CND INTERNATIONAL DANCE and HEALTH FORUM #1 NOVEMBER 27TH and 28TH 2014 Dance: Between Performance and Health

CND INTERNATIONAL DANCE AND HEALTH FORUM #1 NOVEMBER 27TH AND 28TH 2014 Dance: between performance and health

For the first time the CND is holding an international forum dedicated to health thanks to Harlequin DANCE Floors Group sponsorship and collaboration: harlequinfloors.com

AN ART FACING ‘We do not know what a body can do’ THE RISKS Spinoza When applied to dance, this quote from the These two days will aim at promoting the philosopher leads us to wonder how health fits visibility of existing schemes, of actions taken in professional practice. The dancer’s body, his in schools, companies and organisations to main work tool, is subject to many constraints. support the development of a medicine Its care and management over the course of a specifically adapted to dance. career calls for prevention, knowledge and attention. Important challenges concern: • Raising awareness of dance professionals; For dance to fully express itself, how must we • Working towards an increased knowledge of address that issue, which plays a significant role existing practices in the dance sector; in an art of movement combining risk and • Reporting the needs and expectations of performance? dancers in France in terms of health; How to promote prevention at every stage of • Facilitating exchanges between French and a career? foreign professionals. What are the developments in terms of action plans or programmes, complementary tools or practices allowing for training and controlled risk management? Harlequin Floors / CND: a promising and How to treat the pathologies and injuries part fruitful partnership of an artist’s life? 27th and 28th November 2014 sees the first What are the collective answers to individual International Dance and Health forum for approaches? Harlequin Floors, partner of the ‘Centre national de la danse’ (CND) and supporter of the All these questions provided food for thought for Health mission; the result of a ten year this first international forum dedicated to the awareness campaign on the subject of injury relationship between dance and health. risk among dancers. So far unpublished, the We decided to favour pluralistic approaches, meeting at the CND in Pantin with distinguished to compare and share experiences from France professionals from the world of choreography and abroad and to rely on the contribution of and medicine, whose expertise has been sports medicine and movement sciences. regularly sought over the past decade, Medical staffs, physicians, researchers, somatic is testimony to this successful involvement. practitioners will meet performing artists, This network of competencies opens new choreographers, teachers to offer their insight angles to explore during the next editions of on a variety of topics during round table the Forum. discussions, lectures or workshops.

1 LECND CND and Health A provider of information and support to the dance sector, the CND views health as an integral part of dancers’ professional practice. … is an art centre dedicated to dance. As such, it provides information on prevention and awareness. … is a centre dedicated to artists, professionals and audience. Its aim is to question what would a ‘medicine of … invites, welcomes, presents, supports, observes, produces, hosts, questions, dance’ turn out to be, and also the socio-economic performs dance in all its diversity and richness. characteristics and the representations of actors of the choreographic field that have an impact on … exhibits, develops, publishes, films, documents, screens, stores, collects everything that dance health discourses and practices. has to offer in terms of communications, archives, traces and images. Initiatives of the CND: … trains, informs, teaches, educates, assists, advises, guides all professionals and the general public with an interest for dance. Les Lundis de la santé (health days on Mondays) Between 2004 and 2011, a series of meetings … is open to other artistic fields. called Les Lundis de la santé were dedicated to dancers’ health. Physicians and specialists were … works on international projects in connection with European contemporary art scenes invited to share their knowledge on the issues and more widely around the world. of education, nutrition and prevention of risks associated with dance as a professional practice. … will host a new annual event by the end of June 2015 – Camping, international choreographic platform – which will enable artists from around the world to meet, This information cycle was organised in perform and showcase dance. consultation with a scientific committee composed, among others, of physicians, with the partnership … is reconfiguring the space to better welcome you. of the INSEP (National Institute of Sports, Expertise and Performance). Mathilde Monnier, director of the CND From 2004 to 2011, Les Lundis de la santé gathered around 2,600 professionals over the course of 35 meetings.

LE CND Fact sheets Un centre d’art pour la danse The CND also provides a series of fact sheets 1 rue Victor Hugo structured around three themes: nutrition, body 93507 Pantin cedex or somatic techniques and therapies. ADDITIONAL France This International Forum builds on the actions INFORMATION Métro ligne 5 : Hoche taken by the Professional Resources Department. RER E : Pantin T3b : Delphine Seyrig The CND Professional Resources Department provides information and support to all actors 33 (0)1 41 839 898 in the dance sector regarding organisation and [email protected] economy, production and dissemination, employment, training and trades, law and health. CND.fr Professional resource area Open Monday to Friday 1-6 PM

LE CND Find us on 1 rue Victor Hugo 93507 Pantin cedex France 2 + 33 141 839 839 - [email protected] 3 Thursday, November 27th 2014

Grand Studio* (Ground floor) Studio 3 (Level 1) Studio 8 (Level 2) * Grand studio Simultaneous translation 10AM — OPENING ADDRESS French - English Pr Didier Sicard Professor of Medicine at University Paris Descartes Studio 3 and 8 French only 10-12.30PM — 10.30-11.30AM — LECTURE 10.30-11.30AM — ROUND TABLE DISCUSSION Role of the visceral area in balance and posture ROUND TABLE DISCUSSION Promoting dance medicine management Technical constraints specific to the Programmes on dancers’ health: international Guillaume Krief dissemination of dance approaches Osteopath In collaboration with Reditec (professional association Moderator: Gallia Valette Pilenko of Technical Managers of performing arts) Dance Journalist 11.30-12.30PM — LECTURE Claude Marmillod Dr Carlo Bagutti Director of Technical Services in The 'École nationale Prix de Lausanne physician and member of Impact absorption through movement when landing from a jump: prevention for cartilages supérieure des Arts Décoratifs' - Paris the Rudolf Nureyev Foundation (Switzerland) Gilles Carle Peter Lewton-Brain Blandine Calais-Germain Technical manager Centre Pompidou Paris Founder of the Association for Dance, Medicine and Dancer and Physiotherapist Xavier Yerlès Research in Monaco and in charge of medical Freelance technical director division of Centre of the ‘École supérieure de danse Lunch Break de Cannes Rosella Hightower’ (France) 11.30-12.30PM — LECTURE Erin Sanchez National Institute of Dance Medicine and Science 2-3PM — WORKSHOP Occupational Health – Elimination of (United Kingdom) Plié – dynamic coordination as a tool for occupational hazards: an opportunity to go Dr Boni Rietveld dance: from functional to aesthetic movements beyond regulations Orthopaedic surgeon at the Centre for Medicine, Soahanta de Oliveira Céline Roux and Audrey Serieys Dance and Music in The Hague (The Netherlands) Dancer, Certified Ballet Teacher, specialised in CMB Occupational Medicine and Health Dr Liane Simmel functional analysis of the dancing body (AFCMD). Sports Physician, Tamed (Germany) Nathalie Schulmann Lunch Break Dancer, certified teacher of contemporary dance, 12.30-1PM — ARTIST OUTLOOK #1 specialised in functional analysis of the dancing body 2.30-4PM — ROUND TABLE DISCUSSION (AFCMD) Benjamin Millepied Comparative presentation of health actions Choreographer and director of 'Ballet National within permanent dance companies de l'Opéra de Paris' 3-4PM — LECTURE Interest of movement and sports sciences Thierry Leonardi for the research on dancers’ health General Representative of Lyon Opera Ballet Lunch Break Georges Tran du Phuoc Annabelle Couillandre Secretary General of Malandain Ballet Biarritz 2.30-3.30PM — LECTURE Associate Professor at Paris Ouest University. Jean-Baptiste Colombié Director of the training centre in physiotherapy of the Overview of dancers injuries (foot and Physiotherapist ankle) 'Centre Hospitalier Régional d’Orléans' Dr Aurélie Juret Sports Medicine Physician Dr Boni Rietveld 4-5PM — LECTURE Romuald Bouschbacher Orthopaedic surgeon at the Centre for Medicine, Osteopath ARTIST OUTLOOK Dance and Music in The Hague (The Netherlands) What actions can help preserve dancers’ Moderator: Maxime Fleuriot health? Delegation for Dance 4-5PM — WORKSHOP 3.30-4PM — ARTIST OUTLOOK #2 Sarah Minski, Chantal Richard, Arnaud Miguel Directorate General for Artistic Creation - Psykko Tico Audiens/Professionalisation and Solidarity Fund Your rhythmics Ministry of Culture and Communication Dancer and choreographer 'Crazy Horse Paris’ dedicated to artists and stage technicians Youri Van den Bosch Assistant to the Artistic Director of the Ballet Preljocaj 4-4.30PM — ARTIST OUTLOOK #3 Somatopath Mathilde Monnier Choreographer and director of the CND TOURS OF THE CND IN FRENCH AND ENGLISH 4.30-5PM — ARTIST OUTLOOK #4 27th November, 5PM Dorothée Gilbert Appointment on the CND ground floor Étoile of the 'Ballet National de l'Opéra de Paris' before the ticket office.

