Luckily, there’s a fairly simple way you can ballpark portions without too much trouble, and it involves something you always have with you—your hand! Use the following to keep an eye on how much you are eating—it works quite well. (Sizes are approximate.)
- 1 serving of meat = the palm of your hand
- 1 tablespoon = your thumb, from the second knuckle to the tip
- 1 teaspoon = the tip of your index finger, second knuckle to the tip
- 1 cup = the size of your fist
- 1 ounce = your thumb, from the first knuckle to the tip
- 1⁄2 cup = loosely cupped hand
These simple measurements can help you estimate how much you are eating and keep you from overdoing it. Keep them in mind when you head out to a restaurant, or when you are preparing meals or snacks.
Dance Advantage and 4dancers have written a guide for healthy eating, studying smart, navigating dance coursework, roommate relations and more–designed specifically for college freshmen going off to a dance program. This post is an excerpt from that e-book.
Learn more about this resource and get it for yourself or someone you know here:
“What scares me, actually, is being too calm and not having enough nervousness to be on stage” – Daniil Simkin
Born in Russia, raised in Germany, Daniil Simkin comes from a ballet family. His mother and father were professional dancers and his older brother, Anton Alexandrov, is a member of The Hamburg Ballet.
Simkin fell in love with performing at a young age when he joined his father onstage in small parts. His dance serious training, however, did not begin until age 10 when mother started teaching him ballet in private lessons. Her regime featured two hour classes per day, six days a week. Her syllabus drew upon Russian, French, and Cuban training techniques.
Simkin continued his academic studies at a regular school and never attended a formal ballet school. He told the New York Times, “I didn’t grow up with the clichés about ballet school, the competitiveness or aggressiveness, because I was the only one. I never saw it as a mission to be a ballet dancer or make it my life.”
Simkin started competing at age 12 and went on to win prizes at on the international circuit. A tech enthusiast ahead of his time, he began sharing videos of his competition solos online before it was common for dancers to do so. As a result, he became an internet sensation in the dance world. Despite his success, he wasn’t certain he wanted to become a dancer until he won grand prix at the International Ballet Competition in 2005 at age 16.
In 2006, he joined the Vienna State Opera Ballet as a demi-soloist. In 2008, he left to become a soloist at American Ballet Theatre, one of his dream companies. Company life presented certain challenges for Simkin. Since he was privately-trained, he initially lacked partnering experience. In addition, learning many different roles at once was a stark change from his mother’s more singularly-focused lessons. Yet, Simkin adapted to the new work environment and has no regrets about his upbringing. In 2012, he was promoted to principal dancer at ABT.
One of Simkin’s goals is to use the internet and social media to try to remove the mystique surrounding ballet dancers. He says, “I am not a “special breed” of a human or some super-natural, royal person. I am a simple person, who is a dancer.”
- He keeps cookies in the dance bag for a sugar-high.
- His favorite choreographers are Jiri Kylian, Alexei Ratmansky. and Mats Ek.
- If he could be a superhero, he said he would be “HappyMan”, a character possessing the ability to make people instantly happy.
Follow Simkin On:
Simkin Dancing in 2001 at Age 13 Alongside his Father:
Simkin dancing at the Helsinki International Ballet Competition in 2005:
Montage of Simkin Dancing as a Child and Today:
Simkin in the City (Humor, 2013):
New York Times Article on Simkin
Simkin’s Interview With Rogue Ballerina
MEN IN TIGHTS: Daniil Simkin!
Simkin’s Interview with Madame B NYC Blog
Simkin’s Interview with The Ballet Bag, Plus a List of What’s in His Ballet Bag
Simkin’s Interview with Gramilano
by Rachel Hellwig
Carla Körbes shocked and saddened the ballet world last fall when she announced her early retirement at age 33. On Sunday night, she gave her final performance with Pacific Northwest Ballet and the company live streamed the program, giving fans an opportunity to be in the audience, regardless of their geographic location. I was able to watch from Birmingham, Alabama.
Körbes appeared in three of the works on the mixed bill, beginning with Jessica Lang’s The Calling, set to choral music from 12th-13th century. Wearing a long white dress whose material engulfs the floor around her, Körbes articulated though the tense and yearning energy of the upper body-focused choreography, skillfully channeling her dramatic qualities.
