Q: Two years ago, one of my dancers fractured her ankle and was out for six months. Upon her return, I cautiously allowed her to take pointe class, but treated her as if she was a beginner, because she was rolling out into supination, and I was fearful she would reinjure her ankle. Her mother feels I have held her back and changed to another studio. Did I make the right choice?
Hey, dance teachers! Take a second to think about the last time you took a dance class. We know you spend the majority of your waking hours in the studio, but how much of that is for your own instruction and learning? Our guess is not much.
Here we share 15 reasons you may want to change that.
You've seen them: dancers, still recovering from a holiday food coma, shuffling into class in a woozy, post-vacation stupor. (You may even know the feeling yourself.) It's all they can do to make it through their classes, and by day two, they're stiff, sore and moaning about it.
“Winter break is the worst," says Rubén Graciani, chair of dance and associate artistic director, Conservatory of Performing Arts, at Point Park University. Not many students take a January intensive, and with no school for about four weeks, it's just long enough to fall seriously out of shape—especially if dancers aren't cross-training.
“The biggest thing is stamina," he says. “Jumping into that schedule—11 to 13 technique classes a week—it's really hard on their bodies."
I have a dancer who has a very tight back. She can't even touch her toes. She says it doesn't hurt, but she feels no stretch. I am able to push her back down further (with no pain for her), but she just can't do it on her own. How can I help her? —Anna
Deborah Vogel is a neuromuscular educator and director of The Body Series. Here, she works with Mariah Aivazis. Photo by Jim Lafferty
Turnout—the outward rotation of the hips that dancers are constantly striving to improve. Yet few actually have the 180-degree outward rotation that is so idealized. In her 40-plus years of working as a movement analyst, Deborah Vogel has only come across a handful of dancers who have it. "That's structural," she says. "They have a shallow hip socket, so the head of the thighbone can move in a greater range. The rotation at the hip for the general population, though, is 90 degrees—about 45 degrees in each direction."
Although a dancer's range of motion depends on her structure, Vogel says she can still improve her turnout. "They're not going to get to 180. But if they have good muscle balance, they can improve their ability to stand in greater than 90-degree turnout."
Miami City Ballet corps de ballet dancer Christina Spigner has always suffered from foot cramps. But the problem was especially troublesome during the company's 13-show run of Ballet Imperial, a hallmark of Balanchine's demanding choreography. “We're onstage for such a long time and not just standing and posing, but doing a lot physically," says Spigner. “My feet would cramp up and it was painful. That's a hard thing to recover from onstage."
It's news that Dr. David Weiss doesn't like to give. Sometimes dancers see him thinking they have shinsplints, when they actually have a stress fracture, a more serious injury that requires a longer recovery. “When dancers come in with stress fractures, I see a lot of denial," says the NYU Langone Medical Center orthopedist. “They say, 'This is just shinsplints, isn't it?'"