(Photo courtesy Thinkstock)

If you constantly find yourself reaching for a foam roller, you’re not alone. “Dancers’ hip flexors are very often tight because of how much they use them every day,” says Michelle Rodriguez, founder and director of Manhattan Physio Group. Each développé devant and cambré forward fires this set of muscles, so it’s no wonder why dancers complain of the chronically tight spot. Here, Rodriguez offers her tips for a proper lunge that stretches not only the tensor fasciae latae, psoas and iliacus muscles, which all help flex the hip, but also the quadriceps. “Ideally this stretch should be done every day, even on your day off from dancing,” says Rodriguez. Save it for after barre when your body is warm, or at the end of class or rehearsal.

Hip Flexor Stretch

1. To set up to stretch your right side, kneel on your right knee. Rodriguez says you can position a towel or legwarmer underneath to cushion it if necessary. Place the left leg in front of you with your knee bent to about 90 degrees. You can place your hands on top of your knee, or hold on to the barre with one hand for balance.

2. Firmly squeeze your lower right gluteals, and zip up your abdominals from your pubic bone to your belly button. “By activating these muscles, you will be able to place your pelvis in the best position to maximize the stretch,” she says. You should now feel it in your right hip and thigh.

3. Throughout the stretch, keep the thigh you’re kneeling on vertical. “A very common mistake dancers make is to go too far into a much deeper lunge,” says Rodriguez. If you use a larger range of motion, you risk getting less of a stretch in the tensor fasciae latae, psoas, iliacus and quadriceps.

4. Once you can maintain the shape with proper muscular engagement, only then should you slowly lunge forward, says Rodriguez, towards the end of the stretch.

Repetitions: Hold for 30 to 60 seconds and repeat on the other side. Do two complete sets.

When Should I Replace My Electrolytes?

It all depends on how intensely you’re dancing and how much you sweat, says Heidi Skolnik, a certified dietitian and nutritionist who works with dancers at The Juilliard School and the School of American Ballet. While sports drinks and waters infused with electrolytes, like sodium, potassium and magnesium, help with fluid balance and muscle function, you probably don’t need them all the time.

Generally, if you’re taking a 90-minute technique class, the electrolytes you get from eating healthy foods should be sufficient, and drinking water before and after, and maybe during a break, should take care of your hydration needs, says Skolnik. “But if you’re taking back-to-back classes or it’s an intense rehearsal where you’re running a piece again and again, then you might benefit from a drink with electrolytes,” she says. If it’s been a few hours since your last meal, the carbohydrates in sports drinks can also rejuvenate you so you have more energy and focus to dance.

The other thing to pay attention to, says Skolnik, is your sweat. “If you have a white line on your leotard, that usually means you’re a heavy salt-sweater.” In this case, when you dance strenuously, your body is losing the sodium it already has, so it’s a sign you need to replenish that electrolyte. Dancers who have very clean diets may also need to replace their electrolytes sooner than others. Even if your food choices are typically healthy, they may not provide the sodium that you need.

Power Up with Flowers

This Valentine’s Day, consider treating a fellow dancer—or even yourself—to fresh flowers. Aside from their obvious beauty, research points to several positive side effects: One study by Rutgers University and La Salle University found that not only did women express a genuine smile upon receiving flowers, but they still had elevated moods three days later. If the chilly temps have got you down, some roses might just be the pick-me-up you need to boost your mood and, in turn, your dancing.

Andersen in Balanchine's "Valse-Fantaisie." Photo by Daniel Azoulay, Courtesy Miami City Ballet.

I got my corps contract on my 18th birthday. It was such a relief. I had convinced myself that I would be okay not dancing, but inside I just wanted to get a contract with Miami City Ballet.

I'd trained at Milwaukee Ballet School pretty much my whole life, and in 2014 I went to the MCB summer program and loved it. They invited me to stay for the year, and right when I got there, they offered me an apprenticeship. I spent the next two years as an apprentice. My second year I got to tour with the company and did Swan Lake, The Nutcracker and Bourrée Fantasque.

Once I was told that I had a contract, it felt like so much weight was lifted off my shoulders. Every single person came up and individually congratulated me. They were so kind, and ever since then they've been like a big family.

It's such a jump from being in a school setting to being in the company. I'm lucky that I was able to experience so much firsthand as an apprentice, but there were still some things that I couldn't get used to. As an apprentice, I would spend half my day rehearsing and taking class at the school, and the other half rehearsing with MCB. Once I got into the company, there was so much less work. It was hard to stay in shape and make sure that I was on top of my dancing. The ballet masters don't give you as many corrections, and I didn't have anybody there to discipline me. It was all self-motivation.