In Balanchine’s Diamonds pas de deux, she brought an Odette-like sensibility to her role, imbuing it with vulnerability and hesitant-but-increasingly-trusting affection for her partner–the strong, stately Karel Cruz. In the touching final moment, when he kneels and suddenly kisses her hand, her reaction mingles surprise and anticipation, as if she were hoping for it, but not entirely certain it would happen.0
“To be perfect is impossible, but to be better is possible.” – Yuan Yuan Tan
The first chapter of Yuan Yuan Tan’s dance career literally hinged on a coin toss. The 11-year-old was among a small group of students selected for the prestigious Shanghai Dancing School–despite the fact that she had no dance experience at the time. Tan’s mother approved of the plan, but her father did not. He wanted her to be a doctor or engineer. Believers in fate, her parents decided to flip a coin. Dance won.
Tan was behind at the school and struggled at first, often just watching other students from the corner. But then a teacher recognized her natural talent and gave her private lessons. Soon enough, Tan excelled. She started entering and winning awards at ballet competitions, though she found the stress to be challenging. Yet, it was at competitions that San Francisco Ballet director Helgi Tomasson first spotted her. He invited her to join the company as a soloist. Two years later, she was promoted to principal- the youngest dancer to achieve this status in the history of the company.0
by Jan Dunn, MS
We recently posted an article showing you the first part of a terrific foot warm-up, from the Franklin Method, using small balls—and if you’ve been trying it, you may have learned that it warms up more than just the feet!
I promised you the 2nd half, for both feet, and here it is. I suggest you read this full article first, as opposed to following along as I describe it. This is very much a balance / core stability challenge, and I want to give you some cues along the way. So read first / do afterwards, incorporating the cues…
First do right foot / left foot individually, as shown in Part 1. Then –
Up And Over
Put both balls together, a couple inches apart. Brace your heels on the ground, and put your forefoot on the balls, with knees straight. You’ll notice a nice Achilles stretch as you take that position.
Roll up and over the balls, so that your toes are now braced on the floor, with your heels on the balls. Keep your knees straight as you do this.
Practice rolling back and forth, with knees still straight, from toes to heels, keeping your body centered and aligned. Your feet are basically going from plantar flexion (pointing) to dorsi-flexion (ankle flexion), in anatomical terms.
Tips and cues:0
Aloha to all!
This is a very special post regarding the Dance Wellness segment of 4dancers.org:
In the fall of 2011, Catherine Tully (whom I had never met) contacted me and asked me if I would like to write an article about Dance Medicine and Science – aka Dance Wellness – for her online site, just to introduce readers to that aspect of information in the dance world. I was pleased to do so, and so in January of 2012, we posted that first article. Your response, as readers, was so overwhelmingly positive that Catherine asked me to start a new on-going segment of 4dancers, entitled “Dance Wellness”. I did, and the rest is history. Over the last 3+ years we have posted, 36 articles, written not only by myself but by guest contributors whom I have brought in.
Your eagerness to learn more about this important field has prompted us to take the next step, to continue “spreading the word” online about the many aspects of Dance Wellness, and how all of this information can help dancers to “dance longer, dance stronger”. We are so pleased to announce the 4dancers.org Dance Wellness Panel–a distinguished group of people from the Dance Medicine and Science field, who have agreed to join us in this new endeavor.
Below you will find each of our panel members, along with information about their backgrounds, associations and areas of specialty. We are thrilled to have them on board, and we look forward to sharing more dance wellness information with you in the coming months!
My best to everyone-
Jan Dunn, MS
Dance Wellness Editor – 4dancers.org
James Garrick, MD., is an orthopedic surgeon and the founder and Medical Director of the Center for Sports Medicine, at St. Francis Memorial Hospital in San Francisco, California. When founded 35 years ago, the Center had the first Dance Medicine department on the West Coast, and had one of only two West Coast Pilates facilities. For forty years he has been one of the leading figures in the dance medicine field, with particular research interests in the epidemiology of dance and sports injuries. His research includes a cost analysis of dancers’ workman’s comp injuries, insurance coverage of independent dance companies in San Francisco Bay area, and injury patterns in young dancers.
Dr. Garrick was physician for San Francisco Ballet Company, founded the clinic for dancers at San Francisco School for the Arts, and is currently on the physician panel for the San Francisco Ballet School. He also founded the Sports Medicine Division at the University of Washington, and is a founding and former board member of the American Orthopedic Society for Sports Medicine. He is a clinical professor in the Department of Pediatrics at the University of California, San Francisco School of Medicine, and serves on the editorial board of several journals. He has authored / co-authored five books, including Ski Conditioning (1978), Peak Condition (1986), and Sports Injuries – Diagnosis and Management (1990), as well as numerous articles for medical journals and book chapters.
