By Emily C. Harrison MS, RD, LD.
www.dancernutrition.com

Want better jump height, more endurance, improved brain function and better fat burning? Then carbohydrates can be your best friend.

Should I eat a high protein, low carb diet?

There always seems to be yet another new bestselling, yet unscientific diet trend that touts low carb, high protein eating. These diets are not good for anyone, but this is especially so for the type of activity that dancers do. Certainly adequate protein is important, but the body would prefer to spare it for important physiologic functions, not burn it as fuel. Carbs provide the type of fuel that the muscles need for dance. High protein diets can lead to lower bone mineral density and increased risk for long-term diseases. Plus, such diets have not consistently shown to help with weight management over the long term ^1,2,3.

Carbs can be found in wholegrain pasta, bread, rice, quinoa, barley, dairy, all vegetables and all fruits. Of course, you should avoid simple sugars in sweets, juices, soda, refined grains and baked goods. Sugar won’t give you enough energy to get through barre, but have a simple sandwich or pasta with veggies, and you’ll dance strong all the way through grande allegro. You won’t get that same level of sustained energy from a protein shake, or a big piece of meat before class.

Weight management and carbohydrates

The main reason people believe the hype about low-carb diets like Atkins, South Beach and Paleo diets is that they do aid in weight loss…. at first. For most people, much of the weight is gained back often with a few extra pounds to spare¹. Yo- yo dieting is not what dancers need, especially when it is at the expense of their health or performance. Quick weight loss, a hallmark of low-carb diets, can lead to loss of lean mass (muscle). Going on any very low-calorie diet and losing muscle means losing the most metabolically active tissue the body has. In addition to lowering the metabolic rate, the body adjusts to the restricted calories, setting one up for an endless cycle of gaining and losing. A better strategy would be to limit simple sugars and eat smaller more frequent meals and snacks with fruits, vegetables, whole grains and legumes as the foundation.

Carbohydrates and performance

There is no better fuel for athletic performance and brain function than carbohydrates. Complex carbs in whole grains, vegetables and fruits give the muscles a prolonged source of energy. It has been found that giving athletes carb-based snack bars between meals results in better energy output and anaerobic power, while keeping weight the same and lowering body fat⁴.

In one study carbohydrate intake prior to exercise was shown to be as effective in improving repeated jump height as the supplement creatine ⁵. The carb group didn’t gain weight but the creatine group did⁵. The American College of Sports Medicine recommends that athletes get 55-60% of their total calories from carbohydrates, and whole grains are also important sources of fiber, B-vitamins, iron and folate.

How much, and when?  

Here are a few real-life examples:
Everyone is different, but if 2000 calories are needed then 55-60% should come from carbs. That is about 275-300 grams because carbs have 4 calories per gram. Carb needs can also be calculated based on grams per kilogram of body weight. In general, recommendations are 5-8 g/kg depending on intensity of activity. So a 120lb (54.5kg) female dancer would need at least 272 grams per day.

Examples:
1 piece of bread: 12-17 grams
1 apple: 25-30 grams
1 cup quinoa or brown rice: 39-45 grams
1 cup green beans 8 grams

Long, busy class and rehearsal days

Plan ahead so that carbs and protein are eaten within one hour post exercise the day before.  Carbs should be eaten in the range of 30-60 grams per hour during the rehearsal day.

Show or audition day

If a dancer is feeling nervous and doesn’t want food sitting on their stomach, then they should be well-fueled 3-4 hours prior to the show/ audition. Then an hour or so before, opt for easy to digest carbs like pretzels, crackers or a sports beverage. High-fat and high protein foods take a bit longer to digest, so eat these in moderation if you’re nervous. Re-fuel as needed if it is a long show.

Rest day

On well-deserved days off, a dancer still needs carbs but not in the same amount as a workday.  Cut back just a little bit, and eat lots of fruits and veggies.

The subject of carbohydrate intake is big, and can’t be covered in one article. Check out my earlier Dance Informa article on glycemic index for additional information.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Sources:

1. Four-Year Follow-up after Two-Year Dietary Interventions N Engl J Med 2012; 367:1373-1374. October 4, 2012.
2. Campbell TC, Campbell TM. The China Study. 2006. Benbella Books
3. Rohrman S, et al. Meat consumption and mortality – results from the European Prospective Investigation into Cancer and Nutrition. BMC Medicine, 2013.
4. Benardot D, et al. Between Meal Energy Intake Effects on Body Composition, Performance, and Total Caloric consumption in athletes. Medicine & Sci in Sports and Exercise V37. 2005.
5. Koenig C, Benardot D, Cody M, Thompson W. Comparison of creatine monohydrate and carbohydrate supplementation on repeated jump height performance. Journal of Strength and Conditioning Research. 2008;22

Photo (top): © Phinizrl, Dreamstime.com

By Laura Di Orio.

Becoming a professional dancer is like building a house from the ground up. You can’t start by adding the roof and interior decorations; rather, you must start by creating a solid foundation to support the structure and make it last. Similarly, a dancer must establish that foundation in technique before adding all the “tricks” and performance quality. And that foundation, according to many dance teachers and professionals in the field, is ballet.

“Because ballet has been constantly evolving for over 400 years, it has arrived at a very solid method of developing human movement potential for the stage,” says Stephen Pier, director of the Dance Division at The Hartt School of the University of Hartford, located in Connecticut.

“It’s still the most relevant technical training all around and can serve as a very effective way of organizing and developing the facility of the dancer. Most other techniques or styles have not been around that long. They are too limited to be the sole basis of training, and they haven’t worked out the science and art of dancing to the depth that ballet has.”

All of Pier’s students are required to take daily ballet class during their four years at Hartt. Ballet has proven to inform their dancing, and students have gone on to work in a vast range of professional companies – from Paul Taylor and Joffrey Ballet, to downtown contemporary and Las Vegas.

Like Pier, Dawn Hillen, master ballet teacher who currently teaches in NYC at Steps on Broadway, Broadway Dance Center and Ballet Arts, stresses the importance of ballet as a foundation of training. She says even her non-ballet-focused students have benefited. Some of her students who first started in hip-hop and found ballet later, for instance, said they felt definite improvement in their ability to change weight quickly, hit clean lines faster, focus and stay in the moment, and they became physically and mentally stronger.

Dawn Hillen leads a ballet class at Broadway Dance Center. Photo by Fiamma Piacentini Huff.

“You can use ballet to refine yourself,” Hillen says. “It creates a dancer or performer who is centered, balanced, lengthened and physically graceful. Just standing up is an art form, and it is a big part of your first impression. There have been a number of pre-professionals who were not getting work, and once they added ballet training to their daily or weekly routines, they began getting callbacks and jobs.”

Ballet contributes more to a dancer than just refined technique, too. Pier says ballet also imparts skills like “attention to detail, mastery, form, harmony, precision, discipline, social grace and awareness of the group – all skills that help young people succeed in the adult world.”

