4dancers – Page 58

Keeping Dancers Dancing – Conditioning

April 3, 2012 by 4dancers

by Jan Dunn, MS

You’re a dancer. You spend hours every day taking class / rehearsing / performing – so you must be in great physical shape, perfectly conditioned to withstand the demands of your chosen profession – right ??? Don’t be too sure – that may not be the case! Dancers are not always as “fit” as they think they are, in regard to this important aspect of their training.

“Conditioning” means to be physically fit, in certain defined ways (read on!), so that your body can safely perform the physical demands you ask of it, with the least risk of possible injury. Dance is one of the most physically demanding activities a person can do. A famous study at Lenox Hill Hospital in New York (1975) compared all forms of sports, including dance, in terms of the athletes’ physical fitness capacities. Ballet, boxing, and hockey were ranked at the top, in terms of requiring high levels of strength, endurance, flexibility, cardiovascular fitness, and other measures of fitness. Understanding what this means for you personally is crucial to your well being and LONGEVITY as a dancer !

There have been a number of books written especially for dancers (listed at the end of the article) specifically about fitness for dance, so clearly there is a lot of researched information out there. Today we’ll just touch on the basics, and if you’re interested, I encourage you to find out more on your own.

What ARE the aspects of conditioning that we need to understand? The list below tells us, and it’s important to know that ALL are equally important for a well-trained body (these are not listed in any order of importance): [Read more…]

Paul Taylor Dance Company — Up Close

March 31, 2012 by 4dancers

by Christopher Duggan

When Paul Taylor Dance Company invited me photograph their dress rehearsals, I was really excited to make photographs in the amazing (and enormous!) David H. Koch Theater at Lincoln Center. I had never photographed in that theater before and have always wanted to. It’s a symbol of great performance art, the highest standards, the home of New York City Ballet and synonymous with “uptown” dance. To have the chance to photograph the incredibly talented dancers of Paul Taylor Dance Company on this stage made me smile from ear to ear.

The company’s PR representative welcomed me into the theater and pointed to where I was to photograph from: the back of the house. The New York Times and two other photographers were already set up–but it was FAR from the stage, behind the tech table, center orchestra; seemingly a football field’s distance from the dancers. This just wasn’t going to work for me.

I asked if I could sit any closer. Mr. Taylor would be sitting center orchestra just in front of the tech table, and I was instructed not to sit anywhere in front of him so as not to distract him or disturb his sight-lines.

But front row orchestra left was fair game and I took my position. This made me much happier. I was as close to the dancers as I could be and I was now envisioning my angle for the shoot. My intention was to cut off limbs and to really get intimate. The Paul Taylor dancers are superb technicians, gorgeous at every turn. I wanted to see their sweat. Something like: “Paul Taylor: Up Close.”

I was happy with my results, finding toil and drama and personality in the dancers, even in that enormous theater.

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

Christopher Duggan pic — Christopher Duggan

He has created studio shots of Gallim Dance, Skybetter + Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings. The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Adult Ballet Student: Steve Ha

March 30, 2012 by 4dancers

As we continue with our focus on Adult Ballet this month, please welcome Steve Ha…

1. How did you first get involved with ballet and what attracted you to it as an adult?

I started dancing in my twenties—ancient by dancer standards—as a senior in college, just to pursue new creative outlets. Though various performing arts have played crucial roles throughout my life, dance was the final frontier, and I really just wanted to try it. I started with beginner’s jazz and modern classes and had fun with both, but my teachers often stressed the importance of ballet training so the subsequent quarter I enrolled in ballet. Everything about it made sense because not only did it touch upon my roots as a classically trained musician, it also gave me the opportunity to act and express myself without having to speak (or worse, sing) a single word. Ballet also elicited a strong desire to be disciplined about the practice and an eagerness to learn that I had never experienced as a student before.

2. How many classes are you currently taking per week?

I try to get in the studio two to three times a week. Although, when I was still attending university I took class almost every day and those were some of the happiest times of my life!

3. What do you see as your biggest challenge as an adult ballet student? [Read more…]

Adult Ballet Student: Tanya Stanyon

March 28, 2012 by 4dancers

Today we have an adult ballet student from the UK…Tanya Stanyon…

1. How did you first get involved with ballet and what attracted you to it as an adult?

I first started ballet at the age of 3; these classes quickly led on to Jazz, Tap and National dance. It was my Mum who sent me to class like most girls.

I have not really had a break from ballet since that age. At 16 I went to ballet school and I just carried on. I think as an adult there is more focus on fitness but for me, ballet is just part of life and routine.

2. How many classes are you currently taking per week?

I am currently taking one class per week, as well as monthly company classes with Chelmsford Ballet Company, although I hope to be able to take more at some point.

3. What do you see as your biggest challenge as an adult ballet student?

For me, the hardest thing I have found is trying to get back to the level I was before I had my son a year ago. I think I am very critical of myself and strive to be as good as I can.

4. What brings you the greatest joy as an adult ballet student?

Just to dance brings me the greatest joy, it’s like a little sanctuary away from normal everyday life.

5. Do you have any advice for other adult ballet students?

My advice to other adult ballet students would be to enjoy each class and to work full out where ever possible as this is such a fantastic way to keep in shape. Just live it and love it.

BIO: Tanya started dancing at the age of 3 years old and went on to study Tap, Jazz and National Dance. She became a Cecchetti Scholar at the age of 14 which enabled her to attend classes in London. During this time Tanya also became a member of the Chelmsford Ballet Company, performing in many shows as a junior member. Tanya also performed with National Youth Ballet, playing the role of Tom the Lad in Maid of the Marsh. At 16, Tanya was accepted at West Street School, Covent Garden where she went on to study for 3 years. Since then, Tanya has performed with Chelmsford Ballet Company in many of the lead roles in productions such as La Fille Mal Gardée, Coppélia, Paquita, and Les Sylphides amongst others. Tanya hung up her ballet shoes after performing the Lilac Fairy in Sleeping Beauty in 2009. Following the birth of her son Euan, Tanya has begun ballet classes again in 2012.

Adult Ballet Student: Laura Thomason

March 27, 2012 by 4dancers

Our next adult ballet student feature is Laura Thomason…

1. How did you first get involved with ballet and what attracted you to it as an adult?

I started ballet at age 9 and have taken classes on and off ever since. As an adult I see ballet as both meditative and challenging in a way that appeals to me. Every class is broadly the same, yet every time I learn something new, make progress on a difficulty, or become more consistent. I have not yet found a better form of exercise: ballet provides strength training, flexibility, and cardiovascular fitness all in one. Plus, I get a lot of compliments on my posture!

2. How many classes are you currently taking per week?

2 ballet classes per week plus a modern class.

3. What do you see as your biggest challenge as an adult ballet student?

To my surprise, I seem to have lost the ability to pick up choreography as quickly as I used to. The teenagers I take class with can pick up a variation after one or two repetitions while it takes me weeks of practice. I am also more physically cautious than a kid would be–I re-started pointe work last fall for the first time in 20+ years and the fear factor gets in my way sometimes. And, of course, dancing around all those younger people brings up the insecurity and competitive instinct that all dancers struggle with.

Fortunately my studio is a very positive environment and no one is allowed to be down on herself for very long. When I first started in my current class, I had trouble keeping up (especially in pointe work) because I had stepped up from a much more basic class. I mentioned to my teacher that I was discouraged and she gave me a good hard reality check, reminding me to be patient with myself till I caught up with the level of the class. It’s been about 6 months and I am glad I hung in there.

4. What brings you the greatest joy as an adult ballet student? [Read more…]

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