense as any other sport
and the injuries it causes are treated by physical therapists specializing in sports medicine.

Motivation

I have always been interested in how the body moves and was glad to learn I could
choose my own topic for the paper. I chose to write my research paper on this topic because I
danced ballet for six years and I have been injured multiple times, causing my body to react. I
tore a ligament in my ankle and have a chronic lower back problem, causing pain in my right hip
and knee.

Methods

After doing some preliminary research, I discovered that the search engine called
SportDiscus is the best and maybe only one I will be using as it gave me incredibly specific
journal articles and scientific studies on my topic. The other search engines I tried to use did not
have a focus on Sports Medicine and so will not be as useful to me in this process.

Purpose

My purpose is to build on existing knowledge of the musculoskeletal system and to

hasten recovery time for dancers. By researching how injuries change the way dancers use their
muscles, I will be able to understand more about my own injury and what I can do to improve the
performance of my muscles in that area.

Dancers Perception of Pain and Injury, Positive and Negative Effects by Helen

Thomas and Jennifer Tarr is a study of how dancers react to pain and injury and looks at the

percentage of dancers who have been injured in the past and present. The authors also asked the
dancers to define pain and injury to give insight to the reporting of injuries. They submitted

their findings to the Journal of Dance Medicine and Science so that other dancers would think

about if they have been in pain or were actually injured and did not realize it. Together, they

found that even though the healthier dancer concept awareness has increased, the number of

injuries has not decreased because dancers do not know the difference between pain and injury

(Thomas & Tarr, 2009).

Dr. Helen Thomas and Dr. Jennifer Tarr conducted the study and are the authors of this

article. Thomas is the Director of Research at the London College of Fashion and the University

of Arts (Thomas & Tarr, 2009). She is an expert at conducting studies and focuses on liberal arts.

Tarr is a professor in the Sociology Department at Trinity College in Dublin (Thomas & Tarr,

2009). Sociology is the science of society and social relationships so Tarr would be useful in

analyzing how the dancers think. Their article was published in the Journal of Dance Medicine

and Science in 2009. The JDMS is an annual journal and includes original scientific articles by

respected authorities in the field of their research. It includes the topics: anatomy and physiology,

biomechanics, general medicine, sports medicine and surgery, physical therapy, dance education,

kinesiology, psychology, nutrition and diet. This is a credible source for my paper because it

emphasizes applying scientific principles of identifying, treating, and rehabilitation of injuries in

dancers.

The study consisted of 204 dance students, professional and former dancers, of which

175 were female and 29 were male. 90% of the dancers reported experiencing an injury either

current or past compared to a previous average of 80% of dancers. All of the dancers over 35

said they had been injured and no dancer with less than five years of experience had injuries. It

was found that dancers with training in multiple techniques of dance were more likely to have
been injured than dancers specializing in just one type. The areas of the body where most injuries

occurred were the lower back (29.9%), knee (23.0%) and hip (14.2%). All the dancers were

interviewed on their personal definition of pain and of injury. 101 of the participants described an

injury as being something that stopped them from dancing. 45 participants said injury was pain

in a specific location that felt abnormal. When asked to define pain, the dancers were less sure

about their answers. Many of them said there was good pain like stretching, muscle

exhaustion, soreness or stiffness. It was a good pain because it was tolerable and they knew they

had worked hard and their endorphins were flowing. Bad pain was less tolerable and the

dancers used words like sharp, searing, or shooting. The pain would be unexpected and

accompanied with a popping noise or a swift movement and usually had something to do with

bones, tendons, ligaments or muscles (Thomas & Tarr, 2009). Pain distracted the dancers and

kept them from performing their best but did not stop them from dancing all together. Many of

the dancers were unaware that ongoing or nagging pain could be a sign of an injury.

