Strategic Summer Schedule
When Elizabeth Hansen was offered an apprenticeship at Pittsburgh Ballet Theatre, she immediately kicked her training into high gear. Dancing six to eight hours a day at least six days a week had earned her a contract. So she signed up for a major competition, figuring that logging extra time in the studio over the summer would help prepare her for her first professional job. But a few weeks into the season that fall, she was diagnosed with a stress reaction in her right foot. “It wasn’t hard to connect the dots,” says Hansen, now at Joffrey Ballet. “It was a huge blow to have finally gotten what I’d worked so hard for, and then a couple of weeks in I had to stop.”
When it comes to training, more is not always better. Rest is so vital to performance that other professional athletes, like football, basketball and soccer players, have recovery periods built into their annual schedules to protect their bodies from the kind of injury Hansen experienced. Their system, called periodization, uses progressive degrees of training over the course of the year to achieve peak physical fitness when they need it most.
Justin Tatman, a certified athletic trainer who has worked with the Miami Dolphins and top-level college endurance athletes, explains that the sports world breaks up the year into four stages: During the post-season athletes take time for recovery; in the off-season they focus on building general muscle mass and strength; and in the pre-season strength-building becomes specific to their sport. This all prepares them for in-season, where they are competing at a high level and any training they do simply maintains the strength they’ve built.
Tailoring this program to a dancer’s schedule can increase your strength, boost your energy and help protect your body from the daily toll of dancing. Although athletes typically have at least two weeks for each stage, dancers can shorten the timetable to fit the post-season, off-season and pre-season sections into their summer layoff. Leigh Heflin, from the Harkness Center for Dance Injuries at New York University’s Langone Medical Center, recommends this abbreviated schedule for a typical three-week layoff.
Take the first week of your break to completely rest: no dancing and no cross-training. Instead, use the time for body work, such as massage, icing and Epsom salt baths, says Heflin. And get as much sleep as your body craves—studies show that logging extra hours increases speed and coordination.
It may seem counterintuitive, but this time off will strengthen your body. Heflin explains that exercise creates micro-tears in our muscle fibers, and when we rest, our bodies are able to use the proteins we absorb through food to repair the torn muscles, making them stronger in the process. If micro-tears don’t recover, they can become macro-tears, leaving the body highly susceptible to overuse injuries like tendonitis, muscle strains or stress fractures.
If you’re worried that a week off is going to set you back, think again. Heflin says that it takes about two weeks without exercise to lose cardiovascular fitness, and as long as two months to lose muscular strength.
For the second week, experts suggest “active rest,” cross-training six days a week. The type of workouts you do depend on your personal goals: Heflin suggests yoga or Pilates for core stability; running, cycling or swimming for endurance; or weight-training for muscular strength. If you can, find a clinician to assess your fitness with a full body screening and design a personalized program to address your weaknesses. However, Heflin points out that almost all dancers need cardio training: Although most center phrases in a dance class are under three minutes, performances often call for much longer periods of sustained effort. “If you’re never training your body aerobically,” she explains, “you won’t be able to cope with the demands that performance is asking of you.”
During the week before your season starts, slowly make your way back to the studio with two or three classes. Start to decrease your cross-training, avoiding exercises that stress the same muscles as dance does on the days that you take class. Allow yourself to return to dance progressively, respecting your body’s limits—attempting too much too soon could lead to injury, undoing all the benefits you’ve gained from resting.
Back in Season:
As your dance demands ramp up, decrease your cross-training even further so that you don’t overload the body. Any workouts outside of the studio should focus on maintaining the strength you built during your layoff, or balancing out dance’s demands on the body with corrective exercises (see “Out of Whack?” on page 36). Avoid the gym completely during the week before performance: Rest as much as your rehearsal schedule allows, so that your body can replenish its depleted glycogen stores for optimum energy once you step onstage.
What Do You Do With Your Layoff?
”I take a few days off completely after a big performance, then a week or two away from dance, but going for yoga, swimming, Pilates, the elliptical or the bike. I try to strengthen whatever my weaknesses were while I was dancing. When I was younger I didn’t cross-train because I’m naturally muscle-bound, so I thought it was going to make my quads or my arms too big. But that’s just not the case.”
Braverman photo by Evan Guston, Courtesy Parsons.
Pacific Northwest Ballet
“If we have four weeks off over the summer, I take two and a half completely off from dance. Then I slowly come back into it, maybe taking a Monday, Wednesday, Friday class at first. My husband’s funny because I’ll say I have three weeks off, and he’ll be like, ‘How much time do you really have off?’ He’s gotten used to the routine. Once, we were in Hawaii for 10 days right up until the company came back. My husband took pictures of me doing a barre in our rented condo. I made sure I did some yoga on the beach or I swam. We walked around and hiked a lot, but there’s nothing like being in ballet shape.”
