Last year, Chicago Tap Theatre audiences saw The Hourglass stomp, riff, and tap down villains in the company’s The Hourglass in the Stop-Time Chronicles, a comic book tap opera. Now, the Chicago Tap Theatre has reintroduced their tap heroine in a new show, The Hourglass and the Poisoned Pen.

Outdoing the Original Hourglass

Led by artistic director Mark Yonally, the Chicago Tap Theatre (CTT) opened the new show on Friday, June 27 at the Athenaeum Theatre in Chicago, Illinois. Kendra Jorstad, who played the role of The Hourglass last year, has suited up again for a production that promises success even greater than that of the original show.

While speaking with DanceHere right before the show’s opening, Yonally said that this year’s budget for Hourglass sets and costumes was more than twice what it was last year. And, they devoted twice the amount of time on developing the new story. “The good news,” Yonally said of the increases, “is you see all of that on the stage.”

The Hourglass set, alone, is stunning. Designed with comic book artist and “Hourglass” co-creator Andrew Pepoy, the set pulls audiences into the super-heroine’s world, where the good–in the form of a young woman wearing canary-yellow go-go boots–can subdue all wrongdoers. With the new set, costumes, story, and his company of acclaimed dancers, Yonally thinks that The Hourglass and the Poisoned Pen is CTT’s “best story show by far.” And with this show, Yonally feels that they’re moving toward their goal “of telling stories with tap that can truly engage people on an emotional level.”

Tap and the Challenges of Story Shows

“Story shows,” narrative-driven tap performances, are one of CTT’s specialties. These shows use the sounds and rhythms of tap, along with props, costume, and set, to tell a story. The biggest challenges in directing and performing narrative tap, Yonally said, are “balancing dance as a ‘decorative art,’ verses dance as a narrative art.”

CTT presented its first full-length story-driven show, “Silence,” in 2003. Along with The Hourglass productions, the company’s story shows now include a dance biography of jazz singer and trumpet player Chet Baker, The Tell-Tale Tap: Stories of Edgar Allan Poe, and Changes: A Science Fiction Tap Dance Opera.

As a fairly new and challenging approach to traditional tap, story shows are rather unique to CTT. Yonally explained that in producing a story show, a director must develop “not just a show, but a whole new method of telling a story.”

As artistic director, Yonally’s unique challenge is to help audiences follow the plot. Because he’s trying to tell a story entirely through tap, props, and gestures, Yonally has adopted a new style for directing these productions. “The dancers have become a more and more integral part of creating the story with me,” he said. “I’ve had to learn that the show benefits the most when everyone’s voice is heard.”

From Comic-Book Enthusiasts to Dance Lovers

Yonally and CTT seek, in every production, to promote an appreciation for tap. Story shows help them accomplish this goal by drawing in audiences that might not otherwise attend a tap show. “I definitely saw a big uptick in non-dance-goers in the audience,” Yonally said of last year’s The Hourglass in the Stop-Time Chronicles.

Next Up for CTT

Yonally couldn’t reveal what the next CTT story show will hold, explaining, “I hate to spoil any surprises, and we often change our mind.” But, he did say that CTT is planning a dark fairy tale, “maybe with Eastern European ‘Gypsy’ jazz.” Knowing CTT’s repertoire, anyone with a love of dance–or simply an imagination–will want to watch for the company’s next story show.

When Yonally and CTT wrap up The Hourglass and the Poisoned Pen, they’ll perform the Chicago National Association of Dance Masters (CNADM) Command Performance on July 26. And on August 10, CTT will hold auditions to fill apprenticeship positions for the 2008-2009 season.

Experience The Hourglass and The Poisoned Pen

The Hourglass and the Poisoned Pen is currently being presented at Chicago’s Athenaeum Theatre, Studio 3, located at 2936 N. Southport Ave. Tickets range from $18 for students and dancers to $30 for adults. A special group rate offers 20-percent off of adult admission for groups of ten or more. To buy tickets through Ticketmaster, follow this link.

Throughout the next three weeks, you can catch The Hourglass and the Poisoned Pen on:

• Saturday, July 5 at 8:00pm
• Sunday, July 6 at 3:00pm

• Friday, July 11 at 8pm
• Saturday, July 12 at 8pm
• Sunday, July 13 at 3pm

• Friday, July 18 at 8pm
• Saturday, July 19 at 8pm
• Sunday, July 20 at 3pm

For more information on the Chicago Tap Theatre, The Hourglass and the Poisoned Pen, and CTT’s other story shows, visit their website at http://chicagotaptheatre.com.

(Photo from <http://chicagotaptheatre.com/events/the-hourglass-and-poisoned-pen> 30 June 2008).

You may have just begun your summer vacation. But if you’ll be a high school senior this fall, it’s already time to think about college applications. An important part of this process is finding college scholarships.

One of the most difficult decisions in the college selection and application process is deciding how you will pay for school. Maybe you’ve fallen in love with a single college and will make any financial sacrifices necessary to attend there. But it’s likely that you will find several schools, each offering the program you want, an atmosphere in which you’re comfortable, and activities that you’ll enjoy. In this situation, the amount of financial aid available at each school may determine which college you choose.

Financial Aid For Dancers Who Will Study Dance

If you are attending school for dance, you will find special scholarships that are only for students entering dance programs. These scholarships are often awarded on the basis of talent. Many liberal arts schools will award talent scholarships to freshman. These scholarships, which are usually based on entrance auditions, are often renewed annually. Some schools also offer performance awards, which are given as students prove their skills in the program.

When applying for talent scholarships, remember that awards are often based on the school’s need for certain talents. In his blog, Andrew Flagel, the Dean of Admissions and Associate Vice President for Enrollment Development for George Mason University, wrote that prestigious dance programs want to attract strong male dancers right now. Therefore, talented male applicants have a good chance of receiving talent-based scholarships.

Financial Aid for All Dancers Attending College

If you are a dancer who also dreams of becoming a biologist, a high school teacher, or an accountant, you may forego a dance program in favor of an academic track. But even if your college major isn’t aimed at a dance career, you should still contact the admissions office at the college or university where you want to apply, and ask about the availability of talent scholarships. You may also wish to contact the dance department chair and the theatre director.

In liberal arts colleges, talent scholarships, according to Flagel, are often awarded by faculty or administrators who run university performance groups.