This article is centered on the idea of dancers getting injured and thinking it is only

chronic pain. The dancers are working through the pain so that they will be allowed to perform

or so that they will not lose their position in the dance company. This is causing the injuries to be

prolonged or even worsened and will lead to future injury (Thomas & Tarr, 2009). The authors

are trying to inform dancers of all ages that the pain they may be feeling should be checked out

by a doctor so that they can prevent further damage. All of the participants and the authors were

from the United Kingdom but the Journal of Dance Medicine and Science is an internationally

recognized journal so this article is for dancers all over the world. This article is also geared

towards dance educators, physical therapists and sport surgeons to inform them of the authors

discoveries that dancers often do not distinguish between pain and injury.
 The authors intent for this article was to raise awareness of the difference between pain

and injury. They mention the healthier dancer concept which is a movement to push healthy

lifestyles for dancers (Thomas & Tarr, 2009). Dancers, especially ballerinas, are more likely to

have eating disorders like anorexia or bulimia nervosa due to pressure for parts or to look a

certain way (Cappelle, 2014). While this study attempted to build on earlier research on dance

injuries, it also sought to contribute to a small but growing body of research that takes account of

the dancers perspective, by drawing on qualitative interview data. (Thomas & Tarr, 2009). The

authors are not experts in the field of dance medicine but perhaps an outsiders view of the dance

world is needed to shed light on dark gaps of knowledge. More awareness of living a well-

rounded life leading to better health is the goal of the authors. They wanted to give more insight

from the dancers perspective to what they feel as far as pain and injury.

When a dancer gets injured, they do not always go to a specialist to have it checked out.

It could be because they do not want to be told they cannot dance or because they do not think it

is serious, but both reasons are caused by a lack of knowledge in that area. Thomas and Tarr

wanted to inform their audience of dancers, educators and therapists about the gap of knowledge

and that the best thing to do is to get the area checked out because if it is not treated, it will only

get worse. Their study is scientific and very thorough so the article can be accepted as a credible

source. This article works because the authors were credible, the content was correct and the

message was clear, dancers do not know the difference between being in pain and being injured.

It is thought that injuries in dancers cause them to change the way they move to compensate but

it is more because they do not fully understand their injury and think it is only pain.

All kinds of dance requires intense practice, strength and endurance. The human body can

only withstand so much pressure and pulling and when it cannot handle any more stress in a
certain area, something gives and a dancer can get seriously hurt. To prevent dancers from

getting injured, experts in the fields of dance and sports medicine perform studies to better

understand how to avoid getting injured (Ekegren, Quested, & Brodrick, 2011). These studies are

published in scholarly journals so that everyone interested in learning more about this field can

gain the knowledge the experts did from the studies. In these articles, dancers were studied in the

way they deal with pain, how they got that pain and how it has affected their performance since

the injury.

The first article is titled Influence of Ankle Injury on Muscle Activation and Postural

Control During a Ballet Grande Pli and was written by Lin Chia-Wei, Su Fong-Chin, and Lin

Cheng-Feng. It was published in the Journal of Applied Biomechanics in 2014. In this study, 33

college dancers with 5+ years of experience were split into two categories: 13 injured (ankle,

past), and 20 uninjured. Their turnout was measured and censors were put on the major muscles

involved to see which were actually used and to what degree the dancers angled their hips

lowering and rising out of the pli. They measured how the muscles were used in the three stages

of Grande pli (lowering, squatting and rising). The dancers who had previous injury angled

their back and hips more than the uninjured dancers, meaning they had less postural control

(Chia-Wei, Fong-Chin, & Cheng-Feng, 2014). This led the authors to conclude that in a ballet

Grande pli, dancers who have not been injured have better postural control. This might suggest

that muscles never truly recover or that injured dancers will not be able to control their posture as

well as uninjured dancers but the authors did not specify how long the injured dancers recovery

time or what they did to come back from their injury. It is not a concrete solution that ankle
injuries will have lasting negative effects on postural control but this study does reinforce that

idea.

Risk Factors for Lower Back Injury in Male Dancers Performing Ballet Lifts is the second

article on this topic and was written by Jacqueline Alderson, Luke Hopper, Bruce Elliott, and

Tim Ackland in the Journal of Dance Medicine and Science in 2009. 8 male dancers and 5

ballerinas participated in this experiment. They paired up to perform different lifts so the

pressure on the male dancers body could be recorded and analyzed. Joint angles during a Full

press lift and an arabesque were recorded and measured using a camera and retro-reflective

markers on the dancers joints. It was found that partners who were more comfortable dancing

together stood closer before performing lifts. By starting closer to the female dancers, the male

dancer had better leverage to lift the female up and hold her steady without hurting himself

(Alderson, Hopper, Elliott, & Ackland, 2009). If the dancers stood too far apart, then too much

pressure was put on the male dancers fifth lumbar vertebrae right above his pelvis. Doing this

too much led to vertebral disk problems with the male dancer participants (Alderson, Hopper,

Elliott, & Ackland, 2009). The authors discussion said that male dancers backs get injured

because they dont know their partners well enough and arent comfortable and that there has to

be a balance between enough practice/rehearsal and too much. Because the lifts are very specific

on how they have to look, partners must fully understand how to perform them close enough to

each other to avoid injury on both partners.