4 5 Friday, November 28th 2014

Grand Studio* Studio 3 Studio 8 * Grand studio Simultaneous translation French - English 10-11.30AM — ROUND TABLE DISCUSSION 10-11AM — WORKSHOP 10-11.30AM — LECTURE The education of young dancers: Preventing the impact of repetitive motions Gluten-free diet, anorexia nervosa/athletica – how to make them aware of their health? on the posture how to work it out? Studio 3 and 8 Moderator: Pierre-Marie Quéré Philippe Campignion Dr Paule Nathan French only Administration and Finance Manager of the 'ESDC Physiotherapist and trainer Specialist in Sports Medicine, endocrinology, nutrition Rosella Hightower' in Cannes and the 'ENSD' in Marseille and diabetes Paola Cantalupo 11-12PM — LECTURE Art Director of the 'ESDC Rosella Hightower' in Cannes 11-12PM — WORKSHOP and the 'ENSD' in Marseille Knee and dance Elisabeth Platel Balance between stretching and muscular Dr Anné Thiescé strengthening – towards a conscious, poetic Director of the dance school of the 'Opéra national de Paris' Dancer and Rheumatologist specialised in sports movement Claire Rousier traumatology Deputy Director of the CNDC (National Contemporary Dr Yoann Bohu Catherine Augé Dance Centre) in Angers Sports Surgeon Certified ballet teacher, graduated in AFCMD Emma Redding (functional analysis of the dancing body), Guy Voyer techniques and Pierre Conté system Head of Dance ScienceTrinity Laban Conservatoire of 12-1PM — WORKSHOP Music and Dance (UK) The dancer’s foot: functional tips for Margot Rijven 12-1PM — LECTURE Senior Advisor on Dancers' Health (The Netherlands) prevention and performance An overview of somatic practices Santiago del Valle Acedo 11.30-12.30PM — WORKSHOP Physiotherapist Isabelle Ginot Professor in the Dance Department of Université Paris 8 Jumping Vincennes St- Denis, Feldenkrais method practitioner Patrick Rump and in charge of the D.U. (university diploma) on body Director of GJUUM (United Kingdom) techniques and healthcare Franck Appel Sport Scientist - GJUUM (United Kingdom)

Lunch Break Lunch Break Lunch Break

2.30-3.30PM — LECTURE 2.30-3.30PM — LECTURE 2.30-4PM— WORKSHOP Follow-up of high-performance athletes of the Dancers’ stage fright and performance A flexible, mobile spine – Feldenkrais method INSEP (National Institute of Sports, Expertise anxiety – understanding the issue and and dancer’s health and Performance) and students of the dance psyching up to be on stage I Fang Lin school of the ‘Opéra national de Paris’ Dr André-François Arcier Dancer and Feldenkrais method practitioner Dr Tania Bellot Chief Editor of Médecine des arts® journal and co-founder of the ‘Clinique du musicien et de la Sports Physician in charge of the Medical Division of 4-5.30PM — WORKSHOP ‘Opéra national de Paris’ dance school performance musicale’ (Paris) Dr Alain Frey Alexander Technique: understanding dancers’ issues Head of the INSEP (National Institute of Sports, 3.30-4.30PM — WORKSHOP Expertise and Performance) Medicine Department Prevention of dancers’ pathologies by Suzon Holzer organising balance and posture adjustment Dancer, choreographer and teacher. Certified teacher of the Matthias Alexander method 3.30-4.30PM — LECTURE Anne-Violette Bruyneel The dancer’s knee – an important Physiotherapist and Doctor in human movement coordination centre of the leg sciences Dr Liane Simmel Sports Physician, Tamed (Germany) 4.30-5.30PM — INTERACTIVE WORSKSHOP IN ENGLISH 4.30-5.30PM — LECTURE Aiming for a healthy career in dance: a pro-active Health and artistic gesture approach of prevention and performance Jean-Christophe Paré enhancement TOURS OF THE CND Director of Choreographic studies ‘Conservatoire Margot Rijven IN FRENCH AND ENGLISH national supérieur de musique et de danse de Paris’ Senior Advisor on Dancers' Health (The Netherlands) 28th November, 2PM Appointment on the CND ground floor 5.30PM — CLOSING ADDRESS before the ticket office.

