Ballet
Finding Balance: An Introduction
Today I’d like to give a warm welcome to Emily Kate Long, 4dancers latest contributor. Emily Kate will be writing about “Finding Balance”…something every dancer struggles with in one form or another…
Emily Kate Long
Balance is an integral part of dance: in technique, physical appearance, partnering, staging, casting, injury prevention…and on and on. Balance is what makes dance beautiful, and imbalance is often what keeps the audience on the edge of their seats, tense and excited. In our day-to-day, balance—or the lack of it—can provide comfort, frustration, boredom, serenity, or stress.
Physical imbalance reared its ugly head in my life throughout December and January. After nothing but Nutcracker for November and early December, three weeks of layoff seemed welcome at first. By about day four, though, I was longing for full days of rehearsal again! How was I supposed to keep myself in good shape while still allowing time for recovery?
Two months of promenades on my left leg had not only eaten through pair after pair of pointe shoes, but had also done noticeable damage to the muscles in my hip and calf on the left side. Prevention, correction, and maintenance all played a part in physically rebalancing my body before rehearsals started up again.
Pilates Reformer work was, and continues to be, a really effective way to maintain balance and alignment in my body. It was also useful as a preventive measure. My trainer and I had been working to stay on top of the one-sidedness of classical pas de deux work in weekly sessions during Nut rehearsals, so by the time the run of shows was over I had a repertoire of exercise remedies to practice with her and on my own.
Pilates Work
A visit to the chiropractor kicked off the corrective steps. He’s always telling me to reverse one-sided choreography, even if that only means one time reversed for every ten times I dance it. I think there’s validity in that, though in a company of nine dancers with one full-size studio there is not always time or space (or, more often, quite enough self-motivation) to take on that extra project, however small. I did begin doing the left side first for class exercises during the layoff, which was an interesting and helpful experiment.
Long, busy days in the theater meant that I wasn’t able to stretch as much as I would have liked, and dancing on a hard stage meant that I needed it more than usual. So I ended up tighter in general, especially in my hips and lower back. Hot yoga was a nice fix for that. The heat allowed me to stretch more intensely, and the combination of turned-in work and plenty of twisting relieved a lot of the tension that had been living in my back and hips.
Maintenance, in addition to continued Pilates work, involved taking lots of time to do class on my own and really simplify things, going back to the basics and re-examining those steps for quirks that could lead to bigger problems later. I also indulged my love of running outdoors, something that I avoid during rehearsal weeks because of the impact.
Now that rehearsals are back in full swing things are starting to get crazy again—just the way I like them! Full days at the studio plus planning classes and choreography make me really appreciate any opportunity I can find for pastimes—currently, reading Jane Austen and Stephen Manes. But that’s fodder for another post!
Emily Kate Long
BIO: Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007. She also has spent summers studying at Saratoga Summer Dance Intensive, Miami City Ballet, Pittsburgh Ballet Theatre School, Pittsburgh Youth Ballet, and Ballet Chicago.
Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed the title role in Courtney Lyon’s Cinderella and the role of Clara in The Nutcracker. Prior to joining Ballet Quad Cities Ms Long performed with Milwaukee Ballet and MBII in Michael Pink’s The Nutcracker and Candide Overture, Petipa’s The Sleeping Beauty and La Bayadére, Balanchine’s Who Cares?, Bournonville’s Flower Festival in Genzano and Napoli, and original contemporary and neoclassical works by Tom Teague, Denis Malinkine, Rolando Yanes, and Petr Zaharadnicek.
Dancer Spotlight: Lisa Barrieau
Today we’re introducing a new feature at 4dancers–the “Dancer Spotlight”. We’ve gotten such great feedback on our “10 Questions With…” series that we thought it might be fun to do a series of shorter “interviews” with dancers as well. These will pop up from time to time, and dancers will answer a few interesting questions in a more abbreviated format.
Today we have Lisa Barrieau with us from Atlanta Ballet…
Lisa Barrieau, photo courtesy of Atlanta Ballet
What is the best advice you have ever received from a teacher or mentor regarding dance?
The best advice I ever received from a teacher was: Dancing is something that people only dream of doing… the day you wake up not wanting any part of it anymore is the day you should stop. Until then, work as hard as you can to fulfill your passion.
Do you have any advice for dancers who want to go on to a professional career?
Don’t let anyone tell you you can’t be a professional because there is a company out there for everyone as long as you fight for it and accept the challenge.
