Chiropractic: A Vital Element in Ballet
Throughout the last ten years Dr. Lawrence E. DeMann Jr., a chiropractor in New York City, has treated hundreds, perhaps thousands of dancers across the country and all over the world. Dr. DeMann works primarily with ballet companies such as the New York City Ballet, American Ballet Theatre and the School of American Ballet.
The far reaching effects of chiropractic care extends to other cities as well. Dancers who performed with the New York City Ballet have gone on to become directors of other major regional ballet companies, where they incorporate their belief in chiropractic. Peter Martins, director of New York City Ballet; Helgi Tommasson, director of San Francisco Ballet; Edward Villela, director of the Miami City Ballet; Daniel Duell, director of the Chicago City Ballet; Christopher D’Amboise, director of the Pennsylvania Ballet; and Mikail Barishnikov, former director of American Ballet Theatre have all worked extensively with Dr. DeMann while they were dancing and have therefore encouraged chiropractic treatment for company dancers.
When asked how so many dancers found chiropractic and made it an important part of their lives, Dr. DeMann suggested we talk to one of his patients, a very special patient, prima ballerina Stacy Caddell of the New York City Ballet. Dr. DeMann stated that Ms. Caddell was his very first dancer/patient, and if there was only one dancer responsible for the success of chiropractic in the dance world, then it would have to be Stacy Caddell.
Prima Ballerina Stacy Caddell’s Personal Story
“I started studying ballet at the age of five in Norfolk, Virginia. By the age of ten I spent at least three hours a day, seven days a week studying at my local ballet school. I received a scholarship to the School of American Ballet in New York City when I was sixteen and moved away from home to continue training in New York.
The training at the School of American Ballet was very intense. Learning the style and technique was difficult and a struggle physically. During the first year I developed an injury to my left hip and I had to stop dancing for the first time since I had started ten years ago. I sought medical and orthopedic treatment which proved unsuccessful. I was devastated and wondered if this could be an end to my career. A friend suggested I see Dr. DeMann, a chiropractor. I was tentative, but having exhausted the medical route, I finally went to see him. Dr. DeMann examined me and told me what the problem was. An overuse injury due to faulty bio-mechanics and weak musculature. He put me on an adjustment schedule and worked out an exercise program. I was soon back to dancing.
The following year I was invited to join the New York City Ballet by its late founder, George Balanchine. Since my first experience with chiropractic was positive, I have learned quite a bit about chiropractic and have recognized it as my primary form of health care. Drugs don’t work for dancers. They numb the senses and decrease performance ability. As for surgery — I could count on one hand the number of dancers I know who have returned to dance successfully. The revelation that the body has the ability to heal itself, that chiropractic works with all things natural — nutrition, adjustments to stimulate the nervous system, and exercise, all makes sense. Chiropractic has been the single greatest gift to my career. It has kept me healthy, minimized the time spent being injured, and it has given me a positive, less fearful outlook on the physical demands of dancing. I have now danced with the New York City Ballet for ten years. I have performed in front of thousands of audiences around the world working with hundreds of other dancers. I truly can’t imagine any dancer being without chiropractic care and for that matter, I can’t imagine anyone being without chiropractic care.”
