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Side Gig Woes
It is no surprise that a career in dance is physically demanding. But many dancers learn the hard way that their side jobs can be just as taxing on their bodies. Whether you're standing for too long or sitting too long or demonstrating too often, non-dance work can lead to muscular imbalances.
Unfortunately, most dancers need to take on extra work. According to a 2012 Dance/NYC survey, just 55 percent of the total income among New York City's dancers ages 21 to 35 came from dance jobs. And more than half of responding dancers reported working more than one non-dance job.
“The need to work so much outside of dance may detract from an optimal training volume needed to stay in peak form," says Dr. Marijeanne Liederbach, director of New York University Langone's Harkness Center for Dance Injuries.
But you don't have to let a survival gig take a toll on your dancing. Be proactive: Find out the common physical issues associated with your job so you can do your best to prevent them.
Food and Beverage Service
Flexible shifts in restaurants, bars and coffee shops have long been go-to side jobs for dancers. But spending so many hours on your feet doesn't allow your body as much time to recover from hours of dancing, says Christine Bratton, a New York physical therapist who specializes in working with dancers. “Also," she adds, “dancers who have to serve and handle trays often end up with shoulder and back issues." Liederbach says she has also seen patellar tendonitis, or inflammation in the front of the knee, from constant running up and down restaurant stairs.
What to do: Liederbach recommends good, supportive shoes and encourages dancers to stay alert for hazards, like slippery floors and stairs without railings. Bratton suggests building opportunities into your day to get off your feet, lying on your back with your legs up a wall or on a chair.
Dance or Fitness Instruction
Jobs teaching dance and fitness are a clear fit for dancers, building on the body intelligence you already have. But they can also amplify the physical stress of dancing. “The problem with all kinds of teaching of movement is that it is focused on the needs of others and can be draining," says Bratton. “It can take years to develop a sense of caring for your own body while focused on another person." She sees dancers in her practice who develop hip and low back problems from demonstrating repetitively on one side, or demonstrating full-out when not warmed up.
What to do: Bratton recommends developing a simple go-to stretching routine that you can do in between activities or before bed. Target muscles that get tight while you are working—a physical therapist or doctor can give you further guidance on what areas may need extra attention.
Administrative work gives you a break from time on your feet, but dancers are susceptible to the wrist, neck and low back issues that come along with desk jobs, according to Liederbach. Bratton points out that the increasing prevalence of remote work means that dancers are often sitting at home in positions that can be even more problematic than the traditional desk setup, like on the couch or in bed with a laptop. “Screen time and keyboard use feed into all kinds of postural syndromes, like forward head and forward shoulders, which are not good for dancers who are trying to be as tall and centered as possible," says Bratton.
What to do: “Seek jobs that allow for adequate rest intervals and posture changes away from your workstation," recommends Liederbach. Recognizing when you are sitting with poor posture and working to change that—whether by being more mindful or by finding a chair or desk that encourages better alignment—can also help.
When Rachel Hamrick was in the corps of Universal Ballet in Seoul, her determination to strengthen her flexibility turned into a side hobby that would eventually land her a new career. "I was in La Bayadere for the first time, and I was the first girl out for that arabesque sequence in The Kingdom of the Shades," she says. "I had the flexibility, but I was wobbly because I wasn't stretching in the right way. That's when I first started playing around with the idea of the Flexistretcher. It was tied together then, so it was definitely more makeshift," she says with a laugh, "But I trained with it to help me get the correct alignment so that I would have the strength to sustain the whole act."
Now, Hamrick is running her own business, complete with an ever-growing product line and her FLX training method—all because of her initial need to make it through 38 arabesques.
For the new Broadway season, Ellenore Scott has scored two associate choreographer gigs: For Head Over Heels, which starts previews June 23, Scott is working with choreographer Spencer Liff on an original musical mashing up The Go-Go's punk-rock hits with a narrative based on Sir Philip Sidney's 1590 book, Arcadia. Four days after that show opens, she'll head into rehearsals for this fall's King Kong, collaborating with director/choreographer Drew McOnie and a 20-foot gorilla.
Scott gave us the inside scoop about Head Over Heels, the craziness of her freelance hustle and the most surprising element of working on Broadway.
Dance in movies is a trend as old as time. Movies like The Red Shoes and Singin' in the Rain paved the way for Black Swan and La La Land; dancing stars like Gene Kelly and Ginger Rogers led the way for Channing Tatum and Julianne Hough.
Lucky for us, some of Hollywood's most incredible dance scenes have been compiled into this amazing montage, featuring close to 300 films in only seven minutes. So grab the popcorn, cozy on up, and watch the moves that made the movies.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
If you want to know how scary the AIDS epidemic was in the 1980s, come see Ishmael Houston-Jones' piece THEM from 1986. This piece reveals the subterranean fears that crept into gay relationships at the time. Houston-Jones is one of downtown's great improvisers, and his six dancers also improvise in response to his suggestions. With Chris Cochrane's edgy guitar riffs and Dennis Cooper's ominous text, there's an unpredictable, near-creepy but epic quality to THEM.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
This time last year, Catherine Conley was already living a ballet dancer's dream. After an exchange between her home ballet school in Chicago and the Cuban National Ballet School in Havana, she'd been invited to train in Cuba full-time. It was the opportunity of a lifetime, and one that was nearly unheard of for an American dancer. Now, though, Conley has even more exciting news: She's a full-fledged member of the National Ballet of Cuba's corps de ballet.
"In the school there were other foreigners, but in the company I'm the only foreigner—not just the only American, but the only non-Cuban," Conley says. But she doesn't feel like an outsider, or like a dancer embarking on a historic journey. "Nobody makes me feel different. They treat me as one of them," she says. Conley has become fluent in Spanish, and Cuba has come to feel like home. "The other day I was watching a movie that was dubbed in Spanish, and I understand absolutely everything now," she says.
Chantel Aguirre may call sunny Los Angeles home, but the Shaping Sound company member and NUVO faculty member spends more time in the air, on a tour bus or in a convention ballroom than she does in the City of Angels.
Aguirre, who is married to fellow Shaping Sound member Michael Keefe, generally only spends one week per month at home. "When I'm not working, I'm exploring," Aguirre says. "Michael and I are total travel junkies."
Akram Khan and Florence Welch (of Florence + The Machine) is not a pairing we ever would have dreamt up. But now that the music video for "Big God" has dropped, with choreography attributed to Khan and Welch, it seems that we just weren't dreaming big enough.
In the video, Welch leads a group of women standing in an eerily reflective pool of water. They seem untouchable, until they begin shedding their colorful veils, movements morphing to become animalistic and aggressive as the song progresses.
Savannah Lowery is about as well acquainted with the inner workings of a hospital as she is with the intricate footwork of Dewdrop.
As a child, the former New York City Ballet soloist would roam the hospital where her parents worked, pushing buttons and probably getting into too much trouble, she says. While other girls her age were clad in tutus playing ballerina, she was playing doctor.
"It just felt like home. I think it made me not scared of medicine, not scared of a hospital," she says. "I thought it was fascinating what they did."
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.
We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.