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he says, is being empowered by his employer to work most effectively with this group of clients. Whether it's a hydrocollator (especially beneficial when they travel through colder climates), an electric stimulator, or a good supply of Kinesio tape, Masi says the tour sets him up with all the equipment he needs, no questions asked. "They support me in my decisions and give me the freedom to see the dancers through the entire therapy process without interruption." "JERAPY" PARTNERSHIPS The attention Masi gives to his clients might be reason in part why the dancers call what he does, "Jerapy." Masi does more than just provide pain relief to the performers—he is a partner in their process. Throughout each performance, Masi stands stage left, prepared to help with any immediate injuries and also to watch the dancers as they cavort around the stage. He says that way he can observe every dance move and evaluate any injuries in "real time." Not only is Masi's presence felt on the stage, but also in the doctor's office. "I accompany every dancer to every doctor's appointment that needs scheduled over the course of the tour," he says. He wants to be part of the conversation, so that doctor, dancer, and therapist are all on the same page and offering the greatest benefit for these athletes. He follows the prescribed protocol for that particular injury and that particular dancer, all in an attempt to get him or her back on the stage as quickly as possible. The partnership role has even stirred envy with some of the medical doctors with which Masi has worked. "I had the doctor who invented the vertebral cages for back stabilization tell me that he admired my work because I had a chance to actually touch and work with the dancers on a more personal level." It's that same bond, or partnership, which allows him to also be an advocate for the dancers. "The most dramatic example was when one of my dancers started feeling discomfort in her hip. I knew her routine and that she loved to run and was in excellent shape." When the hip hurt so bad she couldn't run anymore, Masi would take her pre-show and work around the joint to warm it and stretch the psoas. "Nothing worked," he says. "So we went to the orthopedic doctor and he insisted that nothing was serious—she just needed to stretch more." Knowing the dancer, her routine, and her physicality, Masi insisted on an MRI. "The doctor came back and quietly apologized to the dancer and me—he had read the MRI and saw three stress fractures in the neck of the dancer's femur. If she had danced more, she would have caused permanent damage in her hip and would have needed a hip replacement." As it was, she had to stay on crutches for 6–8 weeks. "Her whole career was held in the balance. We cried and hugged and sent her home." Masi says that's the most difficult part of the job—sending dancers home to recover. "I've sat through many tears," he explains. Masi's role as partner also extends beyond mere physical therapeutics. "Dealing with not only the physical, but the psychological toll that the tour takes on these performers can be a challenge," he says. "There is such a mind-body connection that exists that I can almost determine if the dancer is struggling with something mentally, which nine times out of 10 results in struggling with something physically." It is for those clients, Masi says, that he carries around a copy of Louise Hays' book, You Can Heal Your Life (Hay House, 1984). Incorporating a mind-body philosophy into his work is a big part of what "Jerapy" is all about. "As a high school counselor, I explored the student mind," he says. "As a probation officer, I explored the criminal mind. (c) 2008 G Creative As a counselor to troubled families, I explored the abusive mind. As a drug and alcohol counselor, I explored the addictive personality. This background has been what has taught me how strong the mind-body connection is, and allowed me to bring this knowledge to my work with my dancers." RIGORS OF DANCE Even though they are highly trained athletes, the dancers Masi works with still have their fair share of work-related injuries, especially when you consider their performance schedule. Stress fractures to the tibia and low-back strains are the injuries Masi typically sees with his group of dancers. He remembers one year on tour when he had to send eight dancers home for 4–6 weeks to recover from stress fractures. He says the more challenging the show, such as the Starlight Express where performers wheeled about on roller skates, the more challenging the injuries. When not in injury rehabilitation and recovery mode, Masi says he spends much of his session time working on the dancers' low back, iliotibial band, and especially their calves. The calves are problematic, he visit massageandbodywork.com to access your digital magazine 87