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Dancers – Embrace Your Body

October 22, 2012 by 4dancers


Some of Lucy Vurusic-Riner’s dance students

by Lucy Vurusic-Riner

I’ve been avoiding the teacher perspective on body image post for a long time. It’s that subject that lurks in the shadows and I’m too close to want to address it. However, in the aftermath of last month’s Wisconsin news anchor debacle, where a woman just doing her job (well, I might add) was criticized for her weight (which in no way impacts her ability to report the news, I might add again). I feel that it’s time to broach the topic.

The fact is, body image plays a huge role in my day to day. In fact, to say I don’t think about it every single day as a high school dance teacher would be a flat out lie. Over the last 18 years I have thought about body image at least once a day, EVERY day, as I enter one of my classes. The issues have varied depending on the school and community surrounding it. The frequency of how many girls are noticeably affected by it differs as well. But it’s always safe to assume that there is someone in the room with me looking at their body in a distorted way; maybe even me.

Personally, I have been lucky with the gene pool bestowed upon me. Because quite frankly, I think that’s where you have to look first. We are as short or tall as we are because of how the chromosomes matched up. My long torso was not something I had to do massive amounts of bar hangs to achieve. I have it because I have my grandmother’s body, and alas, she too had a long torso.

Likewise, I have some pretty crappy feet and bad turnout as far as the dance world is concerned. My genetics could have told me that I had horrible arches as early as 7 or 8, when I tried shoving my feet into pointe shoes. I bought the do-hickey that stretches your arches and I laid on my belly in frog position to open my hips for hours at a time. To a certain degree maybe that torture, as well as determination in class and a strong work ethic, did make me a better dancer, but guess what? My feet and turn out are still nothing to write home about. But truly, amidst all of this, to the common person’s naked eye, I have always had a body “suitable’ for dancing. Phew.

So how do I approach this in my dance classes? My tactic for the most part has been to diffuse it at every turn. In my first years of teaching I had some pretty severe cases. Girls that wanted so badly to be in the highest level classes and have the most performance experience. Girls who wanted to please their parents (who often consciously put pressure on their daughters), girls who needed to live up to their friends and acquaintances ideas of what being a dancer meant. And a lot of the time, I couldn’t even blame them. So much of what being a dancer means to the general public is solely based on cheesy movies and fantasy. How many of you have ever told someone you were a dancer and then had to tolerate some stupid comment about stripping or lap dances? I found that “controlling” one’s eating was the one place that my students could feel they were empowered to do something about the way that others perceived them. They might not be able to physically alter their flat feet or poor turnout–but they sure as hell could get skinny.

With a few more years of teaching under my belt, I started to notice that poor body image was becoming less of an issue with my students. Sure, I still had the occasional one or two that popped up every three or four years; the ones that need to be hospitalized or get counseling. But it soon became an issue that was manageable.

What had happened? Had body image problems become a thing of the past? Hardly. I sat down with a group of my dancers a few years back and we had a long discussion that, at first, was simply a conversation about nutrition and diet and what people like to eat, but then turned into a riveting discussion on exercise and how to most efficiently take care of our bodies.

What I learned was that part of the reason I wasn’t seeing that problem was because we had formed a safe dance community within our classroom.

I rarely talked about weight. I never degraded my body or how I looked in front of my students (in fact, they often had to listen to me talk about how I embraced by big butt). And I ate what I wanted to eat, when I wanted to eat it, in front of them and with no guilt, because feeling shameful, about anything, has never helped someone overcome any sort of obstacle.

I want my students to be appreciative of their bodies and how to live in them. Adolescent girls have enough to worry about with their changing bodies, raging hormones and the pressure of becoming young, responsible adults.

I believe teaching dancers how to take care of themselves and respect their bodies needs to become an intuitive practice; one that we take part in each day when we talk about foods that we love, clothes that we feel comfortable in and dance classes that we take that make us feel good about ourselves. Some dance teachers might read this and say that I’m not being a very honest teacher or mentor if I don’t talk to my girls about their weight. Guess what? It’s not going to happen.

