Courtney Henry remembers a time in middle school when she grew several inches just as her dance training began to intensify. Now a member of Richard Siegal/Ballet of Difference in Germany, Henry would take dance classes at her school during the day, then have more classes and rehearsal at her studio afterwards. "As a result of this constant expansion in every direction—my hormone levels were growing as well—I remember enduring painful cramps in my lower and upper legs almost every night."

Such pains are typical symptoms of a growth spurt, or rapid growth in a short period of time. While they can happen at any point during childhood, growth spurts are most common during early to mid-adolescence: ages 12 to 13 for girls and 13 to 15 for boys. According to Chris Fisher, a physical therapist for Central Pennsylvania Youth Ballet, height change can sometimes be visible in a one-week period. During such a dramatic phase of development, young dancers need to have extra patience and support surrounding their ballet training.


Warning Signs

Bones and muscles don't always grow at the same rate; as your bones lengthen during a growth spurt, your muscles often struggle to catch up. As a result, you may notice a loss of flexibility, or aching and swelling around the joints, as well as an increased need for sleep and a stronger appetite.

Common injuries Fisher sees among growing dancers include snapping-hip syndrome (from tight hip flexors or IT bands), sacroiliac pain, lax ligaments, pain in the kneecaps from not tracking properly, Achilles tendonitis (due to tight calves) and shin splints. In addition, conditions such as Osgood-Schlatter disease, which affects the growth plate below the kneecap in adolescents, can cause excessive bone pain and inflammation.

You may also experience a temporary loss of coordination. "When young dancers quickly gain a few inches in height, they often don't know what to do with themselves, how to use this extra length," says Kim Marsh, assistant to the school director at the Orlando Ballet School. "Students need to understand this is normal and can be worked through."

Kim Marsh with students. Photo Courtesy Orlando Ballet School.

Listen to Your Body

Though you might be more vulnerable to injury, you can stay healthy during a growth spurt if you listen to your body. "Injuries are not a direct cause of a growth spurt, but they are concurrent with growing people as they are training in ballet," says Dr. Steven J. Anderson, who treats dancers from Pacific Northwest Ballet and its school. "Acute injuries are hard to prevent, but chronic issues start gradually."

If pain has been consistent for more than a week, Anderson advises simple measures such as icing, cutting back on strenuous movements (like pointework, jumps and lifts), or taking ibuprofen. If the pain persists or escalates when you work back to your normal routine, see a doctor or physical therapist. Anderson notes that any aches or pains that last longer than a week or are accompanied by swelling, loss of joint motion, numbness or instability warrant a trip to a medical professional. "If you wait too long, saying to yourself 'I can work through the pain,' you may end up with a stress fracture," says Anderson. Don't be shy about letting your teachers or parents know that you're feeling tighter than normal or experiencing new aches and pains.

A healthy diet helps too. When Henry learned that potassium, vitamin D, calcium and magnesium could help her rapidly growing body, she began to eat more green, leafy vegetables, beets, sweet potatoes, yogurt, black beans and fish. Good nutrition, plus a summer off, helped her recover from a bout of stress fractures in her shins and deal with persistent leg cramps. Don't skip out on sleep or meals, as growing bodies need both rest and fuel.

Get Back to Basics

Rapidly growing dancers should approach class with added awareness. Fisher notes that imbalances in muscle length can cause dancers to compensate in their technique. Jumping can irritate a rapidly changing body, particularly in areas where there are growth plates. Rolling in your feet, sinking excessively into your lower back or, for male dancers, leaning back too far during a lift, are examples of technical shortcuts that can leave you open to injury.

As hard as it may be, avoid comparing yourself to your classmates. "You have to use your turnout, not someone else's," says Marsh, "and this is even more true when you are going through a growth spurt, when alignment is everything. You have to focus on strengthening this new body: finding placement, proper use of turnout, core strength, incremental stretching for extra-tight muscles, and coordination."

While you can still stretch, this is not the time to do it excessively. Marsh insists that flexibility and strength will eventually come back with patience and smart work, and that your muscles and tendons need time to catch up to your bones. In the meantime, you can work on your port de bras, plié, pelvic placement and controlling your jump landings (rather than focusing on jump height). You may also need to work in ballet slippers during pointe class to find more control.

If you have to step away or modify class for a while, you can still maintain your fitness with Pilates, floor barre or swimming. As you progressively build new strength and flexibility, use this time to play with rhythm, have fun with presentation and develop your artistry.

The Conversation
Unsplash

When it comes to running a thriving dance studio, Cindy Clough knows what she's talking about. As executive director of Just For Kix and a studio owner for more than four decades, she's all too aware of the unique challenges the job presents, from teaching to scheduling to managing employees and clients.