6 7 ACCESS PLAN

8 9 Thursday, November 27th

Grand Studio* * Simultaneous translation French - English

10AM — OPENING OF THE INTERNATIONAL 2.30-3.30PM — LECTURE 4.30-5PM — ARTIST OUTLOOK #4 DANCE AND HEALTH FORUM Dancer’s foot and ankle: Moderator: Maxime Fleuriot Professor Didier Sicard National Institute of Dance Medicine and Science Manager overview of injuries Dorothée Gilbert Chairman of the National Consultative Ethics Committee to deliver a key strand of the Institute’s education activity. Dr Boni Rietveld Following studies in Toulouse Conservatoire she for Health and Life Sciences until 2008. Professor of Erin Sanchez pursued vocational dance training with Orthopedic surgeon at the Medical Centre for Dancers entered the school of the Paris Opera Ballet in 1995. Medicine at University Paris Descartes, former Head American Ballet Theatre, Boston Ballet School and the and Musicians in The Hague, Netherlands. He is the She joined the Corps de Ballet in 2000. She was promoted of internal Medicine at Cochin hospital in Paris. Ailey School. She also holds a BA (Hons) in Dance and Founding President of the Dutch Performing Arts to coryphée in 2002, sujet in 2003 and prima ballerina Sociology from the University of New Mexico and an Medicine Association (NVDMG), a member of the in 2005. She was appointed étoile of Paris Opera Ballet 10.30-12.30PM — ROUND TABLE DISCUSSION MSc in Dance Science from Trinity Laban Conservatoire IADMS (International Association for Dance Medicine & in 2007 following a performance of The Nutcracker. of Music and Dance in London. She is a member of the Science) which he headed from 2007 to 2009, and She become famous dancing for renowned choreographers Promoting dance medicine International Association for Dance Medicine and Programmes on dancers’ health: President of the Dutch Medicine and Dance Foundation. such as Ashton, Balanchine, Béjart, Cranko, Forsythe, international approaches Science (IADMS) and the qualification in Safe and Kylian, Lacotte, Lander, McGregor, Millepied, Effective Dance Practice. 3.30-4PM — ARTIST OUTLOOK #2 Neumeier, Noureev, Petipa, Petit, Robbins, etc. She won several prizes: Prix du Public AROP in 2003 Based on experiments initiated in various countries, Dr Liane Simmel Moderator: Maxime Fleuriot how can programmes in favour of dance medicine MD, DO, Sports Medicine, Medical Consultant University (association for the development of Paris Opera), Psykko Tico be outlined? of Music and Performing Arts Munich, Senior Consultant Prix Carpeaux (2004), Leonide Massine Prize in Tamed, Tanzmedizin Deutschland, Director Fit for Dancer and choreographer for Crazy Horse, Paris. Positano - Italy (2006). She was made Chevalier To inform, unite, develop networks, encourage She created various tableaux for the Crazy Horse, Dance, Institute for Dance Medicine, Munich. in the Order of Arts and Letters in 2014. research, these are the key issues that will be collaborated as a choreographer or assistant director addressed during this round table discussion with several public figures invited to the Cabaret such as with a view to education, prevention and care. 12.30-1PM — ARTIST OUTLOOK #1 Christian Louboutin. Moderator: Maxime Fleuriot Moderator: Gallia Valette Pilenko Special adviser on choreographic education, research, 4-4.30PM — ARTIST OUTLOOK #3 Dance Journalist communication and culture - Delegation to the Dance Moderator: Maxime Fleuriot Dr Carlo Bagutti General Directorate of Artistic Creation - Ministry of Specialist in Internal, Sports and Manual Medicine. Culture and Communication. Mathilde Monnier Mathilde Monnier took up dancing quite late. She took Director of a centre for sports medicine, physician for Benjamin Millepied an interest in choreography from 1984. Her artistic the Swiss Athletics Federation and commission expert Following studies in the Conservatoire National Supérieur interrogations extend from creating movement to wider within the International Olympic Committee. Referring de Musique et de Danse in Lyon and subsequently in the issues such as the in-common, the relationship to physician of dance schools and companies. Prix de School of American Ballet, he won the Prix de Lausanne music, the memory. Her appointment as the Head of Lausanne physician and member of the Rudolf in 1994. After joining New York City Ballet Corps de Montpellier Languedoc-Roussillon 'Centre Chorégraphique Nureyev Foundation. Ballet in 1995 he was promoted soloist in 1998 and national' in 1994 marked the beginning of a new period, Principal Dancer in 2002. Peter Lewton-Brain an opening into new artistic fields and a reflection-in-action From 2001 he also developed his activity as A dance educator and osteopath, he trained and performed on the orientation and sharing of an institutional space. a choreographer. as a dancer in the United State and then Europe. He is She switches between creating projects alone or in Artistic Director of Morris Center Dance in Bridgehampton a member of the Board of Directors of the International collaboration with key figures of the art world: Katerine, (New York, 2004-2005) and choreographer-in-residence Association of Dance Medicine and Science and founded Christine Angot, La Ribot, Heiner Goebbels, etc. at the Baryshnikov Arts Center (New York, 2006-2007), the Association for Dance, Medicine and Research in On December 26th 2013 she was appointed director he was choreographer and advisor for Black Swan by Monaco and the association Danse Environnement et of the CND. Santé in Cannes. He is in charge of the medical division Darren Aronofsky (2010). of the École Supérieure de Danse de Cannes Rosella In 2011 he left New York City Ballet and founded his Hightower and works closely with the École Supérieure own company in Los Angeles, L.A. Dance Project, artist de Danse de Marseille and Princesses Grace Dance collective whose aim is to embrace dance in all its Academy in Monaco. forms. His latest piece was performed as part of Lyon Dance Biennal 2014. Dr Boni Rietveld On November 1st 2014 he was appointed Director Orthopedic surgeon at the Medical Centre for Dancers of Dance of the Opéra National de Paris, where he just and Musicians in The Hague, Netherlands. He is the created Daphnis & Chloé with the collaboration of Founding President of the Dutch Performing Arts Medicine visual artist Daniel Buren for the stage design. Association (NVDMG), a member of the IADMS (International Association for Dance Medicine and Science) which he headed from 2007 to 2009, and President of the Dutch Medicine and Dance Foundation. Erin Sanchez Healthier Dancer Programme Manager (job share) at Dance UK in London, and administrates the Rudolf Nureyev Foundation’s Medical Website for healthcare professionals and dancers. She works alongside the 10 11 Thursday, November 27th

