Dancers strive to be as healthy as possible. They’ll look into almost any piece of nutrition advice they think might help them perform better onstage. But, despite good intentions, sometimes the guidance we get is simply wrong, or we misunderstand information. Don’t let your efforts become counterproductive: Avoid these nutrition myths that get passed around backstage far too often.
Myth: Always Choose Whole Grains
While whole grains and complex carbohydrates are your best sources for prolonged energy, if you eat them at the wrong time, they might not help your dancing. Have to be onstage after the next scene? Simple, easily digestible carbohydrates, like white bread or pretzels, are actually the better choice. “The closer you are to performance, the more simple foods you should choose,” says Heidi Skolnik, a New York nutritionist who works with dancers at the School of American Ballet. Complex carbohydrates digest slowly, so it can take a long time before your muscles can use them for energy. “There is a difference between eating meals for nutrients—like having a high-fiber lunch—and eating for immediate fuel, like right before class,” explains Skolnik. “White carbs won’t give you whole-grain nutrients, but they do carry easily accessible energy and calories.” She says even a handful of jelly beans will give you a boost.
Remember, if the body doesn’t have enough carbohydrates to draw from onstage, you could end up feeling lethargic and having trouble concentrating. Plus, if you’re bloated from eating only whole grains too close to performance, those fouettés will be harder to nail.
Myth: Fresh Produce Is Always Best
Don’t look down on frozen, canned and dried fruits. “Frozen produce actually retains the most nutrients because it is harvested at peak freshness and doesn’t decay as quickly as fresh produce,” says Melissa Ireland, a sports dietitian who works with Los Angeles Ballet Academy. A recent report in the Journal of the Science of Food and Agriculture found that fresh fruits and vegetables lose their nutrients during shipping and while sitting on shelves than frozen or canned produce. Some dried fruits end up having more nutrients as well—just watch for added sugar. And if sodium is a concern when eating canned vegetables, simply wash them in water!
Myth: Cutting Out Gluten Is a Good Idea
Going gluten-free is trendy right now. But unless you think you have a diagnosed gluten intolerance, eliminating gluten simply to lose weight can backfire. “Many foods with gluten are packed with fiber, phytonutrients and essential B vitamins that athletes need,” says Emily C. Harrison, dietitian at Atlanta Ballet’s Centre for Dance Nutrition. “And in order to make gluten-free foods palatable, many manufacturers add things like sugar, which increases the calorie count.” Go to a dietitian to investigate your true gluten needs before restricting or cutting it out of your diet.
Myth: Red Meat Is Bad for You
Many health-conscious dancers think they should steer clear of red meat’s hormones, antibiotics and animal fat. But the iron and zinc found in red meat is beneficial, especially for women. “We’re not talking about a slab of prime rib,” Skolnik says. “But three ounces of lean red meat has three to nine grams of fat (less than a Snickers bar), and is a great source of proteins and nutrients.” Plus, because meat contains all of the essential amino acids, it is a complete source of protein, meaning your body can easily use it to build muscle.
Myth: Drink When You're Thirsty
Water is a dancer’s best friend: It transports oxygen and nutrients to working muscles and carries waste away. But if you wait to drink until you’re thirsty, you’ll already be dehydrated—which puts your body at risk of injury. “Dancers often restrict water intake to prevent frequent trips to the bathroom,” says Ireland. “But while the old adage of drinking eight cups of water holds true for non-athletes, active individuals need substantially more.” She suggests drinking one half to one ounce of water per pound of body weight instead—which can put the total at closer to 16 glasses a day.
Myth: Dancers Shouldn't Eat Fat
“Dancers are in such a competitive environment and so they think, ‘If I don’t eat fat, I won’t be fat,’ ” says Harrison. “But that’s not healthy.” Your body needs fat to absorb vitamins D, A, E and K, and to help maintain hormone levels. Plus, it also helps keep your stomach from growling in between meals because it fills you up better than protein or carbohydrates alone.
The key here is choosing wisely. Fats from sources like avocados, nuts, olive oil or a bit of cheese will help you digest and absorb nutrients from all those greens you pride yourself on eating—and it will help you feel more satisfied, too.
