Budget Your Bodywork: When to Splurge & When to Save
It can take a full team of experts to keep a dancer dancing—from masseuses and acupuncturists to yoga teachers and personal trainers. But, that comes at a cost, literally. When do you really need to invest in pricier options, and when can you take the more budget-friendly route? We broke it down for the most popular options.
Tony Morales at Circular Power
Using a machine with a seat, arcs attached to handwheels and moving pieces, Gyrotonic promotes circular motion. "That action reveals weaknesses in your range of motion and musculature," says Tony Morales, who owns New York City's Circular Power. "Gyrotonic massages the body internally and balances it."
When to Splurge:
- When you first start. "There's so much going on, having eyes on you makes progress much faster," Morales says. "And the machine offers resistance and feedback."
- If you're serious about keeping your body healthy. "Gyrotonic privates are an especially great way to handle an intense rehearsal period or performance mode," Morales says. His clients from American Ballet Theatre book sessions once or twice a week to help prevent injury and improve their dancing.
- Gyrokinesis. These group classes follow all of the same concepts as Gyrotonic, but without the machine.
Core training and stabilization work can strengthen muscles used less often in dance, increasing longevity and improving your technique. "How much better can your arabesque be from a single-leg deadlift, or your stability from bridge work and core training?" asks former professional dancer Emily Cook Harris, who owns EMPOWERED, a personal training and remote coaching business.
When to Splurge:
- When you want specialized movements for your body, prescribed by a personal trainer.
- To correct your form. A trainer can offer hands-on adjustments to ensure you're using the exercise to its best effects.
- At the beginning: "I like the idea of working with a trainer at 'the beginning,' whether that means preseason or at the start of a rehearsal period," says Harris. "If you see a trainer once a month, you can learn the exercises while they correct you, then you can do that program for the rest of the month."
- Group fitness classes. "The energy of the room can be motivating, and you still have an instructor. Be careful, though, not to get so wrapped up you forget about form," cautions Harris. "Start slower and with lower weights and advance slowly."
- Subscription video services like Daily Burn offer motivation and easy access for an ongoing routine.
- Free videos on YouTube and Instagram. "Look for core exercises like planks and bridges," suggests Harris. "The emphasis should be on stabilization because that's all of dance!"
- Apps like Nike+ Training Club offer workouts of various lengths and styles.
The minimally invasive, holistic process works by inserting needles at key points throughout the body. "Acupuncture is the manipulation of blood and energy," says practitioner Heather Trujillo. "When you insert a needle, it's a micro injury. The body sends blood to the area, instigating the body's healing mechanism."
When to Splurge:
- After an acute injury. Getting acupuncture as soon as you can hurting yourself can speed up the healing process.
- When you have a chronic problem that won't go away. "That might be the time to spend on a session," says Trujillo.
- Community acupuncture clinics that work on a sliding scale
- Acupuncture schools usually provide budget-friendly or free services.
- Acupressure. Instead of the needle, a practitioner will use their hands to place pressure on certain points on the body.
The full-body system strengthens and lengthens through a concentration on the core. "Dancers love the grounded feeling Pilates gives you," says Chloe Brehm, who teaches at Bridge Pilates in Brooklyn. "It's particular in how you articulate your spine and the deepest layer of your abdominal wall. Being able to initiate movement from that layer makes you a stronger dancer."
When to Splurge:
- To find your personal weaknesses, take a private class so you can have a trained eye on you. "The feedback of the practitioner and equipment together helps things click," says Brehm.
- Before any reformer class, book a private.
- To set yourself up for home practice or mat classes.
- Duet lessons. Grab a friend who has similar issues and technique to cut your cost.
- Group mat classes. "It's harder without the feedback from equipment. But this will often satisfy a dancer, and there are modifications and advancements for any level," says Brehm.
- Online classes like Pilates Anytime or Pilatesology are helpful for travel and tight schedules.
- Mat work on your own. "Buy a cushy mat, remember to check in on your breathing and alignment, and continue to switch it up," says Brehm. "If you are breathing in for five and out for five in teaser, what about in for three and out for seven?"
Diverse styles from vinyasa to hot bikram and restorative yin yoga offer stretching, strengthening and meditation. "It's like taking dance, slowing it down and breathing in it," says DC- and Maryland-based yoga teacher Kevin Platt. "You get to explore how your body integrates movement. Since dancers are so go-go-go, adding a slow yoga practice into your week creates balance."
When to Splurge:
- Once a week or once a month, it can be worth it to book a private to get a teacher's eyes on you, says Platt.
- Group classes. Look for affordable introductory offers, or consider finding a nonprofit studio or a "dharma studio," where you can pay for classes with simple work.
- Online resources and books. Yoga Journal and Light on Yoga by B.K.S. Iyengar are two of Platt's favorites.
- YouTube videos are beneficial if used with discretion, but be careful with doing inversions alone, Platt cautions.
- At-home DIY practice remains "a great part of any dancer's normal upkeep," says Platt.
After putting so much strain on muscles, releasing them through massage is a must for most performers. "A practitioner can release your body in a way you can't do yourself," says Platt, who is also a licensed massage therapist. "It helps integrate all of the muscular work you're doing while keeping inflammation at bay."
When to Splurge:
- After big events, like a major performance
- To facilitate continued healing you might have started with a PT or doctor. "Massage can open up circulation around a minor injury, like a muscle pull," he says.
- After trying a new technique, massage can be helpful in clearing up inflammation and decreasing recovery time.
- Self-release with foam rollers, tennis balls and other tools. "Rolling helps induce circulation and realign fascia, the Saran wrap around all of your muscles," says Platt.
- Yin and restorative yoga offer deeper connective-tissue release, in turn affecting trigger points and releasing deeper layers of muscle.
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
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.
We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
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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One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
As more states legalize cannabis, it seems the sales pitch for cannabidiol—or CBD—gets broader and broader. A quick internet search turns up claims that CBD helps with pain, depression, acne, arthritis, anxiety, insomnia, heart disease, post-traumatic stress, epilepsy and cancer. But the marketplace is unregulated, which makes it tricky to find out what CBD actually does.
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.