Are dancers getting injured more? Part III: Pushing back against the trend

We’ve all been there — you see something flatly wrong on social media, and you pause for a moment. After a sigh, perhaps a facepalm, you consider a choice: do you engage, or just move on? If you do engage, what’s the best approach for pushing back against false information? As we’ve discussed in this series on an (anecdotally seen) rise in dancer injuries post-COVID lockdowns, social media (and the internet more broadly) may very well be playing a part.

What’s the best way to push back against false information on conditioning and stretching, that seems to be guiding some dancers down dangerous roads? How do we equip dancers with the tools to spot faulty advice? How do we make mindful, intentional and informed approaches more appealing – so that they become the natural choice? How might we need to refine pedagogical practices to accommodate realities of this internet and social media age?

In this third installment of this series, we’ll look at those important questions. The same experts will guide us: Sue Mayes, principal physiotherapist of The Australian Ballet; Zac Jones of Heal Yourself and Move; and Joshua Honrado, doctor of athletic training with NYU Langone’s Harkness Center for Dance Injuries. Check out Part I here and Part II here!

Pedagogical practice for 2023 

One could argue that it all starts in the classroom – so we’ll start there. Toward working against less-informed, potentially dangerous approaches, Jones starts with a fundamental question: what’s the outcome that you’re after? He’ll present that questions students and parents alike. The next question then is (as a callback to Part II): is the work that you’re doing going to get you closer to that outcome – and if not, why do it? Jones also guides students to notice the “pushback,” or response, from the body after the work at hand.

Speaking of pushback, Jones has had some candid conversations with studio directors. They agree with him that a safe, informed approach is indeed the approach to take – yet, they also have to grapple with the competition and business realities. If students want to be pushed toward the extremes that they see on social media, and where they are isn’t offering that, they’ll go elsewhere, studio owners will say.

Yet, Jones doesn’t think that there needs to be a tension there; there are ways to teach that are aligned with the science, with important safety principles, but can also keep students continuing to come back for more. “Offer something that satisfies what the dancer is looking for, through the technique,” he councils — through the rigor of proper placement, mechanics and movement pathways.

Attention spans are what they are these days, due to internet and social media culture, Jones also notes. He suggests checking in with students to capture their attention and re-engage them in the work of their own technical and artistic development. “Stand and deliver less,” he advocates: engaging students more and lecturing at them less. When we can engage students in these ways, they’ll gravitate toward rigor and good information – at least more consistently. The quick fixes and misinformed approaches will more often get left in the dust.

Media and scientific literacy: Spotting “red flags” and more

Pedagogical practice is one thing (a truly important thing), and what students do after they leave our class is another. We can’t control how students engage with social media when they walk out of the studio. Yet, we can arm them with the tools to recognize faulty information when it comes up in their Instagram feed or Google results.

Honrado notes a couple of “red flags” for false information. One is if anything is promising any particular result in a certain period of time – for example, “you’ll get your splits in a month if you do [x]!”. As noted in Part II, we know that safely increasing range of motion is a long-term process and no kind of quick fix.

Also noted in Part II is because stretching can fatigue muscles, we want to reserve deep, sustained stretching for the end of the day (remember that fatigue closely correlates with injury). Honrado notes that if resources you’re seeing are recommending that sort of deep, sustained stretching in the morning or in between classes, that’s guidance to disregard. “Anecdotally, this is [often] when we see injuries,” Honrado says — when dancers time their work in ways that fatigue muscles and don’t set them up for safe work.

He also advises a skeptical, critical eye toward stretching and conditioning devices out there, often advertised to dancers (social media algorithms know that we’re dancers, and maybe even about our conditioning and technique goals). For example, some of these devices claim to help dancers achieve oversplits.

Honrado underscores another important point there: the sort of hyperextension and hypermobility that we see in social media oversplit images (yes, that’s what it is, hypermobility) is actually not muscular flexibility. Dancers in these pictures are “working into joints…[whereas] you want to work into muscles,” Honrado explains. So, one could reasinably question why achieving something like such an image should be such a coveted goal anyways.

Another path is to work on your muscular flexibility and keep your joints safe, so that you can dance long and strong. Yes, safely increasing your range of motion takes time, and it can be tempting to rush the process. “Develop your artistry within your [current] limitations,” Honrado recommends.

Balancing out the false with the true: Putting good information out there 

When it comes to reducing the harm of faulty information for dancers on social media – in addition to helping dancers have greater scientific and media literacy – we can be on social media, too, Mayes reminds us. We can share good information to, at least in part, drown out the Siren call of those flashy images. “We can join forces and have a strong voice together,” Mayes says, “and we are starting to have that strong voice!”

Toward building that strong voice even further, networking is key, adds Mayes — developing a network with people in your area but also around the world. “COVID showed us how many tools there are to connect and share information. We need to get busy getting information out there,” she says. We can also translate that information into formats that work well on social media — videos and infographics detailing the latest research, for example.

Social media is a key way in which information disseminates nowadays, but it’s by no means the only way. Honrado advocates for dance professionals continuing to update their knowledge “on the most evidence-based practice”: through journal articles, conferences, workshops, and related forms of continuing education.

As an example of information getting out there in those ways, Harkness offers injury prevention workshops and lectures at studios/schools and companies. It’s a key space for discourse on dancer health and wellness, Honrado believes. Important with such events is “knowing your audience,” he adds; presentations for young dance students don’t look and feel exactly like those presented to professional dancers.

It is important for teaching artists and studio directors to keep their knowledge current in these ways – because it’s their responsibility to disseminate it to students. Yet, students have a responsibility here as well, Honrado affirms — to remain open, curious and diligent. With all of the complex factors at work in this issue – and we’ve really just scratched the surface in this three-part series – it really does come back to the technique, the artistry and the connection of teacher and student, Jones reminds us. It’s here, at the barre, as Juliette from Center Stage would remind us.

By Kathryn Boland of Dance Informa.

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Is it fair to film dance classes: A case study at Steps on Broadway

An April Fools’ joke played by Steps on Broadway a couple months ago struck a nerve with its dance community – a nerve that the New York dance studio didn’t seem to be aware of. A “No Filming” announcement for all Steps classes, communicated via Instagram post, elicited a tidal wave of responses from dancers who take class there. What was intended to be a lighthearted ‘gotcha’ instead had the opposite effect. We’re not here to dig into the drama, but it did spark a conversation in the comment section that it looks like needs to be had: is it fair to film dance classes?