Outside Scholarships for Dancers

Some foundations and private companies offer scholarships to dancers attending college. These awards are often open to all dancers, not just those entering dance programs. Some of these awards are based on talent, and others are based on a combination of talent and financial need.

One program that offers many college awards to dancers and other artists is the youngARTS scholarship program, run by the National Foundation for Advancement in the Arts (NFAA). This program awards 150 finalists with scholarships ranging from $250 to $10,000. The youngARTS program is currently open to high school seniors in the 2008-2009 school year, or 2007 graduates who will be 17 or 18-years-old on December 1, 2008. This year, the final registration deadline is October 1, and all audition and portfolio materials must be received by November 3. One benefit of participating in the youngARTS program is that you’ll be listed on the NFAA’s Scholarship List Service (SLS). The SLS offers colleges, universities, and professional schools the names of youngARTS participants and winners. When your name is on this list, it can give you an advantage when applying for other dance-related scholarships.

The American Harlequin Corporation, which makes dance floors, awards the Harlequin Dance Scholarship each year. US and Canadian citizens from 15 to 21 years-old can apply to win one of 20 scholarships, which range from $500 to $5,000. To qualify for this scholarship, you must be enrolled in a public or private dance program, and you must be nominated by your dance instructor. The deadline for application is November 1, 2008.

Start Now

Whether you will in apply for a program in dance or in another area of study, the college application process can be long and competitive. If you begin researching scholarships this summer, you’ll be more prepared and informed when starting your senior year in the fall. Remember to seek advice from your high school’s guidance counselor and from the admissions counselors at the college where you’d like to apply. And, make sure you learn how to apply for federal financial aid.

You know that dance will always be an important part of your life. And if you put this passion to work when applying for financial aid, regardless of the career you choose, your love of dance will help you shape your future.

Last night we watched as Chelsea T. and Chris said goodbye, perhaps Chris more emotionally than Chelsea.

But if Chris could have summoned his emotions earlier, maybe he would have made it into the top 14.

The judges criticized Chris for being “too soft” during the tribal, jazz routine that he performed with Comfort. This dance, performed to “Beautiful People” by Marilyn Manson, demanded a high level of “animalistic” energy, and the judges thought that Chris and Comfort just didn’t deliver enough power in their performance.

Chelsea T.’s elimination resulted from what Nigel referred to as a “lack of personality.” And while Mary admitted that the quickstep–which they performed to “You Can’t Hurry Love”–is a difficult dance to learn, she was also critical of Chelsea. Thayne, for his part in this performance, didn’t quite escape the judges either.

One of the highlights this week, for the judges and for audiences, was Katee and Joshua’s samba. The judges had criticized others for a lack of emotion and personality. But, they praised Katee and Joshua for passion throughout a routine that, Nigel felt, was very naturally executed.

This elimination leaves Joshua, Twitch, Matt, Chelsie H, Comfort, Courtney G., Thayne, Mark, Jessica, Kourtni L., Gev, Kherington, Katee and William.

Next week, we’ll see Comfort and Thayne pair up. Neither one of these dancers received a very warm reception from the judges this week, and so it will be interesting to see whether they improve without their old partners.

What are your thoughts on this week’s changes? And, since we’re quite far into this season, what are your thoughts on the quality of “So You Think You Can Dance,” as a dance show? How would you rank it against shows such as Bravo’s “Step it Up And Dance.”

(Photos from <http://www.fox.com/dance/gallery.htm> 27 June 2008)

We want you to know what is happening in the dance world and when it’s happening! So, we’re putting together a calendar of your performances, workshops, and special events.

Once we know what you are doing, we’ll even start featuring events in our post announcements!

To add your events to this calendar, e-mail us with the details!

You can find the calendar of dance events by following this link!

Movement is a medium through which you communicate emotion, stories, and abstract ideas. And now, you can use dance to communicate with people, even if they can’t see your performance.

Yes: dance now powers your cell phone!

Communicate Through Movement

A recent post on a technology blog revealed that two London-based companies, Orange–a mobile phone company–and Gotwind–a company specializing in the development of renewable energy sources–will be testing a charger that restores your cell phone battery when you dance.

It seems like this new product is still being kept secret. But reportedly, Orange will be testing the charger, technically referred to as a “kinetic energy charger,” during the Glastonbury Festival of Contemporary Performing Arts, which will run from Friday, June 27 through Sunday, June 29.

Details on the dance-powered cell phone charger are still sketchy. But, it seems that the charger will work using magnets, an approach that is similar to that used in some flashlights that are charged by shaking.

Are you attending the Glastonbury Festival? Check out the Orange tent, and try out the dance-powered cell-phone charger.

Wouldn’t you love to have a professional on hand to fit you for the right ballet shoes?

As a dancer, it’s crucial that you have the perfect shoe. Not only will it help you perform to the best of your abilities, but it will also help protect you from the foot, ankle, knee, and tendon injuries that dancers experience when practicing in the wrong shoes.

Some ballet instructors require students to purchase a certain shoe. But if you’re left to choose on your own, the process of selecting the right shoe can be confusing, especially if you have little dance experience or if you are buying shoes for your child.

To help you make the right choices, we’ve written this guide that lists the options available when buying ballet and pointe shoes, as well as tips on how to get the proper fit.

Ballet Shoes

Ballet shoes, or ballet slippers, are the original ballet shoe. During the mid-1700s, dancers began using more jumps and leaping turns during performances, and these steps required a dance shoe different from the traditional heeled shoe of court ballet. Marie Ann Cupis de Camargo, who debuted in Paris in 1726, is noted as one of the first to perform in flat ballet slippers.

Types of Ballet Shoes

Ballet shoes, often referred to as slippers, are available with either a full sole or a split sole. Your instructor’s recommendations, your experience, and your personal preference will determine which shoe you choose.

The simple construction of a full-sole ballet shoe often makes it a little less expensive than most split-sole shoes. Normally, a beginner ballet student will wear a full sole.

As the name indicates, the sole of this ballet slipper is made from a single piece of material. Some dancers believe the full sole offers a bit more support than a split sole. But, this extra support is minimal. Some pointe dancers prefer a full sole, claiming that the full sole is similar to the shank of a pointe shoe, but dancers disagree on this point. Unless you are an advanced dancer, this point shouldn’t be a factor in selecting your ballet shoe.

In contrast to the full sole, the split-sole ballet shoe has two pieces of material in the sole: one piece from the arch to the toes, and one piece from the arch to the heel. The seam created where these two pieces connect at the arch of the foot makes the split sole more form-fitting than the full sole. The split sole is very popular because the split accentuates the natural lines of the foot.

