10 Questions With…

10 Questions With…William G. Hamilton, MD

June 23, 2010 by 4dancers

Today I have the pleasure of introducing a very special guest on 4dancers. I’m sure readers will find the interview with Dr. William G. Hamilton enlightening. He has worked with dancers at some of the leading companies and schools in the United States…

1. Can you tell readers a bit about your medical background and how you came to work with dancers?

I graduated from Princeton University with a degree in Engineering. Eventually I went to Medical School at Columbia University, College of Physicians & Surgeons. This was followed by a General Surgery internship and residency in Orthopedic Surgery, at the Columbia-Presbyterian Medical Center in New York City, NY. Then a post-graduate fellowship in children’s orthopedics.

Dr. William G. Hamilton

In 1972 I was a young orthopedic surgeon practicing near Lincoln Center, treating young athletes and a few dancers. By a chance encounter, George Balanchine asked me to become the doctor for his company, New York City Ballet. I gladly accepted but knew that if I was going to treat these fascinating professionals I had a lot to learn about classical ballet, so I went to Lincoln Center regularly on the weekends to watch Balanchine’s Company classes and to learn the vocabulary of dance. This helped me to understand the source and mechanism of their injuries.

In 1975 Lincoln Kirstein asked me to be the consulting orthopedist for the School of American Ballet; the training academy for NYCB.

In the late 70’s Baryshnikov joined NYCB to work with Balanchine but shortly afterwards Mr. B’s health began to decline and this never really came to fruition. So, in 1980 Baryshnikov left “City Ballet” to become the director of American Ballet Theatre and asked me to become their doctor too. Currently, I also care for their school, the Jacqueline Kennedy Onassis School of Ballet at ABT.

Because most of the injuries to dancers occur in the foot and ankle, I developed a sub-specialty in this area of orthopedic surgery and in 1993 became the President of the American Orthopedic Foot and Ankle Society (AOFAS). I also belong to the International Association of Dance Medicine & Science (IADMS) plus numerous medical boards, associations and societies.

2010 marks my 38^th year with NYCB and the 30^th with ABT. I have enjoyed every minute of it!

2. Would you talk a little about what you are currently doing with dancers and for what organizations?

I currently diagnose and treat both acute and chronic injuries to dancers and athletes as well as non-performers and do various surgeries when they are indicated. This can be a challenge because dancers often have obscure problems related to their dance techniques that are not seen in athletes.

Another big challenge I’m involved with today is promoting wellness, screening, and injury prevention along with proper rehabilitation following an injury at NYCB and, to a lesser extent, ABT. This is a win-win approach both for the dancers and the dance companies.

I also consult for The Ailey School, as well as various Broadway shows and sports teams, such as the NY Yankees and the Knicks.

3. Are there any orthopedic injuries that you see repeatedly in dancers?

Dancers have two types of injuries: acute (sudden) and chronic (ongoing). The most common acute injury is the sprained ankle, which is also the most common injury in all sports that involve running and jumping. The most common chronic problem is tendonitis, which is a form of overuse injury. It is important that these injuries be diagnosed, treated, and properly rehabilitated to prevent recurrence or permanent disability. Unfortunately, most doctors don’t see enough dancers to understand the technical demands or their “weird” injuries. Many patients who come to see me for injuries that are not getting better have been misdiagnosed and the treatment regimen is not right for their problem.

4. What are some things that dancers can do to help prevent injury?

The key to injury prevention is to be in shape for what you are trying to do. This sounds simple but it is not always so straightforward. Each generation of athletes is running faster, jumping higher, and breaking old records and this is true for dancers as well. A double fouetté used to be a rare thing, but now it is seen all the time. So dancers can no longer get by with “class” only. Like athletes, they must cross-train in a gym—but not in mid-season—in offseason or in preparing for re-entry after a lay-off or injury. In mid-season cross-training can cause overuse injuries and burnout. Of course, proper nutrition, healthy weight control, and rest (sleep) are very important.

Linda Hamilton’s book: The Dancer’s Way. The New York City Ballet Guide to Mind, Body, and Nutrition. St. Martin’s Griffin, New York, 2009 is an excellent reference for all types of dancers.

