Why Carbs Can be a Dancer’s Best Friend

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 glycaemic 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, USA. 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

By Rebecca Martin.

From a small town eisteddfod 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 organised 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 Australia’s 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.

Aaron Kok and Kelsey Stokes, winners of the 2012 Sydney Eisteddfod McDonald’s Ballet Scholarships.

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 practise 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, hair pins and spare tights.
• Be prepared! Rehearse, practise 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 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.sydneyeisteddfod.com.au

-  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): Under 12 dancers from The Dance Spot perform Tchaikovsky’s Serenade for Strings at McDonald’s Sydney Eisteddfod. Photo courtesy of Sydney Eisteddfod.

By Rain Francis.

Starting to think about full-time dance training? Now more than ever there are some fantastic options out there – and they may be closer than you think. Gone are the days when you have to move to Melbourne or Sydney to get the best training. While there are some amazing courses offered in these two cities and a wealth of dance opportunities, don’t dismiss the high quality training options offered elsewhere – staying closer to home could be a good option for you.

One of the most important factors in staying closer to home is of course having your loved ones near. “The family can directly manage all aspects of their child’s development and training, providing hands on love and support,” says Canberra Dance Development Centre Director Jackie Hallahan. This means having a helping hand with everything from your day-to-day living tasks, to just having a shoulder to cry on when you are exhausted or frustrated.

“Dancing full time can be very demanding physically, mentally and emotionally,” says Beth James, director of Western Australia Conservatoire of Classical Ballet. “For a young student, having these demands – as well as living on their own without family – and having to go home to cook, clean, and prepare after an exhausting day can be tough. And of course, having your friends close by on your day off can be just what you need to keep a healthy balance away from dance.” Although you will make lots of new friends wherever you study, it’s wonderful to be able to keep in touch with your established friends – and not just on Facebook!

“In our experience, most students find the transition from high school to 30 hours a week of intensive training somewhat overwhelming, especially throughout the first term,” agrees Phil Talbot, CEO/Director of Principal Academy of Dance and Theatre Arts in Perth. “By being close to home they have the support of family members to help them maintain a healthy lifestyle and cope with stress, especially at assessment time.”

Canberra Dance Development Centre full time student Georgia Powley. Photo by Greg Primmer.

It is perfectly normal to find the transition to full-time training difficult. Besides dealing with a new environment, new people and the physical and mental stresses of such a full-on workload, if you’re living away from home there are additional pressures. It might be the first time you’ve had to do your own food shopping, transport yourself to the studio, pay bills and deal with other everyday realities. After a long day of training, it’s likely that all you’ll want to do is have a bath and then vegetate on the lounge room floor. This is where unhealthy habits can start to creep in, such as living on ‘convenience’ food. Living at home can give you more stability, so you are freer to put all your energies into your training.

Another thing to consider is money. Full-time training can place a large financial burden on you and your family, and training closer to home can help ease that considerably. Though it may be tempting to leave home and head for the big smoke, try to be realistic about the pros and cons.

Living at home can save thousands per year on rent and other living costs. And if you are living away from home, you’ll be paying much more to live in one of the bigger cities. Unfortunately, getting yourself into debt early on can really affect your future. “It’s not just the family – the student takes on the financial burden as well and this can interfere with decisions made down the track,” James explains. The reality is that you may not be able to travel to auditions or afford to do all the classes you need to after graduating.

Hallahan agrees, adding, “[Staying at home means that] the students’ parents may be able to invest more money in their child’s training rather than on additional living costs.” So if there’s any way to avoid getting into debt – or placing strain on your family’s finances – it’s advisable to investigate and consider these options.

Australia’s most successful dancers didn’t all come from the schools in the big cities. Terry Simpson Studios in Adelaide turned out Remi Wortmeyer (The Australian Ballet and Dutch National Ballet), Nicola Leahey (Compagnie Thor, Belgium), Jesse Scales (Sydney Dance Company) and Nicola Wills-Jones (Royal Ballet, Flanders). Graduates of Western Australian Academy of Performing Arts (WAAPA) in Perth have worked in Western Australian Ballet, Queensland Ballet, Australian Dance Theatre, Expressions Dance Company and many international companies.

