Perk Up Your Pecs
“There’s nothing worse than trying to partner a dancer who has a loose upper body,” says Mary Leonard, owner of the U.S. Athletic Training Center in NYC. Don’t be that girl! Solve this common problem by giving your pectorals a boost. These muscles, which sit directly underneath your chest, need to be toned like any other muscle in your body, and doing so will improve your partnering skills. Plus, Leonard says, “toned pecs help you look stronger without adding bulk.” All photos by Erin Baiano.
Leonard says: “Hold your abs and glutes tight to keep your body in one line.”
2) Thera-Band Fly: You’ll need one light-resistance Thera-Band
Plant your feet in a sturdy parallel stance. Wrap the Thera-Band around the back of your waist, holding the ends firmly in each hand. Start with your arms in second position. Bring your hands together as though you’re moving around the edge of a large circle from second to first position. When your hands meet, twist them so that the palms face up. Hold for 2 seconds, and then return to starting position. Aim for 20–25 reps.
3) Dumbbell Wide Fly: You’ll need two 3- to 8-lb. weights (choose what’s comfortable for you).
Leonard says: “Make sure you move slowly, as though the air were really thick.”
4) Overhead Pulls
Lie flat on your back as in the last exercise. Crisscross the weights over each other and hold them behind your head, just above the floor, with a slight bend in the elbows. Keep your core tight so you don’t arch your back.
Leonard says: “Your shoulders should be down, and your wrists should stay straight and strong.”
Click here to see Mary Leonard walk Karla through these exercises.
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!
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.
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.