But you're a dancer now ...

One rainy rehearsal, I was sitting with my legs in second and stretching while eating one of those Fruitsource bars. Jokingly, my choreographer frowned my way and said,"You're eating? You're a dancer now. You don't eat." We laughed, I finished my 'dinner', and we danced. Her innocuous comment nagged at me a week later when I read a review of Frederick Wiseman's La Danse in the Toronto Star which claimed that Wiseman made no attempt to address the stigma surrounding dancers and their diets. Dancers are notoriously thin and the profession continues to be plagued with rumours of eating and body dysmorphic disorders. The truth is that dancers must work hard to maintain not only an aesthetically pleasing physique but one that is strong, flexible, and resilient enough to carry them through the intensely physical work that is dance. As a novice dancer, I have a vested interest in this topic and hope to clear up my own misconceptions about nutrition, about body proportion, and how diets contribute to these things. Thus, I am devoting several entries to the topic of dancer diets.

During my adolescence, ballet became increasingly difficult to pursue as my body went through changes that did not necessarily favour my art. The small group of girls taking Cechetti exams conspired to lose weight as a group through a combination of diet and group exercise. High protein, low carbohydrate diets and a rigorous running schedule were set to be employed, though nothing ever came of our plans. The value of low carbohydrate diets has been contested elsewhere but I found Linda Hamilton's advice especially useful on this subject. She reminds us that carbohydrates are an essential energy source for dancers because the calories from carbohydrates are metabolized more rapidly than those from protein and fats, thus making energy available more immediately. High protein diets were encouraged for a short while before dancers became concerned about adding bulk to what should be their long lean frames and, obviously, the high fat content of certain protein sources. Dr. Richard Gibbs, chair of the Dance U.S.A. Taskforce on Dancer Health, encourages dancers to choose complex carbohydrates that are not only wholesome but will help dancers feel full. Brown rice, whole wheat bread, and yellow vegetables, he says, are good choices to this end. Dancers should avoid high fat protein sources such as beef and choose chicken (without skin), tofu, and nuts instead. Taken together, the recommendations of professional dancers and doctors treating professional dancers alike suggest that it is not just the relative proportion of foods in your diet that will ensure a healthy, strong, and slim body but the choices dancers make on a daily basis, as well.

For the vegan/vegetarian dancer? Tofu and legumes can provide protein and a wealth of vitamins, but these dancers must be careful to ensure they receive sufficient vitamins and minerals, especially calcium and the B complex vitamins, either through daily supplements, enriched sources in their diet, or a combination of both. Regardless of whether dancers are omnivores or herbivores, consulting a dietitian and/or a physician will ensure all of your body's needs are met. This is my next goal, seeing as a Fruitsource bar for dinner is hardly the best fuel for a rehearsal.

What about hydration? Dancers can lose up to 2 litres of water per hour during a long hard rehearsal! As with any sport, it is important to consume enough water to support high level performance and a cup (250ml) of water every 15 minutes is recommended for those intensive dance training sessions. Water will aid the metabolism of all of those wholesome calories dancers have been consuming during the day as well as fuelling the body's cooling system while dancers sweat it out.

Let us also not forget that dance is not a sustained aerobic activity (unless you take modern with my beginner instructor!). Light cross-training will ensure that dancers improve their cardiovascular health, burn fat, and build strength through activities other than dance to prevent overuse injuries. Dr. Gibbs suggested elliptical training and brisk walks three times a week. My modern instructor ran 30 minutes every day when she was dancing for other companies; other dancers I know swim daily to cross-train. Every person will have a different preference but every dancer should engage in some kind of activity that increases heart rate into the aerobic range for at least 30 minutes to ensure a healthy, strong heart that will carry them through their dance careers.

Many young dancers are curious about what they should be eating to ensure optimal performance and still maintain the body proportions valued in their profession and, fortunately, there are a lot of great resources out there. As with a good, strong, pirouette, a healthy diet for dancers is about balance!

Tune in next time for a discussion about the history of eating disorders in dance and how the industry is trying to fight back!

Additional resources:
International Association for Dance & Medicine Nutrition Fun Facts
Dance U.S.A. info on Dancer Health (check out the sweet pdf on nutritional guidelines!)
Linda Hamilton's book Advice for Dancers
Ballet Talk forum for young dancers

Don't wait until the next Nextfest!

Unfortunately, the month of May has been incredibly busy. Between working as a mad scientist and rehearsing for the upcoming Edmonton International Fringe Festival performance I shall be performing in (with the lovely and talented Kelsie Acton choreographing), I have been neglecting my blogging duties. For that, dear readers, I sincerely apologize.

Last week, however, I had the pleasure of seeing many of my dance peers perform in Raena Waddell's Five as part of the Dance First, Think Later series at dancefest. If any of you saw Waddell's "The Surrender Method", you already know what to expect. Legs, arms, more legs, and then more legs. Five distinct dancers with distinct styles dance one-at-a-time then altogether. Though the first night was fraught with a few technical difficulties, the audience did not even notice the seamless transition the group had to make from what was the beginning of the dance into a quicker ending than planned. Or, at least I did not. The opening sequence showcased not only the movements that each body was most comfortable making but each dancer's personality. Celine Cattoen's amazing arm strength and calm, Kevin Mohabir's extension and intensity, Phil Kloc's clarity and sense of humor, Jade Pruden-Doherty's beautiful lines, and Raena Waddell's use of the space and choreographic genius. The unison and semi-unison sequences were intense, vibrant, and beautifully danced. Whenever I watch Raena's work, I get the feeling that I could just watch the dance stretch for eternity. Sadly, it ends with a video and dance portion. Though I enjoyed the entire performance (and not just because my friends were up there!), I got the feeling that it was unfinished. The piece needs that last bit of closure, I think, but that could also be me selfishly wishing there was more dance to see.