Why?  Because my dancers already know if they need to lose a few pounds. They knew before I did; they stared at themselves in the mirror long before I did, and they will continue to find things about themselves that aren’t good enough–just like I did. Yes, I want them to be healthy and make smart nutritional choices, and when it’s appropriate I talk to ALL my dancers about this as a group. Because–let’s be honest again…

Some of those skinny girls need to hear about how to take care of their bodies far more than the bigger girls. In the end, all that matters to me is that they love the body they are in.

Lucy Vurusic Riner

Contributor Lucy Vurusic-Riner is a native Chicagoan who has been supporting and contributing to the dance community for over twenty years. She received her Bachelor of Science Degree in Dance Performance and Dance Education from Illinois State University.  Lucy has been a member of Molly Shanahan/Mad Shak, RTG Dance Company and Matthew Hollis’ “The Power of Cheer.”  She has also had the opportunity to be part of the community casts of White Oak Dance Project and David Dorfman Dance.

Lucy has taught modern, hip hop, and jazz at numerous studios and high schools in the Chicagoland area.  She was the Director of Dance at Oak Park and River Forest High School from 1999 to 2012. In 2005, Lucy completed her Masters Degree in Education from National Louis University and also received the Midwest Dance Teacher of the Year award and was the youngest of four finalists in the running for the National Dance Teacher of the Year award.  Lucy and artistic partner, Michael Estanich, formed RE|Dance Group in 2010.  RE|Dance Group investigates humanity in movement through long distance collaboration.

In 2012, Lucy joined the dance faculty at New Trier High School in Winnetka, IL.  When she is not immersed in dance, she is at home with her two great kids, Margie and Luka, and her very supportive husband, Jim.

Filed Under: 4dancers, 4teachers, Editorial Tagged With: body image, dance, dancers, high school dance, high school dance teacher, pointe shoes, turnout

On Dance And Momentum…

October 9, 2012 by 4dancers

by Lauren Warnecke, MS

Momentum (n.) force or speed of movement; impetus, as of a physical object or course of events

I couldn’t count the number of times I’ve asked a dancer to “use momentum” to carry her through a phrase. Heck, release-based modern dance is practically founded on the idea of capitalizing on momentum. But what does that really mean? When I was a junior in high school, crying nightly over Mrs. Youel’s AP Physics class, I learned that momentum is equal to the product of the mass and velocity of an object. In other words:

p = mv

where p = momentum (kg*m/s), m = mass (kg) and v = velocity (m/s)

So that’s cool. But how does that apply to dance? Does momentum just exist, or is it something that I can choose to “use” or not use of my own volition.

Here’s an idea: a body in motion (body meaning anything from a particle to an apple to an arm) keeps moving unless something acts on it to inhibit that movement. For example, if Isaac Newton drops an apple towards the ground, it keeps moving until it’s stopped by the ground. If he dropped it into a bottomless pit, the apple would continue to fall indefinitely. This concept is wrapped up in a nice little fundamental law of nature called The Law of Conservation of Linear Momentum. The law states that “the total momentum of a closed system of objects (which has no interactions with external agents) is constant.” Don’t believe me? I double-checked on Wikipedia.

In our case, that “external agent” is usually a muscular contraction, the ground, or the limitations of our bodies’ natural range of motion. Since ROM and anatomy aren’t exactly things we can control, perhaps “using” momentum is simply a release of the muscles to let momentum happen naturally. Who’s crying now, Mrs. Youel?

In dance and in life, momentum is the key. It is the gift that keeps on giving. If you just relax and let it happen, amazing things can occur. I’m joyriding on momentum right now, and trying to remind myself that momentum keeps going unless I do something to stop it.

