The Worst Nutrition Advice This Dance Dietitian Has Ever Heard
When it comes to what you should be eating, rumors often catch on like wildfire. Dietitian Rachel Fine, who works with dancers in New York City, shares the most misguided nutrition strategies she's recently encountered.
Rumor: Drink Bulletproof Coffee Every Morning.
Give your body carbs when it wakes up. Photo by Mikesh Kaos/Unsplash
Reality: The trendy recipe, which mixes butter and oil into coffee, isn't really what your body needs when you wake up. "When you sleep, your body's using most of its glycogen stores," says Fine. "The best thing when you wake up is not drinking caffeine and fat, but replenishing your carb stores."
Rumor: Only Eat Organic.
Don't let a focus on organic products keep you from eating healthy. Photo by Megan Hodges/Unsplash
Reality: Fine supports buying organic when it comes to any fruit or vegetable where you eat the skin, and any dairy products, meat or fish. But she sees dancers get overly obsessive. "It turns into a fear of eating out if they don't have access to organic food," she says.
Rumor: Eat a Tablespoon of Coconut Oil Per Day.
Coconut oil is great for moisturizing, but doesn't need to be part of your daily diet. Photo by Jonas Ducker/Unsplash
Reality: "Coconut oil is actually high in saturated fats, not healthy fat," she says. You're better off incorporating olive oil or avocado oil into your diet instead.
Rumor: Completely Cut Out Carbs.
Carbs give you energy to dance. Photo by Sarah Boyle/Unsplash
Reality: "Each macronutrient has its own job," says Fine. "Carbs give us energy, protein helps repair muscle, fat is critical for healing." If you're not giving your body enough carbs for energy, it's going to use protein instead, which will break down your muscles.
Rumor: MCT Oils Give You Better Energy.
Medium-chain fatty acids break down faster than long-chain fats, but you're unlikely to see real benefits. Photo by Katherine Hanlon/Unsplash.
Reality: It's true that your body can break down this medium-chain fatty acid (found in certain foods with saturated fats) more quickly than long-chain fats. "But you don't really see those energy benefits unless you're a super-intense, Michael Phelps kind of athlete," says Fine. Even then, the science behind it is pretty preliminary.
Rumor: Swap Out Sugar for Stevia.
Sugar (in moderation) is likely safer than substitutes. Photo by Joanna Kosinska/Unsplash
Reality: Unless a client is being treated for diabetes, Fine recommends regular table sugar in moderation: "It's been around forever, and there are no chemicals in it." You're better off with one teaspoon of the real stuff than multiple packets of something that has little research behind it.
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On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.
A recent trip I took to Nashville coincided with the NFL draft. As we drove into town, my Uber driver was a fount of information on the subject.
I learned that there are 32 NFL teams and that the draft takes place over seven rounds. That the team that did the poorest during the previous season gets first pick. That during an earlier event called the scouting combine, the teams assess college football players and figure out who they want.
There is also the veteran combine for "free agents"—players who have been released from their contracts or whose contracts have expired. They might be very good players, but their team needs younger members or ones with a certain skill set. All year round, experienced NFL scouts scan games across the country, checking out players and feeding that information back to the teams. Players' agents keep their eyes on opportunities for their clients which might be more rewarding.
While I sat in the traffic of 600,000 NFL fans I got thinking, is there something ballet could learn from football? Could a draft system improve young dancers' prospects and overall company caliber and contentment?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Despite what you might think, there's no reason for dancers to be afraid of bread.
"It's looked at as this evil food," says New York State–certified dietitian and former dancer Tiffany Mendell. But the truth is, unless you have celiac disease or a gluten intolerance, bread can be a healthy source of carbohydrates—our body's preferred fuel—plus fiber and vitamins.
The key is choosing your loaf wisely.
It can be hard to imagine life without—or just after—dance. Perhaps that's why we find it so fascinating to hear what our favorite dancers think they'd be doing if they weren't performing for a living.
We've been asking stars about the alternate career they'd like to try in our "Spotlight" Q&A series, and their answers—from the unexpected to the predictable—do not disappoint:
"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.
The heart of his message: Be generous.
Launching a dancewear line seems like a great way for professional dancers to flex new artistic muscles and make side money. Several direct-to-consumer brands founded by current or former professional dancers, like Elevé and Luckleo, currently compete with bigger retailers, like Capezio.
But turning your brand into the next Yumiko is more challenging than some budding designers may realize.
When I first came to dance criticism in the 1970s, the professional critics were predominantly much older than me. I didn't know them personally and, as the wide-eyed new kid on the block, I assumed most had little or no physical training in the art.
As slightly intimidated as I felt at the time—you try sitting around a conference room table with Dance Magazine heavy hitters like Tobi Tobias and David Vaughan—I smugly gave myself props for at least having had recent brushes with ballet, Graham, Duncan and Ailey and more substantial engagement with jazz and belly dance. Watching dancers onstage, I enjoyed memories of steps and moves I knew in my own bones. If the music was right, my shoulders would wriggle. I wasn't just coolly judging things from my neck up.