It seems like every other week I have a new injury: hip issues, Achilles tendonitis, back problems. I’m afraid this will stunt my career— it’s hard to improve when I’m always injured. What can I do?
Injuries are exasperating, but nonetheless a part of our profession. Make sure you’re taking time to heal properly. It’s tempting to try to push through when you should be resting. I developed a rare hip injury early in my career. I could barely lift my leg, but I was so anxious about casting that I did not have it properly evaluated for months. Well, I didn’t get the part, and I permanently damaged my hip. I also developed knee and ankle problems as a result of compensating.
Use the time off as an opportunity to learn about your body’s weaknesses, quirks and asymmetries. I found that my right hip socket cocks slightly inward, so certain muscles are weaker. Now I regularly stretch and strengthen that side to prevent further strains.
Once your body is well enough to get back to class, don’t be embarrassed if you need to modify combinations for a while. You’ll learn to work correctly, which will benefit your dancing in the end.
I’m never satisfied with my pointe shoes. I’ve tried several and they always make my feet look more turned in than they actually are! What should I do? —Janice, California
Pointe shoes can sometimes magnify imperfections. In all honesty, maintaining turnout is more difficult once you’ve got the boots on. Make sure you’re taking a sincere look at your technique and not just blaming your shoes.
That said, finding the perfect pair takes a while. I’ve changed my shoes many times during my career. Find a professional fitter to measure your feet and recommend shoes based on your foot type. “Look at the box shape of your shoe,” says Mary Carpenter, a New York–based teacher and shoe fitter. “If you have a square foot and you’re wearing a tapered box, it’s going to twist. If you have a narrow, tapered foot and you wear a square box, you’re going to sink in it.”
There are also tricks that can improve the look of your shoe. Some dancers criss-cross their elastics to tighten up excess material, or sew the sides down lower. Consider trying a special-order shoe. They take a while to come in, but you can customize everything to your liking.
I’m so glad you asked—I used to have the same problem! Thankfully, my arabesque significantly improved over time. It’s still not great—94 degrees on a warm day—but at least it’s acceptable.
I suspect you either have an inflexible back or you’re holding your arabesque improperly. Or both, as was my case. Luckily, a teacher taught me a great exercise that can help you increase flexibility and find proper placement.
You’ll need two portable barres and a mirror. Set the barres parallel to the mirror, one about four feet behind the other. Take an arabesque, placing your foot on the back barre and your hands on the front barre. Observe your position. Are your shoulders down and square, ribs aligned, hips pulled up, arabesque leg turned out and behind you? (Use a lower barre if you can’t maintain the correct position.) Take three slow, deep pliés, keeping your upper back lifted. After the third plié, lift your back leg off the barre (without compromising your shoulders), hold, and lower the leg back down. Repeat, for a total of four times on each side. Stretch your back and hips in the opposite direction as soon as you’re finished. My flexibility, position and strength improved, and hopefully yours will, too.
Talking to Amy: Houston Ballet Principal Barbara Bears
I’ve had four foot surgeries, and have unfortunately experienced trickle-down injuries when coming back. You tend to compensate when you’re not 100 percent, so other things flare up. As dancers, we have to listen to our bodies. If something’s bothering you, talk to your instructor and then have it looked at by a dance medicine specialist. If you have several serious injuries, look at how you’re working. Are you not wearing the proper shoes, or not warming up well enough before class? Do your own little bit of investigating.
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