In addition, Yuka Kawazu, who has been teaching ballet in NYC for 15 years at various studios, including Ballet Arts and Broadway Dance Center, says, “We learn so many things, like patience, discipline, a different language, how to breathe, and we share joyful moments with other dancers.”

For these reasons, it is probably best to introduce ballet early on in a dancer’s training, to establish these skills in his/her dance and life. “If you really have the dancer’s best interest at heart, you must offer a proper ‘diet’ of training, and ballet is a big part of that good ‘diet,’” says Pier. “Not everyone is going to like broccoli if they’re used to eating candy all the time, but you might find some great recipes for serving it more tastefully.”

Still, some students may complain that ballet is “boring” or that learning the basics of technique is “slow.” In actuality, however, ballet is rigorous and demanding and a practice that requires great physical and mental control. To change a dancer’s approach from ballet as “boring” to ballet as “interesting” or “enjoyable,” Pier suggests taking a look at that dancer’s passion. Perhaps he/she is more focused on jazz. Then how can ballet support that passion, and what does ballet have in common with that passion?

Yuka Kawazu corrects a young dancer in her ballet class. Photo courtesy of Yuka Kawazu.

“Sometimes it’s good to show them how many successful artists in that field have studied ballet,” Pier says. “I like to point out in ballet class how different steps or phrases or movements relate to other dance techniques that I know a student is really turned on by.”

Similarly, as a teacher, Hillen says that when students come to her with the “ballet is boring” attitude, she tries to discover what they want, what they value and what drives them, and then she connects ballet to that. 

“The dancer can use this same approach on themselves to link up what they love with what they may need to do that, at first, seems ‘boring’,” Hillen adds. “Ask yourself what you want and what you like and how ballet is actually a means to creating those things.”

Many of Kawazu’s students are young Broadway professionals, and she says they have all come to realize the importance of ballet training to their career. Her teenage students have performed on Broadway in Finian’s Rainbow, Mary Poppins, Billy Elliot, Beauty and the Beast, Evita, Once, The Little Mermaid and more. 

Kawazu says she has had students who didn’t want to take ballet but should of in order to better their performing career. “I tell them that it’s okay to make a lot of mistakes and then they’ll learn,” she continues. “I mix between trying to make ballet fun and teaching more seriously. I would like them to feel that they can get better when they repeat the same exercises a few times. And when they hold their balance or can do the step, I see their face glow. I love that moment!”

In today’s dance world, where dancers are expected to be versatile, it probably doesn’t hurt every dancer, regardless of his/her concentration, to explore other dance forms. But it is the old tradition of ballet that seems to make the difference between dancer and professional. 

“Ballet is the ‘grandmother’ of them all in the Western world,” Pier says. “This system has evolved over centuries and has survived and absorbed every fad imaginable. It has great wisdom and logic imbedded in it, which every dancer should learn about. It’s not important whether or not you think you will become a ballet dancer. It is very important, however, that you become educated about your art and respect all of its various practices and practitioners.”

By Rebecca Martin.

From a small town competition to the international Prix de Lausanne, there is a ballet competition for every age and every level of dancer. Whether you’re a young ballet student, in full-time training, or are a seasoned professional, the benefits of ballet competitions are numerous. However, there are some drawbacks, and the ongoing question of whether ballet should even be competitive. If you’re weighing whether or not to enter the world of ballet competitions, or are already a regular on the competition scene, Dance Informa has put together a guide to ballet competitions to help you navigate the tutus, tights, tears and trophies.

For younger dancers, competitions expose them to the fun of stage lights, costumes, make-up and prizes. For parents, it can mean long car rides, tantrums and endless sewing of sequins. Yet the pros far outweigh the cons, and the skills and discipline learned through competing can be carried on to other aspects of the dancer’s life, making them a more focussed and mature adult. Personally, some of the fondest memories of my childhood involve ballet competitions. I formed great friendships, developed an affinity for the smell of backstage, learned to be organized and to perform even when nervous. Importantly, I learned the spirit of sportsmanship. It wasn’t about winning; it was about performing on stage in front of an audience, having fun and being friendly with fellow competitors.

If you’ve ever seen an episode of the television show Dance Moms, you will be forgiven for thinking that competitions are cut throat events that involve screaming teachers and complaining mothers. While that may happen from time to time, it’s important to find a ballet teacher who is encouraging and selects students for competition who are able to handle the pressure and are up to standard. Competitions are not the be all and end all of ballet training. If a teacher is putting too much emphasis on competition and neglecting the technique and enjoyment aspects, then consider trying other ballet schools.

For older dance students, ballet competitions can mean scholarships to prestigious schools, prize money or even job prospects. While bringing home a medal or wad of cash is fantastic, the greatest benefit of competing can be the connections dancers make to ballet companies and their peers. Competitions are reshaping the way dancers audition for companies. Rather than attending multiple auditions at what is often a great financial expense, major ballet competitions are used by ballet company directors to source new recruits. Directors can see the dancers both in class and on stage, something they cannot do in a regular studio audition. USA’s International Ballet Competition (IBC) is basically an audition for attending company and school directors. According to Stanton Welch, who is currently Houston Ballet’s Artistic Director, competitions augment the audition process and are a great way for directors to shop for talent.

Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

The Prix de Lausanne, one of the world’s greatest ballet competitions for pre-professional dancers now schedules networking into the program. An afternoon is set aside for schools to set up booths to talk with potential new students, so dancers don’t have to be a prize winner to be awarded a scholarship or offered a place in a training programme.

For dance students of any age, it is important to keep expectations realistic. Judging is subjective, and things can go wrong on stage. No matter how much dancers rehearse, they still may fall out of a pirouette or fluff their balance in arabesque, and no matter how well they perform, they still may be beaten at judging time. It is important to value the quality of the learning experience and the performance itself over the number of medals or prizes won. Students can return to class after competitions with inflated egos after winning or become overanxious about their dancing if they aren’t as successful as they hoped. Some dancers receive scholarships and job offers after being eliminated from competitions, which is far more beneficial in the long run than a medallion or prize money. Both dance students and parents, as well as teachers, need to keep things in perspective and not focus on a gold medal.

For dancers in a ballet company, their career is going to consist of constant auditions, so the practice early on is extremely beneficial. Every time a visiting choreographer comes in to watch company class and cast for their next work, they will be auditioning for them. The competition doesn’t end once a dancer gets a contract with a company.

Most local competitions allow entry through an application form. Some may request a photo or video. The bigger competitions will require dancers to attend an audition class or series of elimination rounds, and international competitions will first need to see an audition video.

