“While the world sees the grace and beauty in a dance recital, I involuntarily spot muscle fatigue, and any possible strain on the dancer’s spine, knees and ankles,” said Prashanth Nagaraj, an orthopaedic arthroplasty surgeon, who led a recent workshop on ‘Biomechanics of Dance and Dancers’ Bone Health’.
Dr. Prashanth Nagaraj interacting with dancers during the workshop
| Photo Credit:
Courtesy: Anaadya Performing Arts
Organised by Anaadya Performing Arts, founded by Bengaluru-based Kathak dancer Arpita Banerjee, the workshop was held at Dhurii Studio. The two-and-a-half-hour interactive session had participants volunteering to demonstrate dance movements and postures that were then scientifically analysed by Dr. Prashanth and Dr. Bhavana M.B., pediatric physiotherapist and clinical researcher.
“Pain is often ignored by dancers. We don’t understand the difference between good and bad pain, especially when we start dancing as children. I suffered a knee dislocation during a rehearsal in 2010. My guru Nandini Mehta referred me to Dr. Prashanth, who treated me with isometric exercises,” shared Arpita. The injury reshaped her relationship with dance, and led her to advocate a more informed approach to movement.
Dr. Prashanth, whose work acts as a bridge between clinical science and movement, also highlighted how dancers “push their bodies to achieve grace while retaining their posture and risking injury”.
The orthopedic surgeon took to this study as his mother Vimala Nagaraj learnt Bharatanatyam. “It helped me understand the physical demands and technique of classical dance.”
The workshop also dealt with systemic issues such as flat feet dancers often overlook. Dr. Bhavana said: “The harder you tap your feet, the stronger the impact on your legs, hips and spine. Flat feet can leave the dancer with foot problems or chronic ankle pain.”
Arpita added: “Some dancers are born with flat feet and continue to dance without pain. However, prolonged practice without awareness, improper support or lack of muscle strength can aggravate underlying issues. What is worrying is not the anatomy, but the ignorance — the tendency to dismiss discomfort as routine strain.”
Kathak dancer Arpita Banerjee, says her injury reshaped her relationship with dance
| Photo Credit:
Courtesy: Anaadya Performing Arts
Kathak doesn’t cause arthritis or health issues, opined Arpita. “It follows a scientific progression — slow footwork, gradual speed, hand movements, then chakkars. This allows the body to acclimatise the muscles and joints. The breath aligns naturally.” However, an injury is not the end. “It means you listen to your body and restart.”
Dr. Bhavana demonstrated physiotherapy and resistance exercises and correctional postures that would strengthen dancers’ muscles.
Bharatanatyam’s araimandi posture was discussed too, and the alignment of toes, ankles and knees of a volunteer were analysed.
Speaking of the science behind dance, Dr. Prashanth said: “Bharatanatyam is more postural, Kathak is more into neuromuscular control, which is what we see during the chakkars. The problem arises when the science behind the movement is ignored. We need to understand that.”
Though Odissi dancers were not present at the workshop, we reached out to Bengaluru-based Madhulita Mohapatra, a student of Gangadhar Pradhan. According to her, the most common injuries in Odissi dancers were knee strain, ankle stiffness, lower back fatigue and occasional muscle pulls. “These usually come with overuse, insufficient warm-up, wrong alignment or fatigue. Personally, injury teaches humility — it reminds us to respect the body,” she said.
The basic stances in Odissi, Chowka and Tribhanga are not harmful when taught and practiced correctly. “Problems arise when dancers collapse into their knees, lock their joints, rush movements, or practice without sufficient strength and preparation,” Madhulita said.
Rest is an important aspect of this too. “If you have a dance programme tomorrow, divide practice over a week. The bones and muscles need time to relax and recuperate,” explained Dr. Prashanth.
Odissi dancer Madhulita Mohapatra.
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Special Arrangement
Madhulita cited the examples of veteran gurus Kelucharan Mohapatra and Pandit Birju Maharaj, who danced even in their advanced ages. “They respected technique, alignment, rhythm and moderation, and nurtured their dance with strong fundamentals and a solid foundation.” She referenced ‘The Odissi Dance Path Finder’, a book by Odissi Research Centre, Bhubaneswar. “It offers illustrations of postures, stances, hand gestures, body positions and transitions.”
Talking about irreversible injuries that led to amputation, Dr. Prashanth mentioned the cases of Sudha Chandran, Amy Purdy and Evan Ruggiero, who dance with prosthetic limbs. “Their cases are studied across the globe by surgeons, because they overcame challenges using biomechanics.”
While Dr. Prashanth explained the theoretical aspects, Dr. Bhavana M.B. demonstrated the exercises
| Photo Credit:
Courtesy: Anaadya Performing Arts
Bharatanatyam dancer Shijit Nambiar suffered serious injuries in a road accident in 2013, and suffered extensive damage to his knee, including ligament injuries and multiple fractures. Doctors predicted a recovery period of six to seven months — Shijit returned to the stage in four months! “It meant rigorous physiotherapy, weight training and strengthening,” said the dancer, who was treated in Coimbatore by orthopaedic surgeon Dr. David Rajan along with Dr. Kannabiran Bhojan, who documented his rehabilitation and recovery.
“For centuries, Indian classical dance traditions have nurtured not just performers, but also resilient bodies. Yet today, conversations around dance injuries are becoming frequent. It is because something essential has been diluted along the way,” said Shijit, who trained at Kalakshetra in Chennai. “Injury prevention was built into the training. Classical dance is backed by science. Historically, Bharatanatyam training incorporated elements comparable to kalari, yoga and Ayurveda — systems that condition the body alongside artistic training. Similar models still exist in Kerala’s Kalamandalam, where Kathakali artistes undergo uzhichal, meyi uzhichal and meyi sadhagam as part of their weekly routine. That is why, despite them wearing heavy costumes and sitting in one posture for long, they still don’t suffer injuries. It is because their bodies are prepared.”
Dr. Kannabiran Bhojan
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Special Arrangement
Dr. Kannabiran, co-founder of Yashoda Physiotherapy-Fascikinetics and Faciapraxis, Coimbatore, lists the most common dance injuries as big toe inflammation and fracture of the small toe. “These are common in children who dance. The snapping hip is seen in senior dancers. Then we also have triple cartilage injuries, a result of high kicks. It is best that dancers get a basic screening done to check bone alignment, flat feet, knock knee syndrome, tight hips and so on, so they know their limits and where to draw the line.”
He also said that 80 per cent of dance injuries do not require surgery, and can be treated with physiotherapy. “Dancers have high pain tolerance and tend to dance through pain. Every dancer needs to be educated that this is not good.”