Lauren Warnecke, MS, Photo by Kelly Rose

Contributor Lauren Warnecke, M.S., is a Chicago-based dance artist, educator, and writer. She trained at the Barat Conservatory of Dance before earning a BA in Dance at Columbia College Chicago. In 2009, Lauren completed her MS in Kinesiology at the University of Illinois at Chicago, with a concentration in Motor Control and Learning. Lauren is a Visiting Instructor for the department of Kinesiology and Nutrition at UIC, and teaches master classes and seminars in ballet, modern dance, creative movement, and dance pedegogy.  She is certified in ballet by the Cecchetti Council of America and a member of the American College of Sports Medicine.

In addition to teaching at UIC, Lauren owns and operates Art Intercepts, under which she creates, informs, and writes about dance. The primary mission of Art Intercepts is to bridge the gap between the scientific and artistic communities to present programming that is informed, inventive, and evidence-based. Lauren is a freelance writer/blogger and maintains monthly columns at Danceadvantage.net and 4dancers.org. and is featured on a panel of nationally reputed dance writers at the 2012 Dance/USA conference. She also works periodically as a grant writer and production/stage manager for artists in the Chicago dance and performance community, and volunteers for initiatives encouraging Chicagoans to engage in local, sustainable, and active lifestyles. Lauren likes to hike, bake scones, and dig in the dirt.

Filed Under: 4dancers, Making Dances Tagged With: dance, dance and momentum, modern dance, release-based modern dance, velocity

Student Spotlight: Gabriella Meiterman-Rodriguez

September 24, 2012 by 4dancers

Today we have a student from the University of Maryland with us for the “student spotlight”…

Gabriella Meiterman-Rodriguez

My involvement in dance began when I was an infant. Most parents enroll their children in gymnastics, soccer, football, etc., but I was enrolled in dance! My mother enrolled me into my first ballet class and I have been dancing ever since. I was told that I picked up the movement and was always focused in class. I would come home and practice my tendus, plies, and arms, so from that point on, dance was my primary hobby. It was not until I was a freshman in high school when I realized dance would be my passion to pursue as a career.

2) What do you find you like best about dance class?

My favorite part of dance class, surprisingly enough, is the warm-up. Although it is difficult to start moving around at 9:30 a.m. in a cold studio, I find this part to be where I am most connected and aware. I have always found it fascinating when the body can transform from a stiff, cold structure into a state where it is warm, limber and ready to move and take on the class. This part of class is where I have the most self-awareness for which body parts need more attention and time for stretching. This awareness practices my self-connectivity and really teaches me to listen to my body’s needs every morning. The warm-up is both my favorite part and the most crucial part of class.

3) What is the hardest part about dance for you?

The hardest part with dance for me is being able to keep my facial expressions active throughout the movement. Sometimes I find myself getting so caught up in the moment of a performance that I lose some of the character. My face during performances is my main focus this year every dance class and it is something I am hoping to make stronger so that I can be a well rounded dancer and performer.

4) What advice would you give to other dancers? [Read more…]

Filed Under: 4dancers, Student Spotlight Tagged With: dance, dance class, dancers, Gabriella Meiterman-Rodriguez, performance, university of maryland

Student Spotlight: Murilo Leite

August 30, 2012 by Ashley David

Murilo Leite, Earthfall Dance, Photo by Hugo Glendinning

Here’s another of our “Student Spotlights”…get to know Murilo Leite…

1. Can you tell readers how you became involved with dance?

Dance has been in my life for as long as I can remember but not in the usual sense. I didn’t start ballet when I was 3 years old and go through all the exams in tap and modern. I grew up next door to a dance college in Brazil and even as a kid I used to sneak out of my house to watch the classes because there was something about the atmosphere that enticed me. I’d then go home and teach myself the sequences in secret but it wasn’t until I was 12 or 13 that I attended my first class and really I didn’t start doing it regularly until I was 16 when I co-founded a performing youth company called Re*Flex Dance Co. which is still going today 8 years later!