Studio 3

10.30-11.30AM — LECTURE 11.30-12.30PM — LECTURE 2-3PM — WORKSHOP 3-4PM — LECTURE Role of the visceral area in balance Impact absorption through movement The ‘plié’ – dynamic coordination as Interest of movement and sports and posture management: when landing from a jump: prevention a tool for dance: from functional sciences for the research on dancers’ mechanical and neurophysiological for cartilages to aesthetic movements health aspects to optimise performance or reduce possible symptoms connected Landing after a jump when dancing can cause Coordination of the ‘plié’ or ‘demi-plié’ plays Is the dancer an athletic artist or an artistic athlete? with proprioception problems. an impact reverberating from the ground through a significant part in the range of dance That is not the question, but what is certain is that the body. This mainly concerns cartilages of movements. he or she is constantly concerned with their health, Controlling the standing posture and gestures weight-bearing bones as well as menisci, all the It allows to initiate, cushion and give rhythm to full well-being both psychologically and socially, in requires constant motor adaptation brought tissues located at the articular junction and the step. It is mainly responsible for the quality, a context of artistic performance. Movement and about by the integration of all afferent activity which role is to protect the underlying bones of dynamics and expressiveness of movement. sport sciences, through their multidisciplinary (information from the nerves) reaching the constraints generated by movement. The impact When the movement is not properly adjusted approach based on humanities, life and social central nervous system. involves a percussion, a compression that might however, constraints become pathogenic and sciences, are there to help us better understand the This afferent activity originates mainly from weaken or even damage them in the long term, the whole body can get damaged. "Plié" requires health issues of an expert in movement seeking the eye, inner ear, sole of the foot and skeletal especially if it always occurs at the same subtle posture adjustments, a careful organisation virtuosity. This lecture will endeavour to show, muscles, but also from the masticatory system location by repeating the same movement. of the muscles, orientation in space and through examples, how these sciences provide a and eyeballs. To prevent such effects we can try and use a representation, which are worth looking into. useful insight into the physical, mental and social Increasingly, research suggests the responsibility soft fall or shock-absorbing footwear. But we can This theoretical-practical workshop focuses on well-being of the dancer. of other structures which innervation might play also work on the movement itself, observing how the prevention of pathologies, and on efficiency Annabelle Couillandre a part in the internal representation of gravity a certain type of landing can mitigate the impact and virtuosity. Associate Professor at Paris Ouest University (EA 2931 - and the postural control, particularly in the visceral or distribute it evenly. The dynamic coordination of the ‘plié’, if it can Research Centre - Sports and Movement) in Life and system: bowels, kidneys or the uterus, with an This lecture provides a chronology of the landing, be adapted and adjusted, will become an Health Sciences as part of the syllabus on sports essential part played by the autonomic nervous its possible course and key-moments to synchronise expressive medium securing the quality of sciences. She is a member of the IADMS (International system. some actions that might seem insignificant in movement in all aesthetics. Association of Dance Medicine & Science) Research The purpose of this lecture is to present key Committee. She runs the training centre in massage order to avoid or distribute the impact. It also Soahanta de Oliveira elements in the control of gesture and posture therapy and physiotherapy of the Centre Hospitalier identifies interplay of forces that can be generated Ballet dancer, Certified Ballet Teacher, specialised in by incorporating the role played by abdominal Régional d’Orléans. to that end. Finally, it sets out road maps to acquire functional analysis of the dancing body (AFCMD). She structures and their neurological integration so this knowledge from the early stages of dance teaches AFCMD and physiological anatomy as part of that performing arts professionals can integrate education to the most technical jumps. the training of dance teachers, movement practitioners 4-5PM — LECTURE them into their daily lives, whether in terms of Blandine Calais-Germain and dancers. What actions can help preserve awareness or care. Dancer and physiotherapist, Blandine Calais-Germain Nathalie Schulmann dancers’ health? Guillaume Krief is the author of ‘Anatomie Pour le Mouvement®’ books Contemporary dancer and Certified Teacher of Guillaume Krief is an osteopath in Lausanne – a and method. Since 2004 she has developed methods contemporary dance, specialised in functional analysis Securing health care pathways, rights, preventive practitioner since 1995. He holds university degrees in of movement entirely based on the anatomy: ‘Abdos of the dancing body (AFCMD). She teaches physiological check-up, complementary health insurance, etc. ® clinical anatomy and posturology. A former high-level sans risque®’ (Safe Abs), ‘Périnée et Mouvement ’ anatomy and AFCMD as part of vocational training Sarah Minski, Arnaud Miguel, Chantal Richard athlete (pentathlon and kung-fu), he also holds a BEES (pelvic floor and movement) and ‘Sinovi®’. and works with contemporary choreographers. Groupe Audiens / Professionalisation and Solidarity (national coaching certificate) as a mountain guide. Fund Audiens/Social welfare group dedicated to professionals in culture, communication and the media. It runs the Professionalisation and Solidarity Fund dedicated to artists and stage technicians.

12 13 Thursday, November 27th

Studio 8

10.30-11.30AM — ROUND TABLE DISCUSSION 11.30-12.30PM — LECTURE 2-30-4PM — ROUND TABLE DISCUSSION 4-5PM — WORKSHOP Technical constraints specific to the Occupational Health Comparative presentation of health Your rhytmics discrimation of dance Elimination of occupational hazards: an actions within permanent dance opportunity to go beyond regulations companies Writing with the body, talking with the body, In association with Reditec (professional pushing the boundaries of the body… association of Technical Managers of performing Why and how to implement a health monitoring Under employment contracts dancers and their Yes - but… arts). employers both have rights and obligations. plan in a dance company? This round table Particularly, the employer must secure the health discussion will give us the opportunity to present Being aware of how important it is to look after What are the requirements for a successful and safety of dancers, who in turn must take various projects launched within Lyon Opera dance show in terms of protecting the health the body and the being in order to preserve of dancers? good care of them. Employers must also assess Ballet and Malandain Ballet Biarritz. health is no longer considered eccentric. occupational risks and report that assessment in How to reconcile technical, budget, time and Malandain Ballet Biarritz medical team will then However the health issue we are concerned with the Single Administrative Document and implement artistic constraints with the dancers’ health? analyse the monitoring system implemented for here relates more specifically to dancers. How to promote understanding of concerns and appropriate preventive measures. Beyond ballet dancers performing a hundred times a What does being in good health mean for a dancer? issues specific to each of us: on-site technical regulations, occupational risk assessment is year in France and abroad. There are as many answers as they are dancers, team, choreographer, set designer, dancer, etc.? therefore a real opportunity to lay the foundations which shows us how intricate the relationship Dancing – under what conditions: what are the of a professional practice which will allow employers Lyon Opera Ballet is a repertory company between dance and health is. limits? to remain in good health throughout their working This round table discussion questions the issues dedicated to contemporary dance. Headed by life. Medical examination is another way for the Yorgos Loukos, it is composed of 31 dancers It stands to reason that the issue of health is soon of the stage, fly height, exit ways, wings, stage faced with aspects of dancers’ professional practice setting (sets, lights, etc.) and choreography. artist to check on his health, the conditions of his able to produce a broad repertoire reflecting practice or his employment history. The SIST-CMB, contemporary creation. that take into account technical and aesthetic Claude Marmillod as part of its health monitoring system for artists requirements, working conditions, work pace and Director of Technical Services in The École Nationale and stage technicians, has developed many Malandain Ballet Biarritz is part of the 19 national specific business and social relations. Supérieure des Arts Décoratifs - Paris, and former choreographic centres (CCN). Headed by Technical Manager in various national choreographic tools and services to assist those working in that Trying to generalise can prove difficult or even area, such as a guide on occupational health for choreographer Thierry Malandain, this Ballet meaningless – however, very often dance is centres (CCN) and dance companies. Vice-president of includes 22 dancers on a permanent basis. Reditec (professional association of Technical Managers dancers, an online risk assessment tool (ODALIE), experienced through exceeding the limits of the of performing arts). medical press releases, fact sheets, etc. The Thierry Leonardi body and the self. General Manager - Lyon Opera Ballet. Gilles Carle CMB, occupational health service dedicated to What part does the performer play when faced Head the workshop and technical department at the artists and stage technicians, provides health Georges Tran du Phuoc with the demands of the choreographer and how to ‘Centre Pompidou’ in Paris, former technical director monitoring for professionals and develops Secretary General - Malandain Ballet Biarritz. meet the requirements of an increasingly powerful for the Andy Degroat company ‘Red Notes’ and for the prevention and information actions regarding Dr Aurélie Juret and artful dance? occupational risks, intended for employers and ‘Ballet de l'Opéra’ of Lyon. A former high-level athlete (golf), is a sports physician Dancers view themselves primarily as artists but employees. Xavier Yerlès in SPORTIM medical centre in Bayonne and posturologist – given their physical activity – they are also Former technical director of the choreographic Céline Roux (Inter-University Diploma in 2010/Toulouse Rangueil athletes. Manager of the prevention centre of the CMB - development centre – ‘Les Hivernales’ - Avignon - hospital); she has been working with Malandain Ballet Consequently, what are the issues revolving Vaucluse - Provence-Alpes-Côte d'Azur, former technical Occupational Medicine and Health. Biarritz since 2011. director of the ‘Opéra Théâtre’ of Avignon and former around the means implemented in terms of trai- Audrey Serieys Jean-Baptiste Colombié ning, prevention and recovery? technical deputy director of the Chaillot national theatre. In charge of the prevention of occupational hazards, He is currently freelance. Sports physiotherapist, developed several healthcare qualified as a IPRP (occupational risk prevention teams for various structures, including Malandain Ballet The workshop will focus on two areas: worker) for the CMB - Occupational Medicine and Biarritz. His holistic practice is based on the involvement Based on my experience with Ballet Preljocaj: Health. of patients as part of their treatment. Ongoing training of dancers, organisation of Romuald Bouschbacher rehearsals and tours, work pace, recovery time, etc. Osteopath in Biarritz. Trained as a Sports Physiotherapist, Based on Somatopathy: Alternative medicines: his work as an osteopath focuses on the structural and This approach tends to provide an answer in the functional, the viscera and the skull. He has been terms of prevention and recovery by dealing with working with dancers of Malandain Ballet Biarritz since injuries – whether traumatic or psychosomatic – 2007. in relation to the person as a whole while making sense of the symptoms. Youri Van den Bosch He has worked as Angelin Preljocaj’s Assistant since 1999 and Artistic Deputy Director of Ballet Preljocaj since 2005. Dancer with Andy Degroat and Gigi Caciuleanu, he followed a training course on writing and analysis of movement (Benesh) with the CNSMD (National Conservatory of Music and Dance) in Paris. He is also a Somatopath (P.C. Vernet and O. Baudonnel School of Somatopathy). 14 15 Friday, November 28th

