4dancers – Page 21

Dancing In The Land Of Sweets

December 8, 2015 by Rachel Hellwig

This year marks my 16th Nutcracker season. I have had the privilege of performing seven of those seasons in George Balanchine’s version of the Nutcracker, which premiered in 1954 in New York City.

Samantha Hope Galler's first Nutcracker role, a Polichinelle for Northeast Youth Ballet. Photograph by Nordel Studios. — Samantha Hope Galler’s first *Nutcracker* role–a Polichinelle for Northeast Youth Ballet. Photograph by Nordel Studios.

It is common for The Nutcracker to be the first performing opportunity dancers have in their pre-professional career. Once training intensifies, the requirements for Nutcracker can become more demanding. My first Nutcracker experience was with the Northeast Youth Ballet under the direction of Denise Cecere. With the Northeast Youth Ballet, I spent six seasons performing most of the roles in the ballet including Clara and the Dew Drop Fairy. The last couple years of my training were spent performing in Boston Ballet’s Nutcracker under the direction of Mikko Nissinen. Performances with the Northeast Youth Ballet and Boston Ballet were crucial to my understanding of future professional life.

Samantha Hope Galler as Clara for Northeast Youth Ballet. Photograph by Nordel Studios.

In 2009, I was first exposed to George Balanchine’s The Nutcracker with Alabama Ballet. During my five seasons with the company, I was given opportunities to perform many roles including the Sugar Plum Fairy, Arabian, and Lead Marzipan. One particular role I fell in love with was Coffee, also known as Arabian. I was chosen to perform Coffee for all five seasons. This repetition gave me time to refine this specific role while also exploring the other personalities that make the ballet unique.

Samantha Hope Galler as Coffee (Arabian) in George Balanchine’s The Nutcracker, Alabama Ballet. Photograph by Melissa Dooley Photography — Samantha Hope Galler as Coffee (Arabian) in *George Balanchine’s The Nutcracker* with Alabama Ballet. Photograph by Melissa Dooley Photography

At Miami City Ballet, rehearsals for George Balanchine’s The Nutcracker begin in September. It is a special time of year in which you hope to gain new experiences and bring something different to your audience. Performances span from the beginning of December until New Year’s Eve. This will be my fourth season performing as the Sugar Plum Fairy and my second with Miami City Ballet. Along with performing the Sugar Plum Fairy, I will performing the roles of Lead Spanish, Demi-Soloist Flower, Marzipan, Flower, Snow, and Party Parent.

As a little girl I had always dreamed of dancing as the Sugar Plum Fairy. Last season, when I saw my name on the casting list to dance the iconic role, I couldn’t wait to get to work. It was a new opportunity to perform a very rewarding and challenging role in a new home. On top of that, I was paired with a partner, Ariel Rose, who I had spent time dancing with in Balanchine’s Who Cares? at Boston Ballet. It has been really special to work with Lourdes Lopez on this principal role. The time Ariel and I have spent with Lourdes and Arnold and Joan Quintane this season has allowed us to bring our own interpretation to the dance.

George Balanchine’s The Nutcracker: The Sugarplum Fairy 2014: Miami City Ballet. Partnered with Ariel Rose. Photograph by Daniel Azoulay. — Samantha Hope Galler as the Sugar Plum Fairy in *George Balanchine’s The Nutcracker* with Miami City Ballet, 2014. Partnered with Ariel Rose. Photograph by Daniel Azoulay.

In George Balanchine’s The Nutcracker, the Sugar Plum Fairy holds a large amount of responsibility. She is the first and last Sweet to perform in Act II and is responsible for showing Marie and the Prince their way. When I revisit classic roles like the Sugar Plum Fairy I hope to show audiences what I’ve been working during the rest of the season.

Personal and professional lives are usually combined during Nutcracker season. It can be difficult to spend time with family and friends because of performances and rehearsals. We perform five to six times a week while also preparing for our second repertory program. Fortunately, my family usually comes to visit and see some of the performances. During my time off I like to read, write, or watch old TV shows like Friends on Netflix. Having an outlet allows me to reset and rest my brain from ballet.