5. Is it worthwhile to get an orthopedic screening, and if so, how often should you have it repeated?

An orthopedic screening is an invaluable tool because the body changes over time. Dancers need to know how to work with their unique “instrument.” This is especially important for professional-level dancers or those who are having chronic problems or recurrent injuries.

Ideally, it should be done on a yearly basis.

6. Do you have any recommendations for dancers who are looking for a good orthopedic doctor?

As noted above, orthopedists with experience in dance medicine are rare. The 1^st place to start is to call up your local or regional ballet company and ask them who takes care of their dancers. Next would be to check the International Association of Dance Medicine & Science website at iadms.org. The next best thing would be to see a sports medicine doctor who takes care of the local soccer or football team.

7. Turnout is one of the ballet “buzzwords”…can you comment on how to approach improving turnout in a healthy way?

Turnout is complicated. The more you look into it, the more complicated it gets. It is the sum of the turnout in the hips + the knees + the foot & ankle; the hips being the most important. People are born with 3 types of hips:

Normal, with equal turn in/turnout (normal “version” in medical parlance).
Pigeon toed or turned in, ¯ turnout (“anteverted”).
Duck footed—turned out with ¯ turn-in (“retroverted”). These people are born to be ballet dancers.

The orthopedic literature indicates that turnout of the hip is pretty much formed by age ten and it is doubtful that it can be improved by early ballet training. So it’s mainly a matter of making the most out of what you have naturally.

Learning to work with what you have is very important because forcing your turnout or getting it from below the knee is the most common technique fault in ballet and can lead to many injuries of the knee, foot and ankle. An orthopedic screening and working with a dance-oriented physical therapist can help you be sure that you are working properly.

8. What is the most satisfying thing about working with dancers?

Dancers are terrific patients and are great to work with. They just want to get better and get back to what they love to do. For me, the most rewarding moments have been seeing a dancer get back to performing after having had a serious injury that might have ended their career. Fortunately, these types of injuries are quite rare, but when they occur they are devastating and the recovery can be one year or longer.

9. Can you talk a bit about the NYCB Wellness Program?

The New York City Ballet wellness program began with a study over two seasons at the company in 2000. The purpose was to try to identify and treat weaknesses or imperfections so they could be corrected before they led to an injury. It was led by Clinical Psychologist, Dr. Linda Hamilton, with the help of the rest of the Company’s medical team: Orthopedic Surgeon Dr. William Hamilton; Chiropractor Dr. Lawrence DeMann, Jr. ; and physical therapist Marika Molnar. Later, we included registered dietician Joy Bauer after discovering nutritional problems. In addition to educational seminars, the wellness program includes screenings for orthopedic problems that may require physical therapy, fitness screenings that encompasses flexibility, strength, and endurance with a specialized program at the gym, and dietetic evaluations and counseling for healthy weight control. Psychological counseling is available for dancers who are struggling with problems, such as a serious injury. We also offer educational seminars. This has resulted in a 46% decrease in weeks lost to disability, so it’s been beneficial for both the health of the dancer and a savings for the company.

10. If you could communicate one thing to dancers as a group—what would it be?

Injury prevention and survival in dance depends to a great degree upon knowing your own body’s limitations and working within your natural abilities. A perfect body in dance is a dream not a reality. All dancers, including principals and stars have their physical strengths and weaknesses.

In the end, the most important thing in dance is talent and this can make up for many physical deficiencies because it’s the illusion in art that makes it so exciting.

Bio: William G. Hamilton, MD is an orthopedic surgeon who practices in New York City. He specializes in injuries to dancers and athletes. He graduated from Princeton University and the Columbia University College of Physicians and Surgeons. He is the orthopedic surgeon for The New York City Ballet, American Ballet Theatre, The School of American Ballet and the Jacqueline Kennedy Onassis School of Ballet at ABT. He consults for The Ailey School, the New York Knicks and the New York Yankees. He has written numerous chapters and articles regarding injuries to dancers and lectured around the world. For appointments contact his secretary “Mary” at maryvelazco@covad.

9 Questions With…Rhodie Jorgenson

June 22, 2010 by 4dancers

Today’s “10 Questions With…” is actually 9, but Rhodie Jorgenson makes for an interesting read…

She is another person who 4dancers is featuring from the 2010 International Ballet Competition. Enjoy!

1. What is your dance background?

I trained in New York City at the School of American Ballet and American Ballet Theatre. I also performed with the ABT.