Grand Studio* Simultaneous translation French - English

10-11.30AM — ROUND TABLE DISCUSSION Ambassador of the ‘École française’ throughout the 11.30-12.30PM — WORKSHOP 2.30-3.30PM — LECTURE world. While she continued to perform as Etoile invitée The education of young dancers: how The impact of applied sports sciences Follow-up of high-performance athletes to make them aware of their health? (principal guest artist), she rapidly felt the need to pass on her art and perspective of dance. A guest teacher and sports medicine on dance, GJUUM of the INSEP (National Institute of experience reports - Jump example Sports, Expertise and Performance) Getting to know one’s body, listening to it, both in France and abroad, Elisabeth Platel also restaged ballets and coordinated state diploma studies for the and students of the dance school of the taking care of it are essential assets for a successful, Founded in January, 2014 GJUUM is an ‘Opéra national de Paris’ flourishing career as a dancer. While the exercise Corps de Ballet of Paris National Opera. In September 2004 she took over as director of the ‘École de danse’. interdisciplinary team of sports scientists, of the body evolves in the various fields of physiotherapists, sport psychologists, Comparative approaches to the follow-up of dance, while somatic practices and healthcare Claire Rousier high-performance athletes of the INSEP and Registered architect. She was a performer with several conditioning coaches and ballet masters who services grow in number and new generations students of the dance school of the ‘Opéra dance companies. From 1996 to 1998 she was in charge offer the advances of sport science and develop their own health analysis and choices, medicine to the needs of the 21st century dancer. national de Paris’. how can we raise the awareness of young dancers of the Dance Department at the ‘Cité de la musique’ in Paris. From 1999 to 2011 she headed the department of GJUUM offer specially designed training The dance school of the ‘Opéra national de to their physical, psychological and social Development of choreographic culture and subsequently methodology to enhance dancers’ performance, Paris’ has a dedicated health care team health? the department of Memory and Research in the ‘Centre creativity and artistry. Our aim is to educate each including a specialist sports physician, a nurse, Using real-life experience of educational managers national de la danse’. Since 2013 she has been Deputy dancer and guide them to full body functionality, a physiotherapist, a nutritionist and a physical and directors this round table discussion will Director in the CNDC (National Contemporary Dance health and wellbeing. They worked for The Royal trainer. compare and share experiments conducted in Centre), which includes a higher school of dance which Ballet of London, The English National Ballet, The The INSEP (National Institute of Sports, Expertise various schools. It will attempt to go beyond the prepares candidates for the DNSPD (Higher Forsythe Company, The English National Ballet and Performance) contributes to the training and technical solutions implemented to treat dance Professional Dancer National Diploma) in contemporary School, Tamara Rojo, Alina Cojocaru... preparation of high-performance athletes. Its students and to develop means of educating young dance in parallel with a BA in Human and Social The presentation will show exemplary basic Medical Department works to preserve the dancers as regards their health. By analysing the Sciences (dance as programme of study), supported scientific principles of jump training, how health of high-performance athletes. difficulties experienced and successful by Angers University. GJUUM apply them to its existing customers Dr Tania Bellot innovative solutions, the goal is to provide some Emma Redding and what results GJUUM gets out. Sports Physician in charge of the Medical Division clues to develop educational tools to improve Head of Dance Science at Trinity Laban Conservatoire This will show strategies of how starting, of ‘Opéra national de Paris’ dance school. dancers’ health. of Music and Dance. Emma Redding originally trained explosive and maximum strength influence as a dancer and performed with the company Tranz Dr Alain Frey Moderator: Pierre-Marie Quéré jumping abilities. Head of the INSEP (National Institute of Sports, A former dancer with Lyon Opera Ballet and subsequently Danz, Hungary and for Rosalind Newman, Hong Kong. Patrick Rump Expertise and Performance) Medical Department. Monte-Carlo Ballets, he then worked as an event She teaches contemporary dance technique at Trinity With a background in Martial Arts competing for the producer/developer for 15 years. In collaboration with Laban and lectures in physiology alongside her German National Karate Team, Patrick has a particular Paola Cantalupo he is director of Administration and management and research work. She was Principal interest in the application of Sports Science, Sports finance of the ‘École Supérieure de Danse de Cannes’ Investigator for the Centres for Advanced Training Medicine and Educational Science. His first involvement Rosella Hightower since 2009 and of the ‘École Nationale research project, The development of dance talent in in dance started in 2007 when William Forsythe hired Supérieure de Danse de Marseille’ since 2012. young people and she was also Principal Investigator of the research project, Music & Dance Science: him as Director of Sports Science for the Forsythe Paola Cantalupo Optimising Performing Potential which involves Company. A year later, he was asked by ballerina Alina Trained in la Scala Theatre Ballet School in Milan and undergraduate vocational music and dance students at Cojocaru to come to London and help her recover from awarded with the Prix de Lausanne Gold Medal, Paola Trinity Laban and has managed several investigations a serious injury. His collaboration with the Royal Ballet Cantalupo danced with Maurice Béjart’s Ballet of the into the impact of dance on health and well-being. began soon after. In 2013 his involvement in the dance th 20 century, Hamburg Ballet, the National Ballet of Currently, she is co-investogator of a study into the role world continued to expand when Tamara Rojo, Artistic Portugal and subsequently for Monte-Carlo Ballets as of mental imagery in the creative process of making Director of The English National Ballet, hired Patrick’s a soloist and Principal Dancer. Paola holds a teaching choreography. She has published her work in academic team. In 2014 Patrick founded his own company: diploma (dance) and is regularly invited as a teacher or journals and is a member of the Board of Directors and GJUUM, Movement Progressive. examiner. She is a member of the Art Committee of the Past President of the IADMS. Frank Appel Prix de Lausanne and Vice-president of the Association Graduated with a Magister Artium degree in Sports Danse Médecine Recherche. She is the Art director in Margot Rijven Science, Sports Medicine and Psychology. During his both ‘École Supérieure de Danse de Cannes’ Rosella Senior Advisor Dancers’ Health for several professional studies he also gained practical experience working Hightower and the ‘École Nationale Supérieure de dance institutions. In 1992, she initiated the Dance and for various orthopaedic-traumatological rehabilitation Danse de Marseille’. Health Program for all dance departments at the Theater- school, Amsterdam School of the Arts. She was coordinator centres in Germany. After some extensive traveling in Elisabeth Platel of this program until 2012. She has advised professional Australia and New Zealand, he came to London where Elisabeth Platel joined the Dance School of Paris dance schools and companies on how to implement he worked as a Sports Scientist with The Royal Ballet National Opera after graduating with First Prize at the procedures revolving around dancers’ health and well-being. and The English National Ballet among others. CNSMDP. She entered the Corps de Ballet in 1976 This pioneering work centers on a unique program that In 2014, he co-founded the company GJUUM before being promoted prima ballerina in 1979. develops and integrates health and well-being in the daily with Patrick Rump. rd On December 23 1981 following her debut as dance practice during the formative educational years of performance Giselle she was appointed étoile. dancers. From 1994 to 2004, she co-founded and chaired She was awarded the Benois de la danse award for the Dutch Health Care Foundation for Dancers. her life-long achievement, particularly her position as She is a member of the IADMS. 16 17 Friday, November 28th

