When Water Isn’t Enough

Choosing the right drink to boost performance

Sports drinks are designed to provide electrolyte replacement and energy for athletes. When dancers are working hard, these drinks—as well as natural alternatives like coconut water and fruit juice—can offer a boost. But each beverage is formulated differently, and the endless options can leave a dancer scratching her head by a vending machine. DT spoke to nutrition experts to learn how sports drinks can help dancers and what ingredients they should look for when choosing one to meet their needs.

Electrolytes

When dancers sweat, their bodies lose water and electrolytes: primarily sodium and potassium. Electrolytes aid muscle and nerve function and maintain the water balance inside and outside of cells, and the blood’s pH balance. Basically, your body won’t function correctly without them.

Because dance is mostly non-aerobic—meaning you exert yourself in short bursts and then rest—dancers don’t tend to sweat as intensely as marathon runners. But if students are working hard in the studio for more than an hour without stopping, Karyn Baiorunos, nutritionist at the Kirov Academy of Ballet of Washington, DC, says they may want to replace electrolytes. She suggests sipping a drink that contains potassium and roughly 100 mg per 8 oz serving of sodium. Traditional sports drinks like Gatorade and Powerade work well.

Sugar

Young students who move into a more intensive level may have trouble getting through class. Baiorunos says this is often because their muscles aren’t quite developed for the increased amount of work. In these cases, the right drink can give them a boost.

The energy promised by most sports drinks comes from sugar. Baiorunos recommends a drink with no more than 14 grams per serving—the magic number for increased energy. “That’s the ideal absorption,” she says. “If you go higher than that amount of sugar, the body can’t absorb it, and you end up with a stomach ache.” Skip the diet or sugar-free sports drinks that offer increased energy. Some contain caffeine, which Baiorunos does not recommend.

Sharon Wehner, principal dancer with Colorado Ballet, prefers the natural option of coconut water, which she usually mixes with water to reduce her sugar intake. Fruit juice is another natural source of sugar, and it can be diluted with water.

Whatever a student chooses, they should sip it rather than guzzle it down. “It’s giving your body a steady flow of some sugar so you can continue with class,” Baiorunos says.

A Healthy Balance

Sports drinks, even natural options like juice or coconut water, shouldn’t be a dancer’s go-to beverage during the day, Baiorunos warns, since too much of one electrolyte can put the others out of balance. “Whatever drink you choose, don’t do it all day long, unless it’s just plain water,” she says. Peggy Swistak, nutrition consultant to Pacific Northwest Ballet, notes that there are sometimes multiple servings in a bottle. Just one serving over the course of a class should be plenty to reap the benefits.

In Wehner’s 18 years dancing with Colorado Ballet, she has learned to resist passing fads and to make her own decisions about what is best for her body. “If I drink this, what am I getting?” she says. “Why am I putting this in my body, other than because my friend drinks it?”

Ultimately, the most important thing is for dancers to be hydrated. “The rule of thumb is a half a cup of fluid for every 15 minutes of dancing,” Baiorunos says. She suggests encouraging students to sip on a water bottle before, during and after class. Swistak points out that while sports drinks aren’t going to hurt you, they don’t have any magic in them either. “Some of it’s the placebo effect,” she says. “If it doesn’t hurt you and you think it’s helping, then go ahead.” DT

Kathleen McGuire is a former dancer living in Pittsburgh.

 

Chart data compiled by Andrea Marks

Photo (above) by George Doyle/Thinkstock

Music
Mary Malleney, courtesy Osato

In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.

But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.

In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She'd encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.


"I like to give dancers a phrase of music and choreography and have them reinterpret it," she says, "to be thinkers and creators and not just replicators."

Osato learned this approach—avoiding the natural temptation of the music always being the leader—while earning her MFA in choreography at California Institute of the Arts. "When I was collaborating with a composer for my thesis, he mentioned, 'You always count in eights. Why?'"

