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No matter what I try, I have trouble turning. What exer­cises can I do to improve my pirouettes? What should I think about when I'm turning? —Kiana, CA

Turns are tricky—there's a lot of room for things to go wrong. For me, I've learned that I have to always make a good preparation, with square hips and shoulders and a substantial plié. Whenever my preparation is hesitant or sloppy, my turn is usually a mess. I asked Laszlo Berdo, a full-time faculty member at Central Pennsylvania Youth Ballet, for his pirouette tips. “You want to think of the passé as a working position, not a resting position," he says, comparing it to pulling a bow and arrow. “The supporting leg presses down into the floor, with the passé leg going up into the center. The higher the relevé, the stronger the balance."

He also uses imagery to help his students. “Think of a pirouette as a spiral," he says. “It's a corkscrew going up towards the ceiling, with its highest point being the last pirouette." This will help you pull up from your supporting leg.

Your port de bras can help you, too. “The arm opposite your passé is the working arm," says Berdo. “It cuts through the circle." Press the shoulders down, and relax your head and neck for a faster, more coordinated spot. Make extra time to practice your pirouettes during and after class. Ask a teacher to watch you to help pinpoint the possible reasons why you're having trouble.

I've heard that running is bad for dancers, that it builds bulky quads and shortens hamstrings. I naturally build muscle quickly, and I'm afraid that if I start running, my quads will get too big. But I want to exercise more to lose a little bit of weight. What is your view? —Gabrielle, CA

I've tried running before and personally, I find it too stressful on my joints. Since dancing is already hard on my body, I prefer to do lower-impact cross-training routines, like Pilates.

While sprinters are prone to developing bulky thighs, Heidi L. Green, a New York City physical therapist and freelance dancer, says that 20- to 30-minute jogs on flat surfaces shouldn't cause excessive muscle mass or tightness as long as you warm up properly beforehand and stretch afterwards. However, she agrees that running is hard on a dancer's body. “Choose a better option," she says, “like yoga, Pilates, swimming, the elliptical machine, riding the bicycle—something that's not going to add additional compression on the joints and lower extremities."

Green emphasizes that if you are trying to shed weight, the key is to add variety to your exercise routine, and if you don't cross-train, start. “Other­wise," she says, “your body is going to plateau." Try weight training in addition to aerobic exercise. “Weight-resistance exercise is great for weight loss because it burns more fat," says Green. “If you want to avoid bulk, do more repetitions with lighter weights." Consult with a personal trainer to develop an individualized exercise plan that will help you reach your goals in a healthy way.

I've had trouble with my back for months. I've been going to the chiropractor to correct it but it just isn't stabilizing. It's so frustrating and heartbreaking because I'm 17 and don't want this to hold me back from having a professional career. I'm icing, wrapping it when I dance, taking over-the-counter anti-inflammatories, etc. Is there anything else I can do? —Rachael, PA

It's hard for me to give you solid advice without knowing exactly what type of back problem you're having. Which makes me wonder: Do you know? Have you seen a doctor and gotten a proper diagnosis? I suggest you make an appointment with an orthopedic surgeon, ideally one who has experience working with dancers. Don't be afraid of the word “surgeon"—that doesn't mean you'll need surgery. (I've been to an orthopedist countless times and have yet to go under the knife.) The doctor will give you a consultation and may order tests, like an X-ray or an MRI, to determine the source and severity of your injury. He or she may also prescribe medication to help your symptoms, or refer you to a physical therapist to provide treatment and exercises for your back.

Be prepared: They may advise you to take some time off, which sounds scary but could be what your back needs to heal. You need a strong, healthy body to become a professional dancer, so take the necessary time to treat your injury.

Video still by Nel Shelby Productions, Courtesy Dancio.

"What if you could learn from the world's best dance teachers in your living room?" This is the question that Dancio poses on their website. Dancio is a new startup that offers full length videos of ballet classes taught by master teachers. As founder Caitlin Trainor puts it, "these superstar teachers can be available to students everywhere for the cost of a cup of coffee."