Myth: Never Eat Late at Night
The old school of thought said that eating late was a no-no. But it depends on your schedule. When you have night shows or evening rehearsals, you need to be more flexible. While you don’t want to eat straight up until bedtime, it’s completely appropriate to have a snack two hours before. “Just pace your day,” Skolnik says. “Two-thirds of your calories should be consumed by the time two-thirds of your day is over.” Planning for a post-performance bite will also help you avoid late-night panics. “If you make rules that are black and white,” warns Skolnik, “you will delay eating for so long that when you do eat, you might eat more.”
Myth: To Be Healthy, You Must Eat Healthy All the Time
While nutritious foods should make up the bulk of your meals, there is absolutely room for indulgences. Becoming obsessive or inflexible can lead to an eating disorder. According to Skolnik, 10 to 15 percent of your diet should be considered discretionary, so if you are eating 2,000 calories, let yourself spend 200 to 300 on your favorite treats.
Be the Worst
Taking class with more advanced dancers can be a humbling test of your pride. But don’t shy away from the challenge—it could help you improve. New research suggests that training alongside people you see as more skilled than yourself motivates you to work harder and longer. Sign up for a class outside your comfort zone at least once a week. And in any level, stand next to the best dancer in the studio. Then let your competitive energy push you to be even better.
The Antidote to Carbs
Good news: This Nutcracker season, you can enjoy some Christmas cookies backstage without the second-act energy crash. How? Just wash them down with a glass of green tea. A study published in Molecular Nutrition & Food Research found that mice had about half the typical spike in blood glucose when their starchy food was accompanied by a green-tea compound. It turns out the top antioxidant in green tea, EGCG, slows down the digestion of carbohydrates, so it helps keep your blood sugar more stable. All you need is 12 ounces with your cookies, and you’ll make it through “Waltz of the Flowers” just fine.
Pilates vs. Yoga
Two of the most popular cross-training options for dancers are Pilates and yoga. But which one offers the best benefits? When you look at the scientific research, it turns out that the answer depends on your goal.
Pilates: If you want to increase your core strength, Pilates is your answer. The classes focus on building your abdominals and back muscles, and have been proven effective. Pilates is also known to improve alignment as well as muscular balance. However, there’s little evidence that the exercises significantly decrease body fat or add muscle in any other part of your body.
Yoga: The practice’s flowing exercises and plank positions have been shown to strengthen the entire upper body. In a 2011 study, young people who did sun salutations regularly for six months were able to bench-press significantly more weight and complete more push-ups than at the start of the study—even when they did no other resistance training. Yoga’s focus on regulated breathing and meditation also offers therapeutic effects, improving mood and reducing stress, which makes it a great option during intense rehearsal or performance periods.
The Science of Marking
Marking is more than just a way to give your body a break during rehearsal—it might actually improve the quality of your performance. A recent study published in Psychological Science found that dancers who marked a variation ended up performing it more fluidly than a routine they’d only ever danced full-out. Setting aside time to focus on the mental challenge of learning choreography better ingrains the sequences in your memory. That means the steps will come more easily once you get onstage, leading to more seamless transitions. Just be sure to get the go-ahead from your choreographer before substituting hand positions for pirouettes.
Grape Lovers Are Healthier
Could grapes be the secret fountain of youth? Recently published research shows that frequent eaters of this vitamin-packed fruit are more likely to have healthier diets and consume more key nutrients than non-grape eaters. So far, researchers have not found the connection, but until they figure it out, it can’t be a bad idea to stash some in your dance bag. (Raisins do the trick, too.)
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Jan 20, 2021
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Ask Amy: How Can I Make the Most of Performance Opportunities in a Pandemic?