DO:

• Speak to your ballet teacher about local competitions and check Dance Informa’s listings for upcoming opportunities.
• Do your research. Visit the website of the competition and carefully read the entry form and guidelines.
• Make sure you are eligible. There are often age restrictions and sometimes even syllabus restrictions.
• Pick a routine or variation that compliments your abilities. Don’t do something that is too difficult for you.  It’s better to do a simple routine well than fumble through a tricky number.
• Make the most of every experience. Listen to the judges and teachers and apply their feedback.
• Enjoy the experience! You’re on stage in front of a supportive audience.
• Talk to as many people as possible.
• Have a make-up kit that you take with you to every competition. Include needle and thread, resin, hairspray, hairpins and spare tights.
• Be prepared! Rehearse, practice in your costume, test out the stage before you go on, get plenty of rest, and fuel your body.
• Have a back up copy of your music.
• Remember that people are not only watching your dancing, but also the way you behave. Be professional, attentive and courteous.

DON’T

• Give up!  The more competitions you do, the more confident you will become.
• Let your nerves get the better of you. What is the worst that can happen?
• Be negative or critical of others.
• Put anything extra on your application form or audition DVD. Follow the guidelines.

Remember that the process is the prize. Here is a listing of various ballet competitions around the world:

-  www.rad.org.uk

-  www.prixdelausanne.org

-   www.ballet.org.au

-   www.jjgp.jp

-   www.yagp.org

-   www.usaibc.com

-   http://moscowballetcompetition.com

-   www.bda.edu.cn

-   www.theamericandancecompetition.com

-   www.concorsointernazionaledanza.it

-   www.wbcorlando.com

-   www.danceuponadream.com

Photo (top): Promotional image from dance documentary First Position about the Youth America Grand Prix - a must see dance film.

By Stephanie Wolf.

The age-old adage “it takes a village” has a whole new meaning these days with the growing popularity of crowdfunding, a digital mechanism that is helping artists across the nation find funding for their creative projects.

According to Jason Best in a recent Ted Talk video—Best is one of the innovators of crowdfunding and the Principal of Crowdfund Capital Advisors—the cultural phenomenon is a means to “engage large numbers of people from the community to make small investments.” Dancers, choreographers and dance organizations have taken note of the online tool’s effectiveness in both its success of reaching financial goals and expanding audiences.

One popular crowdfunding platform is Kickstarter. Founded in 2009 by Perry Chen, Kickstarter strives to make the fundraising process accessible and relatively simple. Any project with specific, articulated goals that fits into one of thirteen different creative categories, dance being one of them, can use the platform. The campaigner will be asked to illustrate his or her need, map out a budget and choose a deadline for the campaign (between one and sixty days).

“It’s an all or nothing mechanism,” says Kickstarter Spokesperson Justin Kazmark. “You only move forward and get the money if you reach your full goal.” He explains that this protects both the creator and the backers of each project.

For the creator, the responsibility and focus is limited to the sole project, while the backers can be assured that their money is going towards a sound campaign with good intent. The all or nothing mentality also generates a “sense of urgency and narrative arc,” says Kazmark. “Backers become emotionally invested in the project and are inspired to share the story with their friends and networks. As the deadline approaches, [everyone] rallies behind [the project].”

Since its inception, Kickstarter has hosted 1,185 projects in the dance category. Collectively, they have raised $3.4 million and boast a 70% success rate, which is the highest success rate of all thirteen categories. Why? It’s hard to pinpoint the reason. Kazmark conjectures that it could have something to do with the local nature of dance projects. Though, it may not be too far-fetched to say that it highlights something rather special about the dance world – its desire to connect with each other and its audiences.

Pre-dating Kickstarter by a year is Indiegogo, another highly reputable crowdfunding site. Launched in 2008, it has similar objectives, but makes its tools available to cause and entrepreneurial projects as well as creative undertakings. From a flash mob that aspires to help end violence against women and children, to an annual summer dance institute in Haiti, to a contemporary ballet company in Denver, CO obtaining its new swanky downtown location, the variety of dance campaigns on the site are vast and diverse.

Indiegogo offers both “Fixed” and “Flexible” funding options; the latter allows campaigners to keep any and all dollar amounts they raise. “Even if a campaign doesn’t reach its funding target, it can still be a successful one,” says Danae Ringelmann, Co-Founder of the company, in regards to this type of campaign. She stresses that the aim is to ensure each project can still achieve its next level, whether it reaches it projected goal or not.

In 2010, Indiegogo entered into a unique partnership. By teaming up with Fractured Atlas, a non-profit organization providing services to artists nationwide, the site now offers integrated fiscal sponsorship tools for the arts community. “This partnership was intended to give artists the time to focus on their creative work, as 501(c)(3) status can often be very time consuming,” explains Ringelmann. “[Since 2010] over $4 million has been raised for over a thousand Fractured Atlas projects,” explains Ringelmann.

Above all, crowdfunding can mean great things for dancers, choreographers and dance institutions by facilitating community, building awareness and providing a safety net to take artistic risks. Moreover, backers gain insight into the creative process, giving “people a more meaningful entry to the project…as well as emotional ownership,” says Kazmark. What begins as a quest for funding turns into the evolution of a close-knit, empowered community. “When the funding ends, it’s just the beginning of the story,” Kazmark asserts. Ringelmann adds that platforms, like Indiegogo, are “empowering dancers around the world to follow their dreams.”

Crowdfunding Fun Facts:

• The average project on Kickstarter exceeds its goal by 170%.
• Indiegogo has expanded its global reach; campaigns can be started or contributed to in 200 different countries, four currencies and three languages.
• Trash Dance, the movie, was a highly successful Kickstarter campaign. A collaboration between dancer/choreographer Allison Orr and the trash collectors of Austin, TX, the one-hour film was a choreographed, dance re-imagination of the their everyday trash-collecting work.
• The YAGP’s “Ballet’s Greatest Hits” Gala has raised the most funds in the dance category on Kickstarter ($38,752).
• Denver-based Wonderbound/Ballet Nouveau Colorado raised over $61,000 on Indiegogo

Photo: © Pavel Losevsky, Dreamstime.com

By Tara Sheena.

Each year, hundreds of dancers move to New York City from all over the world to pursue their ‘Big City’ dreams. Whether that means performing, choreographing or teaching, a move to New York is just as individual as each dancer who has done it. Dance Informa got the scoop from four dancers who live and work in NYC. They may have had their entire lives to prepare for this or, maybe, just four days, but one thing is for sure – they are all determined to forge a career in dance on their own terms. And, what better place to do it in? Remember, if you can make it here…

Austin Selden
Dancer, Shen Wei Dance Arts
Choreographer, Sarah Konner and Austin Selden Dance Collaboration

“My move to New York City was progressive. Right out of college I moved to Philadelphia with Sarah Konner, my collaborator who I meet at the University of Michigan, with the idea of moving to a city that had a dance community but wasn’t New York City. We did it for a couple different reasons, but Philly was convenient because it was so close to New York. We could visit friends or go to any auditions we thought worthwhile. I didn’t find work in Philadelphia, in any field – dancing, coffee houses, administrative work, nothing. One weekend in April I was commuting to New York for a rehearsal with my old professor, Amy Chavasse, when New York-based company Shen Wei Dance Arts happened to be holding auditions that I was able to attend.

