Simply Adult Ballet: the progress of one adult dancer who took up ballet later in life

[Michelle_Richer]

As for dance class suitability for my needs, best make sure when my technique is crap that I do it with conviction, then no one will nice.

 

At my last Swan Lake workshop at ROH, I was in the front when we were about to start Odette’s solo from Act2. There was a girl that had attended a previous Swan Lake workshop, she was to the side and behind me, I invited her to come to the front parallel with me as there was space for her. She declined saying she wanted to follow me. I had videoed her with two other dancers and our teacher on a previous Swan Lake workshop, she was no beginner, should I have sent her to Specsavers? (Funny but true).

 

Today has been my last day of ballet until 4 Jan. It was another early morning start which required me to get up at 4am, to be in Leeds before 9am. The first part of the morning was spent with a little warm-up before going into some Cinderella rep. This was done on the stage at Leeds Grand Theatre. After a basic warm-up and a few plie and tendus without a bar, we did a little run on the diagonal with a turn centre stage and our own ending and pose. I couldn’t resist doing my party trick of the leg swapping pirouette landing in a curtsy, however when we changed sides it really felt quite different due to the large rake of the stage. The rep we did was based on Cinderella’s solo, but I guess it was simplified, but never the less it contained 4 en dehors pirouette and two attitude turns en dehors. It was a really nice piece however I found you did need to allow for the rake in your balance and also for the taping between the floor panels, as I accidentally hit one with my pivoting foot and partially spoilt the landing into a wide 4th.Our teacher called Rose was attached to the learning department of Northern Ballet, she was also present in my morning class on Tuesday, she was directly in front of me at the barre.

 

After the rep session she gave a short talk in the Grand’s assembly room about Northern Ballet and the Cinderella production, also showing us various props. I stayed chatting when the other girls left to go and watch the company class on stage. When I left Rose everyone had gone, I looked in a couple of doors that led to the stalls, the company class was in progress, and the girls could not be seen. I met up with a guy that had sat at the back during the discussion; I think he was a journalist. He suggested we just go in one of the doors and sit down. We did, except he kept well back and to the side. I went centre and only three rows up on my own. The guy running the class was Chris my Intermediate/Advanced teacher from Tuesday evening. He recognised me and said hello, and ask me if I was OK, that was a really nice personal touch, especially as he had a class in full flow.

 

However what did make me smile, he gave the company class exactly the same Pirouette enchainement that we had Tuesday night, even though I say it myself I think I made a reasonable job of it, especially as he gave me a “nice one”. What did impress me was the sharpness and precision with their allegro enchainement in time with the music, as the tempo seem to increase each time the went through. At the end I thanked the guys and Chris too.

 

To finish the day off I bought some hot chestnuts and has a nice chat to a couple of guys on the hot chestnut stall. The people in Leeds are very warm hearted and friendly, the same at Northern Ballet.

[Jan McNulty]

Sorry Michelle I don't understand your first sentence or the subsequent paragraph.  Has the start of your post been lost?

 

Shame you couldn't have stayed for the matinee - it was sheer magic this afternoon!

[Michelle_Richer]

Hi Janet

 

I would have like to have been, I would really have liked to see the full version of the piece we were dancing. I've documented it the best as I could remember on the train home, but there is one little bit that is a bit fuzzy.

 

The first two para’s are complete, its just me being sarcastic over the constant assumption that my technique is completely rubbish, I know what I see from other dancers in my classes and some professionals too, non of us are perfect.

[Jan McNulty]

You obviously read into postings things that I don't Michelle.  I don't think anyone has implied that they assume your technique is rubbish; people have spoken about themselves and other people that they know and have offered advice about the pain you are experiencing.  There has also, as you know, been a lively and wide-ranging discussion about class etiquette that covered many aspects and very few of these posts assume anything about your technique.

 

On the whole I have read of people's concerns that you may be pushing yourself too hard given the pain you have experienced and I think that is touching rather than assuming.

 

In respect of your last couple of words, about no-one being perfect, most dancers I have ever spoken to have been very self effacing and, in some cases, self doubting about their abiities.

[Thecatsmother]

I do agree with your comments Janet re dancers in general as most by their very nature are hugely self critical. I guess it comes with the art form and constantly striving for what always seems just out of reach. Perhaps that is part of the allure.

[Billyelliott]

Wow that looks like hard work - I have just shown DS the kind of muscle power he will need , but of course under supervision !

