{"appState":{"pageLoadApiCallsStatus":true},"articleState":{"article":{"headers":{"creationTime":"2016-03-26T21:15:26+00:00","modifiedTime":"2016-03-26T21:15:26+00:00","timestamp":"2022-09-14T18:09:51+00:00"},"data":{"breadcrumbs":[{"name":"Academics & The Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33662"},"slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33747"},"slug":"performing-arts","categoryId":33747},{"name":"Dance","_links":{"self":"https://dummies-api.dummies.com/v2/categories/33748"},"slug":"dance","categoryId":33748}],"title":"For Ballet Injuries, Think <i>RICE</i>","strippedTitle":"for ballet injuries, think rice","slug":"for-ballet-injuries-think-rice","canonicalUrl":"","seo":{"metaDescription":"Ballet dancers know that injuries such as pulled muscles and tendons are common — rigorous rehearsals combined with extreme positions can do that. To treat ball","noIndex":0,"noFollow":0},"content":"<p>Ballet dancers know that injuries such as pulled muscles and tendons are common — rigorous rehearsals combined with extreme positions can do that. To treat ballet injuries, remember the acronym <i>RICE</i><i> </i>to aid your recovery:</p>\n<ul class=\"level-one\">\n <li><p class=\"first-para\"><b>R = Rest.</b> Get the heck off the injured part.</p>\n </li>\n <li><p class=\"first-para\"><b>I = Ice.</b> Ice your injury for 20 minutes several times during the first day. </p>\n </li>\n <li><p class=\"first-para\"><b>C = Compression.</b> Wrap up the injury to discourage it from growing. </p>\n </li>\n <li><p class=\"first-para\"><b>E = Elevation.</b> Lift the injury higher than your heart.</p>\n </li>\n</ul>\n<p class=\"Warning\">Always consult a medical professional about any serious injury.</p>","description":"<p>Ballet dancers know that injuries such as pulled muscles and tendons are common — rigorous rehearsals combined with extreme positions can do that. To treat ballet injuries, remember the acronym <i>RICE</i><i> </i>to aid your recovery:</p>\n<ul class=\"level-one\">\n <li><p class=\"first-para\"><b>R = Rest.</b> Get the heck off the injured part.</p>\n </li>\n <li><p class=\"first-para\"><b>I = Ice.</b> Ice your injury for 20 minutes several times during the first day. </p>\n </li>\n <li><p class=\"first-para\"><b>C = Compression.</b> Wrap up the injury to discourage it from growing. </p>\n </li>\n <li><p class=\"first-para\"><b>E = Elevation.</b> Lift the injury higher than your heart.</p>\n </li>\n</ul>\n<p class=\"Warning\">Always consult a medical professional about any serious injury.</p>","blurb":"","authors":[{"authorId":9104,"name":"Scott Speck","slug":"scott-speck","description":" <p><b>Scott Speck</b> has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b>Evelyn Cisneros</b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/9104"}},{"authorId":10316,"name":"Evelyn Cisneros","slug":"evelyn-cisneros","description":" <p><b>Scott Speck</b> has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b>Evelyn Cisneros</b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque. 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He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b>Evelyn Cisneros</b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque. <p><b>Scott Speck</b> has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b><b data-author-id=\"10316\">Evelyn Cisneros</b></b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque.</p>","authors":[{"authorId":9104,"name":"Scott Speck","slug":"scott-speck","description":" <p><b>Scott Speck</b> has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b>Evelyn Cisneros</b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque. ","hasArticle":false,"_links":{"self":"https://dummies-api.dummies.com/v2/authors/9104"}},{"authorId":10316,"name":"Evelyn Cisneros","slug":"evelyn-cisneros","description":" <p><b>Scott Speck</b> has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. <b>Evelyn Cisneros</b> danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque. 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To treat ballet injuries, remember the acronym RICE to aid your recovery:\n\n R = Rest. Get the heck off the injured part.\n \n I = Ice. Ice your injury for 20 minutes several times during the first day. \n \n C = Compression. Wrap up the injury to discourage it from growing. \n \n E = Elevation. Lift the injury higher than your heart.