Austin Selden with Sarah Konner. Photo by Wen Chun Liu.

To my surprise, I was one of the five men selected for the Metropolitan Museum performance, and so I found myself commuting from Philly to New York for weeklong chunks, couch hopping at my friends’ apartments. Soon after that project was over, I was asked to do the next project, so the commuting in weeklong chunks continued. I still wasn’t finding work in Philadelphia, but the rent and living expenses were so low that the occasional week long chunks of rehearsals were sustaining me. I however hated commuting by bus and felt guilty for taking advantage of my friends’ couches, so, after living in Philly for more than a year, I decided to finally move to New York. Both of my roommates joined me in the move, and our first New York apartment was a 15 minute walk to the last stop on the 4 train in Crown Heights, Brooklyn, with all three of us sharing a one bedroom. In comparison to Philadelphia, I moved knowing the city, having two jobs and plenty of people I knew and trusted. New York was easy.

Matthew Powell
Teacher, Broadway Dance Center
Ballet Master, Brooklyn Ballet

My first months in New York provided a valuable lesson in quality versus quantity. We all know that New Yorkers (out of necessity) tend to lead fast-paced lives, but over my years in the city, I’ve actually seen that sense of hurriedness translate into some of the work seen on the New York stage. I don’t believe this phenomenon is the fault of choreographers, dancers or artistic directors. There is no question that the talent in the Big Apple is top notch – but with scarce rehearsal time and funding cuts running rampant many performances are like the lives of New Yorkers, rushed to the limelight not fully prepared. With that said, I truly think that if freelance artists, particularly choreographers, stick to their artistic ‘guns’ when they arrive here, and work their best to think outside the box and not sacrifice their art for the sake of time or money, the work produced will ultimately have huge personal and artistic pay-off.

Living here has taught me that your resume, as wonderful as it may be, will only get you so far. Dancers should immerse themselves in the scene and get their faces out and about as much as possible! By networking, you can also offset some of the jitters that inevitably set in during your first weeks and months in New York. It is not an easy task in this city of twenty-seven hour workdays and eight-day workweeks, but it can be done!

Kristi Ann Schopfer. Photo courtesy of Kristi Ann Schopfer.

Kristi Ann Schopfer
Certified Personal Trainer
Dancer, Rebecca M. Sproul Dance and BARKIN/SELISSEN Project

I forever maintained the idea that I would move to a closet in Manhattan and sacrifice an ample division, if not an entire lifetime, to what I considered a ‘career’ in dance. What that actually necessitated however, eluded me until only recently. In an improvisation class seven years ago, Miguel Gutierrez once said to us that rather than focusing on bulking up your performance resume or devastating your self-worth as a dancer by attending auditions for companies that are considered ‘successful,’ as a true artist you should catapult all of your efforts and passion into projects that you find genuinely artistically satisfying regardless of their value on the ‘success scale.’ It was only after moving to Manhattan with fifty dollars and a few dancing friends that I discovered what having a career in dance actually meant. I was genuinely surprised to find that through a part-time job at a respected gym I could launch myself into the career even Senior Seminar for your typical BFA student couldn’t prepare me for.

By obtaining the Certified Personal Trainer certification through the National Academy of Sports Medicine (NASM) and being able to afford a trainer who is equally dedicated to physically enhancing my performance as passionately as I am, I’ve been able to devote a thousand percent more as a dancer (now well-conditioned and injury-free) to Rebecca Sproul, who I have been loyally dancing for since my first year of college in 2007.

With the time and facility these combined efforts provided, I found myself available and lucky enough to be a part of the choreographic process in recent work as a new member of the BARKIN/SELISSEN team. This snowball-effect of equally complimentary circuiting hard work and discovery is how I define a true career as a dancer.

Iain Young. Photo courtesy of Iain Young.

Iain Young
‘Henry’ in the Broadway cast of Newsies

I had a good idea that I wanted to live in New York after I spent a summer there for the Juilliard Summer Dance Intensive. It was always my plan to be in New York for my career.

After getting the call for Newsies I had only four days to pack up my life in Michigan and learn to live on my own. After traveling to New York many times for dance competitions and training intensives, I thought I had a pretty good idea of what life here would be like. I may have been wrong. Nothing can prepare you for everything that the city brings to the table. You have to learn to take care of yourself and manage your time in a whole new way.

Coming from living in suburban Michigan, the biggest change for me was the commute. Having a 20-minute subway ride both ways to work was a huge change from my past 5-minute car ride to the dance studio. Your body and mind are always on alert when you’re out in the city. For me, this means that I have to give myself more time to relax at the end of the day before trying to sleep. On the positive side, there is everything here that you could ever want. You need something, you can find it in New York. I certainly love the amount of places that will deliver you food whenever you need it!

Photo (top): Matthew Powell. Photo by Brian Jamie. 

By Kathleen Wessel.

Despite reports of a slow economic recovery and predictions of more budget cuts to the arts, the financial future for dance is not all doom and gloom.

In cities across the United States, dance companies – from small, fledging groups to big-name organizations with operating costs in the millions – are sustaining themselves even while government and corporate grant funding continue to shrink. And though they are often run like a business, very few (if any) dance companies can earn as much money through performance bookings and ticket sales as they spend.

Some artists respond by rejecting the traditional company model and working on a project-to-project basis; they hire dancers and collaborators for a single event then raise a lump sum to produce it. But for others who have built and want to maintain a company over time, fundraising is an ongoing process that requires repeat donors.

Nearly $300 billion was given to charities in 2011, according to Giving USA, which publishes an annual national survey of charitable giving (although only 4 percent went to arts, culture and humanities). Of that huge figure, almost three-quarters of charitable donations were from individuals, while 14 percent was from foundations, 8 percent from individual bequests and 5 percent from corporations. Government funding was not included in the report because it amounted to so little – less than 1 percent.

Nonetheless, a web search for dance funding turns up countless corporate and foundational grant opportunities. It seems, according to these percentages, that companies are better off focusing their attentions elsewhere, and it’s not surprising that many Development Departments have moved the expansion of “individual giving” to the top of their to-do lists.

But there is no annual application process to target individuals, no deadlines or specific requirements, and it can be difficult to know where to start. “It’s called ‘development’ for a reason,” says Lily Binns, Co-Executive Director of Development at the Connecticut-based dance company Pilobolus. Her main job is to cultivate relationships with people who want to support the organization. “It takes time to develop those relationships,” she says, “They come first, the money comes second.” Presumably, some arts-goers are skeptical. Like any consumers, they are choosy and can quickly tire of monetary requests. Thus the word “development,” used to describe the department that gets people to donate money, might sound like a euphemism.