2. How did you wind up getting involved with the USA IBC Dance School?

In 1998, I was a coach for Rasta Thomas and Adrienne Canterna. In 2002, I was invited to be on the faculty. That year, I also coached Ashley Canterna and Danny Tidwell. In 2006 and 2010, I am again on the faculty.

Rhodie Jorgenson

3. What is the experience like for you?

It is wonderful! I am so happy to be here and grateful to be part of this extraordinary event.

4. What do you think the experience is like for the students?

It has to be wonderful and exciting. So many classes are taught by enthusiastic teachers who love dance and want to share. And then, they get to watch all of the beautiful competitors! What an inspiration!

5. What is unique about this schooling?

Watching the USA IBC of course! It is the most outstanding ballet competition in the country.

6. Who attends this program?

The students are age 12-23. There are 260 students from many parts of the country. The students are placed in 7 different levels.

7. What are some of the instructors like?

The faculty is all men and women who want to share their knowledge and love for dance. I find the teachers very positive and still very eager to learn.

8. What would you say the value is of this program in particular?

The value is being surrounded by dance excellence in a supportive, nurturing environment.

9. What is next for you?

I teach full time at Maryland Youth Ballet. This summer, I am also guest teaching in Long Island, New York and in Delaware. And—I’ll go to the ocean!!!

Bio: Rhodie Jorgerson received her training at the School of American Ballet and the American Ballet Theatre School. She danced professionally with ABT, as well as the Metropolitan Opera Ballet, and in summer stock musicals on stage, TV and film. She is currently on the faculty of the prestigious Maryland Youth Ballet. She is D.C. Children’s Ballet Mistress for the Joffrey Ballet, where she has set children’s roles for their Nutcracker since 1992. This year, she is also assuming the same role for the Pennsylvania Ballet’s presentation of George Balanchine’s The Nutcracker, at Kennedy Center. In June 2010, she will return for the third time to be dance school faculty for the USA IBC in Jackson, Mississippi. She has coached gold and silver medal winners at the International Ballet Competitions in Jackson, Mississippi and Varna, Bulgaria.

10 Questions With…Christopher Fleming

June 21, 2010 by 4dancers

For today’s “10 Questions With…” we have Christopher Fleming, one of two competitor evaluators for the International Ballet Competition in 2010. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dance professional to discuss jury scores and provide guidance on the dancer’s strengths and weaknesses.

1. Can you tell readers a bit about your background in dance?

I am a former dancer with The New York City Ballet. I’m now a freelance choreographer and teacher, as well as a part-time professor with the Dance Department at Goucher College.

Over the last 12 years, I have created Solos and Pas de Deux for dancers competing in competitions in New York, Paris, Havana, Tokyo, Moscow and Helsinki. Many of these dancers have won medals, critical acclaim and more importantly contracts with major companies.

As a member of the New York City Ballet, I danced solo and principal roles in works of George Balanchine, Jerome Robbins and Peter Martins. I also headed a group of solos and principals from the New York City Ballet, which toured Europe and performed my choreography as well as that of George Balanchine. With Mr. Balanchine’s encouragement I embarked on a career as a choreographer and received a fellowship from the National Choreographic Institute.

I served as the artistic director of the Compania Colombiana de Ballet at the Teatro Colon in Bogota, Colombia from 1985 to 1990 and was named artistic director of Bay Ballet Theatre in Tampa, Florida in 1993. In the mid 2000s, I was co-director of Contrast Dance Theatre based in New York City, and I have served as assistant director and resident choreographer for The Rock School for Dance Education, formerly of the Pennsylvania Ballet, for nearly ten years. I am currently undertaking a freelancing choreographic career.

I’ve choreographed a broad variety of works appearing in the repertoire of a number of different companies, and my work has won medals of accomplishment by students in such acclaimed competitions as Youth America Grand Prix, Grand Prix du Cirque, Moscow Competition, and New York International Ballet Competition.

Christopher.Fleming — Christopher Fleming

2. How did you come to be involved with the IBC?

Four years ago, I was invited by Sue Lobrano, executive directorof the USA IBC, to be a Competitor Evaluator. I was thrilled. I still am thrilled to be involved. It is great to create works for the stage, but here I get an opportunity to help prepare the dancers and to then consult them on the experience.