2. What do you find you like best about dance class?

The hard work. I love a class that challenges my mind and body to the maximum, there’s no better feeling than finally being able to do a sequence that at first seemed impossible but with perseverance and determination the reward is unmatched. Also sweating is the sign of a great class!

 3. What is the hardest part about dance for you?

For me the hardest part is also the most productive. I find myself constantly comparing myself to other dancers in the studio, admiring the ease of his grand battement or how beautifully curly her feet are! Naturally there are things others can do that I can’t, I’m quite self critical and always striving to be better so though I find it hard it also pushes me to jump higher, land softer, run faster or move slower… You get the idea.

4. What advice would you give to other dancers?

I always say to dancers who are beginning their training to think hard about what it is they are doing it for. For me, I think you have to love it, no – you have feel more than love for it because it’s tough, it’s full of knock downs, it’s not the best paid job and so on. Saying that, if you love it there’s nothing else that will satisfy you more, it will be exactly the life you always hoped for and none of the bad stuff will come close to taking away from how it fulfills you.

 5. How has dance changed your life?

Dance hasn’t changed my life, it has shaped it. It is something I’ve always loved and for many years it was my sole focus, all my energy was being put into dance as my final goal. I feel I am blessed to have had dance in my life because it has always given me a path to follow so that when in other parts of my life or when my friends and family reached that part in growing up that we all go through where we are unsure what the hell we’re doing I could put my efforts further into dance.

Since then I’ve realised that it doesn’t need to be the only thing in my life which I guess could be something else I would use as advice, but I also think this is something one needs to find out for themselves. Yes, to succeed with dance as a career you must put 200% and more but you should never forget that you are a person first, a dancer second. That is something that really opened my eyes to life and the world when the penny finally dropped.

Filed Under: Student Spotlight Tagged With: Ballet, dance, dance class, dance college, murilo leite, student

Opus 3: Fragility

August 24, 2012 by 4dancers

by Allan Greene

I want to say something about that in which musicians are most expert: time.  This is not, however, about tempo, or about rhythm, or about the proper length of a piece of music.  This is about time passing, and how everything that passes becomes part of our collective aesthetic.  This is about the razor’s edge on which we artists struggle to perch.  This is at once sad and happy.

Green tea flavored kakigōri

When I was on tour in Japan in 1983, the translator hired for the company, an all-round good guy named Hiro, led a couple dancers and me on a backstreets ramble through Kyoto.  After a few temples, a few gardens and several kilometers of shoe-leather, he took us for refreshment into a dessert shop that specialized in kakigōri.  Kakigōri is a mound of shaved-ice over which a flavored syrup is poured.  The photo here shows how much it looks like volcanic rock, which is a classic motif in Chinese art.  Hiro pushed me in the direction of sweet-bean-flavored kakigōri, and urged the others to order the green-tea flavor and the lemon flavor.

The kakigōri were served piled hill-high in stainless-steel dessert dishes, and when they were placed on the table before us, we were all sure there was too much.  But, ah, were we wrong.

The first spoonful that penetrated the hill caused it to collapse to half its volume.  The spoon filled with the most gossamer of ice-webs, tasting mostly of water with just the slightest tint of flavoring.  In the blink of an eye, the dessert was gone, and cold ice-melt was all that swirled in the dish.  It was, amazing to me, a dessert of negative space.  It was positive expectation and negative fulfillment, a very Eastern essay on want and need.

It’s also the way many of us in the art world live our lives.  We spend years in training, more years creating our repertoires, and when we finally put the final punctuation on the process by presenting ourselves to the public, the whole thing evaporates.  It lives in the memories of those who were witnesses, but otherwise, sayonara.

What brought all these thoughts on?  A week’s vacation with my family, coming home to our beloved Brooklyn, and a letter in the mail informing us that in two days we would be dropped from our health coverage. [Read more…]

Filed Under: Editorial, Music & Dance Tagged With: artists, dance, health insurance, music

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