Be a Master of Disguise
Schuyler Gieringer of Michelle Latimer Dance Academy company may have flaws, but you'd never guess—because she's making sure you can't see them. (Photo via evolvephotovideo.com)
Baby, you were born this way! Even though not every dancer has the “ideal” build, all dancers can learn to make the most of their natural attributes. Here’s how to improve the things you can change—and camouflage the things you can’t.
A lot of us can relate to Center Stage’s not-so-turned-out Jody Sawyer. The best way to maximize turnout is to work on rotating from your hip joints. “Think about the way you roll your shoulders from front to back,” says Josie Walsh, artistic director of both Ballet RED and the Joffrey Ballet School Summer Intensive in San Francisco. “Our hips are rolling joints, too.” Picture your legs rolling outward from the hips to achieve your maximum natural rotation.
You can also improve slightly on natural turnout. Try Walsh’s turnout-strengthening exercise: Lie on your left side with your knees bent. Keeping your feet together, lift your right knee as much as you can without opening your right hip. Do 50 reps, then repeat on the other side.
You can get bendier—but you can’t cheat your way there. “We all want to have extension right away, sometimes at the sacrifice of correct technique,” says Yvette Tucker, who trained with the Joffrey Ballet and Hartford Ballet. If you don’t have great flexibility now, “bring your leg lower so you can turn out from the hip,” Tucker says, which will build strength in the right muscles. Every line looks better when your leg is turned out, and maintaining proper placement from the beginning will help you hold higher extensions correctly later on.
While stretching daily will improve your flexibility, Julie Webb, who teaches at the Michelle Latimer Dance Academy in Greenwood Village, CO, often sees dancers make the mistake of forcing their muscles during stretches. “Dancers will sit on the floor in straddle position, and even if their stomachs are nowhere near the ground, they’ll push their chests down so their knees rotate in”—which can cause injuries. Don’t focus on an “end goal” while stretching. Instead, try to slowly and steadily improve from your starting point.
The Long and the Short of It
There’s no way to change your height, but there are ways to make your height work for you. Tucker is 5' 3", but she has found that dancing powerfully makes her look like an Amazon. “I learned how to cover space and book it from one side of the stage to the other,” she says. “I may be small, but I’ve proven I can move as big as someone whose stride is twice as large as mine.” If you’re vertically challenged, think about sending energy out through the ends of your feet during grand allégro, and creating more expansive port de bras by opening your chest and back.
Smart dancewear picks can also help you stand tall. Tucker has learned how to trick the eye by wearing tights the same color as her pointe shoes, which makes her legs look longer. Three-inch character heels have also come in handy: “Those extra inches of leg line really help.”
Josie Walsh teaching at the Joffrey Ballet School San Francisco summer program. (Photo by Jody Q. Kasch)
Walsh had the opposite problem in her dancing days: She was 6' 2" on pointe and felt she was always “apologizing for being tall.” But slouching draws attention for the wrong reasons—and when it comes to line, tall is beautiful. It wasn’t until Walsh embraced her height that everything started to gel: “When I started dancing larger than life, the world started responding.”
Moving quickly, however, can be a challenge for tall girls. Speed starts at the barre, where you build the fast-twitch muscles that get you through crazy petit allégro combinations. Imagine an elastic between your inner thighs, which rebounds after each tendu or dégagé. You’ll find that will eventually help you pick up the tempo in the center.
Off On the Right Foot
Everyone wants beautifully arched feet, but what happens when things fall “flat”? The issue isn’t easy to fix, but it’s also not a dealbreaker. “Even if you stretch your feet as much as you can, there’s only so much you can do,” Webb says. “The key is making them look like they’re better than they are.”
The way Webb and her dancers accomplish that is through strategic angles and movement choices. In arabesque, a little bit of winging—rotating the ankle joint slightly, so the toes point upward—can go a long way. Shoe choices are also crucial. Webb tells dancers with poor feet to avoid bulky jazz shoes and instead choose shoes like Elastosplits, which emphasize the arch.