Grand Studio Studio 3

3.30-4.30PM — LECTURE 4.30-5.30PM — LECTURE 10-11AM — WORKSHOP 11-12PM — LECTURE The dancer’s knee – an important Health and artistic gesture Preventing the impact of repetitive Knee and dance coordination centre of the leg motions on the posture I would like to share an open discussion Knee injuries, although rarely described, are Being the largest joint of the body, the knee involving my memories as an artist, an observer Pathologies associated with dance practice have quite common and impede dancers’ careers. functions as an important coordination centre of positioned at the heart of dance learning and been long identified. Working with too great a This is what we find on Internet from the first the leg. Located between the hip joint and the today director of choreographic studies within range of movement can damage the joints. The page of search results: foot, it reacts to all movements and positions of its the CNSMDP. problem of the dancer, like any high-performance “The cartilages of my knee are in pieces and functional partners. When it comes to assessing Words on the level of consideration given by the athlete, lies in the difficulty in performing outstanding I dislocated my kneecaps six times.” (Isabelle the stress and load on the dancer’s knee the form dancer to his own body. Questions that can only movements that exert too much strain on the Ciaravola) ; “I realised that my knee cartilage and mobility of the foot, the bony and muscular be answered through practice. What is at the body while respecting the physiology. was fractured... but that time the pain was so situation of the hip joint and the pelvic position root of the desire for constant improvement, the Going beyond the normal range of motion when unbearable that I had to get surgery.” (Aurélie including the whole spine together play an need to know more on the control of movement? performing a split or en dehors, extremely stiff neck Dupont) ; “In 2012, a lateral ligament of the knee Why trying to develop a more objective and back, hyperlordosis, hyperlaxity represent risks is about to tear, Marie-Agnès Gillot is having important role. understanding of the mobility of the body? in the long term. Analysing the posture of many surgery.” To get a first impression about the dancer’s To what extent must we foster the desire to dancers enables to highlight a standard posture The knee joint connects the thighbone to the anatomical prerequisites, screening starts with serve a choreographer’s expressiveness? likely to predispose to some of these pathologies. shinbone and to the kneecap. analysing the anatomical situation of the foot, How to sustain the need, the necessity to exist The muscular and articular chains Godelive It possesses two degrees of freedom: flexion/ the tibial torsion, the hip antetorsion and the in actuality, the sense of urgency? Denys-Struyf (GDS) method allows to clarify that extension and flexion rotation. pelvic girdle. Continuing by assessing flexibility, Why decide to take a risk or on the other hand interaction by associating such posture with the The most common pathologies found in classical function and muscular strength allows for an try to preserve oneself? Being attentive and preferential activity of some muscles becoming dance concern the extensor mechanism – individual approach for each dancer to select connected is part of a specific organisation of myofascial tension chains. patellofemoral pain and patellar tendonitis keystones, by which he or she can influence, the dancer at the point where, while being physically Therapists are faced with this problem in all (50%). They are often the result of a patellar or change and improve the biomechanics of their active, he is revealed to himself as viewing his sports since patients only consult at an advanced trochlear dysplasia and/or the forced work of the lower extremities. As a next step everyday life gesture as text. Any text is a long process during stage of the pathology, their body reminding ‘en-dehors’ in the lower leg when doing the ‘plié’, movement habits get analysed, which might which desires and fears, choices and obligations, them to be more careful by sending the warning when the ‘en-dehors’ is deficient around the hip, have a negative influence on functionality by areas of freedom and constraints, the arbitrary signs of pain. Unfortunately it is often too late. and/or when a stiff ankle limits the damping imprinting unhealthy movement patterns in the and logic, playing with the unexpected and The solution calls for the awareness of the proper when landing from a jump and/or when the dancer’s neurological motor program. These development of writing systems and, mostly, physiology of the body and its integration quadriceps fails to relax between contractions. repeated enactment and embodiment, are in through experience so that body balance can Apart from these specific pathologies, all the often unconscious habits are hence trained on constant interaction. This ongoing textuality, that be achieved on a daily basis. Going a step further traumatic injuries of athletes can be found in a regular daily basis. To break them up, specific constantly evolving gesture reflects the artist’s than controlling one’s body by learning to listen to dancers: acute patellar dislocation in teenagers, exercises are performed, with the focus on journey. His/her experience is the endless shifting it, to feel good about it. meniscus injuries and sprains, mainly when mobilization (to allow new movement possibilities), in interpretation. Through this journey the keys to What we propose is to raise awareness, through landing from jumps and when practicing “urban awareness (to make unhealthy movement patterns ever risky negotiations are discovered, together experience, of the right motions (while respecting dances”. Degenerative pathology affects older conscious and consider possible changes), with the effort, the energy to burn, the limits not the proper physiology of the body) and then to dancers but can occur following a trauma. strengthening (to enable the muscles and the to be exceeded: where healing, incorporation, repeat these movements concurrently with the Whatever the pathology, it is essential, as a neurological system to perform unfamiliar move- appropriation and regeneration can be found. training so that they become natural. preventive measure, to favour technique rather ments) and relaxation (to reduce unnecessary mus- What was once consumed now nurtures. Reprogramming physiological breathing is than performance, to make sure that the hip, cles tension and soft tissue restrictions). Jean-Christophe Paré particularly indicated in the present case. knee and ankle are correctly aligned during the This presentation is of benefit to dancers, dance Dancer at the ‘Opéra national de Paris’ and I will conclude with a question: how far can we plié, to strengthen and stretch the muscles, to teachers and medical practitioners who are subsequently with various companies, he held the go when performing and must the therapist retrain all injured ankles or hips, to take fatigue interested in a holistic approach to the dancer’s position of Inspector of dance with the Ministry of endorse the excesses given that it is most often into account and to allow enough recovery or leg alignment and in supporting the dancer Culture and Communication and later of director of the what the patients want? rest time. ‘École Nationale Supérieure de Danse de Marseille’. in optimising their individual anatomy and Philippe Campignion Dr Anné Thiescé He was a student of Wilfride Piollet who, together with biomechanics. Trained in the Mézières method and to the muscular She works as a Rheumatologist and is specialised in Odile Rouquet, experiments a new analytical approach and articular chains Godelieve Denys-Struyf (GDS) sports traumatology. She wrote her PhD thesis on the Dr Liane Simmel to the expressive and technical movement in classical method. Teacher in the ‘Association Mézièriste’ hip of the dancer. She contributed to the development of MD, DO, Sports Medicine, Medical Consultant dance. internationale de kinésithérapie’ (AMIK – an international medical supervision of children in the dance school of University of Music and Performing Arts Munich, Senior He is currently the director of choreographic studies in association teaching the Mézières Method) until 2009 the ‘Opéra national de Paris’ from 1984 to 1989 before Consultant tamed, Tanzmedizin Deutschland, Director the ‘Conservatoire national supérieur de musique et de and subsequently Director of Education in the ICTGDS being attached until 2001 to the ‘Conservatoire national Fit for Dance, Institute for Dance Medicine, Munich danse de Paris’ (CNSMDP). (GDS Institute of Muscular Chains and Techniques from supérieur de musique et de danse de Paris’ and JBF (Germany). 1987 to 2012). Director of Philippe Campignion Training (the Young French Ballet). She published a book called Centre (CFPC) and teacher in the ‘Institut national de la « Le geste dansé et ses conséquences en rhumatologie » 5.30PM — CLOSING ADDRESS kinésithérapie’ in Paris and lecturer in Le Parnasse school and worked as an editor for the Rudolf Nureyev of physiotherapy - ISEI (nursing education institute) - Foundation medical website and an in structor. Brussels. He also wrote several french books. 18 19 Friday, November 28th