Miami City Ballet will be performing George Balanchine’s The Nutcracker December 5-7 in Naples, FL, December 11-13 in Fort Lauderdale, December 17-24 in Miami, and December 27-29 in West Palm Beach.

Samantha Hope Galler. Photograph by Daniel Azoulay.

Contributor Samantha Hope Galler, a Bedford, Mass. native, spent 13 years training with The Ballet Academy, Inc., under the direction of Frances Kotelly in the Cecchetti Method. She performed six seasons with The Northeast Youth Ballet under the direction of Denise Cecere. She continued training, on scholarship, with Boston Ballet School and received the PAO Merit Trainee Scholarship. She received the NFAA Honorable Mention Award in Ballet. Galler spent summers training at Boston Ballet, Central Pennsylvania Youth Ballet and Boston Conservatory. She danced with Cincinnati Ballet in their 2008-2009 season under the direction of Victoria Morgan.

Samantha spent five seasons with Alabama Ballet under the direction of Tracey Alvey and Roger Van Fleteren. During her tenure there, she was promoted to principal dancer. She had the honor of performing some of her dream roles including Juliet in Romeo and Juliet, Odette/Odile in Swan Lake, The Lilac Fairy in The Sleeping Beauty, The Sylph and Effie in La Sylphide, Myrtha and Moyna in Giselle, Dryad Queen and Mercedes in Don Quixote, the Rancher’s Daughter in Agnes De Mille’s Rodeo. Her Balanchine roles included Dark Angel in Serenade; The Sugarplum Fairy, Arabian and Lead Marzipan in George Balanchine’s The Nutcracker™; and the principal roles in Allegro Brillante and Tarantella. She has also performed in Jiří Kylian’s Sechs Tanze, and Van Fleteren’s Shostakovich and Romancing Rachmaninov, both world premieres.

Samantha joined Miami City Ballet as a member of the corps de ballet in 2014. Since joining Miami City Ballet, Samantha has performed in various roles including as the Sugar Plum Fairy in Balanchine’s The Nutcracker and as the Harp Soloist in Balanchine’s Raymonda Variations.

Follow Samantha on her website and blog.

Dance Injuries – About That Ice Pack…

December 6, 2015 by 4dancers

The web and social media can be wonderful places to get information – facts and news are able to be shared shared quickly and easily. Unfortunately, the same things that make these areas great for spreading information can also have a drawback. Too often something can get passed along without context, which can change the entire meaning…or information can be widely shared that may not have a solid foundation underneath it.

In the coming months our Dance Wellness team will be putting together some solid guidelines for readers on how to go about evaluating dance medicine and dance wellness information on the Internet. They will share specifics on what to look for when searching for, and reading dance wellness info on the web.

We’ll also be compiling and sharing a list of reputable sites that you can go to for information in this field.

In the meantime, our Dance Wellness editor, Jan Dunn, wanted to address some recent information that has been circulating around on social media about the use of ice for dance injuries to make sure that dancers know that indeed, the ice pack is still a useful tool!

by Jan Dunn, MS

This post is in response to discussions I recently became aware of online (primarily on Facebook) regarding the use of ice in treating injuries. Respected dance educators were advocating throwing away the ice pack, despite the many years where RICE (Rest / Ice / Compression / Elevation) has been advised, or more recently PRICE (Protection / Rest / Ice / Compression / Elevation).

I was not aware of any discussions, presentations, or articles on this topic in the dance wellness field – and so was cautious / skeptical, since some of what is seen or posted online is not necessarily true – or is not in line with current scientific / medical protocols. I started doing some research, and checking with various experts in dance medicine – including members of the 4dancers.org Dance Wellness Panel: James Garrick, MD; Moira McCormack, PT; Selina Shah, MD; Matt Wyon, PhD; Janice Plastino, PhD; Robin Kish, MA; Gigi Berardi, PhD; Emma Redding, PhD; Erin Sanchez, MS; and Nancy Wozny.

