We've compiled a list of healthy Thanksgiving foods that are sure to satisfy both your cravings and your desire to eat well. Try them out this holiday season and you'll be able to enjoy the best meal of the year guilt-free!
The human head weighs somewhere between 8 and 12 pounds. For many of us, our youngest students included, that comparatively large weight spends on average at least a couple hours a day hunched over a screen. While you may not consider your students as average, there is no denying we spend more hours than ever looking down at handheld mobile devices. "I think of it as 'tech posture,'" says Blossom Leilani Crawford of Bridge Pilates, "when the head is forward and the shoulders are forward. People don't know where their heads are anymore, and you certainly can't turn well with the weight of your head forward."
Forward head posture seems to be the very antithesis of the open chest, lifted spine and presentational sensibility of most classical dance training. But beyond the aesthetics, this misalignment can affect balance and coordination in developing dancers and, at the extreme end, can be associated with nerve damage and pain down the arm.
According to Dr. Marshall Hagins, physical therapist for the Mark Morris Dance Group, there are really two things going on when you see forward head posture. First, the skull is projected forward in front of the body (as in when we look down at a phone). But then, because we are social creatures who want to see and interact with the world in front of us, the head rotates backward on the spine, thrusting the chin up and out. "The muscles in the front of the neck are short and relaxed," he explains, "while the muscles in the back, which are keeping the head from falling further, are lengthened and overworking." The neck muscles have a very high density of proprioceptors and the nervous system feedback is working to fight gravity all of the time, all of which can result in a levator scapulae that is overused and painful.
Hagins offers a tent analogy for balancing the head in three dimensions without simply resorting to a military posture. "All the surrounding neck muscles need to have just the right amount of tension to keep a heavy object, such as the head, balanced atop the tent pole of your spine," he says. "When it leans one way, the corresponding wire becomes loose and the other wires have to pull harder." He notes that it can still be possible for dancers to move in and out of the proper positions even if the resting posture is slouched. However, assuming such a posture for most of the day can lead to injury.
The phenomenon has caused Crawford to modify the abdominal exercises in her mat class. "I sometimes ask for the head to stay on the floor for the single-leg stretch or double-leg stretch," she says. "I call it 'angry turtle' when you work to draw the back of your head into the floor. Once that is understood, it is easier to transfer into lifting the head off the ground properly."
However, both Hagins and Crawford caution that dancers are often hypermobile and prone to overcorrecting, so it is important to focus on good postural habits and incremental changes so they don't move from one misalignment of the head and neck to another. Here are three simple exercises Crawford uses to help students find and feel where proper head alignment is in different planes of movement. They are great on their own, in any warm-up, or can be easily sprinkled into a Pilates mat routine.
Supine Head Float
Elena Prisco, age 17, student at Lake Tahoe Dance Collective. Photos courtesy of Thompson
1. Lie on your back, knees bent and feet planted, with a yoga block, or prop of similar height, under the shoulder blades. Let your head rest back into this big, chest-opening stretch, with your fingers interlaced, hands behind your neck so that your pinky fingers are against the base of your skull.
2. Float your head up to spine level, chin tucked in, hands helping to traction your neck long. Use exhales to activate the abdominals and keep ribs heavy and soft while your head is up. Hold for a few counts and then rest back into the stretch.
3. Repeat several times, being careful not to let the chin jut forward.
*If you are ready for more, float the pelvis up to spine level along with the head. Keep the pelvis in a neutral, untucked position.
Costumes are one of the most important parts of your annual recital and competition routines, yet the process of choosing what your dancers will wear, measuring them accurately and ordering your selections can be fraught with second-guessing. We compiled your questions and asked the experts—the costume companies, that is—for their frank advice and guidance.
From left: Courtesy Cincinnati Ballet; Michael Curley, Courtesy Cincinnati Zoo.
Yesterday Cincinnati Ballet announced an exciting addition to this year's Nutcrackercast: a character based on Fiona, the world's most famous hippopotamus.
Fiona was born at the Cincinnati Zoo and Botanical Garden in January 2017. Six weeks premature, she weighed only 29 pounds at birth as opposed to the standard 55-120, and required round-the-clock care from dedicated zoo staff. Cincinnati Children's Hospital's neonatal intensive care unit even got involved. The zoo chronicled her progress on Facebook, creating the heart-warming Fiona Show (see the first episode below). The baby hippo'sstory went viral, winning hearts in Cincinnati and around the world.
Cheyenne Murillo and her partner Sasha Altukhov at Millennium Dancesport Championship. Photo courtesy of Murillo
It seems everyone is trying to break into the ballroom scene these days, and we don't blame them—it's ALL kinds of fabulous!