3. What exactly in the Competitor Evaluation Program?

The USA IBC is committed to creating lasting educational experiences for participating dancers. Competitors may take advantage of the Competitor Evaluation Program, which offers a private session with a noted dancer professional to discuss jury scores and provide guidance on the dancers’ strengths and weaknesses.

4. How is this program helpful for dancers?

The program provides an opportunity to be seen and garner knowledge. It is really about the process. Dancers prepare 6 dances to be judged by the world—it’s hard work. There is a high turnover rate to jobs here. It’s ultimately a job fair.

5. What type of guidance do competitors get during the evaluation?

We accentuate the positives to support the efforts of their weaknesses.

6. What do you look for when evaluating the competitors?

We try to look for their strengths and weaknesses. We always present the strengths first and weaknesses second.

7. What can the jury scores tell you about a dancer?

The jury’s intention is to look for artists, not just the people who can do tricks. Their scores will reflect this.

8. This seems like a unique opportunity—how does it feel to be able to be a part of it?

I am thrilled. I choreographed solos for competitors for years, but I have never been an actual part of the USA IBC. Usually I would be sitting in the audience like everybody else, but now I actually have a part in the competition.

9. What are some of the things you might tell a dancer in terms of how to improve?

It depends on the situation—is it a job situation or a school situation? Are they working as hard as they can? Are they doing things in a smart way? Are they doing things in an educated way? One thing I love seeing about ballet in Europe is that the dancers know the history of the art that they are performing, and at times, knowing the history and meaning of what you are doing can help.

We also try to make class fun. There are lots of intense people in this competition, but if you make class fun, warm them up and increase their spirits, it makes our job easier. When the competitors get off the plane, they have to be ready to go. We can’t fix anything from this point. We just try to get them to relax.

10. What is next on the horizon for you?

I just opened the Philadelphia Ballet School. I have a revival ballet in Tampa, Florida entitled Gaspar. I am also preparing a new Edgar Allan Poe ballet in the fall.

10 Questions With…Elisa Toro Franky

June 17, 2010 by 4dancers

Today we have an interview Elisa Toro Franky–a 2010 competitor in The USA International Ballet Competition. Representing Columbia, she studies at Dance Theatre of Harlem and credits Arthur Mitchell as the most influential person in her dance career. (Arthur Mitchell is the 2010 USA IBC honorary chairperson.)

4dancers will be featuring other people who are associated with this “olympic-style” competition over the coming weeks, so stay tuned. And now…Elisa…

1. How did you wind up a dancer?

When I was a child, my parents always encouraged my brother and me to explore different activities besides the normal school. Art has always been highly important in my family, and therefore, when I was 8 years old, my mother suggested me to start Ballet classes. I was captured by Ballet from the very first lesson, and as years went by, I chose to pursue the dream of being a professional ballerina.

Elisa Toro Franky

2. What road has taken you to the USA International Ballet Competition?

Since I heard about the USA International Ballet Competition in 2005, I saw it as a fabulous challenge for a dancer; the ideal scenario to offer one’s talent and hard work, while learning from excellent dancers from all over the world.

I applied for the 2006 USA IBC, without success. Since then, I have had the chance to learn and to gather performing experience during the last 4 years with the Miami City Ballet, then with the Washington Ballet, and now with the Dance Theater of Harlem. This has propelled me into the selected group of competitors for the 2010 USA IBC.

3. How have you prepared yourself for this competition, both physically and mentally?

Physically and mentally go together. I focused on the development of the physical strength required for each solo, exploring every movement transition, every corner of motion. I reflected a lot about the energetic shape for each role. In addition, the encouragement and support I received from my family, friends and co-workers was crucial in the process.

4. Do you have any advice for other dancers who are going to compete in dance?

Be very organized in the preparation process and do not waste valuable time. It is all about self-discipline and love for your art.

5. You have said that Arthur Mitchell is the most influential person in your dance career…can you explain why that is?

He is such an honorable man! He created a company that welcomes all races in one stage, where it is the mere quality of the craft that is important, not the race or the ethnicity. He opened a door for equal opportunities for African-American dancers and for dancers from over the world, and they excelled before a worldwide audience. Arthur Mitchell is respected and truly admired by all of us at the Dance Theatre of Harlem.