There are also some world-class dance companies outside of Sydney and Melbourne. Adelaide has Australian Dance Theatre and Leigh Warren and Dancers, Townsville has Dancenorth and Launceston has Tasdance, just to name a few. Making yourself known to these companies while you’re training – either through secondments or taking company class – can be a great way to build relationships which may lead to employment after graduation. Also, if you are considering a career as a choreographer, do some research into the local grants available from your state’s branch of Ausdance, or from your regional council. Sometimes, being in a smaller centre can actually be an advantage; there are less people vying for the same funding dollars. So, make the most of all your area has to offer.

Of course, I’m playing devil’s advocate here; there are also advantages to flying the coop. The truth is that no matter where you choose to study, you will find a way to make it work, and to get absolutely the most out of every opportunity that comes your way. Your full-time training will be one of the most challenging things you will ever do, but it is also an exciting time which will pass you by far quicker than you can imagine!

Be sure to check out Dance Informa’s 2014 Full Time Dance and Auditions Guide, out this July. The Guide lists the best full-time schools and courses across Australia.
To check out the 2013 Full Time Guide, click here.

By Grace Edwards.

It goes without saying that in order to have a successful career in ballet, a dancer must eventually meet, if not transcend, the expectations of the directors who will employ them. Teachers shoulder the heavy responsibility of preparing their dancers for this eventuality. So how do those at the top of the field help their elite dancers to achieve this goal?

“Whether or not I like what’s going on in the ballet world, which I do, it’s making sure your dancers are quite up with the rest of the world,” says Leeanne Rutherford, Director of Ballet Theatre Australia.

Renowned ballet teacher Tanya Pearson of the Tanya Pearson Classical Coaching Academy believes that for better or worse, dancers must be trained to meet the ever increasing physical demands of the art. “The dancers nowadays are much more flexible and that’s demanded by choreographers. When I was training we were more musical and artistic. That was the emphasis then, not high extensions, but now at the moment there’s a trend towards that. Ballet has become a little more gymnastic.”

Pearson, however, emphasises artistry and the importance of interpreting roles to help her students stand out in the crowd amongst the many technical wizards churned out by ballet schools across the globe. In this way she reconciles her own teaching philosophy with the evolving standards of the art and believes that this has helped her dancers achieve success in international competitions such as the Youth America Grand Prix.

Apart from possessing a suitable physique and sufficient facility, the ability to coordinate steps easily, a high level of maturity and a ‘safety blanket’ of good grades are all crucial to a ballet student’s chances of professional success. However, some full-timers do transcend these ‘cookie-cutter’ prescriptions to be accepted into their courses. “Some students just have the ability to work on a regular basis,” says Rutherford. “It’s not a struggle, they’re just meant to do it. It’s like a calling for them.”

To help such talents, Beth James, Director of the West Australian Conservatoire of Classical Ballet avoids focusing too squarely on technique. “Jobs are vast, however, the dancers need to be in a good position to take them,” she says.  “It’s not just always the technique that’s going to make it there, it’s the whole package more so now. I try to help dancers in a more holistic way, to strengthen not only their bodies but their minds and their emotions as well. Organisational skills also need to be looked at.”

She points to self-belief as one of the most formidable but least talked-about obstacles to a young dancer’s success. “It’s learning to accept that although in their mind’s eye they need to be perfect, we are okay with them not being perfect and know that they are going to learn from their mistakes,” says James. “We respect that they are still above and beyond the acceptable range.”

Sonya Shepherd teaches Certificate II & III students at Charlesworth Ballet Institute. Dancer Charlotte Price (foreground) is now studying in Amsterdam. Photo by Darren Clark.

“Ballet’s got a bad rep for being a negative environment, so it’s about trying to turn that around,” concedes Briana Shepherd, who teaches at the Charlesworth Ballet Institute. “It’s actually quite hard. I mean, I often find myself being quite negative and I have to turn around and go, ‘Okay, would you want to hear it this way?’ You have to pay attention to how the students receive the corrections too, because everyone learns differently.”

