Category: Tips

Fuel Your Dancing Body Like An Athlete

Nutrition PyramidFor dancers, the correct nutrition for the body is of utmost importance for their performance in dance. Dancers are athletes combined with artistry, so they must think of themselves as athletes, and how athletes manage their food intakes or their nutrient and energy needs.

The energy dancers need varies enormously but generally increases with the level, time and intensity of training. Males need more energy because they have more muscle mass than females but every day can be different for both sexes. If dancers find that they are tired most of the time, not recovering sufficiently from an injury or just not performing well, they are not meeting their energy needs.

Compared to the general population, dancers need to eat foods that are going to help them in their dance performance. Specifically, these foods are energy-giving grains, high quality proteins as well as some good fats and oils. Dancers must eat good quality food to serve their bodies, filled with nutrients and vitamins which are useful for performance. Many dancers also get caught up with the energy content of food rather than the quality; often what is required is higher energy content food in order to meet needs rather than opting for low-energy or fat alternatives.

Another vital need for dancers and their performance is hydration – this is critical to dancers’ well being and energy levels, supplementing the body during its hard work. Dehydration most commonly causes low energy, headaches and difficulty concentrating or focusing, so is the number one requirement for dancers or any athlete. On an average day, dancers should be aiming for 35-45ml per kg per day, and more if it’s hot or classes are long or intense.

Want A Deeper Plié?

Achilles TendonAre you blessed with long Achilles tendons, loose calf muscles and a deep plié? Count yourself lucky. Many dancers are desperate to increase the depth of their plié however, short of surgery, there is only so much change that can be made.

Some grand pliés in second position are shallow and look more like a demi-plié, caused by tight calf muscles and Achilles’ tendons, which regular stretching can remedy. Despite this, some dancers develop a bony ridge of calcium deposits (or bone spurs) along the bottom edge of their tibia or along the front of their ankle bone which inhibits movement. The bone is stopped by bone and cannot move any further.

Another cause of shallow pliés could be the shape of the ankle bone: it normally slopes downward from the centre of the joint towards the floor which allows dancers to plié from the front of the ankle. For some dancers however, their ankle bones lies horizontally so it lacks that slope, which means they experience a decreased range of motion in their pliés.

Aside from surgery, there is little than can be done to increase the depth of pliés. Some dancers do use adjustable heel lifts to help. Sorbothane heel lifts, for example, tilt the whole ankle bone downwards, giving an increase in range of motion in front of the ankle. They move the bony blockages away from one another, so dancers experience the feeling that they can plié deeper.

Another option is to try stacking two quarter-inch lifts under both heels, and sew a half-inch strip of elastic along the back upper edge of your pointe shoes to prevent them from slipping off. Wearing heel lifts may tighten your Achilles’ tendons, so be sure to do regular calf stretches.

Image courtesy of Wikimedia Commons.

Choosing An Audition Piece

Dance AuditionsAuditions are a huge part of any dancers life: some dancers revel in auditions with the chance to perform in a more informal environment, others speak of auditions with dread and worry. Whatever your view of auditions, there are a few key points to help you along the way, especially when preparing your dance piece for the big day.

When selecting the pieces you will perform at an audition, you must ensure that you are well prepared. Check dance audition guidelines as there may be specific points to consider. The guidelines will be provided by the production, company or school you are auditioning for, and may make the difference between a cut and a part. Another essential part of auditions is the ability to follow instructions!

If you are not sure about any part of the upcoming audition, seek the advice of the dance teacher who is currently educating you. Your dance teacher will be able to give you guidance based on your genre and your audition, with help in areas such as content, preparation and presentation. They may also help you prepare extra choreography for your audition, just in case you are required to present more pieces.

The piece you select to present should then be well rehearsed so you can perform it well, whilst remaining relaxed and expressive that enables you to dance to your best ability. Choose something that reflects your personality and ability, with music and movement that engage and interests.

Take copies of everything you need to the audition, such as any sheet music, recorded music, attire, dance shoes or simple costume/prop pieces you may need for your pieces as well as for an additional piece if requested.

Good luck!

Stretching Sufficiently

Edgar Degas - Dancer Stretching at the Barre

Despite the fact that stretching out dancers’ muscles is vital, there are many points to heed as you work towards a more supple, flexible body. In order to stretch safely and successfully, the body and muscles must be sufficiently warm: don’t hold static stretches (those held for longer than 30 seconds) before warming up. The stretches do increase flexibility but only once the body is warm. Stretching cold muscles achieves nothing and often leads to overstretching ligaments and tendons, increasing instability and resulting in pain. It also decreases the muscle’s ability to contract, resulting in less power and available strength once you start dancing.

The key to stretching effectively is to be incredibly warm, by first activating the muscles and getting blood flowing through the body before working toward greater flexibility and a more balanced body. Unfortunately, in a constant pursuit of greater flexibility, dancers have a tendency to favour extreme, and sometimes dangerous stretches, instead of following a gradual approach, creating weaknesses in their bodies. The first step in switching over to a safe stretching regime that increases muscle flexibility without sacrificing the stability needed for balances and the power needed for jumps is losing bad habits.