[Michelle_Richer]

Dear Anjuli

Ref your post #191 which I meant to reply to some time ago:

 

Plie’s

Interesting observation about plie’s for me I must confess I don’t tend to do the same most of my class. As most place their hand on the bar before the preparation music starts and only prepares the other arm to second during preparation. For me at all of my classes unless I am instructed directly and that hasn’t happened yet. I will start with arm in Bra bas with my head erect but position between ahead and to the side away from the bar (sorry I don’t know the name for that head position). As soon as the preparation starts my head will follow the arm away from the bar. One criticism I got from my local teacher was that my arms in grand plie’s was too flownsy, as I would use the first count to pull-up and lift my arm and gently roll out my fingers to create the line before descending. My local teacher’s preference was for arm in un-lifted second only, which for me felt quite wooden and without feeling. Sometime I feel like telling the teacher to be quiet on plies as I just want to enjoy them against the music as I can just float away into them, I know sometimes I almost close my eyes in ecstasy, especially if we are doing plie’s to an adapted Titanic theme, it’s the nearest thing I feel at the barre which has a dance like quality.

Where we incorporate a rise and balance, for me they are not separate, I will take both arms up together, rather than most tend to release their hand from the barre last. Always at the end of the sequence of plie’s I return my arms to bras bas with the head in the same position as when we started.

As I said I don’t conform to the majority of the experienced dancers in my class, but that’s my style and it feels natural.

 

Circular Travelling turns:

Was it dancing? Well not quite as I had no music, but I felt it had a dance like quality, the turn was always under control; I started and ended at the same point, as best as I can guess it was a circle, especially as I have done lots that haven’t been. The stop was accomplished by the pivoting leg being taken back (in fourth) on the next turn creating an abrupt stop, that could easily be presented as a curtsy. I haven’t tried mixing turns in a circle yet, but I have done them on the diagonal. However I am quite sure I can easily drop my party piece in of a leg swapping en dedan/ en dehors pirouettes landing in a fully floored curtsy. As for arms, in the instance I mentioned they were outstretched in second other than the initial preparation as this particular presentation is intended for the ending of Giselle’s first variation and I’m following Natalia Osipova’s example.

[Anjuli_Bai]

Regarding Michelle's post above in which she responds to  my  post #191 in which I said:

 

 

"When a new person showed up in class (pro/semi-pro level) I would set myself the task of how soon during barre I could place his/her level.  It was not even the first plié - but as the hand went to the barre and the dancer "placed" him/herself in preparation for that first plié.  That single moment literally foretold the rest of the dancer's class level and ability."

 

Michelle responds (above):

 

"Interesting observation about plie’s for me I must confess I don’t tend to do the same most of my class. As most place their hand on the bar before the preparation music starts and only prepares the other arm to second during preparation. For me at all of my classes unless I am instructed directly and that hasn’t happened yet. I will start with arm in Bra bas with my head erect but position between ahead and to the side away from the bar (sorry I don’t know the name for that head position). As soon as the preparation starts my head will follow the arm away from the bar. '

 

Nothing wrong in doing it that way.

 

Thus, I need only change my sentence to:

 

 

" When a new person showed up in class (pro/semi-pro level) I would set myself the task of how soon during barre I could place his/her level.  It was not even the first plié - but as the dancer "placed" him/herself in preparation for that first plié.  That single moment literally foretold the rest of the dancer's class level and ability."

 

The result is not changed.  It was the alignment/placement of the dancer that foretold the result, not whether the hand on the barre preceded or was part of the preparation.

 

However, I do want to compliment you on entering another level - the (en)trance of dance - as you dance your pliés.  That's as it should be.   I felt that in every class for 40 years.   And I miss iit now.

 

Dance your entire barre.

[mimi66]

Anjuli, I think your original paragaraph conveyed perfectly what you have intended.

 

I suspect, however, that you can prettey much guess how well someone you see for the first time can dance just by looking at them standing more or less.  (a handy & increasingly necessary skill in a large open non-beginner class in order to dance safely in the centre , and sometimes even at the barre!).

 

Of  course, to know what sort of training (eg method, or school of thoughts) they have recieved, we must wait for the way they place themselves at the barre, I think. Not that I can do that ... I hasten to add.

[Anjuli_Bai]

Perhaps we might discuss arms and pliés.  

