Diagnosis and treatment for a wide range of medical conditions including the spine and all peripheral joints. Treatments are tailored to your specific injuries. Observing and accessing anatomical and postural technique. Including hip knee and ankle alignment at the barre for Dancers.
Making tissue specific diagnosis. Hyper-mobility, scoliosis and differences in speed of growth in young dancers can all be managed. Integrating the injury into the dynamics of the whole body and building self confidence.
Using deep soft tissue and muscle energy techniques, facial release, articulation and manipulation if required.
Rectifying bio-mechanical faults helps to increase circulation, venous supply and lymphatic drainage speeding up healing time .
Muscle tension dysphonia primary or secondary can be caused by emotional stress and over use of the voice. Stress in our lives is perceived as a threat and the body reacts in many ways. One of which is increased muscular tension. Our physical reaction to this may produce hoarseness, or roughness of the voice or a decrease or even loss of voice.
Globus a lump in the throat, lack of stamina and a change in pitch whether too high or too low can result.
Laryngeal manipulation treats the soft tissues of the larynx which houses the vocal folds and chords, relaxing the accessory muscles that are recruited to help phonation. Treatment of the muscles of the jaw and tongue is also vitally important.
Your assessment also includes looking at relevant postural issues and your breathing mechanism. Both have an important role in a healthy and efficient voice.
Fascial breathing meditation with body mapping.
Performers train in a highly competitive environment. They need constant easy flowing energy to project and expand their potential. When anxious our breath pattern changes. Constricting the throat diaphragm & belly. In Singers, Actors & Woodwind Musicians limiting tone and projection
This changes the mechanics of the thorax reducing oxygen to working muscles. In Dancers limiting arm extension & expression. Hip flexion becomes tighter and core balance is disturbed.
I use a 2::1 connected breath pattern with body mapping. Helping the performer discover and open areas within learnt holding patterns. Body mapping links emotionally held restrictions with anatomical myofascial trains.
With insight this tool opens the door to new found potential and energy.
Zena Rommett Floor-Barre
Developed in the US 45 years ago by Zena Rommett a pioneer in dance rehabilitation and injury prevention.
Floor-Barre uses a neutral pelvic position from which the Dancer can develop strength flexibility and length. Feeling how to work correctly isolating the hip external rotators. Being aware of the alignment of the pelvis hip knee and foot releases tension in other muscles maximising good neuro musculoskeletal memory.
Correct placement and alignment awakens the Dancers awareness of how injuries can be prevented.
MAKE AN APPOINTMENT WITH ANN
Brighton near Lewes
or West London
Tel: 07895 830018
Ann is approved by
SIMPLY HEALTH AXA PPP BUPA PRU HEALTH
Registered Osteopath D.O. Graduated from the British School of Osteopathy 1981.
Clinical Hypnotherapy Practitioner diploma 2000
Brief strategic Therapy Practitioner diploma 2001
Introduction into treating the Performing Artist 2013
Understanding Hypermobility in Dance 2013
Treating the Professional Dancer 2013
Inspirational Breathing Graduate programme 2015
Zena Rommett floor Barre technique 2015 Teacher cert: 1
Recently attended courses at Elmhurst and Trinity Laban with Dance UK .
Zena Rommett Floor-Barre Paris 2016 Floor Barre Maria Fay 2016 RAD
BAPAM Performing Arts Medicine Training Days 19th Nov 2016. Hearing & Brass Instruments.
British Voice Association (BVA) CPD Lecture 2017 with Dr Ron Morris.
Laryngeal Manipulation Jacob Lieberman Hamburg Medical School November 2017.
BAPAM Training Day November 2017 'The Professional Voice user in trouble'
Laryngeal Manipulation Jacob Lieberman Hamburg Medical School February 2018.
Ann treats leading Singers, Actors, Musicians & Dancers in London & Brighton. Ann works with the Harwood Artists at the English National Opera ENO using Osteopathy,
Laryngeal Manipulation & Inspirational Breathwork.
Ann is a Registered BAPAM practitioner, Member of the Osteopathic Performing Arts Association, British Voice Association BVA and One Dance UK.
Ann studied Laryngeal Manipulation with Jacob Lieberman an internationally acclaimed expert in treating the voice. Her method releases muscular tension
within the larynx which can improve stamina and range for Singers and Actors.
As a Dancer Ann has empathy with Performing Artists and uses Breathwork with body mapping to resolve emotional holding patterns which may sustain repetitive injuries.
Osteopathy for tissue diagnosis. What has been damaged and why?
Zena Rommett Floor-Barre to isolate & strengthen the core muscles necessary for Dancers.
Why has injury occurred? If a problem keeps returning is there an emotional holding pattern?
Ann's approach treats the whole you...the complex human being.