At the Charlesworth Ballet College, the Institute’s professional programme, dancers are schooled in both academic studies and ballet. The college therefore takes on much responsibility for the overall development of their elite students as they enter their teen years. “Sometimes they want to go out, or they just don’t want to do it. But it’s making them understand that if they want a career they have to put in the hard work now,” says Shepherd. “I try to nurture the passion, to have them understand that yes, it is a lot hard work, physically and mentally, but it can be a very rewarding career path.”

Whilst finding ways to address the differing strengths and weaknesses of each student, teachers must also keep in mind the likely demands of their future employers. Tanya Pearson tries to tackle both by exposing her students to different methods of training such as Vaganova, RAD and Cecchetti.

“Each day we have a different teacher, male and female, and they’ve all been trained from different backgrounds. I feel that the exposure to these different styles will help them to follow any teacher that they may strike in an open situation. We also expose the students to regular performances with Sydney City Youth Ballet to be able to perform to an audience, because that’s what they’re training to become a professional dancer for,” says Pearson.

For particularly talented students, participating in international competitions can be beneficial in this regard, giving them an opportunity to see where they range amongst some of the world’s best pre-professional dancers. In a competition like the Youth America Grand Prix, dancers receive reports from the judges who are a selection of directors from schools and companies all over the world. “It’s interesting for students to see how other people see them and if they are marked fairly high in the range they can feel they are up there close to the winners,” Pearson observes. “They can know they’re going in the right direction and maybe next time they’ll be the winner or maybe next time, they’ll get a job. An audition process, after all, is a competition.”

But even for the perfect teacher with dream classrooms full of physically ‘ideal’ students, the fate of the young students is ultimately not in his or her hands. A student’s passion, work ethic and belief in their own capabilities are the major hallmarks of a young ballerina in the making, says Shepherd.

“If they’re willing to keep going, even when it becomes hard, they will get there.”

Photo (top): Charlesworth Ballet Institute students rehearse Paquita for a gala last August.  Liam Blair (former student now dancing with the Aalto Ballett Theater Essen,Germany, who was a guest for the gala) partners Charlotte Price. Photo by Darren Clark.

Test your ballet terminology.

By Rain Francis.

1.   What does piqué mean?

a)     To pick
b)     To prick
c)     To stick
d)     To click

2.     If you were doing a fondu, how many legs would you be standing on?

a)     One
b)     Two
c)     None

3.     Who was the ‘royale’ (or changement battu) allegedly named for?

a)     Nijinksy
b)     Nijinksa
c)     Pavlova
d)     Louis XIV

4.     Which of the following means ‘to fall’?

a)     Tombé
b)     Chassé
c)     Jeté
d)     Pas de bourrée

5.     Which of the following is commonly considered a step to be performed by a male dancer?

a)     Fouetté en tourant
b)     Tour en l’air
c)     Glissade
d)     Grand battements

6.     If you were travelling de côté, in which direction would you be going?

a)     Forwards
b)     Backwards
c)     Sideways
d)     Diagonally

7.     Where would you find your jambes?

a)     At the end of your arms
b)     Attached to your hips
c)     On your shoulders
d)     In your ballet shoes

8.     Which body parts are primarily involved in épaulement?

a)     Head, neck, shoulders
b)     Waist, hips, hands
c)     Feet and legs
d)     Arms and legs

9.     Which of the following is not named for an animal?

a)     Pas de chat
b)     Pas de cheval
c)     Pas de bourrée

10.  True or false?

Frappé means ‘to whip’.

Answers:

1 – b; 2 – a; 3 – d; 4 – a; 5 –b; 6 – c; 7 – b; 8 – a; 9 – c; 10 – false.

Photo © Dmitri Mihhailov | Dreamstime.com 

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 workout 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 Company 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 it’s easy enough to find a space large enough to skip in. Skipping also gets your heart rate up rapidly. I set my iPod to my favourite 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.