 

The object of a set of pliés which is usually the first in the "order of the barre" is a warm up - an announcement to the body that work is beginning. As the muscles stretch and contract they massage the blood carrying veins and arteries that more blood is needed to support the work.  But plié also awakens the mind.  The well executed plié is smooth in its descent, smooth in its assent with no discernable bump or pause at the bottom of the movement.  It is continuous - like moving up and down on a silken cord.

 

Now - the arms - In an 8 count plié, all too often I see (even on professional dancers) that the plié is finished on the 7th count, whilst the arms are still moving to finish on the 8th count.  That presents no challenge. The mind would rather do one thing at a time.  The challenge is to have both arm and plié finish together.

 

Try it -  I think you will feel the diffference not only in the challenge but in the quality of dancing the plié.

 

Which brings me to - what is meant by "dancing one's barre" and how does one do that?

 

It does not mean more "flowery" movement in the arms and fingers.  If you were given a solo to do on stage and told to "dance" it, would you add affectation to the choreography?  No.  That would alter the choreography.  So what to do?   The answer is not something easily conveyed in typed words - it is something felt.  It is bonding with the music.   Getting inside the music.  If you feel it  - that feeling will be conveyed.  There is no - "then do this" - it's one of the mysteries of existence and the magic of the art form - any art form.  Somehow what you feel will make itself felt to others.  

 

If you watch two ballerinas dancing Swan Lake and one captures your heart - why is that?  They both did the exact same choreography.  The reason one captures you could be you were more open that evening, but it could also mean that one gave you a vision of the music - for whatever reason.  

 

I always saw an audience in the mirror.  Just as one should never stare into the mirror one would never stare at the audience.  But that mirror for me was not just a tool to use with moderation but a living thing - I could hear its heartbeat.  I needed to dance to the "person" sitting in the furthest seat.  To those on the left and to those sitting on the right.  This gave me a more dimensional feel - it added other dimensions to my dance - and barre..  

 

Try it - see what you think.

[Michelle_Richer]

Dear Anjuli

 

I will try to bring arms and the absolute finish of the plie together on count 8, even if to just to be different.

 

As for the so called affectation in Grand Plie at the barre, I believe that is a mis-interpretation, firstly this movement is common in the majority of level 3 dancers in both ENB and Northern Ballet, furthermore it is clearly demonstrated in David Howards Ballet Class for Beginners DVD, I was simply drawing attention to the over simplistic nature of one of my teachers.

 

If you were dancing solo there are two significant points, firstly the arm positions should follow what is intended in the choreography. However I would also make the point that the initial choreography is not cast in stone and is often tailored to a particular dancer. When I study repertoire of a classic for a particular scene I usually use video examples from around four different solo artist, its extremely common that similar movements are carried out on different legs, so movement are substituted others have minor changes, in some cases, even the tempo of the music changes, so I end up using sound tracks rather than music from CD compilations.

 

 

I totally agree with the comment “The answer is not something easily conveyed in typed words - it is something felt. It is bonding with the music. Getting inside the music. If you feel it - that feeling will be conveyed. There is no - "then do this" - it's one of the mysteries of existence and the magic of the art form - any art form. Somehow what you feel will make itself felt to others.”

 

As for “If you watch two ballerinas dancing Swan Lake and one captures your heart - why is that? They both did the exact same choreography. The reason one captures you could be you were more open that evening, but it could also mean that one gave you a vision of the music - for whatever reason.” I remember the first time I see an excellent example of that wasn’t so much to do with the music but with expression through body language. I received a YouTube clip from RAD for the “Dance of the knight” in Romeo and Juliet, it also included the entrance of Juliet. As the camera moved from the dancers during the dance of the knights, I was unsure of what the hidden steps contained, so I used a different video from a Romeo and Juliet DVD to fill the gap in the dance sequence, which it did. The differences in the body language of Juliet in her entrance was remarkable, in which one was artist good and the other outstanding, the character and the chemistry really captured your heart, I guess this is where the fusion of acting and dance come together in a very special way, it is much more than dance itself.

Admittedly some variations do not tell a story its purely out the art of dance, and where that’s done well and the audience engaged through sheer confidence, eye contact and smiles and finished off with a curtsey that fully engages the audience and a tidy professional exit too.

