"Lose Weight or Lose Your Job!"
When American Ballet Theatre staff told Misty Copeland that she needed to lose weight—or rather, that she needed “lengthening"—during her second year in the corps, she felt lost. As she recounts in her autobiography Life In Motion, she was flung into deep distress, unhealthy eating habits and constant scrutiny of her muscular body. She knew that her younger dancer body had slipped away with puberty, but she didn't know how to slim out in a healthy way.
Unfortunately, this dilemma is all too common for professional dancers. Maintaining a lean body is almost always part of a dance job—sometimes even stipulated in your contract. But when your director tells you to slim down further, you may be forced to take a hard look at whether you already are at your healthiest weight or if losing a couple of pounds is in your best interest.
First, figure out what healthy weight loss would look like on your body—or if it's even necessary. “Dancers need to understand that it's not just about the numbers on the scale," says Shannon Sterne, a registered dietitian nutritionist and assistant professor of dance at Case Western Reserve University. “Two dancers may weigh the same, but have different shapes based on their body composition—the ratio of fat to muscle mass. Get a realistic assessment of what is changeable and what is not."
Consider recruiting a dietitian familiar with dancer bodies, as well as getting an assessment from a doctor and an athletic trainer. Use their impartial advice to develop a strategy to adjust your body shape, then schedule a follow-up conversation with your director about your plan. “More often than not, artistic directors know what they want, but are also willing to work with a medical team to help the dancer achieve it healthfully," says Alison Deleget, certified athletic trainer at the Harkness Center for Dance Injuries of New York University Langone Medical Center. “With a team approach, a dancer will feel educated and empowered in their choices, and directors should listen."
Deleget says it's reasonable to lose about a half-pound to a pound per week at most. But wait to implement your plan until you're not in heavy rehearsal or performance season. “There's no quick fix," she says. “There's always an underlying reason why there's weight gain or decreased muscle tone, so you have to be willing to invest in long-term adjustments. It's the same approach we take with injury: If you don't figure out what you're doing that's making that tendon hurt, you're never going to get anywhere with the treatment." Ultimately, you'll want to develop a regimen that is adjustable within the ebbs and flows of your schedule, so you can maintain it throughout your career.
Devise a Nutrition Plan
A dietitian will likely ask that you track what you eat so she can point out places for adjustments. She may recommend focusing on limiting your portion sizes. Eating smaller meals throughout the day is often helpful, since dancers who wait too long between meals are more likely to overeat when they're famished after a long day. A dietitian will also help you correct any imbalances. Sometimes, dancers don't realize they're not getting enough protein (which helps them stay satiated and build lean muscle mass), or they're eating too much processed sugar in an attempt to keep their energy up.
Sterne warns that trying to target a specific area of your body like your belly or thighs isn't realistic. “There's no such thing as spot burning," she says. “You see articles on the internet all the time saying, 'Eat this food to lose all your belly fat,' but those don't work."
Strategize Your Cross-Training
Class and rehearsals, which can involve a good amount of standing around, don't always burn fat efficiently, so an athletic trainer may recommend adding cardiovascular training like running, swimming or circuit training. Dancers who are looking to lengthen bulkier muscles should develop a conditioning routine to create a different shape. “Doing lower-weight and higher-repetition exercises is more geared toward toning instead of hypertrophy (which makes a muscle bigger)," Deleget says. Copeland, for example, turned to Pilates to strengthen muscles while keeping them lean.
Identify Lifestyle Challenges
If you have put on weight recently, identify what might have contributed to the change. “Weight gain is usually the symptom of a larger problem," says Deleget. “There's often something troubling happening in a dancer's personal or professional life." It may be as simple as a new living situation that makes cooking more difficult, or it may be a traumatic breakup. You might just need an education in healthy cooking techniques—many younger dancers don't know how to cook for themselves and fall into unhealthy eating patterns inadvertently. Other lifestyle choices, like skimping on sleep and any substance abuse, can play just as big of a role in weight fluctuations as diet or exercise.
Beware the Risks
While losing a couple of pounds may not seem like a huge feat at first, the process can be dangerous. “There's a high risk of eating disorders in dancers, and once they've started, they're really hard to get over," says Dr. Nadine Kaslow, psychologist for Atlanta Ballet. “The biggest warning sign is that you'll start feeling like your weight is the most important thing about you, and it's tied to your self-esteem and self-worth. You may become obsessed with food or the scale, and think negative thoughts, like 'I'm fat' or 'My thighs are too big,' every time you look in the mirror. You may also feel depressed or even suicidal." When you notice any of these red flags, it's time to reassess your plan.
If you start eating too little, your body may go into starvation mode. “When you cut your calorie intake too low, your body will adapt by slowing down your metabolism," Sterne says. “You may not only stop losing weight, but you may also be so tired that you won't be able to get through rehearsals." For female dancers, the first sign that your body is starving is that menstruation stops. You may also experience a loss of concentration, or feel unstable and off-balance while dancing.