Both the full-sole and split-sole shoes have suede patches on the bottom: one under the toes, and one under the heel. These patches provide the right amount of friction between the shoe and the floor.

Ballet shoes are held on the foot by elastic. In some full-sole beginner shoes, the elastic is pre-sewn across the instep. But because pre-sewn elastic does not provide the best fit, shoe manufacturers also sell both full-sole and split-sole dance shoes with the elastic included but not pre-sewn. When you buy dance shoes, if the description notes that the elastic is “attached at heel,” you must finish sewing the elastic on after purchasing.

Materials in Ballet Shoes

You can buy ballet shoes, both full-sole and split-sole, in either canvas or leather.

Canvas is less expensive than leather, and it is also cooler and more lightweight. One of the greatest benefits of canvas shoes is that they are washable, and they dry quickly.

For several reasons, many dancers prefer leather over canvas ballet shoes. The first reason is that leather more easily conforms to the shape of your foot. And, although neither material will stretch very much, leather sometimes offers a bit more stretch than canvas. Many dancers also choose leather ballet shoes, because they generally last longer than canvas shoes.

Ballet Shoe Sizing and Fit

Sizing is different on nearly every single ballet shoe. For example, your favorite manufacturer’s leather split sole may have different sizing than their canvas split sole.

Each manufacturer will explain how to convert your “street shoe” size to your ballet-shoe size. In most cases, your ballet-shoe size will be 2 to 3 sizes smaller than your street-shoe size. If you’re buying shoes for a child who wears a 3, 4, or 5 in child-sized street shoes, he or she may actually wear a small women’s ballet shoe.

Ballet shoes should have a very snug fit. If you’re buying for a young, growing dancer, you might be tempted to purchase shoes that are too large, expecting that your child will grow into them. But this is not recommended. A ballet shoe that fits improperly can be dangerous, and since regular practice will wear out any pair of ballet shoes within a few months, it’s best to buy shoes that fit properly.

When selecting your ballet-shoe size, the shoe should fit so that that there is no extra room. At the same time, the shoes should not be so tight that your toes curl under. When you point your foot, the heel of the shoe should not slip off, and there should be no gap between your foot and the inside of the shoe.

Pointe Shoes

If you are buying pointe shoes, you should have received instruction from your dance teacher on selecting the shoe that is best for you. And, you should only buy pointe shoes if a dance instructor has said that you’re ready to begin pointe.

If you’re a parent who wants to buy pointe shoes because your young dancer wants to try them out, or because your daughter is dressing as a dancer for Halloween, you should consider a different purchase. Pointe shoes can be dangerous. For information on how important it is to use pointe shoes properly, read our post on why you must begin pointe at the right time.

Parts of a Pointe Shoe

Each pointe shoe has several parts. See our diagram for reference.

The length of the vamp may vary depending on what brand of pointe shoe you buy. If you have longer toes, you will need to look for a shoe with a longer vamp.

The shank of the pointe shoe is usually available in several levels of stiffness. If you need more support, you will need to choose a shoe with a stiffer shank.

Some pointe shoes have a drawstring, which is usually located at the throat of the shoe. The drawstring, if included, can be used to pull the heel of the shoe more tightly to your foot.

The ribbon or elastic of a pointe shoe holds the shoe on your foot. Ribbons are never attached by the manufacturer, and you must sewn them on after purchase. Unlike ballet shoes, a pointe shoe purchase does not usually include the ribbon or elastic. You will need to remember to add ribbon or elastic to your order.

You have several options when buying ribbon or elastic for your pointe shoes. You can purchase regular ribbon, elasticized ribbon, or elastic. Elasticized ribbon is recommended for dancers who need extra support for tendonitis. When buying ribbon or elastic, it’s best to buy the same brand as your shoes so that the colors will match.

Although you have options when choosing your vamp, shank, ribbon, and drawstring, the remaining parts of most pointe shoes are very similar. There is one exception to this rule, however, and we will discuss it in the next section.

Materials in Pointe Shoes

Most pointe shoes are made from cardboard, which is pasted and compressed to form the box and the shank. These traditional materials provide the right support, but they don’t last very long. Body heat and sweat both break down the cardboard, and with use, the shoes provides less support and must be replaced.

Gaynor Minden is the first manufacturer to abandon the use of cardboard in pointe shoes. High-tech polymers replace the pasted cardboard, and the Gaynor Minden company describes its shoe, created by Eliza Minden, as nearly unbreakable. The shank is still available in varying levels of stiffness, and the shoe is lined with several types of foam, tape, and gel inserts that provide cushion and support. If you are purchasing Gaynor Minden pointe shoes, you must be specially fitted for them. You will need to make careful decisions when buying these shoes, because they don’t break in like other pointe shoes. When buying Gaynor Minden pointe shoes, you will need to specify the overall length of the shoe, the box width, the midfoot width, the shank stiffness, the vamp size, and the heel height.

Sizing Pointe Shoes

As with ballet shoes, the sizing for pointe shoes varies by company, and you will need to convert your street-shoe size to find the manufacturer’s sizing.

When sizing your pointe shoes, there should be absolutely no extra room in the shoe. Because getting a perfect fit for pointe shoes is so important, you should not buy your first pair without help from a dance professional. If you get the wrong shoes, not only will you be unable to perform, but you will also put yourself at high risk of injury.

Tips for Fitting Any Dance Shoes

For all dance shoes, when you’re finding the right fit, wear the tights that you’ll use while dancing. Also, make sure that you get the right fit for each foot, not just for one! And, ask your dance instructor for advice when you have questions. You want the best fit possible, so when you’re shopping for dance shoes, remember to take our advice, and take your time!

A recent poll in an Adult Dancers – Ballet forum asked users to identify their “ballet status.” The results showed that almost 30-percent of the people who responded considered themselves to be an “adult beginner, adult restarter, or recreational” dancer.

Clearly, it’s never too late to begin ballet!

You’re Not Alone

An online search for “adult beginner ballet classes” offers over 648,000 results. Ballet discussion forums house numerous posts with questions from adults who want to begin taking classes. And whether you join to improve your overall fitness or to satisfy your unfulfilled childhood dream of becoming a dancer, it’s never too late to begin ballet.

Even if you’ve never owned a pair of ballet slippers, you can find a studio and start taking classes. The tips in this post will help you begin successful ballet training.

