These 5 Breathing Tips Will Transform Your Dancing
If a teacher or choreographer has ever commented that your dancing looks stiff, the problem could be that you aren't breathing effectively. "When dancers aren't breathing, their shoulders are up and there's no length in their movement. They start to look like they're just waiting to get to the next thing," says Maria Bai, artistic director of Central Park Dance in New York.
It may seem like a no-brainer—of course you can't move without breathing. But beginning dancers often hold their breath because they are so focused on picking up choreography, says Sarah Skaggs, director of dance at Dickinson College. Even advanced dancers can benefit from focusing more on their breath. "Sometimes they are paying so much attention to what their limbs are doing that they forget about the lungs, the chest, the trunk. Breath is the last thing they're thinking about, but really it should be the first," says Skaggs. The more integrated your breathing is, the more relaxed and present you will feel.
Practice Breath Integration
Yoga and Pilates can help you link breath to movement. Photo by rawpixel via Unsplash
Learning to connect breath with movement starts before you even begin tackling phrasework. Lauren Sanford, director of jazz, lyrical and contemporary at Image Studio of Dance in Washington, incorporates Graham-style contractions into her warm-up so her students can feel the relationship between breath and movement. She also has them lie on the floor, take deep, slow breaths and imagine that they are sending that breath to different parts of their bodies. This can help dancers think of breathing as an action that involves the whole body, not just the chest and lungs.
Bai suggests dancers take yoga to work on breath control. "Yoga makes you consciously focus on your breath, and eventually that becomes a pattern you can find when you're dancing," she says. Similarly, New York City–based Lindy Fines, artistic director of GREYZONE and certified Pilates instructor, finds that Pilates' focus on coordinating breath with every movement can help dancers breathe fully and use inhales and exhales to facilitate specific types of movement.
Time It Strategically
In fast phrases like petit allegro, you may have to breath during transitions. Photo via Pixabay
Even with plenty of practice, difficult or unfamiliar choreography may leave you struggling to integrate breath. If this is the case, try choosing specific points in a phrase where you will breathe. "When you're doing an adagio, port de bras or waltz, there are places to inhale and elongate," says Bai. "It's harder in fast phrases. In those situations, transitions are where you can find your breath."
Get Comfortable with Panting
Try running or other cardio activities to build endurance. Photo by Bruno Nascimento via Unsplash
Dancing will sometimes make you out of breath. Rather than fighting this, learn to work with it. Don't try to cover up the fact that you are breathing heavily, says Skaggs; it only makes it more difficult to recover and bring in more oxygen. "Dancers have to learn to breathe deeply and continue without collapsing. If you're calm about it, you can go further," she says. She recommends training with activities like running, biking and swimming to get accustomed to breathing heavily and build your cardiorespiratory endurance.
Punctuate Your Movement
Use breath to help elongate your extension. Photo by Matthew Murphy for Dance Teacher
Using intentional, audible breaths can also be an aesthetic choice. "Breath adds dynamics and texture to your dancing. It can help you feel the difference between rough and smooth, staccato and sustained," says Sanford. Try using breath to accent a sharp movement, or to elongate an extension.
When you're dancing familiar choreography, you can insert these intentional breaths spontaneously to see how they might change your execution of the phrase. You can also choreograph breath, but be careful not to overdo it. "I see a lot of excessive breathers at competitions. If you're forcefully breathing all the time, it makes the movement look robotic," says Sanford.
Breathe as a Group
Breathing with your fellow performers can have a powerful effect. Photo via NYCDA
Being conscious of your breath is also a commonly overlooked way to connect with your fellow performers, especially in unison sections. "It's really hard to move in exactly the same way as someone else. But if you match your breath, your initiation and follow-through will be the same," says Sanford. "I love when I can hear a large group of dancers breathing together. It gives me goosebumps."
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.)
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.
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
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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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.
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.
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?
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.