How to Come Back After an Injury

I have been living between New York City and Philadelphia for nearly 2 months at this point. And while I am still working hard on finding stable teaching and choreographic work, it has allowed me plenty of time to ease myself back into shape with my favorite NYC ballet teacher, Nancy Bielski, as well as trying some new instructors and dance styles (I just tried Gaga at the Mark Morris Dance Center) to expand my scope of the scene up here. While I have been getting a great many questions about what I'm auditioning for or where I am performing, I've found it nearly impossible to explain my situation. In fact, I don't really know what my situation is and where the performing part of my career is leading me. For a long time, I tried to force myself back into shape after suffering such a severe injury in Oakland nearly 2 years ago. At times, I went about this in the appropriate ways. But at other times, even with 13 years of dancing professionally behind me, I fell down a path that was not most conducive to repair. I found it difficult to appropriately strengthen a body damaged by years of wear and tear and a mind weakened by too many daunting situations in too short a period of time.

The inspiration for this post? The other day I found that one of my former students had posted three photos of herself on her Facebook account. Initially, I was cheerful to see this talented student posting some photos. But I quickly realized that these images, which included big jumps and extreme extensions, had been taken only one day after returning from nearly 6 months off due to injury. Granted, this student is a child, I was mortified to think that she had spent so much time off in order to return healthy to dance and out of pain. Whether she was motivated to post these photos online out of excitement or ego, I'm actually glad that this happened. Not only did this allow me to intervene to keep this dancer on the right path. It reminded me that I (ripe into my 30's) have committed such acts of excitement, even if I didn't post images of it online.

There is no guidebook for returning from an injury. Every injury is different and every person's body will react differently to therapy, conditioning, and exercises. But what I have learned is that there is truly an appropriate way to come back from a long-term injury. After your doctor has given you the OK to return to class, you must resist the urge to jump into class full force. Getting the green light to return to dance doesn't mean that the work of recovery is over. It means that you are in a safe place to start producing the building blocks of your technique.

My "barre" at the gym

After getting approval to start taking class again last May (after nearly a year off from taking full class), I started things off correctly. I feel that there is often a lot of pressure to take another's class the first few times that you start executing your plies and tendus. Not everybody is like me, but I always feel pressure to follow the instructors combinations to the T. Now, as a professional, I may alter a few things in class, I still tend to do things that I shouldn't be doing if I am taking somebody's class. For this reason, my first week back to class I prefer to find a space either in a studio, gym, or at home where I can start with some simple plies, tendus, and jetes. I focus this first week on remembering what it feels like to pull my inner thighs together, to support my spine with my core muscles, and beyond. By the end of this first week, I may progress to rond de jambes. But I am reluctant to push too fast, too soon because I want to remain healthy.

Posing for Instagram, but only working up to tendus this day

Once my first week has passed, I take a day or two off and continue to build on the structure of class. I add rond de jambe, rond de jambe en l'air, fondu, adagio, frappe, and grand battement exercises at a rate of one new exercise per day. If I feel that I need more strength, I may repeat a combination twice or refrain from moving forward to a new exercise until I feel ready. I try to resist the urge to add two combinations at a time. Again, this is all about building blocks. I focus on executing exercises properly with the correct muscle groups versus forcing my way through combinations without noting what muscle groups are initiating action. I know a great many dancers that move too fast in their progression towards being in shape, and what happens is they execute exercises using the incorrect muscles. Not that they don't know which muscles they should be using, but they haven't built enough strength in the right ones to avoid gripping superficial muscles. This often causes new pain or injury. At this point, feel free to enter somebody's classroom, but be sure to tell them that you are recovering from an injury. For me, I still like to work up to this point by myself, away from the pressure of any watching eyes. Keep in mind that it is completely appropriate to start adagio with your working leg at 45 degrees or to only perform fondu or frappe on flat for some time. Give yourself a pass at judgement and offer yourself some empathy towards health.

At this point, now that I can complete barre to a degree, I feel comfortable to finally enter a classroom. Again, after speaking with the teacher before class starts, I feel more at liberty to do things on my terms. For the next few weeks, I work my way towards jumps. Sometimes, I add one combination a day. Sometimes, I choose to only execute combinations like adagio once to allow my body to acclimate. The biggest part of this return game is to make sure that I am pushing myself along my own schedule without holding back everywhere because of fear or pushing too quickly out of impatience or excitement.

