Your Body: Magic Touch
During a rehearsal of a lightning-fast section in Gerald Arpino’s Birthday Variation, Joffrey dancer Patrick Simoniello pulled his adductor muscle in his left leg. After a neuromuscular massage, which uses trigger-point therapy to ease up seized muscles, Simoniello found he could dance that night. A short, specific massage immediately after the injury was just the thing he needed to get back on his feet. “I thought it was amazing stuff,” remembers Simoniello, who has since trained as a massage therapist.
Massage has been well documented as a healing agent, but getting the type and timing right makes all the difference. Short and vigorous types like the neuromuscular kind get you ready to move. Slower, deeper ones are ideal for down time, not for when you have to perform or learn new work, because the massage can create changes in muscle length.
However, deep work can help the body recover in a range of ways. During his stint with Hubbard Street Dance Chicago from 2002–2006, Simoniello found a weekly massage essential in helping his body repair and prepare for the next week’s demands. “I was dancing work by Ohad Naharin, William Forsythe, and Jirí Kylián while on tour,” says Simoniello. “That takes a toll. If I missed a week’s massage, it became much harder to get back on track.”
There are several types of massage that can be particularly helpful to dancers:
• Swedish/traditional uses light to medium pressure. It’s excellent for general restoration and stress-reduction.
• Sports massage is a deep-tissue form that is more vigorous than Swedish and works on muscle and fascia (the outer layer of muscles and organs). It’s not recommended prior to intense activity.
• Neuromuscular uses sustained static pressure on trigger points to relieve pain and increase range of motion. It can release muscle spasms.
• Lymph massage offers a light touch at skin level and helps flush the lymph system of waste products from injury. It aids with swelling and inflammation.
• Myofascial Release and Structural Integration each address both muscle and fascial tissue. Structural Integration involves 10 consecutive sessions, and is best performed when dancers are off since the body needs time to adjust.
Many companies’ massage schedules reflect performance and rehearsal schedules. At Pennsylvania Ballet, physical therapist Julie Green schedules the massage therapist for Fridays so dancers can let the massage settle in their bodies for a day or two before taking class or rehearsing. “I always ask a dancer what’s on their plate that day,” says Green. “When you make a muscle longer, it can temporarily weaken it and make it cramp. I want to know if dancers will be jumping a lot. If so, then I stay away from the power muscles.”
PAB principal Martha Chamberlain adjusts the timing of her appointments to her performances. “I never want my feet or calves worked on before a show,” she says. “Beside the fact the oil makes my feet slip in my shoes, if you get worked on and run into a rehearsal, it can throw things out of whack.”
Many dancers note that iliotibial (IT) bands are an exception. These connect the pelvis to the knee, so a tight IT band can actually pull the knee cap out of alignment. “My IT bands are a different story,” Chamberlain says. “You can pound on those anytime.” Many dancers use foam rollers to loosen up between classes or rehearsals. “IT are more like ligaments than muscle tissue,” says Green. “Because they don’t have the contractile properties of a muscle, it’s usually fine to massage them before dancing.”
There are times to be cautious about massage. If you suspect a fracture, or if you have an open wound, deep work can exacerbate it. “If you are injured, get a diagnosis first,” says Green. “If you have an infection, a massage could spread it.” Though lymph massage, Green notes, can flush the tissues and relieve swelling.
Massage can also help in ways that go beyond a dancer’s mobility. Simoniello noticed he had more confidence performing after he added massage to his health regime. “Dance is not solely an art of physicality,” he says. “Mind and spirit are involved as well. Massage provides a non-judgmental place for treatment, allowing us not only to physically heal, but to take a breath and and care for ourselves.”
Nancy Wozny writes about the arts and health from Houston.
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.
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
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.
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:
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."