Remember: No job, role or director's request is worth destroying your health for. “Even when dancers know that they're in a situation that's bad for their health, they're often scared to stand up to a director for fear of losing roles or even their job," says Kaslow, who recommends taking a hard look at the culture of your company, and perhaps even recruiting a group of dancers to confront your director together if necessary. “Trying to have a conversation is always worth it." If your director refuses the plan recommended by your expert team or asks you to keep losing weight after you're seeing unhealthy side effects, consider taking your talent elsewhere.
Time It Right
Timing is everything. If you try to shed five pounds in the first two weeks of the season, you're unlikely to succeed, and could even suffer negative consequences. “Losing weight is extremely stressful for the body. You're providing it with less fuel, so it breaks down tissue to produce energy," says dietitian nutritionist Shannon Sterne. “During heavy rehearsal or performance periods, insufficient energy can be disastrous."
Unfortunately, the start of the season is often when directors make this request. So start by getting plenty of sleep, eating nutritiously (without making drastic changes) and cutting down on unhealthy habits like smoking or drinking. Show your director that you're taking the note seriously by outlining the exercise and diet plan you intend to put into action as soon as your schedule lightens up. Sterne points out, “It's worth it to both you and your director that you hold on to a couple pounds for a little longer, since the alternative may be that you're shaky onstage, sprain your ankle or forget where you're supposed to go."
Large dance companies may offer on-site experts to help you reach weight-loss goals. But many troupes can't afford them—and neither can their dancers. Here are a few resources to turn to:
The Actors Fund provides medical services, help finding health insurance and some financial assistance to performers. actorsfund.org
The Academy of Nutrition and Dietetics offers advice for changing your diet in a healthy way, plus a database of registered dietitian nutritionists. eatright.org
The International Association for Dance Medicine & Science offers a downloadable nutrition fact sheet that breaks down the percentage of their diets that dancers should be getting from carbs, fat and protein, along with the best foods to eat to get them. iadms.org
Weight Watchers offers tips for losing weight at a healthy rate, a supportive community and a built-in method for tracking your nutritional intake, beginning at about $20 per month. weightwatchers.com —RZ
Find Your Own Way
Take the time to find a weight-loss strategy that works best for you. It's more complicated than a calories-in/calories-out calculation. Scientists are realizing that our bodies absorb a different number of calories depending on how our food is prepared—for example, we take in far fewer from raw food than from the same thing cooked, since cooking breaks down cell walls, making more calories available. What's more, the amount absorbed also varies from person to person, partly depending on the microbes in our gut.
According to “Gastropod," a science-based food podcast, we burn those calories differently, too. Even between two people of the same age, gender and weight, the amount we use simply to maintain the body's basic functions can vary by up to 600 calories per day, depending on height, body fat, liver size and the amount of the stress hormone cortisol. Experiment to find what fills you up best while providing the nutrients and energy you need—it might be very different from the dancer standing next to you. —Jennifer Stahl
The connections dancers make in college are no joke. For recent alum Gabrielle Hamilton, working with guest choreographer John Heginbotham at Point Park University put her on the fast track to Broadway—not in an ensemble role, but as the lead dancer in one of this season's hottest tickets: Daniel Fish's arresting reboot of Oklahoma!
We caught up with Hamilton about starring in the show's dream ballet and her delightfully bizarre pre-show ritual.
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.
Last Friday, through an appeal to an independent arbitrator, the American Guild of Musical Artists successfully reinstated NYCB principals Amar Ramasar and Zachary Catazaro, previously fired for allegedly circulating sexually explicit texts containing nude photos.
AGMA opposed Ramasar and Catazaro's terminations in order to prevent the setting of a dangerous precedent that would allow dancers to be fired under less understandable consequences. But we cannot allow future cases to dictate the way we handle this situation—particularly a union committed to "doing everything in [its] power to ensure you have a respectful environment in which to work."
But according to the H+ | The Hip-Hop Dance Conservatory, one in every three dancers in New York City lives under the poverty line, and may lack the resources to purchase the ingredients they need to make nutritious meals.
Not to mention the fact that dancers are busy, and often running around from class to rehearsal to performance to side hustle, grabbing whatever they can get to eat on-the-go.
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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I have a commitment, a romance, a love affair with dance, with the feeling that happens when the music and the steps so perfectly align and I can't help but get chills. That feeling when my partner and I are dancing as one, when everyone onstage feels the same heartbeat, when it's just me alone in my bedroom.
You can see them in "Fosse/Verdon" episode one. Michelle Williams, playing Gwen Verdon, wears them with a cool, retro, forest-green jumpsuit. Tucked beneath a mop top of tousled Gwen Verdon locks, Williams sports a pair of discreet and tasteful onyx drop-earrings—the dancer's favorites. Verdon wore them all her adult life, according to her daughter Nicole Fosse, a co-executive producer of the FX series that puts a spotlight on a great woman of American dance.
"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."
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.
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.
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.
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.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
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."
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.