 

That is something I find missing in performances run by ballet schools, I know at dress rehearsals I will usually drop one in, I guess its expected of me and I usually on get the comment “Cheeky”, but for the performance itself then I have to follow what's planned by our teachers, that’s only right and proper. I guess I treat the curtsey to the audience just like reverence and apart from that, it feels far more professional. I think the curtsey its self is important as to how it engages with the audience, I like to open my arms starting with the left side of the audience and draw my right arm across head following, so as to cover the whole area before going fully down with arms in second, with head bowed. It may be technically wrong but it my style done with conviction.

[Anjuli_Bai]

This comment that I made in my post above:

 

"It does not mean more "flowery" movement in the arms and fingers.  If you were given a solo to do on stage and told to "dance" it, would you add affectation to the choreography?  No.  That would alter the choreography.  So what to do?   The answer is not something easily conveyed in typed words - it is something felt.  It is bonding with the music.   Getting inside the music.  If you feel it  - that feeling will be conveyed.  There is no - "then do this" - it's one of the mysteries of existence and the magic of the art form - any art form.  Somehow what you feel will make itself felt to others."

 

This response was not aimed at any poster on this board - it is a general statement - the word "you" is used in the general inclusive context - I could have said (and probably should have) : "if one were given a solo to do on stage and told to "dance" it, would one add affectation to the choreography?" 

 

There is a place for David Howard's style as well as a more simplistiic style.  I had the privilege of observing and interviewing (and lunching) with Mr. Howard.  The write up of that wonderful experience with a very charming man can be found here:

 

http://www.ballet.co.uk/magazines/yr_07/nov07/interview_david_howard.htm

 

 

From Michelle Richer's post above:

 

"If you were dancing solo there are two significant points, firstly the arm positions should follow what is intended in the choreography. However I would also make the point that the initial choreography is not cast in stone and is often tailored to a particular dancer. When I study repertoire of a classic for a particular scene I usually use video examples from around four different solo artist, its extremely common that similar movements are carried out on different legs, so movement are substituted others have minor changes, in some cases, even the tempo of the music changes, so I end up using sound tracks rather than music from CD compilations."

 

It is very true that choreography is not cast in stone - unless the choreographer insists it is.  Balanchine changed his choreography as the dancers were standing backstage ready to go on.  But - he was the choreographer.  If one wishes to dance his work - using his name on the program, the Balanchine Trust is very particular about how it is danced.  This includes every aspect including how the program is printed up.  However, if one wishes to perform a dance from a ballet such as Romeo & Juliet, and makes changes (for whatever reason) and one wishes to use the name of the original choreographer - one needs permission for those changes and for the use of the name.  If the ballet/dance such as Swan Lake is in the public domain, changes can be made but if the results resembles Petipa's work - then credit must be given such as:

 

Swan Lake, Choreography by Anjuli-Bai after/based upon Petipa

 

If, on the other hand one wishes to work on some dances from Swan Lake for one's own learning experience, not performing it for an audience, especially a paying audience, one can do what one wishes, making whatever changes one wishes.  

 

As for why one dancer captures one's heart and another does not - is a good reason why we have many dancers do the same dance and why we as an audience go to see the same ballet with different casts.  And why a ballet such as Swan Lake has captured  an audience generation after generation.

 

A curtsey - reverence - should always be done at the end of class - to the teacher and to the pianist.  It's not only a "thank you" but - for some of us - "Amen." 

 

There are many curtsies - Prima Ballerina Assoluta Alicia Alonso was famous for an entire repetoire of them.  People would purposely keep applauding just to watch her move from one exquisite reverence to another - I know - I was one of those applauding.     They should be taught in class as much as an arabesque or a pirouette.  They are no less important.

[Michelle_Richer]

This Swan has certainly had her wings clipped.

 

I’m sure many on this forum will say “I told you so”. I’m now very immobile as I cannot bare any weight on my right foot, so I have extreme difficulty walking let a lone dancing. So ballet for me for the immediate future has ceased totally.

 

It’s also difficult for me to establish precisely what went wrong; The physio’s exercise therapy was working although painful as I had also reduced some of my classes too. During the Christmas break with no ballet, thing were improving significantly to the point I re-began my morning workout at home, I did these two mornings running and felt absolutely fantastic. Saturday I went to London to see Jewels at ROH, but had a lot of time on my hands so did a lot of walking down Oxford Street and Regent street, at the end of Saturday legs were fine. Sunday I spent the day with my sister, her house was very cold, as the outside door was open most of the time to let her dog go in and out , also I was wearing a rather thin skirt so my legs got very cold. As we were sat down most of the time my legs started to stiffen, particularly the right one. But I was still able to walk normally.