The third article is called The Relationship between Passion and Injury in Dance

Students by Blanka Rip, Sylvie Fortin, and Robert J. Vallerand. It came out in 2006 in the
Journal of Dance Medicine and Science. The participants included 81 dancers, ages 15 to 31 with

most of their experience in Modern dance but had also been trained in classical ballet and jazz.

This was more of a psychological study but still has relevance to the other articles because it

searches for the relationship between causes of injuries in dancers. Nothing was scientifically

measured as the participants were given lengthy surveys about their personality, age, experience

in dance, any past injuries, severity and recovery time for those injuries and how much passion

they had for dance. Passion was determined by how much participants overlapped two circles

of self and dance into a Venn diagram. Dancers that overlapped the two circles more were

considered more passionate about dance (Rip, Fortin, & Vallerand, 2006). They found that

dancers that were more passionate for dance spent less time with sustained injuries than dancers

that were less passionate. This does not mean that if a dancer has more passion for dancing, they

will not get injured or that their injury will go away faster. It is a matter of state of mind and how

well the dancer is willing to take care of themselves to get back to dance without risk of future

problems (Rip, Fortin, & Vallerand, 2006). The authors state that dance often has a culture of

pain and dancers do not report their injuries because they are afraid they will be seen as weak.

The authors want to communicate that their passion can be channeled to keep themselves healthy

dancers.

Maria L.G. Encarnacion, Michael C. Meyers, Noel D. Ryan, and Dale G. Pease wrote the

fourth article titled Pain Coping Styles of Ballet Performers in the Journal of Sports Behavior

published in 2000. 135 ballet students and professionals were asked to self-record their ability on

a scale of 1 to 10 and their reactions to an injury they sustain while in ballet, such as, physical
therapy, medication and nutrition. The dancers were then given scores in each of five categories:

coping, cognitive, catastrophizing, avoidance and awareness. If the scores were low, that meant

that the dancer did not try to contain their injury but looked for medical help (Encarnacion,

Meyers, D., & Pease, 2000). The scores were very similar across the board, but it was evident

that professional dancers sought out help more than academy students. They reported that this

may have been because of a precognition that pain is necessary to get to become better at ballet

and not realize that they are actually injured. Dancers who have had more experience do not try

to push through pain as much as less experienced dancers who do not have the knowledge of

when they need to get help to avoid hurting themselves further (Encarnacion, Meyers, D., &

Pease, 2000). The difference in minimal however.

The last article is Injuries in Female Dancers Aged 8 to 16 Years by Nili Steinberg,

Itzak Siev-Ner, Smadar Peleg, Gali Dar, Youssef Masharawi, Aviva Zeev, and Israel Hershkovitz.

It was published in the Journal of Athletic Training in 2013. 569 injured non-professional

dancers with more than six years of dancing experience, ages 8 to 16 from the Israel Performing

Arts Medical Center were included in the study and any students whose injuries or pain did not

hinder them in day to day classes were excluded. Each participant put on a body stocking so that

the researchers could locate any physical abnormalities or movements easily and asked to go

through a series of exercises. They reported if the exercise caused pain or discomfort. Their

injuries were categorized by location and recorded. They found that dancers over the age of

eleven had more knee injuries than ankle and assumed that it had something to do with puberty

hitting or going through a growth spurt around that age (Steinberg, et al., 2013). Scoliosis was

prominent in some of the dancers and those dancers were more likely to sustain an injury in their
lower extremities (Steinberg, et al., 2013). They concluded that knee injuries increased as the

dancers get older and ankle/back injuries were less prevalent and recommended that young

dancers not be put through intense training that impacts the spine so that it will be good and

strong for when they go into professional level training.