Filming has its purposes for dancers: reflecting on technique and performance, learning how to dance for camera, gathering reel footage, and collecting marketing materials to post on social media. It also has its uses for studios – they use it as marketing material, too. The problem arises when studios aren’t transparent about which classes will be filmed, eat up paid class time to film select students and charge dancers a class fee while using their image as marketing material for the studio. Even with film waivers in place (release forms that note the signing party’s consent to have their image used), some dancers expressed that they felt exploited – especially when they had trouble getting a hold of the footage for themselves.

The main protest was this: dancers go to class to learn, and it should be a safe space to train and make mistakes. Filming content that is put out to the public (where choreographers, casting directors, teachers or even just fellow dancers might come across it) isn’t what dancers are signing up for. It was also argued that filming the combination at the end of class takes up time – time that dancers have paid for to run the combo as many times as they can.

The conversation sparked and spread on Instagram, at first just in the comments section of the original April Fools’ post. But when Steps deleted that post and blocked select commenters, dancers in the community continued the conversation on their Instagram stories. Al Blackstone, renowned New York choreographer and teacher at Steps on Broadway, added his input through an Instagram post that read:

“I feel very upset about what happened today on Instagram regarding a joke made about filming classes (a very important topic). But I’m even more upset that people are being blocked for sharing their feelings about the subject. These are your classes and you have every right to speak your feelings about what happens in them. Feel free to comment below.”

Blackstone held space for dancers to express and be heard. Using his platform as an amplifier, he reposted stories and input about the situation. The ensuing discussion noted some of the issues dancers have with current filming protocols, but it also prompted possible solutions.

@kelseyhconnolly: “I no longer personally feel (Steps) is a safe space to hone your craft, and do the nitty gritty unglamorous hard work that comes with training before stepping in to the audition room or on stage… I understand how filming allows the opportunity to put yourself out there with casting, etc. – but there are some days when that’s not the goal.”

@kailiesanders: “…many teachers only pick their friends or select dancers to film at the end of class, leaving many dancers standing on the side for the last 15 mins of a class that they paid for. Maybe classes should be limited to filming a lower number of times per month with a filming notification on the class schedule/website in advance.”

@beauharmon_: “Spotlight classes,” masterclass workshops run by Steps, “are the perfect outlet to be able to get this specific type of training.”

@frannnerisms: “There are countless videos from classes I have never managed to get… Dancers are tired of being unnamed dancer number 5, desperately trying to screen record or re-record something that they cannot get footage to.”

@katierosesteph: “…you as a teacher, studio owner, etc. are commodifying student’s time, image, experience, skill, and effort – all while asking $25+ rather than paying them for these services… Enact a reduced rate fee for ‘classes’ that include filming.”

@Nat_cat96 comically added, “Please let me learn hip hop in peace. I started at age 25, I just learned how to bend my knees, I live in fear.”

After Steps deleted its initial post, the studio re-engaged with a more open approach, posting instead:

“Today’s earlier ‘April Fool’s Day’ post about inviting cameras into class was met with confusion, emotion, and a dialogue that yielded important feedback about our practices… We value the feedback and experiences of our Steps family and will take new measures to ensure transparency about our filming practice. Currently, all our filming is approved by teachers and planned at least 24 hours in advance, and waivers are signed by students. Moving forward, Steps will add a camera icon next to all our classes being filmed on our daily stories. We will also implement new scheduling protocols for our digital team to utilise less class time to capture footage to ensure that no class experience is compromised for any student. We proudly share and celebrate the magic that happens among our faculty and students in our classes, and will continue to keep an open dialogue so we can continue to uplift our community or artists in any way we can.”

The comment section under this new post allowed space for the conversation to continue in a field where people knew Steps was hearing them. There was discourse directly between the studio and the students about possible solutions, like alternating filming weeks and using Dropbox to distribute footage.

What we learn from Steps’ second post, once the studio took the time to take stock of its community’s reaction, is that an open dialogue is needed to solve this issue. Blackstone showed that dancers’ input is not to be dismissed, and their insight is invaluable as we wade through the politics of dance class and social media. Keeping lines of communication open and empowering dancers to speak up is the right way forward – not only in this aspect, but continually as the dance world evolves and dancers learn to advocate for themselves.

By Holly LaRoche of Dance Informa.

The post Is it fair to film dance classes: A case study at Steps on Broadway appeared first on Dance Informa Magazine.

Begin Again: Auditioning With Confidence

As I’ve been rediscovering as I return to dance, auditioning is an inherently vulnerable act. Even the most accomplished performers will tell you they hear “no” more often than they hear “yes.” When we get a callback or book a job, we are on top of the world. When we get cut, we are forced to pick up the pieces of one lost dream so that we can be ready to chase another tomorrow.

It’s a lot for anyone to cope with, but especially those newer to the industry. What can you expect at auditions—and how can you cope with their unique pressures? I asked two experts to share their advice.

How to Audition Well

Lewis, a fair-skinned woman with long golden-brown hair wearing a black turtleneck and flowing black palazzo pants, flings her left arm back, her hair and left pant leg flying out behind her
Shannon Lewis photographed by Jon Taylor, courtesy Lewis

If you want proof that Shannon Lewis knows how to audition, just look at her resumé. She performed in 10 Broadway musicals, was a Radio City Rockette, and has danced on “The Today Show” and at the Tony Awards. Now, she’s on the other side of the table as a choreographer, director, and educator. Through her experience in the industry, she has discovered various tools for auditioning well.

First, recognize that the people at the front of the room want you to succeed. “I want everyone to come in and blow me away,” Lewis says. “I am actively wanting you to be the best you can possibly be and to have the best day ever.” Rather than looking at casting directors and choreographers as scary judges, see them as cheerleaders, and your energy will become more inviting and magnetic.

Second, the best way to enter auditions feeling confident and prepared is by honing your skills in class, fine-tuning technique and learning to pick up choreography.  “That’s where dancers build their toolbox throughout their entire careers,” she says. “So when you’re in the room and the choreographer wants a triple that stops on five, you can do that, because you have been working on it yourself.”

Third, build relationships through networking. “Someone will be more likely to take a chance on you if they know your work already,” she says. If you’re new to the professional dance world, a good place to start that process is the classroom. “If you really connect with a teacher, it’s great to be in that class as much as possible, because it will give you the chance to build a relationship,” Lewis says. “Loyalty and consistency are really important words in our world.”

Even if you go into auditions well-prepared, you’ll still likely face a lot of rejection. But remember that every experience is setting the groundwork for future opportunities. “Even if I’m auditioning someone for something they are completely not right for, if they come in the room and do an incredible job, I will absolutely remember them for the next thing I’m doing,” Lewis says.

How to Cope With the Emotional Strain of Auditioning

Terry Hyde, a UK-based psychotherapist and the founder of Counselling for Dancers, is also well-versed in the challenges of auditioning. Like Lewis, he started out as a performer, dancing with The Royal Ballet and London’s Festival Ballet (now English National Ballet), and performing in musicals in London’s West End.