Often dancers get caught up with stretching one area of the body that they forget about the other muscles: if you stretch your hamstrings make sure you equate this when stretching your quadriceps. This means that creating imbalances in the body is less likely to happen. An additional method of countering this is by using a foam roller. This can be used when dancers are feeling tight in order to free up the connective tissue muscles before stretching them, decreasing muscles tension and pain. Foam rolling can be done prior to activity, even on cold muscles, or post-activity to release inhibited muscles and allows more freedom in a muscle that was otherwise restricted.

Image courtesy of Wikimedia Commons.

The Art of Food

Nutrition PyramidFollowing injuries, it is paramount that dancers recover as quickly as possible, and diet can particularly aid this. And it’s not just about what you eat, it’s about what you shouldn’t eat too; junk food fills holes without providing any nutrients, just empty calories, and caffeine reduces bone-mineral density and increase fluid loss.

In order to promote healing, the following foods are of particular benefit: produce, dairy and meat aisles, rather than pre-packaged goods. Every nutrient plays a part in recovering from injuries, particularly protein, vitamin D and vitamin C. For calcium choose milk, yogurt, low-fat cheese and almonds; for vitamin A try sweet potato, carrots, blue/orange/purple fruits and vegetables; gain vitamin C with broccoli, citrus fruits and berries; to increase magnesium have almonds, spinach, pumpkin and ground flaxseeds; for omega-3 fatty acids: walnuts, ground flaxseeds, beans, wild salmon; and for protein: milk, eggs, tofu, beans and lean meat.

To ensure strong bones, rather than gorging on milk and other calcium-filled products, try adding a little more virgin olive oil to you meals, such as salad or pasta. The Journal of Clinical Endocrinology & Metabolism reports that men put on diets that included the Mediterranean staple showed a significant increase in levels of osteocalcin, a marker of healthy bone formation.

Another unexpected food tip is to use juice to stay slim. Juice is usually associated with ‘bad foods’ due to its high sugar content, however if you’re craving a fruity drink, try watermelon juice. A recent study published in The Journal of Nutritional Biochemistry found that an amino acid in watermelon juice called citrulline might help with weight maintenance.

Injury Diet

Shin SplintsWith injuries perhaps the most feared aspect of a performer’s life, it is important that your diet is aiding recovery, aside from other treatments you may be using such as ice, physiotherapy and rest. Ensuring you are providing your body with good nutrition will reduce recovery times, which is paramount for getting back in the studio. It is said that there are three key nutrients to get you back on top form.

Protein is essential for both building and healing muscle, in addition to repairing bones and improving muscle contraction. Despite this, too much protein can be detrimental; it is important to eat protein intelligently in order to maximise its impact, which does not mean simply eating more protein. Many dancers already consume enough, so it is perhaps best to eat small amounts of high-quality protein with each meal for rebuilding tissue, such as yogurt, cheese, lean meat, beans, rice, quinoa, nuts and seeds. Too much protein forces the body to release calcium from the bones to balance it, which could slow recovery time.

Dancers must also get enough Vitamin D, due to the fact they spend long hours inside. Calcium is another vitamin that dancers tend to not get much of, both of which are vital for the repairing of stress fractures, for example. Vitamin D allows bones to absorb calcium and use it to repair stresses, hairline fractures and breaks: it also strengthens the immune system and helps reduce inflammation throughout the body. Just 15 minutes of sun exposure a day, even when it’s overcast outside, can help increase your levels for better healing. Other sources of vitamin D include yoghurt, fortified milk, tuna, salmon, and the yolks of eggs.

Vitamin C is also a great healer, from rebuilding ligaments to repairing blisters, however an excess amount becomes similar to excess protein. Because vitamin C is acidic the body will use calcium to neutralise the large amounts found in supplements, causing a weakening of the bones. The daily requirement is just 45–100 milligrams, which is around two oranges.

The Achilles Heel

Achilles HeelHistorically, the term ‘Achilles Heel’ referred to the greatest weakness of an individual: Achilles was a figure of Greek Mythology, a hero of the Trojan War killed by a small injury to his heel. Today, following this tale, the Achilles is the small tendon connecting the calf muscle to the heel bone. The tendon is still a weakness for many dancers, most notable recently was the snapping of the tendon of a Bolshoi dancer during a performance. This was a result of tendonosis, a chronic and more serious condition where bouts of tendonitis are not treated properly or the dancer does not take adequate time to rest.

The job of the elastic structures of tendons at the end of each muscle is to connect muscles to bones. However, dancing places stress on the Achilles tendon and Achilles tendonitis occurs when the tendon becomes inflamed due to overuse, excessive pronation, bowlegs, tight or short Achilles tendons, or abnormally shaped heel bones. Without correct technique, dancers increase their likelihood of developing Achilles tendonitis, making it imperative that dancers maintain their technique and do not develop bad habits. Forcing turnout, failing to press the heels into the ground in landing from jumps and failing to rise to a full three quarter pointe also puts dancers at further risk.