When working with dancers at the Joffrey Ballet School summer intensives, Walsh advises dancers to focus on strengthening as well as stretching their feet: “Stretching is helpful, but you should immediately follow stretching with Thera-Band exercises.” When it comes to staying injury-free (and technically solid), strong feet are a dancer’s best friend.
The Bottom Line
Sometimes the things you see as weaknesses are helping you become a stronger dancer. “People who have limitations have to work harder to be articulate with what they have,” Walsh says. “They use their legs and feet with more wisdom than people who have everything naturally, because they’ve analyzed every movement.” And remember: Audiences don’t applaud good feet—they applaud great dancers.
Harper Watters is a ballet dancer for today's generation. A social media maestro and a charismatic performer, the Houston Ballet soloist is equally at home in front of the camera hosting his hit YouTube series, "The Pre Show"; interacting with fans on his crazy-popular Instagram account; or showing off his beautiful classical technique onstage. It's a multifaceted identity that's proven to be invaluable to his career—and it's taking him to places he never even dreamed of.
Getting corrections from our dance instructors is how we grow, and as students, it's important that we do our best to apply every correction right away. But sometimes—whether it's because we're in physical pain, or have a lot on our minds, or are just not paying attention—those corrections don't sink in. And from a teacher's standpoint, giving the same corrections time and time again gets old very fast. Here are 10 important corrections dance teachers are tired of giving. Take them to heart!
Summer intensive auditions can be nerve-racking. A panel of directors is watching your every move, and you're not even sure if you can be seen among the hundreds of other dancers in the room. We asked five summer intensive directors for their input on how dancers can make a positive impression—and even be remembered next year.
When we think of a dancer who's broken barriers, American Ballet Theatre principal Misty Copeland tends to be the name that comes to mind. And though Copeland has been a crucial advocate for equality in the world of ballet, Raven Wilkinson—a mentor of Copeland's—is considered one of the original pioneers of the movement.
In 1955, Wilkinson became the first African American to dance with the renowned Ballet Russe de Monte Carlo. Her fortitude in the face of bigotry and hate cemented her legacy. Now, with the release of the new children's book Trailblazer: The Story of Ballerina Raven Wilkinson, a new generation of dancers will be inspired by her tale of overcoming obstacles to achieve a dream.
The book details Wilkinson's life, from her experience as a young dancer training in Harlem, to her run-ins with the Ku Klux Klan while on tour with Ballet Russe, to her later ballet career in Europe. "There were times where my heart really hurt because of the situations I had to deal with," she says. "But I always had faith that I was made to be a dancer and that I was gonna dance."
Dance Spirit spoke with Wilkinson to discuss the new book and get her take on racial equality within the ballet world.
Postmodern pioneer Trisha Brown redefined how dance is seen and felt. A founding member of Judson Dance Theater, Brown frequently collaborated with other experimental artists like Yvonne Rainer, Merce Cunningham, Twyla Tharp, and Steve Paxton.
She embraced pedestrian movement, pairing everyday gesture with rhythm and fluidity. "It's liquid," says Wendy Perron, who danced with Brown in the '60s and '70s. "Like a river with many tributaries, water coming out of a faucet, or being on a raft and seeing the water move away in different directions." Brown also pushed beyond stages with choreography in fields, museums—even on the sides of buildings.
There's a common misconception that a dancer's body has to be thin. But the truth is that talent knows no body type, and the number on the scale never determines an artist's capabilities. Here are some extraordinary dancers fighting the stereotype of what a dancer "should" look like.
We always love a good halftime performance. And we LIVE for halftime performances involving talented kids. (Fingers and toes crossed that Justin Timberlake follows Missy Elliott's lead and invites some fabulous littles to share his Super Bowl stage.)
So obviously, our hearts completely melted for 5-year-old Tavaris Jones. Tavaris may have just started kindergarten, but during Monday night's game between the Cleveland Cavaliers and Golden State Warriors, the Detroit native danced with the panache of a veteran pro at halftime.