The second number, a very lyrical piece danced and choreographed by Lauren Kneteman entitled Fall Back to Bed, had a "So You Think You Can Dance" feel to it. Her legs, hips, and spine move in ways that my body certainly could not but I have a slight disdain for lyrical pieces since starting modern. Is it pretentious? Maybe. There is no denying that she is a beautiful dancer and technically well-trained, but I felt as though the choreography could move away from the area of pantomiming and into the realm of inspired. A pretty, sweet, almost hit.

The third number was excellent and brilliant in its simplicity. Hands On, choreographed and danced by Emily Schultz, starts from the hands and just never stops. The sequence repeats to different music and the urgency of her movements appears to change even though her movement does not actually change when she repeats the phrase. From the simple black of her costume to the clean, sharp lines of movement carved by her hands and rolling down through her body to her toes, Hands On will make you wonder how she makes what is clearly hard work look so easy.

Finally, Eryn Tempest's Spaces Stammering: I am no distance, I do not turn my head was a long but lovely piece. One of my colleagues complained that the number was far too long and, reflecting on it, the audiovisual portion does occupy a lot of time. For about 5-7 minutes, the audience watches black ink diffuse across a white screen before the piece and during a pivotal costume change. While I could complain about it, I thought the last costume change was worth it. First, Tempest wears a suit and creeps across the stage wearing a lantern slung across her back. You will be confused, I am sure, though delighted that she is pointing her toes using her hips as she slinks back and forth across the stage. After disappearing stage right, she comes back in a black, flowy dress, matching the ink spiralling upwards on the screen behind her. Girl can dance, yo. Next comes aforementioned five minutes of ink diffusion and a strangely unimpressive lights show from the house but THEN she emerges covered in little lights. The lights were so effectively placed that the slight movements of her head made me smile more than once. Mind-bogglingly cool visuals to follow. Everything in blue, broken only by the tiny white lights that slowly disappear from her outfit and make it to the stage floor, only to be picked up by the first suited character at the end. Tempest's was probably my favourite piece of the night.

Dance or Die is my next destination, assuming nothing goes horribly wrong in my life over the weekend. Since I have been away from this blog for so long, I owe you a proper post and not just a review. Thus, tune in next time for a discussion about dancer diets!!

The flashy and the fantastic Elton Fan

Taking on the life of Elton John would be no easy task, which is likely why Alberta Ballet's Jean Grand-Maitre opted to choreograph a semi-biographical piece on the pop star instead of a concrete biography. Sir Elton John, frankly, is larger than life and the burden on the dancers who portray his character would be immense as they would have some onerous acting to do. Thankfully, Grand-Maitre had the good sense to allow the music to inspire movement rather than force movement into imitating real life.

The dance program started with a flashy, jazzy Bennie and the Jets, complete with rotating stage and metallic cobalt blue bats. Cheers to Kelley McKinlay who managed to perform on the rotating stage for nearly the entire program and still maintain the ability to stand up straight and, even, throw in some grand jetes and saut de basques. Ladies (men?) in black catsuits, complete with feathered shoulders and Charlie Chaplin style hats sauntered about the stage after Elton Fan, transitioning somewhere into the "inner demons", feeding Elton Fan cocaine and caressing him lustily. The costumes are breathtaking and effective: leather thong cups for everyone? Gender bending was the name of the game and the game was highly entertaining. Rocket Man was both playful and impressively technical. Sustained and repeated lifts lit the stage in an unearthly red glow as the dancers futuristic costumes winked at the audience in near darkness.

Yukichi Hattori, who played Elton Fan at the Calgary premiere of Loves Lies Bleeding, is admittedly a better jumper than McKinlay and oozes theatricality out of his pores, but McKinlay truly came alive during the duet between Elton Fan and "Dave" (Mark Biocca). In just white shirts, the men kiss passionately at the beginning and the end of the number, setting the stage for a moving and tortured pas de deux. The extension and the height of McKinlay's jumps seemed to grow as Cross the Bridge crescendoed and Biocca stayed as solid as ever. I found myself grasping at my chest at the end of the number - the choreography, the dancers, the emotion of John's voice was perfectly synced and heartbreakingly moving.

Finally, I feel as though I should stand and whoop for Patrick Doe's energetic and death-defying drag queen performance in six-inch stripper heels. The entire time, I was gnawing at my fingernails, thinking I was going to watch his ankles break, but he managed to do not only pirouettes but Cabrioles and land them both solidly. The whole company received a standing ovation from the sold out house that night, but Doe received thunderous applause and more than a few cheers upon taking a bow.

Some criticize the company for losing the technique and the artistry in ballet by pandering to a commercial, mass media audience but I think the versatility and the eclectic, diverse talents of the Alberta Ballet were showcased in a unique and fun manner through Love Lies Bleeding. True, some sequences seemed a bit repetitive and mildly forced to look like a cabaret, but those were only minutes long and there was always another spectacle happening simultaneously to dazzle the eye. The ballet was never lost but neither was the feeling of being star-struck by the life and music of Sir Elton John and Bernie Taupin.

Who knew such a show could take place and succeed in the heart of staunchly conservative Alberta, with only modest provincial arts funding? I congratulate Grand-Maitre, the Alberta Ballet, its partners and collaborators, and Sir Elton John on a spectacular production. I wish AB the best of luck in seeking permission to tour the performance internationally and hope that this inspired production can be shared with the rest of the world. As at the performance at the Olympic opening ceremonies, I think AB will be well received on an international stage and they deserve to be recognized for their tireless efforts to push the boundaries of dance and performing arts into new and exciting frontiers.

Calgary Herald Review
Toronto Star Review