4dancers – Page 11

Shaking Yourself Into Jumping (and higher developpés)

January 6, 2017 by 4dancers

Vibration training for dancers

Aloha and Happy Holidays! We are now past “Nutcracker” season, so here’s a brief post for your post-holiday thoughts, as you gear up for the New Year:

Dr. Matt Wyon, PhD, our Dance Wellness Panel member and current President of IADMS, has done some research on the benefits of dancers incorporating Power Plate / “Vibration Training” into their conditioning program, which he shares in the post below. If you have access to this type of equipment, you might well investigate using it…

Enjoy, and Pass it On! – Jan Dunn, MS

by Matt Wyon, PhD

It is now a recognized fact that that dancers need to do supplemental training, but what can be fitted into an already hectic schedule without taking up lots of time?

Vibration training (or Power Plate training) has been shown to improve jump height and developpé height after just 8 sessions (2 ten-minute sessions per week).

In a recent study, published in the Journal of Strength and Conditioning, Marshall and Wyon had dancers hold 9 positions while on the Power Plate, for 30 seconds each for the first two weeks, and then for 40 seconds for the subsequent two weeks. The positions were:

plié in first
plié in second
relevé
pelvic bridge (back on the floor and feet on the platform)
right leg leading lunge with front foot on the platform
left foot leading lunge
bent over hamstring hold (with a right angle between torso and legs)
right leg developpé
left leg developpé
(the extension phase of these last two exercises were held for 2-5 seconds)

All the dancers who did the training increased their jump height 4 cm and their developpé height by approximately 20-degrees.

The important thing to remember with everything is that quality is much more important that quantity. This is especially true of supplemental training, and vibration training seems to be able to provide good results with little time demands.

Dance Wellness Contributor Matt Wyon — Matt Wyon, PhD

Matthew Wyon, PhD, is a Professor in Dance Science at the University of Wolverhampton, UK and a Visiting Professor at the ArtEZ, Institute of the Arts, The Netherlands.

At Wolverhampton he is the course leader for the MSc in Dance Science and Director of Studies for a number of dance science and medicine doctoral candidates. He is a founding partner of the National Institute of Dance Medicine and Science, UK.

Prof. Wyon is President of the International Association for Dance Medicine & Science and a past chair of the Research Committee. He has worked with numerous dancers and companies within the UK and Europe as an applied physiologist and strength and conditioning coach.

He has published over 80 peer-reviewed articles in dance medicine and science.

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Close-up on a Dance Film: “I WISH”

January 4, 2017 by Rachel Hellwig

by Rachel Hellwig

“Live performance will always be my first passion, but I am grateful for the opportunity to explore my craft through a different medium.”- Adriana Pierce

Looking a new, short dance film to watch?

I WISH was created by Miami City Ballet dancers Adriana Pierce and Eric Trope and Miami filmmaker Alejandro Gonzalvez. Learn more about the film in our interview with them…

What is I WISH about?

Adriana: I WISH is about the struggle we experience when we lose ourselves in romantic relationships, and, though we may share passion and intimacy, sometimes the only logical conclusion is that we are better off apart.

What inspired I WISH?

Adriana: First, we fell in love with the song MY DEER, written by a local Miami band, and the themes of the challenges of love resonated deeply with us. We got into a studio and created movements which we felt represented the emotions described by the lyrics. The film took on its own personality as Eric and I delved into the characters and worked off of each other, allowing our organic creative connection to inform and inspire the choreography.

How is the film connected to the city of Miami?

Adriana: The professional ballet sphere can often feel isolating, but collaborating with Miami’s vibrant music scene was a wonderful way to broaden our world and forge a connection with local artists. Different shots of film were taken in locations which we felt were truly representative of our lives in this city, and we discovered the ways in which Miami’s color and passion parallel our own.

What are the artistic advantages and challenges of making a dance film?

Adriana: Working on dance films has given me the power to be bold in my choreographic decisions in a way that my concert dance projects cannot always allow me to. I can place emphasis on certain movements and themes in an extremely direct way, and the emotion of a close-up is immediate and powerful. Live performance will always be my first passion, but I am grateful for the opportunity to explore my craft through a different medium.

The biggest difference between dance on film and live theater, and the biggest challenge, is living up to the pressure of capturing the “perfect shot.” Staying in the frame and maintaining a relationship with the camera can also present challenges, but Eric, Alejandro and I have found a rhythm that works for all of us.

How do you feel about the future of the dance film genre?

Adriana: The intimacy of film allows for an eclectic range of themes and production which I feel can stretch dance in unique ways. I hope that artists continue to use film to provide a virtual voice for different dance forms, and to create relevant commentary on today’s world. I am excited to see how dance films can push our art form into the future.

How did this project help you grow as a performing artist?

Eric: I WISH challenged me to explore movement that I never would in my normal day to day as a ballet dancer. Many of the shots we used in the film were improvisational and it was nice to have the freedom to trust our instincts. When we perform, we have to leave the decisions we make for better or worse on the stage. Film allows us the opportunity to critique, improve, and try again. This self-criticism and evaluation helps to improve the movement and ultimately creates the best product.

