Your Best Body: Running for Dancers

Most people in the ballet world will tell you not to run. “It will wreck your knees.” “Your thighs will get bulky.” “All that impact will shorten your career.”

Yet, in many ways, running would seem to be the ideal exercise for dancers. The repeated bounce strengthens your bones. The motion forces you to move in parallel, activating muscles that ballet dancers usually don’t use. Thirty minutes torches about 300 calories. The sustained effort makes your lungs and heart more efficient, increasing your stamina—and since a whopping 90 percent of dance injuries result from fatigue, that isn’t a perk to take lightly.

The truth is, dancers need to supplement their ballet training with aerobic activity: Studies show that technique class isn’t enough to prepare dancers for performance—the physical intensity of a show has higher aerobic requirements. Running is one of the quickest ways to make up the difference. “The problem is that running is a high-impact activity and dance is already high-impact,” says Nancy Kadel, MD, an orthopedic surgeon and chair of the Dance/USA Taskforce on Dancer Health.

Although running is actually gentler than ballet (the force of landing from a leap is equal to about 12 times your body weight; when running, it’s seven to eight times), running adds more strain to vulnerable joints. “That doesn’t mean dancers shouldn’t run,” says Kadel, “but you need to be smart about how you do it.”

Start Smart
The most common pitfall of running is attempting too much too soon. “Dancers are highly fit, so they’re tempted push right from the beginning,” says Emery Hill, an athletic trainer with Houston Ballet. You need to build up slowly to get the benefits without risking injury.

Before you begin a running regimen, prepare your body by practicing squats and lunges in parallel regularly. “Because ballet is a hyper-specific activity,” Hill says, “you need to strengthen other muscles with more general motions to handle a long run.” Start by briskly walking for 30 minutes two or three times a week. After a couple of weeks, walk for 15 minutes, run for 5, then walk the rest. Every 10 days, gradually increase your running by two minutes and decrease your walking, until you’re running the entire time.

Training Schedule

Once you’ve gotten into a groove, aim for 30- to 45-minute runs. More is not merrier here: Running for longer than an hour can work against you. “You don’t want to fatigue the body to the point where it can’t cope,” says Leigh Heflin, MSc, education and administrative coordinator for the Harkness Center for Dance Injuries at NYU Langone Medical Center’s Hospital for Joint Diseases. Overtraining can stress your hips, knees and ankles. “Muscle soreness is okay,” says Kadel, “but if you’re having joint pain, tendon discomfort, swelling or any localized pain to the bone, stop running and see a physician.”

How often you run depends on your dance schedule. Pacific Northwest Ballet principal Maria Chapman runs three to five times a week during the off-season, going for up to 50 minutes, but when her rehearsal schedule gets heavy, she does a 15- to 20-minute jog with speed intervals two or three times a week. “I have to tailor my running to my job,” she says. “I can’t be exhausted at work.”

Her strategy falls right in line with most trainers’ recommendations. “As you get closer to the show, run intensely but for less time, to get the body used to the high intensity of a performance,” says Hill. Early in the season, you can run three times a week, but during shows cut back to once or twice a week, aiming to hit 70 to 80 percent of your maximum heart rate for 15 to 20 minutes. (You can find simple heart-rate calculators online.) Don’t stop running altogether, or you’ll lose the endurance you built.

Form Issues
Pay attention to how you run. Although the motion forces most people into parallel, if your feet stubbornly turn out, try to bring them forward or else you could cause problems in your lower back or inner knee. Also, because dancers typically have tight calves, many push off from the ball of the foot, which can cause calf pain and aggravate the Achilles tendon. Aim for a rear- to mid-foot strike so that you roll through the entire foot.

Don’t stretch beforehand—you don’t need to increase your range of motion the way you would before dancing. Stretching can actually decrease muscle strength by as much as 30 percent for up to 30 minutes. Instead, stretch after your run, focusing on the calves, quads and hips.

