Think Twice Before You Ice

Lots of dancers like to ice sore muscles before heading into the studio, thinking that they’re doing themselves a favor. But they’re doing the exact opposite! A recent study at the University of Ulster and the University of Limerick showed that icing actually reduces muscle strength, bodily awareness and agility for 15 to 20 minutes afterwards. This is because the cold temperature slows nerve impulses, which prevents muscles and tendons from working together. The study also found that icing right before class or rehearsal could make a dancer more likely to get injured. If their muscles are numb, dancers might push themselves right past their limits and into an injury. Don’t write off icing all together—it’s still a great way to relieve pain if done after stepping off the marley for the day. 

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Courtesy Dance Theatre of Harlem

Cicely Tyson and the Enduring Legacy of Arthur Mitchell’s Dance Theatre of Harlem

Cicely Tyson, the legendary 96-year-old Black actress whose February 16 funeral at Harlem's Abyssinian Baptist Church was attended by, among others, Tyler Perry, Lenny Kravitz, and Bill and Hillary Clinton, is remembered for performances that transcended stereotypes and made an indelible impression on a nation's heart and soul.

Among the most fondly remembered is her breakout role in the 1972 movie Sounder, which depicts a Black sharecropper family's struggle to survive in the Jim Crow South. The role catapulted Tyson to stardom, winning her an Academy Award nomination and a reputation as someone committed to enhancing Blacks' representation in the arts. Throughout a seven-decade career, countless critically acclaimed, award-winning roles in films, onstage and on television reaffirmed that image. Yet one role reflecting the depth of that commitment is much less visible—the supporting one she played working with longtime friend Arthur Mitchell when he envisioned, shaped and established the groundbreaking Dance Theatre of Harlem.

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As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands

As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.

It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.

Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.

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Artists of the Australian Ballet perform the "Kingdom of the Shades" from La Bayadère. Lynette Wills, Courtesy Australian Ballet.

Catch the Australian Ballet’s Livestreamed Season Premiere This Weekend

After a yearlong hiatus, the Australian Ballet is ready to return to the stage. The company's season opener, titled Summertime at the Ballet, packs a great deal of firsts: It marks the ballet's first performance before a live audience since the start of the pandemic; the first time the company takes the stage under the leadership of its new artistic director, David Hallberg; and the first time Australian Ballet performs at the Melbourne & Olympic Parks Margaret Court Arena. Another important first: The performance will be livestreamed not only in Australia but all over the world. Summertime at the Ballet will be broadcast February 28 at 11:45 am AEDT (that's 7:45 pm EST on February 27 here in the U.S.), with bonus features, such as interviews and commentary. It will be accessible for 48 hours to accommodate all time zones.

This livestream will be provided via the Australian Ballet's newly launched digital platform, Live on Ballet TV. "One of my main goals is for the company to be seen by as many people around the world as possible," says Hallberg, the American-born international star who took the helm at the Australian Ballet in January. "Which is why Live on Ballet TV is such an integral part of my vision artistically."

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