When I got home I did the first set of 15 heel drop reps on each leg and it was hard going on the right one, so I stopped and shortly after went to bed.

 

The following morning I couldn’t place any weight on the right foot at all, it was a huge task just to go from the bedroom to the loo. By contorting my body and placing my right foot on some sort of demi ponte I could at least shuffle along, eventually I got down the stairs. I also found an old walking stick which gave just a little bit more mobility. My hope at that time as I started moving, things would improve during the day. By night time they hadn’t and I was extremely down, I caught the end a couple of romantic films on TV, that made me feel worse as I have never felt so isolated, alone and useless. Even though I had a good cry I think there was always a bit of an optimist in there think may be I might be a better in the morning. Also I had a hair appointment at 9am that, how would I cope, I think that’s when I started to get my second wind. I decided if I got up early at 6am, I would have a hot batch to warm-up my legs, may be that might help. If I went to my hair stylist early I stood a chance of getting parked outside the shop, so I wouldn’t have fare to Shuffle.

 

 

Tuesday morning (New Year’s eve) came, things were no better, but I think realisation kicked in, I had the early morning hot bath but it didn’t really seem to help, going earlier to my hair stylist did allow me to park close to the shop, it was still agony trying to shuffle there but at least I made it and got my hair done. When I got home it was clear there were things I needed to do for damage limitation. So I cancelled both of my rep workshops and hotel for that weekend (that was really hard), I then started informing some of my classes that it was unlike I would be present at the beginning of the term, and it really hurt me to send that message to LAB where I am extremely keen to start next week. Finally I contacted my Physio’s clinic, I now have an appointment for Thursday to see if they can sprinkle on so magic fairy dust to make it better, or what ever.

 

At least the day ended a little happier than it started, I did manage to get to a New Years Eve Salsa party although I was sat down all the time, but at least I was with my friends. Again that venue had its own car park, so its only a short distance to shuffle as I really cant walk, and even that is difficult and painful, however I can drive without to much bother.

 

 

I’m just waiting now to see what the Physio’s says and what my options are, then we can consider plan B.

 

My next big challenge after seeing my Physio is to try and do some supermarket shopping, and that definitely wont be easy.

[Anjuli_Bai]

I don't think anyone on this forum wants to say "I told  you so."

 

Does your supermarket deliver?  Can you order online?

 

When you mentioned your physio's exercise of "heel drops" I didn't want to contradict your physio but ......if by heel drops you mean standing on the edge of something such as a stair and having the heel drop below the level of the stair - I know it is a common exercise....but.....I think it is dangerous.  The heel was never meant to go below the level of the foot.  If you mean by "heel drops" standing on demi-pointe and lifting and lowering the foot from demi-pointe to flat - that is not dangerous.  But, I think that (sets) of  15 reps are too much.

 

But that is only my personal opinion - I am not a physio or otherwise trained in rehab.  So - my opinion is just that.

 

I wish you well.

[2dancersmum]

I'm so sorry to hear this Michelle.  What a rotten end to 2013 and horrible start to 2014.  I hope you get some improvement soon as it is not nice to think of you struggling to do even basic every day things let alone how disappointed you must be for your ballet classes.  Best wishes

[aileen]

Michelle, I'm very sorry to hear this. Before going back to the physio is it worth going to see your GP with a view to finding out exactly what the underlying problem is? You may need a referral to the hospital. I suspect that the only remedy for the injury, whatever it is, is rest. Could you do your shopping online?

[Thecatsmother]

Lots of ice in the meantime michelle. It may be you need a scan. If there is inflammation of the Achilles' tendon or indeed a small tear then do proceed with severe caution with anything that stretches it whilst fully weight bearing as you risk further inflammation through repeated motion or tears.

The best prognosis re injury rehabilitation can often come if help is sought early.

It's always easy to look back and say 'if only' and I have done this myself in the past. The best chance of the most rapid recovery is to rest and then rebuild.

I have a family member who ruptured whole Achilles whilst dancing(it shot up back of leg!!) so I always think this is an area of the body which pains should be listened to very carefully as should be the case with any injury really.