After reading all of these articles, it is obvious that young dancers do not have the

knowledge to keep themselves from getting injured or reinjuring themselves after a previous

injury. The first and last articles show that young dancers that have been injured find it difficult

to get back to the same level that they were dancing at before or that dancers their age are at. The

second, third and fourth articles delve into the reasons behind dancers injuries like not being

comfortable enough with their partner, how much of the dancers time is focused on recovering

the correct way and how level of experience affects if dancers report their injuries or not.

Dancers get injured at young ages often have reoccurring or chronic problems during later points

in their careers. Based on the conclusions arrived at by experts in the field of dance, kinesiology

and sports medicine, if dancers knew more about their own body and how it works then they

could continue dancing for longer because they would know how to take care of their bodies.

The world of dance is a tricky one to navigate. You have to work hard to learn the steps

but not too hard to hurt yourself or overwork your body. Only a minority of dance students

become professional dancers and the average pay they receive is $15.87 (Occupational Outlook -

Dancers and Choreographers, 2014) Still, passion to become a professional dancer, be on stage

and feel one with music drives young dancers to push their bodies to the edge of its ability. In the

last decade, more research has been done to see how all the strains of dance affects the human

body (Cappelle, 2014). Based on the conclusions arrived at by experts in the field of dance,
kinesiology and sports medicine, if dancers knew more about their own body and how it works

then they could continue dancing for longer because they would know how to take care of their

bodies.

During rehearsals and classes, dancers focus on technique, flexibility and perfection. If

they overstretch or they fall and hurt themselves, it is not a given that they will seek medical

attention right away. 80% of dancers will report an injury up to a month after its occurrence and

the rest do not report it because they believe that it is only pain (Thomas & Tarr, 2009).

Especially in classical ballet, dancers are taught to endure pain and to push through it to become

better dancers. This train of thought has led to the ending of many dancers careers (Alderson,

Hopper, Elliott, & Ackland, 2009). Dancers think that the pain they feel is either good or bad

(Thomas & Tarr, 2009) with good pain being soreness after a class or pain while stretching.

Dancers should feel that their muscles have worked hard after a class or stretching but should not

be in pain. Dance studios focus young dancers so much on bettering their skills that the students

do not know how their body is doing what it is doing or how to take care of it properly.

If a dancer gets injured and recognizes that it needs medical attention, they will stop

practicing, and hopefully start physical therapy. The length of recovery time varies depending on

the injury but minor injuries take roughly a month to fully heal (Jacobs, Hincapi, & Cassidy,

2012). Professional dancers have been recorded to report injuries more than students

(Encarnacion, Meyers, D., & Pease, 2000). This is because they have more experience and

knowledge about the anatomy and physiology of their body. Also, people who are more

passionate for dance come back from an injury stronger than they were before the injury (Rip,

Fortin, & Vallerand, 2006). If a dancer truly has more passion, they understand the importance of

a full recovery. If they focus on getting healthy, they will be back to dance in the shortest amount
of time and are less likely to reinjure themselves or have a chronic problem with the injured area

(Rip, Fortin, & Vallerand, 2006). Dancers that do not focus on a healthy recovery and cut corners

may continue dancing thinking they are fine because there is no pain, but this will cause

problems in the future. Dancers that have been injured often show less muscle control of their

posture while doing simple movements like a Grande pli (Chia-Wei, Fong-Chin, & Cheng-

Feng, 2014). The dancers that show evidence of this were not taught from the beginning of their

dance career what the body needs and its physiology.

To conclude, dancers who become injured do not have enough knowledge of the human

body to properly self-heal to get back to the level they need to be at to perform. Sometimes they

think their injury is only pain and do not report it, leading to further injury and longer recovery

times. Because becoming a professional dancer is so difficult, students who are serious about it

have to center their entire lives on dance. When dance becomes a dancers life, they will

understand all the aspects of it (Rip, Fortin, & Vallerand, 2006). However, if a dancer only

focuses on their dance life on the stage, they wont know what to do to recover from an injury. If

dance students were taught more of the anatomy and physiology of their bodies, they would be

able to hasten their recovery time or even avoid injuries all together.
Annotated Bibliography
Alderson, J., Hopper, L., Elliott, B., & Ackland, T. (2009). Risk Factors for Lower Back Injuries

in Male Dancers Performing Ballet Lifts. Journal of Dance Medicine and Science, 83.

