Nutrition at the Birmingham Royal Ballet: a Mixed Bag

/in , , , /by

 

This article about the nutrition of dancers with Birmingham Royal Ballet principal dancers Victoria Marr and Matthew Lawrence, got me thinking. If you haven’t read it, take a peek.  Here’s what it’s got me thinking about…

1. Two-thumbs-up for the shift away from telling “heavier” dancers to stop eating, and instead directing them to company resources like nutritionists.

Even better that “things have gone to the nth degree with nutrition” (Marr) and dancers are even getting their bone density tested. (A wellness advocate’s dream…)

2. Two thumbs down for the ever-rigid ballet aesthetic which turns away beautiful dancers if they “don’t have the right shape.”

“You still have to be quite skinny and you have to have long, lean muscle. There’s no getting away from that. Ballet is all about aesthetics,” says Marr. I know this, but it still pains me.

3. Two half-sies thumbs for both interviewees eating whatever they like, according to the article. It’s great that they do not feel constrained, but it’s a little sad that they confess to eating “rubbish,” including “Kit-Kat bars” and “chips.”

On the one hand, they are professional adults who can eat whatever they want, but with so much access to nutrition and care, how did they end up with such low-quality snacks? I’m all for splurging, but aim high and go for the good stuff. (Like…Mast Brothers chocolate, for example. Why waste your calories on junk?)

4. Two palms up in the “huh?” gesture for Marr’s conflicting comments on food amounts: on the one hand, she says there is a “preconceived idea that dancers have to keep their food intake down in order to keep quite skinny,” which she claims is untrue, but then she confirms it by saying, “I don’t need to eat inordinate amounts of food to get the energy I need. You don’t really. It’s a myth.”

So, dancers don’t have to eat “inordinate amounts” of food to get the energy they need?

Problems: 1) “inordinate” is too subjective: what does that mean, exactly? and 2) everyone is different.

While Marr may not need to eat a lot, that generalization shouldn’t be applied to all dancers. Furthermore, many dancers do lower their overall caloric intake in order to achieve the proper look. By the time they become professionals, they are so used to eating that way it may feel totally normal. It doesn’t change the fact that compared to an average person, dancers eat considerably less food.

5. And, finally, two thumbs up for proper screening. That neither Marr nor Lawrence have faced issues around their weight at BRB made me think about the selection process. Most companies have a rigorous screening process wherein dancers who do not fit the aesthetic of the company are not usually hired. I used to think this was terrible, but I have come around to understanding the potential good of this practice.

If a company has a strict aesthetic, then I think it’s correct that they screen and hire appropriately. Is there anything more disheartening than landing the much-coveted contract, only to be told you must lose weight?

Until the ballet aesthetic changes worldwide, dancers should not be hired at one weight on the condition that they drop to another before they are considered stage-worthy. Surely, this practice leads to a greater number of physical and psychological problems.

Ultimately, I like to think the ballet world will be forced to alter its aesthetic to accept more “normal”-sized dancers. But until then, it seems imperative to not put dancers in the position of having to lose weight in order to keep their jobs, which is why being particular about the aesthetic right out of the gate seems like a better choice to me.

But enough of what I thought. What was your impression of the article?

Lessons From Yoga for Dancers: Lesson 3

Lessons From Yoga – Lesson 3

/in , , /by

Lesson 3: Letting Go Does NOT Equal Laziness.

I still remember dancing days when I could turn like a top, and then days when nothing I did could make those pirohuettes happen. I also remember my response to those dark days: total frustration. I actually remember the sensation that would rise through my body and into my head: hot, red, angry and confused. Then, I would pull myself together and apply my well-engrained dancer’s work ethic: I would practice over and over again, pushing through the problem in the hopes of arriving at a solution.

Unfortunately, it didn’t always work. In fact, in retrospect, I’m pretty sure it didn’t do me much good, most of the time. So why did I stick to that plan? I think it’s because dancers have a hard time letting go; it feels totally foreign, and often we confuse it with being lazy or giving up. I was never good at letting to go, particularly when it came to my technique.

And this is where Lesson 3 from Yoga comes in…

…much of yoga requires relaxation and deep breathing (which cannot be done when tense and straining). Success is achieved when the breath initiates the movement, and when we accept our bodies and abilities in that moment. And sometimes, things don’t work, just like in dance.

But unlike dance, yoga instructors have a different approach: they recognize that one day is not always like the next: there are variations in what our bodies can tackle and that is okay. It’s not a sign of devolving ability, or lack of dedication or discipline. Just, some days, you can do a head stand or a triple pirohuette, and some days you can’t. *

So yoga instructors say things like, “Go into lotus, if it is available to you today.” If you can’t make lotus that day, you can sit cross-legged, and no one seems to mind.

It has taken me a long time to stop minding and to just let go when I can’t achieve something I did yesterday. In that moment, when I let go and surrender to breathing, I grow in a different way. I accept that I am human, that my body is slightly different every day, and that my real challenge is in letting go, not in pushing hard.

This is an important lesson for dancers who are taught to be perfect every day and to really beat themselves up for variations in the abilities. Sometimes relaxing can help. Give it a try.

 

* This reminds me of a performance of Don Quixote I saw last spring at ABT where Gillian Murphy danced Kitri. Murphy is an exceptional turner who regularly wows audiences with her multiples, but that night, she was off. Rather than feeling disappointed, I was actually excited to see her dance on an off-night (which was still incredible) because it gave me the opportunity to see her work through her body’s issues. Of course, she was fantastic and if you didn’t know she was a turner, you never would have guessed she wasn’t on.

