- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
Why Dancing Made Me A Marathon Runner
This Sunday, about 50,000 people will be lining up in Staten Island to run 26.2 miles for the New York City Marathon. I'll be one of them.
When I tell people from the dance world that I'm training for what will now be my eighth marathon, most can't comprehend why I would want to do something so boring. Many dancers can't see the point of repeating the same movement over and over for four or five–odd hours when you could spend that time dancing, moving your body in so many different, more fun and interesting ways.
I get it. As a teenager, I used my rehearsal schedule as an excuse to get out of gym class specifically so I wouldn't have to run laps around my school's baseball fields. But over the last few years, I've come to love this weird endurance running hobby. And I've realized that most of the reasons I do relate directly back to dancing.
For starters, there's the dedication and perseverance (some might call it obsession) that is an integral part of being a dancer. In the studio, I learned to love the daily commitment to pushing my limits, and trying the same things over and over until my body began to be able to do what my mind commanded. Running has become my outlet for that need to to challenge myself day after day.
As Joffrey Ballet star Fabrice Calmels once said in an interview with Runner's World about his own running habit, "the physicality of the race is similar to some parts of the ballet…. It becomes a decision, 'I'm just going to keep going through this struggle.' "
But I find there's a bigger connection than just sheer grit or applause. I think dancers and runners both are attracted to their passions because they want to achieve the seemingly impossible. They want to prove to themselves that with enough hard work, you can do something superhuman, whether that's balancing your entire body on your toes or running longer than 26 miles in one go.
For me, one of the greatest things about dancing is that feeling you get during a perfectly placed pirouette. You're turning and turning, and you hold on to eek out one extra rotation, using your turnout to slowly finish exactly where you want to with complete control. That feeling of total grace, of an ease that you can only master after hours, days, years of practice, is one of the most satisfying things I've ever found in life.
That feeling is what I search for every time I go out running. Just like in dance, I don't find it every time. Sometimes you're sore, or tired, or "off" your leg. Usually when I'm running I'm a panting mess, bobbing awkwardly up and down. But every once in awhile, I can find that ease and grace where my body feels like it's soaring forward, and my legs are churning below me effortlessly.
I don't know if I'll get that feeling during the marathon on Sunday. But I do know that the years I spent working to lift my développé higher and jump more sprightly will be what helps me push past the wall at mile 20 when my legs hate me and all I want is a pizza and a couch.
Jacques d'Amboise in Apollo, 1963. Photo by John Dominis via danceheritage.org
One person I often think of to get through the rough parts of a race is Jacques d'Amboise. In 1976, the New York City Ballet principal dancer ran the marathon the very first year that the course covered all five boroughs of New York City, according to The New Yorker. He trained for it without telling George Balanchine, mostly by running around the Central Park reservoir. After his very first long run of 20 miles (just two days before the marathon!), he told his friend who'd gotten him into running, "That run you suggested was just fantastic."
I know exactly how he must have felt.
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.
How does someone go from being a New York City Ballet corps member to training Hollywood A-listers like Natalie Portman, Rooney Mara and Jennifer Lawrence? By getting injured, says Kurt Froman.
When an ankle sprain left him sidelined a few years back, Froman was "sitting at home, depressed" when he sent his friend Benjamin Millepied an email asking what he was up to. It turned out that Millepied had just been hired to choreograph some scenes for a movie, but had to be in Paris during pre-production. "He needed someone to teach two actors choreography and get them in shape," says Froman. With nothing else on his plate, he said yes, and started prepping Natalie Portman and Mila Kunis for Black Swan.