There's plenty of danger in dancing

Taking a spin on the dance floor got dangerous this season on ABC's "Dancing With The Stars."

So far, six stars scheduled to compete were slowed or stopped by injury. Singer Jewel Kilcher fractured both of her tibias (shin bones), and "Access Hollywood" co-anchor Nancy O'Dell tore the meniscus in two places in her knee before the competition even started. Actor and competition favorite Gilles Marini has a shoulder injury. Apple Computer co-founder Steve Wozniak kept dancing despite a fractured foot – until he was booted off the show. Others have complained of various aches and pains.

That's not surprising, given the six- to eight-hour-long rehearsals and weekly deadlines these novice dancers face, says Melissa Stafford, campus principal of the Orlando Ballet School at the Patel Conservatory in Tampa, Fla. It's a recipe for injury.

"You can't be Michael Phelps overnight," she says.

While some adults are naturally flexible and take to dance quickly, many discover the harsh reality that there's a lot of stretching, technique and physical discipline involved. It takes commitment – and time – to do it right, Stafford says.

"It's a process. That's not going to happen in just six months," she says.

Serious dancers who get injured often seek help from sports medicine specialists, who likely will focus on both the injury and technique issues that caused the pain.

Typical dance injuries involve overuse: tendonitis, lower back pain, muscle strains and stress fractures.

"… [Dancers are] athletes, no doubt about it," says Jeff Konin, executive director of the Sports Medicine & Athletic Related Trauma Institute at the University of South Florida.

This season's slate of celebrity dancers proves that point. TV stunt performer Steve-O Glover tore back muscles in rehearsal. Jewel's replacement, reality show star Holly Madison, suffered serious rib pain before she was eliminated April 2.

"People see it as a competition and not as art," Stafford says.

That's not the case at Patel, where you'll see students of all ages spend a lot of time learning how to stand and move properly. Stafford's introductory ballet classes include a focus on standing with legs turned out and arm placement.

It's a misnomer that dance focuses on the steps and choreography, says Ashley Hilton, 24, an instructor at the conservatory who also attends an adult modern dance class. All dance is based in the techniques of ballet and on building muscle memory – the ability to teach your body to move and pose a certain way – so there is a lot of repetition.

But even those learning correctly get hurt, Konin says. SMART Institute doctors regularly treat dancers studying at the USF School of Performing Arts, and meet every fall with freshmen dancers to talk about avoiding injury.

"Over a period of time, even if you're in good shape, your body needs you to back off," Konin says.

Most injured dancers don't want to stop. Konin says treatment centers on modifications to frequency or amount of weight bearing on the injured body part.

Dancers who start as adults are usually looking for a more graceful way to stay fit, Stafford says. And while dance doesn't expend as many calories as some other exercise, it is an excellent way to tone muscles.

Non-dancers contemplating competitive dancing should focus on slowly building stamina and simple steps akin to "fancy walking." Avoid big jumps, which require a lot of muscle control. Men planning to lift a partner also should develop core strength.

And, Stafford says, pay close attention to exactly what you are asking your body to do.

"Focus on what the body is doing and not just letting it happen," she says.