\n \n\nAlways consult a medical professional about any serious injury.","item_vector":null},"titleHighlight":null,"descriptionHighlights":null,"headers":null,"categoryList":["academics-the-arts","performing-arts","dance"],"title":"For Ballet Injuries, Think <i>RICE</i>","slug":"for-ballet-injuries-think-rice","articleId":191786},{"objectType":"article","id":208927,"data":{"title":"Ballet For Dummies Cheat Sheet","slug":"ballet-for-dummies-cheat-sheet","update_time":"2022-04-27T20:55:59+00:00","object_type":"article","image":null,"breadcrumbs":[{"name":"Academics & The Arts","slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","slug":"performing-arts","categoryId":33747},{"name":"Dance","slug":"dance","categoryId":33748}],"description":"Ballet is a beautiful and demanding art form, with positions and moves to memorize and, often, strained muscles to heal. From the five basic positions — from which all ballet moves emanate — to the (mostly French) language of ballet, there's lots to master.","item_vector":null},"titleHighlight":null,"descriptionHighlights":null,"headers":null,"categoryList":["academics-the-arts","performing-arts","dance"],"title":"Ballet For Dummies Cheat Sheet","slug":"ballet-for-dummies-cheat-sheet","articleId":208927},{"objectType":"article","id":145895,"data":{"title":"How to Overcome Weight-Training Injuries with RICE","slug":"how-to-overcome-weight-training-injuries-with-rice","update_time":"2016-03-26T08:13:08+00:00","object_type":"article","image":null,"breadcrumbs":[{"name":"Body, Mind, & Spirit","slug":"body-mind-spirit","categoryId":34038},{"name":"Physical Health & Well-Being","slug":"physical-health-well-being","categoryId":34095},{"name":"Exercise & Movement","slug":"exercise-movement","categoryId":34166},{"name":"Strength Training","slug":"strength-training","categoryId":34174}],"description":"A reliable remedy for most minor sprains and strains is RICE, an acronym for Rest, Ice, Compression, and Elevation. RICE is most effective if you begin the process within 48 hours of injuring yourself. RICE includes the following four components:\n\n Rest: Stop performing activities that aggravate your injury. (Don't stop all activity — that’s rarely the solution.) Wait until you’ve had two completely pain-free days before doing exercises that involve the injured area.\n \n Ice: Contrary to popular belief, ice, not heat, helps reduce the pain and swelling of most common injuries. Ice your injury for 15 to 20 minutes, three or four times a day, for as long as you feel pain.\nYou can apply ice with a store-bought pack, a plastic bag full of ice cubes, or even a package of frozen peas. But don’t allow ice to sit directly against the skin. (You may end up with ice burns.) Instead, wrap whatever is holding your ice in a thin towel.\nThrow out the peas after they’ve been used as an ice pack a few times. The thawing and refreezing renders them less tasty than they would’ve been before.\nTwo areas may not respond well to icing: your neck and back. These injured areas may be so sensitive to the cold that you may tense up. If that’s the case, a moist heating pad or wet, warm towel is best for treating the injury and allowing your muscles to relax.\n \n Compression: Put pressure on the injury to keep the swelling down. Use a damp elastic bandage or buy a special brace or wrap for your knee, elbow, or wrist. Wrap the bandage tightly enough so you feel some tension but not so firmly that you cut off your circulation or feel numb.\n \n Elevation: Elevating your injured body part drains away fluids and waste products so swelling goes down. If you’ve hurt your ankle, you don’t need to lift it up over your head. You only need to elevate it higher than your hip so gravity assists the blood flow downward. Propping up your ankle on several pillows or books does the trick (pillows will be more comfortable, of course).\n \n\nSometimes RICE isn’t enough to treat an injury. If the pain is truly excruciating or is bothersome for more than a few days, your injury probably needs more aggressive treatment and possibly medical attention. If you experience excessive swelling, discoloration, or bleeding, you may need a trip to the emergency room. Use your judgment. If you see a bone fragment sticking out of your ankle, don’t simply stick an ice pack over it.","item_vector":null},"titleHighlight":null,"descriptionHighlights":null,"headers":null,"categoryList":["body-mind-spirit","physical-health-well-being","exercise-movement","strength-training"],"title":"How to Overcome Weight-Training Injuries with RICE","slug":"how-to-overcome-weight-training-injuries-with-rice","articleId":145895},{"objectType":"article","id":191787,"data":{"title":"The Five Basic Ballet Positions","slug":"the-five-basic-ballet-positions","update_time":"2016-03-26T21:15:26+00:00","object_type":"article","image":null,"breadcrumbs":[{"name":"Academics & The Arts","slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","slug":"performing-arts","categoryId":33747},{"name":"Dance","slug":"dance","categoryId":33748}],"description":"All ballet steps start from one of five positions, and these basic ballet positions involve your whole body — how you hold your arms is as important as what you do with your feet. The following figures show the five basic ballet positions along with variations