Skill-Specific Assessment
We look at the actual movement, whether that’s the back handspring, the arabesque or the landing, because the fault usually sits in the skill rather than the sore tissue alone.
Gymnasts and dancers get told their pain is normal. Most of the time it’s a specific injury with a specific cause, and it gets better when someone recognizes it.
Repeated back bends, extreme end-range positions, hard landings and a training calendar with no real off-season create injuries that don’t show up in other sports. Back pain in a young gymnast is never something to wait out.
We treat these athletes with an understanding of what their sport actually requires, and with the goal of getting them back to the skill, not just out of pain.
Repeated hyperextension loads a small part of the spine called the pars, and in growing gymnasts that can progress to a stress reaction. Persistent low back pain in a young gymnast needs a prompt look. It sits well outside the ordinary soreness the sport treats as normal.
The same idea applies across the sport. Hip pain in a dancer, ankle pain in a tumbler, wrist pain in a bar worker: each maps to a known cause. Knowing the cause is most of the diagnosis.
Gym and studio culture normalizes pain. Most of the injuries we see in these athletes were treated as soreness for weeks before anyone looked. If your gymnast or dancer has pain that keeps coming back, that is the signal.
You know the rule: don’t complain, keep going. Here’s a better one: if something hurts every time you do a skill, it’s telling you something. We can find out what, and most of the time you keep training while we fix it.
These conditions have well-understood causes in gymnastics and dance. Recognizing the pattern is what separates useful treatment from generic rehab.
Generic rehab gets these athletes out of pain and leaves them unprepared for the skill that caused the injury. The last phase has to look like the sport.
We look at the actual movement, whether that’s the back handspring, the arabesque or the landing, because the fault usually sits in the skill rather than the sore tissue alone.
Rebuilding tolerance to end-range positions and impact gradually, so the return isn’t a step off a cliff.
Assessment of ankle range, foot and calf strength, and trunk control before a dancer goes en pointe.
With your permission, we speak directly to coaches and instructors about modifications so your athlete isn’t caught between conflicting instructions.
Bring your grips or your shoes. Part of the first visit is watching the skill.
Gymnastics and dance culture normalizes training in pain. That norm is responsible for a meaningful share of the injuries we see.
Training hours per week are a known risk factor in youth gymnastics. We’ll have a frank conversation about the schedule.
These are aesthetic sports with real risks around under-fueling and bone health. We raise it when we see it and refer appropriately.
Mobility without the strength to control it is an injury mechanism. Most of these athletes need less stretching and more strength work.
These athletes are used to being told to rest and come back when it stops hurting. That advice fails them, because it never addresses why it started.
Soreness that fades by the next day can be. Back pain that returns every practice or lingers is not, and in a growing gymnast it needs a prompt evaluation.
Rarely entirely. We usually modify specific skills or volume while the injury settles, and coordinate with the studio so the instructions match.
A check of ankle range, foot and calf strength and trunk control before a dancer goes en pointe, so the transition happens when the body is ready.
With your permission, directly. Athletes do better when the gym, the studio and the therapist are working from the same plan.
If your gymnast or dancer has pain that keeps coming back, an evaluation will tell you what’s driving it and what it will take to fix.