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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

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…

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…]

Filed Under: 4dancers, Adult Ballet Tagged With: adult ballet, adult ballet students, Ballet, dance critic, dancer, seattle dance, seattle dances, Sir Frederick Ashton, turnout, you dance funny

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 38th year with NYCB and the 30th 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 1st 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:

  1. Normal, with equal turn in/turnout (normal “version” in medical parlance).
  2. Pigeon toed or turned in, ¯ turnout (“anteverted”).
  3. 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.

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Filed Under: 10 Questions With..., 4dancers, 4teachers, Studios Tagged With: Baryshnikov, dr. william g. hamilton, george balanchine, International Association of Dance Medicine & Science, lincoln kirstein, Linda Hamliton, md, nycb, nycb wellness program, school of american ballet, the ailey school, The Dancer’s Way, turnout, william g. hamilton

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