Dance Uniform: What to Expect

For adult beginners, dance uniform varies by school. For example, in the Boston Ballet School’s adult-beginner class, students are required to wear ballet slippers, but can select their own dancewear. Some students wear a traditional leotard and tights, and others opt for sweatpants, leggings, and t-shirts.

If your school does not require a specific ballet uniform for adult beginners, choose clothing that is flexible, form-fitting, and comfortable. If clothing is too baggy, an instructor cannot easily monitor and correct your body positioning.

Evaluate a Dance Studio and Instructor

When selecting a ballet class for adult beginners, there are several qualities to look for. If you’re trying to select from several studios, keep these guidelines in mind.

“Ballet” versus “Dance Fitness”

First, make sure you distinguish between “ballet” classes and “dance fitness” classes. Dance fitness classes use dancing as a form of exercise. Classes include steps from Latin, swing, tango, and hip hop dance styles.

While dance fitness classes emphasize exercise, fun, and movement, they don’t teach ballet fundamentals. You might get in shape and enjoy yourself in a dance fitness class, but you won’t learn ballet.

Multiple Levels of Beginner-Courses

Secondly, when choosing a dance class, find out if the school offers multiple levels of adult-beginner ballet classes. Such schools are likely to recognize that adult ballet beginners are serious students.

In schools with multiple adult-beginner levels, the first level of classes is for students with no experience in ballet. Adults who studied ballet during childhood and have forgotten their training may also wish to take this first-level course. This beginner class will teach ballet vocabulary and ballet fundamentals. Students may spend about a year in a first-level adult-beginner class before advancing to the next level of adult-beginner classes.

Find the Right Age Group

Depending on the studio you find, and the number of adult ballet beginner classes that are offered, you might consider taking beginner classes with younger students. Your personal preference and comfort level may determine how you weigh the pros and cons of taking classes that are only for adult beginners.

Advantages of Adult-Beginner Classes

The first advantage to taking classes designed for adult ballet beginners is that you will develop relationships with the students in your class. This will immediately help you feel comfortable and enjoy your ballet class. You and other students will be of similar age, and you may even have children who go to school together. But in a class for young dancers, it might be hard to relate to other students.

A second advantage of taking classes with adult beginners is that your fitness level will probably match the fitness levels of other students. And, the instructor may spend extra time working on the flexibility and strength limitations that some adult ballet beginners face. In a class for younger students the instruction may be the same, but the teacher won’t necessarily focus on the specific needs of older beginners.

Disadvantages of Adult-Beginner Classes

You should keep in mind, however, that there are some disadvantages if you decide to only take adult beginner classes.

First, these classes sometimes have inconsistent attendance rates. Adult ballet beginners should be prepared to practice two to three times per week. But some adult beginners will routinely find themselves putting home, family, and job responsibilities above a commitment to ballet class. By contrast, in a class with younger dancers, students attend on a more regular basis. If you practice with younger dancers, you won’t be alone when class falls on the same weeknight as the elementary school’s parent-teacher association meeting.

Depending on the studio, a second disadvantage of taking only adult-beginner classes is that you might not be challenged enough. Some adult beginners complain that adult classes are too relaxed. Unfortunately, this may mean that some instructors don’t take their adult beginner students seriously.

Begin Your Study of Ballet

If you’re an adult ballet beginner, understand that some of the disadvantages we’ve listed are just warnings. In actuality, many adult beginners find dance teachers who provide attentive and meaningful instruction. If you keep these points in mind, you should be able to pick a teacher who will respect and challenge you, and find a class that will be engaging.

As an adult ballet beginner, you will improve your overall fitness, increase your strength, gain flexibility, and—most importantly—have fun! Adults who want to begin ballet might put off joining a class when “To-Do” lists pile up, or when a tired body begs to sit in front of the television after work. But once you commit to classes, you’ll find that ballet can improve your life.

Whether you study in sweat pants or in a leotard, with adults or with young students, you’ll soon think less of yourself as an adult and more of yourself as a dancer.

WHAT ARE YOUR THOUGHTS ON CLASSES FOR ADULT BALLET BEGINNERS?

Have you recently started taking classes as an adult ballet beginner?

Can you recommend a class or instructor for adult ballet beginners?

Are you an instructor who can offer advice to adult ballet beginners?

Comment on this post with your advice or questions!

Do you think your dance company or studio should be featured on DanceHere?

So do we!

DanceHere wants to recognize and support the work of dancers at all levels and in companies and studios of all sizes. That’s why we’re starting a new series of posts called This Season that will feature performance groups from around the world.

It doesn’t matter how small (or big) your group is. You deserve a good audience, and you’ll find it at DanceHere!

Submit Your Group

Are you ready for the spotlight?

• Fill out the form below to submit your company, studio, or group. If your group has a website, make sure you give us the address!
• Include the e-mail address where we can most easily contact you. When your group is selected, we will e-mail you for more information.
• Add submissions@dancehere.com to your e-mail contact list so that our e-mails are sure to reach your inbox.
• Subscribe to our RSS feed to make sure that you don’t miss any updates!

We will be launching This Season very soon, so stay updated!

As a dancer, you need the proper fuel to perform well. But you also need to maintain a target weight. Sometimes, this might cause you to eat too little, leaving you running on empty.

Balancing energy and excess requires a good understanding of nutrition. In this post, we’ve outlined some of the dietary basics that dancers should remember.

The First Mistake of the Day

Classes and rehearsals take up much of a dancer’s time. To get through everything, they probably start each day very early with a long to-do list. Such a hectic schedule makes for rushed mornings. The result: many dancers skip breakfast.

Does this sound familiar?

According to the majority of nutritionists, skipping breakfast is a bad idea, even for people who don’t use as much energy as dancers.

Breakfast for Weight Loss

Eating breakfast will help you maintain your healthy weight. And, it can actually help you lose weight. This is because a quality breakfast wards off daytime hunger attacks, as well as late-night overeating, according to nutritionist Nancy Clark MS, RD at SportsMedicine Associates. Also, a good breakfast can stop you from craving sugar and poor forms of carbohydrates.

If you want to lose weight, don’t skimp on breakfast. You can maintain, or lose, weight by eating between 500 and 700 calories for breakfast each day.

If you do need to cut calories from your overall diet, Clark says that you should trim these calories from dinner and late-night snacks.