I’ve worked with Hyde briefly myself as I’ve grappled with the myriad emotional challenges that come with returning to dance after 10 years of illness. Here are his tips for coping with the specific stresses of auditioning.

First, Hyde recommends taking 15 minutes to practice meditation as part of your daily routine. “This will prepare you to have a clear mindset on the day of your audition,” he says.

Next, he recommends finding a private space at the audition—a dressing room or bathroom—to do breathing exercises. Sit for five minutes and breathe slowly: inhale on the “and,” exhale on the “one,” inhale on the “and,” exhale on the “two,” until reaching the count of four; then reverse the count. “If any thoughts come into your mind as you do this, just tell them, ‘Hang on a minute, I want a quiet moment,’ ” Hyde says.

Hyde also wants you to reframe words like “nerves” and “rejection.” “You have probably been told that butterflies and tension before a performance are nerves, but the physical feelings of anxiety are identical to the physical feelings of excitement,” Hyde says. Rather than saying “I’m so nervous,” before an audition, say “I’m so excited.” “Our minds are so powerful that they create the reality in which we live,” Hyde says.

If a dancer doesn’t book the job they are auditioning for, Hyde wants them to know that it’s not a true rejection of their talent or who they are. “Auditions aren’t rejections. They are very subjective,” he says. “You might not be what they are looking for, but that doesn’t mean you haven’t got talent.”

For more audition tools and advice from Lewis and Hyde, watch their full interviews in the latest “Begin Again” vlog over on Dance Magazine’s YouTube channel.

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Tara Nicole Hughes on How The Little Mermaid Brings Dance Under the Sea

Bringing Disney’s animated classics to live-action life has taken more than a dusting of pixie dust over the years. The latest adaptation, The Little Mermaid, may be the most extravagant yet: It features a star-studded cast that includes Halle Bailey (Ariel), Daveed Diggs (Sebastian), and Melissa McCarthy (Ursula). But the finished product has been a long time coming. After the pandemic forced a seven-month abandon-ship in the middle of shooting, the film will finally hit theaters on May 26.

Director Rob Marshall tasked choreographer Joey Pizzi and co-choreographer Tara Nicole Hughes with creating movement for sea creatures and humans alike. Hughes—who’s also made her mark on the dance-forward films Chicago, Burlesque, and Mary Poppins Returns—talked about the process of bringing The Little Mermaid’s dancing into the deep end.

Tara Nicole Hughes. Photo by Paige Craig, courtesy Portrait PR.

When did you come onboard The Little Mermaid?
I joined the creative team in May of 2019. Our first task was to discover which marine animals would best lend themselves to movement, specifically for the film’s biggest number, “Under the Sea.” We went through an entire casting process to choose our main sea creatures. They ended up including feather stars, ribbon eels, sea turtles, and even a mimic octopus.

What else inspired your choreography?
The original film’s Caribbean setting and music were definitely driving forces, as well as observing the sea creatures’ natural movement. For instance, when they’re swimming, feather stars look like showgirls, so that’s what they became in “Under the Sea,” dancing around Halle. The underwater world is already dancing—we just don’t normally see it.

How did that then translate to animation?
Rob had the brilliant idea to bring 16 dancers from Alvin Ailey American Dance Theater to set “Under the Sea.” We used multiple 360-degree cameras to capture every angle of the dancers’ movement. That became the framework for the visual-effects artists to use for the sea creatures.

What was the approach to scenes that took place in or under water?
If a water scene involved anything above the waterline, we shot it in the water as normal. We shot all of the underwater scenes with a technique called “dry for wet,” which is a full blue-screen environment. Every single frame had to be choreographed or staged—not just the dance sequences. The actors used different kinds of rigs to simulate swimming, which required an entire stunt team to operate. Everyone had to know exactly what was supposed to happen on each count of music. We had to rehearse everything almost as much as a stage show, because there couldn’t be any surprises on filming day.

How did the cast handle those challenges?
Halle has such a natural grace about her and she was great in the water. It was more about building strength, learning the choreography, and getting used to the rigs. And Melissa, she’s fearless. She wanted to slide down Ursula’s clamshell right away and swim all over her lair. Everybody had to put in work, of course, but the whole cast was so naturally skilled that it made our jobs easier.

You’ve worked with Rob Marshall for a long time. How has that relationship evolved?
Joey, Rob, and I have worked together since my first project in 1996, which is hard to believe. Because of our history, we understand each other. Rob always has a clear vision, and he’s a master communicator, so we just follow his beacon of light. He also has a way of attracting the very best casts.

What were your biggest takeaways from this project?
With such huge technical challenges, you just have to stay the course. Every frame had blood, sweat, and tears poured into it, but all you see onscreen is joy, elegance, and love, which means we did our jobs well.

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Op Ed: What’s Possible in Writing About Ballet?

How do we respond to recurring accounts of an acclaimed choreographer’s damaging relationships with dancers, especially women? Recent podcasts (Erika Lantz’s The Turning: Room of Mirrors) and books (Alice Robb’s Don’t Think, Dear) have contributed to a narrative that’s been emerging for decades: Throughout his career, George Balanchine employed power dynamics that controlled and hindered some dancers’ choices and opportunities.

On April 5, 2023, The New York Times published a response, “Finding Freedom and Feminism in Ballet. (It’s Possible.),” by dance critic Gia Kourlas. In promoting Balanchine’s choreography as a practice of “freedom,” Kourlas fails to address multiple experiences detailed within these two works and beyond of people who witnessed in- and out-of-studio practices that harmed women.

In noting what she calls a “myth” of ballet as “suffering, pain and blind subservience to patriarchal leaders,” Kourlas supports a system that has historically ignored the first step to ending abuse: Believe the survivors’ stories. Far too often, women in ballet have been disbelieved, gaslighted, judged, or blamed for the harms inflicted on them by their abusers. Kourlas continues this trend, but attaches these behaviors to words like “feminism” and “freedom” in a way that diminishes them.

Other authors have approached the same subject with more nuance. Throughout her book, Robb acknowledges the ways that women, historically and currently, have sought Balanchine’s and other men’s approval. Although Balanchine died in 1983, his leadership style has survived through actions and attitudes adopted by some of his protégés and other directors. Such leaders handwave alleged abuses in the name of tradition, excellence, or, as Kourlas phrases it, “freedom,” while continuing to validate the patriarchy and misogyny still rampant in some ballet settings.