In this article, it was determined that male dancers get lower back injuries due to not
being as comfortable with their partners. I used it in my Literature Review essay. It is a
high brow source because it comes from a scientific journal about dance and was useful
to my research even though it was published five years ago. I found no evidence
disproving the authors' conclusion. I learned a lot from this article as I have practiced
some ballet lifts with a partner who I did not know well and it was quite difficult.
Cappelle, L. (2014). Body of Work. Retrieved from Dance Magazine:

http://www.dancemagazine.com/issues/July-2014/Body-of-work

This website article is about Celine Cassone, a professional dancer for Le Ballet de
l'Opera Grand Avignon. It discusses her career, how she got there and her daily routine of
eating and exercising. She talks about the pressure she experienced trying to become a
professional dancer and how she would sacrifice taking care of herself correctly for more
time practicing to be technically perfect. I did not use this specifically in one of my
papers but it reinforced my point that dancers need a more rounded education for
furthering their careers. Dance Magazine is a popular source but the article worked with
my topic.
Chia-Wei, L., Fong-Chin, S., & Cheng-Feng, L. (2014). Influence of Ankle Injury on Muscle

Activation and Postural Control During Ballet Grande Plie. Journal of Applied

Biomechanics, 37.

This study was the first source I found that went along with my thesis of dancers coming
back weaker from injuries. The authors found that dancers who had been previously
injured had less control over their posture. They did not specify or research the reason
behind that so I cannot say that this proved my thesis. It is from the Journal of Applied
Biomechanics so it is a highbrow source. I had not heard the term "biomechanics" before
but once I looked it up, I realized it is basically the field I am interested in.
Deckert, J. L., Barry, S. M., & Welsh, T. M. (2007). Analysis of Pelvic Alignments in Univeristy

Ballet Majors. Journal of Dance Medicine and Science, 110.

 I read this article hoping to find comparisons on different types of students or injured
versus uninjured students but the research did not go as deep as I had hoped. It merely
gave a lot of statistics. It is from the Journal of Dance Medicine and Science so it is a
highbrow source but I did not find it very helpful. I did like how they chose to study
university ballet majors because they are different from dancers who join a studio to
become professionals. Majoring in ballet requires the kind of knowledge I talked about
dancers knowing to keep themselves healthy. I was glad to have read this even though it
was not necessary for any of my papers.
Ekegren, C. L., Quested, R., & Brodrick, A. (2014). Injuries in Pre-professional Ballet Dancers:

Incidence, characteristics and consequences. Journal of Science and Medicine in Sports,

271-276.

The study they did in this article really went into the how and why dancers get hurt and
what happens to them after the fact. They followed several dancers that had been injured
and studied their characteristics before they were injured. It is from the Journal of
Science and Medicine in Sports and is a highbrow source but I did not use it in any of my
papers. It would have been useful but I found other sources that fit better with what I
needed to talk about.
Ekegren, C., Quested, R., & Brodrick, A. (2011). Epidemiology of Injuries Among elite Pre-

professional Ballet Students. British Journal of Sports Medicine, 347-348.

I almost did not even read this article because I did not know what "epidemiology" meant
but once I looked it up, I realized it worked with my topic. "Epidemiology" means the
study of the incidence, spread and control of something in the body. These three authors
did a very similar study as seen above, but this study was three years earlier. The second
study was the authors furthering their knowledge of injuries in dancers that had many
years of experience but were not professional yet. I did not use it in one of the papers but
it was a good highbrow source and I found it interesting to compare this with the other
article by the same authors.
Encarnacion, M. L., Meyers, M. C., D., R. N., & Pease, D. G. (2000). Pain Coping Styles of

Ballet Performers. Journal of Sports Behavior, 20.

This article was incredibly useful in that it gave me information and statistics on
differences between student and professional dancers. The authors did not find a
significant gap on how the kinds of dancers reported injury but they explored more on
dealt with the pain. The Journal of Sports Behavior is a more psychological highbrow
source than I had previously looked at for my papers. Since it was not very scientific, it
was not the best source I found but it was still valuable to use in my Literature review.
Hamilton, D., Aronsen, P., Loken, J., & Berg, I. (2006). Dance Training Intensity at 11-14 years

is Associated with femoral torsion in classical ballet dancers. British Journal of Sports

Medicine, 299.