Breakfast for Energy

As breakfast helps you maintain your weight, it also gives you the fuel you need to make it to rehearsal.

Clark recommends several options for “grab-and-go sports breakfasts.” Combine a bran muffin with a vanilla yogurt, for example. Or, have a large cinnamon raisin bagel with a can of vegetable juice. If you’re really in a rush, Clarks says, you can even grab two slices of the thick-crust pizza in the refrigerator from last night.

Power Snacks for Practice

Even with a good breakfast, you may need an energy boost before dance class. A good snack before practice will help keep you alert and sharp. This will decrease your chance of injury, and it will increase your focus, helping you gain more from each class.

Varsity.com suggests eating a snack one to two hours before your dance class. A good snack might include:

• Whole grain crackers with peanut butter and raisins
• Low-fat yogurt with walnuts and dried apricots
• Chocolate milk and a granola bar
• Fresh fruit salad, low-fat yogurt, and a sports drink
• Turkey, veggie, and mozzarella on whole-wheat bread

About 30 minutes after a class or rehearsal, nibble on something similar to your pre-practice snack. This will help rebuild muscle energy and it will keep you from feeling drained.

Staying Hydrated

You’ll work up a sweat during a 1-hour practice. Are you drinking enough water to replace what is lost during that workout?

Varsity.com’s article on nutrition for dancers lists several dangers of dehydration. These include nausea, headache, muscle cramps, irritability, physical and mental fatigue, and increased risk of injury.

Proper hydration keeps you feeling well. And, beyond that, when you drink enough water during your workout, it can help you perform up to 33-percent longer.

As a general rule, a 120-lb female will lose half a pound during an hour of practice. The Sweat Rate Equation tells us that this dancer has lost 32 ounces of water during that workout. To recover that water, she should drink 8 ounces of water every 15 minutes.

Because the Sweat Rate Equation is a bit complicated, an average high school or college athlete can use the following guidelines when deciding how much water to drink.

• Drink 17-20 ounces 2-3 hours before a practice or performance.
• Drink 5-8 ounces every 15 minutes during a performance if you’re a female; or drink 7-10 ounces every fifteen minutes during a performance if you’re a male.
• Drink 20 ounces for each pound of weight that you lose during a workout; drink this within two hours of finishing your workout.

Nutrition Takes Work

Although good nutrition is just one part of a dancer’s life, it affects everything you do. Managing your eating habits will not only help you feel good, but it will help you perform well.

As you devote more time and energy to dance, your body will require different amounts of nutrition. Make sure that you talk to your dance instructor about healthy eating. He or she can help you decide on a diet that is right for you.

What are Your Experiences With Dance Nutrition?
Are you a dancer who wants advice on what to eat?
Are you a dance instructor or a nutritional expert who can offer advice?
Comment on this post with advice or questions!

Knowing that the American Dance Festival (ADF) is offering performances from Battleworks, the Martha Graham Dance Company, Ailey II, and David Parsons for its 75th anniversary, I’ve wanted to get a peek at some of these shows.

Some of My American Dance Festival Favorites

One of my favorite performances so far is Les Noces (2006) by ZviDance. You can see a clip of this year’s performance in DanceHere’s YouTube favorites.

This dance, by Israeli choreographer Zvi Gotheiner, is set to Stravinsky’s Les Noces. Check out the video, and you’ll see that this performance is packed with energy

Present Tense by the Trisha Brown Dance Company was another one of my favorite pieces. Even in its minimalism and calm, this is a powerful dance.

Dances for Art-Lovers or for Dance-Insiders?

I found an interesting blog post by critic Brian Howe on Present Tense and other 2008 ADF performances.

He compared Present Tense to Alwin Nikolais’ Crucible and to Nikolais’ Tensile Involvement, which were performed by the Ririe-Woodbury Dance Company.

Crucible and Tensile Involvement are quite different from Present Tense. But Howe made an interesting point. He said that of the performances he’d recently seen, these three were dances that can be appreciated

by “art lovers.” In contrast, performances like Accumulation and Spanish Dance, both by the Trisha Brown Dance Company, are dances for “dance insiders.

Crucible and Tensile Involvement live up to their names: heat and tension vibrate in every movement, and in the sounds, and in the lighting. It’s hard to imagine that someone could be unmoved by these pieces.

But then to group these two pieces with Present Tense as dances for “art lovers” is an interesting observation. But it’s true: when watching Present Tense, the word that comes to mind, for me, is “immediacy.” There’s a lot of controlled energy. For Howe, this power separates these pieces from the others, which he calls “coy,” and “ironic.”

I think that looking at the dances from such an audience-focused point is an interesting way to see these performances. This difference certainly exists in every art form: dance, literature, music, film. For a dancer or choreographer, it’s an important distinction to remember.

Upcoming Performances at the American Dance Festival

An upcoming performance that I would love to see is Woman Washing Rice (2004) by Kei Takei, which is part of the Japanese Festival. Takei is mesmerizing. This dance, for both her movement and the score, will make this minimalist performance one of the best pieces in what the ADF says is the most “dazzling array of Japanese companies” that the festival has offered since 1982.

The American Dance Festival is ongoing, and you can visit the ADF’s website for photos, video, and a schedule of performances.

all photos from AmericanDanceFestival.org: ZviDance (photo: Klaus Schoenwiese-NYC, 2006); Present Tense (photo: Nan Melville, 2005); Kei Takei (photo: Fumio Takashima).

Do people begin dancing spontaneously, breaking into song throughout the day? Is musical theatre unrealistic? Maybe not.

Dance as a Response to Emotion

A recent story by Marc Acito of National Public Radio’s “All Things Considered” talked about finding “your inner Broadway.” Acito claims that he breaks into song and dance when looking for parking spots, or when having a particularly bad day at work. Whether this is is true (and whether he would admit to the practice if the fact were actually true) is debatable. Regardless of his feelings on spontaneous dancing, Acito’s claim reminds us of the passion behind performing.

Emotion as a Response to Dance

Acito writes about his expectations of musical theatre, from the perspective of an audience member.

“When I go to a musical, I am seeking a transformative experience; a transcendental one. When the emotion is so big, all you can do is sing.”

Or dance. An audience member wants his emotion stirred by the performance he sees. Dancers want their performances to be informed by emotions. This communication of passion, if successful, runs from the original narrative, to the dancer, to the visible performance, to the audience member. Then, hopefully, it’s returned to the performer through the audience’s visible or audible (think: laughing, crying, applauding) emotional response.