Studio 3

She was also a ballet dancer until 2005, worked as a 2.30-3.30PM — LECTURE 3.30-4.30PM — WORKSHOP 4.30-5.30PM — coach and was part of the selection board for classical INTERACTIVE WORKSHOP IN ENGLISH dance exams in local Conservatoires from 1985 to Dancer’s stage fright and performance Prevention of dancers’ pathologies by 1996. anxiety – understanding the issue and organising balance and posture A pro-active approach of prevention and psyching up to be on stage adjustment performance enhancement Dr Yoann Bohu Orthopaedic and Trauma Surgeon – arthroscopy, Although commonplace in the dance world, A dialogue: 'Aiming for a healthy career in he works as medical manager and surgeon for The capacity to establish a balance and organise stage fright is little investigated. What is the dance: a pro-active approach of prevention and ‘Racing-Métro 92’ rugby club. He is specialised in knee, the movement is an integral part of the prevention difference between stage fright and performance performance enhancement.’ hip and shoulder surgery. of dancers’ injuries. Indeed any specific motor anxiety? What are the mechanisms underlying activity such as danced movements requires an What are the most beneficial ways to meet the such emotions? How do they affect dancers’ effective compromise between body mobility and physical, mental and aesthetical demands of the 12-1PM — WORKSHOP performance and career? Are there differences stability. When these strategies are not optimal, dance profession? The dancer’s foot: functional tips for with other artistic practices such as music and its the dancer develops compensations likely to An interactive talk with the participants about prevention and performance theatrical expression? Do perfectionism and the over-exert joints, tendons or muscles. Moreover, the why, what and how of lifestyle, smart training usual level of anxiety outside the stage have an the lack of adaptability of postural adjustment can and injury prevention in order to enhance We will discuss the practical anatomy of the foot impact on stage fright and, if they do, in what reduce performance and even cause instability. optimal performance and longevity in dance. and ankle using morphology, self-examination way? Performance anxiety is a stage-specific Consequently dance education must include a Margot Rijven and movement observation. Different technical stress; is it a contributor factor to accidents on specific work on the balance for enhanced Senior Advisor Dancers’ Health for several professional issues will be addressed, both statically (foot the stage or during rehearsals? How does it prevention. This workshop will deal with theoretical dance institutions. flat, demi-pointe) and dynamically (jumps, influence the onset of musculoskeletal disorders and scientific components required to provide for In 1992, she initiated the Dance & Health Program for all anding, tours) for a better balance. in dancers? Is this state of stage anxiety partly an effective work on dancers’ balance. dance departments at the Theaterschool, Amsterdam induced by individual components? What is the School of the Arts. She was coordinator of this program On this basis, self-massage, self-stretching, Anne-Violette Bruyneel impact of the teaching style and the social and until 2012. strengthening and proprioception exercises Physiotherapist and Doctor in human movement She has advised professional dance schools and will be suggested in conjunction with main family background? How can dancers sciences. She conducts research, training and follow-up companies on how to implement procedures revolving pathologies and dysfunctions identified in dance. psychologically deal with stage-induced stress, activities with dancers. After working closely with the around dancers’ health and well-being. This pioneering Dancers, whatever their style, will be provided how can we prepare them, improve their stage ‘École Nationale Supérieure de Danse de Marseille’ work centers on a unique program that develops and with a practical basis to prevent and optimise performance and help them foster a high-quality (ENSDM) and the ‘Ballet national de Marseille’ (BNM), integrates health and well-being in the daily dance such an important part of their body. In addition, theatrical expression? Are there simple, effective she developed Artcinetic, an association whose objective practice during the formative educational years of the dance teacher will use training and conceptual ways to alleviate stage stress? is to implement preventive actions with structures supporting dancers. From 1994 to 2004, she co-founded and These are the main themes that will be dancers while developing scientific research projects on tools so he can pass on his knowledge justly chaired the Dutch Health Care Foundation for Dancers. the understanding of the danced movement. She writes and straightforwardly. discussed during this lecture. She is a member of the International Association regularly for scientific and technical periodicals (‘Profession (Prerequisite: first taking a look at the foot anatomy). Dr André-François Arcier of Dance Medicine & Science (IADMS). spectacle’, ‘La Scène’, ‘Médecine des arts’, etc.). Santiago del Valle Acedo Co-founder and Chief Editor of ‘Médecine des arts’ He works as an independent Physiotherapist in Paris. journal and website www.medecine-des-arts.com. He is specialised in functional diagnosis and treatment Co-founder of the ‘Clinique du musicien et de la of dancers, circus artists and musicians. He teaches performance musicale’ (Paris). physiotherapy at the EFOM and works on several re- Since completing a PhD in medicine 40 years ago on search projects on anatomy and dissection at Paris artists’ health, he has been dedicated to developing the Descartes University. concept of Arts Medicine, and founded the European Association ‘Médecine des arts’. He published several books on stage fright and many articles on that issue and on artists’ health.