Do you have a special routine you go through prior to a performance?
Before every performance, I say a little thank you to my grandpa who passed away. Without him I wouldn’t have started dancing as a kid and I want him to know that I am dancing for him.
What is your favorite ballet and why do you enjoy it?
My favorite ballet of all time is Michael Pink’s Dracula. I love the choreography and music. I think I also love that Dracula is such a passionate and misunderstood character and Michael Pink’s ballet helps to illustrate it. It is definitely not your typical ballet.
What do you enjoy most about your life in dance?
I love the people I work with and I love that, unlike other careers, I get to wake up and go to work and be something I am not… be a peasant or a vampire, a princess or a goblin… I get to express myself through movement in a way that so many can’t fathom.
BIO: A native of Milwaukee, WI, Lisa started dancing at the age of four and continued training in Connecticut with New Haven Ballet School and Joyce DiLauro. Her additional studies include intensives with Boston Ballet School, American Academy of Ballet, and Milwaukee Ballet School, where she was offered a contract into Nancy Einhorn’s Milwaukee Ballet II program. There, she danced the role of Blue Fairy in Bruce Well’s A Midsummer Night’s Dream, was seen in Antony Tudor’s Offenbach in the Underworld, and Michael Pink’s The Nutcracker and The Sleeping Beauty. In 2009, Lisa joined Minnesota Ballet where she performed the roles Lustful Virgin in Agnes De Mille’s Three Virgins and a Devil, and Zulme in Giselle. Last season, Lisa danced with Milwaukee Ballet and performed in Edgar Zendejas’ world premiere of Mara in the International Choreographic Competition. Lisa’s career has offered her the chance to dance works by Alvin Ailey, Kee-Juan Han, Jose Limón, Trey McIntyre, Adam Miller, Pilobolus, Twyla Tharp, and Chet Walker. Lisa is looking forward to her first season with Atlanta Ballet and she thanks her family for all of their love and support.
Blisters And Corns Between Toes (Interdigital Lesions) by Dr. Sinkoe
Today we welcome back Dr. Sinkoe with some information on something that plagues many dancers–blisters and corns between the toes–also known as “interdigital lesions”…
Corns and blisters between toes can be painful for a dancer. Pain is usually noticed with wearing all closed in shoes. In dance, the ballerina will have pain in pointe shoes, particularly when in demi-pointe. The most common location is between the 4th and 5th toes. The 5th toe usually curls and abuts against the 4th toe. The lesion may initially appear and feel soft but will harden over time. The softer lesion is usually a blister which will develop a callous. Dancers often attempt treatment with applying medicated pads which contain salicylic acid. This medication can injure the skin and result in a more painful lesion.
Treatment:
010 Questions With…Dalia Rawson
I’m always amazed at the things I learn about dancers when I read these interviews, and today is no exception. Meet Dalia Rawson. Read her story. Be amazed. She’s one impressive lady…
Dalia Rawson in "Graduation Ball", Photo by Marty Sohl
1. How did you become involved with dance?
The first time I ever moved might be considered dancing. I had been either very small or very still while my mother was pregnant with me. She says that late in the pregnancy she had never felt me move or kick. My parents had a season subscription to the Joffrey Ballet in NYC, and while watching the performance in the theater, my mother felt me move, apparently reacting to the music by kicking and rolling, for the first time. When I was a baby they called me twinkle toes, because I couldn’t keep still if there was any music playing. I was in local dance class by age two, a more serious ballet school at age six or seven, and San Francisco Ballet School at age nine.
2. What are you currently doing in the field?
Currently I choreograph and set ballets and I teach. I am the Artistic Director of The Rawson Project Contemporary Ballet, a small company I founded in 2010 for which I have created a small repertory of original works. I am also the Ballet Mistress of Ballet San Jose School where I teach all levels of the professional division, and Rehearsal Assistant for Ballet San Jose, for whom I run rehearsals and re-stage works.
3. Would you share a special moment from your career with readers?
3“The Perfect Arch” by Dr. Sinkoe
Today we bring you the first in a series of articles for 4dancers by Dr. Sinkoe, a podiatrist from Georgia who works with the Atlanta Ballet. He was kind enough to share some thoughts on the best ways to help strengthen and improve your arch. Look for additional information from Dr. Sinkoe this month and next month on subjects such as warts and bruised toenails...