[LinMM]

Michelle does your foot hurt when there is no weight bearing or only when you try to stand on it? Is it swollen at all? When you do weight bear which part of the foot hurts the most?

 

I'm sure your physio will sort it out one way or the other for you but it probably seems a long wait till Thursday.

You know what I said in my email about resting well really try to avoid your work out studio until your appointment tomorrow just in case it's something like a stress fracture of some sort......which it probably isn't but just don't take any risks at the moment......which I know will be hard for you!!!!

 

It is miserable when you are injured initially because you nearly always think the darkest thoughts first......I remember with my back recently which is thankfully back to normal but chin up. Here's hoping there will still be lots of dancing for you in 2014 but maybe just a little less than in 2013 so that you can dance into the next decade but sometimes in Life less is more.

 

Good news is your ticket has arrived!!

Linda xx

[mimi66]

Michelle, I am sorry to hear about your foot.

 

I hope you are not having too much difficulties with your everyday chores. As other people have commented above, why not use on-line shopping for groceries?

 

Thinking of you... be patient, it will get better with the right treatments and you will be dancing again!

[Terpsichore]

Michelle_Richer

 

You poor thing! What a rotten thing to happen at any time but particularly this time of the year. I am so sorry.

 

I hope to hear better news from you soon.

 

With best wishes

 

Terpsichore

x

[Billyelliott]

Michelle I'm so sorry to hear about this......please do get at least a second opinion on the injury if not a range of different advice from different branches of suitably qualified medical and allied professionals as to what your options are etc.

 

It must be so depressing to have to cancel those long awaited workshops and classes . Let's hope that your appointment tommorow can give at least a little relief from the pain and some advice perhaps about something to wear to at least provide warmth and a little support.

Thinking of you xxxx

[Tulip]

Hope you have a speedy recovery Michelle x

[Michelle_Richer]

Hi Anjuli

 

Yes you have the heel drop method correct, and its 15 reps 3 times, I have been alternating each foot after 15, that is done twice a day. For the Left foot, I can do the 45 strait off, but am waning a bit towards the end, the right (Problem one), can just about manage 30 so that’s why I alternate after 15, plus to keep the strengths of each about even. And of course the heal drop exercise is a lot harder than rises.

 

My local Supermarket does not deliver but we have a Tesco at Boston which does, I really don’t like to give up my independence but my option are running very thin, its all about my mobility tomorrow, I can only assess it a day at a time.

 

Lin

As for pain, yes there is residual pain where ever my foot is and extreme at the Achilles and lower heel if I try to put weight on it. The only way I can minimise it is to use it on a sort of demi point but I need to rotate the body a bit too. The foot is a little swollen too with a bit of a bump where the Achilles is attached which is extremely sensitive. In the meantime I’ve tried massaging it with various creams: Deep Heat, Ibuleve and Biofreeze, but basically nothing helps.

 

After seeing my Physio tomorrow, I will most probably try and get to see my GP Friday morning , but I will need to queue for that. But personally I don’t have a lot of faith in GP’s

 

Thank you everyone else for you kind wishes.

[JulieW]

Wishing you a speedy recovery Michelle. Just be assertive with your GP and ask for a referral to an orthopaedic consultant specialising in foot problems - there are lots about and you may have to wait a while but at least you'll have your physio helping in the meantime. I really think you need a proper diagnosis.

[Thecatsmother]

No pun intended. Do you have a walk in clinic near you or an A & E? They may have more rapid access to scanning equipment? If it is swollen then ice is best.

[Anjuli_Bai]

Hi Anjuli

 

Yes you have the heel drop method correct, and its 15 reps 3 times, I have been alternating each foot after 15, that is done twice a day. For the Left foot, I can do the 45 strait off, but am waning a bit towards the end, the right (Problem one), can just about manage 30 so that’s why I alternate after 15, plus to keep the strengths of each about even. And of course the heal drop exercise is a lot harder than rises.

 

 

 

 

 

That heel drop exercise is not something I would do even once.  It is un-natural to how the body was intended to work.  It also doesn't allow the body an "escape" route.  45????    I think 45 of anything is too much.  Injuries don't like repetitive motion.

 

If it is swollen - ice and elevation - as close to above the heart as you can manage. and REST.

 

For an active person rest is seen as a negative action but for an injury rest is a pro-active measure.