Shoe Savvy

Just as dancing on a sprung floor is easier on your joints, so is running on a softer surface like grass or a cushioned track. But concrete sidewalks can work just fine if you have the right shoes. Skip the minimalist/barefoot hype; modern-day surfaces weren’t designed for naked feet, and running without solid shock absorption can lead to stress-impact injuries. Running shoes are engineered to support your body, correcting problematic twists of your ankles and diminishing the force of impact on hard ground. Get fitted for a pair by a running consultant at an athletic shoe store. They’ll be able to find what’s right for your foot and body type, and might even offer gait analysis.

Beyond the Physical

One benefit to running that ballet—or even the elliptical machine—can’t give you is the fabled “runner’s high.” Running for at least 30 minutes increases the body’s levels of endocannabinoids, chemicals that naturally lift our mood. Chapman knows the feeling well. For her, the chance to ditch the studio for a lakeside trail is just as important as improving her stamina. “When I’m running, it’s just me, my dog, and the wind and silence,” she says. “I’m kind of addicted.”

Facts and Fictions
Despite a common myth, running won’t create Arnold Schwarzenegger thighs. “It isn’t a strength-training or power exercise, so it’s not going to build up your legs, unless you’re genetically predisposed to bulking,” says Leigh Heflin, MSc, education and administrative coordinator for the Harkness Center for Dance Injuries at NYU’s Langone Medical Center. “And if you are, ballet class will already have done that.” On the contrary, running can actually make you leaner: It burns about 10 calories per minute (compared to 2 per minute in a typical ballet class), most of which comes directly from fat and carbohydrates.




One at a Time
How are those New Year’s resolutions coming along? Chances are your motivation is starting to lag: Research shows that up to 80 percent of resolutions are broken—most within the first three months.

Make sure you’ve set yourself up to succeed. Self-control is a finite resource that runs out as you use it, just like gas in a car. A recent study at Florida State University found that students who were told not to eat from a plate of cookies gave up on brain teaser exercises much sooner than those who were allowed to snack away. If your goal is to take Pilates more often, let yourself indulge in other areas, like updating your wardrobe. Once Pilates becomes a habit, it will be much easier to tackle additional goals.


Your Perfect Workout Partner
Athletes of all stripes swear by sports drinks to help them perform at their peak. But it turns out that a simple banana is just as effective. When researchers gave cyclists either a cup of sports drink or half a banana every 15 minutes over a 46-mile ride, both groups finished in the same amount of time with the same levels of energy-supplying glucose. That’s because bananas naturally have a near-perfect mix of carbohydrates, vitamins and antioxidants. Stash one in your dance bag whenever you need to sustain your strength for a long day of rehearsal. 


Spice It Up
Forget bland, tasteless “health” food. You’re better off loading up your dinner with spices. Recent research shows that people eat about 5 to 10 percent less of a meal when it has a strong aroma. If you sprinkle on some rosemary or Szechuan pepper, you’ll enjoy your food more—and eat fewer calories.


Cool It
The key to a longer, stronger workout might be found in an unlikely place: cold hands. A recent study found that when women held a cooling device while exercising, their walking speed increased, their blood pressure dropped and after 12 weeks they lost an average of three inches from their waists. Apparently, chilling your hands sends cool blood back to your heart, which helps to decrease fatigue and boost endurance. Pack your water bottle with ice and hold it between combinations during your next class. It?’s a quirky trick, but you just might feel a bit of an extra lift in your grand jeté.


Battle of the Nut Butters
Most dancers are nut butter fiends. But is one option better than the rest? The calories, fat and protein are all roughly the same in each nut butter. The differences lie in the nutrients—particularly vitamin E, says Emily Harrison, MS, RD, LD, a dietitian at the Centre for Dance Nutrition in Atlanta. “Vitamin E is relatively hard to find in most dancers’ diets because it’s often in sources of fat. But it’s an important antioxidant that helps with recovery after hours of dancing.” With almost half of your daily vitamin E needs, sunflower seed butter is the winner. “But they’re all great sources of protein and good fats, so it really comes down to taste preference,” says Harrison. Just be sure to avoid brands with added sugar. And if you can, reach for varieties with blended flax seeds, which will also give you helpful omega-3s.