But getting started can seem overwhelming for everyone involved. Whether you're a studio owner looking to implement a new ballroom program or a student looking to get started, you're likely to have A LOT of questions.
To help, we've talked with Cheyenne Murillo, U.S. Open Pro Rising Star Champion and teacher at Strictly Ballroom in Orem, Utah, to answer five questions every aspiring professional is sure to have.
"In part, I became a teacher because I felt the need to help others dance," says Slattery (center in all black). "Working on this project has been so fulfilling, and I look forward to it each week." Photo courtesy of Orlando Ballet
A year ago, Orlando Ballet School offered a weekend workshop called "Come Dance With Us." The pilot program was designed for children with physical special needs and disabilities, such as cerebral palsy, hydrocephalus, brittle bone disease and a variety of conditions that require children to wear braces or use walkers and wheelchairs.
The workshop was such a positive experience that the school expanded it to 10 weeks. Recently, I was given the opportunity to teach within the program. To my surprise, the students were capable of participating in ways I wouldn't have expected.
In a short time, I've been so impressed with the children's ability to modify movement, not to mention the joy and incredible spirit the students bring to class each week. It has been an extremely valuable experience for me as a teacher, and I have learned a great deal working with these inspiring kids.
Photo by Jacqueline Connor, courtesy of Nowakowski
In 2015, Houston Ballet demi-soloist Jim Nowakowski made a shocking career about-face when he soared into the heart of pop culture and made Top 6 on Season 12 of "So You Think You Can Dance." The commercial world was taken by his flawless technique and perfect lines, while at the same time classical dancers were surprised by his choice to leave a coveted position with Houston Ballet. He was an enigma—and now he's done it again. He has recently returned to ballet company life and is well into his second season with BalletMet.
Last Wednesday was National Stress Awareness Day, and all day we couldn't stop thinking about dance teachers.
Whether it's helping your students cope with anxiety caused by the pressures of our industry, unpacking your own anxiety caused by a lifetime in this industry or simply just managing the day-to-day stresses that come with teaching, you are dealing with a lot of stress, and we want to help.
Dance Teacher caught up with a Pacific Northwest Ballet School consulting psychologist Toby Diamond to get some professional advice on how to deal with anxiety. She gave a teacher's seminar at PNB on this subject earlier this year.
Try out some of her tools, and see how they can benefit your health and the health of your students!
Fall is arguably the best season of the year, and "Falling Fridays" are arguably the best day of the week on the @biscuitballerina Instagram page. So, we thought it was only fitting that we combine the two "bests" for a fall-tastic post today!
Heaven bless @biscuitballerina for making us laugh day in and day out. SHE. IS. EVERYTHING.
Get ready to laugh 'til you cry, ladies and gentleman.
There's just nothing that can hit your funny bone like watching dancers eat it!
A still from the new documentary, DANSEUR. Image courtesy DANSEUR
the new documentary DANSEUR, 85% of males who study dance in the United States are bullied or harassed. A quote in the film from Dr. Doug Risner, faculty member at Wayne State University, states, "If this scope of bullying occurred in any activity other than dance, it would be considered a public health crisis by the CDC."
So why is it allowed to persist in ballet? And why aren't we talking about it more? These are the questions that
DANSEUR seeks to answer. But primarily consisting of dance footage and interviews with male dancers like ABT's James Whiteside, Houston Ballet's Harper Watters and Boston Ballet's Derek Dunn, the film only addresses these issues superficially, with anecdotes about individual experiences and generalizations about what it's like to be a male dancer.
A: For those with more music training or tech savviness, I recommend using Apple's GarageBand. For anyone who's not quite ready to create a song from scratch, I recommend trying a program called Incredibox
Mia Michaels has learned the power of inspiring those she works with. Here, rehearsing Rockettes. Photo courtesy MSG
Dancers are human, which means they're bound to make mistakes from time to time, both on and off the stage. But what happens when those mistakes burn bridges? In an industry so small, is it possible for choreographers and performers to recover?
In a moment of vulnerability, three-time Emmy Award winning choreographer Mia Michaels opened up to Dance Magazine about some of the bridges she herself has burned, the lengths she's gone to in order to rebuild and the peace she's made with the new direction her career has taken because of them. —Haley Hilton
Stacey Tookey and student at Camp Protégé via @sjtookey on Instagram
There are certain dance teachers out there who have a gift for making students feel loved, cared about, capable, encouraged and inspired—all at the same time. They're beautiful sparks of light in the midst of this competitive and at times exhausting industry.
Three of those special souls happen to have a gigantic reach through conventions and television, and have somehow made each and every one of us feel like they're our second moms. Don't believe me? Go take (or observe) class from anyone of them and then try to tell me they don't love you as their own!
Check 'em out below, and then share a time one of them said something that made you feel important and validated!