Now think of a time when you did spontaneously break into dance. What was the situation? I’m sure that you

can easily remember how you felt in that moment. And the emotion was so strong, in fact, that it literally took control of your body!

“Dancers” in the Audience

This connection between dance and emotion is natural and unbreakable. Even audience members, non-dancers, know this. However, this means that the connection can’t be faked.

As Acito wrote, he wants “a transformative experience.” The audience demands that the dancers’ emotions are real. In that case, you, the dancer, can’t portray emotion without honestly feeling it. Dance instructors and choreographers will remind you of this fact.

As a dancer, you can communicate emotion through dance. But it’s important to remember that every person, as a passionate human, will expresses emotion through dance at some time, even if it’s just an uncoordinated and spontaneous burst that comes after hearing a piece of good news.

Remember Your Past “Performances

The challenge of communicating real emotion resurfaces with every role. It’s good practice to actually think of a time when you’d felt the emotion that you’re trying to convey. But maybe next time, you’ll think of a time when you actually broke into spontaneous dance and gave a free performance of your honest emotions.

After a lukewarm Salsa, Marquis and Susie are gone.

The judges were unforgiving toward several pairs this week. But after they criticized Marquis’ and Susie’s performances in the salsa choreographed by Alex Da Silva–set to “Aguanile” by Willie Colon & Hector Lavoe–these two looked heartbroken.

The Elimination: Tricks, Technique, or Terror?

For this week’s elimination, it seemed like Marquis was in fight-or-flight mode. His solo, in fact, is the one that I remember most. But I remember it because I felt sorry for him.

Marquis performed an incredible routine, but I think the audience could read his mind. In his expressions and his movements, he looked panicked. Nigel said that Marquis’ solo was all about “tricks,” and that “tricks” are not what the competition is about. I’m not sure that I saw what Nigel saw. To me, Marquis looked desperate to save himself.

For Next Time

This week’s bottom-three also included Comfort and Chris, and Chelsea and Thayne. Comparing these two pairs to Marquis and Susie, I don’t know if I would have made the same elimination sentence that the judges handed down. But, we’ll see if these two pairs can pull themselves up in the rankings.

What are your opinions on this week’s “So You Think You Can Dance?”

Were the voters, and the judges, wrong?

Comment on this post, and let us know what you think!

(photo source: <http://fox.com/dance/gallery.htm> 20 June 2008)

Your costume fits perfectly. You have memorized every arabesque and pirouette in your routine. In practice, you have performed this dance flawlessly. So, why do your knees shake and your palms sweat as you wait to take the stage?

Nervousness before a performance is something that most dancers experience, not to mention many athletes, public speakers, and even professionals like teachers and chief executive officers. Even the most experienced and well-prepared dancers can feel nervous before a performance.

Causes of Performance Jitters

When you feel nervous before a dance recital, your body is reacting to the mental and physical stress of performing. All dancers understand that practice and performance cause physical stress—an hour of performance takes a lot of energy! But the mental stress of performing may be more difficult for a young dancer to understand and manage. When you perform, you are trying to beat your own expectations for your performance as well as the expectations of others. Even if you are alone on-stage, you are competing.

Competition in performance causes mental stress. And this stress causes your body to release adrenaline. Adrenaline is a hormone that makes you more alert and makes your body get ready to use energy. But, it can also make you feel like running away from a performance.

The Pros and Cons of Stress

Professionals in sports psychology actually agree that some amount of stress is good. This is because adrenaline can improve your performance. In fact, if you experience no stress at all, you might perform poorly because your body won’t be ready to use its energy.

Most dancers who challenge themselves won’t be lacking in adrenaline, though. Instead, most dancers will experience too much stress. This can decrease your fine motor skills and make it hard to concentrate.

Quit Your Worrying

When you’ve spent months preparing for a recital, it’s natural to worry about how well you’ll perform and what the audience and your instructors will think of your performance. But this worry can turn into anxiety.

Anxiety, according to some psychologists, is caused when you worry about things you cannot control. This will cause you to think negatively and focus on things that might go wrong.

The first way to reduce stress is to reduce anxiety. And to reduce anxiety, you must not imagine yourself failing. You have to imagine yourself doing well!

Tips to Stop Stress

Dancers and other athletes learn to control anxiety and manage stress through practice. Sports psychologists, athletes, and even public speakers have discovered the following tricks for reducing anxiety and stress before a performance.

To reduce stress before a performance:

• Be prepared. Although you’ve practiced for months, there are other ways to prepare yourself. Get a good sleep on the night before a performance. Make sure that your tights, dance shoes, and anything else you’ll need are ready.
• Be early. If possible arrive at the performance space early. Explore the stage before the audience and other dancers arrive.
• Be focused. Stop worrying about personal problems like your math exam or the fight you had with your best friend. Focus on how much you love dancing.
• Be selective. Pay attention to what you eat before dancing. Don’t have caffeinated drinks like soda and coffee for several hours before a performance. Not only can these cause stress, but if they make your muscles shaky, you’ll begin worrying about how well you can perform.
• Be positive. Imagine yourself dancing. Close your eyes and see yourself completing each move in your routine, finishing perfectly.
• Be calm. Find a quiet place, close your eyes, and breathe deeply.

As you gain more experience as a dancer, you’ll learn how to manage stress. At your next recital, remember the tips in this article, and you’ll stop anxiety before it takes over.

With each performance, you’ll get better at managing nervousness. With practice, you’ll even learn how to use stress in a good way. Eventually, you’ll find that the “butterflies” you usually feel in your stomach before performing are no longer such pests.

HOW DO YOU MANAGE STRESS BEFORE A PERFORMANCE?

Do you stress out before a performance?

Do you have any personal tips for managing stress before a dance recital?

Share your advice or questions about performance jitters by commenting on this post!

Creating the DanceHere blog is one way that we can share our love of dance through technology.

For the students and faculty at the University of North Carolina at Charlotte, using gyroscopic computer mice to capture the motions of dancers is another way to combine technology and dance.

Dance.Draw is a large collaborative project headed by Dr. Celine Latulipe of UNC Charlotte’s Software and Information Systems (SIS) Department and Professor Sybil Huskey of UNC Charlotte’s Department of Dance.

How Dance.Draw Works

Three UNC Charlotte dancers participate in each Dance.Draw performance. Each dancer holds two Logitech MX Air mice, one mouse in each hand. The Logitech MX Air mouse does not need to rest on a hard surface in order to track movements, much like the Wii Remote wireless controller used with the Nintento Wii game system.

