Have a question? Click here to send it to Amy and she might answer it in an upcoming issue!

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? —Frustrated

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.

My arabesque is stuck at 90 degrees. How can I make it go higher? —Talia, Florida

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.

 

Ballet Stars
Karolina Kuras, Courtesy NBoC

It's hard to imagine the National Ballet of Canada without ballerina Greta Hodgkinson. Yet this week NBoC announced that the longtime company star will take her final bow in March, as Marguerite in Sir Frederick Ashton's Marguerite and Armand.

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Sponsored by BLOCH
Courtesy BLOCH

Today's ballet dancer needs a lot from a pointe shoe. "What I did 20 years ago is not what these dancers are doing now," says New York City Ballet shoe manager Linnette Roe. "They are expected to go harder, longer days. They are expected to go from sneakers, to pointe shoes, to character shoes, to barefoot and back to pointe shoes all in a day."

The team at BLOCH developed their line of Stretch Pointe shoes to address dancer's most common complaints about the fit and performance of their pointe shoes. "It's a scientific take on the pointe shoe," says Roe. Dancers are taking notice and Stretch Pointe shoes are now worn by stars like American Ballet Theatre principal Isabella Boylston, who stars in BLOCH's latest campaign for the shoes.

We dug into the details of Stretch Pointe's most game-changing features:

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News
Alice Pennefather, Courtesy ROH

You ever just wish that Kenneth MacMillan's iconic production of Romeo and Juliet could have a beautiful love child with the 1968 film starring Olivia Hussey? (No, not Baz Luhrmann's version. We are purists here.)

Wish granted: Today, the trailer for a new film called Romeo and Juliet: Beyond Words was released, featuring MacMillan's choreography and with what looks like all the cinematic glamour we could ever dream of:

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Viral Videos

What do Diana Vishneva, Olga Smirnova, Kristina Shapran and Maria Khoreva all have in common? These women, among the most impressive talents to graduate from the Vaganova Ballet Academy in recent years, all studied under legendary professor Lyudmila Kovaleva. Kovaleva, a former dancer with the Kirov Ballet (now the Mariinsky), is beloved by her students and admired throughout the ballet world for her ability to pull individuality and artistry out of the dancers she trains. Like any great teacher, Kovaleva is remarkably generous with her wealth of knowledge; it seems perfect, then, that she appears as the Fairy of Generosity in this clip from a 1964 film of the Kirov's The Sleeping Beauty.

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