And what I learned is — well, please don’t jump on this particular bandwagon and throw away your ice packs!

Some basics

Ice can clearly be overused, and when it is, it’s not good. It can damage the tissue it’s meant to be helping if it’s kept on too long. It is usually advised the first 48-72 hours after an acute injury (like an ankle sprain). Some of the sites online are advising not using ice at all are saying that because inflammation is the body’s way of healing, and they imply that to use ice is to stop inflammation. But ice treats the symptoms of inflammation, it doesn’t get rid of it. Ice and compression (more on that in a moment) can reduce the amount of initial swelling –which speeds the healing process– and this is the whole point of post-injury care.

Why Ice Can Be Helpful

Ice is also very useful for helping decrease pain levels –another major symptom of inflammation. So another good reason not to throw away that ice pack.

There is also the issue of “secondary hypoxic injury” – this refers to tissue not damaged by the primary injury (such as the ligaments directly affected by an ankle sprain), but nearby, which can become damaged as a direct consequence of the physiologic response to the primary injury. Ice can slow down these metabolic processes and therefore save some tissue.

How to Use Ice

When you do use ice, go for at least 10 – 15 min. on a new injury (or until the area is numb, which vary slightly depending on how muscular or bony the area is), allowing at least 20 min. before re-applying. Try to go for at least 5 min. minimum on not-so-new areas, if you can’t do the full 10-15.* You have to also always be sure you have something between you and the ice itself – most icepacks come with a fabric covering, and that works fine. You just don’t want to put ice directly on the skin, without something to protect it (think “freezer burn”!). Never use heat on a new injury.

Compression

Now, let’s briefly go over Compression. Most people interpret this as (for example) wrapping an Ace bandage around a sprained ankle. Yes, all well and good – but, as Dr. James Garrick, MD (one of the founders of both the sports medicine and dance medicine fields) points out:

“The ‘hollowed out’ areas posterior (behind) the malleoli (ankle bones, on both inside and outside of the joint) and anterior (in front of) will have NO compression at all (with an Ace bandage), and those structures (the ligaments that were actually injured) will actually be encouraged to swell more.”

What is needed instead is focal compression (directly on those “hollowed out” areas)—which moves the bleeding away from the areas injured. Dr. Garrick gave the example of a dancer whose sprained ankle was treated with this protocol, and “the ankle actually looks like an ankle, not the polish sausage one sees if just an elastic wrap is used.” He noted that this dancer was able to walk with nearly full ankle motion 24 hours after the injury.

Some of the dance medicine medical and scientific colleagues (and non-dance as well) whom I contacted on this Ice / No Ice question, gave some pertinent thoughts that are worth passing on:

“There is no research that counters the practice of using ice to reduce swelling. On the contrary, there are studies that do show the benefits of ice as well as NSAIDS. Not using ice is not standard of care in sports medicine, and I don’t know of any research in dance medicine.” (orthopedic MD who specializes in sports and dance medicine).

“The articles being referenced (in some online sites advocating no ice) need to be referenced to determine their quality – most research in this area is pretty poor. I am also a great believer in using our years of clinical experience (on the beneficial aspects of using ice)”. ( PhD researcher in Sports Physiotherapy).

“Until I see some really solid physiological studies, over time, that ice is detrimental and actually damages the tissues, I will continue to use it as part of my treatment protocols.” (long-time sports medicine physical therapist).

So in conclusion – I hope this article / advice from dance (and sports) medicine experts (who keep up with the latest research) will help clarify this for you, and as I said at beginning – please don’t throw away your ice packs!

