Working Out With Anaïs Chalendard
Ballet and scoliosis might seem incompatible. But Boston Ballet principal Anaïs Chalendard, who was diagnosed with severe scoliosis at age 14, says this is a misconception: “Quality strength comes from ballet," she argues. “The doctors were so amazed at the way ballet was such a good balance of work and freedom."
Instead of undergoing surgery as a teenager, she chose to spend 22 hours a day in a full torso brace for five years, just so that she could spend two hours a day dancing at Roland Petit's Ecole Nationale Supérieure de Danse in Marseille. “Ballet was my therapy," she says. “Scoliosis also influenced my way of dancing because, in ballet, I felt so free."
During those years, Chalendard regularly trained in the Mézières Method for breathing and posture. Practitioners hold a series of precise postures while segments of the body are mobilized into alignment. Tight muscle chains are stretched to allow for the greater strengthening of the core and leg muscles. The approach helped Chalendard learn how to relax the muscles around her rib cage, allowing her body to adapt to her unique spinal structure.
Although she was unable to find a Mézières practitioner in the U.S., she still incorporates Mézières principles into her dancing today. She also practices Pilates daily. The emphasis on deep lateral breathing while mobilizing the spine and rib cage has improved her spinal strength, and helps her find her center of balance more easily.
Every day, her center is in a different place. Finding it is crucial for avoiding spasms. She assesses her spine before she even gets out of bed in the morning, but most important is warming up properly at barre. “If I don't have enough port de bras and balances at the barre, it's fatal," she says.
Yet Chalendard insists that scoliosis is not a restriction. “Scoliosis is something I need to be aware of, but thinking about it constantly is not a solution," she says. “I actually ignore it on purpose. Yes, it affects me, but it is also a choice to let it be a part of me. All dancers have a way of working around their limits—that is what makes your movement unique."
As soon as Chalendard wakes up each morning, her warm-up routine begins to prepare her back to support her throughout the day:
• Sits up in bed.
• Starts with soft breathing.
• Focuses her breath on the muscles between the ribs.
• As her lungs expand and contract, focuses on slowly moving each vertebra of her spine.
• Begins to softly open and close her chest to follow the breath.
• Incorporates a gentle shoulder roll to free up her arm movement.
• Finishes by filling her lungs with two more deep, cleansing breaths.
PC Igor Burlak
Be a Mermaid
One of Chalendard's favorite ways to mobilize her spine and rib cage is the Pilates “Mermaid" exercise on the reformer. The side bending action against resistance stretches the muscles on the side of her torso, while the rotational component helps to decompress twisted spinal joints and to restore mobility. The pushing action of the arms also strengthens the stability of her shoulder blades.
You know Les Ballets Trockadero de Monte Carlo as the men who parody your favorite ballet variations—and make it look good. But there's more to the iconic troupe than meets the eye.
A new documentary, Rebels on Pointe, goes behind the scenes of the company, and it's full of juicy tidbits about what it's like to be a Trock. These were some of our favorite moments:
After 30 years of pioneering work in physically integrated dance, AXIS Dance Company co-founder Judith Smith has announced plans to retire from the Oakland, California, company. Throughout her tenure, she strived to get equal recognition for integrated dance and disabled dancers, commissioning work from high-profile choreographers like Bill T. Jones. Her efforts generated huge momentum for expanded training, choreography, education and advocacy for dancers with disabilities.
By phone from her home in Oakland, Smith reflected on how far the field has evolved since the early days of AXIS, and what's yet to be done.
You know that how you care for your body before curtain can impact your performance. But with so many factors to consider, it can be difficult to nail down an exact routine. How much rest is enough? How close to showtime should you eat? We asked the experts.
How do you make your athleisure collection stand out from the pack? Get the ultimate studio-to-street seal of approval by having dancers star in your campaign, of course.
For his second collaboration with activewear brand Carbon38, ready-to-wear designer Jonathan Simkhai traded in his usual top models like Gigi Hadid and Karlie Kloss for the original Hiplet dancers—and the resulting video is as cool as we'd expect from such a fierce collaboration.
Last week, we highlighted the deliberately, hysterically bad @biscuitballerina Instagram account, created by a then-mysterious dancer with a great sense of humor. This week, the artist behind @biscuitballerina—who turns out to be Royal Ballet of Flanders corps member Shelby Williams—got in touch with us to set the record straight about the intentions of those LOL-worthy posts.
Her photos and videos, with their exaggeratedly cringe-worthy technical flaws, are NOT meant to mock amateur dancers. Instead, Williams is actually hoping the account will help all dancers move past their shortcomings and accept themselves and their dancing.
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.
Again and again, dance teaches me that when the filters fall away between people—when the boundaries of geography, religion and politics soften—the beginning and end of our relationships is always human.
In March, I traveled with Keigwin + Company to Cote D'Ivoire, Ethiopia and Tunisia, on a tour sponsored by the US State Department and facilitated by DanceMotion USA/Brooklyn Academy of Music. Our mission was cultural diplomacy: Simply, to share ourselves with diverse communities, to promote common understanding and friendships.
Our last stop was Tunisia. Until that point, we had mostly been learning varieties of traditional African dance, and sharing American modern dance. But Tunisia was different. The dancers already had a solid grasp of contemporary movement invention. Though we didn't speak the same language, we could make movement vocabulary with surprising ease. Everything about our backgrounds was different, but there was this special intersection through dance that seemed to present an open door to collaboration.
Photo by Todd Rosenberg, Courtesy Joffrey Ballet.
Christopher Wheeldon's new Nutcracker for the Joffrey Ballet was huge news when it premiered last winter. The choreographer shifted the setting from the home of a well-off German family to the Chicago world's fair, making the hero the young daughter of a working-class, Polish immigrant sculptress. This month, WTTW Chicago, the city's public broadcasting station, will premiere Making a New American Nutcracker, a new documentary showing how Wheeldon and his high-profile collaborators made the magic happen. Premieres on WTTW11 and wttw.com/watch on Nov. 16 before appearing on public television stations across the country. Check your local listings.
For most dancers, walking into the theater elicits a familiar emotion that's somewhere between the reverence of stepping into a chapel and the comfort of coming home. But each venue has its own aura, and can offer that something special that takes your performance to a new level. Six dancers share which theaters have transported them the most.
GLENN ALLEN SIMS
Alvin Ailey American Dance Theater
Glenn Allen Sims in Alvin Ailey's Masekela Langage. Photo by Paul Kolnik, courtesy AAADT
Favorite theater: Teatro Real in Madrid, Spain
Royal details: "The theater is gorgeous and ornate, with deep red upholstery and gold trim. There is a huge royal box in the center, which takes you back to when kings and queens were watching performances there."
Impressive facilities: Even the dressing rooms are a sight to see: Amenities for the dancers include large, carpeted rooms, and towel service.
The business side of dance can often fall second to the art. Contracts, which usually appear after you've done the hard work of securing a job, can seem like an inconsequential afterthought. You might decide to simply sign without reading the terms—or be understandably confused by all the legalese.
Ultimately, though, contracts can play an important part in setting the expectations for your job. A basic understanding of the legal terms you might see can go a long way in making sure that signing is a positive step toward growing your career.