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

Dance Informa is celebrating heart health this Valentine’s Day by highlighting five red foods that are good for the one muscle in your body that never gets a rest. These foods are also great for recovering from a tough rehearsal, for keeping a healthy body weight and for preventing cancer and heart disease – but most importantly, they taste good!

Heart disease is a leading cause of death for both men and women¹. Being physically active, maintaining a healthy body weight, and eating more colourful fruits and veggies can reduce your risk.

Strawberries
At only 43 calories per cup, berries contain vitamin C, folate and potassium, in addition to cancer-fighting flavonoids, such as anthocyanins. Flavonoids are antioxidants that combat oxidative stress on the body and protect against free radicals that cause cell damage. This is good news for dancers who push their bodies to the extreme and is especially helpful in urban areas where city pollution can be a source of oxidative stress. The Nurse’s Health Study II reported that people who ate berries more frequently (more than once a month) were 32 percent less likely to have a heart attack than people who ate berries infrequently. Berries also protect the heart with their anti-inflammatory properties. Be sure to choose organic berries as often as possible. The Environmental Working Group (EWG) lists these on their “Dirty Dozen” list of fruits and vegetables that are typically high in pesticides².

Capsicum
Sweet or hot, raw or cooked, there is no doubt that these are super healthy foods. Sweet red capsicums contain vitamins C and A, but they are also a good source of vitamin B6, which aids in protein metabolism. Because red capsicums have been left on the plant to mature longer than green ones, they are better sources of antioxidants. They are great sliced and dipped in hummus or on top of a pizza. These are also on EWG’s Dirty Dozen list so it’s worth the money to buy organic.

Tomatoes
These are a great source of vitamins C and K. They also contain vitamin A and the carotenoids lutein, and lycopene. These are antioxidants, powerful cancer fighters and are very heart protective. Research has shown that cooked tomatoes, like in sauces and stews, can have additional benefits. So enjoy them raw and cooked. Eat the skins as well, as the skins contain many health-promoting phytonutrients. This is another food on EWG’s Dirty Dozen list, so once again we recommend that you buy organic.

Red Beans
A fantastic source of plant based protein and fibre, red or ‘kidney’ beans also contain folate, iron, manganese, copper, potassium and several other minerals. Current recommendations from a variety of health organisations tell us to get protein from more plant-based sources in general. Beans are a cheap source of organic protein, which with the fibre will help you feel fuller longer and can keep blood sugar more stable. I would strongly recommend avoiding canned beans because canned products are lined with a plastic coating that contains BPA, which is a known neuroendocrine disruptor. It’s so easy to throw some beans in a slow cooker in the morning and they are ready when you get home. During cooking, don’t add salt or something acidic like tomatoes. Wait until the beans are softened to add these. If you soak beans overnight and then give them a good rinse before cooking or eating you can reduce the substance that gives them their reputation for being gas-producing.

Beetroot
These bright red root veggies are hot in the sports nutrition field right now because they are a great source of naturally occurring nitrates. Naturally occurring nitrates in foods like beets, rocket, spinach and rhubarb have been shown to significantly improve athletic performance with better power output, more endurance and speed. Dancers might see benefits by eating more of these veggies or drinking beetroot juice. Nitrate supplementation from pills has not shown the same benefits as consuming the actual vegetable. It’s important to note that cured or processed meats contain nitrates too, but interestingly these have a completely different effect on the body and cause cell damage instead. Cook beets in water until soft and then add them to salads.

There are plenty of other great red foods out there so don’t forget to also include these in your daily food choices – cherries, watermelon, red cabbage, raspberries, cranberries, ruby red grapefruit, pomegranate, apples and many others. Enjoy!

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, USA. 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. Centers for Disease Control USA: www.CDC.gov
2. Environmental Working Group: www.ewg.org

Photo: © Svetlana Kolpakova | Dreamstime.com. 

By Rain Francis.

Do you stretch extensively before class? Do you often sit in a stretch for a few minutes or more? Do you stretch every single day?
As dancers, most of us would probably answer “yes” to at least one of the above questions – which would mean that we might have been practicing unsafely, and could be doing our bodies more harm than good. It’s time to get wise about the correct, safe and effective way to stretch.