This forced Osato out of her creative comfort zone. "The choices I made, my use of music, and its correlation to the movement were put under a microscope," she says. "I learned to not always make the music the driving motive of my work," a habit she attributes to her competition studio training as a young dancer.

While an undergraduate at the University of California, Irvine, Osato first encountered modern dance. That discovery, along with her experience dancing in Boogiezone Inc.'s off-campus hip-hop company, BREED, co-founded by Elm Pizarro, inspired her own, blended style, combining modern and hip hop with jazz. While still in college, she began working with fellow UCI student Will Johnston, and co-founded the Boogiezone Contemporary Class with Pizarro, an affordable series of classes that brought top choreographers from Los Angeles to Orange County.

"We were trying to bring the hip-hop and contemporary communities together and keep creating work for our friends," says Osato, who has taught for West Coast Dance Explosion and choreographed for studios across the country.

In 2009, Osato, Johnston and Pizarro launched Entity Contemporary Dance, which she and Johnston direct. The company, now based in Los Angeles, won the 2017 Capezio A.C.E. Awards, and, in 2019, Osato was chosen for two choreographic residencies (Joffrey Ballet's Winning Works and the USC Kaufman New Movement Residency), and became a full-time associate professor of dance at Santa Monica College.

At SMC, Osato challenges her students—and herself—by incorporating a live percussionist, a luxury that's been on pause during the pandemic. She finds that live music brings a heightened sense of awareness to the room. "I didn't realize what I didn't have until I had it," Osato says. "Live music helps dancers embody weight and heaviness, being grounded into the floor." Instead of the music dictating the movement, they're a part of it.

Osato uses the musician as a collaborator who helps stir her creativity, in real time. "I'll say 'Give me something that's airy and ambient,' and the sounds inspire me," says Osato. She loves playing with tension and release dynamics, fall and recovery, and how those can enhance and digress from the sound.

"I can't wait to get back to the studio and have that again," she says.

Osato made Dance Teacher a Spotify playlist with some of her favorite songs for class—and told us about why she loves some of them.

"Get It Together," by India.Arie

"Her voice and lyrics hit my soul and ground me every time. Dream artist. My go-to recorded music in class is soul R&B. There's simplicity about it that I really connect with."

"Turn Your Lights Down Low," by Bob Marley + The Wailers, Lauryn Hill

"A classic. This song embodies that all-encompassing love and gets the whole room groovin'."

"Diamonds," by Johnnyswim

"This song's uplifting energy and drive is infectious! So much vulnerability, honesty and joy in their voices and instrumentation."

"There Will Be Time," by Mumford & Sons, Baaba Maal

"Mumford & Sons' music has always struck a deep chord within me. Their songs are simultaneously stripped-down and complex and feel transcendent."

"With The Love In My Heart," by Jacob Collier, Metropole Orkest, Jules Buckley

"Other than it being insanely energizing and cinematic, I love how challenging the irregular meter is!"

For Parents

Darrell Grand Moultrie teaches at a past Jacob's Pillow summer intensive. Photo Christopher Duggan, courtesy Jacob's Pillow

In the past 10 months, we've grown accustomed to helping our dancers navigate virtual school, classes and performances. And while brighter, more in-person days may be around the corner—or at least on the horizon—parents may be facing yet another hurdle to help our dancers through: virtual summer-intensive auditions.

In 2020, we learned that there are some unique advantages of virtual summer programs: the lack of travel (and therefore the reduced cost) and the increased access to classes led by top artists and teachers among them. And while summer 2021 may end up looking more familiar with in-person intensives, audition season will likely remain remote and over Zoom.

Of course, summer 2021 may not be back to in-person, and that uncertainty can be a hard pill to swallow. Here, Kate Linsley, a mom and academy principal of Nashville Ballet, as well as "J.R." Glover, The Dan & Carole Burack Director of The School at Jacob's Pillow, share their advice for this complicated process.

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Teachers Trending

From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.

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