My Dance Goal Worksheets

After working with many dancers privately and in an group session over the years, it became evident that accountability is a huge determining factor on the success of the dancer.

A major roadblock for the developing and professional dancer is comparison. This is not surprising since training hours are for the most part in front of mirror.

Mirrors have a powerful influence to feed a dancer’s negative bias. This stunts a positive growth mindset. I’ve experienced this personally in my dance journey and also observe this in clinic and in the studio.

To offset this, I designed My Dance Goal Worksheets.

My Dance Goal Worksheets were designed for the developing and professional dancer who are looking to find clarity in their goals for their mind, body and dance movement. It is important to be able to track daily progress, create positive affirmations and to map out short-term, mid-term and long-term goals. This accountability is what turns the dream into a reality.

These sheets improve communication between the dancer and their conscious awareness, the dance teacher, parent, colleagues and health practitioner.

It brings the focus on what the dancer can do for themselves instead of prematurely “pigeon-holing” their baseline skills into a self-perceived trajectory.

Download My Dance Goals Worksheet Package and share with your students, friends or child!

In exchange for this resource, please take a picture of you using the sheets and post it on social using #mydancegoalworksheets and tag @drblessyl to help spread the word to other dancers who can benefit.

My goal is to create a workbook to make it easier for the dancer to track their progress. I would love to hear your feedback! Email me at info@drblessyl.com.

 

 

What I’ve noticed with working with many dancers over the years is at times, ankle mobility, hip mobility or lumboplevic stability can negatively affect alignment during dance movement.

The plie is a fundamental movement not only in ballet but in all dance forms. It is the preparation for jumps, turns, acoustic sounds and all propulsion.

This is why regardless of the dancer’s main discipline, I assess plie.

Another common misconception is that turnout (external “outward” rotation of the hip joint) is generated equally by both hips.

This is not the case. The favoured gesture leg and vs supporting leg can present with contrasting mobility.

In this dancer, the right ilium has an anterior tilt due to tightness in the deep hip flexor (iliopsoas). What most forget is that the deep hip flexor is also an INTERNAL rotator of the hip. In other words, it opposes turnout.

During her dance conditioning session, we focused on the engagement of turnout from the deep external rotators of the hip joint using bands and tactile cues in addition to focusing on foot, spinal and pelvic alignment.

The result was level heels at the bottom of grand plie which improved a balanced turnout generation from not hips as well as stability from the lumboplevic area.

The awareness gained from this can continue to dance training in class and can prevent any injury from developing in the ankle, knee, hip or spine in the future.

Here is another example of dancer demonstrating similar alignment issues on the opposite side.

Being aware of these alignment issues can be overlooked in a class setting when the dance educator is responsible for a general overview of the movement. This is why private dance assessments and conditioning in conjunction with manual therapy by a knowledgeable practitioner is key to the success of a dancer with serious goals.

Unlock facility to unlock artistry.

If you are or have a dancer that would like to be assessed, book your appointment online.

Blessyl's love for all forms of dance comes together in Street Ballet
Blessyl’s love for all forms of dance comes together in Street Ballet

With over three decades of dance experience, she completely understands the journey of the young dancer, the audition process, and the demands of the professional. While studying her Bachelor of Kinesiology at McMaster University, she was scouted by a talent agent and began her professional career as a commercial dancer. Select credits include: Dairy Farmers Milk Rap Commercial (2002), Step Up Revolution Flash Mob: New Music Live-Much Music (2012), and the biggest highlight was the opportunity to dance with Madonna at her Grand Opening event-Hard Candy Fitness (2014). She is a member of ACTRA (Apprentice).

Using the Merrithew Tower Trainer™, Dr. Blessyl fuses her clinical expertise with dance conditioning and pilates. This innovative equipment allows the dancer to work through barre work and matwork with access to elements of the reformer and cadillac using resistance from body weight and springs. Her work is profiled on her Instagram and Youtube channel.

Outside of the studio, she is the contributing writer on dance health & conditioning for The Dance Current and is active with Healthy Dancer Canada (HDC). She is a former faculty member of Equity Showcase Theatre and was a presenter for HDC and the Performing Arts & Medicine Association (PAMA). She was also a guest teacher at York University’s Dance Program.

As a practitioner, I can truly empathize with the dancer’s desire to be injury free and the anxieties they experience when they are working or in between contracts. It’s a skill that I gained from being a professional dancer. I am very fortunate to juggle both. Never in my wildest dreams would I think that I would be dancing with a chiropractic career and being the mother of two little girls.

As a mature dancer, I embrace the changes in my physicality. There are other ways to showcase your body as you age.  Interestingly, I am much more confident in my own skin then when I was younger and had the flexibility and physique that I didn’t appreciate at the time.

 

This is what I learned:

Dance is an extension of your heart.  Dance is wearing your emotions on your body through movement. Under this definition, dance never ages and so your relationship with it should never end. In actuality, it becomes more colourful.

 

I want the new generation of dancers to have no regrets and to have the tools in their body to be successful. Being a healer and a dancer is my life’s work. It is both my intention and my passion to be a practitioner that is knowledgeable to treat and educate the performing artist and to be genuinely empathetic to their needs because I am also one of them.

Your childhood dreams are messages of what you are intended to become.  At 34 years of age I can honestly say that I am a doctor, a teacher, a mother and a professional dancer.  It took the writing of this article for me to appreciate my ongoing journey. For that I am both humbled and grateful.

 

http://pinterest.com/pin/421016265134631712/