Effortless Aching: Indiana University's Ballet Dancers

Ballet is an art form that requires its performers to appear effortless in their work. But a 1975 study conducted by Dr. James Nicholas reported that ballet was more demanding, physically and mentally, than football or hockey.\nAccording to a three-year study of the dancers of the Boston Ballet Company, 60 to 65 percent of injuries dancers sustain each year are caused by "overuse." Ruth Solomon, formerly a professor of modern dance at IU, conducted the study with Dr. Lyle Micheli. \nSolomon said having a physical therapist on site for dancers is key in preventing injuries. She said when injuries treatable through means such as icing and heat are not properly taken care of from day one, they can become major problems that could one day require surgery. With a ballet department ranked as one of the best undergraduate programs next to Juilliard, she said it is in IU's interest to employ a trainer to keep its dancers well-worked bodies in tip-top shape. \nMegan Richardson, a masters student in kinesiology and athletic training, is the trainer for the department for the 2000-2001 academic year. Richardson is in a training room of the Musical Arts Center everyday and in attendance at all performances. \nFor the dancers, her on-site availability is crucial in helping prevent and repair injuries. While a variety of exercises and treatments are undertaken by the dancers to avoid major injuries, Richardson agrees with Solomon's findings. She said the most common problems for dancers she sees, such as sprains and stress fractures, are because of over-working the feet and ankles.\nViolette Verdy, associate professor of music and previously a principal dancer with the New York City Ballet, said one cause of injury for young dancers is that they are not yet mature enough to know their limits.\n"Often, these young dancers do not learn their limits until they get injured because they are very optimistic about pushing themselves harder. Doctors are very smart sometimes to put them in a little cast to get them to stop," Verdy said.\nBut a cast on their ankle or foot for a few weeks will not cause the dancers to stop entirely. Everyday, IU's dancers chose to work through the pain. One even chose to dance on an ankle sprained a mere twenty-four hours prior to her performance in this years production of the Nutcracker. The choice might not seem as surprising when considering the daily strain put on a dancer's body.\nLinda Hamilton, a clinical psychologist and author of the book "Advice for Dancers," said dancers learn to put up with pain very early in their training. While being in good shape and having correct technique help in preventing injuries, Hamilton said many dancers deny they have a problem until it is too late.\n"Injury prevention should be an integral part of every program," she said.\nIn addition to personal treatment by Richardson, IU's training room provides the dancers with an abundance of basic medicinal needs such as ace bandages. But the majority of machines and exercises are designed specifically for use by dancers. Along with heat and ice pads, a number of household items are on hand to help the dancers stretch and strengthen their muscles and ligaments. Dancers roll their feet over tennis balls to work out arches, knots and cramps and use "toe pads" while on pointe to protect bunions.\nLike top athletes, the dancers in IU's program are physically strong. They are required to take a number of classes and attend a variety of rehearsals each week. Ballet classes typically run from 11 a.m. to 6 p.m. This schedule allows them to take full advantage of the university's academic classes in the morning and focus on dance in the afternoon and evening. There are breaks in between, often spent working out muscles and joints in the training room while munching on pretzels, candy and soda. Bloomington native Molly Diemer regularly gets scar tissue from a previous injury rubbed out -- painfully, she said -- by Richardson.\nAfter watching a full day's activities from pointe class to multiple rehearsals as well as treatment by Richardson, the question that must be asked of these athletes is, "Why?" Why do they choose to take part in such a competitive and physically demanding field? Most answer that their dream is to dance professionally.\nFor senior Lauren Ryland, the dream of dancing professionally has been achieved. Raised in Chicago by her mother and grandmother, she has been dancing since the age of three. Her grandmother spent years dancing in Vaudeville and was determined to have Lauren love dancing as much as she did. A lover of jazz and modern dance, Ryland hated ballet for years because of the discipline it required. \n"I detested it but now I am doing it because of the physical challenge of it and to get back in shape for any type of performing career," she said. \nOn performing ballet, she said, tweaking the body into such contortionist, nearly impossible positions, is almost stunt work. \n"I love the challenge of it," Ryland said. "It really increases your endurance for everything."\nYears spent dancing with high profile schools in the Midwest and New York City, as well as a short stint with the Connecticut Ballet, have left Ryland with chronic ankle tendinitis, arthritis in her feet and a fallen left arch. Admittedly, ballet causes her more soreness than any other sport. \n"But your threshold for pain maxes out and you learn to ignore it for your love of dancing," she said. \nJulie Kent, a principal dancer with the American Ballet Theatre in New York City, said part of dancing professionally is having the maturity. Specifically, to have the maturity to distinguish between chronic pain and the normal amount of fatigue and burning that results from using your body to extremes on a daily basis. A frequent guest artist at IU, along with fellow ABT dancer Jose Carreno, Kent is a strong supporter of IU's program because she feels its bond is like that found in professional companies. "The logistics are not here," she said. "The dancers do not tour together, get paid or perform every night, but the family atmosphere and spirit are present."\nThis spirit contributed to junior Kelly Sloan's decision to attend IU instead of Juilliard. \n"People thought I was crazy to not go there, but they just think of the name Juilliard. I liked how IU's emphasis was on ballet with no modern," she said. Plus, IU gave her the opportunity to earn a "back-up" degree even though Sloan, like most of the dancers in the program, plans to attempt a professional career.\nA late bloomer, Sloan, did not begin ballet until she was 12 years old. But her late entry into the field, in addition to the pain of sprained ankles and tendinitis, has not diminished her love of ballet.\n"There is no way I can stop. I can't imagine not dancing everyday. I don't want to imagine it," she said.