Originally from Central Florida, Jessica is a senior journalism major at the University of Florida. She began dancing at the age of four and has studied at Orlando Ballet School, Nutmeg Conservatory for the Arts and University of South Carolina's Department of Theatre and Dance.
When Thomas Forster isn't in the gym doing his own workout, he's often coaching his colleagues.
Two years ago, the American Ballet Theatre soloist got a personal training certification from the National Academy of Sports Medicine. Now he trains fellow ABT members and teaches the ABT Studio Company a strength and conditioning class alongside fellow ABT soloist Roman Zhurbin.
He shared five of his top tips for getting into top shape.
If you always feel like you need to crack your back, it may mean it's time to start strength training. Photo by Getty Images
There are few things more satisfying than a good back crack. But rumors say it can have negative effects on your body—and your dancing.
In truth, research has shown that spinal manipulation done by a practitioner can provide short-term pain relief and better recruitment of your deep spinal muscles. Jessica Davis, a physical therapist in Pennsylvania and lead faculty at the Institute of Clinical Excellence Performing Arts Division, says that it's reasonable to believe that self-manipulation can offer the same benefits.
Studio by the Sea students at a local gym for their first class since the storm. Photo courtesy Wendy Lewis
Wendy Lewis, owner of Studio by the Sea in Panama City Beach, Florida, thought as most Floridians do before a hurricane. The morning of October 8, Lewis dropped off the Moscow Ballet's Great Russian Nutcracker audition director at the airport. She joked that the director's departure was well-timed considering the storm swirling in the Gulf of Mexico. "I headed home thinking it was going to be a normal day," she says. As the storm's intensity strengthened, Lewis started to make the usual preparations. She pulled in chairs and plants from the patio of her studio and boarded up her home on the beach. But what started as an irksome Category 1 hurricane swelled into a life-threatening beast in less than two days.
Lewis opted to close the studio and evacuate to Georgia. She only packed enough clothes to last her a few days. By Thursday, she planned to be back at her studio teaching classes and running Nutcracker rehearsals. But Lewis didn't return until Saturday, October 13, and when she did, her studio was irreparable.
Molissa Fenley (left) and her dancers in 1985. Photo by Chris Callis, Courtesy DM Archives
In the October 1983 issue of Dance Magazine, we explored the work of then-breakout contemporary artist Molissa Fenley. Having spent the late '70s sending shockwaves through the New York City arts community with her experimental works, she was tapped by Brooklyn Academy of Music to create a new commission for its first-ever Next Wave Festival. She told us, "I don't know if New York was ready for me, but the audiences were ready for some change, for some energy, and for some dancing!" Her voracious yet analytical fusion of cultures, traditions and movement caught the eye of our editors then, and still captivates today. Now 63, Fenley continues to create and perform with the same explosive energy that marked her early career.
Molissa Fenley (left) was commissioned by Brooklyn Academy of Music for its first-ever Next Wave Festival in 1983. Photo by Chris Callis, Courtesy DM Archives