Flexibility is important for injury prevention, physical fitness and mental and physical relaxation. Since all bodies are different, there is little point in comparing your flexibility to another dancers; flexibility is determined by genetics. However, stretching, when practiced correctly, can increase your flexibility and improve your performance.

When to Stretch
The most crucial factor in regards to stretching is to always warm up first. As much as we may be used to it, this means not sitting in stretches before barre! A proper warm-up should start with some light aerobic activity (such as a gentle jog around the studio) to increase your core temperature. When you produce a light sweat, it’s time to engage in some dynamic stretches. Dynamic stretching should start slowly and gradually increase in the speed and power of the movement. (See below for an explanation on the different types of stretching). Many Pilates exercises incorporate dynamic stretching, so before class is a good time to do your Pilates routine.

At the end of your cool down after class – when the activity that requires you to be strong and stable has ceased – is a good time to do your static stretches. Believe it or not, stretching to your end-range before class actually reduces strength and stability, as well as increases your risk of injury, so it should be avoided at all costs.

What to Stretch
It may feel good to practice the stretches that are comfortable for you, but it’s important to stretch the muscles that need to be stretched, not just the ones that are already flexible. Stretch both sides of a joint, in order to not develop an imbalance that could lead to injury. Practice stretches that only target the muscles you are trying to lengthen. Isolating a muscle group gives you greater control and means you are able to vary the intensity of the stretch.

How to Increase Flexibility
In order to maintain your range of motion, a weekly stretch session is sufficient. However, if your goal is to increase your flexibility, you need to stretch three to five times per week, and you need to be consistent. It may take several months for certain stretches to become comfortable, but perseverance is key (just make sure you are not pushing yourself to the point of pain.)

As it takes time for your muscles to adapt and adjust, you must give them time to heal, rest and repair themselves. This means mixing up your stretching programme by alternating light days, heavy days and rest days. Any gym bunny knows the importance of working and resting different muscle groups on different days, and making gains in flexibility follows the same principles.

Though it may be tempting, over-stretching increases the risk of injury and can just push your goals even further away.

Stretches should be slow and gentle, and should never create a sharp or painful feeling. Use your breath to assist you, and do not bounce!

How Long to Hold Stretches
Hold your static stretch (but not your breath) for 30 seconds, then relax. After a brief rest, repeat the stretch two or three times. The changes in your flexibility from stretching in this way will only last less than an hour. However, when performed consistently, as explained above, flexibility gains can be maintained. If you are a child or young adult whose bones are still growing keep stretches to 10 seconds or less.

Contrary to what you may believe, prolonged stretching should only be used by medical professionals and is not appropriate for dancers. Rather than simply stretching muscles and their connective tissues, stretching for extended periods of time can elongate joints and ligaments, which are there to keep your joints stable. You may think that lying in second while watching TV is doing you good, but this can actually lead to loss of stability and serious injury, whether in the short-term or further down the track.

The Importance of Breath
There is a reason why yoga and Pilates place so much emphasis on the incorporation of the breath. Correct breath control is essential to getting the most out of your flexibility training. It helps relax the body, improve muscular elasticity, increase blood flow and remove lactic acid, which reduces muscle soreness and the risk of injury.

When stretching during your cool-down, keep your breath fluid, not forced. Use slow, relaxed breathing, with an emphasis on exhalation through the mouth or nose. Inhale through the nose, which will filter and warm the air you inhale and allow more oxygen into your lungs (just ask any yogi!)

Types of Stretching
There are several different techniques for stretching muscles, each with advantages and disadvantages. You should consult an experienced teacher or health care professional to find the best technique for your physique.

There are two main types of stretching: static and dynamic.

Static stretching is a stretch that is held in a particular position. For example, lying on your back with one leg raised in the air and gently easing the leg in toward the chest to stretch the hamstrings. Static stretching is more effective than dynamic stretching for producing long-term flexibility, but should only be practiced when the body is fully prepared.