How did I WISH help you grow as a filmmaker? What are the challenges and advantages of making a dance film?

Alejandro: I met Adriana and Eric two years prior to this shoot, and having experienced their talents, and, by osmosis, the talents of other dancers, I fell in love with the art form. I wanted to make sure that my work in no way would impede their creativity; almost trying to film them in their “natural habitat.”

Working with those whose experiences differ from our own allows for the creation of works with a unique depth, and can add new meaning to your world. I do not like to limit myself to what I’m used to, to what I’m comfortable with–this causes a kind of artistic agoraphobia and that is a place I very much dread.

Short dance films are one of the best ways to deliver the art form to thousands of individuals. Particularly with ballet dancers, it is the best way to deliver their talents outside of the theater and reach a wider audience.

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The Magic Remains – Joffrey’s Nutcracker Transformation

December 13, 2016 by 4dancers

Joffrey's Nutcracker, Snow — *The Joffrey Ballet in Christopher Wheeldon’s The Nutcracker. Photo by Cheryl Mann.*

by Catherine L. Tully*

A different type of excitement buzzed throughout the Auditorium Theatre lobby Saturday night. In years prior the hum has always been the lively anticipation of a ballet that was a familiar favorite–a tradition for many people in the Chicago area. But Saturday the crowd whirred with a sort of nervous tingle, awaiting the reveal of Christopher Wheeldon’s new Nutcracker, choreographed just for Joffrey. Would it be as engaging? Could the production live up to its predecessor? And for many–will this ballet continue to be worthy of inclusion in holiday tradition?

As I write this, I’m doing so without my traditional reviewer’s hat, because The Nutcracker is supposed to be about capturing the essence of the magic that goes on this time of year. Magic can’t be dissected easily–nor should it. So instead I attended opening night as a Chicago dance lover, waiting with everyone else to see if this ballet would fill me with the spirit of the holidays as the lights began to dim and the crowd settled in all around me.

I won’t take you through the story piece-by-piece, but I would like to highlight a few things that are standouts in terms of adding a new dimension to this old favorite, starting with the sheer scale of the production. This version of the ballet brings the setting home to Chicago, around the time of the Columbian World’s Exposition. The set design and costumes by Julian Crouch are nothing short of spectacular, from the rapidly growing Christmas tree to the glittering skirts in the snow scene. Everything really looks fresh and new. Coupled with Benjamin Pearcy’s projection design and live music provided by the Chicago Philharmonic, all the elements are in place as a perfect foil, allowing the dancers to bring the story to life.

Chinese Dancer in Joffrey's Nutcracker — *Joffrey Ballet company member Fernando Duarte as Chinese Dancer in Christopher Wheeldon’s The Nutcracker. Photo by Cheryl Mann.*

Much like a successful movie director, Wheeldon is careful to preserve some of the story elements that are beloved to the audience, including the snow scene and the Arabian dancers. Other portions have been tweaked a bit, with Buffalo Bill and his ladies replacing the Russian dancers, and the addition of two large paper dragons alongside a lone Chinese dancer. Children are incorporated seamlessly into the ballet as snowflakes, soldiers, walnuts, and more, adding a bit of delight and humor to the mix. I love the fact that musicians are brought onto the stage and included as part of the cast, and Basil Twist’s puppetry is such a highlight that I found myself wishing his rodents had played a larger part in the story.

Wheeldon’s choreography vacillates between traditional classical movements and more innovative patterns throughout the ballet, challenging both dancers and the audience to reach a little bit beyond the standard, basic Nutcracker fare. At times I found myself missing things such as the “usual” pas de deux, but to be fair, it can take time to embrace change fully. On the other side of things, I welcomed modifications such as the shift away from waltzing flowers to the “fair visitors”, which expands the role of men a bit more in this ballet.

Undoubtedly, new favorites will emerge as this production takes the place of the old. It is difficult to re-vamp a cherished holiday tradition, but doing so allows for the possibility of renewed spirit that often comes with a fresh perspective. For Joffrey’s Nutcracker the magic remains–it has just been transformed into a delightfully new holiday experience.

*Disclosure – Joffrey dancer Cara Marie Gary and Music Director Scott Speck are contributors to 4dancers.org

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Giving Back: Donating Dance Shoes

December 8, 2016 by Rachel Hellwig

by Rachel Hellwig

Footloose, founded in 2010 by Becca Duberman, is an organization that collects new and gently-used dance shoes for aspiring dancers from lower-income backgrounds. Duberman, 19, is a student at the University of Wisconsin-Madison and has danced for over 15 years. Learn more about her mission in our interview with her…

What inspired Footloose?

Year after year, I went through the ritual of sorting my old shoes as I prepared for new classes. I found myself thinking, “These shoes hold great sentimental value to me, but why are they just sitting in my closet collecting dust? Wouldn’t they be put to better use by other children wanting to experience dance and the outlet for expression that it offers?” Footloose was my way of giving back. It was born from the realization that my passion for dance as a method of communication may impact others as it has for me.