6. What is it like to study at Dance Theatre of Harlem?

I believe that the diversity of their repertoire made me a versatile dancer, which is essential in a dance career. The artistic faculty is there to coach us, to guide us toward the greatest dancers we can become. However, they are very strict and demanding, which impulses us to higher levels of performance.

7. Would you share something special from your dance career so far?

I find special the fact that I willingly left my country, my family and friends, in order to pursue advanced studies and a professional dance career in USA. I was 17 years old when I had to go far away from my nest in Colombia, so I could get closer to a professional Ballet environment abroad.

8. Have you had any challenges in terms of your career so far?

Everything has been a challenge, I approach it that way. Earning soloist roles, auditioning, going on tour, experimenting with my own choreography for the first time!

9. Who are your favorite dancers?

Viviana Durante, from the Royal Ballet, to mention one of many dancers I admire.

10. What is next for you?

I am looking forward to continue to dance with the Dance Theatre of Harlem Ensemble. I am looking forward to the concrete projects they have for re-opening the main company. That has been the greatest hope cherished at DTH during the last few years.

About the competition: The USA International Ballet Competition is a two-week, “olympic-style” competition where tomorrow’s stars vie for gold, silver and bronze medals; cash awards; company contracts; and scholarships. The event is designated as the official international ballet competition in the United States by a Joint Resolution of Congress. Presented under the auspices of the International Dance Committee, International Theatre Institute of UNESCO, the USA IBC is held every four years in Jackson, Miss., in the tradition of sister competitions in Varna, Bulgaria, and Moscow, Russia.

For more information about USA IBC, visit www.usaibc.com or join our Facebook community.

10 Questions With…Meg Mahoney

June 14, 2010 by 4dancers

Today we have with us Meg Mahoney, a dance educator…

1. Can you tell readers how you became involved in dance and a bit about your background?

I started dancing late (18), when I was at Carleton College, an academically-focused school, majoring in Asian Studies. Dance was part of the PE department, but it was an inspiring class — taught by a professional dancer, Linda Osborne, who commuted from the Twin Cities. Linda danced in a company lead by Margret Dietz, a fabulously inspiring woman who had danced with Mary Wigman in Germany, and whose circle of students I joined. Unfortunately, Margret died in ’72, just after I graduated. I spent some time soaking up inspiration from her company while they were still together, but from there I moved to an artists’ community in Washington State, where I taught, choreographed & did some performing.

Think early 70s… a picturesque little town, an artsy community, funky jobs, bartering garden produce & art for food & services… add some hippie-looking folks to the picture & you’ll get the idea. I took classes and workshops wherever I was and whenever I could. Eventually I emerged & spent a year in NYC getting certified as a movement analyst at the Laban/Bartenieff Institute and then moved to Seattle, where I spent ~7 years teaching creative movement, modern, tap & what-have-you at private studios & preschools in Seattle.

Just after we started a family, my husband & I took a 2-year hiatus in Japan (oh my gosh, we’ve settled down?). After returning, I decided to give up teaching dance and get certified as a teacher (health benefits… consistent pay… school-schedule vacations…). I was a classroom teacher for 4 years, and then I found myself happily building a dance program in my current location, where I’ve been the only full-time dance specialist in Seattle School District for the last 10 years or so.

2. Do you have a “dance philosophy”?

Hmmm… not really! Dance is a prism with a kajillion facets, all of them fascinating… But at various decision-making junctures, I’ve found it valuable to identify my mission & a vision for my work. For a number of years, my mission has been thus: to build relationships, experiences, and exposure for children that guide them to learn, love learning, and live richer lives. That mission has played out in my professional vision — to build a dance program which uses dance as a basic component of education, supporting academic, social, emotional, and physical growth in children, and to expand the program by aiming for excellence, supported by contact with professional colleagues and my own professional development. Although both mission & vision are realities now, the “aiming for excellence” part makes for a forever-journey of growth & change, moving closer & never arriving.

