Nadine Kaslow, a psychologist who works with dancers at Atlanta Ballet, says one of the most common questions she's asked is, "What should I do if I think my friend has an eating disorder?" Research shows that, compared to the general population, dancers are three times more likely to suffer from eating disorders. Experts agree that early detection and treatment is crucial. Unfortunately, while adults—like teachers and studio directors—should be keeping an eye out for warning signs, the people most likely to first notice a dancer's issues with food are her friends at the barre.
So what do you do if you suspect a friend is suffering? You don't want to be accusatory, but you know eating disorders are cause for great concern. At the very least, Kaslow advises you to trust your instincts and do something, whether it's confronting your friend directly or speaking to an adult. "If you're worried about someone, you should take it seriously," she says. "You can't be a bystander—the longer somebody waits to get an eating disorder under control, the harder it is."
When Adrienne Gregorek was 14, she injured her hamstring and was sent to physical therapy. "I was super frustrated," she remembers. "I went to a clinic where there were mostly older people being treated and felt like the staff didn't understand the needs of a dancer. When they were re-testing me at the end, they said, 'You're good,' even though I really wasn't where I needed to be for optimal strength and flexibility."
For many dancers looking for their next step beyond the stage, a career that continues to connect them to the art is a no-brainer. In Gregorek's case, her interest in the human body, coupled with her passion for dance, led her to a career in physical therapy and landed her a job at Westside Dance Physical Therapy in NYC, where she treats dancers, including members of New York City Ballet and students at the School of American Ballet.
The Nutcracker has become an essential part of the holiday season—not to mention a part of most dancers' DNA. These days, the ballet is a beloved tradition, and the lifeblood of many dance companies, whose budgets depend on its reliably great ticket sales. But did you know that it was a flop when it first premiered in Russia? Or that George Balanchine himself once played Drosselmeyer on TV? Here's a timeline of the rich history of The Nutcracker.
Stefanie Roper didn't take her first ballet class until she was 20. Despite her obvious facility, she encountered plenty of naysayers. "I remember one teacher telling me, 'Honey, you're just too old,' " she says. And she did have to overcome obstacles as she entered the ballet bubble. "People talked about how good my feet were, and I didn't understand what they meant for the first four months," Roper remembers, laughing. But she found a mentor at Utah Valley University, where she was a student, and persevered. Now, six years later, Roper's professional resumé includes a stint with BHdos, Ballet Hispanico's second company.
It seems like most professional ballet dancers started taking ballet classes before they were born, especially the women. For those who didn't discover ballet until after elementary school, it can feel impossible to catch up to dyed-in-the-wool students. But it's not. Late starters face plenty of hurdles, but good facility and hard work will take you far—even if it isn't into the ranks of a ballet company.
A contemporary, jazz, and ballet dancer, Lee Gumbs is known for his six-year touring stint with Bad Boys of Ballet (and, of course, for being a Dance Spirit Cover Model Search finalist in 2008!). But Gumbs' photography has earned equal praise. He's amassed an impressive portfolio of subjects, shooting famous dancers like Ashley Everett, Allison Holker, Melinda Sullivan, and Sean Lew, to name a few.
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.
This story originally appeared on dancemagazine.com.
"So why did you quit?"
It's a question I've been asked hundreds of times since I stopped dancing over a decade ago. My answer has changed over the years as my own understanding of what lead me to walk away from greatest love of my life has become clearer.
"I had some injures," I would mutter nervously for the first few years. This seemed like the answer people understood most. Then it became, "I was just not very happy." Finally, as I passed into my 30s, I began telling the uncomfortable truth: "I quit dancing because of untreated depression."
The groundwork for Erin Carpenter's company, Nude Barre, began when she was a teenager. At 16, she earned a spot in the residency program at The Kennedy Center in partnership with Dance Theatre of Harlem. "We were required to wear nude—as in, our actual skin tone—tights and shoes," she remembers. Carpenter brought her "sun tan" tights and a pair of pink ballet shoes with her, because that was all she could find. But she wasn't allowed in class because her dancewear didn't match her skin. "I was so embarrassed," she says. "I looked unprepared. I just didn't have the right nudes." Her teacher explained that the dancers dyed their tights and pancaked their shoes.
Every ballet dancer has a pointe shoe prep process that's akin to a sacred ritual. And while some modifications are meant to make feet look prettier, the most critical tricks help those precious shoes last as long as possible—because at $60 to $100 a pop, they have to. We rounded up some of the best hacks to keep your shoes from dying prematurely.
You may have noticed Broadway dancer Emily Hsu's vibrant leggings and sports bras in dance and yoga studios across the country. In just two short years, Emily Hsu Designs has become a dancer-approved sensation, thanks to her unique understanding of line and fit—knowledge of a woman's body that only a dance career can teach. Her roster of clients now boasts the Rockettes and top-level Broadway dancers, who swear by her flattering gear.
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Every ballet dancer has a pointe shoe prep process that's akin to a sacred ritual. And while some modifications are meant to make feet look prettier, the most critical tricks help those precious shoes last as long as possible—because at $60 to $100 a pop, they have to. We rounded up some of the best hacks to get your shoes through everything (even the intensity of Nutcracker season!).
Every NYC Dance Project image feels like a glimpse into something greater: a dance that's happening behind a curtain, in a private moment. Take, for example, one of Les Ballets Jazz de Montréal dancer Céline Cassone's photos, a commanding shot of her on pointe in passé, her fiery red hair flung upward over her face. Or, the image of Misty Copeland that perfectly portrays both her incredible strength and her ineffable grace. NYC Dance Project's photographers have taken powerful photos of dozens of famous subjects. But what inspires their iconic images? And how do you capture such stunning shots?
You already know that taking on a new role requires lots of homework, from perfecting the steps to figuring out spacing. But while it's easy to become wrapped up in technical demands, a little extra research can make all the difference in your performance—because each piece of choreography is inspired by something, whether it's a person, a time in history or simply an abstract harmony created by a composer.
Dancers need more than balance at the barre to be successful—they need it in life, too. That's where Jessica Spinner's online program The Whole Dancer comes in, making professional nutrition and wellness counseling available to dancers everywhere. “There's only so much your teachers can impart on you in the studio, and they're mostly focused on technique," Spinner says. “You need to have something outside to support you, as well."