Dynamic stretching is a stretch that is an active movement as a result of muscle contraction. For example, circling the ankle or shoulders, or controlled leg and arm swings. This type of stretching takes you to the limits of your range of motion, with no bouncing or jerking. A good dynamic stretch is one that reproduces the movement patterns required for the exercise you are about to undertake. For dance, an example is a controlled développé to the front or side, which dynamically stretches the hamstrings. Dynamic stretching should be performed only after a proper warm-up.

When researching for this article the author consulted the following resources:

Stretching – a vital part of dancers training and practice, by Tania Huddart for DANZ ©. www.danz.org.nz/Magazines/DQ/April2012/stretching.php

Stretching for dancers, by Brenda Critchfield, MS, ATC, under the auspices of the Education and Media Committees of the International Association for Dance Medicine and Science. www.iadms.org/displaycommon.cfm?an=1&subarticlenbr=353

Stretching rules for dancers, by Ausdance. www.ausdance.org.au/articles/details/stretching-rules-for-dancers

Photo: © Candybox Images | Dreamstime.com

This year is the 75th anniversary of ballet legend Rudolf Nureyev’s birth, and 20 years since his death. How much do you know about one of the most celebrated dancers of the 20th century?

1. With which ballet did Nureyev make his directorial debut?

a) The Afternoon of a Faun

b) Petrouchka

c) Pineapple Poll

d) Don Quixote

2. Nureyev’s first performance in Britain was held to support which organisation?

a) The Royal Academy of Dance

b) The Royal Ballet School

c) The Royal Ballet

d) The Royal Opera

3. Giving his mother a shock, Nureyev was born prematurely in a

a) boat

b) train

c) car

d) plane

4. Nureyev danced with many of the best ballerinas of his time, but with whom did he say he danced with “one body, one soul?”

a) Eva Evdokimova

b) Margot Fonteyn

c) Gelsey Kirkland

d) Antoinette Sibley

5. Nureyev danced with Miss Piggy on the Muppet Show (check it out on YouTube – it’s a classic!). Which ballet did they perform a parody of?

a) Cinderella

b) The Nutcracker

c) Swan Lake

d) Manon

6. In which company was Nureyev director, dancer and chief of choreography during the 1980s?

a) The Royal Ballet

b) The Paris Opera Ballet

c) Dutch National Ballet

d) American Ballet Theatre

7. Which ballet by Sir Frederick Ashton was premiered by Fonteyn and Nureyev, and would become known as their signature piece?

a) Marguerite and Armand

b) Baroque Pas de Trois

c) Romeo and Juliet

d) Les Sylphides

8. To which country did Nureyev defect in 1961?

a) America

b) United Kingdom

c) Austria

d) France

9. In the 1970s, Nureyev toured the USA in a production of which musical?

a) Fiddler on the Roof

b) Cats

c) Kiss Me Kate

d) The King and I

10. Nureyev played a violinist in the 1983 film Exposed, alongside which Hollywood actor?

a) Harvey Keitel

b) Marlon Brando

c) Robert De Niro

d) Russell Crowe

Answers:
1 – d; 2 – a; 3 – b; 4 – b; 5 – c; 6 – b; 7 – a; 8 – d; 9 – d; 10 – a

Photo: Rudolf Nureyev by Jack Mitchell. Photo source http://onlyartimages.blogspot.com/2011/04/rudolf-nureyev.html

By Rebecca Martin.

After all the blood, sweat, tears, hairspray, blisters, bruises, melt downs, costume changes and fun, it’s time to graduate from full-time dance training.

Now what?

You may have dreams of Broadway or West End, Paris Opera Ballet or The Australian Ballet, the world stage or opening your own dance school, but it’s unlikely that you’ll be able to achieve these dreams straight out of training.

Here are some tips to help you reach your dreams.

Get experience – Loads of it

Fill your CV with as many different things as possible, and say yes to every opportunity that comes your way. Saying yes to job offers can strengthen connections with key industry players who can get you a step closer to your ultimate dream.

For all the thousands and thousands of dancers in Australia that want a job in their industry, very few of them will be fortunate enough to earn a living from dancing. There are limited companies with limited places, and directors want a performer that has treaded the boards a few times and can be relied upon to carry a show and handle the strenuous life of performing.

