Tap dancing on marley (or vinyl) flooring not only limits movement and sound, but can be hazardous for your dancers. Find out the how and why from Tapography columnist, Tristan Bruns as he enlists feedback and opinion from an acoustics professional and a physical therapist.
There are practical and emotional considerations a teacher must make when their student is managing long-term injury, illnesses, or disease. It’s not an easy time for anyone but this thorough and thoughtful post by Angeline will help both you and your student cope.
“Rarely do we stop to consider the idea of not dancing, or having a plan B if it doesn’t work out. I always considered myself a careful dancer, if not a rational one. I am meticulous about technique and proper form to prevent the chance of injury, but when the occasional sprained ankle or ingrown toenail came up my instinct was always to dance through it, or “walk it off”, as the saying goes.”
It is normal to have temporary muscle soreness after a challenging class or when working in a new way. Often small injuries become more severe because proper care is not administered early or because dancers continue self-care despite warning signs that more specialized care may be necessary.
Although we sometime use the word turnout as a noun or a position (i.e. “Your turnout could be better.”), it is more appropriately thought of as an action, a verb. Because outward rotation is not the body’s natural state, the work does not stop once the position or desired degree of rotation has been attained. Instead, outward rotation of the hips requires continual action within the body, even when the rotation is held in a position (like ballet 5th).