Dr. Garrick is a member of American College of Sport Medicine, American Orthopedic Surgeons, American Academy of Orthopedic Surgeons, Performing Arts Medicine Association (PAMA), and International Association for Dance Medicine and Science (IADMS).
Gigi Berardi, PhD has an academic background and performing experience that allow her to combine her interests in the natural and social sciences with her passion for dance, as both critic and writer. Over 300 articles and reviews by Dr. Berardi have appeared in broadcast and print media, including Dance Magazine, Dance International, the Los Angeles Times, the Anchorage Daily News, The Olympian, The Bellingham Herald, LA Style, IDEA Today, LA Reader, LA Weekly, and scientific journals such as Journal of Dance Medicine & Science, Kinesiology and Medicine for Dance, Dance Research Journal, Your Patient and Fitness, and Impulse: The International Journal of Dance Science, Education, and Medicine. She has written as a national advocacy columnist for the Dance Critics Association Newsletter and has served on performing arts panels for the Alaska State Council on the Arts. She currently serves as a contributing editor and writer for and a correspondent for Dance Magazine. She is a founding co-editor of Kinesiology and Medicine for Dance and currently serves as Book Review Editor for Journal of Dance Medicine & Science. Her public radio features (for KSKA, Anchorage) have been recognized by the Society of Professional Journalists. She has served on the Board of Directors of the Dance Critics Association, and is a member of the American Society of Journalists and Authors.
A professor at Western Washington University, she received the university’s Diversity Achievement Award in 2004. Finding Balance: Fitness and Training for a Lifetime in Dance is her fifth book. The completely revised edition appeared in 2005, a seminar on the earlier edition was noted in The New Yorker; both editions had second printings. Her technical training, residencies, and seminars are listed in her resume. In winter, 2000, she was a Fairhaven College Distinguished Teaching Colleague for dance.
Robin Kish, MS, MFA, is an Assistant Professor in the Department of Dance at Chapman University. Robin blends her background in dance and science to creative innovative educational programs supporting the development of safe and effective dance training programs.
She has presented research and developed education lectures for the Performing Arts Medicine Association (PAMA) and the International Association of Dance Medicine and Science (IADMS). In 2013 she developed the first online dance kinesiology class for the National Dance Education Organization (NDEO). As a product of the private studio / competition environment she is passionate about bringing dancer wellness and safe teaching practices to the industry.
Moira McCormack, MS, is Head of Physiotherapy at The Royal Ballet Company in London, UK.
After a professional dance career in classical ballet she trained as a dance teacher and then as a Physical Therapist and has worked with dancers for the last 20 years. She teaches anatomy, dance technique and injury prevention internationally, with a main interest in the management of the hypermobile dancer.
Janice G. Plastino, PhD is Emerita Professor from the University of California Irvine (USA) in the Department of Dance. Her book with James Penrod, The Dancer Prepares: Modern Dance for Beginners has been in continual print with revisions since 1970. She has published extensively with papers, journal articles, and several book chapters. She has danced professionally on television, stage, and in dance companies for national and international venues.
Dr. Plastino’s choreography of over 50 works includes 15 years as co-director of Penrod Plastino Movement Theatre, directing opera at Lincoln Center, New York, and creating works at NBC and the BBC television. She is regarded as the founder of the field of Dance Science, and established the first dancer screening / wellness program in an educational setting at UCI in 1982. She introduced the Pilates Method in the UCI Dept. Of Dance in 1983, the first such program in higher education.
She was instrumental in the formation of the National Dance Education Association (NDEO), and a leader during the organization’s early years. She has been a member of Performing Arts Medicine Association (PAMA) since 1989, served on the BOD for four years, and in 2013 was awarded the Dawson Service Award. In 2015, she became the first recipient of the International Association for Dance Medicine’s (IADMS) Dance Educator Award.
Dr. Plastino has reported her findings in dance science to scientific societies and medical associations throughout the United States and abroad. She was an invited guest of the USSR government in 1988 (before détente), observing the Bolshoi and Kirov ballet companies while consulting and lecturing about dance injuries. The Olympic Committee invited her to lecture on dance injuries at the 1984 Olympic Scientific Congress held in Eugene, Oregon and in Seoul, South Korea in 1988. Her pioneering and continuing work in the pre-participation screening of dancers has been lauded by the medical, research and dance communities. Many of her students have established wellness programs at their colleges, universities, private studios, and private practices.