Get an agent

Many auditions are by invite only and must be done through an agent. Find yourself a good agent who knows your strengths and weaknesses who will source work for you.

Think outside your comfort zone

If you’ve trained in ballet, consider musicals.  Phantom of the Opera has roles for ballet dancers. If you’ve trained in jazz, take some acrobatic classes and audition for a cruise ship. Consider working behind the scenes in choreography and production. Audition for TV commercials and TV shows. Teach other dancers, perform at theatre restaurants, try character roles at Movie World and other theme parks around the world, put on your own show, travel, experiment, don’t stop learning and don’t turn down any opportunity.  You don’t know where it may lead.

Dance Informa spoke to some dancers who have had varied and fulfilling careers since graduating from full-time dance schools:

Hayley Uberti
Graduate of The Space Dance and Arts Centre

What are some of the things you have done since graduating?
Since graduating I have been very fortunate to be able to work with some great choreographers and experience different performance avenues. I have worked for Grayboy Agency (William Forsythe’s choreography) on a Princess Line Cruise Ship that sailed the world, I have been a part of three pieces performed by Vertical Shadows that were directed and choreographed by Stephen Agisilaou, [and] performed in various corporate shows, events and video clips. I have had small acting roles with Opera Australia, short films and TV commercials and worked around Australia and Singapore with suit work contracts. I have been teaching for over 10 years and have recently ventured into professional choreography, including corporate events and fashion shows.

What advice do you have for new graduates who are embarking on a dance career?
Be patient, attend as many auditions as possible to gain experience and expose yourself to various choreographers who may not cast you today but will always remember faces. No doubt you will come across them again.

Don’t let your full-time training go to waste, keep up classes and commit yourself to continually building your craft and keeping in shape. Keep those ballet classes up!

Robert Kelly

Robert Kelly
Graduate of Western Australia Academy of Performing Arts

What are some of the things you have done since graduating?
While training at WAAPA I was fortunate enough to take an original piece I created to rural areas in Western Australia. Then later I danced in the corps de ballet with West Australia Ballet.

After Perth I went on to dance as a guest for the National Theatre Ballet School in Don Quixote and Le Corsaire, both of which went on tour all around Victoria. I ended up dancing in three other touring companies in Australia all of which were a great artistic experience and also a paid experience…which is not so easy to find these days.

I have taught company classes and student workshops for people from all over the world. I’ve also created major works locally and overseas to audiences of more than 2000 and was employed by the Catholic Church to create a surprise work for a congregation.

Aside from being a dancer I’ve been a choreographer, teacher, costume designer and director of my own company.

What advice do you have for new graduates who are embarking on a dance career?
If you start with an open mind but a solid discipline you can kick a few goals. Most importantly be fair to those who were even 50 percent as fair to you.

If new graduates are planning to use their Bachelor of Arts, Diploma of Dance or Diploma of Education for a career in Australia they are on solid ground for entry into arts psychology, physiotherapy or other positions that are not directly movement related.

Always be polite in the audition process to everyone. Use this opportunity to make friends, contacts and evaluate situations. The dancer has to be out for themselves first and foremost as it is a ‘cut-throat’ industry but that does not mean that you can’t make a good friend or two.

Katie Hurst-Saxon

Katie Hurst-Saxon
Graduate of International Ballet Academy NZ

What are some of the things you have done since graduating?
After graduating at 16 I was offered a contract with the Royal New Zealand Ballet straight away. By the age of 19 I had my first Principal role. I spent nine years with RNZB, dancing many lead roles and also different styles of dance. Along with the pure classical ballets we performed, we also did a great amount of contemporary and neoclassical works. After nine years I decided I needed a break, so I headed back home to Christchurch and did a bit of teaching. I choreographed a few dances for students doing competitions too. After about a year I realised that I did still want to dance and I have been freelancing for the past year. I did Angelina Ballerina with RNZB (as Angelina), Giselle with Melbourne Dance Theatre (as Giselle) and am now rehearsing for the Australian Conservatoire of Ballet’s Sleeping Beauty (as Carabosse and Aurora.)