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After 25 Years, Victoria Morgan to Step Down as Cincinnati Ballet's Artistic Director

Last month, Victoria Morgan announced that she will step down as Cincinnati Ballet's artistic director at the conclusion of the 2021-22 season. The organization's board of trustees has formed a committee to conduct a national search for her replacement.

Prior to coming to Cincinnati Ballet in 1997, the Salt Lake City native was a principal dancer with San Francisco Ballet and Ballet West, as well as resident choreographer for the San Francisco Opera. She graduated magna cum laude from University of Utah, where she also earned her MFA, and has judged several international ballet competitions.

Entering her 25th and final season as director, Morgan has accomplished a lot at Cincinnati Ballet, not the least erasing the $800,000 in company debt she inherited at the outset of her tenure. To right the organization's financial ship she had to make tough choices early on—the first task the company's executive committee gave her was to release a third of the company's dancers. In her continuing effort to overhaul how the organization did business, in 2008 she became both the artistic director and CEO and set about building the company's now $14.5 million endowment. For the 2016–17 season, with the arrival of new company president and CEO Scott Altman, Morgan returned to being full-time artistic director and helped lead the realization of the organization's new $31 million home, the Margaret and Michael Valentine Center for Dance.

A champion of female choreographers, Morgan has also choreographed numerous ballets for the company, including world premieres of King Arthur's Camelot and The Nutcracker. She has also helped orchestrate several company collaborations, including 2013's Frampton and Cincinnati Ballet Live and joint productions with BalletMet.

Pointe caught up with Morgan to talk about her recent announcement.

Victoria Morgan is shown from the side standing on stage right, turning to smile at a line of costumed dancers to her left during bows. She wears a patterned green dress with chunky green high heels and holds a red rose in her hand.

Peter Mueller, Courtesy Cincinnati Ballet

Why leave Cincinnati Ballet now?

It's been an amazing run and I have seen it all. I am not sure where I would go from here. I also feel there is a required stimulus and infusion of new ideas and energy that always needs to be a part of a growing, evolving and exciting arts organization.

What made you happiest at Cincinnati Ballet?

The people, from the devotion of patrons and donors to learning from and feeling the pride in work from the staff. It has also been so satisfying for me to choreograph on and watch so many dancers evolve in their dance careers and lives.

Were there things you wanted to do for the company that you weren't able to?

There were other collaborations I wanted us to explore and choreographers I wanted us to work with. It takes quite an investment to make those happen.

Your legacy includes actively creating opportunities for female choreographers. What motivated that?

I started realizing, in a profound way, the gender inequities in our art form. Because I was in a leadership position, I thought I could do something about this and try to get to a 50-50 balance of male and female choreographers. It took a little time to find women to step forward, but it happened. Now there are many more prominent female choreographers, including our resident choreographer Jennifer Archibald, and I am proud of that.

If you could handpick your successor, what qualities would you look for?

Somebody creative, charged up, and who can be visionary. Someone who has had a high-level experience in our art form. A leader who is demanding but also kind and supportive, and who opens doors to find new ideas while still embracing Cincinnati Ballet's philosophies.

What do you feel will be one of the biggest challenges for the new artistic director?

The important cause of DEIA (diversity, equity, inclusion, accessibility). Whoever steps into that position has to have awareness of the culture of today's conversation.

Do you plan to keep choreographing?

I am not being proactive about it, but if the opportunity presents itself, it would be fun.

What's next?

I feel my next calling is bringing movement to the biggest segment of our population, baby boomers. I want to be part of an initiative that makes moving and wellness enjoyable and enlivens people.

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