The power dynamics at play in ballet are not specific to artistic institutions. It’s dangerous to dancers, as well as to women, female-identifying and gender-nonconforming people, when gendered abuses of power are confused with acceptable working conditions. The Duluth power wheel (used in cases of domestic violence) outlines approaches similar to those that have been used by some ballet directors to isolate and control women.

Perhaps the uncomfortable question is: Can we continue to appreciate artistic works with an awareness of the harm done by their creator? Can we even rely on a single person to hold the answer to this question? Kourlas suggests that we situate histories of abuse in relation to liberatory moments onstage—that we look to the brief moment of freedom a dancer has when performing. But is it really “freedom” if that fleeting success relies on discounting or dismissing the suffering of other women?

Many writers and teachers are wrestling with how to bring attention to ballet’s intersecting racist and patriarchal foundations. For example, Episode 8 of Season 2 of The Turning, on “American Ballet,” examines Balanchine’s statement that a ballerina should be “the color of a peeled apple,” and cites scholarship by Brenda Dixon-Gottschild to analyze Balanchine’s appropriation of other artists’ (Katherine Dunham) and communities’ (jazz and tap dancers) steps and styles.

There’s a wealth of women in leadership roles as choreographers and directors who are advocating for women’s rights and questioning/dismantling institutional norms, even within New York City Ballet. In an April 18 New York Times article, Virginia Johnson, outgoing director of Dance Theatre of Harlem, says ballet “is a living art form that needs to be true to the time that it lives in.” If the reduction of women, dancers of color, and especially women of color to lesser-than status was acceptable in ballet in the 20th century, these gendered and racialized biases must shift in the 21st.

As a critic for the New York Times, Kourlas holds the power to shape these histories and narratives. Our past continues to inform the present, and we should invest in respectful treatment for all dancers to pursue collective freedoms within and beyond ballet.

Rebecca Chaleff is an assistant professor at SUNY–University at Buffalo; Michelle LaVigne is a senior lecturer at Cornell University; Kate Mattingly is an assistant professor at Old Dominion University.

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Begin Again: Acting for Dancers

It’s my personal belief that at the center of every electrifying dance performance is a story. Even the works that are supposedly plotless have something evocative going on behind the eyes—in the way the body floats, jabs, crumples, and reaches. Sure, dancers tell their own tales from time to time, but more often than not, they embody a character onstage (think Giselle or the Sugar Plum Fairy, for example.) Ultimately, dancers are actors. And yet, most have limited (if any) formal acting training. It’s a truth choreographer Marguerite Derricks often lectures young students on. In a recent interview for Dance Magazine, she told me, “You can kick and spin and pas de bourrée, but the magic is how you put it all together in a story. Acting brings greater depth to your dancing.”

I began acting in college while in the depths of my illness. At the time my body was barely functioning well enough to accomplish basic tasks, let alone sustain grand allégro. But my heart yearned for performance and creative expression, so I decided to try my hand at something dance adjacent—acting.

I was terrified on my first day of class. I had no idea what to expect or how to prepare. I wanted to be respectful of the customs of an acting class, and I didn’t want to look silly. (Spoiler alert, there is no way to avoid looking silly, so just lean into it.) I wanted a play-by-play of what to expect, but instead, I had to jump in blind and hope everything went okay. (It did, but I could have done without the added anxiety.)

So for those of you who are looking to improve your dancing through acting, I caught up with my teacher, Andrew Polk, who leads the class I’m taking on on-camera technique at The Freeman Studio. You may recognize him from films like Armageddon Time and television shows like BillionsThe Marvelous Mrs. MaiselHouse of Cards, and more. Here, he shares what to expect, how to prepare, and what he thinks dancers could take away from a class like his.

What to Expect

First, it’s important to know that every acting class is going to be a little bit different. Each teacher will have a unique approach, and the medium (theater or on-camera) will change the experience entirely. For example, Polk wants dancers to know that they are not at a disadvantage in an on-camera class because they don’t have heavy theater training as actors. “Working on camera is like another art form. It’s like you were playing basketball your whole life and then someone asked you to play the violin.”

That said, you can likely plan on a few things regardless of the teacher or medium. First, you will likely perform a scene at the front of the room with your teacher and class watching. Then the teacher will provide feedback for you to apply to your work (just like in a dance class). You will then have the opportunity to watch other class members perform their respective scenes, as well.

How to Prepare

For Polk’s class, scene assignments are sent out a few days before the first day of class and we are expected to have done text analysis and be off-book (memorized) by the time class begins. Each subsequent week follows this same pattern. In other courses I’ve taken in college or at The Freeman Studio, the first day of class has been more of an introduction to the course while the teacher outlines their expectations, and then we’re expected to be off-book by the next class. If your instructor doesn’t send out an email ahead of time to let you know what to prepare, I recommend reaching out and politely asking what their expectations are for your first day.

You can prepare by reading the scene, digging into the given circumstances, and familiarizing yourself with your character (and, of course, your lines). “Preparation is necessary—you need that kind of discipline,” Polk says.” Even more important than that, he wants you to bring your instincts. “A lot of what I teach is to trust your instinctual response to the material,” he says. “Often that is hard. A lot of people want to approach things the right way, but there is no ‘right way.’ Dancers are really in touch with their instincts and their bodies, and I think that would be very helpful.”

Classroom Rules

Each acting teacher will have different expectations for classroom etiquette, but for Polk, he wants students to be prepared, on time, and void of judgment. “Don’t judge your character or other actors,” he says. “In my class you spend a lot of time watching others. We are not there to perform for each other, we are there to work. So when you see other people work, you shouldn’t judge them, you should imagine you are them. It’s a really great way to learn.”

How Polk Believes Dancers Can Benefit From Acting

When students finish a cycle of his class, Polk hopes they know what it feels like to successfully act for the camera. “I want them to have progressed,” he says. For dancers specifically, he would hope that a class like his would expand their performance. “Can you tell a story that is not technical? Can you let go of your technical ability and lean into the story and into the character and be messy? If you are creating life, if you are creating a moment, that is what you are aiming for. That is the main challenge and reward for a dancer who is not used to that.”

Curious about what an acting class actually looks like? Head on over to Dance Magazine’s YouTube channel. There I share a day in my life as I prepare for, and attend, one of Polk’s “On Camera Technique” classes.

The post Begin Again: Acting for Dancers appeared first on Dance Magazine.

Ballerina Onscreen: Madison Keesler Guest-Stars in “FBI: International”

You may recognize freelance ballerina Madison Keesler from her former positions with San Francisco Ballet, English National Ballet, and Hamburg Ballet. But this Tuesday, April 11, at 9 pm EST, you may be surprised to see her on television as a guest star in the CBS police procedural “FBI: International.”

