Health & Fitness
Massage. The word evokes visions of serenity, sensuality, and relaxation. But for dancers who work 6, 8, or 10-hour days, massage is also a basic requirement for maintaining physical and mental health.
Massage practitioners study a variety of techniques, and may combine different styles within a typical hour-long session. Dancers may experience Eastern massage forms like shiatsu or acupressure (Japanese compression massage based on Chinese theories of health and well-being), or Thai massage, which incorporates yoga-like stretching to increase range of motion. The therapist may also include Western styles like deep tissue, Swedish, or myofascial release. All three include long, gliding strokes and kneading. They focus on releasing chronic tension patterns in deeper layers of muscle tissue, alleviating chronic pain, and increasing blood and lymph circulation.
Michael Leslie, massage therapist for San Francisco Ballet, finds deep-tissue technique in greatest demand there. “It helps dancers use their bodies better because it aids their alignment,” he says. It softens tissue and helps muscles release so they “fall back into place.” Deep-tissue massage also helps normalize muscle tone, allowing the dancer to perform better at the next rehearsal or performance. Russ Beasley, who works on Broadway and American Ballet Theatre dancers, notes that it’s not easy to pinpoint which technique is most effective. But, he says, “Most dancers would probably expect and ask for a deep-tissue session that gets down and into the layers of muscle and fascia.”
Frequency of sessions varies according to schedule and individual preference. Beasley works on some dancers on a daily basis, and with others on a weekly or bimonthly basis. Most of his dance clients come in for a weekly visit on their day off, with occasional extra visits during the week for spot work. Beasley feels the weekly sessions allow therapists to get to know a dancer’s likes and dislikes, and allow for a better understanding of the unique aspects of each dancer’s body.
Injury often plays a role in what areas get worked on. “First we’ll look at the muscle groups surrounding the injured part to see what we can do to keep those areas functioning optimally,” says Jennifer Levitz, a former Pacific Northwest Ballet dancer who is now a company massage therapist. “When inflammation decreases, we work right on the injured area to restore function.” SFB’s Leslie says that working with tissue surrounding the trauma area will enhance the healing process, since it improves circulation to the area. Work on a typical overuse injury can start within a day.
Beasley feels massage rarely makes things worse for a dancer. But a physician should evaluate injuries first, especially if there’s bruising or if pain prevents sleep. “Generally, injuries need a period of rest before being treated with massage, whether it’s 24 hours, several weeks, or longer,” he says. Once an injury has been properly identified, and the physician gives an OK, massage is safe when approached conservatively.
All agree that, by taking on mild soreness before it becomes a bigger problem, massage can help prevent injury. Says Beasley, “At Twyla Tharp’s Broadway production of Movin’ Out, the overwhelming consensus of the performers was that massage was the single most effective technique to keep them going and to limit injury.” ’Nuff said!
Nancy Alfaro, a New York writer, danced with STREB, Jane Comfort, and Meredith Monk.
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.
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."
Ever find yourself lusting after that six o'clock penché, or a développé that will reach your nose? You're not alone. The eye is naturally drawn to the end points of a movement, and, in dance, that often translates to the highest extension.
But what if you're born without extreme, Instagram-worthy lines? It's a matter of developing a laser focus on alignment as well as strengthening and stretching with better body mechanics in mind.
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:
Conscientious theatergoers may be familiar with The School for Scandal, The School for Wives and School of Rock. But how many are also aware of the school of Fosse?
The 1999 musical, a posthumous exploration of the choreographic career of Bob Fosse, ran for 1,093 performances, winning four Tonys and 10 nominations; employing 32 dancers; and, completely unintentionally, nurturing a generation of Broadway choreographers. You may have heard of them: Andy Blankenbuehler and Sergio Trujillo danced in the original cast, Josh Rhodes was a swing, and Christopher Gattelli replaced Trujillo when he landed choreography jobs in Massachusetts and Canada. Blankenbuehler remembers that when Trujillo left, "It was as if he was graduating."
January 16 might as well be a Broadway holiday. Three gigantic names were born on this day, in 1908, 1950 and 1980, and they represent three distinct eras of powerhouse musicals. Without them, there'd be no belting Reno Sweeney, no "Fame"-ous Lydia Grant and no rapping Alexander Hamilton. Happy birthday to these indelible superstars.
In the midst of its 20th-anniversary season, BodyVox is taking a moment to look back. The Portland, Oregon–based company presents Urban Meadow, an amalgamation of some of its most popular works, at Philadelphia's Prince Theater, Jan. 18–21. Expect whimsy, and the unexpected. bodyvox.com.