Lisa Dabney, Director of Development at Atlanta Ballet, hopes to change that perception by finding ways to “bring people under the tent” with the company and make them feel like active “investors” rather than passive donors. Binns has a similar approach. At Pilobolus, she organizes a variety of events aimed at giving the community access to the company and the people in it. “You need repeated points of contact to make someone feel he or she has a relationship with the organization,” she says. Over time, an emotional connection emerges, and donors give because they believe in Pilobolus’ mission, not because they feel guilty or expect something in return. “Donor-ship can be thought of as collaboration. You’re inviting [people] to be a part of something that makes their lives better,” says Binns.

Both Pilobolus and Atlanta Ballet host only one or two big fundraising events each year. “We would dilute them if we did a lot more,” says Dabney, who cautions newer companies against getting on what she calls “the event treadmill.” Large-scale events like silent auctions, black-tie galas and performance fundraisers are human resource intensive and can take more time to plan than they are worth if done too often. “Experiential meet and greets are better,” she says. Both Dabney and Binns agree that smaller gatherings designed to foster communication and contact between artist and patron should be the primary focus of development. Binns, in her role at Pilobolus, has spent a lot of time “working the crowds” and meeting people who are interested in the arts. She and her staff have planned cocktail parties, mixers for professionals, open rehearsals and community classes, and they invite potential donors to these events based on personal preferences and interests.

In 2011, Dabney and her staff launched a fundraising campaign to bring renowned choreographer Twyla Tharp to Atlanta Ballet to set her original work The Princess and the Goblin. Their goal was to raise the money entirely through individual giving. They targeted members of the community they thought would be interested in the project and put together a prospectus detailing specific costs. In a business meeting-like setting, Dabney’s department hosted a luncheon and told the crowd Atlanta Ballet was looking for “partners” who were interested in “making great art happen.” The staff followed up with the potential donors and discussed their levels of involvement. And it worked, says Dabney with a laugh, “Twyla came and put on a ballet.”

Smaller organizations without the budget to have a Director of Development or bring in a marketing consultant can nevertheless learn from these kinds of hands on, targeted fundraising initiatives. Dabney says a company’s email contact list is a great place to start. “Ask a close friend to donate a few bottles of wine and host an event in someone’s home,” she says, “Nothing elaborate, just invite [people from your contact list] over and get to know them in a different setting. Commit to having four of those every year.” Binns recommends keeping your eyes and ears open. If you hear a friend say, “You should meet this person, he loves the arts,” follow up, get his contact information, and invite him to a meet-and-greet.

“The fundraising economy is changing,” says Dabney. “There is so much static and noise, so much competition for dollars and time. People are looking for an enriched experience. They want to know about you and what you’re doing, especially if they are repeat buyers of your product.”

At Pilobolus, Binns makes a point not to ask for money at many of these smaller events. Development, she says, is social, “relational work.” Bring people together, get to know your patrons, and donations will be an inevitable outcome. Says Binns, “It feels good to give money to someone you love.”

Photo © Andres Rodriguez | Dreamstime.com

By Leah Gerstenlauer.

Dance is a powerful drug. At best, it inspires adventurous bravery and euphoria, propelling artists to achieve incredible physical feats. But every drug has its downside, and in dance, one enormous risk is injury — the inevitable discovery that invincibility is merely a myth.

Five professional dancers from around the country recently shared their stories of injury with Dance Informa. With their careers back on track, all of these artists are more determined than ever to keep themselves strong, safe, and healthy in an industry laden with pressure to perform.

Disasters and Diagnoses

Sometimes, an injury is just an injury — an isolated incident that can alter the course of a career. Marshall Ellis was performing a soloist role in Orlando Ballet’s production of Don Quixote when he hit the ground. “An MRI showed a tear in my cartilage the size of a nickel, which I had stem cell surgery to repair. As a male dancer performing so many jumps and tricks, accidents can happen.”

But for many dancers, injury is progressive, stemming from overwork, improper training, or genetic traits that clash with the physical demands of dance. Ashley Flaner of California-based company Post:Ballet had wrestled with lower back pain for years when she was literally floored by a collision of spinal conditions. “During American Ballet Theatre’s summer program, I was on the floor stretching and something snapped. I couldn’t move for an hour. The doctor told me I’d fractured L4 and L5, had a bulging disc, had degenerative disc syndrome… The pain was excruciating, from the crown of my head to my feet.”

When New York City Ballet’s Megan Johnson was diagnosed with a similar condition — a bulging disc between L5 and S1 — she was told that she had probably been working with the condition since she joined NYCB over two years earlier. “Specialists believe it came about because I was being overworked while I was still growing. At first, my symptoms consisted mostly of tightness and tension down my legs, but ultimately, the disc area became so inflamed that I couldn’t relevé.”

Stephanie Wolf dancing with Ballets With a Twist. Photo by Joseph Zummo.

Stephanie Wolf’s career with Ballet Nouveau Colorado had barely begun when a severely torn hip ligament and a spiral fracture in her right femur sent her to the sidelines. “I danced on a broken leg for almost a month. One Saturday before a show, we did a run-through, and my partner had to pick me up from the ground because I couldn’t stand. My specialist said that if I had performed, I probably would have walked with a limp for the rest of my life.”

Former Miami City Ballet member Maira Barriga also grappled with a multi-dimensional injury, the full extent of which emerged only after several years and countless visits to doctors. “It started with pain and clicking in my ankle every time I went up and down on pointe. Finally, the pain [a symptom of inflamed tendons and ligaments] was too intense to mask. I was basically dislocating my foot every time I went on pointe.”

The Long and Winding Road to Recovery

For all five dancers, the prospect of taking time off to recuperate was terrifying, especially given little assurance of when they could resume their normal lives. Megan was out for 14 months, during which time she tried to focus on every possible positive. “I applied to Columbia University and took a class, I spent more time with family and friends… and I met my boyfriend.” For her treatment, she relied on the specialized team at Westside Dance Physical Therapy, where she began decompression and stabilization exercises that she still practices each day.

Stephanie feels fortunate that Ballet Nouveau offers exceptional workman’s comp. She has seen an orthopedist, a hip specialist, and even a sports nutritionist to ensure that her body is absorbing nutrients properly. As to taking it easy on herself while in recovery — well, that has been more of a struggle. “I sat on the couch for a week and a half, which I’ve never done before. This has been an incredibly humbling process. But as my body is healing, I’m becoming calmer and more positive.” And as a journalist for Dance Informa and cofounder of the dance blog DIYdancer, Stephanie gleaned comfort from alternative creative outlets.

