Kathak is a classical dance form which originated in Uttar Pradesh, North India. Kathak loosely translates to “story-teller,” and has become a symbol of Indian culture and national identity. Additionally, this dance form is very physically demanding, with skills that challenge the biomechanics of human anatomy. Therefore, the purpose of this research is to explore the cultural context of Kathak, as well as examine Kathak from a medical perspective. Specifically, I sought to examine the injuries which are common to Kathak dancers, particularly focusing on the risk factors, prevalence, and mechanisms of these injuries. The methods to investigate this research question were primarily through literature review. Kathak dancers experience injuries in the lower extremities due to high rates of twisting, jumping, and stomping in the dance form. These repetitive and compressive motions may lead to hyperpronated feet, flattened arches, and extreme dorsiflexion and plantarflexion. These foot injuries overall produce a lack of alignment in the dancer’s anatomy and can decrease proprioceptive orientation and neuromuscular function and control of the lower extremities. The outcome of this research has the potential to bridge the gap between dance and medicine. Education is powerful for dancers so that they can be aware of high-risk injuries and perform exercises as preventative efforts. Preventative efforts may include reducing static stretches and instead incorporating more dynamic stretches into their daily warm-up routine. Additionally, dancers should be empowered to take initiative of their health and seek professional guidance when necessary, and dance schools should play an active role in encouraging this.

Fifth Harmony’s BOSS music video, which showcases female empowering choreography, has been viewed 267 million times. The choreographer behind it, Sean Bankhead, said in an interview the higher you go the bigger the budget and the bigger the ego of the artist that you are working with. He went on to say about how when he was working with Missy Elliot, she would challenge him to pull things out of him that he didn’t know he had and he was told "start fresh tomorrow you can do better.” As hard as it is to break into this industry, choreographers continuously mention being extremely proud of sharing their work with millions of people. From the outside, it seems like music video choreographers have so much freedom in artistic choices like style of the piece and movement influences, but how much do choreographers truly get to create the exact choreography that they want? The exploration of music video choreography is really important because music videos are a way for the dance artform to be shared widely, but in scenarios like the one above, commercial popularity influences the creation of a choreography. Bankhead also mentioned that in music videos, he incorporates a snippet of choreography that even non-dancers can do, and these are usually the pieces that go viral. How do Los Angeles dance industry choreographers strike a balance between their own artistic vision and commercial pressures to create viral videos to become successful in the LA music video scene? My research seeks to answer this question through analysis of YouTube interviews, close reading of popular dance music videos, and interviews with choreographers.