The Dos and Don'ts of Self-Massage
When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.
The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.
DO luxuriate—and wiggle.
Many dancers just roll up and down a muscle mindlessly. To get the most out of self-massage, let gravity draw your muscles into a roller or ball. "Rolling quickly stays too superficial on your tissues," Alicia Ferriere of Finish Line Physical Therapy tells Nancy Wozny in "Are You Foam Rolling Wrong?". "Allow your muscles to relax on the roller, which will create greater compression for the deeper tissue."
But also move in multiple directions. Aim for cross-friction—think about moving from side to side as well as forward and back. "You need to wiggle more, because the movement is what makes the difference," says Ferriere.
DON'T roll over an injury.
Massage usually isn't helpful—or safe—until fairly late in the recovery process. "Don't roll when there is swelling or a traumatic injury such as a tear," physical therapist Julie Green, who works with Pennsylvania Ballet dancers, tells Wozny. Rolling could make an injury worse, since it's a tool for mobilization and tissues sometimes need to be immobilized to heal. "Allow some healing to occur before returning to your roller."
DO mimic the pros.
Remember what your therapist does and try to re-create that, writes Hannah Maria Hayes in "The Rubdown." Think about what body parts they focus on, the length and types of strokes and speed. But make sure what you're doing is never so painful that you feel like you have to hold your breath.
DON'T knead into bones or nerves.
Rolling over a bone does nothing for you other than cause pain, writes Wozny. It's especially problematic to roll over ankles, knees and the greater trochanter. "And stay away from superficial nerves, like in front of the hip joints and behind the knees," says Green. "You could damage or irritate your nerves. If you feel numbness or tingling, stop immediately." Also avoid rolling along the sides of your lower back—you can bruise your kidneys.
DO take your tools on tour.
You don't have to lug around a 22-inch roller to stay loose on the road. Lacrosse balls are great for rolling out smaller muscles in your feet or calves. For larger muscle groups like your quads, portable rollers like The Morph or The Rove Roller collapse into a flat shape that's easier to stash in your carry-on.
DON'T get aggressive.
Remember: A harder massage does not mean more relief. "I am surprised at how many dancers bruise themselves from rolling!" Erika Kalkan of Harkness Center for Dance Injuries at NYU Langone Medical Center tells Jen Peters in "Tools of the Trade." Using too much pressure or spending too much time on one spot can lead to inflammation and swelling. Dance medicine experts say that, generally, five minutes per body part should do it.
DON'T go too deep before dancing.
If you've got a performance or rehearsal later in the day, go easy. Consider working out any knots by using a lighter option like The Stick. Digging too deep can leave your muscles feeling too relaxed, loose, a bit sore and unresponsive. A 2006 study published in the British Journal of Sports Medicine found a decrease in muscle-force production immediately following a lower-limb massage. "I always ask a dancer what's on their plate that day," Green tells Wozny in "The Magic Touch." "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."
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Thirty years ago, U.S. Joint Resolution 131, introduced by congressman John Conyers (D-MI) and Senator Alphonse D'Amato (R-NY), and signed into law by President G. W. Bush declared:
"Whereas the multifaceted art form of tap dancing is a manifestation of the cultural heritage of our Nation...
Whereas tap dancing is a joyful and powerful aesthetic force providing a source of enjoyment and an outlet for creativity and self-expression...
Whereas it is in the best interest of the people of our Nation to preserve, promote, and celebrate this uniquely American art form...
Whereas May 25, as the anniversary of the birth of Bill "Bojangles" Robinson is an appropriate day on which to refocus the attention of the Nation on American tap dancing: Now therefore, be it resolved by the Senate and House of Representatives of the United States of America in Congress that May 25, 1989, be designated "National Tap Dance Day."
Happy National Tap Dance Day!
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.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
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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Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.