Still suffering after two surgeries, Maira explored less invasive options in her home country, Japan. Combining the advice of her massage and physical therapists, she happily evaded a third operation. “They helped me understand what went wrong, giving me exercises specific to my condition. Slowly, the pain diminished and my foot got stronger.” For this dancer, dabbling in life off the marley actually proved to be an enjoyable adventure. “I moved to New York, made awesome non-dancer friends, and worked a bunch of odd jobs. I missed dancing a lot, but that ‘normal’ lifestyle was pretty interesting!”

Dancer Marshall Ellis. Photo by Michael Cairns.

With no health insurance and little workman’s comp, Marshall, too, found himself taking charge of his own recovery. “For two weeks, I was on my couch with a machine moving my leg for me. It was the hardest time in my life. I attended only two physical therapy appointments. The rest I did on my own.” In spite of his dwindling finances and lack of support, Marshall proudly made a comeback after only nine months.

Though Ashley was lucky enough to have insurance, her real recovery began when she chose to finish her last year in the dance program at the University of California, Irvine. “I saw about six doctors and they all said, ‘You need to stop dancing. You can’t make a career out of this.’ But the dance department showed complete support. The kinesiology and body conditioning staff took me under their wings, giving me Feldenkrais and Pilates exercises. I did as much ballet as I could, and by November, I was dancing full out with the program again.”

Fresh Starts and Wise Words

Post-injury, each dancer holds new appreciation for and wisdom about the art and the physical act of dance. Marshall’s tenacity has driven his career to new heights, and in several new directions. He eventually left Orlando Ballet of his own volition and landed principal contracts in The Lion King at Disney World and with Cirque du Soleil. Marshall also launched his own media design business and a contemporary dance company, ME Dance. He maintains that, even in the face of injury and a daunting recovery process, “no one can stop you but yourself. Hard work and determination really do pay off.”

Ashley Flaner dancing for Post:Ballet. Photo by David DeSilva.

Ashley internalized a comparable philosophy, and upon graduating from UCI, secured a contract with San Francisco’s Company C. She also continued to explore the body conditioning techniques she had learned while fighting her way back to health, eventually embarking on a dual career as dancer and certified Pilates instructor. “After Company C, I started working with Robert Dekker and Post:Ballet. I can use my Pilates training for his grounded and sliding movement — my body feels so good working with him.” Her advice: “To avoid injury, you have to know your anatomy and build strength within your alignment. And if you do get injured, know that you’ll be wiser for it.”

Stephanie, whose injury has fueled her double-pronged career in dance and writing, is taking her own notes on self-empowerment, and learning that personal limits are not equivalent to insurmountable faults. “We’re not just artists; we’re artists and athletes. We need to acknowledge that it’s not always smart to push through pain.” When she returned to Ballet Nouveau last month, she entered the studio with a heightened awareness of her own remarkable, but undeniably human capabilities.

Upon her return to NYCB, Megan carried an increased sensitivity to her body and a firm commitment to creating a sustainable career for herself. “My injury is chronic, so I’m still learning new ways to manage my symptoms. Each week, I go to PT, in addition to getting massage and acupuncture. I wake up an hour early every morning to do my stabilization exercises, and I still decompress a few times a day.” Her routine is an enormous undertaking, but Megan knows the worth of her efforts. “Injury really tests your passion and resolve to dance… I’m so thankful I stuck it out.”

As for Maira, the future is bubbling with possibilities now that she is back in the studio every day. As she dives into audition season, she continues to follow her own treatment regimen, faithfully adhering to the simple systems that guided her back to wellness. “It’s hard to feel totally ready to work again — especially when so many doctors told me to stop dancing. I had my mother telling me not to give up. For those who don’t have someone pushing them forward, know that though there is no easy way out of injury, we are so much more resilient than we think.”

For more dancer-friendly injury information and advice, visit the Harkness Center for Dance Injuries website at http://hjd.med.nyu.edu/harkness/.

Photo (top): © Rmarmion | Dreamstime.com

By Emily Yewell Volin.

Have you ever considered earning a graduate degree in dance and wondered exactly what earning that degree would entail? Is there a specific job you are interested in that requires a graduate degree in dance? Dance Informa spoke with faculty from the graduate dance programs at California State University – Long Beach, The University of Arizona, New York University’s Tisch School of the Arts, and California Institute of the Arts to hear their insights about pursuing a graduate degree in dance.

Why pursue a graduate degree in dance?

Dr. Colleen T. Dunagan, Associate Professor and Graduate Advisor, Department of Dance at California State University – Long Beach
Graduate degrees in dance (M.A., M.F.A., Ed.D., and Ph.D.) serve two primary functions. First, they provide space, resources and mentorship in support of the focused study of dance at an advanced level. In doing so, they provide individuals with an opportunity to revisit the discipline and their practice from new perspectives and with an attitude of inquiry in a supportive environment of intensive study and dialogue. Two, graduate study in dance prepares individuals for careers as dance educators and as contributors to the field of dance through choreography and scholarly research.

CalArts School of Dance MFA Thesis Dance Concert ‘Never Odd or Even’ choreographed by Anne C Moore. Photo by Scott Groller

Stephan Koplowitz, Dean; Faculty – Choreography, Graduate Thesis Seminar, California Institute of the Arts
There are several reasons to pursue an M.F.A. in dance:
– To enrich your creative process. You have the opportunity to bring your work, either as a choreographer or performer, to another level in a short amount of time. The resources that an M.F.A. program can bring make the process of working with dancers, procuring rehearsal space, and etc. easier. In addition, you are working within an environment with ample feedback and lots of contact with peers, artistic mentors, student colleagues as collaborators and future professional collaborators.
– To perhaps fill in the gaps in knowledge, i.e. digital techniques (video, sound, etc.), and to delve into the study of other theoretical concepts.
– For some, to gain more experience as a performer (if the MFA program supports performance).
– To gain experience in teaching and pedagogy to prepare for university/college jobs.

Michael Williams, Professor, The University of Arizona School of Dance
A graduate degree in dance gives a dance artist an opportunity to spread their wings, attempt new avenues of engagement in the art of dance/choreography and discover new paths and methodologies that certainly can embellish the knowledge and expertise of the artist. Learning is a lifelong evolution, however intense focus for a few years on growing your knowledge and artistry can be accomplished while pursuing a graduate degree in dance.

The M.A. (Masters of Arts) degree is traditionally 30 units while the M.F.A. (Masters of Fine Arts) degree is 60 units. Although every degree is a bit different with each program that offers it, generally a M.A. will require significant research, analysis and writing. With a M.F.A., that research/writing component is there, but the real emphasis is further development of your artistry as a performer and/or choreographer.

University of Arizona dance student Corey Campbell in ‘It’s A Jazz Thing’ choreographed by Michael Williams. Photo by Ed Flores.