Here, Clough shares her best advice for new studio owners, and the answers to some common questions that come up when you're getting started.

Keep reading... Show less
Unsplash

Facebook. Twitter. Instagram. Snapchat. The list goes on—and you have to decide not only what type of presence you'll have on each platform, but also whether you and your faculty will network with students and family members. How can you set boundaries for yourself and your faculty on social media?

The easiest option may be to prohibit these interactions entirely. At the Harid Conservatory in Boca Raton, Florida, staff and faculty may not "friend" or otherwise connect with current students or those under the age of 18 on social media, explains Gordon Wright, Harid's executive vice president and director.

At the Dance Zone in Henderson, Nevada, the handbook states that social media should be handled "in a professional manner." Owner Jami Artiga encourages students and faculty to share photos and tag the studio, but prefers not to "friend" kids from her personal account. "Of course, my son dances at the studio, and we have teachers with kids who go here, so sometimes the line gets blurry," she says.

Robin Dawn Ryan of the Robin Dawn Academy in Cape Coral, FL, also has a few students on her Facebook friend list, "but I don't put a lot about my personal life on the site," she says. She uses the platform more to keep track of what dancers and their parents are posting about the studio. "If they put up something they shouldn't," she says, whether that's a bullying post or an unflattering image, "I'll ask them to take it down."

Ryan tends to keep her social-media shout-outs generic: "So proud of this year's graduates!" and "Our dancers looked beautiful at prom!" That way, she can show support without spending hours online or worrying about missing any one student's achievement.

Dancer Health
Getty image

When ballet star David Hallberg sought out the medical team at The Australian Ballet to help him recover from his ankle surgeries, one of the things rehabilitation specialist Megan Connelly had him learn was to jump from his hips. By doing so, he learned to put less stress on his lower legs and feet and access the powerhouse group of muscles surrounding the hips, most commonly referred to as the glutes. While many parts of his rehab were particular to him, understanding how to properly engage the glutes is something many professional and pre-professional dancers can stand to gain from.

Keep reading... Show less
Studio Owners
Getty image

Many a studio owner might agree that the idea of maternity leave is laughable. "So many people say, 'I was back after two weeks—we had a competition,'" says Meagan Ziebarth, a former owner who sold her studio two years ago. "If that works for you, and you feel great, wonderful. But I feel passionately that having a baby is one of the most transformational life events, and you don't need to put that kind of pressure on yourself and accept that that's the norm."

So how can you take the maternity leave you want and make sure your studio doesn't run itself into the ground? We asked three who did it for their best advice—including what they wish they'd done differently.

Be OK With Crazy

Suzana Stankovic and Natalia.

Suzana Stankovic
Wild Heart Performing Arts Studio
Astoria, New York
Enrollment: 500 (drop-in)
2 years in business

Suzana Stankovic signed the lease on her New York studio a mere 10 days before she gave birth to her first child. The space she'd been renting hourly for private and group lessons unexpectedly became available for a lease takeover, and, despite the timing, it felt like the right decision. "I said, 'This is happening for a reason,'" she says.

For the first two months after her baby was born, Stankovic recovered (she'd had a C-section). She held a soft opening in mid-November (2 1/2 months postdelivery) for existing students and officially opened her studio—with a drop-in class format—to the public the following January (4 months postdelivery).

  • Figure out your childcare. "It's the most important thing. You've got to figure that out, whether that means visiting daycare centers and finding one you're comfortable with or involving your entire family," she says. Stankovic's parents are retired and live near her, luckily, so they became her nannies. "That's the major reason I was able to do this," she says.
  • Expect to feel different after giving birth. "When I had my baby, and it came time to leave her and go to work, it was very, very difficult," says Stankovic. "I wasn't prepared for that. I was texting my mother constantly: 'Is she OK? Did she have her milk? Is she colicky?' It was hard to be fully present, initially. Be prepared for the effects of sleep deprivation and not eating well and the postpartum blues."
  • Have a support system in place. That's how Stankovic got through the roughest times, postbirth. "Have a friend or your husband or partner," she says. "And know that the very difficult times are temporary. They do abate. And if they don't, there are resources. There's help out there."
  • Be OK with crazy. "I would plan my lesson and do my combos in the shower," she says. "On my way to the studio, I'd finish up my grand allégro in my head. I'd send e-mails in the middle of changing her diaper—I'd write two sentences, change the diaper, write two more, then hit send." The result of so much multitasking? "I realized, 'Wow, I can do so much more than I thought I could,'" says Stankovic. "I'm ready for anything."
Dance Teacher Tips
International performer Joy Womack balances flexibility and strength to maintain her turnout. Photo by Quinn Wharton for Pointe.