on arm positions:\n","item_vector":null},"titleHighlight":null,"descriptionHighlights":null,"headers":null,"categoryList":["academics-the-arts","performing-arts","dance"],"title":"The Five Basic Ballet Positions","slug":"the-five-basic-ballet-positions","articleId":191787},{"objectType":"article","id":200816,"data":{"title":"Basic Guidelines of Choreography for Ballet","slug":"basic-guidelines-of-choreography-for-ballet","update_time":"2016-03-26T22:52:33+00:00","object_type":"article","image":null,"breadcrumbs":[{"name":"Academics & The Arts","slug":"academics-the-arts","categoryId":33662},{"name":"Performing Arts","slug":"performing-arts","categoryId":33747},{"name":"Dance","slug":"dance","categoryId":33748}],"description":"When you decide to choreograph your own ballet dances, you have complete freedom of expression for your choreography. And that's as it should be. But artists of all kinds have found that they flourish best when they voluntarily submit to certain limitations. The series of ballet gestures, for example, is a \"limitation\" that somehow sets the imaginations of the great ballet choreographers free. \nThe ideas in the following sections, culled from centuries of great choreography, give you a framework for your freedom, a vehicle for your own artistic vision. All forms of expression are valid — but these ideas can help you get started successfully.\nFinding your inspiration — music or theme\nWhat makes a choreographer want to create a particular dance in the first place? Most choreographers say that they are usually inspired by one of two things: the music or the theme. \nWhen you hear a certain piece of music, are you swept away in an ecstatic whirlwind? Do colors and shapes and movements immediately suggest themselves to you? Are you lost in time and space? If so, we know a good doctor who can help. But failing that, the piece sounds like a good candidate for choreography. \nIf there's one basic rule of choreography, it's this: The gestures should somehow reflect the music. What sets the successful choreographers apart is that their gestures embody the music beautifully, as if each musical phrase had been written just for them. \nAn example most people can visualize is the dance of the Sugar Plum Fairy from The Nutcracker. As the celesta begins to play its tinkly tones, the ballerina dances nimble, delicate little steps, seeming to flit across the stage. Although different choreographers may have set different steps to this music over the years, nearly all of them have tried to create something appropriately delicate. \nYou might like to know that in the professional world, every single minute of dance onstage is the result of approximately two hours of choreography and rehearsal. But hey, don't let that stop you.\n\nAnother form of inspiration is the need to tell a story. Storytelling is one of our oldest pastimes, and dance has always come in handy for that purpose. Does a certain story call out to you, just needing to be expressed somehow? Then why not make that the basis for a dance? \nWhen telling a story in dance, first decide whether you want to create a simple narrative from beginning to end, or something more complex. \nSay, for example, that your theme is the story of Hansel and Gretel. Just think of all the ways you could tell that story. You could opt for the linear approach, showing Hansel and Gretel wandering through the forest, dropping breadcrumbs, getting lost, happening upon a candy house, and getting fattened up. Or you could start at the end of the story, with the kids leaping breathlessly onstage to tell you what they just experienced. \nOr, your dance could simply focus on character at one point in a story. How does the wicked witch feel when the kids bake her alive? Maybe she could do an interpretive dance to let us know. This expression of one instant in time, telescoped out to show the emotional weight it contains, is the basis for 99 percent of all poems, operatic arias, and popular songs — and it works for dance as well.\nKnowing how you want the choreography to look\nGreat choreographers almost always talk about their \"vision\" of their work. Choreographers are proud of their visions and will tell you about them until you ask them to stop. \nQuite literally, choreographers create an image of the dance in their minds before attacking the nitty-gritty of the choreography. Whether or not they envision the actual steps at first, they can imagine the overall \"look\" of the piece. From there, they can begin to choose the steps that best fit that vision. \nThe vision can include costumes, set, and lighting designs — although in the professional world, special designers are hired to flesh out the details of this portion of the vision. \nWorking from this internal vision, choreographers then write down their ideas using dance notation — or