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Skip These Smoothie Mistakes
It's two hours until showtime, and you want a quick bite to give you a boost. So you run into your local smoothie shop and order the Strawberry Surprise. Perfect plan, right? Not necessarily. The word “smoothie" doesn't automatically translate to superfood. But done right, it can be a dancer's secret weapon, leaving you satisfied without the bloat, and energized without the sugar crash. The trick is to avoid these six common mistakes.
Mistake: Overdoing Fruit
Fruit is healthy—in moderation. “You don't need three servings of it to start your day," says dietitian Lauren Slayton, founder of Foodtrainers in New York City. Keep your drink heavy on the veggies, and stick to just one serving of fruit. Vegetables have very little to no sugar, and pack a greater nutritional punch.
Mistake: Adding Juice
“One of the great things about blended smoothies (as opposed to juicing) is that you retain the fiber and other nutrients in the skins of the fruit," says Emily C. Harrison, dietitian at the Centre for Dance Nutrition at Atlanta Ballet. “Adding juice is more like adding sweetener." Instead, Harrison recommends using almond or soy milk for a boost in calcium and vitamin D, or simply water.
Mistake: Over Sweetening
It may be tempting to add a sweetener, but you really don't need it. “Smoothies are naturally sweet," says Harrison. Try your favorite smoothie without extra sweetener and see if you can taste the difference. If you insist on adding something, Slayton suggests just a few drops of liquid stevia or other natural sweeteners. “Agave, maple syrup or honey are okay if you truly stick to a few drops," she says. “But never go for Splenda. That puts the 'ugly' in the good, bad and ugly of smoothies." The chlorinated artificial sweetener is made primarily of sucralose, which comes with a whole host of negative side effects.
If you're ordering a premade smoothie, beware: “Most are full of sugar," warns Harrison. For example, even Smoothie King's small Hulk Vanilla drink packs a whopping 88 grams of sugar—about as much as two bags of Skittles. According to the American Heart Association, women shouldn't be consuming more than 25 grams per day of added sugar (not including the naturally occurring sugars in fruit).
Mistake: Adding Protein
Mixing in protein powder is usually unnecessary. “Most dancers get enough protein through their diets," says Harrison. “So adding extra protein is basically just adding extra calories—and it doesn't magically make your muscles bigger." If you do want to pump up your protein intake, Harrison suggests sticking to pea or hemp protein: “They come from plant-based sources, which have been shown to be healthier in the long term."
Mistake: Skipping Fat
Repeat after us: Fat is not a dirty word! “Fat provides staying power," says Slayton. Adding a tablespoon of healthy fats is an easy way to keep yourself satisfied through long performances. Slayton's favorites are coconut oil (“great for burning fat," she says), hemp seeds and almond butter.
Mistake: Creating A Calorie Bomb
That aforementioned Hulk Vanilla smoothie boasts 801 calories—essentially making it a glorified milkshake. Harrison suggests keeping your smoothie to 8 to 16 ounces, depending on whether you're drinking it as a snack or a meal.
My dance coach wants my word that I'll keep competing under his school's name for the next year and not audition. I'm 18 years old and already doing lead roles and winning medals. I love his teaching, but shouldn't I be ready to go out and get a job?
—Gil, Las Vegas, NV
How do we make ballet, a traditionally homogeneous art form, relevant to and reflective of an increasingly diverse and globalized era? While established companies are shifting slowly, Richard Siegal/Ballet of Difference, though less than 2 years old, has something of a head start. The guiding force of the company, which is based in Germany, is bringing differences together in the same room and, ultimately, on the same stage.
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
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."
Claude Debussy's only completed opera, Pelléas et Mélisande, emphasizes clarity and subtlety over high-flung drama as a deadly love triangle unfolds. Opera Vlaanderen and Royal Ballet of Flanders are commemorating the 100th anniversary of the composer's death with a new production of the landmark opera that is sure to be anything but traditional: Sidi Larbi Cherkaoui and Damien Jalet are choreographing and directing, while boundary-pushing performance artist Marina Abramović collaborates on the design. Antwerp, Feb. 2–13. Ghent, Feb. 23–March 4. operaballet.be/en.
Black History Month offers a time to reflect on the artists who have shaped the dance field as we know it today. But equally important is celebrating the black artists who represent the next generation. These seven up-and-comers are making waves across all kinds of styles and across the country:
When a new director began transforming Atlanta Ballet a couple of years ago, longtime dancer Alessa Rogers decided to finally explore her dream of dancing in Europe. "I always had this wanderlust," she says. She wasn't set on a particular city or company, but thought learning French would be fun. She began her research that September, making note of repertoire and the number of dancers as well as which companies employed foreign, non–European Union dancers. "I saw that Ballet du Rhin was looking for dancers," says Rogers. "They also had a new director coming in, so I thought it could be an opportunity." After sending a video, Rogers traveled during her layoff week to take company class. She was offered a job on the spot.
Uprooting and moving out of the country, far away from your support system, language and customs, is not something to take lightly. While it can push you as an artist and be an exciting opportunity for personal growth, working as a dancer in a foreign country comes with its challenges. Lots of research and an adventurous spirit are required.
Justin Lynch is surprisingly nonchalant about the struggles of being a full-time lawyer and a professional dancer. "All dancers in New York City are experts at juggling multiple endeavors," he says. "What I'm doing is no different from what any other dancer does—it's just that what I'm juggling is different."
While we agree that freelance dancers are pro multitaskers, we don't really buy Lynch's claim that what he does isn't extraordinary. In fact, we're pretty mind-boggled by the career he's built for himself.
At the annual Gala de Danza in Los Cabos, Mexico, the lineup of performers is usually pretty typical gala fare: You can expect celebrity performers like Lil Buck, reality stars like Ballet West's Beckanne Sisk and "So You Think You Can Dance" finalist Tate McRae, plus principals from top companies like New York City Ballet's Tiler Peck and Daniel Ulbricht.
What's absolutely not typical? The venue.
At 5'10" I felt like an ant in the studio with Alonzo King LINES Ballet. The San Francisco-based company is full of statuesque dancers whose passion is infectious. Every story was told not only through their movement, but through the expression on their faces and their connection to one another.
We talked to artistic director Alonzo King about his love of collaborations and why he thinks politicians need to dance more.