What is the average age range of the students who receive shoes via Footloose?

On average, Footloose will donate to dancers from ages 8-15. However, Footloose has donated to a variety of dancers ranging in ages from 3-25. There are many aspiring dancers in the world that cannot afford proper footwear and Footloose has done a great job in filling this void.

How and where do you organize shoe collections?

When I receive shoe donations, I store them in my home and separate those by type, such as ballet, tap etc. I often receive large shipments of shoes so keeping an accurate inventory is important. I receive many corporate donations but the vast majority of collections occur from private dance studios. Recently, I have had many dance students reach out to me to start a local drive at their studios and schools for Footloose. In this case, I will either connect them directly with a possible location for donation or I will have them send me the shoes to ship out.

What types of dance shoes do you collect?

Footloose welcomes donations of all types of dance shoes and sizes since we do not target a specific age range or dance style.

What organizations do you donate dance shoes to and how are they distributed?

Footloose donates to various types of organizations and studios across the world. We have donated to organizations such as the Boys and Girls Club of Newark, Soles4Souls, YMCA Sioux, as well as dance studios such as Life Skills Preschool, Bayshore Dance Academy, Hope Rural School, and Gambia Dance Factory. Footloose provides dance shoes to locations throughout the U.S., as well as to other continents such as Africa. The shoes are either shipped out directly from my house or one of Footloose’s ambassadors will ship the shoes they have collected from their locations.

What are your future goals for Footloose?

I am proud to say that Footloose has made a positive impact in lives of aspiring dancers for about 6 years now. I hope that Footloose will continue to inspire other dancers, like myself, to get involved and give back to the dance community, and to help those less fortunate acquire the proper footwear to dance.

How can people get involved with Footloose?

Please visit my website. I welcome anyone to contact me directly by email with any questions about Footloose, either to get involved or for acquiring donations.

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Fresh Looks For Dance Class

December 2, 2016 by 4dancers

dancer's face

by Catherine L. Tully

There are days when you take class in your grungiest clothes and pin your hair up quickly, and there are days you want to look more “put together’. While not every day warrants a fancy outfit and hairstyle, let’s face it–sometimes it’s fun to dress up a little bit!

It is in this spirit that we’ve assembled a few different ideas for adding a touch of fresh style to your look for class. From including a simple flourish on your dance skirt to applying your makeup a little differently, these small things can keep you feeling your best, and add a little inspiration on those days you need a little something to make class a bit more fun…

Try out a new hairstyle

Nothing can change your appearance quite like a new hairstyle, but sometimes it can be hard to figure out what works visually and makes sense for that fast pirouette combination in the middle of class!

Re-re Twist hairstyle. Model Lissa Smith.

The “Re-re Twist”

Created by Hubbard Street dancer Emilie Leriche, the Re-re Twist is a fun, pretty hairstyle we featured previously on the blog a while back. It’s fancy, it’s functional, and it’s different! There is a step-by-step tutorial for you on this page.

After all, braids don’t have to be boring.

If you love the look of a traditional ballet bun but want something fresh, take a peek at Pinterest for over 1,000 options ranging from little variations you can pull off on your own to those that may require a co-pilot. You can also check out this post on the Rockettes site that shares a few video tutorials for creative hairstyles.

Dress up your practice clothes

You don’t always have to buy new leotards or skirts to change up your look for class. With just a little bit of time and a tutorial to follow, creating a new look for old clothes can be a simple task that adds a little bit of interest to an otherwise standard item. It doesn’t have to be expensive!

Add a little sparkle

Popping in a few rhinestones can make a plain skirt or leotard a little prettier. You don’t have to add very many to liven up the look–after all you don’t want to get too flashy–but a well-placed dot of sparkle can look lovely. Here’s a tutorial that walks you through how to add rhinestones to lace:

Go ombre

A great way to extend the life of a plain leotard or skirt is to dye it another color. We love this ombre skirt idea, shown in the video below–it’s very different, and fairly simple to do once you understand the basics of dying fabric. (Get some other outfit ideas from BDancewear’s free DIY download.*)

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Change up the makeup

While you may not want to do a full makeup job for class every day, here and there it can feel good to try out a new look, just for kicks. Here are a couple to get you started–

The smokey eye

This is definitely a strong eye makeup look, but it does add quite a bit of drama! Concealer underneath the eye makes it pop, and you can go a little lighter with the coloring if you are looking for something a little less intense.

Simple lip tip

Feel like drawing out your lips a little more without adding a lot of time to your makeup routine? Find out how to emphasize your “cupid’s bow” with this simple lip tip – it takes two seconds!

What do you do to keep your look fresh for class? We’d love to hear any tips you’ve come up with!

*Disclosure – 4dancers accepts compensation from BDancewear as an advertiser on the site.

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Try out a new hairstyle

The “Re-re Twist”

Dress up your practice clothes

Add a little sparkle

Go ombre

Change up the makeup

The smokey eye

Simple lip tip

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