3. You work in the public school system. Can you share a bit about the rewards and challenges?

Rewards: Watching the magic of dance work for all kinds of kids; seeing kids grow as dancers from kindergarten through 5^th grade; empowering them to experience themselves as dancers & choreographers by the time they leave. And of course… a steady job; a salary; health benefits, insurance & retirement; a generous helping of vacations throughout the year that fit with a family’s schedule…

Challenges: Classroom management – I like bringing dance to every child in a school, but they’re not all there by choice or easy to reach! Isolation is a challenge – other teachers are great colleagues, but it’s different from collaborating with other artists. A full-time schedule is very consuming & less than ideal. Given a full schedule of teaching & other school responsibilities, it can be hard to take care of yourself physically (providing your own body with the warm-up it needs)!

4. How is working in a school different from teaching in a studio?

So many ways! I get to/have to work with everyone, regardless of their personal interest in dance. I get to/have to integrate other content areas. I get to/have to teach 30-40 classes per week, depending upon the schedule worked out by the school. I get to/have to work with boys & girls from many different cultures & income levels. The choice between “get to” & “have to” really depends upon your personality & goals. Working in a public school is the right place for me, because it gives me a chance to introduce dance to kids & families that wouldn’t have it otherwise.

5. Do you have any tips for those who will be teaching in a school?

Work on pedagogy & management! Understand the conceptual approach to teaching dance (a la Rudolf Laban, Anne Green Gilbert, Dance Education Laboratory at the 92^nd Street Y Harkness Dance Center). Cultivate your knowledge, skills & an appreciation for hiphop. Plan on building your own position…

6. Can you tell readers a bit about your blog—how it came to be and what type of content it has?

I started it as a way of reflecting on (and improving) my teaching through reflection – and in order to connect with professional colleagues – both of which are aspects of my professional vision (question 2).

7. Would you share a highlight from your dance life with readers?

All of my best memories have to do with moments of exploring new territory:

venturing into the world of hoofers in an upstairs tap studio at Carnegie Hall;
exploring authenticity in a workshop with Bill T. Jones;
taking the subway to East Harlem after losing myself in the passion drive (the efforts of time, weight & flow, with no space attention) at the Laban Institute of Movement Studies;
- my first time performing my own choreograhy (a dance with a broom as a partner);
- my last time performing my own choreography (a lovely collaboration with musicians & a dancer/friend).

The common thread is the growing/learning I’ve always found in dance.

8. What has made dance such a central part of your life?

I’ll defer to the “Why Dance Matters” entries on my blog!

9. Do you have any favorite dance figures? If so, who—and why?

When I’m watching professional dance, I’m looking for great choreography & dancers who can bring it to life. A few choreographers that come to mind are Alvin Ailey (Revelations is exhilarating every time I see it), Mark Morris (he devises fabulous patterns with multiple dancers), Pat Graney (quirky, original, thoughtful), Paul Taylor (I’ll never forget the first time I saw Esplanade). And it’s for the choreography that I watch SYTYCD (once the audition part is over).

As for memorable dancers, they’re not necessarily trained & they don’t do tricks. What they have is commitment! I think of Elijio, the 6-year-old who drives me crazy in class but totally nailed a full-out performance with his 1^st grade class last week… of a stately couple dancing on an outdoor stage one Sunday in Merida in the Yucatan last year… of my friend’s son Josh who totally stole the show when he took the stage in his high school production of Beauty & the Beast last week!

10. What’s coming up on the horizon for you?

I’m investigating knee surgery. Medial compartment osteoarthritis has pretty much side-lined me over the last few years, and I’m hopeful that a partial knee replacement is going to put me back on my feet this summer.

As for my teaching life, I’m always looking for ways to accomplish more with my students: more dance styles, better technique, greater comprehension, more videos of dance, dances from more countries…

Meg Robson Mahoney has been a full-time Dance Specialist at Wing Luke Elementary School in the Seattle School District since 1996. Previous incarnations include: reading and math specialist; 5^th-6^th grade classroom teacher; English teacher in Japanese middle and high schools; Movement Educator in private schools and studios. Honored by the KCTS Golden Apple Award in 2006 and as NW District AAHPERD Dance Educator of the Year in 2002, she served on the Board of Dance Educators Association of Washington for 10 years and continues work with the Arts Assessment Leadership Team of the Office of Public Instruction. Degrees include a MIT from Seattle University, Certificate of Movement Analysis from Laban/Bartenieff Institute of Movement Studies NYC, and a BA in Asian Studies, Carleton College. A mother of two, she lives in Seattle, maintaining a garden and a blog: http://dancepulse.wordpress.com.

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