20 21 Friday, November 28th Studio 8

10-11AM — LECTURE 11-12PM — WORKSHOP 12-1PM — LECTURE 2.30-4PM — WORKSHOP Balance between stretching and An overview of somatic practices A flexible, mobile spine: Gluten-free diet, anorexia nervosa/athletica Feldenkrais method and dancer’s – how to work it out? muscular strengthening – towards a conscious, poetic movement: Somatic practices are a set of body practices health developed since the early 20th century, halfway Dancers have a specific relationship with their Comparative questions on AFCMD between movement education, therapeutics and The Feldenkrais method teaches us to body, which has to meet aesthetic requirements (functional analysis of the dancing art. They are not dance practices and yet their understand how the body works to broaden while being subject to strenuous physical activity. body), osteopathy and soma training history is deeply intertwined with the history of its possibilities, to regain freedom of movement, Consequently many dancers are concerned with dance – dancers are familiar with such practices reveal unexpected potential. what they eat. They are fashion-driven yet often What is the significance and role of the warm-up? and use them… sometimes without being aware This work is an invitation to explore, question disconcerted. If switching to a gluten-free or Why is targeted muscle training a source of of it. In France they are viewed as marginal and and examine our body condition to learn more wheat-free diet proves beneficial for some, it does poetic enrichment? often called alternative as though they were to about ourselves, become more aware and not apply to all and could lead to deficiencies How does osteoarticular and muscular stretching replace the medical approach and dancers had organised in our daily movements. detrimental to dance practice. contribute to such enrichment? to choose between these two approaches. “Even if we do not have much control over There are cases of orthorexia – this obsession How is it relevant for the dancer to have a dynamic This lecture will first describe distinctive features our genetic baggage, we can still improve with a healthy diet is a barrier to fulfilment, with vision/perception of the tissues? of somatic practices and the large toolkit that significantly the ways to unleash the creativity the risk to withdraw from social interaction and How can combining these elements contribute to they provide to refine, reconstruct or expand the in us.” Moshé Feldenkrais stifle the self. Others develop anorexia nervosa, dancers’ good health? coordination inventory and nurture the posture easily identified. The HAS (French National Catherine Augé I-Fang Lin pattern using a deeper level of awareness. Authority for Health) recommends an early Catherine Augé, certified ballet teacher, graduated in I-Fang Lin is a choreographic artist. Indeed somatics differ from medical and detection to avoid transition to a chronic state AFCMD (functional analysis of the dancing body), She collaborated with Mathilde Monnier, Christian Rizzo, paramedical approaches given that they rely on François Verret, Emmanuelle Huynh, Didier Théron, and targeted screening of populations at risk, Guy Voyer techniques and Pierre Conté system. what the student knows and feels to lead to an Jacques Patarozzi, Pierre Droulers, Dominique Figarella, among which the world of dance. She works as a movement analyst for the ‘Conservatoires improvement or change. Philippe Katerine, ERikm, Rinôçerôse, Louis Sclavis, Anorexia athletica, specific to athletes, is more municipaux de la Ville de Paris’ with musicians, singers, actors and dancers. Her personal research aims at Secondly I will stress the importance of the Fabrice Ramalingom, Anne Collod, Didier Théron, difficult to diagnose. It is widespread in sports questioning driving forces of art education of amateurs imagination in the prevention and upkeep of Kosei Yamamoto, etc. with an aesthetic component and is characterised to enhance their practice through a constructive, dancers’ health, questioning dominance A Feldenkrais method practitioner, she conducts by a determination to maintain low weight for better poetic dialogue with their body, for added pleasure hierarchies between the co-called objective and training sessions in France and abroad, incorporating performance. The risk is to develop severe and expressiveness. universal knowledge of science and what is this practice into dance. deficiencies, feeding behaviour disorders and Since 2010 she has assisted artists who wish known as empirical and subjective practices of real anorexia nervosa. In the sports world to refine their presence on the stage: Nicole Rechain, the artistic experience. preventive measures have been implemented as François & the Atlas Mountain, Didier Galas, etc., required by the law on the protection of athletes’ Isabelle Ginot by inviting them to work on physicality using observation health. Recommendations on prevention set by She is a Professor in the Dance department of ‘Université and awareness through movement. most sports association should be known and Paris VIII Vincennes Saint-Denis’, a Feldenkrais practitioner and coordinator of the D.U. (university applied by anyone who is in contact with dancers. 4-5.30PM — WORKSHOP diploma) on body techniques and healthcare. Paule Nathan Alexander Technique: understanding Shie is specialised in Sports Medicine, endocrinology, dancers’ issues nutrition and diabetes. Observing, understanding through dance, She worked with the dance department of the ‘Conservatoire how and why research and the means national supérieur de musique et de danse de Paris’ implemented by an actor named Alexander (CNSMDP) for 10 years, contributed to Rudolf Nureyev to regain his voice when no doctor could find a Foundation medical website and collaborated with cure can allow dancers today to acquire these the CND. means to solve their own difficulties. For several years she has been working on dancers’ health and particularly on the nutritional impact of an Suzon Holzer intense professional practice. She is the author of Dancer, choreographer and teacher. Le guide de l’alimentation pour les familles and Certified teacher of the Matthias Alexander method, Se soigner par l’alimentation published by Odile Jacob, she has a strong interest in the link and cohesion and Larousse de la cuisine saine et gourmande between that method and the work of the dancer. published by Larousse.

22 23 Health webliography

Dance and Health: access to useful links REDITEC and websites Professional association of Technical Managers of performing arts Anatomy Blandine Calais-Germain website for learning anatomy www.reditec.fr www.calais-germain.com Tamed German dance medecine association ADMR Association of Dance Medicine and Research www.tamed.de www.admrdanse.com/ Trinity Laban Conservatoire AFCMD of Music and Dance To better understand the human body in movement Conservatoire of Music and Dance including www.afcmd.com a dance science programme www.trinitylaban.ac.uk Artcinetic Movement analysis to prevent musculoskeletal Rudolf Nureyev Foundation disorders Rudolf Nureyev Foundation Medical Website www.artcinetic.org dedicated to dance medecine for dancers and health professionals. Arts medecine www.nureyev-medical.org www.medecine-des-arts.com AUDIENS Social welfare group for Culture, Communication and Media www.audiens.org Useful information GJUUM Sport Science for Dance medecine Ticket office www.gjuum.com +33 141 839 898 – [email protected] IADMS Tours of the CND in french and english International Association for Dance Medicine 27th November, 5PM and Science th www.iadms.org 28 November, 2PM Appointment on the CND ground floor INSEP before the ticket office. French National Institute for Sport, Expertise and Performance Wifi www.insep.fr Connect to Wifi - called CND Guest-WiFi . Sign up. Institute for Dance Medicine Fit for Dance You will be assigned a username and password. www.fitfordance.de The code can be used for one day. Muscular chains Method of the GDS muscular chains Coworking space (Ground floor) www.philippe-campignion.com Find the Professional Resource Department information sheets about health. www.methode-gds.com Watch the first episode of the documentary Let’s dance ! NIDMS (Arte France - Agat Fims, 2014): C’est le pied ! National Institute of Dance Medicine and Science The foot is essential for a dancer, the fundamental Enhancing health, well-being, and performance in dance element to his virtuosity, of his strength and elegance. www.nidms.co.uk But he can not take on an other role: be musical or Occupational medecine and health sensual, fit tradition and resist dictate. www.cmb-sante.fr Two computers to access the Dance and Health Professionalisation and Solidarity Fund webliography. dedicated to artists and stage technicians www.artistesettechniciensduspectacle.fr Recherche en Mouvement Somatic education applied to artistic expression www.rechercheenmouvement.org