Not So Sweet
Picture it: An easy way to visualize your sugar intake is to think in terms of packets, not grams. DS health and nutrition expert Caroline Lewis-Jones explains the math: “One packet of sugar contains 2.8 grams, so divide the grams of sugar in a product by 2.8 to find out how many packets of sugar are in it. But remember to consider how many servings you’re consuming. If you drink an entire 20-ounce Mountain Dew (which is 2.5 servings), you’ll need to multiply the grams of sugar in the serving size by 2.5 before you divide.”
grams of sugar in a product x serving size / 2.8 grams = number of sugar packets you are consuming
1. A 16.9-ounce Mountain Dew contains _____ packets of sugar
a. 10 b. 19.3 c. 7 d. 23.2
2. A 6-ounce Original Yoplait Strawberry Yogurt contains _____ packets of sugar
a. 9.3 b. 2 c. 6 d. 3.7
3. A 16-ounce (Grande) Starbucks Caramel Frappuchino contains _____ packets of sugar
a. 20.5 b. 22.9 c. 12 d. 18
4. A 16-ounce Jamba Juice Banana Berry contains _____ packets of sugar
a. 30 b. 25.6 c. 17 d. 20.4
5. A regular-size Snickers Bar contains _____ packets of sugar
a. 20 b. 15 c. 10.7 d. 26.4
Caroline says: Sugar consumption is one of the biggest factors contributing to our society’s health problems. (We shouldn’t be consuming more than 18 packets a day!)
Simple swaps, like subbing a tall glass of water splashed with 100 percent fruit juice for a Mountain Dew, can make a big difference. Watch your sugar intake, dancers—be plant-strong (eat lots of fruits and veggies) and you’ll dance and feel stronger!
You know it’s important to stay hydrated while you dance, but did you know that you should be gulping—instead of sipping—your water? According to Leslie Bonci, director of sports nutrition at the University of Pittsburgh Medical Center, when you gulp fluids, they quickly pool in your stomach, triggering the stretch receptors that create the pressure necessary to rapidly empty your stomach. That prevents the cramping that occurs when fluids stay there too long.
DID YOU KNOW? Exercising (dancing!) can significantly reduce severe headaches. According to a new study published in the journal Cephalalgia, researchers found that people who exercised for 40 minutes, three times a week, felt the same positive effects on their migraines as the participants who took daily doses of topiramate, a drug that helps prevent migraines.
Answers: 1. d, 2. a, 3. b, 4. d, 5. c
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.
The dancers who take our breath away are the risk-takers, the ones who appear completely fearless onstage. "When you see somebody trying to travel more, go farther, push the limits of their physical abilities, that's always going to be inspiring," says Ballet BC dancer Alexis Fletcher.
But dance training can feel like it's in conflict with that idea. We spend thousands of hours in the studio trying to do steps perfectly, and that pursuit of perfection can make us anxious about taking risks. What if we fail? What if we fall?
Luckily, fearlessness is a mental skill that you can work on, just as you work on your technique. Here's how you can learn to push yourself past your limits.
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!
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.