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*SCAPEdance Science is a programme that started in May 2020 where dancers and dance educators can find regular articles, online videos, and physical workshops to learn the applications of research and studies into their everyday dance practice.



Pointe Preparedness
What determines pointe readiness? Most dancers who train on a weekly basis require at least two to four years of training in ballet technique, with a good attendance record, before going on pointe. Placing a child on pointe before they are ready may cause potential danger to them as they may not have adequate range of motion, strength, and stability. This article will explore the growth and development as well as the basic parts of the pointe shoes.
Farah Fadzali, November 2020


Kinematics Of Jumps And Its Correlation With Dance Floor And Shoes
Dance training is characterised by a systematic progression of repeated motions while biomechanics observe forces acting on the body, which contribute to an understanding of the technical demands and the artistry of dance. This article will explore the kinematics (study of motion) of jumps and its correlation with dance floor and shoes.
Farah Fadzali, November 2020


Balance: Where Does It Come From and How Does It Help Us?
Pirouettes, handstands, head spins – they are all types of balance we do in dance. Balance ability is an example of sophisticated learned motor skill that is developed through training. It provides the foundation for mobility and functional independence. Dance practice can autonomously provide effective balance training. However, do we know how we can improve our balance as dancers? Let’s look into the biomechanics of what makes balance.
Charmaine Tay, October 2020


Muscle Memory: Where Does It Come From and How Does it Work?
Dancers have a highly sophisticated working memory – they are able to watch a sequence of movements and recreate the movement patterns with exceptional accuracy, integrating all the necessary information while performing lengths of physical tasks with varying sequences. Dancers have been described as kinaesthetic thinkers while professional dancers have been found to position match with outstanding accuracy. But how do they do this?
Charmaine Tay, October 2020


Understanding the Process of Recovery: Proprioception
We all have that one injury that keeps recurring over and over again, no matter how many times we get it “treated”. We call that a chronic injury and it happens because we return to dance training before we really should, mostly when we do not feel the pain anymore. But does no pain equate to us being ready to full swing ourselves back into training? Possibly not.
Charmaine Tay, September 2020


Nutrition: Understanding Fuel for Training
To perform at their best, dancers need to be adequately fueled for their dance activities. Sufficient amount of nutrition is intricately tied to every aspect of physiology and health and physical strain increases the demands made on the metabolism. 
Farah Fadzali, September 2020


Injury Prevention and Rest
Technical and physical expectations continue to push the boundaries of stamina, strength, flexibility and athleticism. In order to meet these requirements, dancers need to adapt or increase the duration of their training, resulting in longer working hours at a greater intensity. This increase can cause considerable negative effects on the body. However, the detrimental effects of fatigue (exhaustion) can be reduced, if sufficient rest and recovery periods are scheduled and used effectively.
Farah Fadzali, August 2020


Injury Occurrence in Street and Break Dance
Studies showed that both street dancers and b-boys/b-girls sustained more injuries as compared to other dance styles with statistics showing 3.4 times the rate for modern dancers and almost twice as much as professional ballet dancers. However, between street dance and breaking, individuals who practiced breaking showed to have experienced injuries at twice the rate as compared to other street dancers.
Reina Teh, August 2020


Injuries About Pre-Professionals and Professional Ballet and Contemporary Dancers
Dance is considered a form of specialised and creative athletic activity. It is noted that dancers who practise genres, such as ballet and contemporary dance, are often engaged in long hours of daily practice followed by rehearsals and performances. Due to such circumstances, many dancers succumb to problems,such as over-training or burnout, which lead to overuse and recurring injuries.
Farah Fadzali, August 2020


The Importance of Warm Up and Cool Down
Warm up and cool down are integral parts of preparation and recovery from any physical activity. Often times, these segments of training are overlooked and/or underutilised. Dancers are not able to fully prepare their bodies for dance training and retain the benefits of it. Therefore, we will discuss on how we can expand the advantages of these routines to achieve performance enhancement by understanding what it entails, as well as its benefits when done properly.
Farah Fadzali, July 2020


What Keeps Us Dancing?
In a society where pursuing further studies or a career in the arts is generally frowned upon by many, one might wonder what does it take for dancers to keep dancing despite living under constant societal pressure to leave the industry.
Charmaine Tay, July 2020


Are We Creating a Motivational Climate in Studios that is Conducive for Learning?
A discussion on learning environments we set when working towards examinations and competitions.
Charmaine Tay, June 2020


Returning to Dance Post COVID-19: Moving Forward Instead of Going Back
While it is difficult to speculate exactly what to expect of our bodies by the time we return to the studio, we might have some ideas of how the body has changed since our last day in the studio from a dance science stand point.
Charmaine Tay, June 2020


Integrating Cross Training and Periodisation
Cross training helps with preventing muscle imbalance, activating less used muscles, enhance agility and prevent injuries which are a part of performance enhancement. 
Reina Teh, May 2020