I am mostly reluctant to take any dance classes outside of the genre of ballet during my recovery period due to the structure provided by ballet class. Most classes in contemporary, jazz, musical theatre, hip hop, and beyond begin with a warm-up in center, followed by technique exercises and choreography. The structure of a ballet class gives you something to hold on to for starters (barre), a period of time between each exercise to analyze how your body is responding to information, and an easy opportunity to bow out when you have reached your maximum. Dance classes in other genres, at the beginning of a recovery period, can make it difficult to gauge when and where to stop and can potentially prolong recovery or result in new injury.

After I have progressed past center, I spend the most attention coddling my jumps. Throughout this past recovery period, I began to get in shape and then fell off the wagon due to my Core-ography project, traveling for work, and a lack of classes that inspired me. Now that I am in New York and back on track, it has taken me nearly one and a half months to finally finish class. Strength for jumps is the first thing to disappear after a long period off. And since there are so many different things involved in launching yourself into the air and because it is the end of class when your muscles are tired, jumps are the last thing to build back up. The last thing you want to do is jump straight into saut de chats or other large jumps, feel great on the way up, and realize that you don't have the strength to slow down the force of gravity in your landing. TAKE YOUR TIME. Perhaps, start doing a few combinations holding onto the barre. Then, progressively move forward at your own pace. This time around, I spent nearly two weeks only working through petite allegro.

One of the biggest issues in recovery is excitement to get back in class. Whether you missed moving your body, you are responding to end of class adrenaline, or you just can't let go of that ego, don't wait for the instructor to stop you or, worse, your body. Be reasonable and keep your long-term goals in sight. Dancing feels amazing for the mind, body, soul, and ego. But nothing creates more emotional injuries than a continuous stream of physical ones. As I continue to work myself back into what I consider performance shape, when people ask me what I'm auditioning for or where I'm performing I tell them this. I am getting back in shape for me and so that I can fully show my choreography when creating and instruction when teaching, since this is what I'm focusing on. If I feel healthy enough to perform again, then so be it. But this time, I'm getting in shape for me. Not for my ego. Not for the applause of live audiences or for likes on social media. Now that I finally have access to the tools to potentially perform again, I'm pacing myself and doing things on my body's terms and in my own time.

Working on some choreography at the gym

 (Follow me on Instagram: https://www.instagram.com/bkerollis/)

My "Go-To" Warm-up

First off, I would like to thank everybody for leaving a comment on my last post. Thanks to all of you, Life of a Freelance Dancer has been named a finalist in Dance Advantage's top dance blog contest. You can continue moving this blog forward in the contest by clicking on this link and voting in two categories, Your Favorite Dance Blog and Career Dancer. Thanks in advance! Now moving on to the topic of this post.

Doing barre on my way hiking up to Olympic hot springs - Olympic National Park

I've received a handful of requests from both dancers and teachers to post the details of my typical ballet barre warmup. This warmup is not how I start each day, but if it is a performance day where class isn't offered, if I just can't afford to pay to take open class, or I happen to push the snooze button too many times (which I would never do.....), I often do the same barre series to get myself warm and  to stay in shape. I like to keep this routine mostly set, so I can focus my energy and attention on my performance or to speed along my warm up by not having to think about each individual combination prior to a rehearsal. If I am giving myself a class to improve my technique or to get in shape, I am more likely to change these combinations. But for the most part, this is how I get ready for a performance or warm up for rehearsal if I havent taken class.

When it comes to warming up, especially on performance days, I have a few rules that I live by. Having spent most of my career dancing in a company that finds its roots in the Balanchine technique, I like to do a handful of tendus and jetes to make sure that my feet and legs are nice and warm before I start extending my leg en l'air for any period of time. I avoid combinations that will tire out my legs and I also try to add a handful of balances at the end of most combinations to find my turnout muscles and rotators. I have a handful of ballet CD's on my Ipod that I could use if I really want piano music for my class, but I often prefer to use my current playlist of popular music to save the time searching for music at a comfortable tempo. Even if the music is not the right speed, I dance through it and allow the energy of the music to build up my own energy. This is really helpful, especially on days where I am performing Nutcracker #15 in less than 3 weeks. It can really freshen things up.