This source is from the British Journal of Sports Medicine so it is a highbrow source. I
did not understand what femoral torsion when I first read this article but I found out that
it means the twisting of the femur. In classical ballet, twisting the femur is associated
with turn-out and is essential for even the most basic ballet moves. Doing a study on
training intensity in young dancers is important for my topic because I believe that
education about how the body works should start at the age of the dancers in this study
group.
Jacobs, C., Hincapi, C., & Cassidy, J. D. (2012). Musculoskleletal Injuries and Pain in Dancers.

Journal of Dance Medicine and Science, 74-85.

I did not use this source in any of my papers though it was a good highbrow source about
my topic. It was an interesting article to read about musculoskeletal injuries but the
information was not analytical enough to be included. It is from the Journal of Dance
Medicine as are many of my other sources and I appreciated how the authors covered a
broad spectrum of injuries as opposed to just leg injuries.
Malkogoergos, A., Mavrovouniotis, F., Zaggelidis, G., & Ciucurel, C. (2011). Common Dance

Related Musculoskeletal Injuries. Journal of Physical Education and Sport, 259-267.

This article is from the Journal of Physical Education and Sport so it is a highbrow. I did
not use it in any of my papers though. I liked this source because I found that most of my
sources focused in ballet and this article explored kinds of dance like modern, tap and
jazz. These often get overlooked and there are not many sources that I looked at that did
not have something to do with ballet. I was not bothered by this because I think I am
biased towards ballet.
Occupational Outlook - Dancers and Choreographers. (2014, January 8). Retrieved from Bureau

of Labor Statistics: http://www.bls.gov/ooh/Entertainment-and-Sports/Dancers-and-

choreographers.htm

I used information and statistics from this website to add credibility to my Literature
Review. What I found on this page made me happy that I am not trying to become a
professional dancer. The salary is not that impressive for how much work it takes and
what you have to put your body through to get there. The website is the Bureau of Labor
 Statistics and is run by the government so it can be considered a highbrow source. I wish
it had more statistics on what different kinds of dance are paid so I could have compared
them but I was glad to have used it in my paper.
Rip, B., Fortin, S., & Vallerand, R. J. (2006). The Relationship between Passion and Injury in

Dance Students. Journal of Dance Medicine and Science, 14.

This was one of my more valuable sources. Not only was it from the Journal of Dance
Medicine and Science but it put into perspective how someone's "passion" for dance
could be measured. The more the subjects describes that dance is a part of who they are
means they are more passionate. I did not realize that was something that could affect my
research into dance injuries. It was another source that was more psychological than
scientific but I think it helped to round out my Literature Review.
Stearns, K. M., & Powers, C. M. (2014). Improvements in Hip Muscle Performance Result in

Increased Use of the Hip Extensors and Abductors During a Landing Task. The American

Journal of Sports Medicine, 602-609.

This source was different than my other sources because it did not have anything to do
with dance. I still found the information to be valuable because the authors studied
specific muscles in the legs and hips which are where a majority of dance injuries occur.
It is from the American Journal of Sports Medicine so it is a high brow source but I did
not specifically use it in any of my papers.
Steinberg, N., Siev-Ner, I., Peleg, S., Dar, G., Masharawi, Y., Zeev, A., & Hershkovitz, I. (2013).

Injuries in Female Dancers Aged 8 to 16 years. Journal of Athletic Training, 118--123.

This source was more interesting than I thought it would be because the study was done
in Israel and was very exclusive to what kind of dancers were studied. There were many
more students that were injured at the dance academy but the authors were specific on
what kind of injuries they wanted to study. This was from the Journal of Athletic Training
and was a high brow source.
Thomas, H., & Tarr, J. (2009). Dancers' Perception of Pain and Injury Positive and Negative

Effects. Journal of Dance Medicine and Science, 51-60.

I believe that this was my favorite out of all my sources because it directed how the rest
of my paper went. The authors studied dancers and asked them to define "pain" and
"injury." The answers they got showed that many dancers are still uneducated about the
difference between those. I saw that there was a gap of knowledge and that I could really
dig into what dancers know and do not know about their bodies. I think I will use this
article in the future as I learn more about kinesiology and dance. This was also from the
Journal of Dance Medicine and was a high brow source.