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6 Reasons Dance Training Makes Us Better Human Beings
Everyone knows that training is the cornerstone of a successful career in dance. But as a dance educator, I also take comfort in the fact that high-quality dance training helps shape students into genuinely good people (in addition to creating future artists, which is a wonderful goal in itself.) These are the lessons dance teaches that help make students into better humans:
Improvement Takes Commitment Over Time
In my tap courses at Cal State University, sometimes students are shocked when they can't learn something quickly. In today's world, we're used to getting fast results. You need an answer—Google it. You need to talk to someone—text them. The cooking channel wants your dinner to be easy, the physical trainer wants your workout to be five minutes, Rosetta Stone can have you speaking Mandarin in an hour.
Zee at Big Apple Tap Festival
But dancers know that even when you have aptitude, there's no substitute for hard work and perseverance. Acquiring any skill of value takes time. It's the way we learn to dance, to play music, to speak a foreign language, to succeed academically, to change social norms and to break down barriers. We lace up our shoes day after day, week after week, year after year and learn how to dance. Commitment over time is the very antithesis of modern living and is at the core of dance training.
"Failures" Are Opportunities
At the foundation where I work that gives low-cost dance lessons to underserved kids, we do assessments to place students in the appropriate level. Every year we remind the kids that in academic schooling not moving up to the next grade every year is seen as a failure but in the arts, it is normal to stay in a level for multiple years as you perfect your skills. Every year there are kids who don't move up and are upset. But they soon realize that moving to the next level comes with mastery of a certain set of techniques and mastering those techniques takes hard work.
You Don't Get Something For Nothing
In dance class you are only entitled to what you earn. And what you earn doesn't even necessarily have to be perfect dance technique. Some of my favorite students over the years have not been the best tap dancers but they've been magnificent students. They show up on time and are prepared, they work hard, they sweat and they persevere. Maybe they don't become the most skilled dancer in the room, but they often reap the most benefits. And here is the beautiful part: those kids have worked hard exactly because they don't have a feeling of entitlement.
We Are Accountable to Ourselves and Each Other
At the foundation where I teach we have a very strict wardrobe policy. Any student not properly dressed sits and observes class that day. It may seem overly harsh, but there's wisdom behind it. There might be a time that a dancer or their family forgets the uniform, but it doesn't happen again. Over time, as the dancer matures, they learn to be responsible without the parents being involved, and you no longer hear "My mom forgot my shoes."
Dancers also become responsible for learning the material. They learn that the teacher is not a puppet master who can make a body do the correct thing; it is up to the student to learn the material. They learn that they are responsible to the rest of the class, and that being absent lets down their classmates because other dancers can't get in a good practice without everyone in the room. Missing class, coming to class unprepared or not focusing on executing the steps properly, they learn, affects everyone else.
Cutting Corners Isn't An Option
My younger students will invariably ask me when they can move to the next level and my answer is very frustrating to them, I'm sure. I say that there is really only one level: beginning. If everything goes well in the beginning, improvement will flow. If any corners are cut, it will be hard to become advanced. I distill advanced steps down to the same words I use for a person's first tap lesson. Anyone with an aptitude for dance who excelled a little too quickly will tell you that they eventually go back to fill in the gaps.
What Other People Think Doesn't Matter
In a world that is so concerned about appearances, dance teaches you that what others think is not the most important thing. I try to explain to my young students that they can't let their experiences get derailed by what they think someone else may be thinking. If they stand front and center in class and make a mistake, what does it matter what another student thinks? Stand in front, get that correction, improve because you want to and let someone else's view be damned. Let those too lethargic to meet their potential stand in the back and watch you strive to be better. If you can't do it today, there is always next class and you are already on the way because you have begun.
There must be something in the water: Last week, we announced that Madonna is directing Michaela DePrince's upcoming biopic. And yesterday, we got wind of another major dance film: According to The Hollywood Reporter, Fox Searchlight has sealed the deal to make Ailey Ailey's life and work into a movie. Yes, please.
While some movies falter along their way to the big screen, we think this one's got legs (and hopefully a whole lot of lateral T's and hinges and coccyx balances, too). Why?
Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.
Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.
Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.
Raise your hand if you've ever walked out of the studio with just one thought on your mind: a big, juicy cheeseburger. But raise your other hand if instead of getting that burger, you opted for a hearty salad or stir-fry.
While dancers need to fuel their bodies with nutrient-dense meals and snacks, plenty of foods get an unfair bad rap. "The diet culture in this country vilifies various food groups as being bad while championing others as good," says Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center at Mount Sinai Hospital in New York City. "But black-and-white thinking like that has no place when it comes to food."
Some foods have less nutrition than others, admits Hogan, but if you're eating what you crave and honoring your hunger and fullness cues, she says you'll probably get the variety of nutrients your body needs. Here are seven foods that can have a place on your plate—guilt-free.
When you spend as much time on the road as The Royal Ballet's Steven McRae, getting access to a proper gym can be a hassle. To stay fit, the Australian-born principal turns to calisthenics—the old-school art of developing aerobic ability and strength with little to no equipment.
"It's basically just using your own body weight," McRae explains. "In terms of partnering, I'm not going to dance with a ballerina who is bigger than me, so if I can sustain my own body weight, then in my head I should be fine."
Ten years is a long time for a dance production to run, but Sidi Larbi Cherkaoui's Sutra, an athletic, meditative spectacle featuring 19 Shaolin monks and a malleable set of 21 wooden boxes (designed by Antony Gormley) is still striking a chord with audiences worldwide. To celebrate the milestone, Sutra is returning to Sadler's Wells, where it all began. March 26–28. sadlerswells.com.
Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."
We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."
When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.
But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.
Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.
An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.
"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."
A flock of polyamorous princes, a chorus of queer dying swans, a dominatrix witch: These are a few of the characters that populate the works of Katy Pyle, who, with her Brooklyn-based company Ballez, has been uprooting ballet's gender conventions since 2011.
Historically, ballet has not allowed for the expression of lesbian, transgender or gender-nonconforming identities. With Ballez, Pyle is reinventing the classical canon on more inclusive terms. Her work stems from a deep love of ballet and, at the same time, a frustration with its limits on acceptable body types and on the stories it traditionally tells.
The latest fitness fad has us literally buzzing. Vibrating tools—and exercise classes—promise added benefits to your typical workout and recovery routine, and they're only growing more popular.
Warning: These good vibrations don't come cheap.