Daria Kendus, Tisch School of the Arts’ Dance Department at New York University
Dancers may pursue a graduate degree in dance because future teaching opportunities in the university environment require a minimum M.F.A. degree in many instances. A graduate degree allows artists to refine and research pedagogical and choreographic skills, develop fresh strategies for technical longevity and enhance performance artistry. Artists can also explore current dance and new media skills, supporting creative work and self-promotion.

What post-graduation employment opportunities are uniquely available to dancers who have earned a graduate degree?

Michael Williams, The University of Arizona School of Dance
No degree will guarantee employment. But, dance artists/educators that possess a multitude of skills, have had meaningful performance opportunities and exposure to multiple perspectives in dance training/education can utilize those while seeking employment. Graduate study enables a significant metamorphosis in all of these areas. Many college/university dance professor positions require a graduate degree, most often a terminal degree, which in dance is a M.F.A.

Stephan Koplowitz, California Institute of the Arts
The most common employment opportunity for M.F.A.’s is teaching, but an M.F.A. can prepare a dancer for any number of other professional settings: dance/arts administration, artistic/choreographic career for stage or digital realms, entrepreneurial areas both in the arts and outside.

Tisch School of the Arts MFA students. Photo courtesy of NYU.

Our M.F.A. alums are currently teaching in a variety of higher education settings across the country. We also have M.F.A. students working as artists/administrators (in company management), independent choreographers and artistic directors for big institutions. We have alums working in the field of digital arts/dance, directing dance for the camera works and earning a living through dance documentation and editing.

Yuanyuan Wang, M.F.A., is the artistic director of the world touring Beijing Dance Theater, Jacques Heim is the artistic director of Diavolo Dance Theater, Laura Gorenstein Miller is the artistic director of Helios Dance Theater and Mary Ann Kellogg (one time member of Twyla Tharp) is now working extensively in the TV and film industry as a choreographer. Other M.F.A. graduates are teaching in college and universities on both coasts and in Europe and Asia.

What skills, training and experiences make a good candidate for graduate study in dance?

Stephan Koplowitz, California Institute of the Arts
A good candidate is someone who has a few years of “real world” experience as a dance artist and can exhibit a portfolio of choreographic works created outside of an academic setting. We look for someone who is articulate about his or her artistic goals and needs, who brings a mature approach to art making and is intellectually curious and willing to dive into the intensive creative and learning environment that CalArts provides.

Irene Kleinbauer, Tamara McCarty & Christian Fajardo perform ‘Proxima’ by Gerald Casel in the recent Faculty Dance Concert at California State University, Long Beach. Photo © Gregory R.R. Crosby

Michael Williams, The University of Arizona School of Dance
A B.A. or B.F.A. in dance is usually a prerequisite for most graduate dance programs. However, always investigate that requirement. We, University of Arizona, have accepted dancers with other undergraduate degrees when that individual has a comprehensive dance background. That kind of student profile without a dance degree will often require some further course work to give appropriate foundations in things like dance history and kinesiology, for example. We look for graduate students who bring developed skills as a performer and/or choreographer to the table. Most importantly, potential candidates must show a true thirst for learning and be energized by it. They must be open minded to new thoughts, perspectives and ideas. This is the only way significant growth can result.

Daria Kendus, Tisch School of the Arts at New York University
Candidates must have life experience and professional-level performance experience –which naturally required a highly skilled dancer both technically and performatively. We look for generous, collaborative, respectful artists. Candidates must also have citizenship.

Dr. Colleen T. Dunagan, California State University – Long Beach
The necessary skills, training and experiences for those entering graduate programs in dance depend, of course, on the degree pursued. The best M.F.A. candidates possess an understanding of at least one technique at an advanced level and a solid training in choreography, with substantial knowledge and training in other technical systems and areas of dance study.  In the program at CSU Long Beach, the ideal candidate will be skilled in both ballet and modern. In addition, the strongest candidates possess the desire to invest themselves in the intensive inquiry of dance as a practice with a focus in deepening their understanding of performance and choreography through not only physical training but also through additional research and knowledge of the interrelationships between dance and other disciplines.

Top photo: Students in the Dance Department at New York University Tisch School of the Arts.

By Emily Yewell Volin.

Technique classes and rehearsals are a dancer’s job and a common misconception is that this training schedule provides enough exercise and conditioning to make a dancer performance ready. Not so. Dance Informa spoke with Nehemiah Kish (Principal Dancer, The Royal Ballet), Alice Hinde (Australia’s Dancenorth) and Glenn Allen Sims (Alvin Ailey American Dance Theater) to learn how they augment their fitness regimes to achieve top fitness, stamina and sculpted physiques.

What type of fitness activities do you do, in addition to your technique classes and why?

Nehemiah Kish – The Royal Ballet, UK
In addition to our daily ballet class, we are very fortunate at The Royal Ballet to have two sports scientists on staff as well as Pilates and Gyrotonics instructors. This season I have been working with our sports scientists. They test our strengths and weaknesses and give exercises accordingly. When I want to improve a certain area of my dancing or build a specific group of muscles they tailor the exercises to my needs. How much I do is based on my performance schedule, because some of the exercises leave me sore or fatigued. I like to take advantage of the days when I have fewer rehearsals and use those days to work on strengthening the areas I want to improve.

Dancenorth dancer Alice Hinde. Photo by Bottlebrush Studios.

Alice Hinde – Dancenorth, Australia
In addition to ballet and contemporary technique classes, I cycle, do yoga and skip. I have these activities on rotation so that my body is subject to different kinds of movement patterns. I enjoy doing all of these activities because they are also a rest for the mind. I aim to reduce the noise of a busy mind and just enjoy focusing on my breath in yoga or even the scenery while riding. Cross-training is great for the body, it helps improve stamina and strength and overall shape and performance.

Glenn Allen Sims – Alvin Ailey American Dance Theater, USA
I am always working out, especially at the gym, when I am not in my technique classes. While at the gym my main concern is free weights, basically sculpting my upper body and breaking down muscles groups into days of the week (ie. Monday- abs and shoulders, Tuesday- back, Wednesday- abs and cardio, Thursday- chest, and Friday- abs and arms). This schedule can be altered depending on what I am dancing that evening, if there is a performance or the free time I may have during a rehearsal period. I also take Pilates classes that are generally on a private basis with a Master Trainer. I feel that a man should look like a man from the stage, not to say that someone that is slighter than I doesn’t look like a man, but it is my prerogative. As an Ailey man, it is part of the history and legacy that the men always looked great, sexy and fit. I am just trying to live up to this standard as best as possible with all the knowledge that I know about fitness. Working out really plays a huge role on how good you feel about yourself, and when you are feeling great in your skin it really shows!

What is your strategy for staying fit and conditioned during your off-contract time?

