True or False: Can You Spot Which Fat "Facts" Are Wrong?
In the '90s, low-fat diets were as popular as boy bands. But by the early 2000s, the high-fat, high-protein Atkins and South Beach diets had people stocking up on steak and eggs. Now, avocado toast is arguably trendier than *NSYNC ever was, and fat is no longer thought of as a naughty f-word.
But there's still some skepticism around how necessary fats are in a well-rounded diet, particularly among dancers. Before you reach for that grass-fed double bacon cheeseburger, make sure you know the difference between rumors and reality.
"Fat is bad for you."
False: Fat is an essential nutrient. "Dancers in particular need it to provide adequate fueling for physical activity," says Kim Hoban, RD. "Fats help dancers absorb other nutrients they're taking in, and they aid in fighting inflammation." Plus, omega-3 fatty acids can help to improve focus and concentration—crucial when it comes to picking up and remembering choreography.
Kelly Hogan, MS, RD, CDN, clinical nutrition and wellness manager at the Dubin Breast Center of the Mount Sinai Hospital, adds that fat also helps the body manufacture hormones, which are important for a variety of body functions. "For dancers who are at risk of amenorrhea, including an adequate amount of fat in the diet can help with menstrual irregularities by increasing estrogen levels," she says.
Roughly 30 percent of your daily diet should come from healthy fats. If you're not getting enough, you may experience low energy, difficulty with appetite control, a deficiency of fat-soluble vitamins (like A, D, E and K), loss of your menstrual cycle or poor body temperature regulation. However, too much fat could lead to weight gain and low energy levels, particularly if you're replacing carbohydrates with fat.
"Some fats are healthier than others."
True: There are several healthy sources of fat. It's smart to fill your diet with avocados, nuts and nut butters, seeds (chia, hemp and flax are best), extra-virgin olive oil, fatty fish (especially salmon, tuna and sardines)and high-quality animal fats (such as grass-fed beef, chicken, organic dairy and eggs).
But avoid artificial trans fats. These man-made fats have no real health benefits. "Trans fats can lower our HDL cholesterol (the good one), raise our LDL cholesterol, increase risk for cardiovascular disease and diabetes, and increase inflammation throughout the body," says Hogan. These fats are found in a lot of processed baked goods, fast foods, frozen foods and margarine—check ingredient labels for "partially hydrogenated oils."
"Margarine is better for you than butter."
False: The old research indicating that margarine is more heart-healthy than butter doesn't really hold its weight anymore, says Hoban. The spreadable butter substitute was long thought to be healthier because it has no cholesterol and less saturated fat. But some margarine contains trans fats, which have a slew of risk factors (see sidebar on opposite page). Although butter does contain saturated fat and cholesterol, using it sparingly won't have a major negative impact on health.
"I shouldn't eat fat before a show"
Somewhat true: Fat takes a long time to digest, so having a high-fat meal right before a performance may not sit well. "Fat helps promote the feeling of satiety, though," says Hogan, "and can be incorporated into a pre-dance meal if you have two hours or more to digest."
"Low-fat options are healthier."
False: "Decreasing or removing the fat from a food like yogurt, for example, means something else needs to be added to achieve a normal flavor and consistency," says Hoban. "Usually that thing is sugar, artificial sweeteners, flavors or other additives—meaning you're not really getting a healthier product by skipping out on the fat."
Plus, Hogan urges dancers to consider the satisfaction factor. "A fat-free yogurt may not feel as satisfying as whole-milk yogurt, and may leave you wanting another snack soon after." The added sugar can lead to a blood-sugar spike, followed by a crash. "That's not the most beneficial if you want a long-lasting energy source for a day of dancing."
When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."
But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.
From coast to coast, choreographers have spent the first year of Donald Trump's presidency responding to the impact of his election and what it means for them as artists.
New York City's Dante Brown used rubber Trump masks in his work Package (revamped), which examines the monstrosities of power.
A video titled "Dancers vs. Trump Quotes" went viral last summer, showing dancers taking Trump's "locker-room" talk to task.
Alexis Convento, lead curator of the New York City–based Current Sessions, dedicated a whole program to the concept of resistance, while educator and interdisciplinary artist Jill Sigman has initiated a workshop called "Body Politic, Somatic Selves," as a space for movement research around questions of support, activism and solidarity.
In San Francisco, choreographer Margaret Jenkins facilitated a panel of artists about the role of activism within their work.
Growing up in inner city Rochester, NY, Aesha Ash was just one of the neighborhood kids. She'd imagine people driving by, judging her by her black skin.
"They'd never know that I was dreaming of becoming a professional ballet dancer. No one would think, Some day she's going to make it into New York City Ballet," says Ash.
After an inspiring career at NYCB, Béjart's Ballet Lausanne and LINES, the January 2006 Dance Magazine cover star—one of our 25 to Watch that year—is no longer performing. But she's determined to use her dance background to change the stereotypes and misconceptions that people—including black people—have about women of color. "I want to show it's okay to embrace our softer side, and let the world know we're multidimensional," says Ash.