When each mouse detects movement, it sends information about the motion to a computer. The computer then turns the input from each mouse into a moving, abstract image that is projected onto a giant screen behind the dancers.

The Visual Result

The dancers’ movements produce abstract images such as flowing lines of glowing dots, revolving polygons, and other simple shapes. These shapes are the digital abstractions of human motion.

Professor Huskey told DanceHere that her interest in Dance.Draw is to create “dance in conjunction with the kinetic visuals.” For Huskey, and for the scientists working on this project, Dance.Draw isn’t just about technology. It’s about delivering a unified experience to the audience.

Possibilities for Technology in Dance

Dance.Draw is a fascinating performance to watch. But beyond that, it shows that we can combine art and technology to bring new audiences into an appreciation for dance.

“I think dancers should avail themselves of opportunities to work with technology,” Huskey said. “I am just beginning to see the possibilities.”

Other projects that have used motion capture to study dance offer applications outside of performance. These include the Web 3-D Dance Research Project, headed by PhD Asako Soga of Ryukoku University in Otsu, Japan. Since 2000, Soga and his team have been using motion capture to create web-based software systems for choreography.

“The integration of live dance and technology will be a part of the future of the art form. It is also interesting to venture into new territory.”

Huskey told us that her dancers, who were excellent improvisers and performers, enjoyed working on Dance.Draw.

Future Dance.Draw Performances

In the fall, Huskey will again be working with UNC’s SIS Department. They have held three exploratory sessions this summer, and rehersal will begin in late August. The performances will be held in November.

Visit the Dance.Draw project’s site to watch a video of a performance. Or,view a slide-show of performance images in the project’s gallery.

The UNC Charlotte Department of Software and Information Systems, the UNC Charlotte Center for Humanities, Technology and Science, the UNC Charlotte Department of Dance and Theatre, and the Charlotte Visualization Center all support the Dance.Draw project.

(Photo: Singh-Latulipe, Rob. “Dance.Draw.” 7 May 2008. Online image. Dance.Draw. 10 June 2008. <http://www.sis.uncc.edu/~clatulip/DanceDraw/Gallery.html#grid>.)

We can trace the term “ballerino” back to a 1934 edition of Musical Times, according to the Oxford English Dictionary. And before that, the word “danseur” appeared in John Ebers’ 1828 Seven Years of King’s Theatre. But the history of male ballet dancers predates these terms by several centuries.

Male ballet dancers are not a modern phenomenon. But today, some audiences, and even some dancers, seem to forget that fact. Talented male ballet dancers are in demand at many schools. Young boys face criticism from classmates who don’t understand that ballet isn’t just for girls. So, we think it’s important to revisit ballet’s masculine beginnings. And, we want to thank all of the men who continue dancing.

The First Ballet

To understand how important men were in the development of ballet, we need to look at the birth of ballet itself. As early as the 13th century, a distinction had been made between “dancing”, which might be any movement to music, and a “bal,” which was special choreography set to specific music. In 1581, the first official ballet was staged in the court of Catherine de Medici of France. This was Le Ballet Comique de la Reine (The Queen’s Ballet Comedy), by violinist and dancing master Balthazar de Beaujoyeux.

Ballet History and King Louis XIV of France

Men dominated ballet at first. King Louis XIV of France had begun studying dance during his childhood in the late 1630s and early 1640s. Louis XIV performed throughout his life, and he made ballet an important element of court. In 1661, Louis XIV opened the first school of dance, the Académie Royale de Danse. Louis XIV’s dancers studied with Pierre Beauchamp, who is credited with defining the five foot positions of ballet, and Italian ballet master Giovanni Baptista Lulli. Louis XIV also enlisted French dramatist Jean Baptiste Poquelin, more famously known as Molière, and the three masters created what is today known as comédie-ballet.

Women Begin Ballet

Until 1681, all professional ballet dancers were men. The first professional female dancers did not appear until 1681, two decades after Louis XIV established the Académie Royale de Danse. Le Triomphe de l’amour (The Triumph of Love) was the first ballet to include female dancers. Before 1681, costumed male dancers performed all roles in a ballet. And even after Le Triomphe de l’amour, female dancers were often restricted by their masters. Women wore heavy costumes, and conventions of female modesty allowed male dancers to perform a wider variety of dance movements.

Ballet Schools are Created

Organized ballet instruction truly began with the Paris Opera. For that, we have Louis XIV and Giovanni Baptista Lulli to thank.

As with court ballet, men overshadowed women at the Paris Opera. Dancers like Antoine Paul, Louis Duport, Gaetan Vestris, and Auguste Vestris shone as Europe’s premier performers.

With such strong male performers in the spotlight throughout Europe, female dancers battled to make names for themselves. Ballerinas like Marie Camargo and her rival Marie Sallé had to boldly challenge the limitations of both costume and performance styles that ballet masters had placed on female dancers.

Decline in Male Ballet Dancers

For years, the Paris Opera had a healthy population of male ballet students. But in 1818, ballet masters noted an imbalance in their student body,with 22 boys and 39 girls. This difference continued to grow, and by 1858 only one-fifth of the Paris Opera ballet students were boys.

The decline in male dancers at the Paris Opera is traced to several causes. Some historians blame the French Revolution for reducing the number of male dancers. With the French Revolution, popular attention shifted from the aristocratic refinement of court to the interests of common people. Ballet, as a form of high art, suffered.

Ballet also suffered during the French Revolution because the common people had to rely on themselves for support and safety. Men abandoned their leisure activites and devoted themselves to tasks that would provide food and protect the people. An overall increase in desertions during the French Revolution may have also reduced the number of male dancers in the Paris Opera.

The population of male dancers in the Paris Opera ballet decreased throughout the Romantic Era (1850 - 1920). As male dancers disappeared, ballerinas took their places. During this period, Marie Taglioni began popularizing pointe as a discipline for female ballet dancers.

Renewing Europe’s Supply of Male Ballet Dancers

Antoine Bournonville and his son August Bournonville are credited for work that helped boost Europe’s population of male dancers. Because of the turbulence in France, Bournonville’s influence shifted some of Europe’s attention to the Royal Danish Ballet.

Bournonville trained in Vienna and Paris before returning home to Denmark. His work directly promoted ballet in Denmark. And then, Antoine gave his son August to the world of ballet.