Dr. Plastino is currently adapting her movement theories for use in for the private dance studio. She is most passionate about the private studios having easy access to new research in training methods of the young dancer. Currently she consults on dancer wellness, evaluation of public and private dance programs, gives dancer wellness workshops, and continues to present papers at conferences.
Emma Redding, PhD is Head of Dance Science at Trinity Laban Conservatoire of Music and Dance.
Emma originally trained as a dancer and performed with the company Tranz Danz, Hungary and for Rosalind Newman, Hong Kong. She teaches contemporary dance technique at Trinity Laban and lectures in physiology alongside her management and research work. She has been Principal Investigator for several large-scale research projects including a 3-year government funded study into dance talent identification and development as well as studies into the physical and mental demands of music playing and the role of mental imagery within creative practice.
She has published her work in academic journals and is a member of the Board of Directors and a Past President of the International Association for Dance Medicine and Science (IADMS). She is also founding Partner of the UK National Institute for Dance Medicine and Science (NIDMS).
Erin Sanchez, MS is the Healthier Dancer Programme Manager (job share) at Dance UK in London, administrates the Rudolf Nureyev Foundation’s Medical Website for healthcare professionals and dancers and manages the Dance Psychology Network.
Erin pursued vocational dance training with American Ballet Theatre, Boston Ballet School and the Alvin Ailey School. She also holds a BA (Hons) in Dance and Sociology from the University of New Mexico and an MSc in Dance Science from Trinity Laban Conservatoire of Music and Dance in London.
Erin is a registered provider for Safe in Dance International, a member of the International Association for Dance Medicine and Science and holds the qualification in Safe and Effective Dance Practice. She has lectured in dance science and taught dance technique in the United States, UK, Egypt and Malta.
Selina Shah, MD, FACP is a board certified sports medicine and internal medicine physician and the Director of Dance Medicine at the Center for Sports Medicine in San Francisco, CA and Walnut Creek, CA. She has lectured nationally and internationally on various dance medicine topics and has published papers in medical journals and books including her original research on dance injuries in contemporary professional dancers. She is the dance company physician for the San Francisco Ballet School, Liss Fain Dance Company and Diablo Ballet. She is a physician for Berkeley Repertory Theater, Mill’s College, St. Mary’s College, and Northgate High School. She takes care of the performers for Cirque du Soleil and various Broadway productions when they come to the San Francisco Bay Area. She has taken care of several Broadway performers (i.e. American Idiot, South Pacific, Lion King, Book of Mormon, MoTown, and Billy Elliot). She is a team physician for USA Synchronized Swimming, USA Weightlifting, USA Figure Skating and travels with the athletes internationally and nationally. She is also a member of the USA Gymnastics Referral Network. As a former professional Bollywood and salsa dancer, Dr. Shah is passionate about caring for dancers. She continues taking ballet classes weekly and also enjoys running, yoga, Pilates, weightlifting, and plyometric exercise.
Nancy Wozny is editor in chief of Arts + Culture Texas, reviews editor at Dance Source Houston and a contributor to Pointe Magazine, Dance Teacher and Dance Magazine, where she is also a contributing editor. She has taught and written about Feldenkrais and somatics in dance for two decades.
At Wolverhampton he is the course leader for the MSc in Dance Science and Director of Studies for a number of dance science and medicine doctoral candidates. He is a founding partner of the National Institute of Dance Medicine and Science, UK.
Prof. Wyon is Vice President of the International Association for Dance Medicine & Science and a past chair of the Research Committee. He has worked with numerous dancers and companies within the UK and Europe as an applied physiologist and strength and conditioning coach.0
by Rachel Hellwig
“Dance is only taught in a fraction of schools nationally. But here in New York City, a growing number of schools are offering dance as a distinct course of study,” says Paula Zahn, host of PS DANCE!, a new film that explores and celebrates dance education in New York City public schools.
At P.S. 89 Liberty School in Manhattan, dance teacher Catherine Gallant guides her elementary students through an exercise set to Saint-Saens’ music “Aquarium”. They improvise aquatic life forms in swimming, swishing, watery gestures as she calls out ideas to inspire them. Gallant says that “all children have a large appetite for movement”. She also employs dance to help students remember history. When her class studies Harriet Tubman and the Underground Railroad, they use motion to imitate the experiences of escaping slaves–running through fields, crossing bridges, and hiding behind trees.0