Achilles tendonitis can be prevented by ensuring you are not forcing the feet further outwards in turnout and landing properly from jumps. Make sure shoes and ribbons are not too tight across the tendon and try to avoid using hard, unsprung floors, raked stages, or dancing in cold temperatures. If Achilles tendonitis does occur, it can be resolved through proper treatment including rest, ice, strapping the tendon up and anti-inflammatory tablets, and taking additional steps to ensure it does not return. By making sure you are warmed up, tendons are less likely to become inflammed and injured under repeated stress.

Preparing For Pointe

Preparing For PointeBeginning pointe work is not to be taken lightly or begun before your body is ready: going on pointe before this can cause foot deformities, for example, and other problems later in life. Factors such as age, parental expectations and the students’ desire to go on pointe are not substantial in determining if a student should starting training on pointe, with teachers needing to consider range of movement in the foot and ankle, technical ability and inherent bodily design overall.

If a student is too young, the foot bones will not have matured or ossified sufficiently: if dancers go on pointe before the age of 11 or 12 there are risks of growth-plate injuries, sometimes known as Salter-Harris fractures. As a result, these injuries can stunt bone growth or cause improper development so it is imperative students are not put on pointe too early. Much preparation can be done for pointe work however, making sure the feet and body are suitable. Students must have sufficient technical comprehension and physical strength before beginning pointe in order to prevent both sickling on demi-pointe. The body much be aligned correctly to avoid incorrect work and therefore injuries, and the bodies must also have enough muscle tone to support them on pointe.

Preparation and sufficient training for pointe work can be achieved by using aids such as a Thera-Band or cross-training exercises to supplement training. This can be a slow process but usually means the body is fully prepared and ready for pointe work. Conditioning for the feet is extremely beneficial by building up the strength in the toes, in addition to that of the core and turn-out muscles in the hips. However, even after much preparation and additional training, it may be that some feet are just unsuitable for pointe work, lacking in alignment, strength or technical ability.

Muddles of Memorising Movement

Memorising MovementPicking up choreography in class or rehearsal can be an arduous task. If, as a dance student, it is something that you struggle with, it can be frustrating and inhibiting to observe peers grasping the movement while you are still worrying about the first eight counts. The movement can have the utmost simplicity, the counts can be clear and you can be familiar with the music, however putting the movements together and remembering them in that order can be a feat.

A term which can be used to describe the process of quickly picking up choreography is ‘sight-reading’; quickly observing the movement once and repeating it with precision and attention to detail. The act – or skill – of sight-reading is hugely important to dancers, and can be developed over time for both class and rehearsal, and then performance. It can be used in any dance discipline and generally improves with time. The longer you take classes, the easier it becomes to read and remember movement.

Choreography does not have to be out of reach. An app available – Dance Journal – can be used to take note of what is learnt during each class, adding images and video to make the process of remembering a more pleasant process. Entries can be sorted by teacher, date or dance discipline, the the entry can even be shared with others within the app.

Video can also be used to record the movement sequences or combinations to play back time and again outside of class and rehearsal. This amount of repetitions may not be practical or available in the studio, so working on the movement in your own time can be extremely beneficial in memorising what is required.

Taking class regularly with the same teacher can also improve the sight-reading skill as you are becoming more familiar with the movement they use, meaning your ability to pick up their movements should improve. This sense of mastery adds confidence to your ability and in turn improves the memorising process in future.

Image courtesy of Wikimedia Commons.

Nutrition In Winter

Nutrition PyramidFor dancers, the body is not just ‘the body’ but the means to achieve. Maintaining your optimum health and ensuring you are always at your peak is a constant thought in a dancer’s life at the best of times, but with the colder months ahead of us, it is something that requires even more attention.

In terms of general wellbeing, the winter brings cold studios and difficult warm ups in order to prepare the body sufficiently. Dancers must be particularly aware of chilblains (from resting parts of the body on heat for prolonged periods of time) and stress to joints in the cold: your body must be suitably warm for the dance class, rehearsal or performance ahead.

What a dancer puts into their body during winter is also highly important. It is much easier to eat healthily during summer when salads and light dishes are most appealing. However, when the cold comes it is all too easy to ‘treat’ ourselves (treat being the operative word) to a hot chocolate or chips. A treat once in a while does no harm, but lots of unhealthy choices can cause problems. It is easier to think of your body like a car. A petrol car cannot run on diesel: you have to fuel your body with the right things, as it won’t work sufficiently if you fuel it with with things such as processed food, which won’t aid your overall performance.

It is also important to eat to maintain a healthy immune system, which will fight germs and mean you can dance properly, sooner. Multivitamins can help, but best is the consumption of cereals, protein, dairy and lots of fruit and vegetables, full of antioxidants. Soups can be a great way to have a hot, nutritious meal whilst dancing all day. Regular meals containing all 5 food groups will maintain a healthy balance meaning your body will be ready to face the winter!