Pain is an all-too-familiar companion in the life of a dancer. It often whispers during intense rehearsals, lingers after long performances, and, at times, demands attention in moments of stillness. For many dancers, the line between discomfort and injury can feel blurred, leaving them unsure of how to respond when pain arises. Should they push through, assuming it’s just part of the process, or step back, fearing they might cause further harm? Below, we talk about The Traffic Light Analogy and The Rule of 3s to help dancers navigate their sensations of pain and discomfort.

For many dancers, the inability to perform due to pain or injury can result in a profound loss of social identity, as their sense of self is deeply tied to their art form. This challenge is particularly pronounced in those with hypermobility syndromes, where chronic pain and heightened sensitivity are common. 75% of documented dance injuries are chronic, suggesting that dancers may delay seeking help until the injury becomes prolonged and harder to treat. The ability to distinguish between “good” pain associated with training and growth, and “bad” pain signaling injury, is crucial for career preservation, yet this distinction is not always clear, further complicating the path to recovery and long-term health.

What do we know about how dancers’ perception of pain?

• Described by many dancers as inevitable, always present, unavoidable, and required to achieve career goals. “Accepting pain as a part of the calling to be a dancer.”
• “Good Pain” – planned pain or in a sense something you do to yourself (eg a cramp because you’re working hard).
• “Bad Pain” – resulting in the need to stop, eg injury, constant, unbearable.

What do we know about dancers’ behaviors and pain?

Performing through pain was often glorified and dancers were regarded as having mental toughness.

• Risk-taking – Masking the experience of pain and injury from people who could influence their career, as dancers feared that their career opportunities would be revoked.
• Self-management – If dancers were capable of dancing around pain, then there was a decreased perception of injury.
• Self Awareness and recognition of early warning signs (“niggles”) – can regard injury as an opportunity to change and enhance technique.

Ways that dancers describe pain:

Other Considerations:

Pain in dancers extends far beyond the physical, often carrying significant psychological consequences that can increase injury susceptibility and lead to repeated occurrences. For many dancers, the inability to perform due to pain or injury can result in a profound loss of social identity, as their sense of self is deeply tied to their art form. This challenge is particularly pronounced in those with hypermobility syndromes, where chronic pain and heightened sensitivity are common. Up to 75% of documented dance injuries are chronic, suggesting that dancers may delay seeking help until the injury becomes prolonged and harder to treat. The ability to distinguish between “good” pain associated with training and growth, and “bad” pain signaling injury, is crucial for career preservation, yet this distinction is not always clear, further complicating the path to recovery and long-term health.

The Traffic Light Analogy

The Rule of 3s

• >3/10 Pain.
  Gradual movement through an affected region which diminished pain over time is generally positive. Discomfort may be present, perhaps more of an ache.
• Modifications for >3 classes.
  Persistent pain despite PEACE & LOVE. Unable to tolerate gradual increase in load.
• Pain is present for >3 days (or does not resolve within 3 weeks).
  Persistent or increasing pain despite PEACE & LOVE. Generally, manageable or non-threatening soft tissue injuries should have subsided.

While it doesn’t necessarily warrant formal medical attention right off the bat, we want to have a barometer for those whom we might want to be on the lookout for, particularly when pain “(or other types of sensations) are starting to influence behaviors or limit class adherence and overall participation. The first step is always having a conversation with a trusted medical provider to give you clarity and a plan of action.

The DANCE|PREHAB Perspective (For the Dance Educator):

To foster a healthier approach to pain and injury in dance, it’s essential to promote respect for physical limits and redefine how pain is understood. This includes rejecting harmful narratives like “no pain, no gain” or “suck it up” and instead acknowledging that pain—especially chronic pain—is the body asking for support and attention. Creating supportive spaces for open dialogue about pain helps dismantle stigmas around conditions like low back pain or being labeled “injury prone”. Continuing to challenge misconceptions, such as an oversimplification of a weak core with vulnerability to injury, can help dancers develop a more compassionate and informed relationship with their bodies, and know when to seek care.