JOIN OUR NEWSLETTER

In dance, hypermobility is often admired. Dancers with naturally flexible bodies are frequently praised for their extensions, lines, and seemingly effortless range of motion. But great mobility without adequate strength means dancers can struggle with recurring pain, instability, fatigue, or injuries that seem to happen over and over again.

The hips are at the center of almost every movement in dance. Turnout, extensions, jumps, balances, they all rely heavily on the hip joint. Because of this, the hips are also one of the most commonly overworked and misunderstood areas in dancers and artistic athletes.

Back pain is one of the most common complaints we see in dancers and artistic athletes. Whether it shows up as a dull ache, sharp pinching, or ongoing tightness, it can quickly interfere with training, performance, and confidence in movement.

Dance is not just something you do for a season, for many, it’s a lifelong passion. Whether you’re teaching, performing, or returning to dance as an adult, your relationship with movement evolves over time. And with that evolution comes a shift in what your body needs.

Big, powerful jumps are a goal for many dancers. It’s easy to assume the best way to improve jumps is simply to do more of them. And while repetition plays a role, it’s often not the missing piece.

Understanding Injury Risk in Growing Artistic Athletes

In classical ballet and many dance styles, turnout receives a tremendous amount of attention. Dancers spend years working to increase their external rotation and improve how their legs open from the hips. While turnout is undeniably important, another side of hip rotation is often ignored: turn-in , or internal rotation. Many dancers have strong external rotation but very limited internal rotation. When this imbalance exists, the hip joint cannot move through its full range

In dance, it’s natural to believe that the way to improve a skill is to practice it more. Want better pirouettes? Do more turns. Want higher jumps? Repeat them across the floor. While repetition absolutely has a place in training, it’s only one piece of the equation. There is a major difference between training a skill and training the physical capacity to perform that skill . When dancers blur that line, progress often plateaus — or injuries start to appear. At Performanc

Every dancer has had this experience: one day your pirouettes feel effortless, and the next day you can’t seem to stay on your leg. It’s frustrating — especially when you’re doing the same preparation and using the same corrections. Turns aren’t just about technique or trying harder. They’re a combination of strength, coordination, balance, and timing. When something feels “off,” it’s usually because one piece of the system isn’t supporting the rest. Instead of focusing on ge