PLIE: Keep it simple and straight forward (I hate it when plies are complicated). 2 demi plies & 1 grande plie in 1st, 2nd, 4th, and 5th positions. Followed by whatever port de bras I am feeling.

TENDUS from 1st position: (slow, smooth, and even) 2 tendus front going back to 1st. 2 tendus front going back to 5th. 2 tendus front going back to first. Demi plie for 4 counts. Repeat combo to the side, back, and side with a releve replacing the plie both times to the side. Balance in 1st position releve.

TENDUS from 5th position: (moderate tempo) 1 tendu front, closing with a plie. 2 tendus front with the accent in. Pas de cheval front in one count, close 5th, coupe passe closing back. Reverse to the back. 1 tendu side, plie. 2 tendus side accent in. Repeat side. 2 pas de chevals side closing 5th. Releve coupe balance. If I have energy, I will reverse the whole combination to the back.

TENDUS from 5th position: (fast tempo) 3 tendus front, 3 tendus side, 5 tendus back with the last one closing into a plie. Repeat side, front, side. Repeat back, side, front. Repeat side, back, side. Quick and fast in a Balanchinian manner.

JETES in 1st position facing the barre: (using the right leg) 8 jetes side closing 1st, 8 jetes side closing 5th, 8 jetes side closing first. Plie, releve in first, plie, and stretch the legs. Repeat left.

JETES in 5th position: 2 jetes front (accent in), double pique (in one count), closing 5th. 2 jetes front, balancoir front, back, front (ending out). Close 5th, jete side, back, side. Jete side to 5th two times (changing), jete 1st, jete 5th (closing back). Repeat back. Jete side two times, double pique to the side, closing 5th. Repeat. Releve retire (balancing 6 counts), close 5th back. Reverse combo to the back. Finish with balance in retire.

ROND DE JAMBES A TERRE: (starting 1st or 5th. I prefer 5th). Rond de jambe in plie front, stretch to the back. Brush through 1st lifting leg to the front (battements - 45 degrees), brush to arabesque (45 degrees) back. Rond de jambe in plie front, stretch to the back, 2 rond de jambes en dehors. 4 rond de jambes en dehors w/ port de bras. Plie battements leg front (90 degrees or above), passe through to a straight leg arabesque. Reverse. Finish with whatever port de bras you wish. (I usually like to finish this combination with a balance in low arabesque).

PIQUES & PETITE ROND DE JAMBES A TERRE: (extremely fast tempo) 2 piques front, 2 piques side. 1 pique front, side, back, lift the leg to arabesque (45 degrees). 4 petite rond de jambes a terre closing with plie in 5th position back. Reverse. Rond de jambe side en l'air (45 degrees - out on 1, rond on 2, close in 5th on 3, hold 4), Rond de jambe side en dedans en l'air reverse. Double rond de jambe side en dehors en l'air, Double rond de jambe side en dedans en l'air.

FONDU: Fondu front (45 degrees), fondu closing 5th, fondu front (45 degrees), fondue front en releve. Repeat side, back. Closing sous-sous, developpe inside leg to attitude front balance. Reverse combination, finishing with a balance in attitude back with inside leg.

STRETCH: Whatever you need to do to stretch.

ADAGIO: (This is the one I change the most. If my legs are tired, I may even skip adagio altogether. If I don't want to tire out my legs, I may alter this) Developpe front holding for 6 counts, lower to tendu on 7, close 5th position on 8. Repeat en croix.

FRAPPE: 3 frappes front in 2 counts, 3 frappes front in 2 counts, double frappe side, back, side, front. Repeat side (starting doubles back, side, front, side). Repeat back (starting doubles side, front, side, back). Repeat side (starting doubles front, side, back, side). Sometimes I repeat en releve if my legs aren't too tired. Petite battement for 8 counts.

GRAND BATTEMENTS: 2 grand battements front taking 2 counts for each battement. 2 grand battements front taking 1 count out and holding on 2 (accent in). Repeat Side, Back. 2 grand battements side, 3rd grand battements side, turning it in as it comes back in, turning it back out as it battements back to the side.

Properly warming up can help keep you on point in your performance (Performing my own choreography - Gated Lies. Photo: Bill Hebert)