Dancers are always looking for ways to obtain that “perfect arch”. Every foot is genetically designed differently and not everybody will be able to achieve that “perfect arch”. Stretching and flexibility exercises are always helpful. However, I caution those that are attempting to achieve this position with the use of spring-loaded devices or placing their foot under the couch or other furniture to try to stretch the ligaments at the top of the foot. The midfoot joints are supported by strong ligaments and will allow the bones of the midfoot to only glide up and down. Attempting to make the midfoot joints act as hinge joints will injure the ligaments. If the ligaments are overstressed they can become weakened which can result in a sprained ligament or a subluxed joint.
The most effective method to strengthen the arch is to strengthen the foot muscles which stabilize the toes. These muscles are located on the bottom of the foot. Exercises to contract these muscles will flex the arch, giving you a dome appearance, thus the name “doming exercises”. Strong foot muscles will also reduce the incidence of tendonitis and metatarsal stress fractures. Experienced dancers will learn to use these muscles to stabilize themselves on pointe rather than depending on the pointe shoe to do the work.
Exercises for foot strength:
0Review: Every Step You Take by Jock Soto
by Catherine L. Tully
I’m fascinated by the lives of dancers. Even though I was one, I can never seem to get past t
he fact that each of us has such a distinctly different path–and a totally unique perspective on what it is like to live this life.
Because of that, I was excited to read Every Step You Take, a memoir written by Jock Soto (with Leslie Marshall). After all, this is a man that I grew up watching in the ballet world. Soto was a principal dancer with NYCB when he retired at the age of 40, and this book begins with the end of his career on stage. A peek inside the thoughts and fears that swirl around one’s head when the final performance looms, I thought it was a great opener.
Where, I thought, will this book go from here?
0The Nutcracker Getaway
Looking for something fun to do to celebrate the holidays? If you are a dancer who still enjoys The Nutcracker, why not reserve a hotel getaway package that includes a night with the Joffrey?
Start out at the majestic JW Marriott Chicago and enjoy signature appetizers and cocktails in the Lobby Lounge, then attend the performance.
The package includes:
- Luxury hotel accommodations
- Two drinks in lobby lounge
- Two orchestra seat tickets to the Nutcracker Ballet
- Noon check-in available upon request
- Package rates range from $409-$459; availability December 9 – 27, 2011
Reservations for all packages can be made by calling 312 660 8200 or online.
About JW Marriott Chicago
JW Marriott Chicago, which opened November 2010, is located in Chicago’s historic landmark, the Daniel Burnham-designed Continental & Commercial National Bank building at 151 West Adams Street in the heart of Chicago’s financial district. This luxurious hotel underwent a $396 million restoration blending Burnham’s famous architectural style with elegant, modern surroundings. The property features 610 oversized guestrooms including 29 luxurious suites. In addition, the property boasts VALEO, a 20,000-square-foot spa and fitness center-an amenity not found in most city center hotels-and The Florentine, a modern Italian, fine dining restaurant.
0One Dancer’s Journey…
Today I’d like to welcome Todd Fox as our latest contributor to 4dancers. Todd originally was going to complete the interview I sent for “10 Questions With…” the feature I typically use to highlight dancers and dance-related professionals on this site.
Time passed and he found himself answering the questions in depth, and after we talked a bit, we decided we would break them down into monthly posts, so that readers could get a closer look at his journey through the dance world. Today is his first post…answering question 1…stay tuned next month for more! -Catherine
Todd Fox
1. How did you become involved in dance?
I was born in Miami Florida and from a very early age my mom exposed me to dance. She taught ballet for a magnet arts school in Miami called PAVAC, Performing and Visual Arts Center, and used to drag me around to all the classes she taught.
As I got old enough she made me learn ballet by taking one of her classes each week with her other students. At that age I wasn’t at all interested in studying ballet, I thought it was boring and I hated wearing tights. All I ever wanted to do was go ride my bike with friends or play video games but my mother was insistent, VERY insistent. She eventually presented me with an effective ultimatum, take one ballet class per week or I wouldn’t receive my weekly allowance. So, I studied ballet like this on and off for most of my young life, I went through the motions but never really took a serious interest, it was all just to appease my mom and of course get my allowance.