In reality, there’s little reason to be surprised. The principal guest artist, who struck out on her own last June to begin a freelance career in New York City, has always loved acting (she trained at American Conservatory Theater during her time in San Francisco) and has already made strides onscreen. She had a speaking role in the feature film TEST (2013), appeared in a music video for musician Julian Lennon, and has danced in several video projects for SFB, the BBC, and filmmaker Henry Thong. A self-proclaimed “tech geek,” Keesler has also gained experience directing and filming as a co-founder of FreelyMad, a small dance film company she leads with Benjamin Freemantle. Now, with newfound flexibility thanks to her freelancing schedule, she’s been enjoying the chance to pursue additional film opportunities while continuing her ballet career.

Keesler will appear in episode 217 of “FBI: International,” titled “Jealous Mistress,” in which she plays a beloved American prima ballerina, Nicolette Clarke. In the episode, Clarke becomes subject to a violent acid attack on the eve of her principal premiere in Vienna and finds herself in the center of an international criminal investigation led by the show’s core FBI International Fly Team. Viewers can tune in on the CBS channel or stream it on Paramount+—but if you’re not caught up on the show, says Keesler, there’s no need to worry, as the episode is self-contained.

We spoke with Keesler to learn more about her TV debut experience, what she’s gained from her work in acting, and more.

How did you land this role?

This was the universe giving me a reminder that community is very important! A few months ago, I met up with my friend Courtney Lavine, who’s a dancer with American Ballet Theatre, and mentioned how I was looking for agents. I’d finished several programs through the acting school I’ve been going to, T. Schreiber Studio, and felt like I was ready to do more auditions. She suggested the agency CESD, who she’d worked with before. I emailed them immediately after lunch on Thursday, and they responded on Friday saying that there was a unique opportunity—and that if I was available and interested, the self-tape audition was due on Monday.

I jumped on it, and it turned out to be this episode. I immediately had a feeling it would be a good fit. These shows are cast so last-minute, so to have an actual trained professional dancer who’s available is a rare thing. I submitted the audition and heard back right away. By that next Saturday, I was on a plane to Europe!

Madison Keesler as Nicolette Clark and Vinessa Vidotto as Special Agent Cameron Vo in “FBI: International.” Photo courtesy CBS Broadcasting, Inc.

That’s so exciting! What was it like to film on set for TV?
It was fantastic! These shows are well-oiled machines, and I was treated so well. I was there for about 17 days in total and loved meeting the cast members, because of course, I’d started watching the show right away! It was also really nice meeting the other guest stars. We got to explore Vienna, and since we were there during Valentine’s Day and away from our sweethearts, the six of us had our own celebration. It was a great bonding moment!

There were a lot of similarities with ballet. I realized on set how familiar it felt in the sense that you have a big team surrounding you, and everyone has the same common goal. It’s very similar to being in the theater and how everyone becomes a team, whether they’re the ones you see onscreen, onstage, or behind the scenes. So in that way, it felt like I was stepping into a mini company.

I’ve always been a dancer who’s gravitated towards acting roles. When I was 16, I remember wondering if I should move to Los Angeles and act or if I should dance. So that question has always been in the back of my mind, and I’m grateful for these opportunities where I’ve been able to marry the two.

What were some of the challenges you faced?

It was a challenge reminding myself to stay in the present and not overthink. It was easy to have impostor syndrome and say, “Do you know what you’re doing?” I had to trust my training. And I really did feel prepared, which is a testament to all the classes and teachers I’ve worked with here in New York so far.

I also had to say some German words and speak in a Viennese accent! I have lived in Hamburg, which helped, but I’m also American, and we’re historically bad with languages. [Laughs.] But they did provide a session with a dialect coach, which was great.

How did you approach the role of Nicolette Clarke?

I wanted to go with my instincts. For the audition, I basically shut myself away for those couple of days and dove through Nicolette’s background—and, honestly, a lot of it could easily align with my own life. My acting teachers have said, especially at the beginning, not to be afraid of that or to overact. So a lot of the process was diving into my own history.

But there are definitely some pure Nicolette twists. She’s a rising U.S. ballerina who’s even caught the attention of the First Lady. She has lots of fans in Vienna and is a big deal, which was fun to play! She also forms a pretty close bond with [Fly Team member Cameron] Vo. They find a common ground over similar histories, Vo’s being a passion for piano and Nicolette’s being ballet. The scenes delving into their relationship were probably my favorite to film.

Are you excited to watch the show?

I’ve only seen bits and pieces of scenes where we had to refilm dialogue, so now I’m even more excited to see the rest! The whole experience has been exciting—there was a lot of jumping up and down when I got the call from my agent. I’ve been trying to soak up every moment!

What are your future plans or goals for your career?

I want to do everything! I definitely still want to continue dancing as a classical ballet dancer. I’m not retired, just freelancing in a way that gives me space and time for other opportunities. New York City is a great place for that.

We can’t dance forever, so long-term I’d love to keep acting and share different stories. I’m keeping my fingers crossed for future TV shows and films, and I’m dipping my toes into musical theater—I’ve been working on my singing voice! I find humans and the brain so fascinating, and I think there are endless stories we can tell.

The post Ballerina Onscreen: Madison Keesler Guest-Stars in “FBI: International” appeared first on Dance Magazine.

Are dancers getting injured more? Part II: It all goes back to technique 

We all know that scene in Center Stage: Juliette (Donna Murphy) finds Eva (Zoe Saldana) working alone in the studio late at night. She starts to coach her, and then comes that iconic line; she cups the barre with one hand and says, “It’s here.” She’s reminding her student that it all comes back to the work.

In researching for this series on a rise in dance injuries (anecdotally, rather than empirically seen at this point), Dance Informa heard a similar sentiment from dance medicine and dance science professionals: it all goes back to consistent work on technique and artistry. That work requires patience (it can feel slow), intentionality and working in alignment with one’s own body.

In this second installment of the series, we’ll deep dive into aspects of training, anatomy/kinesiology and dance medicine research with respect to injury prevention. As we look closely at if dancers are getting injured at a higher rate in this post-COVID lockdowns world, and why that might be, those are all important pieces of the puzzle. We’ll hear from the same accomplished experts. Stay tuned for Part III, where we’ll look at how we push back against this trend. Check out Part I here, if you haven’t yet!

Balanced conditioning for optimum dancer wellness

Sue Mayes, principal physiotherapist of The Australian Ballet, believes that basic knowledge on anatomy and kinesiology can go a long way toward dancers working in safer ways. She advocates for increased dance anatomy education and research. To get a keener idea of your dancing body and how it’s working, “look at the muscles that control the movement,” she advises dancers.

