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Tools of the Trade
Dancing professionally should come with a warning label: Beware of aches and pains, muscle fatigue and cramping, joint discomfort, and crackly popping sounds. To manage pain and keep moving, dancers often turn to foot rollers, foam rollers, and balls. These handy self-massage tools can relieve aching muscles during class or rehearsal, but they are not interchangeable. Here's how each can help.
Roll It Out
Foam and wood rollers are the most commonly used tools among dancers. “Rolling is great for lengthening and pulling apart fascial tissue, especially plantar fascia on the bottom of feet, and the iliotibial band (IT) along the side of the thigh," says Julie O'Connell, director of Performing Arts Rehabilitation at AthletiCo in Chicago. Fascia, a soft connective layer between skin and muscle that helps support the body's structural integrity, tends to tighten and get more rigid from use. O'Connell recommends spending 3 to 5 minutes rolling during breaks in a long rehearsal day to feel some relief, until there's a decrease in tension and an increase in pliability. “Don't try to remove all of the fascial tension because your body needs that for postural support," she says.
Rolling iliotibial bands and feet can be very painful, so choose the roller's density (hardness) based on your pain tolerance. If the roller causes muscles to tense, switch to a lower density and work up to harder rollers. Half-rollers and skinny rollers are better for smaller muscle groups. To unknot the calves, try kneeling with a skinny roller lying on top of the calf muscle length-wise, sit back on it, and move gently from side to side.
Erika Kalkan, faculty member at Harkness Center for Dance Injuries, suggests rolling once muscles are warm after class to reap the most benefit. However, if the muscle is irritatingly tight beforehand, the dancer may want to roll to loosen it up before she starts to work. “As you roll out, focus, breathe, and try to relax into it," she says. “If you only roll for a couple seconds while talking with other dancers, it may be completely useless."
Foot rollers are compact and unobtrusive enough to use in class, so many dancers keep one nearby during barre. During Jennifer Muller/The Works company classes, dancer Duane Gosa says, “I always use a wood foot roller when my feet cramp up, so I can focus on the combinations and not on my foot pain."
On the Ball
Tennis balls, racquet balls, rubber balls, and small spiky balls have become dance bag necessities in recent years. While rollers release tension in large sections of the body, balls are for local, trigger-point release. Balls can soften knots or muscular adhesions in the back, chest, hamstrings, glutes, and feet. For ballet dancers, O'Connell notes that calves and external rotators—specifically the piriformis, in the gluteal region—most often require release.
To release the piriformis, says O'Connell, sit on a ball placed under one hip, with knee bent in a relaxed turnout, and roll around on the ball. Kalkan also tells dancers to keep the ball in one spot for 30 seconds and imagine relaxing the muscles over the ball, then move to a different spot and repeat. “A relaxed muscle allows the fibers to lengthen, brings circulation to the area, and causes a release on a neuro-physical level."
There are more specific ball-rolling techniques, including Yamuna Body Rolling, that safely increase relief. Yamuna uses 6- to 10-inch balls of various densities to roll out the entire body in an anatomically correct manner, starting at the origin of a specific muscle and rolling to the point where the muscle inserts into the bone. Once learned, the technique can aid a dancer's post-class body maintenance (see yamunabodyrolling.com).
The Safety Dance
There are red-flag cautions for all self-massage techniques. Any numbness or tingling is a sign of pressure on a nerve. Kalkan warns about rolling on the pectoral muscles because the brachial plexus—a large network of nerves—is nearby. Also watch for tingling in the toes when rolling the peroneal muscles on the outside of the lower leg. A softer ball, less pressure, and not working the area for too long helps avoid nerve pain.
Also remember that a deeper roll does not mean more relief. “I am surprised at how many dancers bruise themselves and the bone from rolling!" exclaims Kalkan. Applying forceful pressure or spending too much time on one spot leads to painful inflammation and swelling.
But don't use these tools as a way to mask more serious body issues. “Don't use balls or rollers instead of seeking medical attention," warns O'Connell. “Early intervention can catch issues before they become serious injuries." Tools like these may help you continue dancing, but Kalkan believes in investigating the cause of pain, discovering why some areas are always tight, then striving towards a solution. Working on alignment and proper muscle recruitment can lead to long-term relief.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.
"There's an ancient energy in Fana's movement, a deep and trusted knowing," says Jeff, director of the Chicago-based Deeply Rooted Dance Theater. "Because I witnessed the raw humanity of his dancer's souls, I wanted my dancers to have that experience."
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
In his final bow at New York City Ballet, during what should have been a heroic conclusion to a celebrated ballet career, Robert Fairchild slipped and fell. His reaction? To lie down flat on his back like he meant to do it. Then start cracking up at himself.
"He's such a ham," says his sister Megan Fairchild, with a laugh. "He's really good at selling whatever his body is doing that day. He'll turn a moment that I would totally go home and cry about into something where the audience is like, 'That's the most amazing thing ever!' "
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
Choreographer Sergio Trujillo asked the women auditioning for ensemble roles in his newest musical to arrive in guys' clothing—"men's suits, or blazers and ties," he says. He wasn't being kinky or whimsical. The entire ensemble of Summer: The Donna Summer Musical is female, playing men and women interchangeably as they unfold the history of the chart-busting, Grammy-winning, indisputable Queen of Disco.
Have a scroll through Agnes Muljadi's Instagram feed (@artsyagnes), and you'll notice that in between her ballet shots is a curated mix of lifestyle pics. So what exactly sets her apart from the other influencers you follow? Muljadi has made a conscious effort to only feature natural beauty products, sustainable fashion and vegan foods. With over 500k followers, her social strategy (and commitment to making ethical choices) is clearly a hit. Ahead, learn why Muljadi switched to a vegan lifestyle, and the surprising way it's helped her dance career.
He may not be a household name, but you probably know Brandon Stirling Baker's work. The 30-year-old has designed the lighting for most of Justin Peck's ballets—including Heatscape for Miami City Ballet, and the edgy The Times Are Racing for New York City Ballet—but also Jamar Roberts' new Members Don't Get Weary at Alvin Ailey American Dance Theater and a trio of Martha Graham duets for L.A. Dance Project.
He's been fascinated by lighting ever since he attended a public performing arts middle school in Sherman Oaks, California, where he had his first experiences lighting shows. He also has a background in music (he plays guitar and bass) and in drawing. Both, he says, are central to the way he approaches lighting dance.
Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.
For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.
Even better? You could land a spot in her #JTribe simply by posting a video on social media.
What does it take to become an international superstar? Carlos Acosta might have a few ideas.
At the Oxford Literary Festival earlier this month, the BBC sat down with Acosta to ask for his life lessons. His answers—which he says he will pass on to his kids one day—give incredible insight into how he's become such a beloved worldwide success.