Show and Tell: Inside Jeanette and Patricia Delgado’s Dance Bag

Even without knowing their last name, it’s easy to tell that Patricia and Jeanette Delgado are sisters. They share the same appealing verve, but the contents of the two Miami-born Miami City Ballet principals’ dance bags have their distinctions. Some are more obvious than others. Both carry Lululemon dance bags, but different styles. “Mine has a place for sweaty clothes and tons of pockets,” says Patricia. And while they both keep their pointe shoes in a separate bag, for Patricia, the norm is 12 pairs, and for Jeanette, 8. What each sister can’t do without differs, too. For Patricia it’s the little black bag that contains her foot first-aid kit. For Jeanette, it’s her Luna bar. “I have an early breakfast, then class and three hours of rehearsal before lunch. After that first hour of rehearsal, I really need that bar,” says Jeanette. Neither dancer is superstitious, but Patricia relies on her iPod to keep herself grounded. “If I have a stressful rehearsal where I need to be calm, then I put my iPod on shuffle and tune everyone else out,” says Patricia. “It puts me in the moment.” What do they borrow from each other? “Sometimes sewing supplies. But I always know Patricia has her first-aid kit if I need something!” says Jeanette.

The Goods
Jeanette––Luna Bar, Traumeel (an anti-inflammatory ointment), folder for rehearsal notes and Yumiko dancewear info (she and another MCB dancer are reps for the leotards), cell phone (kept on vibrate), iPod; styling gel, hairspray, comb, pins, clips; Sigg limited-edition bottle from a Radiohead concert, deodorant, Sumbody vanilla body splash, pen, small mirror, make-up bag, scissors, rehearsal Don Q fan, corn pads, toe tape, pumice stone, 2nd Skin, foot massage ball, dental floss for sewing shoes, leg warmers, elastics to hold them up, Thera-Band, earring bag

Patricia––Bag with toe tape, corn cushions, toe spacers, 2nd Skin, moleskin, Neosporin; pen, sewing supplies, scissors, super glue, Sigg aluminum water bottle, tennis ball, foot massage ball, CryoDerm, Clif Builder’s Bars, journal, Anthropologie lip balm, Arnica tablets, Emergen-C, iPod, rehearsal CDs, CVS brand body splash, Burt’s Bees hand sanitizer, Traumeel; Thera-Band, plastic shorts, sweater, rehearsal Don Q fan, skirt

Latest Posts


Getty Images

Ask Amy: How Can I Overcome My Fear of Pirouettes on Pointe?

I have a terrible fear of falling when doing turns on pointe. I sometimes cry in class when we have to do new turns that I'm not used to. I can only do bad singles on a good day, while some of my classmates are doing doubles and triples. How can I get over this fear? —Gaby

Keep reading SHOW LESS
xmb photography, Courtesy The Washington Ballet

The Washington Ballet's Sarah Steele on Her At-Home Workouts

Ballet at home: Since she's not preparing for any immediate performances, Steele takes ballet barre three to four times a week. "I'm working in more of a maintenance mode," she says, prioritizing her ankles and the intrinsic muscles in her feet. "If you don't work those muscles, they disappear really quickly. I've been focusing on a baseline level of ballet muscle memory."

What she's always working on: Strengthening her glute-hamstring connection (the "under-butt" area), which provides stability for actions like repetitive relevés and power for jumps. Bridges are her go-to move for conditioning those muscles. "Those 'basic food group'–type exercises are some of the best ones," she says.

Keep reading SHOW LESS
Getty Images

Hiding Injuries: Why Downplaying Pain Can Lead to Bigger Problems Down the Road

Sabrina Landa was thrilled to be offered a traineeship with Pennsylvania Ballet. "As a trainee, everything felt like a chance to prove myself as a professional," she says. Her training hours increased and she was dancing more than she ever had before. When Landa began experiencing pain in her metatarsals partway through the 2018 Nutcracker season, she notified the staff. "But in fear of losing my shows, I downplayed the severity of it," Landa says.

She notes that no one pushed her to keep dancing but herself. "I was 18 and was aiming to receive a contract by the end of the year," she says. "I felt so much anxiety over missing an opportunity that I was afraid to be honest about my pain." Pennsylvania Ballet's artistic staff were understanding and supportive, but Landa minimized her injury for the next few months, wanting to push through until the season ended and contracts were offered. But after months of pain and an onset of extreme weakness in her foot, Landa was diagnosed with two stress fractures in her second and third metatarsals. She spent the next three months on crutches and six months off dancing to allow for the fractures' delayed healing.

Keep reading SHOW LESS

Editors' Picks