According to the American Foundation for Suicide Prevention, suicide is the 10th leading cause of death in the U.S. In 2017, 47,173 Americans died by suicide, and there were an estimated 1.3 million suicide attempts. While it's a myth that suicide rates are higher in December than any other time of year, the holidays give us an opportunity to consider the health and happiness of those we love. As dance teachers, we spend more time with our students than even their parents do, which means we are in a particular position to notice the pain and distress they're experiencing.
Q: I've noticed a clicking or popping sound coming from my right hip joint when I raise it to the side, and I tend to be far more flexible on my left leg. Are these two things connected? Should I be worried?
"We think as dancers, 'Oh my gosh, if this thing isn't working hard enough, I have to work it harder.' In order for these muscles to work, they have to have a chance to relax, too." –Kathryn Maykish
As deeply familiar as dancers are with their bodies, there's one muscle group that can remain mysterious. You can't see it, and it can be tough to access, but the pelvic floor serves a major role in your posture and body function. Dancers and other athletes are more prone than the general population to dysfunction of the pelvic floor, and this can have major ramifications in dance and life.
Did you know that, right now, there's a big party happening in your gastrointestinal tract, with billions of bacteria? It's known as your microbiome, and it's filled with both healthy and unhealthy bacteria, including probiotics—a healthy kind that can provide your dancer bod with a bevy of benefits. Dance Spirit turned to Tiffany Mendell, MS, RDN, CDN, of Lara Metz Nutrition in NYC, for a crash course on all things probiotic, and the best ways to incorporate them into your diet.
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!
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!
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.
With the physical demands required of dancers today, conditioning and injury-prevention are more important than ever. So it's no secret that dance teachers are constantly in search of new ways to challenge, strengthen and build upon their dancers' training—safely.
Pliés shouldn't be excruciating. As a ballet conservatory pre-professional student, Taylor Gordon knew this, but when the back of her left heel began aching during pliés and jumps in 2007, she didn't think it was a big deal. She was dancing more than 20 hours a week and couldn't imagine pain bad enough to keep her from it. "I never understood why people I'd seen who were injured had to sit down and watch class," she says, remembering her determination. "Why can't you just push through it?"