Happy Nutcracker and Holiday Season! – Jan Dunn, MS, Dance Wellness Editor

*Please note that this time has been adjusted from the recommendation of 5 minutes, along with a clarification to make it more applicable to a variety of injuries

Editor Jan Dunn is a dance medicine specialist currently based on the island of Kauai, Hawaii, where she is owner of Pilates Plus Kauai Wellness Center and co-founder of Kauai Dance Medicine. She is also a Pilates rehabilitation specialist and Franklin Educator. A lifelong dancer / choreographer, she spent many years as university dance faculty, most recently as Adjunct Faculty, University of Colorado Dept. of Theatre and Dance. Her 28 year background in dance medicine includes 23 years with the International Association of Dance Medicine and Science (IADMS) – as Board member / President / Executive Director – founding Denver Dance Medicine Associates, and establishing two university Dance Wellness Programs

Jan served as organizer and Co-Chair, International Dance Medicine Conference, Taiwan 2004, and was founding chair of the National Dance Association’s (USA) Committee on Dance Science and Medicine, 1989-1993. She originated The Dance Medicine/Science Resource Guide; and was co-founder of the Journal of Dance Medicine & Science. She has taught dance medicine, Pilates, and Franklin workshops for medical / dance and academic institutions in the USA / Europe / Middle East / and Asia, authored numerous articles in the field, and presented at many national and international conferences.

Ms. Dunn writes about dance wellness for 4dancers and also brings in voices from the dance wellness/dance medicine field to share their expertise with readers.

Preview: Atlanta Ballet’s Nutcracker

December 5, 2015 by Rachel Hellwig

Alessa Rogers and Brandon Nguyen as the Snow Queen and King in Atlanta Ballet's Nutcracker. Photograph by Charlie McCullers. — Alessa Rogers and Brandon Nguyen as the Snow Queen and King. Photograph by Charlie McCullers.

by Rachel Hellwig

This year’s Nutcracker season is both an exciting and bittersweet time for Atlanta Ballet. It marks the 20th anniversary of artistic director John McFall’s version of the beloved holiday classic as well as his final Nutcracker with the company. After leading Atlanta Ballet since 1994, he will retire at the end of the 2015-2016 season.

Atlanta Ballet’s Nutcracker, which runs from December 11-27, will be performed at the historic Fox Theatre and accompanied by the Atlanta Ballet Orchestra led by principal guest conductor Gary Sheldon. The Georgia Youth Choir will sing during Act I’s Snow Scene

Atlanta Ballet’s Alessa Rogers, now in her ninth year performing as Marya (the production’s Clara/Marie equivalent) began portraying the part as a student. A couple of years later, McFall decided to change Marya into a role for a company dancer. “I think when he choreographed the updated Marya, he definitely considered his own feisty young daughters,” says Rogers, “He also took a lot of input from company dancers who were performing the role. We all bounced ideas off of one another. Atlanta Ballet has a very open and collaborative environment so we really molded the role together. But each Marya retains the right to tweak things and interpret the part in the way that makes the most sense to her.”

In McFall’s Nutcracker, Marya plays a more active role up than she does in other interpretations. “She has a lot more to do than stand around and open presents,” explains Rogers, “In the first act she has a bit of a flirtation with Drosselmeyer’s nephew. At the end of the battle scene, she takes the initiative to defeat the Rat King using a sword she steals from a rat.”

In that climatic scene, the Rat King’s costume increases his height to a towering eight feet and the Nutcracker wears a two-pound mask as he combats against him. “Dancing with the giant sword isn’t easy with a lot of people on stage,” says Miguel Montoya, who is debuting as the title character this year, “But those moments are still fun parts that make the scene more interesting and the role more challenging in a good way.”

Alessa Rogers at Marya and Rachel Van Buskirk as the Sugar Plum Fairy. Photograph by Charlie McCullers.

Also making a role debut this year is Yoomi Kim, who will be dancing the Sugar Plum Fairy. “This has been my dream role since I was a little kid,” she says, “I used to watch The Nutcracker with my parents during the Christmas season and I was fascinated by the magical Sugar Plum’s kingdom. Ever since I started dancing the role, my love for Sugar Plum has grown deeper.”