My school is connected to a professional company that operates on a show-to-show basis. Students can audition for company performances when they're 15. My 15th birthday is in February, and I think that our directors are choosing people to participate in virtual performances based off of whether they have performed with the company before. This was supposed to be my big first year with the company, but COVID-19 has changed that. How do I make it known that I want to participate? Do you think I should wait until things are more normal? —Lila
<p>There's no question that the coronavirus pandemic has forced companies to make adjustments to their seasons and rosters. But even if your local company is only working with dancers who've performed with them before for their upcoming show, there's no harm in letting them know that you'd love to be considered. You'll be within the age requirements, plus you attend the affiliated school and have a history with the organization. Why not see if it's a possibility?</p><p>Since you are still a student, I would first speak with your teachers. Remind them that you'll be turning 15 and eligible for the company's spring performance. They can best direct you on how to convey your interest to the artistic staff, since they understand the culture and structure of the organization. For instance, they may prefer to speak to artistic staff on your behalf, or they might suggest that you email the company manager (the person who typically filters audition applications for the director). Or, they may tell you to contact a member of the company's artistic staff. An email is probably best if you don't work with the director or ballet masters frequently, but this is a better question for your teachers.</p>
<p>Once you have established what the proper channels are, think about what you want to say. Keep it honest and professional: that you've grown up dancing at the school and watching the company and would love to audition for the spring virtual performance. If you know anything about the choreographer or the work that is being performed, say what you admire about it. Acknowledge that spots might be limited because of COVID-19, and that you would be willing to be an understudy. (Understudying is an important stepping-stone: You can learn so much from being in rehearsals with the company, even virtually, and being prepared to go in for someone will make a strong impression.) You may also want to include a video link of your dancing if the director isn't familiar with it. They may or may not offer you a position, but they'll at least know how you feel and that you're serious enough to make it known.</p>
<p>And if it doesn't work out this year? Take heart—you are still young, and there will be more opportunities once the pandemic passes. If you have ambitions to dance professionally, this will be good practice for preparing cover letters for company auditions in the future.</p><p><em></em><em>Have a question? Send it to </em>Pointe<em> editor and former dancer Amy Brandt at <a href="mailto:askamy@dancemedia.com" target="_blank">askamy@dancemedia.com</a>.</em></p>
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Jan 20, 2021
Courtesy ABC
Dance Theatre of Harlem’s Alicia Mae Holloway Talks About Her Time on ABC's “The Bachelor”
Bunheads tuning in to the season premiere of ABC's "The Bachelor" on January 4 may have recognized a familiar face: Dance Theatre of Harlem's Alicia Mae Holloway, literally bourréeing out of a limousine to greet bachelor Matt James. While Holloway unfortunately didn't get a rose that night, she did thoroughly enjoy being the long-running reality franchise's first professional-ballerina contestant, as she told Pointe in a recent Zoom call.
<p><strong>Have you always been a fan of "The Bachelor"?</strong></p><p>My friends would watch it back when I was a student at the School of American Ballet. I watched one episode and was like, "What is this?! Why would people do this?!" A few years later, I started Colton Underwood's season because I was feeling really left out in my group chats. I binged the whole season and became obsessed.</p><p><strong>How did you get cast?</strong></p><p>One of my best friends (Jacqueline Bologna, of New York City Ballet) told me to apply. I wasn't sure but filled out the online application anyway—and promptly forgot about it. One day, I got a random call from L.A. The voicemail said, "Hey Alicia, this is so-and-so from ABC's 'The Bachelor,' and we're really interested in you." It all happened from there!<strong></strong></p><p><strong>During the audition process, did you emphasize your career and identity as a ballerina?</strong></p><p>Absolutely.</p>
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Alicia Mae Holloway
Renee Choi, Courtesy Holloway
<p><strong>Did you have any misgivings about going on the show, like whether the ballet world would view you differently?</strong></p><p>That was at the forefront of my mind throughout this whole process. I'd read articles about people who lost their jobs and couldn't find another one after coming off the show. That was my main concern, because my career has always been first and is always going to be first. But I felt in my heart that this was something I really wanted to do. I decided that if people don't want to work with me because I did something I wanted to do, that's on them and they're missing out on me.<strong></strong></p><p><strong>Were you concerned about taking time off from Dance Theatre of Harlem?</strong></p><p>At DTH we tour 16 to 18 weeks out of the year. Obviously, we can't do that now due to COVID-19, so we've been doing virtual classes and workshops. The company got to go to Kaatsbaan in the fall, which looked amazing—I obviously was not there. Basically, I realized that now was the time to go on "The Bachelor" if I was ever going to do it. We just got back to work in the studio last week, so I think the timing all happened perfectly.</p>
