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I recently watched your YouTube video on exercises for the intrinsic muscles of the feet. I have a question about the doming exercise. When doing the movement, I find it impossible to keep my toes long. The same is true for when I point my feet. I have a hard time lengthening my toes, and I feel a limited range of motion in the front of my ankle. Is there anything I can do to fix this?

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Q: In the lease for my new space, it says I'm responsible for all repairs and replacements, including heating, venting and air-conditioning. Is this typical of a commercial lease?

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Photo by The Elumenati, courtesy of the Children's Museum of Manhattan

Starting this Saturday, the Children's Museum of Manhattan on the Upper West Side will have an interactive dance exhibit called "Let's Dance!" Basically every facet of dance is featured in the exhibit: kids can explore lighting design with a special child-friendly lighting box; choreograph with the use of props, signs and costumes; create accompaniment with percussion instruments; manipulate posable figures; see incredible dance photography and video; and, best of all, interact with the dance portal, where they can watch, learn and interact with professional and student dance companies like Alvin Ailey American Dance Theater, Dancing Classrooms, Mark Morris Dance Group and Martha Graham Dance Company. Whew. That's a LOT of great stuff.

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Photo courtesy of Kathleen Kelbe

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Marika Molnar directs the physical therapy department at New York City Ballet. Here, she works with principal Ana Sophia Scheller. Photo by Rachel Papo

In her work as director of physical therapy for New York City Ballet, Marika Molnar relies on tools like bands, balls and Pilates equipment to rehabilitate and strengthen dancers. She says there's a place for such tools in daily dance classes, as well. Resistance and stability tools can help students develop strength and even break bad habits. "Say someone is compensating because of a weakness or restriction—that's what they're always going to do," she says, even after a teacher corrects them repeatedly. "If you give them something that makes things a little unfamiliar, their brain has to participate more. It becomes not only a physical exercise but a cognitive one." The dancer learns in a new way, and improves.

Molnar has collaborated with Pilates expert Joan Breibart and PTs at Westside Dance Physical Therapy to create a series of tools and exercises with dancers' training and recovery needs in mind. Here, she shares three of her favorites.

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Photo by Lauren Guy Summersett

Christy Wolverton had a student who often either missed class or seemed to be sick. "When you're in our pre-professional company, attendance is huge," says Wolverton, owner and director of Dance Industry Performing Arts Center in Plano, Texas. She tried to be patient with the dancer and communicate with her parents to get a better idea of what was going on at home. "When she was diagnosed with a serious illness," she says, "we were relieved that we didn't come down on her for something that wasn't her fault."

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Photo courtesy of White Mountain Summer Dance Festival

Laura Glenn can still remember the excitement she felt watching the Limón Dance Company perform at Central Park in the summer of 1962. "I turned to the person next to me and whispered, 'He's going to be my teacher!'" she says. Two weeks later, she started as a Juilliard freshman, where she indeed studied under the legendary José Limón before joining his company in her second year.

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