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Master pointe shoe fitter Josephine Lee is back, this time sharing her tried-and-true advice from the streets of New York City. While conducting a pointe shoe seminar at the Joffrey Ballet School's NYC Ballet Intensive, Lee put together a list of five things to keep in mind when choosing a summer program. Whether you're about to embark on this summer's intensive or are already thinking ahead for next year, these are good tips to keep in mind. And what better way to receive advice than while viewing a stroll through some of our favorite ballet-happy spots in NYC?

American Ballet Theatre's Cassandra Trenary seems to have it all—not only is our June/July 2016 cover star a dazzling soloist at ABT, she has a sunny, down-to-earth personality and a life-saving hero for a husband. But her first year in the company had its fair share of disappointments—in fact, she almost left dance altogether to pursue acting.

In May, the National YoungArts Foundation, an organization that provides scholarships and mentorship to aspiring performing artists, brought Trenary (herself a 2011 YoungArts winner) and ABT artist in residence Alexei Ratmansky together for a salon-style discussion. Together they talked about critical turning points in their careers, as well as the challenges of navigating the dance world as a young professional. Below are exclusive excerpts of their interview—we hope their words inspire you as much as they inspire us!



There's still time to enter YoungArts's national arts competition for a chance at scholarships, workshops and more. Click here for information on how to apply.

ADrian Durham in CPYB's production of "The Legend of Sleepy Hollow." Photo by Rosalie O'Connor, Courtesy CPYB.

As a teenager, Adrian Durham studied at his local ballet school in Lake Charles, Louisiana. "I was one of three or four guys training there, and there were no male teachers," says Durham. "Most of my partnering experience came from rehearsals for performances." But after he began training with the male scholarship program at Central Pennsylvania Youth Ballet in 2014, he experienced a sea change. "It challenged me mentally, physically and emotionally, because it's such an intense program," he says. Now 20, he is preparing for a professional career with an integrated set of tools: ballet technique, physical strength and partnering skills.

Men's ballet technique classes have been available for decades, especially at summer intensives and urban ballet schools. Yet programs designed specifically for male dancers, often offering full scholarships, have been rarer—until now, that is. Training that allows boys to separately explore their skills, above and beyond a supplement of double tours en l'air and pirouettes à la seconde at the conclusion of a mixed class, can literally give young men a leg up as they aspire towards a dance career.

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Alessandra Ferri in "Romeo and Juliet." Photo by Rosalie O'Connor, Courtesy ABT.

To watch Irina Kolpakova coach Swan Lake is to witness a true artist at work. Although long retired from the stage, the American Ballet Theatre ballet mistress still possesses a commanding presence and an instinctive artistic spirit.

"Don't think about your shape when you first see Siegfried," she tells principal Isabella Boylston during rehearsal for Odette's Act II entrance. "This is not 'port de bras.' This is 'Don't touch me!' " Kolpakova demonstrates, transforming instantly into the Swan Queen. Her eyes sparkling and alive, every inch of her diminutive stature swells with a palpable energy capable of reaching the highest ring of the balcony.

Call it stage presence, call it the "it" factor, some dancers just have a natural ability to draw people in and change the atmosphere around them. Stage presence can carry a dancer to a higher artistic realm. It's the final piece of the puzzle, the emotional heart of a performance that can bring an audience to tears. Without it, even the best choreography risks falling flat.

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Via Instagram

Last fall, Diana Vishneva shocked her NYC following when she announced that she would give her final performance with American Ballet Theatre on June 23, 2017. The Russian-born dancer has been part of ABT since performing in Romeo and Juliet as a guest artist in 2003, and has held the title of principal dancer with the company since 2005 in addition to her principal role with the Mariinksy Ballet. Throughout her time with ABT, which she spoke about in the below video for The New Yorker, Vishneva has danced as a guest artist with Bolshoi Ballet, Paris Opera Ballet and Berlin State Ballet.


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Karen Kain is internationally renowned as a performer and as the National Ballet of Canada's artistic director. The former NBoC principal always carries herself with the grace and sophistication of a true leader. However, in this 1976 clip from Giselle, the distinguished ballerina is convincingly naïve and bewildered in her interpretation of the mad scene.



Kain conveys Giselle's innocence at the start of the scene with pure, unaffected gestures and facial expressions. Then, after Albrecht betrays her, her eyes stare unfocused into the distance as if she's in a trance. Although this scene is mostly acting, Kain dances dreamily to the musical motif at 5:30 and conceals her technical strength in order to show the character's frailty. It takes a true ballerina to perform this heartbreaking and beautiful role, and with performances like this and her lifelong commitment to the art form, Kain proves that she is an extraordinary one. Happy #ThrowbackThursday!

Photo by Quinn Wharton

How can I wean myself off my coffee fix without experiencing headaches and crankiness that will disrupt my rehearsal process? —Lauryn

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