Turnout is one of the defining characteristics of classical ballet and the foundation of your technique, but the deceptively simple concept of external rotation can be hard to execute. For those born with hip joints that don't naturally make a tight fifth position, it's tempting to take shortcuts in the quest for more rotation, but you'll end up with weaker technique and a higher risk of injury. We asked top teachers and physical therapists to break down the meaning of turnout and offer safe ways to maximize your range.

Keep reading... Show less
Just for fun
Photo via @sparklethetinychi on Instagram

In our not-so-humble opinion, dancers and dogs should rule the world. So, it shouldn't come as much of a surprise to hear that we are positively obsessed with all things that are dog and dance at the same time. Namely, puppies dressed up in tutus. OMG—so cute!

We couldn't keep our knowledge of this perfect combination of dreaminess to ourselves. So we decided to share with you some tutu-wearing dogs from Instagram that we will never get over.

You're welcome!

Get ready to experience a level of cuteness that is almost too much to handle, ladies and gentlemen!

Keep reading... Show less
Dance Teachers Trending
FreeVerse photography, courtesy of Quenga

As a hula instructor at the 92nd Street Y in New York City, Hawaii native Kaina Quenga is committed to sharing the traditional dances and culture of Polynesia with the people of the Big Apple. Through training with famed kuma hula (master teacher) Johnny Lum Ho of Halau O Ka Ua Kani Lehua, Quenga developed a respect for and understanding of the artform that has carried her through the nearly 20 years of her professional career.

In spite of her success as a teacher at 92nd Street Y (she also teaches at Concourse House Day Care in the Bronx and Spoke the Hub Dancing in Brooklyn, and offers free classes in various parks around NYC during the spring and summer), Quenga never anticipated becoming an educator. "I really just lucked into it—I'm not a kuma hula," she says. One can only become an official hula master teacher when their own kuma hula bequeaths knowledge to them through a formal ceremonial ritual after years of training. "But when I came to New York, everyone kept asking me if I would teach classes. There was a need for it. So I started teaching the basics."

Keep reading... Show less
Dancer Health
Thinkstock

Q: I'm an older dancer/teacher and have some pain under my heel bone and Achilles tendon. I feel it most in the mornings and when I'm walking down stairs. Would wearing teacher shoes with heels help me?

Keep reading... Show less
Dance News
Carol Channing in the original 1964 production of Hello, Dolly! Photo by Eileen Darby, courtesy of DM Archives

The inimitable Carol Channing, best known for her role as the titular Hello, Dolly!, passed away today at 97.

Though she became a three-time Tony winner, Channing was born in Seattle, far from the Great White Way, in 1921. After growing up in San Francisco, she attended the famed Bennington College, studying dance and drama. She later told the university, "What Bennington allows you to do is develop the thing you're going to do anyway, over everybody's dead body." For Channing, that meant decades of fiery, comical performances, bursting with energy.

Keep reading... Show less
Editor's List: The Goods
Getty image

Here at Dance Media, we think everyone's list of New Year's resolutions should include reading more 💁♀️. And aside from reading Dance Teacher magazine (which should, of course, be a resolution in and of itself), we recommend some seriously wonderful dancer memoirs.

Here are three interesting books we think you should check out (or re-check out) in 2019!

Share your favorite dancer memoirs in our comment section! We can't wait to hear what you're reading!

Keep reading... Show less
Dance Teachers Trending

When it comes to Broadway, Becca Petersen does it all. Not only is she a swing learning multiple roles for Mean Girls on Broadway as well as understudy for the principal roles of Cady Heron and Regina George, but she also plays an administrative role as the assistant dance captain. When she's not onstage dancing one of the 10 different tracks she covers, or acting out two of Broadway's most notorious mean ladies, she's in the audience, taking notes in order to clean choreography in the next rehearsal. "Once the show opens and the creative team leaves, the dance captains, stage managers and associates keep things running," Petersen says. "I help teach choreography to newcomers when there is turnover and make sure the dancing looks good from day to day."

Keep reading... Show less
Dance Teacher Tips
Joanne Chapman teaching turns (photo by Dan Boskovic, courtesy Joanne Chapman School of Dance)

Think back to your newbie dancer days. Can you remember your introduction to spotting? It might've involved staring hard at your own reflection in the mirror as you wrestled with your first pirouette. Or maybe your teacher had you put your hands on your shoulders as you attempted a series of half-chaînés across the floor.

Keep reading... Show less

Sponsored

Sponsored

mailbox

Get DanceTeacher in your inbox

Sponsored