When I was 13 my family moved to New Jersey and in Somerset County where I attended public school there was a Vocational and Technical School (vo-tech) which had a performing arts program offering dance. There were lots of girls in the Vo-Tech dance program from mine and several neighboring schools with no guys at all. At that age the thought of spending my day dancing around with lots of girls and being the only guy had amazing appeal and much to my mom’s complete jaw dropping shock and surprise I begged for her to let me enroll.
3Review: Bunheads by Sophie Flack
There is almost nothing I enjoy more than pointing out that the qualities that make a great ballet dancer can be harnessed for other things—and this book is a perfect example. Sophie Flack was a dancer with New York City Ballet from 2000 to 2009, and after leaving the company she is now studying English at Columbia University. She is also the author of Bunheads – a thoughtfully crafted novel about life in the world of ballet.
Written with an authenticity that can only be garnered by experience, Ms. Flack creates an inviting cast of characters that draws the reader in right away. The main character, Hannah Ward, is a corps de ballet dancer with the Manhattan Ballet, and the story is told through her eyes. We follow her through the ups and downs of her career as she competes for roles, pushes to improve her dancing and sacrifices much of what a “normal” life would otherwise be for her first love—ballet.
As the story evolves, conflict arises within Hannah when she meets a handsome musician named Jacob. The connection between the two of them is strong, but having a relationship with someone outside of the ballet world proves to be incredibly difficult—a fact she struggles with. Hannah begins to compare her life in dance to the idea of living life without the demands of being with the company, and knows she must eventually choose which path she will take.
Ms. Flack is a skilled writer and it’s easy to disappear into the pages of this book because she has built a solid story that rings of truth and passion. By having been an insider in this typically closed world, she is able to show both the beauty of it–and the strain. Those who have experienced life in a ballet class or company are sure to find themselves nodding in recognition with the trials and triumphs Hannah faces along the way. That said, I think that Bunheads would also appeal to those outside the ballet arena. The book provides a rare peek behind the scenes into the day-to-day life of a dancer, but not in a way that would leave other readers behind.
Human Kinetics Book
My absolute favorite part of this book is the way Ms. Flack crafted the circle of friends that Hannah hangs around with in the company. The dancers that she spends every day with are at the same time her closest pals—and her toughest rivals. It makes for an unusual situation, that in ballet is actually very common. Somehow you have to learn to walk the fine line between being a competitor and a confidant. It certainly isn’t easy, and here it is captured so very well.
This is undoubtedly the best fiction book on the life of a ballet dancer that I have read in a long time and I highly recommend it. Younger dancers will find a great story that they can relate to and older dancers will be transported back in time for a bit of reminiscing. This would make a perfect gift for someone who loves dance.
Hats off to Sophie Flack for taking the creativity, determination and attention to detail it takes to be a ballet dancer and writing her first novel. I look forward to the next one.
Read more about the author on the 4dancers feature – 10 Questions With…Sophie Flack
Purchase Bunheads Here
10 Questions With…Melanie Doskocil
Today on 10 Questions With… we welcome Melanie Doskocil …
Melanie Doskocil
I think I pretty much begged my mom to put me in ballet classes since I was little. I used to have this lamp when I was a child that was a Degas dancer painting on glass with a bulb behind it. I used to plug it in and dream of being one of those ballerinas.
2. What are you currently doing in the field?
I retired after a 17 year professional career and now am teaching classical ballet and directing a ballet school.
3. Would you share a special moment from your career with readers?
The last job I took was a European tour as part of Mia Michael’s R.A.W. Her company had disbanded and she hired 10 of us to represent her on this 6 week tour. It was tough! She was mean; brutal in fact. She looks like a pussy cat on SYTYCD, but she unleashed her demons on us through that rehearsal period. Everyone cried, everyone wanted to quit. One dancer actually told me he wished he would break something in rehearsal so he could quit with dignity. Dancers came to me (the old lady) and begged me to let them quit. I did more fast talking through that period than I ever had. I motivated, I cajoled, I cried myself and I wanted to quit, but I couldn’t, wouldn’t, let myself or Mia or the tour company down like that. In the end, we all ended up taking our dancing to a new level. Moving beyond our self imposed limitations. Luckily for us, Mia decided not to go on the tour. So we went to Europe without her, danced to packed houses, standing ovations, and shouts for encore! and never had to hear her belittle us again. For some reason I actually remember this time as one of the greatest things I ever did with dance. I feel like I over came major obstacles with that project.
4. What is the best advice you have ever received from a teacher or mentor regarding dance?
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