For Trainor, a choreographer and the artistic director of Trainor Dance, the idea for Dancio came from a sense of frustration relatable to many dancers; feeling like they need to warm up properly before rehearsals, but not always having the time, energy or funds to get to dance class. One day while searching the internet for a quick online class, Trainor was shocked to not be able to find anything that, as she puts it, "hit the mark in terms of relevance and quality. I thought to myself, how does this not exist?" she says. "We have the Daily Burn for Fitness, YogaGlo for yogis, Netflix for entertainment and nothing for dancers! But then I thought, I can make this!" And thus, Dancio (the name is a combination of dance and video), was born.


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New York City Ballet in "George Balanchine's The Nutcracker." Photo by Paul Kolnik, Courtesy Lincoln Center.

Nutcracker season is upon us, with productions popping up in on stages in big cities and small towns around the country. But this year you can catch New York City Ballet's famous version on the silver screen, too. Lincoln Center at the Movies and Screen Vision Media are presenting a limited engagement of NYCB's George Balanchine's The Nutcracker at select cinemas nationwide starting December 2. It stars Ashley Bouder as Dewdrop and Megan Fairchild and Joaquin De Luz as the Sugarplum Fairy and Cavalier.

While nothing beats seeing a live performance (the company's theatrical Nutcracker run opens Friday), the big screen will no doubt magnify some of this production's most breathtaking effects: the Christmas tree that grows to an impressive 40 feet, Marie's magical spinning bed, and the stunning, swirling snow scene. Click here to find a participating movie theater near you—then, go grab some popcorn.

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Artists of Pennsylvania Ballet rehearsing for "The Sleeping Beauty" for the 2017/18 season. Photo by Arian Molina Soca, Courtesy Pennsylvania Ballet.

Today the Pennsylvania Ballet's board of trustees announced the appointment of Shelly Power as its new executive director. Having been involved in the five-month international search, company artistic director Angel Corella said in a statement released by PAB that he's "certain Shelly is the best candidate to lead the administrative team that supports the artistic vision of the company." Power's official transition will begin in February. This news comes at the end of a few years of turmoil and turnover at PAB, including the departure of former executive director David Gray in June.

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Pointe Stars
Tiler Peck with Andrew Veyette in "Allegro Brillante." Photo by Paul Kolnik, Courtesy New York City Ballet.

"I was particularly excited when I saw my name on casting for Allegro Brillante in 2009," remembers principal dancer Tiler Peck. "Balanchine had said Allegro was, 'everything I know about classical ballet in 13 minutes,' and of course that terrified me." To calm her fear, Peck followed her regular process for debuts: begin by going back to the original performers to get an idea of the quality and feeling of the ballet and ballerina. "It is never to imitate, but rather to surround myself with as much knowledge from the past as I can so that I can find my own way," says Peck.

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Pittsburgh Ballet Theatre's 'The Nutcracker.' Photo by Rich Sofranko

Catching a performance of The Nutcracker has long been a holiday tradition for many families. And now, more and more companies are adding sensory-friendly elements to specific shows in an effort to make the classic ballet inclusive to children and adults with special needs.

While the accommodations vary depending on the company, many are presenting shorter versions of the ballet with more relaxed theater rules. Additionally, lower sound and stage light levels during the performance, as well as trained staff on hand, make The Nutcracker more accessible for those on the autism spectrum and others with special needs.

Pittsburgh Ballet Theatre's performance will take place on Tuesday, December 26th, and they are one of the pioneer companies in presenting sensory-friendly performances of The Nutcracker (their first production was in 2013). PBT also offers sensory-friendly versions of Jorden Morris' Peter Pan and Lew Christensen's Beauty and the Beast throughout the year.

See our list of sensory-friendly performances, and check out each site for all of the details regarding their offerings.

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Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

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Pointe Stars

At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


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