Dr Sue Mayes
Dr Sue Mayes working with dancer Sara Andrlon. Photo by Christopher Rodgers Wilson.

For many dancers, part of that learning is coming to understand the importance of strengthening — for technique, for artistry, for career longevity and much more. Mayes explains how consistent stretching without strengthening can detract from one’s technique and artistry. “If the structures that give stretch and recoil [to your muscles] can’t do that, then those muscles have to work harder – and they’ll fatigue faster. You won’t have that spring in your dance.”

She’s also quite clear that she’s “not saying ‘don’t go to end ranges [of flexibility]’ – just do it safely by also strengthening and engaging musculature.” That’s “mobilizing rather than stretching,” Mayes says – with “muscles engaged at all times and control at end range. That optimizes technique.”

Following all of that, Mayes reinforces for young dancers that if they want to dance professionally for a sustained period, they have to develop a hip strengthening program. That guidance comes from her research on dancers’ hips, which found that strengthening exercises help prevent hip injuries. Also as a result of from that research, Mayes and her team teach dancers “a toolbox of exercises to dancers that they can choose from.”

The result? “We’ve markedly reduced injuries, and also increased the longevity of [dancers’] careers,” she notes. Further, she adds, such strengthening work has also helped dancers finish their careers safer and heathier – versus hobbling out with a slate of injuries. Such dancers “have listened to the education and found out what works for them,” Mayes believes.

What works for dancers often “doesn’t need to be difficult.” She recommends a few fairly simple exercises: sets of rising to relevé and lowering with control, stair running (“fantastic for strengthening feet and ankles,” Mayes says), weight lifting with control at end ranges of motion. Arguably, with the potential to help dancers do what they love stronger and longer, the only real question is “why not?”

Joshua Honrado, Doctor of Athletic Training with NYU Langone’s Harkness Center for Dance Injuries, reminds us of key principles for safe, informed pedagogy – principles to inform that conditioning work. Some of this might feel like a refresher for many well-informed readers – but that never hurts! It’s important for dancers to strive for “neutral alignment,” and for teaching artists to guide them in that direction, for one. For two, observe and respect the limitations of anatomical structure. “We know, from dance science literature, that safely increasing flexibility/range of motion is a long-term goal,” Honrado affirms.

He also underscores the importance of proper, consistent warm-up and cool-down. Time your deep stretching more toward the cool-down end of things, and even better toward the end of the day, he recommends – because static stretching actually fatigues muscles. Muscles need energy for executing technique exercises and choreography in a fully supported, safe way. “Fatigue closely correlates with injury; it can make it all too easy to lose [sound] alignment and support,” Honrado notes.

He also encourages dancers to get sufficient and periodic rest and recovery. At the same, “active downtime” is most beneficial, he notes: with continuing to set and reframe goals, as well as (along with rest) working towards them. There’s actually dance science research demonstrating the benefits of not completely resting during times off from dance (or at least with time in the studio significantly reduced), Honrado shares.

Learning technique and learning to question

Some could laugh off that aforementioned Center Stage moment as a little cheesy, yet for Zac Jones of Heal Yourself and Move, everything really does go back to technique. As he’s working with clients, he immediately has them apply their kinetic learning to their technique. He asks them to “test everything they’re doing [for conditioning] against their dancing…is it improving it?” Evidently enough, if the answer there is “no,” then there’s not much point to doing whatever exercises they’re doing.

That question could be meaningful for dancers following less-than-sound conditioning guidance from social media; if they recognize that something they’re doing isn’t helping them, they may very well stop doing it before they get hurt. In a larger sense, this is also building a “value system” – as Jones defines it — of critical thinking, investigation and balanced rigor. Those are values that can truly serve dancers on their artistic path.

He also encourages dancers to feel what’s going on in their body on a deeper level as they go through exercises and technique – to key into their interoception (inner feeling) and their own body’s wisdom. All of that can help them see the advantages of the quieter independent work, without the “fanfare of class,” Jones says — focused, quiet time and space that can bring a good deal of that meaningful learning of one’s own body.

From there, dancers can start to connect what’s happening in class with all of the work they do outside of class; it all gives dancers that patterning that makes technique feel as natural as breathing, as Jones puts it. As such, establishing that patterning gives you a sincere advantage toward accelerating your technique and artistry, he adds.

At minimum, those skills and mindsets can guide dancers to know enough about their own body to recognize how attempting an oversplit might not be the best idea for them – even if it wowed them when they saw a favorite Instagram influencer do it. Jones reinforces a key truth that we discussed in the first part of this series: when we see things on social media, we don’t know the context.

With dance-based images and shapes, that context includes that person’s innate skeletal system, how that person prepared for it and how they got into it. Without taking that context into consideration, dancers often “want to push through an obstacle,” Jones describes. That doesn’t work, he notes – rather, it “just magnifies the obstacle…because the body says, ‘What are you doing?! Stop!’ It’s our evolution as humans.”

A more useful process – Jones details, echoing Honrado – is learning to “to respect the obstacle,” and then investigate it. “Find the resistance point, and over time work around it and dissolve it.” From there, it goes back to the technique and the vocabulary, Jones reiterates. It all becomes connected, the technique and somatics inextricably linked in supporting dancers toward being the strongest artists that they can be.

All in all, pursuing something that might not be right for your body could be “shape-chasing,” as Jones calls it. In contrast, integrating the shapes of dance technique and choreography into your own physicality is true learning, he notes. Then, it becomes “as easy as breathing.” Our body is beautifully complex, more than any one step or phrase of movement vocabulary could be. “Start to tap into that!” he advises.

Getting “buy in”: Engaging students in their own wellness 

You can lead a horse to water…you know the saying. We can educate dancers and encourage a certain way of working, but they’re the ones who have to keep doing the work: consistently, patiently and mindfully. How can we get “buy in” from them, as Mayes puts it, that this kind of approach will truly get them to where they want to be as dancers?

Both Mayes and Jones point to “the proof in the pudding” — the great results that a more informed, safer approach can bring. Dancers notice that strengthening can actually increase range of motion, for one, Mayes says. Dancers Jones has worked with “have come back [from injuries] stronger technically,” he notes. “With the right information, they can go into their bodies more – really focus and find more possibilities.”

Tracking progress also helps dancers concretely see how they’re improving, week to week – which only helps that “buy in,” Jones affirms. Essentially, if dancers can see that it’s helping them become stronger technically, they’ll most likely do it.

Jones also believes that how he works with dancers helps engage them. He says that the simple question of “how do you feel?”, while they execute a certain exercise, helps a dancer feel “seen and heard.” Feeling like that helps them “really respond…and it becomes more of a dialogue – a circular dialogue between teacher and student.” Reflective questions for students, to be pondered and answered after class, can enhance such a dialogue, Jones adds.

The idea of “it’s the journey, not the destination” can feel like the most cliche Instagram inspiration – yet cliches become cliches because they contain truth. As another time-tested aphorism, there are many paths up the mountain. “There are so many ways to get to the technique [aims that dancers want],” Jones reminds us. Those ways are as numerous and diverse as we are. Perhaps the investigation of all of those paths, to find what will help us reach our dance goals, is its own kind of reward. Enjoy the exploration, dancers. “Put the feel before the ideal,” Jones quips.

By Kathryn Boland of Dance Informa.

The post Are dancers getting injured more? Part II: It all goes back to technique  appeared first on Dance Informa Magazine.

Most Memorable Dance Moments: The 2023 Academy Awards

The 2023 Academy Awards ceremony was a particularly memorable one—and not just because the iconic “red carpet” was, for the first time in decades, not red. With outstanding stage performances, history-making wins for talents of underrepresented communities and tight races across the board, last night’s broadcast kept viewers on the edge of their seats.

As for us dance enthusiasts, we especially awaited the performance of “Naatu Naatu,” the exceedingly catchy track from the Telegu film RRR that later that evening would make history as the first Indian film song to win an Oscar, claiming the award in the Best Original Song category. The anticipation for this performance was noticeable throughout the night, even well before the ceremony began—during the preshow broadcast, ABC news reporter Chris Connelly shared that he had worn his suspenders in anticipation of dancing along with the ensemble, and during a preshow interview, “Naatu Naatu” star Ram Charan got anchors Linsey Davis and Whit Johnson moving with a bit of the viral choreography.

The evening’s first onstage dance moment was both hilarious and unexpected. To wrap up his opening monologue, ceremony host Jimmy Kimmel joked that if any awardee’s speech went on too long, rather than being played offstage with the typical music, they would instead be danced off by a group of “Naatu Naatu” performers. The audience burst into laughter as six of the dancers surrounded Kimmel doing the hallmark hook step, enthusiastically edging him off to kick off the awards.

Onstage at the Oscars awards ceremony, Stephanie Hsu wears an extravagant feathered white dress as she sings alongside David Byrne, who wears a white modern-styled suit and “hot dog” fingers. Around them on the floor in a circle, an ensemble of ten dancers in white costumes reminiscent of martial arts uniforms do a contraction on their backs. A group of three male musicians plays at the back of the stage, behind them a projection of a large black space-like ring.
David Byrne, Stephanie Hsu and Son Lox perform onstage during the live ABC telecast of the 95th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 12, 2023.

Next was the weirdly wonderful performance of best picture winner Everything Everywhere All at Once’s track “This Is a Life,” which was nominated for best original song alongside “Naatu Naatu.” An ensemble of dancers in white costumes reminiscent of martial arts uniforms joined the band Son Lux, singer/songwriter David Byrne and best supporting actress nominee (and former Broadway performer) Stephanie Hsu in their delightful and wacky performance of the song, complete with an onscreen cameo from EEAAO digital star Raccacoonie. In a quirky number studded with extraordinary martial-arts–esque feats, slow-motion moments and an ending contraction held for an impressively long time, the dancers of “This Is a Life” took the multiverse track to the next level.

About an hour and a half into the ceremony came the much-awaited performance of “Naatu Naatu,” featuring Prem Rakshith’s film choreography. Expectations were high for this anti-colonial “banger,” as described by presenter Deepika Padukone, but the cast—which included a surprisingly low number of South Asian performers—exceeded nearly all with its rip-roaring Technicolor performance fit for the Broadway stage (RRR: The Musical, anyone?). The dancers’ infectious energy and powerful execution of the iconic choreography added to the list of the evening’s triumphs—for film, song, South Asian representation and, inarguably, dance.

On the Oscars stage, two male South Asian dancers pose triumphantly, fists raised together, and smile jubilantly in the final pose of an energetic dance number. They wear dress shirts with suspenders and pants and stand in front of a backdrop colonial-esque architecture.
Rahul Sipligunj and Kaala Bhairava performing “Naatu Naatu” during the Oscars. Photo by Blaine Ohigashi, courtesy Academy of Motion Picture Arts and Sciences.

The Oscars may historically be all about the little gold man, but after nights like last night it is clear to us the power that strong performances make. While we’ll still wonder why there isn’t a category for best choreography yet, the dance world has a lot to be proud of from this year’s crown jewel film event.

The post Most Memorable Dance Moments: The 2023 Academy Awards appeared first on Dance Magazine.

Are dancers getting injured more? Part I

A big leap, a multiple turn, an intricate phrase of choreography – and, pop. There goes an injury. Alternatively, other dancer injuries are quieter, yet no less debilitating — building up over time from misalignments or simply the physical demands of a certain style. Injuries have always been an unfortunate phenomenon in the dance field. Dancers are athletes, after all (and more!).

Post-COVID lockdowns, however, teaching artists and dance medicine specialists are (anecdotally speaking) seeing a concerning rise in injuries. Why might this be? One factor could be more and more dancers looking to social media and other internet sources (with no guarantee of expertise, or of working from evidence-based guidelines) for guidance on stretching, conditioning and more.

Photo courtesy of Shortcut Socials and Heal Yourself and Move.
Photo courtesy of Shortcut Socials and Heal Yourself and Move.

Environmental factors such as dancing in small spaces, on non-sprung floors – also due to COVID-inflected factors – seem to have not helped there. Additionally, also due to COVID, dancers have come back to packed seasons when they may very well not have been able to stay in the kind of shape necessary to meet the demands of dancing full-out through program after program.

In the first installment of a three-part series on this phenomenon, we’ll explore those factors – what we know about them, at least (before we can say that we really know for sure, dance medicine researchers need to validate what we’re seeing with empirical data). Next, we’ll investigate some technical and anatomy/physiology principles that can help reduce the risk of injury (not to mention enhance dancers’ artistry!). Finally, we’ll lay out some more overarching principles for pushing back against this (seeming) current trend of an increase in dancer injuries.

Dance medicine specialists will lead the way. For this series, Dance Informa speaks with Sue Mayes, Principal Physiotherapist of The Australian Ballet; Zac Jones of Heal Yourself and Move; and Joshua Honrado, Doctor of Athletic Training with NYU Langone’s Harkness Center for Dance Injuries. Without further ado, let’s explore.

Sue Mayes. Photo by Christopher Rodgers-Wilson.
Sue Mayes. Photo by Christopher Rodgers-Wilson.

Information from questionable sources: Stretching guided by ‘influencers

Mayes works mostly with professional dancers, who do tend to rely on trained, reputable sources for conditioning and stretching guidance (and of course, there are exceptions there). Yet, she does see images on social media that concern her, of dancers going to extreme end ranges of flexibility. Considering the actual, ultimate goal of dance artistry, “why do we need that [sort of] range of motion if we can’t control it?” she asks.

She’s firm that there are much safer ways to achieve that end range of motion – those which also ensure that the flexibility is supported by musculature and the necessary anatomical structures (such as ligaments). Indeed, flexibility without the necessary anatomical support can have dangerous outcomes – and not only those that are immediate (for example, dysplasia of acetabulum of the hip joint, which can occur down the line as a result of continuous and extreme passive stretching, Mayes notes).

Zac Jones of Heal Yourself and Move. Photo courtesy of Shortcut Socials and Heal Yourself and Move.
Zac Jones of Heal Yourself and Move. Photo courtesy of Shortcut Socials and Heal Yourself and Move.

Jones, on the other hand, does work with young dancers. From what he’s observing there, he’s also concerned. He sees certain social media accounts sharing exercises and tips on stretching that are “detrimental to technique.” He’s also seen what’s shared on these accounts influence the actions, priorities and perspectives of various individuals involved in a young dancer’s training — from teaching artists to parents to the dancers themselves.

One might wonder how all of this has happened. As Jones sees it, during COVID lockdowns, dancers wanted to continue working on goals for flexibility, technique and conditioning, various things that matter to dancers when it comes to their craft. When studios were closed (apart from sometimes sporadic online class offerings), the internet was where they had to go for that information on all of that. Sadly, “a line was cut between the teacher and student. That daily discipline and close guidance were no longer there,” Jones explains.

Moreover, “social media has made it even more attractive to find information online” – as noted, not all of it being scientifically sound (shout out to dance health professionals who are sharing great information online – you are very much out there and doing great, important work!). For as advantageous and enjoyable as it can be, social media is not exactly built for context, deep-dives of good information, or nuance (tune in to Part II for lots of anatomy/physiology information – we will proudly go there!).

Joshua Honrado at screening table. Photo courtesy of Harkness Center for Dance Injuries.
Joshua Honrado at screening table. Photo courtesy of Harkness Center for Dance Injuries.

Mayes reiterates a key problem with that lack of context when it comes to images of dancers at extreme end ranges of motion. “Can they really support themselves in their technique, in a way that makes you want to watch them on stage?” She notes that “when you’re looking at pictures on Instagram, it’s a static picture and not movement.” The latter could be a whole different story. Also lacking in these images, Mayes and Jones both agree, is context around dancers’ skeletal structures – in other words, the skeleton you were born with being the one that you have to work with.

For example, we can’t change the length of our limbs to alter the look of our lines or our hip structure in order to safely increase our turnout. Jones notes that it is possible to work with some of these skeletal limitations in order to make technique and aesthetic adjustments. That needs to be done in an anatomically-informed, careful and intentional way, however. That’s most often not going to come through exercises from Instagram. It takes careful one-on-one work.

On the other hand, there are things that we can look for in images of dancers to get a better idea of supported, stable technique (or lack thereof) – are they aligned, for one. “There’s a lot of cheating going on,” and that cheating can be obvious in some images, Mayes notes bluntly. That can further sharpen concerns about dancers taking stretching/conditioning instruction from social media.

Sue Mayes with dancer Sara Andrlon. Photo by Christopher Rodgers-Wilson.
Sue Mayes with dancer Sara Andrlon. Photo by Christopher Rodgers-Wilson.

Space, flooring, navigating layoffs: Dancing with the right supports 

Dancing in small spaces, with the potential to knock into furniture or other objects – not to mention dancing on floors with less-than-adequate support to dancers’ joints – can’t have helped things when it comes to this seeming rise in dancer injury rates. Toward the latter, Honrado notes that research on dance flooring makes it fairly clear that the right kind does make a difference.

He shares that at Harkness, they’re seeing many dancers with low back and knee discomfort – which may very well be linked with more-than-occasional dancing on non-sprung floors. Yes, COVID lockdown-era virtual classes could be harder to find than in-person classes prior to it (and now, one could argue). Yet, dancers still did dance – at home and at other spaces available to them. Not all of those spaces could offer them the safest, most supportive features for their moving body.

Joshua Honrado taping Dance Theatre of Harlem on tour. Photo courtesy of Harkness Center for Dance Injuries.
Joshua Honrado taping Dance Theatre of Harlem on tour. Photo courtesy of Harkness Center for Dance Injuries.

Honrado notes that there (unfortunately) aren’t a plethora of studies focusing on the effects of COVID lockdowns on dancers. Yet, there have been a couple, those that speak to best practices when it comes to dancer layoffs. One, out of Portugal, looked at the effect of physical preparation classes offered to dancers during COVID lockdowns. The study found that dancers came back to the studio, when it was safe to do so, with even more flexibility and mobility (in other words, muscle-supported flexibility – for instance, the height at which a leg can lift itself versus being assisted by an outside force).

Honrado believes that these results indicate “dancers shouldn’t completely rest” during layoffs or other times away from the studio. “We know that flexibility is the first to go, so dancers should keep working on that” – in a safe, evidenced-based manner, he’s clear to add. However, another study out of China found that when dancers returned from a layoff – without physical preparation classes – they had fewer injuries and decreased fatigue. Honrado explains that those outcomes could be from dancers having time for their body to rest and recover, but it’s not quite clear.

(Stay tuned for Part III to learn more from Honrado, and all our experts here, about how dancers can be more informed consumers of online information on stretching and conditioning – such as how to spot “red flags” for information that’s not reputable or empirical.)

Zac Jones. Photo courtesy of Shortcut Socials and Heal Yourself and Move.
Zac Jones. Photo courtesy of Shortcut Socials and Heal Yourself and Move.

A better focus: Technique, strength, artistry 

Yes, there’s anecdotal evidence that we’re seeing an unfortunate, concerning rise in dancer injuries post-COVID lockdowns. There’s also hope that we don’t have to get stuck there. Jones points to bringing everything back to technique and artistry (more on that in Part II, from pedagogical best practices to cross-training principles for injury prevention). The flashy Instagram images of dancers stretching at extreme ranges of motion – that, in the end, aren’t really what the art form of dance is about – can then begin falling out of focus.

When all is said and done, the dancers who we see on social media aren’t us. We don’t have their body, and they don’t have ours. We don’t have their unique artistic gifts, and they don’t have ours. “Rather than copying someone else, you have to figure out your own body and how you can access” the technique and movement at hand, Mayes reminds us.

By Kathryn Boland of Dance Informa.

The post Are dancers getting injured more? Part I appeared first on Dance Informa Magazine.