Fact Check!
What will resistance training do to you? Within this fact sheet we are debunking the myths of resistance training!
Reina Teh, May 2020


5 Reasons Why We Need Dance Science Right Now
Dance science is a new area of research study where scientific principles are applied to enhance performance. So what is dance science and why is it needed? We have also included 4 conditioning exercises for dancers with no equipment needed during this Circuit Breaker.
Farah Fadzali, May 2020




*SCAPEdance Science feat. Michelle Lim: How to Warm Up


*SCAPEdance Science x The Posture Lab: Periodisation


*SCAPEdance Science x The Posture Lab: Strength Training





Charmaine Tay

Being the first Singaporean to graduate with a MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in 2013, Charmaine is currently a Dance Science and anatomy lecturer. She also teaches body conditioning, advanced Ballet and advanced Jazz (musical theatre) at Lasalle College of The Arts. Charmaine is also certified in the Progressing Ballet Technique, and coaches the competition groups and Elite students at City Ballet Academy for local and international dance competitions.

Charmaine has lectured and invited to speak at various organisations such as National Arts Council-Ministry of Education (NAC-MOE), Singapore Medical Association, Nanyang Academy of Fine Arts, Changi General Hospital Sports medicine dept, and *SCAPE Invasion.

She has been volunteering at Parkinson’s’ Society Singapore, conducting the weekly dance therapy classes since 2014, performing physical examinations and exercise prescriptions for local students auditioning to study abroad at London School of Contemporary Dance. In 2020, Charmaine was selected to be a member of the Dance Educators committee for the International Association of Dance Medicine & Science (IADMS).



Farah Fadzali

Farah graduated with a MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance after attaining her Diploma in Dance studies at Nanyang Academy of Fine Arts. Farah has had experience in teaching movement therapy with various organisations namely: Institute of Mental Health, Down Syndrome Association, Lions Befrienders, YMCA Ystars and Parkinson Society Singapore.

Farah is currently working as a dance science researcher studying injury prevention and performer’s health and safety practices. Together with an accredited ISAK L1 Anthropometry achievement, Progressing Ballet Technique, and an Acroyoga Dance Teaching qualification she continues to work as a dance facilitator/dance trainer. Working towards the development of dance science research in Singapore, Farah aspires to continue integrating and understanding the range of scientific disciplines to optimise every performer’s potential.


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Michelle Lim

Michelle is a dance and movement professional based in Singapore. After graduating from School of the Arts (Singapore) as part of their pioneering batch, she went on to further her studies at The Juilliard School in New York City. Upon obtaining her BFA in Dance, she has gone on to perform as well as train other performers across North America ranging from actors, commercial and concert dancers, to broadway. She has performed works by notable choreographers such as Merce Cunningham, Mark Morris, Loni Landon, Jason Mabana and Roy Assaf. Michelle is also a trainer at UFIT Singapore and founder of PVLSE. As both a trainer and performer, she believes in the importance of finding balance between mobility, strength and power through mindful movement and intentional practice.


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Reina Teh

Reina holds a MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance. Prior to that, she was a graduate from LASALLE College of The Arts with a Diploma in Dance. Reina has experience in teaching adolescents, youths as well as adult in ballet and creative movement. She was also a volunteer teaching Dance Therapy at Parkinson’s Society Singapore prior and upon her studies.

Reina is a Programmer with *SCAPEdance cluster curating programmes to provide opportunities and knowledge for Singaporean youths who are interested in dance. Reina also volunteered to contribute to the *SCAPEdance Science column as she hopes to share the knowledge and concept of dance science in Singapore. Moving forward, Reina hopes to continue conducting dance science research to gain a better understanding of the dance population in Singapore.



Emile Dumont

Emile helps others through sharing his knowledge and experience. He does this by assisting his clients towards regaining good posture for overall physical wellness. Emile has a background in Exercise & Sports Science alongside 5 years of practical experience in postural correction, movement efficiency & injury prevention for organisations such as UNESCO Council of International Dance and LASALLE College of the Art.



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The Posture Lab

The Posture Lab is a company dedicated to education and application of Rehabilitative and High Performance integration. Allowing the sedentary, general public, corporates to high performing athletes or performers have access to our services. Also, a recognised Social Enterprise with a goal to help all people with disabilities, youth-at-risk and seniors to have holistic lifestyles through the incorporation of our services and education into their lives. The Healthcare Management Program (Athletes/Dancers) was recently introduced due to the influx of athletes and dancers lacking a support system for them to approach and professionals being able to understand the needs of these individuals.

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The Bridge Dance Project

The Bridge Dance Project is a grassroots network supporting the whole-person health and wellness of competition and commercial dancers and teachers by providing current dance medicine and science information.