simply dance it themselves on videotape. \n\nDeveloping a vocabulary for the dance\nThe same basic step can be danced in many different ways. So when you choreograph a piece, you have a nearly infinite number of steps to choose from. The vocabulary of the dance refers to the particular gestures and movements that you choose to use — the ones that seem to reflect your own character and make up your personal style. \nThe order in which you put the steps is important, too. The steps should seem to flow from one to the next. For example, an arabesque looks good when followed by a failli. But it looks bad followed by a backflip. You just feel these things. \nAfter you begin to experiment with various sequences, you're likely to find some that feel just right for you. When that happens, you can repeat those sequences again and again — thereby creating a vocabulary that you can call your own. George Balanchine, for example, was famous for following a sauté in arabesque with a jeté. That was his trademark — just as Bob Fosse made a name for himself with bowler hats and turned-in legs (also known as pigeon toes — think Cabaret).\nUsing your full dance space \nHere's another useful rule for choreographing your own work: Use the full amount of space that's available. By the end of the dance, every area of the stage should have been stepped on at least once. \nYou should even consider using non-traditional areas — where you'd never think of dancing. Staircases, hallways, railings, and other levels of flooring come to mind. (Or puddles — as Gene Kelly discovered in Singin' in the Rain.) The unexpected is often where the most inspiration lies. \nWhen covering your space, we suggest varying the shape of your dance. If you begin with a move on a diagonal; then try adding a circular pattern later. Or vice versa. Stretch your imagination — and keep your audience on their toes. \nEnding the dance as you began\nOne way to make a dance feel artistically whole is to \"come full circle.\" And one way to accomplish this is by starting and ending the dance with the very same pose. \nAn even more advanced version of this technique is to end in a slightly \"evolved\" version of the starting position. For example, if the dance is a duet, consider switching the parts at the end, so that the woman ends up as the man began, and vice versa. \nThis technique gives the dance a feeling of completion, and it can sometimes be quite poignant and moving. Who knows — you may have your audience in tears. In a good way.","item_vector":null},"titleHighlight":null,"descriptionHighlights":null,"headers":null,"categoryList":["academics-the-arts","performing-arts","dance"],"title":"Basic Guidelines of Choreography for Ballet","slug":"basic-guidelines-of-choreography-for-ballet","articleId":200816}]},"relatedArticlesStatus":"success"},"routeState":{"name":"Article3","path":"/article/academics-the-arts/performing-arts/dance/for-ballet-injuries-think-rice-191786/","hash":"","query":{},"params":{"category1":"academics-the-arts","category2":"performing-arts","category3":"dance","article":"for-ballet-injuries-think-rice-191786"},"fullPath":"/article/academics-the-arts/performing-arts/dance/for-ballet-injuries-think-rice-191786/","meta":{"routeType":"article","breadcrumbInfo":{"suffix":"Articles","baseRoute":"/category/articles"},"prerenderWithAsyncData":true},"from":{"name":null,"path":"/","hash":"","query":{},"params":{},"fullPath":"/","meta":{}}},"dropsState":{"submitEmailResponse":false,"status":"initial"},"profileState":{"auth":{},"userOptions":{},"status":"success"}}

For Ballet Injuries, Think RICE

By: Scott Speck and Evelyn Cisneros and

Updated: 03-26-2016

From The Book: Ballet For Dummies

Ballet For Dummies

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Ballet dancers know that injuries such as pulled muscles and tendons are common — rigorous rehearsals combined with extreme positions can do that. To treat ballet injuries, remember the acronym RICE to aid your recovery:

R = Rest. Get the heck off the injured part.
I = Ice. Ice your injury for 20 minutes several times during the first day.
C = Compression. Wrap up the injury to discourage it from growing.
E = Elevation. Lift the injury higher than your heart.

Always consult a medical professional about any serious injury.

About This Article

This article is from the book:

Ballet For Dummies ,

About the book authors:

Scott Speck has conducted hundreds of ballet performances throughout the United States and Europe. He is Music Director of the Joffrey Ballet, Artistic Director of the Chicago Philharmonic Orchestra, and former Conductor of the San Francisco Ballet. Evelyn Cisneros danced for the San Francisco Ballet for 23 years and is the Artistic Director of the National Dance Institute of New Mexico in Albuquerque.

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