Glenn Allen Sims
I try to make sure that I am at the gym on a daily basis. When I am on off-contract time I make sure to really focus on as much cardio as possible – it’s the only way I can come back to work with the same amount of stamina that I left with. I love taking a spin class or just simply running on the treadmill. The best cardio workout that I am head over heels for is aqua aerobics! You tone and work all the muscle groups without the impact on your joints, which is a huge plus for me as a dancer. In terms of my eating habits, I eat the same for the most part. I food combine what I’m going to eat, meaning that I don’t mix proteins and carbohydrates in a meal. This really aids the digestive system in processing the food I am taking in. I’m big on eating whole foods and loads of greens (especially green juices), and making sure that what I am eating is of quality – no junk foods. I try to stay away from desserts.

Alice Hinde
During the summer holiday, I try to allow ten days to two weeks for rest. In that time I might do some gentle stretching. Swimming and biking are two of my favorite ways to keeping my body moving while I’m on holiday.

The Royal Ballet’s Nehemiah Kish and Zenaida Yanowsky in Raymonda Act III, photo by Tristram Kenton, courtesy ROH

Nehemiah Kish
Maintaining the same level of fitness and conditioning I have on contract is very difficult when I’m off contract. It basically comes down to time allocation – how can you give at least 5 hours a day to training as you would if you were working? So, I generally lead an active lifestyle which helps maintain some level of fitness, including regularly hiking, swimming and diving. As I am constantly on the move between cities and even countries, attending regular classes becomes difficult. To remedy this I always pack a skipping rope. It is lightweight and easy enough to find a space large enough to do it. Skipping also gets your heart rate up rapidly. I set my iPod to my favorite up-beat tracks and I can skip happily for 15-20 minutes.

How do you augment your exercise regimen while touring?

Alice Hinde
Touring doesn’t affect my routine that much. I don’t use a lot of machines or props when working out. Most of my exercises are based on using my own body weight.

Alvin Ailey American Dance Theater’s Glenn Allen Sims and Linda Celeste Sims in Jirí Kylián’s Petite Mort. Photo by Paul Kolnik.

Glenn Allen Sims
I carry a range of travel equipment with me. I have Spree resistance straps that help tone the body, the Perfect Push-Up and a Multi-toner, which is like the Pilates magic circle, but this was designed by DLFit and is a complete body workout. Of course, there’s only so much you can do in the hotel gym so most of my workout augmentation happens either in the hotel room or at the theater, unless there is a gym nearby.

Nehemiah Kish
I aim to tailor any fitness activities to things that can be done in a hotel room such as skipping and yoga. I find stretching extremely beneficial when on tour because of the increased workload when performing a show. Cardio and strength are usually taken care of by actually performing! A spa or bath also works wonders in decreasing lactic acid levels and keeping the body supple.

Top photo: Alvin Ailey American Dance Theater’s Glenn Allen Sims and Antonio Douthit in Alvin Ailey’s Opus McShann. Photo by Paul Kolnik.

With spring comes the vibrant color of new blooms. Here are a few beauty ideas for a fresh makeup look that pops with color!

By Christine Dion of Mode Dion.

Nature has a way of mixing bright color and combing shades that go perfectly together. Find your inspiration in nature this spring. Have fun, but remember that colors affect your look differently. Bold color can pop and look fresh or it can overpower and wilt your eyes, cheeks and lips. Application and placement is the key. Here are a few basic rules:

Highlight/Lift shades

Bright bold colors like bright yellow, red, orange, neon green or pink, aqua, light blue or lavender, and shimmer shades, lift and pull the area they’re applied to forward. They are highlighting shades.

Define/Contour shades

Deep vibrant, rich colors like deep navy/indigo, emerald/forest green, royal purple/plum and brownish orange, pull in or define the area they’re applied to. These are defining shades.

Be sure to use these colors remembering the effect they have on your look. You would not want to apply a bright color into the crease area where defining is usually called upon. Here are a few basic tips to follow:

EYES
Add a pop of color to the eyelids with bold, bright colors that wouldn’t work on the eye bone, crease or under the eyebrow. The best colors are blue, green, yellow, pink or purple. Pink, yellow and orange can look great on the eye bone, as long as they are not sparkly (sparkles and shimmer pull forward and can make eyes look puffy when applied on the eye bone). Highlight inner eye corner and below brow with highlighting shades like bright yellow, as well as shimmer colors in white gold or silver, light lavender or pink, depending on the theme. Shimmer colors can be great to help soften and blend the look together. Defining shades are used at the outer eye corner or just above the crease to add lift to the eye and define. The best colors for these areas are deep and more neutral shades.

CHEEKS
Wear bright cheek colors up high on the apples. Avoid following the cheekbone line as from a distance this can appear like a bright stripe of color across the face. Contour cheekbones so bright cheek color can have center stage by using rich, neutral colors to define the bones and nose lines, not bright colors, if you would like those areas contoured. Highlight with shimmer high on the cheekbone up to the temple.

LIPS
Bright colors look great on the lips but can be very one dimensional, easily overpowering the shape of the mouth. A lip liner that’s one shade darker or has a little bit of brown can help define and pull lips down so the color can pop forward. For example, use bright pink lip color with a pinky brown lip liner. Be sure to blend in the color so the lip liner has a fade out and doesn’t show. Another way to bring lips forward for dimension is to use a lipstick highlighter. Any complimenting color that is lighter or has shimmer will do the trick. Be sure to apply a lipstick highlighter to the center of the upper and lower lip to create a round effect to the mouth.

FEATURES
Be sure to define features. Brows need to be enhanced, filled in and extended to frame and balance eyes. Bold eyes need bold lashes. False lashes help to bring out the eyes and prevent the eye color from being overpowering.

Enjoy Color

Using colors that fade into each other can create a very dramatic look. Don’t be afraid to layer colors, especially when lining the eyes. Try shades of blue or mix pink, yellow and orange. Even create rainbow eyes for a whimsical look.

Stencils can be used (find these at your local craft store) to create fun color designs on the face and body. Paint right into the stencil by wetting your color pigment until it’s a creamy texture that’s easy to spread.

Glitter works well to add dimension and lift to the area of the face you would like to draw focus to. Be sure to secure glitter with spirit gum like Mode Dion’s Diva Glue. Diva Glue painted into stencils or used to draw designs with glitter patted on top can add more drama and fun to your look.

MODE DION SPECIAL: Receive 20% off when mentioning Dance Informa on all of Mode Dion’s Pure Bright Color Pigments, Glitter and Diva Glue! Call (760) 837-9433 to place an order by phone or order online at modedion.com. Mention Dance Informa at checkout under Special Instructions.

Be sure to visit modedion.com for more great beauty tips, how to videos and products. Sign up at modedion.com for more tips and updates on Mode Dion Cosmetics & Training Facebook, Newsletter and Twitter.

Photo (top): © Viktor Penner | Dreamstime.com