Aesha Ash in Richmond, CA. PC Renee Scott via swandreamsproject.org
In 2011, she launched the Swan Dreams Project to inspire kids in the community she grew up in. The original idea was to post images of herself in a tutu all over Rochester. "I remember growing up and in the bodega you'd see images of girls in bikinis on motorbikes," says Ash. "I wanted to replace those with photos that show women of color in a different light."
She knew the power imagery can have: She still remembers what it felt like as a student at the School of American Ballet to see a photo of black ballet dancer Andrea Long. "That image was everything on days when I was feeling disenchanted. I'd see that picture of her, and know that the struggles I was going through, she went through them, too."
Ash soon realized she didn't have the budget to fund her original plan ("I never realized how expensive a bus stop advertisement is!"). But she's made the images available through an online store, and often simply gives away prints at her own expense to schools and students in need of some inspiration.
Any proceeds she makes from the sales go directly to other organizations that are working to expand ballet in diverse communities. One large donation even led to a pointe shoe fund at dancer Robyn Gardenhire's City Ballet of Los Angeles school—and it helped one dancer who had quit ballet because of the expense come back to class.
Now a mother of two in San Jose, CA, Ash will also start teaching a free after-school ballet class at her daughter's public school next month. "I recently taught at Girls Inc. in Oakland, and one of the little black girls said, 'Are you the ballet teacher?' She just stood there, staring at me with her mouth open, like a unicorn had just walked into the room," Ash says. "You never know the impact you can have just by being a presence."
It is a great tragedy for dance history that iconic ballet partnerships like Margot Fonteyn and Rudolf Nureyev or Natalia Makarova and Mikhail Baryshnikov weren't able to document their backstage shenanigans on social media. (Okay, maybe not a great tragedy, but you have to admit that you're curious.)
Lucky for us, that isn't the case with today's star dancers—like American Ballet Theatre principal dancers Isabella Boylston and James Whiteside, aka The Cindies. These two aren't just onstage partners. They're serious #BestieGoals. Our evidence, as documented on Instagram, is as follows:
When London-based perfume company The Beautiful Mind Series was looking for a collaborator for their next scent, they skipped the usual celebrity set and brought in prima ballerina Polina Semionova instead. "I was fascinated by what goes on in the mind of a great dancer," perfumer Geza Schoen said in a press release. Semionova's ballet-inspired scent, Precision & Grace, celebrates the intelligence and beauty behind her craft.
Courtesy of The Beautiful Mind Series
The ever-so-busy Kyle Abraham is back in New York City for a brief visit with his company Abraham.In.Motion as they prepare for an exciting spring season of new endeavors with some surprising guests. The company will be debuting a new program at The Joyce Theater on May 1, that will include two new pieces from Abraham, restaged works by Doug Varone and Bebe Miller, and a world premiere from Andrea Miller. Talk about an exciting line-up!
We caught up with Abraham during a recent rehearsal where he revealed what he is tired of hearing in the dance community.
Choreographer Tero Saarinen has a proclivity for the peculiar—and for epic orchestral music. That he should be commissioned by the Los Angeles Philharmonic to create a new dance work to accompany the U.S. premiere of Bernd Alois Zimmermann's Cello Concerto en forme de pas de trois only makes sense. Zimmermann's eerie, difficult-to-classify composition falls squarely in Saarinen's wheelhouse. Walt Disney Concert Hall, Jan. 19–21. laphil.com.
Two competition routines are equal in technical proficiency, artistry and choreography. One consists of all girls, the other includes a boy. Guess which takes home first prize?
If you guessed the one with the boy, you may be privy to an unspoken and much-debated phenomenon in the competition dance world: The Boy Factor. According to The Boy Factor, a competitive piece is more likely to win if there's a boy in it.
"If it's all technically equal and one group is all girls and the other group has a boy, the one with the boy will win," says Rysa Childress, owner of All Star Studios in Forest Hills, New York. "Boy soloists are sometimes scored higher than more technically proficient girls because if a boy has good stage presence, we let him slide," says an anonymous competition judge. "And most of the feedback will be for the boy."
I'll never forget something Roberto Bolle once told me when I was interviewing him about his workout regimen: Talking about how much he loved to swim, he said, "I would love to go in the Italian sea, but I am too well-known there to show up in my suit."
It always amused and kinda shocked me that a ballet dancer could reach that level of fame. But it's true: In his native Italy, Bolle is a bonafide celerity.
Everyone knows that community college is an affordable option if a four-year school isn't in the cards. But it can also be a solid foundation for a career in the dance field. Whether students want an associate in arts degree as a precursor to obtaining a bachelor's, or to go straight into the performing world, the right two-year dance program can be a uniquely supportive place to train. Don't let negative stereotypes prevent you from attending a program that could be right for you: