Jackie Nash (Photo by Charlie McCullers, courtesy Atlanta Ballet)

Jackie Nash: Atlanta Ballet

Typical summer break: mid-May–August

 On rest: I need to take one solid week, at least, to let all those last bits of the season go. After Nutcracker we push straight through until May, so a lot of little things in my body need to heal, and I want to have some mental space to go over how the season went.

 Summer gig: For the past five or six years, I’ve danced with Atlanta Ballet’s 12-member, dancer-run summer company, Wabi Sabi. We start rehearsing three to six hours a day one or two weeks after the season ends, with performances in July and August. I don’t need to do maintenance beyond that because the shows finish close to the beginning of our season.

 Taking class: When we’re not working on Wabi Sabi, I either teach or take class during the Atlanta Ballet Centre for Dance Education summer intensives to stay in shape.

Nutrition: Because I have more time, I look for new recipes. I love grilling fish outside and having people over for kebabs, getting to be more social.

Branching out: I own a house in East Atlanta with my husband, fellow AB dancer Heath Gill. We like to catch up on gardening, painting and house maintenance things.

 

Figgins in Jorma Elo's 1st Flash (photo by Rosalie O'Connor, courtesy Aspen Santa Fe Ballet)

Jenelle Figgins: Aspen Santa Fe Ballet

Typical summer break: Six weeks total, usually in May and September

 On rest: Working 7,900 feet above sea level means that the demand on our bodies is very high. I try to take a couple weeks to rest. My routine is to spend time at a spa here, getting massages and physical therapy, and going to the hot springs and mineral baths in the area.

Cross-training: Later on during the break I start getting physical. Aspen is really special because a lot of social activities are active and outside. A lot of us go hiking in the summer. We also have access to great yoga classes. I need to lengthen and stretch, and I avoid exercise that will make me too tight.

 Taking class: We are the only dance studio out here, so it is difficult. We tend to get out of town because Aspen is so small. If I travel on my break, I take classes at home.

 Nutrition: I love to cook. On layoff, I have more time to focus on my diet and research how I can turn my food into medicine. Turmeric is good for my mood and is also an anti-inflammatory—right now I am into turmeric-and-blood-orange lemonade.

Branching out: I’m Buddhist, so I like to chant and meditate. I try to “shed” all the stuff in my mind and alternate in self-questioning about how my thoughts and energies are serving dance and my life. It’s a great time for me to let my mind go beyond my job. I’m also continuing to learn with online college courses.

 

Skylar Campbell (photo by Christopher Wahl, courtesy NBoC)

Skylar Campbell: National Ballet of Canada

Typical summer break: Four weeks, dates vary

On rest: Balance is my favorite word and key for any athlete. At the end of the season you are most likely in top dancing shape. Rest is good, but I don’t like to throw it all away, because our layoffs are short.

Cross-training: During the season it can be difficult for me to cross-train. I love to change up my routine during off weeks, because it’s important to keep moving. I do resistance training at the gym and take advantage of swimming. If I have a principal role coming up, focusing on long-term cardio can help. If I go home to California, I am lucky to be able to train at the Pilates studio my parents own in Orange County.

 Taking class: For every week I take off, I need just as much time to get back.

 Nutrition: The first week, I do a cold-pressed-juice cleanse because I don’t need as much fuel and replenishment. After that I ease back into my regular diet.

 Branching out: I try to let my mind out of the ballet bubble. I exert my energy on playing the drums. It is a great outlet when I’m not dancing.

 

Porterfield and Paul Michael Bloodgood in Balanchine's Agon (photo by Tony Spielberg, courtesy Ballet Austin)

Oren Porterfield: Ballet Austin

Typical summer break: mid-May–August

On rest: I definitely need a week of seeing music shows, drinking beer, eating pizza—real people fun. Austin is a great city for music and my husband is a gigging musician. I have to take a little time away to get perspective before going back to demi, demi, grand.

 Cross-training: I can’t do the same thing every day. We’re lucky to have access to a Pilates studio, so we can take group apparatus class and use reformers. I take yoga around town and do it at home with “Yoga with Adriene,” a YouTube channel. I have a gym membership, too.

Taking class: I usually don’t take off of class for more than two weeks.

 Nutrition: I am definitely more forgiving of my body standards during layoff. I appreciate being curvier in the summer, which is something I don’t appreciate as much in season. I try not to ever go on a diet—moderation is the best thing. I eat real food, and if I eat food that isn’t so good, I make sure I move more.

Branching out: I have an apothecary line I started a few years ago (ritual-goods.com), and I make essential-oil perfumes and sprays. I do pop-ups. In the summer I have more opportunities to learn more about herbalism and experiment.

Candice Thompson, a former dancer, is a freelance writer based in Atlanta.

New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the StageChagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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Danny Rivera (left) is one of six students from San Juan who the Sarasota Cuban Ballet School is hoping to relocate so he can continue his training. Photo by Soho Images, Courtesy SCBS.


Many of us take our ballet training for granted. But for dancers living in Puerto Rico, which is still reeling from the devastating affects of last month's Hurricane Maria, pursuing a ballet career or simply taking class must now feel insurmountable. What do you do when Mother Nature not only destroys your dance studio, but your home and the majority of the city you live in? Priorities must shift to those of basic survival.

Now, the Sarasota Herald-Tribune reports that the Sarasota Cuban Ballet School is trying to help six Puerto Rican dancers resume their training. The students, whose studio in San Juan was badly damaged, had recently attended SCBS's summer intensive. School directors Ariel Serrano and Wilmian Hernandez have started a fundraising effort called "Sarasota And Puerto Rico Dance Together" to temporarily relocate the dancers. While they can easily offer them scholarships, Serrano and Hernandez must raise an additional $36,000 to provide housing, food and living expenses for one year. (SCBS has a dormitory for female students, but not for male students.)

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Videos
Photo by Nisian Hughes

Transform your next black-and-white tutu look with these on-trend details like mesh cutouts and lace sleeves. And checkout the behind-the-scenes footage from our tutu shoot, below.

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