Prepping for Summer Intensives

/6 Comments/in , , /by

Where are you headed this summer and how will you prepare?

Dance Wellness Editor Jan Dunn, on the website 4dancers.org, has written a great post on how to prepare your body for summer intensive programs.

While it might seem early to start thinking about summer programs, it’s not. Like most things, successful preparation is a process and begins early. I recommend you read the whole post here, but in the meantime, here are some points she addresses:

  • Aerobic Conditioning: dancers who are aerobically fit have fewer injuries than those who aren’t. It’s never too early to get started on this.
  • Work on muscle balance: for ballet dancers, that means working in parallel as opposed to turnout; you can use Pilates, Gyrotonics, the gym.

You know the drill, you’ve done the exercises, you’ve read the articles, now go find a teacher and get started! Almost all dancers cross train nowadays, so if you aren’t, it’s definitely time to get on that.

  • Climate change: if you’re going somewhere hotter, colder, more humid, or at a higher altitude, it will affect your dancing, so be prepared.

Ask the school how dancers prepare for those changes or google the climate. For example, a quick google search of “how athletes adapt to high altitudes” reveals a number of handy articles with basic tips for the transition.

My advice

A piece of my own advice for dancers who are doing company auditions is to do some summer intensive auditions as well, especially with companies you’d like to dance for. For example, if your dream company is Boston Ballet, go ahead and do their summer program audition as well as the company audition. If you don’t get a company contract, but get accepted to the summer, it might be an option to consider.

Once you’re at the summer program, make sure the artistic director sees you by setting up a meeting with him or her and expressing your interest in dancing with the company. You can ask him/her to come watch you in class to see if you’d be a good fit for the company. It might sound crazy as a strategy for landing a company contract but it has worked for some dancers, including me!

Above all, think ahead. There’s no harm in thinking strategically about your future, even if so much of the decision-making is out of your hands.

Perspective is What’s Missing in Dance

/5 Comments/in , /by

The recent story of a horrendous attack on the Artistic Director of the Bolshoi Ballet, Sergei Filin, has brought to light one of the less glamorous aspects of the dance world: the lack of perspective it can foster.

Regardless of the motives of Filin’s attacker, we can be certain that throwing acid into the unsuspecting man’s face outside of his apartment in Moscow was not warranted. What decisions – artistic, financial, or otherwise – could Filin have made that could have ever encouraged such a barbaric act? The answer is none. But in the world of dance, where perspective is often hard to come by, the stakes were high for his attacker.

Perspective 1.0

It isn’t hard to lose perspective when immersed in dance- dance professionals spend many hours a day enclosed in a studio or theater, surrounded by the same people and issues, day in and day out. They rarely have time to interact with people outside of the profession or to experience their concerns and dreams in a different context.

How is one to find perspective under such conditions? I remember having to work consciously to gain perspective on my dancing life, both as a ballet student and later, a professional. Casting decisions felt devastating, and injuries made me feel that my dreams were disappearing before my eyes. It took time to realize that these setbacks didn’t mean I was going to die, or that my career was over, or that the AD disliked me.

Perspective 2.0

But the perspective needed to situate my disappointments, fears, or anger into reality was a long time coming, and I was not aided by the dance world. For that, I always relied on my friends and family, people outside of the world I inhabited.

The perspective I gained never undermined my goals or made me less serious about my chosen profession. Instead, it helped me see what was really important, and how to handle the unexpected challenges of being a performing artist.

Starting from zero

The New York Times article ends with another truly disturbing fact from Filin. Apparently, he claimed the attack wasn’t as bad as when he danced the first act of Swan Lake on a broken leg because his mother was in the audience. “…if they shut the curtain and announced that something had happened to me, Mama would not tolerate that,” recalls Filin. “So I danced until intermission.”

Only in a world where perspective has been lost, would that inner dialogue even exist.

Back-On-Track Winter Green Salad

Back-On-Track Winter Green Salad

/in , /by

I am the first to admit that eating a cold green salad in the heart of winter can be a challenge if your body craves warm and hearty foods like mine does. That said, greens are always in order, no matter the season, so it’s time to get creative.

This recipe calls for arugula, a bitter, dry green which pairs well with olive oil and parmigiano cheese. A lot of brands carry arugula in those plastic boxes, already washed. This is one of those “cheats” that I support- anything that gets your meal to you faster without compromising your health!

The recipe also calls for fennel, a bulbous, white, crunchy vegetable that grows in the ground. If you’ve never had fennel before, give it a try; it tastes a bit like licorice, and is crisp and fresh-tasting. In fact, in Italy, a slice of fennel is often served at the end of a meal to refresh your palate before moving on to dessert.

It’s also healthy, delivering 17% of your recommended daily amount of Vitamin C and 10% of your Potassium.

If you like shopping at your local farmer’s market, which I highly recommend, this salad makes use of ingredients you can find in late fall. If you’re a supermarket-goer, you shouldn’t have any trouble finding arugula or fennel year-round.

Ingredients

  • Fresh arugula, one bunch
  • Half of a fennel bulb, sliced into slivers
  • Parmigiano cheese shavings (You can shave your cheese with a mandolin or the wide section on your grater.)

Mix these ingredients, then toss with olive oil, fresh lemon juice, salt and pepper.

The peppery, bitterness of the arugula is nicely offset by the parmigiano cheese, which also adds saltiness. I think the freshness of the fennel is what makes this salad so healthy-tasting. It’s also light, which is great for in between classes or rehearsals, and late at night when you need something but don’t want to fill yourself too much.