Expert Witness Journal Issue 67 June/July 2026 - Flipbook - Page 32
Raising the Barre:
Clinical Standards in Dance
and Performance
by Nina Slawson, Chartered Physiotherapist at Somek & Associates Ltd.
Career Stages
I would like to introduce you to my work and clinical
specialty as a physiotherapist in dance and sport
performance, and expert witness who joined Somek
and Associates in 2024.
My career began in 1999 and, in this time, I have
treated over 600 dancers and worked with some of
the world’s best athletes, including world champions
and Olympic medal winners across multiple sports.
Due to recognition of my work in this 昀椀eld, I have
also been requested to work with professional
performers on stage, 昀椀lm and television, including
Strictly Come Dancing.
The complexity of my role has developed, as has the
growing research and evidence base body of work
in dance medicine, notably demonstrated by the
development of the International Association for
Dance Medicine and Science. Over the past 15 years
a career in dance has become ever more competitive
and diverse. The opportunities, structure, and
intensity of training and skill set have intensi昀椀ed
too. The industry includes touring, being part of
dance companies and academies, theatre, cruising,
ariel performance and independent artists. These
industries have committed and talented individuals
pushing peak performance and precision that
requires years of dedication and skilled management.
To view Nina Slawson’s expert pro昀椀le visit:
www.somek.com/expert-witness/nina-slawson/
strength and endurance to make movements look
graceful and e昀昀ortless but with signi昀椀cant control.
An understanding of whether a dancer is 昀椀t to train
or fully recovered and allowed to participate comes
with a high level of adherence to health and safety
standards and competence for decision making.
Requirements of Injury Recovery in Dance
Following detailed assessment, an injury will be
diagnosed, and rehabilitation plans put in place with
evidenced-based treatment and recommendations.
Onward referrals are sometimes required to GPs
and Orthopaedic Specialists.
During the working week I am responsible for the
physiotherapy care of 120 dancers in a Performing
Arts Institute. This role is highly advisory, as I get
asked questions about improving technique and
overcoming technical di昀케culties for dancers. I am
expected to advise on protecting against injury
and whether a dancer can train or perform due
to an injury, plus the expected recovery times and
limitations. Of note, in ariel training, the dancers
are suspended in the air, wrapped and twisted
around silk ropes or hoops. This requires immense
EXPERT WITNESS JOURNAL
Examples of injuries I may encounter include
traumatic ligament injuries of the hip and knee,
stress fractures of the spine and feet, disc injury
and muscle tears. Due to the strength, 昀氀exibility,
capacity, and control necessary, I am accountable
for deciding if it is safe for a dancer to return to
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JUNE 2026