August Bournonville, who trained in Copenhagen and then in Paris with Auguste Vestris, became a full-time choreographer in 1840. August staged performances that emphasized all of a male dancer’s qualities. He highlighted not only the power and athleticism of a male dancer but also the refinement and complexity of ballet.

Masculine Influence in Russian Ballet

Marius Petipa was another male dancer and choreographer who helped transplant French ballet to other parts of Europe during the late 19th century.

Petipa, who was born in France, began his training in Marseille. His career continued in Brussels, and he choreographed his first ballet, Un mariage sous régence, in Russia in 1858. Several years later, Petipa was appointed Choreographer-in-Chief of the Imperial Theatre for his work on La fille du pharon.

Petipa choreographed some of the world’s most famous ballets. These include The Nutcracker, Swan Lake, The Sleeping Beauty, Raymonda, Giselle, Don Quixote, La Bayadère, and Le Corsaire.

The Evolving Image of Male Ballet Dancers

Vaslav Nijinsky, born in Russia in 1890, experienced fame that helped boost the image of male ballet dancers during the 20th century. He was a ballet sensation. Not only did he have adoring fans, but Nijinsky was also the first ballet dancer to be featured on a poster. Nijinsky’s reputation helped rework the public perception of male dancers.

At the same time, George Balanchine’s work helped create roles for 20th century male dancers. Balanchine trained at the Imperial School of Ballet in St. Petersburg. In 1920, he left the Soviet Union, and in 1933 he went to America. There, Balanchine founded the School of American Ballet and the American Ballet Company. After making his name as a successful choreographer, Balanchine founded the Ballet Society in 1947. Several years later, the Ballet Society would become New York City Ballet.

Male Dancers in America

Perhaps our knowledge of American ballet is partly responsible for the popular, contemporary assumption that ballet is for women.

American ballet officially began in 1791 with a performance in Charleston, South Carolina by Alexander Placide and his wife. Paris Opera members Paul H. Hazard and his wife opened the first American ballet school in 1835 in Philadelphia, Pennsylvania. American ballet quickly embraced female dancers, and soon this school produced Mary Ann Lee and Augusta Maywood, who would become famous American ballerinas.

Contemporary Views of Male Dancers

Today, men are still active in ballet–they just aren’t always dancers. In areas of performance and education, women are the majority. But studies show that throughout the ballet world, men overwhelmingly fill the roles of managers and choreographers. With this split, many schools and companies are in need of male ballet dancers. And at the same time many women are fighting to break into choreography and management.

Today, we know that boys and young men who enter ballet can be affected by popular society’s assumptions about male dancers. Although there are still plenty of outstanding male ballet performers, history does show that they make up a slowly disappearing group.

Helping Boys Become Dancers

We know that young male dancers often quit ballet because they’re criticized and discouraged by their friends and classmates. To make sure that boys start practicing ballet at an early age, and to make sure they stick with it, instructors may need to give boys extra encouragement. In towns with small companies, where support for fine arts may be lacking, a dance instructor may be a boy’s only advocate. Maybe, learning a bit about dance history will help boys be proud as they continue the work of male ballet dancers.

To learn more about the history of men in ballet, read the comprehensive article in the online Goldrush Magazine.

For more in-depth information on Louis XIV’s imporance in the history of ballet, see The Ballet.com’s article Louis XIV and the French Influence.

Additional Sources:

-Chapman, John. “The Paris Opera Ballet School, 1798-1827.” Dance Chronicle. 12.2(1989): 196-220.
-Andros on Ballet . 2008. Gus Dick Andros and Michael Minn. 4 June 2008. <http://www.michaelminn.net/andros>

Are you a male ballet dancer? Share your experiences with us.

Are you a dance instructor with insight into encouraging young male dancers?

Are you a female dancer with an opinion about contemporary gender roles in the world of dance?

Comment on this post, and fill us in on your experiences.

The day when you step into your first pair of pointe shoes can feel like a career milestone. But waiting for the right time to go on pointe is often difficult.

To prevent injury and begin successful training, a dancer, as well as a dancer’s parents and instructors, must follow important guidelines when deciding on the best time to begin pointe.

The Physical Demands of Pointe

Susan Sharkey of the Royal Academy of Dance reminds students in the “Right to the Pointe” demonstration at Jeanne’s School of Dance in Mesa, Arizona, that a dancer’s body holds her up on pointe, not the pointe shoes.

When a dancer goes on pointe, the shoes will add at least seven inches to her height. Before attempting to manage that extra height and instability, a dancer must be able to masterfully control her muscles and movements.

When You’re Ready for Pointe

The bones in a child’s foot are not fully developed until about age nine or ten. To prevent long-term injuries, dancers must wait to begin pointe until they are about 11 years old.

But age isn’t the only criteria for beginning pointe training. A dancer should also have had at least three years of ballet training. And, she should be able to participate in ballet classes at least three times per week.

Once a dancer fulfills all of these requirements, her instructor should test her physical abilities. A dancer beginning pointe should:

• demonstrate the ability to obtain releve and hold passe position for at least 15-30 seconds
• demonstrate proper hip, knee, and foot positions in the releve position
• execute proper bar and floor movements and positions
• display strength in torso, sides of body, back, lower abdominal muscles, inner and back thigh muscles, ankle and attending tendons and muscles
• demonstrate foot strength and flexibility
• be free from abnormalities such as bunions, dropped arches, or collapsed first or second metatarsals

Because pointe training is so demanding, according to Sharkey, a dancer should begin to take classes on the demi-pointe before beginning pointe work.

Injuries to Watch for When Beginning Pointe

Podiatrists warn that dancers most often suffer ankle injuries, foot fractures, Achilles’ tendonitis, bunions, hammertoes, and neuromas when beginning pointe work. So, even if a dancer seems ready, she needs to begin slowly to prevent injury.

When young dancers begin pointe work too early, injuries can end a promising career. Whether you’re a dancer, a parent, or–most importantly–an instructors, it’s always important to remember that the wait for pointe is worthwhile!

WHAT ARE YOUR EXPERIENCES WITH POINTE?

Are you a dancer who is waiting to begin, or wondering if it’s time to begin, pointe training?

Are you a parent whose child is beginning, or wants to begin, pointe?

Are you an instructor with experience in evaluating a dancer’s pointe readiness?

Comment on this post with advice, or questions, on the topic of going on pointe!

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