 

One of the problems I've come across with consulting a physio (or other professional)  is that telling someone to go home and put on ice and rest  is often viewed by the patient as not pro-active toward a cure and also doesn't fill the appt schedule.   I am not saying that a physio is not helpful - but the patient must still apply common sense.  The bottom iine is we are each the guardian of our own bodies.

 

Ok - I do realize that a free opinion is worth about what it costs.  

[Moomin]

Poor you Michelle, sounds very debilitating. I would strongly advise a&e too, they will be able to call a specialist to see you if necessary. I'm surprised the physio didn't recommend it but perhaps they didn't know how severe the symptoms were. I wish you a speedy recovery

[Michelle_Richer]

Update from visit to Physio

 

I see a different physio this time as my physio was not available this week, but I have booked another session for next week. The Physio I see seemed to be well briefed, She did a thorough examination of the muscles in my legs and foot to establish the areas of sensitivity, her fingers and knuckles certainly were deeply penetrating as she said “does that hurt”, both Achilles were subjected to ultrasound massage while I was laid on my stomach. She said my soleus on the right leg was very tight, she asked me to flex my right foot as far as I could where it was still without discomfort. At that point she taped it from the bottom of my heel al the way through the Achilles to half way up my calf.

Then she asked me to stand on the floor and try lowering my right foot fully flat on the floor, that I did, which was an improvement as I could not when I first arrived. She ask me to try and walk on it, I was able too, but there was still a degree of discomfort, at least I was sort off back on two legs but very stiff and slow, for me that was real progress. As I was leaving she showed me the correct way to use a walking stick and also adjusted the height for me, I felt such an idiot, needing training for something we take for granted.

 

She also suggested when I get home to try some shoes with slightly higher heels as that should help with the immediate discomfort, that I did, and it does.

 

After that I had stuffiest confidence to call at my local supermarket (Morrison’s) and do quite a large shop, just in case. I was at least mobile hanging on to the trolley even if my right leg was a little painful; at least I still had my independence.

 

As a result of the above I will be going to London to see ENB perform Le Corsaire on the 11th as I believe my mobility can cope with that now, even if a little slowly.

 

All ballet classes for next week remain cancelled, when I feel fit enough, I will only re-start my London classes (ENB and LAB), the others I will bring back on line within the next 2 to 3 month, to co-inside with the commencement of rehearsals. Rep workshops will remain under review with a high probability that I will attend them if physically possible.

[LinMM]

Did your physio not think it was worth a GP referral for an X-ray just to make sure or was he/she pretty certain it was soft tissue/ligament damage?

 

Even though you have this slight improvement today which is great still try to rest your foot and not be tempted as soon as it feels a bit better to work too hard in your studio. It's no good cutting back on the ballet classes if you are then a few hours a day doing loads of reps. etc in your studio!! You may well need to keep it strapped for a couple of weeks at least!

[2dancersmum]

so glad to hear there has been improvement Michelle and that you have been able to stock up on food too.  I hope you will consider Julie's advice and see a GP to ask for a referral to a foot specialist.  It surely can't do any harm to get a second opinion/more options for treatment.  Here's hoping the improvement continues - the 11th is still a while away so I am sure you will get to see Le Corsaire.

[LinMM]

Just a thought you may be able to get crutches via your GP

I know this sounds a bit dramatic but it can help you keep to minimal weight on the right foot if you are doing any longer journeys eg when you go to the Coliseum on the 11th. However that is 10 days away so just a thought if only a small improvement by then. Hopefully it will be much better but I wouldn't carry on with these heel drop reps!! It seems that the fact that you cannot place foot flat may be due to overworking of these!!

[Michelle_Richer]

Hi Lin

 

Had they not strapped it up and had any improvement, I would have been down A & E in the morning for some specialist attention, as I'm sorry I don't have a lot of faith in the GP other than to prescribe pain killers and say "go away and try them".

 

YES MUM "I promise not to play with the toys in my ballet studio until I'm fully fit", He He he

 

Are you in London on the 11th?

[Michelle_Richer]

Contingency: I have checked out, my sister has a couple of pares of Crutches, but I don't think I will need them, however I will take a couple of foldup walking sticks in my large handbag, just in case.

 

The GP/A & E option remains under review, next Physio visit is Tuesday.

 

PS Im already walking on two legs fully flat to the floor now. Have already dropped heel drops until I see my original Physio as I have some questions regarding these.

Edited January 2, 2014 by Michelle_Richer