In Atlanta Ballet’s Nutcracker, the Sugar Plum Fairy dons an unconventional burgundy tutu and shares her iconic solo with Marya. “Sugar Plum is like a role model to Marya and that is illustrated through the choreography,” says Kim, “Each movement of the variation is mirrored by Marya, which makes for a very beautiful and special moment on stage between the two characters.”

The choreography for the variation of the Prince, the Sugar Plum Fairy’s dance partner, also has a unique twist in Atlanta Ballet’s version. “McFall grants us permission to make our own variation,” says Jacob Bush, who has been dancing the role of the Prince for six years, “You can challenge yourself. It’s fun!”

As with any production that’s presented annually, The Nutcracker offers its performers new challenges and opportunities for growth. How do dancers build upon roles they’ve revisited for many Nutcracker seasons? Bush focuses on enhancing movement quality and artistry. “I have been dancing with the same Sugar Plum Fairy, Tara Lee, for a while now,” he says, “Each year, we talk a lot about how we can finesse the movement so we are as calm as possible. I think that gives it the regal look we both want the characters to have.” For Rogers, it’s about dramatic content and recreating seasonal enchantment. “The challenge of doing any role for nearly a decade is keeping the interactions spontaneous,” she says, “Especially because Marya is a young girl, I have to remember the feeling of Christmas morning when I was a child–that effervescence, that joy and exuberance and sparkle. But Marya is such a joy-filled character and performing for those people in the audience who have never seen a ballet before–that is a magic that keeps me motivated.”

Tickets start at $25.00. Purchase here.

https://www.youtube.com/watch?v=4Ysb2elWK2E

Dancer Profile: Justin Peck

November 27, 2015 by Rachel Hellwig

https://instagram.com/p/zkXwa3qRUr/?taken-by=justin_peck

(Peck, front right, in his own work Rōdē,ō: Four Dance Episodes)

“There’s this Diaghilev quote that I always go back to. It’s very simple. He said, “I have big plans.” Maybe I’m being overly optimistic. But that’s how I feel. ” – Justin Peck

At age 13, Justin Peck was cast as in extra in American Ballet Theatre’s touring production of Giselle. Witnessing the athleticism of ABT’s male dancers Herman Cornejo, Marcelo Gomes, and Ethan Stiefel inspired him to begin ballet training. Previously, he had only taken classes in tap and musical theater. He found ballet challenging, particularly extension and turnout. Nonetheless, within just two years, he proved proficient enough to be accepted into the School of American Ballet. He became an apprentice with New York City Ballet in 2006, a corps member in 2007, and a soloist in 2013.

Peck’s career took a unique turn when he decided to take a dance criticism course at Columbia University. There, his professor Mindy Anloff told him he had a good mind for choreography and encouraged him to give it try. Peck’s first work was a pas de deux for the student-run company Columbia Ballet Collaborative. From there he went on to New York City Ballet’s affiliated program The New York Choreographic Institute. His creations caught the eye of NYCB’s artistic director Peter Martins who invited him to choreograph for the company.

In 2014, after choreographing for New York City Ballet for only two years, Peck was named New York City Ballet’s Resident Choreographer. He was just 26 at the time. New York Times dance critic Alastair Macaulay has written that Peck is “the third important choreographer to have emerged in classical ballet this century, following Christopher Wheeldon and [Alexei] Ratmansky.”

In Peck’s choreographic process, music and collaboration have priority. He told the Washington Post,”My philosophy on choreography is that the making of a ballet is a team effort, and we’re in this together. It’s not me hammering on them. It’s more about how we can elevate this piece collectively to something great.”

Fun Facts:

Peck’s role in ABT’s Giselle at age 13 was a dog handler in Act I

His guilty food pleasure is Australian licorice

He admits the main reason he wanted to attend SAB was to live in New York City; he didn’t actually know much about Balanchine when he applied.