Imler in Jirí Kylián’s Forgotten Land. Photo by Angela Sterling, Courtesy PNB.
I have a commitment, a romance, a love affair with dance, with the feeling that happens when the music and the steps so perfectly align and I can't help but get chills. That feeling when my partner and I are dancing as one, when everyone onstage feels the same heartbeat, when it's just me alone in my bedroom.
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.
You can see them in "Fosse/Verdon" episode one. Michelle Williams, playing Gwen Verdon, wears them with a cool, retro, forest-green jumpsuit. Tucked beneath a mop top of tousled Gwen Verdon locks, Williams sports a pair of discreet and tasteful onyx drop-earrings—the dancer's favorites. Verdon wore them all her adult life, according to her daughter Nicole Fosse, a co-executive producer of the FX series that puts a spotlight on a great woman of American dance.
"I have very little memory of my mother wearing other earrings. They were her Gwen Verdon earrings," says Fosse, speaking by phone from her home in Vermont. "She's wearing them in 99 percent of the pictures of her performing."
Four years of lectures, exams and classes can feel like a lifetime for college dancers who have their sights set on performing. So when a professional opportunity comes knocking, it can be tempting to step away from your academics. But there are a few things to consider before putting your education on hold.
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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We've all been there: You see the craziest/most beautiful/oddest/wildest clip of a dance on Facebook and you simply have to see more.
But do you actually get yourself to the theater and sit through a 90-minute performance? The consensus, at this point, typically seems to be: No.
There is no clear correlation between a company's social media campaigns and how many seats they fill in the theater. That doesn't mean social media isn't, of course, vital. It simply means that "social media campaigns operating without other marketing campaigns don't cut it," says Rob Bailis, associate director of Cal Performances at UC Berkeley. "But campaigns without social media are far worse off."
Since the project was first announced toward the end of 2017, we've been extremely curious about Yuli. The film, based on Carlos Acosta's memoir No Way Home, promised as much dancing as biography, with Acosta appearing as himself and dance sequences featuring his eponymous Cuba-based company Acosta Danza. Add in filmmaking power couple Icíar Bollaín (director) and Paul Laverty (screenwriter), and you have a recipe for a dance film unlike anything else we've seen recently.
One of the country's top arbitrators has decided to reinstate Amar Ramasar and Zachary Catazaro to New York City Ballet. The former principals were fired last fall for "inappropriate communications," namely graphic text messages.
The dancers' union, American Guild of Musical Artists, fought the termination, arguing that the firings were unjust since they related entirely to non-work activity. After a careful review of the facts, an independent arbitrator determined that while the company was justified in disciplining the two men, suspension was the appropriate action and termination took it too far.
A woman passes three men in the street. The men pursue her. They thrust their pelvises at her. They continue to pursue her after she slaps one's hand and walks away. They surround her. She glances around at them in alarm. One snatches her purse (to review the Freudian significance of purses, click here) and saunters off with it, mocking her. She tries to take the purse back, and the three men toss it over her head among each other. They make her dance with them. Each time she indicates "No," the men try harder to force her submission to their advances.
This is all within the first 10 minutes of Jerome Robbins's Fancy Free, a 1944 ballet about three sailors frolicking on shore leave during World War II, beloved by many and still regularly performed (especially during the last year, since 2018 was the centennial celebration of Robbins's birth). Critic Edwin Denby, after the premiere with Ballet Theatre, called it "a remarkable comedy piece" and "a direct, manly piece."
When you're bouncing between hotel rooms without access to a kitchen, eating a pescatarian diet can be challenging. Stephanie Mincone, who most recently traveled the globe with Taylor Swift's Reputation Stadium Tour, told Dance Magazine how she does it—while fueling herself with enough energy to perform for thousands of Taylor fans.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."
My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.
This parade of tricksters always makes me wonder, What else can they do? Can they actually dance?
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
When American Ballet Theatre announced yesterday that it would be adding Jane Eyre to its stable of narrative full-lengths, the English nerds in the DM offices (read: most of us) got pretty excited. Cathy Marston's adaptation of Charlotte Brontë's classic novel was created for England's Northern Ballet in 2016, and, based on the clips that have made their way online, it seems like a perfect fit for ABT's Met Opera season.
It also got us thinking about what other classic novels we'd love to see adapted into ballets—but then we realized just how many there already are. From Russian epics to beloved children's books, here are 10 of our favorites that have already made the leap from page to stage. (Special shoutout to Northern Ballet, the undisputed MVP of turning literature into live performance.)
Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.