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<p><strong>Did you feel any kind of pressure to represent ballerinas—and ballerinas of color—on national television?</strong></p><p>Arthur Mitchell, who founded DTH, said something once that stuck with me: "Cinderella doesn't walk into the ball. She arrives." What that says to me is, you have to present yourself in the best way possible all the time. You always have to be the best version of yourself and present yourself with the most class and integrity. I do want to be a role model and uphold my reputation, because I never had a professional ballerina who looked like me to look up to when I was young.</p><p><strong>How did you plan to keep up your technique and stamina while on the show?</strong></p><p>Before I left, I made a promise to myself and to my boss that I'd give myself daily ballet class. I wrote down at-home workouts and my favorite pointe exercises, and I brought two pairs of pointe shoes: one newer and a more dead pair for building my strength with.</p>
<p><strong>You got a lot of screen time in the premiere episode (watch it <a href="https://abc.com/shows/the-bachelor/episode-guide/season-25/01-week-1" target="_blank">here</a>), prepping your pointe shoes and dancing around the resort.</strong></p><p>Yeah, I was shocked by how much they ended up showing! I just wanted to showcase my real daily life as a dancer.</p><p><strong>Did you pre-choreograph that (amazing) exit from the limo?</strong></p><p>It literally came to me in the moment. At first I thought I might do a grand jeté, but immediately realized the dress was not made for it!</p><p><strong>How did the other women react when they learned you're a ballet dancer?</strong></p><p>Honestly, they were so kind. Everybody went, "Oh, my gosh, I've never met a real-life ballerina!" There weren't any ignorant or awkward questions. It was validating to get such a positive response.</p>
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<p><strong>Understandably, there were a few tears in your interview after the rose ceremony. What was going through your mind when you realized your "Bachelor" journey was over?</strong></p><p>There were a lot of emotions. To viewers, the night seems short, but it is <em>long</em>—and I'm an emotional person. What got me through was reminding myself that everything happens for a reason. I was very upset that I didn't get to speak to Matt because we have things in common. He went to Wake Forest University in Winston-Salem, I went to the University of North Carolina School of the Arts in Winston-Salem. He lives in New York, I live in New York. He has a white mom and a Black dad, I have a white mom and a Black dad. I was obviously sad when I left, but I do feel like Mrs. James could be in that amazing, intelligent, badass group of women. I left feeling that Matt was in good hands.</p><p><strong>Has the show changed your life at all?</strong></p><p>My Instagram following went up, and I've gotten more offers to do photo shoots and stuff like that. I shot my first music video in December. The reaction from the dance world has honestly been nothing but great. I really thought people would throw shade, but everybody has been so supportive. I've gotten a lot of messages from people who were mad I was voted off. <em>[Laughs]</em></p><p><strong>What have you been up to since the show?</strong></p><p>Life has been great overall, though I didn't get to work with DTH from the end of September until January 4. I was a little bored at first, in part because I couldn't go on social media in case people figured out I got eliminated. So I kept myself busy and created routines, because I thrive when I have a set schedule. I taught at SAB for a week back in the fall, and I taught a lot in Pennsylvania and in West Virginia, where I'm from. I'm now back in New York and ready to return to the studio with DTH.</p><p><strong>What advice do you have for other ballet dancers who are presented with an opportunity like this?</strong></p><p>If your gut is telling you to do it, go for it. Life is short! If you can make it work while keeping your dance career your number-one priority, then I would highly recommend going for an unconventional, once-in-a-lifetime chance.</p>
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Jan 11, 2021
Jayme Thornton for Pointe
Join Us for a Q&A With ABT's Gabe Stone Shayer on January 21
Gabe Stone Shayer, American Ballet Theatre's newest soloist, has long been a standout onstage. But the 27-year-old dancer—the first African-American male to graduate from Russia's Bolshoi Ballet Academy—is also branching out into choreography and spearheading a flurry of creative projects. Shayer has big ideas for ballet's future. "I want to be the person who facilitates the idea of possibility in this historically exclusive world," he told us in our December/January digital cover story. "And I want to present the possibility of success through my own story."
Now you have a chance to ask Shayer about his training and career, his advice on navigating a path in ballet, his recent work with Alicia Keys, his thoughts on diversity in dance and more. Click here to register for free with your questions. Then tune in for an exclusive conversation and Q&A with Gabe Stone Shayer on Thursday, January 21, at 7 pm Eastern.
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