What advice do you have for new graduates who are embarking on a dance career?
Don’t give up! It’s likely that you’ll have rejection and criticism thrown your way, if you let that get you down you’ll have trouble surviving in this world. Use the bad to make you even stronger. Be strong, be confident, know what you want and don’t stop till you’ve done everything you can to get it.

Jayden Hicks

Jayden Hicks
Graduate of The Space and Ministry of Dance

What are some of the things you have done since graduating?
In the past two years since graduating I have performed with Vertical Shadows (Release The Stars and On The Rocks), in Stage Art’s production of Matalor, completed a secondment with Chunky Move for Keep Everything, toured with Melbourne Ballet Company in On Air and Infinite Space, was a featured dancer in Quirky Productions’ La Cage Aux Folles, performed in the burlesque piece Holy Ship at Red Bennies, appeared in a music video for singer Sam Burke and performed in Industry Nights’ Immersed and Underground, as well as Short and Sweet: Dance. 

I teach for The Space, Jason Coleman’s Ministry of Dance, Elevator Studios, Gippsland Academy of Dance, Vicki’s Dancing Academy, Backstage Dance Studio, Pole Divas and Volar Dance Centre. I also do dance and aerial consulting including silk, hoop, pole and dance collaboration.

What advice do you have for new graduates who are embarking on a dance career?
Don’t try to follow in someone else’s footsteps. The beautiful thing about the dance industry is that there is no right or wrong way to succeed. There is no set direction that you must take once you graduate. Keep expanding your knowledge of dance and the dance community and find your own way to success. Also don’t pigeon hole yourself into a stereotype. The more versatile you are the easier it will be to find work.

Gina Brescianini

Gina Brescianini
Graduate of McDonald College and The Australian Ballet School

What are some of the things you have done since graduating?
I have opened my own yoga centre called Radiant Awakening in Sydney where I teach Kundalini Yoga and Pilates. I also teach ballet to adults at Sydney Dance Company studio. I teach ballet, yoga and Pilates to the senior students at McDonald College and ballet and Pilates at Dorothy Cowie School of Dance.

What advice do you have for new graduates who are embarking on a dance career?
Give it all you’ve got everyday. Learn as much as you can from all teachers, choreographers and dancers. Have fun and enjoy it, stay focused and know that we all have good days and bad days and it is all worth it!

Samantha Dodemaide

Samantha Dodemaide
Graduate of Patrick Studios Australia

What are some of the things you have done since graduating?
You name it, I’ve most probably given it a red hot go. My ultimate dream was always to be a musical theatre performer, but I knew this was also the dream of many others and that it would take a lot of hard work (even after I had finished three years of full-time dance training). So after graduating I made sure I didn’t stop training, made sure I was attending dance class and singing everyday, taking acting lessons and working hard at the gym.

I was lucky enough to land a job performing at Witches In Britches theatre restaurant, as part of their five-person comedy show (which allowed me to sing, dance and act.) I also landed a few small-scale jobs both here and overseas, fashion parades, club free styling, kids’ shows such as A Looney Tunes Christmas in Singapore and touring pantomime shows of Cinderella and Sleeping Beauty.  I travelled to Dubai multiple times as part of a cheerleading team for the Dubai Rugby 7’s Tournament. I was working for a children’s musical theatre school teaching dance and drama most nights of the week.

Throughout all of this I was attending multiple musical auditions but couldn’t seem to break my way in. Then after what seemed like an eternity it finally happened. Since landing my first show which was Wicked at Universal Studios Australia I have also now performed in Anything Goes, The Producers and A Chorus Line. Most recently I have been performing alongside Geoffrey Rush in A Funny Thing Happened on the Way to the Forum.

What advice do you have for new graduates who are embarking on a dance career?
Follow your dreams and they will come true! I truly believe you can make anything happen if you put your mind to it. As long as you are patient, work hard, and are 110 percent committed to your craft you cannot fail. You can never stop improving, and the more time and energy you spend improving yourself, the more success you will have.

Top photo: Dancer Katie Hurst-Saxon