Follow Peck On:

His website: http://www.justin-peck.com/

Twitter: https://twitter.com/justin_peck

Instagram: https://instagram.com/justin_peck/

Facebook: https://www.facebook.com/justinisjustinpeck

YouTube: https://www.youtube.com/channel/UCcALX4g97mMXFZtBRSHBv0Q

Vimeo: https://vimeo.com/justinpeck/videos

Justin Peck and Janie Taylor

Justin Peck and Taylor Stanley on Peck’s ‘Rōdē,ō: Four Dance Episodes

https://www.youtube.com/watch?v=KqPDiyXjTbc&feature=youtu.be

Justin Peck & Sufjan Stevens – Excerpts and discussion of Peck’s “Year of the Rabbit”

Miami City Ballet: Justin Peck & Shepard Fairey – Excerpts and discussion of Peck’s “Year of the Rabbit”

Articles [Read more…]

Book: Dance Science: Anatomy, Movement Analysis, Conditioning

November 10, 2015 by 4dancers

Aloha! I would like to share with you a new book in the Dance Wellness field, “Dance Science: Anatomy, Movement Analysis, Conditioning” by Gayanne Grossman, PT. Specific Information on the book is below.

Gayanne has a long background in dance medicine and science, working with injured dancers and teaching anatomy / kinesiology at Muhlenberg College in Allentown, PA, as well as heading up the Performing Arts Wellness Program for Lehigh Valley Health Network. The book is aimed at high school / college-level dancers, and is a terrific resource for those looking to dig deep into the scientific arena, and to stretch their knowledge about the body and safe dance training / technique. It can also serve as an excellent scientific reference manual to keep on hand. Please pass it on! Take care – Jan Dunn, MS, Dance Wellness Editor

For students of human movement, kinesiology, dance science, and dancers, Dance Science takes a positive approach to what a dancer can do to dance better through an understanding of anatomy and an analysis of movement which, in turn, will decrease injury rates. It presents anatomy and motion in a dance-specific way that teaches readers to appreciate and take ownership of their bodies through hands-on experiential activities.The book concludes with an approach to exercise design for enhanced performance integrating the principles of dance science. Accompanied by 90 anatomical illustrations, 30 photographs, and 3 graphs.

320 pages, 7″ x 10″, Paperbound, ISBN 978-087127-388-8 $49.95
Hardbound ISBN 978–087127-387-1 $39.95

Order from: Princeton Book Company, Publishers

Here is an excerpt from the text:

Training Efficiently and Safely for Needed Stability

Start strength training using isometrics. Use varied positions and joint angles. They will facilitate motor learning in many positions.

For example, your hip joint hyperextends; the femoral head abuts the Y ligament well past normal hip extension. You do not gain stability from it soon enough. Your pelvis may be in posterior tilt before your femoral head stops moving forward. Compare with a dancer whose femoral head stops at the Y ligament with minimal hip hyperextension: this dancer feels stable because the lumbopelvic and hip alignment are closer to neutral at end range hip extension. The hypermobile dancer needs extra training to know how to feel where that position is located. Begin with isometric holds, focusing on femoral head placement. (See Stork Stand and Weight Shift exercises later in this chapter.)

Strength train hypermobile dancers with isotonics, too. Use in the inner ranges (smaller movements) at first then increase the range of motion. Here is an example:

Begin standing at the barre and resist the first few inches of hip flex–ion, then repeat for hip abduction, adduction, and extension. When improvement is noted, increase the range of motion another inch or two. Tie one end of a light-weight exercise band to the barre and the other end to your ankle. Because hypermobile people may gain strength at a slower rate, increase the resistance when you are able to.

Include proprioception training in standing, sitting, or pushing up on stable, then unstable, surfaces to increase the awareness of joint position. Include slower combinations to facilitate correct postural control. Should hypermobile dancers stretch? Not too much. Dancers love to stretch so this behavioral change can be a challenge. Hypermobile people have a lot of stretch and they have decreased proprioception. They have to stretch quite far to feel end-range motion, sometimes into an extreme range of motion that may not be safe. These dancers are looking for feedback from the joint receptors and an enormous ROM may be necessary to stimulate these receptors in a hypermobile person.

Some basics

Why Ice Can Be Helpful

How to Use Ice

Compression

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